text:
Talk:Tonga Trench

Merge proposal (2008)

 * The following discussion is closed. Please do not modify it. Subsequent comments should be made in a new section.
 * Tonga Trench+Kermadec Trench

I propose to merge this article with the one on the Kermadec Trench, and also with the one on the Kermadec-Tonga Subduction Zone, as they are all part of the same tectonic feature. Tmangray (talk) 16:58, 3 April 2008 (UTC)
 * This is covered as Kermadec-Tonga subduction zone, there are three articles

 * The above discussion is closed. Please do not modify it. Subsequent comments should be made in a new section.

Apollo 13 RTG
I think we need a bit more on this, if anyone has access to sources. Is it known where exactly in the trench the RTG lies? Was retrieval ever intended and would such a thing be possible? Have there been studies to measure radioactivity in the area to see if the thing is leaking? Any well-sourced information would be appreciated in the article. Beorhtwulf (talk) 15:48, 28 February 2011 (UTC)

Is the Apollo 13 mission relevant enough to be mentioned in the introductory part? Imo it is just a minor curiousity, possibly deserving a small note in the end of the article (but not more). — Preceding unsigned comment added by 1.200.200.228 (talk) 07:15, 20 February 2018 (UTC)

This absolutely should not be the second paragraph. It is trivia. It should be further below the fold. Uncoolcentral (talk) 17:19, 15 January 2022 (UTC)

Horizon Deep
This should have an article, being one of the deepest Deeps in the world. 70.24.244.198 (talk) 13:42, 28 March 2012 (UTC)

Pop Culture References
In the movie Batman vs Superman, the submersible recording had the name of the trench in the caption when Aquaman is seen. Should that be included in this article as a pop culture reference? I ask because several other Wikipedia articles make a point of mentioning them (which is how I ended up here). Thanks. Mrobviousjosh (talk) 10:53, 14 March 2017 (UTC)
 * No - simply trivial. Vsmith (talk) 11:12, 14 March 2017 (UTC)

Correction to manned dive in 2019
Article presently states: "On 5 June 2019 Victor Vescovo made the first manned descent to the bottom of the Sirena Deep in the Deep-Submergence Vehicle DSV Limiting Factor (a Triton 36000/2 model submersible) and measured a depth of 10,823 m (35,509 ft) ±10 m (33 ft).[6]"

The words "Sirena Deep" are incorrect and should be changed to "Horizon Deep." Someone made a slip. The depths are recorded in [6] as the Horizon Deep depths.

Gwyncann (talk) 04:03, 11 October 2019 (UTC)

Split off: Horizon Deep (2020)
The Horizon Deep section should be split off into a separate article called. It is the second deepest place in the world, and has had exploration activity, so should stand alone, just as K2, the second tallest mountain does. All the 5 Deeps and the 5 deepest deeps should all have separate articles. -- 65.94.170.98 (talk) 10:47, 5 September 2020 (UTC)

 * No. The two short paragraphs do not rate a second article. It is simply the deepest part of the trench and is adequately covered here. Vsmith (talk) 12:27, 5 September 2020 (UTC)
 * No. The trench is covered and that is simply the deepest known part of the trench. Beyond that there is nothing special about the deepest point of the feature. As for the K2 comparison, here Tonga Trench = K2. There is no separate "article" for the K2 summit. None is needed for this feature. Palmeira (talk) 22:55, 26 September 2020 (UTC)

Apollo as second paragraph??
This is trivia, not the second most thing about the trench. It should be far below the fold. Uncoolcentral (talk) 17:18, 15 January 2022 (UTC)

Sorry, didn’t see this was already being discussed. Feel free to delete this. Uncoolcentral (talk) 17:18, 15 January 2022 (UTC)

"Havre Trough" listed at Redirects for discussion
An editor has identified a potential problem with the redirect Havre Trough and has thus listed it for discussion. This discussion will occur at Redirects for discussion/Log/2022 April 23 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. —Kusma (talk) 17:02, 23 April 2022 (UTC)

"Colville Ridge" listed at Redirects for discussion
An editor has identified a potential problem with the redirect Colville Ridge and has thus listed it for discussion. This discussion will occur at Redirects for discussion/Log/2022 April 23 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. —Kusma (talk) 17:03, 23 April 2022 (UTC)

title: Talk:Tonga Trench


text:
Sedefkar Mehmed Agha

Sedefkar Mehmed Agha or Sedefqar Mehmeti of Elbasan (Modern Turkish: Sedefkâr Mehmet Ağa, Albanian: Sedefqar Mehmeti Aga Elbasanit, about 1540–1617) is recorded as the Ottoman Albanian architect of the Sultan Ahmed Mosque (the "Blue Mosque") in Istanbul.

Biography
Mehmed Agha was born around 1540 to an Albanian family in Elbasan. According to the biographer Cafer Efendi, he was believed to have been originally from the city of Elbasan in what is now Albania. He brought to Istanbul in 1563 as a "Devshirme" to join the janissary corps or palace schools. After six years as a cadet (acemioğlan) he began the study of music. During a period of twenty years he specialized with inlay in mother-of-pearl, giving him the surname Sedefkâr (worker in mother-of-pearl). Later he also switched to architecture. He became a pupil of architect Mimar Sinan, Turkey's most celebrated architect, becoming his first assistant in charge of the office in the absence of Sinan.

In January 1586 he was appointed to complete the Muradiye Mosque in Manisa, a construction started by his master Sinan. He gave a Koran box to sultan Murat III (possibly on the advice of Sinan) and was appointed Gate Keeper (Kapıcı). When Sinan died in 1588, Mehmed Agha, his first assistant was not appointed as his successor, but instead the Grand Vizier appointed Davut Ağa, the Master of the Waterways, as the royal architect.

When in 1591 Mehmed Agha gave the sultan a richly decorated quiver, he was promoted to Chief Bailiff (muhzirbaṣı). In the same year he even became lieutenant-governor (mütesellin) of Diyarbakır and Inspector of Works. During the following years he visited Arabia, Egypt and Macedonia. In 1597 he was appointed Master of the Waterways by sultan Mehmed III. He was also given the commission for the building of a walnut throne, inlaid with nacre and tortoise shell, for Ahmed I, which can be seen in the Topkapı Palace.

After Davut's execution in 1599, he was succeeded as royal architect by Dalgıç Ahmet Ağa. In 1606 Mehmed Agha was finally named chief imperial architect to the Ottoman court, succeeding Dalgıç Ahmet Ağa, builder of the large tomb of Mehmed III in the garden of Hagia Sophia.

From 1609 until 1616 he worked exclusively on the Sultan Ahmed Mosque, called the Blue Mosque because of the colour of its tile work. The design of the mosque was based on the Hagia Sophia (Church of Holy Wisdom), the masterpiece of Byzantine architecture built in the 6th century, and on the work of his master, Mimar Sinan. The design of the mosque is perfectly symmetrical, with a great central dome buttressed by four semi-domes and surrounded by a number of smaller exedrae.

Mehmed Agha had a book on architecture theory written for him by Cafer Efendi. In this book he explained his methods of work and the architectural training of the period.

Mehmed Agha died in 1617 in Istanbul at about the same time as his sultan.

Legacy
By way of his works he left a decided mark on Istanbul. The square on which the Sultan Ahmed Mosque is situated became known as Sultanahmet. This mosque can be considered the culmination of his career. Mehmed Agha, who was the last student of Mimar Sinan, had completed his mission by adding his brighter, colorful architectural style to that of his master teacher.

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

title: Sedefkar Mehmed Agha


text:
Belshazzar's Feast (Walton)

Belshazzar's Feast is a cantata by the English composer William Walton. It was first performed at the Leeds Festival on 8 October 1931, with the baritone Dennis Noble, the London Symphony Orchestra and the Leeds Festival Chorus, conducted by Malcolm Sargent. The work has remained one of Walton's most celebrated compositions. Osbert Sitwell selected the text from the Bible, primarily the Book of Daniel and Psalm 137. The work is dedicated to Walton's friend and benefactor Lord Berners.

Plot
In the story of Belshazzar's Feast, the Jews are in exile in Babylon. After a feast at which Belshazzar, the Babylonian king, commits sacrilege by using the Jews' sacred vessels to praise the heathen gods, he is miraculously killed, the kingdom falls, and the Jews regain their freedom.

List of movements
Although they are not specified in the published score, there is a clear delineation between sections, as follows:

 * 1) [Introduction] Thus spake Isaiah
 * 2) By the waters of Babylon/If I forget thee O Jerusalem
 * 3) [Transition] Babylon was a great city
 * 4) In Babylon, Belshazzar the King made a great feast
 * 5) Praise ye
 * 6) Thus in Babylon, the mighty city
 * 7) [Transition] And in that same hour
 * 8) Then sing aloud to God our strength
 * 9) The trumpeters and pipers were silent
 * 10) Then sing aloud to God our strength

Text
Thus spake Isaiah – Thy sons that thou shalt beget They shall be taken away, And be eunuchs In the palace of the King of Babylon Howl ye, howl ye, therefore: For the day of the Lord is at hand!

By the waters of Babylon, By the waters of Babylon There we sat down: yea, we wept And hanged our harps upon the willows.

For they that wasted us Required of us mirth; They that carried us away captive Required of us a song. Sing us one of the songs of Zion.

How shall we sing the Lord's song In a strange land?

If I forget thee, O Jerusalem, Let my right hand forget her cunning. If I do not remember thee, Let my tongue cleave to the roof of my mouth. Yea, if I prefer not Jerusalem above my chief joy.

By the waters of Babylon There we sat down: yea, we wept.

O daughter of Babylon, who art to be destroyed, Happy shall he be that taketh thy children And dasheth them against a stone, For with violence shall that great city Babylon be thrown down And shall be found no more at all.

Babylon was a great city, Her merchandise was of gold and silver, Of precious stones, of pearls, of fine linen, Of purple, silk and scarlet, All manner vessels of ivory, All manner vessels of most precious wood, Of brass, iron and marble, Cinnamon, odours and ointments, Of frankincense, wine and oil, Fine flour, wheat and beasts, Sheep, horses, chariots, slaves And the souls of men.

In Babylon Belshazzar the King Made a great feast, Made a feast to a thousand of his lords, And drank wine before the thousand.

Belshazzar, whiles he tasted the wine, Commanded us to bring the gold and silver vessels: Yea! the golden vessels, which his father, Nebuchadnezzar, Had taken out of the temple that was in Jerusalem.

He commanded us to bring the golden vessels Of the temple of the house of God, That the King, his Princes, his wives And his concubines might drink therein.

Then the King commanded us: Bring ye the cornet, flute, sackbut, psaltery And all kinds of music: they drank wine again, Yea, drank from the sacred vessels, And then spake the King:

Praise ye The God of Gold Praise ye The God of Silver Praise ye The God of Iron Praise ye The God of Wood Praise ye The God of Stone Praise ye The God of Brass Praise ye the Gods!

Thus in Babylon, the mighty city, Belshazzar the King made a great feast, Made a feast to a thousand of his lords And drank wine before the thousand.

Belshazzar whiles he tasted the wine Commanded us to bring the gold and silver vessels That his Princes, his wives and his concubines Might rejoice and drink therein.

After they had praised their strange gods, The idols and the devils, False gods who can neither see nor hear, Called they for the timbrel and the pleasant harp To extol the glory of the King. Then they pledged the King before the people, Crying, Thou, O King, art King of Kings: O King, live for ever...

And in that same hour, as they feasted Came forth fingers of a man's hand And the King saw The part of the hand that wrote.

And this was the writing that was written: 'MENE, MENE, TEKEL UPHARSIN' 'THOU ART WEIGHED IN THE BALANCE AND FOUND WANTING'. In that night was Belshazzar the King slain And his Kingdom divided.

Then sing aloud to God our strength: Make a joyful noise unto the God of Jacob. Take a psalm, bring hither the timbrel, Blow up the trumpet in the new moon, Blow up the trumpet in Zion For Babylon the Great is fallen, fallen. Alleluia!

Then sing aloud to God our strength: Make a joyful noise unto the God of Jacob, While the Kings of the Earth lament And the merchants of the Earth Weep, wail and rend their raiment. They cry, Alas, Alas, that great city, In one hour is her judgement come.

The trumpeters and pipers are silent, And the harpers have ceased to harp, And the light of a candle shall shine no more.

Then sing aloud to God our strength. Make a joyful noise to the God of Jacob. For Babylon the Great is fallen. Alleluia!

Musical structure
The music throughout is strongly rhythmic and richly orchestrated. The rhythms and harmonies reflect Walton's interest in jazz and other popular music pressed into service to tell a religious story. Despite its jagged rhythms and strident orchestral effects, the work is essentially conventional in its tonality. Walton's biographer Michael Kennedy writes, "diatonicism is at the root of the matter ... string tremolandi, brass fanfares, and masterly use of unaccompanied declaration work their customary spell." Kennedy adds that the chilling orchestral sounds which introduce the writing on the wall derive from Richard Strauss's Salome.

Scoring

 * Baritone solo
 * Double mixed chorus (SSAATTBB); and Semi-chorus (SSAATTBB)
 * 2 flutes, piccolo, 2 oboes, cor anglais (only if no saxophone), three clarinets in B-flat (second doubling clarinet in E-flat, third doubling bass clarinet in B-flat), alto saxophone in E-flat, 2 bassoons, contrabassoon; 4 horns in F, 3 trumpets, 2 tenor trombones, bass trombone, tuba; timpani, 3 or 4 percussionists (side drum, tenor drum, bass drum, triangle, tambourine, castanets, cymbals, gong, xylophone, glockenspiel, wood block, whip, anvil); 2 harps; piano (optional); organ; and strings.
 * Two brass bands, each consisting of: 3 trumpets, and optionally 2 tenor trombones, bass trombone, tuba.

Synopsis
The cantata is in ten distinct sections, played without pause. After a brief, recited introduction, the chorus and baritone sing of their homeland Zion, in an emotional setting of Psalm 137 (By the waters of Babylon, there we sat down: yea, we wept), and angrily express their bitterness toward their captors. The narrative then begins, and in a prolonged sequence we hear their horror, and then outrage, at the profanities of the king, followed by an exuberant march section depicting the king and his court praising their gods. The section is framed by a descending figure of four notes that, through repetition, passes down through the orchestra, immediately establishing a jazz influence with a flattened first note and marked syncopation.

This leads to an eerie, and economically orchestrated, depiction of the writing on the wall, and the death that night of Belshazzar (the story of Daniel interpreting the writing is omitted). The people celebrate their freedom, in a joyous song of praise interrupted by a lament over the fall of a great city (derived from Psalm 81 and the Book of Revelation).

The chorus represents the Jewish people throughout, although they adopt the tone of the Babylonians when telling the story of the feast. The baritone soloist has the role of narrator.

History and commentary
Walton struggled with the setting for several years, and it grew from its original conception as a short work for small forces, as commissioned by the BBC, to its eventual form. The invitation had come in a letter of 21 August 1929 from the BBC programme planner Edward Clark, who asked Walton for a work suitable for broadcasting, written for a small choir, soloist, and an orchestra not exceeding 15 players. Walton and Clark knew each other, as they had had dealings in relation to the premiere of the composer's Viola Concerto, which was premiered in the same year with Paul Hindemith as soloist. Walton dedicated the work to his friend and benefactor Lord Berners.

This was an age of gifted amateur choruses, and conductors and institutions dedicated to bringing forward new music, and the Leeds Festival took on the first performance. The baritone soloist was Dennis Noble, who recorded the work twice (including its premiere recording) and came to be particularly associated with it.

At first the work seemed avant-garde because of its extrovert writing and musical complexity; it is however always firmly tonal although it is scored without a key signature and passes through many keys. The addition of the brass bands was suggested by the festival director, the conductor Sir Thomas Beecham; the bands were on hand anyway for a performance of Berlioz’s Requiem, and Beecham said to the young Walton: "As you'll never hear the thing again, my boy, why not throw in a couple of brass bands?". Under the baton of Malcolm Sargent, an outstanding choral conductor, it was an immediate success, despite its severe challenges to the chorus. The work has remained one of Walton's most celebrated compositions.

The London premiere was conducted by Adrian Boult on 25 November 1931. The young Benjamin Britten was in the audience. The work was performed at the ISCM Festival in Amsterdam in 1933. Leopold Stokowski conducted two performances with the Philadelphia Orchestra in January 1934. Sargent regularly programmed it throughout the rest of his career, and took it as far afield as Australia, Brussels, Vienna and Boston. Not only British conductors from Sargent to Simon Rattle, but also Eugene Ormandy, Maurice Abravanel, André Previn, Robert Shaw, Leonard Slatkin and Andrew Litton have recorded the work. In 1947 Herbert von Karajan called it "the best choral music that's been written in the last 50 years". Karajan only ever performed the work once, in 1948 in Vienna, but it was a performance that moved Walton to tears and he expressed amazement that he could ever have written such a wonderful work.

On the other hand, the Synod of the Church of England considered its text inappropriate for performance in cathedrals, hence the Three Choirs Festival did not permit its performance until 1957. The Worcester Music Festival barred it until 1975.

title: Belshazzar's Feast (Walton)


text:
Talk:List of Baháʼís

Listing living people
It may be inappropriate to include the names of living individuals as adherants of the Baha'i Faith because their relationship with the Faith may intensify or cool, depending where they are up to in their lives. Any suggestions would be welcome. Occamy 18:40, 5 Feb 2005 (UTC)
 * On the subject of listing living Baha'is: That would seem to be one of the main purposes of this list. On a slightly different subject: How can an entire band (The Mooseheart Faith Stellar Groove Band) be listed on a list of Baha'is? I think they need to be listed by name, at least (Todd Homer, Larry Robinson, etc.). Is every member of the band a Baha'i? The web page I found refering to an album by the band only listed Homer and Robinson. Jlavezzo

 * Got to be honest I know very little about it (never heard of them before seeing this article a couple of months ago), but I was under the impression they considered themselves as a Baha'i band in which case I think it is appropriate to have the band by name. Otherwise sure change it. Actually if you want to change it anyway it won't do any harm - your choice :) -- Tomhab 20:09, 2 May 2005 (UTC)

 * I'm also concerned about it, but prominent, public figures who have publically mentioned their faith may be appropriate. I'm more concerned about Count Leo Tolstoy, who as I understand it was an admirer of the Faith, but not an adherent, per-se.  no where is Baha'i listed on his biography for example.  I'm going to remove that one.  If someone has documentation, then by all means re-add it, but they should probably also add this information to the Tolstoy page.

 * Concerning Violetriga's edit. Should it be agreed that the list should be slimmed down to the barebones of historical figures (and I cannot say I am entirely convinced), a more appropriate title of the article would seem to be "List of Bahá'í Historical Figures / Key Figures in Bahá'í History." Figures such as Mírzá Abu'l-Fadl, Martha Root, and William Sears certainly fall into this category. Perhaps there should at least be a section for Hands of the Cause of God. How is "key" defined? Additionally, Violetriga's edit summary gives entries being unsourced as a reason for the cut. There were many individuals on the list who have made clear in published interviews or books their membership in the Bahá'í Faith. Referncing news articles would not be difficult. --Leif 06:20, 26 September 2007 (UTC)

Unsorted list
11. Lady Blomfield, traveler, writer 13. Martha Root, journalist, traveler 14. Juliet Thompson, artist 15. Bahiyyah Khanum, Prophet's daughter 16. Zaynab, martyr warrior maiden 17. Mona, martyr children's teacher 18. Bani Dugal Gujral, head of Baha'i International Community at the United Nations 19. Lua Getsinger, actress, world traveler 20. Dr. Susan Moody, physician 21. Munirah Khanum, mother, great lady 22. Assiyih Khanum (or Navvab, the general) 23. Effie Baker (photographer) 24. Ruhiyyah Khanum, author, filmmaker 25. Amelia Colins, philantropist 26. Corinne True, temple builder 27. Agnes Parsons, race amity worker 28. Eleonora Armstrong, pioneer --

From http://bahai-library.com/bafa/book.htm
Alí Allié, film, U.S.A. Ashley Alvis, poetry, U.S.A. Janita Appa, installations, theatre, U.K. Jean-Pierre Aubert, collage, painting, France Kathleen Hite Babb, writing, U.S.A. Michelle Backhouse, sculpture, Aotearoa | New Zealand Mastaki Bafa, singer, guitarist, The Congo Anne Bahrinipour, visual arts, Germany Norman Bailey, opera singer, South Africa, U.K., U.S.A. Sheila Banani, poetry, U.S.A. Myriam Bargetze, visual arts, Liechtenstein Erika Batdorf, movement, choreography, Canada Stephen Bedingfield, photography, Canada Genadij Belyajev, photography, Russia Paul Bennett, singer, Aotearoa / New Zealand Birligin Sesi, "Sound of Unity" dance and music group, Turkey Johannes Birringer, dancetheater, new media, U.S.A Änni Langenhorst Blackmer, painting, France Arkadij Bourkhanov, early music, Russia Margaret Bremner, visual artist, Canada Geoff Broadway, interactive installations, U.K. Kathleen Bunin, collage / watercolour, Canada Anneke Buys, poetry, The Netherlands Estelle Cabannes, mail art / art books, France Dario Cardoso, folk music, Argentina / Chile/Bolivia Clare Carswell, visual artist, U.K. Gérard and Solange Chabert, street theatre performances, France. Eric Chaet, writing, poetry, music, U.S.A. Chen Yi, painting, P.R. China Chris Cholas, poetry, Hawaii, U.S.A. Chris Clay & Suzette Nyokka, ceramics & basketry, U.S.A. Liz Coats, glass, visual arts, Australia / New Zealand Henri Cross, music, U.S.A. Deborah Crumbaker, ceramics, U.S.A. Cheryl Cudmore, poetry, Canada S.K. Dapoz, poetry, U.S.A. Mary Davis, poetry, U.S.A. Ropata Davis, bone carving, Aotearoa, New Zealand DB70, The Dawnbreakers of Europe, music, Europe Istvan Dely, drumming, Hungary / Colombia Leonor Dely, singing, Colombia Martin Derbyshire / Ma Teng Fei, visual arts, P.R. China Zoharo De Tafalla (Frederick Mohler), sculpture, carving, U.S.A. Margie Díaz Mesén, photography, Costa Rica Kate Digby, dance, U.S.A. Ozan Diler, photography, Turkey Omid Djalili, actor, U.K. Coskun Dogruluk, photography, The Netherlands / Turkey Suellen W. Dornbrook, theatre, Argentina Christophe Doucet, visual arts, France Maxim Dumitras, visual arts, Romania Michael Eissinger, radio journalism, U.S.A. Keith Eldridge, calligraphy, Canada Annick Elziere, photography, arts promotion, U.S.A. Alma Engels, poetry, U.S.A. Enoch’s Vision (Cary Enoch Reinstein), visual arts, U.S.A Edel'Akongu Ekodelele Eyperu, music, Uganda. Farzad, violin, U.S.A. Bonnie Fields, painting, U.S.A. Bruce Filson, poetry, Canada Michael Fitzgerald, poetry, U.S.A. George Fleming, painting, writing, Northern Ireland Foo Hong Tatt, painting, U.S.A. Written by Annick Elziere, U.S.A. Siron Franco, visual arts, Brazil Elena Frolova, music review, Russia Tahirih Fruchaud, photography, The Netherlands Darlene Gait, visual artist, Canada Joseph Galata, theatre, U.S.A. Gina Garcia, singing, New Zealand. Russ Garcia, composer, conducter, New Zealand. Bill George, theatre, U.S.A. Dizzy Gillespie, jazz trumpet, U.S.A. Francisco González Pérez, photography, Spain Mary Gregory, glass sculpture, installations, Finland Bruce Grover, rock music, U.S.A. Rob Hain, painting, U.K. Edmund Hall, collage, painting, South Africa Leenakaisu Hattunen, paper works, Finland Robert Hayden, poetry, U.S.A. Patricia Hayley-Tsui, ceramics, Canada Eva Hemmerlein, painting, Germany Duane Herrmann, poetry, U.S.A. Yuichi Hirano, architecture, Japan Doc Holladay, jazz, U.S.A. Sandy Hoover and Lunar Drive, music, U.K. / U.S.A. Lee Hosack, music, U.S.A Joseph Houseal, dance, U.S.A. Alexis Hunter, visual arts, U.K. / New Zealand Robert Takashi Imagire, dance, graphic artist, the Cook Islands, U.S.A Lowell Johnson, radio dj / writing, South Africa James Johnston, printmaking, U.S.A. Suzy K, singer, U.S.A. Biggy Kapeta, sculpture, Zimbabwe John Kavelin, set design, U.S.A. / Japan Dietmar Kieven, painting, Germany Ian Kluge, poetry, Canada Annabel Knight, playwright, U.K. Hans J. Knospe, photo-poetry, Germany Ben Koen, music, U.S.A. Helen Kontos, music promotion, Greece Kosta Kontos, music promotion, Greece Philip Kwesiga, painting / ceramics, Uganda Conrad Lambert, music, U.K. Teresa Henkle Langness, writing, U.S.A. Lloyd Lawrence, intradiscipline, U.S.A. Bernard Leach, ceramics, U.K. Anthony A. Lee, poetry, U.S.A. Richard Leigh, composer, U.K. John Barnabas Leith, poetry, U.K. Susan Lewis Wright, singer, songwriter, U.S.A	Juan Leyva, painting, Spain LineSync Architecture: Joseph Cincotta & Julie Lineberger, U.S.A. Kevin Locke / Tokeya Inajin, dance / music, U.S.A. Albertina Lourenci, sustainable architecture, Brazil Godfrey Machijli, sculpture, Zimbabwe Imelda Maguire, poetry, Ireland Larry Magee, singer, songwriter, U.S.A., Dale Malner, installation, U.S.A., Alexander Malgazhdarov, photography, Kazakhstan Fritz Mann, painting, U.S.A. Audrey Marcus, visual arts, U.S.A. Sabrina McCormick, processed photo images, U.S.A. Sen McGlinn, poetry, New Zealand / The Netherlands Catherine McLaughlin, poetry, Canada Vasu Mohan, Bharata Natyam dance, U.S.A. Nadine Mouslimani, graphic design, Lebanon Taraneh Mozoun, ceramics, Iran / The Netherlands. William Muñoz, photography, U.S.A. The Musa Carvers, carving, Cameroon Nadieh, music, The Netherlands Margaret Nagawa, visual arts, Uganda Tahereh Najmi, Persian singer, U.S.A. AnKi Nilsson, photography, piano, The Faroe Islands Mark Ochu, piano, U.S.A. Carl O'Kelley, photography, U.S.A. Kwame Okyere-Boateng, musician, writer, Ghana / South Africa Elena Ostrer & Peter Nilov, stage design, Russia Rhonda Palmer, poetry, U.S.A. Ruth Park, ceramics, Australia Richard Paton, visual arts, U.K. Joanna Margaret Paul, poetry, painting, New Zealand June Perkins, poetry, Australia Anne Gordon Perry, poetry, U.S.A. Juanita Pichardo de Peralta, painting, Dominican Republic Nawruz Paguidopon, illustration, animation, The Philippines Oleg Podbereznyi, visual arts, Russia Carwyn Ponga, painting, Aotearoa / New Zealand KC Porter, music producer, U.S.A. Praying For The Rain: Dominic & Vince DeCicco and other musicians, U.K. Vasily Ragosin, visual arts, Russia Corinne Randall, painter, printmaker, U.K. Peter Randall-Page, sculptor, U.K. Margun Risa, singer, Norway Mike Robles, music, Costa Rica Bev and Mike Rogers, singers, musicians, U.S.A. Cal E. Rollins, poetry, U.S.A. Chris Ruhe, music, U.S.A. Janet Ruhe, poet / writing, U.S.A. Pooria Sabetazm, painting, U.S.A. Mark Sadan, photography, U.S.A. Fariburz Sahba, architecture, Canada written by Eliza Rasiwala, Israel Adel Salmanzadeh painting, New Zealand Julio Savi, poetry, Italy Brigitte Schirren, textiles, Germany Sylvia Schulman Benatar, piano, South Africa Valerie Senyk, theatre / poetry, Canada Joseph Sheppherd, author, U.S.A., interviewed by Alison Marshall R.K. Singh, poetry, India Maria Skrebtsova, poetry / writing, Russia Anisa Skuce, visual arts, Canada Bill Skuce, painting, Canada Geoff and Michaela Smith, music, U.K. Janet Sono, theatre, Japan Jacomien Souverijn, painting, The Netherlands Rene Steiner, design, Switzerland Jasmina Stojanović, painting, Serbia Tierney Sutton, voice, U.S.A. Táhirih, poetry, Iran Colin Taylor, theatre, U.S.A. David Taylor, painting, U.S.A. Jeff Thomson, sculpture, New Zealand Mária Titi, painting, Hungary Mark Tobey, painting, U.S.A. Filipe Tohi, sculpture, Aotearoa / New Zealand Lasse Thoresen, composer, Norway Reginald Turvey, painting, South Africa Lilia Valitova, composer, Russia. Hugo van Bolhuis, music, The Netherlands Henk van der Voort, printmaking, painting, The Netherlands Sonja van Kerkhoff, visual arts, The Netherlands Michel Verheecke, music, poetry, Belgium Mary Jane Volkmann, painter, Namibia Jens von Krogh, photography, Faroe Islands, 161 Chris Wagg, textiles, Wales, U.K Wang Xin, painter, P.R. China Jacqueline Wassen, visual arts, The Netherlands Rob Weinberg, photograph, U.K. Tarasieh Werle - Vahdat, glass sculpture, Ecuador Roger White, poetry, Canada / Israel Thaya Whitten, painting, piano, Canada Carolyn Nur Wistrand, theatre, U.S.A. Angela Wood, music, U.K. Liang Xiaoshan, printmaking, P.R. China Savina Yannatou, singer, Greece Beth Yazhari, painting, textiles, U.S.A. Ken Zemke, film, New Zealand Roland Zwicker, mime, Brazil / France / U.S.A. ( — Preceding unsigned comment added by 75.80.161.105 (talk) 17:08, 28 February 2014 (UTC)

the specific article was never meant to be an exhustive list. Each individual page is the primar place for things and there is a group category Category:Bahá'ís by nationality. Smkolins (talk) 19:39, 30 March 2012 (UTC)

Merz

 * I have heard that Merz is a Baha'i. Can anyone confirm? —Preceding unsigned comment added by 24.57.186.238 (talk) 22:08, 27 March 2008 (UTC)

 * I've heard the same. But I'm not sure.

Ogden Nash
Can someone provide documentation that Ogden Nash was a Bahai?--HistoricalPisces 18:55, 22 September 2005 (UTC)

Yes - I've asked that one just now, on the Ogden Nash talk page. I can't quite believe that someone who famously wrote "Candy is dandy, but liquor is quicker" was a practising Baha'i. Apparently, there's been no response to that question here in half a year. If someone can't document Nash's faith in the next week or so, I'll remove him. PaulHammond 20:40, 1 April 2006 (UTC)

-

I'm pretty sure Nash was not a Baha'i, but used the word Baha'i in one of his poems..this is probably how the rumour started.

fwiw, -Anthony

Should Covenant Breakers be removed from this list?
Since when did expulsion make someone *never* a Baha'i ? Obviously to be a Covenent-breaker you must have been originally a Baha'i. I will revert again tomorrow. Wjhonson 21:02, 31 March 2006 (UTC)

 * To be honest it doesn't really matter to me. I reacted because this was one of many attempts you've made to amplify the importance of Subh-i-Azal and Muhammad `Ali, two of the most notorious opponents of Baha'u'llah and `Abdu'l-Baha, respectively. No Baha'i today would consider Muhammad `Ali to be a Baha'i, so this argument is really silly. I will stop deleting him on the list, but I doubt it will last more than a few weeks until other Baha'is continue to delete it. Cuñado  [[image:Bahaitemplatestar.png|20px]] -  Talk  22:59, 31 March 2006 (UTC)

 * I find myself in agreement with WJohnson on this one. I can't see how merely listing Azal's name of `Ali's name "exaggerates their importance" - the fact is that both men were historically important figures within the Baha'i faith, even if Baha'is mostly remember them today for how they fell short of the ideals that the Bab and Baha'u'llah expected of them.  Whatever happened later, the fact is that `Ali was Baha'u'llah's son, and during Baha'u'llah's lifetime was a highly respected Baha'i.  Mason Remey should be listed here too - he was a Hand of the Cause of God, before the furore he caused after Shoghi's death led to the rest of the Baha'i world excommunicating him.  Surely, for NPOV purposes, it might be just as important for someone to read about Muhammad `Ali, and the effect he had on the development of the Baha'i Faith as to understand the effect the Baha'i Faith had on Seals and Croft?  PaulHammond 20:52, 1 April 2006 (UTC)
 * The question of who should and should not be on the list is a tough one, as pointed out in my 5Feb2005 comment. Baha'u'llah tells us that life-long Baha'is can lose their faith on their death-beds and vice versa, so only God knows who left their "mortal frame" as Baha'is. However, we can list prominent individuals who are Baha'i by virtue of them recognising the authority of the head of the Faith, currently the Universal House of Justice. This would keep the issues involved simple. Muhammad `Ali et al are in a different class because they recognised one Head of the Faith but not the next. We would tie ourselves in knots trying to agree criteria for their inclusion without confusing the general reader. I suggest we have three choices:
 * exclude those considered by the Universal House of Justice to be covenant breakers
 * create a separate page/article of them, maybe with a link to this article
 * put them on a separate list on the same page, with a suitable explanatory note.
 * For the sake of simplicity, I recommend that we exclude their names from this page. Otherwise I fear that we will have a replay of the whole "mainstream Baha'i - covenant breaker" debate and the purpose/utility of the page will be lost. --Occamy 17:23, 2 April 2006 (UTC)

 * Very much agree with Occamy. Occamy brings up a really good point about we don't know who really left this mortal-frame as Baha'is.  With this said, however, his suggestions for a definition of a Baha'i and thus inclusion in this page is something that can be easily determined, while other metrics of inclusion become more problematic/difficult to determine. So all three of his suggestions seem appropriate to me with my vote going to the first one. -- Jeff3000 18:49, 2 April 2006 (UTC)

Actually I think this whole page is a bit silly. I wouldn't mind deleting it. We could add in all of the Hands of the Cause, the Apostles, the Counselors, the rest of the family of Baha'u'llah, and others. All this page does is copy the Category:Bahá'í individuals. Cuñado  -  Talk  21:19, 2 April 2006 (UTC)

 * I agree, could be deleted. -- Jeff3000 23:21, 2 April 2006 (UTC)

 * The order in the section 'Prominent Bahá'ís Known to the General Public' is not clear either.Wiki-uk 13:08, 5 April 2006 (UTC)
 * I agree with Cunado's suggestion that the page is an unnecessary duplicate that should be deleted. --Occamy 14:57, 5 April 2006 (UTC)

I looked into a few ideas and now I don't think deletion is the right step. See List of people by belief, and look through some of the other lists of religions' followers. Personally, I think they should all be deleted, but if every religion has one, then we might as well just keep this page and make improving edits. Cuñado  -  Talk  18:34, 5 April 2006 (UTC)

So is this just another page of "approved Baha'i thought" ? And if so, how is it that it's not pov by definition? I mean you are defining it to say, only include people who the UHJ approves. Is that really what you think this encyclopaedia is supposed to be? Suppress all thoughts that aren't stamped approved ? And you don't think that's pov ? Wjhonson 05:53, 23 April 2006 (UTC)

 * It comes down to first defining "what is a Baha'i"; then one can say who is a (famous) Baha'i. The vast majority of readers would accept that a Baha'i is one who recognises the authority of the House of Justice. This a plain fact rather than pov, though it may be unpalatable to believers in Baha'u'llah who do not recognise the House of Justice as the legitimate head of Baha'u'llah's Faith. --Occamy 17:05, 29 May 2006 (UTC)

 * Actually Occamy I could not disagree more. A Christian is not one by virtue of approval of some priest or preacher.  They are one, because they state they are one.  That is the same really with all religions, including Baha'i in my opinion.  A Muslim doesn't get approval, a Jew doesn't get approval.  Nobody includes or excludes them from their self-declaration.  The pages for people of a religion are self-declarations.  Not one of them is for "approved" members. If you can find one that is, post it here. Wjhonson 03:15, 28 November 2006 (UTC)

Juan Cole
I had added him to the others list, but after reading here about "covenant breakers," i reverted. A better enty would be at http://en.wikipedia.org/wiki/Category:Bahá'í_individuals but that should be at his choice. i think i"ll try to contact him first. Take Care!--Will314159 09:23, 28 May 2006 (UTC)

Cathy Freeman
While Cathy Freeman's stepdad was a Baha'i, and her mother and possibly other family members became Bahais, i dont think she considers herself a Baha'i, though she did participate in Baha'i activities in the past. On this note, I will delete her from the list. Bigkev87 09:25, 2 February 2007 (UTC)
 * Somebody put her back. Here's what I've been able to find and have put on her page:

"In 2006, Freeman's biographical documentary Cos I'm Free (AKA Cathy Freeman) (Producer/Director: Lou Glover) covers much of her life with interviews of her family and friends. Both it and her book Born to Run - Cathy: Her Own Story mention dealing with racism and her mother's faith as a Bahá'í influencing her (her Mom she's a 'Baha'i at heart'Cos I'm Free (AKA Cathy Freeman) Transcript of Program and Freeman was raised a Baha'i, she says 'I'm not a devout Baha'i but I like the prayers and I appreciate their values about the equality of all human kind.'The love and pain that inspire Cathy, Top athlete may journey from the winner's podium to the Academy AwardsBorn to Run (extract) Chapter 1 Running Free]"(modified notes to fit in here rather than

So - "signed nothing formal", "I'm not a devout Baha'i", "raised a Baha'i", "Baha'i at heart"...??--Smkolins (talk) 13:36, 28 December 2007 (UTC)

Leo Tolstoy
I'm also concerned about it, but prominent, public figures who have publically mentioned their faith may be appropriate. I'm more concerned about Count Leo Tolstoy, who as I understand it was an admirer of the Faith, but not an adherent, per-se. no where is Baha'i listed on his biography for example. I'm going to remove that one. If someone has documentation, then by all means re-add it, but they should probably also add this information to the Tolstoy page.

Well I suppose it depends on what an adherent is. He did not send a card in, or say Shahada, or talk to Baha'u'llah. Leo Tolstoy did however leave many quotes abotu accepting Baha'u'llah as the Manifestation of God for this Age, and talkign about how His cause woul overcome and illuminate the whole earth. I will start talking over at the Tolstoy page. —Preceding unsigned comment added by Aeroplane (talk • contribs) 04:50, 31 August 2007 (UTC)

Mass edit because of lack of sourced references?
I've done exactly that for many Bahá'ís who have articles in WIkipedia though I focused on many secondary individuals (not Hands of the Cause for example, etc.) The complaint was based on a case of the Christian list. I don't know the situation over there but great host of the Baha'i entries were sourced on their respective pages - I've revered the edit so saying. Checking around a bit I see that we already follow the suggested Lists (stand-alone lists), and as a matter of citation the United Nations member states has almost no citations on its page for example. I don't see any rule that says the lists page must have the documentation. There has been a comment that one wikipedia article isn't a source for another (my wording) but I'd like to see more than a whim for such whole-scale evisceration. Even the remaining members of this list were "cited" if at all elsewhere. I could guess perhaps that some entries or other lists abused the responsibility of a good wikipedia page. This page wasn't my idea but I did recognize the need for sourcing individuals who were members of the Bahá'í faith and spent a good deal of work sourcing on each of their pages.--Smkolins (talk) 12:42, 27 December 2007 (UTC)
 * A broader lists - Category:Lists of countries. Yes meet policy and keep things right but I think this criteria would simply remove lists in general as things like this would always require double entry. Why should categories be exempt - it's just code at bottom of a page. I see a few of lists of countries have been flagged with unsourced notes but is this really what Wikipedia wants? And has no one observed if sourcing is on the referenced page - no one has talked about it at all?--Smkolins (talk) 13:50, 27 December 2007 (UTC)
 * All articles have to have sources especially if they detail something about a living person. Saying that so-and-so is of a particular religion is something that must be sourced, and this list must have references.  Saying that the individuals are referenced on their own article is not good enough unfortunately.  Yes it might be doubling up the references from both the individual's article and this list but that should mean that it is a very easy job to reference these.  violet/riga (t) 14:09, 27 December 2007 (UTC)
 * I agree since and I others have done a lot of the leg work it should be easy. So flag it needing sources. Please.--Smkolins (talk) 14:53, 27 December 2007 (UTC)
 * That doesn't satisfy our WP:BLP policy though, and while I sympathise that the article is somewhat minimalistic right now it's better to remove and rebuild from history than have policy-violating content remain in an article. violet/riga (t) 15:01, 27 December 2007 (UTC)
 * But is it fair to the culture of wikipedia to make a new policy known by simply wiping an article out essentially with no warning? Time and time again an editor just sweeps by, finds something objectionable, rakes the article instead of improving it or often even involving the people who helped make the page. And what about the category section? Doesn't it need citation and yet the mechanics of such article precludes citaiton doesn't it? Why is a list so different? I had intended to spend my spare time of this holiday season working on other kinds of wikipedia articles but yes darn it I can work on this. But it would be mechanically a lot easier if I'm amending the existing list rather than re-adding all of the entries.--Smkolins (talk) 15:13, 27 December 2007 (UTC)
 * I'm sorry if you are unaware of policies and if the edits came as a surprise. Categories should only be added to articles where it clear that it is suitable but yes I agree that our category system is flawed when it comes to referencing.  Re-adding people to this list shouldn't be too difficult - just go into the history and copy/paste a section, then reference everyone on it.  violet/riga (t) 15:47, 27 December 2007 (UTC)

Example where it's done right?
Can anyone give me an example of how to fix this page? There could be a large number of refs at the bottom of the page - I think I can find the syntax for two columns and such but this wont be pretty I think.... I guess both the fact they are Baha'is and what they do/did or whatever has to be refed too?--Smkolins (talk) 15:21, 27 December 2007 (UTC)

 * What they did isn't particularly needy of a separate ref - it will usually be covered by the one detailing their faith but if it isn't just saying that they are an author (or whatever) isn't a problem. If it's something a little controversial then yes it may need another reference.  List of Scientologists is quite a good example of what you need to achieve, but the alphabetical format there isn't so good.  What you've done so far is fine.  violet/riga (t) 18:05, 27 December 2007 (UTC)

 * Thanks. Overall the majority had documentation on their wiki page, though many seemed quite old (in the days citation was less important that "expert" input perhaps. But in almost all cases documentation was easy to find whether here or on the net. I think in all cases the fact of being a Baha'i, and what they are known for, happen on the same ref. I would have added a second if necessary.--Smkolins (talk) 18:25, 28 December 2007 (UTC)
 * Well done - you've done a great job here. violet/riga (t) 18:36, 28 December 2007 (UTC)

The Mooseheart Faith Stellar Groove Band
I don't see reference any of them are a Baha'i - just that they've used something from the religion for inspiring some of their work. Sound that Transcends Colours and Cultures by: Amir Nadimi. I don't say they aren't but I think we need to find better documentation.--Smkolins (talk) 14:45, 27 December 2007 (UTC)

Baha'is who don't have a page but are mentioned in wikipedia....

 * Miles Kasiri is mentioned on 2004 Wimbledon Championships, List of Wimbledon champions, Requested articles/Sports.
 * Dempsey W. Morgan and Myron Wilson* Honored [[Tuskegee Airmen] include two Baha’is.

Do such people get a listing here?--Smkolins (talk) 13:58, 28 December 2007 (UTC)

 * One common rule is that if they are not notable enough for their own article then they shouldn't exist in lists either. The problem with that is when the article does not exist simply because nobody has gotten around to making it yet.  After a quick look into the people I would say that Miles Kasiri warrants an article for his achievement in Wimbledon and the third party coverage about him.  The other two, however, I am not so sure about - they don't look like they are notable enough for an individual article and probably not worth including in the list.  violet/riga (t) 15:50, 28 December 2007 (UTC)

Another example-
 * Heman Marion Sweatt, of Sweatt v. Painter, Baha'i paved the way for Brown v. Board of Education. The ref had been part of the article but was edited because the religion was not relevant to the case. Of course it was probably very relevant to the man given Baha'i stances on racism issues.--Smkolins (talk) 18:01, 28 December 2007 (UTC)
 * I'd say that he is notable and worthy of inclusion here. violet/riga (t) 18:39, 28 December 2007 (UTC)

 * Marvin "Doc" Holladay - I think he should be included though he has no article I can find. He really should have a Wkipedia article, though I don't feel comfortable writing one myself.
 * http://www.atlantabahai.org/profile-holladay.php
 * - Parsa (talk) 18:34, 12 August 2008 (UTC)

 * Found another one - Payam Ahkavan is mentioned here and there in Wikipedia, but no article yet. And see Interview part 1, Interview part 2. Smkolins (talk) 04:48, 29 March 2009 (UTC)

 * Benny Cassette (not sure on his real name) is listed on several pages (including . Not sure if he is worth his own page. —Preceding unsigned comment added by 202.175.183.12 (talk) 07:03, 31 July 2009 (UTC)
 * Apparently he had one but it was deleted. It could be that the page had too little info to support a character. Smkolins (talk) 20:27, 31 July 2009 (UTC)

Add Name: Lisa Janti
Please consider adding the name of Lisa Janti as ACTOR and Writer

Refer to website: www.lisajanti.com and Wikipedia page for Lisa Janti — Preceding unsigned comment added by 172.1.132.35 (talk) 17:31, 14 June 2013 (UTC)

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title: Talk:List of Baháʼís


text:
WCNC

WCNC may refer to:

 * WCNC-TV, a television station (channel 24, virtual 36) licensed to Charlotte, North Carolina, United States
 * WCNC (AM), a radio station (1240 AM) licensed to Elizabeth City, North Carolina, United States

title: WCNC


text:
Seyyid Kasim Gubari

Seyyid Kasim Gubari of Diyarbakır was a 17th-century Ottoman artist, noted for his poetic writing and calligraphy. He is celebrated as one of the most accomplished calligraphers of his time and decorated a number of important public buildings including the Blue Mosque in Istanbul.

Life and work
Seyyid Kasim Gubari's date of birth is not known, but he lived in Diyarbakır in south-eastern (modern day) Turkey on the banks of the Tigris River. He was a direct descendant of the prophet, Mohammed which entitled him to use the appellation Seyyid. Born Cherif 'Abdallah, he was given the nickname of Gubari (or Ghobâri) because according to legend, he wrote, in ghobar writing, an entire chapter of the Q'ran, consisting of four verses and fifteen words, on a single grain of rice.

He was originally known for his poetic writing and took up calligraphy and decorative inscription sometime later. He responsible for much of the calligraphy in the dome of the Sultan Ahmed Mosque (the "Blue Mosque") in Istanbul. He was also commissioned to write verses from the Quran throughout the mosque. He was celebrated as one of the greatest calligraphers of his day.

He died in 1615/1616 and is buried near the tomb of Eyyub.

title: Seyyid Kasim Gubari


text:
Talk:Chaiyaphum province

Both the table of tambon geocodes which I found at the DOPA as well as the 2000 census report of Chaiyaphum says that both Amphoe Noen Sa-nga as well as King Amphoe Sap Yai were split off from Amphoe Chatturat. The odd this is that Sap Yai and Chatturat aren't adjoined, thus before the split (which was in 1997) Amphoe Chatturat must have been split into two separate parts already. Is that correct? andy 18:41, 5 Feb 2005 (UTC)
 * We believe that that information is incomplete. We think that Thep Sathit was created from Chatturat at the same time.  We will try to verify.  --AStanhope 03:24, 13 Feb 2005 (UTC)
 * User:Oatz spotted the mistake - it is Sap Yai and Thep Sathit exchanged in that map. My source map had the two mislabeled already, checking it with another map now I can see that that source had one mistake. And then the above confusion disappears. andy 11:11, 24 July 2006 (UTC)

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title: Talk:Chaiyaphum province


text:
User talk:The strategy freak

I removed the following from nihilism, though I'll be happy to have it returned with the corrections I'll mention and the corrections I've already made:

 * In 2004 a Paris Texas came out with their first album, Like You Like An Arsonist. Bombs Away, the first track featured the lyrics: "I've got a static aesthetic / nihilistic prophetic / everything is a god damn lie!"

The main thing is that it reads the following way: either the band's name isn't mentioned, or it is Paris Texas. This isn't clear because of the 'a' before 'Paris Texas'. If the band is from Paris, Texas, then the comma needs to be there and the name of the band needs to be included. If the band's name is Paris Texas, then you might check to see if there is a comma between 'Paris' and 'Texas' and rewrite the sentence to something like "In 2004, the band Paris Texas [or Paris, Texas, whichever is correct] came out with their first album...".

The other major corrections I already made have to do with your use of the BR tag. It isn't usually necessary after colons, and when quoting lyrics, like when quoting poetry, a '/' is used instead. Cheers! -Seth Mahoney 18:42, Feb 5, 2005 (UTC)

No problems at all, I'm always glad to see people contribute to articles. Keep adding at whatever level you feel comfortable with (I think we all started making small grammatical changes or adding smaller sections to articles and worked up from there). As far as using the BR tag versus '/', I'm not completely sure, but I think its a wikipedia convention - I've definately seen it on other pages, anyway. My brain is a bit fried at the moment, so pardon my being pedantic, but I'm gathering that the name of the band is "Paris Texas"? If so, feel free to add it back whenever you feel like it with that small change. Also, FYI, when you make comments on talk pages (either users' talk pages or articles' talk pages), it makes things a lot easier if you add -~ at the end of your text - it adds your signature and makes it a link, so people can easily get to your talk page and see who made the comment. Also, since no one has given them to you yet, here are some useful links: Wikipedia manual of style, Avoid weasel terms (you'll probably see this one referred to a lot), Cite sources, Wikipedia layout guide, General wiki editing info, and then the various links in the box below. It seems like you have most of it down already, but they can be handy references. -Seth Mahoney 23:19, Feb 5, 2005 (UTC)

Vanadium
Many of the metallic samples in the kit I took the photos from are oxidized (e.g., lithium). The vanadium sample is very fine shavings, which allows lots of surface area and the vial is full of air, not an inert gas. In my opinion the maker of the kit should have filled the metal sample vials with dry nitrogen to prevent oxidization, but the kit was made in Russia and even the legality of shipping some of the samples (e.g. beryllium) is questionable due to HAZMAT rules; dispite the fact the kit came with papers in Russian saying it was legal to ship by any means.

By the way you can sign and date your entries by typing 4 "~" like this ~, it makes you easier to identify. -- RTC 19:19, 3 February 2006 (UTC)

 * I did what I could with the kit I had access to, when I had access and a digital camera. If I had had a digital camera when the kit first arrived the oxidation was much less, but the kit was bought in 1996 and I didn't buy a digital camera until 2003.

 * Others have already provided photos of other elements (e.g., uranium, although this sample is completely covered in black oxide). Some metals are so reactive that you could cut a fresh surface and find it already ozidized by the time you took your photo, unless the material was handled entirely in an inert gas atmosphere or under vacuum! Other metals have transparent oxides (e.g., aluminum) and you could not tell if they were oxidized or not by looking at them. -- RTC 00:10, 4 February 2006 (UTC)

Image Tagging Image:Messed Up Menu.pdf
Thanks for uploading Image:Messed Up Menu.pdf. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this media yourself then you need to argue that we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then you should also specify where you found it, i.e., in most cases link to the website where you got it, and the terms of use for content from that page.

If the media also doesn't have a copyright tag then you must also add one. If you created/took the picture, audio, or video then you can use GFDL-self to release it under the GFDL. If you believe the media qualifies as fair use, please read fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other media, please check that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thank you. Stan 05:16, 13 March 2006 (UTC)

Chad Ruble
A tag has been placed on Chad Ruble, requesting that it be speedily deleted from Wikipedia. This has been done because the article seems to be about a person, group of people, band, club, company, or web content, but it does not indicate how or why the subject is notable (see the guidelines for notability here). If you can indicate why the subject of this article is notable, you may contest the tagging. To do this, please add  on the top of the page and leave a note on the article's talk page explaining your position. Please do not remove the speedy deletion tag yourself.

Please read the criteria for speedy deletion (specifically, articles #7) and our general biography criteria. Feel free to leave a note on my talk page if you have any questions about this. As the segment itself has no article the announcers can't be notable enough. exolon 01:13, 4 December 2006 (UTC)

Spanish Inquisition
I take exception to your revert of my correction to the article with the summary "reverting vandalism"... especially since I was correcting the grammar of a sentence and not engaged in vandalism. --Dante Alighieri | Talk 21:48, 19 December 2006 (UTC)

WP:CVU status
The Counter-Vandalism Unit project is under consideration to be moved to and/or  status. Another proposal is to delete or redirect the project. You have been identified as a project member and your input as to this matter would be welcomed at WT:CVU and at the deletion debate. Thank you! Delivered on behalf of xaosflux 16:26, 10 August 2007 (UTC)

title: User talk:The strategy freak


text:
WSOC

WSOC may refer to:

 * WSOC-TV, a television station (channel 9 virtual/19 digital) licensed to Charlotte, North Carolina, United States
 * WSOC-FM, a radio station (103.7 FM) licensed to Charlotte, North Carolina, United States
 * WYFQ, a radio station (930 AM) licensed to Charlotte, North Carolina, United States, which used the call sign WSOC until March 1992
 * WHVN, a radio station (1240 AM) licensed to Charlotte, North Carolina, United States, which used the call sign WSOC until the 1960s

title: WSOC


text:
Commodity computing

Commodity computing (also known as commodity cluster computing) involves the use of large numbers of already-available computing components for parallel computing, to get the greatest amount of useful computation at low cost. It is computing done in commodity computers as opposed to in high-cost superminicomputers or in boutique computers. Commodity computers are computer systems - manufactured by multiple vendors - incorporating components based on open standards.

Characteristics
Such systems are said to be based on standardized computer components, since the standardization process promotes lower costs and less differentiation among vendors' products. Standardization and decreased differentiation lower the switching or exit cost from any given vendor, increasing purchasers' leverage and preventing lock-in.

A governing principle of commodity computing is that it is preferable to have more low-performance, low-cost hardware working in parallel (scalar computing) (e.g. AMD x86 CISC ) than to have fewer high-performance, high-cost hardware items (e.g. IBM POWER7 or Sun-Oracle's SPARC RISC). At some point, the number of discrete systems in a cluster will be greater than the mean time between failures (MTBF) for any hardware platform, no matter how reliable, so fault tolerance must be built into the controlling software. Purchases should be optimized on cost-per-unit-of-performance, not just on absolute performance-per-CPU at any cost.

The mid-1960s to early 1980s
The first computers were large, expensive and proprietary. The move towards commodity computing began when DEC introduced the PDP-8 in 1965. This was a computer that was relatively small and inexpensive enough that a department could purchase one without convening a meeting of the board of directors. The entire minicomputer industry sprang up to supply the demand for 'small' computers like the PDP-8. Unfortunately, each of the many different brands of minicomputers had to stand on its own because there was no software and very little hardware compatibility between the brands.

When the first general purpose microprocessor was introduced in 1971 (Intel 4004) it immediately began chipping away at the low end of the computer market, replacing embedded minicomputers in many industrial devices.

This process accelerated in 1977 with the introduction of the first commodity-like microcomputer, the Apple II. With the development of the VisiCalc application in 1979, microcomputers broke out of the factory and began entering office suites in large quantities, but still through the back door.

The 1980s to mid-1990s
The IBM PC was introduced in 1981 and immediately began displacing Apple II systems in the corporate world, but commodity computing as we know it today truly began when Compaq developed the first true IBM PC compatible. More and more PC-compatible microcomputers began coming into big companies through the front door and commodity computing was well established.

During the 1980s, microcomputers began displacing larger computers in a serious way. At first, price was the key justification but by the late 1980s and early 1990s, VLSI semiconductor technology had evolved to the point where microprocessor performance began to eclipse the performance of discrete logic designs. These traditional designs were limited by speed-of-light delay issues inherent in any CPU larger than a single chip, and performance alone began driving the success of microprocessor-based systems.

By the mid-1990s, nearly all computers made were based on microprocessors, and the majority of general purpose microprocessors were implementations of the x86 instruction set architecture. Although there was a time when every traditional computer manufacturer had its own proprietary micro-based designs, there are only a few manufacturers of non-commodity computer systems today.

Today
Today, there are fewer and fewer general business computing requirements that cannot be met with off-the-shelf commodity computers. It is likely that the low-end of the supermicrocomputer genre will continue to be pushed upward by increasingly powerful commodity microcomputers.

Deployment

 * Amazon EC2
 * Baidu
 * Facebook
 * Google Compute Engine
 * ImageShack
 * LinkedIn
 * The New York Times
 * Twitter
 * Yahoo!

title: Commodity computing


text: User talk:81.157.101.99

title: User talk:81.157.101.99


text:
Thomas Henry Ismay

Thomas Henry Ismay (7 January 1837 – 23 November 1899) was a one time owner the White Star Line. His son Joseph Bruce Ismay was managing director of the White Star Line and survived the sinking of its ocean liner RMS Titanic on her maiden voyage in 1912.

Early years
Thomas Ismay was born on 7 January 1837, in a small cottage in the town of Maryport, Cumberland. Some time after Thomas's birth, his father Joseph Ismay started a timber business, shipbrokers and shipbuilder. He bought shares in five vessels coming in and out of Maryport. When Thomas was six, the Ismays moved to a much larger house in Grasslot, Maryport. The entire family moved to the dwelling because of the three sisters Thomas's mother had. The home's name was "The Ropery", the name deriving from the ropes being used at the shipyard laid out in front of the home. This house was near his grandfather's shipyard. This was the first place where he was employed. He spent much of his time around the harbour. He learned here about the sea and navigation along with his most notable habit, of chewing tobacco, giving him the nickname "Baccy Ismay". When Thomas was 12 he was sent to High School in Brampton, Cumberland. On 31 July 1855 his twin sister Charlotte died, aged 18.

South American voyage
To gain some experience with ships, he arranged a trip to Chile on the S.V. Charles Jackson. She departed Liverpool on 4 January 1856, three days before Ismay's 19th birthday. They arrived on 8 April in Valparaiso, Chile, and stayed there until 30 May. During his stay he indulged in the local culture, visiting theatres, climbing mountains and dancing with the natives. He also noted that "Chilean women are said to be the best formed in the world." After his two-month stay, he took the steamer Bogota to Caldera, Chile, and after arriving there transferred to the SS Conrad. However, it being early morning, it was dark and when he jumped to the ship he missed and fell into the dock. Luckily, he remained conscious and grabbed hold of some wood attached to the pier. After coughing up seawater, he made a great deal of splashing to get help, as nobody had noticed him fall. He was eventually heard and rescued by rope; however, he lost his hat, broke his watch and ruined his notebook, cigar case and other things in his bag. At the end of the ten-day voyage, he took a train to Copiapo to meet up again with the Charles Jackson. The weather was horrible at the start, the ship lost some of her sails and split the topmast, and Ismay was badly hurt after a window smashed in and cut his toe. He arrived home in autumn 1856.

Shipping career
At the age of 16, Ismay left school and started an apprentice with shipbrokers Imrie and Tomlinson of Liverpool. Upon completion of the apprenticeship, he wanted to gain some experience on the high seas. Once he got back to England he started a business. He partnered with Philip Nelson who was also a man from Maryport and a friend of his father. However, the partnership did not last long; Nelson was a retired sea captain and believed in old, trustworthy wooden ships while Ismay believed the future was in iron ships. In 1867 Ismay acquired the flag of the White Star Line.

Ismay had always held an interest in the Asiatic Steam Navigation Company and wanted to see how it was run, so he and Gustav Wolff, founder of Harland & Wolff, decided to take a trip to India on board an ASNC steamer. This was partly to see how their rival was managed and partly a family holiday. On 26 October 1887, they left Dawpool and travelled by train across Europe, seeing the sights of France, Switzerland and Italy along the way. Once they got to Italy they joined the SS Nizam, bound for Alexandria. In Egypt the pair visited the Pyramids and cruised on the Nile.

Around 1870, Ismay drafted a new set of rules and regulations for his brand new trend-setting steamers, RMS Oceanic (1870), RMS Atlantic and the RMS Baltic (1871). In 1873, SS Atlantic struck rocks and sank off the coast of Nova Scotia, Canada, killing at least 535 people. It was the greatest disaster for the White Star Line before the loss of the Titanic in 1912.

From 1863 till 1899, Ismay was president of White Star Line and had several ships under his authority. Most of these ships, until 1870, were chartered; even after 1870 most of White Star Line's vessels were chartered from more notable/wealthy shipping lines, so that the company could not be held completely responsible if someone died on board.

White Star Line vessels
Ulcoats, Cecelia, Golden Sunset, Gladiator, Duke of Edinburgh, Duleep Singh, Bucton Castle, Globe, Nereus, Borrowdale, Weathersfield, British Prince, Dallam Towers, Remington, Hecuba, Pride Of The Thames, Houghton Towers, Warwickshire, Victoria Tower, Hawarden Castle, Vancouver, Castlehead, Vandieman, Comandre, Seatoller, Casma, Compadre, Bayard, British Admiral, Montrose, Ismay, Estrella, Pembroke Castle, Hausquina, Rajah, SS British Navy, Cairnsmore, Santon, Kirkwood, Delhi, Merwanjee Framjee, SS Ravenscrag, Cape Clear, Grace Gibson, Hannibal, Cardigan Castle, Santiago, Jason, RMS Oceanic (1870) (Oceanic was White Star Line's first true vessel because she was actually ordered by Thomas Ismay)

Personal life
On 7 April 1859, Ismay married Margaret, the daughter of Luke Bruce. In 1867, he acquired the flag and branding of the White Star Line. The family lived at Beach Lawn, Crosby.

During these years he undertook several grand projects including, in July 1882, the building of a private residence in Thurstaston on the Wirral Peninsula, designed by the renowned architect Richard Norman Shaw. Built of a local red sandstone, the property was completed in December 1884. It was named Dawpool and, when Ismay's widow died in 1907, both of his sons declined to take up residence. When the Ismays tried selling the house, the agent said the land would be worth more if the home was blown up and it was eventually sold to a Mr. Rutter who loaned it to the government as a hospital during World War I. In 1926 it was sold to Sir Henry Roberts who had it demolished a year later.

Death
Shortly after the launching of the Oceanic on 14 January 1899, Ismay began to complain of pains in his chest. He had been very active throughout his life and was seldom sick, so his doctor took his pains very seriously. His condition slowly deteriorated and construction on Oceanic's sister ships was delayed. In March of that year, Ismay's health began to improve, and he and Margaret went to Windermere where he became sick again. His wife summoned a doctor and a dose of morphine was given to Ismay. After six days he was feeling better and he returned to Dawpool in Thurstaston. Within six weeks he had more violent pain. The doctor diagnosed it as a gallstone. By 26 April, Ismay felt good enough to work, but in August he collapsed and was confined to bed. On 31 August an operation was performed to alleviate his condition. The operation was unsuccessful and a second became necessary on 4 September. The next morning he insisted that his daughters go on a voyage on the Oceanic whilst he talked to his wife. He asked his wife to arrange for the local church to pray for him. On 14 September Ismay suffered a heart attack. His condition continued to worsen, and, on 23 November 1899, he died at the age of 62. His wife never fully recovered, and she died seven years later.

He and his wife are commemorated with a large chest tomb at St Bartholomew's Church, Thurstaston, inscribed: "Great thoughts, great feelings came to him like instincts unawares" and "Blessed are the pure in heart for they shall see God." Ismay had been one of the patrons of the church, built in 1883–86 by J. L. Pearson.

title: Thomas Henry Ismay


text:
Lough Key

Lough Key is a lake in Ireland. It is in the northwest of County Roscommon, northeast of the town of Boyle. The lough is believed to be named after a mythical figure named Cé.

Name
The name Lough Key comes from the Irish Loch Cé. In Irish mythology, Cé was the druid of the god Nuada. He was wounded in the Second Battle of Mag Tuired and fled southward until he came to Carn Corrslebe, where he rested. He saw ahead of him a beautiful plain full of flowers. He sought to reach it, and when he did, he died. When his grave was dug there, a lake burst out of it, and flooded the whole plain. It was thus named Loch Cé after him.

Geography
The lake is in the northern part of the River Shannon drainage basin, and is fed by the Boyle River which flows from Lough Gara, through the town of Boyle, into Lough Key. From there it flows eastwards until it reaches the River Shannon just above Carrick-on-Shannon. Its area is 843.7 ha and its average depth is 5.1 m. One can see a view of the lake from the N4 road as it ascends the Curlew Mountains after bypassing Boyle. The view is enhanced by a modern steel sculpture of an Irish chieftain mounted on horseback (see photograph).

Background
The area around Lough Key and the nearby town of Boyle, in County Roscommon, has been inhabited for thousands of years.

The lake is several kilometres across and contains over thirty wooded islands including Castle Island, Trinity Island, Orchard Island, Stag Island, Bullock Island, and Drumman's Island. Castle Island has had a number of structures built on it over the centuries. The earliest record dates to 1184, in the Annals of Loch Cé, where a lightning strike is reported to have started a fire in "The Rock of Loch-Cé," a "very magnificent, kingly residence." Currently a folly castle built in the early 19th century by the King family stands on the island. Trinity and Church Islands each have the ruins of medieval priories standing on them.

17th-20th centuries
The King family acquired the land around Lough Key in the 17th century Cromwellian Settlement, renaming the area from Moylurg to Rockingham. In 1809, Rockingham House – a mansion designed by English architect John Nash – was built. The house remained the seat of the Stafford-King-Harman family until it was badly damaged in a fire in 1957. It was subsequently demolished in 1970.

Lough Key Forest Park

Immediately to the south of the lough is Lough Key Forest Park, a popular destination for recreational walkers. The park, opened in 1972, covers 865 acre formerly part of the Rockingham estate. The Moylurg Tower, a viewing tower built in 1973, stands on the site of the old Rockingham house overlooking the lake to the north and lawns to the south. There are many amenities in the park including boat tours, boats for hire, water activities, camping and caravan park, an outdoor playground and shop. A 2007 development added a number of new attractions including a forest canopy walkway and children's play areas, to cater to the "21st-century visitor".

Sir Cecil Stafford-King-Harman (1895–1987), second (and last) Baronet of Rockingham, ensured that the land went back to the people of Ireland through the Irish Land Commission, who subdivided the pasture land into several farms of approximately 50 acre and granted these to local people. An extensive area around the then-derelict Rockingham house became the Forest Park and this was looked after by the Department of Forestry. It is currently in the care of Coillte, a semi-state body. The park contains the remains of five ring forts, giving evidence of the long habitation of this region.

The area surrounding the lake is significant in medieval Irish literature and legend. Starting around 1000 AD, the Annals of Boyle were compiled on Trinity Island, and from 1253 to 1590 the Annals of Lough Key continued from where the Boyle annals ended. Lough Key was also the site for the legend of Una Bháin. Famed harpist Turlough O'Carolan is buried at Kilronan, three miles (5 km) to the north of the lake.

Annalistic references
From the Annals of the Four Masters:

 * M955.11 - The fleet of Fearghal, son of Art, upon Loch-Ce.

title: Lough Key


text:
Belshazzar's feast

Belshazzar's feast, or the story of the writing on the wall, chapter 5 in the Book of Daniel, tells how Belshazzar holds a great feast and drinks from the vessels that had been looted in the destruction of the First Temple. A hand appears and writes on the wall. The terrified Belshazzar calls for his wise men, but they are unable to read the writing. The queen advises him to send for Daniel, renowned for his wisdom. Daniel reminds Belshazzar that his father Nebuchadnezzar, when he became arrogant, was thrown down until he learned that God has sovereignty over the kingdom of men (see Daniel 4). Belshazzar had likewise blasphemed God, and so God sent this hand. Daniel then reads the message and interprets it: God has numbered Belshazzar's days, he has been weighed and found wanting, and his kingdom will be given to the Medes and the Persians. "That very night Belshazzar, the Chaldean [Babylonian] king, was killed. And Darius the Mede received the kingdom […]"

- Daniel 5:30–31

The message of Daniel 5 is the contrast it offers between Nebuchadnezzar and Belshazzar:
 * Nebuchadnezzar is humbled by God, learns his lesson (he acknowledges the ultimate kingship of the God of Israel), and is restored to his throne;
 * Belshazzar, in contrast, learns nothing from Nebuchadnezzar's example, blasphemes against God, and his kingdom is given to others.

According to John J. Collins, Belshazzar's feast is a legend conforming to the subgenre of the "tale of court contest", complicated by the inclusion of Daniel's indictment of Belshazzar's pride and his failure to honour the God of Israel. As a result, the tale has a double ending, in which Daniel is first showered with rewards and honours for interpreting the omen, and the king is then punished to fulfill the sentence pronounced by Daniel.

From the story the idiom "to be able to read the writing on the wall" came to mean being able to see from available evidence that doom or failure is inevitable, and "the writing on the wall" itself can mean anything portending such doom or failure.

Narrative summary
This section summarizes the narrative, as found in C. L. Seow's translation of the text in his commentary on Daniel.

King Belshazzar holds a great feast for a thousand of his lords, and commands that the Temple vessels from Jerusalem be brought in so that they can drink from them, but as the Babylonians drink, a hand appears and writes on the wall. Belshazzar calls for his magicians and diviners to interpret the writing, but they are unable even to read it. The queen advises Belshazzar to send for Daniel, renowned for his wisdom. Daniel is brought in, and the king offers to make him third in rank in the kingdom if he can interpret the writing.

Daniel declines the honour, but agrees to the request. He reminds Belshazzar that his father Nebuchadnezzar's greatness was the gift of God, and that when he became arrogant God threw him down until he learned humility: "the Most High God has sovereignty over the kingdom of mortals, and sets over it whomever He will." Belshazzar has drunk from the vessels of God's Temple and praised his idols, but he has not given honour to God, and so God sent this hand and wrote these words:

Daniel reads the words "MENE, MENE, TEKEL, UPHARSIN" and interprets them for the king: "MENE, God has numbered the days of your kingdom and brought it to an end; TEKEL, you have been weighed ... and found wanting;" and "UPHARSIN", your kingdom is divided and given to the Medes and Persians. Then Belshazzar gave the command, and Daniel was clothed in purple, a chain of gold was put around his neck, and a proclamation was made… that he should rank third in the kingdom; [and] that very night Belshazzar the Chaldean (Babylonian) king was killed, and Darius the Mede received the kingdom."

Writing on the wall
None of the Chaldean wise men are able to even read, let alone interpret, the writing on the wall, but Daniel does so by supplying vowels in two different ways, first so the words are read as nouns, then as verbs. The nouns are monetary weights: a mənê, equivalent to a Jewish mina or sixty shekels (several ancient versions have only one mənê instead of two); a təqêl, equivalent to a shekel; and p̄arsîn, meaning "half-pieces". The last involves a word-play on the name of the Persians (pārās in Hebrew), suggesting not only that they are to inherit Belshazzar's kingdom, but that they are two peoples, Medes and Persians.

Daniel then interprets the words as verbs, based on their roots: mənê is interpreted as meaning "numbered"; təqêl, from a root meaning to weigh, as meaning "weighed" (and found wanting); and pərês, the singular form of p̄arsîn, from a root meaning "to divide", denoting that the kingdom is to be "divided" and given to the Medes and Persians. If the "half-pieces" means two half-shekels, then the various weights—a mənê or sixty shekels, another shekel, and two half-shekels—add up to 62, which the tale gives as the age of Darius the Mede, indicating that God's will is being worked out.

The phrase "writing on the wall" has grown to be a popular idiomatic expression referring to the foreshadowing of any impending doom, misfortune, or end. A person who does not or refuses to "see the writing on the wall" is being described as ignorant to the signs of a cataclysmic event that will likely occur in the near future.

One of the earliest known uses of the phrase in English, was by a Captain L. Brinckmair in 1638, whose report "The Warnings of Germany" during the Thirty Years' War cautioned that the violence there could soon spill over to England. "The writing on the wall" is sometimes referred to by the use of some combination of the words "Mene, Mene, Tekel, Upharsin", as they were written on the wall in the tale of Belshazzar's feast. The metaphor has consistently made appearances in various works of literature and media as a foreshadowing device ever since Brinckmair's report.

Reference to this event also led to the use of "Belshazzar" as a brand name for an overhead projector during that device's heyday in the second half of the twentieth century.

Composition and structure
It is generally accepted that the Book of Daniel originated as a collection of folktales among the Jewish community in Babylon in the Persian and early Hellenistic periods (5th to 3rd centuries BC), and was later expanded in the Maccabean era (mid-2nd century) with the visions of chapters 7–12. Modern scholarship agrees that Daniel is a legendary figure, and it is possible that his name was chosen for the hero of the book because of his reputation as a wise seer in Hebrew tradition.

Chapters 2–7 of the book form a chiasm (a poetic structure in which the main point or message of a passage is placed in the centre and framed by further repetitions on either side):
 * A. (chapter 2) – A dream of four kingdoms replaced by a fifth
 * B. (chapter 3) – Daniel's three friends in the fiery furnace
 * C. (chapter 4) – Daniel interprets a dream for Nebuchadnezzar
 * C'. (chapter 5) – Daniel interprets the handwriting on the wall for Belshazzar
 * B'. (chapter 6) – Daniel in the lions' den
 * A'. (chapter 7) – A vision of four world kingdoms replaced by a fifth

Daniel 5 is thus composed as a companion-piece to Daniel 4, the tale of the madness of Nebuchadnezzar, the two giving variations on a single theme. This is spelled out in chapter 5 when Daniel draws a direct parallel between the two kings: the fate of Belshazzar illustrates what happens when a king does not repent.

Daniel 5 does not divide neatly into scenes and scholars do not agree on its structure. The following is one possible outline:
 * 1) The king's banquet and the mysterious oracle: the king desecrates the sacred vessels, the hand writes on the wall (verses 1–6)
 * 2) Attempts to interpret the oracle: the Chaldean sages fail, the queen recommends Daniel (verses 7–12)
 * 3) Daniel appears before Belshazzar: Daniel addresses and rebukes the king, interprets the oracle, and is rewarded (verses 13–29)
 * 4) Conclusion: Belshazzar's death, Darius' accession (verses 30–31)

Historical background
The story is set around the fall of Babylon, when on 12 October 539 BCE the Persian conqueror Cyrus the Great entered the city. Its last king, Nabonidus, was captured; his fate is unknown, although he may have been exiled. Several details in the text do not match the known historical facts. Belshazzar is portrayed as king of Babylon and son of Nebuchadnezzar, but was actually the son of King Nabonidus, one of Nebuchadnezzar's successors, who deputised for Nabonidus when the latter was away in Teima, but never became king. The conqueror is named as Darius the Mede, but no such individual is known to history. The invaders were not Medes, but Persians. John J. Collins suggests this is typical of the story's genre, in which historical accuracy is not an essential element.

The constituent elements of the Book of Daniel were assembled shortly after the end of the Maccabean crisis, which is to say shortly after 164 BCE. The tales making up chapters 2 to 6 are the earliest part, dating from the late 4th or early 3rd centuries. Their setting is Babylon, and there is no reason to doubt that they were composed in the Babylonian diaspora, that is, among the Jewish community living in Babylon and Mesopotamia under Persian and then Greek rule. They reflect a society in which foreign rulers were not necessarily malevolent. For example, Belshazzar rewards Daniel and raises him to high office. This is a marked contrast with the visions of chapters 7–12, where the sufferings of the Jews are the result of actions by the evil 2nd century BCE king Antiochus IV Epiphanes.

Chapters 2 and 7 tell how all worldly kingdoms will come to an end and be replaced by the kingdom of God. Chapters 3 and 6 tell how pious Jews withstand the arrogance of earthly kings and are rescued by the God of Israel. Chapters 4 and 5 form the center, and carry the most important message in their parallel but contrasting tales of Nebuchadnezzar and Belshazzar, verses. The first is humbled by God, learns his lesson, he acknowledges the ultimate kingship of the Jewish God, and is restored to his throne. Belshazzar, in contrast, learns nothing from Nebuchadnezzar's example, blasphemes against God, and has his kingdom given to others.

Belshazzar's feast in pop culture
Johnny Cash's first recorded Gospel song was "Belshazzar," a direct retelling of the Biblical story from the Book of Daniel. He recorded the song in 1957 and was the only Gospel song that Sun Records allowed Cash to record and release with the label.

Current 93's song "All The Stars Are Dead Now", from their 1992 album  Thunder Perfect Mind, includes the lines "Mene mene tekel upharsin, We have been weighed and lost, We have been weighed and lost" as one of the many apocalyptic or destructive portents that comprise the song's lyrics.

In Iron Maiden's title track called "The Writing on The Wall" that was released in 2021, the feast is referenced in the music video where you can see a piece of paper stating Belshazzar's feast which everyone seem to be heading to. Inside is a musical feast, and a being that is draining life force out of others. Eddie ends this feast and leaves the feast together with the four horsemen and the remaining two persons that was previously drained by the being.

title: Belshazzar's feast


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Category talk:Model railroad scales

US and UK naming conventions
Not only do Americans and British use different scales, but they refer to them with different terminology. In America, they say "HO scale", standard gauge is assumed, and scale is measured as a ratio (such as 1:87). In Britain, they say "4 mm scale, OO gauge" and it is considered incorrect to use the letter designations for scales. British modellers are often divided between finescalers and 'normal' scale modellers, because scale/gauge disrepancies are much worse for the commonly used British scales. Narrow gauge terminology adds to the confusion. In America, the most common narrow gauge is HOn3 (HO scale, narrow, 3-scale-foot gauge). In Britain, the most common narrow gauge is OO9 (OO/4 mm scale, 9-real-millimetre gauge). As these examples show, British narrow-gauge modellers usually use track intended for standard gauge of a smaller scale, and Americans do this less commonly. OO9 scales to 27-inch gauge, which (as far as I know) doesn't exist. Maybe British modellers do it this way because Britain and Europe had/have more variety of narrow gauges than the USA?

I think we should have an explanation of all this in an article. Most articles on model railroading on Wikipedia appear to have been written by British modellers, and there isn't enough about the rest of the world.

SpaceCaptain 18:46, 5 Feb 2005 (UTC)

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27 inch gauge (2' 3") railways certainly exist, the following lines in the UK are 2'3": Talyllyn Railway, Corris Railway, Campbletown and Machrihanish Railway, Plynlimon and Hafan Tramway. There were also several 2' 3" gauge railways in the British coal industry.

Also, "00 gauge" is quite common terminology in the UK, and you rarely see the full designation "4 mm scale, OO gauge" written out.

Gwernol

Thanks for informing me about 27-inch gauge. The full designation "4 mm scale, OO gauge" is rarely said, it's true, but that's just because... it's simpler not to, I guess. Anyway, it's always been a pet peeve of mine that (since model railroading books are written by one author from one country) I've never seen a book just get down and explain all this. Maybe I don't know the whole story, but that's because of what I just explained. Can you tell me about anything important I might have missed? SpaceCaptain 02:45, 6 Jun 2005 (UTC)

Yes, you do tend to get particular points of view/experiences coming across in these sorts of article. Its pretty much inevitable, I guess. Of course this is exactly what Wikipedia should be able to overcome with collaborative editing.

There are a couple of decent articles on scale out on the web. I'm going to do some research and see if I can take a crack at improving the article.

Gwernol 15:35, 6 Jun 2005 (UTC)

Are you American, British, or something else? Just try to distill the different statements down into something that makes sense while noting all disrepancies. Then we'll have the best article on the subject I've ever seen. SpaceCaptain 23:59, 6 Jun 2005 (UTC)

title: Category talk:Model railroad scales


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Nine O'Clock

Nine O'Clock is a Romanian English-language newspaper.

The newspaper consists mainly of sections related to politics, business, sports, culture, Romania-related news and weather.

title: Nine O'Clock