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Talk:CFB Kingston

What are the references for this statement: "CFB Kingston is the home base for all CH-146 Griffon helicopters which are used to support the Canadian army's airlift requirements."

I don't think that is correct. I was posted to that base and there is no flight line there. I don't see how its possible that all the army's helos operate out of that base. —The preceding unsigned comment was added by Warspite (talk • contribs) 10:08, 8 February 2005 (UTC)

 * It's also NOT an air base. It used to belong to Training System and its successor organization before it was taken over by Land Force Command. The Wing is merely another lodger unit, same as the Communications School. SigPig 14:49, 23 July 2005 (UTC)

Technically, CFB Kingston is home to 1 Wing, and it's the home station for the entire Griffon fleet, even though there are no operational squadrons posted there. It's just the Headquarters, kind of like how the Royal Canadian Regiment's headquarters remains at Wolseley Barracks in London even though none of the Battalions are actually lodged there. —The preceding unsigned comment was added by 142.245.193.4 (talk • contribs) 13:44, 1 August 2006  (UTC)

 * My only point is that even if the entirety of Canada's air fleet was based out of Kingston, it is still an army base and controlled/"owned" by LFC (Land Force Central Area, for that matter), and would not become an air force base unless and until it was taken over by AIRCOM. If there is a list of CFBs in Canada, they should be listed under their appropriate element (LFC, AIRCOM, MARCOM, etc); major formations such as an Air Force wing which is a lodger unit on (say) an LFC base should be listed as just that: an air formation on an army base, just as 36 Brigade Group is an Army formation on a Navy base (CFB Halifax). --SigPig 19:27, 1 August 2006 (UTC)

Two quibbles with recent additions by User:Victoriaedwards.
 * The Environmental Assessment section is better-placed in the Royal Military College of Canada article
 * Is the Awards section, which is sourced from one a single page extracted from a boardroom bulletin, just too much information? I suggests this could be condensed into a single sentence, with an external link to the details in the bulletin.  StevenBlack (talk) 15:34, 26 October 2008 (UTC)
 * I agree with all your comments and suggestions. I also think the "Awards" section is totally out of context. I wouldn't say that RMC is part of CFB Kingston either. There is a relationship, but I thought they were separate entities. B C talk to me  16:55, 26 October 2008 (UTC)

Infobox airport — Helipad
Article CFB Kingston has no Infobox airport, and accordingly data Helipads. Independently I failed to find them. Help if you can. — Андрей Бондарь (talk) 14:41, 2 April 2014 (UTC)

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title: Talk:CFB Kingston


text: Template:Surveyor program

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

title: Template:Surveyor program


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Talk:Industrial railway/to do

 * Photos - add photos of industrial railways in several incarnations (narrow gauge, standard gauge, diesel, electric, etc)
 * Further expand the discussion of their use in hazardous locations, e.g. mining
 * Discuss motive power options that have been used, e.g. diesel, smokeless, electric, animal (like horse or mule)
 * Discuss what happens to the railraods and their equipment when they are no longer needed; for example, the Chicago tunnel railways described in Forty feet below: The story of Chicago's freight tunnels.

title: Talk:Industrial railway/to do


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Apache Trail

The Apache Trail in Arizona was a stagecoach trail that ran through the Superstition Mountains. It was named the Apache Trail after the Apache Indians who originally used this trail to move through the Superstition Mountains.

The historic Apache Trail linked Apache Junction (33.4152°N, -111.5807°W) at the edge of the Greater Phoenix area with Theodore Roosevelt Lake (33.6725°N, -111.1531°W), through the Superstition Mountains and the Tonto National Forest.

From Apache Junction heading northeast to Tortilla Flat, the Trail - named The E. Apache Trail (Arizona State Rt 88) at this point - is paved, turning into a dirt road a few miles east of Tortilla Flat, and continuing as such for nearly the full remainder of its length. The section east of Apache Junction is known officially as State Route 88. It is also the main traffic corridor through Apache Junction, turning into Main Street as the road passes into Mesa, and regains the Apache name by becoming Apache Boulevard in Tempe, ending at Mill Avenue. Prior to the completion of the Superstition Freeway in 1992, the Apache Junction portion of the Apache Trail was part of US Highway 60, which was rerouted to the Superstition Freeway once it was completed.

The Trail winds steeply through 40 mi of rugged desert mountains, past deep reservoir lakes like Canyon Lake and Apache Lake. The narrow, winding road is unpaved from just east of the town of Tortilla Flat to Roosevelt Dam; there are steep cliff drops and few safety barriers. The trail requires caution when driving and it is not recommended for large RVs, SUVs, or caravans. Some large RV rental companies in the US do not allow their vehicles to be taken on this route.

Fires and floods in 2019 resulted in a massive landslide between the Fish Creek Hill Overlook and Apache Lake Marina. This section of road has not been repaired and is closed indefinitely. Drivers can access Tortilla Flat from the west. Access to Apache Lake is only possible from the east.

History
Development of the Salt River Valley began after the Civil War, when the United States federal government desired to settle territories in the West. Accordingly, surveying in the Salt River Valley in the Arizona Territory revealed the potential for irrigation-based frontier settlements. The initial settlement, Phoenix, grew slowly, but as the irrigation system along the Salt River expanded, new settlements developed in the valley, which included Tempe and Mesa in the east and the towns of Alhambra, Peoria, and Glendale in the northwest.

However, the major challenge to the valley's continued agricultural and economic growth was the temperamental Salt River. Its flow was erratic with both droughts and floods straining the farmers. There was a clear need for the reliable delivery of water. Reclamation projects, such as building a storage dam, would not only accumulate and provide enough water for the farmers during a drought, but also decrease the likelihood of disastrous floods during the wet periods.

The National Reclamation Act of 1902
In the late 1890s, the valley experienced its worst drought since the Civil War. As a result, citizens in the Arizona Territory, along with their counterparts in the surrounding areas of the West, realized the urgent need for reclamation projects. Furthermore, this devastating drought showcased the need for greater government involvement in these water management projects that would reclaim the arid lands of the West. Due to pressure from publications, irrigation organizations, and lobby campaigns, both the Republican and Democratic platforms in the presidential election of 1900 prioritized pro-irrigation and pro-reclamation as their central plank. As a result, on June 17, 1902, the National Reclamation Act was signed into law by President Theodore Roosevelt. This act authorized the development and funding of large-scale water projects to harness and manage the water in the West.

The Theodore Roosevelt Dam
One of the first federal projects undertaken by the National Reclamation Act was the construction of the Theodore Roosevelt Dam in Arizona, which would provide the vital water supply and hydroelectric power to promote the growth of the Phoenix metropolitan area. Although the remote site of this future dam proved to be a logistical nightmare, the solution to this problem was the construction of the Apache Trail. Thus, the Apache Trail served as the critical supply road, facilitating the transport of materials and equipment to the dam site.

Building the Apache Trail
Construction of the Apache Trail (known as the Tonto Wagon Road at that time) began on August 29, 1903. The route of this supply road followed the ancient footpath that is believed to have been used by the Anasazi tribes to trade with the Hohokam. Other Native American tribes may have also used this footpath during prehistoric times as a migratory route between their summer and winter homes.

Apache Indians provided most of the labor for this road construction and they lived separately from the other crews. These Apache workmen often brought their wives and children to live with them and maintained their traditional way of life. The Apache Trail, originally running from the Mesa railhead to the dam site, was completed on September 3, 1905 at a cost of $551,000.

Evolution of the Apache Trail
After the completion of the Apache Trail in 1905, the character of this road began to change. While this road continued to serve as a supply route for the Theodore Roosevelt Dam, the Apache Trail soon opened up for public use. Several entrepreneurs began to provide transportation services along this road, which included both stagecoach and automobile excursions. These entrepreneurs recognized the unspoiled and spectacular landscape surrounding this road and marketed its appeal as a popular tourist destination. Southern Pacific Railroad was one of the first companies to benefit from the scenic beauty of this road. They offered the famous "Sunset Route", which was their "New Orleans to San Francisco" train route that included a motorcar side trip over the Apache Trail for an additional fee. Of note, it was the Southern Pacific Railway Company who coined the name "Apache Trail" in their advertising campaigns in order to promote these automobile side tours of the Theodore Roosevelt Dam and the Apache Trail. This name has been used for this road ever since.

Sources and external links

 * U.S. Department of Transportation Apache Trail Historic Road. America's Byways.
 * Scenic drive: Apache Trail from the Arizona Republic, Jun. 14, 2006.
 * The American West Travelogue

title: Apache Trail


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Lost Worlds (gamebook)

Lost Worlds is a "combat picture book game" designed and trademarked by Alfred Leonardi and originally published in 1983 by Nova Game Designs. The game has had many publishers, including Chessex, Emithill, Flying Buffalo and Greysea.

Resurgence
A minor resurgence in published books occurred in 2004, with five new titles published in 2004 (four of them by a new licensee, 1% Inspiration Games), a further two published in June 2005 (both with photo illustrations rather than graphics), and others early in 2007 and 2008. Many of the older books are now out of print, although Firelight Game Company has said they may be reprinting some of the early books.

Gameplay
Play requires two players and at least two "visual combat books", with each player choosing a character (i.e., a book) from those available. At the start of play, each player removes the character sheet for that character from their book and hands the book to their opponent. The character sheet lists the various combat actions which the character can take during the battle. The combat book lists the effects of the attacks in tables, and serves as a visual reference for what the other player is doing. Hence, each player views entries in the book from a first-person perspective, seeing only their opponent and not themselves.

During each turn or combat phase, players secretly select an action from those shown on their card, possibly influenced by the results of previous turns. Players then simultaneously reveal their intended action, by number, to each other. Using the character sheet to cross-reference their action with that of their opponent, players then turn to a specific entry in the book they are holding in order to determine the results. These effects may include hit point loss (i.e., a wound), as well as any restrictions on the opponent's next move (which is read aloud to them). The first character to reduce their opponent to zero hit points wins.

To add complexity and variety, certain characters have special abilities—the Cave Troll and the Unicorn, for example, can Regenerate; several characters (beginning with the Fighter-Mage) can use Magic Spells (although there are now 3 different spell systems, formulated by different publishers); several can infect an opponent with either poison or disease, which then cause damage automatically in every round of combat. Some characters can fly; others have magic weapons.

In addition to Magic (represented by cards), there are also cards for Tactics and Luck, with characters having differing access to these, depending on their statistics.

Spinoffs
There is also a further series of books, of emphatically female fighter-types, under the collective title of Queen's Blade, published from late 2005 by Hobby Japan. With more than 20 books and characters designed by popular Japanese artists and character designers. As of December 2007 a second series, Queen's Gate, was introduced, featuring characters from Japanese visual media, and in October 2008 Hobby Japan announced four further characters in a sub-set of the original series (Queen's Blade Rebellion).

Jill Leonardi, the daughter of the original game designer Alfred Leonardi, has been designing new character matrices for the Queen's Blade series since 2010. In 2012, Jill founded  with partner Todd Broadbent with plans to release new characters under the brand of Legend's Gauntlet in a new but fully compatible format.

The Leonardi move-matrix system has also been "borrowed" by other publishers, notably BattleBooks and Games Workshop as the engine to drive their own combat picture book games.

Reception
Chris Hunter reviewed Lost Worlds for Imagine magazine, and stated that "All in all, Lost Worlds is a quick, fun system, if you can ignore its shortcomings [...] but I cannot imagine myself playing much more than a quick battle or two while waiting to start an evening's role-playing."

Ian Waddelow reviewed Lost Worlds for White Dwarf #52, giving it an overall rating of 6 out of 10, and stated that "The game is easy and good fun but it has limited appeal. It would be fun to throw two books at a couple of players when running a RPG as a change from endless die-rolling, but it does not warrant a great deal of thought, nor does it allow for any real strategy. Lost Worlds is a good game for lunchtime or to take down to the pub."

In the May 1984 edition of Dragon (Issue 85), Ken Rolston found the game entertaining and fast, but expensive and with limited replayability. "The Lost World game system is an entertaining, superbly produced minor diversion. It earns the highest marks in playability, time and effort to learn, presentation, originality, system quality, and dramatic effect, but its applications are limited and closed-ended, and the cost is perhaps a little steep for a quick thrill. It is certainly worth playing, but less likely to stimulate sustained interest, especially when compared with other similarly priced games."

In the April 1996 edition of Arcane (Issue 5), Cliff Ramshaw was not overly impressed with the Flying Buffalo version of Lost Worlds, commenting "Although Lost Worlds is fun, there isn't a great deal of longevity in the format. It's not going to keep you occupied for hours at a time. On the other hand, it represents a great means of resolving certain combat situations in your RPG system of choice." Ramshaw concluded by giving it a below average rating of 6 out of 10.

In the August 1996 edition of Dragon (Issue #232), Rick Swan was excited that Chessex had issued a new version of the game, calling it "as terrific as ever, meeting all the criteria that elevates a product from the merely entertaining to the dazzingly classical." Swan lauded the game as "easy, learnable in a couple of minutes (no kidding) [and]... challenging; 10 years on and I still haven't cracked all its secrets." He concluded, "a Lost Worlds set remains a better buy than a stack of comic books you’ll never read or a weekend’s worth of artery-clogging cheeseburgers that’ll only hasten your journey to an early grave."

In 1999 Pyramid magazine named Lost Worlds as one of the Millennium's Best Games. Editor Scott Haring described the game as a "great, short, take-to-a-con and kill a couple minutes kind of game."

Awards
In 1984, Lost Worlds won the Charles Roberts/Origins Award for Best Fantasy Boardgame of 1983.

Reviews

 * Different Worlds #40
 * Fantasy Gamer #3
 * Asimov's Science Fiction v8 n2 (1984 02)
 * Asimov's Science Fiction v8 n12 (1984 12)
 * Isaac Asimov's Science Fiction Magazine

title: Lost Worlds (gamebook)


text:
Wikipedia:Articles for deletion/Torrentocrazy

 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 NO CONSENSUS. dbenbenn | talk 02:43, 20 Feb 2005 (UTC)

Torrentocrazy
Sounds like a neologism. jni 15:15, 8 Feb 2005 (UTC)
 * Keep ...but, and this is important... should be renamed to Torrentocracy, as whoever wrote this misspelled the title so it sounds like a psychiatric condition. Under the right spelling, it's a notable technology concept with some 8,000 Google hits. Andrew Lenahan - St ar bli nd  15:39, Feb 8, 2005 (UTC)
 * Delete, aside from the unencyclopedic writing style and mis-spelled article title, content describes a rather generic media consumption model. Wyss 19:25, 8 Feb 2005 (UTC)
 * Delete Nonsense JimmyShelter 20:52, 8 Feb 2005 (UTC)
 * That's another way of putting it :) Wyss 21:06, 8 Feb 2005 (UTC)

 * Move to Torrentocracy, and add redirect. 5000+ Google hits. Article needs cleanup and expansion. Megan1967 01:19, 9 Feb 2005 (UTC)
 * Comment. Further investigation showed that this is also a copyvio from http://torrentocracy.com/ I have reported this on the copyvio page. Given the circumstances (wrong title to begin with), I suggest interested parties do a complete rewrite at Torrentocracy (not in /Temp) and this be deleted after the 5 day VfD lag time runs out. jni 07:17, 9 Feb 2005 (UTC)
 * Keep and fix the article title. —RaD Man (talk) 09:54, 10 Feb 2005 (UTC)
 * Uhh... You want to keep a copyvio? I'm afraid that won't happen, no matter how many keep-votes this gets. jni 15:43, 10 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:
Vitré, Ille-et-Vilaine

Vitré (Gallo: Vitræ, Gwitreg) is a commune in the Ille-et-Vilaine department in Brittany in northwestern France.

Vitré, a sub-prefecture until 1926, is the seat of a canton. It has 18,603 inhabitants (2020). It lies on the edge of Brittany, near Normandy, Maine, and Anjou. The town has been designated a ville d'art et d'histoire, a town of artistic and historic significance, by the Ministry of Culture in recognition of its rich cultural inheritance. Vitré is the 37th French city with the most historic buildings and has 14% of the historical monuments of the department.

"'If I was not King of France, I want to be bourgeois from Vitré!' Henry IV, King of France, surprised by the richness of the city in 1598."

"'The good fortune to see a Gothic city entire, complete, homogeneous, a few of which still remain, Nuremberg in Bavaria and Vittoria in Spain, can readily form an idea; or even smaller specimens, provided that they are well preserved, Vitré in Brittany, Nordhausen in Prussia.' Victor Hugo in The Hunchback of Notre-Dame, Book third, Chapter 2, A bird's eye view of Paris, 1831"

Situation
The city is located on the slopes of the Vilaine river, along an east–west geographic depression which the national railway on the Paris-Rennes route follows.

Vitré commune is home to around 18,600 inhabitants, and is the centre of a functional area with 54,000 inhabitants.

The land area of Vitré: 37.19 km2. The average altitude of Vitré is approximately 89 m. The highest point, 127 m, is found in the "Ménardières" zone, at Pierre and Marie Curie Street. The lowest point, 67 m, is close to the firm S.V.A.'s location under the viaduct of the ring-road.

Since 1 October 2010, Vitré has withdrawn from the arrondissement of Rennes and joined the arrondissement of Fougères-Vitré.

Climate
Vitré has an oceanic climate slightly degraded (type Cfb according to Koppen Classification). The city is located in climate zone Breton "South East", which includes the portion south and east of the Vilaine.

The winters are wet and mild on average, but occasionally, the annual minimum temperature can be largely negative with some severe frosts.

The days without thawing remain infrequent. The summers are relatively dry, moderately warm and sunny.

The annual maximum temperatures exceed several times a year over 30 °C and few years when this threshold is not reached.

The city has about 1,750 hours of sunshine each year (nearly 2,000 hours in 2003 and 2010). It is located in a region with relatively high relief, well exposed to winds from SW, consequently more humid with annual rainfall heights between 800 and 1000 mm (≈ 900 mm in 2001 and 2002, between 600 and 800 mm between 2003 and 2006).

At temperatures, it is little differentiated from Rennes basin in the valleys of about 12.5 °C. It becomes rather on the hills with an average annual temperature lowered to 10 °C and a certain rigor in winter with high wind exposure. On average, there are 130 rainy days per year, 70 days of fog, 15 stormy days, 9 days and 6 days of snow and hail.

Some continentality that the amplitude of temperature is greater than on the west coast of Brittany, with greater extremes (- 15 °C on 19 January 1985 and 39.5 °C on 5 August 2003 ).

Summer thunderstorms can be very violent as that of 16 July 2003 where 76 mm of water per square meter were found, which caused flooding and significant damage due to hail and gusty winds.

For the most part, these storms from the south of Brittany and in particular the Loire-Atlantique and took charge of Vitre. In the past, notorious storms have devastated parts of the city with the storm Lothar on 26 December 1999 or when the storm 15 October 1987 where a cow had the same flight.

Population
At the end of the 14th century the city had between 4–5,000 inhabitants, at a time when Rennes and Nantes had some around 13–14,000. in 1560, Vitré's population is estimated by Arthur de Borderie at 7,800 inhabitants, matching that of the towns of Vannes and Quimper.

At the time of the birth of Madame de Sévigné, about 1620, the city counted 10,000 inhabitants. The population reached 14,000 inhabitants in 1762. This population was contained within the medieval boundaries of the city, which was a third the size of the modern Vitré. In the 18th century, Vitré was the 5th most important city in Brittany after Nantes, Rennes, Brest and Lorient.

In 1789, on the eve of the French Revolution, Vitré's population reached 10,850 inhabitants. In the post-revolution period there was a significant drop in population, to 8,904 inhabitants by 1861. By 1911 a moderate increase brought the figure to 10,613. The First World War and its subsequent economic trials would reduce the population to 8,506. By 1999 the population again had reached 18th century levels, with 15,313 inhabitants and 17,798 in 2015 (+1,1% per annum). The canton of Vitré counted 39,115 inhabitants in 2015 on 382 km2 (102 inhabitants/km2). The greater Vitré-Community counts 80,000 inhabitants on 868 km2.

Inhabitants of Vitré are called Vitréens and vitréennes.

Language
The local dialect in Vitré is Gallo, spoken by some in Upper Brittany. In 2016, 3.9% of children attended bilingual schools in primary education.

Early settlement
The site of Vitré was occupied in Gallo-Roman times. The name Vitré comes from the Gallo-Roman name "Victor" or "Victrix", after the owner of a farm in the region. The year 1000 marked the formal birth of Vitré, when the duke of Brittany Geoffrey I bestowed feudal powers upon Riwallon Le Vicaire, who was charged with keeping this strategic area as a buffer zone known as the "Marches of Brittany". A parallel can be drawn with the "Welsh Marches".

A small wooden motte-and-bailey castle, on a feudal mound, was built on the Sainte-Croix hill. The castle was burned down on several occasions, and eventually was bequeathed to the Benedictine monks of Marmoutiers. A stone castle was built in 1070 by Robert Ier on the current site, on a rocky outcrop dominating the Vilaine's river valley. Certain parts of the original stone castle are still visible today.

In the 13th century, the castle was enlarged and equipped with robust towers and curtain walls. The castle integrated into the triangular outcrop of rock on which it was built a structure in the style of the castles of Philip II August. Late in the century, in 1295, the town passed to Guy IX de Laval, on his marriage with the heiress, and afterwards successively belonged to the families of Rieux, Coligny and La Trémoille. During this period, the "Vieil Bourg" including the church of Nôtre-Dame, developed on the eastern side of Vitré. The city was encircled by fortified ramparts and ditches. It was at this time that the "walled city" took its current form. The Baron directed the construction of the "privileged boroughs" around the walled city. These boroughs defined the linear layout of the streets of Vitré's present neighborhoods. Since the 13th century, Vitré has joined together all of the elements of the traditional medieval city: a fortified castle, religious buildings, churches, colleges, and suburbs.

Middle Ages
In the 15th century, the castle was modified to keep up with developments in artillery design. It was decommissioned from a military post to become a comfortable residence for Jeanne of Laval-Châtillon and her son Anne de Montmorency. At the same time, many half-timbered houses and private mansions were built inside the city. These medieval districts are characterized by their sturdy frame construction and their sinuous and dark streets, as well as by a network of lanes. From a defense perspective, these narrow streets were a confusing obstacle to taking the city. The frontages of the houses are made either of half-timbering or stone. The corbellings (projection of the higher floors over the street) helped save space. They shielded pedestrians from bad weather, and they channeled rainwater into the central gutters, helping preserve the wooden facades.

In 1488, during the French invasion of Brittany, Vitré was seized by Charles VIII.

The names of Vitré's streets often originated from the trade guilds in the area: for example, "Baudrairie Street" was a gathering-place for "baudroyors" (leatherworkers), and there is also a "Street of Pottery".

The historical center of the city is the Place du Marchix or Market Square near the Convent of the Benedictines. The current Place of the Castle was the forecourt of the castle. The Place de Notre-Dame formerly hosted a "Market of Fabrics." Vitré, a prosperous city since the 15th century, had a brotherhood for promoting the international trade of textiles, founded in 1472.

Renaissance
Vitré's economy flourished during the Renaissance as much as any city in the Duchy of Brittany. Its peak came in the 16th century when the "Confrérie des Marchands d'Outre-Mer" - merchant venturers - sold the hemp produced locally throughout Europe. The merchants built large private mansions with ornate Renaissance decorations that are still visible today with the city walls. Henry IV passed through Vitré in 1598. He was struck by the opulence of the town and exclaimed: "If I were not King of France, I would be a burgher of Vitré! ".

During the French Wars of Religion, at the end of the 16th century, the Protestant city was besieged for five months by the troops of the League under the command of the duke of Mercœur, governor of Brittany. The siege was unsuccessful and the city remained one of the few bastions to resist the Leaguers in western France.

At the beginning of the 17th century, the family of Laval, who were barons of Vitré, petered out with the death of Guy XX in Hungary. The new lords from the family of La Trémoïlle soon deserted the town for the Court of Versailles. Over this period, the city lost much of its vitality, becoming a town of secondary importance.

With 14,000 inhabitants in 1762, one of the largest cities of Brittany, Vitré begins are slow demographic decline until the interwar period with a population of 8,212 people in 1931. This situation lasted through 18th century and until the arrival of the railroad in the middle of the 19th century. In addition, the end of the 18th century was marked by the Chouannerie, the French Revolution and the beginning of a new and important period for the city, its role as a sub-prefecture.

The 19th and 20th centuries

To prepare for the arrival of the railroads, the city decided to destroy the southern fortifications of the city to open up the closed city and to improve visibility. The Door "d'En-Haut" (1835), "Gâtesel" (1839) and "d'En-Bas" were destroyed to make way for developments in the south of the closed city.

Vitré has been a railway hub since the first lines were opened on 15 April 1857 on the Paris-Brest line. The construction of the station was carried out in 1855 in the form of a small neo-gothic manor house in the downtown area, just south of the closed city. The arrival of the barracks in 1874 with the military and their families accounted for up to 2,000 people, which has grown the population of Vitré as much.

The city was literally cut in two by this important railway influence. However, in spite of these industrial developments, the city developed little and remained a small market town within an agricultural area. Moreover, it lost its statute of sub-prefecture in 1926.

Vitré did not suffer massive destruction during the two World Wars, and preserved its historical inheritance, with the exception of Fougères, which underwent a terrible bombardment in June 1944, destroying a good part of it. In the aftermath of the Second World War, Vitré experienced an economic boom along with the rest of France.

From 1950 on, Vitré grew extensively. During "the thirty glorious years", Vitré experienced massive rural migration, like many other towns of France.

This migration triggered new building developments, including modern six-story buildings in the "Maison Rouge" district. The city has considerably developed and extended with industrial areas and suburbs. The population of Vitré expanded from 8,212 inhabitants in 1931 to around 19,000 in 2018, a population multiplied by two. Inner-city areas are protected to conserve the town's rich heritage of art and architecture. In 1999, Vitré obtained the label "Town of Art and History" because of its rich cultural inheritance. The town's monuments attract many tourists each year.

Sights
The heritage of the town of Vitré is a tremendous wealth. This is one of the cities of Brittany that has best preserved its original appearance with its houses with porch or timber-framed (the third city after of Rennes and Vannes in Brittany), its ramparts, its religious heritage, old streets, etc. Vitré is a perfect example of a town of 500 years ago.

Châteaux

 * Château de Vitré (11th-20th century)
 * Intramuros
 * Fortifications of Vitré at north and east of intramuros (Tour des Claviers, Tour de la Bridole, Gates tower of Embas, Postern St. Pierre)
 * Château des Rochers-Sévigné
 * Château-Marie (17th century)
 * Hôtel Ringues de la Troussanais (Renaissance)
 * Medieval streets (Beaudrairie, Poterie, d'Embas, etc.) and places (Marchix, Station, Château, Notre-Dame, etc.)

Religious heritage

 * Saint-Nicolas Chapel (near Castle of Vitré)
 * Notre-Dame Church (14th century) gothic
 * Tower of the ancient Saint-Martin's Church (15th century)
 * Saint-Martin Church (19th century)
 * Sainte-Croix Church (17th-19th century)
 * Protestant Church
 * Convent of Bénédictins (Tribunal)
 * Convent of Augustins (17th century)
 * Chapels, calvaries situated in the city and countryside

Other sights

 * Menhir "La Pierre Blanche" (Beauvais Road to Pocé-les-Bois)
 * Hôtel Sévigné-Nétumières (18th Century)
 * The Station (19th century)
 * Old barracks of 70e régiment d'infanterie
 * The Grand Park

Personalities
The following personalities are associated with Vitré:

 * François Dollier de Casson second founder of Montreal
 * Pierre Landais, Breton politician (15th century)
 * Jacques Collebaut, composer
 * fr:Tancrède Abraham, painter
 * fr:Édouard Frain de la Gaulayrie, curator of Vitré and historian, born in Rennes, died in Vitré
 * Bertrand d'Argentré, historian of Brittany
 * Jacquet of Mantua or Jacques Colebault, Renaissance composer
 * Pierre-Olivier Malherbe, European explorer
 * Claude-Étienne Savary, translator of the Koran
 * Arthur Le Moyne de La Borderie, historian of Brittany
 * Auguste Pavie et Charles Rabot, explorers, the first: Laos and Cambodia, the second: Kola and Svalbard
 * Morvan Marchal, Breton nationalist, creator of the modern flag of Brittany
 * René Alexandre
 * Pierre Méhaignerie, deputy-mayor of Vitré, former minister and European deputy

The 18th-century mathematician and contributor to the Encyclopédie Jean-Joseph Rallier des Ourmes (1701–1771) died in Vitré

Events

 * Monsters of Death, 28 September 1991
 * Vitre Jazz Festival, March 2006

Transportation
Located east of Brittany, the city of Vitré is crossed by the expressway which prolongs motorway A 11, while the motorway of the Estuaries. As in the whole of the Ille-et-Vilaine département, the communes of the country of Vitré are accessible by these expressways. Vitré is unusual in that urban transportation is zero-fare for all routes. Vitré station has rail connections to Rennes, Laval, Nantes and Paris.

Twin towns – sister cities
Vitré is twinned with:

 * 🇩🇪 Helmstedt, Germany (1979)
 * 🏴 Lymington, United Kingdom (1981)
 * 🇨🇦 Terrebonne, Canada (1983)
 * 🇲🇱 Djenné, Mali (1987)
 * 🇪🇸 Villajoyosa, Spain (1989)
 * 🇺🇸 Greece, United States (1990)
 * 🇵🇱 Środa Wielkopolska, Poland (1994)
 * 🇷🇴 Tălmaciu, Romania (1999)

title: Vitré, Ille-et-Vilaine


text:
User:Gordonmireson

Originally from Cricklewood in London, I have lived variously in Exeter, Devon, England, Lewis in the Outer Hebrides of Scotland and now live in Cambridge, England.

I am currently employed in Cambridge in the IT industry. I never wear a scarfe in the winter, whatever the temperature...

title: User:Gordonmireson


text:
Tortilla Flat, Arizona

Tortilla Flat is a small unincorporated community in far eastern Maricopa County, Arizona, United States. It is located in the central part of the state, northeast of Apache Junction. It is the last surviving stagecoach stop along the Apache Trail. According to the Gross Management Department of Arizona's main U.S. Post Office in Phoenix, Tortilla Flat is presumed to be Arizona's smallest official "community" having a U.S. Post Office and voting precinct. The town has a population of 6. Tortilla Flat can be reached by vehicles on the Apache Trail (State Route 88), via Apache Junction.

Originally a camping ground for the prospectors who searched for gold in the Superstition Mountains in the mid-to-late 19th century, Tortilla Flat was later a freight camp for the construction of Theodore Roosevelt Dam. From this time (1904) on, Tortilla Flat has had a small (less than 100 people) but continuous population. A flood in 1942 badly damaged the town, resulting in many residents moving away. The town is made up primarily of a country store, a saloon (bar/restaurant), a BBQ Patio that has a live band daily starting late December thru April or until it gets too hot, a mercantile/gift shop, and a small museum. Most of these were constructed in the late 1980s after a fire consumed the existing store, restaurant and motel on the same site; the mercantile/gift shop was built in 2009.

Several hiking trails into the Superstition Mountains begin near Tortilla Flat.

History
The pre-modern history of what is now Tortilla Flat indicates that the valley had a creek running through it. It was used by the Yavapai to traverse through the Superstition Mountains. That trail became known as the "Yavapai Trail" or "Tonto Trail".

The Spanish 16th-century expeditions looking for gold, specifically the "Seven Cities of Gold", inspired more modern gold prospecting in the Superstitions, including those by Don Miguel Peralta from Mexico, who, in 1847 and 1848, supposedly amassed large quantities of gold from the area. Settlers followed the prospectors, raising the need for military outposts to protect them from the increasingly hostile Native Americans, whose land was being taken. Despite the difficulty of crossing the Fish Creek Mountains and Fish Creek Canyon, the Yavapai Trail was a significant route used into the Tonto Basin, as other trails were even more difficult, and, due to its access to water and fodder, it is likely that the Tortilla Flat area became a place used to camp. It was unlikely, however, that there was a settlement there at this point in history, as none appear on old trail maps.

Based on available records, Tortilla Flat got its start because of the road construction to Roosevelt Dam in 1904. There was a need for a stagecoach stop for freight haulers on their way to the construction site at Roosevelt Dam and Tortilla Flat served that purpose. Shortly following the construction of the road, Roosevelt Dam became a big tourist attraction. At that point Tortilla Flat was a stage stop for tourists and mail carriers through the 1930s.

Tortilla Flat took its name from a nearby butte shaped like a tortilla. However, an alternative explanation is that the name was given by John Cline, a Tonto Basin pioneer, who claims to have been stranded about 1867 at this location for several days with nothing but flour to make tortillas to eat.

Records of the Forest Service indicate that when the Tonto National Forest was established in 1905, it was done because the Salt River Reclamation Project – one of the first efforts of the United States Reclamation Service – needed the Forest Service to protect the Salt River watershed for the dams and otherwise manage the land because cattle grazing had stripped it of vegetation. The freight camp established at Tortilla Flat, as well as the other camps along the road to the dam, were, therefore, on U.S. Forest Service land. Those who wanted to make Tortilla Flat their permanent residence kept up the lease on the land in later years whenever it came due.

title: Tortilla Flat, Arizona


text:
ALMA Award

The American Latino Media Arts Award or ALMA Award, formerly known as Latin Oscars Award, is an award highlighting the best American Latino contributions to music, television, and film. The awards promote fair and accurate portrayals of Latinos. In Spanish and Portuguese the word alma means "soul".

History

The awards were created by UnidosUS (formerly the National Council of La Raza). The first ceremonies were held in 1987 under the name "BRAVO Awards" and broadcast on Univision. In 1995, they were televised on Fox. The name was changed to the "American Latino Media Arts Awards" in 1997 and ABC became the network venue. However, ABC faced a boycott which forced the award ceremonies to be postponed until 1998.

From 2003 to 2005, the ceremonies were not held for undisclosed reasons. In 2008, the NCLR and New York firm Society Awards redesigned the trophy statuette. ABC stopped airing the ceremonies in 2009.

The ceremonies were canceled in 2010, to "focus on a bigger and better show in 2011".

The awards started up again in 2011, on a new network, NBC.

They were canceled for 2015.

In 2018, Fuse announced that it had acquired the rights to the award show in partnership with UnidosUS.

title: ALMA Award


text:
Shinzan

Shinzan (シンザン; 2 April 1961 – 13 July 1996) was a thoroughbred racehorse that won the Japanese Triple Crown.

Background
Shinzan was a bay horse bred by Yoshimatsu Matsuhashi. He was sired by Irish Derby winner Hindostan. His dam, Hayanobori was a great-granddaughter of the Irish mare Beautiful Dreamer who was imported to Japan in the 1930s and became extremely influential: her other descendants included the Japanese classic winners Kazuyoshi, Jitsu Homare, Hakuryo and Meiji Hikari. Shinzan was foaled on April 2, 1961, in the Hokkaidō Prefecture.

Racing career
Shinzan was generally considered to be the best Japanese racehorse of the post-war era and became the first horse to win all 5 big titles of Japan including the Japanese Triple Crown.

He became the second horse to win the Japanese Triple Crown and was named Japanese Horse of the Year in 1964. Shinzan won the Arima Kinen, Takarazuka Kinen and Tenno Sho (Autumn) as a four-year-old, defending his Horse of the Year title.

Stud record
Shinzan was a successful sire in Japan. His most successful offspring was Miho Shinzan (ミホシンザン) who won the Japanese 2,000 Guineas, Japanese St. Leger, and the Tenno Sho (Spring).

Pensioned form stud duties in 1987, Shinzan spent the rest of life at Tanikawa Stud. He lost the sight in his right eye in his later years and also lost all of his teeth. Eventually, he could not stand by himself at times, and his physical weakening became more prominent after February, 1994. He died of old age at about 2:00 a.m. on July 13, 1996. He was 35 years, three months and 11 days old. He is (to date) the longest-lived thoroughbred horse ever recorded in Japan.

A funeral service was held posthumously. Shinzan's grave is located in the Tanikawa Stud of Urakawacho, Urakawa-gun, Hokkaido, and a bronze statue of Shinzan was built in this stud.

Principal Race Wins

 * 1964 Fuji TV Sho Spring Stakes, Tokyo Turf 1800m
 * 1964 Satsuki Sho (Japanese 2,000 Guineas), Tokyo Turf 2000m
 * 1964 Tokyo Yushun (Japanese Derby), Tokyo Turf 2400m
 * 1964 Kikuka Sho (Japanese St. Leger), Kyoto Turf 3000m
 * 1965 Takarazuka Kinen, Hanshin Turf 2000m
 * 1965 Meguro Kinen (Autumn), Tokyo Turf 2500m
 * 1965 Tenno Sho (Autumn), Tokyo Turf 3200m
 * 1965 Arima Kinen (Grand Prix), Nakayama Turf 2600m

Satsuki Sho, Tokyo Yushun, Kikuka Sho, Tenno Sho (Autumn), Arima Kinen was 5 of the 8 major races in Japan (the other 3 are Oka Sho, Yushun Himba, and Tenno Sho (Spring)), before the introduction of Grade in 1984 which categorized all as GI in 1984. Also, before 1981, a horse can only win Tenno Sho once in their career.

Awards
(Keishu Award is current JRA Award.)
 * 1964 Horse of the Year and Best Three-year-old Colt (Keishu Award)
 * 1965 Horse of the Year and Best Older Colt or Horse (Keishu Award)
 * 1984 JRA Hall of Fame horse

title: Shinzan


text:
Talk:High Street (Lake District)

Untitled
I have removed the reference to the River Kent "dropping a thousand feet in only 25 miles it is the fastest flowing river in England" since:
 * 1) the River Kent page describes it as being only 20 miles long
 * 2) either:
 * 3) *the river begins at Kentmere Reservoir, 291 metres/955 feet above sea level, in which case it can't drop over 1000 feet, and shouldn't be described as starting on the southern slopes of High Street
 * 4) *or the river begins on the southern slopes of High Street, and thus drops over 1000 feet in the first kilometre
 * 5) measuring the average speed of a river is very demanding, and I would be interested to see the comparative data with all the other rivers in England

StephenDawson 15:25, 8 Feb 2005 (UTC)

The Kent is amongst the fastest flowing rivers in England, thats a fact. Follow this link http://news.bbc.co.uk/1/hi/england/cumbria/3808291.stm

"At Staveley, we have the River Kent, England's fastest-flowing river, it is water that deserves to be turned into whisky."

Disambiguation Link
Hi. I noticed that the disambiguation link to High Street (the urban phenomena) has been removed. Personally I think it should remain in place, especially as high street has a dab link back to the fell. Do any other people have specific opinions on this?Suicidalhamster 12:12, 21 March 2006 (UTC)

I agree that the dab should have been retained. Unless it is restored or a convincing case otherwise is put forward here soon, then I will restore it. Viewfinder

 * The purpose of the disambiguation link is to guide the reader to the article they want when similar names prevent a simple redirect. If it seems likely that the reader would arrive by accident at High Street (Lake District) when in fact High Street is intended, then by all means replace it, but I don't see how this could be. Pissant 22:47, 21 March 2006 (UTC)

 * Aye, disambiguation links are only for internal navigation - nobody looking for High Street is likely to stumble across this page. Perhaps a "see also" link would be in order though? I'll add one. Grinner 11:27, 23 March 2006 (UTC)

Trig point
While there is a trig point at the summit of Racecourse Hill, it isn't painted white at the moment. 79.70.105.194 (talk) 22:44, 13 March 2011 (UTC)

title: Talk:High Street (Lake District)


text:
Mozambique Drill

The Mozambique Drill, also known as the Failure Drill, Failure to Stop drill, or informally as "two to the body, one to the head", is a close-quarters shooting technique that requires the shooter to fire twice into the torso of a target (known as a double tap or hammered pair to the center of mass), and follow up with a more difficult shot to the head that, if properly placed, should kill or otherwise stop the target if the previous shots failed to do so.

History
According to anecdotal history, the technique originated with Mike Rousseau, a Rhodesian mercenary taking part in the Mozambican War of Independence (1964–1974). While engaged in combat at the Lourenço Marques Airport in what is now Maputo, Mozambique, Rousseau rounded a corner and encountered a FRELIMO fighter armed with an AK-47 at ten paces (7.5 m) from his position. Rousseau fired two rounds from his Browning Hi-Power pistol into the fighter's upper chest, usually enough to incapacitate or kill outright; however, seeing that the fighter was still advancing, Rousseau attempted a head shot that hit the fighter through the base of his neck, severing the spinal cord and killing him. Rousseau related the story to an acquaintance, small arms expert Jeff Cooper, founder of the Gunsite Academy shooting school, who incorporated the "Mozambique Drill" into his modern technique shooting method.

The Mozambique Drill was incorporated in the Gunsite curriculum from the late 1970s. In 1980, two Los Angeles Police Department Metropolitan Division SWAT officers, Larry Mudgett and John Helms, attended pistol training at Gunsite and received permission from Cooper to teach the technique to the LAPD. Concerned that "Mozambique" could have racist overtones, the officers renamed it the Failure Drill.

Most special forces were trained in the technique during the 1980s. Following the September 11 attacks, the changing nature of counterterrorism and counterinsurgency threats, and the chance of encountering suicide bomb vests, led to it being largely replaced by other techniques, within special forces units.

Theory and technique
The Mozambique Drill is intended to ensure that the target is immediately stopped, by first placing two shots into the larger, easier-to-hit mass of the upper body, then, if the target is still active, following with a third, more precisely aimed and difficult head shot. Due to factors such as body armor, the bolstering effect of drugs, or failure to hit vital organs, the body shots may not be immediately effective, necessitating the third shot. To ensure immediate incapacitation by impacting the brain and central nervous system, the head shot must be delivered to the area between eyebrows and upper lip where bone is thinnest.

In popular culture
The 2004 film Collateral, starring Tom Cruise, features a scene in which Cruise's character accurately executes the Mozambique Drill. Cruise trained for months to perfect the shooting skills demonstrated in the film.

title: Mozambique Drill


text: Template:Lunar Orbiter program

title: Template:Lunar Orbiter program


text: User talk:195.204.240.9

title: User talk:195.204.240.9


text:
Talk:Major and minor

2nd paragraph
The second paragraph reads: The minor scale may be considered as the sixth mode of a major scale, or otherwise a variation, such as a major scale with a lowered third, sixth, and seventh. The minor scale may be considered as a variation of the major scale. For instance, the conception of the minor scale being simply a major scale with lowered or altered third, sixth, and seventh scale degrees. The same thing is said twice. zaius 15:38, 8 Feb 2005 (UTC)

Final paragraph - sadder
Any comments on the mystery of minor key music tapping into sadness, grief, bitterness? Is it so, and why so? I'm not looking for a Sunday supplement "brain doctor" explanation.--shtove 00:09, 2 October 2005 (UTC)
 * There's definitely no scientific basis for it; it's all culturally conditioned -- in former eras the modes were given different interpretations. It can be fun to read ancient Greeks' analyses of why certain modes were happy, sad, or caused youth to misbehave (I seem to remember the Lydian mode was particularly wicked in this regard). Anyway, it's just because composers have been using minor mode for sad songs so we have learned to make the association. —Wahoofive (talk) 00:49, 2 October 2005 (UTC)
 * Thanks for that. There's an article on Lydian mode, but no mention of the misbehaviour of wicked yoofs. The Chinese musicology article describes a different type of scale, and how a switch equivalent to major to minor is made - I wonder does the "culturally conditioned" theory apply to traditional Chinese music too? Is there an article that explains all this, just the way I want, now, immediately? Or any suggestions for a heading to consult in Britannica?--shtove 11:57, 2 October 2005 (UTC)
 * WP's music articles are pretty weak. Doctine of affections would be a good example to look up in the New Grove.—Wahoofive (talk) 20:40, 2 October 2005 (UTC)
 * It would at least be nice to have a mention of the general "trend" that minor songs are more likely to sound "sad" than major - well, I've worded this sentence awfully, but you know what I mean! 86.17.153.55 00:42, 26 May 2007 (UTC)

Songs being in a major or minor key
If I remember correctly from my music lessons, whether a song was described being in a major and minor key firstly was based on how the song ended, and not necessarily how it began.
 * Don't forget to sign your posts with ~ . Pretty much true, but be careful, because of the Picardy third. Also, this article isn't necessarily only about keys, but about scales, intervals, and other aspects of music. —Wahoofive (talk) 04:49, 19 October 2005 (UTC)
 * a particular passage's key is identified by cadences, not how it ends or begins — Preceding unsigned comment added by 174.61.151.13 (talk) 13:38, 19 July 2013 (UTC)

Diatonic and chromatic
The present article is concerned with centrally important concepts and terms in music theory. The terms "chromatic" and "diatonic" are connected to "major" and "minor", but they rarely get proper explanation. They are the cause of serious uncertainties at several Wikipedia articles, and in the broader literature. Some of us thought that both terms needed special coverage, so we started up a new article: Diatonic and chromatic. Why not have a look, and join the discussion? Be ready to have comfortable assumptions challenged! –  Noetica ♬♩ Talk 00:12, 5 April 2007 (UTC)

Interpreting
See discussion at Talk:Major_chord. Hyacinth (talk) 00:33, 13 August 2008 (UTC)

First paragraph
Could someone make this sentence clearer for those of us who don't "speak music"?

 * To find the minor chord from a major chord, simply go down a third. For example, the relative minor of G major - G>F>E - would be E minor. To find the major chord from a minor, go up a relative third; for example, the relative major of F Minor - F>G>Ab - would be Ab major.

What I don't find clear are what "G>F>E" means and how I am supposed to read it - G greater than F greater than E? Also, does Ab mean a word I don't know - "Ab" or does it mean A flat?

Please be patient with those of us who don't speak music. If you can explain this, please add it to the article. Much appreciated. DBlomgren (talk) 15:02, 18 April 2009 (UTC)

 * First paragraph formerly began "In music of the Western common practice period, ...". If I'm not mistaken, majors and minors are still in use and have little, if anything, to do with the common practice period (1600-1900). I'm changing it to simply "In Western music ..." If you think that there should be some reference to the common practice period in this article, then find some place other than the introductory sentence for it, and cite an inline reference. Dlw20070716 (talk) 23:36, 27 July 2011 (UTC)

Re-structure
I began to tweak the article... and came to realise how confused it all was! The concepts of 'key' and 'scale' were being used interchangeably and sometimes incorrectly, and the material was clearly in need of structural reworking. So my recent set of edits has, I hope, preserved all the material, but significantly reworked it with just enough editorial redaction so the new form hangs together. More work is probably still needed. Feline Hymnic (talk) 14:47, 15 August 2010 (UTC)

Untitled
The last paragraph on this page, as of today, needs to be edited so as to more clearly distinguish the several concepts involved in the complex expression as it exists. Perhaps listing the elemental concepts contained, then expressing the relationships would help. Thanks. Lor (talk) 18:24, 11 February 2011 (UTC)

Modes
I wonder if the terms major and minor also apply to modes (other than Ionian and Aeolian). Is it possible to consider Locrian, Phrygian and Dorian as modes of minor tonality and Lydian and Mixolydian as such of major tonality? Or is every mode a gender on its own? --PeterTrompeter (talk) 19:47, 13 July 2013 (UTC)

 * Fifty years ago it was pretty common to classify all church modes as major or minor based on the quality of the third degree — even to treat them as variants of the major/minor scales — but that's fallen out of fashion. No doubt you could find some book or other which continues to propagate this idea, but it's no longer common. —Wahoofive (talk) 05:48, 14 July 2013 (UTC)

The section Relation to musical "mode"
This section states that "Contrastingly, changes of mode, which would involve the alteration of the third, and mode mixture, are often analyzed as minor or trivial changes unless structurally supported because the root and overall key and tonality remain unchanged. This is in contrast with, for instance, modulation or transposition. These latter operations are done by moving all intervals up or down a certain constant interval, and does change key, but does not change mode, which requires the alteration of intervals."

Modulation does not require that all intervals be moved up or down a certain constant interval, and thus it is also not true that it never changes mode. A modulation from A major to D minor, for example, would be changing modes (major to minor, or Ionian to Aeolian if you like), and would also be more involved than simply shifting the major scale "up" to the new root D, since that would be a modulation from A major to D major, rather than to D minor. Transposition does however mean that you are changing the key but keeping the same mode, but the term is not interchangeable with modulation, the two are different, though related, concepts. Just to slam the point home, I'll give you an example of how you might modulate from A major to D minor, and that would be to use the A chord as a vehicle to getting to D minor in the form of an authentic cadence, that is, the A chord becomes the V chord in D minor. (gasp) Ais orson (talk) 14:13, 19 July 2013 (UTC)

Too advanced
The article is too advanced to be useful to someone (like myself) who comes to it looking for a basic understanding. It assumes too much is already known (IMO).

I wish I knew enough to rewrite but I do not. CBHA (talk) 23:27, 30 June 2015 (UTC)

 * I agree; way too advanced. I can't make heads or tails of this; it's written assuming that the reader already knows what it's talking about. Geoffrey.landis (talk) 03:28, 26 February 2016 (UTC)
 * @CBHA I came here to say the same thing, I was prompted to come here having seen Bill Bailey do his major and minor bit one more time, and I'm still none the wiser. The top section of the page is supposed to be a simple overview of the subject. I remain utterly befuddled. Dahamsta (talk) 08:10, 21 February 2023 (UTC)

That's very typical of Wikipedia. If you aren't already well-versed oin a subject, don't bother looking here for basic information. Even when an article was written to include basics to help beginners grasp the subject, they are quickly filled up by dense masses of jargon and detailed technical information that help the 3rd year wrting it feel smart and knowledeable, but completely obscure the meaning of the article to thoser of us who aren't already enrolled in that particular course. Wikipedia: great place for brushing up on what yuou already knew about, and for fixing other people's wild errors, but not so good for actually educating anyone in a new subject.

Idumea47b (talk) 06:02, 6 July 2018 (UTC)

Intonation ratios
I think that the first interval (under "D" in the table) should be 10/9, not 9/8. I don't know if there is a source that confirms it, as it is just my own impression, but I think there is good justification. Stated most simply, the 9/8 makes the intervals D-F and D-A be 32/27 and 40/27, respectively. While 10/9 makes them 6/5 and 3/2. It's true that the change makes D-G worse (4/3 to 27/20), but that isn't as big a change, and the error is "simpler," as the text claims it is supposed to be.

The real reason, however, is more complicated (and may be best seen in the table below). Note that most of the minor scale can be constructed by starting with the tonic, fourth, and fifth at 1, 4/3 and 3/2, respectively. Above each of those notes, we can insert a perfect minor third (6/5) to get most of the minor scale. The second, B, is the only note missing; using 9/8 makes the next half-interval 16/15 as we want.

We can do the same to get most of the major scale by inserting a perfect major third (5/4) above the tonic, fourth, and fifth. The second can be formed either 9/8 or 10/9; whichever you choose, the interval from D to E will be the other. HOWEVER, if we try to match this to the constructed minor scale by making its "C" the tonic, every note is the same if we use 10/9.

So essentially, I'm suggesting altering table to include both scales, and the steps:

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"Darker" music
I think it should be masde very clear that this whole thing about minor-scale music being "darker" and "more melancholy" is only a matter of popular perception, and so people now often choose the scale to emphasize the "dark" feel of a piece they are writing. Anyone who is familiar with The Sacred Harp, or other shape note song books is well-aware that it is perfectly possible to write cheerful, upbeat music to minor scale, and dark, somber music to major scale. There are many cheerful, or at least energectic and exuberant minor-scale songs in the Sacred Harp, as the minor scale was almsot as popular with song-writers as the major scale was 150 years ago. Perhaps minor scale _assists_ a song writer who wants a melancholy piece of music, but it doesn't mean that every song written in the minor scale automatically comes out sounding sad, black and depressing. We are talking about a relatively subtle difference here. This whole notion that "minor key is dark music" is completely a modern idea, as far as I know.

Idumea47b (talk) 06:09, 6 July 2018 (UTC)

Requested move 29 October 2023

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

The result of the move request was: not moved. (closed by non-admin page mover) Reading Beans (talk) 18:24, 14 November 2023 (UTC)

Major and minor → Major and minor (music) – With respect to music, this is really a pair of adjectives; the phrase taken by itself seems more likely to refer to academic majors and minors. I would disambiguate this title between these meanings. BD2412 T 17:18, 29 October 2023 (UTC) — Relisting. Polyamorph (talk) 15:29, 6 November 2023 (UTC)
 * Weak oppose. Creating a disambiguation page for only 2 (technically 3) entries is usually unnecessary. I think the hatnote works fine in this case. But if others think disambiguation is necessary, I would suggest using some form of natural disambiguation such as Major and minor in music. Rreagan007 (talk) 21:00, 29 October 2023 (UTC)
 * There are other things divided along the same lines. Major and minor sports leagues (Major league/Minor league), major and minor suits of cards (Major suit/Minor suit). BD2412  T 05:30, 30 October 2023 (UTC)
 * support suggest major and minor in music, since it is a descriptive title. Also create a set index per nom at the current location -- 65.92.247.90 (talk) 21:53, 30 October 2023 (UTC)
 * It wouldn't be a set index; the topics are truly ambiguous. BD2412  T 01:38, 31 October 2023 (UTC)
 * Undecided on the original proposal, but definitely oppose Major and minor in music because I don't really think of "major" and "minor" as general concepts that exist in music, baseball, and bridge of which you can narrow down to one specific domain. There is nothing similar between the meaning of major/minor in these three domains beyond the superficial. -- King of ♥ ♦ ♣ ♠ 01:15, 31 October 2023 (UTC)
 * Note: WikiProject Music theory has been notified of this discussion. Polyamorph (talk) 15:29, 6 November 2023 (UTC)
 * The article in general requires some serious TLC. I think the scope of the article could use some hemming in with the change also, having an article about 'adjectives' per se is not good. I would suggest Major and minor tonalities, which is a slightly narrower sense than the named intervals: minor/major second, etc. Remsense  聊  15:38, 6 November 2023 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.
 * Oppose – Unnecessary. There are any number of major/minor concepts, but none of them have an article. -- Michael Bednarek (talk) 02:02, 7 November 2023 (UTC)
 * I still think the current sense is too vague, and the specification suggested above would be helpful internally, if not between articles. Remsense  聊  02:20, 7 November 2023 (UTC)
 * Oppose. It does not refer primarily to "academic majors and minors". The musical term is the primary topic here. — Amakuru (talk) 13:24, 14 November 2023 (UTC)

title: Talk:Major and minor


text:
William Dieterle

William Dieterle (July 15, 1893 – December 9, 1972) was a German-born actor and film director who emigrated to the United States in 1930 to leave a worsening political situation. He worked in Hollywood primarily as a director for much of his career, becoming a United States citizen in 1937. He moved back to Germany in the late 1950s.

His best-known films include The Story of Louis Pasteur (1936), The Hunchback of Notre Dame (1939) and The Devil and Daniel Webster (1941). His film The Life of Emile Zola (1937) won the Academy Award for Best Picture, the second biographical feature to do so.

Early life and career
He was born Wilhelm Dieterle in Ludwigshafen, the youngest child of nine, to factory worker Jacob and Berthe (Doerr) Dieterle. As a child, he lived in considerable poverty and earned money by various means, including carpentry and as a scrap dealer. He became interested in theater early and would stage productions in the family barn for friends and family.

At the age of sixteen, Dieterle had joined a traveling theater company as a handy-man, scene shifter, and apprentice actor. His striking good looks and ambition soon paved his way to gain roles as a leading romantic actor in theater productions. In 1919, he attracted the attention of theater director Max Reinhardt in Berlin, who hired him as an actor for his productions until 1924. He started acting in German films in 1921 to make more money and quickly became a popular character actor. He usually portrayed "country yokels" or simpletons with great gusto and popularity, but he was ambitious to begin a career as a director. In 1921, Dieterle married Charlotte Hagenbruch, an actress and later screenwriter.

In 1923, Dieterle used his own money to make his first film, Der Mensch am Wege. Based on the Leo Tolstoy short story "Where Love Is, God Is", the film co-starred a young Marlene Dietrich. Years later Dieterle said of the film, "we were just four or five very young, enthusiastic, and revolutionary people who wanted to do something different. We brought it out; it didn't make any money, but was shown and it was an interesting experiment." In 1924, Dieterle left Reinhardt's company and formed his own theater company in Berlin, although it was unsuccessful and short lived. He also returned to film acting for several years and appeared in such notable German films as Das Wachsfigurenkabinett (Waxworks) (1924) and F. W. Murnau's Faust (1926). In 1927, Dieterle and his wife formed their own production company, Charrha-Film. Dieterle returned to directing films, such as Sex in Chains (1928), in which he also played the lead role.

Hollywood career: 1930s
In 1930, the political and economic situations in Germany worsened. Like many from the German film industry, Dieterle and his wife emigrated to the United States. Dieterle had said, "It was a running joke in Berlin...if the phone rang at a restaurant they said it must be Hollywood. Well, one night my wife and I were dining out and it really happened." Dieterle was offered a job at First National to make German-language dubbed versions of Hollywood films, as the studios were afraid of losing foreign business with the advent of sound films. But when Dieterle, his wife and a group of actors arrived, they found that the films had already been dubbed. They were chosen as actors in German-language versions of four Hollywood films, including Lloyd Bacon's Moby Dick (1930), in which Dieterle played Ahab. After the four films were completed, Warner Brothers' Vice President of Production Hal B. Wallis was so impressed that he invited Dieterle to stay in Hollywood. He became a US citizen in 1937.

Dieterle adapted quickly to Hollywood filmmaking and directed his first film, The Last Flight in 1931. The film depicts four American fighter pilots who roam around Paris after World War I trying to put their lives back together. It starred Richard Barthelmess and Helen Chandler, and the plot was compared to the work of F. Scott Fitzgerald. Although not a success on its first run, it was hailed as a forgotten masterpiece at a 1970 revival screening. Dieterle's initial Hollywood career was neither successful nor notable. It included such films as the W. C. Fields musical Her Majesty, Love (1932), Jewel Robbery (1932), Adorable (1933), and Fog Over Frisco (1934) with Bette Davis.

In 1934, Max Reinhardt was staging a version of A Midsummer Night's Dream at the Hollywood Bowl in Los Angeles. Dieterle convinced Warner Brothers to finance a big budget version of the film with an all-star cast. The resulting film, A Midsummer Night's Dream (1935), revitalized Dieterle's career and he became a major Hollywood director. Starring James Cagney, Olivia de Havilland, Joe E. Brown and a 15-year-old Mickey Rooney, the film had very mixed reviews for its "Americanization" of Shakespeare, but was a success on release. It is now considered a classic. During production, Reinhardt would rehearse the actors and then let Dieterle direct the film.

Dieterle directed the first of his hugely successful "biography films" with actor Paul Muni, beginning with The Story of Louis Pasteur (1936). The film stars Muni as the scientist who discovered the principles of vaccination and struggled against a skeptical medical community. The film was a success both critically and financially, and earned Muni an Oscar for Best Actor. It also helped to establish Warner Brothers as a producer of "prestige pictures" after almost a decade of being known primarily for crime dramas. Dieterle was asked to direct several films which he did not like; he said "at Warners the moment you had a success they gave you something terrible to keep you from getting a swelled head." These films included the second version of Dashiell Hammett's The Maltese Falcon (Satan Met a Lady with Bette Davis), The Prince and the Pauper, and a bio-pic about Florence Nightingale, The White Angel.

Dieterle made another bio-pic with Paul Muni, The Life of Emile Zola (1937). Based on the life of the French philosopher and novelist Zola, the film explores Zola's response to the Dreyfus affair, in which the falsely accused and convicted Jewish French officer was found guilty of treason and imprisoned. The film was an enormous success and critic Frank S. Nugent ranked it as "the finest historical film ever made and the greatest screen biography." It was nominated for 10 Academy Awards and won for Best Picture, Best Supporting Actor for Joseph Schildkraut (as Dreyfus) and Best Screenplay. Dieterle lost the award for Best Director to Leo McCarey. It was his only nomination.

Dieterle's next film was Blockade (1938), starring Henry Fonda as a dedicated Loyalist fighter and Madeline Carroll as the reluctant Franco spy who falls in love with him during the Spanish Civil War. The film was openly anti-fascist and critical of nations that stood by and let fascist dictators commit atrocities. Its 1938 premiere at Grauman's Chinese Theater was abruptly and inexplicably cancelled, and it was mildly controversial upon release. During the late 1940s and 1950s it was cited as suspicious by Congressional committees investigating communist influence, such as the House Un-American Activities Committee. Both Dieterle and its screenwriter were viewed negatively.

Juarez (1939) was the third biographical picture that Dieterle made with Muni, depicting the life of Mexican politician Benito Juárez and his conflict with Emperor Maximilian I. Upon its release, Dieterle was called "the quintessential liberal director of the 30s." When interviewed in the 1970s, Dieterle said of the movie, "it should be the biggest kind of picture right now—a big modern army worn down by guerrilla fighters. The parallel with Vietnam is so obvious."

Dieterle found both financial and critical success with The Hunchback of Notre Dame (also 1939). The film stars Charles Laughton as Quasimodo and a 19-year-old Maureen O'Hara as Esmeralda. Dieterle made two more bio-pics, both starring Edward G. Robinson instead of Muni. Dr. Ehrlich's Magic Bullet (1940) is about Paul Ehrlich's discovery of Salvarsan, which made syphilis curable; and A Dispatch from Reuter's (also 1940), is about the man who established the first news agency. These were Dieterle's last films for Warner Brothers.

Hollywood career: 1940s
While many commentators at the time felt that his career had reached a peak in the 1930s, it is now believed that the films of this period contain some of his best work. David Thomson, for instance, has written that the bio-pics of the 1930s are "ponderous, Germanic works, suffering from staginess and the unrestrained histrionics of Paul Muni." By the time he was working for Selznick in the 1940s, the director's "sense of almost supernatural atmosphere" matched those of his producer, while his later works "all suggest, if not a late flowering, a realization that his talent was for the lavish romantic."

The Devil and Daniel Webster (also known as All That Money Can Buy, 1941) is a gothic fantasy and loose adaptation of the Faust legend set in New Hampshire during the 1840s. It stars Walter Huston and Edward Arnold as the titular Prince of Darkness and early Congressman, who battle over the soul of Jabez Stone after an ill-conceived deal with the devil. Although unsuccessful upon its initial release, it is today a classic with Noirish cinematography by Joe August, Oscar-winning score by Bernard Herrmann, and still impressive special effects.

After another bio-pic about President Andrew Johnson called Tennessee Johnson (1942) starring Van Heflin and Lionel Barrymore and a remake of Kismet (1944) with Ronald Colman and Marlene Dietrich, Love Letters (1945) stars Joseph Cotten as a soldier who writes love letters on behalf of a friend during World War II. Jennifer Jones stars as the recipient of the letters who falls in love with the writer. Years after the war, Cotten tracks down Jones only to find that she has lost her memory and apparently killed her husband. The film was produced by Jones's then husband David O. Selznick, who also produced Dieterle's next film.

Portrait of Jennie (1948) stars Cotten and Jones as a painter and his muse. After meeting in Central Park one day, Cotten paints a portrait of Jones that makes him famous, but is unable to find his muse who he has fallen in love with. The film's budget dramatically increased during production and Selznick was forced to sell Dieterle's contract to Paramount Pictures, where his career never reached the heights of the previous 15 years.

Later career
Dieterle's career declined in the 1950s during the era of McCarthyism. Although he was never blacklisted directly, his Spanish Republic-sympathetic film Blockade (1938), in addition to people he had worked with, were thought to be suspect. Also, in the 1930s he and his wife had worked to help get people out of Nazi Germany and given aid to many left-wing friends, including Bertolt Brecht. Of this period, Dieterle said: "Although I was never to my knowledge on any blacklist, I must have been on some kind of gray list because I couldn't get any work."

He continued to make American films in the 1950s, including the film noir The Turning Point (1952) and Salome (1953) with Rita Hayworth. Production for Elephant Walk (1954) with Elizabeth Taylor was held up for three months when the State Department would not allow Dieterle to travel to Ceylon. He made two more Hollywood films before moving back to Europe: a biopic of Richard Wagner, Magic Fire (1955) for Republic Pictures and Omar Khayyam (1957).

He made some films in Germany and Italy, and an American flop, Quick, Let's Get Married (1964) – also known as The Confession or Seven Different Ways – with Ginger Rogers before retiring from film in 1965. He moved back to Germany and became the director of the Der Grüne Wagen theatre, then based in Taufkirchen near Munich, which he ran together with his wife, Charlotte Hagenbruch. After his wife's death in May 1968, he ran the theatre with his new wife, Elisabeth Daum, as a touring theatre. Dieterle directed the ensemble for several years, with Elisabeth Bergner as his leading lady.

Dieterle is remembered for always wearing a large hat and white gloves on set. This was due to needing to quickly change roles from actor to technician without dirtying his hands during his early career.

Selected filmography

 * The Masked Ones (1920)
 * The Vulture Wally (1921)
 * The Conspiracy in Genoa (1921)
 * Marie Antoinette, the Love of a King (1922)
 * Lucrezia Borgia (1922)
 * Miss Julie (1922)
 * Women's Sacrifice (1922)
 * La Boheme (1923)
 * Man by the Wayside (1923)
 * The Pagoda (1923)
 * The Second Shot (1923)
 * The Green Manuela (1923)
 * Mother and Child (1924)
 * Waxworks (1924)
 * Modern Marriages (1924)
 * Carlos and Elisabeth (1924)
 * Cock of the Roost (1925)
 * The Woman from Berlin (1925)
 * In the Valleys of the Southern Rhine (1925)
 * Lightning (1925)
 * The Flower Girl of Potsdam Square (1925)
 * Sword and Shield (1926)
 * The Bohemian Dancer (1926)
 * The Pink Diamond (1926)
 * Torments of the Night (1926)
 * The Priest from Kirchfeld (1926)
 * The Schimeck Family (1926)
 * Hell of Love (1926)
 * The Circus of Life (1926)
 * The Hunter of Fall (1926)
 * The Fallen (1926)
 * The Mill at Sanssouci (1926)
 * Circle of Lovers (1927)
 * The Weavers (1927)
 * Homesick (1927)
 * Excluded from the Public (1927)
 * At the Edge of the World (1927)
 * Behind the Altar (1927)
 * The Gypsy Baron (1927)
 * The Saint and Her Fool (1928)
 * Sex in Chains (1928)
 * Violantha (1928)
 * Thieves (1928)
 * Knights of the Night (1928)
 * Durchs Brandenburger Tor. Solang noch Untern Linden (1929)
 * Ich lebe für Dich (1929)
 * Rustle of Spring (1929)
 * Das Schweigen im Walde (1929)
 * Ludwig II, King of Bavaria (1929)
 * The Dance Goes On (1930)
 * Moby Dick (German-language version, 1930)
 * The Last Flight (1931)
 * Kismet (German-language version, 1931)
 * The Mask Falls (1931)
 * The Sacred Flame (1931)
 * One Hour of Happiness (1931)
 * Her Majesty, Love (1931)
 * Man Wanted (1932)
 * Jewel Robbery (1932)
 * The Crash (1932)
 * Six Hours to Live (1932)
 * Scarlet Dawn (1932)
 * Lawyer Man (1933)
 * Grand Slam (1933)
 * Adorable (1933)
 * The Devil's in Love (1933)
 * Female (1933)
 * From Headquarters (1933)
 * Fog Over Frisco (1934)
 * Fashions of 1934 (1934)
 * Madame Du Barry (1934)
 * Dr. Monica (uncredited, 1934)
 * The Firebird (1934)
 * The Secret Bride (1934)
 * A Midsummer Night's Dream (1935)
 * Dr. Socrates (1935)
 * The Story of Louis Pasteur (1935)
 * The White Angel (1936)
 * Satan Met a Lady (1936)
 * The Great O'Malley (1937)
 * The Prince and the Pauper (uncredited, 1937)
 * Another Dawn (1937)
 * The Life of Emile Zola (1937)
 * Blockade (1938)
 * Juarez (1939)
 * The Hunchback of Notre Dame (1939)
 * Dr. Ehrlich's Magic Bullet (1940)
 * A Dispatch from Reuter's (1940)
 * The Devil and Daniel Webster (1941)
 * Syncopation (1942)
 * Tennessee Johnson (1943)
 * Kismet (1944)
 * I'll Be Seeing You (1945)
 * Love Letters (1945)
 * This Love of Ours (1945)
 * The Searching Wind (1946)
 * Duel in the Sun (uncredited, 1946)
 * Portrait of Jennie (1948)
 * The Accused (1949)
 * Rope of Sand (1949)
 * Paid in Full (1950)
 * Vulcano (1950)
 * September Affair (1950)
 * Dark City (1950)
 * Peking Express (1951)
 * Red Mountain (1951)
 * Boots Malone (1952)
 * The Turning Point (1952)
 * Salome (1953)
 * Elephant Walk (1954)
 * Magic Fire (1955)
 * Screen Directors Playhouse: One Against Many (TV, 1956)
 * Omar Khayyam (1957)
 * Dubrowsky (1959)
 * Mistress of the World (1960)
 * Ich fand Julia Harrington (TV, 1960)
 * Carnival Confession (1960)
 * Die große Reise (TV, 1961)
 * Gabriel Schillings Flucht (TV, 1962)
 * Das Vergnügen, anständig zu sein (TV, 1962)
 * Antigone (TV, 1962)
 * The Confession (1964)
 * Samba (TV, 1966)

title: William Dieterle


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Deneys Reitz

Deneys Reitz (1882–1944), son of Francis William Reitz, was a Boer warrior who fought in the Second Boer War for the Boer Republics against the British Empire. After a period of exile in French Madagascar he returned to South Africa, where he became a lawyer and founded a major South African law firm. In the First World War he fought for the Union of South Africa against the German Empire, and then was an officer in the British Army, commanding several battalions. In later life he was a politician. Deneys Reitz was educated at Grey College, Bloemfontein.

While in exile in Madagascar, he wrote about his experience of the Second Boer War (1899–1902). When it was eventually edited and published in 1929 as Commando: A Boer Journal of the Boer War, it still had the freshness and detail of an account written soon after the war. The account is unique in that he was present at virtually every major event of the war.

Second Boer War
At the age of 17, while visiting his father in Pretoria, at the start of the Second Boer War, the Field-Cornet's office said he was too young to fight and refused to enlist him. He met his father with the President of the Transvaal, Paul Kruger, who took him straight to the room of the Commandant-General Piet Joubert. Joubert personally handed him a new Mauser carbine and a bandolier of ammunition. He and one of his brothers then joined the Boer forces "by virtue of having thrown our belongings through a carriage window and climbing aboard".

During the initial phase of the War, he fought several battles, including the engagement at Surprise Hill (Vaalkop) and in the Boer victory at Spionkop. After a string of Boer defeats in set-piece warfare and the British capture of Pretoria, Reitz was one of the fighters who remained in the field. He joined General Smuts who decided to conduct guerrilla operations, not in the territories of the Boer republics, but in the Cape Colony. They faced immense difficulties, both from British forces and from nature, and when the majority did break through to the Cape they were on their last legs.

Battle of Elands River
On 17 September 1901, Smuts' commando encountered the 17th Lancers in the vicinity of Tarkastad. Smuts realised that the Lancers' camp was their one opportunity to re-equip themselves with horses, food and clothing. A fierce fight, subsequently to be known as the Battle of Elands River, took place, with the Lancers being caught in a cross-fire and suffering heavy casualties. Stunned by the onslaught, the remaining Lancers put up a white flag. Reitz encountered Captain Sandeman, the Lancers' commander, and his lieutenant Lord Vivian among the wounded.

In his book Commando, Reitz recounts how Lord Vivian pointed out his bivouac tent and told him it would be worth his while to take a look at it. Soon, Reitz, who that morning had been wearing a grain-bag, riding a foundered horse, and carrying an old Gewehr 1888 rifle with only two rounds of ammunition left, was dressed in a cavalry tunic and riding breeches, with a superb mount, a Lee-Metford sporting rifle, and full bandoliers. Reitz reports that he met Lord Vivian again in London in 1935, on excellent terms.

(Thomas Pakenham, in his introduction to the 1983 Jonathan Ball edition of Commando, reports a more elaborate story. In this touching account, Vivian overcame Reitz's reluctance to take the spoils of victory, and presented Reitz's original rifle to him in London in 1943. As Vivian died in 1940 this is impossible. )

At the end of the war, after remarkable adventures, Smuts' commando had made itself a relatively comfortable base in the west of the Cape Colony and was besieging the garrison of Okiep, Northern Cape.

Defeat and exile
Reitz formed part of the negotiating delegation from his commando, given passage to meet the delegates from the other commandos still in the field. He reports that "nothing could have proved more clearly how nearly the Boer cause was spent than these starving, ragged men clad in skins or sacking, their bodies covered in sores, from lack of salt or food, and their appearance was a great shock to us, who came from the better-conditioned forces in the Cape." Reitz's father was among the signatories of the surrender, but only in his official capacity; he refused to sign himself and was given two weeks to settle his affairs in Pretoria before leaving the country. Deneys felt that he had to stand by his father and so also refused to sign. He left for Madagascar with his brother, where they eked out a living convoying goods by ox-transport "hard work in dank fever-stricken forests and across mountains sodden with eternal rain". In his spare time there he wrote Commando, dated 1903 but not published until 1929.

Return to South Africa, active service, and public life
On the advice of his wartime commander, Jan Smuts, he returned to South Africa in 1906. The malaria he had contracted in Madagascar had so severely affected his health that he collapsed unconscious upon his return to South Africa. He was nursed back to health over three years by Jan Smuts' wife, Isie. He then completed his studies and in 1908 in Heilbron began his successful career as a lawyer. In 1914 he helped Smuts suppress the Maritz Rebellion in the Orange Free State, and he served on Smuts' army staff in the "German West campaign" (in the German colony of German South West Africa) and in the "German East campaign" (in German East Africa) where he rose to command a mounted regiment. On the Western Front during World War I he commanded the First Battalion, Royal Scots Fusiliers in 1918, after being wounded in late 1917 while serving with 6/7th Battalion Royal Scots Fusiliers. He led his men to the Rhine after the Armistice, as detailed in his book Trekking On.

He joined Smuts' South African Party, becoming the member of the House of Assembly of South Africa for Bloemfontein South, defeating Colin Steyn of the National Party by 101 votes in the first of their three contests for this seat. His principles during his political career included loyalty to General Smuts, loyalty to the British Empire as guarantor of South African freedom, and harmony between Dutch and English South Africans. He opposed the Ossewa Brandwag organisation, which planned to take control of South Africa as soon as Britain had been crushed.

In 1920 he married Leila Agnes Buissiné Wright (Cape Town, 13 December 1887 - Cape Town, 29 December 1959). She was a social reformer, an outspoken advocate of women's rights and suffrage for women, and the first woman member of the Assembly (representative for Parktown in Johannesburg, 1933–1944).

On 3 August 1920, Steyn again stood against him in the same constituency. Reitz won again, this time with a majority of 141. In the general election of 1921, Reitz and Steyn contested Bloemfontein South once more. This time Steyn was returned with a majority of 47.

When the Smuts government fell in 1924, Reitz returned to his law practice. In subsequent years he visited the Kalahari, Kaokoveld, the Belgian Congo and Angola. His last book, No Outspan (1943), describes this period. The South African Party formed a coalition government with the National Party in 1933, next year establishing the United Party. In this government Reitz accepted the office of minister of agriculture and irrigation, later minister of agriculture. In 1939, he became Minister of Native Affairs and Deputy Prime Minister until 1943, when he was appointed as South African High Commissioner to London, where he served until his death in 1944. The photograph shows Reitz as Minister of Native Affairs visiting British army camp Aldershot, 22 November 1939.

He is buried south of Mariepskop, approximately 10 km east of the Blyde River Canyon in Mpumalanga. The Free State town of Deneysville is named after him. His law firm, Deneys Reitz Inc, became a leader in South Africa, and in 2011 merged with an international law firm.

Published works
Three volumes of an autobiography:
 * "Commando: A Boer Journal Of The Boer War", first published in Great Britain in 1929, ISBN 0-571-08778-7
 * Trekking On (1933), dealing with the Boer War through World War I, and
 * No Outspan (1943), which covers life in South African politics between the wars and concludes with him as Deputy Prime Minister of South Africa.

Also published in one volume:
 * "The Trilogy of Deneys Reitz", by Deneys Reitz, Wolfe Publishing Co., 1994 (Reprint), ISBN 1-879356-39-2

Other works:
 * "God Does Not Forget: The Story of a Boer War Commando"
 * "The Long Way Home"
 * "No Outspan"

About Reitz

 * Martin Bossenbroek: The Boer War (Transl. by Yvette Rosenberg) Auckland Park (S.A.), Jacana, 2015. ISBN 978-1-4314-1049-1.

title: Deneys Reitz


text:
Ace of Aces (picture book game)

Ace of Aces is a two-player combat picture book game designed by Alfred Leonardi and first published in 1980 by Nova Game Designs.

Gameplay
Each set includes a pair of small books, one for each player (generally marked 'German' and 'Allied'). These are like gamebooks in that instead of reading through them, a person is 'at' one particular page, and the book represents a World War I fighter. Each player turns to the same page number in his book; the illustration on that page shows the view from the cockpit of his airplane, looking at the opponent. Along the bottom of the page is a series of maneuvers that can be performed, with page numbers listed under them (while the page numbers are different with each page, the maneuvers are constant).

Each player selects a maneuver. Both players then announce the corresponding numbers. Each player turns to the page number announced by the opponent, looks up his own maneuver there, and turns to the page number listed under it. After both players have done this, they are on the same (new) page, looking at new views of each other. The process is repeated until one player has maneuvered his opponent into the sights of his guns and can shoot him down.

The maneuvers in both books are the same, with each set representing a range of aircraft with similar handling characteristics. Different sets are completely compatible with each other and can be used together, as long as opposing books are selected.

The maneuvers map onto a hex board, meaning that players were able to use figures on such a board to represent their current positions relative to each other.

Additionally, a single player can in essence "fly solo" by picking up any single book and executing maneuvers. The result is not unlike using the aircraft pictured in the book's pages as a fixed, non-moving spatial reference point. This provides an easy way for newcomers to the game to get a feel for what each maneuver does, and hence a reasonably quick way to get up to a competitive level of play against opponents.

Gameplay could further be customized by using an included sheet of rules which provided for "intermediate" and "advanced" games. These games added factors such as altitude difference, ammunition supply, wind speed, and jammed guns to the basic game (which assumed the guns always worked and had an endless supply of ammunition, and that the players would fly at the same altitude throughout in still air).

The game was popular and simple to learn, and it could be played anywhere as no table is required.

Expansions

 * Handy Rotary Series (1980)
 * Powerhouse Series (1981)
 * Flying Machines (1983)
 * Balloon Buster (1985)
 * Handy Rotary Deluxe Edition (1986)
 * Wingleader (1988)
 * Jet Eagles (1990)

Other games
Ace of Aces was the first of its type creating a new genre of gaming. Bounty Hunter used much the same format for an old west gunfight (only one set was released, Shootout at the Saloon). Dragonriders of Pern used the Ace of Aces format in a contest to stop Threadfall. Alfred Leonardi designed the Lost Worlds combat book game system which is sometimes mistakenly described as using the Ace of Aces system. Joe Dever used this style for his Combat Heroes fantasy setting books.

In 1989, West End Games released a set of books with the title Starfighter Battle Book: X-wing vs. Tie Interceptor, using the Ace of Aces format; even the shooting pages are the same.

Reception
Nick Schuessler reviewed Ace of Aces in The Space Gamer No. 45. Schuessler commented that "enjoy trying to figure out how this little paper computer always gets you back to the same page with the right pictures showing."

In Issue 34 of Phoenix, D. Aldridge noted the relatively high cost of the game in the UK – nearly £10 – but admitted: "you do get a greater sense of involvement than you do from shoving counters around a board." He concluded that the game was worth the price, saying, "the game plays quickly, can be taught to anyone in a couple of minutes in the basic version, and it does seem to impart something of the feel of WWI aerial combat."

In 1999, Pyramid magazine named Ace of Aces as one of the Millennium's Best Games. According to that magazine the game is "nothing more than a hex-based single-unit wargame, [but] what made Ace of Aces great was the presentation. By completely hiding the actual mechanics of the game in the flipbooks, it didn't feel like a wargame."

Awards

 * At the 1981 Origins Awards, Ace of Aces won the Charles S. Roberts Award for "Gamers Choice of 1980".
 * At the 1993 Origins Awards, Ace of Aces was inducted into the Product Hall of Fame.

Reprint project
The game is long out of print, but in June 2012 a Kickstarter project was initiated to reprint the game, with the permission and cooperation of the game's designer. The project was successful and the game was republished in January 2014.

In February 2024 a successful Kickstarter project to update the graphics and release a new set of books was launched.

title: Ace of Aces (picture book game)


text:
Dummy pronoun

A dummy pronoun, also known as an expletive pronoun, is a deictic pronoun that fulfills a syntactical requirement without providing a contextually explicit meaning of its referent. As such, it is an example of exophora.

Dummy pronouns are used in many Germanic languages, including German and English. Pronoun-dropping languages such as Spanish, Portuguese, Chinese, and Turkish do not require dummy pronouns.

A dummy pronoun is used when a particular verb argument (or preposition) is nonexistent (it could also be unknown, irrelevant, already understood, or otherwise "not to be spoken of directly") but when a reference to the argument (a pronoun) is nevertheless syntactically required. For example, in the phrase "It is obvious that the violence will continue", it is a dummy pronoun, not referring to any agent. Unlike a regular pronoun of English, it cannot be replaced by any noun phrase.

The term dummy pronoun refers to the function of a word in a particular sentence, not a property of individual words. For example, it in the example from the previous paragraph is a dummy pronoun, but it in the sentence "I bought a sandwich and ate it" is a referential pronoun (referring to the sandwich).

Weather it
In the phrase "it is raining—", the verb to rain is usually considered semantically impersonal, even though it appears as syntactically intransitive; in this view, the required it in "it is raining" is to be considered a dummy word corresponding to precipitation in the form of liquid water.

Other views
However, there have been a few objections to this interpretation. Noam Chomsky has argued that the it employed as the subject of English weather verbs can control the subject of an adjunct clause, just like a "normal" subject. For example, compare:
 * She brushes her teeth before having a bath.
 * → She brushes her teeth before she has a bath.

 * It sometimes rains after snowing.
 * → It sometimes rains after it snows.

If this analysis is accepted, then the "weather it" is to be considered a "quasi-(verb) argument" and not a dummy word.

Some linguists such as D. L. Bolinger go even further, claiming that the "weather it" simply refers to a general state of affairs in the context of the utterance. In this case, it would not be a dummy word at all. Possible evidence for this claim includes exchanges such as:
 * "Was it nice (out) yesterday?"
 * "No, it rained."

where it is implied to mean "the local weather".

Raising verbs
Other examples of semantically empty it are found with raising verbs in "unraised" counterparts. For example:

 * It seems that John loves coffee. (Corresponding "raised" sentence: John seems to love coffee.)

Extraposition
Dummy it can also be found in extraposition constructions in English, such as the following:

 * It was known to all the class [that the boy failed his test].

Dummy objects
In English, dummy object pronouns tend to serve an ad hoc function, applying with less regularity than dummy subjects. Dummy objects are sometimes used to transform transitive verbs to a transitive light verb form: e.g., do → do it, "to engage in sexual intercourse"; make → make it, "to achieve success"; get → get it, "to comprehend". Prepositional objects are similar: e.g., with it, "up to date"; out of it, "dazed" or "not thinking". All of these phrases, of course, can also be taken literally. For instance:

 * He ordered a cheeseburger, and even though it took them a while to make it, he did get some French fries with it.

Dummy predicates
It has been proposed that elements like expletive there in existential sentences and pro-forms in inverse copular sentences play the role of dummy predicate rather than dummy subject, so that the postverbal noun phrase would rather be the embedded subject of the sentence.

title: Dummy pronoun