text:
Talk:F Market & Wharves

Confusion on PCC Car Origin
The article says:

 * Included in the equipment are:
 * PCC streetcars from:
 * San Francisco
 * Boston
 * Philadelphia
 * Illinois
 * Los Angeles
 * Kansas City, MO
 * Cincinnati
 * Chicago
 * Louisville
 * Baltimore

I can see why someone might think this, because the F line operates PCC cars in many city's color schemes, including (probably) all of these. Unfortunately all isn't quite as it seems; the majority of the operating PCC cars come from the 14 1946 built single-ended cars that Muni bought from Philadelphia in 1994. There are also 3 original San Francisco double-ended PCC cars in operation. Between them, these cars are painted in the color's of cities that once operated the PCC car, but that doesn't mean they actually came from there.

Muni has recently purchased 11 more PCC cars from the Newark Subway, and has other San Francisco area PCC cars, but I don't believe any of these are yet in service. Confirmation for all this can be found on the Market Street Railway website linked from the article.

 * As of June 30, 2009, 3 of the 11 former newark cars are in service, 1075 (painted in tribute of Cleveland, Ohio), 1077 (Birmingham, Alabama), and 1078 (San Diego, California). All 11 need to be required to complete their restoration and a contract for that and the restoration of 5 addition PCC streetcars has been approved by the SFMTA Board of Directors and now awaits approval from the SF Board of Supervisors to proceed. Jamison Wieser Director, Market Street Railway 20:31, 30 Jun 2009 (UTC)

Now to try and work out how to put this into the article. -- Chris j wood 23:29, 8 Feb 2005 (UTC)

 * You're correct; armed with your information, I went back and read the brochure again and found the column in the table listing the PCC cars was headed "Representing". Thanks for the correction. I've put the list of represented cities back in again, but using your clarified language.

 * Atlant 13:35, 9 Feb 2005 (UTC)

 * That is fine. I meant to say thanks for making such a good start on this article; hope my 'improvements' are ok with you. Seems kind of strange that the three people actually contributing to this article live in Boston, Baltimore and England. :-) -- Chris j wood 16:45, 9 Feb 2005 (UTC)

 * Your improvements are great, and caught an obvious error that I had made! With regard to where we're all writing from, well, San Francisco has that effect on people. I think if this were an ideal world, we'd all spend a lot more time there, perhaps commuting from Boston, Baltimore, and England. On the other hand, speaking just for Boston, we do have some hills, a big bay nearby, an Italian district not unlike North Beach, a small Chinatown, and now we even have a signature bridge, even if it isn't a Golden Gate or Bay Bridge. So for now, I'm "making-do" :-).

 * Atlant 17:13, 9 Feb 2005 (UTC)

Use of trolleybuses
The article says:

 * Muni operates a large electric trolleybus fleet whose catenaries are compatible with the overhead cables that power F Market streetcars. These buses are occasionally pressed into service on the F Market line, particularly if a streetcar has broken down somewhere on the track and other streetcars cannot get around it.

I don't understand this. The F Market line (like most electric streetcar lines) operates with a single trolley-wire and trolley-pole, using the rails as the return electric current path. Trolleybuses on the other hand need two trolley-poles and wires.

Of course, a fair amount of Market Street is wired for use by parallel trolleybus routes, so limited substitution may be possible there. The Embarcadero certainly isn't so wired, and I'm not sure about the Castro end of the line. So in general, I don't think trolleybuses could substitute for F Market streetcars over the full route.

The only other possibility is that it is technically possible for a trolleybus to use streetcar overhead by towing a 'skate' in the grooved streetcar rail, but that is a pretty unusual solution and I'd be surprised if Muni would try it in modern traffic.

I'm not sure what to do about this. Can anyone throw any light on this?. -- Chris j wood 00:03, 9 Feb 2005 (UTC)

 * That's a tough one. ;) The current generation of trolleybuses used in SF are able to run quite far on internal battery power. I was once on a #30 bus when power on the trolley wires failed. It made it all the way from somewhere out beyond Galileo High to Columbus and Powell before the batteries finally ran dry. I could imagine that you could run a fair way 'round the Embarcadero even if there aren't any "return" wires, and farther if there were "recharging" stations. Perhaps an expert will come along and clear this up for us.

 * Atlant 00:53, 9 Feb 2005 (UTC)

 * Chris, this happened to me when I was in San Francisco in March 2004: I was waiting for the F Market at Fisherman's Wharf for quite a while, and someone told me that a streetcar had broken down and was blocking traffic.  A few minutes later a standard Muni bus appeared and drove us along the F route down the Embarcadero, through the reserved right of way, and onto Market (where I got off, since I was transferring to the N Judah).  I *thought* that it was a trollybus, but I suppose I could be misremembering and it could have been a standard diesel bus.  Usually it's easy to tell because the trollybuses are so much quieter, but because the pavement around F line tracks is cobbled, the tires running on the cobblestones made quiet a racket.

 * As an additional data point: I'm certain that the destinaton sign on the front of the bus indicated that it was an F, and it was a standard Muni rollsign (not one of the newer electronic signs). That stuck in my mind because it made me think that this was apparently not unusual for there to be bus substitution on this line. --Jfruh 01:04, 9 Feb 2005 (UTC)

From Rick Laubscher, President, Market Street Railway 23:05 23 March 2005

While the Market Street segment of the F-line is wired for trolley coach operation, and there is a turning loop near the F-line Castro terminal (used by its predecessor, the 8-Market trolley coach line), trolley coaches do not substitute for streetcars on this route. Diesel buses do. The F-line has been planned for more than 20 years, and in service for 10 (at least along Market Street) so even the oldest operating Muni diesel buses have "F-Market" on their Mylar roll signs (as they do the other streetcar lines for similar subsitution reasons). Any F-line buses you rode on The Embarcadero would have had to have been diesel. In the past year, bus substitution has unfortunately been common, due to the extremely high passenger demand on the line, which has overwhelmed the fleet. When the ex-Newark streetcars begin arriving late in 2005, this situation will ease.

 * Well that is pretty much a definative response; I've removed the reference to trolley coach substitution. Speaking personally, can I congratulate Rick and his team on a wonderful job of bringing the F line back, -- Chris j wood 00:15, 27 Mar 2005 (UTC)

I know this is an old discussion, but if i might shed some light on the situation, along Market street, the street cars actually use the trolley bus electric wires... they just one of them. Trolleybuses along Market St. predate the F Market, so the trolleys are working on the trolleybus wires, not the other way around. I don't know if Muni strung a pair of cables along the Embarcadero, but if they did, it would be possible for the trolley buses to operate the length of the F Market. RickyCourtney 21:11, 2 July 2007 (UTC)

I do not think the situation has eased just yet... - Go od  sh oped 05:05, 27 October 2007 (UTC)

 * This is a simple problem shared by other cities that run streetcars (or trams) and trolley busses on a shared power system. Generally on a trolley bus power system, there are two overhead wires.  The right hand wire (usually but schemes may, of course, vary) is the positive wire and is live relative to ground (or earth).  The left hand wire, often designated the negative wire is actually grounded (there have been a few unusual systems where the two wires are floating - that is not grounded).

 * With this knowledge, it is simple to see how a combined streetcar, trolley bus system can be powered. The grounded 'negative' (left hand) wire is connected to the grounded streetcar tracks.  A trolley bus connects to both overhead wires in the usual manner.  A streetcar connects its single trolley pole to the positive wire only - returning its current via the track in the usual manner.

 * In London, trams (streetcars) on a few routes had to be equipped with two trolley poles to operate in the area around Greenwich as the Royal Observatory located there were worried about the effects of the relatively large tram return (ground) currents affecting their instrumemts. The tram supply was thus not grounded.  With the abandonment of tram operation in London in the 1950's, conversion to trolley bus operation was a relatively trivial exercise in the Greenwich area necessitating only the removal of the tracks.  Float operation was continued in the area until trolley busses were, in their turn, scrapped just twenty years later.  When the railways through the area were electrified in the 1930's, a conventional grounded third rail scheme was used as, by then, the observatory had discovered that the currents would not affect them.  109.153.242.10 (talk) 18:47, 28 December 2011 (UTC)

Would the E line run PCCs?
I've heard the E line, as discussed in this article, proposed for years. However, the Muni Metro extension from Embarcadero to SBC Park is a modern light rail line, not a streetcar line, with high-platform above-ground stations, if I'm remembering correctly. Thus, wouldn't the proposed E Line need to run standard LRVs rather than PCCs?

--Jfruh 14:40, 9 Feb 2005 (UTC)

 * All the references I've seen refer to it as running heritage cars from the same fleet as the F line (albeit obviously an enlarged fleet). See http://www.streetcar.org/tomorrow/vision/index.html for more on this. Don't forget that the existing F line already has short high-platforms at (almost) all stops for ADA reasons, so there should be no problem in the heritage cars running through the high-platform stations between the subway mouth and the Caltrain depot. I'm guessing that they will actually stop (for ambulant passengers) at adjacent low-level platforms; although I don't recall reading anything specific on this. -- Chris j wood 16:34, 9 Feb 2005 (UTC)

 * I should look at my references more thoroughly. On left of the page I quote the url of above are some photographs of the low platforms, which in at least one case is complete. Also I see they are talking about extending beyond Caltrain. I'm kind of impressed by these photos; when I wrote the section on extensions I was feeling a bit cynical about when and if the E would actually happen (as you say, it has been discussed for years without happening). But if they have actually built the platforms, perhaps it is go this time. -- Chris j wood 16:54, 9 Feb 2005 (UTC)

 * I still wonder about running heritage cars through the Fort Mason tunnel though. Generally cars running through tunnels need to meet stricter fire regulations than normal; an example being London's Docklands Light Railway which was forced to replace its entire fleet of more or less brand new LRVs when it opened a tunnelled extension. Presumably the PCC cars will be ok, as San Francisco, Newark and Philedelphia have all had streetcar subways for longer than they have had PCCs, but the Peter Witt and vintage fleets would seem doubtful given the extensive use of wood in their bodies. -- Chris j wood 17:11, 9 Feb 2005 (UTC)

From Rick Laubscher, President, Market Street Railway 23:00, 23 March 2005

The current plan is to use the same mix of vintage cars on the E-line as on the F-line: PCCs, Milan trams, and older streetcars. (The emerging convention in the US is to call authentic antique streetcars "vintage" and replicas "heritage" so I'll stick with that.) As mentioned, low platforms with wheelchair ramps have already been built on the right side of the N-line trackage on the southern Embarcadero (which uses center high platforms, unsuitable for single-end vintage cars, which have no left-side doors.  We also anticipate no problems operating vintage streetcars through the short (three block) Fort Mason Tunnel, which is currently undergoing a seismic evaluation, the early results of which indicate no serious issues.

 * And I'm also wondering what's with the Boeing over at Duboce yard. Is it going to be restored for the E/F-Line? - Go od  sh oped 00:55, 1 November 2007 (UTC)

The map
Darkcore, thank you for the very nice map!

Atlant 20:16, 26 February 2006 (UTC)

Regarding the new museum
The San Francisco Railway Museum will be opening soon. Can more information be added here regarding exhibits and educational programs like the teaching trolley? n2xjk 19:05, 4 August 2006 (UTC)

The San Francisco Railway Museum Wikipedia article is now up. Please feel free to add information to that page. Iandailey 18:06, 26 February 2007

Article name change?
Shouldn't this article be titled "F Market and Wharves" instead of "F Market"? That's the official title Muni has given to the line (see Muni Metro Map and Muni website). Iandailey 18:19, 26 February 2007

Table of streetcars foamers interest?
If the fleet status from here considered foamer's content? Goodsh oepd3  511 0s 04:40, 14 October 2007 (UTC)
 * I would like to create a subpage demonstrating all the PCC and tram status, but not making it foamers interest. If approved, a partial list would appear on this article, while the full status will show on another page. - Go od  sh oped 05:13, 27 October 2007 (UTC)

Text and map inconsistent with diagram
The text and map consistently show a route from the Jones and Beach to 17th and Castro, which as far as I'm aware is the full extent of the line. The diagram shows an out-of-use extension to San Jose and Geneva. I'm guessing that the diagram's author did this to reflect the route F cars operate over to and from their carshed, but that is just a guess, and most readers are going to puzzled by this inconsistency. Surely either the diagram, or the map and text, should be amended to be consistent, and to explain. -- Chris j wood 16:31, 15 October 2007 (UTC)
 * Yes. When the cars are pulling in or pulling out, they are in service on the J, then turn left at 17th to the Castro terminal. As for pulling in, they stop at 17th & Noe, turn left at 17th, and turn right at Church to follow the J and makes a left into Geneva Division. - Go od  sh oped 05:00, 27 October 2007 (UTC)
 * At times, the F line streetcars will serve the San Jose/Geneva extension when they are coming in and out of Geneva Yard, the F streetcar storage yard. So the text should be changed to reflect this. — Kurykh  05:32, 27 October 2007 (UTC)
 * Are you saying that the cars run in service (ie carrying passengers) on these routings?. If not, then I'd still question whether including their out of service routing to their storage yard is not more confusing than helpful. Perhaps a textual note describing the route may be justified, but I think the effect of doubling the size of the route map in this way is unjustified. Perhaps others may have a view?. -- Chris j wood 11:13, 1 November 2007 (UTC)
 * In fact, these cars run in service on these routings according to (a) Google Transit, and (b) SFMTA's trip planner.

Section 'Streetcar Activity'
What do people think about this section. I suspect that current activity information (what is running this day/week/month) is simply too volatile for an encyclopedia. -- Chris j wood 11:16, 1 November 2007 (UTC)
 * That's why there's another article with the streetcars. You can go right ahead an ddelete the section, except the 'main article' section. Why bother duplicating? - Go od  sh oped 01:00, 2 November 2007 (UTC)

Dropped the line diagram from the infobox
Reluctantly (because somebody obviously put a lot of work into it) I've dropped the line diagram from the infobox. I've done this because:

 * It makes the infobox way too intrusive on the actual article. Infoboxes should support the text, not overwelm it.

 * It is misleading, because it implies the line stretches to Geneva car sheds, when in fact it terminates at Castro. The fact that the route is used by cars running into and out of service doesn't make it part of the line.

 * We already have a geographically based map that shows the same information in (IMHO) a more useful way.

-- Chris j wood (talk) 16:58, 2 July 2008 (UTC)
 * I was the one who created the infobox diagram. I don't mind the removal, and understand your concerns. — Kurykh  19:48, 2 July 2008 (UTC)

Interactive map nearby map
I moved interactive map link from external links section to map caption. For me it is more clear and straightforward but feel free to undo this if this is not compatibile with wikipedia policies.

--193.104.215.11 (talk) 15:59, 3 November 2011 (UTC)

great article!
I just stumbled on this article, and wow, it is really great! Thanks, well done. 1fish2 (talk) 21:03, 27 January 2014 (UTC)

F Market & Wharves and E Embarcadero Merger Proposal
I propose that this article be merged with the E Embarcadero article. Both are heritage streetcar lines run by Muni and they use the same rail line between Fisherman's Wharf and the Ferry Building. Link to the other article's talk page: Talk:E Embarcadero.  Jackdude 101  ( Talk ) 16:30, 11 May 2016 (UTC)
 * Oppose. Two services partially sharing a rail do not make them the same line. Blackguard  19:15, 11 May 2016 (UTC)
 * My point is both lines are part of the same system. What I am proposing is to have one article with both of these lines of the San Francisco heritage streetcar system included.  It would be a similar format to the article for the San Francisco cable car system.  That system also has multiple lines, yet they are all combined into a single article, which seems much more useful than having individual articles for each line.  It's better to see both heritage streetcar lines in a single article, so the reader can have a better understanding of the whole system rather than having to click back and forth between two separate articles.   Jackdude 101  ( Talk )  15:30, 12 May 2016 (UTC)

 * I'm also inclined to oppose – the two lines have different histories, etc., so a merge idea is not a good fit here. --IJBall (contribs • talk) 21:52, 12 May 2016 (UTC)
 * Oppose Building on the above on principle, merges tend to make information disappear. Merging tends to blur details.  We can wikilink and duplicate text where appropriate.  We can create a unified article about the mutual information.  There is no advantage to merging. Trackinfo (talk) 22:44, 12 May 2016 (UTC)
 * The question is whether the lines have enough notability for their own article. But since even all the "ordinary" streetcar lines in SF have articles on their own, this can be assumed as given. One possiblity, though, would be to extract the heritage railway system into its own article and have the two line articles reduced to be articles only about the lines, not the cars and such. --PaterMcFly talk contribs 07:07, 17 May 2016 (UTC)
 * I am inclined to oppose as well, simply because with the exception of the cable cars, most rail transit systems on Wikipedia have individual articles on the lines themselves. --haha169 (talk) 05:43, 15 December 2016 (UTC)
 * It appears that this discussion failed to attract support, so I am removing the proposed merge tag from both articles. CapitalSasha ~ talk 00:08, 11 March 2017 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 04:37, 6 March 2020 (UTC)
 * San Francisco streetcar at Pier 39.jpg
 * Note: I've replaced the image in the article as it's likely to be deleted on copyright grounds. I'll get an exact replacement when the Jefferson Street project finishes up. Pi.1415926535 (talk) 05:30, 6 March 2020 (UTC)

title: Talk:F Market & Wharves


text:
User talk:Richard Mushet

Word to your mother, brother. Welcome to the most entertaing waste of time int the world--Crestville 23:29, 8 Feb 2005 (UTC)

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

title: User talk:Richard Mushet


text:
Talk:Screening test fallacy

This page's example is vague and poorly written... I drew a conditional probability tree, having just covered this subject in Statistics a little while ago, and could not solve the problem. It should be told in the article whether Ralph and/or his sister have the disease. Otherwise, what is the point of showing the probability and a bunch of numbers, when the problem can't be solved anyway? Or, they should refer to the formula for conditional probability, P(A | B) and all of that stuff. For example, why would people "succumb" to the belief that Ralph has an 80% chance of being sick? The only time 80% appears in the article is the chance of a healthy person testing negative for the disease, but Ralph tests positive... I am genuinely confused, and I think some math or further explaining should accompany this example. LockeShocke 23:30, Feb 8, 2005 (UTC)

Accuracy - the original author's intent is not clear
It's not obvious from the text of the article, what kind of misuse has author in mind. There are 2 possibilities:
 * False positives like that in bayesian inference article. This is not a misuse in the correct sense of the world, but rather a property of bayesian interpretation of probabilities, which cannot accurately convey how much information you have. If this is the case, then there should be explained this connection and also better example with apriori probabilities given.
 * Or the author just wanted to point out forgetting of prior probability or equating conditional probability with unconditional one, as would lines like

 * Many people succumb to the belief that Ralph has an 80% chance of having the disease and his sister has a 10% chance of having the disease. Some people may decide that Ralph has 81.8% chance of having the disease and his sister has 11.1% chance of having the disease.

 * suggest.

So unless this is decided, it should be considered inaccurate. Samohyl Jan 20:06, 11 Feb 2005 (UTC)

title: Talk:Screening test fallacy


text:
Bell stone

A bell stone (also bellstone) is a rock that produces a bell-like sound when struck. A type of lithophone, bell stones are significant in ethnography and are typically identified through local written history and folklore in combination with physical archeological details such as cup-shaped depressions.

In the Andes
Bell stones are present in the Andes, and feature in one local creation myth involving God and Supay.

In Mexico
People in and around San Lucas Xolos in Tizayuca, Hidalgo, Mexico tell stories of "stones that sound like bells" which ring when struck with other stones. Some such stones exist at the site of the first Xolotl Chichimeca capital, located near the town. The stones are located in an outcropping of andesite at the top of the hill, which is represented in the Codex Xolotl.

In Norway
Rocks that ring when struck are mentioned in historical documents from Norway; about 10 have been identified. One such stone near Lom is mentioned in 18th-century documents as the most treasured item in the parish, and is still locally known as the "Bell Stone" or "Singing Stone".

In South Africa
An ironstone rock near the grave of Ntsikana in the Eastern Cape of South Africa is known as Intsimbi kaNtsikana, literally "Ntsikana's bell". Local legend states that Ntsikana struck the rock to produce bell tones at dawn and dusk every day between 1815 and his 1822 death, and that it produced the notes with which he composed his hymns. In the 1980s, the rock was found to be capable of producing three notes in the first inversion of a triad.

Hawaii
Various phonolite stones were created by volcanic activity on Oahu. These stones are known in the Hawaiian language as pohaku kani or pohaku kikeke.

The Wailua Bellstone, located near the Poliahu Heiau at the Wailua Complex of Heiaus and made of reddish basalt, produces a hollow bell-like sound when struck with a cobble. It was used to announce important events including the births of aliʻi and the approach of religious or royal processions.

Pennsylvania
A hill known as the Klingelberg or "Ringing Hill" near Pottsgrove, Pennsylvania was reported in 1945 to be covered with rock fragments which produced bell-like tones when struck with another stone. The report compared them to "the bell stone mentioned by Linnaeus in the Westgothische Reise".

Puerto Rico
A stone known as the Piedra de la Campana ("Bell Stone") in the Río Grande de Loíza near Gurabo, Puerto Rico stands on top of two other stones and is said to have been used as a bell by the indigenous people.

In Uruguay
Seams of diabase in southwestern Uruguay have produced some stones that vibrate with a bell-like tone when struck. Two large boulders of this material are located three meters apart in a forested area near the Arroyo de la Virgen; the smaller one produces two distinct tones separated by a minor third. Little is known about the possible use of the stones by the indigenous people of Uruguay.

title: Bell stone


text: User talk:81.50.40.203

title: User talk:81.50.40.203


text:
Redwing (disambiguation)

The redwing (Turdus iliacus) is a type of bird in the thrush family.

Red Wing(s) or Redwing(s) may also refer to:

Arts and entertainment

 * Red Wing (film), a 2013 Western starring Bill Paxton
 * Redwing (Marvel Comics), the pet bird and sidekick of the Marvel Comics character Falcon
 * Redwing (comics), a DC Comics character
 * Redwing (book), a fantasy novel by Holly Bennett
 * "Red Wing" (song), a 1907 song by Kerry Mills and Thurland Chattaway
 * Red Wings, an airship squadron in the video game Final Fantasy IV
 * Redwing Records, an independent record label founded by Bonnie Raitt

People

 * Joan Redwing, materials scientist and professor at Pennsylvania State University
 * Tatankamani or Red Wing II (c. 1755–1829), Native American leader of the Mdewakanton Dakota
 * Princess Red Wing (1896–1987), Native American elder, historian, folklorist and museum curator
 * Red Wing (actress) (1884–1974), Native American silent film actress born Lillian St. Cyr

Canada

 * Red Wing, a community in the town of The Blue Mountains, Ontario
 * Redwing, Saskatchewan, a community north of Prince Albert, Saskatchewan

United States

 * Red Wing, Colorado, an unincorporated community
 * Redwing, Kansas, an unincorporated community
 * Red Wing crater, North Dakota
 * Red Wing, Minnesota, a city
 * Redwing, West Virginia, an unincorporated community

Sports

 * Adirondack Red Wings, a former minor league ice hockey team
 * Redwings, the sports teams of Benet Academy, a high school in Lisle, Illinois, United States
 * Detroit Red Wings, a National Hockey League team
 * Fredericton Red Wings, a junior ice hockey team in the Maritime Junior A Hockey League
 * Hamilton Red Wings, a junior ice hockey team in the Ontario Hockey Association operating between 1960 and 1974
 * Rochester Red Wings, a minor league baseball team
 * Weyburn Red Wings, a junior hockey team in Weyburn, Saskatchewan, Canada
 * Red Wing Manufacturers, a minor league baseball team based in Red Wing, Minnesota, in 1910 and 1911
 * Red Wing Stadium, original name of Silver Stadium, Rochester, New York, United States

Aviation

 * AEA Red Wing, a pioneer aircraft designed by Thomas Selfridge in 1908 and flown by F. W. Baldwin
 * Krasniye Kryl'ya, known in English as "Red Wings", a Russian aircraft manufacturer
 * Red Wings Airlines, a Russian airline formerly known as Airlines 400
 * Red Wing Regional Airport, Wisconsin, near Red Wing, Minnesota

Other transportation

 * Red Wing Bridge, a bridge over the Mississippi River connecting Wisconsin to Red Wing, Minnesota
 * Red Wing station, an Amtrak train station in Red Wing, Minnesota
 * Red Wing, an international night train operated by the Canadian Pacific Railway and Boston and Maine Railroad, between Montreal and Boston
 * Redwing (keelboat), an in-shore keelboat from Bembridge, Isle of Wight, England
 * Redwing Coaches, an English bus operator

Vessels

 * HMS Redwing, several ships of the Royal Navy
 * USS Redwing, several American naval ships
 * USFS Red Wing, a United States Bureau of Fisheries fishery patrol vessel in commission from 1928 to 1939

Other uses

 * Pterolobium, a genus of shrubs ranging from Africa to Asia, sometimes called "redwings"
 * Operation Redwing, a nuclear test series conducted by the United States
 * Operation Red Wings, a 2005 US counterterrorism mission in Kunar province, Afghanistan
 * Redwings Horse Sanctuary, a UK charity that looks after rescued horses and ponies
 * Red Wing Pottery, American stoneware, pottery, or dinnerware items made in Red Wing, Minnesota
 * Red wings (sexual act), cunnilingus performed on a menstruating partner
 * Red Wing Shoes, a footwear company specializing in durable boots
 * Red Wing Seminary, a former Lutheran Church seminary in Red Wing, Minnesota
 * Red Wing High School, Red Wing, Minnesota
 * Minnesota Correctional Facility – Red Wing, a juvenile correctional facility in Red Wing, Minnesota

title: Redwing (disambiguation)


text:
Selim Palmgren

Selim Gustaf Adolf Palmgren (16 February 1878 – 13 December 1951 ) was a Finnish composer, pianist, and conductor. Palmgren was born in Pori, Finland, February 16, 1878. He studied at the Conservatory in Helsinki from 1895 to 1899, then continued his piano studies in Berlin with Ansorge, Berger and Busoni. He conducted choral and orchestral societies in his own country and made several very successful concert tours as a pianist in the principal cities of Finland and Scandinavia, appearing also as a visiting conductor. In 1921, he went to the United States, where he taught composition at the Eastman School of Music, later returning to Finland, where he died in Helsinki, aged 73. Palmgren was married to the opera singer Maikki Järnefelt.

Works listed by opus number
An incomplete works list (elaborated by Joel Valkila):
 * Op. 1 - Prelude, Illusion, & Etude and Valse-Caprice for Piano (1898?' Illusion later arranged for orchestra)
 * Op. 2(a) - Two Songs (reference: T. Tommila) (1898?)
 * Op. 2(b) - 3 Pieces for Piano (1898?)
 * Op. 3 - Suite for Piano (1899?)
 * Op. 4 - 3 Piano Pieces (1900?)
 * Op. 5 - 2 Songs (1901)
 * Op. 6 - Fantasie for Piano (1901)
 * Op. 7 - Den Unge Piges Viser, Song Cycle for Voice & Piano (1901)
 * Op. 8(a) - Lyric Intermezzo, a suite for Piano (1900)
 * Op. 8(b) - Pieces for Violin and Piano
 * Op. 9 - En Route, Concert Study for Piano (1901)
 * Op. 10 - Impromptu and Scherzo for Piano (1901)
 * Op. 11 - Piano Sonata in D minor (1901)
 * Op. 12 - 2 Songs (1901/06?) (the first song is lost)
 * Op. 13 - Piano Concerto No.1 in G minor (1904)
 * Op. 14 - Barcarolle for Piano (1906?)
 * Op. 15 - 3 Songs (1906?)
 * Op. 16(_) - Menuet in Folk-Style (Menuett i folkton) for Piano (Piano solo version of Op.24 No.2)
 * Op. 16(a) - 4 Songs (reference: T. Tommila) (1904/03/01/02; no.4 later arranged for piano solo in 1906?)
 * Op. 16(b) - 4 Songs (reference: T. Tommila) (1905/02/02?/02)
 * Op. 17 - 24 Preludes for Piano (1907?)
 * Op. 18 - Ballad with Theme and Variations for Piano (1906?)
 * Op. 19 - 5 Songs (1894)
 * Op. 20 - 3 Songs (1907?)
 * Op. 21 - Incidental Music, "Cinderella" (reference: T. Tommila) (1903' various extracts arranged for piano solo in 1904, 1907, and 1908)
 * Op. 22 - Finnish Lyrics, 12 Pieces for Piano (1901-4)
 * Op. 23 - Organ Pieces (reference: T. Tommila) (1908?)
 * Op. 24 - Aus Finnland, 4 Symphonic Pieces for Orchestra (1904?; later arranged for piano)
 * Op. 25 - 3 Songs (reference: T. Tommila) (1901?/2; no.3 later arranged for piano solo in 1906?)
 * Op. 26 - 3 Humoresques for Piano (1908?)
 * Op. 27 - 7 Klavierstücke, "Spring" (1906-7?)
 * Op. 28 - 6 Lyric Pieces "Youth" for Piano (1909)
 * Op. 29 - 2 "Contrasts" for piano (1913)
 * Op. 30 - Opera "Daniel Hjort" (1910, rev. 1938)
 * Op. 31 - 5 Sketches from Finland for Piano (1911?)
 * Op. 32 - 3 Klavierstücke (1912?)
 * Op. 33 - Piano Concerto No.2 ("Der Fluss" or "The River") (1913)
 * Op. 34(a) - 2 Kleine Balletszenen for Piano (1913?)
 * Op. 34(b) - 2 Songs (reference: T. Tommila) (1912/3)
 * Op. 35 - 4 Klavierskizzen for Piano (1913?)
 * Op. 36 - The Masquerade for Two Pianos (1913?; later arranged for piano solo in 1923?)
 * Op. 37(a) - Mephistowaltzer (1913?)
 * Op. 37(b)- Song 'Nocturne'
 * Op. 38 - Dunkelrote Rosen and Klage für eine Singstimme und Klavier (1913-4?)
 * Op. 39 - Nordischer Sommer - 5 Piano Pieces (1913)
 * Op. 40 - "Die Stadt" for Voice and Orchestra (reference: T. Tommila) (1913-4?' 1st version of Op.41b)
 * Op. 41(a) - Piano Concerto No.3 "Metamorphoses" (1916)
 * Op. 41(b) - Song 'Die Stadt' for Voice and Orchestra (1914)(2nd version of Op.40)
 * Op. 42 - Ballade "Torpflickan" for Solo Voices, Choir and Orchestra (reference: T. Tommila) (1914)
 * Op. 43 - 4 Morceaux for Violin & Piano (1915?)
 * Op. 44 - 3 Songs (1913-4?)
 * Op. 45 - 3 Piano Pieces, Op.45 (1915?)
 * Op. 46 - Exotisk Marsch for Piano (1915; later arranged for orchestra in 1938?)
 * Op. 47 - "Spring", 6 Piano Pieces (1915?)
 * Op. 48 - 2 Songs for Voice & Piano (1915?)
 * Op. 49(a) - 4 Piano Pieces ('Längtansvals och andra klaverstycken') (1915?)
 * Op. 49(b) - Rondo a Capriccio for Piano (Same as Op. 53; reference: T. Tommila) (1916?)
 * Op. 50 - A Pastoral in 3 Scenes, Suite for Piano / Orchestra (1918?, later arranged for orchestra in 1920?; a piano version of No.2 is not extant, but Op.49b and Op.53 are arrangements of the orchestral version of it)
 * Op. 51 - Light and Shade - 6 Piano Pieces ('Ljus och skugga') (1919?)
 * Op. 52 - 3 Songs (1915?)
 * Op. 53 - Rondo a capriccio for Piano ('Bacchanale') (reference: T. Tommila) - Same as Op. 49b! (1916?)
 * Op. 54 - 3 Pianostycken (1918?)
 * Op. 55 - Song ('O moder') for Voice & Piano (+cello ad lib.) (reference: T. Tommila) (1915?)
 * Op. 56 - 3 Songs (1916?)
 * Op. 57 - 3 Piano Pieces (Morceaux) (1917?)
 * Op. 58(a) - Incidental Music from the Play "Juhana Herttua" (Op 62?)
 * Op. 58(b) - Song (reference: T. Tommila)
 * Op. 59(a) - 'Julkvällen' (Christmas Eve) for Choir and Orchestra
 * Op. 59(b) - Songs (reference: T. Tommila)
 * Op. 60 - Three Songs
 * Op. 61 - 'Kaunehin Maa' ("The Most Beautiful Land") - for Male Choir and Brass
 * Op. 62 - Incidental Music from the Play "Juhana Herttua"
 * Op. 63 - Four Impromptus for Piano
 * Op. 64(a) - Piano Pieces "Klanger och Rytmer"
 * Op. 64(b) - "Ivy" and "Bagpipes" for Piano (reference: T. Tommila)''
 * Op. 65 - Intermezzo valsant for Piano
 * Op. 66 - Deux impromptus for Piano (1919?)
 * Op. 67(a) - Hakkapeliittojen marssi for Voices (in unison) and Piano("March of the Finnish Soldiers in the 30 Years' War") (1919?)
 * Op. 67(b) - 6 Morceaux for Piano (1920?)
 * Op. 68 - Incidental Music to the Play "The Sacrifice of Kaleva" (reference: T. Tommila) (1918-9)
 * Op. 69 - Finnish Folk Tunes for Piano (reference: T. Tommila) (1920?; first six published in the folk song collection, Soumalaisia Kansanlauluja
 * Op. 70(a) - Two Choruses (reference: T. Tommila) (1920?; later arranged for voice and piano) (choir version of No.1, Var är vägens mål, is lost)
 * Op. 70(b) - Graciosa rytmer for Piano ("Graceful Rhythms")(reference: T. Tommila) (1921?)
 * Op. 71 - Fog Figures, Three Piano Pieces (1920?)
 * Op. 72(a) - Nocturne in Three Scenes for Piano (1921?)
 * Op. 72(b) - 12 Nordic Folk Songs (reference: T. Tommila) (1921?)
 * Op. 73 - 3 Piano Pieces (1920?)
 * Op. 74 - 3 Morceaux for Piano (1922?)
 * Op. 75 - 8 Piano Pieces (1922?)
 * Op. 76 - 6 Piano Pieces (1922?)
 * Op. 77 - 24 Studies for Piano (1921-2?)
 * Op. 78 - Compositions for Violin and Piano (1922?)
 * Op. 79 - 10 Piano Pieces (1922?)
 * Op. 80 - 2 Pieces for Cello and Piano (1922?)
 * Op. 81 - Triptych (1924?)
 * Op. 82 - 3 Fantasier for Piano (1925?)
 * Op. 83 - Three Piano Pieces (1926?)
 * Op. 84 – 3 Piano Pieces (Preludes) (1927?)
 * Op. 85 - Piano Concerto No.4 ("April") (1926)
 * Op. 86 - Cantata "For Fatherland's Freedom" for Choir (and Orchestra ad lib.) (1928)
 * Op. 87 - 5 New Piano Sketches (1928?, published 1928 by Fazer)
 * Op. 88 - 4 Piano Pieces (1935?)
 * Op. 89 - Cantata for the 700th Anniversary of the City of Turku for Choir, Soprano solo, and Orchestra (reference: T. Tommila) (1929; in 6 parts)
 * Op. 90 - 2 Choruses (reference: T. Tommila) (1931?)
 * Op. 91 - 2 Songs (reference: T. Tommila) (1940?; both arranged for choir a capella) (the second song is lost)
 * Op. 92 - Sotilaspolka for Voice and Orchestra (1941?)
 * Op. 93 - 2 Piano Pieces (1934)
 * Op. 93(a) - Sonatine (No.1) in F major for Piano
 * Op. 93(b) - Festpräludium for Piano
 * Op. 94 - Four Songs (1944?; No.1 later arranged for voice and orchestra)
 * Op. 95 - En sällsam fågel for Voice and Orchestra (1936; after Op.44 No.2)
 * Op. 96 - "Music for a Comedy Play" for Orchestra (reference: T. Tommila) (1937; music to an unidentified play)
 * Op. 97 - Pakkanen for Voice and Orchestra (1937)
 * Op. 98 - 2 Songs (1939–42)
 * Op. 98(a) - 'Vanhojen Messujen Aikaan' ("At the Times of the Ancient Masses") for Male Choir and Orchestra
 * Op. 98(b) - "Song of the Quild" for Choir a capella (reference: T. Tommila)
 * Op. 99 - Piano Concerto No.5 (1940)
 * Op. 100 - Nouskohon Sukuni Suuri (Let My Great Nation Rise) for Choir and Orchestra (1942)
 * Op. 101 - 4 Choruses (reference: T. Tommila)
 * Op. 102 - Sun & Clouds, 12 Pieces for Piano (1942?)
 * Op. 103(a) - Jouluaatto ("Christmas Morning") for Chorus and Orchestra (reference: T. Tommila) (1942)
 * Op. 103(b) - Cantata for the 500th anniversary of the Town of Naantali (1943; in 5 parts)
 * Op. 104 - Concert-Fantasy for Violin and Orchestra (1945?)
 * Op. 105 - Ballet Scenes, Six Pieces for Piano (originally for orchestra) (1944?)
 * Op. 106 - 3 Songs (1944?)
 * Op. 107 - 5 Choruses (1944?)
 * Op. 108 - Ballade for Orchestra (reference: T. Tommila) (1942; after Op.85)
 * Op. 109 - Piano Suite "Diary Sheets" (reference: T. Tommila) (1944?)
 * Op. 110 - Höst på berget for Voice and Piano (1946?) (reference: T. Tommila)
 * Op. 111 - Minusta tuli muusikko (I Became a Musician), Autobiography (1948; in Finnish)
 * Op. 112 - Cantata Väinämöinen ja karhunkaato for Choir, Orchestra, and Baritone Solo (1949) (reference: T. Tommila)
 * Op. 113 - Sonatine (No.2) in D major for Piano (1950)
 * Op. 114 - Op.114/1 "a Gaspar Cassado" / "Violoncello (Andante con moto)- Repertoire de Gaspar Cassado" for Cello and Piano / Op 114/2 In tempo di minuetto (reference: T. Tommila) (1951?)

Works listed without a known opus number, in alphabetic order

 * Op posth. – Aftonpsalm for Chorus (reference: T. Tommila)
 * Op posth. – Allegretto for Piano (1921) (reference: T. Tommila)
 * Op posth. – Allhelgonenatt for Male Choir (reference: T. Tommila)
 * Op posth. – Anna-mi (Song)(reference: T. Tommila)
 * Op posth. – Arabeske (1946) for Piano
 * Op posth. – Arabeski (1896) for Piano (reference: T. Tommila)
 * Op posth. – Asparnas susning (Song)(reference: T. Tommila)
 * Op posth. – Aurinkokaupunki for Chorus (reference: T. Tommila)
 * Op posth. – Bagatelle for Piano (reference: T. Tommila)
 * Op posth. – Berceuse for Piano
 * Op posth. – Berceuse (1895) for Piano
 * Op posth. – Berceuse (1917) for Violin and Piano (reference: T. Tommila)
 * Op posth. – Björkarna där hemma for Male Choir (reference: T. Tommila)
 * Op posth. – Bort allt vad oro gör for Male Choir (reference: T. Tommila)
 * Op posth. – Bottniska hav (reference: T. Tommila)
 * Op posth. – Brudefärden (reference: T. Tommila)
 * Op posth. – Cavatina for Violin and Piano (lost?)(reference: T. Tommila)
 * Op posth. – Chanson elegiaque for Violin and Piano (reference: T. Tommila)
 * Op posth. – Chant d'automne (1917) for Cello and Piano (reference: T. Tommila)
 * Op posth. – Clarinet Concerto (unfinished)(reference: T. Tommila)
 * Op posth. – Con sordino for Piano
 * Op posth. – Concert-Etude ("Konsertetude")(1906)(reference: T. Tommila)
 * Op posth. – Country dance / Musette / The Bagpipe for Piano (1922)(reference: T. Tommila)
 * Op posth. – Cry for Help (1927) for Chorus (reference: T. Tommila)
 * Op posth. – Dag efter dag for Voice and Piano (reference: T. Tommila)
 * Op posth. – Darthulas gravsång for Male Choir (reference: T. Tommila)
 * Op posth. – 'De Fallna' ("The Fallen Ones"), Song (1919)
 * Op posth. – De heliga änglar for Chorus (1933)(reference: T. Tommila)
 * Op posth. – De vita scholastica for Voice and Piano (reference: T. Tommila)
 * Op posth. – Den långa dagen for Voice and Piano (reference: T. Tommila)
 * Op posth. – Den övergivna for Voice and Piano (reference: T. Tommila)
 * Op posth. – 'Drömmen' ("Dream") for Choir (1898)
 * Op posth. – Drömvisa for Piano (1921)(reference: T. Tommila)
 * Op posth. – 'En Idyll' for Choir
 * Op posth. – Ensimmäinen perhonen ("The First Butterfly") for Piano (reference: T. Tommila)
 * Op posth. – Entre'acte valsant for Piano (reference: T. Tommila)
 * Op posth. – 'Erotus mielillä' ("Thinking of the Depart") for Choir (1900)
 * Op posth. – Etude for Piano (1896)("unfinished")(reference: T. Tommila)
 * Op posth. – Etude ("Gnistor") for Piano
 * Op posth. – Etude de Concert for Piano (c.1900)
 * Op posth. – Finnish Caprice for Piano (1922)(reference: T. Tommila)
 * Op posth. – 'Helsinki Oldboys Regement' March for Piano
 * Op posth. – Intermezzo (1895) for Piano
 * Op posth. – Intermezzo Marziale for Orchestra (arrangement of Op.47 No.4?)
 * Op posth. – 'Keijukaiset' ("Fairies") for Piano
 * Op posth. – 'Kevätauerta' for Piano
 * Op posth. – 'Lullaby for Wounded Hearts' for Orchestra (orchestral adaption from a piano piece in Op 81?)
 * Op posth. – Musette for Orchestra
 * Op posth. – Overture for Piano (1934) – same as Op 93b! (Re-published as a "posthumous" work in 1982)
 * Op posth. – 'Pieni legenda' ("A Small Legend")(1895) for Piano
 * Op posth. – Prélude funebre for Piano
 * Op posth. – Preludietto for Piano
 * Op posth. – Presto for Piano (reference: T. Tommila)
 * Op posth. – Romance for Violin and Piano (1917)
 * Op posth. – Scherzino (1894) for Piano (reference: T. Tommila)
 * Op posth. – Serenad for Piano (reference: T. Tommila)
 * Op posth. – 'Solsken genom tårar' ("Sunshine Through the Tears")(1946) for Piano
 * Op posth. – 'Spinnrocken' for Piano
 * Op posth. – 'Syysprologi' ("An Autumnal Prologue") for Piano
 * Op posth. – Titania for Male Choir (reference: T. Tommila)
 * Op posth. – Ungarischer Tanz for Piano
 * Op posth. – Valkokaarti ("The White Guard") for Vocal and Piano
 * Op posth. – 'Valssi länsisuomalaiseen tapaan' ("Waltz in a Western Finnish Style") for Piano
 * Without Opus – Aria (1904) for Piano (reference: T. Tommila)
 * Without Opus – Berceuse for Piano (by 1919)
 * Without Opus – Finnische kabinettstücke (7 Piano Pieces) (by 1923)
 * Without Opus – Gavotte and Musette for Piano (by 1919)
 * Without Opus – 'Grave of Chopin for Piano' and Orchestra
 * Without Opus – Intermezzo for left hand only (1906)
 * Without Opus – Northern Folk Songs
 * Without Opus – Romance for Violin and Piano (1917)
 * Without Opus – Scherzo (1893) for Piano
 * Without Opus – Finnish Folk Songs for Piano (possibly Op.69?)
 * Without Opus – 'Vårbräckarnas brus' ("Russtles of Spring") for Piano

According to a biography on a June 1926 Gramophone article, Palmgren had written two operas at that time, one produced (Daniel Hjort) and another one unproduced. As far as it is known, Palmgren never produced the other one.

A detailed works list in preparation (in Finnish) can be found here: Preliminary List of Compositions by Selim Palmgren.

title: Selim Palmgren


text:
Vali

Vali or Wali can refer to:

Places

 * Vali, Iran, a village in Khuzestan Province, Iran
 * Vali, East Azerbaijan, a village in East Azerbaijan Province, Iran

People

 * Wāli, title meaning governor in Arabic and several other languages
 * The Vali tribe, a Sarmatian tribe of Ptolemy

Mythological characters

 * Váli, In Norse mythology, a son of Odin and Rind
 * Váli (son of Loki), a son of Loki in some versions of Norse mythology
 * Vali (Ramayana) or Bali, character in the Hindu epic Ramayana
 * Al-Walee, one of the Names of God in the Qur'an

Persons

 * Abbas Vali (born 1949), Iranian Kurdish academic
 * Ali Khan Vali (1845/46–1902), Iranian photographer and governor
 * Amir Vali (fl. 1356–1384), ruler of Astarabad and parts of Mazandaran
 * Ayub Vali (born 1987), Iranian footballer
 * Carmen L. Vali (born 1965), American politician, mayor of Aliso Viejo, California
 * Ferenc A. Váli (1905–1984), Hungarian-born lawyer, author and political analyst
 * Mastan Vali, Indian politician from Guntur West, Andhra Pradesh
 * Moses David Vali (circa 1697–1776), Jewish biblical commentator, physician, scholar, and Kabbalist
 * Nathar Vali (died 1069), Iranian Sufi saint of India
 * Pourya-ye Vali (died 1322), Iranian Sufi and champion
 * Rajka Vali (1924–2011), Croatian pop music singer
 * Reza Vali (born 1952), Iranian musician and composer
 * Shah Nematollah Vali (1330–1431), Sufi master and poet
 * Tawakkal Mastan Vali (17th century), Indian Sufi saint
 * Voldemar Väli (1903–1997), Estonian Greco-Roman wrestler
 * Vaali (poet) (1931–2013), Indian poet and lyricist in Tamil

Film

 * Vali (film) or The Governor, a 2009 Turkish action film directed by M. Çağatay Tosun
 * Vaali (film), a 1999 Indian Tamil-language action film by S. J. Surya, starring Ajith Kumar

Medical

 * ventilator-associated lung injury
 * Vaping-associated lung injury, an acute lung injury due to certain vaping products

title: Vali


text: Talk:Selim Palmgren

title: Talk:Selim Palmgren


text:
Martin Luther (diplomat)

Martin Franz Julius Luther (, 16 December 1895 – 13 May 1945) was a German diplomat. A member of the Nazi Party, he was a protégé of Foreign Minister Joachim von Ribbentrop, first as an advisor in the Ribbentrop Bureau (Dienststelle Ribbentrop), and later as a diplomat in the Foreign Office (Auswärtiges Amt). He participated in the 20 January 1942 Wannsee Conference, at which the genocidal Final Solution to the Jewish Question was planned. It was the 1946 discovery of his copy of the minutes of that conference that first brought to light the existence of the conference and its purpose. After plotting to replace Ribbentrop, Luther was arrested in February 1943 and sent to a concentration camp. He died of natural causes very shortly after the end of the Second World War in Europe.

Early life
Luther attended a Gymnasium until August 1914 when he left school without obtaining his Abitur to enlist in the Imperial German Army. He participated in the First World War as a member of a railway unit, attained the rank of Leutnant of reserves in 1917 and was awarded the Iron Cross, second class. Discharged from the army at the end of the war, he went into business and used his skill at logistics to found a hauling and furniture moving business. His first venture went bankrupt in the poor economic climate of the Weimar Republic but he started another furniture moving and interior decorating business. He eventually became very successful, living in the affluent Zehlendorf neighborhood of Berlin. He owned an apartment building and was sufficiently financially secure to turn his attention to politics.

Luther joined the Nazi Party (membership number 1,010,333) and its paramilitary branch, the SA, on 1 March 1932. He was active in helping to raise funds for the Party in his capacity as the head of the local National Socialist People's Welfare, the Party's charity organization. In the course of his work, he made the acquaintance of the wealthy wine merchant and Adolf Hitler's foreign policy advisor Joachim von Ribbentrop and his wife. He was commissioned to redecorate their villa and expand their private stables. He also was of assistance to Ribbentrop in getting him a low Party number. When Ribbentrop was sent to London as ambassador in 1936, he hired Luther to move his furniture from Berlin and do the interior decorating of the new German Embassy at Carlton House Terrace.

Ribbentrop Bureau
In August 1936, Ribbentrop offered Luther a position in the Dienststelle Ribbentrop (Ribbentrop Bureau), his own Nazi Party shadow foreign policy organisation that he had established to circumvent the long-serving career diplomats in the Foreign Office. The bureau offices were on the Wilhelmstrasse, directly across the street from the Foreign Office. Luther accepted and was placed in charge of the Party liaison office. After Ribbentrop replaced Konstantin von Neurath as the Reichsminister for Foreign Affairs in February 1938, he wanted to bring Luther into the Foreign Office. However, Luther was being investigated on a charge of embezzlement of Party funds in connection with his earlier charity fund-raising activities. Ribbentrop sought the assistance of Martin Bormann who was the chief of staff in the office of Deputy Führer Rudolf Hess. Bormann, whose father-in-law was Walter Buch, the head of the Supreme Party Court, intervened and the investigation was dismissed.

Reich Foreign Office
In November 1938, Luther was appointed as head of the sub-department Referat Partei, which carried out liaison activities between the ministry and the Party. On 7 May 1940, his remit was expanded when he persuaded Ribbentrop to appoint him as head of the Abteilung D (Deutschland), a new department combining several Referate. In addition to his existing functions, the ambitious Luther now was given responsibility for foreign travel, printing and distribution of written materials, liaison with the Schutzstaffel (SS) and, significantly, Jewish policy under Referat D III, which he entrusted to Franz Rademacher. Over the next year, he managed to further expand his areas of responsibility, doubling the number of Referate reporting to him. The new department was headquartered in its own building in the Tiergarten section of the city. That physical distance contributed to Luther's autonomy. Contacts between the ministry and Abteilung D were mainly by telephone, and Luther rarely participated in the daily meetings of senior officials at the ministry. Messages from the SS, and its subordinate security section the RSHA, were sent directly to Luther and not through higher officials as was customary. In this way, Luther was able to control which matters were and were not shared with other ministry departments. He also was the person who most often represented the ministry in high-level staff consultations between the various ministries and the SS.

By July 1941, Luther was advanced to the civil service rank of Ministerialdirektor with the title of Unterstaatssekretär (Under State Secretary). In addition, in 1942 he was promoted to the rank of SA-Brigadeführer. Thus, Luther was at the height of his power when he attended the Wannsee Conference on 20 January 1942 as the official representative of the Foreign Ministry. He was the only undersecretary invited, with most other ministry representatives being full state secretaries. This was due to the conference organizer, SS-Obergruppenführer Reinhard Heydrich, who much preferred dealing with the ambitious and cooperative Luther, rather than the aristocratic Foreign Office traditionalist, State Secretary Ernst von Weizsäcker. In preparation for the meeting, Luther had his staff compose a memorandum on 8 December 1941 to set out "our wishes and desires". That document committed the ministry to working with other countries to introduce antisemitic restrictions modeled on the Nuremberg Laws, and then to transport their Jews to the east. Following the conference, Luther's department was involved with preparing and securing agreement at the diplomatic level for the deportation of Jews from the countries allied with Germany, such as Bulgaria, Croatia, Hungary, Romania and Slovakia, as well as from the areas occupied by Germany.

Downfall, arrest and death
During this period, Luther also continued to work as an interior decorator for Ribbentrop's wife, helping her with the design of her various houses as well as her clothes. He resented this, stating that she treated him like one of her household servants. For her part, she found him tiring and boorish. More importantly, Ribbentrop was becoming increasingly dissatisfied with him, particularly for not advancing the Foreign Office's interests in the bureaucratic struggle over foreign policy with Reichsführer-SS Heinrich Himmler. In addition, new allegations surfaced of Luther being entangled with financial irregularities involving the personnel office. Ribbentrop had also received complaints that Luther was blackmailing two individuals by threatening them with the Gestapo, and this triggered yet another investigation into Luther's behavior.

In early 1943, threatened on several fronts, Luther plotted to supplant Ribbentrop by attempting to discredit him. Though reports vary, he most likely sought assistance in this from SS-Brigadeführer Walter Schellenberg, head of the SS foreign intelligence service, who himself had ambitions of replacing Ribbentrop. Luther wrote an extensive memorandum, in which he went into detail about what he believed to be Ribbentrop's mental weaknesses, portraying him as mentally ill and unfit for his position. He forwarded it to Schellenberg to gain the support of the SS. However, when the memo was brought to Himmler, he viewed it as the worst type of disloyalty, and had the incriminating document delivered directly to Ribbentrop. Luther was arrested by the Gestapo on 10 February 1943 and his Abteilung D was dissolved. Hitler wanted to have him hanged, but Himmler instead persuaded him to have Luther sent to the Sachsenhausen concentration camp in March. There he was put to work cultivating the camp herb garden. After two suicide attempts, he was freed over two years later when the camp was liberated by the Red Army in April 1945, but was hospitalized and died shortly afterward of heart failure. He never faced trial for his involvement in the planning of the Holocaust.

Luther's Wannsee Conference memorandum
Copies of the official minutes of the Wannsee Conference were sent to all participants and were stamped with the highest security classification of Geheime Reichssache. Luther's copy of the minutes is the only record of the conference that survived the war. It was located in the archives of the Foreign Office in December 1946 and its discovery marked the first time the Allies became aware of the meeting. Though found too late to be used at the Nuremberg trial of the major Nazi leaders in 1945–46, it played an important role in the Ministries Trial of 1948–49 and was used in the prosecution of senior officials of various ministries.

The fact that the minutes speak only of "evacuations" has been used by Holocaust deniers to argue that the conference did not present a policy of genocide. However, Luther was among those who already knew that policy with regard to the "Jewish question" had changed. In October 1941, he was made aware by his subordinate, Rademacher, that 8,000 Serbian Jewish men were not being deported but instead had been shot. Also, beginning in October 1941, the SS had been sending periodic situation reports to the Foreign Office concerning the operations of the Einsatzgruppen in the Soviet Union. The reports documented the extent and systematic nature of the mass killing of Jews that already was taking place. Luther saw these reports and was personally involved in preparing a summary of one of the lengthy reports. The Wannsee minutes also document that at the conference Luther noted that difficulties would arise in some countries, such as the Scandinavian states, if the plan were to be put in place there, and that it would therefore be advisable to defer actions in those countries. However, he saw no such great difficulties arising for actions in southeast and western Europe, thereby giving the Foreign Office's concurrence with implementing the Final Solution in those areas.

Portrayals in media

 * Luther is played by Hans-Werner Bussinger in the German television drama-documentary Die Wannseekonferenz (1984).
 * Luther played an integral part in Robert Harris' 1992 alternate history novel, Fatherland. In the 1994 HBO film adaptation, Luther was renamed Franz Luther and was played by John Woodvine.
 * In the 2001 HBO film Conspiracy, Luther is played by Kevin McNally.
 * Luther is briefly portrayed in Daniel Silva's 2003 book The Confessor, which is part of Silva's Gabriel Allon series.
 * In the 2022 German film Die Wannseekonferenz, he was played by the Austrian actor Simon Schwarz.

title: Martin Luther (diplomat)


text:
Wikipedia:Articles for deletion/To Know A Jedi

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was 7 keep, 16 delete (1 delete after the vote hit old) and evidence of sockpuppets trying to rig the vote. So delete. - Ta bu shi da yu 06:32, 21 Feb 2005 (UTC)

To Know A Jedi
Non-notable film, likely vanity. Google finds 33 unique links for "To know a Jedi" (258 shown in heading, but advancing finds only 33). — Asbestos | Talk 23:47, 8 Feb 2005 (UTC) (Delete)

 * Keep Firstly, this is not a vanity because the people who created and have done much of the work on the page were not involved with the production of the film. Secondly, the film *is* notable because it is an example of the lengths to which some fans will go to show their enthusiam; it's a feature-length film based on Star Wars, done enitrely at cost and without any hope of direct financial compensation for their efforts.  It is an example of the dedication some show to the Star Wars universe, as well as an excellent example of fan-produced fiction.  — DoctorObvious 00:03, 9 Feb 2005 (UTC)
 * Keep For the reasons listed above by Doc, this film is neither vanity nor non-notable. Further evidence of its non-vanity nature can be found by looking at the history for the page. But as to notability, I am curious about Asbestos' use of the number of Goolge hits as an item of evidence. When did Google hits become the Wikipedia measure of notability? How many are needed to become notable? Why is it OK for Wikipedia to have articles related to obscure subjects which may generate many hits but not ones which may generate few hits? Is Wikipedia owned in whole or part by Google? Would hits on Yahoo or some other search engine be acceptable? — GunnerJ 00:15, 9 Feb 2005 (UTC)
 * An entry at imdb might. As for now, delete as non-notable.  RickK 00:34, Feb 9, 2005 (UTC)
 * This standard would limit discussions of a large number of works of fan-fiction to the theoretical rather than concrete. Further, there is a big difference between "notable," meaning of note or interest, and "well-known." Unless you wish to support an argument that a film is not interesting if it doesn't have a page on imdb.GunnerJ 00:55, 9 Feb 2005 (UTC)
 * You get it. Fan fiction is not encyclopedic, and rarely meets the notability level needed to be kept on Wikipedia.  RickK 06:21, Feb 9, 2005 (UTC)
 * Can you please state your operating definition of "notability?" I don't think the word means what you think it does. Also, why isn't fan fiction "encyclopedic?" As a cultural phenomenom, it certainly seems to have a place of note in an encyclopedia. Given that Wikipedia has a page on fan-fiction, your claim seems baseless. GunnerJ 18:36, 9 Feb 2005 (UTC)
 * Delete. Seems a bit like 'Troops' or 'George Lucas in Love', ceptin' that it doesn't seem as good. I believe the above post is GunnerJ's second edit, and that he joined Wikipedia four minutes before writing it. DoctorObvious, on the other hand, is the article's writer. Presumably GunnerJ is therefore the co-screenwriter, or best boy, or bassist, or something. -Ashley Pomeroy 00:40, 9 Feb 2005 (UTC)
 * I have been participating on Wikipedia for a long time, but only joined so that my vote could be registered as coming from a reachable source. I did in fact help in the writing of the article, although it was my idea to start one in the first place. (I assume that is what you meant by "co-screenwriter." If you meant to imply that either Doc or I were involved in the making of TKAJ, please present your evidence.) Can you explain what bearing how long I've been a registered member has on either the argument I presented or the vote to delete the article? Or the relevence of the quality of the movie has in comparison to those you listed? GunnerJ 00:55, 9 Feb 2005 (UTC)
 * "Can you explain what bearing how long I've been a registered member has on either the argument I presented or the vote to delete the article?" - yes; the impression I received was that the article's writer was either (a) fabricating your username as a sockpuppet in order to cadge an extra vote or (b) he had recruited you from the outside world to help his case. In any case I wasn't convinced by your argument. -Ashley Pomeroy 11:02, 9 Feb 2005 (UTC)
 * That you were not impressed by my arguments does not refute them. Sorry. GunnerJ 18:36, 9 Feb 2005 (UTC)
 * Taking your points in order, the answers are "more than 257", "if lots of individual people search for and/or link to them, they aren't obscure", "Wikipedia is not owned by Google", "Possibly; show us". As for your current argument, if the film was eighty-nine hours long and had taken one hundred people nine years of their free time to create then - even if it were an undiscovered masterpiece - it would nonetheless not be notable if it had not yet attracted significant attention in the wider world, or if was not in some other way highly influential and/or persistent. Frinstance, I believe that Kenneth Higney's obscure 1976 proto-punk/skronk lp 'Attic Demonstration' is a fantastic record which should have been huge, but it still doesn't deserve a place on Wikipedia because that's just my opinion. Wikipedia's notability standard does not lean heavily on folk memory. The memory has to be written down, by disinterested parties. -Ashley Pomeroy 21:49, 9 Feb 2005 (UTC)
 * In this instance, I'll be counting his vote. - Ta bu shi da yu 06:25, 21 Feb 2005 (UTC)
 * Delete. Neutralitytalk 00:42, Feb 9, 2005 (UTC)
 * Delete - fancruft. -- Francs2000 | Talk 01:02, 9 Feb 2005 (UTC)
 * Weak delete. I think if it was more notable it would have received at least some attention at The Official Star Wars Fan Film Awards (despite its length). LizardWizard 01:10, Feb 9, 2005 (UTC)
 * I count at least 3 submission rules that disqualifies TKAJ from the FFA: 1) Length (which you acknowledge). 2) It is not a parody, which is explicitly mentioned as being a requisite for acceptance. 3) Excessive swearing and explicit sexual content.  Based on the linked requirements, it's clear that the Fan Film Awards are not meant to be all inclusive of the Star Wars fan fiction community, and that To Know A Jedi does not fall into the fairly narrow category that they constructed for their award show. DoctorObvious 06:52, 10 Feb 2005 (UTC)
 * Delete. Might merit a mention in a variety of articles where Star Wars fan manifestations would be in context.  But as a film that has not been released (except maybe as a download on the Internet), it isn't notable. Apparently it hasn't even received attention in venues that spotlight Star Wars fan films, not that it would make much difference to my vote if it had. --BM 01:16, 9 Feb 2005 (UTC)
 * Delete. Non-notable. Perhaps a mention in another Star Wars related article might be better. Carrp | Talk 01:37, 9 Feb 2005 (UTC)
 * Delete - non-notable. kaal 01:40, 9 Feb 2005 (UTC)
 * Keep, cleanup and expand. There have been other independent films retained on Wikipedia before. Megan1967 02:06, 9 Feb 2005 (UTC)
 * There have? Can you name a couple?  RickK 06:23, Feb 9, 2005 (UTC)
 * Shaun of the Dead, Bride and Prejudice, Steamboy, A Very Long Engagement, Kinsey (movie), Sideways, House of Flying Daggers, Bad Education, Enduring Love, The Machinist - all of these films are listed as independent on imdb . Megan1967 07:56, 9 Feb 2005 (UTC)
 * For crying out loud, that's not comparing apples and oranges, that's comparing apples and machine tools, and bending the term "independent" all out of shape. I mean, Warner Brothers help finance A Very Long Engagement, just to note one example.
 * As for IMDB, while being listed there isn't a measure of notability, NOT being listed there is most certainly a measure of obscurity. Delete.--Calton 12:15, 9 Feb 2005 (UTC)
 * Obscurity is not the same as unnotablity. GunnerJ 18:36, 9 Feb 2005 (UTC)
 * No, they're spelled differently. This is article is a press release and its subject is a home video with pretensions, but if you boys get a DVD release or get sued by Lucasfilm, give us a yell, okay? --Calton 10:24, 10 Feb 2005 (UTC)
 * The question isn't about its independent status, the question is about its notability. Those are all serious productions and have generated a lot of media hype. They have all played at my local movie theater. This is a college film-class work, or similar, has recieved no media attention at all, and has absolutely zero chance of playing at my movie theater. Going out with a movie camera and some of my friends doesn't grant my film "indie"-status, nor a place in Wikipedia. — Asbestos | Talk 09:47, 9 Feb 2005 (UTC)
 * I don't see how the movie "counting" or "not counting" as an "independant film" really matters. The fact is, despite how few people have heard of it, it is an example of enthusiasm for a item of pop-culture that many people unaware of how serious many fan communities are may find interesting. That you do not find this personally interesting does not make it unnotable. GunnerJ 18:41, 9 Feb 2005 (UTC)
 * It does when it's only fan work and not professional. It's no more notable than somebody's slash story becoming an article.  RickK 23:41, Feb 9, 2005 (UTC)
 * I don't know if you're being disingenuous, Megan, or if you really think the movies you listed are the same thing as this. Those movies have been released in theaters and reviewed by professional critics in major newspapers.  This one has none of those things.  RickK 23:41, Feb 9, 2005 (UTC)
 * Delete. My search of news web sites didn't return any hits. If it were truly noteworthy and worthy of encyclopedic mention, wouldn't the news wires have written a blurb on it? — Brim 10:19, Feb 9, 2005 (UTC)
 * The first definition of the word "notable" (as an adjetive) on dictionary.com is "Worthy of note or notice; remarkable." None of the definitions say anything about news wires carrying blurbs, or google hits. I'm having a hard time thinking of many fan-produced films of the same length and representing the same level of resource investment as TKAJ. I contend that that in itself is worthy of remark, notice, or at the very least interest. I am not vouching for the quality of the movie, only the level of effort or committment put into it. GunnerJ 18:47, 9 Feb 2005 (UTC)
 * Keep. Simply expand the article to include info about its relation to the entire community of Star Wars fandom. -- Old Right 10:59, 9 Feb 2005 (UTC)
 * It HAS no relation to the community. Nobody knows about it except its creators, apparently.  RickK 23:41, Feb 9, 2005 (UTC)
 * (Statement retracted) GunnerJ 18:41, 9 Feb 2005 (UTC)
 * Keep. This does have a rather large bearing on the star wars fan community especially at Fanfilms.com and the forums attached to it.  It pains me to say this but, the idea that people poured a huge amount of their spare time into one of the best examples of a fanfilm ever made, only to be trashed by people who are probably too shortsighted to see past their own nose and definatley didn't watch the movie and care only about technicalities is disgusting. If these people were in charge during world war two, this post would be written in German right now.  It's a little harsh I know, but seriously folks, there is a large community that has interest in this out there.  if the creators put up a whole bunch of money to put this in theaters would you stop complaining?  Jeez, quit the nitpicking.  Besides, isn't their an articleabout fanfilms on here too?  Why aren't you complaining about that?  According to SOME PEOPLE, their is no fanfilm community!!! And if there was, its a couple of guys with cameras and way too much time on their hands!  SOME PEOPLE need to take a reality pill, get off their high horse and admit maybe they don't know everything! DarthLowBudget
 * User's only edit. RickK 07:26, Feb 10, 2005 (UTC)
 * I won't be taking their vote into account. - Ta bu shi da yu 06:25, 21 Feb 2005 (UTC)
 * DarthLowBudget, Wikipedia is not a vehicle for getting publicity and becoming notable. If the film you are describing is as important as you say, then it will become notable without any help from the Wikipedia.  When it does, it will be a fit subject for an encyclopedia.  Until then, it isn't.   When people here say that it isn't notable, they aren't saying that the film is bad, or that it will never be notable.  They are saying it isn't famous or notable enough now for an encyclopedia article.   --BM 13:45, 10 Feb 2005 (UTC)
 * Have we already managed to evoke Godwin's law just over a fan film? — Asbestos | Talk 10:00, 11 Feb 2005 (UTC)
 * Delete. There is a Wikipedia entry for fan films already. This film, while significant in being one of the few to break into the "feature length" timeframe, has nothing about it -- no news coverage, no notable impact on the greater filmmaking or Star Wars communities -- that makes it worthy of its own standalone entry distinct from the entry discussing fan films in general. EDIT: Well, I THOUGHT there was a wiki entry for fan films, but I can't seem to find the bloody thing. If there isn't one, perhaps it would be appropriate to create one. DorkmanScott
 * User's only edits are to this page. RickK 04:20, Feb 11, 2005 (UTC)
 * Actually I made a few edits to the Star Wars entry, specifically the section regarding lightsabers and filming with them, but that was before I was registered, and I wouldn't be surprised if it was a different IP to boot. Not that it should really matter. I'm a member of the fan film community and was asked to weigh in on this, since I actually have seen the film and can speak from an informed opinion. It was a good fan film, but not worth its own entry. I'll start editing around here like mad if it makes my opinion more worthwhile. DorkmanScott
 * Sounds good to me. I'll count your vote. - Ta bu shi da yu 06:25, 21 Feb 2005 (UTC)
 * Time to get To Know A Delete. —RaD Man (talk) 09:51, 10 Feb 2005 (UTC)
 * Keep. This is a rare gem of a fanfilm - it expands far beyond simply having two guys in bathrobes hitting each other with sticks in the back yard. The only reason that the film hasn't recieved a warmer welcome in the community is its language. Lusiphur79
 * User has two edits, both to this VfD. Carrp | Talk 13:15, 10 Feb 2005 (UTC)
 * I won't take this vote into account - Ta bu shi da yu 06:25, 21 Feb 2005 (UTC)
 * Delete Actually, Dorkman makes a good point. I retract my previous statment.  delete away. DarthLowBduget
 * Definately keep this - I saw it randomly on recent changes, and really liked it. It brightened up my day to see this example of Star Wars fandom - it's real information about a real film, albeit one that I wouldn't be able to read about many other places. It's these kinds of obscure gems that make Wikipedia great. 195.158.6.172 07:31, 11 Feb 2005 (UTC)
 * I'm not going to take this vote into account. - Ta bu shi da yu 06:25, 21 Feb 2005 (UTC)
 * Keep I saw this film almost a year ago, and have since gained alot of respect for the type of work it is. I didn't even know about the world of fanfilms until I saw this, and once I started looking into the other things that were out there, I have to say I was pretty disappointed.  By and large, the other films out there seek only to create an excuse to experiment with sub-par visual effects and duel with lightsabers.  This one is in a category of about 3% of those works that makes a genuine effort (and in many cases succeeds, but as DorkmannScott pointed out, does also fail) in establishing a unique, dramatic, and narratively driven piece that in my opinion, makes it exceptional.  For those accusing this piece of having not been known, or seen, you're very mistaken.  It's a staple amongst what I've discovered in the FanFilm world in the last year, and the fact that the Wikipedia crowd was unaware of its existence, I feel, is proof to the fact that such a film should be listed as an anchor to the FanFilm sub-category.  People can argue if its "note-worthy" all they want.  The fact is that if an effort like this, one well recognized in its own right, doesn't have a place in a sub-category on Wikipedia, then how the heck does the Star Wars "fat kid" deserve a listing for playing with a golf-ball retriever followed by his parents subsequently sueing the other pre-pubescents parents for posting the clip on the web?  Gimme a break.  If someone can successfully argue that that kid is more encyclpedic material than what I consider to be among the best in the Star Wars fanfilm category, please do.  Perhaps then I'll vote a delete.--63.211.54.170 01:24, 12 Feb 2005 (UTC)
 * The Star Wars kid received news coverage in various web and print media, a section on Yahoo!, numerous websites mirroring the site, a petition to put him in Episode III, a site dedicated to raising funds to pay him back for the laughs at his expense -- in a word, massive and global recognition. To Know a Jedi is known by a small handful of people on a few obscure internet forums. This is not the place to gain something recognition, this is a place to document something that is already widely recognized as a pop culture phenomenon. The "Star Wars Kid," for better or worse, is one. "To Know a Jedi," I'm sorry, is not.
 * Keep - I've just watched the fan-film and after seeing it, I'd say it definately deserves a wiki-page. It's so well done that I'm sure it will eventually become really well known amongst Star Wars fans, which earns it a lot of recognition. -- Crevaner 11:30, 13 Feb 2005 (UTC)
 * Keep user:cooter08865
 * Delete, slash fancruft. Wyss 10:20, 15 Feb 2005 (UTC)
 * Keep This is supposed to be a good, open-content encyclopedia. With the possibility of infinite expansion via the internet, I see no reason why this article should be deleted as it is (a) informative, (b) well written, and (c) not vanity.  Deleting Wikipedia articles that people make that are inappropriate or about generally stupid is acceptable and expected, however articles that contain real content and had time put in do not deserve to be deleted. --pzgamer825 00:54, 13 Feb 2005 (UTC)
 * Actually by IP 24.58.238.87. Username doesn't exist. IP only has edits to this page. — Asbestos | Talk 09:24, 15 Feb 2005 (UTC)
 * Vote won't be taken into account. - Ta bu shi da yu 06:25, 21 Feb 2005 (UTC)
 * Delete. Perhaps slightly more intricate fan-fiction than most, but still fan-fiction. Come back when it becomes as popular as the Star Wars Kid. -R. fiend 07:13, 17 Feb 2005 (UTC)
 * Delete, vanity fan fiction. —Korath (Talk) 20:59, Feb 17, 2005 (UTC)
 * Delete. Gamaliel 06:30, 21 Feb 2005 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
File:TO Honiball.jpg

T.O. Honiball

Summary
This is a low resolution photo of a deceased South African cartoon artist. For copyright information see below.

Licensing
Source; http://www.stellenboschwriters.com/honiball.html

Fair use for T. O. Honiball
This low resolution photo appears in this article about the work of this deceased artist. The copyright status of this photo is unclear. The image linked here is claimed to be used under fair use because:

 * This image is being used for identification of a deceased historic figure.
 * It is the subject of an article written for nonprofit informational purposes.
 * It is a low resolution photo unlikely to be copied and used for commercial gain.
 * The photo is only being used for informational purposes.
 * Its inclusion adds significantly to the article because it shows the subject of this article.
 * It is believed that the use of the image on Wikipedia will have no impact on the commercial value of the image or any other works it is currently used in.

title: File:TO Honiball.jpg


text:
Talk:A Static Lullaby

Genre
Don't call this band emo, hardcore, screamo, post-hardcore, etc. They are none of these genres.

---Why not? They scream their lyrics (common in hardcore, screamo, and post-hardcore), while playing power chords very fast, and very distorted (signature of hardcore punk rock). You have renamed it to rock. The Beatles is rock. A Static Lullaby is screamo or 'emocore'.

-they are neither screamo or emocore. they are metalcore/post-hardcore. Iii9ix3 03:56, 31 August 2006 (UTC)

-MetalCore?? Where are breackdowns and gitar riffs?

-- Screw that, they're totally post-hardcore. You can't say "Don't classify them as " and then not off an alternative, by the way. —Preceding unsigned comment added by Rotzak (talk • contribs) 17:57, August 29, 2007 (UTC)

Dont call them emocore, emo or screamo those genres talk about killtemselves and tht stuff a static lullaby doesnt talk about that so they are : hardcore , post hardcore , punk rock and metalcore  —Preceding unsigned comment added by DanTorresROCKS (talk • contribs) 08:01, 26 December 2009 (UTC)

Whoever is above me, that was the most ridiculous comment ive read. Learn something about music and start disregarding stereotypes. granted, they arent screamo, emo, or emocore. Orchid, saetia, i would set myself on fire for you,etc. is screamo. Embrace and rites of spring are emo/emocore (they are synonomous.) These guys are definitely not hardcore punk like mongoloids, gorilla biscuits, etc. Id go with a metal influence post-hardcore, which many people also consider metalcore (granted, older metalcore is somewhat different). I dont see why the person from the top wont call them post-hardcore. Probably because of older p-h bands like fugazi and hot water music. But honestly, post-hardcore is such a loosely defined genre. Granted, my opinion doesnt really matter, but i figured id put my two cents into the pot. —Preceding unsigned comment added by 174.55.131.235 (talk) 23:47, 12 January 2010 (UTC)

Edit
So I deleted the part about some good songs by ASL. That's purely a matter of opinion (even if I did agree with most of it) and shouldn't be included in the article. I replaced it with a discography. If somebody wants to add the tracklisting, go for it, otherwise I'll do it later.

Known??
I've deleted "They are known for their heavy guitar lines and fast drums." Trey're not known. And their guitar lines and "fast drum" are equal to 100 other emocore bands...

New Demos
Deleted "The new demos have a lot of fans buzzing"

Edit
I'm going to put the tracklist of the albums and some more things let me know if something is wrong. A Static Lullaby rocks!!!!!!--Andresfrias 04:41, 31 January 2007 (UTC)israel

Lyrics
I just add the lyrics of the albums let me know if you like that —The preceding unsigned comment was added by Andresfrias (talk • contribs) 07:13, 2 February 2007 (UTC).

Album reviews
I'm doing some album reviews. doing like short sumaries of each album let me know if it's ok —The preceding unsigned comment was added by 200.110.83.121 (talk) 23:33, 2 February 2007 (UTC).

Demo 2001
Does anyone have any info about this —Preceding unsigned comment added by 88.218.93.221 (talk) 18:07, 5 January 2008 (UTC)

File:Staticlullaby.jpg may be deleted
I have tagged File:Staticlullaby.jpg, which is in use in this article for deletion because it does not have a copyright tag. If a copyright tag is not added within seven days the image will be deleted. -- Chris  00:23, 29 April 2009 (UTC)

Orphaned references in A Static Lullaby
I check pages listed in Category:Pages with incorrect ref formatting to try to fix reference errors. One of the things I do is look for content for orphaned references in wikilinked articles. I have found content for some of A Static Lullaby's orphans, the problem is that I found more than one version. I can't determine which (if any) is correct for this article, so I am asking for a sentient editor to look it over and copy the correct ref content into this article.

Reference named "Allmusic": From Emo:  From ...And Don't Forget to Breathe:

I apologize if any of the above are effectively identical; I am just a simple computer program, so I can't determine whether minor differences are significant or not. AnomieBOT ⚡ 23:59, 3 March 2015 (UTC)

title: Talk:A Static Lullaby


text:
Talk:Cultural determinism

Primary concerns
I am afraid that this article has an inherent drawback. Economy is a term that encompasses a certain class of social behavior. Culture is a term to encompass everything. Therefore while it is reasonable to speak about "economic determinism", to speak about "cultural determinism" is meaningless without clearly defining what exactly defines what. For example, it is reasonable to speak of cultural determinism with respect to individual, i.e., how culture (however vague the term might be) influences on person's behavior, sice one may clearly separate an individual from society. But when speaking that "culture" influences "political arrangements" one assumes that "politics" is something not cultural. Politics is part of culture. And one may as well argue that "politics influences culture".

So, before undertaking the endeavor of this article, please define your terms. Otherwise it will be a kind of "pseudoscience" or tautology or a list of quotations.

Also, please do not forget that the article is about a term. Who of notable persons used or coined the term? How did this person use the term? If you just delve into ancient greeks, then it will be a personal essay that tries to introduce the term taht encompasses certain observations. Mikkalai 23:40, 8 Feb 2005 (UTC)

I'm afraid your comments don't reflect very good reading on the subject. Cultural determinism is a term applied to the work of, for example. Margaret Meade who stated "At the time, Mead concluded that 'all personality traits that we label masculine or feminine are as lightly linked to sex as are the clothing, the manners and the form of head-dress that a society at a given period assigns to either sex'."

Please have some clue about what you are talking about before attacking an article. Stirling Newberry 00:25, 9 Feb 2005 (UTC)
 * I am afraid that your knee-jerk reaction does not reflect the current artricle. If you are so educated, please tell me in what works Margaret Meade used the term "cultural determinism". Also, are you saying that "personality traits that we label masculine or feminine" are not part of the human culture?  Mikkalai 02:04, 9 Feb 2005 (UTC)
 * Also, I don't have to have "a good reading of the subject". The current article is supposed to deliver it for me. Moreover, I'd expect an answer to my concerns, not to my level of intelligence. Mikkalai 02:10, 9 Feb 2005 (UTC)

RFC me. Stirling Newberry 02:09, 9 Feb 2005 (UTC)
 * A am not that obsessed with "truth". I am not saying that the article does not make sense. I am saying that it is not knit sufficiently tightly for encyclopedia. As you mentioned, I am not an expert in the issue. I tried to speak from the position of a layman's common sense. If I could improve the text, I'd have already done this. Unfortunately I can only express my concerns. If you read this as a moron's babble, fine with me. Mikkalai 02:59, 9 Feb 2005 (UTC)

I'm aware this page hasn't been touched in a while but the initial paragraph really needs revision, specifically in regards to the differentiation between 'environment' in the physical sense and in the societal sense, as well as the aforementioned lack of sources for the term in academic use. ScorpionSquadron (talk) 17:31, 12 August 2020 (UTC)

title: Talk:Cultural determinism


text:
Lise Darly

Lise Darly (born 27 December 1981) is a French singer and was selected to represent Monaco in the 2005 Eurovision Song Contest, held in the Ukrainian capital of Kyiv.

Lise was born in Nice. She made her mark by beating over a hundred rivals to win the Graine de Star Tour in 1999. She subsequently became a professional singer in 2001, and in 2003 entered a casting process designed to find a suitable singer to represent Monaco in the Eurovision Song Contest 2004, Lise Darly came second in the process. She was later selected to represent Monaco in the Eurovision Song Contest 2005.

In Kyiv, Lise sang a love song entitled Tout de moi (All of me), written by Philippe Bosco, who also wrote the 2004 Monegasque Eurovision entry, Notre planète (Our planet), then performed by Maryon. Maryon had ended the 2004 semi-final in 20th place, and because of this modest placing in 2004 Lise started in the semifinal line-up, from which only ten countries would progress to the grand final. In the running order of the semifinal, Monaco sang 6th (between Latvia and Israel).

Lise ended up 24th out of 25 countries in the semifinal, therefore placing 38th out of 39 total countries, beating only Lithuania. Monaco received 10 points from Andorra (who were using a jury due to an insufficient number of televotes made in the tiny principality), 10 points from France and 2 points from Moldova.

Now she is living and working in Monaco. Lise Darly was one of stars on New Year Party in Monaco.

title: Lise Darly


text:
Talk:Walter Piston

Piston's Harmony
I am not a "know-it-all" on the subject by any means, but when I bought Piston's book Harmony, I was adviced to get an older version of it as, if I remember the details right, the 4th edition and up to the present edition were rewritten by a different author, who really botchered it. —Preceding unsigned comment added by 82.147.62.2 (talk) 11:34, 7 February 2008 (UTC)
 * The Fourth (1978) and Fifth (1987) editions were revised by Mark DeVoto. Whether or not he "botchered" it may be a matter of opinion, but it is important to understand the reasons for revising a classic text like this one. The most thorough review of the Fourth Edition is the one by Christopher F. Hasty, in the Journal of Music Theory 26, no. 1 (Spring, 1982): 155–65. Hasty is certainly critical of many choices made by DeVoto, but he is also clear about the fact that the teaching of music theory—at least in the United States—had changed significantly since the publication of the Third Edition of Piston's text in 1962. In particular, an emphasis on linear strategies (influenced by Schenker's theories) made Piston's chord-based thinking very out-of-date. Secondly, DeVoto attempted to bring Piston's thinking more to bear on 20th-century literature. Finally, Piston's music examples had always been notorious for their obscurity, and this applied also to many of the exercises he offered. Hasty's judgment is mixed. For example, he particularly faults DeVoto in the area of application to 20th-century literature, but praises his choice of replacement examples from the traditional repertory. As a dyed-in-the-wool Schenkerian, Hasty is bound to find problems with DeVoto's attempts to stretch Piston's conceptions to encompass such linear thinking, but has to concede that the framework of revising Piston (as opposed to discarding him entirely and writing a new textbook) places extreme constraints on the editor. Two other reviews, of the Fourth and Fifth editions, respectively, are by William Drabkin, in The Musical Times 120, no. 1636 (June 1979):485–86, and by Roger Graybill, in Music Theory Spectrum 15, no. 2 (Autumn 1993):257–66. On the whole, if you want a Schenkerian-based theory of harmony, you are probably better off using Aldwell and Schachter. Ironically, however, if it is a more old-fashioned approach you seek, the revised Fifth edition of Piston is liable to prove more satisfactory than the earlier Piston editions, mainly due to the improved examples and exercises.—Jerome Kohl (talk) 17:25, 7 February 2008 (UTC)

In my opinion, Schenker's theory should be taught as Schenker's theory. In any case, the Devoto editions of Harmony are bloated, badly written, and badly reasoned. The third edition of Harmony is by far the best. As a text for freshmen or sophomores, however, it's best used as a supplement, because it's far too abbreviated to serve well as a main text. (You can say the same thing, to a lesser extent, about Piston's Counterpoint.) As for the original question, the answer should be "take a class--or, rather, a series of classes, from a qualified, credentialed instructor". You can't really learn harmony from a book. TheScotch (talk) 09:32, 20 June 2016 (UTC)

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Opus
Is there an opus list or official catalogue associated with Piston's works? Or did Piston not assign opus numbers to his compositions? Erzahler (talk) 19:35, 25 August 2021 (UTC)

title: Talk:Walter Piston


text:
Lette

Lette can refer to:

 * Geography
 * Lette (Coesfeld), a part of Coesfeld, North Rhine-Westphalia, Germany
 * Lette (Oelde), a part of Oelde, North Rhine-Westphalia, Germany
 * Lette, New South Wales, a locality in New South Wales, Australia

 * People
 * Henry Lette (1829–1892), Australian cricketer
 * Kathy Lette (born 1958), Australian author

title: Lette


text:
Wikipedia talk:Wikipedia Signpost/2005-02-07/Arbitration report

Heh, you knew I was Chair before I did....now that's journalism. :-) Jwrosenzweig 23:44, 8 Feb 2005 (UTC)


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Air Alps

Air Alps, (stylized as Air A!ps, previously operating as KLM alps, legally AAA-Air Alps Aviation), was an Austrian regional airline based in Innsbruck.

Establishment and early years
Air Alps was founded in 1998 by Air Engiadina (49%) and its manager Dietmar Leitgeb (51%) as Air Alps Aviation Alpenländische Luftfahrt GmbH with its head office in Igls/Innsbruck. Air Alps soon entered into an agreement with the Dutch airline KLM and began operating under the brand name KLM alps and participating in its frequent-flyer program Flying Dutchman. Flight operations commenced in 1999 from Innsbruck to Salzburg and Amsterdam using two Dornier 328.

In 2000, three more Dornier 328 were added to the fleet and the airline expanded its network with flights from Innsbruck to Vienna and Amsterdam to Linz. A mini-hub was set up in Klagenfurt with flights via Salzburg to Hamburg, Cologne and Amsterdam. However, flights to Hamburg and Cologne were soon dropped. In 2000, Air Alps operated 68 flights per week from Austria to Amsterdam. Additionally, the head office was relocated from the airport to the city. The shares of Air Engiadina were taken over by Dietmar Leitgeb and the capital was increased to €2 million.

The airline entered into a codesharing agreement with Swissair in the winter of 2000 on the new Klagenfurt-Zürich route, and in 2001 for Innsbruck–Zürich. A new uniform was introduced in early 2001, and operations began on the aforementioned Innsbruck-Zürich route and Vienna–Stuttgart.

First acquisition and refocus on Italy
In the spring of 2001, the company was forced to declare bankruptcy on the back off a €34 million debt. A few months later, an alliance of 28 South-Tyrolean industrialists led by ham producer Franz Senfter acquired 85% of the shares, with the remaining shares purchased by the South Tyrol and Tyrol governments. The new investors made a €7 million capital infusion as Dietmar Leitgeb exited the airline and resigned as CEO. The brand name KLM alps was dropped and operations resumed under the name Air Alps Aviation with a new corporate identity. The airline was forced to discontinue its codesharing with Swissair and subsequently ceased all flights to Zürich in the autumn of 2001.

In 2002, former Alitalia and Alpi Eagles executive Dr. Aldo Bevilaqua was appointed as new CEO. A new strategy was established with a focus on Italy in general and South Tyrol in particular. A base was opened in Bozen with flights to Cagliari, Olbia, Napoli and Lamezia Terme in cooperation with Alitalia. In the summer of 2002, Air Alps began codesharing with Austrian Airlines on the route Vienna–Banja Luka and opened new routes from Vienna to München, Siena and Olbia as well as from Rome to Stuttgart and Bern. By acquiring a sixth Dornier 328 the company was able to continue its network expansion and open routes from Parma to Rome and Olbia. In 2002, Air Alps was operating two Dornier 328 from Innsbruck, two from Salzburg, one from Linz and one from Bozen.

In 2003, the airline once again introduced new uniforms and acquired a seventh Dornier 328 (OE-LKG) to further expand its network. A new base was established in Bern, and flights began to Amsterdam as well as Elba, followed by additional routes from Zürich to Elba, from Stuttgart to Bologna and Lamezia Terme, from Bozen to Lamezia Terme, and from Bozen to Tortolì via Rome. Plans were made to acquire five more Dornier 328–110, including two from the defunct Minerva Airlines. At the same time, Air Alps ended its cooperation with City Air on the route Berlin-Tegel–Linz–Salzburg.

The airline's capital was increased again in 2003 by €16 million, and in 2004 flights began from Bozen to Munich in cooperation with Lufthansa. A new base in Brescia was planned, while flights from Bologna to Lamezia Terme were terminated.

By 2004 the airline carried 400,000 passengers annually, up from 190,000 in 2001, 180,000 in 2000 and 72,000 in 1999.

Second acquisition and merger with Welcome Air
On 4 June 2009, settlement proceedings over Air Alps began in the regional court of Innsbruck. In December that year the airline was taken over by Welcome Air which acquired 76% of the company. The remaining shares were kept by the South Tyrolean consortium, the Trentino-Alto Adige/Südtirol region and Südtiroler Transportstrukturen AG (STA).

Due to financial problems, Air Alps ceased all flight operations on 13 January 2012 until further notice. Welcome Air relocated the entire Air Alps fleet to Innsbruck. On 1 February, flights resumed from Bozen to Rome. Shortly thereafter, the route was once again cancelled and Air Alps began exclusively operating charter flights.

In June 2013, the airline ceased all flight operations again., and on 20 August 2013 its owners decided to liquidate the company following an unsuccessful search for new investors. All employees were dismissed by October 2013.

Third acquisition and future plans
In November 2013 a group of investors expressed interest in acquiring Air Alps, and on 3 February 2014 the airline resumed flights between Zürich and Bremen using a single aircraft. The route was operated on behalf of Rostock Airways and commenced almost a year after the airline had previously ceased operations. However, operations were halted on 28 February 2014 as takeover negotiations collapsed. In October that year, Welcome Air's shares in Air Alps were acquired by a new investor which began a restructuring process.

Destinations
Air Alps offered scheduled flights from Bozen and Parma to Rome. During the summer season the airline also operated flights to Olbia on Sardinia. Additionally, the airline operated charter flights to holiday destinations in Italy, and the aircraft were leased to airlines such as Alitalia and Cirrus Airlines. Air Alps also operated the route Linz–Vienna 33 times per week for Austrian Airlines.

Codesharing
Air Alps had codesharing agreements with Alitalia and Austrian Airlines, and previously with KLM, Swissair, Swiss International Air Lines and City Air.

Fleet
Air Alps operated a fleet of 7 Dornier 328 32-seat airliners for the duration of its operations.

title: Air Alps