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Chimichanga

A chimichanga is a deep-fried burrito that is common in Mexican, Tex-Mex and other Southwestern U.S. cuisine. The dish is typically prepared by filling a flour tortilla with various ingredients, most commonly rice, cheese, beans, and a meat such as machaca (chopped or shredded meat), carne adobada (marinated meat), carne seca (dried beef), or shredded chicken, and folding it into a rectangular package. It is then deep-fried, and can be accompanied by salsa, guacamole, or sour cream.

Origins
The origin of the chimichanga is uncertain. According to Mexican linguist and philologist Francisco J. Santamaría's Diccionario de Mejicanismos (1959), Chivichanga is a regionalism from the State of Tabasco: "In Tabasco, it's any trinket or trifle; something unimportant and whose true role or origin, is not known legitimately. — Variants: chibachanga, chimichanga." Chimichanga and its variants Chivichanga and Chibachanga are synonymous with the term Timbirimba, which means: "Term used in some parts of the interior of the country, to refer to a thing whose name is unknown, or a thing that is properly ignored. What timbirimba is that? Synonym of chivichanga."

Folk history
From the Mexican term chivichanga, one account adduces that Sonoran immigrants brought the dish with them to Arizona. Instead, most researchers agree that the chimichanga was created by accident at a Mexican restaurant in Arizona, United States, although they disagree over precisely where. The words chimi and changa come from two Mexican Spanish terms: chamuscado (past participle of the verb chamuscar), which means seared or singed, and changa, related to chinga (third-person present tense form of the vulgar verb chingar ), a rude expression for the unexpected or a small insult.

According to one source, Monica Flin, the founder of the Tucson, Arizona, restaurant El Charro Café (est. 1922), accidentally dropped a burrito into the deep-fat fryer in the early 1950s. She immediately began to utter a Spanish profanity beginning "chi..." (chingada), but quickly stopped herself and instead exclaimed chimichanga, a Spanish equivalent of "thingamajig". Knowledge and appreciation of the dish spread slowly outward from the Tucson area, with popularity elsewhere accelerating in recent decades. Though the chimichanga is now found as part of the Tex-Mex cuisine, its roots within the U.S. are mainly in Tucson, Arizona.

Woody Johnson, founder of Mexican restaurant chain Macayo's Mexican Kitchen, claimed he had invented the chimichanga in 1946 when he put some burritos into a deep fryer as an experiment at his original restaurant Woody's El Nido, in Phoenix, Arizona. These "fried burritos" became so popular that by 1952, when Woody's El Nido became Macayo's, the chimichanga was one of the restaurant's main menu items. Johnson opened Macayo's in 1952. Although no official records indicate when the dish first appeared, retired University of Arizona folklorist Jim Griffith recalls seeing chimichangas at the Yaqui Old Pascua Village in Tucson in the mid-1950s.

Nutritional value
According to data presented by the United States Department of Agriculture, a typical 183-gram (6.5-ounce) serving of a beef and cheese chimichanga contains 443 calories, 20 grams protein, 39 grams carbohydrates, 23 grams total fat, 11 grams saturated fat, 51 milligrams cholesterol, and 957 milligrams of sodium.

title: Chimichanga


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Mind (song)

"Mind" is a single by Liverpool-based baggy group The Farm, released as the first single off their second album Love See No Colour on 12 August 1991 through the band's label Produce Records. It was produced by Graham "Suggs" McPherson of Madness. The single peaked at #31 on the UK Singles Chart.

UK CD single

 * 1) "Mind" (Original 7" Mix) - 4:30
 * 2) "Stepping Stone" (12" Original Mix) - 6:30
 * 3) "Mind" (Contorted Face Mix) - 4:39
 * 4) "Over Again" (Live Demo) - 4:12

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

title: Mind (song)


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Euclidean tilings by convex regular polygons

Euclidean plane tilings by convex regular polygons have been widely used since antiquity. The first systematic mathematical treatment was that of Kepler in his Harmonices Mundi (Latin: The Harmony of the World, 1619).

Notation of Euclidean tilings
Euclidean tilings are usually named after Cundy & Rollett’s notation. This notation represents (i) the number of vertices, (ii) the number of polygons around each vertex (arranged clockwise) and (iii) the number of sides to each of those polygons. For example: 36; 36; 34.6, tells us there are 3 vertices with 2 different vertex types, so this tiling would be classed as a ‘3-uniform (2-vertex types)’ tiling. Broken down, 36; 36 (both of different transitivity class), or (36)2, tells us that there are 2 vertices (denoted by the superscript 2), each with 6 equilateral 3-sided polygons (triangles). With a final vertex 34.6, 4 more contiguous equilateral triangles and a single regular hexagon.

However, this notation has two main problems related to ambiguous conformation and uniqueness First, when it comes to k-uniform tilings, the notation does not explain the relationships between the vertices. This makes it impossible to generate a covered plane given the notation alone. And second, some tessellations have the same nomenclature, they are very similar but it can be noticed that the relative positions of the hexagons are different. Therefore, the second problem is that this nomenclature is not unique for each tessellation.

In order to solve those problems, GomJau-Hogg’s notation is a slightly modified version of the research and notation presented in 2012, about the generation and nomenclature of tessellations and double-layer grids. Antwerp v3.0, a free online application, allows for the infinite generation of regular polygon tilings through a set of shape placement stages and iterative rotation and reflection operations, obtained directly from the GomJau-Hogg’s notation.

Regular tilings
Following Grünbaum and Shephard (section 1.3), a tiling is said to be regular if the symmetry group of the tiling acts transitively on the flags of the tiling, where a flag is a triple consisting of a mutually incident vertex, edge and tile of the tiling. This means that, for every pair of flags, there is a symmetry operation mapping the first flag to the second. This is equivalent to the tiling being an edge-to-edge tiling by congruent regular polygons. There must be six equilateral triangles, four squares or three regular hexagons at a vertex, yielding the three regular tessellations.

C&R: Cundy & Rollet's notation GJ-H: Notation of GomJau-Hogg

Archimedean, uniform or semiregular tilings
Vertex-transitivity means that for every pair of vertices there is a symmetry operation mapping the first vertex to the second.

If the requirement of flag-transitivity is relaxed to one of vertex-transitivity, while the condition that the tiling is edge-to-edge is kept, there are eight additional tilings possible, known as Archimedean, uniform or semiregular tilings. Note that there are two mirror image (enantiomorphic or chiral) forms of 34.6 (snub hexagonal) tiling, only one of which is shown in the following table. All other regular and semiregular tilings are achiral.

C&R: Cundy & Rollet's notation GJ-H: Notation of GomJau-Hogg Grünbaum and Shephard distinguish the description of these tilings as Archimedean as referring only to the local property of the arrangement of tiles around each vertex being the same, and that as uniform as referring to the global property of vertex-transitivity. Though these yield the same set of tilings in the plane, in other spaces there are Archimedean tilings which are not uniform.

Plane-vertex tilings
There are 17 combinations of regular convex polygons that form 21 types of plane-vertex tilings. Polygons in these meet at a point with no gap or overlap. Listing by their vertex figures, one has 6 polygons, three have 5 polygons, seven have 4 polygons, and ten have 3 polygons.

As detailed in the sections above, three of them can make regular tilings (63, 44, 36), and eight more can make semiregular or archimedean tilings, (3.12.12, 4.6.12, 4.8.8, (3.6)2, 3.4.6.4, 3.3.4.3.4, 3.3.3.4.4, 3.3.3.3.6). Four of them can exist in higher k-uniform tilings (3.3.4.12, 3.4.3.12, 3.3.6.6, 3.4.4.6), while six can not be used to completely tile the plane by regular polygons with no gaps or overlaps - they only tessellate space entirely when irregular polygons are included (3.7.42, 3.8.24, 3.9.18, 3.10.15, 4.5.20, 5.5.10).

k-uniform tilings
Such periodic tilings may be classified by the number of orbits of vertices, edges and tiles. If there are $k$ orbits of vertices, a tiling is known as $k$-uniform or $k$-isogonal; if there are $t$ orbits of tiles, as $t$-isohedral; if there are $e$ orbits of edges, as $e$-isotoxal.

k-uniform tilings with the same vertex figures can be further identified by their wallpaper group symmetry.

1-uniform tilings include 3 regular tilings, and 8 semiregular ones, with 2 or more types of regular polygon faces. There are 20 2-uniform tilings, 61 3-uniform tilings, 151 4-uniform tilings, 332 5-uniform tilings and 673 6-uniform tilings. Each can be grouped by the number m of distinct vertex figures, which are also called m-Archimedean tilings.

Finally, if the number of types of vertices is the same as the uniformity (m = k below), then the tiling is said to be Krotenheerdt. In general, the uniformity is greater than or equal to the number of types of vertices (m ≥ k), as different types of vertices necessarily have different orbits, but not vice versa. Setting m = n = k, there are 11 such tilings for n = 1; 20 such tilings for n = 2; 39 such tilings for n = 3; 33 such tilings for n = 4; 15 such tilings for n = 5; 10 such tilings for n = 6; and 7 such tilings for n = 7.

Below is an example of a 3-unifom tiling:

2-uniform tilings
There are twenty (20) 2-uniform tilings of the Euclidean plane. (also called 2-isogonal tilings or demiregular tilings)  Vertex types are listed for each. If two tilings share the same two vertex types, they are given subscripts 1,2.

Higher k-uniform tilings
k-uniform tilings have been enumerated up to 6. There are 673 6-uniform tilings of the Euclidean plane. Brian Galebach's search reproduced Krotenheerdt's list of 10 6-uniform tilings with 6 distinct vertex types, as well as finding 92 of them with 5 vertex types, 187 of them with 4 vertex types, 284 of them with 3 vertex types, and 100 with 2 vertex types.

Fractalizing k-uniform tilings
There are many ways of generating new k-uniform tilings from old k-uniform tilings. For example, notice that the 2-uniform [3.12.12; 3.4.3.12] tiling has a square lattice, the 4(3-1)-uniform [343.12; (3.122)3] tiling has a snub square lattice, and the 5(3-1-1)-uniform [334.12; 343.12; (3.12.12)3] tiling has an elongated triangular lattice. These higher-order uniform tilings use the same lattice but possess greater complexity. The fractalizing basis for theses tilings is as follows: The side lengths are dilated by a factor of $$2+\sqrt{3}$$.

This can similarly be done with the truncated trihexagonal tiling as a basis, with corresponding dilation of $$3+\sqrt{3}$$.

Tilings that are not edge-to-edge
Convex regular polygons can also form plane tilings that are not edge-to-edge. Such tilings can be considered edge-to-edge as nonregular polygons with adjacent colinear edges.

There are seven families of isogonal each family having a real-valued parameter determining the overlap between sides of adjacent tiles or the ratio between the edge lengths of different tiles. Two of the families are generated from shifted square, either progressive or zig-zagging positions. Grünbaum and Shephard call these tilings uniform although it contradicts Coxeter's definition for uniformity which requires edge-to-edge regular polygons. Such isogonal tilings are actually topologically identical to the uniform tilings, with different geometric proportions.


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Wikipedia:Articles for deletion/Enfield Chase

 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 keep. —Korath (Talk) 15:34, Mar 17, 2005 (UTC)

Enfield Chase railway station (was Enfield Chase)
Pointless stub--69.11.250.209 00:04, 27 Feb 2005 (UTC)
 * Note: Completing the VfD process begun incorrectly by the above anon.  This posting is not a vote.  RickK 00:54, Mar 3, 2005 (UTC)
 * Keep and expand. The precedent for railroad stations has been set. That said, this article is an embarassment. Meelar (talk) 02:09, Mar 3, 2005 (UTC)
 * Keep. And expand. Cnwb 06:41, 3 Mar 2005 (UTC)
 * Keep, expand, categorise - David Gerard 01:28, 5 Mar 2005 (UTC)
 * Note: I've moved the page to the more correct title of Enfield Chase railway station and started a new stub at Enfield Chase on the ancient forest. sjorford →•← 17:06, 7 Mar 2005 (UTC)
 * Keep. --Grouse 13:13, 8 Mar 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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User:Seyon

Hi all,

I'm a diplomat, engineer, and all-around geek currently residing in Fiji.

I have a B.S. in Computer Science and another B.S. in International Affairs & Modern Languages, both from Georgia Tech.

I've created numerous articles, the most popular of which is probably the article on Rebelde, a Mexican telenovela which I was a huge fan of.

title: User:Seyon


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Hervé Gaymard

Hervé Gaymard (born 31 May 1960) is a French politician and a member of The Republicans conservative party. He served as the country's Minister of Finances from 30 November 2004 until his resignation on 25 February 2005.

Gaymard attended Sciences Po and then at the École nationale d'administration, graduating from the latter in 1986. After that he worked as a civil servant in a number of finance-related positions.

He was elected as a local councillor in the Savoie commune of Moûtiers in 1994. He later served on the departmental council of Savoie, and in 1999, became its president. He was appointed to the finance ministry in November 2004, and was forced to resign barely 12 weeks later, on Friday, 25 February 2005.

He is married to Clara Gaymard, CEO of General Electric in France (and VP of GE International), the daughter of geneticist and anti-abortion activist Jérôme Lejeune. A Catholic, he is the father of nine children: Philothée, Bérénice, Thaïs, Marie-Lou, Amédée, Eulalie, Faustine, Jérôme-Aristide, Angélico.

Scandal
Gaymard's resigned as Minister of Finances after the satirical and investigative newspaper Le Canard enchaîné disclosed on 16 February 2005 that the government was funding an exclusive apartment for Gaymard and his family (his wife and 8 of his children). The duplex apartment, located in the exclusive "Golden Triangle" neighbourhood off Paris' Champs-Élysées, reportedly had an area of 600 m2 (6460 sq ft) and cost the state a monthly rental of €14,000. Aside from the luxuriously high rent, the state was also funding $3,300 a month for maintenance and three parking spaces, $42,000 to renovate the apartment and the parking area, and $16,000 in real estate fees.

Resignation
While Gaymard's actions were not illegal, the exposure of Gaymard's accepting lavish, state-funded perks, then attempting to lie in interviews, was bad news for the government at a time when the French public was asked to accept more economic sacrifices while reeling from a staggering unemployment rate that reached 10% in January, the highest level in over five years. Gaymard himself had said that the French should become "detoxified" of public spending. Curbing spending has been at the fore-front of Gaymard's office, giving hope to voters that the economy there would soon improve. And, as it was part of his responsibilities to regulate the housing market, he could not be unaware of the difficulties facing families seeking affordable accommodations.

He resigned less than 5 hours before he was to give a televised interview defending his actions. In his issued statement, he said, "I am aware that I committed blunders and, above all, a serious error of judgement…"

Following this scandal, Prime Minister Jean-Pierre Raffarin tightened up the rules for public officials using state-funded apartments. However, the Canard soon revealed that Budget Minister Jean-François Copé also enjoyed an expensive apartment paid for by the state while he owned an apartment in Paris.

There has been some controversy regarding how the Canard and Libération had obtained such information. It was at some point suggested that they were orchestrated by Nicolas Sarkozy, a political rival of Gaymard from the same party.

On 26 August 2005, Hervé Gaymard was reintegrated into the civil service corps of the administrateurs civils, with a hors-classe rank, and assigned to the Ministry of Finances (direction of the budget). (ministerial decision in Journal Officiel, 13 September 2005; Le Monde, 20 September 2005) after refunding the state the €58,894 that the refurbishing of his apartment had cost. Hervé Gaymard has previously announced that he considered working in the private sector. It is unknown, at this point, whether he considers going back to politics in the future.

Government positions

 * Minister of Economy, Finance and Industry : 2004–2005 (Resignation, involved in a court case in 2005).
 * Minister of Agriculture, of Food, Fisheries and Rural Affairs : 2002–2004.
 * Secretary of State for Health and Social Security : November 1995 – 1997.
 * Secretary of State for Finance : May–November 1995.

National Assembly of France
Member of the National Assembly of France for Savoie (2nd constituency) : 1993–1995 (Became secretary of State in 1995) / 1997–2002 (Became minister in 2002) / And since 2007. Elected in 1993, reelected in 1997, 2002, 2007 and 2012.

Regional Council

 * Regional councillor of Rhône-Alpes : 2004–2007 (Resignation).

General Council

 * President of the General Council of Savoie : 1999–2002 (Resignation) / Since 2008. Reelected in 2001, 2008, 2011, 2015.
 * Vice-president of the General Council of Savoie : 2002–2008. Reelected in 2004.
 * General councillor of Savoie : Since 1994. Reelected in 2001, 2008, and 2015.

Other activities

 * Institut français des relations internationales (Ifri), Member of the Board of Directors

title: Hervé Gaymard


text:
Exercises in Style

Exercises in Style (Exercices de style), written by Raymond Queneau, is a collection of 99 retellings of the same story, each in a different style. In each, the narrator gets on the "S" bus (now no. 84), witnesses an altercation between a man (a zazou) with a long neck and funny hat and another passenger, and then sees the same person two hours later at the Gare St-Lazare getting advice on adding a button to his overcoat. The literary variations recall the famous 33rd chapter of the 1512 rhetorical guide by Desiderius Erasmus, Copia: Foundations of the Abundant Style.

Translations
The book has been translated into the following languages: Because, by their nature, the various retellings of the story employ fine subtleties of the French language, translations into these other languages are adaptations as well as being translations.
 * English by Barbara Wright (1958); reprinted with 28 additional exercises (by Queneau) translated by Chris Clarke and 10 new exercises written in homage (New Directions, 2013)
 * Serbian by Danilo Kiš (1964)
 * German by Ludwig Harig and Eugen Helmlé (1974) and by Frank Heibert and Hinrich Schmidt-Henkel (2016)
 * Dutch by Rudy Kousbroek (1978)
 * Italian by Umberto Eco (1983)
 * Greek by Achilleas Kyriakides (1984)
 * Czech by Patrik Ouředník (1985)
 * Esperanto by István Ertl (1986)
 * Swedish by Lars Hagström (1987)
 * Hungarian by Róbert Bognár (1988)
 * Catalan by Annie Bats and Ramon Lladó (1989)
 * Finnish by Pentti Salmenranta (1991)
 * Danish by Otto Jul Pedersen (1994)
 * Slovene by Aleš Berger (1994)
 * Brazilian Portuguese by Luiz Resende (1995)
 * Galician by Henrique Harguindey Banet and Xosé Manuel Pazos Varela (1995)
 * Japanese by Asahina Koji (1996)
 * Norwegian by Ragnar Hovland (1996)
 * Spanish by Antonio Fernández Ferrer (1996)
 * Russian by V. A. Petrov ed. (1998)
 * European Portuguese by Helena Agarez Medeiros ed. (2000)
 * Turkish by Armağan Ekici (2003)
 * Zurich German by Felix E.Wyss (2004)
 * Macedonian by Elizabeta Trpkovska (2005)
 * Polish by Jan Gondowicz (2005)
 * Basque by Xabier Olarra (2006)
 * Romanian by Romulus Bucur ed. (2006)
 * Ukrainian by Yaroslav Koval' and Yuriy Lisenko (the poems by Yurka Pozayaka) (2006)
 * Bulgarian by Vasil Sotirov and Elena Tomalevska (2007)
 * Estonian by Triinu Tamm and Jana Porila (2007)
 * Croatian by Vladimir Gerić (2008)
 * Traditional Chinese by Tan-Ying Chou (2016)
 * Hebrew by Rotem Atar (2016)
 * Lithuanian by Akvilė Melkūnaitė (2016)
 * Korean by Jae-Ryong Cho (2020)

Styles employed
The English translation by Barbara Wright (reprinted in paperback in 1981) consists of the tale retold in the following 'styles', where the original has been adapted (rather than translated) the original title is given in italics following :-

Other adaptations

 * A book of drawings of a cup in 100 different manners, Homage a Queneau by Colin Crumplin, was published in 1977 by Anthony Stokes.
 * An homage in graphic novel form, 99 Ways to Tell a Story: Exercises in Style by Matt Madden, was published in 2005.
 * A typographic interpretation of the German version of Exercices de Style, "Stilübungen – visuelle Interpretationen" by the graphic designer Marcus Kraft, was published in 2006.
 * In Croatia (when it was part of SFR Yugoslavia), Tonko Maroević and Tomislav Radić adapted Exercices de Style (transferring the plot from the 1940s Paris to modern Zagreb) into a stage play for two actors, which has been played since 1968. Pero Kvrgić and Lela Margitić, who have been playing the only two roles since January 1970, hold a Guinness World Record for the Longest Theatrical Run with the Same Cast. They received a plaque in 2009.
 * Inspired by Queneau's book, the first issue of uprightdown.com (2009) presented a single plot, which was retold in different forms and media by multiple participants.
 * Following the formal example of Queneau, Paul Hoover of the United States published Sonnet 56 (2009), which consists of 56 stylistic versions of Shakespeare's sonnet 56, including "Villanelle," "Qasida," "Course Description," and "Ballad."
 * Following the example of Queneau, Bethany M. Brownholtz published Exercises in Style: 21st Century Remix (2013), which consists of 40 additional versions, focusing on styles that have emerged over the last 60 years.
 * The same story was told in more than hundred new styles in Russian by Tatiana Bonch-Osmolovskaya, Sergey Fedin, Sergey Orlov and others The styles includes combinatorial techniques, contemporary jargons and visuals poems.
 * The British writer Ross Sutherland used techniques adapted from Exercises in Style in the audio story Me Versus the Spar (Parts 1 to 7) on the Imaginary Advice podcast in 2018.
 * Turkish writer Ferit Edgü wrote a book titled "Yazmak Eylemi (The Act of Writing)" inspired by Queneau's book in 1980. Edgü tried to do similar style variations in Turkish language by playing with a news article about anarchists forcing local shop owners to close their shops for a whole day to demonstrate their power on the community.
 * The mathematician Philip Ording published his 99 Variations on a Proof (2019) of a cubic equation that offers solutions from various perspectives.
 * The computer scientist Cristina Videira Lopes (https://dl.acm.org/profile/81500647693) wrote a book titled "Exercises in Programming Style" Released November 2015, Publisher(s): Chapman and Hall/CRC,ISBN 9781498766739 From her department at UC Irvine: "In order to give programming styles the proper due, and inspired by Queneau, Lopes decided to embark on the project of writing the exact same computational task in as many styles as she has come across over the years. This project involves two artifacts: a collection of code examples currently hosted in github (https://github.com/crista/exercises-in-programming-style), and a textbook that explains 32 of those code examples line by line."

title: Exercises in Style


text:
Don't You Want Me

"Don't You Want Me" is a song by British synth-pop group the Human League (credited on the cover as the Human League 100). It was released on 27 November 1981 as the fourth single from their third studio album, Dare (1981). The band's best known and most commercially successful song, it was the best selling UK single of 1981, that year's Christmas number one, and has since sold over 1,560,000 copies in the UK, making it the 23rd-most successful single in UK Singles Chart history. It topped the Billboard Hot 100 in the US on 3 July 1982, where it stayed for three weeks.

In November 1983, Rolling Stone named it the "breakthrough song" of the Second British Invasion of the US. In 2015, the song was voted by the British public as the nation's seventh-favourite 1980s number one in a poll for ITV. And in 2022, Rolling Stone ranked it as one of the "200 Greatest Dance Songs of All Time".

Background
The lyrics were inspired after lead singer Philip Oakey read a photo-story in a teen-girl's magazine. Though the song had been conceived and recorded in the studio as a male solo, Oakey was inspired by the film A Star Is Born and decided to turn the song into a conflicting duet with one of the band's two teenage female vocalists. Susan Ann Sulley was then asked to take on the role. Until then, she and the other female vocalist, Joanne Catherall, had only been assigned backing vocals; Sulley says she was chosen only through "luck of the draw".

Musicians Jo Callis and Philip Adrian Wright created a synthesizer score to accompany the lyrics that was much harsher than the version that was actually released. Initial versions of the song were recorded but Virgin Records-appointed producer Martin Rushent was unhappy with them. He and Callis remixed the track, giving it a softer, and in Oakey's opinion, "poppy" sound. Oakey hated the new version and thought it would be the weakest track on Dare, resulting in one of his infamous rows with Rushent. Oakey disliked it so much that it was relegated to the last track on side two of the album.

Before the release of Dare, three of its tracks—"The Sound of the Crowd", "Love Action (I Believe in Love)", and "Open Your Heart"—had already been released as successful singles. With a hit album and three hit singles in a row, Virgin's chief executive Simon Draper decided to release one more single from the album before the end of 1981. His choice, "Don't You Want Me", instantly caused a row with Oakey, who did not want another single to be released because he was convinced that "the public were now sick of hearing" the band and the choice of the "poor quality filler track" would almost certainly be a disaster, wrecking the group's new-found popularity. The band felt the track was "our sort of Des O'Connor song". Virgin were adamant that a fourth single would be released and Oakey finally agreed on the condition that a large colour poster accompany the 7" single, because he felt fans would "feel ripped off" by the "substandard" single alone.

The Human League often added cryptic references to their productions and the record sleeve of "Don't You Want Me" featured the suffix of "100". This was a reference to The 100 Club, a restaurant/bar in Sheffield.

Reception
In a contemporary review, Record World praised its "throbbing synthesized beat and sharp hook."

Today, the song is widely considered a classic of its era. In a retrospective review, Stephen Thomas Erlewine, senior editor for AllMusic, described the song as "a devastating chronicle of a frayed romance wrapped in the greatest pop hooks and production of its year." Fellow new wave musician Graham Parker praised the song, saying, "I just love that catchy chorus." Oakey still describes it as overrated, but acknowledges his initial dismissal was misguided and claims pride in the track. Oakey has also pointed out another misconception: that it is not a love song, but "a nasty song about sexual power politics."

Chart performance and sales
"Don't You Want Me" was released in the UK on 27 November 1981. The B-side was "Seconds", another track lifted straight from the Dare album. As with previous singles, a 12" version was also issued featuring the original version of "Don't You Want Me" and "Seconds" on the A-side and an "extended dance mix" lasting seven and a half minutes on the B-side. This mix is also featured on the Love and Dancing album that was released under the name of the League Unlimited Orchestra in 1982.

To the amazement of the band (and especially Oakey), the song entered the UK Singles Chart at number nine and rose to number one the following week, remaining there over the Christmas period for five weeks. It ultimately became the biggest-selling single to be released in 1981, and the fifth biggest-selling single of the entire decade. Its success was repeated six months later in the US, with "Don't You Want Me" peaking at number one on the Billboard Hot 100 for three weeks. Billboard magazine ranked it as the sixth-biggest hit of 1982. The single was certified Gold by the Recording Industry Association of America (RIAA) the same year for sales of a million copies. "Don't You Want Me" is notable as the first song featuring the revolutionary Linn LM-1 drum machine to hit number one on the UK chart and was also the first LM-1 track to top the Billboard Hot 100.

After the band scored a number of hits for Warner's eastwest label, the song was remixed and issued by Virgin as a CD, cassette and 12-inch single on 16 October 1995. This version featured new remixes by Hooj Choons' Red Jerry and German Eurodance duo Snap!, and would peak at number 16 on the UK Singles Chart. The release coincided with the issue of the group's second Greatest Hits compilation album shortly afterwards (which featured the Snap 7 inch remix).

As of November 2012, "Don't You Want Me" was the 23rd best-selling single in the UK, with 1.55 million copies sold. On 23 March 2014, the song re-entered the UK Singles Chart at number 19 and debuted at number one on the Scottish Singles Chart thanks to a social media campaign by fans of Aberdeen Football Club. In 2017 it was reported to be the 43rd most successful single in UK chart history with sales and streams combined.

In 2021, Viacom International Studios put into production a music chart programme called The 80s Greatest Hits 1980-1989 for Channel 5 and asked the Official Charts Company (OCC) to provide the countdowns for the series, based on the best-selling singles for each year. When the 1981 episode was broadcast (now under the title of Britain's Favourite 80's Songs) "Don't You Want Me" was placed at number one, with the OCC now confirming it was the official best-selling song of 1981 with an estimated 1.15 million sales (previously the title had gone to "Tainted Love" by Soft Cell, which now has been put in second place with 1.05 million sales).

Music video
In 1981, record company Virgin were becoming aware that the music video was evolving into an important marketing tool, with MTV being launched that year. Virgin commissioned a promotional video for "Don't You Want Me".

The video for the song was filmed near Slough, Berkshire, during November 1981. The video's theme is the filming and editing of a murder-mystery film, featuring the band members as characters and production staff. Because it is a "making-of" video, both crew and camera apparatus appear throughout. The video was conceived and directed by the Irish filmmaker Steve Barron, and has at its core the interaction between a successful actress (also an assistant editor) played by Susan Ann Sulley walking out on "film director" Philip Oakey on a film set.

In a 1995 interview, Catherall mentioned that the car Callis was driving had to be pushed into shot as he could not drive at the time, to which Sulley added "he still can't!"

The video was released in December 1981.

1981 release

 * 7-inch vinyl (Virgin VS466)
 * 1) "Don't You Want Me" – 3:57
 * 2) "Seconds" – 4:59

 * 12-inch vinyl (Virgin VS466-12)
 * 1) "Don't You Want Me" – 3:57
 * 2) "Seconds" – 4:59
 * 3) "Don't You Want Me (dance mix)" – 7:30

1995 release

 * CD (Virgin VSCDT1557)
 * 1) "Don't You Want Me (Red Jerry 7" Remix)" - 3:43
 * 2) "Don't You Want Me (Snap 7" Remix)" - 3:58
 * 3) "Don't You Want Me (Red Jerry 12" Remix)" - 6:11
 * 4) "Don't You Want Me (Snap 12" Extended Remix)" - 6:14
 * 5) "Don't You Want Me (Red Jerry Dub Mix)" - 7:01
 * 6) "Don't You Want Me (Original Version)" - 3:57

 * 12-inch vinyl (Virgin VST1557)
 * 1) "Don't You Want Me (Snap 12" Extended Remix)" - 6:12
 * 2) "Don't You Want Me (Red Jerry 12" Remix)" - 6:09

 * Cassette (Virgin VSC 1557)
 * 1) "Don't You Want Me (Red Jerry 7" Remix)" - 3:43
 * 2) "Don't You Want Me (Snap 7" Remix)" - 3:58
 * 3) "Don't You Want Me (Red Jerry 12" Remix)" - 6:11
 * 4) "Don't You Want Me (Original Version)" - 3:57

Weekly charts
1995 remixes

2014 re-entry

Mandy Smith version
In 1989, English pop singer Mandy covered this song under the title of "Don't You Want Me Baby". Released as a stand-alone single from her only album, Mandy (1988), it was also Smith's final single and became her only single to hit the UK top 75, peaking at No. 59.

Track listings

 * CD single
 * 1) "Don't You Want Me Baby"
 * 2) "If It Makes You Feel Good"
 * 3) "Don't You Want Me Baby" (Cocktail Mix)
 * 4) "If It Makes You Feel Good" (Extended Version)

 * 7-inch single
 * 1) "Don't You Want Me Baby"
 * 2) "If It Makes You Feel Good"

 * 12-inch single
 * 1) "Don't You Want Me Baby" (Cocktail Mix)
 * 2) "If It Makes You Feel Good" (Extended Version)

The Farm version
British band the Farm released a cover of "Don't You Want Me" in October 1992 that reached number 18 on the UK Singles Charts making it their third-highest chart single after 1990's "All Together Now" and "Groovy Train". It was originally recorded for the NME charity album Ruby Trax.

An uncredited female singer sings lead vocal on the second verse, as sung by Susanne Sulley in the original version. The accompanying music video features former Manchester United footballer George Best mouthing along to the chorus.

Track listings

 * CD single
 * 1) "Don't You Want Me"
 * 2) "Don't You Want Me" (Premier mix)
 * 3) "Obviously"
 * 4) "Groovy Train" (alternative mix)

 * 7-inch single
 * 1) "Don't You Want Me"
 * 2) "Obviously"

 * 12-inch single
 * 1) "Don't You Want Me" (Premier mix)
 * 2) "Don't You Want Me" (20K mix)
 * 3) "Don't You Want Me" (Pickles Keef mix)
 * 4) "Groovy Train" (alternative mix)

Alcazar version
"Don't You Want Me" was recorded as a Eurodance song by Swedish band Alcazar, released internationally in 2002. The song was included in the European version of their debut album, Casino (2000) together with a few others. It was recorded in Stockholm at first, but when the band wanted it for a new pan-European single, a new version was made.

The single was released in Australia as a follow-up to the successful single "Crying at the Discoteque". The white 12-inch was released in Europe and distributed to DJs to get maximum airplay at the disco arenas.

"Don't You Want Me" is Alcazar's biggest hit in the United States with 15 weeks on the Billboard Hot Dance Club Play chart, peaking at #30.

Music video
The accompanying music video for "Don't You Want Me" was filmed at Filmhuset in Stockholm, and was directed by Jesper Ganslandt. The video takes place in "Circus Alcazar" and is filled with horses, ducks, an evil parrot, acrobats, the Alcazar ballet (including a dog in a pink ballerina dress) and Annikafiore's boyfriend juggling with fire in the background. The video shoot took almost 23 hours.

Track listing

 * CD single
 * 1) "Almighty Radio Edit" – 3:27
 * 2) "Almighty Club Mix" – 7:25
 * 3) "Project Eden Remix" – 7:34
 * 4) "Earth Club Anthem" – 10:24
 * 5) "Wild Cowboys Radio Mix" – 3:38

title: Don't You Want Me


text:
Wikipedia talk:Requested articles/list of missing legal terms

Redirection
Many dead links can be redirected to existing articles. -- Toytoy 00:09, Feb 27, 2005 (UTC)

 * Some redirections are pretty useful. The redirection from eyewitness to witness solved many articles' deadlinks. -- Toytoy 00:13, Feb 27, 2005 (UTC)

 * I went redirect crazy with all of the injunction articles. Mmmbeer 22:08, 25 July 2005 (UTC)

A note regarding this list
Please note that this list was compiled from a large number of sources, and is not derived from any single work. -- The Anome 09:13, Mar 18, 2005 (UTC)

Taking up the Challenge
I have decided to take up the challenge of providing an entry for every notable term on this list (not all are worthy of an encyclopedia entry, and those I will weed out). --BD2412 14:39, 18 Mar 2005 (UTC)

 * This is quite a task. It's going to generate a whole bunch of stubs.  Though, I to have started going through the "easier" or more timely ones. Mmmbeer 23:13, 24 July 2005 (UTC)

Removing links once article created?
Should one remove a link after creating an article for a missing legal term? -- David Hoag 15:20, 23 July 2005 (UTC)
 * Yes, but if you don't, there's a bot that does it automatically every day or so. -- BD2412 talk 15:24, July 23, 2005 (UTC)
 * Okay, thanks. I'll keep my eyes peeled to make sure the bot is sweeping up. -- David Hoag 01:15, 24 July 2005 (UTC)

 * The bot seems to be on an extended break. Is a manual clean-up in order? Legis 12:47, 18 September 2006 (UTC)

OK, I got ticked off with it, so I manually removed all the blue links. Legis 08:59, 3 October 2006 (UTC)

Legal stubs & Definitions
I'm hesitant to create too many more legal stubs for some of these articles. For example, I just did Proffer, as in "proffer evidence", but really there isn't really room for expansion. Shouldn't these just be in wiktionary? Currently, the legal definition isn't really there. Anyone else see this as a problem for most of these terms. Mmmbeer 22:11, 25 July 2005 (UTC)

See also List of legal topics
This looks to have a number of the same things. Mmmbeer 12:34, 26 July 2005 (UTC)

Employment tribunal?
I'm putting this on Talk as I don't know whether it's an official legal name, but I'd have thought an article on employment tribunal (which I understand has replaced "industrial tribunal" in England) would be useful. 217.33.74.20 11:41, 26 August 2005 (UTC)
 * (That was me; signed out accidentally. Loganberry (Talk) 11:42, 26 August 2005 (UTC))

Appreciate
There is an article for appreciate, but it is an accounting term. Is the legal term "appreciate" different from the accounting term, or do they mean the same thing in the different contexts? -- Psiphiorg 23:24, 16 March 2006 (UTC)

I'm gonna go ahead and delete some of the fulfilled requests.

Plurals
A lot of the requests for outstanding legal terms are expressed in the plural (e.g. "disbursements"). Changing them to the singular (per Wiki standard) results in a chunk of them getting resolved (although not disbursement). Legis 14:11, 15 August 2006 (UTC)

Merger Discussion
The problem with the merger is that there will be a change in format to this article. It's not really a problem actually. It's just a lazyness to conceptuallize. (The other article has much info. which is added in parenthasis beside the term). I say we merge what we can within this list (the simple terms) and then we add those "quasi defined other terms" in a seperate list. (or better yet... add the one liner within the new article and add "stub") --CyclePat 15:28, 4 January 2007 (UTC)

Soft Redirect to Wiktionary
I ran across the term Drawee on the page Articles requested for more than two years research lead to a finiding the page had been built and delelted for cause Talk:Drawee. Some research on What_Wikipedia_is_not lead to solving the problem with a Soft redirect. So I would sugggest that if you really feel the need to link to words that are going to get a dictionary entry, write it (or find it) on (http://en.wiktionary.org/wiki/Wiktionary:Main_Page) then do a Soft redirect Jeepday 03:57, 17 January 2007 (UTC)

 * At this time I am have completed up to the Letter "G" on my soft redirects to Wiktionary. Next on my "to do" list is going to be check what red links have links to them, I am going to remove anything from the list that does not have at least one (and maybe two?) articles linking to them and List of legal topics not counting as an article.  There is no point in making an orphan page. Jeepday 04:40, 18 January 2007 (UTC)

 * I have completed the soft redirects to Wiktionary where I found articles already in existence for the terms.  Jeepday 03:16, 19 January 2007 (UTC)

 * I was wrong soft redirects are not a solution see User_talk:Jeepday or check my archive if a lot of time has passed. I have revered all my edits as they were based on faulty assumptions. Jeepday 13:42, 21 January 2007 (UTC)


text:
ReconcilingWorks

ReconcilingWorks, initially named Lutherans Concerned for Gay People and subsequently Lutherans Concerned/North America, is an organization of laypeople, pastors, and congregations primarily from the Evangelical Lutheran Church in America (ELCA) and the Evangelical Lutheran Church in Canada (ELCIC) working for the full acceptance and inclusion of people of all sexual orientations and gender identities and expressions in the life of the church. It is one of many LGBT-welcoming church movements to emerge in American Christianity in the late 20th century.

ReconcilingWorks's mission statement reads: "Working at the intersection of oppressions, ReconcilingWorks embodies, inspires, advocates and organizes for the acceptance and full participation of people of all sexual orientations and gender identities within the Lutheran communion and its ecumenical and global partners."

ReconcilingWorks's headquarters is located in the Twin Cities metro area of Minnesota.

Early history
On June 16 and 17, 1974, five people gathered at the invitation of Pastor Jim Siefkes at the University of Minnesota in Minneapolis. Rev. Siefkes, a straight ally, then Director for Discovering Ministries in the American Lutheran Church (ALC), had been given a grant by the ALC to hold a national meeting of homosexual persons and resource persons for the purpose of discussing their sexual orientation and its effect on their relationship with society and the church. The ALC’s purpose was to open a dialogue so that the church would become "less a source of oppression," according to Siefkes.

At that meeting were Allen Blaich (student, University of Utah), Howard Erickson (Minneapolis Star Tribune reporter and contributor to The Advocate), Diane Fraser (assistant professor at Gustavus Adolphus College), Marie Kent (instructor in a Minneapolis home for the mentally challenged) and the Rev. Jim Lokken (American Bible Society, New York).

By the end of the meeting, the group had founded Lutherans Concerned for Gay People (LCGP), run by a steering committee under bylaws typed out ad hoc in twenty minutes by Erickson on a typewriter he found in the next room. The organization’s name was Blaich’s idea. The first two Coordinators were Blaich and Fraser. Marie Kent became the Treasurer. Dues were three dollars. There would be a newsletter, The Gay Lutheran, that Erickson would edit, of which the current quarterly, Concord, is the latter-day descendant.

Shortly thereafter, as the ALC intended, representatives of LCGP found themselves in dialogue with officials in the church. LCGP had an information table and provided hospitality at the ALC Convention in Detroit in October 1974.

And just as quickly, LCGP came under persistent and vociferous attack from conservatives, particularly the Lutheran News run by Herman Otten, founder of the current Christian News. The effect of his attacks was somewhat contrary to his presumed intent, like the proverbial increase of sales resulting from "banning a book in Boston." Membership in LCGP rose partly because of the wide distribution given by Otten’s publication and the fact that he re-published the entire LCGP newsletter in order to foment about it, including the cut-out coupon for joining LCGP. The first logo was the Lutheran Rose, cut from a book by Erickson. The first assembly of LCGP was in 1978. By then, there were twenty-two LCGP chapters across the United States, in places like New England, New York City, Atlanta, New Orleans, Baltimore, San Francisco, Fargo, San Diego and Los Angeles, among others.

At the 1978 LCGP Assembly the decision was made to shorten the name to Lutherans Concerned because, among other reasons, some thought the longer name was cumbersome. Late in 1978, the United States Post Office granted non-profit status to Lutherans Concerned.

The name of the organization was further changed in 1980 to Lutherans Concerned/North America (LC/NA), to make visible the continental reach Lutherans Concerned had achieved through its programs and influence. The shortened name, Lutherans Concerned, continued to be used as the working name except in more formal documents and press releases.

The 1980 name change reflected the international nature of the organization, with members, chapters and movement building within the Evangelical Lutheran Church in Canada (ELCIC). Lutherans Concerned in Canada (LCIC) is independently led, with its own board and officers, and also, continuing to the present, voting representation on the main board of ReconcilingWorks.

The "fish" logo was created by Steve Broin and adopted by LC/NA in 1982 to replace the Lutheran rose. Elements of this logo are incorporated in the current logo of ReconcilingWorks. Steve also created the logo for the RIC program.

In 1983, the Internal Revenue Service recognized LC/NA as a Section 501(c)(3) non-profit organization.

ELCA social statement 2009, "Human Sexuality, Gift and Trust"
A January 2005 report issued by the ELCA's Task Force for ELCA Studies on Sexuality suggests that the group's stance represents a minority position among those who responded to a survey, but one that garners a sizable constituency in support. After collecting opinions from primarily lay members in 2004 (using non-scientific, non-random sampling methods), the Task Force concluded that "a majority of the respondents to the study do not wish to change our traditional position," while noting that "a significant minority wants us to either 1) bless same-sex unions and admit people in such unions into the rostered ministries of the ELCA or 2) allow for pastoral discretion in the blessing of same-sex unions and make an accommodation by allowing for some form of exception or local option to admit people in such unions to the rostered ministries of the ELCA."

Out of approximately 4,000 respondents, 57 percent opposed blessing and rostering, 22.1 percent favored blessing and rostering, and 20.8 percent favored either an (unspecified) alternative, a delay in decision, or expressed no opinion. The results varied widely by age: younger respondents were more likely than older respondents to support blessing and rostering, with 42.7 percent in favor and 27 percent opposed among respondents 24 and under, and 17.7 percent in favor and 65.5 percent opposed among respondents age 65 or older. The approximately 4,000 respondents represented 0.08 percent of the total population of the ELCA, which stood at about 4.8 million at the time of the survey.

History 2000–2012
At the ELCA's churchwide assembly held in Chicago in August 2007, about 44% of the assembly's voting members voted to consider a resolution calling for the ELCA to revise its policies to allow for the rostering of ministers in same-gender relationships.

On June 12, 2012, Lutherans Concerned/North America changed its name to ReconcilingWorks.

Reconciling in Christ program
Through its Reconciling in Christ (RIC) program, the organization recognizes congregations and Lutheran organizations that declare themselves welcoming to all people, regardless of sexual orientation or gender identity. As of January 2023, the RIC roster exceeds 1,002 settings, including congregations, synods, campus ministries, colleges, and other organizations, in the ELCA, ELCIC, and independent Lutheran.

title: ReconcilingWorks


text:
Alboran Sea

The Alboran Sea is the westernmost portion of the Mediterranean Sea, lying between the Iberian Peninsula and the north of Africa (Spain on the north and Morocco and Algeria on the south). The Strait of Gibraltar, which lies at the west end of the Alboran Sea, connects the Mediterranean with the Atlantic Ocean.

Geography
Its average depth is 445 m and maximum depth is 1500 m.

The International Hydrographic Organization defines the limits of the Alboran Sea as follows: On the West. The Eastern limit of the Strait of Gibraltar: A line joining from tip (Europa Point) of Cap Gibraltar in Europe to the tip of the Península de Almina of Ceuta in Africa (35.9°N, -5.3°W).

On the East. A line joining from Cabo de Gata in Andalusia in Europe to Cap Fegalo, near Oran, Algeria in Africa (35.6°N, -1.2°W).

Several small islands dot the sea, including the eponymous Isla de Alborán. Most, even those close to the African shore, belong to Spain.

Geology
The Alboran domain, the seafloor beneath the Alboran Sea (known as the internal zones) together with the surrounding mountains (known as the external zones; the Gibraltar Arc and Atlas Mountains), is mostly made of continental crust and marks the westernmost terminus of the terranes that were subducted between the African and Eurasian Plates when the Tethys Ocean closed. Reoccurring earthquakes at a depth of about 600 km indicate that this subduction is ongoing and that complex interactions between the lithosphere and mantle are forming the region. The internal zones are made of Late Paleozoic to Triassic rocks that were piled up during the Tertiary and has been extended since the Early Miocene.

The seafloor is morphologically complex with several sub-basins, including three main sub-basins named West, East, and South Alboran Basins, ridges, and seamounts. The most prominent structure in the Alboran Sea is the 180 km Alboran Ridge which stretches southwest from the volcanic Alborán Island.

Oceanography
Surface currents in the Alboran Sea, influenced by the prevailing winds, flow eastward, bringing water from the Atlantic into the Mediterranean; deeper subsurface currents flow westward, carrying saltier Mediterranean water over the Gibraltar sill into the Atlantic. Thus there is typically a vertical rotary circulation, also known as a gyre, in the Alboran Sea as a result of this exchange of water.

Ecology
The Alboran Sea is a transition zone between ocean and sea, containing a mix of Mediterranean and Atlantic species. The Alboran Sea is habitat for the largest population of bottlenose dolphins and the last population of harbour porpoises in the western Mediterranean, and is the most important feeding grounds for loggerhead sea turtles in Europe. The Alboran sea also hosts important commercial fisheries, including sardines and swordfish. In 2003, the World Wildlife Fund raised concerns about the widespread drift net fishing endangering populations of dolphins, turtles, as well as other marine animals. In 2023, the European Union, Morocco, and Algeria agreed to ban bottom fishing practices around Cabliers Bank, protecting the only cold-water coral reef known to be growing in the Mediterranean.

An arc of mountains, known as the Gibraltar Arc, wraps around the northern, western and southern sides of the Alboran Sea. The Gibraltar Arc is made up of the Baetic Cordillera of Southern Spain and the Rif Mountains of Morocco. These mountains, known to ecologists as the Baetic-Rifan complex, comprise one of the Mediterranean's biodiversity hotspots; like the Alboran Sea, the Baetic-Rifan complex represents a transition between the Mediterranean and Atlantic (Macaronesian) ecological zones. The moderating influence of the Atlantic has allowed many relict species in the Baetic and Rif mountains to survive the climatic fluctuations of the last few million years that have caused them to become extinct elsewhere around the Mediterranean basin.

Islands
There are some small islands in the sea:
 * Isla de Alborán
 * Islas Chafarinas
 * Peñón de Alhucemas
 * Peñón de Vélez de la Gomera

title: Alboran Sea


text:
Vision mixer

A vision mixer is a device used to select between several different live video sources and, in some cases, compositing live video sources together to create visual effects.

In most of the world, both the equipment and its operator are called a vision mixer or video mixer; however, in the United States, the equipment is called a video switcher, production switcher or video production switcher, and its operator is known as a technical director (TD).

The role of the vision mixer for video is similar to what a mixing console does for audio. Typically a vision mixer would be found in a video production environment such as a production control room of a television studio, production truck or post-production facility.

Capabilities and usage
Besides hard cuts (switching directly between two input signals), mixers can also generate a variety of transitions, from simple dissolves to pattern wipes. Additionally, most vision mixers can perform keying operations (called mattes in this context) and generate color signals. Vision mixers may include digital video effects (DVE) and still store functionality. Most vision mixers are targeted at the professional market, with newer analog models having component video connections and digital ones using serial digital interface (SDI) or SMPTE 2110. They are used in live television, such as outside broadcasting, with video tape recording (VTR) and video servers for linear video editing, even though the use of vision mixers in video editing has been largely supplanted by computer-based non-linear editing systems.

Older professional mixers worked with composite video, analog signal inputs. There were a number of consumer video switchers with composite video or S-Video. These are often used for VJing, presentations, and small multi-camera productions.

Operation

The most basic part of a vision mixer is a bus, which is a signal path consisting of multiple video inputs that feeds a single output. On the panel, a bus is represented by a row of buttons; pressing one of those buttons selects the video signal in that bus. Older video mixers had two equivalent buses (called the A and B bus; such a mixer is known as an A/B mixer), and one of these buses could be selected as the main out (or program) bus. Most modern mixers, however, have one bus that is always the program bus, the second main bus being the preview (sometimes called preset) bus. These mixers are called flip-flop mixers, since the selected source of the preview and program buses can be exchanged. Some switchers allow the operator to switch between these two modes. Both the preview and program bus usually have their own video monitors displaying the video selected in their respective buses.

Another main feature of a vision mixer is the transition lever, also called a T-bar or Fader Bar. This lever, similar to an audio fader, is used to transition between two buses. Note that in a flip-flop mixer, the position of the main transition lever does not indicate which bus is active, since the program bus is always the active or hot bus. Instead of moving the lever by hand, a button (commonly labeled mix, auto or auto trans) can be used, which performs the transition over a user-defined period of time. Another button, usually labeled cut or take, swaps the preview signal to the program signal instantaneously. The type of transition used can be selected in the transition section. Common transitions include dissolves (similar to an audio cross fade) and pattern wipes.

A third bus used for compositing is the key bus. A mixer can have more than one key bus, but often they share only one set of buttons. Here, one signal can be selected for keying over the program (or background) bus. The digital on-screen graphic image that will be seen in the program is called the fill, while the mask used to cut the key's translucence is called the source. This source, e.g. chrominance, luminance, pattern (the internal pattern generator is used) or split (an additional video signal similar to an alpha channel is used) and can be selected in the keying section of the mixer. Note that instead of the key bus, other video sources can be selected for the fill signal, but the key bus is usually the most convenient method for selecting a key fill. Usually, a key is turned on and off the same way a transition is. For this, the transition section can be switched from program mode to key mode. Often, the transition section allows background video and one or more keyers to be transitioned separately or in any combination with one push of the auto button.

These three main buses together form the basic mixer section called Program/Preset or P/P. Bigger production mixers may have a number of additional sections of this type, which are called Mix/Effects (M/E for short) sections and numbered. Any M/E section can be selected as a source in the P/P stage, making the mixer operations much more versatile, since effects or keys can be composed offline in an M/E and then go live at the push of one button.

After the P/P section, there is another keying stage called the downstream keyer (DSK). It is mostly used for keying text or graphics and has its own cut and mix buttons. The signal before the DSK keyer is called clean feed. After the DSK is one last stage that overrides any signal with black, usually called Fade To Black or FTB.

Modern vision mixers may also have additional functions, such as serial communications with the ability to use proprietary communications protocols, control auxiliary channels for routing video signals to other sources than the program out, macro programming, and DVE capabilities. Mixers are often equipped with effects memory registers, which can store a snapshot of any part of a complex mixer configuration and then recall the setup with one button press.

Setup

Since vision mixers combine various video signals such as VTRs and professional video cameras, it is very important that all these sources are in proper synchronization with one another. In professional analog facilities all the equipment is genlocked with black and burst or tri-level sync from a video-signal generator. The signals which cannot be synchronized (either because they originate outside the facility or because the particular equipment doesn't accept external sync) must go through a frame synchronizer. Some vision mixers have internal frame-syncs or they can be a separate piece of equipment, such as a time base corrector. If the mixer is used for video editing, the editing console (which usually controls the vision mixer remotely) must also be synched. Most larger vision mixers divide the control panel from the actual hardware that performs the mixer functions because of noise, temperature and cable length considerations. With such mixers, the control panel is located in the production control room, while the main unit, to which all cables are connected, is often located in a machine room alongside the other hardware.

Manufacturers

 * Analog Way (manufacturer)
 * Barco (manufacturer)
 * Blackmagic Design: ATEM
 * Broadcast Pix
 * Datavideo
 * EVS Broadcast Equipment: Dyvi
 * Focus Enhancements (Videonics, former)
 * FOR-A
 * Grass Valley
 * Guramex
 * Kramer Electronics Ltd.
 * NewTek (Video Toaster and TriCaster, bought by Vizrt)
 * Panasonic
 * Philips (Broadcast Television Systems Inc., broadcast division bought by Thomson SA and later integrated into Grass Valley)
 * Roland Corporation
 * Ross Video
 * Snell (former, bought by Grass Valley)
 * Sony

title: Vision mixer


text:
Wikipedia:WikiProject Stub sorting/Stub types

This is a list of stub categories and templates. When you add a particular stub template to the very end of a stub article, that article is added to the template's related category and a stub message describing the category the stub belongs to appears in the saved, rendered stub article text, in the format:

"[icon] This [description of the stub's category]–related article is a stub. You can help Wikipedia by expanding it."

This list is maintained and regularly updated by Wikipedia:WikiProject Stub sorting (WP:WSS), the stub-sorting WikiProject, with the purpose of keeping a list of templates and categories the project approves, and so users can find the best-fitting stub template(s) for each stub article.

Note: Please do not add any other material here, as it will be removed.

Culture
See the separate Culture page.

Architecture
See the separate Architecture page.

Sports
See the separate Sports page.

Geography
See the separate Geography page.

ca:Viquipèdia:Esborrany


text:
Monoski

A monoski is a single wide ski used for skiing on snow. The same boots, bindings, and poles are used as in alpine skiing. Unlike in snowboarding, both feet face forward, rather than sideways to the direction of travel. Similar equipment includes the skwal and the teleboard, with feet in tandem formation (one ahead of the other).

Monoskiing was invented in the late 1950s by Dennis Phillips at Hyak, Washington using a single water ski and bear trap bindings. Surfer Mike Doyle promoted the monoski in the early 1970s, after which monoskiing's relative popularity slowly increased, but the interest eventually waned in favor of snowboarding.

Recently the popularity of monoskiing has increased, particularly in France and in the United States largely due to technological advances in the design of the ski. As with alpine skis the carved shape of the ski has meant easier turns, and as a result, skiers are finding the transition to monoskis less daunting.

Festivals
Fans of monoskiing arrange festivals during the season to try out new skis and compete in various competitions.
 * In France one of the most popular is the "Mondial de Monoski"
 * Also in France is the tongue-in-cheek 1980's themed "Monoski World Championships" held each April in Val d'Isere.
 * In the United States this is the "Monopalooza"
 * In Colorado, United States this is the "Cinco de Mono"

title: Monoski


text:
Western Addition, San Francisco

The Western Addition is a district in San Francisco, California, United States.

Location
The Western Addition is located between Van Ness Avenue, the Richmond District, the Haight-Ashbury and Lower Haight neighborhoods, and Pacific Heights.

Today, the term Western Addition is generally used in two ways: to denote either the development's original geographic area or the eastern portion of the neighborhood (also called the Fillmore District) that was redeveloped in the 1950s.

Those who use the term in the former sense generally consider its boundaries to be Van Ness Avenue on the east, Masonic on the west, California Street on the north, and Fell or Oak Street on the south. From there, it is usually divided into smaller neighborhoods such as Lower Pacific Heights, Cathedral Hill, Japantown, the Fillmore, Hayes Valley, Alamo Square, Anza Vista, and North Panhandle.

The San Francisco Association of Realtors defines the term more closely to the latter sense, treating it as "District 6D" (not to be confused with Board of Supervisors districts; much of the Western Addition is in supervisors District 5), bounded by Geary Boulevard in the north, McAllister and Fulton streets, and Golden Gate Avenue on the south, Van Ness Avenue in the east, and Divisadero Street on the west. By this definition, the Western Addition is roughly synonymous with the Fillmore and Cathedral Hill neighborhoods.

History
Historically, the Western Addition was first platted during the 1850s as a result of the Van Ness Ordinance. This large tract encompassed some 500 blocks running west from Larkin Street (the city's previous western boundary) to Divisadero Street, (hence the name "Western Addition") creating Jefferson Square, Hamilton Square, Alamo Square, Alta Plaza, and Lafayette Square. The area was initially used for small-scale farming; but, following the invention of the cable car during the 1870s, the Western Addition developed as a Victorian streetcar suburb. It survived the 1906 San Francisco earthquake with its Victorian-style buildings largely intact.

After the Second World War, the Western Addition — particularly the Fillmore District — became a population base and a cultural center for San Francisco's African-American community, a consequence of opportune housing supply due to the internment of Japanese Americans. Since then, urban renewal schemes and San Francisco's changing demographics have led to major changes in the economic and ethnic makeup of the neighborhood, as the Fillmore District suffered from crime  and poverty while many other districts underwent significant gentrification. The Central Freeway used to run through the neighborhood to Turk Street, but that section of the freeway was closed immediately after the 1989 Loma Prieta earthquake and later demolished.

Since the early 1990s, the Western Addition has undergone significant gentrification.

Government and infrastructure
The San Francisco Police Department Northern Station serves the Western Addition.

Notable buildings

 * Building at 1840–1842 Eddy Street, 1840–1842 Eddy Street. Built in 1875, a residential house; listed as a California Historical Landmark, and a National Register of Historic Places listed place.
 * Building at 1813–1813B Sutter Street. Built in 1876, a rental house and commercial building; listed as a California Historical Landmark, and a National Register of Historic Places listed place.
 * Building at 1735–1737 Webster Street, 1735–1737 Webster Street. Built between 1876 and 1885; listed as a California Historical Landmark, and a National Register of Historic Places listed place.
 * Bush Street–Cottage Row Historic District, 2101–2125 Bush Street, 1–6 Cottage Row, and 1940–1948 Sutter Street. Comprising 20 historical residences, a walkway and a small park; listed as a San Francisco Designated Landmark, and a National Register of Historic Places listed place.
 * Goodman Building, 1117 Geary Blvd. Built around 1860, residential hotel and commercial building, formerly an artists coop building.
 * Japanese YWCA/Issei Women’s Building, 1830 Sutter Street. Because Japanese women were barred from using the main San Francisco YWCA, this was founded by Issei Japanese women in 1912; listed as a San Francisco Designated Landmark.
 * Stadtmuller House, 819 Eddy Street. Built in 1880, a highly decorated house featuring late 19th-century Italianate architecture; listed as a San Francisco Designated Landmark, a California Historical Landmark, and a National Register of Historic Places listed place.

title: Western Addition, San Francisco


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Nature worship

Nature worship also called naturism or physiolatry is any of a variety of religious, spiritual and devotional practices that focus on the worship of the nature spirits considered to be behind the natural phenomena visible throughout nature. A nature deity can be in charge of nature, a place, a biotope, the biosphere, the cosmos, or the universe. Nature worship is often considered the primitive source of modern religious beliefs and can be found in pantheism, panentheism, deism, polytheism, animism, Taoism, totemism, Hinduism, shamanism, some theism and paganism including Wicca. Common to most forms of nature worship is a spiritual focus on the individual's connection and influence on some aspects of the natural world and reverence towards it. Due to their admiration of nature, the works of Edmund Spenser, Anthony Ashley-Cooper and Carl Linnaeus were viewed as nature worship.

Criticism of "Nature Worship"
English historian, Ronald Hutton, has been critical of the antiquity of Nature Worship since at least 1998 until the present. He has argued that the gods of Ancient Mediterranean were not Nature Deities of any sort; rather, they were gods of "civilization and human activity," meanwhile the "Earth-Mother goddesses" are characterized by him as mere literary figures as opposed to deities, because he believes they lack any temples dedicated to them or a priesthood to serve them. He strongly juxtaposes this view by differentiating ancient pagans from Neopagans and Wiccans who profess to be nature worshippers as an essential component of their faith, which he believes is unlike any other in recorded history. Despite having been charged by New Zealand Wiccan, Ben Whitmore, with having disenfranchised those Neopagans "who feel kinship and connection" with the gods and pagans of the Ancient World, Prof. Hutton has reprised these views, virtually verbatim, in the second edition of his book, Triumph of the Moon.

title: Nature worship


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Wikipedia:Articles for deletion/The worst

 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 SPEEDY DELETE. From the deletion log:
 * 23:55, Feb 26, 2005 RickK deleted The worst (vanity band, copied from their myspace.com page)

The worst
Someone coined the phrase "bandity" for this - band vanity. Their name is inherently ungoogleable, being such a common string, but "founded in March 2004" tells us all we need to know. Come back in five years, boys. DS 00:17, 27 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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Twisted Metal 2

Twisted Metal 2 (known as Twisted Metal: World Tour in Europe and Twisted Metal EX in Japan) is a vehicular combat video game developed by SingleTrac and published by Sony Computer Entertainment. The second game in the Twisted Metal series, it was originally released in 1996 for PlayStation and Windows.

The Microsoft Windows version features slightly cut-down graphics compared to the PlayStation version but doesn't require a 3D accelerator video card. It also features multiplayer mode over a modem line or Internet.

Two years after its release, Twisted Metal 2 was re-released as a PlayStation Greatest Hits game, however under the developer 989 Studios instead of SingleTrac. It was also released for download on the PlayStation Network in Japan on July 26, 2007 and North America on November 1, 2007. On July 18, 2023, it was then made available for PlayStation 4 and PlayStation 5.

Gameplay
In concept, Twisted Metal 2 is a demolition derby which permits the usage of ballistic projectiles. Players choose a vehicle and an arena—or a series of arenas in the story mode—to engage in battle with opposing drivers. A variety of weapons are obtainable by pick-ups scattered throughout the stage. The objective of the game is to be the last remaining player. Two player duel mode makes a return from the first Twisted Metal, and a co-operative mode allows players to fight through tournament mode with a teammate. There is no ending if the game is completed in co-operative mode.

Plot
In 2006, Los Angeles is in ruins and its citizens left to struggle for survival after the conclusion of Twisted Metal, a brutal contest held by Calypso, exactly one year earlier on Christmas Eve. Aboard his airship (running the ticker "CALYPSO RULER OF THE EARTH") in the skies over the destroyed City of Angels, Calypso wonders where the next Twisted Metal will take place; fourteen of the world's best drivers are already assembled to compete for whatever prize they desire. Ultimately, Calypso decides that the world itself shall serve as a battleground. In addition to the remains of Los Angeles, drivers will also battle in Moscow, Paris, Amazonia, New York City, Antarctica, Holland, and Hong Kong.

After defeating all the opponents in Amazonia, the player must face Minion before proceeding to New York City. The Dark Tooth boss fight takes place after the player defeats all the opponents in Hong Kong; once Dark Tooth (and his flaming head) is defeated, the driver meets with Calypso in New York to receive their prize.

Development
SingleTrac began brainstorming ideas for a Twisted Metal sequel in late 1995. Due to the success of the original, Twisted Metal 2 was allotted 16 months for development, much longer than the previous game.

Reception
Twisted Metal 2 was both a financial and critical success. The PlayStation version sold 1.74 million copies in the United States alone. The PlayStation version has an aggregate score of 86.44% on GameRankings, based on eight reviews. The PC version averages 49.50% on the same website, based on two reviews.

Critics generally regarded the game as an improvement over the original Twisted Metal due to its larger, more intricate levels and better cast of characters. However, they were divided about the graphics. The four reviewers of Electronic Gaming Monthly said that the original Twisted Metal had mediocre graphics and the sequel made no improvement. GameSpot's Jeff Kitts agreed that there was no improvement but felt the graphics still held up well. GamePro said the graphics are better than the first game but still mediocre in absolute terms, citing bland and featureless buildings, pixelation, and breakup when close to walls, while Next Generation claimed, "TM2 shows significant improvement with sharper textures, a significant reduction in clipping, and even an improved frame rate." Both GameSpot and Next Generation attested that the essential nature of the gameplay was unchanged from the original, and that no change was needed. GamePro opined that "intense gameplay is what saves, and makes, the game - especially in the two-player head-to-head mode." Crispin Boyer wrote in Electronic Gaming Monthly that "I wasn't all that crazy about the first Twisted Metal, but this sequel is worlds better, even though it looks like the same old thing at first glance.

Twisted Metal 2 was a runner-up for Electronic Gaming Monthly's Action Game of the Year (behind Die Hard Trilogy). The following year EGM ranked the PlayStation version number 64 on their "100 Best Games of All Time", commenting that "The sheer amount of different vehicles, levels and weapons available at your disposal makes for awesome multiplayer matches." In 2003, Twisted Metal 2 was inducted into GameSpot's list of the greatest games of all time.

Frosty Treats, a major ice cream truck company, filed a lawsuit against Sony contending that Twisted Metal 2 infringed on the company's trademarks through the use of the phrase "Frosty Treats", as well as similarities between the video game clown Sweet Tooth and the company's own safety clown. In Frosty Treats, Inc. v. Sony Computer Entertainment America, Inc., the U.S. Court of Appeals for the Eighth Circuit ruled against the trademark claims because they were either too generic or were unlikely to cause confusion among consumers.

title: Twisted Metal 2


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Gross negligence

Gross negligence is the "lack of slight diligence or care" or "a conscious, voluntary act or omission in reckless disregard of a legal duty and of the consequences to another party." In some jurisdictions a person injured as a result of gross negligence may be able to recover punitive damages from the person who caused the injury or loss.

Negligence is the opposite of diligence, or being careful. The standard of ordinary negligence is what conduct deviates from that of a "reasonable person". By extension, if somebody has been grossly negligent, that means they have fallen so far below the ordinary standard of care that one can expect, to warrant the label of being "gross". Gross negligence may thus be described as reflecting "the want of even slight or scant care", falling below the level of care that even a careless person would be expected to follow. While some jurisdictions equate the culpability of gross negligence with that of recklessness, most differentiate it from simple negligence in its degree.

Criminal law
Gross negligence is used as a standard for criminal law, for example, under manslaughter in English law. Under common law, criminal negligence is defined as a gross deviation from a reasonable standard of care. This is a higher standard than ordinary negligence under tort law.

In the U.K., a conviction for gross negligence manslaughter requires that the prosecutor prove the existence of a duty of care, breach of that duty by the defendant resulting in death, and a risk of death that would be obvious to a reasonable prudent person in the position of the defendant.

English law
The concept of gross negligence is broadly distrusted by English law. In Wilson v Brett, Baron Rolfe (later Lord Cranworth) said that he:"could see no difference between negligence and gross negligence; that it was the same thing, with the addition of a vituperative epithet."

This view has been consistently approved in English law relating to fiduciary duties, as the courts have reasserted that there is only one standard of culpable carelessness: ordinary negligence. The preferred view has been that the context of a trustee, company director or other fiduciary's judgment is to be taken into account when the judge reviews the exercise of discretion. In Houghland v RR Low (Luxury Coaches) Ltd., Ormerod LJ said,

"I have always found some difficulty in understanding just what was "gross negligence", because it appears to me that the standard of care required in a case of bailment, or any other type of case, is the standard demanded by the circumstances of that particular case."

The leading case is Armitage v Nurse where Millett LJ, was asked to decide whether an exclusion clause was effective to absolve a trustee from an accusation of negligence when applying property to beneficiaries. It was held that exclusion clauses were still effective (though other remedies could follow, such as UCTA 1977 in a contract law case) but on the point of principle, as a default position all trustees are liable for ordinary negligence. Millett LJ said,

"It would be very surprising if our law drew the line between liability for ordinary negligence and liability for gross negligence. In this respect English law differs from civil law systems, for it has always drawn a sharp distinction between negligence, however gross, on the one hand and fraud, bad faith and wilful misconduct on the other. The doctrine of the common law is that: "Gross negligence may be evidence of mala fides, but is not the same thing": see Goodman v. Harvey (1836) 4 A. & E. 870, 876, per Lord Denman C.J. But while we regard the difference between fraud on the one hand and mere negligence, however gross, on the other as a difference in kind, we regard the difference between negligence and gross negligence as merely one of degree. English lawyers have always had a healthy disrespect for the latter distinction. In Hinton v. Dibbin (1842) 2 Q.B. 646 Lord Denman C.J. doubted whether any intelligible distinction exists; while in Grill v. General Iron Screw Collier Co. (1866) L.R. 1 C.P. 600, 612 Willes J. famously observed that gross negligence is ordinary negligence with a vituperative epithet. But civilian systems draw the line in a different place. The doctrine is culpa lata dolo aequiparatur; and although the maxim itself is not Roman the principle is classical. There is no room for the maxim in the common law; it is not mentioned in Broom's Legal Maxims, 10th ed. (1939)."

United States
Under United States law, proof of gross negligence involves proving all of the elements of an ordinary negligence action, plus the additional element that the defendant acted in reckless disregard of, or with a lack of substantial concern for, the rights of others. For some causes of action that might trigger defenses such as governmental immunity, it may be necessary to prove gross negligence in order to overcome the defense.

Roman law
Roman lawyers had an axiom that gross negligence amounts to an intentional wrong, or culpa lata dolo aequiparatur.

title: Gross negligence


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HMS Hecla (1815)

HMS Hecla was a Royal Navy Hecla-class bomb vessel launched in 1815. Like many other bomb vessels, she was named for a volcano, in this case Hekla in southern Iceland. She served at the Bombardment of Algiers in 1816. Subsequently, she took part in three expeditions to the Arctic. She then served as a survey vessel on the coast of West Africa until she was sold in 1831. She became a merchantman and in 1834 a Greenland whaler. She was wrecked in 1840.

Ship history
Commander William Popham commissioned Hecla for service in the Mediterranean. Hecla saw wartime service as part of the Anglo-Dutch fleet at the bombardment of Algiers on 27 August 1816. In 1847 the Admiralty authorised the award of the Naval General Service Medal with clasp "Algiers" to all surviving claimants from the battle.

Arctic exploration
In early 1819 she was converted to an Arctic exploration ship and made three journeys to the Arctic in search of the Northwest Passage, and made one attempt on the North Pole, all under Lieutenant William Edward Parry or Commander George Francis Lyon, and spent many winters iced in without serious damage.

On the first journey, from May 1819 until December 1820 Hecla was commanded by Parry. She and her companion ship, the gun brig HMS Griper (1813), reached a longitude 112°51' W before backtracking to winter off Melville Island. No ship was able to travel so far west again in a single season until 1910, when Joseph-Elzéar Bernier reached Cape Dundas on Melville Island. The second year, the two ships reached longitude 113°46' W before returning to England.

On her second expedition, from May 1821 until November 1823, Hecla was under Lyon's command while Parry led the overall expedition from her sister ship HMS Fury (1814). The furthest point on this trip, the perpetually frozen strait between Foxe Basin and the Gulf of Boothia, was named after the two ships: Fury and Hecla Strait.

Ice conditions frustrated Hecla's third expedition to the Canadian Arctic, which took place from May 1824 to October 1825, again in the company of Fury. Hecla was again under the command of Parry, who now was a captain. Fury was badly damaged at Prince Regent Inlet and had to be abandoned.

In 1827, Parry used Hecla for an unsuccessful attempt to reach the North Pole from Spitsbergen by boat, reaching 82°45' N. Following this voyage, Hecla was withdrawn from Arctic service.

Commander Thomas Boteler was appointed captain of Hecla in December 1827. She then was engaged in surveying the West African Coast in 1828–31. After Boteler's death in November 1829, Commander F. Harding became her captain.

Hecla was put up for sale in 1831 at Woolwich. She was sold in April for £1,990 to Sir E. Banks.

Merchantman and whaler
Hecla entered Lloyd's Register (LR) in 1831 with R. Jumson, master, Banerman, owner, and trade London–St Petersburg. She underwent repairs in 1832 and then became a merchantman. The Register of Shipping for 1833 shows her with Allen, master, Banerman, owner, and trade Liverpool–Savannah.

Banerman used her for one season in 1834 as a northern seas whaler. Under the command of Captain Reid she caught five whales, yielding 63 tun of whale oil, in the Davis Strait. In 1835 Banerman sold her to Kirkcaldy. Hecla was operating out of Kirkcaldy when she was lost in 1840. A gale on 23 June 1840 drove her against ice floes, crushing her.

Hecla still appeared in LR for 1845 with M. Wright, master, Elder & Co. owner, and trade Leith–Davis Strait. Her homeport was Kirkcaldy, and her entry included the remark "wants repair". It had the annotation, "wrecked".

title: HMS Hecla (1815)


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The Swing Mikado

The Swing Mikado is a musical theatre adaptation, in two acts, of Gilbert and Sullivan's 1885 comic opera, The Mikado, with music arranged by Gentry Warden. It featured a setting transposed from Japan to a tropical island. The show was first staged by an all-black company in Chicago, Illinois, in 1938. Later that year, it transferred to Broadway. Other changes from the original work included the re-scoring of five of the musical numbers in "swing" style, the insertion of popular dance sequences including The Truck and the Cakewalk, and the rewriting of some of the dialogue in an attempt at black dialect. Other than that, the original dialogue and score of 1885 were used.

Background and productions
The Swing Mikado was a production of the Chicago division of the WPA's Federal Theatre Project. The production was conceived, staged, and directed by Harry Minturn, with swing re-orchestrations of Arthur Sullivan's music by Warden. The starring roles were performed by Maurice Cooper (Nanki-Poo), Frankye Brown (Yum-Yum) and William Franklin (Pooh-Bah).

After a five-month run in Chicago, the production moved to Broadway where it had a run of 86 performances. Its success inspired producer Mike Todd to mount a similar adaptation, The Hot Mikado (1939). There is disagreement over whether or not the production reinforced negative racial stereotypes.

The opening night in New York was attended by Eleanor Roosevelt, Harry Hopkins and Mayor LaGuardia. The New York Times reviewer, Brooks Atkinson, gave it a good, if patronizing, review, praising Cooper as "a Nanki-Poo of superior voice and articulate acting capability" but complaining that the large company of "sepia show-folk" [sic] included "some that only fumble the music." Atkinson wrote that "after a slow start the show goes on a bender, the performers grin and strut and begin stamping out the hot rhythms with an animal frenzy. 'Za-zu-za-zu,' the three little maids from school say huskily, breaking down into a smoking caper. All this is something to see and hear ... the chorus includes some dusky wenches who can dance for the Savoyard jitterbugs with gleaming frenzy, tossing their heads in wild delight ... when [the company] gives The Mikado a Cotton Club finish, they raise the body temperature considerably."

The show was also presented at the 1939 San Francisco World's Fair.

Act 1

 * A Wandering Minstrel - Nanki-Poo and Male Chorus
 * Our Great Mikado - Pish-Tush and Male Chorus
 * Young Man Despair - Pooh-Bah, Pish-Tush and Nanki-Poo
 * Behold the Lord High Executioner - Ko-Ko and Male Chorus
 * I've Got a Little List - Ko-Ko and Male Chorus
 * Three Little Maids from School - Yum-Yum, Pitti-Sing, Peep-Bo and Girls Chorus
 * So Pardon Us - Yum-Yum, Pitti-Sing, Peep-Bo, Pooh-Bah, Pish-Tush and Girls Chorus
 * Were You Not to Ko-Ko Plighted - Yum-Yum and Nanki-Poo
 * I Am So Proud - Ko-Ko, Pooh-Bah and Pish-Tush

Act 2

 * Braid the Raven Hair - Pitti-Sing and Girls Chorus
 * Moon Song (The Moon and I) - Yum-Yum and Quintet
 * Madrigal - Yum-Yum, Pitti-Sing, Nanki-Poo and Pish-Tush
 * Here's a How-de-do - Yum-Yum, Nanki-Poo and Ko-Ko
 * The Mikado - Katisha and The Mikado
 * I'm the Emperor of Japan - The Mikado and Chorus
 * The Criminal Cried - Ko-Ko, Pitti-Sing and Pooh-Bah
 * A Is Happy - The Mikado, Pooh-Bah, Pitti-Sing, Ko-Ko and Katisha
 * Flowers That Bloom in the Spring - Pitti-Sing, Ko-Ko, Katisha, Pooh-Bah, Nanki-Poo, Dancers and Quintet
 * Titwillow - Ko-Ko
 * There Is Beauty in the Bellows of the Blast - Katisha and Ko-Ko

title: The Swing Mikado


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Talk:Western Addition, San Francisco

Are there any official neighborhood boundaries in the city? Every map I look at seems to list them differently (Especially for the Western Addition) Octoferret 00:17, Feb 27, 2005 (UTC)

I'm pretty sure there are no boundaries for the named neighborhoods, per se, just for things like Supervisor districts and precincts and such. I've lived here twenty years and have never heard of anything official — and I've been paying attention, too. :-) MrRedwood 18:21, 3 August 2006 (UTC)

 * I have noticed that a lot of the neighborhood designations in articles on different cites are what are referenced by the local realtors. You will find all SF realtors using the same reference. See overview and central north(this one shows the micro-neighborhoods). I don't disagree with this standard for the boundaries of the neighborhoods, but I don't like the official neighborhood names they use. They are trying to sell houses and "lower haight" becomes the "haight filmore".--~

The city's Enterprise GIS project also defines neighbourhood boundaries. One could mash that up with google maps to see what kind of boundaries the city believes to exist. See http://www.ci.sf.ca.us/site/gis_index.asp Blarf (talk) 07:42, 17 December 2007 (UTC)

This article has some really odd writing. Geary Boulevard was erected to create a clear division between the district's working class section, and its more upwardly mobile and decidedly middle-class Pacific Heights neighborhood. Really now. What.? —Preceding unsigned comment added by 76.14.75.98 (talk) 02:50, 6 September 2009 (UTC)

title: Talk:Western Addition, San Francisco


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E Pluribus Unicorn

E Pluribus Unicorn is a collection of fantasy and science fiction stories by American writer Theodore Sturgeon, published in 1953 by Abelard.

Contents

 * "Essay on Sturgeon" by Groff Conklin
 * "The Silken-Swift"
 * "The Professor's Teddy-Bear"
 * "Bianca's Hands"
 * "Saucer of Loneliness"
 * "The World Well Lost"
 * "It Wasn't Syzygy"
 * "The Music"
 * "Scars"
 * "Fluffy"
 * "The Sex Opposite"
 * "Die, Maestro, Die!"
 * "Cellmate"
 * "A Way of Thinking"

Reception
The New York Times reviewer Basil Davenport noted that while "Sturgeon's poetic sensitivity sometimes leads him to overwriting, … at his best it gives his work an emotional depth which is all too rare in this field." Boucher and McComas gave the collection a lukewarm review, describing it as "a hodgepodge" mixing "Grade A Sturgeon stories" with "a good many one can see no particular reason for collecting"; still, they concluded that Unicorn was "a book belonging in any fantasy library." P. Schuyler Miller praised the collection as "one of the finest short story collections by any writer in the field."

title: E Pluribus Unicorn