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Rhythmic mode

In medieval music, the rhythmic modes were set patterns of long and short durations (or rhythms). The value of each note is not determined by the form of the written note (as is the case with more recent European musical notation), but rather by its position within a group of notes written as a single figure called a ligature, and by the position of the ligature relative to other ligatures. Modal notation was developed by the composers of the Notre Dame school from 1170 to 1250, replacing the even and unmeasured rhythm of early polyphony and plainchant with patterns based on the metric feet of classical poetry, and was the first step towards the development of modern mensural notation. The rhythmic modes of Notre Dame Polyphony were the first coherent system of rhythmic notation developed in Western music since antiquity.

History
Though the use of the rhythmic modes is the most characteristic feature of the music of the late Notre Dame school, especially the compositions of Pérotin, they are also predominant in much of the rest of the music of the ars antiqua until about the middle of the 13th century. Composition types which were permeated by the modal rhythm include Notre Dame organum (most famously, the organum triplum and organum quadruplum of Pérotin), conductus, and discant clausulae. Later in the century, the motets by Petrus de Cruce and the many anonymous composers, which were descended from discant clausulae, also used modal rhythm, often with much greater complexity than was found earlier in the century: for example each voice sometimes sang in a different mode, as well as a different language.

In most sources there were six rhythmic modes, as first explained in the anonymous treatise of about 1260, De mensurabili musica (formerly attributed to Johannes de Garlandia, who is now believed merely to have edited it in the late 13th century for Jerome of Moravia, who incorporated it into his own compilation). Each mode consisted of a short pattern of long and short note values ("longa" and "brevis") corresponding to a metrical foot, as follows:

 * 1) Long-short (trochee)
 * 2) Short-long (iamb)
 * 3) Long-short-short (dactyl)
 * 4) Short-short-long (anapaest)
 * 5) Long-long (spondee)
 * 6) Short-short-short (tribrach)

Although this system of six modes was recognized by medieval theorists, in practice only the first three and fifth patterns were commonly used, with the first mode being by far the most frequent. The fourth mode is rarely encountered, an exception being the second clausula of Lux magna in MS Wolfenbüttel 677, fol. 44. The fifth mode normally occurs in groups of three and is used only in the lowest voice (or tenor), whereas the sixth mode is most often found in an upper part.

Modern transcriptions of the six modes usually are as follows:

 * 1) Quarter (crotchet), eighth (quaver) (generally barred, therefore, in  or, because the patterns usually repeat an even number of times, in ) [[File:Rhythmic mode 1.PNG]]
 * 2) Eighth, quarter (barred in  or ) [[File:Rhythmic mode 2.PNG]]
 * 3) Dotted quarter, eighth, quarter (barred in ) [[File:Rhythmic mode 3.PNG]]
 * 4) Eighth, quarter, dotted quarter (barred in ) [[File:Rhythmic mode 4.PNG]]
 * 5) Dotted quarters (barred in either  or ) [[File:Rhythmic mode 5.PNG]]
 * 6) Eighths (barred in  or ) [[File:Rhythmic mode 6.PNG]]
 * Cooper gives the above but doubled in length, thus 1) is ♩ barred in, for example.
 * Riemann is another modern exception, who also gives the values twice as long, in time, but in addition holds that the third and fourth modes were really intended to represent the modern, with duple rhythms ( ♩ ♩ and ♩ ♩ , respectively).

Notation
Devised in the last half of the 12th century, the notation of rhythmic modes used stereotyped combinations of ligatures (joined noteheads) to indicate the patterns of long notes (longs) and short notes (breves), enabling a performer to recognize which of the six rhythmic modes was intended for a given passage.

Linked notes in groups of:
 * 3, 2, 2, 2, etc. indicate the first mode,
 * 2, 2, 2, 2, … 3 the second mode,
 * 1, 3, 3, 3, 3, etc. the third mode,
 * 3, 3, 3, … 1 the fourth mode,
 * 3, 3, 3, 3, etc. the fifth mode,
 * and 4, 3, 3, 3, etc. the sixth mode

The reading and performance of the music notated using the rhythmic modes was thus based on context. After recognizing which of the six modes applied to a passage of neumes, a singer would generally continue on in that same mode until the end of a phrase, or a cadence. In modern editions of medieval music, ligatures are represented by horizontal brackets over the notes contained within it.

All the modes adhere to a ternary principle of metre, meaning that each mode would have a number of beat subdivisions divisible by the number 3. Some medieval writers explained this as veneration for the perfection of the Holy Trinity, but it appears that this was an explanation made after the event, rather than a cause. Less speculatively, the flexibility of rhythm possible within the system allows for variety and avoids monotony. Notes could be broken down into shorter units (called fractio modi by Anonymous IV) or two rhythmic units of the same mode could be combined into one (extensio modi). An alternative term used by Garlandia for both types of alteration was "reduction". These alterations may be accomplished in several ways: extensio modi by the insertion of single (unligated) long notes or a smaller-than-usual ligature; fractio modi by the insertion of a larger-than-usual ligature, or by special signs. These were of two types, the plica and the climacus.

The plica was adopted from the liquescent neumes (cephalicus) of chant notation, and receives its name (Latin for "fold") from its form which, when written as a separate note, had the shape of a U or an inverted U. In modal notation, however, the plica usually occurs as a vertical stroke added to the end of a ligature, making it a ligatura plicata. The plica usually indicates an added breve on a weak beat. The pitch indicated by the plica depends on the pitches of the note it is attached to and the note following it. If both notes are the same, then the plica tone is the upper or lower neighbor, depending on the direction of the stem. If the interval between the main notes is a third, then the plica tone fills it in as a passing tone. If the two main notes are a second apart, or at an interval of a fourth or larger, musical context must decide the pitch of the plica tone.

The climacus is a rapid descending scale figure, written as a single note or a ligature followed by a series of two or more descending lozenges. Anonymous IV called these currentes (Latin "running"), probably in reference to the similar figures found in pre-modal Aquitanian and Parisian polyphony. Franco of Cologne called them coniunctura (Latin for "joined [note]"). When consisting of just three notes (coniunctura ternaria) it is rhythmically identical with the ordinary three-note ligature, but when containing more notes this figure may be rhythmically ambiguous and therefore difficult to interpret. The difficulty was compounded in the later half of the 13th century, when the lozenge shape came also to be used for the semibreve. A general rule is that the last note is a longa, the second-last note is a breve, and all the preceding notes taken together occupy the space of a longa. However, the exact internal rhythm of these first notes of the group requires some interpretation according to context.

It was also possible to change from one mode to another without a break, which was called "admixture" by Anonymous IV, writing around 1280.

Because a ligature cannot be used for more than one syllable of text, the notational patterns can only occur in melismatic passages. Where syllables change frequently or where pitches are to be repeated, ligatures must be broken up into smaller ligatures or even single notes in so-called "syllabic notation", often creating difficulty for the singers, as was reported by Anonymous IV.

An ordo (plural ordines) is a phrase constructed from one or more statements of one modal pattern and ending in a rest. Ordines were described according to the number of repetitions and the position of the concluding rest. "Perfect" ordines ended with the first note of the pattern followed by a rest substituting for the second half of the pattern, and "imperfect" ordines ended in the last note of the pattern followed by a rest equal to the first part. Imperfect ordines are mostly theoretical and rare in practice, where perfect ordines predominate.

Other writers who covered the topic of rhythmic modes include Anonymous IV, who mentions the names of the composers Léonin and Pérotin as well as some of their major works, and Franco of Cologne, writing around 1260, who recognized the limitations of the system and whose name became attached to the idea of representing the duration of a note by particular notational shapes, though in fact the idea had been known and used for some time before Franco. Lambertus described nine modes, and Anonymus IV said that, in England, a whole series of irregular modes was in use.

title: Rhythmic mode


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Sheep Island (England)

Sheep Island is an uninhabited grassy island of around 15 acre, located just over 1/4 mi from the shore of Walney Island, opposite Snab Point. It is one of the Islands of Furness and is in the Borough of Barrow-in-Furness in Cumbria in north-west England. The island's geographic location is, using the British national grid reference system,.

Sheep Island is accessible on foot at low tide from either Walney, or from Piel Island - a distance of about a mile (approx. 1.5 km). The island is uninhabited and there is no shelter. Between 1892 and 1922 it included a small isolation hospital located within a wooden building, which was erected by Barrow Borough Council at a cost of £257 but seldom used.

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

title: Sheep Island (England)


text: User talk:66.190.220.18

title: User talk:66.190.220.18


text: User talk:222.47.44.217

title: User talk:222.47.44.217


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Talk:John Herbert Claiborne

Untitled
The text of article was obtained from public domain site. Darwinek 20:40, 6 Feb 2005 (UTC)

title: Talk:John Herbert Claiborne


text: User talk:68.9.103.66

title: User talk:68.9.103.66


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Talk:Fire ants

 * See: Talk:Fire ant

Is there any sort of verification that the lye soap application works to kill the ants? Joyous 18:46, Feb 6, 2005 (UTC)

There's a new article floating around that says that male fire ants and female fire ants are essentially different species since their offspring are clones of themselves.

title: Talk:Fire ants


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Talk:John Claiborne

Untitled
The text of article was obtained from public domain site. Darwinek 21:20, 6 Feb 2005 (UTC)

title: Talk:John Claiborne


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George Harris, 1st Baron Harris

George Harris, 1st Baron Harris GCB (18 March 1746 – 19 May 1829) was a British soldier.

Military career
Harris was the son of the Reverend George Harris, curate of Brasted, Kent. He was educated at Westminster School and at the Royal Military Academy, Woolwich. He was commissioned to the Royal Artillery in 1760, transferring as an ensign in the 5th foot (Northumberland Fusiliers) in 1762. Three years later he became lieutenant, and in 1771 captain. His first active service was in the American War of Independence, in which he served at Lexington, Bunker Hill (where he was severely wounded) and in every engagement of Howe's army except one up to November 1778.

By this time he had obtained his majority, and his next service was under Major-General Medows at St. Lucia in 1778–1779, after which his regiment served as marines in Rodney's fleet. Later in 1779 he was for a time a prisoner of war. Shortly before his promotion to lieutenant-colonel in his regiment (1780) he married Anne Carteret Dickson. After commanding the 5th in Ireland for some years, he exchanged and went with General Medows to Bombay, and served with that officer in India until 1792, taking part in various battles and engagements, notably Lord Cornwallis's attack on Seringapatam in the Third Anglo-Mysore War.

In 1794, after a short period of home service, he was again in India. In the same year he became major-general, and in 1797 Commander-in-Chief of the Madras Army. Up to 1800 be commanded the troops in the presidency, and for a short time he exercised the civil government as well. In December 1798 he was appointed by Lord Mornington, the governor-general, to command the field army which was intended to attack Tipu Sultan, and in a few months of campaigning Harris reduced the Kingdom of Mysore and stormed the great stronghold of Seringapatam, where the Tipu died in its defence.

He received prize money of £100,000 for the Seringapatam campaign, his success establishing his reputation as a capable and experienced commander, with its political importance leading to his being offered the reward (which he declined) of an Irish peerage. He returned home in 1800, became lieutenant-general in the army the following year, and attained the rank of full general in 1812. He bought Belmont House near Faversham in 1801. In 1809 he was commissioned as Lieutenant-Colonel Commandant of the part-time 2nd East Kent or Lath of Scray and Wingham Regiment of Local Militia.

In 1815 he was made a peer of the United Kingdom under the title Baron Harris, of Seringapatam and Mysore and of Belmont in the County of Kent. In 1820 he was appointed GCB, and in 1824 was made governor of Dumbarton Castle. He was colonel of the 73rd (Highland) Regiment of Foot from 1800 to his death.

Lord Harris died at Belmont in May 1829, he was succeeded in the barony by his son William. His descendant, the 4th Baron Harris (b. 1851), best known as a cricketer, was Under-Secretary for India (1885–1886), Under-Secretary for war (1886–1889) and Governor of Bombay (1890–1895).

title: George Harris, 1st Baron Harris


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Afrikan tähti

Afrikan tähti (Finnish for 'Star of Africa'), known in Swedish as Den försvunna diamanten ('The Missing Diamond') or Afrikas stjärna ('The Star of Africa'), is a Finnish board game designed by Kari Mannerla originally in 1951. It has been one of the most popular board games in the Nordic countries for decades.

History
The board game was first published year 1951 in Helsinki, Finland. Stories of the world's largest diamond – the Star of Africa – had inspired the imagination of young Kari Mannerla. He managed to get a hold of a map of Africa in the English language and picked exotic sounding places. Mannerla then drafted land, sea and air routes arbitrarily across and around the continent. During his design process, an important innovation was that players could pick their route of choice, instead of following a pre-set course. A further revelation was the tokens that are shuffled before each game and placed randomly throughout the board. None of the players know which surprise is hidden under each token. The robbers and horseshoes were considered to add to the excitement of the game.

Afrikan tähti was the last of Kari Mannerla's games. He was then already an ‘experienced’ 19-year-old game designer and he intuitively sensed that this one was unique. Mannerla offered it to the large book publishing company Tilgmann. Price negotiations took a few years, and he finally accepted a modest compensation for 10,000 printed games. Mannerla's condition to the publisher was that any further prints would be negotiated separately. This was not an issue to the publisher since most board games would not go on to be reprinted. However, the next year another 10,000 copies were printed, and the game received many subsequent reprints. The game sold more than 100,000 copies in seven years, which is a record even today.

Afrikan tähti has remained one of the most sold board games in Finland for 65 years. During this time, it has been translated to over 16 languages. It is most popular in the Nordic countries, where it became widely marketed in Sweden, Norway, and Denmark in 1960. In Sweden, the game is called Den Försvunna Diamanten, in Norway it is called Den Forsvunne Diamanten (both meaning "The Lost [or, Vanished] Diamond") and in Denmark it is called Afrikas Stjerne (Star of Africa). In Finland, over two million games have been sold, in Sweden and Norway almost one million, and in Denmark 500,000. There are over 4.5 million sold games internationally. During his retirement years, Mannerla revived one of his old creations Inkan aarre ("The treasure of the Inca") in a completely modified version. Inkan Aarre has sold over 100,000 games in Finland.

Both games are nowadays directly copyrighted to Kari Mannerla's five daughters.

Rules
Afrikan tähti is a race between several players. The minimum is two players, and the maximum is theoretically unlimited, although with more than five or six players the game starts to become unplayable, due to long gaming turns and insufficient resources.

The board covers the continent of Africa, with famous cities marked as big red circles, and with routes consisting of small black circles connecting them. Players can start from either Cairo, Egypt or from Tangiers, Morocco, whichever they want.

The game uses a dice and play money. Notes in the values £100, £500, and £1,000 are supplied (referred to as "dollars" in the English language instructions).

Also included is a series of circular tokens, one token for each city. The tokens are not matched with specific cities, only their number is the same. Tokens include:
 * Blank tokens.
 * Gemstones. There are three different gems: rubies (red), emeralds (green), and topazes (yellow).
 * Robbers.
 * Horseshoes.
 * The star of Africa itself. This is the only unique token in the game.

Game start
At the start of the game, all tokens are turned face down and shuffled, then distributed randomly at the cities with one token per city. At this point, no player knows which token is in which city.

Each player is given £300 as starting money and their character is placed in Cairo or Tangiers according to their preference.

Game rounds
On their turn, each player throws the dice, and moves the given number of steps along the routes. If they reach a city with its token still present, they have three options: Stopping short at a city is allowed.
 * Continue as normal.
 * Buy the token, which costs £100.
 * Stay in the city. On the following turns, the player may try to win the token by throwing the dice, instead of moving normally. On a 4, 5 or 6, the token is won.

If the player buys or wins the token, it is flipped over, the player acts according to the revealed token as follows: Before the star of Africa has been found, horseshoes are useless and are discarded. However, after the famous diamond has been found, they become effective substitutes for it. Taking a horseshoe to Cairo or Tangiers when another player has the star of Africa wins the game.
 * Blank token: Nothing happens.
 * Gemstone: The gemstone is immediately sold for cash. Rubies are worth £1000, emeralds £600, and topazes £300.
 * Robber: The player immediately loses all their cash, but their gemstones are safe.
 * Horseshoe: Acts as a substitute for the star of Africa, but only after the star has been found.
 * Star of Africa: Finding this is the goal of the game. Taking it back to either Cairo or Tangiers wins the game.

Travel
There are three different forms of travel available:
 * On foot. This moves on the regular routes and is free of charge.
 * By aeroplane. Aeroplane routes connect some of the cities directly with each other. Travelling by aeroplane costs £300 and takes the player directly to the adjacent city.
 * By ship. Ship routes are effectively similar to foot routes, but they are on the sea. Boarding a ship costs £100, after which the player may throw the dice to determine how many steps they can take on the sea-route. Unlike traveling by foot, players can not choose to pass by cities. If a player touches a city they have to end their turn and pay another £100 to take the boat back. According to the 2005 rule revision players with no money can also travel by sea but only a maximum of two steps at a time. The islands Madagascar and St. Helena are only reachable by aeroplane or ship. Canary Islands are only reachable by ship.

Special places
Some cities or other places on the board have special rules.
 * In Slave Coast, getting a blank token causes the player to be enslaved and sold at the slave market, causing the player to lose three turns. They may only proceed after three turns have passed without their participation.
 * In Gold Coast, getting a gemstone token results in the value of gemstones being doubled.
 * The first player to reach Cape Town is awarded £500.
 * There is one step in Sahara where the player is ambushed by beduins and can only proceed after rolling 1 or 2.
 * There are two steps in the sea near the island of St. Helena where the player's ship will be raided by pirates and the player can only proceed after rolling 1 or 2.

2005 amendment to rules
A quirk in the rules can cause the game to become unwinnable. The islands of Madagascar, St. Helena, and Canary Islands contain cities, and it is possible that the Star of Africa ends up being there. In such a case, if no player has £200 left (to get to the island and back again), the Star of Africa cannot be transported to Cairo or Tangiers, and the game cannot be won. To resolve this quirk, the rules were amended in 2005: If a player has no money left, they can travel on sea for free, but only up to two spaces per turn.

Expansion
In 2014, an expansion for the game called Retkikunnat ("The expeditions") was published, making the game more complex. In the expanded game, each player must choose a character and build an expedition from cards found on the table. There are now two tokens stacked on top of each other in every city, and the Star of Africa is found on a token on the bottom. Characters give different properties to the players: for example, the Banker character starts off with more money. The expansion also includes danger and event cards, affecting the game play. When visiting a city, a player draws an event card, which can for example result in fear of flight or sea sickness. As a new feature, it is now also possible to steal the Star of Africa from the player who found it. According to a review on the Lautapeliopas site, the new features increase the randomness and luck factor, and there is no notable effect on the skill involved.

Video game version
Afrikan tähti was made into a video game for the Commodore 64 in 1985 by Otso Pakarinen and Jari Heikkinen who were given permission to make the game from Kari Mannerla. The game was published by Amersoft and produced by Jouko Riikonen. Programming the game took roughly two months. It was made with help of some PROMAL source code which the creators got from Amersoft.

In other countries
The game was launched in Sweden in 1958 by Alga, under the name "Den försvunna diamanten" ("The lost diamond"). In Denmark, a variant of the game is marketed by BRIO under the name "Afrikas Stjerne" (Star of Africa). In Norway, the game has been sold under the name "Den forsvunne diamanten" ("The lost diamond") from 1956 and is currently marketed by Egmont. All publishing rights are directly copyrighted to Kari Mannerla's five daughters.

title: Afrikan tähti


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Wikipedia:Articles for deletion/Sean Neuerburg

 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 delete. Joyous 02:24, Feb 13, 2005 (UTC)

Sean Neuerburg
Vanity. Ground 18:48, 6 Feb 2005 (UTC)
 * Delete yep. CDC   (talk)  21:43, 6 Feb 2005 (UTC)
 * Entire text: "Sean Neuerurg, born March 31, 1984, in Woodland, California, is an American writer. He also has minor careers in acting, directing, and music." Zero web hits for "Sean Neuerurg". Delete. Samaritan 23:12, 6 Feb 2005 (UTC)
 * To be fair, that appears to be a typo; "Sean Neuerburg" returns two pages of results. Ground 18:20, 7 Feb 2005 (UTC)

 * Delete, not notable, vanity. Megan1967 01:41, 7 Feb 2005 (UTC)
 * Delete. No claim to notability. JoaoRicardo 03:37, 7 Feb 2005 (UTC)
 * Delete. -- AllyUnion (talk) 05:44, 10 Feb 2005 (UTC)

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


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Sheep Island

The following locations are known as Sheep Island:

United Kingdom

 * Sheep Island, County Antrim, a townland in County Antrim, Northern Ireland
 * Sheep Island, Argyll, Argyll and Bute, Scotland
 * Sheep Island (England), Cumbria
 * Sheep Island, Pembrokeshire, an island of Wales
 * Insh Island, Slate Islands, Argyll and Bute, Scotland

United States

 * Sheep Island (Massachusetts), Massachusetts, United States
 * Sheep Island (Washington), Washington, United States
 * Sheep Island, an alternate name for Brooks Island, Richmond, California

Other

 * Sheep Island (Nova Scotia), Nova Scotia, Canada
 * Faroe Islands, Northern Europe, Faroe can be translated to 'sheep'.

title: Sheep Island


text: User talk:24.166.116.207

title: User talk:24.166.116.207


text:
Los Prisioneros

Los Prisioneros ("The Prisoners") were a Chilean rock band formed in San Miguel, Santiago, in 1982. Considered one of the most important Latin-American bands of all time, they've been evaluated as pioneers of Rock en español (Rock in Spanish) by Latin American media and musicians, and as the band with the strongest socio-political impact in Chile. The group would develop a new wave sound that would have its roots in British punk rock, in particular The Clash, and would incorporate rockabilly, reggae and ska influences, and later on synthpop, and would make themselves known for their controversial, witty and subversive lyricism that criticized the socio-economic structures, education and societal attitudes of dictatorship-era Chile and Latin America as a whole. This would cause their music to be banned by the Chilean mainstream media between 1985 and 1990, but their music would continue to spread there, aided by word of mouth and shared homemade cassette tapes.

The band initially met in high school, studying at San Miguel's Liceo 6, and form as "Los Vinchukas" (a play on The Beatles, one of their biggest influences), with Miguel Tapia on drums, Claudio Narea on guitar and Jorge González serving as their lead vocalist, bassist, main songwriter and de-facto leader. After changing their name to Los Prisioneros, they would record their first album, La voz de los '80, and release it on the independent record label Fusión Producciones, and would initially struggle to achieve mainstream popularity before signing to EMI Records in 1985, re-releasing their first album on vinyl records and cassettes. From that point on, they would reach mainstream success in all of Latin America, in particular, Peru.

Starting with the release of 1986's Pateando piedras and 1987's La cultura de la basura, González would begin to incorporate Depeche Mode-inspired synthpop sounds and rhythms to their music, to the dismay of Narea. Tensions between the two band members would come to a halt during production of 1990's Corazones, when Narea would learn of an affair between González and his wife, and would leave the band, being replaced by Cecilia Aguayo on keyboards, and Robert Rodríguez on bass. This new incarnation of Los Prisioneros would not last long, and the group would dissolve in 1991, marking the end of the "first phase" of the band.

Following the release of the compilation album Antologia, su historia y sus exitos, Los Prisioneros would reunite in 2001, and would play two reunion shows in Santiago's Estadio Nacional to a total of almost 150,000 people, a feat no other Chilean band has accomplished since. They would record a self-titled reunion album in 2003, and González and Narea would have another falling out, Narea would leave the band once again, with Los Tres frontman Alvaro Henríquez joining the band, recording the covers album Los Prisioneros En Las Raras Tocatas Nuevas De la Rock & Pop. Shortly after, Sergio "Coty" Badilla and Gonzalo Yáñez would join the band, and would form part of the lineup that would record their sixth and final studio album; Manzana and would go on tour in Canada, the United States, Mexico, Ecuador, Peru, Bolivia, Colombia, and Chile. On February 18, 2006, in Caracas, Venezuela the band would perform their last concert. Jorge González moved to Mexico, leaving Tapia and Badilla in Chile.

Musically, Los Prisioneros marked the beginning of a new musical era in Chile, leaving behind the 1960s folk-inspired music of Víctor Jara and Violeta Parra, and starting the new era of Nuevo Pop Chileno (New Chilean Pop)., setting the stage for many other Chilean bands, such as Aparato Raro, Cinema, Upa!, Valija Diplomática, Aterrizaje Forzoso, Electrodomésticos, Banda 69, Fulano, among others. Songs like "La Voz de los '80", "Muevan las Industrias", and "Tren al Sur" are among the most famous, important, and musically influential songs of Latin America, and the song "El baile de los que sobran" became an anthem for the 2019-2022 Chilean protests. In 2023, Rolling Stone would name Corazones among the 50 best Latin-American albums of all time.

Formation and early years
In 1979, songwriter Jorge González (bass, lead vocals), Miguel Tapia (drums, backing vocals) and Claudio Narea (guitar, backing vocals), met during their first year of High school or Secondary Education as it is known in Chile. They attended The «Liceo Number 6 from San Miguel, Santiago de Chile. Their high school has since been renamed Liceo Andres Bello. In 1980, Jorge and Claudio, along with brothers Rodrigo and Alvaro Beltran, formed the band "The Pseudopillos" (the Pseudo-thieves). The group created humorous songs a cappella (mostly by Jorge and Claudio), using everyday objects as percussion.

Simultaneously, Jorge had a band with Miguel, where they would pretend to be John Lennon and Paul McCartney from the Beatles. After watching them play; Narea nicknamed them "Los Vinchukas"."Vinchukas" are small insects of northern Chile; this nickname inferred that the Jorge and Miguel were «The Chilean Beatles». As they all got to know each other, they eventually invited Narea to join the band. Shortly after Alvaro Beltran joined on guitar, and Miguel Tapia, who had received a drum set as a gift from one of his sisters, took over the drums. .

The quartet made its live debut on May 14, 1982, at their High School and had moderate success. At the end of 1982 Jorge and Miguel wanted to buy a bass drum pedal, but Claudio and Alvaro disagreed with them. Rodrigo, who was not part of the band, intervened causing the dissolution of Los Vinchukas and Los Pseudopillos a few days after graduating high school. Gonzalez and Tapia continued playing together, but Claudio did not speak to them for two or three months while working to raise money for college. Rodrigo, who had reconciled with Jorge and Miguel, convinced Claudio to return to the band. At this critical phase, the band decided to use a brand new name, this time seriously. First they chose Los Criminales ("the Criminals") reflecting their views as being outsiders, but Miguel suggested the name Los Prisioneros reflecting more accurately their reality in the authoritarian repressed Chile of the 1980s. The rest liked the name, and on July 1, 1983, they debuted with the name Los Prisioneros at Festival de la Canción del Colegio Miguel León Prado (Miguel Leon Prado High School Song festival). At that time the band members were Jorge González as bass player and lead singer, Claudio Narea on the guitar and Miguel Tapia playing drums, percussions and backing vocals. That same year, Jorge González entered the University of Chile School of Arts, where he met several people whom -although unknown at the time- would become stars of the "Nuevo Pop Chileno" (New Chilean Pop). Singers such as Igor Rodríguez —who would eventually become a member of the band "Aparato Raro"— and future members of Los Prisioneros Robert Rodríguez and Carlos Fonseca with whom he established an instant friendship. It was not long before Jorge Gonzalez y Carlos Fonseca dropped out of the university. Shortly afterwards, Jorge González began to work at the Fonseca's family business (a record store called Discos Fusión), while Carlos Fonseca went out looking for new talent. Some time later Jorge asked Carlos Fonseca to be the manager of the band.

"'...We ended up third out of three, and they even tried to charge us admission to see the rest of the show. In any case, when we got there to rehearse, and we thought we were so cool, because we were real, with songs which were unknown but were our own. The others only did versions of already famous People. I remember that we performed as the opening number.'"

In 1983 Claudio Narea also entered the USACH to study engineering. There Narea also met Igor Rodriguez (Aparato Raro), and Robert Rodriguez (who would eventually become the lead of Banda 69). It was not long before Claudio Narea drops out of college as well (none of them had expected him to do that). While Carlos Fonseca focused on his radio program at "Radio Beethoven" (a Chilean Radio station that played only classical music), he was also planning to make a special year-end show with emerging Chilean talents. Jorge brought a song he recorded in a dual cassette radio at home, and also the live performance of the band at their school.

Throuroughly amazed after hearing the performances, Carlos convinced his father —Mario Fonseca— that the band had projection and future, and he in turn decided to invest money in the band. At a later date, Jorge Gonzalez then introduced Narea and Tapia to Fonseca. When Carlos saw that Claudio was not a guitar virtuoso, he talked with Jorge and Miguel about replacing him, however, Gonzalez and Tapia refused to replace Narea because; as Jorge Said: "'Los Prisioneros, were the three of them together'" Carlos became the manager of the group and got them to record their first demos (which he would later play in his radio show, Fusión Contemporánea ["Contemporary fusion"]) in late 1983 he got them to play around Santiago, Chile. Carlos also wrote an article about the band in the Dinners Club World magazine under a pseudonym.

1984-1985 La Voz De Los '80
On December 13 of 1984, their first album titled La voz de los '80 (The Voice of the 80's) was released under the label "Fusion", which was property of the Fonseca Family. The album hardly received any radio airplay, but became emblematic in the Chilean music scene later on. During that time, Chilean Radio and Television mostly favored Argentinian artists, so their exposure was limited to "Radio Galaxia", Sábado Gigante and "Canal 11" (Chilean TV Station). They also played at the "Sexta Teleton" (the Sixth Telethon) and suffered their first act censorship while performing the first single of their album "La Voz De Los '80". According to Claudio Narea, the Televisión Nacional de Chile (Chilean National Television), controlled by the Military Government at the time, cut the teleton signal and broadcast commercials instead of their performance. It was then that the Chilean Military Government singled them out as potentially dangerous to the stability of the regime of Augusto Pinochet. During August 1985, they signed a contract deal with EMI. In October of that year, their album was re-released in all of Chile and they sold between 100,000 and 105,000 copies; placing them among the most popular and best selling albums in Chile. According to the Chilean Magazine Vea, the band's Song "Sexo" was the most played by Chilean radio. EMI records would edit all their albums until 2001.

1986: Commercial success and Pateando Piedras
On September 15, 1986, their second studio album titled Pateando piedras was released under the EMI label. Highlights from this album are "¿Por qué no se van?", "Muevan las industrias" and especially "El Baile de los que sobran", considered a classic of the genre and remembered in much of Latin America.

"...Under our shoes, mud plus concrete The future is nothing like what was promised during those twelve games (referencing grades 1 through 12 of education)

Others learned secrets we weren't told

Others were truly given that thing we call "education"

They asked us for effort, they asked us for dedication

And for what?! So that we could end up dancing and kicking stones!

English translation of Baile De Los Que Sobran (Dance Of The Ones Left Behind).

The album sold five thousand copies in the first ten days of release, an exploit that was never done before by a young band in Chile. In two months and two days after the album's release, it achieved platinum status. Two months after the launch of its second album in November 1986, the band played at Estadio Chile in front of eleven thousand people. They were considered "The hope in Viña" by the public at the National Stadium Chile. At the International Song Festival of Vina del Mar in 1987, the band was not in the official program, something that baffled fans and the media. Instead, there were other groups present at the bill, such as 24 Upa!, Cinema, Argentine rock group Soda Stereo and GIT (the latter band being the most popular at the event). The trio from San Miguel expressed their rejection of Soda Stereo during interviews.

In November 1986 they were invited to perform at the international Rock Festival of Montevideo in Uruguay where they shared stage with Soda Stereo, Fito Paez, GIT, Sumo, among others. The band released their albums in that country but with little success so they never went back. In March 1987 they played at the Chateau Rock Festival at Estadio Cordoba and Buenos Aires Works, Argentina, although it seemed only half the audience liked them, while Argentine media just asked them questions about Pinochet in the press conferences that they attended. It was a completely different story in Peru where the group was a success, they had three songs in the top ten, «El baile de los que sobran» took first place for six consecutive weeks. They achieved similar success in Bolivia, Ecuador and Colombia.

In Peru Los Prisioneros held their most famous concert in September 19 of 1987 at the bullring Plaza de toros de Acho.

1987-1988: La Cultura de la Basura Album and support of The "NO" Campaign
In October 1987 they started recording their third album La cultura de la basura (Culture of Garbage or Junk Culture). Jorge González promised the other band members they would all write together. As it turned out Gonzalez wrote the album by himself while Narea and Tapia composed 4 songs together: "Somos solo ruido" (We Are Only Noise), "Algo Tan Moderno" (Something So Modern) "El Vals" (The Waltz) and "Lo estamos pasando muy bien" (We Are Having A Good Time). During those sessions, the first disagreements within the band began. Caco Lyon could not stand Jorge's apathy and nonchalance, and left the recording sessions. Thus leaving the job to his assistant Antonio Gildemeister, who was an amateur in training. He was left to make the recordings and mixing, resulting in the roughness and crudeness of the album's final sound. Lyon later would say that the record was very messy and not properly filled. The album was released on December 3 of that year. They sold 10 000 copies in advance sales, but did not surpass the success of Pateando piedras, being only able to sell 70 000 copies. This was considered by media critics as an artistic and commercial failure of the band although, ironically, it was still double platinum. For González, the album was neither a commercial, nor an artistic failure of the band; nevertheless, he considered it to be a low point for the band. Claudio, Fonseca, and Miguel blamed Jorge, saying that he got too relaxed because he was not the only one composing as it had been in the past.

Fonseca liked the song "Lo Estamos Pasando Muy Bien" (We Are having A Good Time) but he believed the other songs by Narea were similar to «Mostrar La Hilacha» (Showing Loose Thread) one of his other compositions. He added a new song, which opens the album, titled "We are Sudamerican rockers". This version of the album was released only in Chile. Today, it is considered by some the best album of the band (in the original edition) according to Juan Marquez of El Mercurio.

González and Fonseca had a heated argument over the choice of the first single, Que No Destrocen Tu Vida (Don't Let Them Destroy Your Life), a song about parents meddling in the lives of their sons. The song was probably inspired by Claudio's struggles with his parents. Gonzalez and Fonseca disagreed over which song was appropriate for Chilean radio circulation. Fonseca wanted "Maldito Sudaca" (Damn South American) as the single: a song about the racist attitudes of Spaniards toward South Americans; "Sudaca" is a racial Slur used by Spaniards, which infers people from South America, as being inferior. In the end "Que No Destrocen Tu Vida" was chosen as the single, while Maldito Sudaca became much more popular in Chile and Latin America.

On March 28, 1988, Los Prisioneros called a press conference to explain the promotional tour for La Cultura de la Basura: 40 dates were announced from Arica, Chile's northernmost city to Punta Arenas, Chile's southernmost city. The tour later would also include other South American countries and Mexico. At the end of the press conference; Cristián Rodríguez —a former representative of the Independent Record Label Fusion who was invited by Miguel Tapia— asked about the last question on the plebiscite/referendum coming up in October of that year, concerning the military dictatorship of General Pinochet still ruling in Chile at the time. Jorge González answered immediately and without hesitation: "«...In the upcoming plebiscite we will vote NO (En el plebiscito votaremos que No)»" This was a strong public statement against the Dictator of Chile Augusto Pinochet, and it caused much controversy. It resulted that out of the 40 scheduled dates, only 7 were possible to make without censorship. "Here the reference of 'El Plebiscito' Consisted of 2 choices: 'Yes' to continue with the Dictatorial Government of Augusto Pinochet or 'NO' meaning to convocate national elections to choose a new president. This political referendum battle is known as the 'NO' Campaign versus the 'Yes' Campaign. The 'NO' Campaign being the most popular and the victorious one; colloquially referred to in Chile simply as 'El No' (The No)." After the plebiscite, the band returned to Argentina to participate in the commemoration of the 40 years of the Universal Declaration of Human Rights in a concert organized by Amnesty International, which had sought to make it in Chile, but was not able to due Pinochet's opposition. On October 14 of 1988 in the World Cup Stadium in Mendoza, Los Prisioneros shared the stage with Sting, Peter Gabriel, Tracy Chapman, Bruce Springsteen, Youssou N'Dour, the Mendozino group Markama and Chilean Group Inti Illimani, performing together the song "Get Up, Stand Up" by Bob Marley to an audience between 10,000 and 18,000 Chileans and Argentinians. "Chilean people were happy to be outside their country. They felt liberated. But the experience was strange because we were not too comfortable in Argentina. There was always this tension between Argentinians and Chileans. We did not leave with a pleasant memory."

They started their tour in Colombia, Venezuela and Mexico, Colombia being the country where they had they made the greatest impact. They sustained three consecutive tours in September and November 1988 and April, all in Colombia. The song "Pa pa pa" was the top seller in Bogota; according to Mario Ruiz, manager of marketing for the Latin market EMI at the time, the Chilean group managed to open the Colombian market for Spanish rock.

After the tour was canceled in Venezuela, they went to Mexico, where they were a virtually unknown band with little exposure in the country, and the band's songs "¿Quien Mató a Marilyn?", "La voz de los 80" and "Muevan Las Industrias" were mainly played on non-commercial radio. Soon after they reached Mexico, Claudio contracted a case of hepatitis and had to return to Chile to rest, leaving the band to suspend their promotional tour in that country.

1989-1990: Narea's departure, Corazones and break-up
In June 1989, Jorge Gonzalez and Carlos Fonseca traveled to Los Angeles, US, to record what would become the band's fourth album Corazones produced by the Argentinian Gustavo Santaolalla. This was the first album in which Jorge was not also the producer; all other previous albums were produced almost exclusively by him. Narea and Tapia thought that they would participate composing like they did in the album The Culture of Garbage. They composed 3 songs; however, the songs by Narea and Tapia were left out of the album. The reason for this —Carlos Fonseca stated— was that according to the law Jorge González was the composer of the group; and because Tapia could not travel due to problems with his visa. The new album was a departure from what they had done in the past. It had a new sound: with Electronic music dominating the album; and with keyboard as the main instrument. In those days —the partnership of Jorge and Claudio was ending— not just professionally (Jorge was inclined to synthpop; and Narea to rock and roll and blues from the 50 and 60) but personally as well. In February 1989 Claudio found love letters for his wife (Claudia Carvajal) written by his best friend and bandleader Jorge Gonzalez. A whole year passed before Narea's decision to leave the band. After Narea's wife returned to him following a brief affair with Jorge Gonzalez. The Songs from the Album Corazones(Hearts) are mostly about romanticism, but also classism and male chauvinism. Claudio attributed Gonzalez's songs as being inspired by the affair with his wife. Finally, in January 1990 Claudio bitterly decided to withdraw from the band. When the album was unveiled in May of that year Claudio Narea stated: "«...I decided to leave because I did not feel comfortable, to say the least. Everything was done for the approval and liking of Jorge, who for too long never considered at all my opinions nor those of Miguel's. It is time to walk away from lies. The Prisoners have been sham for a while. Only in the beginning, and shortly after Pateando Piedras, we were authentic —but after that— things began to change...»"

In 1990 the victory of the NO campaign, was ratified ending the Chilean military regime of Pinochet. Their albums were completely re-released in remastered compact disc formats, once Chile was no longer under a military regime. There was also talk of a new album and the departure of Claudio Narea. In an interview with Katherine Salosny, Jorge said he felt bad about the departure of Claudio Narea. The ""Agenda Extra Jóvenes"" featured the album's first single "Tren al sur" and premiered the Video clip 17 of the Album. Later that year, Cecilia Aguayo (ex The Cleopatras) joined the group, Jorge told them that she was the newest member of Los Prisioneros, but she could not play any instrument, yet she left her medicine studies to devote herself to learn keyboard on a Casio Keyboard. She Rehearsed every day in her house and when her friends came to visit her, and asked why she always played Prisioneros songs, she responded because I really like them-Jorge told her not to tell anyone until she was officially introduced as a member of the group.

It took Eight months after its launch for the album Corazones to become successful; the album managed to sell 180,000 copies; and sold triple platinum in Chile. The Day after the new lineup debuted at the Festival of Viña del Mar Fonseca left his position as Manager. The album Corazones was their most praised work and the most critically acclaimed, it is believed that had Los Prisioneros began their group as they were at that time; they would have been able to win trophies, awards and thousands in sales, even if in the end they would have lost their historic significance. In Argentina, though they were never very popular, Jorge Gonzalez was paid author's rights - in places like Córdoba and Rosario, the album was a success. They also were able to sign with Capitol Records to release Corazones in the United States.

On October 24, 1990, Jorge and Miguel announce the dissolution of the group, and released a video and album titled "Los Prisioneros: Grandes Éxitos", which sold over 120,000 copies in Chile and 54,000 outside of Chile. They started their farewell tour which ended in the National Stadium Chile, At the end of the performance people started screaming - "Narea, Narea, Narea" - Jorge González responded by mocking the new band of former his teammate, referring to them as "Proxenetas y Flemáticos" but the public became increasingly insistent with "Narea, Narea, Narea", Jorge González could not bear it, he threw his guitar down and ran into the dressing rooms crying. The last concert of Los Prisioneros was at that time was in Valparaíso, Chile in 1992. Throughout the decade of the 1990s, their music spreads out, reaching all of South and Central America as well as some parts of the United States, Canada and Europe. On October 1, 1993, the MTV Latin American made his debut using the music video for "We Are Sudamerican Rockers" by Los Prisioneros.

Ni Por La Razón, Ni Por La Fuerza, Trio Los Dioses and El Caset Pirata
In 1996 Los Prisioneros were seen again after several years, and started collecting the band's success, and unreleased songs, covers of some songs released abroad discarded songs, with more oddities from the time of Los Pseudopillos, Los Vinchukas, Gus Gusano y Los Apestosos. They created a compilation which sold 100.000 albums dobles.54Later, 40 songs were selected and featured in a double compact disc compilation album titled,Ni Por La Razón, Ni Por La Fuerza (Nor by reason, Nor by force). Its cover shows the faces of Jorge González, Miguel Tapia and Claudio Narea above the face of Bernardo O'Higgins, Jose Miguel Carrera and Manuel Rodríguez, considered the Fathers of the Chilean Homeland. The compilation album was promoted through the radios with the song "Las sierras Eléctricas", a song originally written and composed for the album Corazones, in 2001 a new version of This song was used to announce the reunion of the group in two shows of the National Stadium. They played privately in one event, in Balmaceda 1215, however, there was no talk about getting back together, nor the media showed any interest with the news, this album was re-released in others formats like; in 2012 when the compilation album was released on Vinyl.

In 1998 Jorge and Miguel were reunited, along with the Venezuelan artist Argenis Brito, to form the trio "Los Dioses" (The Gods), they launched a tour titled "Lo Mejor de Los Prisioneros" (The Best of The Prisoners) and toured Chile and Peru, interpreting classics of the prisoners, and did some gigs not but were not very successful. Gonzalez's aggressiveness and carelessness in front of his audiences pushed the public away. One Day Jorge collapsed due to his addiction to drugs and finally left the trio in March 1999, without releasing an album. Argenis Brito Miguel and continued together under as a duo under the new name "Humanitarian Reason". In 2000 Jorge suddenly stopped promoting his latest solo album, and he traveled to Cuba, to overcome his drug addiction in the Villa Center Detoxification Quinque in that country.

In October 2000 Carlos Fonseca released under the label Warner Music, the tribute album Tributo a Los Prisioneross, made up of 18 groups in Chile, with Jorge González doing Chorus vocals. Tributing bands included Glup!, Javiera y Los Imposibles, Lucybell, Los Tetas and La Ley. A month later, and produced by Jorge Gonzalez El Caset Pirata and the compilation of hits from the band recorded live from 1986 to 1991.57 40 As an advance, they released a single before the album's release on October 30, titled "No necesitamos banderas"(We Don't Need Flags), a presentation of the 1992 farewell tour banda. the album sold 20 000 copies. On August 31, 2011, it was re-released along with the other 3 albums La cultura de la basura, Pateando piedras and La voz de los '80.

2003: Original lineup reunion
In 2003 the band released their first new album since Claudio Narea left the band in 1990. It was titled self-titled, Los Prisioneros. The reviews for the album were quite mixed, some loved it while others did not or thought that the band no longer sounded like Los Prisioneros. The album had a whole new sound, but it kept the political lyrics of the band in most of their songs. Basically the first half of the album is very centered in the rock genre while the second half moves into more of an electronic and acoustic folk guitar influence. They made two videos for the album, one for "San Miguel" and one for "Ultra-Derecha". They then began a tour to promote the album in 2003.

The same year, Los Prisioneros played in the famous music festival of Viña Del Mar in Chile. This was a live broadcast show and a very controversial one. Jorge González changed or added lyrics expressing his anger towards George W. Bush, about the Iraq and Afghanistan invasions, and other major things happening in Chile. By this time, Jorge was becoming very outspoken which caused controversy, and tension began to become quite noticeable between Jorge and Claudio.

In September, Claudio Narea was dismissed by the band, the remaining members said they talked it out like gentlemen, and decided to keep the reason of his dismissal between the three, and then until the band's final break up in 2006, Los Prisioneros would face on and off controversy from certain newspapers and sometimes even from Claudio. During a press conference to announce Claudio's departure, and to announce his replacement, who was called "the guest of honor in the guitar", the press kept bringing the subject of Claudio's departure. The Band members became annoyed and told several of the press members that they would not give any details regarding the breakup between Los Prisioneros and Claudio and would refuse talk about it. Eventually, Jorge lost his temper and knocked down all the microphones and threw a glass jar of water (which was on the table) to the ground, then he left the conference and so did Miguel and "the guest of honor in the guitar, who was Álvaro Henríquez. The latter one left with a big smile on his face and waved goodbye.

New formation and First Cover Album
Los Prisioneros went into the Rock & Pop studios to record their live studio covers album with guest musician Álvaro Henríquez, of Los Tres fame. The album En Las Raras Tocatas Nuevas De La Rock & Pop features only two original Los Prisioneros songs while the rest are but covers. Some of the covers include "Es La Lluvia Que Cae" originally by the Rokes, "Birthday" by the Beatles, "Alone Again (naturally)" by Gilbert O'Sullivan and many others. In this album they record songs by other bands like Virus and the Children's mini series "31 Minutos". They also make new versions of 2 songs from their previous Albums ( "Concepción" and "En el cementerio"). The album had a limited production and is now a hard to find collector's item.

Reunion, tours, disco and second break up (2001–2003)
On September 5, 2001, the original lineup of The Prisoners was to officially launch the return of the group with a single. It was a new version of "Las sierras eléctricas" recorded for the occasion after 12 years, this song was originally recorded by the trio before Narea output Hearts in 1989 and was published posthumously, "Ni por la razon, Ni Por La fuerza"(Not by reason, Nor by Force) The same year EMI edited the double album ""Antologia, Su Historia Y Sus Exitos" (Anthology, its history and successes), although similar to other Large successes, the first album is full they decided to remove the last album, which only lasted 55 minutes. The label had contractual problems, because they could not edit a record without the consent of the band as they had to accommodate their wishes. Also included, in its original version, "Las sierras eléctricas" that was not owned by EMI. Later that same year, the original band members, González, Tapia and Narea, meet again to perform two concerts at the National Stadium in Santiago on November 30 and December, with a great acclaim and press coverage, which the musicians had never had that up until that point. They appeared in several front pages of newspapers, and there was such a congregation and emotional reunion. Los Prisioneros became the first and so far the only group to fill twice the National Stadium, a record surpassed in 2007 by Soda Stereo to exceed 126 000 tickets sold in two dates, with the tour "will see me back again". In 2002 they recorded this memorable performance in a live album and DVD, while the band did a successful tour through Chile and various countries in Latin America. It is at this time the band started to create small controversy for Jorge Gonzalez remarks while performing. In Peru, González said he was ashamed of the "Anti-Peruvian attitudes" of his fellow Chilean countrymen. Then, as in the case of the 2002 Teleton, where González made sarcastic comments about the companies associated with the event, accusing them of using the Teleton for their own benefit, turning it into a business. Until this day, those events are well remembered and talked about.

In February 2003, they had a strong and successful time at the Festival of Viña del Mar festival winning all the awards and in June 2003, Los Prisioneros released to the market a new album (the fifth of their career) simply titled Los Prisioneros. Although it was far away from the band's original sound. Things that made the band famous, the social critique and anti-neoliberal policy was not absent. The album achieved gold and platinum, and "Untra Derecha" ultra-right and San Miguel are the themes that emerged as singles. Some months later, yet again Claudio Narea is leaving Los Prisoners this time the reasons for his departure are published on the band's website.

"This dismissal was communicated to me on 18 August, as part of a meeting, to which I was summoned by George and Michael. Without dialogue nor discussion, Jorge González simply informed me that 'we do not want to play with you anymore.' Jorge accused me of wanting to outshine the band, and accused me of discussing problems within the band with friends who are outside the band. He was particularly upset by an interview in June, with the newspaper Las Ultimas Noticias, despite the fact that the interview was about my own personal matters and did not reveal any misfeasance about the band."

Tapia and González keep playing together with guest musicians. The big surprise was the temporary admission into the band of Álvaro Henríquez «formerly from Los Tres Band and from "Los Pettinellis" band (Chilean Rock Bands)»; with whom he recorded the album of covers and re-releases: Los Prisioneros En Las Raras Tocatas Nuevas De la Rock & Pop (The Prisoners In The New Strange Playings of Rock & Pop), recorded at the same radio Station.

On October 23 the prisoners were nominated as "Best Central Artist" by MTV Latin America, 64 who commemorated its ten years of existence and it was the band's second award, which is why they put together the supergroup, "Los Black Stripes" for the opening, with different exponents of Latin rock, including Jorge González, who shared the stage with the likes of Charly Alberti and Juanes. Then Alex Lora (El Tri) started singing "We are Sudamerican rockers", then joined with Jonaz and Rosso (Plastilina Mosh members), following them, González appeared singing "Bolero Falaz" (false Bolero) "by the Aterciopelados and then shouted "Viva Cuba". Jorge González later proceed to criticize MTV's new line up, saying that at first, MTV was oriented to true rock but today, the television station had become a sellout channel like all the other ones with a reality show, with Ricky Martin and Alejandro Sanz.

Re-awakened popularity and «Manzana»
In 2004, a new line-up with Gonzalo Yáñez (as guest musician) and Sergio "Coti" Badilla, released their new album called Manzana. The album received great reviews, and sales, even though Jorge had said it would be hard to promote the album. The album featured a far more pop rock influence than the previous album. The album sounds as if Los Prisioneros were somehow realizing their roots and in some of the songs, it is evident of past Los Prisioneros albums that came out in the 1980s. While the album has a lot of electronic synths and in general electronic influence, each song pretty much stayed in the Rock genre. Their lyrics were a lot more up front than their previous album.

They specifically attacked El Mercurio in the song "Mr. Right" about how that newspaper created propaganda against Allende and hinted that the Chilean coup of 1973 where Chile's then president (Salvador Allende) was mysteriously killed by (depending on the sources) himself or the army That Pinochet commanded. They made a video for "El Muro" and began a tour that same year to play in South and Central America, Mexico, the US and Canada. During the tours, two more videos followed, "Manzana" and "Eres Mi Hogar". By this time, the band members have privately agreed to dissolve the group around 2006 but officially they continue as a band, and they carry on as if everything is the same for the next 2 years. In late 2005, Jorge González the band's main vocalist agrees to an extensive interview by the noted Chilean Journalist and Writer "Emiliano Aguayo"; who in turn publishes a book titled "Maldito Sudaca: conversaciones con Jorge González" This book stands as a biographical account of the life of Jorge González and of the band. In addition the book has the most comprehensive discographical investigation of Jorge González as a musician. On February 18, 2005, they performed their last concert at the time in Caracas, Venezuela. After having successfully performed in Canada, United States, Mexico, Ecuador, Peru, Bolivia, Colombia and Chile, over the past two years. The dissolving of the group was agreed upon long before; although their closest fans were already aware of it, the press not informed, They cited the reason for the break up on the fact that they were all living in different cities. While Jorge González had taken up residence in Mexico, Miguel Tapia and Sergio Badilla remained in Santiago.

Final concerts and official dissolution
In 2005, Gonzalo Yáñez left the band (he was only a guest guitarist) to continue on his next album as a solo artist. The band continued touring until the end of 2005, and Jorge González had relocated to Mexico, D.F. After a dismal tour in early 2006 (of dates which the band were in contract to perform) the band announced on their official website that the band would be over in March 2006. This proved to be true when Jorge announced his new group Los Updates which has seen a very well received first full-length album in Europe, Japan and the United States where he has had good reviews by the specialized media in music.

On the other hand, the differences between Claudio Narea and Miguel Tapia would keep them apart since 2003. They were brought together in 2009 forming a new project called "Narea and Tapia", performing several live shows. The group indicated that they were recording new songs and would published on December 20, 2010, for free download on the Internet.

Social and political legacy
According to several authors, Los Prisioneros became, by their lyrics contingency and social critics voicing the feelings and thoughts of thousands of young Chileans and Latin Americans in the 1980s. On July 1, 1983: Gonzalez, Tapia Narea for the first time called themselves "The Prisoners" (Los Prisioneros) and chose that as the name of their band, while on the other hand, on May 11 that same year, the first protest against Pinochet's regime was held, resulting in a chain of protests until October 12, 1984. Both movement's paths had crossed and "The Prisoners" unwittingly became the banner of struggle in the fact that they were being censored by the mainstream media, including the then state government network, Televisión Nacional de Chile (Channel 7), During the 1985 Telethon, as Prisoners made their appearance the government cut off the signal from the teleton and broadcast commercials instead. According to Narea, they detected something that could be dangerous to the stability of the government of General Pinochet, while Fonseca said the band's first album, La Voz de los '80 'The Voice of the Eighties' made no direct attack on the Pinochet dictatorship neither did they ever sang a tribute to the slain Chilean president Salvador Allende.

Claudio Narea in his autobiography Mi Vida Como Prisionero (My life as a prisoner) wrote that "Los Prisioneros" leaned left politically: "'I remember when Jorge began to talk about socialism one day while we were walking in San Miguel.... He said it would be the most fair, no one would starve to death and that life would be better for everyone when that system was implanted, and that it was certain that it would be implemented... But in fact it was not so common to talk about politics within the band, because music was what filled us. We had no political prisoners in our families, and we did not go to protests. Although nevertheless, we began to detest Pinochet by observing the things that happened in those days, like the 'Caso Degollados' (Case of the Slit Throats), for example. Jorge Gonzalez has said many times that the lyrics were only a 'Stuffing' in the songs of 'Los Prisioneros'. But It was he who invented those songs.... Our band will be remembered forever by those who lived through the dictatorship —Precisely because of that— because there was a dictatorship and people could basically do nothing except sing the songs of our band. I have no idea if the fame and popularity of the band would have been the same without the Milicos (military regime) but I have the feeling that no, it wouldn't have. I believe we belong to that period whether we like it or not'."In the 1980s, Jorge González - leader and principal songwriter of the band - said: "...Los Prisioneros (The Prisoners) does not belong to any political party and we were not based on an ideological base nor an anti-establishment base...it is that —after the songs are made— those things appear in the foreground... We only say what common people feel. Some people recriminate against a capitalist society —not because they had read Marx— but because the money they have is not enough to buy everything that the television teaches one needs to be happy... To say that we are anti-establishment sounds like propaganda. We don't recriminate against one person but against the whole system as such..." According to Carlos Fonseca: The vision they had for the trio of San Miguel is that they wanted to be a successful group, "...That is why we did not dedicate lyrics to Chile... Now, over time, we realize that despite that, the people turned those songs into tools of their struggle against the dictatorship. That is why Jorge gets upset when asked about this, because he never felt he was doing protest songs".

Musical style and influences
In the beginning it was a rejection of folk music, of canned foreign music and of well-connected people singing romantic music on the bathtub and on TV "Los Prisioneros" described their music as new wave. When they were in high school they listened to the Beatles, Kiss, Queen and the Bee Gees. However, it was the British punk rock band The Clash who influenced them the most, particularly in their beginning phase. According to Narea: "...In 1981 we heard The Clash for the first time, through a 90-minute cassette that Claudio and Rodrigo Beltran just happened to record from a special radio concert. It featured the band's latest album at the time, titled Sandinista!. We were surprised by the diversity of sounds and beats from rock, to reggae, from jazz to even a bit of waltz added with humor, it was something so completely new for us..." Even Jorge Gonzalez declared "Sandinista!" his favorite album. The influence of The Clash was evident in Los Prisioneros albums such as La Voz De Los '80s (The Voice of the 80s) and also in their album "La Cultura De La basura" (trashy culture). They also influenced the lyrics and the look of the video clip "We are Sudamerican rockers." The wonder and appreciation they felt for the British band also led them to listen to other artists who cultivated the same genres, such as: The Specials, The Stranglers, Bob Marley, The Cars, Adam and the Ants, and Devo among others. Some critics have stated that Los Prisioneros were influenced by the Police but the group has emphatically denied this. According to the Chilean pop group Bambú, No necesitamos banderas was the first reggae album ever recorded in Chile.

In 1985, Jorge and Miguel were being influenced by the techno sound from groups such as Depeche Mode, Ultravox, New Order and Heaven 17. They were also influenced by new wave groups such as the Cure, as well as indie rock Groups like the Smiths and Aztec Camera. Jorge Gonzalez stated that Los Prisioneros were more a techno-pop group than a rock group. Ibeas Lalo, lead singer of the group Chancho en Piedra said, "...it was too risky and brave for Los Prisioneros to have made their second album while radically changing the sound of the band. To shift from the sound of the guitars to the style of The Clash and from there to the synthesizers sound, and yet still being able to sound like themselves..."

The band is classified as rock, Rock en Español, pop, folk, punk, post-punk, new wave, techno, electronic music, synthpop, and rockabilly. Also, influences of rock and roll, reggae, jazz, ska, rap, dance, vals, and experimental music.

Band members

 * Core members
 * Jorge González – lead vocals, bass, guitars, keyboards. (1983–1992, 2001–2006)
 * Claudio Narea – guitars, keyboards, vocals. (1983–1990, 2001–2003)
 * Miguel Tapia – drums, percussion, keyboards, vocals. (1983–1992, 2001–2006)

 * Support members
 * Cecilia Aguayo – keyboards, percussion, backing vocals. (1990–1992)
 * Robert Rodriguez – bass, guitars, keyboards, backing vocals. (1990–1992)
 * Álvaro Henríquez – guitars, backing vocals. (2003–2004)
 * Sergio Badilla – keyboards, guitars. (2003 live; 2004–2006)
 * Gonzalo Yañez – guitars, backing vocals. (2004–2006)

Discography

 * La voz de los '80 (1984)
 * Pateando piedras (1986)
 * La cultura de la basura (1987)
 * Corazones (1990)
 * Los Prisioneros (2003)
 * Manzana (2004)

title: Los Prisioneros


text: Talk:Human geography

title: Talk:Human geography


text:
One wall paddleball

One wall paddleball is an American ball game that consists of hitting a small rubber ball against a single wall by using paddles. It can be played in singles (1 versus 1) or in doubles (2 versus 2). The general rule of the game is that the ball must hit the wall without touching the court floor more than once in order to be a valid rally. The balls are usually black, blue, and green. The paddles were originally made of wood, but they are now primarily made of materials such as graphite and titanium.

The game is popular in places where the weather permits outdoor play such as New York, Florida, New Jersey, Connecticut, California and Puerto Rico, although indoor courts, although rare, exist. Tournaments are ruled by the American Paddleball Association.

History
The history of the game is somehow undocumented, but it obviously originates from American handball which consists of hitting the ball with the bare hand or a gloved palm. However, due to the cold weather in northern American states, the players carved wooden paddles to hit with to relieve the pain from the cold. Other form of game is four wall paddleball.

Other governing bodies
There have been many attempts to package paddleball as a sport. However, attempts to organize it have had mixed results. Founded in 1960, the original U.S. Paddleball Association was the inspiration of doubles champion and founder, Christopher Lecakes, and lasted well into the 1970s. In the late 1960s, the American Paddleball Association (APA) was organized, only to be challenged by the Paddleball Players Association in 1974. In the 1980s, the PPPA, founded by Ray Gaston, became the dominant governing body, and small community-based organizations like the One Wall Paddleball Association founded by Murry "DA K" Kushner continued efforts to push the sport forward. In the early 1990s, the National Paddleball Association, founded by Michael G. Magnaldi, George Medici and Linda Sales, picked up the torch from the prior organizations. The NPA officially ceased operations in early 2006. All prior organizations eventually became inactive. The APA was reorganized in the late 1990s by paddleball legend Howard Hammer and shortly thereafter became inactive again. In 2005, the United States Paddleball Association (USPA) was reborn, this time headed by Henry Marquez and beginning with an authorized revision of Christopher Lecakes' original one pall Paddleball rules. The USPA remains active in overseeing the sport's promotion and application of its original rules.

A number of factors prevent paddleball from becoming more of a national sport, notwithstanding the lack of walls outside of the New York region. Part of the problem stems from the experience in New York City with annual tournaments, which when sponsored by companies such as Budweiser (in the 80s) fell victim to forces on tournament courts that turned away further corporate involvement. Another is the speed of the game, which, barring technological advancement, prevents televising tournaments. The ball moves too fast and the court is too small for following the action during a live game. Without the revenue stream from television, the game is relegated to member fees to enter tournaments which are sponsored locally.

title: One wall paddleball


text:
Trace gas

Trace gases are gases that are present in small amounts within an environment such as a planet's atmosphere. Trace gases in Earth's atmosphere are gases other than nitrogen (78.1%), oxygen (20.9%), and argon (0.934%) which, in combination, make up 99.934% of its atmosphere (not including water vapor).

Abundance, sources and sinks
The abundance of a trace gas can range from a few parts per trillion (ppt) by volume to several hundred parts per million by volume (ppmv). When a trace gas is added into the atmosphere, that process is called a source. There are two possible types of sources - natural or anthropogenic. Natural sources are caused by processes that occur in nature. In contrast, anthropogenic sources are caused by human activity.

Some sources of a trace gas are biogenic processes, outgassing from solid Earth, ocean emissions, industrial emissions, and in situ formation. A few examples of biogenic sources include photosynthesis, animal excrements, termites, rice paddies, and wetlands. Volcanoes are the main source for trace gases from solid earth. The global ocean is also a source of several trace gases, in particular sulfur-containing gases. In situ trace gas formation occurs through chemical reactions in the gas-phase. Anthropogenic sources are caused by human related activities such as fossil fuel combustion (e.g. in transportation), fossil fuel mining, biomass burning, and industrial activity.

In contrast, a sink is when a trace gas is removed from the atmosphere. Some of the sinks of trace gases are chemical reactions in the atmosphere, mainly with the OH radical, gas-to-particle conversion forming aerosols, wet deposition and dry deposition. Other sinks include microbiological activity in soils.

Below is a chart of several trace gases including their abundances, atmospheric lifetimes, sources, and sinks.

Trace gases – taken at pressure 1 atm The Intergovernmental Panel on Climate Change (IPCC) states that "no single atmospheric lifetime can be given" for CO2. This is mostly due to the high rate of growth and large cumulative magnitude of the disturbances to Earth's carbon cycle by the geologic extraction and burning of fossil carbon. As of year 2014, fossil CO2 emitted as a theoretical 10 to 100 GtC pulse on top of the existing atmospheric concentration was expected to be 50% removed by land vegetation and ocean sinks in less than about a century. A substantial fraction (20-35%) was also projected to remain in the atmosphere for centuries to millennia, where fractional persistence increases with pulse size. Thus CO2 lifetime effectively increases as more fossil carbon is extracted by humans.

Mixing and lifetime
The overall abundance of man-made trace gases in Earth's atmosphere is growing. Most originate from industrial activity in the more populated northern hemisphere. Time-series data from measurement stations around the world indicate that it typically takes 1–2 years for their concentrations to become well-mixed throughout the troposphere.

The residence time of a trace gas depends on the abundance and rate of removal. The Junge (empirical) relationship describes the relationship between concentration fluctuations and residence time of a gas in the atmosphere. It can expressed as fc = b/τr, where fc is the coefficient of variation, τr is the residence time in years, and b is an empirical constant, which Junge originally gave as 0.14 years. As residence time increases, the concentration variability decreases. This implies that the most reactive gases have the most concentration variability because of their shorter lifetimes. In contrast, more inert gases are non-variable and have longer lifetimes. When measured far from their sources and sinks, the relationship can be used to estimate tropospheric residence times of gases.

Trace greenhouse gases
A few examples of the major greenhouse gases are water, carbon dioxide, methane, nitrous oxide, ozone, and CFCs. These gases can absorb infrared radiation from the Earth's surface as it passes through the atmosphere.

The most influential greenhouse gas is water vapor. It frequently occurs in high concentrations, may transition to and from an aerosol (clouds), and is thus not generally classified as a trace gas. Regionally, water vapor can trap up to 80 percent of outgoing IR radiation. Globally, water vapor is responsible for about half of Earth's total greenhouse effect.

The second most important greenhouse gas, and the most important trace gas affected by man-made sources, is carbon dioxide. It contributes about 20% of Earth's total greenhouse effect. The reason that greenhouse gases can absorb infrared radiation is their molecular structure. For example, carbon dioxide has two basic modes of vibration that create a strong dipole moment, which causes its strong absorption of infrared radiation.

In contrast, the most abundant gases (,, and ) in the atmosphere are not greenhouse gases. This is because they cannot absorb infrared radiation as they do not have vibrations with a dipole moment. For instance, the triple bonds of atmospheric dinitrogen make for a symmetric molecule with vibrational energy states that are almost totally unaffected at infrared frequencies.

Below is a table of some of the major trace greenhouse gases, their man-made sources, and an estimate of the relative contribution of those sources to the enhanced greenhouse effect that influences global warming.

Key Greenhouse Gases and Sources

title: Trace gas


text:
Claiborne

Claiborne may refer to:

Surname

 * Billy Claiborne (1860–1882), American outlaw
 * Lindy Boggs (Corinne Claiborne Boggs, 1916–2013), member of the U.S. House of Representatives from Louisiana; U.S. Ambassador to the Vatican
 * Chris Claiborne (born 1978), former American football linebacker
 * Craig Claiborne (1920–2000), U.S. food writer and columnist for the New York Times
 * Ferdinand Claiborne (1773–1815), U.S. military officer most notable for his command during the Creek War and the War of 1812
 * Harry E. Claiborne (1917–2004), United States District Judge, Nevada, from 1978 until his impeachment and removal in 1986
 * James Robert Claiborne (1882–1944), member of the U.S. House of Representatives from Missouri
 * John Claiborne (1777–1808), member of the U.S. House of Representatives from Virginia
 * John Claiborne (baseball executive) (born 1940), executive in American Major League Baseball and a president of the New England Sports Network (NESN)
 * John Francis Hamtramck Claiborne (1809–1884), member of Mississippi state legislature
 * John Herbert Claiborne (1828–1905), surgeon and physicist
 * Liz Claiborne (1929–2007), pioneer fashion designer and entrepreneur
 * Nathaniel Claiborne (1777–1859), member of Virginia state legislature, member of the U.S. House of Representatives from Virginia
 * Robert Claiborne (1919–1990), American folk singer, labor organizer and writer of books on science, anthropology and linguistics
 * Shane Claiborne (born 1975), Christian writer, speaker, and activist
 * Theresa Claiborne (born 1959), first African-American female pilot in the United States Air Force
 * Thomas Claiborne (1749–1812), member of Virginia state legislature; member of the U.S. House of Representatives from Virginia
 * Thomas Claiborne (1780–1856), lawyer; member of Tennessee state house of representatives; member of the U.S. House of Representatives from Tennessee
 * William Claiborne (c. 1600–1676), Virginia statesman
 * William C. C. Claiborne (died 1817), member of the U.S. House of Representatives from Tennessee and first Governor of Louisiana

Given name

 * C. P. Ellis (Claiborne P. Ellis, 1927–2005), Ku Klux Klan member turned civil rights activist
 * Claiborne P. Deming, American businessman.
 * Claiborne Fox Jackson (1806–1862), Governor of Missouri
 * Claiborne Pell (1918–2009), U.S. senator from Rhode Island

Places in the United States

 * Claiborne, Alabama
 * Claiborne, Louisiana
 * Claiborne, Maryland
 * Claiborne, Virginia
 * Claiborne County (disambiguation)
 * Claiborne Farm, thoroughbred race horse breeding farm in Paris, Kentucky
 * Claiborne Formation, a geologic formation in Arkansas, Illinois, and Kentucky, U.S.
 * Claiborne Parish, Louisiana
 * Lake Claiborne, a reservoir near Homer, Louisiana, U.S.

title: Claiborne


text:
Wikipedia:Categories for deletion/Social justice

Category:Social justice was listed for deletion on January 17, 2005. No clear consensus with a slim 4-3 Delete majority. Will be posting to VFD for further discussion. RedWolf 18:56, Feb 6, 2005 (UTC)

(copied from Category_talk:Social justice, where it got no reply)

"This category includes disparate topics which pertain in one way or another to matters of the human condition by creating a social structure which is more democratic, just, and considerate of individuals from all social stations."

How is this anything other than an extremely POV criterion for a category? Moreover, I'm not even sure it's possible to develop an NPOV one -- most everyone involved in politics believes they're working for social justice in one way or another. It's like having a category for "Beauty" and adding it to various artistic works judged to beautiful. RadicalSubversiv E 11:17, 17 Jan 2005 (UTC)
 * I agree. This is in no way a classification—it can at best be an index for a personal essay.  Delete it.  Postdlf 07:44, 20 Jan 2005 (UTC)

 * Delete. Massively POV. For instance, Howard Zinn is in this category; conservatives and many centrists believe that implementation of his ideas would make (and have made) the human condition worse, not better. Personal political beliefs apparently determine what belongs in this category, which is doubleplusungood. --Kevin Myers 16:05, Jan 25, 2005 (UTC)

 * Keep. Claiming that an ideology improves social justice may be POV,  but reporting that it claims to improve social justice is NPOV.  Its not true that all ideologies claim to directly put social justice for the individual first — many explicitly choose the state, the market or god(s) over the individual.  Instead of deletion, how about clarifying the description and balancing the selection of articles?  The normal wiki process can decide what goes in or out, just as it decides claims made in individual articles.  Whether people disagree with Howard Zinn is irrelevant. Jihg 17:07, Jan 25, 2005 (UTC)

 * Keep. It's not the category that needs deletion, it's the description of the category that needs to be NPOV'ed.  It would join several other categories we have where the criteria is not "everyone agrees that it meets this criterion" but "it is argued by a substantial number of people that it meets this criterion" -- Category:Cults, for instance.  Would you argue that that category needs to be deleted because whether a particular active group is a "cult" will always be a matter of disagreement? -- Antaeus Feldspar 18:26, 25 Jan 2005 (UTC)
 * Defining what belongs in a category like "cults" is similarly problematic, but there is at least some general agreement as to what objective standards are used to define a cult. There is no such agreement as to what defines "social justice" -- it is a highly subjective standard. For example, a contributor might decide to add Ronald Reagan to the social justice category, citing Reagan's opposition to Soviet oppression as reason for inclusion, since Reagan clearly believed that social justice was served by confronting the "evil empire." So, those of you who support this category: Does Reagan belong in it? If not, why? If so, we'll go ahead and add him. --Kevin Myers 16:56, Jan 26, 2005 (UTC)
 * "there is at least some general agreement as to what objective standards are used to define a cult."There is? That's news to me.  I wonder why there are so many tooth-and-nail fights about whether any such objective standards even exist or whether they're all inventions of the evil anti-cult movement, then.  As for Reagan, frankly, the only reason that someone would decide to try selling him as someone whose policies showed a focus on "social justice" would be to try and make the standard as murky and ill-defined as possible and then complain that it's too murky and ill-defined to work with.  As you are doing.  I could bring up similar self-parodying "counter-examples" -- why don't we put Hitler in there!  He clearly thought he was doing social justice for the Aryan race! -- but just because a mitten breaks when you try to put your foot in it, and a foot can be argued to be a lot like a hand, one has not proved that a mitten is too useless a thing to wear on one's hand. -- Antaeus Feldspar 19:00, 26 Jan 2005 (UTC)
 * You've illustrated my point perfectly. I mean that sincerely without any negative attitude. You suggest that Reagan, like Hilter (!), has nothing to do with "social justice"; many of Reagan's supporters would honestly disagree. Clearly, the criteria for this category is dependent upon personal political ideology, and thus the category is unsuitable for Wikipedia. --Kevin Myers 19:49, Jan 26, 2005 (UTC)
 * Looks like we have to agree to disagree, then. I didn't say that Reagan had nothing to do with social justice -- if you want to be that technical, you could probably find some things that Hitler did that would count as social justice.  You could probably even find supporters of both, even today, who would honestly believe that all the things those two did which could be counted as "social justice" outweigh all those things that slap social justice in the face.  And again, I direct your attention to Category:Cults.  Do you think there is any single organization in that list which doesn't have its adherents that would swear up and down that they don't fit the definition for a cult?  The cult's supporters honestly believe they're not in a cult; Reagan's supporters honestly believe that Reagan gave a lot of thought to civil liberties and social justice.  From this simple fact -- "someone out there disagrees" -- we cannot deduce that the criteria are so vague that we need to delete the category. -- Antaeus Feldspar 02:04, 27 Jan 2005 (UTC)

 * Delete. Too vague. (Social justice organizations, OTOH, are clearly identifiable) -Willmcw 20:23, 26 Jan 2005 (UTC)

 * Keep. First of all, it's well populated and useful. People who disagree with the general thrust of the social justice movement might still find it handy to have all articles on the subject grouped. There are other categories whose name implies some value judgement: Category:Feminism, Category:Terrorism, Category:Propaganda, Category:Imperialism. Neutrality doesen't require neutering. A cross reference to other views on social justice could provide balance, say: "Others hold that much done in the name of social justice has had a contrary effect, see e.g. Libertarianism." --agr 03:12, 28 Jan 2005 (UTC)
 * It's well populated because it's so vague or amorphous. Right now the category mostly consists of a seemingly random assortment of articles from other, well-defined categories: Category:Human rights, Category:Civil Rights, Category:Pacifism, and Category:Labor organizers, and their various sub-categories (Category:Human rights bodies, Category:Civil rights activists, etc.), along with a sprinkling of "governmental social welfare program" articles (which actually might need a category created). Some of those categories are very well populated, and there's no reason why a great many more articles from all of those categories couldn't be added to Category:social justice as well; eventually, they probably will be added. And since "social justice" is more of a general notion rather than a clearly defined category, more categories might be imported wholesale as well (articles about gay rights, feminism, democratic revolutions, etc. are bound to wind up here). Would a category that ginormous still be useful?
 * And, at the risk of repeating an as-of-yet unanswered question, what exactly are the criteria for including or excluding articles from this category? Clearly Ronald Reagan doesn't belong, for reasons having to do with cults and Hitler's mittens or something. ;-) But does anarcho-syndicalism belong in this category? Does Susan Sontag? Does the Emancipation Proclamation? What about Simón Bolívar? People who have voted "keep" seem to indicate that the criteria is self-evident. If the category is kept, shouldn't the criteria be more clearly defined? --Kevin Myers 05:47, Jan 28, 2005 (UTC)

 * Keep. There is something loosely called "The Social Justice Movement." Those who believe they are involved in it certainly know who they are. True the definition of Social Justice (there is a Wikipedia article on the topic) can be variable according to point of view. At the same time it is useful for the reader to have access to a collection of articles that otherwise would have nothing to relate them one to the other. The term "Social Justice" means a lot more to people involved in what is sometimes called the "The Movement" than to anyone for whom this has not been a passion. There is a reference to "Social Justice people," for example, referring to individuals who work for Social Justice. The reader can be the judge as to whether an article meets their standard of "Social Justice." But the reader has, at least, the opportunity to make that judgment if this category remains. Also, just because something (or someone) is controversial (Howard Zinn as referenced above) does not raise a POV issue. There is always controversy around Social Justice. Some may even see the term itself as anti-American. All the more reason within a society that permits free speech to allow readers to explore the topic through this category and be their own judge (I might be wrong, but I don't think Mr. Reagan would have identified himself with the Social Justice Movement). --P D Sheehy 04:44, 28 May 2005 (UTC)


text:
Thomas Claiborne

Thomas Claiborne may refer to:
 * Thomas Claiborne (1749–1812), Democrat; Member of Virginia state legislature; U.S. Representative from Virginia
 * Thomas Claiborne (1780–1856), Democrat; Lawyer; member of Tennessee state house of representatives; U.S. Representative from Tennessee

title: Thomas Claiborne


text:
Salvatore Farina

Salvatore Farina (10 January 1846 – 15 December 1918) was an Italian novelist whose style of sentimental humor has been compared to that of Charles Dickens. He was nominated for the Nobel Prize in Literature three times.

Life
Born in the Sardinian town of Sorso, he studied law at Turin and Pavia before moving to Milan and taking up literature, remaining there for the rest of his life. The late nineteenth century English novelist George Gissing thought that his novella Si Muore, read by him in January 1890, was 'far more interesting than I expected; in fact excellently written'.

Works

 * Il tesoro di Donnina (1873)
 * Amore bendato (1875)
 * Capelli biondi (1876)
 * Mio figlio! (1877-1881)
 * Si Muore: L'ultima battaglia di Prete Agostino (1886)
 * Frutti proibiti
 * Un tiranno al bagni di mare
 * Cuore e blasone
 * Due amori
 * Amore ha cento occhi
 * Per la vita e per la morte
 * La mia giornata, a trilogy:
 * Dall'alba al meriggio (1910)
 * Care ombre (1913)
 * Dal meriggio al tramonto (1915)

title: Salvatore Farina


text: User talk:82.41.5.211

title: User talk:82.41.5.211


text: File:RedpathSugarLabel.jpg

title: File:RedpathSugarLabel.jpg