text:
T. O. Honiball

Thomas Ochse Honiball (1905–1990) was a well known South African cartoonist.

T.O. Honiball (as he was commonly referred to) was born on 7 December 1905 in Cradock, Cape Colony. Honiball attended the well known high school for boys in Stellenbosch, Paul Roos Gymnasium. He originally studied architecture at the University of Cape Town. However, he needed a less structured way to express his artistic capabilities and from 1927 to 1930 he lived in Chicago where he studied commercial art. During this period he was introduced to American cartoons.

On his return to Cape Town he worked in advertising and later as freelance caricaturist and cartoonist. In 1941 he became the political cartoonist for a major Afrikaans newspaper group, and quickly became one of the best known South African cartoon artists.

In addition to his political cartoons he also published the Oom Kaspaas series, wherein Uncle Kaspaas boasts about his colorful past to his "nephew" Nefie - always to be reminded by some unfortunate event of what had really happened. (Note that in Afrikaans "Neef" (diminutive "nefie") can mean either cousin or nephew. "Oom" literally means "uncle", but the contexts determine the significance. "Oom" is used as a form of address informally denoting (possibly affectionate) respect for any older male, whether a relative or stranger. "Neef", and more strongly "Nefie", is used in the converse sense as "(little) nephew". The usage in the Oom Kaspaas books strongly implies nephew, not cousin. On the other hand, it could very well be that Kaspaas and Nefie are not related at all. In the past "neef" was also an Afrikaans term with a wider meaning, used for all one's male peers, and "nefie" an affectionate term for men and boys younger than the speaker, much in the same way as "oom" is still used for older men today.)

He loved to portray animals as having human personalities and qualities, and he produced two series to that effect. Jakkals en Wolf covered the good and bad times of two friends, a jackal and a wolf, while Adoons-Hulle related the experiences of a baboon family from the Magaliesberg. In 1939 he produced Oom Kaspaas, Jakkals en Wolf in 1942, Faan Brand in 1946 and Adoons-Hulle in 1948.

On retiring in 1974, he held his first solo exhibition in Pretoria and continued his political caricatures and cartoons until 1978. He died on 22 February 1990 in Montagu.

Family
He married Iona Boesen in 1934 and they had four children. After Iona's death in 1971, Honiball married Essie de Villiers - Dreyer (Esther Maria Wiese) in 1973, later known as Essie Honiball.

authors: Я сошла с ума

title: T. O. Honiball


text:
The Train (1964 film)

The Train is a 1964 war film directed by John Frankenheimer and starring Burt Lancaster, Paul Scofield and Jeanne Moreau. The picture's screenplay—written by Franklin Coen, Frank Davis, and Walter Bernstein—is loosely based on the non-fiction book Le front de l'art by Rose Valland, who documented the works of art placed in storage that had been looted by Nazi Germany from museums and private art collections. Arthur Penn was The Train original director, but was replaced by Frankenheimer three days after filming had begun.

Set in August 1944 during World War II, it pits French Resistance-member Paul Labiche (Lancaster) against German Colonel Franz von Waldheim (Scofield), who is attempting to move stolen art masterpieces by train to Germany. Inspiration for the scenes of the train's interception came from the real-life events surrounding train No. 40,044 as it was seized and examined by Lt. Alexandre Rosenberg of the Free French forces outside Paris.

Plot
In August 1944, masterpieces of modern art stolen by the Wehrmacht are being shipped to Germany; the officer in charge of the operation, Colonel Franz von Waldheim, is determined to take the paintings to Germany, no matter what the cost. After the works he selects are removed from the Jeu de Paume Museum, curator Mademoiselle Villard seeks help from the French Resistance. Given the imminent liberation of Paris by the Allies, SNCF (French National Railways) workers associated with the Resistance need only delay the train for a few days, but it is a dangerous operation and must be done without risking the priceless cargo.

Resistance cell leader and SNCF area inspector Paul Labiche initially denies the plan, telling Mlle. Villard and senior Resistance leader Spinet, "I won't waste lives on paintings." He has a change of heart after his cantankerous former mentor, Papa Boule, is summarily executed for sabotaging the train on his own. After that sacrifice, Labiche joins his Resistance teammates Didont and Pesquet, who have been organizing their own plan with the help of other SNCF Resistance members. In an elaborate ruse, they reroute the train, temporarily changing railway station signage to make the German escort believe they are heading to Germany when they have actually looped back round towards Paris. Two deliberate collisions then block the train in at the small town of Rive-Reine without damaging the cargo. Labiche, although shot in the leg, escapes on foot with the help of Christine, the widowed owner of a Rive-Reine hotel, while other Resistance members involved in the plot are murdered, including Pesquet and Jacques, the Rive-Reine stationmaster.

That night, Labiche and Didont meet Spinet again, along with Jacques's young nephew Robert, and plan to paint the tops of three wagons white to warn off Allied aircraft from bombing the art train. Robert recruits railroad workers and friends of his uncle. He and Didont are killed when the painting is detected during a false air raid alarm staged by Robert, but because of the paint, the train is spared from bombing the next day when Allied medium bombers roar over Rive-Reine.

Now working alone, Labiche continues to delay the train after the tracks are cleared, to the mounting rage of von Waldheim. Labiche attempts to use plastic explosives to destroy the locomotive, only to find it carrying French hostages placed by the Germans. To spare the hostages, he blows the explosives early, damaging the tracks in front of the train. While the Germans fix the tracks, Labiche runs ahead, struggling to keep away from the soldiers searching for him. Finally, he manages to derail the train by unscrewing and loosening one of the rails, causing the rails to spread and the engine to fall gently into the ballast without harming the hostages.

No crane is available to re-rail the train, so Von Waldheim flags down an army convoy retreating on a nearby road, learning that a French armored division is not far behind. The colonel orders the train to be unloaded and attempts to commandeer the trucks for the art, but the convoy's commander refuses the order. The train's German contingent then kill the hostages and join the retreating convoy.

Von Waldheim remains behind with the abandoned train. Strewn between the track and the road are crates labeled with the names of famous artists. Labiche appears and the colonel castigates him for having no real interest in the art he has saved. In response, Labiche turns and looks at the murdered hostages and then, without a word, turns back to von Waldheim and shoots him dead. Afterwards Labiche limps away, leaving the bodies and the art treasures where they lie.

Cast
Sourced to the American Film Institute.

 * Burt Lancaster as Paul Labiche
 * Paul Scofield as Colonel Franz von Waldheim
 * Jeanne Moreau as Christine
 * Suzanne Flon as Mlle Villard
 * Michel Simon as Papa Boule
 * Wolfgang Preiss as Major Herren
 * Albert Rémy as Didont
 * Charles Millot as Pesquet
 * Jean Bouchaud as Hauptmann Schmidt
 * Richard Münch as General von Lubitz
 * Jacques Marin as Jacques
 * Paul Bonifas as Spinet
 * Donald O'Brien as Sergeant Schwartz
 * Arthur Brauss as Lieutenant Pilzer
 * Bernard La Jarrige as Bernard
 * Daniel Lecourtois as Priest
 * Gérard Buhr as Corporal
 * Howard Vernon as Hauptmann Dietrich
 * Nick Dimitri as German soldier
 * Christian Fuin as Robert
 * Christian Rémy as Tauber
 * Helmo Kindermann as Ordnance officer
 * Jacques Blot as Hubert
 * Jean-Claude Bercq as Major
 * Jean-Jacques Lecomte as Lieutenant of retreating convoy
 * Jean-Pierre Zola as Octave
 * Louis Falavigna as Railroad worker
 * Max From as Gestapo officer
 * Richard Bailey as Grote
 * Roger Lumont as Engineer officer

Historical background
The Train is based on the factual 1961 book Le front de l'art by Rose Valland, the art historian at the Jeu de Paume, who documented the works of art placed in storage there that had been looted by the Germans from museums and private art collections throughout France and were being sorted for shipment to Germany in World War II.

In contrast to the action and drama depicted in the film, the shipment of art that the Germans were attempting to take out of Paris on August 1, 1944, was held up by the French Resistance with an endless barrage of paperwork and red tape and made it no farther than a railyard a few miles outside Paris.

The train's actual interception was inspired by the real-life events surrounding train No. 40,044 as it was seized and examined by Lt. Alexandre Rosenberg of the Free French forces outside Paris in August 1944. Upon his soldiers' opening the wagon doors, he viewed many plundered pieces of art that had once been displayed in the home of his father, the Parisian art dealer Paul Rosenberg, one of the world's major Modern art dealers.

Artworks seen in the film's opening scenes prominently include paintings that in reality were not looted by the Germans such as When Will You Marry? by Paul Gauguin and Girl with a Mandolin by Pablo Picasso.

Production

Frankenheimer inherited the film from another director, Arthur Penn. Lancaster fired Penn after three days of filming in France, and asked Frankenheimer to assume the role of director. Penn envisioned a more intimate film that would muse on the role art played in Lancaster's character, and why he would risk his life to save the country's great art from the Nazis. He did not intend to give much focus to the mechanics of the train operation itself. But Lancaster wanted more emphasis on action to ensure that the film would be a hit, after the failure of his film The Leopard. The production was shut down briefly while the script was rewritten, and the budget doubled. As he recounts in the Champlin book, Frankenheimer used the production's desperation to his advantage in negotiations. He demanded and was given the following: his name was made part of the title, "John Frankenheimer's The Train"; the French co-director, demanded by French tax laws, was not allowed to ever set foot on set; he was given total final cut; and a Ferrari. Much of the film was shot on location.

The Train contains multiple real train wrecks. The Allied bombing of a rail yard was accomplished with real dynamite, as the French rail authority needed to enlarge the track gauge. This can be observed by the shockwaves travelling through the ground during the action sequence. Producers realized after filming that the story needed another action scene and reassembled some of the cast for a Spitfire attack scene that was inserted into the first third of the film. French Armée de l'Air Douglas A-26 Invaders are also seen later in the film.

The film includes a number of sequences involving long tracking shots and wide-angle lenses, with deep focus photography. Noteworthy tracking shots include Labiche attempting to flag down a train and jumping onto the moving locomotive, a long dolly shot of von Waldheim travelling through a marshalling yard at high speed in a motorcycle sidecar, and Labiche rolling down a mountain and across a road, finally staggering down to a railroad track.

Frankenheimer remarked on the DVD commentary, "Incidentally, I think this was the last big action picture ever made in black and white, and I am personally so grateful that it was filmed in black and white. I think the black and white adds tremendously to the movie." Throughout the film, Frankenheimer often juxtaposed the value of art with the value of human life. A brief montage ends the film, intercutting the crates full of paintings with the dead bodies of the French hostages, before a final shot shows Labiche walking away down the road.

Locations
Filming took place in several locations, including: Acquigny (Calvados; Saint-Ouen, Seine-Saint-Denis; and Vaires, Seine-et-Marne. The shots span from Paris to Metz. Much of the film is centred in the fictional town called "Rive-Reine".

'Circular journey'

Actual train route: Paris, Vaires, Rive-Reine, Montmirail, Châlons-sur-Marne, St Menehould, Verdun, Metz, Pont-à-Mousson, Sorcy (Level Crossing), Commercy, Vitry Le Francois, Rive-Reine.

Planned route from Metz to Germany: Remilly, Teting (level crossing), Saint Avold, Zweibrücken.

Locomotives used
The chief locomotives used were examples of the former Chemins de fer de l'Est Series 11s 4-6-0, which the SNCF classified as 1-230-B. 1-230.B.517 was specified as Papa Boule's locomotive and features particularly prominently, flanked by sister locomotives 1-230.B.739 and 1-230.B.855. A decommissioned locomotive doubled as the 517 for the crash scene (a production still of the aftermath from the rear shows the tender identification number reading 1-230.B.754), and another was given a plywood armoured casing to depict a German Army locomotive for the yard manoeuvres-and-raid scene. An ancient "Bourbonnais" type 030.C 0-6-0 (N° 757), apparently decommissioned by SNCF, was deliberately wrecked to block the line; it moved faster than the film crew anticipated and smashed three of the five cameras placed near to the track in the process. Other engines of various classes can be seen on background sidings in the run-by scenes and in aerial views of the yard, among them SNCF Class 141R 2-8-2 engines, which were not supplied to France until after the war as part of the railway's reconstruction, as well as USATC S100 Class 0-6-0T tank engines, designated by the SNCF as 030TU, which were used by the approaching Allied forces.

Reception
After a production cost of $6.7 million, The Train earned $3 million in the US and $6 million elsewhere. The film was one of the 13 most popular films in the UK in 1965.

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

title: The Train (1964 film)


text:
Kirchspiel

Kirchspiel may refer to:
 * the German word for church parish
 * one of the town subdivisions of Dülmen, North Rhine-Westphalia, Germany

title: Kirchspiel


text:
György Ránki

György Ránki (30 November 1907 – 22 May 1992) was a Hungarian composer.

Life
Born in Budapest, he studied composition with Zoltán Kodály at the Budapest Academy of Music from 1926-1930. He became interested in folk music and ethnomusicology, working with László Lajtha at the Museum of Ethnography in Budapest and later further studies in Asian folk music in London and Paris (at the Musée de l'Homme). He directed the music section of Hungarian radio in 1947–8, after which he gave his attention to composition.

Ránki not only employed authentic folk melodies and musical idioms in his music but also pulled on jazz elements. He possessed a gift for the grotesque and unusual, the colourful and humorous, which may be traced in part perhaps to his studies of non-Western music.

Works
His greatest successes have been stage works, above all the opera Pomádé király uj ruhája (‘King Pomádé’s New Clothes’, based on the Andersen story), which draws most of its material from Hungarian folk music. He also wrote a two-act mystery opera, Az ember tragédiája (The Tragedy of Man), based on the eponymous play by Imre Madách. South Asian influences are particularly evident in Pentaerophonia for wind quintet, which imitates gamelan effects. In some works he makes use of the Fibonacci series, following (presumably) Bartók; an example is the fantasy 1514 for piano and orchestra, which was based on wood carvings by Derkovits. He also composed incidental music for the theatre and music for films.

Selected filmography

 * The New Landlord (1935)
 * The Golden Man (1936)
 * Battle in Peace (1952)
 * Fourteen Lives (1954)
 * Fever (1957)
 * Summer Clouds (1957)
 * Danse Macabre (1958)
 * And Then The Guy... (1966)
 * Three Nights of Love (1967)
 * The Pendragon Legend (1974)

title: György Ránki


text:
User talk:Scary

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! -- Francs2000 | Talk 23:48, 8 Feb 2005 (UTC)
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style

title: User talk:Scary


text:
User talk:Akaulins

Welcome!
Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! -- Francs2000 | Talk 23:48, 8 Feb 2005 (UTC)
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style

Riga
I've been and removed the link again. Have you tried communicating with this user on either of their talk pages? Just a polite note that thjeir actions are inappropriate and that Wikipedia is not a forum for advertising their business. Alternatively you may wish to raise the issue on the talk page of the Riga article. Best of luck with it anyway. -- Francs2000 | Talk 15:22, 16 Feb 2005 (UTC)

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

If you have uploaded other unlicensed media, please check whether they're used in any articles or not. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that all non-free media not used in any articles will be deleted after seven days, as described on criteria for speedy deletion. Thank you. BJBot (talk) 03:09, 14 July 2008 (UTC)

title: User talk:Akaulins


text:
Mishkan (disambiguation)

Mishkan is the Hebrew word for the dwelling place of God, or the Tabernacle. It may refer to:

 * The Israelite tabernacle
 * Mishkan Chicago, a Progressive Jewish Spiritual Community
 * The Mishkan T'filah, an American Reform Jewish Prayer Book

title: Mishkan (disambiguation)


text: Talk:György Ránki

title: Talk:György Ránki


text:
Paul Hogan (butler)

Paul Hogan is an Australian-American former consul, butler, and television personality. He is most famous to television audiences for portraying "the Butler" on the 2003 series Joe Millionaire. He has since made guest appearances on other programs, and hosted the series Groomed.

Hogan was recruited through the International Guild of Butlers, to run the chateau in France where Joe Millionaire was filmed. His primary responsibility was originally focused on the domestic and household management of the chateau, with only minor "on screen" appearances. However, as Fox acknowledged, "Paul was the glue that held the show together." The first season was widely distributed around the world, although the second season did not perform as well.

In 2006 Hogan hosted Groomed, a series in which he took regular men and turned them into gentlemen for life-changing events such as a marriage proposals, weddings or reconnection with families. Hogan was both host and mentor to the subjects.

Personal life
Hogan was born and raised in Melbourne and attended De La Salle College, Malvern. After school, and a two-year stint in the Australian Army, he entered the Australian Diplomatic Service, beginning a 26-year career. As a diplomat Hogan was posted to Canada, Yugoslavia, Jamaica, the Caribbean, Los Angeles and Argentina. His area of expertise was the administration and operation of embassies, and as a consul, caring for the affairs and welfare of fellow citizens who sought assistance from the embassy.

After leaving the diplomatic service, Hogan moved to the US and opened a bed and breakfast, which he ran for a number of years before selling it. As a prerequisite to reinventing himself as a butler, Hogan enrolled as a full-time student at the New England Culinary Institute, where he completed the first half of the two-year Culinary Arts program. This was followed by a three-month private study tour to the wine regions of France, Eastern Australia and California. As a butler/estate manager, Hogan worked in Aspen, Houston, New York City, New Jersey, the United Kingdom, France, Italy and the Bahamas. Hogan has also worked as a relief/temporary butler, trainer and consultant.

Hogan became a U.S. citizen in 2012. He has two children, and lives in Malone, New York.

In 2013, Hogan was a Democratic candidate for the Franklin County, New York legislature, but did not win the primary.

title: Paul Hogan (butler)


text:
Sunderland Empire Theatre

The Sunderland Empire Theatre is a large theatre venue located in High Street West in Sunderland, North East England. The theatre, which opened in 1907, is owned by City of Sunderland Council and operated by Ambassador Theatre Group Ltd, on behalf of Sunderland Empire Theatre Trust.

The theatre is one of the largest venues in the North East, with 1,860 seats and the capacity to accommodate 2,200 when all standing positions are occupied. The auditorium is also one of the few remaining in the UK to have four tiers, namely the Orchestra Stalls, the Dress Circle, the Upper Circle and the Gallery. There are four private boxes on the Dress Circle level, as well as two proscenium boxes on the Upper Circle balcony.

History
The Empire Palace, as it was originally called, was established independently by Richard Thornton after his partnership with theatre magnate Edward Moss was dissolved. It was opened on 1 July 1907 by variety and vaudeville star Vesta Tilley, who had laid the foundation stone on 29 September 1906.

The dome on the 90 ft tower featured a revolving sphere bearing the statue of Terpsichore, the Greek Muse of dance and choral song. These were removed during World War II for safety reasons, after a bomb which had fallen nearby rocked the building. The original statue is now located at the top of the main staircase, with a replica on the dome itself. The dome and tower have recently been refitted with a state-of-the-art LED and floodlight system that illuminates the main entrance in the evening.

Until the mid-twenties, the Empire enjoyed much extended success from its variety performances. With the decline of touring theatre, a projection box was added in 1930 and for the first time, the theatre played host to motion pictures. On 5 November 1956 Tommy Steele made his stage debut heading the bill in a variety show. Steele, Britain's first rock 'n' roll singer, went on to become one of the world's leading song and dance men appearing at the Empire many times. Although audience figures were high during the 1940s and early 1950s, the theatre closed in May 1959 due to the growing popularity of television and cinema. It reopened in 1960, however, after Sunderland Council bought the theatre. The Beatles performed there during their first UK national tour.

The actor Sid James, best known for his roles in Carry On films and Bless This House suffered a heart attack during a performance of The Mating Season on 26 April 1976 and died on the way to hospital. Later it was rumoured that his ghost was in the dressing room he occupied on the night of his death; after one experience during a gig there, the comedian Les Dawson refused to play the venue again. Whilst the ghost of James is said to haunt backstage, the spirits of Vesta Tilley and Molly Moselle are said to haunt the front-of-house areas. Molly Moselle was a stage manager for Ivor Novello's The Dancing Years in 1949. Leaving the theatre to post a letter, she disappeared down a nearby alley and was never seen again. The Empire was known as a 'comic graveyard' – rather unfortunately given the above points – because of the partisan reception of the audiences of the time. Nowadays, the theatre regularly plays host to large-scale musicals, opera, ballet, dance showcases, amateur productions and one-night shows.

Oscar-winning actress Helen Mirren made her stage debut at the Sunderland Empire.

The theatre was the regular venue for the University of Sunderland's graduation ceremonies until the theatre's refurbishment in 2004. Since this time, the graduation ceremonies have been held at Sunderland AFC's Stadium of Light.

Birmingham Royal Ballet frequently visits the Sunderland Empire, and BRB considers the theatre as its base in the North East of England.

2004 refurbishment and subsequent shows
Following a nine-month closure for a £4.5m redevelopment project to enable it to stage West End shows, the theatre reopened on 9 December 2004 with a performance of Starlight Express. This refurbishment involved expanding the stage and the height of the fly tower. The refurbishment also allowed a new production of Miss Saigon to be staged at Sunderland in early 2005. On 9 December 2005, the Sunderland Empire staged a preview performance of the first ever touring production of Chitty Chitty Bang Bang, starring Tim Flavin and Robin Askwith. The official European premiere of this production took place there on the following Tuesday, 13 December. On 2 May 2006, a new touring production of My Fair Lady began its run, starring Christopher Cazenove and Amy Nuttall. Scrooge: The Musical played at the Sunderland Empire over the 2006 Christmas period, starring comedian and television personality Michael Barrymore in the title role. 2007 saw the Sunderland Empire celebrate its centenary and a massive line-up of big shows including Starlight Express, The Producers, Footloose, South Pacific and the first pantomime since its refurbishment – Cinderella which starred Hollywood legend Mickey Rooney.

The theatre now is a receiving house for large-scale touring productions such as Wicked, Matilda the Musical, War Horse and Miss Saigon. Most of these tours play the Empire over the Newcastle Theatre Royal due to their staging being too large to fit onto the stage of the latter venue.

title: Sunderland Empire Theatre


text:
Marienberg Fortress

Marienberg Fortress (German: Festung Marienberg) is a prominent landmark on the left bank of the Main river in Würzburg, in the Franconia region of Bavaria, Germany. It is a symbol of Würzburg and served as a home of the local prince-bishops for nearly five centuries. It has been a fort since ancient times, although most of the current structures were built in Renaissance and Baroque styles between the 16th and 18th centuries. After Gustavus Adolphus of Sweden conquered the area in 1631 during the Thirty Years' War, the castle was reconstructed as a Baroque residence. After it ceased to serve as residence of the Bishops of Würzburg, the fortress saw repeated action in the wars of the late 18th and 19th centuries. It was severely damaged by British bombs in March 1945 and only fully rebuilt in 1990. Today, it houses two museums.

Geography
The fortress is located on a prominent spur of the 266 m Marienberg, which rises about 100 metres over the Main river on the opposite side of the city of Würzburg. On the slopes around the castle are vineyards.

Prehistory and Middle-Ages
Around 1000 BC, a Celtic refuge castle was built on the site by members of the Urnfield culture. Archaeological findings indicate that the locals of the later Hallstatt culture had trade contacts with Ancient Greece and that the hill marked an extreme northern point on the wine trade network of the time circa 500 BC. The hill may have been a Fürstensitz, the seat of a "prince".

From 100 AD onwards, control of the area changed hands several times between different "tribes" (Suevi, Marcomanni, Allemanni and Burgundians), before the area was taken by the Franks in the 6th century. Würzburg became the occasional seat of a Franconian-Thuringian duke under the Merovingians. His court resided on the right bank of the Main, however. In the 7th century, a written document mentioned Uburzi (which later became Virteburch and then "Würzburg"), referring to the fortification on the hill. The name Marienberg was in use only from high medieval times onward. After missionary work in the area led by Saint Kilian in the late 7th century, in the early 8th century, the Franks under Duke Hedan II constructed a chapel dedicated to the Virgin Mary and a fortification (earth ramparts and half-timbered houses) on the hill. The chapel – probably built at the site of a former pagan holy site dedicated to a mother goddess – and later churches that replaced it, was the reason why the hill and fortress eventually became known as Marienberg ("Mary's Mount"). This was probably the first Christian church built of stone north of the Alps outside of the territory formerly controlled by Rome (i.e. east of the Rhine and on the far side of the Limes).

Saint Boniface came to Franconia in 719, by which time there was no longer a duke at Würzburg, and some of the local clergy practiced pagan customs. Boniface appointed his follower Saint Burchard as the first Bishop of Würzburg in 741. Saint Mary's Church (explicitly mentioned in a document from 822) became the See's cathedral. Over the next decades, the town of Würzburg began to grow and in 788 the hill-top church lost the role of cathedral to a predecessor of Würzburg Cathedral (except for a brief interlude after the latter was destroyed in a fire in 855). At that point, the remains of Saint Kilian, Saint Colman and Saint Totnan were moved from Saint Mary's to be reinterred at the new cathedral. However, Saint Mary's continued to serve as the burial site for the intestines of the Prince-Bishops. Their bodies were buried in the cathedral, their hearts until 1573 at Ebrach Abbey.

No mention is made of any fortification on Marienberg until, in the 13th century, the Prince-Bishops of Würzburg moved their residence to Marienberg. Beginning around 1200, medieval fortifications were constructed on the hill. Under Bishop Konrad von Querfurt, Saint Mary's became the court chapel of the See. He and Bishop built what is today known as the Bergfried and the first palas. Lobdeburg used the castle as a temporary residence in 1242. After relations between the bishop and the people of the town – who supported the Emperor against their bishop – deteriorated in 1253, he moved his court permanently to the fortress. His successors remained there until the 18th century. Relations between bishop and town were fraught and the main reason for keeping an armed contingent stationed in the fortress. After 1308, the palas was enlarged under Bishop with construction paid for by the townspeople to compensate their liege lord for a riot that year. Since access to water was at a premium on the hill and earlier attempts to link the fortress to a spring at Höchberg were less than satisfactory, the Tiefer Brunnen ("deep well", going down 100 metres) was dug inside the fortress. The reign of Bishop saw the construction of an additional ring of fortifications. In 1373, the burghers of Würzburg attacked the fortress with catapults whilst the fortress fired back with blackpowder weapons, the first documented use of guns in Würzburg. The first half of the 15th century saw a decline of the Hochstift and construction on the fortress mostly ceased. Only after 1466, under Bishop Rudolf von Scherenberg, were more fortifications and the Scherenbergtor added, as well as some towers and outbuildings.

Modern era
Bishop Lorenz von Bibra had the fortress rebuilt as a Renaissance residence and added fortifications after 1495.

In 1525, during the German Peasants' War (Bauernkrieg), the fortress successfully withstood a siege by peasants led by Götz von Berlichingen. In May of that year, a peasant army of 15,000 men surrounded the fortification, but could not penetrate the concentric walls. By this time the ruling Prince-Bishop Konrad II of Thüngen had already fled the fortress. The defence was commanded by the knight and Frederick I, Margrave of Brandenburg-Ansbach. When their political leader, Florian Geyer, went to Rothenburg ob der Tauber in early June to procure the heavy guns needed to attempt to breach the walls, the leaderless peasant army camped around the castle was outflanked by the professional army of the Swabian League. In the ensuing battle, more than 8,000 peasants were killed. Bishop Konrad von Thüngen was able to return to his fortress, from which he had earlier fled. Also that year, sculptor Tilman Riemenschneider was imprisoned in the fortress and tortured along with the other members of Würzburg's city council, as punishment for allying themselves with the peasants.

Bishop Julius Echter von Mespelbrunn took office in 1573. He again reconstructed the fortress and further increased the size of the fortifications, after a fire in 1572 had damaged much of the medieval castle. Under his reign, the transformation of the fortress into a Renaissance residence was completed. In 1600, a fire destroyed the north wing of the main building and damaged some of the towers and the chapel. By 1607, the northern part of the fortress had been rebuilt. The goal was a rectangular four-wing palace, with towers at the corners, in accordance with the fashion of the time. However, the fourth tower was never built. Echter also had the chapel rebuilt and added a new well house.

In 1631, after some days of fighting the fortress was taken by Swedish forces under Gustav II Adolf of Sweden in the Thirty Years' War. Swedish troops plundered the fortress. Most of the well-known library was carried off to Uppsala. The fortress was held by the Swedish and their allies until 1635. Bernard of Saxe-Weimar had been appointed Duke of Franconia. In 1635, Bishop Franz von Hatzfeld was able to return to Würzburg.

After 1642, the princely residence was completely rebuilt and redesigned under Bishop Johann Philipp von Schönborn. In 1648, the fortress became a Reichsfestung and its fortifications were again increased considerably over the next decades.

After 1708, the palas (Fürstenhaus) and church were redesigned in Baroque style. The fortifications achieved their current form with the addition of a number of outer works to the southeast (Höllenschlund) in 1711–1715. In 1712, Charles VI was received by the Prince-Bishop at the castle, the last time a Holy Roman Emperor visited the fortress. Shortly thereafter, in 1719/20 the court of the Bishops moved into a palace on the other side of the Main river which was later replaced by today's Würzburg Residence. Marienberg now became just a military structure. Work on the last tower to be built (Maschikuliturm) began in 1724.

The fortress saw repeated action during the wars of 1795–1815. In 1796, during the War of the First Coalition, the well-stocked fortress was handed over by its garrison to the French. In 1800/01, however, it was successfully defended against a new French attack by Imperial General Dall'Aglio during the War of the Second Coalition. In 1803, the fortress was occupied by troops of the Electorate of Bavaria after the Bishopric of Würzburg was secularized. From 1805 to 1814, Marienberg was a fortress of the Grand Duchy of Würzburg, part of the Confederation of the Rhine, the puppet state of the First French Empire. In 1813/14, French troops tenaciously defended the fortress against coalition forces. The French Emperor Napoleon visited the fortress in 1806, in 1812 before the Russian campaign, and twice in 1813.

In 1814, Fortress Marienberg passed to the Kingdom of Bavaria. The Prussians under Edwin Freiherr von Manteuffel bombarded the fortress from the south in 1866 during the Austro-Prussian War. Marienberg lost its official status as "fortress" in 1867. During the Franco-Prussian War of 1870/71 it was used as a garrison and prison camp. Due to disuse, by 1900 the fortress had fallen into disrepair.

From 1914 to 1918, during World War I, the fortress served as barracks for artillery. During the German revolution, revolutionaries seized control of the fortress in 1918 but it was retaken by government troops. After the war, the Fürstenbau served as a barracks for the Landespolizei (state police), as a military depot and as an emergency accommodation (100 apartments). In 1935, the Bavarian Administration of State-Owned Palaces, Gardens and Lakes became the owner of the fortress and began its restoration.

Towards the end of World War II, the Echterbastei served as a medical depot and then as a depository of cultural treasures. During the bombing of Würzburg by the Royal Air Force on 16 March 1945, significant parts of the fortress were destroyed by fire caused by incendiary bombs. Reconstruction commenced after 1950 and was finished only in 1990.

Architecture
Given the repeated destruction of the fortress' structures over the centuries, most recently and significantly in the bombing of 1945, many of the edifices visible today have been reconstructed to a lesser or greater extent. References in the following to a specific period thus do not necessarily imply that the substance of the extant structure dates to that period—it may have been rebuilt in the period's style.

Inner court

The inner court features the free-standing Romanesque 13th century Bergfried (keep), the Renaissance well house from 1603 and the Marienkirche (or St Mary's Church). The Bergfried was originally known as Mittlerer Turm or Wartturm; the actual keep of the fortress was the predecessor of today's Kilianstum. The church's foundations go back to the 8th century, but the structure has seen repeated alterations over the centuries. While the basic form of two cylinders placed on top of each other remains, the building's proportions were changed in the 13th century and the size of the windows increased. The domed roof and the Echterchor were added by Bishop Echter. The interior also mostly dates to his reign, and reflects the Renaissance style with first indications of the coming Baroque period. The altars inside are Baroque.

Fürstenbau

Surrounding the inner court is the four-wing Fürstenbau. Three of its four corners are marked by towers named (clockwise from the northwest) Kiliansturm, Marienturm and Randersackererturm. These mostly date to the rebuilding of the castle in the early 17th century. The Fürstenbau itself mostly reflects later 16th/17th century architecture and design but also features the Bibra Treppe (stairway) built in 1511. In the great hall (Fürstensaal) some 13th-century structures have been revealed.

Fortifications and Vorburg
The Fürstenbau is surrounded by medieval fortifications (walls and towers), enclosing an outer ward known as Scherenbergzwinger (actually built under Bishop Otto von Wolfskeel). To the east this includes the Fürstengarten, a formal Baroque garden facing the city. Entrance to the inner castle is via the Gothic Scherenbergtor.

Beyond a moat, crossed by a stone bridge which in 1716 replaced the previous drawbridge, lie the outer ring of fortifications and the Echtersche Vorburg. This three-wing part of the fortress includes a large horse trough in the middle of a courtyard, stables and the Echterbastei with Echtertor. Most of these were built during Bishop Echter's reign and under his successors in the 17th century.

Outer court and outer bastions
The outer court is made up of the Neues Zeughaus and the Kommandantenhaus (both early 18th century). Access to this part of the fortress is by the Schönborntor.

The outer bastions surrounding the castle – Bastei Cesar, Bastei St. Johann Nepomuk, Bastei St. Johann Baptist and Bastei St. Nikolaus – were built under Johann Philipp von Schönborn from 1649 to 1658.

Further out, more bastions once existed, but some were built over or are now covered by parks. However, extensive outworks from the early 18th century remain around the core fortress, notably to the west. These are pierced by the inner and outer Höchberger Tor.

To the south is the squat Maschikuliturm, designed by Balthasar Neumann, architect of the Residenz, the last tower to be added to the fortress in the 1720s. The south-easternmost point is the bastion Höllenschlund.

Today
Today, Festung Marienberg is mostly accessible to the public. This includes the Scherenbergtor (gate), the Burgfried (keep), Saint Mary's Church and the well house.

Since 1946, the Baroque Zeughaus (armory), originally built 1702-1712 but reconstructed after being destroyed in 1866 and 1945, houses the Museum für Franken, formerly the , a collection of Franconian works of art from the Middle Ages to the Baroque period, including world-famous Gothic sculptures by Tilman Riemenschneider. There is also a collection of earlier artefacts from Franconia, stretching back to the Paleolithic period. Founded in 1913 as Fränkisches Luitpoldmuseum in the town, the museum's previous location was destroyed by British bombers in March 1945. In 1950–1954, the Echterbastei (also damaged in the bombing) was rebuilt and the museum expanded into this part of the fortress.

The Fürstenbaumuseum in the Fürstenbau (palas) of the fortress, established in the 1930s (originally as two museums), relates 1,200 years of the history of Würzburg and the fortress. It features the Bibra Stairs and apartments, and the Julius Echter apartments. These do not contain the original furnishments, which were either lost in the Swedish sacking of the castle or transported to the new Residenz in 1720, but period pieces. There are also exhibits of ecclesial treasures.

There are two restaurants in the fortress.

title: Marienberg Fortress


text:
Vladimir Rebikov

Vladimir Ivanovich Rebikov (Влади́мир Ива́нович Ре́биков, Vladi'mir Iva'novič Re'bikov; May 31 [OS May 19] 1866 – August 4, 1920) was a late romantic 20th-century Russian composer and pianist.

Biography
Born in Krasnoyarsk, Siberia, Russia, into a family of distant Tatar ancestry, Rebikov began studying the piano with his mother. His sisters also were pianists. He graduated from the Moscow University faculty of philology. He studied at the Moscow Conservatory with N. Klenovsky, a pupil of Pyotr Ilyich Tchaikovsky, and then for three years in Berlin and Vienna with K. Mayrberger (music theory), O. Jasch (instrumentation), and T. Müller (piano). Rebikov taught and played in concerts in various parts of the Russian Empire: Moscow, Odessa, Kishinev, Yalta, as well as in Berlin, Vienna, Prague, Leipzig, Florence and Paris, where he met Claude Debussy, Oskar Nedbal, Zdeněk Nejedlý, and others. Rebikov settled in Yalta in 1909, and died there.

Legacy
Early works suggest the influence of Tchaikovsky. He wrote lyrical piano miniatures (suites, cycles, and albums), children's choruses and songs. One of his vocal cycles is called Basni v litsach (The Fables in Faces) after Ivan Krylov. He wrote also a stage work Krylov's Fables (c. 1900).

He used new advanced harmony such as seventh and ninth chords, unresolved cadences, polytonality, and harmony based upon open fourths and fifths. He was also experimenting with novel forms, for instance, in his piano pieces, Mélomimiques Op. 10 (1898), and Rythmodéclamations in which music and mime are combined, and he introduced a type of musical pantomime known as "melo-mimic" (or "melomimic") and "rhythm-declamation" (see melodeclamation). His orchestral and stage works include more than ten operas, such as Yolka (Ёлка - The Christmas Tree), and two ballets.

His children's music is the most notable of all his works. He continued the Russian penchant for the whole tone scale, using it in the piece Les demons s'amusent, included in the melomimic suite Les Rêves (Dreams, 1899).

Quotations
"Rebikov was already a forgotten figure by the time of his death at age 54. He was bitter and disillusioned, convinced wrongly that composers such as Debussy, Scriabin, and Stravinsky had made their way into public prominence through stealing his ideas. Rebikov is best known by way of his insubstantial music in salon genres. Rebikov's role as an important early instigator of twentieth-century techniques deserves to be more widely recognized." (Uncle Dave Lewis, Allmusic)

Piano

 * Escalavage et Liberte (Op. 22)
 * Scenes bucoliques (Op.28)
 * Feuilles d'automne (Op.29)
 * Une fete (Op. 38)
 * Chansons blanches (Op.48)
 * 3 Idylles (Op. 50)

Opera

 * V grozu (''В грозу — In the Storm, Op. 5, after Vladimir Korolenko 1863, premiered 1894, Odessa)
 * Bezdna (Бездна — Abyss after Leonid Andreev, 1907)
 * Zhenshchina s kinzhalom (Женщина с кинжалом — The Woman with a Dagger after Arthur Schnitzler, 1910)
 * Dvoryanskoye Gnezdo (Дворянское Гнездо — A Nest of Nobles, Op. 55, Op. 55 after Ivan Turgenev, 1916)
 * Yolka (Ёлка - The Christmas Tree after Fyodor Dostoevsky, Hans Christian Andersen and Gerhart Hauptmann, 1900, staged 1903).

title: Vladimir Rebikov


text:
Adrian Knox

Sir Adrian Knox KCMG PC KC (29 November 1863 – 27 April 1932) was an Australian lawyer and judge who served as the second Chief Justice of Australia, in office from 1919 to 1930.

Knox was born in Sydney, the son of businessman Sir Edward Knox. He studied law at Trinity College, Cambridge, and after returning to Australia established a successful law firm. He was elected to the New South Wales Legislative Assembly in 1894, but retired in 1898 after just two terms in office. Knox eventually became one of the best known barristers in New South Wales, taking silk in 1906 and appearing frequently in major constitutional cases. In 1919, he was somewhat unexpectedly nominated by Billy Hughes to succeed the retiring Samuel Griffith as Chief Justice. The most famous decision of his tenure was the Engineers case of 1920.

Early life
Knox was born in Sydney on 29 November 1863, the son of Sir Edward Knox and the former Martha Rutledge. His mother was born in Ireland, and was the sister of the Victorian politician William Rutledge. His father was born in England, and was the founder of the Colonial Sugar Refining Company. Knox attended private schools in Sydney and was then sent to England to complete his education. After a period at Harrow School, he went on to study law at Trinity College, Cambridge, graduating in 1885. Shortly after, he was admitted to the Inner Temple, allowing him to practise as a barrister.

Legal career
Knox returned to Australia in 1886 and joined his brother George in practising law. When George died in 1888, Adrian took over the practice, and soon became one of the most successful lawyers at the Sydney bar. Between 1888 and 1890, he reported equity cases for the New South Wales Law Reports.

Knox was elected to the New South Wales Legislative Assembly at the 1894 election for the seat of Woollahra. After being reelected at the 1895 election, he retired from the parliament in 1898, to concentrate on his legal career. At this time, he was also a director of the Australian Mutual Provident Society and a founding member of the Walter and Eliza Hall Trust.

Knox was made a King's Counsel in 1906, and shortly after was offered a position on the bench of the Supreme Court of New South Wales, which he declined. Also in 1906, Knox became Chairman of the Australian Jockey Club, indulging his passion for horse-racing. In 1910, Knox's horse "Vavasor" won the Sydney Cup. He remained chairman until 1919. During World War I, Knox left his practice and traveled to Egypt, where he served as a Commissioner for the Red Cross. He served on the NSW Bar Council from its foundation in 1902 until 1910, and again from 1916 to 1919.

Judicial career
Soon after Knox returned from Egypt, Sir Samuel Griffith retired as the first Chief Justice of the High Court of Australia. In October 1919, Prime Minister Billy Hughes nominated Knox for appointment as the second. His appointment was received somewhat poorly by Sir Edmund Barton, who as the senior judge on the court and a former prime minister felt a certain entitlement to the position. Knox sat on a number of judicial committees in this capacity, including one which investigated the British Government's authority to establish the Boundary Commission for Northern Ireland. During his time as Chief Justice, Knox presided over such significant cases as the Engineers' case of 1920.

Knox was one of six justices of the High Court to have served in the Parliament of New South Wales, along with Edmund Barton, Richard O'Connor, Albert Piddington, Edward McTiernan and H. V. Evatt.

In 1930, Knox was left half of the estate of his friend and mining magnate John Brown, which was reportedly worth more than a million pounds, and in March 1930 he retired from the High Court in order to manage this business. Knox died in Woollahra on 27 April 1932 and is interred in Waverley Cemetery. He was survived by his wife and three children.

He was a book collector and his private library was considered one of the best in Sydney.

Honours
In 1918, Knox was made a Companion of the Order of St Michael and St George (CMG), and in 1921 he was elevated to Knight Commander of that order (KCMG). He was appointed to the Privy Council of the United Kingdom in 1920, allowing him to use the style "The Right Honourable". Knox was an inaugural inductee of the Australian Racing Hall of Fame, which was established in 2001. The Adrian Knox Stakes is an AJC Group 3 Australian Thoroughbred quality handicap horse race named in honour of Knox which is held annually at Randwick Racecourse in Sydney in September

title: Adrian Knox


text:
Vittorio Rieti

Vittorio Rieti (January 28, 1898 – February 19, 1994) was an Italian and American composer.

Biography
Rieti was born to a family of Jewish descent in Alexandria, Kingdom of Egypt. He later moved to Milan to study economics. Subsequently, he studied music in Rome with Ottorino Respighi and Alfredo Casella, and lived there until 1940.

In 1925, he temporarily moved to Paris and composed music for George Balanchine's ballet for Serge Diaghilev's Ballets Russes, Barabau. He met his wife in Alexandria. He was a cousin of actor Vittorio Rietti.

He emigrated to the United States in 1940, becoming a naturalized American citizen on June 1, 1944. He taught at the Peabody Conservatory of Music in Baltimore (1948–49), Chicago Musical College (1950–54), Queens College, New York (1958–60), and New York College of Music (1960–64). He died in New York on 19 February 1994.

Selected works

 * Ballet
 * Barabau (1925)
 * Le bal (1929)
 * La Sonnambula (1946)

 * Orchestral
 * Symphony No. 3 (1932)
 * Symphony No. 4 (1942)
 * Suite "La Fontaine" (1968)

 * Concertante
 * Piano Concerto No. 3 (1955)
 * Concerto for harpsichord and orchestra (1952–1955, 1972)
 * Cello Concerto No. 2 (1953)
 * Triple Concerto for violin, viola, piano and orchestra (1971)

 * Chamber music
 * Capriccio for violin and piano (1941)
 * Partita for harpsichord, flute, oboe, 2 violins, viola and cello (1945)
 * String Quartet No. 3 (1951)
 * Woodwind Quintet (1957)
 * String Quartet No. 4 (1960)
 * Concertino for 5 Instruments for flute, viola, cello, harp and harpsichord (1963)
 * Pastorale e fughetta for flute, viola and piano (or harpsichord) (1966)
 * Sonata à 5 for flute, oboe, clarinet, bassoon and piano (1966)
 * Incisioni for brass quintet (1967)
 * Silografie for flute, oboe, clarinet, horn and basson (1967)
 * Sestetto pro Gemini for flute, oboe, piano, violin, viola and cello (1975)

 * Keyboard
 * Second Avenue Waltzes for 2 pianos (1942)
 * Sonata all' Antica for harpsichord (1946)
 * Suite champêtre for 2 pianos (1948)
 * Medieval Variations (1962)
 * Chorale, variazioni e finale for 2 pianos (1969)

 * Film music
 * Your Money or Your Life, directed by Carlo Ludovico Bragaglia (1933)
 * Ritorno alla terra, directed by Mario Franchini (1934)
 * Amore, directed by Carlo Ludovico Bragaglia (1935)
 * The Happy Road (La route heureuse), directed by Georges Lacombe (1936)
 * The Cuckoo Clock, directed by Camillo Mastrocinque (1938)

title: Vittorio Rieti


text:
Talk:Pope hat

This page was voted on for deletion at Votes for deletion/Pope hat. dbenbenn | talk 23:58, 8 Feb 2005 (UTC)

title: Talk:Pope hat


text: Talk:Vittorio Rieti

title: Talk:Vittorio Rieti


text:
User talk:DoctorObvious

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! -- Francs2000 | Talk 00:00, 9 Feb 2005 (UTC)
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style

"To Know a Jedi"
I have moved this to Wikinerds, as I know you spent time on it. The consensus was to delete I'm afraid, so that's what I'm about to do. - Ta bu shi da yu 06:36, 21 Feb 2005 (UTC)

title: User talk:DoctorObvious


text:
Talk:Atlanta Nights

Don't understand
I don't understand--vanity publishers publish whatever you pay them to publish. They have no real standards. This is not a revelation. It's part of the definition of vanity publisher. Why is this worthwhile (much less something like the Sokal Hoax)? --Fastfission 00:01, 9 Feb 2005 (UTC)

 * The issue was that PublishAmerica claimed not to be a vanity press - they claimed to be a Real Publisher, with Editorial Standards, &c. &c. - ie, not to show up vanity presses, but to show up this particular one. Shimgray 00:06, 9 Feb 2005 (UTC)
 * Not only that, but apparently PublishAmerica is one of those scammy vanity presses that promise hopeful authors enormous sales and royalties - but first, there are a few start-up costs. Advertising, editing fees, etc. - none of which is actually done. These sorts of publishers victimize people who don't know that if a traditional publisher really thought their book would sell that well then they would be paying for all that, in hopes of making it back from their cut of the book's cover price. Bryan 01:42, 9 Feb 2005 (UTC)
 * See for example Jason D. Fodeman, whose PublishAmerica book was covered in the news media as if it had been accepted by a traditional publisher. -- Antaeus Feldspar 01:55, 9 Feb 2005 (UTC)
 * It doesn't say so in the article, but I'm guessing that those who perpetrated the hoax paid for the book to be published, as you have to do with vanity publishers. Whether or not the author has to pay is the real criterior for being a vanity publisher. - Matthew238 00:19, 16 November 2005 (UTC)

PublishAmerica are known to take exception to being described as a vanity publisher, therefore blatantly calling them one may be a little risky, and is almost certainly not neutral POV (there do seem to be some good arguments to support their position, most notably that they claim not to charge upfront fees to the author). Perhaps 'alleged vanity publisher' would be a better phrasing? -- anon
 * No - they didn't have to pay to be published. PublishAmerica doesn't directly charge for their books to be printed, but the authors typically have to pay when they buy their books from the company and try to sell them themselves.  Blackcats 02:29, 13 December 2005 (UTC)

The problem is that the article currently depicts them from the beginning as just being a vanity publisher--as such it is no surprise that they published whatever they were paid to. As it stands, it is about as exciting as a "hoax" with poetry.com whereby I get them to publish a crappy poem (and then try to sell it to me in an anthology)--not terribly surprising. I also dare to say that I think comparisons with the Sokal Affair are a bit strained--I don't think most people assume Science Fiction to be pretend to be quite as important as does academia. --Fastfission 00:41, 1 Mar 2005 (UTC)

PA Quote
As a question of style, should the phrase "science fiction authors" in the PA quote be a wikilink? It doesn't feel right to me, somehow. I don't really remember anything from the Wiki Manual of Style that's directly on point here, but it seems to me that wikilinks inside attributed quotes should probably be reserved for words or terms whose meaning a reader might reasonably be expected not to know otherwise, since it's not like the original source quote already had those links in it. --Ray Radlein 18:29, Feb 10, 2005 (UTC)

 * It isn't supposed to be a wikilink -- it's supposed to indicate that a portion of the sentence has been replaced with what the context makes clear that it refers to. The original quotes:

 * They have no clue about what it is to write real-life stories, and how to find them a home.
 * But, alas, the SciFi and Fantasy genres have also attracted some of the lesser gods, writers who erroneously believe that SciFi, because it is set in a distant future, does not require believable storylines, or that Fantasy, because it is set in conditions that have never existed, does not need believable every-day characters.

 * So phrases that meant "science fiction authors" were replaced with " [Science fiction authors] " to clarify what the quote meant but acknowledge that those exact words did not occur at that place in the quote. -- Antaeus Feldspar 22:28, 10 Feb 2005 (UTC)

 * If my brain had been working a little bit better at the time, I would have noticed that the wikilinks had appeared in place of the square brackets that had originally been there, and I (hopefully) would have figured out that someone had simply thought they were correcting an unfortunate typo when they wikified them. Duh. Oh well. Thanks! --Ray Radlein 23:53, Feb 10, 2005 (UTC)

Merge with Atlanta_Nights_hoax?
The info on these two pages are almost identical. demo 08:11, 2005 Mar 29 (UTC)

 * Yeah. I think merging that article into this one would be the best approach; that way this article can continue sitting in the "2005 books" category with a title the same as that of the book. I'll add the templates and do the merging tomorrow sometime if nobody objects. Bryan 08:23, 29 Mar 2005 (UTC)

Removed speculation from article

 * The following text was removed from the article because it appeared to be original research:

There is, however, a question if this "hoax" isn't a "hoax" in and of itself. Some say that the writers didn't allow PA to publish their work because their lawyers advised them not to. However, this only leaves hearsay evidence. PublishAmerica has said nothing about the incident in a public form. Plus, what the authors set out to prove they didn't prove. SFFWA claims that they get hundreds of complaints about the company. However, what kinds of complaints can they get; especially in comparison to what the athors set out to prove.

The Possibilities are:

They won't publish my manuscript? That would prove that PublishAmerica does what it says. Not just anything will get published.

They don't "improve" my work? Better and more in line with what the "hoax" authors intended to show.

They did publish my work? That could easily prove what the "hoax" writers were trying to show. However, it also undercuts why anyone would be complaining who wanted to get their work published.

The company didn't do ALL the things they promised? This can show that PublishAmerica is a bad company. Yet, it doesn't seem to cover the question the "hoax" authors set out to prove.

None of the questions prove the incident didn't happen, but it does bring it in doubt to some extent.

 * I copied it here because there might be something salvageable. However...  I doubt it.  We have "This only leaves hearsay evidence" immediately after hearsay evidence presented with that famously elusive "Some say..."  Honestly, the more I look at it the more I regret even saving it; all it offers is "If we leap to the conclusion that every single thing said about the incident by anyone other than PublishAmerica is a lie, here are some alternate conclusions we can invent." -- Antaeus Feldspar 9 July 2005 16:42 (UTC)

False Link?
The reference in the main article from Andrew Burt (as having written a chapter of the book) links to the British actor of that name. I suspect that this is a false link, as there is no indication in the article that he has written anything, let alone being a known science fiction author. However, I would like a second opinion before deleting the link. Jon Rob

 * I'd suggest not deleting it, but rather disambiguating it to Andrew Burt. Eventually someone may write an article about the writer as well and this will make it easier to ensure it's linked up properly. Bryan Derksen 06:56, 27 February 2007 (UTC)

Submission, acceptance and then repudiation
The article section with the same title (above), contains this line: The contract was reviewed with legal counsel, and the decision was made not to carry the hoax to actually publishing the book.

I had to re-read it a couple of times because the passive voice makes it unclear who's counsel conducted the review. I assume it was the hoaxers, but can we confirm this?

--UnicornTapestry (talk) 16:29, 2 January 2009 (UTC)

Chapter 38?
Who wrote chapter 38? There's no author listed, nor is there any reason given why it wouldn't have needed an author (like there is for chapters 17 and 34), nor any mention of it in preceding text, so, ah, what is it? Twin Bird (talk) 04:32, 30 May 2009 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 1 one external link on Atlanta Nights. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20081030100139/http://www.scifidimensions.com:80/May05/ahschadenfreud.htm to http://www.scifidimensions.com/May05/ahschadenfreud.htm
 * Added tag to ftp://ftp.sff.net/pub/people/doylemacdonald/sting/Contract.pdf

When you have finished reviewing my changes, please set the checked parameter below to true or failed to let others know (documentation at ).

Cheers.— InternetArchiveBot  (Report bug) 20:50, 20 October 2016 (UTC)

General notability
This article reads like it was written by the authors of their book, who were particularly smug about their accomplishment. Their findings were not notable, influential or even interesting. This reads like a weak prank that is unsuitable for an encyclopedia.2.98.54.161 (talk) 21:13, 26 May 2017 (UTC)

title: Talk:Atlanta Nights


text:
User talk:Lisa*Marie

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! -- Francs2000 | Talk 00:01, 9 Feb 2005 (UTC)
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style

Re: Ken Andrews
I apologize for the misunderstanding; Wikipedia does have this ability to spread false information. I was suspicious and wanted to make sure because your edits were not cited. Feel free to add information from the biography, as long as it is written in a neutral point of view. Please reference it as well, whether from Dinosaur Fight Records, the Big Hassle page, and/or his MySpace. I will go ahead and do this, and you can change it back if there is a more primary source that I have missed. -Pomte 16:30, 9 February 2007 (UTC)

Disputed fair use rationale for Image:Cmartin stromata.jpg
Thanks for uploading Image:Cmartin stromata.jpg. However, there is a concern that the rationale you have provided for using this image under "fair use" may be invalid. Please read the instructions at Non-free content carefully, then go to the image description page and clarify why you think the image qualifies for fair use. 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 it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our criteria for speedy deletion. If you have any questions please ask them at the media copyright questions page. Thank you.BetacommandBot (talk) 19:40, 22 December 2007 (UTC)

Replaceable fair use Image:Cmartin small.jpg
Thanks for uploading Image:Cmartin small.jpg. I noticed the description page specifies that the media is being used under a claim of fair use, but its use in Wikipedia articles fails our first non-free content criterion in that it illustrates a subject for which a freely licensed media could reasonably be found or created that provides substantially the same information. If you believe this media is not replaceable, please:

 * 1) Go to the media description page and edit it to add, without deleting the original replaceable fair use template.
 * 2) On the image discussion page, write the reason why this image is not replaceable at all.

Alternatively, you can also choose to replace this non-free media by finding freely licensed media of the same subject, requesting that the copyright holder release this (or similar) media under a free license, or by taking a picture of it yourself.

If you have uploaded other non-free media, consider checking that you have specified how these images fully satisfy our non-free content criteria. You can find a list of description pages you have edited by clicking on [ this link]. Note that even if you follow steps 1 and 2 above, non-free media which could be replaced by freely licensed alternatives will be deleted 2 days after this notification (7 days if uploaded before 13 July 2006), per our non-free content policy. If you have any questions please ask them at the Media copyright questions page. Thank you. Yamla (talk) 18:01, 5 February 2008 (UTC)

Fair use rationale for Image:Cmrepro cover.jpg
Thanks for uploading or contributing to Image:Cmrepro cover.jpg. I notice the image page specifies that the image is being used under fair use but there is not a suitable explanation or rationale as to why each specific use in Wikipedia constitutes fair use. Please go to the image description page and edit it to include a fair use rationale.

If you have uploaded other fair use media, consider checking that you have specified the fair use rationale on those pages too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any non-free media 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. Yamla (talk) 18:03, 5 February 2008 (UTC)

Fair use rationale for Image:Oyscover.jpg
Thanks for uploading or contributing to Image:Oyscover.jpg. I notice the image page specifies that the image is being used under fair use but there is not a suitable explanation or rationale as to why each specific use in Wikipedia constitutes fair use. Please go to the image description page and edit it to include a fair use rationale.

If you have uploaded other fair use media, consider checking that you have specified the fair use rationale on those pages too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any non-free media 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. Yamla (talk) 18:03, 5 February 2008 (UTC)

Replaceable fair use File:CharlotteMartin DancingonNeedlesAlbum TakenByErinRussell.jpg
Thanks for uploading File:CharlotteMartin DancingonNeedlesAlbum TakenByErinRussell.jpg. I noticed the description page specifies that the media is being used under a claim of fair use, but its use in Wikipedia articles fails our first non-free content criterion in that it illustrates a subject for which a freely licensed media could reasonably be found or created that provides substantially the same information or which could be adequately covered with text alone. If you believe this media is not replaceable, please:

 * 1) Go to the media description page and edit it to add, without deleting the original replaceable fair use template.
 * 2) On the image discussion page, write the reason why this image is not replaceable at all.

Alternatively, you can also choose to replace this non-free media by finding freely licensed media of the same subject, requesting that the copyright holder release this (or similar) media under a free license, or by taking a picture of it yourself.

If you have uploaded other non-free media, consider checking that you have specified how these images fully satisfy our non-free content criteria. You can find a list of description pages you have edited by clicking on [ this link]. Note that even if you follow steps 1 and 2 above, non-free media which could be replaced by freely licensed alternatives will be deleted 2 days after this notification (7 days if uploaded before 13 July 2006), per our non-free content policy. If you have any questions please ask them at the Media copyright questions page. Thank you. We hope (talk) 00:39, 28 June 2011 (UTC)

File permission problem with File:BF wtka warner.jpg
Thanks for uploading File:BF wtka warner.jpg, which you've attributed to (c) Warner Bros. I noticed that while you provided a valid copyright licensing tag, there is no proof that the creator of the file has agreed to release it under the given license.

If you created this media entirely yourself but have previously published it elsewhere (especially online), please either
 * make a note permitting reuse under the CC-BY-SA or another acceptable free license (see this list) at the site of the original publication; or
 * Send an email from an address associated with the original publication to permissions-en@wikimedia.org, stating your ownership of the material and your intention to publish it under a free license. You can find a sample permission letter here. If you take this step, add OTRS pending to the file description page to prevent premature deletion.

If you did not create it entirely yourself, please ask the person who created the file to take one of the two steps listed above, or if the owner of the file has already given their permission to you via email, please forward that email to permissions-en@wikimedia.org.

If you believe the media meets the criteria at Non-free content, use a tag such as non-free fair use or one of the other tags listed at File copyright tags, and add a rationale justifying the file's use on the article or articles where it is included. See File copyright tags for the full list of copyright tags that you can use.

If you have uploaded other files, consider checking that you have provided evidence that their copyright owners have agreed to license their works under the tags you supplied, too. You can find a list of files you have created in [ your upload log]. Files lacking evidence of permission may be deleted one week after they have been tagged, as described on criteria for speedy deletion. You may wish to read the Wikipedia's image use policy. If you have any questions please ask them at the Media copyright questions page. Thank you.  Ron h jones  (Talk) 17:15, 27 April 2013 (UTC)

title: User talk:Lisa*Marie


text:
Night of the Dead

The Night of the Dead is a whole night of horror films shown as part of the annual Leeds International Film Festival. Beginning in 2001, it has become a firm fan favourite, selling out well before the event. Since Night of the Dead V, this event has taken place at the Hyde Park Picture House in Leeds, England.

As well as the films there is plenty of banter between films between the "organisers" and the audience. There is the giving away of prizes either for doing, not doing or claiming to have done things that those running the event deem worthy. There is also often an appearance by somebody involved with the making of one of the films shown for a Q&A session.

Night of the Dead IV
This took place from midnight on 6 November 2004. The films shown were I'll See You In My Dreams (a short), Graveyard Alive: A Zombie Nurse in Love, El Ciclo (another short), Monster Man, Una de Zombis and Black Sunday. Night of the Dead IV was the last to take place at the Lounge Cinema.

Night of the Dead V
Kicking off at midnight of 12 November 2005 with the short film The French Doors, the event continued, alternating between long and short with Loft, Jona/Tomberry, Boy Eats Girl (starring Samantha Mumba), Something Red, Zombie Honeymoon, 12 Hot Women, and finally Gusha No Bindume (or "Hellavator").

Night of the Dead VI
On the 11th (technically 12th) day of November in 2006, at the stroke of midnight began the sixth annual Night of the Dead. This occasion began its series of alternating shorts and longs with Deadly Tantrum, followed by Unrest, Monsters, Expiry Date, Home Video, Broken, Repose en Paix and Wild Zero.

Night of the Dead VII
The seventh Night of the Dead took place at the stroke of midnight Saturday 10 November 2007, finishing in the early hours of Sunday morning. The four main features at the event were Storm Warning, End of the Line, Fritt Vilt ("Cold Prey") and Zibahkhana ("Hell's Ground"). Events kicked off as usual with a horror short entitled Still Life (a film with a striking resemblance to the Doctor Who episode Blink), and the audience was treated to a short between each film as well. The last of the shorts, The Fifth, features Sam Lloyd (Ted from Scrubs).

title: Night of the Dead


text:
User talk:Daven1214

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! -- Francs2000 | Talk 00:02, 9 Feb 2005 (UTC)
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style

AfD nomination of Ocean State Job Lot
Ocean State Job Lot, an article you created, has been nominated for deletion. We appreciate your contributions. However, an editor does not feel that Ocean State Job Lot satisfies Wikipedia's criteria for inclusion and has explained why in the nomination space (see also "What Wikipedia is not" and the Wikipedia deletion policy). Your opinions on the matter are welcome; please participate in the discussion by adding your comments at Articles for deletion/Ocean State Job Lot and please be sure to sign your comments with four tildes ( ~ ). You are free to edit the content of Ocean State Job Lot during the discussion but should not remove the articles for deletion template from the top of the article; such removal will not end the deletion discussion. Thank you.  New England  Review Me!/ Go Red Sox! 00:01, 30 August 2007 (UTC)

Speedy deletion nomination of Ricciardi

A tag has been placed on Ricciardi, requesting that it be speedily deleted from Wikipedia. This has been done for the following reason:

the two incoming links do not refer to J. P. Ricciardi

Under the criteria for speedy deletion, articles that do not meet basic Wikipedia criteria may be deleted at any time.

If you think that this notice was placed here in error, contest the deletion by clicking on the button labelled "Click here to contest this speedy deletion". Doing so will take you to the talk page where you will find a pre-formatted place for you to explain why you believe the page should not be deleted. You can also visit the the page's talk page directly to give your reasons, but be aware that once tagged for speedy deletion, if the page meets the criterion, it may be deleted without delay. Please do not remove the speedy deletion tag yourself, but don't hesitate to add information to the page that would render it more in conformance with Wikipedia's policies and guidelines. If the page is deleted, you can contact one of these administrators to request that the administrator userfy the page or email a copy to you. 188.152.134.62 (talk) 22:37, 8 October 2011 (UTC)

title: User talk:Daven1214


text:
Talk:Night of the Dead

links
I've just tidied up the links to film titles, but someone more familiar with the festival might like to check that they now all point to the right films, or are redlinks if the films aren't in WikiPedia. eg I amended Storm Warning to Storm Warning (2007 film) as the only film on the disambiguation page was Storm Warning (film) 1951 starring Ronald Reagan! PamD 12:29, 15 November 2007 (UTC)

HotD
This year started an anime alike the NotD called High School of the Dead, should it be typed in here or not - you decide, I just thought that this is quite important. Entroop (talk) 15:57, 10 July 2010 (UTC)

Venue
"Night of the Dead IV was the last to take place at the Lounge Cinema."

Not sure about the first two but Night of the Dead III was at Hyde Park Picture House. I think IV might have been the only one at the Lounge.

The line-up for III was Bubba Ho-Tep, Undead, House Of The Dead, Mucha Sangre and Beyond Re-Animator (though I think House of the Dead might have been subbed for something else - I was there and have literally no memory of seeing it at all :) ) — Preceding unsigned comment added by 81.106.194.111 (talk) 21:39, 4 March 2015 (UTC)

title: Talk:Night of the Dead


text:
Cooler (disambiguation)

A cooler is a cool box; a device, container, or room that cools or keeps its contents cool.

Cooler or The Cooler may also refer to:

Alternate terms for

 * Refrigerator
 * Prison
 * Bouncer (doorman)

Industry and technology

 * Evaporative cooler, a type of humidifier used in place of an air conditioner
 * Cooler (oil), a radiator to cool engine oil in an engine
 * Computer cooler, the system for cooling of computer components
 * Laptop cooler, a pad or mat for cooling laptop or notebook computers
 * Intercooler, an air-to-air or air-to-liquid heat exchange device

Entertainment and recreation

 * Cooler, in poker terminology, a strong poker hand that loses to a stronger one
 * Cooler (or C**ler), a 1996 album by Collapsed Lung
 * Cooler (Dragon Ball), a fictional character in Dragonball Z movies
 * The Cooler, a 1974 spy novel by George Markstein
 * The Cooler, a 2003 American film
 * "The Cooler" (Adventure Time), a 2014 TV episode
 * The Cooler (night club), a music and performance venue in New York City

Food and beverage

 * Wine cooler, an alcoholic beverage made from wine and fruit juice
 * Water cooler, a device that cools and dispenses water
 * Boston cooler, ginger ale and vanilla ice cream
 * Sherbet cooler, sherbet, vanilla syrup, and seltzer water

title: Cooler (disambiguation)


text:
Lincoln Park (Seattle)

Lincoln Park is a 135 acre park in West Seattle alongside Puget Sound. The park's attractions include forest trails, a paved walkway along the beach, athletic fields, picnic shelters, and a heated saltwater swimming pool which is open during the summer. The park is adjacent to the Fauntleroy neighborhood.

History
The park occupies a headland called Williams Point. The Duwamish called the area "Tight Bluff" (Lushootseed: CHuXáydoos), referring to the dense plant growth.

The city of Seattle approved acquisition of the park in 1922 as had been recommended by the Olmsted Brothers Landscape Architecture firm in 1908. The park was called Williams Point Park by the Olmsted Brothers but was named Fauntleroy Park by the city. The park was eventually renamed to honor Abraham Lincoln.

The Olmsted Brothers were never commissioned to develop a plan and the park was developed without any particular design vision.

In 1925 the city of Seattle built a dirt sided swimming pool at Point Williams where there had been a natural lagoon. A wood sluice gate allowed the Lincoln Park Swimming Pool to be filled with salt water at high tide and drained at low tide. The construction of the pool coincided with a convention of the Knights Templar, about 500 of whom camped in the park.

In the 1930s the WPA and other American New Deal agencies built trails, seawalls, playgrounds and tennis courts in the park.

In 1941, Seattle pioneer descendant Kenneth Colman donated Lincoln Park's Colman Pool to the city of Seattle as a memorial to his father Laurence. The saltwater Colman Pool was built over the site of the tide-fed swimming pool that the city had constructed in 1925. The lobby of the pool's building has a mural by Ernest Norling. The pool was integrated in 1944 after demonstrations by African American students from the University of Washington.

In the late 1960s and early 1970s Forward Thrust allocated approximately $900,000 to Lincoln Park for the improvement of its facilities. Among the projects were tennis courts and washrooms.

In 1985 and again in 1988 the Army Corps of Engineers oversaw projects to stabilize the 1930s era seawall and protect Colman Pool and other structures at Williams Point. For the 1988 project, approximately 40,000 tons of rocks were deposited along the seawall and around Williams Point. A follow on study by the United States Fish and Wildlife Service found that the projects had a detrimental effect on the intertidal ecosystem.

In 2023, a 15 ft sculpture of a troll, named Bruun Idun, was built in Lincoln Park by Danish artist Thomas Dambo as part of the Northwest Trolls: Way of the Bird King project. A proposal to add a set of six pickleball courts to the park was rejected in 2024 after public outcry from local residents and conservationists, particularly birders.

Topography

Lincoln Park is composed of approximately 64% forested natural area, 16% developed landscape area, 12% shoreline and 8% recreation space (playground, ball fields, etc). The upland area includes open and forested portions, and is bordered to the west by a steep bluff that drops approximately 100 feet to the saltwater shoreline below. Vegetation includes open lawn with trees, intact and invaded native forest, madrona groves, beach grass, and landscape beds.

Per user-identified sightings logged on eBird, more than 150 species of birds have been observed in and around the park. Between 2017 and 2020 the Seattle chapter of the Audubon Society documented 61 species of birds in the park.

Lincoln Park hosts a variety of tree species. A grove of rare Dawn Redwoods was planted in the park in 2014.

A 2010 study found Lincoln Park's shoreline habitat to be one of the ecologically healthiest in Seattle.

title: Lincoln Park (Seattle)