text:
Daisuke Ishiwatari

Daisuke Ishiwatari (石渡 太輔) is a Japanese video game developer, illustrator, musician, composer, and voice actor. He is best known for creating the 2D fighting game series Guilty Gear. He designed the characters and storyline, and wrote the music. He also formerly provided the in-game voices for the characters Sol Badguy and Order-Sol, as well as Freed Velez in Battle Fantasia.

Ishiwatari was born in Johannesburg, South Africa, and raised in Japan.

Ishiwatari worked with Arc System Works on the first Guilty Gear as soon as he left school. Ishiwatari, along with Yoshihiro Kusano, also wrote the music for BlazBlue, and painted the character selection portraits for the sequel, BlazBlue: Continuum Shift.

Ishiwatari is also a metal and rock composer, with many of his games featuring his music. His compositions feature intricate guitar work. The albums Guilty Gear XX in LA and Guilty Gear XX in NY include his vocals, as do three albums in Japanese by the band Lapis Lazuli. He also composed for Hard Corps: Uprising.

Productions

 * Virtual Open Tennis (assistant designer)
 * EXECTOR (designer)
 * Guilty Gear series (illustration, creation and BGM)
 * Sangokushi Taisen DS (original Ba Tai design)
 * Dimension Zero (card illustration)
 * BlazBlue (sound director)
 * Hard Corps Uprising (design, BGM)

Games

 * Guilty Gear series (Sol Badguy, Order-Sol) (1998–2007, replaced by Jouji Nakata as of 2007 onward.)
 * Battle Fantasia (Freed Velez)

Radio

 * Cafe Arc
 * Guilty Gear Web Radio
 * Isotchi no Shūkan Shakishaki (guest appearance)
 * Impress TV (guest appearance)
 * BlueRadio (3rd guest appearances)
 * Zoku – BlueRadio (12th guest appearances)

Albums

 * Guilty Gear Original Sound Collection （1998）
 * Guilty Gear X Original Sound Track （2000）
 * Guilty Gear X Heavy Rock Tracks ~ The Original Soundtrack of Dreamcast （2001）
 * Guilty Gear X Rising Force Of Gear Image Vocal Tracks -Side.I ROCK YOU!!- （2001）
 * Guilty Gear X Rising Force Of Gear Image Vocal Tracks -Side.II SLASH!!- （2001）
 * Guilty Gear X Rising Force Of Gear Image Vocal Tracks -Side.III DESTROY!!- （2001）
 * Guilty Gear XX Original Soundtrack （2002）
 * Guilty Gear XX Sound Alive (2003)
 * Guilty Gear Series Best Sound Collection （2003）
 * Guilty Gear XX in L.A. Vocal Edition （2004）
 * Guilty Gear XX in N.Y Vocal Edition （2004）
 * Guilty Gear Isuka Original Soundtrack （2004）
 * Guilty Gear Sound Complete Box (2005）
 * Guilty Gear 2 Overture Original Soundtrack Vol.1 （2007）
 * Guilty Gear 2 Overture Original Soundtrack Vol.2 （2008）
 * Guilty Gear XX Λ Core – Secret Gig （2008）
 * Aksys Games 2008 Promotional CD （2008）
 * BlazBlue: Calamity Trigger Original Soundtrack (2008)
 * BlazBlue: Calamity Trigger Original Soundtrack ~Bonus Discs~ (2009)
 * BlazBlue: Calamity Trigger Original Soundtrack ~Consumer Edition~ (2009)
 * BlazBlue Song Accord No. 1 with Continuum Shift (2009)
 * BlazBlue Song Accord No. 2 with Continuum Shift II (2010)
 * ''BlazBlue in L.A. Vocal Edition (2011)
 * Guilty Gear X Blazblue OST Live (2011)
 * Guilty Gear Xrd -SIGN- Vocal Collection (2014)
 * Guilty Gear Strive Original Sound Track (2021)

title: Daisuke Ishiwatari


text:
Local boundedness

In mathematics, a function is locally bounded if it is bounded around every point. A family of functions is locally bounded if for any point in their domain all the functions are bounded around that point and by the same number.

Locally bounded function
A real-valued or complex-valued function $$f$$ defined on some topological space $$X$$ is called a  if for any $$x_0 \in X$$ there exists a neighborhood $$A$$ of $$x_0$$ such that $$f(A)$$ is a bounded set. That is, for some number $$M > 0$$ one has $$|f(x)| \leq M \quad \text{ for all } x \in A.$$

In other words, for each $$x$$ one can find a constant, depending on $$x,$$ which is larger than all the values of the function in the neighborhood of $$x.$$ Compare this with a bounded function, for which the constant does not depend on $$x.$$ Obviously, if a function is bounded then it is locally bounded. The converse is not true in general (see below).

This definition can be extended to the case when $$f : X \to Y$$ takes values in some metric space $$(Y, d).$$ Then the inequality above needs to be replaced with $$d(f(x), y) \leq M \quad \text{ for all } x \in A,$$ where $$y \in Y$$ is some point in the metric space. The choice of $$y$$ does not affect the definition; choosing a different $$y$$ will at most increase the constant $$r$$ for which this inequality is true.

Examples

 * The function $$f : \R \to \R$$ defined by $$f(x) = \frac{1}{x^2+1}$$ is bounded, because $$0 \leq f(x) \leq 1$$ for all $$x.$$ Therefore, it is also locally bounded.

 * The function $$f : \R \to \R$$ defined by $$f(x) = 2x+3$$ is bounded, as it becomes arbitrarily large. However, it  locally bounded because for each $$a,$$ $$|f(x)| \leq M$$ in the neighborhood $$(a - 1, a + 1),$$ where $$M = 2|a| + 5.$$

\frac{1}{x}, & \mbox{if } x \neq 0, \\ 0, & \mbox{if } x = 0 \end{cases} $$ is neither bounded locally bounded. In any neighborhood of 0 this function takes values of arbitrarily large magnitude.
 * The function $$f : \R \to \R$$ defined by $$f(x) = \begin{cases}

 * Any continuous function is locally bounded. Here is a proof for functions of a real variable. Let $$f : U \to \R$$ be continuous where $$U \subseteq \R,$$ and we will show that $$f$$ is locally bounded at $$a$$ for all $$a \in U$$ Taking ε = 1 in the definition of continuity, there exists $$\delta > 0$$ such that $$|f(x) - f(a)| < 1$$ for all $$x \in U$$ with $$|x - a| < \delta$$. Now by the triangle inequality, $$|f(x)| = |f(x) - f(a) + f(a)| \leq |f(x) - f(a)| + |f(a)| < 1 + |f(a)|,$$ which means that $$f$$ is locally bounded at $$a$$ (taking $$M = 1 + |f(a)|$$ and the neighborhood $$(a - \delta, a + \delta)$$). This argument generalizes easily to when the domain of $$f$$ is any topological space.

 * The converse of the above result is not true however; that is, a discontinuous function may be locally bounded. For example consider the function $$f : \R \to \R$$ given by $$f(0) = 1$$ and $$f(x) = 0$$ for all $$x \neq 0.$$ Then $$f$$ is discontinuous at 0 but $$f$$ is locally bounded; it is locally constant apart from at zero, where we can take $$M = 1$$ and the neighborhood $$(-1, 1),$$ for example.

Locally bounded family
A set (also called a family) U of real-valued or complex-valued functions defined on some topological space $$X$$ is called locally bounded if for any $$x_0 \in X$$ there exists a neighborhood $$A$$ of $$x_0$$ and a positive number $$M > 0$$ such that $$|f(x)| \leq M$$ for all $$x \in A$$ and $$f \in U.$$ In other words, all the functions in the family must be locally bounded, and around each point they need to be bounded by the same constant.

This definition can also be extended to the case when the functions in the family U take values in some metric space, by again replacing the absolute value with the distance function.

Examples

 * The family of functions $$f_n : \R \to \R$$ $$f_n(x) = \frac{x}{n}$$ where $$n = 1, 2, \ldots$$ is locally bounded. Indeed, if $$x_0$$ is a real number, one can choose the neighborhood $$A$$ to be the interval $$\left(x_0 - a, x_0 + 1\right).$$ Then for all $$x$$ in this interval and for all $$n \geq 1$$ one has $$|f_n(x)| \leq M$$ with $$M = 1 + |x_0|.$$ Moreover, the family is uniformly bounded, because neither the neighborhood $$A$$ nor the constant $$M$$ depend on the index $$n.$$

 * The family of functions $$f_n : \R \to \R$$ $$f_n(x) = \frac{1}{x^2+n^2}$$ is locally bounded, if $$n$$ is greater than zero. For any $$x_0$$ one can choose the neighborhood $$A$$ to be $$\R$$ itself. Then we have $$|f_n(x)| \leq M$$ with $$M = 1.$$ Note that the value of $$M$$ does not depend on the choice of x0 or its neighborhood $$A.$$ This family is then not only locally bounded, it is also uniformly bounded.

 * The family of functions $$f_n : \R \to \R$$ $$f_n(x) = x+n$$ is locally bounded. Indeed, for any $$x$$ the values $$f_n(x)$$ cannot be bounded as $$n$$ tends toward infinity.

Topological vector spaces
Local boundedness may also refer to a property of topological vector spaces, or of functions from a topological space into a topological vector space (TVS).

Locally bounded topological vector spaces
A subset $$B \subseteq X$$ of a topological vector space (TVS) $$X$$ is called bounded if for each neighborhood $$U$$ of the origin in $$X$$ there exists a real number $$s > 0$$ such that $$B \subseteq t U \quad \text{ for all } t > s.$$ A  is a TVS that possesses a bounded neighborhood of the origin. By Kolmogorov's normability criterion, this is true of a locally convex space if and only if the topology of the TVS is induced by some seminorm. In particular, every locally bounded TVS is pseudometrizable.

Locally bounded functions
Let $$f : X \to Y$$ a function between topological vector spaces is said to be a locally bounded function if every point of $$X$$ has a neighborhood whose image under $$f$$ is bounded.

The following theorem relates local boundedness of functions with the local boundedness of topological vector spaces:

 * Theorem. A topological vector space $$X$$ is locally bounded if and only if the identity map $$\operatorname{id}_X : X \to X$$ is locally bounded.

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

title: Local boundedness


text:
Talk:United Self-Defense Forces of Colombia

Comment
I would propose to add A LOT more about the Auc and the Narcotrafíco. The AUC´s history in the 00s and the whole demoblizationssprocess, has been dominated by this thema. There are a lots of important things: the sell of the bloques to Narcos (Arroyabe= Bloque Centauros, Vencedores de Arauca= Mellizos, Bloque Pacifico= Don Berna), The concentration of high para chieftains like, Vicente Castano, Don Berna, Hernan Giraldo on drugtrade. The discusion about the paracaídistas, the narcos, who bought themselves in for demobilisation, f.e "el gordo lindo" Zuluaga, the two "Los Mellizos" Mejia-Munera.., later even Jhonny Cano............. i would like to help, but i fear my english is too bad--84.113.236.23 13:27, 12 November 2006 (UTC)

Use of bold around "had a single gun in their possession" seems to create a point-of-view. You could just have easily bolded "approximately 100" and taken the other point of view. Also, is there any doubt that the AUC occasionally goes into Venezuela? Castano himself has admitted it.
 * I'm going to give it the axe.

 * Fine by me, at least. I didn't bold that part in my original edit/addition of that phrase; it was a later modification by someone else.Juancarlos2004 19:52, 14 Feb 2005 (UTC)

On the New Section
Travb: I've noticed your newest edits, and while they are nice and interesting enough...there are at least a couple of formal issues that can be raised immediately after reading the newest section that you are working on.

Do the Order, the networks and links mentioned specifically lead to the "creation of the AUC"? That is debatable. What is definitely clear, IMHO, is the historical relevance of that information as part of the development of paramilitarism as a whole, and the relationship between the military and paramilitary (or paramilitary-like) organizations. But directly linking that to the creation of the AUC per se, on the other hand, is more subjective (something which would be more evident if the article eventually included more details on the AUC's history as an specific entity). So much so, that not even HRW's original report (which can be read online, btw), nor the text by Doug Stokes (which you are quoting/rephrasing), specifically states or argues that the U.S. was involved in the "creation of the AUC" due to those events. That, say, U.S. actions contributed to paramilitarism and military-paramilitary relations, which that information makes completely clear, isn't equal to saying that they contributed to the creation of the AUC.

That being the case, the phrasing and location of the new information doesn't seem quite right, from a strictly Wikipedia-like point of view. At least not in the way it's currently included in the article

Taking this into account, I would argue that the section, in its current form, and most of its information would be better suited for the article "Paramilitarism in Colombia", which has a scope that goes beyond the AUC. That information is definitely important, and I thank you for digging it up (so to speak), but the direct implication that those specific actions led to the AUC, does look out of place here, and may be technically subject to the dreaded accusation of being "original research". Juancarlos2004 02:25, 2 April 2006 (UTC)

 * I will move it right now. Good call.  It can't be original research cause none of it is original LOL. Travb 02:40, 2 April 2006 (UTC)

Politics?
Can anyone elaborate on the politics on the United. Self-Defense Forces? Although they are described as "right-wing," what are the main tenants the group holds?--Whistlesgowhoo 01:58, 5 September 2006 (UTC)
 * It seems to be just united as anti-FARC, which is probably why AUC has so many internal conflicts —Preceding unsigned comment added by 204.52.215.67 (talk) 03:07, 4 March 2008 (UTC)

Yeah I was looking online recently and it seems like that they dont really have any central ideals.68.84.235.198 (talk) 03:25, 28 May 2011 (UTC)

wrong numbers
the demobilization bit needs to be up to date, "17,000 out of 20,000" AUC members surrendering in Feb 2006 cannot be right as in August 2006 30,000 were demobilized. Source: reuters, http://www.alertnet.org/thenews/newsdesk/N05280049.htm and MIPT terrorism database http://www.tkb.org/Group.jsp?groupID=126.

Though I can't find numbers for the total of active members of AUC left.

Flo 16:10, 21 September 2006 (UTC)

 * You are right about the first part, as the article is definitely at least a few months out of date. As for your second comment, you probably won't find it, since the AUC formally ceased to exist when the final demobilizations took place.

 * Something else, however, would be estimating the number of those paramilitaries that continue operating but are no longer considered part of AUC (even if some were indeed part of the AUC until recently), for whatever reasons. Estimates for those do exist. Juancarlos2004 16:50, 21 September 2006 (UTC)
 * I would think that it would be impossible to make such an estimate. I've seen about 20 names of right-wing gangs comprised of demobilized AUC members, and it seems to me like such groups would so decentralized and clandestine that any estimate would be way off.  --Descendall 05:37, 28 September 2006 (UTC)

 * I will sound dumb here. AUC ceased to exist? when? where? link, article?

damn, how could something so big escape my vigilance??? --Flo 16:58, 23 September 2006 (UTC)

 * The AUC stoped "existing" with demobilization. That's not to say that all of a sudden every paramilitary fighter decided to live a life of peace; obviously a lot of them are in gangs/new paramilitary organizations.  Colombialibre.org has changed it's name around a few times, but it's always something like "Official webpage of the ex-combatants of the AUC."  Now it calls itself the "National Movement of Demobilized Autodefensas."  At one point I saw it calling itself "Alianza Unida por Cambio" or something similar that shared the "AUC" initials.  --Descendall 05:35, 28 September 2006 (UTC)

History?
what was or is their political vision? (maybe some sort of Colombian version of Democratic realism???? can it be changed from the "colombian conflict infobox" (temporarily?) to former groups since they no longer are operating as AUC???-- F3rn 4nd0  14:52, 21 October 2006 (UTC)
 * Good question. A lot of these guys obviously want to go into (legitimate) politics, so I suppose that they'll have to form some sort of platform.  in 1998, Carlos Castano, who is now dead, made something that resembled a platform of sorts, see http://www.ciponline.org/colombia/pot-paramil.htm  Keep in mind, however, that Carlos Castano is a first-class bullshitter.  --Descendall 09:32, 4 December 2006 (UTC)

None. They were formed by known drug trafickers mostly to protect their trade and protect wealthy land owners. don't be fooled by the name "peaseant" there's absolutely nothing pro-peaseant about this organization. The worst part about this group is that they commited thousands upon thousands of deaths and very little justice has been brought. —Preceding unsigned comment added by 71.59.22.115 (talk) 01:24, 21 March 2008 (UTC)

 * What about including a history or origins section? I believe they go as far back as the MAS (Muerte a Secuestradores) criminal organization. --Forich (talk) 03:09, 30 November 2012 (UTC)

Pop Culture/Movies
Might be worth noting that a main character (Jose Yero) in Miami Vice (2006) is identified as AUC. user: fx6893 22 Dec 2006

Pop Culture/Movies Might be worth mentioning that a main character named Jose Yero in the movie Miami Vice (2006) is identified as an AUC member. Fx6893 23:52, 22 December 2006 (UTC)

Chiquita Banana incident
It might be worth mentioning that Chiquita had to pay a $25 million fine for supporting the AUC with over a million dollars. A decent primary source can be found here. --72.75.108.135 08:22, 20 March 2007 (UTC)
 * Or here for that matter. -- 03:12, 9 April 2007 (UTC)

That's a sad fine considering they were contributing monetary funding to a listed "terrorist" group. I wonder why those involved were not jailed for such assistance since the US is fighting a "war on terror" and its supporters.

Sentrix (talk) 02:32, 5 March 2008 (UTC)Sentrix
 * I really dislike the paragraph about the incident in the summary. It seems a little bit strident. It seems fairly obvious that Chiquita acted illegally, but do we really need to list executives in the summary paragraph? I changed the ALL CAPS LIST of names since it is agaisnt any style guide.... but I'd really like to learn more about the topic before I start writing about it.
 * On a side note, USDFC is hardly Al-Qaeda or even FARC... and the US State Department is a reliable but biased source... just as is the British Army or your local Police Department. V. Joe (talk) 13:19, 26 October 2009 (UTC)

Recent Move
Hi, this page was recently moved from United Self-Defense Forces of Colombia to Self-Defense Units of Colombia arguing that this was the correct translation of Autodenfensas Unidas de Colombia. I disagree. "Unidas" means "united", not "units". I will revert the move in a few hours if no one minds. Colombiano21 (talk) 21:09, 22 October 2008 (UTC)

 * I have now reverted the move. If you still feel the page is under the wrong name, please comment about it on here before moving it.  Thank you, Colombiano21 (talk) 00:39, 23 October 2008 (UTC)

It's true Spanish translation would be United Self-Defenders of Colombia. It should be moved there. 100.34.56.136 (talk) 13:29, 19 June 2018 (UTC)

Article Name
How does Autodefensas Unidas de Colombia translate to United Self-Defense Forces of Colombia? Wouldn't Self-Defense Units of Colombia be a better translation? --Degen Earthfast (talk) 22:08, 23 September 2012 (UTC)

 * On one hand, 'Unidas' means 'federado' or 'asociado', so it translates as 'United'. That's why I don't support your suggestion of 'Units' in their name. On the other hand, why is there a 'Forces' in the name, since there is no 'Fuerzas' in the original denomination? --Forich (talk) 03:06, 30 November 2012 (UTC)

 * Wouldn't United Self-Defenders of Columbia be a better and more correct name?--108.36.244.16 (talk) 03:47, 5 June 2015 (UTC)
 * Moved to United Self-Defenders of Colombia as a better translation from the Spanisg to English--Degen Earthfast (talk) 21:04, 17 September 2016 (UTC)

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Wikipedia:Featured article candidates/Esperanto/archive1

Esperanto
This is a very well written article, with much detail put into it. --Flockofpidgeons

Object I think this article has some serious NPOV issues. It reads like an Esperanto manifesto, especially the list headed by "More generally, there are five primary reasons for its strength". The article totally glosses over the fact that Esperanto has not lived up to its orignal stated purpose. With 2 million speakers, it might be the most common constructed language in the world, but so what? The article states that Esperanto was "to serve as an international auxiliary language, a second language for everyone in the world", and it has clearly failed reach that goal. The article should discuss this aspect to achieve a neutral point of view. It also uses the Mother of all Weasel Terms: "There is some evidence that suggests...", which doesn't help to establish NPOV. --Plek 08:33, 14 Feb 2005 (UTC)

 * The phrase "There is some evidence that suggests..." is linked to an article which (though, last time I looked at it, it needed some grammar and style fixup) details the evidence: a number of studies in schools at various levels in various countries. Maybe it should be rephrased "Some studies suggest..." ?

 * There is an acknowledgement that Esperanto has "failed to live up to orignal stated purpose"; maybe it should be earlier and more prominent.

 * Overall I think this is pretty near being ready to be a featured article, but not quite. There are a few infelicities of phrasing, the "five reasons for its strength" could stand some work for better NPOV, and there are irrelevant digressions like the comment about Ethnologue's glitch asserting Esperanto is a language of France. --Jim Henry 17:04, 14 Feb 2005 (UTC)

 * Thanks for the heads-up. I think the changes you made address some minor issues, but my main concern about POV problems still stands. I'll try to be more specific. To do so, I'll deconstruct the "Language evolution" section, which I think is the most troublesome.

 * First paragraph ("A declaration endorsed..."): good, factual information. No problems I can see, although an in-line link to the text of the declaration might be useful.
 * 2nd paragraph ("Esperantists believe..."): the problems start here. Those two words are weasel terms. Is the text trying to say that all those 2 million people have the exact same opinion? That's hard to imagine. At least some of them are bound to have a different or opposing view. The phrase "this declaration stabilizing the language is a major reason why Esperanto is uniquely strong", suggests that the declaration has a strictly positive influence. Is that a fact? It seems to me that all languages evolve over time. We're not speaking mediaeval English anymore, either. The static nature of Esperanto is bound to have drawbacks. So what are they?
 * "...they see five reasons for its strength": this phrase turns the section into a description of Esperantists' opinion, which is by definition POV. The article is named "Esperanto", not "Opinions about Esperanto". I would therefore suggest to take the factual information from those five points and turn them into descriptive prose, describing the language and its origins. Whether people think those characteristics are good or bad is a seperate issue and should be the subject of a different section.
 * "as the legend goes" has no place in an encyclopaedic article.
 * Either remove or make specific all adjectives and adverbs that are unquantifiable or opinionated. Some examples: "done an enormous amount of work", "exploit desirable features", "Constructed languages are often destroyed".
 * Some other observations (yes, I hate people who move the goal posts too ;-):
 * The order of the sections seems haphazard: We're moving from history to classification and distribution (which is okay), but then to a very tangential section about Red Dwarf and computer games... Then back to general remarks about the status, followed by some sections about writing and speaking the language. Try to put those into an order that would make sense to the reader: from broad overview to detailed specifics, for instance. Put less important factoids (like the media stuff) at the end. Oh, and do get rid of the minor planet (but that's just because of my bias against gratuitous minor planet references :)...
 * After deleting the one reference work about the minor planet (provided you follow my suggestion about dumping the thing), there's only one reference left, and just three pages at that. That seems to be a bit thin for an article that contains so much (most of it very good and interesting) information. I'd suggest to go over the article and find references for the most important facts mentioned in it. Again, in-line citations help to provide a direct link to the reference work (and will also help you spot unreferenced sections).
 * My fingers hurt, so I guess this will have to do for now. I hope you'll find my incoherent rambling useful in improving the article. One suggestion: you might want to consider dropping it back to peer review first, to get more people involved in the editing process. Good luck. --Plek 21:19, 23 Feb 2005 (UTC)

 * Thanks for the more detailed comments. I was going to delete the silly bit about the asteroid, but someone objected in the talk page; I'll wait awhile longer and try to get more consensus before deleting that.  I'll try to add more references, edit the language evolution section, and reorder the sections, then link it from the peer review page. --Jim Henry 21:47, 23 Feb 2005 (UTC)

 * Object. 1) Lead section too brief, does not summarize the article. 2) No images (save for the flag, which is not explained - why does a constructed language have a flag?). At least an image of Zamenhoff should be possible. 3) Many sections are brief (just a single paragraph) or contain "litter", random sentences which connect badly with the surrounding text. "Classification" and "Namesake" are ridiculous as it stands, while "Geographic distribution" does not tell us anything at all about geographic distribution. "Media" just mentions some stuff about films, but doesn't really go into the topic of Esperanto media? Are there newspapers, magazines, books, web sites? Yes? Tell about them. Review all other sections for contents as well. 4) Other reviewers have already mentioned NPOV issues and weasel terms. Please, attribute opinions and statements. 5) References and external links should be sorted out. The references do not seem to be about esperanto at all, while several external links seem to be to vague to be relevant for the article. The see alsos could also use a clean-up. Jeronimo 07:45, 15 Feb 2005 (UTC)

 * I agree on most of your points, but partly disagree on some:
 * Lots of entities other than countries have flags, so I don't think the flag per se needs explanation in this article. But it would be good to add a separate article about the Esperanto flag and link to it from the image and maybe the See also section.
 * One of the references relates to the asteroid; I'm planning to delete it. The other is relevant; it's a study on the ease of learning Esperanto and how it helps in learning other languages later.
 * Classification seems to be a standard section in articles about languages. I don't see what's ridiculous about it.  It states concisely that Esperanto is not genetically related to other languages, but was influence by some languages of the Indo-European family.  It could use a bit more information on typology (SVO, AN default order).
 * Which external links do you object to as irrelevant?
 * What in the see alsos seems irrelevant or mis-sorted? Please be more specific.
 * I've already fixed some of the problems you and Plek pointed out, and am planning to work on others (media, NPOV problems, opening summary section) today and later in the week. --Jim Henry 16:42, 21 Feb 2005 (UTC)
 * Jim, some replies (while noting that this article is no longer on FAC, so has already failed nomination). 1) Still the same problem. 2) Still no other images. 3) With "ridicilous" I meant ridiculously short. I can see the classification section is sort of standard. Still, I think more can be said there on the influences from other languages, especially as this is also relevant for the argument how easy (or difficult) the language can be learnt by people not speaking an Indo-European language. Many other section still have several one-sentence sections, and the reading flow is bad. The media section is still the same, and although the title is more appriopriate now, this makes it less appropriate for the article. 4) I'd have to read the article as a whole again to verify any changes here. 5) They seem pretty ok now, I'm not sure anymore what my objection were about exactly. Jeronimo 08:02, 25 Feb 2005 (UTC)


text:
User talk:Flockofpidgeons

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! →Raul654 03:05, Feb 14, 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

Fac noms
Flockofpidgeons - when you nominate an article for the featured article candidates, you need to post your nomination notice on the nomination page, not the article's talk page - Featured article candidates/Esperanto, not talk:Esperanto, for example. I fixed a pair of your nominations, but in the future, it'd be helpful if you made them like that :)

Also, you have to sign your comments, or else we have no idea who is saying what. →Raul654 03:05, Feb 14, 2005 (UTC)
 * sorry, and thanks. flockofpidgeons 03:11 14 Feb 2005 (UTC)

title: User talk:Flockofpidgeons


text:
Hasty Pudding Woman of the Year

The Hasty Pudding Woman of the Year award is bestowed annually by the Hasty Pudding Theatricals society at Harvard University. The award was created in 1951, and its first recipient was Gertrude Lawrence, an English actress, singer, and dancer. It has since been awarded annually by the society members of the Hasty Pudding to performers deemed to have made a "lasting and impressive contribution to the world of entertainment".

The Woman of the Year recipient is traditionally treated to a day of celebrations in her honor, including a parade through Harvard Square accompanied by members of the Hasty Pudding Theatricals and Pudding-affiliated Organizations. This is usually followed by a celebratory dinner and entertainment by the Harvard Krokodiloes.

Below is a list of the women who have received the award:

Recipients
• 1951 – Gertrude Lawrence

• 1952 – Barbara Bel Geddes

• 1953 – Mamie Eisenhower

• 1954 – Shirley Booth

• 1955 – Debbie Reynolds

• 1956 – Peggy Ann Garner

• 1957 – Carroll Baker

• 1958 – Katharine Hepburn

• 1959 – Joanne Woodward

• 1960 – Carol Lawrence

• 1961 – Jane Fonda

• 1962 – Piper Laurie

• 1963 – Shirley MacLaine

• 1964 – Rosalind Russell

• 1965 – Lee Remick

• 1966 – Ethel Merman

• 1967 – Lauren Bacall

• 1968 – Angela Lansbury

• 1969 – Carol Burnett

• 1970 – Dionne Warwick

• 1971 – Carol Channing

• 1972 – Ruby Keeler

• 1973 – Liza Minnelli

• 1974 – Faye Dunaway

• 1975 – Valerie Harper

• 1976 – Bette Midler

• 1977 – Elizabeth Taylor

• 1978 – Beverly Sills

• 1979 – Candice Bergen

• 1980 – Meryl Streep

• 1981 – Mary Tyler Moore

• 1982 – Ella Fitzgerald

• 1983 – Julie Andrews

• 1984 – Joan Rivers

• 1985 – Cher

• 1986 – Sally Field

• 1987 – Bernadette Peters

• 1988 – Lucille Ball

• 1989 – Kathleen Turner

• 1990 – Glenn Close

• 1991 – Diane Keaton

• 1992 – Jodie Foster

• 1993 – Whoopi Goldberg

• 1994 – Meg Ryan

• 1995 – Michelle Pfeiffer

• 1996 – Susan Sarandon

• 1997 – Julia Roberts

• 1998 – Sigourney Weaver

• 1999 – Goldie Hawn

• 2000 – Jamie Lee Curtis

• 2001 – Drew Barrymore

• 2002 – Sarah Jessica Parker

• 2003 – Anjelica Huston

• 2004 – Sandra Bullock

• 2005 – Catherine Zeta-Jones

• 2006 – Halle Berry

• 2007 – Scarlett Johansson

• 2008 – Charlize Theron

• 2009 – Renée Zellweger

• 2010 – Anne Hathaway

• 2011 – Julianne Moore

• 2012 – Claire Danes

• 2013 – Marion Cotillard

• 2014 – Helen Mirren

• 2015 – Amy Poehler

• 2016 – Kerry Washington

• 2017 – Octavia Spencer

• 2018 – Mila Kunis

• 2019 – Bryce Dallas Howard

• 2020 – Elizabeth Banks

• 2021 – Viola Davis

• 2022 – Jennifer Garner

• 2023 – Jennifer Coolidge

• 2024 – Annette Bening

title: Hasty Pudding Woman of the Year


text:
Talk:Cone (linear algebra)

This article used to be called cone (geometry). It has been renamed cone (linear algebra), and some of its contents has been moved to the new article convex cone. See also cone (geometry), Talk:Cone (solid), and the cone disamb page. Jorge Stolfi 17:23, 29 December 2005 (UTC)

proposed article to be deleted
Almost all of the content of this page can be found in convex cone under the special example section. I think this content is better explained as a special case of convex cones instead of having its own page. Currently, this page is mostly a list of definitions without context.

DrWikiWikiShuttle (talk) 07:06, 7 June 2016 (UTC)

I read the AfD and it seems the merge process is the correct thing to do. DrWikiWikiShuttle (talk) 21:45, 25 June 2016 (UTC)

title: Talk:Cone (linear algebra)


text:
Moby Dick (instrumental)

"Moby Dick" is an instrumental drum solo by English rock band Led Zeppelin, featured on the band's 1969 album Led Zeppelin II. Named after the 1851 novel of the same name by Herman Melville, it was also known by the alternative titles "Pat's Delight" (early 1968–1969 version with completely different guitar riff) and "Over the Top" (with "Out on the Tiles" intro section and original closing reprise) during various points of the band's career. The track is often regarded as one of the greatest drum solos of all time.

Composition and recording
"Moby Dick" emerged after Led Zeppelin guitarist and producer Jimmy Page found drummer John Bonham jamming or improvising in the studio, recorded parts of his solos and pieced it all together. Studio outtakes from the Led Zeppelin II sessions reveal that the drum solo recorded was edited down from a much longer version.

The guitar riff can be traced back to the BBC unused session track "The Girl I Love She Got Long Black Wavy Hair", which was recorded in the summer of 1969. The riff is also similar to that of Bobby Parker's 1961 hit single, "Watch Your Step", although the progression is in a different key and tempo.

Personnel
According to Jean-Michel Guesdon and Philippe Margotin:

 * Jimmy Page – guitars
 * John Paul Jones – bass
 * John Bonham – drums, cowbell, tambourine

Live performances
Bonham's Moby Dick drum solo was often played at Led Zeppelin concerts from the first North American tour in November 1968, his iconic rendition at the Royal Albert Hall on 9 January during Zeppelin's United Kingdom Tour 1970, and remained his solo performance showcase on concert tours through 1977. Over this period it went through three different name changes. During their early 1968–1969 tours it was known as "Pat's Delight" (a reference to Bonham's wife), from 1969–1975 it was "Moby Dick" and during Led Zeppelin's 1977 North American Tour it was "Over the Top" as the solo began with the opening riff to "Out on the Tiles" before segueing into a lengthy drum solo (in the same time ending with a "Moby Dick" riff). The last time "Moby Dick" was played by Led Zeppelin was on 17 July 1977 at the Seattle Kingdome and can be found on various audio and video bootleg recordings.

When played live, Bonham's drum solo would last as little as 6 minutes or, more frequently, as long as 30 minutes, while the rest of the band would leave the stage after having played the introduction.

There are several live versions of "Moby Dick" that have been officially released. The earliest recorded official release was played at the Olympia in Paris, France on 10 October, 1969. It was subsequently included on disc two of the deluxe edition of Led Zeppelin, along with the rest of the show. The first official release of a live version was included in the film The Song Remains the Same and the soundtrack of the same name. The original album and film versions include different performances from the 3 nights performed at Madison Square Garden from 27-29 July, 1973. Other versions officially released include a filmed performance from the Royal Albert Hall from 9 January, 1970 (featured on Led Zeppelin DVD) and a performance from the LA Forum on 25 June, 1972 (featured on the live album How the West Was Won).

title: Moby Dick (instrumental)


text: User talk:68.47.62.57

title: User talk:68.47.62.57


text:
The Lookouts

The Lookouts were an American punk rock band that existed from 1985 to 1990 on Iron Peak, a remote rural mountain community outside Laytonville, California, United States. The members were Larry Livermore on guitar and vocals, Kain Kong (Kain Hanschke) on bass and vocals, and Tré Cool on drums and vocals. All three contributed on songwriting.

The band is most famous for being Tré Cool's first band before joining Green Day.

History
Looking to start a punk band, Livermore had trouble finding members, citing the majority of the local musicians being hippies and "completely uninterested in the music we wanted to make." Eventually, Livermore recruited 14-year-old Kain Hanschke on bass and 12-year-old  Frank Edwin "Tré" Wright III on drums. Although he had never before played drums, young Tré showed an instant affinity for them, likely because, as Livermore said, "he loved making a lot of noise and getting everyone to look at him."

Claiming that the members needed "punk rock names," Livermore gave his fellow musicians new last names. Kain's surname went from Hanschke to "Kong," while Tré went from Wright to "Cool." It has often been claimed that Livermore was the person to dub Cool with "Tré." His family had long before given him the nickname, a play on the word "tres," or "three," because he was the third Frank Edwin in his family.

The Lookouts recorded three albums, ''Lookout! It's the Lookouts, One Planet One People, and Spy Rock Road, and two EPs, Mendocino Homeland and IV.''

 * On July 10, 1990, we went into The Art Of Ears studio in San Francisco and recorded nine songs, six of which would ultimately be released [as IV], and then went over to Oakland to play what would be, though we didn’t know it at the time, our last show. I was never that great at lead guitar (or rhythm guitar, for that matter, if we’re going to be honest), so I asked a friend named Billie Joe to play on the recordings.

From there, Livermore went on to running his record label, named Lookout Records; One Planet One People was the first release in the label's history. Livermore eventually sold Lookout Records to business partner Chris Appelgren in the mid-1990s. Kong became a National Park Service park ranger. Cool became drummer for Green Day, after they were left in a lurch by their first drummer.

In 2015, Don Giovanni Records released Spy Rock Road and Other Stories, a compilation featuring all of the tracks from Spy Rock Road, Mendocino Homeland and IV, a few compilation tracks and one from their demo Lookout! It's the Lookouts. Besides a couple of compilation appearances, this marked the first time the band's recordings were released on CD

Members

 * Larry Livermore - guitar, vocals (1985–1990)
 * Kain Kong - bass, vocals (1985–1990)
 * Tré Cool - drums, vocals (1985–1990)

Studio albums

 * One Planet One People (1987)
 * Spy Rock Road (1989)

Extended plays

 * Mendocino Homeland (1989)
 * IV (1990)

Compilation albums

 * Spy Rock Road and Other Stories... (2015)

Compilation appearances

 * "Why Don't You Die?" and "California" on Bay Mud — David Hayes self-released cassette (1986)
 * "Recycled Love" on Lethal Noise, Vol. 2 — David Hayes self-released cassette (1987)
 * "Insane", "Recycled Love", "The Mushroom Is Exploding" and "Friends of Mine" on Limited Potential — Limited Potential Records (1987)
 * "Outside" on The Thing That Ate Floyd — Lookout Records (1989)
 * "Big Green Monsters" on Make the Collector Nerd Sweat — Very Small Records (1990)
 * "Once Upon a Time" on More Songs About Plants and Trees — Allied Records (1990)
 * "Kick Me in the Head" on Can of Pork — Lookout Records (1992)

Demo albums

 * Lookout! It's the Lookouts (1985)

title: The Lookouts


text:
Hasty Pudding Man of the Year

The Hasty Pudding Man of the Year award is bestowed annually by the Hasty Pudding Theatricals society at Harvard University. It has been awarded since 1967 to performers deemed by the society members to have made a "lasting and impressive contribution to the world of entertainment."

The Man of the Year recipient is traditionally invited to Harvard Square for various events in his honor before the opening night of the Hasty Pudding show. These include a tour of historic Harvard Yard with entertainment by the Radcliffe Pitches and culminate with a dinner and roast by the Hasty Pudding Theatricals members.

In 1998, the Harvard Lampoon awarded their own "Real Man of the Year" award to the Macho Man Randy Savage, who challenged that year's Man of the Year Kevin Kline to a wrestling match.

Recipients
Source:

 * 1967 – Bob Hope
 * 1968 – Paul Newman
 * 1969 – Bill Cosby
 * 1970 – Robert Redford
 * 1971 – James Stewart
 * 1972 – Dustin Hoffman
 * 1973 – Jack Lemmon
 * 1974 – Peter Falk
 * 1975 – Warren Beatty
 * 1976 – Robert Blake
 * 1977 – Johnny Carson
 * 1978 – Richard Dreyfuss
 * 1979 – Robert De Niro
 * 1980 – Alan Alda
 * 1981 – John Travolta
 * 1982 – James Cagney
 * 1983 – Steven Spielberg
 * 1984 – Sean Connery
 * 1985 – Bill Murray
 * 1986 – Sylvester Stallone
 * 1987 – Mikhail Baryshnikov
 * 1988 – Steve Martin
 * 1989 – Robin Williams
 * 1990 – Kevin Costner
 * 1991 – Clint Eastwood
 * 1992 – Michael Douglas
 * 1993 – Chevy Chase
 * 1994 – Tom Cruise
 * 1995 – Tom Hanks
 * 1996 – Harrison Ford
 * 1997 – Mel Gibson
 * 1998 – Kevin Kline
 * 1999 – Samuel L. Jackson
 * 2000 – Billy Crystal
 * 2001 – Anthony Hopkins
 * 2002 – Bruce Willis
 * 2003 – Martin Scorsese
 * 2004 – Robert Downey Jr.
 * 2005 – Tim Robbins
 * 2006 – Richard Gere
 * 2007 – Ben Stiller
 * 2008 – Christopher Walken
 * 2009 – James Franco
 * 2010 – Justin Timberlake
 * 2011 – Jay Leno
 * 2012 – Jason Segel
 * 2013 – Kiefer Sutherland
 * 2014 – Neil Patrick Harris
 * 2015 – Chris Pratt
 * 2016 – Joseph Gordon-Levitt
 * 2017 – Ryan Reynolds
 * 2018 – Paul Rudd
 * 2019 – Milo Ventimiglia
 * 2020 – Ben Platt
 * 2022 – Jason Bateman
 * 2023 – Bob Odenkirk
 * 2024 – Barry Keoghan

title: Hasty Pudding Man of the Year


text:
Lyceum Theatre

Lyceum Theatre may refer to:

Canada

 * Royal Lyceum Theatre (Toronto), managed by Charlotte Nickinson

Spain

 * Liceu, the opera house of Barcelona

United Kingdom

 * Lyceum Theatre, London, 2,000-seat West End theatre in the City of Westminster
 * Lyceum Theatre, Crewe, Edwardian period Grade II listed building and theatre
 * Lyceum Theatre, Sheffield, 1,068-seat theatre in Sheffield
 * Royal Lyceum Theatre, 658-seat theatre in Edinburgh
 * Lyceum Theatre, Sunderland (1854–1880), 1,800-seat theatre in Tyne and Wear

United States

 * Lyceum Theatre (Boston), a Boston theatre active under this name from 1892-1907; opened as the Boylston Museum in 1875
 * Lyceum Theatre (Broadway), a Broadway theatre at 149 West 45th Street in midtown Manhattan
 * Lyceum Theatre (14th Street, Manhattan), at 107 West 14th Street in Manhattan, originally the Theatre Francais (1866)
 * Lyceum Theatre (Park Avenue South), a theatre that was on Fourth Avenue (now Park Avenue South) between 23rd and 24th Streets in Manhattan
 * Lyceum Theatre (San Diego), managed by the San Diego Repertory Theatre
 * Lyceum Theater (Clovis, New Mexico), listed on National Register of Historic Places listings in New Mexico in Curry County

Other places

 * Lyceum Theatre, Shanghai, in Shanghai, China

title: Lyceum Theatre


text:
Augustin Souchy

Augustin Souchy Bauer (28 August 1892 – 1 January 1984) was a German anarchist, antimilitarist, labor union official and journalist. He traveled widely and wrote extensively about the Spanish Civil War and intentional communities. He was born in Ratibor, Germany (now Racibórz, Poland).

Biography
In 1915, during World War I, he emigrated to Sweden to avoid military service, being exiled by the Swedish government two years later for anti-militaristic propaganda. From then on, he traveled throughout the world returning to Germany once and living in Spain, South America and France at different times. He was very active in the anarchist movement wherever he lived and worked together with many famous anarchists such as Peter Kropotkin and Rudolf Rocker.

He participated in Confederación Nacional del Trabajo and in the Spanish revolution during the Spanish Civil War. His work "The Tragic Week in May" is one of the few first hand sources that exist on the May Days of 1937 in Barcelona. After the war he was arrested in France but managed to escape to Mexico.

He spent the rest of his life working together with syndicalist and anarchist organizations and remained active as a journalist. He died in Munich on January 1, 1984.

title: Augustin Souchy


text:
Pinetop Perkins

Joe Willie "Pinetop" Perkins (July 7, 1913 – March 21, 2011) was an American blues pianist. He played with some of the most influential blues and rock-and-roll performers of his time and received numerous honors, including a Grammy Lifetime Achievement Award and induction into the Blues Hall of Fame.

Early career
Perkins was born in Belzoni, Mississippi and raised on a plantation in Honey Island, Mississippi. He began his career as a guitarist but then injured the tendons in his left arm in a knife fight with a chorus girl in Helena, Arkansas in the 1940s. Unable to play the guitar, he switched to the piano. He also moved from Robert Nighthawk's radio program on KFFA to Sonny Boy Williamson's King Biscuit Time. He continued working with Nighthawk, however, accompanying him on "Jackson Town Gal" in 1950.

In the 1950s, Perkins joined Earl Hooker and began touring. He recorded "Pinetop's Boogie Woogie" at Sam Phillips's Sun Studio in Memphis, Tennessee. The tune was written by Pinetop Smith, who created the original recording in 1928. Perkins didn't write; he "got as high as third grade in school." He learned to play-off Smith's records. As Perkins recalled, "They used to call me 'Pinetop' because I played that song."

Perkins then relocated to Illinois and left the music business until Hooker persuaded him to record again in 1968. Perkins replaced Otis Spann in the Muddy Waters band when Spann left the band in 1969. After ten years with that organization, he formed the Legendary Blues Band with Willie "Big Eyes" Smith, recording from the late 1970s to the early 1990s.

Later career
Perkins played a brief musical cameo on the street outside Aretha's Soul Food Cafe in the 1980 movie The Blues Brothers, having an argument with John Lee Hooker over who wrote "Boom Boom". He also appeared in the 1987 movie Angel Heart as a member of guitarist Toots Sweet's band.

Perkins was a sideman on countless recordings but never had an album devoted solely to his artistry until After Hours, released by Blind Pig Records in 1988. The tour in support of the album featured Jimmy Rogers and guitarist Hubert Sumlin.

The death of Perkins's common law wife, Sara Lewis, in 1995, triggered a depression and periods of drinking. In 1998, he released the album Legends, featuring Sumlin. In 2001, Perkins performed at the Chicago Blues Festival with Ike Turner. Turner credited Perkins with inspiring him to play piano. Perkins was driving his automobile in 2004 in La Porte, Indiana, when his car was hit by a train. The car was wrecked, but the 91-year-old driver was not seriously hurt. Until his death, Perkins lived in Austin, Texas. He usually performed a couple of nights a week at Momo's, on Sixth Street.

The song "Hey Mr. Pinetop Perkins", performed by Perkins and Angela Strehli, played on the common misconception that he wrote "Pinetop's Boogie Woogie":
 * Hey Mr. Pinetop Perkins
 * I got a question for you
 * How'd you write that first boogie woogie
 * The one they named after you

As he aged, Perkins's hearing declined.

Death
On March 21, 2011, Perkins died in his sleep of cardiac arrest at his home in Austin, Texas at the age of 97. Multiple memorial services were held in Perkins's honor in cities throughout the United States. The Ground Zero Blues Club in Clarksdale, Mississippi held a dedicated jam on March 31, 2011, for friends and fans of Perkins. A music-filled open-casket funeral for Perkins was held in Austin, Texas on March 29, 2011, and was attended by several fellow musicians including Willie "Big Eyes" Smith and Bob Margolin.

Perkins was laid to rest in the McLaurin Memorial Garden cemetery in Clarksdale on April 2, 2011, following a final open-casket "homegoing" celebration. The final laying to rest was ministered by Henry Espy, the first Black mayor of Clarksdale, and the altar display included Perkins's favorite meal: a McDonald's Big Mac and apple pie.

At the time of his death, he had more than 20 performances booked for 2011. Shortly before he died, while discussing his late career resurgence with an interviewer, he conceded, "I can't play piano like I used to either. I used to have bass rolling like thunder. I can't do that no more. But I ask the Lord, please forgive me for the stuff I done trying to make a nickel." Perkins and David "Honeyboy" Edwards were the last surviving original Delta blues musicians. Perkins was also one of the last surviving bluesmen to have known Robert Johnson.

Influence
Bruce Iglauer, founder of Chicago's Alligator Records, stated Perkins was "absolutely the premier blues piano player." He added, "His career spanned literally over 80 years. He was the symbol of a whole generation of musicians." Perkins influenced blues musicians such as Ike Turner, who he taught how to play piano. "Pinetop would be the birth of rock 'n' roll, because he taught me what I played," Turner said. Perkins collaborated with various bluesmen, including Muddy Waters, Robert Nighthawk, Earl Hooker, and B.B. King.

Pinetop Perkins Foundation
In the late musician's honor, the Pinetop Perkins Foundation holds annual workshops for young musicians interested in Blues and Jazz music. The workshop, which usually occurs in Clarksdale, Mississippi but was made virtual during the COVID-19 pandemic, provides young musicians master classes with some of the best living talent in the traditional Blues and Jazz genres, and culminates in a performance at the Ground Zero Blues Club by the students. The other arm of the foundation provides financial relief to aging musicians through a program called the Pinetop Assistance League; with a goal of ensuring that elderly musicians who can no longer earn an income can pay their housing and medical costs in order to have comfort and dignity in their later years.

Awards and honors
Perkins was named a National Heritage Fellow by the National Endowment for the Arts in 2000.

In 2003, Perkins was inducted into the Blues Hall of Fame.

In 2005, Perkins received a Grammy Lifetime Achievement Award.

In 2008, Perkins, together with Henry Townsend, Robert Lockwood, Jr. and David "Honeyboy" Edwards, received a Grammy Award for Best Traditional Blues Album for Last of the Great Mississippi Delta Bluesmen: Live in Dallas. He was also nominated in the same category for his solo album Pinetop Perkins on the 88's: Live in Chicago.

At the age of 97, Perkins won a Grammy Award in the category Best Traditional Blues Album for Joined at the Hip, which he recorded with Willie "Big Eyes" Smith, thus becoming the oldest winner of a Grammy Award, edging out the comedian George Burns, who had won in the spoken word category 21 years earlier.

Documentaries
Perkins has been the subject of two documentary films: Born in the Honey (2007) and Sidemen: Long Road to Glory (2016). He also appeared in Clint Eastwood's 2003 documentary Piano Blues.

Selected discography
With Carey Bell With Earl Hooker With Muddy Waters
 * 1976: Boogie Woogie King, recorded 1976, released 1992
 * 1988: After Hours
 * 1992: Pinetop Perkins with the Blue Ice Band
 * 1992: On Top
 * 1993: Portrait of a Delta Bluesman
 * 1995: Live Top, with the Blue Flames
 * 1996: Eye to Eye, with Ronnie Earl, Willie "Big Eyes" Smith and Calvin "Fuzz" Jones
 * 1997: Born in the Delta
 * 1998: Sweet Black Angel
 * 1998: Legends, with Hubert Sumlin
 * 1998: Down in Mississippi
 * 1999: Live at 85!, with George Kilby Jr
 * 2000: Back on Top
 * 2003: Heritage of the Blues: The Complete Hightone Sessions
 * 2003: All Star Blues Jam, with Bob Margolin and others
 * 2003: 8 Hands on 88 Keys: Chicago Blues Piano Masters
 * 2004: Ladies Man
 * 2007: 10 Days Out: Blues from the Backroads, with Kenny Wayne Shepherd and the Muddy Waters Band, recorded live
 * 2007: Breakin' It Up, Breakin' It Down – with Muddy Waters, Johnny Winter, and James Cotton
 * 2008: Pinetop Perkins and Friends
 * 2010: Joined at the Hip, with Willie "Big Eyes" Smith
 * 2012: Heaven, with Willie "Big Eyes" Smith on one track and liner notes by Justin O'Brien
 * 2015: Genuine Blues Legends, Pinetop Perkins and Jimmy Rogers with Little Mike and the Tornadoes
 * Carey Bell's Blues Harp (Delmark, 1969)
 * Last Night (BluesWay, 1973)
 * 2 Bugs and a Roach (Arhoolie, 1969)
 * Live at Mr. Kelly's (Chess, 1971)
 * Can't Get No Grindin' (Chess, 1973)
 * "Unk" in Funk (Chess, 1974)
 * The Muddy Waters Woodstock Album (Chess, 1975)
 * Hard Again (Blue Sky, 1977)

title: Pinetop Perkins


text: User talk:68.5.37.81

title: User talk:68.5.37.81


text:
File:Meridian01cover.jpg

cover to Meridian #1, CrossGen comics

Copied from Midtown Comics' Website, but which I certainly could have scanned myself. LordAmeth 03:14, 14 Feb 2005 (UTC)

title: File:Meridian01cover.jpg


text:
The Ongoing History of New Music

The Ongoing History of New Music is the longest running music history documentary radio program in Canada. produced by Corus Entertainment and hosted by Alan Cross. It is syndicated to several radio stations, mostly but not exclusively Corus-owned, across Canada.

The Ongoing History chronicles the history of alternative rock, from its roots in punk and new wave to the modern day. An episode of the show may profile an important musician or band, a significant musical trend such as grunge or Madchester, or a theme such as payola, gay musicians or significant cult figures. Some topics are covered in a single show, while more substantial topics may be presented over multiple episodes.

History
In early 1993, Alan Cross was tasked by management at CFNY-FM to create a weekly documentary that would place this new alt-rock into context for their listeners. The show aired its first episode on February 28, 1993. It would go on to air 691 episodes before Alan Cross was dismissed from the company in 2011.

The show went into hiatus with no new shows being produced until Alan was rehired by CFNY in 2014.

In February 2023, the show celebrated 30 years since it first aired in Toronto.

Reoccurring yearly episodes

 * Starting in 2015, a yearly episode called 60 Mind-Blowing Facts in 60 Minutes become a regular feature in which Alan covers all the tiny, but interesting facts he has come across in the last 12 months but there isn't enough to build a whole show around.
 * Every year on the last Sunday before Christmas the annual Xmas Show airs. This is a showcase of Alt-Rock Christmas music, with much of it having been released in the last calendar year. This episode always ends with Twas The Night Before Christmas recited by Henry Rollins.

Other media
The shows format and name can be found on a series of 4 compilation CDs, and 4 audiobooks.

title: The Ongoing History of New Music


text:
Grand Olympic Auditorium

The Grand Olympic Auditorium is a former sports venue in southern Downtown Los Angeles, California. The venue was built in 1924 at 1801 South Grand Avenue, now just south of the Santa Monica Freeway. The grand opening of the Olympic Auditorium was on August 5, 1925, and was a major media event, attended by such celebrities as Jack Dempsey and Rudolph Valentino. One of the last major boxing and wrestling arenas still in existence, the venue now serves as a worship space for the Korean-American evangelical church, "Glory Church of Jesus Christ".

History
Throughout the 1930s, 1940s and 1950s it was home to some of the biggest boxing, wrestling, and roller derby events.

1932 Olympics
The Auditorium was leased by the 1932 Summer Olympics Organizing Committee for a very nominal sum sufficient to cover expenses, for the purpose of conducting the training and competitions of the boxing, wrestling and weightlifting events of the Games. At the time it was the largest indoor venue in the United States.

Boxing
It has become somewhat of a landmark for boxing history. Charles Bukowski wrote about the Olympic: "even the Hollywood (Legion Stadium) boys knew the action was at the Olympic. Raft came, and the others, and all the starlets, hugging those front row seats. the gallery boys went ape and the fighters fought like fighters and the place was blue with cigar smoke, and how we screamed, baby baby, and threw money and drank our whiskey, and when it was over, there was the drive in, the old lovebed with our dyed and vicious women. you slammed it home, then slept like a drunk angel."

The 1960s and 1970s were a major boom period for the Olympic, as major boxing and wrestling events were held at the arena every other Friday night, as well as being the home to the Roller Games Los Angeles T-Birds.

Closure
The arena closed its doors in the mid-1980s when promoter Mike Le Bell discontinued his weekly wrestling shows due to low attendance figures when the boom of the professional wrestling era began. This was when the wrestling scene shifted from Los Angeles to Dallas' World Class, Minneapolis' AWA, Jim Crockett Promotions Mid-Atlantic/NWA, and Stamford's WWF, now known as the WWE.

Reopening
It reopened in 1993, but the capacity was reduced from 10,400 to just over 7,300. In the 2000s the Auditorium sat 7,030 for boxing and wrestling, 4,514 for seated concerts, and 7,007 for general admission concerts. Up to 773 seats could be put on the arena floor, which measured 12,100 square feet (110' by 110').

Throughout the early and mid 1990s, the venue was often the host of many large, all-night rave parties, often held outdoors in the back parking lot, as well as inside the auditorium. On New Year's Eve of 1996/1997, a large-scale rave called In Seventh Heaven was being held at the Olympic. Dozens of people had to be taken to the hospital from a suspected overdose of a legal high called Liquid fX, which was being handed out at the party. The event which had already gathered over 10,000 ravers was shut down by the LAPD before midnight, sending much of the crowd into the street, where a melee broke out between upset revelers and riot police.

On July 16, 2000, ECW held its Heatwave pay-per-view at the Grand Olympic Auditorium. It was ECW's first and only West Coast appearance. Prior to the main event, six wrestlers from the LA-based Xtreme Pro Wrestling promotion, who were given front row tickets by promotion owner Rob Zicari, donned shirts of their promotion, which caught the attention of Tommy Dreamer and ECW security and were promptly ejected. A brawl followed in the parking lot between XPW ring crew and the ECW locker room, based on false reporting that Francine had been touched by someone from XPW.

On February 23, 2002, XPW held its Freefall event at the Grand Olympic Auditorium where New Jack tossed Vic Grimes off a 40-foot scaffold.

Wrestling legends such as Jim Londos, Joe Stecher, Ed "Strangler" Lewis, Gus Sonnenberg, Ray Steele, Frank Sexton, Man Mountain Dean, Everett Marshall, Ed Don George, Enrique Torres, Baron Michele Leone, Freddie Blassie, John Tolos, Buddy Roberts, The Sheik, Fritz Von Erich, Gorgeous George, The Great Goliath, Black Gordman, Bobo Brazil, Buddy Rogers, Roddy Piper and Chris Adams competed in the arena at one point in their careers, along with the legendary Lou Thesz, Mil Mascaras and André the Giant. Adams was one of the last big draws at the Olympic before promoters Mike Le Bell and Gene LeBell ended its wrestling cards in 1982. Adams went to Portland afterwards and eventually to Dallas to join Fritz Von Erich's World Class Championship Wrestling, as the sport's top wrestling city shifted from Los Angeles to Dallas and Atlanta before Vince McMahon's WWF reached national prominence.

Music venue
Until 2005, the Olympic Auditorium was host to many music concerts and shows, as well as boxing and wrestling. The arena is famous for its box office number "RI-9-5171" (213) 749-5171 which is no longer in use.

As far back as 1951, there had been rhythm and blues concerts at the Grand Olympic. In 1969-70, The Grand Olympic Auditorium hosted concerts by hard rock acts such as Mountain, Jack Bruce, and Ten Years After. It would be used more extensively as a musical venue after 1980. This period in music performances began with a concert by the band Public Image Ltd. which was produced by Punk Rock impresario David Ferguson and his independent CD Presents production company. This was the first concert held at the auditorium since the early 1970s and is credited with beginning the Olympic's reputation for being a notorious Punk Rock venue. Thereafter legendary promoter Gary Tovar and Goldenvoice Productions started booking shows at the venue, with monthly concerts by the likes of GBH, The Exploited, T.S.O.L., SIN 34, Suicidal Tendencies, UK Subs, New Regime, Circle Jerks, Angelic Upstarts, The Dickies, Wasted Youth, Dead Kennedys, The Vandals, D.O.A., Love Canal, Bad Religion, FEAR, M.I.A. and many others. Black Flag was the headliner for a New Year's Eve show 1981-82.

Famous musical celebrities have also used the Olympic Auditorium for their music videos. Below are a few named who have used the venue.
 * 1985: Survivor's music video for Burning Heart was shot in the venue in October 1985.
 * 1986: Bon Jovi films the music videos for "You Give Love A Bad Name" and "Livin' On A Prayer" in the auditorium, with Wayne Isham directing them. The music videos for Air Supply's two 1986 hit singles, "Lonely Is the Night" and "One More Chance" were filmed in the same venue on the same year.
 * 1987: Kiss filmed the music video of the namesake track of their 1987 album Crazy Nights in the same venue. The music video for Janet Jackson's "Control" was recorded here as well in the same year.

Rage Against the Machine played their final show in September 2000 at the Olympic Auditorium before their break-up a month later. The concert was filmed and later released in 2003 as a DVD and CD Live at the Grand Olympic Auditorium.

Glory Church of Jesus Christ
In 2005, the Glory Church of Jesus Christ, a Korean-American Christian church, purchased the entire property. Although the name Grand Olympic Auditorium ceased to exist, many locals and longtime residents of Los Angeles still refer to the property by its former names. In 2007, the arena was given a new facelift back to its original brown coat of paint that was abandoned in 1993 when the arena reopened.

Physical features

 * 32 by portable stage.
 * 55 ft ceiling height
 * 2 large loading docks
 * 13 dressing rooms
 * 8 concession stands
 * 5 ticket windows
 * 2.8 kilowatt-per-channel stereo PA system with CD and cassette tape player, 2 wireless microphones and 1 wired microphone.
 * 7 restrooms, all renovated (3 are handicap accessible)
 * 10 C.M. Loadstar motors (4 for flying sound, 4 for stage lighting, 2 for additional lighting) plus 2 aluminum trusses (20.5 inches by 20.5 inches by 40 feet).
 * 200 telephone lines, installed by AT&T
 * Parking lot with 550 spaces; another 2,300 spaces at nearby garage.
 * Fully equipped VIP (seating up to 40) and press rooms.
 * 2 merchandising stands.
 * Three 200 ampere 480/277 volt 3-phase, 4-wire transformers, including an isolated transformer.
 * One 400 ampere 480/277 volt 3-phase, 4-wire transformer.
 * 40 kW Caterpillar generator for "back-up" emergency lighting.
 * 8-zone (dual control) dimming system for house lights by Lutron.
 * 50 × aluminum lighting truss with 72 par fixtures, permanently installed.

Filming location
Films and TV series with scenes shot at the Grand Olympic Auditorium include:

 * Battling Butler (1926)
 * The Turning Point (1952)
 * The Manchurian Candidate (1962)
 * Requiem for a Heavyweight (1962)
 * Mannix (1970) ol
 * California Split (1974)
 * Rocky (1976)
 * Starsky_%26_Hutch (1976)
 * The Champ (1979)
 * Rocky II (1979)
 * Raging Bull (1980)
 * The Incredible Hulk episode "Psychic" (1980)
 * Rocky III (1982)
 * The Sting II (1983)
 * Ed Wood (1994)
 * Virtuosity (1995)
 * Exposed! Pro Wrestling's Greatest Secrets (1998)
 * BASEketball (1998)
 *  Man on the Moon (1999)
 * Ready to Rumble (2000)
 * Charlie's Angels: Full Throttle (2003)
 * Heart Like a Hand Grenade (2015)

title: Grand Olympic Auditorium


text:
Media market

A media market, broadcast market, media region, designated market area (DMA), television market area, or simply market is a region where the population can receive the same (or similar) television and radio station offerings, and may also include other types of media such as newspapers and internet content. They can coincide with or overlap with one or more metropolitan areas, though rural regions with few significant population centers can also be designated as markets. Conversely, very large metropolitan areas can sometimes be subdivided into multiple segments. Market regions may overlap, meaning that people residing on the edge of one media market may be able to receive content from other nearby markets. They are widely used in audience measurements, which are compiled in the United States by Nielsen Media Research. Nielsen has measured both television and radio audiences since its acquisition of Arbitron, which was completed in September 2013.

Markets are identified by the largest city, which is usually located in the center of the market region. However, geography and the fact that some metropolitan areas have large cities separated by some distance can make markets have unusual shapes and result in two, three, or more names being used to identify a single region (such as Wichita–Hutchinson, Kansas; Chico–Redding, California; Albany–Schenectady–Troy, New York; and Harrisburg–Lebanon–Lancaster–York, Pennsylvania).

In the United States, radio markets are generally a bit smaller than their television counterparts, as broadcast power restrictions are stricter for radio than TV, and TV reaches further via cable. AM band and FM band radio ratings are sometimes separated, as are broadcast and cable television ratings. Market researchers also subdivide ratings demographically between different age groups, genders, and ethnic backgrounds, as well as psychographically between income levels and other non-physical factors. This information is used by advertisers to determine how to reach a specific audience. In countries such as the United States, media regions are defined by a privately held institution without government status; in countries such as the United Kingdom, government-run television stations map their own regions.

Television
A Television Market Area (TMA) is a group of counties in the United States covered by a specific group of television stations. The term is used by the U.S. Government's Federal Communications Commission (FCC) to regulate broadcast, cable, and satellite transmissions, according to the Code of Federal Regulations, at 47 CFR § 76.51 and FCC.gov. The TMAs not only have full control over local broadcasts, but also delineate which channels will be received by satellite or cable subscribers ("must-carry" rules). These market areas can also be used to define restrictions on rebroadcasting of broadcast television signals. Generally speaking, only stations within the same market area can be rebroadcast. The only exception to this rule is the "significantly viewed" list. Virtually all of the United States is located within the boundaries of exactly one TMA.

A similar term used by Nielsen Media Research is the Designated Market Area (DMA), and they control the trademark on it. DMAs are used by Nielsen Media Research to identify TV stations that best reach an area and attract the most viewers. There are 210 Nielsen DMAs in the United States, 70 of which are metered (in other words, viewership in these markets are estimated automatically instead of through the archaic diary system still in use in the smaller markets).

TMAs may cover a much larger area than the stations that serve it, especially since the digital television transition. This is particularly true in markets that have hilly or mountainous terrain that is ill-suited for digital broadcasting. In these cases, the outlying areas of a TMA may only be served by cable and satellite, or perhaps by small translators. (There are some cases, such as that of Olean, New York, where a sizable number of independent stations operate, but none carry any major network affiliation unless they operate as translators. Because of this, Olean is considered part of the Buffalo, New York market despite none of that city's major signals reaching the city from 70 miles away.) Conversely, a geographically small market such as Erie, Pennsylvania may have stations where their signal spills well over into neighboring TMAs (most of Chautauqua County, New York, is closer to Erie than Buffalo, but the county is also located within the Buffalo DMA).

Arbitron (now Nielsen Audio) also maintained similar areas for television ratings, each called an "area of dominant influence" (ADI), which were first created in 1966. For the 1993–1994 television season, there were 209 ADIs in the continental United States. Arbitron stopped offering a television ratings service in late 1993.

Radio
Nielsen Audio (previously Arbitron) maintains smaller areas for radio stations; each is called an Arbitron Radio Metro. Whereas a typical TMA may cover ten counties, an Arbitron market generally covers two to four, and a TMA may contain two to four separate Radio Metros. There are 302 Radio Metros in the United States, but not all areas of the country are covered.

In 2009, Nielsen began offering radio ratings in competition with Arbitron, starting in those markets ranked 101st and smaller.

title: Media market


text:
Derrynaflan Chalice

The Derrynaflan Chalice is an 8th- or 9th-century chalice that was found as part of the Derrynaflan Hoard of five liturgical vessels. The discovery was made on 17 February 1980 near Killenaule, County Tipperary in Ireland. According to art historian Michael Ryan the hoard "represents the most complex and sumptuous expression of the ecclesiastical art-style of early-medieval Ireland as we know it in its eighth- and ninth-century maturity." The area known as Derrynaflan is an island of pastureland surrounded by bogland, which was the site of an early Irish abbey. The chalice was found with a composite silver paten, a hoop that may have been a stand for the paten, a liturgical strainer and a bronze basin inverted over the other objects. The group is among the most important surviving examples of Insular metalwork. It was donated to the Irish State and the items are now on display in the National Museum of Ireland.

The hoard was probably secreted during the turbulent 10th to 12th centuries, when Viking raids and dynastic turmoil created many occasions when valuables were hidden. The early and later 10th century is marked by a particular concentration of hoarding in Ireland.

Discovery
Derrynaflan is a small island of dry land situated in a surrounding area of peat bogs, in the townland of Lurgoe, County Tipperary, northeast of Cashel. The monastery was an important foundation in the period preceding the Viking raids; the present modest ruins of a small Cistercian nave-and-chancel abbey church there, however, date from a later period.

The Derrynaflan Hoard was discovered on 17 February 1980 by Michael Webb from Clonmel and his son, also Michael, while they were exploring the ancient monastic site of Derrynaflan with a metal detector. They had the implied permission of the owners of the land on which the ruins stood to visit the site but they had no permission to dig on the lands. A preservation order had been made in respect of the ruin under the National Monuments Act, 1930, so that it was an offence to injure or to interfere with the site. The discovery was initially kept secret for three weeks. The behaviour of the Webbs, and nearly seven years of litigation, culminated in a Supreme Court action where they unsuccessfully sought over £5,000,000 for the find. This led to the replacement of Irish laws of treasure trove by the law in the National Monuments (Amendment) Act, 1994, with a new Section 2 being included in the legislation.

The Ardagh Chalice dates from around the same period, perhaps a century earlier, of the Derrynaflan Hoard and was found close by in neighbouring County Limerick in the late 19th century. At the time both were made, the ruling dynasty in Tipperary and most of Munster were the Eóganachta, while their longtime allies and possible cousins the Uí Fidgenti ruled in the Limerick area. Feidlimid mac Cremthanin, king-bishop of Cashel, who became King of Munster in 821 and died in 847, was a patron of the monastic foundation at Derrynaflan and has been suggested as a possible patron of the chalice.

As a masterpiece of Insular art, the Derrynaflan chalice was included in the exhibition "The Work of Angels: Masterpieces of Celtic Metalwork, 6th–9th Centuries AD" (London, 1989, included in the catalogue).

title: Derrynaflan Chalice


text: User talk:203.117.28.176

title: User talk:203.117.28.176


text:
EHS

EHS may refer to:

Education

 * Early Head Start, an American educational program
 * EHS Institute, a teacher training program in Hardwick, Massachusetts, United States

Disambiguation

 * East High School (disambiguation)
 * Eastern High School (disambiguation)
 * Edison High School (disambiguation)
 * Elkins High School (disambiguation)
 * Enterprise High School (disambiguation)
 * Episcopal High School (disambiguation)
 * Essex High School (disambiguation)
 * Eureka High School (disambiguation)
 * Evergreen High School (disambiguation)

Australia

 * Engadine High School, Sydney, New South Wales

Canada

 * Esquimalt High School, Esquimalt, British Columbia

India

 * Edrakpur High School, Birbhum district, West Bengal

South Africa

 * Ermelo High School, Ermelo, Mpumalanga

United States

 * Eagan High School, Eagan, Minnesota
 * Eagle High School, Eagle, Idaho
 * Eagle Hill School, Hardwick, Massachusetts
 * Eastmont High School, East Wenatchee, Washington
 * Ellendale High School (Ellendale School District), Ellendale, North Dakota
 * Ellensburg High School, Ellensburg, Washington
 * Elsinore High School, Wildomar, California
 * Empire High School, Tucson, Arizona
 * Escondido High School, Escondido, California
 * Etna High School, in Etna, California

Health and medicine

 * EHS Today, an occupational safety and health magazine
 * Electromagnetic hypersensitivity, claimed sensitivity to mobile phone towers etc.
 * Emergency Health Services, in Nova Scotia, Canada
 * Emergency Hospital Service, in the United Kingdom during World War II
 * Emergency Hospital Service (Scotland)
 * Environment, health and safety
 * Exploding head syndrome
 * Exertional heat stroke; see Heat stroke

Science and technology

 * Electronic hook switch, in connecting a wireless headset to a phone
 * European Home Systems Protocol, a communication protocol using power line communication
 * Microsoft Exchange Hosted Services
 * Engelbreth-Holm-Swarm matrix, extracellular protein mixture known as Matrigel

Other uses

 * Early Harvest Scheme, a trade agreement
 * Ecclesiastical History Society
 * Economic History Society
 * Eternal Haunted Summer, an American literary magazine

title: EHS


text:
Criterion Theatre

The Criterion Theatre is a West End theatre at Piccadilly Circus in the City of Westminster, and is a Grade II* listed building. It has a seating capacity of 588.

Building the theatre
In 1870, the caterers Spiers and Pond began development of the site of the White Bear, a seventeenth-century posting inn. The inn was located on sloping ground stretching between Jermyn Street and Piccadilly Circus, known as Regent Circus. A competition was held for the design of a concert hall complex, with Thomas Verity winning out of 15 entries. He was commissioned to design a large restaurant, dining rooms, ballroom, and galleried concert hall in the basement. The frontage, which was the façade of the restaurant, showed a French Renaissance influence using Portland stone.

After the building work began, it was decided to change the concert hall into a theatre. The composers' names, which line the tiled staircases, were retained and can still be seen. The redesign placed the large Criterion Restaurant and dining rooms above the theatre, with a ballroom on the top floor.

When Spiers and Pond applied for a licence to operate, the authorities were unhappy because the theatre was underground and lit by gas, creating the risk of toxic fumes. The Metropolitan Board of Works had to vote twice before the necessary licence was issued, and fresh air had to be pumped into the auditorium to prevent the audience from being asphyxiated. It was not until October 1881, at the Savoy, that the first theatre was lit electrically.

The building was completed in 1873 with the interior decoration carried out by W. B. Simpson & Sons.

Early years
The first production opened on 21 March 1874 under the management of Henry J. Byron & EP Hingston. The programme consisted of An American Lady written and performed by Byron and a piece by W. S. Gilbert, with music by Alfred Cellier, entitled Topsyturveydom. The event apparently did not make much of an impression on Gilbert. In a 1903 letter to Thomas Edgar Pemberton, author of the book on The Criterion, Gilbert wrote: "I am sorry to say that in my mind is an absolute blank to the opening of The Criterion. I never saw Topseyturveydom. If you happen to have a copy of it and could lend it to me for a few hours it might suggest some reminiscences: as it is I don't even know what the piece was about!" Gilbert had, however, been back at the theatre in 1877 with his farce, On Bail (a revised version of his 1874 work, Committed for Trial); in 1881, with another farce, Foggerty's Fairy; and in 1892, with a comic opera, Haste to the Wedding, with music by George Grossmith (an operatic version of Gilbert's 1873 play, The Wedding March). Haste to the Wedding was a flop, but it introduced the 18-year-old George Grossmith, Jr., the composer's son, to the London stage. The younger Grossmith would go on to become a major star in Edwardian musical comedies.

Charles Wyndham became the manager and lessee in 1875, and under his management the Criterion became one of the leading light comedy houses in London. The first production under the manager was The Great Divorce Case, opening on 15 April 1876. When Wyndham left in 1899 to open his own theatre, Wyndham's Theatre (and then the New Theatre, now called the Noël Coward Theatre, in 1903) he remained the lessee bringing in various managements and their companies.

In March 1883, the theatre closed for alterations demanded by the Metropolitan Board of Works. The pumping of fresh air into the ten-year-old auditorium, some thirty feet below street level, was deemed unsatisfactory. Thomas Verity supervised the alterations (Verity by now had also designed the Comedy Theatre in 1881 and the Empire Theatre in 1882). The new direct access ventilation shaft meant cutting off a considerable portion of the adjoining Criterion Restaurant. New corridors were built, with several new exits. The auditorium was reconstructed and the stage re-equipped. The old dressing rooms were demolished and new ones built. Most importantly, electricity was installed. Dramatic Notes (1884) states "The Criterion Theatre, transformed from a stuffy band-box to a convenient, handsome, and well ventilated house, reopened on April 16". Further alterations and redecorations took place in 1902–03, when the theatre was closed for seven months.

20th century
Between the world wars, productions included Musical Chairs with John Gielgud and in 1936, French Without Tears which ran for 1,039 performances and launched the writing career of Terence Rattigan.

During the Second World War, the Criterion was requisitioned by the BBC – as an underground theatre it made an ideal studio safe from the Blitz – and light entertainment programmes were both recorded and broadcast live.

After the war, the Criterion repertoire included avant-garde works such as Samuel Beckett's Waiting for Godot. The early part of 1956 saw the arrival of Anouilh's popular comedy, The Waltz of the Toreadors, with impressive performances by Hugh Griffith and Beatrix Lehmann.

In the 1970s, the Criterion site was proposed for redevelopment, which caused protest, as people feared the theatre would be lost. In February 1975, the GLC Planning Committee approved the development on the condition that the theatre continued in "full, continuous and uninterrupted use" while the redevelopments took place. Throughout the 1970s and early 1980s the argument increased, and the Equity Save London's Theatre Committee organised high-profile demonstrations (campaigners included John Gielgud, Marius Goring, Edward Woodward, Diana Rigg, Robert Morley and Prunella Scales) as they feared that the theatre would still be lost.

In the 1980s, the theatre building was purchased by Robert Bourne, a property tycoon and patron of the arts, and his wife, theatre impresario Sally Greene. The couple set up the Criterion Theatre Trust, a registered charity created to protect the Criterion's future. From 1989 to 1992 the theatre was renovated both in the back and front of the house. During that time, the block that exists today was built around it. After the refurbishment, the Criterion retains a well-preserved Victorian auditorium with an intimate atmosphere. Major productions in the last two decades of the century included Tom Foolery (1980–1981), Can't Pay? Won't Pay! (1981–1983), and the long-running Run for Your Wife (1983–1989).

Recent years
From 1996 to 2005, the theatre was home to productions of the Reduced Shakespeare Company, notably The Complete Works of William Shakespeare (Abridged).

From 2006 to 2015, the Criterion hosted the long-running melodrama The 39 Steps, adapted by Patrick Barlow from John Buchan's 1915 novel, which was adapted for film by Alfred Hitchcock (1935). In 2016 Mischief Theatre's The Comedy About a Bank Robbery opened. It played its final performance on 15 March 2020 due to the COVID-19 pandemic. More than a year later, the musical 'Amélie' opened on 20 May 2021 running until 25 September 2021. Pride and Prejudice* (*sort of) followed, playing from 15 October 2021 to 6 February 2022. 2:22 A Ghost Story opened on 10 May 2022 and ran until 8 January 2023. The Unfriend by Steven Moffatt and Mark Gatiss opened on 17 January 2023. A theatrical adaptation of the BBC Radio 4 comedy Bleak Expectations ran from 3 May to 13 August 2023.

Two Strangers (Carry a Cake Across New York) with Sam Tutty and Dujonna Gift opened on 4 April 2024

Notable productions

 * Fresh Fields (January 1933 – February 1934)
 * The Complete Works of William Shakespeare (Abridged) (March 1996 – April 2005)
 * The 39 Steps (September 2006 – September 2015)

title: Criterion Theatre


text:
Edutopia

Edutopia is a website published by the George Lucas Educational Foundation (GLEF). Founded in 1991 by filmmaker George Lucas and venture capitalist Steve Arnold, the foundation "celebrates and encourages innovation" in K–12 schools.

Edutopia focuses on six core learning strategies. These are described as "Comprehensive Assessment, Integrated Studies, Project-Based Learning, Social & Emotional Learning, Teacher Development and Technology Integration".

Schools That Work
Edutopia produces a series titled "Schools That Work" which profiles districts, and programs and colleges that are improving the ways in which students learn. The series focuses on evidence-based successes and uses how-to videos and tip lists to help develop educational leadership. The producers interview teachers, students, principals, and administrators, and these educators share their resources such as rubrics, lesson plans, assessments, and training tools.

title: Edutopia