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Pinpeat

The Pinpeat (ពិណពាទ្យ, pĭnpéaty ) is the largest Khmer traditional musical ensemble. It has performed the ceremonial music of the royal courts and temples of Cambodia since ancient times. The orchestra consists of approximately nine or ten instruments, mainly wind and percussion (including several varieties of xylophone and drums). It accompanies court dances, masked plays, shadow plays, and religious ceremonies. This ensemble is originated in Cambodia since before Angkorian era.

The pinpeat is analogous to the pinphat adopted from the Khmer court by the Lao people and the piphat ensemble of Thailand.

Etymology
According to Chuon Nath's Khmer dictionary, the 'Pinpeat' is composed of the Sanskrit terms vina/ pin (វិណ) referring to the pin (harp), which was formerly used as the premiere instrument in this ensemble, and vadya/ padya/ peat (វាទ្យ) referring to an ensemble of instruments.

According to Sonankavei, the professor from the Department of Music of the Cambodian Royal University of Fine Art, the word pinpeat is derived from the combination of two musical instruments including pin (harp) and vadya/ peat, referring to a genre of kong called kongpeat.

The Laotian adoption of Khmer pinpeat is called pinphat. The term piphat was also used among Cambodians familiar with the Thai language; this can be attributed to the former annexation of the northern provinces of Cambodia, however, Pinpeat in fact originated from Cambodia.

History
The history of the pinpeat can be traced back to the origins Khmer music. The orchestra and its lead instrument of that era, the pin (harp), were introduced to early Khmer kingdoms from India, where the pin was depicted far back as the Gupta period (3rd century a.d. – 543 a.d.). An example from that era can be seen in a relief at the Pawaya site in modern Madya Pradesh, India. The pin may have been introduced to Cambodia in its first kingdom, Funan; however, few structures and evidence remain from this period.

The earliest surviving depiction of the pin in Cambodia is dated to the 7th century on the temple at Sambor Prey Kuk, part of another Khmer kingdom known in Chinese record as Chenla, the successor of Funan. This instrument appeared in Hindu religious art in temples from the 7th to 13th centuries A.D. The instrument was frequently seen being depicted on the walls of Sambor Prey Kuk, Banteay Chhmar, Bayon, and other Khmer temples. During the Angkor era (9th — 15th centuries a.d.), it was  played in the royal Khmer ensemble and disappeared at the end of 12th century Although the pin disappeared from pinpeat ensemble for some 800 years, the Khmer still called this kind of ensemble what it had been called since the ancient time. In 2013, the pin was revived by Patrick Kersalé, a French ethnomusicologist and Sonankavei, a Cambodian musical craftsman and professor. Modern musicians have begun experimenting, reincorporating the pin into the pinpeat, its place in the Angkorian court 800 years ago.

In 2014, more than 200 paintings were revealed at Angkor. The pinpeat ensemble was depicted in two hidden images discovered on the magnificent temple's wall. One of two images that depicted the pinpeat ensemble can be seen clearly through computer-enhancement and it is identical to today's pinpeat orchestra, including the absent pin. Pipeat was also regarded as the royal ensemble and accompanied in Khmer traditional and royal festivities in the post-Angkorian periods until today.

The pinpeat, in its form originating in India, consisted of four musical instruments, the pin (harp), (Khloy) flute, (samphor) drum, and chhing (small cymbals), based on an Indian epic. The narration said that "One day, Shiva [who] resides in the gods assembly on the summit of Kailasa, intended to perform a dance. So he ordered Uma to reside on the golden throne, Sarasvati to play pin (vina), Indra to play the flute, Brahma to play chhing (cymbals), Laksmi to sing, and so that other devas and asuras would watch the performance..." Later on, more musical instruments were added or replaced by others and developed to form a unique Khmer musical ensemble.

Today, the pinpeat incorporates kong gong chimes, such as the kong von thom, as lead instruments. This dates back as far as the Angkorian period, when there was a group of musicians called the kongpit/ kongpeat. Organized music in this period was centered around religious and royal organizations. On one side, two groups of musician served the Khmer brahmins and the buddhists, while on the other side, the pinpheat reflected the power of the Angkorian monarch.

The pinpheat may have debuted in Southeast Asia during the first Khmer kingdom of Funan (1st-6th century AD). During that kingdom's existence, Indian religions, culture and traditions were introduced to Southeast Asia, beginning as early as the 1st century a.d. During the Funan period, there was a group of musicians called pinpang, and the pin was used as an instrument in the group. During the reign of Funan king Fan Chan (or Fan Siyon), 225-250 a.d., the country "entered relations" with the Murunda Dynasty, who ruled Kalinga in India.

King Fan Chan is also known today for establishing relations with a ruler in Southern China during the Three Kingdoms period, sending as a present some musicians and products of the country to the "Kingdom of Kra Vo under the reign of the King Sun Chorn" (sometimes labeled "Chinese Emperor") in Southern China in 243 a.d. Another record mentioned the Khmer musicians from Funan which visited China in 236 CE. The Chinese emperor was so impressed that he even ordered the institute of Funanese music near Naking. Another Chinese source also mentioned the famous music of Funan (Cambodia) that became popular and was played at the courts of Sui and Tang dynasties. This “Funan music” was a ritual music and dance form with Buddhist coloring from the pre-Angkorian kingdom of Funan (Khmer, Nokor Phnom).

Instruments used in Pinpeat ensembles
This list presents instruments which are or have been used in various Pinpeat ensembles.

 * Roneat - xylophones
 * roneat ek - the lead high-pitched bamboo xylophone.
 * roneat thung - a xylophone, lower pitched than the roneat ek
 * Roneat - metallophones
 * roneat dek
 * roneat thong
 * Drums
 * skor thom - two big drums (similar to taiko drums) played with drumsticks
 * samphor - a double-headed drum played with hands
 * Sralai - a quadruple-reed
 * sralai thom - a large quadruple-reed flute
 * sralai toch - a small quadruple-reed flute
 * Khloy - a type of bamboo flute (was used in place of the sralai in the past)
 * Chhing (chhap) - finger cymbals
 * Krap - wooden clappers (presently rarely used)

Type of Pinpeat Ensemble
Pipeat ensemble divided into different type depend on the instruments accompanied in its ensemble.

Pinpeat Vong Touch (Small Pinpeat Ensemble)
This small Pinpeat ensemble was thought to be the initial Pinpeat orchestra played since its origin until today, consisted of a few musical instruments such as:

- Pin (obsolete)

 * 1) Roneat ek (1)
 * 2) Kong vong thum (1)
 * 3) Skor thum (2)
 * 4) Samphor (1)
 * 5) Sralai (1)

Pinpeat Vong Thum (Big Pinpeat Ensemble)
Since its introduction from India, the initial Pinpeat ensemble had been developed as more musical instruments were added or replaced by other local instruments. In the 3rd century, more instruments were added to the ensemble by Khmer craftsman and musicians. There we can see the emergence of various percussive instruments into the initial Pinpeat ensemble such as roneat thung, roneat dek, kong vong touch, sralai touch,..

The insert of these local instruments into the initial Pinpeat ensemble (small pinpeat ensemble) make the music made by the ensemble more flawless, gentle, and melodious than it previously do. This ensemble is called Pinpeat Vong Thum (Big Pinpeat Ensemble) with more instruments:

- Pin (obsolete)

 * 1) Roneat ek (1)
 * 2) Roneat thung (1)
 * 3) Roneat dek (1)
 * 4) Kong vong thum (1)
 * 5) Kong vong touch (1)
 * 6) Sralai (1)
 * 7) Skor thum (2)
 * 8) Samphor (1)
 * 9) Chhing (1 pair)

List of Pinpeat songs
Today, there are more than 250 Pinpeat songs being researched based on a document found in the street of Phnom Penh in 1979 after Khmer Rouge collapsed. These songs narrated various stories such as describing love, nature, Khmer daily life and its neighbors, and else. While some specific musics are used to accompany in Khmer traditional dances and theaters.

Pinpeat musics used for Khol Masked Drama and Sbek Thom (Khmer Shadow theatre)
Sathukar is the principle Cambodian Pinpeat music plays for the opening of Khmer traditional festivities and rituals. Sathukar accompanies in Cambodian Royal Ballets, Masked Drama, Shadow Theatre, and many other traditional dances and rituals. The music list below is played in accordance to various episodes in Masked Drama and Shadow theatre.

 * 1) Sathukar: accompanied in for the opening rituals of the drama and paying homage to ancestral guru.
 * 2) Bot Ror: played for the magical and power expression episodes
 * 3) Bot Chert: played for traveling and warring episode
 * 4) Bot S'mer: played during the paying respect and taking a rest episode
 * 5) Bot Trak: making magics, transforming physical appearance or while shooting an arrow episode
 * 6) Bot Domner Knung: played during the marching of giant troops episode
 * 7) Bot Domner Krav: played for the human and monkey marching episode
 * 8) Bakthorm: for monkey troops marching episode
 * 9) Bonh Lea: used for the ending or departure (good bye) episode
 * 10) Bot Ot Toch: played during the hardship, crying (for human, giant, and monkey) episode
 * 11) Bot Ot Thum: played during the hardship, break up, crying down (for human and monkey characters)
 * 12) Bot Tayoy: played during sentiment anxiety ( for human characters)
 * 13) Bot Chert Chhoerng: played during arrow shooting or undermine the ritual episode
 * 14) Bot Neang Lot: played for comedian character or the traveling of the locals
 * 15) Bot Chert Chhab: played for monkeys wrestling episode
 * 16) Bot Khlom: played during the march of devatas, Indra episode
 * 17) Bot Pon Nhea: accompanied during the return of Preah Ream/ Rama's troops episode

Pinpeat Song narrating Khmer daily activities

 * 1) Khmer Preah Bantum
 * 2) Khmer Tumnerb (Modern Khmer)
 * 3) Khmer Chrot Srov (Khmer harvests rice)
 * 4) Khmer Dambaanh (Khmer weaves (textile)
 * 5) Khmer Bompe Kon (Khmer lulls the child)
 * 6) Khmer Yol Tong (Khmer swings the swing)
 * 7) Kamrong Phuong Khmer (Khmer flower braid)
 * 8) Khmer Plum Sloek (Khmer blows the leaf)
 * 9) Domner Khmer (Khmer walking)
 * 10) Khmer Pursat
 * 11) Khmer Kruosar (Family Khmer)

=== Pinpeat Songs related with Khmer neighbors; Chen (Chinese), Chvea (Javanese), Leav (Laotian), Mon, Pumea (Bamar), and Kuy. ===

 * 1) Chen Louk Thnam (Chen Sae)
 * 2) Chen Bong (Chen Chombong)
 * 3) Chen Chas
 * 4) Chen Chong Srok
 * 5) Chen Tver Chhnang
 * 6) Chen Berk Viangnon
 * 7) Chen Jos Touk
 * 8) Chen Tror Kaew
 * 9) Chen Chhor Muk Tuok
 * 10) Chen Bang Tang Yu
 * 11) Chen Bes Sloek Chher
 * 12) Domner Chen
 * 13) Chvea Srok Mon Pi Nakk
 * 14) Chvea Srok Mon Bei Nakk
 * 15) Chvea Srok Mon Bei Joan
 * 16) Chvea Tromiak Domrei
 * 17) Chvea Pho Kda
 * 18) Chvea Roam Phlet
 * 19) Chvea P'nek Khla
 * 20) Chvea Lerng Rong
 * 21) Chvea Srav Yuth'ka
 * 22) Chvea Der Tes
 * 23) Chvea Der Phum
 * 24) Chvea Reach Borei
 * 25) Chvea Nop Borei
 * 26) Chvea Srok Chav Sen
 * 27) Chvea K'soek K'soul
 * 28) Rabam Chvea
 * 29) Phleng Chvea
 * 30) Mon Jos Tuok
 * 31) Mon Yol Dav
 * 32) Roam Mon
 * 33) Phleng Mon
 * 34) Mon Samai
 * 35) Leav Piek Kra'op
 * 36) Leav P'song Tien
 * 37) Tomnounh Leav
 * 38) Samdech Leav
 * 39) Leav Ruom Chet
 * 40) Srei Leav Laor
 * 41) Chiet Leav
 * 42) Somrerb Chet Leav
 * 43) Kon Chiet Leav
 * 44) Teahean Chiet Leav
 * 45) Nisai Leav
 * 46) Robam Leav
 * 47) Leav Antrong Moan
 * 48) Leav Lerng Chrang
 * 49) Leav Tiak Rolok
 * 50) Leav Der Prei
 * 51) Leav Sorser Preah Chan
 * 52) Phumea Hor
 * 53) Kuy Kong Leng

Pinpeat Songs that describe others

 * 1) Roam Phlet
 * 2) Domner Yeut
 * 3) Domner Rohas
 * 4) Bes Bopha
 * 5) Smarodei Ton
 * 6) Pekhachon
 * 7) Tep Pra Rorp
 * 8) Tep Rum Choul
 * 9) Tevada P'tum
 * 10) Tevada Nimitr
 * 11) Srei Snom Bomrer
 * 12) Soeng Thum Jorjoan
 * 13) Sorser Pkay
 * 14) Pkay Meas
 * 15) Raksmei Pkay
 * 16) Pkay Andet
 * 17) Raksmei  Chouk Chei
 * 18) Ngiev Ph'laeng
 * 19) Ponleu Pech
 * 20) Many others.

Significance
All kind of Pinpeat ensembles play significant role in Cambodian society and daily life since its origin.

The small Pinpeat ensemble is accompanied in various Cambodian national festivals, Buddhist celebrations, traditional dances, traditional drama, funeral, and other rituals.

While the big Pinpeat ensemble play more role and significance than the previous. These roles include:

 * Accompanied in the congratulation for the troop march returned to the city defeated the enemies.
 * Accompanied in the royal festivities such as Royal Boats Racing and Royal Plowing.
 * Accompanied in Buddhist celebrations and rituals such as Pchhum Ben, Kathin, Bon Pkar, Bonchos Seima, and funerals.
 * Accompanied in traditional dances Robam Jumpor (blessing dance), Robam Tep Monorum, Robam Apsara, Robam Sovan Maccha, and traditional dramas and shows such as Khol, Sbek Thum and Sbek Touch (shadow plays), Puppet Show, Reamker Drama. Sometimes this ensemble can be performed in other local rituals as well.

title: Pinpeat


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La revue de cuisine

La revue de cuisine (H 161, Czech: Kuchyňská revue) is a ballet in one act by Czech composer Bohuslav Martinů. It was created for sextet: clarinet (B♭), bassoon, trumpet, violin, cello and piano, composed in 1927. It was premiered in November 1927 in Prague. The suite drawn from the ballet was premiered in January 1930, in Paris.

Work
In response to a commission by Božena Neběská and to a scenario by Jarmila Kröschlová, Martinů wrote a witty curtain-raiser called Pokušení svatoušká hrnec (Temptation of the Saintly Pot) and with it scored his first popular success under the revised title La Revue de cuisine. Here the dancers play a variety of cooking utensils which swagger their way through a naïve episode of kitchen life. The marriage of Pot and Lid is in danger of being broken up by the suave Twirling Stick. Pot succumbs to his flattery. Dishcloth makes eyes at Lid but is challenged to a duel by Broom. Pot, however, tires of Twirling Stick and longs for Lid's caresses, but Lid cannot be found anywhere. Suddenly an enormous foot appears from the wings and kicks him back on stage. Pot and Lid kiss and make up and, flirting once again, Twirling Stick goes off with Dishcloth.

Structure
The ballet is in ten movements:

 * 1) Prologue (Allegretto)
 * 2) Introduction (Tempo de marche)
 * 3) Danse du moulinet autour du caudron (Poco meno)
 * 4) Danse du chaudron et du couvercle (Allegro)
 * 5) Tango (Danse d'amour. Lento)
 * 6) Duel (Poco a poco allegro. Tempo di Charleston)
 * 7) Entracte (Lamentation du chaudron. Allegro moderato)
 * 8) Marche funèbre (Adagio)
 * 9) Danse radieuse (Tempo di marche)
 * 10) Fin du drame (Allegretto)

The suite is in four movements: Prologue, Tango, Charleston, and Final.

The score for the suite was published in Paris shortly after its premiere. The full score for the ballet was discovered in the early 1990s in the archives of the Paul Sacher Foundation in Basel and published in Paris in 2004.

The music involves complex time schemes – for example the Final, which involves an opening piano solo marked "Tempo di marcia". This section switches between 2/4, 3/8 and 4/8 in an almost unpredictable fashion, generating the desired rhythmical offbeats typical of the jazz of the period.

Further jazz influences are seen in the instrumentation: the piano using rich harmony and dissonance, the muted trumpet reminiscent of the jazz bands of the era, and the repeated use of pizzicato in the cello part, echoing the use of the double bass in jazz.

This is a progressive piece of music which helps to draw the link between early and mid twentieth-century music.

Selected recordings

 * Czech Philharmonic Orchestra, cond. Christopher Hogwood. Supraphon 2004. SU 3749-2 031
 * Bohuslav Martinů: La Revue de Cuisine, Nonet, Three Madrigals, and other chamber music, The Dartington Ensemble (leader: Oliver Butterworth) (2 CDs, Hyperion Dyad, 1998)
 * Holst Sinfonietta, Klaus Simon Naxos 2012

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

title: La revue de cuisine


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User:Mholloway

Hey. I'm a "newbie" to the wiki concept and I joined the wikipedia after being introduced it by a friend and band-mate of mine Peter Sobot. I play lead guitar and sing in the band [[CTD: Countdown To Destruction|Countdown To Destruction]

MIke 00:18, Feb 6, 2005 (UTC)

title: User:Mholloway


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Michael Chong

Michael David Chong (born November 22, 1971) is a Canadian politician who has represented the Ontario riding of Wellington—Halton Hills in the House of Commons since 2004. A member of the Conservative Party, he served in the cabinet of Prime Minister Stephen Harper as Minister of Intergovernmental Affairs and Minister of Sport, as well as the President of the Queen's Privy Council for Canada from February 6, 2006 to November 27, 2006. On September 8, 2020, Chong was appointed the Shadow Minister for Foreign Affairs.

Chong began his career on Bay Street before entering politics. He ran for the leadership of the Conservative Party in 2017, coming in fifth place out of fourteen candidates.

Early life and career
Chong was born on November 22, 1971, in Windsor, Ontario, the oldest son of Cornelia de Haan and Paul Chong. His father was born in Hong Kong and immigrated to Canada in 1952, becoming a doctor. His mother arrived in Canada in 1960 from the Netherlands, and worked as a nurse. Chong has three siblings; Peter, Andrew and Joanna. He was raised near Fergus in Wellington County, a small town in rural Southern Ontario, and attended Centre Wellington District High School. In 1978, when Chong was six years old, his mother was killed in a car accident at an intersection near Fergus. Two years after her death his father married Adriana, who raised him and his three siblings as if they were her own. In 1999, Chong's father was also killed in a car accident at the same intersection where his mother had been killed 21 years earlier.

Chong attended Trinity College at the University of Toronto where he studied philosophy, history and politics. In his final year at university he landed a job with Canadian Tire as an assistant to a senior executive. He has worked in information technology for Barclays Bank and Research Capital Corporation. Chong worked as a senior technology consultant to the Greater Toronto Airports Authority for the redevelopment of Pearson International Airport and prior to entering politics he worked for the National Hockey League Players’ Association.

Chong was a founding member of The Dominion Institute. He served on the board of the Groves Memorial Hospital from 2002 to 2004, later serving on the board of the Elora Festival and Elora Festival Singers as well as the Corporation of Trinity College.

Chong is married to Carrie Davidson, whom he met while at university. She has roots in both Quebec and Newfoundland and Labrador. Her great-great grandfather was William Whiteway, a pro-Confederation politician and three-time premier of the colony of Newfoundland in the late 19th century. Another great-great grandfather, Charles Peers Davidson, was chief justice of the Superior Court of Quebec in the early 1910s. The couple live near Fergus, which is located on the Grand River about 85 kilometres from Toronto, and have three sons; William, Alistair, and Cameron.

Politics
Chong joined the Progressive Conservative Party of Canada and the Progressive Conservative Party of Ontario in the late 1980s. He ran for parliament in the 2000 federal election as a Progressive Conservative, and finished third Waterloo—Wellington against incumbent Liberal Member of Parliament (MP) Lynn Myers. Chong supported Peter MacKay for the leadership of the federal PC party in 2003.

38th Parliament
In early 2004, the Progressive Conservatives merged with the Canadian Alliance to create the Conservative Party of Canada. Chong joined the new party, and in March 2004 defeated Marty Burke to win its nomination for Wellington—Halton Hills. He was elected in the 2004 federal election, defeating Liberal Bruce Hood by over 2,000 votes.

Chong declared his personal support for the Kyoto Protocol during the 2004 federal election, despite his party's opposition to the measure. He supported Elizabeth Witmer's bid to lead the Progressive Conservative Party of Ontario in 2001–02, and supported John Tory for the same position in 2004.

Chong wrote an opinion editorial for The Globe and Mail newspaper in late 2004 entitled "Canadians without hyphens", criticizing John Barber's suggestion that there were not enough Chinese-Canadian MPs representing areas with large Chinese populations. Chong noted he was elected in a riding with a 97% Caucasian population, while John McCallum was elected in Markham—Unionville, which is more than 60% Asian. Chong argued that these results reflected his idea of Canada, adding that he favoured the creation of a "common Canadian identity that will allow for greater understanding among ethnic groups".

Like most Conservative MPs, Chong voted against the legal recognition of same-sex marriage in Canada in 2005. A majority of MPs from other parties supported the measure, however, and same-sex marriages were granted legal recognition. In December 2006, Chong reversed his previous position and became one of thirteen Conservative MPs to vote against re-opening the marriage debate.

Chong has opposed using the Great Lakes as a water source for inland communities. He has expressed concern about depopulation in rural Ontario, and supports continued door-to-door rural mail service programs.

39th Parliament: Minister of Intergovernmental Affairs and Sport
Chong was re-elected in the 2006 federal election. In February 2006, he was appointed to the cabinet in Stephen Harper's government as Minister of Intergovernmental Affairs, President of the Queen's Privy Council for Canada, and Minister of Sport. He was the second Chinese-Canadian cabinet minister in Canadian history, after Raymond Chan.

In the buildup to the 2006 federal budget, Chong met with various provincial representatives to discuss ways of approaching Canada's equalization formula between the federal government and the provinces. Prior to the budget's release, he described the existing system as "a mess". Some politicians in Ontario expressed concern that the deal would be unduly favourable to Quebec and unfavourable to their province. Later in the year, Harper government indicated that it would automatically transfer future surpluses to the provinces.

In September 2006, the Canadian media reported that the Harper government was considering a plan to transfer $3 billion to the provinces each year. Every province except Newfoundland and Labrador would gain revenue, with Quebec gaining the most at $1.1 billion.

In early 2006, Chong said that his government would fulfill an election pledge to devote 1% of federal health spending (about $350 million) to health promotion and amateur sports. He represented the Harper government as a representative at the 2006 Commonwealth Games in Melbourne, Australia. This funding did not appear in the 2006 budget, although the Harper government introduced an annual sports tax credit of $80 per child.

In June 2006, Chong indicated that the federal government would not provide federal funding to the "Out Games", a gay-and-lesbian themed athletic competition held in Montreal, Quebec. The following month, Chong provided $395,000 to Canada's Sports Hall of Fame, to make its collection accessible online. He has also discussed the possibility of restarting Canada's ParticipACTION program, which encourages ordinary citizens to become more involved in sports and athletic events. The program was restarted in February 2007, after Chong resigned from cabinet.

Chong pledged $3.5 million to the 2008 North American Indigenous Games in early November 2006. Later in the same month, he announced the creation of Podium Canada to consolidate Canada's medal strategies for the Summer and Winter Olympics.

Chong unexpectedly resigned from cabinet on November 27, 2006, to express his opposition to a motion before the House of Commons, put forward by Prime Minister Harper, which recognized "the Québécois as a nation within a united Canada". Chong said that the motion was akin to ethnic nationalism, which he opposes. During the press conference he held to announce his decision, he said "I believe in one nation, undivided, called Canada".

41st Parliament: Reform Act
As a backbench MP, Chong proposed the Reform Act (An Act to amend the Canada Elections Act and the Parliament of Canada Act (candidacy and caucus reforms)) in order to increase the power of party caucuses. The Act ultimately passed the House of Commons and Senate, with amendments, and was given royal assent in 2015. Under the act, each caucus votes at the beginning of each parliament on whether or not it will adopt the Act's procedures giving the caucus the power to review and, if it wishes, remove the party leader, for the election and review of the caucus chair, the expulsion and re-admission of caucus members, and the election of the interim leader.

42nd Parliament and 2017 leadership election

The Conservative Party was defeated in the 2015 federal election, and Harper immediately resigned as party leader. Despite not having served in Harper's cabinet for nine years, Chong's name was among those mentioned in the media as a potential candidate for party leader. When asked about a leadership bid in November 2015, Chong responded "let's wait and see." In early 2016, the Conservative Party announced that the leadership election would be held on May 27, 2017. On May 16, 2016, Chong launched his campaign at the National Press Theatre in Ottawa, becoming the third candidate to enter the race.

Chong's leadership bid was endorsed by MP and former Environment Minister Peter Kent, as well as MP David Tilson. Chong also received the support of Member of Provincial Parliament (MPP) Ted Arnott and former MPs Chungsen Leung and Mike Wallace.

Chong is in favour of implementing what he describes as a revenue-neutral carbon tax.

Chong stated publicly that he supports Motion 103, which calls on the government to condemn Islamophobia in Canada and all other forms of religious and racial discrimination. Chong was one of two Conservative MPs, the other being Simcoe North MP Bruce Stanton, and the only leadership candidate to vote for the motion.

43rd–44th Parliaments
On February 22, 2021, Chong lead a successful opposition motion in the House of Commons to recognize the human rights abuses against Uyghurs in the Xinjiang region of China as genocide. Chong also served as the vice chair of the Parliament’s Standing Committee on Foreign Affairs and International Development (FAAE), whose Subcommittee on International Human Rights presented a report in March 2021 that concluded that crimes against humanity and genocide had taken place in Xinjiang. That month, Canada imposed sanctions on individuals and entities in connection with what Prime Minister Justin Trudeau called "gross and systemic human rights violations in the Xinjiang region". In response, the government of the People's Republic of China deployed countermeasures, which included imposing sanctions on Chong and the FAAE's Subcommittee on International Human Rights. Prime Minister Justin Trudeau and Foreign Affairs Minister Marc Garneau condemned the sanctions.

After the 2022 Russian invasion of Ukraine, Chong was similarly sanctioned by government of the Russian Federation after the Canadian government sanctioned many Russian officials close to Vladimir Putin over the Ukrainian invasion. In a March 2022 op ed, Chong said Canada should seek to "isolate Russia internationally" and called for censorship of RT (Russia Today) from Canadian networks.

It was reported in May 2023 that Chong's family in Hong Kong was targeted following the Uyghur genocide vote, including by a Chinese diplomat named Zhao Wei. Wei was later declared persona non grata by Foreign Affairs Minister Mélanie Joly. The Royal Canadian Mounted Police subsequently opened an investigation into efforts to Chinese government election interference efforts in Canada. In August 2023, the Ministry of Foreign Affairs stated that Chong and his family had been the target of an online disinformation operation by the Chinese government.

Electoral record
All electoral information is taken from Elections Canada. Italicized expenditures refer to submitted totals, and are presented when the final reviewed totals are not available.

title: Michael Chong


text:
Talk:Sticklepath

Untitled
Valid topic but right now it's a copyvio. Please re-write or else it'll get the copyvio tag. --Woohookitty 00:02, 6 Feb 2005 (UTC)
 * Where has it been copied from? Biscuittin (talk) 20:12, 9 June 2011 (UTC)
 * The original version of this article was a cut'n'paste job from http://south-zeal.com/bv/page063.html, which appears to claim (c) 2004. Even the sourcing to two books/leaflets was copied verbatim. Although it's possible that our IP editor was the same person who wrote the south-zeal.com pages, we couldn't be sure of this now even if he reappears (it was a dynamic IP address), so I've reduced this to a stub, pending a rewrite. The other 13 Jan 2005 contribs from 82.153.65.137 were presumably also copyvios - to be investigated. —S MALL  JIM   17:13, 21 December 2011 (UTC)

The Courtenay family
I think this section may be incorrect. Hugh de Courtenay was not born until 1248 so how could he have married in 1242? Biscuittin (talk) 20:19, 9 June 2011 (UTC)

title: Talk:Sticklepath


text:
Adele Wiseman

Adele Wiseman (May 21, 1928 – June 1, 1992) was a Canadian author.

Born in Winnipeg, Manitoba, she received a Bachelor of Arts in English literature and psychology from the University of Manitoba in 1949. Her parents were Russian Jews who emigrated from Ukraine to Canada, in part, to escape the pogroms that accompanied the Russian Civil War.

In 1956, Wiseman published her first novel, The Sacrifice, which won the Governor General's Award, Canada's most prestigious literary prize. Her novel, Crackpot, was published in 1974. Both novels deal with Jewish immigrant heritage, the struggle to survive the Depression and World War II, and the challenges the next generation faced in acculturating to Canadian society.

Wiseman also published plays, children's stories, essays, and other non-fiction. Her book, Old Woman at Play, examines and meditates on the creative process while paying tribute to Wiseman's mother and the dolls she made.

Wiseman was lifelong friends with Margaret Laurence who was another Canadian author from Manitoba. She was an active and accessible Writer-in-Residence at the University of Windsor in her final years. At a campus rally against the First Gulf War, she read passionately a new poem denouncing war.

Awards

 * Governor General's Award for English-language fiction for The Sacrifice (1956)
 * Beta Sigma Phi Sorority Award (1957)
 * Brotherhood Award of the National Conference of Christians and Jews (1957)
 * Canadian Foundation fellowship (1957)
 * Guggenheim fellowship (1958)
 * Canada Council Arts Scholarship (1959)
 * Leipzig Book Fair Bronze Medal (1964)
 * Canadian Booksellers Association Book Award (1974)
 * J. I. Segal Foundation Award (1974 and 1988)
 * Three Guineas Charitable Foundation Agency Award (1984–1985)

Selected works

 * The Sacrifice (1956)
 * Old Markets, New World (1964)
 * Crackpot (1974)
 * Old Woman at Play (1978)
 * Memoirs of a Book Molesting Childhood and Other Essays (1987)
 * Kenji and the Cricket (1988)
 * Puccini and the Prowlers (1992)

title: Adele Wiseman


text:
Wikipedia:Articles for deletion/Jim Taricani

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was KEEP. dbenbenn | talk 07:55, 12 Feb 2005 (UTC)

Jim Taricani
Non-notable reporter. Reporters get imprisoned for failure to reveal their sources all the time. RickK 00:02, Feb 6, 2005 (UTC) Reuters has done a story on imprisonment of journalists mentioning this guy.
 * Keep Not in the US they don't (or at least I haven't heard about it and I would be shocked). Philip 03:51, 6 Feb 2005 (UTC)
 * Keep. I don't know what kind of fascist dictatorship you currently live in, but this sort of thing makes this guy notable AFAIAC. 7,000+ Google hits. sjorford// 00:13, 6 Feb 2005 (UTC)
 * Excuse me? The personal attack is not acceptable.  I did not say that I approve of it, merely pointed out that it happens all the time.   RickK 00:14, Feb 6, 2005 (UTC)
 *  Please note I didn't call you a fascist. I don't even think you're a fascist. I'm not even sure I've met a real fascist. It was a sort of joke...  sjorford// 00:25, 6 Feb 2005 (UTC)
 * Keep Seems sufficiently notable (even in a fascist dictatorship) :) TigerShark 00:26, 6 Feb 2005 (UTC)
 * Keep. 7,820 Google hits for "Jim Taricani" most of which seem to be for this journalist.
 * Opops forgot to sign. Capitalistroadster 00:59, 6 Feb 2005 (UTC)
 * Not 7,820 hits. You need to click through the Google toward the end. There are only 297 English links. Most are either links to news articles where the media discuss the issue surrounding his incarceration--which is reasonable considering it is in their field.--BenWilson 17:12, Feb 7, 2005 (UTC)
 * Keep Notable therefore keep Fuzz 01:01, 6 Feb 2005 (UTC)
 * please keep this article. Yuckfoo 01:27, 6 Feb 2005 (UTC)
 * Keep I would hope a journalist jailed for not revealing sources is still notable. --Lee Hunter 01:31, 6 Feb 2005 (UTC)
 * Keep. --L33tminion | (talk) 01:39, Feb 6, 2005 (UTC)
 * Keep. Obviously notable. --Centauri 01:59, 6 Feb 2005 (UTC)
 * Keep. Sounds rather notable to me. --TIB (talk) 03:58, Feb 6, 2005 (UTC)
 * Unfortunately, RickK is right. This does happen all the time - yes, even in the US.  (Perhaps especially in the US where the protections that journalists enjoy encourage them to push the line.)  Delete.  This one event is not, in my opinion, enough to meet the recommended criteria for inclusion of biographies.  It might be an appropriate article in WikiNews, though.  Rossami (talk) 05:50, 6 Feb 2005 (UTC)
 * Delete. Media beat-up. No evidence of notability. This guy would also be in trouble with Australian laws if he did the same thing here, just BTW, and I'm sure the usual media advocates would organise much the same campaign. Andrewa 12:22, 6 Feb 2005 (UTC)
 * Keep. I thought it was notable, and Wikipedia was the first place I thought to look for this information. --Sdfisher 15:12, 6 Feb 2005 (UTC)
 * Comment: The latest edits to this article have made me even more concerned that its inclusion is politically biased. See the talk page. Andrewa 20:18, 6 Feb 2005 (UTC)
 * Delete. A biographical article should mention birth-dates, accomplishments, etc.   When someone finds himself writing an article about a person that just mentions one fact about him, in this case one fact that is currently in the news, it should trigger the question:  should I be writing an article about this person, should I be looking for an article into which I can insert the one interesting fact about him, or should I be writing a new article on Journalistic ethics, Freedom of the press (which already exist in this case) which might be a suitable place to mention this information?  If you decide one of the latter and mention the person in an existing or new general article, a Google search on your guy will probably turn up that place. It isn't necessary to have an article dedicated to him.   We need to have some kind of concept of an "index".  Encyclopedias have them. Redirect pages don't quite work the same way.   It shouldn't be necessary to keep proliferating one-fact articles, when all we really need is the ability to index mentions of people and things in other articles. --BM 22:04, 6 Feb 2005 (UTC)
 * Keep. Samaritan 00:34, 7 Feb 2005 (UTC)
 * Keep and expand. Jonathunder 04:11, 2005 Feb 7 (UTC)
 * Delete This fellow is not notable. Granted, his circumstances might be exceptional, but that does not merit his having an entry by himself. Rather, he should be included in an article discussing the sort of occurance he is allegedly known for. Ghandi is notable. Mandella is notable. Jimmy boy here, is not.--BenWilson 17:12, Feb 7, 2005 (UTC)
 * Delete, not notable on his own to warrant having his own article. If his main claim to fame is that particluar incident I dont see why it can't be written as a paragraph within Journalistic ethics. Megan1967 05:06, 8 Feb 2005 (UTC)
 * Delete. As others have said, the incident is notable, the person is not. Merge the information to Journalistic ethics or Freedom of the press or some-such article. — Asbestos | Talk 15:05, 8 Feb 2005 (UTC)
 * Keep. Notable because of the incident. Gamaliel 21:56, 8 Feb 2005 (UTC)
 * Keep, unless this is proved false. What is said here seems sufficient to establish notability. -- Jmabel | Talk 08:35, Feb 9, 2005 (UTC)
 * Keep. Notable controversy. I believe there's a federal bill winding its way through Congress prompted by this guy's situation.   — Gwalla | Talk 04:09, 11 Feb 2005 (UTC)
 * Overwhelmingly strong keep. Allow for organic growth and expansion. GRider\talk 18:42, 11 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.


text:
Janet Waldo

Janet Waldo (born Jeanette Marie Waldo; February 4, 1919 – June 12, 2016) was an American radio and voice actress. In animation, she voiced Judy Jetson in various Hanna-Barbera media, Nancy in Shazzan, Penelope Pitstop, Princess from Battle of the Planets, and Josie in Josie and the Pussycats. On radio, she was the title character in Meet Corliss Archer.

Early life
Jeanette Marie Waldo was born in Yakima, Washington, on February 4, 1919. Her mother, Jane Althea Blodgett, was a singer trained at the Boston Conservatory of Music, and her father, Benjamin Franklin Waldo, was, according to Waldo family lore, a distant cousin of Ralph Waldo Emerson. She had three older siblings, one of whom, Elisabeth Waldo, is an authority on pre-Columbian music and an award-winning composer-violinist who appeared in the film Song of Mexico (1945). Janet attended the University of Washington, where her performance in a student theatrical garnered her an award and brought her to the attention of Bing Crosby. A Paramount Pictures talent scout, who was with Crosby at the time, signed Waldo for a screen test, which led to a contract with the studio.

Radio, film and television
Waldo appeared in several films in uncredited bit parts and small roles, although she was the leading lady in three Westerns, two of them starring Tim Holt. Her big break came in radio with a part on Cecil B. DeMille's Lux Radio Theater. In her radio career, she lent her voice to many programs, including Edward G. Robinson's Big Town, The Eddie Bracken Show, Favorite Story, Four Star Playhouse, The Gallant Heart, One Man's Family, Sears Radio Theater, and Stars over Hollywood. She played several characters including Joanne Allen and Mrs. Hodges on the radio show Adventures in Odyssey, produced by Focus on the Family broadcasting.

She co-starred with Jimmy Lydon in the CBS situation comedy Young Love (1949–50), and she had recurring roles on The Adventures of Ozzie and Harriet (as teenager Emmy Lou), The Red Skelton Show, and People Are Funny. She recorded with jazz vocalist Mel Torme and his vocal group the Mel-Tones. Her eight-year run starring as teenager Corliss Archer on CBS's Meet Corliss Archer left a lasting impression, though Shirley Temple starred in the film adaptations, Kiss and Tell and A Kiss for Corliss. The radio program was the CBS answer to NBC's popular A Date with Judy. Despite the long run of Meet Corliss Archer, fewer than 24 episodes are known to exist. Waldo later turned down the offer to portray Corliss in a television adaptation (the role was recast with Ann Baker taking the role for TV).

In 1948, the Meet Corliss Archer comic book, using Waldo's likeness, published by Fox Feature Syndicate, appeared for a run of three issues from March to July 1948, using the original scripts. On April 1, 1948, Waldo married playwright Robert E. Lee, the writing partner of Jerome Lawrence. The couple had two children, and remained married until his death in 1994.

Waldo made a rare on-screen television appearance when she appeared as Peggy, a teen smitten with Ricky Ricardo on a 1952 episode of I Love Lucy titled "The Young Fans" with Richard Crenna. She was 33 years old at the time. Ten years later, Waldo again worked with Lucille Ball, this time playing Lucy Carmichael's sister, Marge, on The Lucy Show. That episode was titled "Lucy's Sister Pays A Visit.” She also appeared on an episode of The Andy Griffith Show as Amanda. Waldo also reprised the role of Emmy Lou for some early TV episodes of The Adventures of Ozzie and Harriet. Later, she was the female lead opposite Anthony Franciosa in the short-lived sitcom Valentine's Day (1964).

Animation
In television animation, she played Judy Jetson in all versions of the Hanna-Barbera television series The Jetsons. Waldo was the last surviving main cast member of the original The Jetsons series. In 1964–66, she took over the role of Pearl Slaghoople on The Flintstones, which was originally played by Verna Felton. Waldo reprised Mrs. Slaghoople on the Flintstones TV films I Yabba-Dabba Do! and Hollyrock-a-Bye Baby in the 1990s.

She later provided the voices for Nancy in Shazzan, Granny Sweet in The Atom Ant/Secret Squirrel Show, Josie in Josie and the Pussycats, and Josie and the Pussycats in Outer Space, and Penelope Pitstop in both Wacky Races and The Perils of Penelope Pitstop. She later guest-starred in Thundarr the Barbarian as Circe in the episode "Island of the Body Snatchers.”

Further guest-starring roles include Beth Crane, a descendant of Ichabod Crane, in the episode "The Headless Horseman of Halloween" from The Scooby-Doo Show in 1976 and as Aggie Wilkins/Witch McCoy in the episode "The Ozark Witch Switch" in 1977. The following year, she voiced both Arlene Wilcox, twin sister of the 'Witch of Salem' and the witch in the episode "To Switch a Witch " from the third season of Scooby Doo, Where Are You! in 1978. She voiced Morticia Addams in the short-lived 1973 cartoon series adaptation of The Addams Family. Waldo was the voice of Princess and Susan in the English-language version of Kagaku ninja tai Gatchaman, known as Battle of the Planets, and Hogatha in The Smurfs.

Later career
In 1990, shortly after completing her role as Judy Jetson in Jetsons: The Movie, she was abruptly replaced as Judy by pop star Tiffany. The executive decision of Universal Pictures caused casting director Andrea Romano to say it was "a huge mistake on so many levels" and Romano asked that her name be removed from the credits. Romano received volumes of hate mail despite her stance on the casting change. Voice director Gordon Hunt reportedly asked Tiffany to sound more like Waldo.

According to Iwao Takamoto by the time of the film's release, Tiffany's fame had waned. He quipped, "The punch line, of course, is that fifteen years after the fact, Janet Waldo is still working while for most people, saying the name Tiffany automatically brings to mind a lamp."

Ultimately, Waldo patched things up with Hanna-Barbera and continued acting on their television series, and at no point did she have any ill feelings towards Tiffany herself. The movie version of The Jetsons was a box-office disappointment and a critical failure with most of the negative reviews directed at Tiffany's acting and the replacement of the original voice of Judy Jetson.

Personal life and death
Waldo married playwright Robert E. Lee on March 19, 1948. They remained married until his death in 1994. Together they had two children: Jonathan Barlow Lee (born 1952) and Lucy V. Lee (born 1956).

Waldo died on June 12, 2016, at the age of 97. She had been diagnosed with a benign but inoperable brain tumor five years before her death.

title: Janet Waldo


text: User talk:81.131.21.169

title: User talk:81.131.21.169


text:
Wikipedia:Articles for deletion/60th Division

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was keep. -- AllyUnion (talk) 14:37, 26 Feb 2005 (UTC)

60th Division
This was improperly and not completely posted to VfD. I'm finishing the process. No vote. —Mar·ka·ci: 2005-02-13 16:02 Z
 * Delete: There is nothing else that this page will link to. Cataclysm12 00:07, 6 Feb 2005 (UTC)
 * Keep -- There does appear (Google) to be at least one other 60th Division (involved with the Korean War in this case), so at some point disambiguation may be required. HyperZonk 16:45, Feb 13, 2005 (UTC)
 * Keep - There was also a 60th Division of the German army during WWII. Appears to have fought at Stalingrad. . -- Jniemenmaa 21:11, 13 Feb 2005 (UTC)
 * Keep and expand. Megan1967 06:28, 14 Feb 2005 (UTC)
 * Keep, notable. JamesBurns 07:56, 26 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.


text:
Música criolla

Música criolla, creole music or canción criolla is a varied genre of Peruvian music that exhibits influences from European, African and Andean music. The genre's name reflects the coastal culture of Peru, and the local evolution of the term criollo, a word originally denoting high-status people of full Spanish ancestry, into a more socially inclusive element of the nation.

From the presence of waltzes of Viennese origin, mazurkas, with the influence of French and Italian music from Europe, Lima's popular culture was shaped through the transformation and decantation of genres, transforming the musical genres and imported aesthetic patterns in such a way that, even assuming the fashions corresponding to each era, some musical forms were developed and developed that reach the end of the 20th century and identify what is Peruvian. Each historical moment, from the colonial period until now, was shaped in different ways in the musical culture of Peru through the musical instruments used, the forms and contents of the songs, dances, etc.

Among the most representative genres of criollo music are the Peruvian waltz (vals criollo) and the Peruvian polka. It also extends as criollo music the Marinera, the Tondero, the Festejo, the Zamacueca, coplas de amor fino, landó, among others. Peru's national Día de la Canción Criolla takes place on October 31.

Vals criollo
The vals criollo is a unique musical form characterized by 3/4 time, originating in the coast of Peru. The vals criollo is a variation of the European Waltz brought by Spaniards to Peru, played with Spanish instruments by criollos and mestizos of all races since the Peruvian Colonial Period. It was around the 1930s when city neighborhoods or barrios started developing their own styles. It was not heavily promoted by the media until the 50s when several Peruvian groups and singers started touring heavily. Other singers, songwriters and ethnomusicologists were compiling old interpretations and began recording songs that were never recorded before. This type of music includes elaborate Spanish guitar work accompanied in recent years by cajón and castanets with lyrics that talk about love, social dilemmas and nostalgia. This form is known outside of Peru as vals peruano (Peruvian waltz). Popular vals artists include singers like Arturo "Zambo" Cavero, Jesús Vásquez, groups like Los Morochucos, Los Troveros Criollos, Los Embajadores Criollos, Fiesta Criolla and composers like Felipe Pinglo Alva, Chabuca Granda and Augusto Polo Campos.

Polca criolla
The Peruvian polka or polka criolla is a musical genre and ballroom dance originated in Peru within the genre of Criollo (Spaniard) music. It has its origins in Peru in the 19th century, coming from Europe. Is similar to the vals in some respects, but is composed in 4/4 time and has a much faster rhythm. The style and lyrics are an expression of mischievous and joyous celebration of life. It is also called "polquita", a term of endearment. Like the vals, it is typical of the coast, using the same basic repertoire of instruments, interpreters, and songwriters. Some common examples are "La Pitita", "Callao", and "Tacna".

Marinera
Marinera is a graceful and romantic couple's dance that uses handkerchiefs as props. The dance is an elegant and stylized reenactment of a courtship, and it shows a blend of the different cultures of Peru. Different schools and dancing styles of the Marinera exist, based on location. There are Marinera dance academies all over Peru, and competitions are frequently held.

Marinera Limeña or Canto de Jarana
The coplas, music and dance of the Limenian Marinera comes from the Zamacueca, intensely danced in 19th century Peru. However, it is Abelardo Gamarra, "El Tunante", who proposes, after the war with Chile, to change the name of the Zamacueca to that of Marinera, honouring the fallen war heroes of the Peruvian Navy, since at the time the Zamacueca had the alternative name of Chilena. The Zamacueca gives rise to the Argentinian Zamba, the Cueca Cuyana and Cueca Norteña (Argentina), the Chilean Cueca, the Bolivian Cueca, the Mexican Chilena, and the Limenian Marinera (Peru). The Jarana singing was the accompaniment of choice for the Marinera Limeña, cultivated by musical groups in Lima until the middle of the 20th century, Jarana singing has declined since then.

A Limenian Marinera consists of five parts: three marineras, one resbalosa and one fuga. For this reason, it is said "Marinera de Jarana: of five, three." In this musical and choreographic form, the practitioners can compete in a song of counterpoint of variable time, according to the enthusiasm and the circumstances of the meeting.

Nowadays, the Marinera Limeña seems to be becoming overshadowed by the Marinera Norteña, because of the later popular qualities. Nevertheless, the dance still has a small number of fans that dance it during the festivals of the Purple Month (October) or during the anniversary of Lima.

Marinera Norteña
The Northern Marinera originates in the northern Peruvian coast and acquired characteristics of the Marinera Limeña, soon enough it became a new variation of the dance. The dance itself tends to be quick-paced and though not as "elegant" as the Limeña, it can also be very stylish. Even though the dance originated in the northern coast of the country, it has become quite popular throughout Peru. It is thanks to that popularity that the Marinera is considered the National Dance of Peru, along with the Peruvian Waltz.

In the Marinera Norteña, the man wears shoes, while the woman dances completely barefoot. In the most traditionalist households of Peru's northern coastal desert towns and villages, it is known that many marinera women dancers train by walking barefoot on the pavement, going to different destinations as a part of their regular schedule and in their spare time, becoming what's known as "barefooters", being able to dance barefoot on extremely hot pavement and coarse, very rough surfaces, as the soles of their feet become well seasoned and toughened up, something they are really proud of. "The dancer must go to the dance floor wearing their best clothes but with bare feet, in the same way they did the rural northern girls of the nineteenth century."

In this variety there's no "Marinera dress". Female dancers should wear the typical clothing of the towns where this marinera style is performed. It is mandatory though that women dance barefoot, it is unacceptable for them to wear any kind of footwear to perform this dance. For the men it is typical to wear "chalan" clothing, with cotton poncho and wide straw hat. In some places they wear a white drill suit. Men wear black, glossy shoes.

Marinera Serrana
The Marinera Serrana or Marinera Andina is typical of the highlands and mountainous regions of Peru, having a more indigenous "Andean" vibe than the rest of Marineras. It usually has a minor tone and is characterized by a slower movement. This marinera is repeated twice, and then is followed by a "fuga de huayno". The second part is more sentimental than the first one.

Tondero
Tondero, nowadays also called Marinera of the Alto Piura, or Marinera of the yunga piurana (Morropon). Its origins predate the Zamacueca, despite being labeled as a Marinera at the present time. It derives from gypsy and Spanish music in dance and song. The main characteristic that differentiates it from the typical Marinera is its repetitive guitar tundete related to gypsy band trumpet music. It has African influence in its chorus form and sometimes the use of checo, an instrument built using dry gourd to give "black rhythm". It has a later Andean influence as well, which is reflected in its melodic "squeaky" form of playing the guitar. Tondero carries the influence of the mestizaje criollo (Hispanic-Gypsy-Afro-descendants) and indigenous Andean. Cities like Morropón, Chulucanas, San Juan de Bigote, La Matanza, and Salitral were dotted with rice and soapweed plantations where many black slaves lived, and due to the proximity to the mountain range, Andean Indian migrants as well, the later brought the melancholic Yaraví (Harawi) from the Andean highlands, melting it with the Hispanic-African Cumanana of the coast, creating the famous northern term "triste con Fuga de Tondero" (sad with Fuga of Tondero), which is very popular in the yunga areas of Lambayeque (Chongoyapana).

Zamacueca
The Peruvian researcher Castro Nué has dealt with the origin of certain dances, and maintains that the Marinera has its origin in the Zamacueca or Mozamala. This dance of manners probably originates in the North Coast of Peru, La Libertad region. In its origin it derives from dances of European, Andean, and African origins, that were typically danced in the Peruvian coast. The northern version is more lively, moving and played on trumpets as well, although in Lima, the Zamacueca has more African influence and the guitar playing style is sweeter and more rhythmic, that is, contrasted with the northern version which is more "agitanada" and "mestiza". As in the Tondero piurano, the dance represents the chase of the rooster to the hen, the love of birds and the Pelea de Gallos, themes so popular within the central and northern coast of Peru. The woman dancer wears a nightgown called anaco that protrudes as a blouse over the wide skirt attached to the waist. The famous "Dormilonas", artistic earrings made of filigree, are also very colourful, the work of the town's goldsmiths. The male wears a fine straw hat, a striped or white shirt, a northern sash and white or black trousers.

Afroperuvian
Afro-Peruvian music was first created by African slaves in Peru during the Colonial Period and beyond. The rhythms include Festejo, Landó, Socabon, Pregon, Zamacueca, and Alcatraz. Many of those were played with a mixture of Spanish and Indian instruments and used the Spanish coplas as lyrics. They were practiced only in private black gatherings until the 1950s, when efforts of some scholars studying the Peruvian community, such as Nicomedes Santa Cruz, Victoria Santa Cruz and Jose Durand, compiled songs and dances after struggling with racism and poor recognition. Interpreters such as Lucila Campos, Caitro Soto, Susana Baca, Eva Ayllon, and the Peru Negro dance company, among others, have brought these genres to the world's attention. Landó is often compared to blues music because of its minor scale and its rhythmic origin. Musically the Landó is slower than the Festejo. Victoria Santa Cruz (who directed the National School of Folklore in Peru), worked to develop this genre around 40 or 50 years ago. It is related to South American dances of courtship because of its sensual movements and the soft tempo. Composed in 12/8 time, it has become a popular choice for Peruvian songwriters. It has its origins in the Angolan londu, and is also related to the Brazilian lundu.

Festejo (from Spanish 'fiesta') is a festive form of music. It can be seen as a celebration of Perú's independence and the emancipation of slaves, or as an attempt to reinvent diaspora African music without reference to slavery. Composers of all races have contributed to the development of festejo repertoire. Its origins are in a competitive circle dance performed by men playing cajónes. Nowadays, people of all ages and races participate in a witty dance accompanying the festejo.

title: Música criolla


text:
Portal talk:Biology

Status report from the Portals WikiProject
WikiProject Portals is back!

The project was rebooted and completely overhauled on April 17th, 2018.

Its goals are to revitalize the entire portal system, make building and maintaining portals easier, and design the portals of the future.

As of April 29th, membership is at 56 editors, and growing.

There are design initiatives for revitalizing the portals system as a whole, and for each component of portals.

Tools are provided for building and maintaining portals, including automated portals that update themselves in various ways.

And, if you are bored and would like something to occupy your mind, we have a wonderful task list.

From your friendly neighborhood Portals WikiProject. — The Transhumanist  03:26, 30 April 2018 (UTC)

Main Question on Biology
The main question on Biology is:

a. What is life. b. What is to be alive. c. Cloud forest (talk) 19:00, 3 October 2018 (UTC)

Coatrack article
I came across the article Pyruvate cycling earlier today. The article as it stands is almost impossible for someone well versed in the area to comprehend, and it appears to simply be a WP:COATRACK for a load of papers. It doesn't seem like a legit article at this point. I'm sure the topic is legit, but the article is nowhere near Wikipedia standards. Can someone more versed in this take a look as I'll only delete all the further reading and coatrack elements. Cheers. Canterbury Tail talk 11:50, 3 June 2019 (UTC)

What species is shown ?
Here What species is shown ? 2003:6:13D3:F133:615D:ED00:9E14:2CA4 (talk) 21:18, 3 April 2020 (UTC)
 * This is a question better suited for the science reference desk. —andrybak (talk) 01:30, 10 November 2020 (UTC)

Revitalise the biology portal?
Should we keep editing this portal? — Preceding unsigned comment added by Ryan busse (talk • contribs) 19:00, 14 May 2021 (UTC)
 * Absolutely. See the portal's Revision history for improvements that were made today. North America1000 12:54, 31 May 2021 (UTC)

 * I'm afraid it's flogging a dead horse. Websites need portals when other navigation mechanisms are lacking; but we have 1) Wikilinks 2) Main and Further links 3) See also sections 4) Navbars, navboxes 5) Categories 6) WikiProjects 7) probably several other mechanisms I've forgotten to mention. A portal basically just rehashes existing content, and if I was to be unkind I'd say "less well". We don't need'em, specially in a very well-linked area like bio. All the best, Chiswick Chap (talk) 13:19, 31 May 2021 (UTC)
 * While you're entitled to your opinion, many others feel differently than you do about portals. North America1000 14:39, 31 May 2021 (UTC)

title: Portal talk:Biology


text:
Wikipedia:Articles for deletion/Guitar.com Misc

 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. jni 13:15, 12 Feb 2005 (UTC)

Guitar.com Misc
A message board - there's millions of them, and we certainly don't need articles on them all. Although apparently this one created most internet fads. sjorford// 00:08, 6 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.
 * Delete, advertising for a non-notable website. Rje 00:13, Feb 6, 2005 (UTC)
 * delete. nn.  Yuckfoo 01:27, 6 Feb 2005 (UTC)
 * Delete The website itself is actually fairly well known but there's no reason to have an article on this one message board on the site (although with half a million posts it does seem to be the most popular part). --Lee Hunter 01:43, 6 Feb 2005 (UTC)
 * Delete, not notable enough, website advertisement. Megan1967 03:34, 6 Feb 2005 (UTC)
 * Delete. ComCat.
 * Delete. -- AllyUnion (talk) 05:40, 10 Feb 2005 (UTC)


text:
Talk:Let It Happen (MxPx album)

Untitled
The formatting for the list here does not appear to be correct.

Fair use rationale for Image:Let it Happen MxPx.jpg
Image:Let it Happen MxPx.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 04:08, 6 June 2007 (UTC)

Fair use rationale for Image:Let it Happen MxPx.jpg
Image:Let it Happen MxPx.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to ensure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 22:15, 13 February 2008 (UTC)

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title: Talk:Let It Happen (MxPx album)


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Janne Wirman

Janne Viljami "Warman" Wirman (born 26 April 1979) is a Finnish musician; he is the former keyboardist for the Finnish melodic death metal band Children of Bodom from 1997 to 2019 and currently keyboardist and founding member of Warmen.

Biography
Born in the city of Espoo, Finland, Wirman began playing the piano at the age of five. For most of his early life, he focused his style on jazz, switching his main interest to heavy metal music once he joined the metal band Children of Bodom in 1997.

He graduated from the Helsinki Pop & Jazz Conservatory at the age of sixteen and was subsequently invited by Jaska Raatikainen to join Children of Bodom, due to their previous keyboardist, Jani Pirisjoki, being fired from the band. Wirman was the deciding factor for them to truly begin their professional career. Not only did he bring his talent to the band, but after a single practice, he also became able to play in sync with lead vocalist and lead guitarist Alexi Laiho. This synchronization can be observed during their live performances, or on the recorded tracks Bed of Razors, Lake Bodom and Downfall.

His primary influence is keyboardist Jens Johansson from Stratovarius (also played with guitar virtuoso Yngwie Malmsteen and Dio) from whom he has adopted the style of playing his keyboard tilted forward.

In the year of 2000, Wirman assembled progressive metal band Warmen as his main side-project. The band's second album, Beyond Abilities, continued with the presence of his brother Antti Wirman.

In the same year, Johansson was asked by heavy metal band Masterplan to play on their debut album, but since he was already busy with other projects, he referred to Janne instead. Thus, in early 2002, Wirman took part in the recording of Masterplan's self-titled debut album. The band proceeded to offer him a permanent position, but Warman opted to continue playing with Children of Bodom. Masterplan released their album and gave credit to Wirman's work on the CD's booklet. The band's keyboard player Axel Mackenrott, hired after Wirman's decline to enter the band, appeared on all of the promotional pictures, and was officially credited as Masterplan's keyboardist.

To record with Warmen, Wirman built the Warmen Productions Studio (now named Beyond Abilities). This studio has also served for the recording of Kotipelto's keyboard tracks, part of Ensiferum's Iron album and Sinergy's fourth album.

Wirman has had bad experiences with sponsor deals. He had dealt with both Roland Scandinavia and Korg in the past and was promised new equipment, but he never received anything. On the back of Warmen's second album it reads: "No Roland or Korg products were used."

Wirman was originally just supposed to play a few shows with Children of Bodom, but they grew to like him. On the Chaos Ridden Years documentary, Laiho said, "But it was the first time I saw the guy drunk, and that's when I knew he was the fucking man." Wirman stayed with them, but said he felt like a real member of the band around the time of the recording of his second album with them.

Equipment
Throughout most of his career, Wirman relied on the Korg X5D keyboard to play live, although he only uses it as a master MIDI controller – the synth rack/module setup he is controlling onstage has varied. Wirman's lead sound was crafted by Jens Johansson. It is a Korg Polysix emulation patch Jens made for the Roland JV-1080.

With Children of Bodom
Albums
 * Something Wild (1997)
 * Hatebreeder (1999)
 * Tokyo Warhearts (live CD, 1999)
 * Follow the Reaper (2000)
 * Hate Crew Deathroll (2003)
 * Are You Dead Yet? (2005)
 * Stockholm Knockout Live (2006)
 * Blooddrunk (2008)
 * Skeletons in the Closet (2009)
 * Relentless Reckless Forever (2011)
 * Halo of Blood (2013)
 * I Worship Chaos (2015)
 * Hexed (2019)

Singles & EPs
 * Children of Bodom (single, 1997)
 * Downfall (single, 1998)
 * Hate Me! (single, 2000)
 * You're Better Off Dead! (single, 2002)
 * Trashed, Lost & Strungout (EP, 2004)
 * In Your Face (single, 2005)
 * Blooddrunk (single, 2008)

With Warmen
Albums
 * Unknown Soldier (2000)
 * Beyond Abilities (2001)
 * Accept the Fact (2005)
 * Japanese Hospitality (2009)
 * First of the Five Elements (2014)
 * Here for None (2023)

Singles
 * Somebody's Watching Me (single, 2005)
 * They All Blame Me (single, 2005)
 * Alone (single, 2001)

With Kotipelto
Albums
 * Waiting for the Dawn (2002)
 * Coldness (2004)
 * Serenity (2007)

Singles
 * "Beginning" (single, 2002)
 * "Reasons" (single, 2004)
 * "Take Me Away" (single, 2004)
 * "Sleep Well" (single, 2006)

With Masterplan
Albums
 * Masterplan (2003)

title: Janne Wirman


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User talk:68.80.232.103

Proposed deletion of Ghatanothoa

The article Ghatanothoa has been proposed for deletion because of the following concern: "Fictional character that fails WP:NFICTION, WP:GNG and WP:PLOT. BEFORE does not show any analysis, only in-universe style summaries."

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Proposed deletion of Cyäegha

The article Cyäegha has been proposed for deletion because of the following concern: "Honestly, this article is a prime example of what is wrong with our coverage of fictional characters. There is no evidence that this character has been anything more than an obscure character that was never discussed by anyone of note."

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title: User talk:68.80.232.103


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CITI-FM

CITI-FM (92.1 MHz) is a commercial radio station broadcasting in Winnipeg, Manitoba, Canada. Owned by Rogers Radio, a division of Rogers Sports & Media, the station broadcasts a mainstream rock format branded as 92.1 CITI. Its studios are located on Osborne Street south of Downtown Winnipeg, while its transmitter is located at Duff Roblin Provincial Park just south of Winnipeg.

History
The station first signed on in 1962 as CKY-FM simulcasting AM 580 CKY broadcasting at 360,000 watts, making it the most powerful FM radio station in North America. The station adopted its current call sign, CITI-FM, on April 1, 1978, The first song played on CITI was Deep Purple's "Highway Star".

In the early 1990s, the station was acquired by Rogers Radio, who converted CITI's sister station CKY-AM to the FM band in 2004, and retained the CKY call sign on that station. That station now plays a hot AC format.

CKY-FM was originally North America's most powerful commercial FM station. (That distinction currently belongs to WBCT in Grand Rapids, Michigan. Canada's most powerful FM station is CJKR-FM, also in Winnipeg.) In 2003 CITI-FM was granted a decrease in effective radiated power from 210,000 to 100,000 watts. Its transmitter was then relocated 20 kilometers north of its former site.

Some notable announcers through the years at CITI are: Ross Porter (Murray), Brother Jake Edwards, Terry Klassen, Terry Dimonte, Andy Frost, Howard Mandshein, Craig Thulner, Tim "Trucker" Bradley, Gordo Fry, Lamont Hollywood, Shadoe Davis, Tom McGouran, Alix Michaels, Larry Updike, Joe Aiello, Harry Callaghan, Brian Cook, Duncan MacPhail and Cosmo.

On May 17, 2012, the station rebranded itself as "World Class Rock" and began playing more 1980s, ’90s and 2000s-based rock.

On September 13, 2012, CITI announced that longtime morning show hosts Tom McGouran and Joe Aiello had been let go, and would be replaced with Dave Wheeler, Phil Aubrey and Rena Jae, formerly of rival station CJKR-FM. The latter three, having comprised the morning show of Wheeler In The Morning with Philly and Rena since September 2009, were unable to come to terms on a new contract with Corus Radio.

On January 12, 2015, the station's morning show Wheeler in the Morning began to be simulcast by sister Citytv station CHMI-DT, replacing the cancelled Winnipeg version of Breakfast Television. The former Breakfast Television hosts Jenna Khan and Drew Kozub presented news and entertainment segments that were shown on television when CITI played music.

On July 6, 2016, the station rebranded as 92.1 CITI, using a new standardized branding used by most Rogers-owned rock stations.

In July 2018, Wheeler was fired by Rogers for having been involved in "multiple disciplinary incidents" on-air. His firing came in the wake of transphobic remarks Wheeler made during his morning show; during a segment, Wheeler discussed Scarlett Johansson having declined a starring role as gangster Dante "Tex" Gill in a biographical film, after criticism from the LGBT community over Gill—who was a trans man—being played by a cisgender woman. Wheeler compared being transgender to being an "actor" that "pretends" to be a "different thing", and also expressed similar sentiment over Facebook Messenger with a listener who discussed the issue further, stating that "If someone is born human. And they pretend to be a dog. It is not right to agree with them for the sake of their feelings". Multiple businesses pulled their advertising from the station in response to the comments.

After Wheeler's departure, co-hosts Jae and Dave Turnbull continued on the morning show along with former Winnipeg Blue Bomber Kelly Butler as a new addition.

TJ Connors, son of legendary radio host Scruff Connors, joined the show replacing Butler in 2018.

In 2021, Jae left CITI Mornings.

title: CITI-FM