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Kubinka Tank Museum

The Kubinka Tank Museum (Центральный музей бронетанкового вооружения и техники - Tsentral'nyy Muzey Bronetankovogo Vooruzheniya I Tekhniki -Central Museum of Armored Arms and Technology) is a large military museum in Kubinka, Odintsovsky District, Moscow Oblast, Russia where tanks, armoured fighting vehicles (AFVs) and their relevant information are displayed and showcased. The museum consists of open-air and indoor permanent exhibitions of many famous tanks and armored vehicles from throughout the 20th and 21st centuries (between 1917 and the present day). It also houses and displays many unique, unusual and one-of-a-kind military vehicles of which there are very few remaining examples, such as the German Panzer VIII Maus super-heavy tank, Troyanov's Object 279 Kotin heavy tank, the Karl-Gerät heavy self-propelled artillery, and the Object 120 Su-152 "Taran" tank destroyer, amongst other single or limited-production prototypes from the Soviet Union and Nazi Germany.

About
The Kubinka Tank Museum is located on a historically "classified" Red Army armor testing facility. Most of its displays in the museum were derived from the research collection of the still-functioning Kubinka armour testing and proving ground. Most Cold War-era Western tanks (from the US or Western Europe) were war trophies from the Middle East, Africa, Vietnam and Latin America, which were all sent to the armour testing facility at Kubinka to study and focus on any strengths and weaknesses. Due to its secretive history as well as its close relationship with the military, the museum is still staffed entirely by Russian Army personnel today. As belonging to an official military unit, the staff of the museum wears a special sleeve insignia on their uniform.

Since 2014, the museum has been a part of the Patriot military theme park.

Admission and visitor restrictions
As of 2017, access into museum is available for all visitors. The entrance fee is 300–500 rubles (US$4–US$7), depending on the particular part of the site, which is wide-spread. Guided tours in English are more expensive, starting at 4500 (US$60) rubles for each site. Access for children under the age of six is free. Permission to film and record videos of any vehicles thereof is included in the entrance fee. Foreign citizens are recommended to have a copy of their passport to enter the museum, as well as the original version. As it is still part of a Kubinka military base, weapons and alcohol are strictly prohibited; at the entrances, inspections are carried out by security staff with the help of metal detectors.

Exhibits
The museum hosts a wide variety of tanks and armored vehicles developed and used throughout the 20th century by the Soviets, Germans and other nations. Around 60% of the exhibits are Soviet-era vehicles, with the most recent display being the Object 172, the prototype of the T-72 MBT.

Apart from that, the museum also exhibits an Ilyushin Il-2 plane wreck, anti-tank artillery, a cutaway model of a V-2-34 engine and other miscellaneous items.

Access
Located in the outskirts of Moscow, Kubinka is accessible by suburban train from Belorussky railway station, Moscow.

World War II history
Kubinka was a top-secret armour testing range and proving ground from before World War II. All new designs from Russian research and design bureaus, facilities and factories had to be first tested here. Before Operation Barbarossa in June 1941, some German tanks and AFVs were sold to the Soviet Union and these were also tested at Kubinka. A few captured Tiger I heavy tanks were brought to the testing and proving grounds at Kubinka in 1943 to be subjected to firing tests so as to gauge its armour protection level and field or develop weapons that would knock out the tank. In 1945 the Soviet Union also tested captured Japanese tanks that were seized after the rapid Soviet invasion of Manchuria, South Sakhalin, the Kuril Islands, northern China and northern Korea.

Cold War history
Soviet tank technology was chiefly concentrated at the Kubinka Force Technology Center, which provided a series of technical evaluations and testing and relevant information to the national defense system to facilitate potential or future tank designs. Today, the Kubinka Tank Museum exhibits more than 50 tanks and other armored fighting vehicles procured from abroad during the Cold War.

Some of these vehicles are as follows:
 * An M24 Chaffee light tank of the French colonial armies and participated in the First Indochina War between 1946 and 1954.
 * A M41 Walker Bulldog light tank was sent to the Kubinka Force Technology Center during the early 1960s or early 1970s.
 * Some M48 Patton medium tanks.
 * An M60 Patton main battle tank (MBT) was also captured by Syria from Israel in 1982 and donated to the Soviet Union.
 * Former American M26 Pershing and M46 Patton medium tanks, which were captured by the Chinese People's Volunteer Army (PVA) during the Korean War.
 * M113 armoured personnel carriers (APCs) were captured by North Vietnam during the Vietnam War.
 * Several British Centurion MBTs.
 * A British Conqueror heavy tank.
 * A former Iranian Army Chieftain Mk.5 MBT and an FV101 Scorpion light tank were sent to the Soviet Union by Iraq during the Iran–Iraq War.
 * An IDF M51 Super Sherman medium tank was captured by either Egypt or Syria and was sent to the Soviet Union.
 * A French AMX-13/75 light tank that was received from Algeria after the Algerian War during the 1950s and the 1960s.
 * Two French Panhard AML armoured reconnaissance vehicles and their South African counterpart, an Eland.
 * A Swedish Prototype Stridsvagn 103 (S-Tank) amphibious main battle tank.

title: Kubinka Tank Museum


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User talk:Alanames

11 Feb 05: (I'm not sure how to do this.)  At the beginning of the MI page i just added "or discomfort" after "chest pain." I can't count the number of patients who have told me, "Doc, why does everyone ask about pain? It didn't hurt — just a real uncomfortable feeling in my chest"  Many describe a heavy weight "like an elephant sitting on me."

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

title: User talk:Alanames


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Chézy

Chézy may refer to:

 * People
 * Antoine de Chézy (1718–1798), French hydraulic engineer
 * Antoine-Léonard de Chézy (1773–1832), French orientalist
 * Helmina von Chézy (1783–1856), German journalist, poet and playwright

 * Communes in France
 * Chézy, Allier, in the Allier department
 * Chézy-en-Orxois, in the Aisne department
 * Chézy-sur-Marne, in the Aisne department

 * Other
 * Chézy formula, for river flows

title: Chézy


text:
Portal talk:India/to do

Please add to this list and expand as needed

title: Portal talk:India/to do


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Ox gall

Ox gall is gall, usually obtained from cows, that is an ingredient in bile soap and mixed with alcohol and used as the wetting agent in paper marbling, engraving, lithography, and watercolor painting. It is a greenish-brown liquid mixture containing cholesterol, lecithin, taurocholic acid, and glycocholic acid.

title: Ox gall


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Theodore Menline Bernstein

Theodore Menline Bernstein (November 17, 1904 – June 27, 1979) was an assistant managing editor of The New York Times and from 1925 to 1950 a professor at the Columbia University School of Journalism.

Biography
Bernstein obtained his B.A. from Columbia University in 1924. Among many other responsibilities in the 1950s and 1960s, it fell to Bernstein and his colleague, Lewis Jordan, to make up the next day's front page of the Times. His colleagues often saved his drafts on particularly newsworthy days. During the run-up to the Bay of Pigs Invasion fiasco in 1961, the two settled on a four-column lead headline that put the invasion into dramatic perspective. However, under pressure from President John F. Kennedy, publisher Orvil Dryfoos ordered that the story be toned down, and the headline reduced to one column. Bernstein and Jordan were both infuriated, even after Dryfoos personally explained his decision to them. The story is told in detail in Without Fear or Favor by former Times editor Harrison Salisbury.

Publications
He wrote or co-wrote 7 books on grammar and usage, which have all been reprinted and republished since their first appearances. They are:
 * Headlines and Deadlines: A Manual for Copy Editors (1933) (coauthored with Robert E. Garst) (ISBN 0-231-04816-5)
 * Watch Your Language: A Lively, Informal Guide to Better Writing, Emanating from the News Room of the New York Times (1958) (ISBN 0-689-70531-X)
 * More Language that Needs Watching: Second Aid for Writers and Editors, Emanating from the News Room of the New York Times (1962)
 * The Careful Writer (1965) (ISBN 0-684-82632-1)
 * Miss Thistlebottom's Hobgoblins: The Careful Writer's Guide To The Taboos, Bugbears, and Outmoded Rules of English Usage (1971) (ISBN 0374210438)
 * Bernstein's Reverse Dictionary (1975) (with the collaboration of Jane Wagner) (ISBN 0812905660)
 * Dos, Don'ts & Maybes of English Usage (1977) (with the assistance of Marylea Meyersohn and Bertram Lippman) (ISBN 0812906950)

Quotes
"Now, I am a firm believer in democracy, but I also believe that there are some fields of human activity in which a count of noses does not provide the best basis for law and order."—from The Careful Writer

title: Theodore Menline Bernstein


text: Template:Duluth, Minnesota

title: Template:Duluth, Minnesota


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Houston Gamblers

The Houston Gamblers were an American football team that competed in the United States Football League in 1984 and 1985. The Gamblers were coached by veteran NFL head coach Jack Pardee in both their seasons. They were noteworthy for introducing former Middletown (Ohio) High School football coach Glenn "Tiger" Ellison's Run & Shoot offense to the world of pro football.

The Run & Shoot puts the USFL on the map
Run & Shoot advocate and chief refiner Darell "Mouse" Davis was hired by the progressive Pardee to install the offense as the team's Offensive Coordinator. (Davis was a former head coach at Portland State University where he developed the St. Louis Cardinals' future two-time Pro Bowl quarterback Neil Lomax.) Led by former Miami Hurricanes QB Jim Kelly (who snubbed the NFL's Buffalo Bills to play in the USFL) the Gamblers wrecked secondaries across the USFL, getting national media attention in demolishing the league's single-season scoring record (the Gamblers scored 618 points in 1984; the 1983 USFL record was 456). Kelly became the USFL's answer to the NFL's Dan Marino, and the league's second superstar player (after Herschel Walker).

The Gamblers also got the attention of a few NFL teams. The run & shoot offense would be adopted as the base set for the Detroit Lions, Atlanta Falcons and the Houston Oilers. All three teams were in the upper half of the league in scoring while using the run & shoot. In spite of this fact, the offense was widely discredited as a gimmick in the NFL when none of the three teams won a Super Bowl. Even after those teams moved away from the run & shoot as their base sets, the influence of Mouse Davis and Jim Kelly left a lasting impact on the league. In the 1970s most teams ran the 2-back "pro-set" as their base offense with fixed routes. Today, almost all NFL teams incorporate extensive packages of 4-WR sets and option routes for WRs depending on coverages faced, innovations that are the basis of the run & shoot.

The playoffs, 1985, and beyond
The Gamblers appeared in the playoffs in each of their two seasons, but suffered narrow first-round defeats both times. In 1984, the expansion Gamblers finished the regular season with the best record in the Western conference and were the favorites in the West to go to the championship game. They held a 16–3 lead over George Allen's star laden Arizona Wranglers with just 7 minutes remaining before falling 17–16 in a furious Wrangler comeback. The Wranglers would go on to play in the 1984 Championship Game.

Following the August 22, 1984 USFL owners meeting in which the majority of owners decided to move to playing in the fall, things started to crumble for the league, especially for teams in cities with existing NFL teams, like the Gamblers. Kelly, one of the more public faces of the USFL, voiced the concerns of many fans when he called the schedule switch "100 percent" wrong, saying, "It's the worst thing they could have done."

The Run N' Shoot attack of the Gamblers grew even stronger in 1985. Davis left to become head coach of the Denver Gold and was succeeded by special-teams coach John Jenkins. Jenkins's version of the Run N' Shoot brought more complexity and excitement to the Gamblers. In the first game of the season against the L.A. Express, down 31–13 with 8 minutes left in the 4th quarter, the Gamblers became the first professional football team to use a no-huddle offense before a two-minute drill. The no-huddle would later become Kelly's base offense with the Buffalo Bills. The so-called "hurry-up offense" allowed the Gamblers to come back to win the game 34–33, which Sports Illustrated dubbed "The Greatest Game Never Seen" because it was not televised. In the first 5 games in 1985, Jim Kelly had one of the hottest starts in professional football history. In Week 4, the Gamblers beat Mouse Davis's Denver Gold 36–17 in the first pro game to match two Run N' Shoot offenses. After this game Jim Kelly was on pace to throw for 7,434 yards and 78 touchdowns. But Kelly suffered a leg injury that sidelined him for the last six games of the season. However, if you combine Kelly's and backup quarterback Todd Dillon's stats together, they threw for a combined 6,118 yards (professional American-football record). The Gamblers offense set another record: for the first time ever in professional football, a team had 3 receivers each catch over 1,000 yards: Clarence Verdin, Gerald McNeil, and Richard Johnson. The Gamblers made the playoffs with a 10–8 record and again lost in a nailbiter to an excellent team, the 13–5 veteran, Cliff Stoudt/Joe Cribbs/Jim Smith-led Birmingham Stallions, 22–20.

As it turned out, that would be the last game the Gamblers would ever play. While the Gamblers had been a solid draw the year before, area fans were not about to abandon the Houston Oilers. Attendance dropped by almost 9,000 from 1984. The resulting financial problems were so severe that at one point, the Gamblers had trouble making payroll. They needed an advance from the league just to go to the playoffs. Although owner Jerry Argovitz had ultimately supported moving to the fall, he and his partners knew they could not even begin to compete with the Oilers and decided to get out.

After briefly entertaining an offer to move to New York City, they agreed to sell controlling interest to real estate magnate and future Miami Dolphins owner Stephen Ross. Just days later, Ross announced he was merging the Gamblers with the New Jersey Generals. Although the Generals were the surviving team, Ross would be a full partner with Generals owner Donald Trump, and Argovitz became the merged team's president. However, Ross backed out of the merger after discovering the Gamblers' debt load was larger than he anticipated. Trump reimbursed Ross for his interest and became sole owner. However, Trump retained the Gamblers' player contracts, so the deal was still widely reported as a merger. Trump immediately hired Pardee as coach. With an offense boasting Kelly and Walker, observers dubbed the new Generals the USFL's "dream team." Kelly was even featured on the cover of Sports Illustrated in a Generals uniform. That season however would never be played.

The most notable players on the team were Kelly, future Washington Redskins wide receiver Ricky Sanders, future Detroit Lions wide receiver Richard Johnson, future Indianapolis Colts kick returner Clarence Verdin, and future Cleveland Browns wide receiver Gerald McNeil. Todd Fowler, the featured running back on the team, was also notable as the first USFL player the rival NFL signed away from the league in 1985 (by the Dallas Cowboys).

Giant dice game
The Gamblers were well known for a 7-Eleven promotion in which two huge dice were dropped onto the field from the roof of the Astrodome.

1984 schedule and results
Sources

1985 schedule and results
Sources

Single-season leaders

 * Rushing Yards: 1009 (1984), Todd Fowler
 * Receiving Yards: 1445 (1984), Richard Johnson
 * Passing Yards: 5219 (1984), Jim Kelly (also league record)

Season-by-season results
! 1984 ! 1985 ! Totals || 23 || 13 || 0 || ||
 * 13 || 5 || 0 || 1st in Western || Lost in Quarterfinals (Arizona)
 * 10 || 8 || 0 || 3rd in Western || Lost in Quarterfinals (Birmingham)

title: Houston Gamblers


text: Category:American copy editors

title: Category:American copy editors


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User talk:Nexialist~enwiki

Welcome!
Hello,, welcome to Wikipedia.

You might find these links helpful in creating new pages or helping with the above tasks: How to edit a page, How to write a great article, Naming conventions, Manual of Style. You should read our policies at some point too.

If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. I hope you enjoy editing here and being a Wikipedian! (It's legal among consenting adults.)

 * If you made any edits before you got an account, you might be interested in assigning those to your username. On the other hand, you might want to keep mum about them....

 * You can sign your name using three tildes, like this: . If you use four ~, you add a datestamp. Exciting!

 * If you ever think a page or image should be deleted, please list it at the votes for deletion page. No, wait, that's a bit of an overstatement. If you think that it should be deleted, first ask yourself if squillions of preteens (of all ages) aren't addicted to staring at it on the telly. They get most offended by any hint that the most trivial aspect of DragonQuestBallGundamStarWarsTrekGalacticaPokémon is of less than earth-shattering importance. There is also a votes for undeletion page if you want to retrieve something that you think should not have been deleted.

Again, welcome! (And, er, sorry that most of the above is so obviously boilerplate, shamelessly recycled from what somebody stuck on my page. But I did tweak it slightly, honest.) — Hoary 06:10, 2005 Feb 12 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Nexialist. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Nexialist~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 01:46, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 16:55, 22 April 2015 (UTC)

title: User talk:Nexialist~enwiki


text:
Talk:Alaknanda River

Untitled

 * The Alaknanda, as far as I remember, is a river first and a story later. Can we please keep this a factual article ? Amar 06:10, Feb 12, 2005 (UTC)

WP:INDIA Banner/Uttarakhand workgroup Addition
Note: WP India Project Banner with Uttarakhand workgroup parameters was added to this article talk page because the article falls under Category:Uttarakhand or its subcategories. Should you feel this addition is inappropriate, please undo my changes and update/remove the relavent categories to the article --  TinuCherian  (Wanna Talk?) - 13:13, 23 June 2008 (UTC)

Requested move

 * The following discussion is an archived discussion of the proposal. Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

No consensus to move. Vegaswikian (talk) 23:22, 15 October 2011 (UTC)

Alaknanda River → Alakananda River – Relisted. Vegaswikian (talk) 04:27, 8 October 2011 (UTC) Correct name. other is the local appellation in some parts. 117.204.92.46 (talk) 06:14, 1 October 2011 (UTC)

 * Comment do you have something to back up your claims? Everything is a local appellation, what does "correct name" mean? 76.65.128.90 (talk) 09:19, 1 October 2011 (UTC)

 * I agree. Should not be moved unless the nominator has something to show. Search results show 50k hits for this title vs. 5k hits for the proposed one (minus  of course). Rennell435 (talk) 02:27, 10 October 2011 (UTC)
 * The above discussion is preserved as an archive of the proposal. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

Requested move 5 March 2020

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

The result of the move request was: not moved. (closed by non-admin page mover) Jerm (talk) 00:41, 29 March 2020 (UTC)

 * Alaknanda River → Alaknanda
 * Bhagirathi River → Bhagirathi
 * Bhilangna River → Bhilangna
 * Dhauliganga River → Dhauliganga
 * Jahnavi River → Jahnavi
 * Pushpawati River → Pushpawati

– Primary topic, no ambiguous page of the same name exists, qualifies as per, WP:2DABPRIMARY. Hemant DabralTalk  23:19, 4 March 2020 (UTC) —Relisting.   SITH   (talk)   12:51, 20 March 2020 (UTC)
 * This is a contested technical request. OhKayeSierra (talk) 02:12, 5 March 2020 (UTC)

 * Oppose Even if no ambiguous page exists, is the name unadorned the common name in English for these rivers? It doesn't matter if nothing else is at the base title if "XYZ River" is still the best title. Maybe best for a full RM? Snowfire (talk) 01:09, 5 March 2020 (UTC)
 * Oppose There are many bigger rivers in South Asia, Indus River, Brahmaputra River, Godavari River, Narmada River that don't necessarily have disambiguation issues. Besides, the Alaknanda is not such a well-known river; the river appelation is helpful.  As I've stated at the Bhagirathi renaming page, I have written the leads of both the pages, drawn the maps of their courses, taken the pictures.  I have a pretty good sense of what these rivers are called in encylopedias. A nonstarter, requiring a speedy close.   Fowler&fowler  «Talk»  03:51, 5 March 2020 (UTC)
 * Also qualifies as per WP:CONSISTENT, with other rivers that have "river" dropped in their titles i.e. Ramganga, Yamuna, Sarayu, Nandakini, Ganges etc. — Hemant DabralTalk  09:10, 5 March 2020 (UTC)

 * Relisting note: I have reformatted this move to include the other five requested moves which made with the same rationale which elicited similar responses from  and .  If any of you want to alter your comments or copy across something from the other discussions, please feel free to do so.    SITH   (talk)   12:51, 20 March 2020 (UTC)

 * The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.

title: Talk:Alaknanda River


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Wikipedia:Articles for deletion/Sbu-tv

 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 18:19, Feb 20, 2005 (UTC)

Sbu-tv
Self-promotion of a non-notable student TV channel. Title is incorrectly un-capitalised. Contains one wiki link which they could not manage to get right. -- RWH 06:10, 2005 Feb 12 (UTC)
 * Delete, Advertising and not very notable. Inter 10:18, 12 Feb 2005 (UTC)
 * Delete. Nateji77 12:31, 12 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.

title: Wikipedia:Articles for deletion/Sbu-tv


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Dudley Randall

Dudley Randall (January 14, 1914 – August 5, 2000) was an African-American poet and poetry publisher from Detroit, Michigan. He founded a pioneering publishing company called Broadside Press in 1965, which published many leading African-American writers, among them Melvin Tolson, Sonia Sanchez, Audre Lorde, Gwendolyn Brooks, Etheridge Knight, Margaret Walker, and others.

Randall's most famous poem is "The Ballad of Birmingham," written in response to the 1963 bombing of the 16th Street Baptist Church in Birmingham, Alabama, in which four girls were killed. Randall's poetry is characterized by simplicity, realism, and what one critic has called the "liberation aesthetic." Other well-known poems of his include "A Poet is not a Jukebox", "Booker T. and W.E.B.", and "The Profile on the Pillow".

Life
Dudley Randall was born on January 14, 1914, in Washington, D.C., the son of Arthur George Clyde (a Congregational Minister) and Ada Viola (Bradley) Randall (a teacher). Randall was the third of five children, including James, Arthur, Esther, and Phillip. His family moved to Detroit in 1920, and he married his first wife Ruby Hands in 1935, and soon after had a daughter, Phyllis Ada. This marriage dissolved, and Randall married Mildred Pinckney in 1942, but this marriage did not last either. In 1957, he married Vivian Spencer.

Randall developed an interest in poetry at a young age. In 1927, at the age of 13, his first published poem, a sonnet, appeared in the Detroit Free Press. The sonnet won the first prize of one dollar on the "Young Poets Page." Early inspiration stemmed from Randall's father taking him and his brothers to hear prominent African-American writers and artists speak, including W. E. B. Du Bois, Walter Francis White, James Weldon Johnson, and others. After graduating from Eastern High School in 1930, he worked in a foundry of the Ford Motor Company in Dearborn, Michigan, from 1932 to 1937. He also worked as a clerk at a post office in Detroit from 1938 to 1943 and served in the military during World War II. He was working at a post office while attending Wayne State University in Detroit, where he earned a Bachelor of Arts degree in English in 1949. Randall then completed his master's degree in Library Science at the University of Michigan in 1951. He worked as a librarian at Lincoln University in Jefferson City, Missouri, and later at Morgan State College in Baltimore, Maryland. In 1956, he returned to Detroit to work at the Wayne County Federated Library System as head of the reference interlibrary loan department. From 1969 to 1976 Randall was a reference librarian at the University of Detroit (now the University of Detroit Mercy), and served also as the University's Poet-in-Residence. In his honor, the Dudley Randall Poet-in-Residence Award was established in 1971 and is still an annual event at the University as the Dudley Randall Poetry Contest.

Work
In 1966, Broadside Press published Poem Counterpoem, authored by Randall with Margaret Danner, founder of Boone House, a black cultural center in Detroit where they both read their work. In the words of R. Baxter Miller, "Perhaps the first of its kind, the volume contains ten poems each by Danner and Randall. The poems are alternated to form a kind of double commentary on the subjects they address in common. Replete with allusions to social and intellectual history, the verses stress nurture and growth. In "The Ballad of Birmingham" Randall establishes racial progress as a kind of blossoming, as he recounts the incident." Randall's next publication was Cities Burning (1968), a group of thirteen poems, in response to a riot in Detroit. Another fourteen poems appeared in Love You (1970), followed by More to Remember (1971) and After the Killing (1973).

Naomi Long Madgett writes: "His interest in Russia, apparent in his translations of poems by Aleksander Pushkin ("I Loved You Once", in After the Killing) and Konstantin Simonov ("My Native Land" and "Wait for Me" in A Litany of Friends), was heightened by a visit to the Soviet Union in 1966. His identification with Africa, enhanced by his association with poet Margaret Esse Danner from 1962 to 1964 and study in Ghana in 1970, is evident in such poems as "African Suite" (After the Killing)."

Randall received many awards throughout his career, including:

 * 1962 and 1966: the Wayne State Tompkins Award for poetry and for poetry and fiction
 * 1973: Kuumba Liberation Award
 * 1975: Plaque as Distinguished Alumnus from the University of Michigan
 * 1977: International Black Writers' Conference Award
 * 1981: Creative Artist Award in Literature, Michigan Council for the Arts

In 1981, Randall was named Poet Laureate of the City of Detroit by Mayor Coleman Young. Randall died on August 5, 2000, aged 86, in Southfield, Michigan. In May 2001, the University of Detroit Mercy's McNichols Campus Library was designated a National Literary Landmark by the Friends of Libraries USA (now the Association of Library Trustees, Advocates, Friends, and Foundations) and UDM's Dudley Randall Center for Print Culture was named in his honor. The Dudley Randall Poetry Prize is awarded to a University of Detroit Mercy student each year.

On January 12, 2014, the centennial of Dudley Randall's birth was celebrated at the University of Detroit Mercy Library. Detroit Poet Laureate Naomi Long Madgett spoke about her friendship and collaborations with Randall. Poet and professor Dr. Gloria House read selections of Dudley Randall's poetry. Poet Albert M. Ward and former Dudley Randall Poetry contest winners Deonte Osayande and Lori Allan read their work.

Broadside Press
Randall was the publisher of Broadside Press from 1965 until 1977 when he sold the press to the Alexander Crummell Memorial Center, although he continued to serve as a consultant. The press began because Randall wanted to establish copyright on two poems that Jerry Moore was setting to music, "Ballad of Birmingham" and "Dressed All in Pink."

Broadside Press took off in 1965 when, during the Writer's Conference at Fisk University, Randall saw Margaret Walker practicing her recitation of a poem about Malcolm X she was going to perform. When Randall commented on the number of poems being published about Malcolm, Margaret Burroughs suggested the idea of an anthology. Randall and Burroughs communicated their intentions to edit a book of poetry on Malcolm X at the conference, and their fellow poets and publishers responded enthusiastically, some even refusing to be paid for their work.

In 1966, Randall and Margaret Danner, fellow poet and founder of Boone House, published their work Poem Counterpoem through Broadside Press. In May of the same year, Randall attended a conference where he received permission to publish work from Robert Hayden, Melvin B. Tolson, and Margaret Walker in a Broadside series. Randall also received permission from Gwendolyn Brooks to publish her poem "We Real Cool".

Broadside Press published poetry almost exclusively, with more than 400 poets represented and more than 100 books and recordings released. The press has the distinction of being one of the most important literary avenues of the Black Arts Movement, as well as presenting older black poets (such as Gwendolyn Brooks) and emerging voices (including Nikki Giovanni and Sonia Sanchez) to new readers.

Although Broadside Press went into decline in 1976 due to overworked staff, it still exists to this day.

Connection to the Black Arts Movement
As editor of the Broadside Press, Randall was an important part of the Black Arts Movement (BAM). The aesthetic counterpart of the political drive inherent in the Black Power movement, BAM rejected assimilation in favor of artistic and political freedom. Part of the movements doctrine was a belief in the necessity of militant armed self-defense and the beauty and goodness of Blackness.

The movement's origin is usually traced to March 1965 when, two months after the assassination of Malcolm X, LeRoi Jones (who later changed his name to Amiri Baraka) moved to Harlem. It was Baraka who coined the phrase "Black Arts". The movement had three major forces: the Revolutionary Action Movement (RAM), the Nation of Islam, and the US organization (the "us" used in opposition to "them"). BAM poets were known for an innovative use of language, particularly focusing on orality and the use of Black English, music, and performance for a full-bodied, authentic“black experience” that rejected white literary standards.

Although Randall was a proponent of the freedom BAM offered black poets, particularly up-and-coming artists, he was not afraid to question what he saw as inherent paradoxes within the movement. For Randall, both the overtly militant aesthetic and the desire to purify poetry of white characteristics were restrictive to the expression of black artistry. Randall viewed himself as the “guardian of a poetic space out of which black poets may create without restriction."

Randall's interpretation of BAM values are evident in his work. In "A Different Image" the speaker declares that the current political landscape demands that African Americans "create / a different image; / re-animate the mask" (3–6). Because African Americans will still be wearing a mask, the final line of the stanza does not imply that African Americans will be able to show their genuine selves during the Civil Rights Movement, but that the movement requires the image they project to the world to be different than the one they had been showing. The final stanza shows the pride typical of BAM poetry: "Replace / the leer / of the minstrel's burnt-cork face / with a proud, serene / and classic bronze of Benin" (8–12). Thus, African Americans must replace their current image of a weak servant with one of a calm and self-respecting African. As shown in the first stanza, this image may not be entirely genuine, but it will further the desegregation cause of the Civil Rights Movement.

"The Ballad of Birmingham" may help inspire militant action, but it certainly shows the destruction caused by the opposition to the Civil Rights Movement. In the poem, a mother sends her daughter not to the marches but to a church that she believes will be safe. However, the church is bombed (a historical event) and the mother "clawed through bits of glass and brick, / Then lifted out a shoe. / "O, here's the shoe my baby wore, / But, baby, where are you?" (29–32). Published six years after the actual bombing, this poem would remind readers of the pain and death caused by the turmoil of the Civil Rights Movement.

In popular culture
In the third episode ("Kyle") of the NBC television drama This is Us, one of the main characters is renamed "Randall" in explicit tribute to Dudley Randall (who is referred to as the favorite poet of Kyle/Randall's biological father). While the specific tenor of Randall's work is not discussed onscreen, his characteristic themes of black identity are relevant to the character's identity as a black child with white adoptive parents. A copy of Randall's Poem, Counterpoem (actually written together with co-author Margaret Danner) becomes a plot point and is glimpsed in this and other episodes. A line attributed to the collection, but actually from Randall's poem "Splendid Against the Night", is quoted by two characters in the seventh episode ("The Best Washing Machine in the World").

Poetry collections

 * Poem Counterpoem, with Margaret Danner (Detroit: Broadside Press, 1966).
 * Cities Burning (Detroit: Broadside Press, 1968).
 * Love You (London: Paul Breman, 1970).
 * More to Remember: Poems of Four Decades (Chicago: Third World Press, 1971).
 * After the Killing (Chicago: Third World Press, 1973),
 * Broadside Memories: Poets I Have Known (Detroit: Broadside Press, 1975).
 * A Litany of Friends: New and Selected Poems (Detroit: Lotus Press, 1981).

As editor

 * For Malcolm: Poems on the Life and the Death of Malcolm X, with Margaret G. Burroughs (Detroit: Broadside Press, 1967).
 * Black Poetry: A Supplement to Anthologies Which Exclude Black Poets (Detroit: Broadside Press, 1969).
 * Black Poets (New York: Bantam, 1971).
 * Golden Song: The Fiftieth Anniversary Anthology of the Poetry Society of Michigan, with Louis J. Cantoni (Detroit: Harlo, 1985).

title: Dudley Randall


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Wikipedia:Articles for deletion/Ørke

 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 18:18, Feb 20, 2005 (UTC)

Ørke
Geneaology article on a surname. Not encyclopedic.Ganymead 06:12, 12 Feb 2005 (UTC)
 * Transwiki to Wiktionary? It is not an encyclopedia article.  Rossami (talk) 03:16, 13 Feb 2005 (UTC)
 * "the origin is unclear" - not very encyclopedic now is it? delete. Radiant! 08:16, 14 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.

title: Wikipedia:Articles for deletion/Ørke


text:
William G. Connolly

William Gerard Connolly (October 12, 1937 – December 12, 2023) was an American newspaper editor who worked at The New York Times across four decades. He co-authored The New York Times Manual of Style and Usage and was a member of the executive committee of the American Copy Editors Society.

Education
Born in Scranton, Pennsylvania on October 12, 1937, William Gerard Connolly attended St. Paul's School, and graduated from the Scranton Preparatory School in 1955 and the University of Scranton in 1959, with a degree in philosophy and English. Following his service in the U.S. Army (1959-1962), in 1963 he earned a master's degree from the Graduate School of Journalism at Columbia University.

Career
Connolly began his career at The Minneapolis Tribune, The Houston Chronicle, and The Detroit Free Press as a reporter and editor. However, he spent most of his career at The New York Times. He joined the paper in 1966, working as a copy editor on the foreign news desk. He later served as copy editor on the New York Times Magazine and assistant real estate editor. In 1975, he joined the national news staff. He and Allan M. Siegal wrote several revisions of the newspaper's style guide. In 1979, he left the Times to become managing editor of The Virginian-Pilot, but returned to New York within a few years. He retired in 2001.

Connolly was active in promoting racial and ethnic diversity in journalism and supporting student journalism and mentoring with the Maynard Institute for Journalism Education. He lectured several times at the American Press Institute. From 1981 to 2001, he taught courses at the Maynard Institute's editing program, University of Arizona, and the University of California, Berkeley. Connolly was president of the American Copy Editors Society's Education Fund from 2005 to 2010, and served on its board until 2023.

Personal life and death
Connolly married Clair Connor in 1964; they had three children and were married until her death in 2013. Connolly died at a rehabilitation facility in Maplewood, New Jersey, on December 12, 2023, from complications of a fall. He was 86.

Works
Connolly also wrote The New York Times Guide to Buying or Building a Home. From 1987 to 1989, he wrote "Winners & Sinners," a critique of a paper that was read by journalists, writers, and educators.

title: William G. Connolly


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Tonight (David Bowie album)

Tonight is the sixteenth studio album by the English singer-songwriter David Bowie, released on 24 September 1984 through EMI America Records. The follow-up to his most commercially successful album Let's Dance, it was written and recorded in mid-1984 at Le Studio in Morin-Heights, Canada, following the conclusion of the Serious Moonlight Tour. Bowie, Derek Bramble and Hugh Padgham co-produced the album. Many of the same personnel from Let's Dance and the accompanying tour returned for Tonight, with a few additions. Much of Bowie's creative process was the same as he used on Let's Dance, similarly playing no instruments and offering little creative input to the musicians.

The music on Tonight has been characterised as pop, blue-eyed soul, dance and rock. Much of the album's sound is the same as its predecessor's, due to Bowie's effort to retain the new audience that he had recently attracted, although some tracks contain R&B and reggae influences. Devoid of new ideas from touring, Bowie wrote only two new songs himself. Three songs, including the title track, were covers of Iggy Pop songs, who was present during most of the sessions and co-wrote multiple tracks. The title track is a duet with singer Tina Turner. The artwork, featuring Bowie blue-painted against an oil painting backdrop, was designed by Mick Haggerty.

Supported by the singles "Blue Jean", "Tonight" and "Loving the Alien", Tonight was a commercial success, reaching number one on the UK Albums Chart. Critical reception was poor, with most finding a lack of creativity. Following the critical dismissal of his next studio album Never Let Me Down (1987), Bowie expressed dissatisfaction with this period, calling Tonight not one of his stronger efforts, a sentiment echoed by later commentators. He did not tour to support the album and only performed "Loving the Alien" and "Blue Jean" on subsequent tours. The album was remastered in 2018 as part of the box set Loving the Alien (1983–1988).

Background and development
David Bowie released his 15th studio album Let's Dance in April 1983. A major commercial success, it propelled him to worldwide megastardom. He supported the album with the successful Serious Moonlight Tour from May to December 1983. Despite its success, Bowie found himself at a creative stalemate; he realised he no longer knew his audience and later admitted that touring left him devoid of new ideas. At the tour's conclusion, Bowie went on holiday in Bali and Java with his friend, singer Iggy Pop. Pop, having suffered from poor finances for several years, earned royalties from the success of Bowie's recording of "China Girl" and the two were eager to work together on Bowie's next project. Bowie felt he was ill-prepared to record a new album, instead proposing a live album called Serious Moonlight. Pressure from the label to release a follow-up led Bowie into the studio unprepared.

Bowie said he wanted to "go further" on his next record, aiming to explore R&B, funk and reggae music. Bowie decided not to work with his Let's Dance co-producer Nile Rodgers again, which Rodgers attributed to Bowie wanting to prove he could make hits without a "celebrated hit-maker". Bowie instead chose Derek Bramble, a former bass guitarist for the band Heatwave and more recently a producer for David Grant of the band Linx. As he had done with Rodgers for Let's Dance, Bowie invited Bramble to Mountain Studios in Montreux, Switzerland, to record demos of his new material with a group of local Swiss musicians. According to biographer Chris O'Leary, musicians present at the Tonight sessions said the demos were "tremendous", describing them as "funky, raw, [and] full of promise".

Let's Dance engineer Bob Clearmountain was asked to return but was unavailable; he suggested Hugh Padgham, who had worked with XTC, Genesis, Peter Gabriel, and more recently with the Police as a producer. Padgham initially had mixed feelings about working solely as an engineer but accepted Bowie wanted to work this way. Padgham suggested Le Studio in Morin-Heights, Canada, where he had recently completed work with the Police.

Writing and recording
Recording for the new album began at Le Studio in May 1984, less than five months after the Serious Moonlight Tour. Bowie arrived for the sessions with eight of the nine songs that would appear on the album. This surprised collaborator Carlos Alomar, who said "it was the first time in the eleven years that I've been with the damn man that he's brought in anything". Along with Alomar, most of the personnel from Let's Dance and the tour returned for the record, including drummer Omar Hakim, bassist Carmine Rojas, percussionist Sammy Figueroa and backing vocalist George Simms. Newcomers included trumpet player Mark Pender, backing vocalist Curtis King and Guy St Onge on marimba. Biographer Nicholas Pegg argues that St Onge's contributions provide the album with "its most distinctive instrumental identity". The saxophone section—Stanley Harrison, Lenny Pickett and Steve Elson—were dubbed "the Borneo Horns", in line with the tour's brochure. Like Let's Dance, Bowie played no instruments and he delegated almost all responsibility for the music to the musicians, only occasionally offering critical input.

One of the album's major contributors was Iggy Pop, who later said: "There's a lot more work there than is reflected in just the simple co-writing credit for two songs and some of the old stuff." Bowie positively compared the collaboration to The Idiot and Lust for Life, Pop's 1977 albums that Bowie co-wrote and produced. The two's new collaborations resulted in "Tumble and Twirl" and "Dancing with the Big Boys", the latter of which was written and recorded in eight hours as they egged each other on. According to Padgham, the two wrote many songs that did not make the final record, describing these tracks as "more left-field" and "less poppy".

The album features a guest appearance from singer Tina Turner, who sings a duet with Bowie on the title track, "Tonight". During recording, Bowie and Turner sang face-to-face, although Bowie went back and re-recorded the first verse after deciding to sing his part in a higher octave. Turner had just released her massively successful comeback album Private Dancer earlier that year, which featured a cover of Bowie's 1974 song "1984". A year prior, Bowie had secured Turner's re-signing with Capitol Records, leading to her comeback. Twenty years later in 2004, Turner said that Bowie rescued her career when she was dealing with domestic violence.

The sessions were troublesome. Padgham later told biographer David Buckley that Bramble had a habit of asking for "unnecessary retakes", particularly during the vocal takes. Alomar later stated: "Bramble was a really nice guy, but he didn't know jack-shit about producing." However, Bramble himself recalled that even though he's listed as co-producer, it was "really a very communal situation where ideas came from everybody including the teaboy", and that Bowie's and Turner's vocals were nailed rather quickly (usually in one or two passes). Padgham later revealed in the BBC Radio 2 documentary Golden Years that there was a "falling out" with Bramble towards the end of the sessions, leading to his departure and Padgham taking over as producer. Padgham hated many of the songs, specifically the "too poppy" "Blue Jean" and "Tonight", preferring the "more left-field" compositions that were left off the final album. He later expressed regret that he lacked the confidence to finish the other songs, telling Buckley: "Who am I to say to Mr. David Bowie that his songs suck?"

Songs
Commentators have characterised Tonight as pop, blue-eyed soul, dance and rock. Author James E. Perone recognises the presence of reggae, R&B and ska. Bowie purposefully made the album's sound similar to Let's Dance and the Serious Moonlight Tour because he felt the new fans expected to hear the same thing on the new album as the one before. Of the nine songs on the final album, Bowie was the sole writer for only two, "Loving the Alien" and "Blue Jean"; two were co-written by Bowie and Pop, "Tumble and Twirl" and "Dancing with the Big Boys"; and the remaining five are cover versions, three originally by Pop: "Don't Look Down", "Tonight" and "Neighborhood Threat". Another cover was the Beach Boys' 1966 song "God Only Knows", which was reportedly shortlisted for Bowie's 1973 covers album Pin Ups. The final cover is the Jerry Leiber and Mike Stoller-penned "I Keep Forgettin'", originally made famous by Chuck Jackson. Bowie explained: "I think that [Tonight] gave me a chance, like Pin Ups did a few years ago, to do some covers that I always wanted to do."

Side one
Bowie described "Loving the Alien" as a very personal bit of writing that he did not feel fitted in with the rest of the album because it is such a dark song amidst lighter fare. He said, "'Alien' came about because of my feeling that so much history is wrong – as is being rediscovered all the time – and that we base so much on the wrong knowledge that we've gleaned." Alomar thought the song concerned the Major Tom character from 1969's "Space Oddity", a claim Bowie rejected. The lyrics are religious and politically charged. While Pegg believes it to be a terrific song, he finds it weighed down by "over-elaborate production". Bowie later admitted that the demo was superior. The reworking of "Don't Look Down" is influenced by reggae music. Bowie had attempted it in different ways, including jazz rock, march and ska, eventually settling on reggae. O'Leary found Bowie's version stripped the power of Pop's original. Lyrically, Bowie ponders how short-lived stardom can be.

Bowie's rendition of "God Only Knows" incorporates strings and saxophone, and he sings his vocal in a croon. Although Bowie defended his recording in a contemporary 1984 interview with Charles Shaar Murray, his biographers deride it as "nadir" and one of the worst recordings of his entire career. For "Tonight", Bowie eliminated Pop's original spoken word introduction, believing it an "idiosyncratic thing of [Pop's] that it seemed not part of my vocabulary". His cover, a duet with Tina Turner, is reggae-influenced; her vocals are placed low in the mix. Despite mostly being held in low regard, Kurt Loder of Rolling Stone at the time praised Bowie's version, calling it "one of the most vibrantly beautiful tracks he's ever recorded".

Side two
"Neighborhood Threat" features a heavier guitar sound than Pop's original, although Pegg says that Bowie's version lacks the original's "doom-laden percussion and wall-of-sound atmospherics". Bowie himself later expressed regret covering the song, calling it "disastrous". "Blue Jean" is generally viewed as the best song on the album. According to O'Leary, it is an "uptempo throwback" to 1950s and 1960s artists, particularly Eddie Cochran. Later dubbed by Bowie as "sexist rock 'n' roll", Buckley calls it a "fine pop song", albeit "slightly run-of-the-mill by Bowie's standards".

"Tumble and Twirl" recounts Bowie and Pop's exploits while holidaying in Bali and Java at the conclusion of the Serious Moonlight Tour. Bowie felt that lyrically Pop's work stood out the most on the track. Pegg finds its music reminiscent of world music, which Bowie explored on 1979's Lodger. On the cover of "I Keep Forgettin'", Bowie said at the time that he "always wanted to do that song". It is held in low regard by biographers. "Dancing with the Big Boys" is, according to Bowie, about the "little guy" being crushed by "oppressive corporate structures". The lyrics were taken from a backlog of unused lyrics. Containing many studio effects, Pegg says it foreshadows what Bowie would explore on 1987's Never Let Me Down. Bowie has said it is the "best example" of what he was trying to accomplish on Tonight:

"There's a particular sound I'm after that I haven't really got yet... I think I got quite close to it on 'Dancing with the Big Boys'. ... I got very musical over the last couple of years – trying to write musically and develop things the way people used to write in the Fifties. I stayed away from experimentation. Now, I think I should be a bit more adventurous. And in 'Big Boys', Iggy and I broke away from all that for one track, and it came nearer to the sound I was looking for than anything else."

Artwork
Mick Haggerty, the artwork designer for Let's Dance (and subsequently Never Let Me Down), did the same for Tonight. It features a blue-painted Bowie with his hair dyed dark brown, against a backdrop of oil-paint coating and flowers. Pegg and Buckley compare it to the works of Gilbert & George. For the design, Bowie asked Haggarty to create "something heroic", pointing to Vladimir Tretchikoff's painting of a blue-skinned Chinese woman for reference. The artwork received mixed reviews. Cap Blackard of Consequence of Sound found the artwork one of Bowie's "most genuinely beautiful" covers. More negatively, Buckley argued that for the first time, one of Bowie's cover artworks was not innovative, rather "satirically run-of-the-mill". Critic Paul Du Noyer later said: "If you look at the album covers and the way he's dressed, it looks like a man who has let himself be designed by others rather than reinventing himself, which is what he has proverbially always done."

Singles
"Blue Jean" was released as the lead single on 10September 1984, backed by "Dancing with the Big Boys". It was a commercial success, peaking at number six in the UK and number eight in the US, mostly promoted with an elaborate 21-minute short film directed by Julien Temple. Partly inspired by the video for Michael Jackson's "Thriller", Jazzin' for Blue Jean was shot in August 1984 and features Bowie in dual roles: as Vic, a man with his eye on a girl and as Screaming' Lord Byron, a flamboyant rock star whose forthcoming gig provides the man with a date. Bowie performs "Blue Jean" as Byron towards the end of the film; a shorter music video for "Blue Jean" was shot a few days later. Praised by Pegg for displaying Bowie's comedic talent, Jazzin' for Blue Jean led Bowie and Temple to work together for the 1986 film Absolute Beginners.

EMI America Records released Tonight on 24 September 1984, with the catalogue number EMI America DB 1. Its release came only nine months after the end of the Serious Moonlight Tour. On 21 November, the album became Bowie's first to be released on the CD format, exclusively in Japan. Coming off the successes of Let's Dance, the tour and Bowie's appearance in the 1983 film Merry Christmas, Mr. Lawrence, Tonight continued the artist's run of commercial successes, peaking at number one on the UK Albums Chart. It was not as successful in the US as its predecessor, but peaked at number 11 on the Billboard Top 200 Albums chart.

The title track was released as the second single from the album in November 1984, backed by "Tumble and Twirl". With no supporting video, the single stalled on the charts, peaking at number 53 in both the UK and the US. A remix of "Loving the Alien" was released as the third and final single in May 1985, with a remix of "Don't Look Down" as the B-side. It stalled on the UK charts at number 19. It was promoted by a video co-directed by David Mallet, featuring Bowie performing on the song on an Escher-like set, at one point appearing in blue similar to the album's cover artwork.

Critical reception
Upon its release, Tonight was greeted with mostly negative reactions, although it did receive some positive attention. Murray complimented the record's "dizzying variety of mood and technique" in NME, while Billboard said that "the once and future [Bowie] takes yet another turn, saving more edgy, passionate dance-rock for the second side while throwing the spotlight on surprisingly restrained ballads and mid-tempo rockers". Cash Box was also positive, highlighting a number of strong songs and stating that Bowie "loses none of his unique songwriting and vocal adventurousness" with an album that lies in the "same commercial vein" as Let's Dance. Other reviewers criticised it for lacking creativity. Ian Birch of Smash Hits felt Tonight lacked direction and referred to it as "an uneasy, bumper-to-bumper mixture of styles". In Rolling Stone, Loder said: "This album is a throwaway, and David Bowie knows it." Eleanor Levy of Record Mirror additionally called it disappointing by Bowie's standards: a non-cohesive collection of both good and bad songs. More positively, Jon Pareles of The New York Times enjoyed Bowie's renditions of the Iggy Pop tracks, particularly the "Neighborhood Threat" and "Tonight".

Legacy
Almost immediately following its release, Bowie gave few press interviews for Tonight and appeared almost apologetic. In one interview he said, "I guess I wanted to put my musical being in a similar staid and healthy area, but I'm not sure that that was a very wise thing to do." He began a series of miscellaneous projects at the end of 1984 which ventured into 1985, starting with collaborating with the Pat Metheny Group on "This Is Not America", for the soundtrack album of the film The Falcon and the Snowman. He performed at Live Aid, collaborated with Mick Jagger on "Dancing in the Street" and composed songs for the 1986 films Absolute Beginners and Labyrinth, both of which Bowie starred in.

Bowie later distanced himself from his 1984–1987 period following the critical dismissal of Never Let Me Down, and acknowledged Tonight as not one of his stronger efforts. In 1989, he stated that both efforts had "great material that got simmered down to product level", believing the demos were superior compared to the studio recordings. Four years later, he said he was indifferent about what he was doing and he "let everyone tell [him] what to do".

Retrospective reviews
Retrospectively, Tonight is generally considered one of Bowie's worst releases. Several critics have described the album as a "mixed bag" with only a few standouts—namely "Loving the Alien" and "Blue Jean", and felt the material was inferior to Let's Dance. Others felt that the record lacked the creative risk that defined Bowie's earlier works. Perone argues that the album stands as an inconsistent collection of individual songs rather than a cohesive album. Amongst negative reviews, author Christopher Sandford called it Bowie's "first serious studio misfire since the days of 'The Laughing Gnome' [1967]"; Buckley and Rob Sheffield both referred to Tonight as a "[near]-artistic" and "career-freezing" disaster, respectively; and O'Leary dismissed it as "an immaculately rancid scrap-bag in which a hit single was stuffed into a pile of covers", standing "among the least-loved [number one] records of its era".

Tonight has nevertheless attracted some positive attention. The album's defenders include Stylus Magazine Thomas Inskeep, who argued in 2005 that it is "a much better album than you think it is". He wrote that in a "wildly inconsistent" decade of both good and bad but "never dull" material, Tonight failures "aren't boring". Another defender was Yo Zushi of the New Statesman, who said in 2016 that "no album that begins with the seven-minute masterpiece 'Loving the Alien' and contains the rocking 'Blue Jean' should have received the drubbing it got". Ben Jardine of Under the Radar magazine contested that "Loving the Alien" foreshadowed the "vocal theatrics" and narrative science fiction elements of 2016's Blackstar, and it and other album tracks sound better decades after its original release. Jardine also said that Tonight, like Bowie's other 1980s records, were integral to his overall discography: "Everything in Bowie's illustrious career was built on what came before it." Pegg finds that despite its flaws, Tonight is a "more interesting and rewarding" record than its predecessor. He considers Bowie's reggae renditions of "Don't Look Down" and the title track "surprisingly successful", and the two Bowie-penned tracks as having strong songwriting, concluding that it was the first Bowie album that was "manifestly behind its time".

Reissues
In 1995, Virgin Records re-released the album on CD with three bonus tracks, all of them singles from soundtracks Bowie contributed to in the years immediately following the album's release. EMI re-released the album in 1999 (featuring 24-bit digitally remastered sound and no bonus tracks).

In 2018, Tonight was remastered for the Loving the Alien (1983–1988) box set released by Parlophone, with other discs in the set including remixes and B-sides from the album. The album was released in CD and vinyl formats, as part of this compilation and then separately the following year.

Personnel
Adapted from the Tonight liner notes and the International Musician magazine.

 * David Bowie – vocals
 * Derek Bramble – guitar (solo on "I Keep Forgettin'"); guitar synthesiser; bass guitar ("Loving the Alien"); Yamaha DX7, Oberheim OB-8, Roland Jupiter-8 and PPG Wave 2.2 synthesizers; backing vocals
 * Carlos Alomar – guitars
 * Omar Hakim – drums
 * Carmine Rojas – bass guitar
 * Mark King – bass guitar ("Tumble and Twirl") (uncredited)
 * Rob Yale – Fairlight CMI ("Loving the Alien", "Tonight", "God Only Knows") (uncredited)
 * Guy St. Onge – marimba
 * Sammy Figueroa – percussion
 * Tina Turner – lead vocals ("Tonight")
 * Iggy Pop – backing vocals ("Dancing with the Big Boys")
 * Robin Clark – backing vocals
 * George Simms – backing vocals
 * Curtis King – backing vocals
 * Arif Mardin – string arrangements; synthesisers
 * Mark Pender – flugel horn; trumpet

The Borneo Horns
 * Stanley Harrison – alto saxophone; tenor saxophone
 * Lenny Pickett – tenor saxophone; clarinet
 * Steve Elson – baritone saxophone

Production
 * David Bowie – producer
 * Derek Bramble – producer
 * Hugh Padgham – producer, engineer and mixer

title: Tonight (David Bowie album)


text: Template:Eau Claire–Chippewa Falls

title: Template:Eau Claire–Chippewa Falls


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Korg OASYS

The Korg OASYS is a workstation synthesizer released in early 2005, 1 year after the successful Korg Triton Extreme. Unlike the Triton series, the OASYS uses a custom Linux operating system that was designed to be arbitrarily expandable via software updates, with its functionality limited only by the PC-like hardware.

OASYS was a software implementation of the research project that ultimately resulted in the OASYS PCI, a DSP card which offered multiple synthesis engines. The original OASYS keyboard concept had to be scrapped because of excessive production costs and limitations of then-current technology.

Production of the OASYS was officially discontinued in April 2009. Korg sold just over 3000 units worldwide. The final software update was released on November 24, 2009.

In 2011, Korg Kronos, a successor of Korg OASYS, was introduced at that year's NAMM Show.

Features
The standard Oasys comes with hardware similar to many personal computers:
 * 2.8 GHz Pentium 4 CPU
 * 40GB hard disk drive
 * 1GB DDR RAM, user-expandable to 2GB
 * 10.4" LCD touch screen

It features Korg's OASYS (acronym for Open Architecture SYnthesis Studio) technology, which allows multiple synthesis engines to be used simultaneously. The OASYS also includes second-generation KARMA technology (with the first generation having first appeared in the Korg KARMA). It has either a 76 key synth-action, or 88 key hammer-action keyboard.

Options
EXB-DI (Digital interface board)

The optional EXB-DI adds 8 channels of ADAT Optical format 24-bit 48 kHz digital output, as well as a word clock input. The EXB-DI was first made available for the Korg Triton Studio keyboard and Triton Rack module - on these units only 6 outputs are available via ADAT. Bar a few early models of the Oasys, the EXB-DI is user installable.

Synthesis engines
As of November 24, 2009 the latest version of the OASYS OS is 1.3.3a, featuring the following synthesis engines:

 * 1) HD-1: A PCM synthesizer, with 628 MB of preloaded samples and Wave Sequencing.
 * 2) EXs: A sample library that works by itself or with other engines. EXs-1 is a set of instruments and EXs-2 is a grand piano.
 * 3) AL-1: A 96-note polyphonic virtual analog synthesizer (84 notes in previous versions of the OS)
 * 4) CX-3: A modeled tonewheel organ based on the current CX-3
 * 5) STR-1: A plucked string physical model
 * 6) LAC-1: Optional bundle (originally $249.00, but now available for free) including two virtual analog synthesizers, the PolysixEX and MS-20EX, which are updated models of the vintage Korg Polysix and Korg MS20. The LAC-1 is available as a free upgrade, but has to be requested by the current owner of the OASYS from Korg.
 * 7) MOD-7: Optional (originally $249.00, but now available for free) that Combines Variable Phase Modulation (VPM), waveshaping, ring modulation, PCM sample playback, and subtractive synthesis in a patchable, semi-modular synthesizer. The MOD-7 is available as a free upgrade, but has to be requested by the current owner of the OASYS from Korg.

HD-1 Program
The HD-1 is a sample+synthesis engine with a two "oscillator" structure. In addition to the two "oscillators," an HD-1 Program contains a Vector Envelope, Common LFO (per-program as opposed to per-voice, similar to the modulation LFOs in some early polyphonic analog synths), two common key tracking generators, KARMA settings, and effects.

HD-1 Oscillator
Each "oscillator" consists of a sample playback oscillator, dual multimode filter, nonlinear "drive" and low boost section, amp, and pan. The sample playback oscillator has four velocity zones, each of which can play a mono or stereo sample or a Wave Sequence. Velocity zones can overlap or crossfade. Korg claims very low aliasing distortion, due to the use of band limited interpolation.

Wave Sequencing
Wave Sequences were first introduced on Korg's Wavestation synthesizer, released in 1990. Wave Sequences allow a single note to play through a list of samples, one after the other, with or without crossfades, with other associated parameters changing for each sample, as listed below. This can create smooth, evolving timbres, or rhythmic effects. Internally, Wave Sequences are implemented by using two voices; voice A plays the first sample, voice B plays the second sample, voice A plays the third sample, and so on. Other synthesizers have featured concepts which are similar in some aspects, such as PPG, Waldorf, and Access Virus wavetables, Synclavier resynthesis, and Ensoniq Transwaves and Hyperwaves (see the Ensoniq TS 10).

In the lists below, features new to the OASYS (in comparison to the Wavestation) are noted.

OASYS Wave Sequences include, for each step:

 * The sample to play (mono or stereo)
 * Sample start offset
 * Reverse on/off
 * The length of the step, in milliseconds or rhythmic value
 * The crossfade time into the next step, in milliseconds
 * Crossfade fade-in shape (256 steps, from log to exp)
 * Crossfade fade-out shape (as above)
 * Volume
 * Transpose and fine-tune
 * Two modulation ("AMS") value outputs, to control any assignable parameters of the synthesizer in the rest of the Program (e.g. filter cutoff or resonance, LFO speeds, etc.)

And, for the sequence as a whole:

 * Time/Tempo mode (determines whether step durations will be in milliseconds or rhythmic values)
 * Run on/off (enables and disables programmed durations and crossfades altogether; modulation from other sources can control the sequence directly)
 * Key sync on/off (determines whether each note's Wave Sequence runs independently, or whether all notes sync together for lock-step rhythms)
 * Swing and swing resolution
 * Quantize Triggers on/off (adjusts note start times to match current KARMA/Sequence)
 * Start step and start step modulation
 * End step
 * Loop start, end, and direction (forwards, backwards/forwards, backwards)
 * Loop repeats
 * Note-on advance (increments the start step for each played note)
 * Position modulation (sweeps through the sequence manually)
 * Duration modulation (changes the step durations)

Differences from the Wavestation
Additions to the original Wavestation implementation include time/tempo modes, sample-locked tempo sync, constant-time crossfades in tempo mode, fade-in and fade-out shapes, swing, trigger quantization and key sync, note advance, real-time duration modulation, control of reverse and sample start point per step, and modulation outputs.

EXs
EXs is a Korg acronym for "EXpansion Sample". They are sample sounds that come pre-loaded with OASYS. EXs-1 is a sample library with acoustic instruments including guitars, brass, piano, strings, beside others. EXs-2 is a grand piano sampled in each key with 4 velocity levels plus damper. The 1G RAM of OASYS only permits to load 1 EXs at a time, but the user can expand it to have both working at the same time.

EXs3
EXs3 ($149) includes over 700 MB of brass and woodwind samples, perfect for orchestral and pop productions. Recorded using world-class instruments and players, the collection features piccolo, flute, alto flute, clarinet, bass clarinet, oboe, English horn, bassoon, contrabassoon, soprano sax, alto sax, tenor sax, baritone sax, trumpet, piccolo trumpet, cornet, flugelhorn, trombone, French horn, bass tuba, contrabass tuba, dual-trumpets, dual-trombones, and brass ensemble. Designed to be richly expressive, the samples include multiple dynamics, straight and vibrato versions, breathy and overblown tones, legato, staccato, trills, flutter, growl, sforzando, glissando up/down, falls, doits, voice, breath, attack elements, grace notes, and key noise elements. 128 Programs and 64 Combinations take full advantage of the new sounds.

EXi
EXi is a Korg acronym for "EXpansion Instrument". It refers to all OASYS synth models other than the HD-1, including the AL-1, CX-3, etc.

EXi Program
This is the Program structure for playing EXi. It is similar to that of the HD-1, but differs slightly in a few ways, such as:
 * Allows selection of any two EXi for layering or splitting
 * Adds a "Common" step sequencer, shared by all voices in the Program
 * Adds audio input selection for each of the two EXi (currently used by MS-20EX and MOD-7)
 * Adds transposition for each EXi

AL-1
Virtual analog synth engine.
 * Two main oscillators with analog-style FM and sync
 * Korg claims proprietary anti-aliasing technology, for no audible aliasing over standard 88-note range, with sync (but with drive and ring-mod off)
 * Waveforms: Saw, Pulse, Saw/Pulse, Double Saw, Detuned Saw 1, Detuned Saw 2, Triangle, Square/Triangle
 * Wave Morph and Pulse Width/Phase/Detune
 * Sub-oscillator
 * Audio input
 * Noise generator with saturation and dedicated filter
 * Ring modulation (Ring Mod, AM, Rectify, Clip)
 * Mixer provides modulatable volume and filter A/B pan for osc 1, osc 2, sub osc/audio input, noise generator, and ring mod
 * Per-voice, modulatable Drive (nonlinear distortion) and Low Boost (low EQ)
 * Dual resonant multimode filters, including "multifilter"
 * Multifilter provides two separate sets of gain controls for LB, HP, BP, and dry signals, with modulatable crossfade between the two sets
 * 4 EGs
 * 4 LFOs
 * 2 "AMS Mixers" (modulation signal processors)
 * Per-voice step sequencer

CX-3
A modeled tonewheel organ based on Korg's dedicated CX-3 organ keyboard. This organ mimics and in many ways enhances the sound of the Hammond organ and Leslie speaker with amplifier simulation and other enhancements.

STR-1
A plucked string physical model that allows you to pluck, strike, scrape, or otherwise "excite" the string with 16 different "pluck" types, noise, or any of the onboard or RAM-based PCM waveforms.

LAC-1
The optional LAC-1 Legacy Analog Collection($249.00) EXi adds the MS-20EX and PolysixEX virtual analog synthesizers.

 * MS-20EX Runs in demo mode until activated.
 * PolysixEX Runs in demo mode until activated.

MOD-7
The MOD-7 ($249.00) includes six oscillators which combine simultaneous VPM (aka FM), Waveshaping, and ring modulation, plus a PCM oscillator, noise generator, audio input, two multi-mode filters, three 2-in/1-out mixers, and an input main mixer – with a patch panel for routing them together.

Note: The MOD-7 and PolysixEX/MS-20EX plug-ins are only available from www.korguser.net. Owners must register their Oasys at the site in order to purchase them. This includes providing the Public ID and serial numbers of their unit.

title: Korg OASYS


text:
Federico Degetau

Federico Degetau y González (December 5, 1862 – February 20, 1914) was a Puerto Rican politician, lawyer, writer, author, and the first Resident Commissioner of Puerto Rico to the United States House of Representatives.

Early years
Degetau was born in 1862 in the city of Ponce, Puerto Rico, where he also attended the common schools and the Central College of Ponce. His father was Mathias Degetau, son of a wealthy Hamburg family. In Ponce, Mathias managed the banks of the Overman and Dede House, of which his father, Otto Georg Christian Degetau (Federico's grandfather), was a partner. Federico's mother was María Consolación González, daughter of a respected San Juan family. His parents married in 1851.

Degetau completed an academic course at Barcelona, Spain, and was graduated from the law department of the Universidad Complutense de Madrid. He was admitted to the bar and commenced practice in Madrid, Spain. He founded the newspaper La Isla de Puerto Rico to communicate the plight of Puerto Rico to the colonial power.

Political career
Degetau returned to Puerto Rico, and was one of the four commissioners sent by Puerto Rico under Luis Muñoz Rivera to petition Spain for autonomy in 1895. Eventually, the petition was accepted by Práxedes Mateo Sagasta's government. He settled in San Juan, Puerto Rico and continued to practice law.

Degetau was a member of the municipal council of San Juan in 1897, and mayor of San Juan in 1898. He was deputy to the Spanish Cortes Generales of 1898. After the Spanish–American War, he was appointed by the military governor General Guy Vernor Henry as the Secretary of the Interior in the first cabinet formed under American rule in Puerto Rico, in 1899. He was appointed by General Henry's successor, General George W. Davis, as a member of the Insular Board of Charities.

Resident Commissioner

Degetau became a member of the Insular Republican Party, which was founded in 1899. He was the first vice president of the municipal council of San Juan in 1899 and 1900, and was president of the Board of Education of San Juan in 1900 and 1901. He was elected as a Puerto Rican Republican to the Resident Commissioner post in 1900, and reelected in 1902. He served from March 4, 1901 until March 3, 1905, in the Fifty-sixth, Fifty-seventh, and Fifty-eighth Congresses. In a lecture delivered in 1902 to the Columbian University, today George Washington University, Degetau summarized his political ideals on the status of Puerto Rico:

"The Porto Rican People have clearly understood that by its geographical position, as well as by its history, the Island is, in fact, an integral part of the American Union. For this reason the political parties of the Island inscribed in their respective platforms the unanimous aspiration of the people to become and organized territory, with the certainty of soon being admitted as a State of the American Union."

"[…] The American flag can perhaps be lowered in the distant Philippines. It must be maintained in the neighboring Island, with the institutions of liberty and justice that it represents."

While serving Congress, Degetau was a member of the Committee on Insular Affairs, and submitted a bill to grant United States citizenship to Puerto Rico residents, which failed. He was not a candidate for renomination in 1904, and resumed the practice of law. Before leaving office as Resident Commissioner Degetau gave a speech to the House of Representatives where, in addition to pleading for United States citizenship for Puerto Ricans, a matter he viewed would be resolved in the courts, he asserted his loyalty to the Constitution:

"I do not know, Mr. Chairman, I do not know, my friends, in this patriotic relation anything superior, anything higher than the American Constitution. I do not conceive anything more sacred that the oath to support it."

United States Supreme Court: Gonzales v. Williams
In 1905, after traveling through Europe where he purchased a collection of paintings, Degetau moved to Puerto Rico and established his residence in the town of Aibonito where he managed a coffee plantation.

In 1902, the United States Treasury Department issued new immigration guidelines that changed the immigration status of all Puerto Ricans. Isabel González, a young, but pregnant, single Puerto Rican woman was traveling aboard the S.S. Philadelphia when the new immigration guidelines took effect and she was detained at Ellis Island as an "alien" and "burden" to the state. She lost her appeals in the Board hearings and took her case to the U.S. Supreme Court.

Meanwhile, on August 30 of that year, Federico Degetau, unaware of the Gonzalez situation, wrote to the U. S. Secretary of State in protest of the new rules subjecting Puerto Ricans to immigration laws. His protest was forwarded to the U.S. Treasury Department. Degetau then contacted Le Barbier and Parker, who informed him that they planned to appeal González's case to the U.S. Supreme Court.

Once Isabel lost her administrative appeal, switching tactics and focusing instead on the "public charge" issue, she decided to argue that all Puerto Ricans were citizens of the United States and as such should not be detained, treated as aliens, or denied entry into the United States.

Degetau saw in the Isabel González case, the perfect "test case" for challenging the new immigration guidelines because now it would not be about whether immigration inspectors, following guidelines suffused with concepts of race and gender, deemed Isabel Gonzalez and her family desirable, but about settling the status of all the native islanders living in Puerto Rico at the time it was annexed by the United States four years earlier. By February 16, 1903, Frederic René Coudert, Jr., an international-law attorney from New York who launched the Downes v. Bidwell case for clients protesting tariffs levied on goods shipped between Puerto Rico and the United States, joined Paul Fuller, Charles E. LeBarbier and Federico Degetau in the Gonzalez case as collaborators.

The groundbreaking case, which became known as Gonzales v. Williams, was argued in the U.S. Supreme Court on December 4 and 7, 1903 and was presided by Chief Justice Melville Weston Fuller. The case sparked the administrative, legal, and media discussions about the status of Puerto Ricans. It also questioned the issues of immigration and U.S. doctrines in the treatment of U.S. citizens, chiefly women and people of color (dark-skinned). González and her lawyers moved among the legal realms, aided by shared languages of race, gender, and morality, while Williams and his lawyers, focused on what he considered were failed parents, rearing children outside moral, economically self-sufficient homes.

González, who was out on bond, secretly married her fiancé and thus became "a citizen of this country through marriage," and acquired the right to remain stateside. She could have ended her appeal but instead she decided to press her claim that all Puerto Ricans were U.S. citizens.

On January 4, 1904, the Court determined that under the immigration laws González was not an alien, and therefore could not be denied entry into New York. The court, however, declined to declare that she was a U.S. citizen. The question of the citizenship status of the inhabitants of the new island territories remained confusing, ambiguous, and contested. Puerto Ricans, instead, came to be known as something in between: "noncitizen nationals."

Literary work
As an author, he wrote El secreto de la domadora in 1885, El fondo del aljibe in 1886, ¡Qué Quijote!, Cuentos para el camino in 1894, Juventud in 1895, and La Injuria in 1893.

Death
Degetau died in Santurce, Puerto Rico, at the age of 51, and was interred in the Santa María Magdalena de Pazzis Cemetery in San Juan, Puerto Rico.

Honors

 * The people of the municipality of Ponce named the larger of the two squares the city's central plaza, Plaza Degetau, in his honor.
 * Degetau is also honored at Ponce's Park of Illustrious Ponce Citizens. He is also honored for his contributions to the field of literature. Together with Ramón Marín, Degetau is the only honoree to be honored in more than one field at that park.
 * In 1914, three years after the 1911 opening of the College of Agriculture and Mechanical Arts in Mayagüez, the building called Edificio del Colegio de Agricultura ("College of Agriculture Hall") was renamed Edificio Degetau ("Degetau Hall") in 1914 in honor of Degetau who had just died. Four years later, Degetau Hall was destroyed by the Puerto Rico earthquake of 1918 with only the building's main entrance portico surviving. This ruin was renamed Pórtico Degetau ("Degetau Gate"), the name that perdures to this day (2021). Degetau Gate was chosen as official symbol for the school, and perdured after the school's name was changed to its current name (2021), University of Puerto Rico at Mayagüez.
 * In 1977, the United States Congress passed an Act to designate the new Federal building in San Juan, the "Federico Degetau Federal Building". Following its enactment, the main building of the federal government in Puerto Rico bears his name.

Aftermath
Degetau had no children and he wrote a will to establish a foundation whereby his widow and a friend would receive an usufruct in life of half of his property and the other half would be destined to "an institution of culture in this Island of Puerto Rico, as a library, museum". The beneficiaries of the trustees and beneficiaries of the trust soon became engaged in litigation. The failure of the Degetau trust to achieve its objective was caused in part because the U.S. institution known as a "foundation" did not exist in the Puerto Rican civil code. As a result, Degetau's will was never firmly established, and the corpus was almost completely lost. In 2004, the Municipality of Aibonito attempted to demolish the home of Federico Degetau in order to make room for further development. In response, the Patronato del Archivo Histórico of Aibonito and other organization in the community including the Puerto Rico Bar Association passed a resolution against the attempted demolition in the Supreme Court of Puerto Rico, and urged the government to take action. In 2010, the legislature of the Commonwealth of Puerto Rico passed a law designating Degetau's home and farm in Aibonito a historic site and ordered the preservation of the house known as Quinta Rosacruz. The Federico Degetau Trust thus materialized with the help of private and government funding.

title: Federico Degetau


text:
Talk:The Chronicles of Narnia

Criticism
There is a hidden note in the criticism section indicating that the section has been discussed at length on the talk page. I don't see that discussion anywhere. Has it been archived? Can anyone point me to its location? Thank you. SunCrow (talk) 17:01, 3 April 2019 (UTC)
 * Did you check the four archives? Walter Görlitz (talk) 17:09, 3 April 2019 (UTC)

The criticism section is far too long. I also question the notability of the entire "Accusations of gender stereotyping" sub-section. It appears to fail WP:Fringe and WP:Undue, given that it contains extremist terminology like "gender stereotypes" to describe the ordinary behavior of adolescent girls, and it gives undue credence and weight to the fringe view that gender norms/roles are somehow bad, even though the vast majority of people in the world regard gender norms as a good thing. — Preceding unsigned comment added by Chideegwen (talk • contribs) 15:54, 6 December 2019 (UTC)
 * It's one thing to disagree with a piece of feminist criticism, but the idea that the term "gender stereotypes" is "extremist terminology" reveals you don't have much contact with the world of literary criticism these days. I can assure you critiques of Lewis's ideas about gender in general are not few, and it shouldn't be surprising to find some attaching to the Chronicles. —VeryRarelyStable (talk) 22:03, 6 December 2019 (UTC)
 * Autumn Wind (talk) 09:35, 1 August 2022 (UTC)
 * There are so many confusions packed into this comment that I'm not going to bother untangling them. —VeryRarelyStable 12:35, 1 August 2022 (UTC)
 * I was going to delete my stupid rant but I don't know if that would be rude/proper. Autumn Wind (talk) 21:56, 7 August 2022 (UTC)

Planet Narnia
A fellow named Michael Ward believes he has uncovered a one-to-one mapping between the Narnia books and the classical/renaissance mythology of the planets (PhD thesis, published as “Planet Narnia: The Seven Heavens in the Imagination of C. S. Lewis “). Among many other persuasive ideas, this would anchor the book-order to the originally published order (beginning with The Lion, Ward’s “Jove”).

Tying Narnia to Lewis’s life-long immersion in Renaissance literature is, of course, a bonus. Jackrepenning (talk) 00:23, 12 April 2020 (UTC)

 * There's already a Planet Narnia subsection in the article; if you think it needs to be expanded, feel most free. —VeryRarelyStable 01:29, 12 April 2020 (UTC)

 * Given that there's essentially no evidence that Lewis employed such imagery intentionally, the section on Planet Narnia already borders on WP:UNDUE. It's a nice idea, and Lewis would have liked it, but the theory is basically built from whole cloth. (Not to mention that Lewis evidently thought about starting an 8th book.) -- Elphion (talk) 18:43, 12 April 2020 (UTC)

 * I would dispute the claim that there's "no evidence"; Planet Narnia itself marshals a considerable amount of evidence. I don't agree with everything Ward says but I am persuaded of his central thesis.  I can even point to one or two things Ward himself doesn't notice but which support said thesis (such as Odinic resonances in The Horse and His Boy) – obviously I can't put such points in the article, because that would be WP:OR.  If any other scholar has followed up Ward's ideas, then an expansion would be in order.  If not, then I guess the existing subsection probably covers as much as there's warrant for by Wikipedia standards of notability. —VeryRarelyStable 01:38, 13 April 2020 (UTC)

"Further Up, Further In" by the Waterboys
So, every time I try to include the a reference to "Further Up, Further In" by the Waterboys, someone deletes it. Here is the most recent version that you deleted :

The song "Further Up, Further In" from the album Room to Roam by Scottish-Irish folk-rock band The Waterboys is heavily influenced by The Chronicles of Narnia, with the title coming from a passage in The Last Battle. C. S. Lewis is acknowledged in the liner notes as an influence.

The reason you gave was "Odd Linking." I don't know if you meant "discuss on Talk" here or on the page for The Chronicles of Narnia. I see now that the song "Further Up, Further In" does not have its own Wikipedia entry; I thought it did. The other links resolve so far as I can tell. I do not know how to cite the liner notes of a CD. (Actually, my earlier attempts to use the citation generation tools even for conventional books and journals have resulted in disaster.) The Wikipedia entry for Room to Roam does acknowledge C.S. Lewis as the source of the song title, and no, I did not write that entry.

I suppose it is improper to link to The Chronicles of Narnia within that article, and C.S. Lewis will have already been linked previously by this point. So, if I change the entry to the following, will you allow it to stand?

The song "Further Up, Further In" from the album Room to Roam by Scottish-Irish folk-rock band The Waterboys is heavily influenced by The Chronicles of Narnia. The title is taken from a passage in The Last Battle, and one verse of the song describes sailing to the end of the world to meet a king, similar to the ending of Voyage of the Dawn Treader. C. S. Lewis is explicitly acknowledged as an influence in the liner notes of the 1990 compact disc.

Pciszek (talk) 21:08, 24 April 2020 (UTC)
 * Thanks. My talk page says to talk on the talk page of the article in question, so I've moved this here. The linking looks good now and the copy is much more clear.
 * There are other works that are based on elements of the Chronicles. The Roar of Love is based on the first book, and there are other works. I'm not sure we want a WP:COATRACK of all works that are based on, quote from, or allude to one of the books, but I'll open if for discussion. Walter Görlitz (talk) 03:10, 25 April 2020 (UTC)
 * I would suggest that having the Narnia reference on the Room to Roam article is fine if displayed within the appropriate section. However, I would refrain from adding such cultural references to the The Chronicles of Narnia article unless it is of actual significance, rather than "based on, quote from, or allude to" as mentioned (WP:HTRIVIA). — Christopher, Sheridan, OR (talk) 04:24, 18 April 2021 (UTC)

Reading order: Bracketed year
I have checked the Talk page archive, but could not find a reason for why in § Reading order, the Earth internal chronology for The Horse and His Boy is bracketed (though I could have missed it). I'm sure there's a reason why only this year is bracketed, but it is not obvious in the text as to why this article displays it as. Perhaps adding hidden text to the article would be a good place to explain this, if not in the visible article itself.

Is it because the four Pevensie children as a group, have not yet stumbled back out of the wardrobe, and so their frame of reference to Earth remains fixed to when they first entered Narnia as a group? — Christopher, Sheridan, OR (talk) 16:34, 17 April 2021 (UTC)

 * I suspect, rather, that the brackets reflect that the time frame in England is not mentioned in the book, since, unlike the others, the book takes place entirely in the Narnian world with no reference to events in our world. -- Elphion (talk) 03:14, 18 April 2021 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 04:38, 27 January 2023 (UTC)
 * Narnian.world.map.jpg

Spoiler
Major spoiler in the description of the article! I was looking forward to reading the series but thank you now I know Narnia is destroyed in the last book? 166.181.81.251 (talk) 12:29, 25 October 2023 (UTC)

 * Perhaps you should fully read a book or book series before examining its Wikipedia article. If it's any consolation (and here's another spoiler—read further at your own risk), it was never truly Narnia anyway. pillow crow 17:07, 25 October 2023 (UTC)

title: Talk:The Chronicles of Narnia


text:
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title: User:Sketchee/monobook.js


text:
Ettie Rout

Ettie Annie Rout (24 February 1877 – 17 September 1936) was a Tasmanian-born New Zealander whose work among servicemen in Paris and the Somme during World War I made her a war hero among the French, yet through the same events she became persona non grata in New Zealand. She married Frederick Hornibrook on 3 May 1920, after which she was Ettie Hornibrook. They had no children and later separated. She died in 1936, and was buried in the Cook Islands.

Life
She was born in Launceston, Tasmania, Australia, but she was raised in Wellington, New Zealand from 1884. After leaving school, she became a shorthand typist for commissions of inquiry and later the Supreme Court (now the High Court, not to be confused with the present Supreme Court). Biographers believe this job gave her a wide range of experiences on social issues. She was later a reporter, businessperson, writer and a campaigner on sexually transmitted infections.

After founding a volunteer nursing group during World War I, the New Zealand Volunteer Sisterhood, Rout was made aware of the prevalence of STI among servicemen. By 1917, the New Zealand Army had made free distribution of her safe sex kit compulsory. It was for her work inspecting brothels in Paris and in the Somme, that she was decorated by the French. In 1917 she and several other New Zealand nurses were Mentioned in Despatches by General Sir Archibald Murray.

In New Zealand, her exploits were considered such that her name, on pain of a £100 fine, could not be published. However, her activities could be published.

Similar ironies were found overseas—her 1922 book, Safe Marriage: A Return to Sanity, was banned in New Zealand, but published in both Australia and Britain. In the latter, it was a best-seller, yet a bishop called her "the wickedest woman in Britain". In 1922, the British Medical Journal recommended the book for medical men and women but noted that "many readers will disagree with the author's point of view, and some will feel grave misgivings about the effect of her teaching; but none can doubt the sincerity of her purpose."

Rout and her husband Frederick Arthur Hornibrook were members of Arbuthnot Lane's New Health Society.

Death and legacy
Rout died age 59 as the result of a self-administered quinine overdose in Rarotonga in the Cook Islands following her sole postwar return to New Zealand in 1936. She is interred at an Avarua church cemetery. In 1983 an episode of the New Zealand television series Pioneer Women dramatised her story. In 1992, Jane Tolerton wrote her biography, and more recently, she has been more critically perceived as a "White Australasia" apologist in Philippa Levine's account of contagious disease legislation within the late nineteenth century British Empire. In 2023, an ANZAC delegation to Rarotonga unveiled a memorial in Rout's honour, calling her a "Guardian Angel of the ANZACs" and recognising Rout's contribution to the health of men who served in World War I. In 2024 a painting of Rout was unveiled in Parliament, which will hang in the Beehive.

Selected publications

 * Safe Marriage: A Return to Sanity (1922)
 * Two Years in Paris (1923)
 * Maori Symbolism (1926)
 * Native Diet: With Numerous Practical Recipes (1926)
 * Whole-Meal With Practical Recipes (1927)
 * Stand Up and Slim Down (1934)

title: Ettie Rout


text: Template:Green Bay, Wisconsin

title: Template:Green Bay, Wisconsin


text:
Miwa Yoshida

Miwa Yoshida (吉田 美和) is a Japanese musician, and the lead singer for the band Dreams Come True. She is also a founding member with bassist Masato Nakamura and keyboardist Takahiro Nishikawa.

Yoshida also fronts a Dreams Come True side-project, Funk the Peanuts, and has released two solo albums, Beauty and Harmony and Beauty and Harmony 2. Both albums took their name from the English translation of the name Miwa.

Life and music career
In 2004, Yoshida married videographer Ken Sueda, who had shot several of Dreams Come True's Wonderland concert videos. Sueda died in 2007 of brain cancer, and it came out at the time that the marriage was never officially recorded.

In March 2012, she announced that she had married Juon Kamata, the lead singer of the Japanese rock band Fuzzy Control.

Singles

 * Namida no Mangekyō (涙の万華鏡) -m.yo mix- (6 May 2003)
 * Eternity (Swan Princess Soundtrack)

Albums

 * Beauty and Harmony (18 December 1995)
 * Beauty and Harmony 2 (6 May 2003)

title: Miwa Yoshida


text:
Chincha Islands

The Chincha Islands (Islas Chincha) are a group of three small islands 21 km off the southwest coast of Peru, to which they belong, near the town of Pisco. Since pre-Incan times they were of interest for their extensive guano deposits, but the supplies were mostly exhausted by 1874.

Geography
The largest of the islands, Isla Chincha Norte, is 0.8 mi long and up to 0.6 mi wide, and rises to a height of 34 m. Isla Chincha Centro is almost the same size as its neighbour to the north, while Isla Chincha Sur is half the size of its neighbours. The islands are mostly granite, and bordered with cliffs on all sides, upon which great numbers of seabirds nest.

History
The Chincha islands were once the residence of the Chincha people, but only a few remains are to be found today. Peru began the export of guano in 1840. Spain, not having recognized Peru's independence (it was not to do so until 1879) and desiring the guano profits, occupied the islands in April 1864, setting off the Chincha Islands War (1864–1866).

The islands were featured in a 1854 book by American author George Washington Peck titled Melbourne, and the Chincha Islands: With Sketches of Lima, and a Voyage Round the World. The book chronicled Peck's time spent in the Australian city of Melbourne, as well as the Chincha Islands.

title: Chincha Islands


text:
National University of San Agustín

The National University of San Agustín (UNSA; Universidad Nacional de San Agustín) is a public university in Arequipa, Peru. The university has been consistently ranked as one of the top public universities in Peru. It is one of the oldest public universities in Latin America with continuous operation since its founding on November 11, 1828.

The university comprises three campuses, 17 colleges, and 45 professional schools from the fields of humanities, natural sciences, biological, social sciences and engineering.

Colleges and professional schools
Arequipa's principal stadium — one of the largest in Peru, Estadio de la UNSA — was built by the university.

title: National University of San Agustín