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Instrument approach

In aviation, an instrument approach or instrument approach procedure (IAP) is a series of predetermined maneuvers for the orderly transfer of an aircraft operating under instrument flight rules from the beginning of the initial approach to a landing, or to a point from which a landing may be made visually. These approaches are approved in the European Union by EASA and the respective country authorities and in the United States by the FAA or the United States Department of Defense for the military. The ICAO defines an instrument approach as "a series of predetermined maneuvers by reference to flight instruments with specific protection from obstacles from the initial approach fix, or where applicable, from the beginning of a defined arrival route to a point from which a landing can be completed and thereafter, if landing is not completed, to a position at which holding or en route obstacle clearance criteria apply."

There are three categories of instrument approach procedures: precision approach (PA), approach with vertical guidance (APV), and non-precision approach (NPA). A precision approach uses a navigation system that provides course and glidepath guidance. Examples include precision approach radar (PAR), instrument landing system (ILS), and GBAS landing system (GLS). An approach with vertical guidance also uses a navigation system for course and glidepath deviation, just not to the same standards as a PA. Examples include baro-VNAV, localizer type directional aid (LDA) with glidepath, LNAV/VNAV and LPV. A non-precision approach uses a navigation system for course deviation but does not provide glidepath information. These approaches include VOR, NDB, LP (Localizer Performance), and LNAV. PAs and APVs are flown to a decision height/altitude (DH/DA), while non-precision approaches are flown to a minimum descent altitude (MDA).

IAP charts are aeronautical charts that portray the aeronautical data that is required to execute an instrument approach to an airport. Besides depicting topographic features, hazards and obstructions, they depict the procedures and airport diagram. Each procedure chart uses a specific type of electronic navigation system such as an NDB, TACAN, VOR, ILS/MLS and RNAV. The chart name reflects the primary navigational aid (NAVAID), if there is more than one straight-in procedure or if it is just a circling-only procedure. A communication strip on the chart lists frequencies in the order they are used. Minimum, maximum and mandatory altitudes are depicted in addition to the minimum safe altitude (MSA) for emergencies. A cross depicts the final approach fix (FAF) altitude on NPAs while a lightning bolt does the same for PAs. NPAs depict the MDA while a PA shows both the decision altitude (DA) and decision height (DH). Finally, the chart depicts the missed approach procedures in plan and profile view, besides listing the steps in sequence.

Before satellite navigation (GNSS) was available for civilian aviation, the requirement for large land-based navigation aid (NAVAID) facilities generally limited the use of instrument approaches to land-based (i.e. asphalt, gravel, turf, ice) runways (and those on aircraft carriers). GNSS technology allows, at least theoretically, to create instrument approaches to any point on the Earth's surface (whether on land or water); consequently, there are nowadays examples of water aerodromes (such as Rangeley Lake Seaplane Base in Maine, United States) that have GNSS-based approaches.

Instrument approach segments
An instrument approach procedure may contain up to five separate segments, which depict course, distance, and minimum altitude. These segments are

 * Feeder routes: A route for aircraft to proceed from the en route structure to the IAF, which includes the course and bearing to be flown, the distance, and the minimum altitude.
 * Initial approach segment: This segment provides a method for aligning the aircraft with the intermediate or final approach segment and to permit descent during the alignment. It begins at an IAF and ends at the intermediate approach segment or intermediate fix (IF). A DME arc, a procedure turn / teardrop turn, or holding pattern may be involved or the terminal route may simply intersect the final approach course.
 * Intermediate approach segment: This segment positions the aircraft for the final descent to the airport. It begins at the IF and ends at the final approach segment.
 * Final approach segment: For a PA or APV, this segment starts where the glideslope intercepts the glideslope-intercept altitude plane. For an NPA, this segment starts at the FAF, final approach point (FAP), or where the aircraft is established on the final approach course. This segment ends at either the designated missed approach point (MAP) or upon landing.
 * Missed approach segment: This segment starts at the MAP and ends at a point or fix where the initial or en route segment begins.

When an aircraft is under radar control, air traffic control (ATC) may replace some or all of these phases of the approach with radar vectors (ICAO radar vectoring is the provision of navigational guidance to aircraft in the form of specific headings, based on the use of radar). ATC will use an imaginary "approach gate" when vectoring aircraft to the final approach course. This gate will be 1 nautical mile (NM) from the FAF and at least 5 NM from the landing threshold. Outside radar environments, the instrument approach starts at the IAF.

Types of approaches
Though ground-based NAVAID approaches still exist, the FAA is transitioning to approaches which are satellite-based (RNAV). Additionally, in lieu of the published approach procedure, a flight may continue as an IFR flight to landing while increasing the efficiency of the arrival with either a contact or visual approach.

Visual approach
A visual approach is an ATC authorization for an aircraft on an IFR flight plan to proceed visually to the airport of intended landing; it is not an instrument approach procedure.

A visual approach may be requested by the pilot or offered by ATC. Visual approaches are possible when weather conditions permit continuous visual contact with the destination airport. They are issued in such weather conditions in order to expedite handling of IFR traffic. The ceiling must be reported or expected to be at least 1000 feet AGL (above ground level) and the visibility is at least 3 SM (statute miles).

A pilot may accept a visual approach clearance as soon as the pilot has the destination airport in sight. According to ICAO Doc. 4444, it is enough for a pilot to see the terrain to accept a visual approach. The point is that if a pilot is familiar with the terrain in the vicinity of the airfield he/she may easily find the way to the airport having the surface in sight. ATC must ensure that weather conditions at the airport are above certain minima (in the U.S., a ceiling of 1000 feet AGL or greater and visibility of at least 3 statute miles) before issuing the clearance. According to ICAO Doc. 4444, it is enough if the pilot reports that in his/her opinion the weather conditions allow a visual approach to be made. In general, the ATC gives the information about the weather but it's the pilot who makes a decision if the weather is suitable for landing. Once the pilot has accepted the clearance, he/she assumes responsibility for separation and wake turbulence avoidance and may navigate as necessary to complete the approach visually. According to ICAO Doc. 4444, ATC continues to provide separation between the aircraft making a visual approach and other arriving and departing aircraft. The pilot may get responsible for the separation with preceding aircraft in case he/she has the preceding aircraft in sight and is instructed so by ATC. In the United States, it is required that an aircraft have the airport, the runway, or the preceding aircraft in sight. It is not enough to have the terrain in sight (see ).

When a pilot accepts a visual approach, the pilot accepts responsibility for establishing a safe landing interval behind the preceding aircraft, as well as responsibility for wake-turbulence avoidance, and to remain clear of clouds.

Contact approach
A contact approach that may be asked for by the pilot (but not offered by ATC) in which the pilot has 1 SM flight visibility and is clear of clouds and is expected to be able to maintain those conditions all the way to the airport. Obstruction clearances and VFR traffic avoidance become the pilot's responsibility.

Charted visual flight procedures (CVFP)
A visual approach that has a specified route the aircraft is to follow to the airport. Pilots must have a charted visual landmark or a preceding aircraft in sight, and weather must be at or above the published minimums. Pilots are responsible for maintaining a safe approach interval and wake turbulence separation.

RNP approach (Formerly RNAV approach)
These approaches include both ground-based and satellite-based systems and include criteria for terminal arrival areas (TAAs), basic approach criteria, and final approach criteria. The TAA is a transition from the en route structure to the terminal environment which provides minimum altitudes for obstacle clearance. The TAA is a "T" or "basic T" design with left and right base leg IAFs on initial approach segments perpendicular to the intermediate approach segment where there is a dual purpose IF/IAF for a straight-in procedure (no procedure turn [NoPT]), or hold-in-lieu-of procedure-turn (HILPT) course reversal. The base leg IAFs is 3 to 6 NM from the IF/IAF. The basic-T is aligned with the runway centerline, with the IF 5 NM from the FAF, and the FAF is 5 NM from the threshold.

The RNP approach chart should have four lines of approach minimums corresponding to LPV, LNAV/VNAV, LNAV, and circling. This allows GPS or WAAS equipped aircraft to use the LNAV MDA using GPS only, if WAAS becomes unavailable.

ILS approach
These are the most precise and accurate approaches. A runway with an ILS can accommodate 29 arrivals per hour. ILS systems on two or three runways increase capacity with parallel (dependent) ILS, simultaneous parallel (independent) ILS, precision runway monitor (PRM), and converging ILS approaches. ILS approaches have three classifications, CAT I, CAT II, and CAT III. CAT I SA, CAT II and CAT III require additional certification for operators, pilots, aircraft and equipment, with CAT III used mainly by air carriers and the military. Simultaneous parallel approaches require runway centerlines to be between 4,300 and 9,000 feet apart, plus a "dedicated final monitor controller" to monitor aircraft separation. Simultaneous close parallel (independent) PRM approaches must have runways separation to be between 3,400 and 4,300 feet. Simultaneous offset instrument approaches (SOIAs) apply to runways separated by 750–3,000 feet. A SOIA uses an ILS/PRM on one runway and an LDA/PRM with glideslope for the other.

VOR approach
These approaches use VOR facilities on and off the airport and may be supplemented with DME and TACAN.

NDB approach
These approaches use NDB facilities on and off the airport and may be supplemented with a DME. These approaches are gradually being phased out in Western countries.

Radar approach
This will be either a precision approach radar (PAR) or an airport surveillance radar (ASR) approach. Information is published in tabular form. The PAR provides vertical and lateral guidance plus range. The ASR only provides heading and range information.

Airborne radar approach
This is a rare type of approach, where a radar installed on the approaching aircraft is used as the primary means of navigation for the approach. It is mainly used at offshore oil platforms and select military bases. This type of approach takes advantage of the runway or more commonly, the oil platform, standing out from its surrounding environment when viewed on a radar. For additional visibility on a radar, radar reflectors may be installed alongside the runway.

Localizer approach
These approaches include a localizer approach, localizer/DME approach, localizer back course approach, and a localizer-type directional aid (LDA). In cases where an ILS is installed, a back course may be available in conjunction with the localizer. Reverse sensing occurs on the back course using standard VOR equipment. With a horizontal situation indicator (HSI) system, reverse sensing is eliminated if it is set appropriately to the front course.

Simplified directional facility (SDF) approach
This type of approach is similar to the ILS localizer approach, but with less precise guidance.

Non-precision approaches and systems
Non-precision systems provide lateral guidance (that is, heading information), but do not provide vertical guidance (i.e., altitude or glide path guidance).
 * VHF omnidirectional range (VOR)
 * Tactical air navigation (TACAN)
 * Non-directional beacon (NDB) – ground-based transmitter for aircraft equipped with an Automatic Direction Finder (ADF).
 * Simplified directional facility (SDF)
 * Satellite navigation systems, such as the American Global Positioning System (GPS). LNAV and LNAV/VNAV approaches require Receiver autonomous integrity monitoring (RAIM) which detects problems with GPS satellites. LPV (Localiser Performance with Vertical guidance) and LP (without vertical guidance) do not require RAIM since they utilise SBAS correcting signal like Wide Area Augmentation System (WAAS) or European Geostationary Navigation Overlay Service (EGNOS).
 * Required navigation performance (RNP) – a system that utilizes on-board performance monitoring through the aircraft's flight management system
 * Localizer
 * Localizer type directional aid (LDA)
 * Surveillance radar approach (SRA) – also known in some countries as an ASR approach
 * Airport surveillance radar (ASR) – military designation for SRA
 * VDF approach -- these days rare, but based on the  air traffic controller determining the direction  of arrival of an airplane's VHF radio transmission, and guiding the pilot based on this information. Can also exist in a charted form wherein controller-guided VDF navigation is combined with dead-reckoning by the pilot.

Precision approaches and systems
Precision approach systems provide both lateral (heading) and vertical (glidepath) guidance.
 * Ground controlled approach (GCA)
 * GBAS landing system (GLS)
 * Instrument landing system (ILS)
 * Joint Precision Approach and Landing System (JPALS)
 * Microwave landing system (MLS)
 * Precision approach radar (PAR)
 * Transponder landing system (TLS)

Decision height or altitude

In a precision approach, the decision height (DH) or decision altitude (DA) is a specified lowest height or altitude in the approach descent at which, if the required visual reference to continue the approach (such as the runway markings or runway environment) is not visible to the pilot, the pilot must initiate a missed approach. (A decision height is measured AGL (above ground level) while a decision altitude is measured above MSL (mean sea level).) The specific values for DH and/or DA at a given airport are established with intention to allow a pilot sufficient time to safely re-configure an aircraft to climb and execute the missed approach procedures while avoiding terrain and obstacles. While a DH/DA denotes the altitude at which a missed approach procedure must be started, it does not preclude the aircraft from descending below the prescribed DH/DA.

Minimum descent altitude (MDA)
In a non-precision approach (that is when no electronic glideslope is provided), the minimum descent altitude (MDA) is the lowest altitude, expressed in feet above mean sea level, to which descent is authorized on final approach or during circle-to-land maneuvering in execution of a standard instrument approach procedure. The pilot may descend to the MDA, and may maintain it, but must not descend below it until visual reference is obtained, and must initiate a missed approach if visual reference has not been obtained upon reaching the missed approach point (MAP).

DH/DA, the corresponding parameter for precision approach, differs from MDA in that the missed approach procedure must be initiated immediately on reaching DH/DA, if visual reference has not yet been obtained: but some overshoot below it is permitted while doing so because of the vertical momentum involved in following a precision approach glide-path.

If a runway has both non-precision and precision approaches defined, the MDA of the non-precision approach is almost always greater than the DH/DA of the precision approach, because of the lack of vertical guidance on the non-precision approach. The extra height depends on the accuracy of the navaid the approach is based on, with ADF approaches and SRAs tending to have the highest MDAs.

Straight-in approach IFR
An instrument approach wherein final approach is begun without first having executed a procedure turn, not necessarily completed with a straight-in landing or made to straight-in landing minimums. A direct instrument approach requires no procedure turn or any other course reversal procedures for alignment (usually indicated by "NoPT" on approach plates), as the arrival direction and the final approach course are not too different from each other. The direct approach can be finished with a straight-in landing or circle-to-land procedure.

Course reversal procedure
Some approach procedures do not permit straight-in approaches unless the pilots are being radar vectored. In these situations, pilots are required to complete a procedure turn (PT) or other course reversal, generally within 10 NM of the PT fix, to establish the aircraft inbound on the intermediate or final approach segment. When conducting any type of approach, if the aircraft is not lined up for a straight-in approach, then a course reversal might be necessary. The idea of a course reversal is to allow sufficiently large changes in the course flown (in order to line the aircraft up with the final approach course), without taking too much space horizontally and while remaining within the confines of protected airspace. This is accomplished in one of three ways: a procedure turn, a holding pattern, or a teardrop course reversal.
 * Procedure turn (PT): ICAO defines a PT as a maneuver in which a turn is made away from a designated track followed by a turn in the opposite direction to permit the aircraft to intercept and proceed along the reciprocal of the designated track.  A standardized way of reversing course to get lined up for final approach. The approach chart must indicate that a procedure turn is authorized for the approach, via a "procedure turn barb" symbol or a similar notation. Note that when a procedure turn exists for an approach, the maximum speed of the aircraft in the procedure turn is limited by regulations (typically, it should not exceed 200 knots IAS). The procedure turn is typically entered by tracking a navaid course outbound (usually following a reciprocal of the inbound course), and then turning 45° off of the course; after that, the pilot flies this leg for a certain time, then conducts a 180° turn to get on a 45° intercepting course, and then re-intercepts the inbound course.
 * Hold in lieu of procedure turn: It is established over a final or intermediate fix when an approach can be made from a properly aligned holding pattern. It is a required maneuver, as is a PT, unless the aircraft is being radar vectored to the final approach course, when 'NoPT' is shown on the approach chart, or when the pilot requests or the controller advises the pilot to make a 'straight-in' approach.  This maneuver is commonly referred to as the racetrack pattern. It is another method of course reversal, but it can also be used for losing altitude within protected airspace. A holding pattern used for this purpose is depicted in U.S. government publications as the "hold-in-lieu-of-PT" holding pattern symbol. The procedure has two parallel legs, with 180° turns between them.[[File:Teardrop penetration procedure diagram from USAF publication AFMAN11-202V3 10 June 2020, derivative of image on page 184.png|thumb|A teardrop penetration diagram, showing a teardrop turn combined with a simultaneous descent]]
 * Teardrop procedure or penetration turn: The teardrop procedure consists of departure from an initial approach fix on an outbound course followed by a turn toward and intercepting the inbound course at or prior to the intermediate fix or point. If the controlled airspace is extremely limited, a teardrop may be used to reverse the direction of the aircraft and permit the aircraft to lose altitude. This procedure as viewed on a chart is shaped like an idealized teardrop, hence the name. It typically consists of the outbound course flown at 30° angle to the reciprocal of the inbound course, and then making a 210° turn to intercept the inbound course.

Circle-to-land maneuver
Circle-to-land is a maneuver initiated by the pilot to align the aircraft with a runway for landing when a straight-in landing from an instrument approach is not possible or is not desirable, and only after ATC authorization has been obtained and the pilot has established and maintains required visual reference to the airport. A circle-to-land maneuver is an alternative to a straight-in landing. It is a maneuver used when a runway is not aligned within 30 degrees of the final approach course of the instrument approach procedure or the final approach requires 400 feet (or more) of descent per nautical mile, and therefore requires some visual maneuvering of the aircraft in the vicinity of the airport after the instrument portion of the approach is completed to align the aircraft with the runway for landing.

It is very common for a circle-to-land maneuver to be executed during a straight-in approach to a different runway, e.g., an ILS approach to one runway, followed by a low-altitude transition, ending in a landing on another (not necessarily parallel) runway. This way, approach procedures to one runway can be used to land on any runway at the airport, as the other runways might lack instrument procedures or their approaches cannot be used for other reasons (traffic considerations, navigation aids being out of service, etc.).

Circling to land is considered more difficult and less safe than a straight-in landing, especially under instrument meteorological conditions because the aircraft is at a low altitude and must remain within a short distance from the airport in order to be assured of obstacle clearance (often within a couple of miles, even for faster aircraft). The pilot must maintain visual contact with the airport at all times; loss of visual contact requires execution of a missed approach procedure.

Pilots should be aware that there are significant differences in obstacle clearance criteria between procedures designed in accordance with ICAO PANS-OPS and US TERPS. This is especially true in respect of circling approaches where the assumed radius of turn and minimum obstacle clearance are markedly different.

Sidestep maneuver
A visual maneuver by a pilot performed at the completion of an instrument approach to permit a straight-in landing on a parallel runway not more than 1,200 feet to either side of the runway to which the instrument approach was conducted.

Rate-of-descent formula
A useful formula pilots use to calculate descent rates (for the standard 3° glide slope):

 * Rate of descent = (ground speed ⁄ 2) × 10

or
 * Rate of descent = ground speed × 5

For other glideslope angles:
 * Rate of descent = glide slope angle × ground speed × 100 / 60,

where rate of descent is in feet per minute, and ground speed is in knots.

The latter replaces tan α (see below) with α/60, which has an error of about 5% up to 10°.

Example:  120 kn × 5  or  120 kn / 2 × 10 = 600 ft/min

The simplified formulas above are based on a trigonometric calculation:

 * Rate of descent = ground speed × 101.27 × tan α

where:

Example: Ground speed = 120 kn           α = 3°  120 kn × 101.27ft/min/kn × tan 3° ≈ 640 ft/min
 * α is the descent or glideslope angle from the horizontal (3° being the standard)
 * 101.27 (ft/min⁄kn) is the conversion factor from knots to feet per minute (1 knot = 1 NM⁄h ≈ 6076 ft⁄h ≈ 101.27 ft/min)

Airport requirements
Special considerations for low visibility operations include improved lighting for the approach area, runways, and taxiways, and the location of emergency equipment. There must be redundant electrical systems so that in the event of a power failure, the back-up takes over operation of the required airport instrumentation (e.g., the ILS and lighting). ILS critical areas must be free from other aircraft and vehicles to avoid multipathing.

In the United States, the requirements and the standards for establishing instrument approaches at an airport are contained in the FAA Order 8260.3 "United States Standard for Terminal Instrument Procedures (TERPS)". ICAO publishes requirements in the ICAO Doc 8168 "Procedures for Air Navigation Services – Aircraft Operations (PANS-OPS), Volume II: Construction of Visual and Instrument Flight Procedures".

Mountain airports such as Reno–Tahoe International Airport (KRNO) offer significantly different instrument approaches for aircraft landing on the same runway, but from opposite directions. Aircraft approaching from the north must make visual contact with the airport at a higher altitude than a flight approaching from the south, because of rapidly rising terrain south of the airport. This higher altitude allows a flight crew to clear the obstacle if a landing is not feasible. In general, each specific instrument approach specifies the minimum weather conditions that must be present in order for the landing to be made.

Audio and multimedia resources

 * Audio and commentary of a full-procedure RNAV (GPS) approach into Flint Bishop International Airport (KFNT)
 * Audio of a US instrument rating checkride – Part 1 (including RNAV 18 at KFNT)
 * Audio of a US instrument rating checkride – Part 2 (including VOR 9 at KFNT partial panel and the ILS 9R at KPTK)

title: Instrument approach


text: User talk:141.211.198.111

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

title: User talk:141.211.198.111


text:
Wikipedia:Articles for deletion/Philip Rieff

 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. Smoddy (Rabbit and pork) 19:42, 25 Apr 2005 (UTC)

Philip Rieff
Currently tagged with, this person's only claim to fame was that he was the first husband of Susan Sontag. Zzyzx11 | Talk 05:31, 17 Apr 2005 (UTC)
 * Delete spouses that aren't notable in their own right--nixie 07:34, 17 Apr 2005 (UTC)
 * Delete, not inherently notable. Megan1967 08:30, 17 Apr 2005 (UTC)
 * Delete — Redundant with content on Susan Sontag's page. Also delete links to Philip on the Susan Sontag and David Rieff pages. — RJH 18:39, 17 Apr 2005 (UTC)
 * Keep. Clearly notable in his own right, although it wasn't clear from the previous state of the article. The Encyclopaedia Britannica mentions two of his books in the "additional reading" section of the article on Sigmund Freud. / Uppland 08:58, 18 Apr 2005 (UTC)
 * Keep, per Uppland's findings. Kappa 22:05, 18 Apr 2005 (UTC)
 * keep' this please Yuckfoo 06:41, 19 Apr 2005 (UTC)
 * Keep the added material makes it appropriate content. Tobycat 05:59, 22 Apr 2005 (UTC)

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


text:
User talk:Seyon

Welcome!
Hi Eric! My name's Nathaniel, but I go by the username Spangineer around here. I hope you enjoy editing wikipedia and that you stick around – I'm especially excited that you're interested in Latin America. This is pretty crazy, but I was looking at your website and it looks like last semester we were both studying abroad in El TEC in Monterrey – I don't think I remember seeing you (sorry) but it sounds like we were both there. I too am combining a technical field (in my case, industrial engineering) along with Spanish. Anyway, if you have any questions about anything related to wikipedia, just let me know – go to my talk page, hit the plus sign (+) next to "edit this page" at the top and leave me a note. You can sign your name after you're done by typing ~. A few links you might find useful include: Tutorial, Manual of Style, Community Portal, Policy Library and perhaps most importantly, the Sandbox, where you can just play around and try different things. Have a great day, and again, any questions, just let me know! Happy editing! --Spangineer ∞ 05:32, Apr 17, 2005 (UTC)

AfD nomination of MariposaHD
An editor has nominated MariposaHD, an article on which you have worked or that you created, for deletion. We appreciate your contributions, but the nominator doesn't believe that the article satisfies Wikipedia's criteria for inclusion and has explained why in his/her nomination (see also "What Wikipedia is not").

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You may also edit the article during the discussion to improve it but should not remove the articles for deletion template from the top of the article; such removal will not end the deletion debate. Thank you. BJBot (talk) 06:59, 8 February 2008 (UTC)

Unreferenced BLPs
Hello Seyon! Thank you for your contributions. I am a bot alerting you that 1 of the articles that you created  is tagged as an Unreferenced Biography of a Living Person. The biographies of living persons policy requires that all personal or potentially controversial information be sourced. In addition, to ensure verifiability, all biographies should be based on reliable sources. If you were to bring this article up to standards, it would greatly help us with the current Category:All_unreferenced_BLPs article backlog. Once the article is adequately referenced, please remove the unreferencedBLP tag. Here is the article:

Thanks!--DASHBot (talk) 07:40, 17 January 2010 (UTC)
 * 1) Laszlo Belady -

Proposed deletion of Katherine Waterston

The article Katherine Waterston has been proposed for deletion because under Wikipedia policy, all biographies of living persons created after March 18, 2010, must have at least one source that directly supports material in the article.

If you created the article, please don't take offense. Instead, consider improving the article. For help on inserting references, see Referencing for beginners or ask at Help desk. Once you have provided at least one reliable source, you may remove the prod blp tag. Please do not remove the tag unless the article is sourced. If you cannot provide such a source within ten days, the article may be deleted, but you can when you are ready to add one. nancy 19:37, 19 March 2011 (UTC)

File permission problem with File:IATF poster.jpg
Thanks for uploading File:IATF poster.jpg. I noticed that while you provided a valid copyright licensing tag, there is no proof that the creator of the file agreed to license it under the given license.

If you created this media entirely yourself but have previously published it elsewhere (especially online), please either
 * make a note permitting reuse under the CC-BY-SA or another acceptable free license (see this list) at the site of the original publication; or
 * Send an email from an address associated with the original publication to , stating your ownership of the material and your intention to publish it under a free license. You can find a sample permission letter here. If you take this step, add OTRS pending to the file description page to prevent premature deletion.

If you did not create it entirely yourself, please ask the person who created the file to take one of the two steps listed above, or if the owner of the file has already given their permission to you via email, please forward that email to .

If you believe the media meets the criteria at Non-free content, use a tag such as or one of the other tags listed at File copyright tags, and add a rationale justifying the file's use on the article or articles where it is included. See File copyright tags for the full list of copyright tags that you can use.

If you have uploaded other files, consider checking that you have provided evidence that their copyright owners have agreed to license their works under the tags you supplied, too. You can find a list of files you have created in [ your upload log]. Files lacking evidence of permission may be deleted one week after they have been tagged, as described on criteria for speedy deletion. You may wish to read the Wikipedia's image use policy. If you have any questions please ask them at the Media copyright questions page. Thank you. Mlpearc Public  ( Talk )  17:50, 4 October 2011 (UTC)

Some tips to help you out!
Hi, I thought I'd drop a few notes on your talk page with some help on writing articles :o)

First of all, it may be best for you to do a bit of reading, starting with the Wikipedia manual of style, which will give you a lot of information about how Wikipedia prefers its articles to be written. It's not as hard to follow as it might look; quite a bit of the information there probably won't be vital for you at first.

Second, I recommend you make a user sandbox - which is just an area you can use to practise in, and to make notes in, and to get things ready in. If you click this red link: user:/Sandbox, that will let you create that page (it gives you an edit window to start work in). Anything, anywhere, on the help and information pages which gives you an example, try it out in your sandbox until you're familiar with it.

For your article, the next thing you want to do is start collecting as much information as you can about it. Google searches (particularly in Books and Scholar) will be your best friend for this! Once you've found the information, the next most important thing is to start writing up each fact in your own words (very important, this), and make a note at the same time of exactly where that information came from. Build in the references as you go along; I'm going to copy in, down below this, a whole heap of help on doing references, which was produced by one of our best teachers (Chzz).

Here's another place that you'll find incredibly useful - citation templates which you can copy and paste into your sandbox, between tags; you just fill in the blanks from your sources into the template, and you'll end up with nicely formatted inline citations :o) It all helps.  Remember to add a references section to your sandbox (make a new line, and put ==References== on it, and type  on the next line, so that you can see how your citations look as you do them. Remember to save your page often! You don't want to lose your work.

Hopefully this will give you a good start and make life easier for you.

One last thing to keep as a motto: "It's better to write one good, well-referenced, nicely-presented article than it is to create fifty unreferenced one-line stubs!" Pesky ( talk  …stalk!) 09:51, 22 October 2011 (UTC)

Simple references
These require two parts;

 * a)

Chzz is 98 years old.

He likes tea.

 * b) A section called "References" with the special code " ";

Named references
Chzz was born in 1837.

Chzz lives in Footown.

Note that the second usage has a / (and no closing ref tag). This needs a reference section as above; please see user:chzz/demo/namedref to see the result.

Citation templates
You can put anything you like between, but using citation templates makes for a neat, consistent look;

Chzz has 37 Olympic medals.

Please see user:chzz/demo/citeref to see the result.

For more help and tips on that subject, see user:chzz/help/refs.

Something to make your life easier!
Hi there ! I've just come across one of your articles, and noticed that you had to create titles for your url links manually, or were using bare urls as references.

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ArbCom elections are now open!
MediaWiki message delivery (talk) 12:57, 23 November 2015 (UTC)

title: User talk:Seyon


text: Category:Chinese musical groups

title: Category:Chinese musical groups


text:
User talk:Colostomy Bag Aficianado

Welcome!

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title: User talk:Colostomy Bag Aficianado


text:
Autofac

"Autofac" is a 1955 science fiction novelette by American writer Philip K. Dick that features one of the earliest treatments of self-replicating machines (and Dick's second, after his 1953 novelette Second Variety). It appeared originally in Galaxy Science Fiction of November 1955, and was reprinted in several collections, including The Variable Man published in 1957, and Robots, Androids, and Mechanical Oddities published in 1984.

It was adapted by Travis Beacham for an episode of the 2017 TV series, Philip K. Dick's Electric Dreams, with the same name as the short story.

Plot summary
Three men wait outside their settlement for an automated delivery truck. Five years earlier, during the Total Global Conflict, a network of hardened automatic factories ("autofacs") had been set up with cybernetic controls that determine what food and consumer goods to manufacture and deliver. Human input had been lost, and the men planned disruption to try to establish communication and take over control. They destroy the delivery, but the truck radios the autofac and unloads an identical replacement, then prevents them from reloading items. They act out being disgusted with the milk delivery and are given a complaints checklist. In a blank space, they write improvised semantic garble—"the product is thoroughly pizzled". The autofac sends a humanoid data collector that communicates on an oral basis but is not capable of conceptual thought, and they are unable to persuade the network to shut down before it consumes all resources. Their next strategy sets neighbouring autofacs in competition with each other for rare resources and succeeds in creating military conflict between the autofacs. After the autofac conflict seems to be resolved, the men explore the ruins of a destroyed autofac to see if there are any industrial machines that can be salvaged. They locate a hidden level. Inside they find that the factory is self-replicated, and sending out "metal seeds" configured to make miniature autofacs.

Translations

 * French: "Le Règne des robots", anonymous, August 1956, in "Galaxie Anticipation" issue 33

Television version
The TV series Philip K. Dick's Electric Dreams includes a one-hour episode based on the story, with considerable differences in the plot and outcome.

title: Autofac


text: Category:Chinese classical music

title: Category:Chinese classical music


text: Category:Chinese styles of music

title: Category:Chinese styles of music


text:
Defence of the Seven Sacraments

The Defence of the Seven Sacraments (Assertio Septem Sacramentorum) is a theological treatise published in 1521, written by King Henry VIII of England, allegedly with the assistance of Sir Thomas More. The extent of More's involvement with this project has been a point of contention since its publication.

Henry started to write it in 1519 while he was reading Martin Luther's attack on indulgences. By June of that year, he had shown it to Thomas Wolsey, but it remained private until three years later when the earlier manuscript became the first two chapters of the Assertio, the rest consisting of new material relating to Luther's De Captivitate Babylonica.

Author J. J. Scarisbrick describes the work as "one of the most successful pieces of Catholic polemics produced by the first generation of anti-Protestant writers". It went through some twenty editions in the sixteenth century and, as early as 1522, had appeared in two different German translations.

The treatise was dedicated to Pope Leo X, who rewarded Henry with the title Fidei Defensor (Defender of the Faith) in October 1521 (a title revoked following the king's break with the Catholic Church in the 1530s, but re-awarded to his heir by the English Parliament).

Luther's reply to the Assertio (Against Henry, King of the English) was, in turn, replied to by Thomas More, who was one of the leaders of the Catholic Renaissance humanists in England (Responsio ad Lutherum).

The British Library still has King Henry's personal copy of Marko Marulić's Evangelistiarium, a book that was read in English and much admired by Thomas More. Extensive margin notes in the king's own hand prove that Marulić's book was a major source used by the king in the writing of Defence of the Seven Sacraments.

Editions and translations

 * O'Donovan, L. O. & Gibbons, J. (1908). 'Assertio Septem Sacramentorum' (English and Latin). New York, NY: Benziger Bros. Publishing
 * O'Donovan, L. O. & Curtin, D. P. (2018). 'Defense of the Seven Sacraments' (with additional Papal correspondence). Philadelphia, PA: Barnes & Noble Press

title: Defence of the Seven Sacraments


text:
Trilling gnatwren

The trilling gnatwren (Ramphocaenus melanurus), formerly long-billed gnatwren, is a very small bird in the gnatcatcher family. It found from southeast Mexico south to Ecuador and Amazonia.

Taxonomy
The trilling gnatwren was described by the French ornithologist Louis Pierre Vieillot in 1819 from a specimen collected in Brazil. He coined the binomial name Ramphocaenus melanurus. The genus name Ramphocaenus means "unusual beak", from the Ancient Greek rhamphos (ῥάµϕος, "beak") and  cænos (καινός, "strange"). The specific epithet combines the Ancient Greek melas "black" and oura "tail". A molecular phylogenetic study published in 2018 found that two subspecies of Ramphocaenus melanurus formed a separate clade. The subspecies were split off to become the chattering gnatwren and the English name of this species was changed from "long-billed gnatwren" to "trilling gnatwren".

Thirteen subspecies are recognised:
 * R. m. rufiventris (Bonaparte, 1838) – south Mexico to west Ecuador
 * R. m. ardeleo Van Tyne & Trautman, 1941 – Yucatán Peninsula (southeast Mexico) and north Guatemala
 * R. m. panamensis Phillips, AR, 1991 – central and east Panama
 * R. m. sanctaemarthae Sclater, PL, 1862 – north Colombia and northwest Venezuela
 * R. m. griseodorsalis Chapman, 1912 – west Colombia
 * R. m. pallidus Todd, 1913 – Zulia Valley (north central Colombia) and west Venezuela
 * R. m. trinitatis Lesson, R, 1839 – east Colombia to north Venezuela, Trinidad
 * R. m. albiventris Sclater, PL, 1883 – east Venezuela, the Guianas and north Brazil
 * R. m. duidae Zimmer, JT, 1937 – northeast Ecuador to south Venezuela
 * R. m. badius Zimmer, JT, 1937 – northeast Peru and southeast Ecuador
 * R. m. amazonum Hellmayr, 1907 – east Peru to north central Brazil
 * R. m. austerus Zimmer, JT, 1937 – east Brazil south of the Amazon
 * R. m. melanurus Vieillot, 1819 – east central Brazil

Description
Adult trilling gnatwrens are 12 - 13 cm in length and weigh 8 - 11 g. They have a long, thin bill and a short cocked tail. The upperparts are grey-brown, with rufous on the sides of the head. The throat is white, shading to buff on the rest of the underparts. The tail is black with white tips to all but the central feathers, and is frequently wagged. R. m. trinitatis, of eastern Colombia, Venezuela and Trinidad has paler underparts, and buff flanks and head sides. The call is a trilled drdrdrdrdrdrdrdrdrdr.

Habitat
It is found in the undergrowth and vines of dry forest and secondary woodland from Mexico south to Peru and Brazil, and on Trinidad.

Breeding
Trilling gnatwrens build a deep cup nest very low in a small plant or sapling. The two white eggs are incubated by both parents for 16–17 days to hatching, with a further 11–12 days to fledging.

Feeding
Trilling gnatwrens forage actively in vegetation, eating mainly insects, insect eggs and spiders. They usually occur in pairs or family groups.

title: Trilling gnatwren


text:
Víctor Díaz (baseball)

Víctor Israel Díaz (born December 10, 1981) is a Dominican former professional baseball right fielder. He played in Major League Baseball (MLB) for the New York Mets and Texas Rangers, in the KBO League for the Hanwha Eagles and in Nippon Professional Baseball (NPB) for the Chunichi Dragons.

Career
Díaz attended Roberto Clemente High School in Chicago where he was honored as an Illinois All-State baseball player each of his four years there. As a high schooler, he was invited to dinner by fellow Dominican and star Chicago Cubs outfielder Sammy Sosa. He attended Grayson County College where he was a first-team National Junior College Athletic Association All-American. He was selected by the Los Angeles Dodgers in the 37th round of the 2000 Major League Baseball draft and signed as an infielder.

Díaz achieved quick success as a minor league hitter, winning the Gulf Coast League batting title in 2001 with a .354 batting average. He managed the same feat the following year hitting .350 in the South Atlantic League. In 2003, he was traded by the Dodgers to the New York Mets for Jeromy Burnitz. Because of his limited fielding skills, the Mets moved Diaz to the outfield in 2004.

Díaz made his major league debut with the Mets on September 11, 2004. He was impressive during his September tryout, hitting a three-run home run with two outs in the bottom of the ninth inning to win a pivotal game against the playoff-contending Chicago Cubs, essentially knocking them out of the playoffs on September 25, 2004. After the 2004 season, the Mets included Dìaz on their 2005 Opening Day roster, and he played his first and only full Major League season, as in 89 games he hit .257 with 12 home runs and 38 R.B.I.s. On August 22, 2006, Diaz was designated for assignment by the Mets. On August 30, 2006, Diaz was dealt to the Texas Rangers for Mike Nickeas. After the 2006 season, Diaz headed to the Instructional League to work with hitting coach Brook Jacoby on his swing, then he played in the Dominican Winter League. Diaz competed for a spot on the Rangers 25-man roster, but did not make the cut and started the season with Triple-A Oklahoma. Diaz was eventually called up to the Rangers and hit 9 home runs in only 104 at-bats and only 25 hits. He only appeared in 37 games for the Rangers in 2007 and became a free agent after the season.

On January 11, 2008, Diaz signed a minor league contract with the Houston Astros, but was released on May 2, 2008. Shortly thereafter, he signed a minor league contract with the Seattle Mariners and was assigned to their Triple-A affiliate, the Tacoma Rainiers. He became a free agent at the end of the season. On December 1, 2008, he signed with the Hanwha Eagles in South Korea. But he was released from Hanwha on July 8, 2009.

On July 19, 2009, Díaz signed a minor league deal with the Baltimore Orioles and was assigned to their minor league affiliate, the Norfolk Tides.

In 2012, Díaz signed a one-year deal worth $200,000 (15m Yen) and a $50,000 signing bonus (3.9mil Yen) to play professionally in Japan for the Chunichi Dragons

In 2013, Diaz played for the Bridgeport Bluefish of the Atlantic League of Professional Baseball, and batted .172 (20-116) with 2 home runs and 46 strikeouts.

In the summer of 2014, Diaz played in the Westchester-Rockland Wood Bat League and hit .340 (16-47) during the regular season while playing in only 17 games, and .500 (10-20) with two homeruns in 6 postseason games

Diaz signed with the Grand Prairie AirHogs of the American Association of Independent Professional Baseball for the 2015 season.

title: Víctor Díaz (baseball)


text:
Wikipedia:Articles for deletion/Pop.a

 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 no consensus, so kept. Smoddy (Rabbit and pork) 19:46, 25 Apr 2005 (UTC)

Pop.a
Tagged with since February. Just says that this person is a German pop artist who invented art with stickers in 1987. Zzyzx11 | Talk 05:35, 17 Apr 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.

title: Wikipedia:Articles for deletion/Pop.a


text:
Lorenzen Wright

Lorenzen Vern-Gagne Wright (November 4, 1975 – July 19, 2010) was an American professional basketball player for thirteen seasons in the National Basketball Association (NBA). He was drafted seventh overall in the 1996 NBA draft by the Los Angeles Clippers and also played for the Atlanta Hawks, Memphis Grizzlies, Sacramento Kings and Cleveland Cavaliers.

Wright went missing on July 18, 2010, and was found shot to death ten days later. In December 2017, his ex-wife Sherra Wright-Robinson was charged with facilitating his murder; a year and a half later, she pleaded guilty. Her friend, Billy Ray Turner, was convicted of first-degree murder, conspiracy to commit first-degree murder, and attempted first-degree murder in March 2022, receiving a sentence of life imprisonment. Due to Wright's status as an NBA player and local celebrity in Memphis, this led to the prosecution of his murder being highly publicized.

Early life and college
Raised in Oxford, Mississippi, Wright played for Lafayette High School in Mississippi before moving to Memphis, where he spent his senior year playing for Booker T. Washington High School. He played all levels of basketball in Memphis – high school, collegiate, and professional. His father, Herb, was a professional basketball player who competed in Finland, and once had a tryout with the Utah Jazz. When Wright was seven years old, Herb was working for the Memphis Police Department when he was paralyzed by a gunshot to the back.

Wright was recognized as a Third Team All-American by the Associated Press as a sophomore at the University of Memphis. Wright was a member of Kappa Alpha Psi.

Professional career
Wright was selected seventh overall by the Los Angeles Clippers in the 1996 NBA draft out of the University of Memphis. On April 26, 1997, as a rookie, Wright scored what would be a postseason career-high 17 points in a Game 2 loss against the Utah Jazz. The Clippers would go on to lose the series. The following season, on December 26, 1997, Wright scored a season-high 32 points and grabbed 15 rebounds in an overtime loss to the Los Angeles Lakers. Wright moved on to the Atlanta Hawks in 1999, and averaged a career high 12.4 points per game with them during the 2000-01 NBA season. He was traded to the Memphis Grizzlies on June 27, 2001. On January 6, 2003, Wright scored 20 points and grabbed 14 rebounds in a 106-102 win over the New Orleans Hornets. Wright returned to the Hawks in 2006.

On February 16, 2008, he was involved in a multiplayer trade, going from Atlanta to Sacramento for Mike Bibby.

He held career averages of 8.0 points and 6.4 rebounds per game, playing in 778 (793 including playoffs) NBA games over 13 seasons.

Personal life
In 2000, Wright and three native-Memphis NBA players, Todd Day, Penny Hardaway and Elliot Perry, provided financial assistance to Travis Butler, a Memphis orphan whose tragic story garnered national attention.

Wright founded the Sierra Simone Wright Scholarship Fund after the death of his infant daughter in March 2003.

In 2003, Wright returned to the University of Memphis to finish his degree.

Disappearance and death
On July 18, 2010, Wright left his ex-wife's home in Collierville, Tennessee. This was the last time he was seen alive. His family filed a missing-persons report on July 22, 2010. Wright's body was found six days later in a wooded area on Callis-Cutoff Road, just west of Hacks Cross Road.

In the early-morning hours of July 19, 2010, a 911 call from Wright's cell phone was received by the 911 dispatch center in Germantown, Tennessee. The caller was speaking with the dispatcher when 11 gunshots rang out. The dispatcher did not report the call to her supervisor until eight days later, hindering the police investigation and resulting in a payout to Wright's family. The case was investigated as a homicide. Wright's body is buried in Calvary Cemetery in Memphis, Tennessee. In 2011, a reward for information related to the killing stood at $21,000; the state of Tennessee contributed $10,000, the city of Memphis and the Memphis Grizzlies each promised $5,000, and Crime Stoppers promised $1,000.

On November 9, 2017, the gun believed to have been used to murder Wright was found in a lake in Walnut, Mississippi. On December 5, 2017, Billy R. Turner, a landscaper and church deacon at Mt. Olive No. 1 Missionary Baptist Church in Collierville, was indicted on first-degree murder charges and held on $1 million bond.

On December 15, 2017, Wright's ex-wife Sherra Wright-Robinson was arrested in Riverside, California in connection with the murder. Wright-Robinson was a former member of Turner's church. The seven-year investigation into his death was one of the Memphis Police Department's more high-profile unsolved cases. Wright's mother, Deborah Marion, told The Commercial Appeal that a police official told her Wright-Robinson would be charged with first-degree murder, the same charge Turner faced. Marion said she believes her former daughter-in-law was motivated by money, specifically a life insurance policy for $1 million held by Lorenzen Wright.

In a 2015 article in The Commercial Appeal, Wright-Robinson explained how she inquired early in the investigation whether she was a suspect. "They was like, no, you know," she said. "It was just kind of a person of interest. They said that the list was long and wide and they didn't have any real suspects, if you want to quote that."

Records showed that on August 1, 2010, Memphis police searched her home and found burned pieces of metal and a letter addressed to Lorenzen Wright and her, but law enforcement at that time did not say what the items meant to investigators.

In 2014, Wright-Robinson agreed to a confidential settlement of a dispute in circuit court over how she spent the $1 million of insurance money meant to benefit their six children.

On July 25, 2019, Wright-Robinson pleaded guilty to facilitation of first-degree murder in the shooting death of Lorenzen Wright and was sentenced to 30 years in prison.

Regular season

 * style="text-align:left;"|
 * style="text-align:left;"| L.A. Clippers
 * 77 || 51 || 25.1 || .481 || .250 || .587 || 6.1 || .6 || .6 || .8 || 7.3
 * style="text-align:left;"|
 * style="text-align:left;"| L.A. Clippers
 * 69 || 38 || 30.0 || .445 || .000 || .659 || 8.8 || .8 || .8 || 1.3 || 9.0
 * style="text-align:left;"|
 * style="text-align:left;"| L.A. Clippers
 * 48 || 15 || 23.6 || .458 || .000 || .692 || 7.5 || .7 || .5 || .8 || 6.6
 * style="text-align:left;"|
 * style="text-align:left;"| Atlanta
 * 75 || 0 || 16.1 || .499 || .333 || .644 || 4.1 || .3 || .4 || .5 || 6.0
 * style="text-align:left;"|
 * style="text-align:left;"| Atlanta
 * 71 || 46 || 28.0 || .448 || .000 || .718 || 7.5 || 1.2 || .6 || .9 || 12.4
 * style="text-align:left;"|
 * style="text-align:left;"| Memphis
 * 43 || 33 || 29.1 || .459 || .000 || .569 || 9.4 || 1.0 || .7 || .5 || 12.0
 * style="text-align:left;"|
 * style="text-align:left;"| Memphis
 * 70 || 49 || 28.3 || .454 || .000 || .659 || 7.5 || 1.1 || .7 || .8 || 11.4
 * style="text-align:left;"|
 * style="text-align:left;"| Memphis
 * 65 || 46 || 25.8 || .439 || .000 || .733 || 6.8 || 1.1 || .7 || .9 || 9.4
 * style="text-align:left;"|
 * style="text-align:left;"| Memphis
 * 80 || 77 || 28.6 || .469 || .000 || .662 || 7.7 || 1.1 || .7 || .9 || 9.6
 * style="text-align:left;"|
 * style="text-align:left;"| Memphis
 * 78 || 58 || 21.7 || .478 || .000 || .564 || 5.1 || .6 || .7 || .6 || 5.8
 * style="text-align:left;"|
 * style="text-align:left;"| Atlanta
 * 67 || 31 || 15.4 || .448 || .000 || .281 || 3.2 || .6 || .4 || .4 || 2.6
 * style="text-align:left;"|
 * style="text-align:left;"| Atlanta
 * 13 || 1 || 11.4 || .294 || .000 || .500 || 2.8 || .2 || .2 || .2 || 1.0
 * style="text-align:left;"|
 * style="text-align:left;"| Sacramento
 * 5 || 0 || 2.6 || .250 || .000 || .000 || .2 || .2 || .0 || .0 || .4
 * style="text-align:left;"|
 * style="text-align:left;"| Cleveland
 * 17 || 2 || 7.4 || .370 || .000 || .375 || 1.5 || .2 || .2 || .3 || 1.4
 * - class="sortbottom"
 * style="text-align:center;" colspan="2"| Career
 * 778 || 447 || 23.8 || .459 || .069 || .645 || 6.4 || .8 || .6 || .7 || 8.0
 * style="text-align:left;"|
 * style="text-align:left;"| Atlanta
 * 13 || 1 || 11.4 || .294 || .000 || .500 || 2.8 || .2 || .2 || .2 || 1.0
 * style="text-align:left;"|
 * style="text-align:left;"| Sacramento
 * 5 || 0 || 2.6 || .250 || .000 || .000 || .2 || .2 || .0 || .0 || .4
 * style="text-align:left;"|
 * style="text-align:left;"| Cleveland
 * 17 || 2 || 7.4 || .370 || .000 || .375 || 1.5 || .2 || .2 || .3 || 1.4
 * - class="sortbottom"
 * style="text-align:center;" colspan="2"| Career
 * 778 || 447 || 23.8 || .459 || .069 || .645 || 6.4 || .8 || .6 || .7 || 8.0
 * style="text-align:center;" colspan="2"| Career
 * 778 || 447 || 23.8 || .459 || .069 || .645 || 6.4 || .8 || .6 || .7 || 8.0

Playoffs

 * style="text-align:left;"| 1997
 * style="text-align:left;"| L.A. Clippers
 * 3 || 3 || 30.7 || .406 || .000 || 1.000 || 7.3 || .7 || 1.0 || .7 || 10.3
 * style="text-align:left;"| 2004
 * style="text-align:left;"| Memphis
 * 4 || 4 || 25.0 || .435 || .000 || .333 || 4.3 || .5 || 1.0 || .5 || 5.5
 * style="text-align:left;"| 2005
 * style="text-align:left;"| Memphis
 * 4 || 4 || 21.3 || .571 || .000 || .500 || 5.0 || 2.3 || .3 || .3 || 8.3
 * style="text-align:left;"| 2006
 * style="text-align:left;"| Memphis
 * 4 || 0 || 21.5 || .611 || .000 || .700 || 5.0 || .8 || .0 || 1.0 || 7.3
 * - class="sortbottom"
 * style="text-align:center;" colspan="2"| Career
 * 15 || 11 || 24.2 || .495 || .000 || .652 || 5.3 || 1.1 || .5 || .6 || 7.7
 * 4 || 0 || 21.5 || .611 || .000 || .700 || 5.0 || .8 || .0 || 1.0 || 7.3
 * - class="sortbottom"
 * style="text-align:center;" colspan="2"| Career
 * 15 || 11 || 24.2 || .495 || .000 || .652 || 5.3 || 1.1 || .5 || .6 || 7.7

title: Lorenzen Wright


text: Category:Chinese folk music

title: Category:Chinese folk music


text:
Ramphocaenus

Ramphocaenus is a genus of passerine bird from South America.

Species
Ramphocaenus contains the following species:
 * Chattering gnatwren (Ramphocaenus sticturus)
 * Trilling gnatwren (Ramphocaenus melanurus)

title: Ramphocaenus


text:
Macbeth (Verdi)

Macbeth is an opera in four acts by Giuseppe Verdi, with an Italian libretto by Francesco Maria Piave and additions by Andrea Maffei, based on William Shakespeare's play of the same name. Written for the Teatro della Pergola in Florence, Macbeth was Verdi's tenth opera and premiered on 14 March 1847. It was the first Shakespeare play that Verdi adapted for the operatic stage. Almost twenty years later, Macbeth was revised and expanded into a French version and given in Paris on 21 April 1865. After the success of Attila in 1846, by which time the composer had become well-established, Macbeth came before the great successes of 1851 to 1853 (Rigoletto, Il trovatore and La traviata) which propelled him into universal fame. As sources, Shakespeare's plays provided Verdi with lifelong inspiration: some, such as an adaption of King Lear (as Re Lear) were never realized, but he wrote his two final operas using Othello as the basis for Otello (1887) and The Merry Wives of Windsor as the basis for Falstaff (1893).

The first version of Macbeth was completed during the time that Verdi described as his "galley years," which ranged over 16 years and one that saw the composer produce 22 operas. By the standards of the subject matter of almost all Italian operas during the first fifty years of the 19th century, Macbeth was highly unusual. The 1847 version was very successful, and it was presented widely. Pleased with his opera and with its reception, Verdi wrote to Antonio Barezzi, his former father-in-law and long-time supporter, about two weeks after the premiere: I have long intended to dedicate an opera to you, who have been father, benefactor, and friend to me. It was a duty I should have fulfilled sooner if imperious circumstances had not prevented me. Now, I send you Macbeth which I prize above all my other operas, and therefore deem worthier to present to you. The 1865 revision, produced in a French translation and with several additions, was first given on 21 April. It was less successful, and the opera largely faded from public view until the mid-20th century revivals.

Original 1847 version
Influenced by his friendship in the 1840s with Andrea Maffei, a poet and man of letters who had suggested both Schiller's Die Räuber (The Robbers) and Shakespeare's play Macbeth as suitable subjects for operas, Giuseppe Verdi received a commission from Florence's Teatro della Pergola, but no particular opera was specified. He only started working on Macbeth in September 1846, the reason for that choice was the availability of a particular singer, the baritone Felice Varesi who would sing the title role. With Varesi under contract, Verdi could focus on the music for Macbeth. (Maffei was already writing a libretto for I masnadieri, which was based on the suggested Schiller play, but it could have been substituted for Macbeth had the baritone not been available.) As a result of various complications, including Verdi's illness, that work was not to receive its premiere until July 1847.

Piave's text was based on a prose translation by Carlo Rusconi that had been published in Turin in 1838. Verdi did not encounter Shakespeare's original work until after the opera's first performance. However, he had read Shakespeare in translation for many years, as noted in an 1865 letter: "He is one of my favorite poets. I have had him in my hands from my earliest youth".

Writing to Piave, Verdi made it clear how important this subject was to him: "....This tragedy is one of the greatest creations of man... If we can't make something great out of it, let us at least try to do something out of the ordinary." Despite disagreements and Verdi's need to constantly bully Piave into correcting his drafts (to the point where Maffei had a hand in re-writing some scenes of the libretto, especially the witches' chorus in Act 3 and the sleepwalking scene), their version follows Shakespeare's play quite closely, but with some changes. Instead of using three witches as in the play, there is a large female chorus of witches, singing in three-part harmony (they are divided in three groups, and every group sings as a single witch, using "I" and not "we"). The last act begins with an assembly of refugees on the English border and, in the revised version, ends with a chorus of bards celebrating victory over the tyrant.

1865 revised version for Paris
As early as 1852, Verdi was requested to revise his Macbeth for Paris. At first, nothing transpired, but in 1864 Verdi was asked again to provide additional music – a ballet and a final chorus – for a production planned at the Théâtre Lyrique (Théâtre-Lyrique Impérial du Châtelet) in Paris. In a letter to his publisher, Giulio Ricordi, asking for a copy of the score, Verdi stated, "I would like to lengthen several pieces to give the opera more character." Still, he quickly realized that the proposed additions would not be sufficient and that an overhaul of the opera was required. He went ahead to advise the impresario of the Lyrique, Léon Carvalho, that more time was needed and urged patience: "I am labouring, labouring, labouring" he assured the impresario and stressed that he wanted to look at the big picture and not try to hurry along a re-working of an opera he had written so many years before.

So began a revising the original version of 1847 over the winter of 1864/65. Verdi's librettist from years before, Francesco Maria Piave, was pressed into service to expand the opera. The composer exerted his usual pressures on him as he had done from their first collaboration: "No, no, my dear Piave, it won't do!" was a typical reaction to a first draft—in this case, it was of Lady Macbeth's new act 2 aria "La luce langue," the result of which (notes biographer Mary Jane Phillips-Matz) was "from Verdi's insistence came Lady Macbeth's gripping scene." With the addition of music for Lady Macbeth, Macbeth's aria in Act 3 was completely re-written—as was a considerable amount of the rest of Act 3; a ballet was added in Act 3; a newly composed chorus to an old text began Act 4; and the ending of Act 4 was also changed, Verdi, being determined to drop Macbeth's final aria Mal per me che m'affidai ("Trusting in the prophecies of Hell") in favor of an off-stage death, to end with the triumphal chorus.

As if all these specific demands placed on Piave were not enough, Verdi wrote a lengthy letter to Ricordi outlining what he saw as the dramatic demands of the revision. Some relate to crucial elements in the drama, especially how Banquo's appearance as a ghost should be presented. Ultimately however, Verdi had little power over the staged production, but— regarding the translation—he did insist that the translator, when considering the Act 2 duet between the Macbeth couple, retain the words "Folie follie" as written to emphasize the dramatic impact which those words created.

One final letter, this time in February to Escudier, relates to what Verdi saw as "the three roles in this opera, and there can only be three". He then lays out that there is "Lady Macbet, (sic) Macbet, (sic) [and the] Chorus of Witches," discounting the role of Macduff, and he continues by noting that, for him, "the Witches rule the drama.....They are truly a character and a character of greatest importance."

The new version was first performed on 21 April 1865 in a French translation by Charles-Louis-Étienne Nuitter and Alexandre Beaumont. However, Verdi had asked for it to be done by Gilbert Duprez, the tenor-turned-teacher in whom he had great confidence and whom he knew from his performances in his first opera for Paris, Jérusalem, in 1847. The composer refused to attend the Paris performance but provided directions via his publisher, others directly to Escudier. Initially, the reports from Escudier were favorable. Still, the first performance was poorly received by the critics, something which puzzled the composer: "I thought I had done quite well with it...it appears I was mistaken" he stated when he wrote to his Paris publisher, Escudier. Later performances in Paris fared no better.

In Italian, the opera was given at La Scala in the autumn of 1865, but few, if any, others in Italy appear to have been presented. Since its revival in Europe in the 1960s, the revised version of Macbeth in Italian remains the preferred version for modern performances, although usually, the death scene from the first version is often interpolated in the last act.

Performance history
19th century

The 1847 version, after it was first given on 14 March of that year in Florence, was successful and was performed all over Italy in some 21 locations (some repeated) until the revised version appeared in 1865. At that time it was recorded that it was given only in Turin (1867), Vicenza (1869), Firenze (1870), and Milan (1874).

The first version was given its United States premiere in April 1850 at Niblo's Garden in New York with Angiolina Bosio as Lady Macbeth and Cesare Badiali as Banco, while the United Kingdom premiere took place in October 1860 in Manchester.

After the 1865 premiere of the revised version, followed by only 13 more performances, the opera generally fell from popularity. It was given in Paris in April 1865 and then occasionally up to about 1900. However, after that, it was rarely performed until after World War II.

20th century and beyond

The US premiere of the later version did not occur until 24 October 1941 in New York. However, two European productions, in Berlin in the 1930s and at Glyndebourne in 1938 and 1939, were important in helping the 20th-century revival. The 1938 production was the UK premiere of the revised version and the first to combine the death of Macbeth from the 1847 version with the triumphal ending from the 1865 version, something totally against Verdi's wishes.

Glyndebourne revived it in the 1950s, as did Teatro alla Scala in 1952 with Maria Callas as Lady Macbeth, but it was not until 1959 that it appeared on the Metropolitan Opera's roster for the first time and has often been performed there since then. The Opera Guild of Montreal presented the Canadian premiere of Macbeth in January 1959, beating the Metropolitan Opera by two weeks. Similarly, the first presentations at the Royal Opera House, Covent Garden, with Tito Gobbi (and others in the title role) took place on 30 March 1960, with other productions presented in 1981 and 2002. The visiting "Kirov Opera" (as today's Mariinsky Opera was then known) presented it in London at Covent Garden in 2001.

In recent times, the opera has appeared more frequently in the repertories of companies such as the Washington National Opera (2007) and the San Francisco Opera (Nov/Dec 2007) and in many other opera houses worldwide, but almost all productions stage the revised version in Italian.

However, the 1847 version was given in concert at the Royal Opera House on 27 June 1997, and both the original and the revised versions were presented in 2003 as part of the Sarasota Opera's "Verdi Cycle" of all the composer's operas in their different versions.

In 2012, the Grand Théâtre de Genève presented a production of the opera under the direction of Christof Loy.

Today, Verdi's Macbeth receives many performances at opera houses worldwide.

Synopsis
Note: there are several differences between the 1847 and the 1865 versions which are noted below in text in indented brackets

 * Place: Scotland
 * Time: 11th century

Act 1
Scene 1: A heath Groups of witches gather in a wood beside a battlefield, exchanging stories of the evils they have done. The victorious generals Macbeth and Banco enter. The witches hail Macbeth as Thane of Glamis (a title he already holds by inheritance), Thane of Cawdor, and king "hereafter." Banco is greeted as "lesser than Macbeth, but greater", never a king himself, but the progenitor of a line of future kings. The witches vanish, and messengers from the king appear naming Macbeth Thane of Cawdor. Macbeth protests that the holder of that title is still alive, but the messengers reply that the former Thane has been executed as a traitor. Banco, mistrusting the witches, is horrified to find that they have spoken the truth. In a duet, Macbeth and Banco muse that the first of the witches' prophecies has been fulfilled. Macbeth ponders how close he is to the throne, and whether fate will crown him without his taking action, yet dreams of blood and treachery: while Banco ponders on whether the minions of Hell will sometimes reveal an honest truth in order to lead one to future damnation.

Scene 2: Macbeth's castle

Lady Macbeth reads a letter from her husband telling of the encounter with the witches. She is determined to propel Macbeth to the throne – by fair means or foul.

 * [Revised version, 1865: Vieni! t'affretta!/ "Come! Hurry!"].

Lady Macbeth is advised that King Duncan will stay in the castle that night; she is determined to see him killed (Or tutti, sorgete / "Arise now, all you ministers of hell"). When Macbeth returns she urges him to take the opportunity to kill the King. The King and the nobles arrive and Macbeth is emboldened to carry out the murder (Mi si affaccia un pugnal? / "Is this a dagger which I see before me?"), but afterwards is filled with horror. Disgusted at his cowardice, Lady Macbeth completes the crime, incriminating the sleeping guards by smearing them with Duncan's blood and planting on them Macbeth's dagger. Macduff arrives for an appointment with the King, while Banco stands guard, only for Macduff instead to discover the murder. He rouses the castle while Banco also bears witness to the fact of Duncan's murder. The chorus calls on God to avenge the killing (Schiudi, inferno, . . / "Open wide thy gaping maw, O Hell").

Act 2
Scene 1: A room in the castle

Macbeth is now king: Duncan's son Malcolm has fled the country, suspicion having conveniently fallen on him for his father's murder: but Macbeth is still disturbed by the prophecy that Banco, not he, will found a great royal line. To prevent this he tells his wife that he will have both Banco and his son murdered as they come to a banquet. There follows her aria Trionfai! / I have triumphed!.

 * [1865 revised version: In her aria, La luce langue / "The light fades", Lady Macbeth exults in the powers of darkness]

Scene 2: Outside the castle

A gang of murderers lie in wait. Banco, sensing danger shares his misgivings with his son. (Come dal ciel precipita / "O, how the darkness falls from heaven"). The murderers attack and stab him to death, but his son escapes.

Scene 3: A dining hall in the castle

Macbeth receives the guests and Lady Macbeth sings a brindisi (Si colmi il calice   / "Fill up the cup"). The assassination is reported to Macbeth, but when he returns to the table the ghost of Banco is sitting in his place. Macbeth raves at the ghost and the horrified guests believe he has gone mad. Lady Macbeth manages to calm the situation once – and even mocks it by calling for a toast to the absent Banco (whose death is not yet public knowledge), only for the ghost to appear a second time and terrify Macbeth into insanity again. Macduff resolves to leave the country, saying it is ruled by a cursed hand and only the wicked may remain: the other guests are terrified by Macbeth's talk of ghosts, phantoms and witches. The banquet ends abruptly with their hurried, frightened departure.

Act 3
The witches' cave

The witches gather around a cauldron in a dark cave. Macbeth enters and they conjure up three apparitions for him. The first advises him to beware of Macduff. The second tells him that he cannot be harmed by a man 'born of woman'. The third that he cannot be conquered till Birnam Wood marches against him. (Macbeth: O lieto augurio / "O, happy augury! No wood has ever moved by magic power")

Macbeth is then shown the ghost of Banco and his descendants, eight future Kings of Scotland, verifying the original prophecy. (Macbeth: Fuggi regal fantasima / "Begone, royal phantom that reminds me of Banco"). He collapses, but regains consciousness in the castle.

 * [Original 1847 version: The act ends with Macbeth recovering and resolving to assert his authority: Vada in fiamme, e in polve cada / "Macduff's lofty stronghold shall / Be set fire....".]

A herald announces the arrival of the Queen (Duet: Vi trovo alfin! / "I've found you at last"). Macbeth tells his wife about his encounter with the witches and they resolve to track down and kill Banco's son, as well as Macduff (of whose flight they do not yet know) and his family. (Duet: Ora di morte e di vendetta / "Hour of death and of vengeance").

Act 4
Scene 1: Near the border between England and Scotland

Scottish refugees stand near the English border (Chorus: Patria oppressa / "Down-trodden country"):
 * [Original 1847 version: While each version uses the same libretto, the music of this chorus is different. It begins with a less ominous, much shorter orchestral introduction and is sung straight through by the entire chorus.]

 * [1865 revised version: the music is divided into sections for the male and female members, then it unites them towards the end. The revised version is 2 minutes longer than the original.]

In the distance lies Birnam Wood. Macduff is determined to avenge the deaths of his wife and children at the hands of the tyrant (Ah, la paterna mano / "Ah, the paternal hand"). He is joined by Malcolm, the son of King Duncan, and the English army. Malcolm orders each soldier to cut a branch from a tree in Birnam Wood and carry it as they attack Macbeth's army. They are determined to liberate Scotland from tyranny (Chorus: La patria tradita / "Our country betrayed").

 Scene 2: Macbeth's castle

A doctor and a servant observe the Queen as she walks in her sleep, wringing her hands and attempting to clean them of blood (Una macchia è qui tuttora! / "Yet here's a spot"). She raves about the deaths of both Duncan and Banco, and even about the deaths of Macduff's family, and that all the perfumes of Arabia would not clean the blood off her hands: all are things that the horrified witnesses would never dare to repeat to any living man.

Scene 3: The battlefield

Macbeth has learned that an army of Scottish rebels backed by England is advancing against him, but is reassured by remembering the words of the apparitions, that no man born of woman can harm him. However, in an aria (Pietà, rispetto, amore / "Compassion, honour, love") he contemplates the fact that he is already hated and feared: there will be no compassion, honour and love for him in his old age even if he wins this battle, nor kind words on a royal tomb, only curses and hatred. He receives the news of the Queen's death with indifference. Rallying his troops he learns that Birnam Wood has indeed come to his castle. Battle is joined.

 * [Original 1847 version's ending: Macduff pursues and fights Macbeth who falls. He tells Macbeth that he was not "born of woman" but "ripped" from his mother's womb. Fighting continues. Mortally wounded, Macbeth, in a final aria – Mal per me che m'affidai / "Trusting in the prophecies of Hell" – proclaims that trusting in these prophecies has caused his downfall. He dies on stage, while Macduff's men proclaim Malcolm to be the new King.]

Macduff pursues and fights Macbeth who falls wounded. He tells Macbeth that he was not "born of woman" but "untimely ripped" from his mother's womb. Macbeth responds in anguish (Cielo! / "Heaven") and the two continue fighting, then disappear from view. Macduff returns indicating to his men that he has killed Macbeth. He then turns to Malcolm, hailing him as King. The scene ends with a hymn to victory sung by bards, soldiers, and Scottish women (Salve, o re!/ "Hail, oh King!). Malcolm as King, and Macduff as hero, together swear to restore the realm to greatness.

Music
Writing in the New Grove Dictionary, musicologist Roger Parker sees the opera as revealing Verdi's "attention to detail and sureness of effect unprecedented in earlier works. This holds true as much for the 'conventional' numbers....as for formal experiments like the Macbeth-Banquo duettino in act 1." But Deryck Cooke, in his 1964 essay "Shakespeare into Music", argues that Macbeth is inferior to both Verdi's later works inspired by Shakespeare (Otello, Falstaff) and the Bard's original:

"Only during the present Verdi craze could his Macbeth be seriously set beside its tremendous original. What can we make of a Macbeth who pursues his fatal vision through a musical desert of the old fustian recitative, or a Lady Macbeth whose prayer to be unsexed is a barn-storming martial cabaletta? In the 'Grand scena di sonnambulismo', admittedly, Verdi did so magically stroke the big strumming guitar of his orchestra, and so chasten the vocal pride of Italian 'bel canto, as to foreshadow his achievements of some forty years later."

Baldini's analysis of the structure of the score in relation to the drama (and the comparison between the two versions) is highly detailed and worthy of examination. He notes that it is not always the 1865 material which is better or more suited than that from 1847. While he is not alone in raising the issue of the contrast between the 1847 version and that of 1865 ("the passage of 18 years was just too long to allow him to re-enter his original conception at every point" ), in the final analysis for musicologist Julian Budden, the disparity between the versions cannot be reconciled. However, along with Parker, he does concede that "even the traditional elements are better handled than in Attila or Alzira [and] the arias grow organically from the implications of their own material, rather than from the deliberate elaboration of a formula."

title: Macbeth (Verdi)


text:
WMVY

WMVY (88.7 FM; "Mvyradio") is a non-commercial community-oriented radio station based in the town of Tisbury, Massachusetts, and licensed to serve Edgartown, both on the island of Martha's Vineyard. The station is owned by Friends of Mvyradio, Inc., and broadcasts an adult album alternative format.

Mvyradio is one of the most streamed internet radio stations in the world (consistently one of the Top 20 most-listened-to internet radio stations according to Webcast Metrics). Streams are available in multiple formats, including WMA, MP3, and RealAudio, and it is a featured station on Apple's iTunes radio tuner service.

On 92.7 FM
Beginning in 1981 and ending on February 8, 2013, WMVY was a commercial radio station on 92.7 FM in Tisbury. Despite being a class "A" FM signal transmitting from Martha's Vineyard, WMVY was widely listened to in both southeastern Massachusetts (particularly the "upper" portion of Cape Cod) and the area around Newport, Rhode Island (the latter via a translator station on 96.5, W243AI).

During its last few years broadcasting on 92.7 FM, Mvyradio's operations were actually split between two companies. The radio station, WMVY, was owned by Aritaur Communications. The Web presence and online streaming were managed by mvyradio, LLC. A third entity, Friends of mvyradio, is a 501c(3) non-profit created to help offset streaming and programming expenses by enabling listeners to make tax deductible donations.

On November 27, 2012 WBUR-FM, a Boston NPR affiliate, announced that subject to FCC approval, it had reached an agreement to purchase WMVY, which would become a repeater of WBUR-FM. The purchase price was $715,000. Mvyradio's programming was to be transferred to the Friends of Mvyradio as a non-commercial Internet-only station. The switch to the WBUR simulcast (under new call letters WBUA) took place on February 9, 2013 at midnight.

On 88.7 FM
On November 7, 2013, Friends of Mvyradio announced that they had bought the broadcast license for 88.7 FM from Vineyard Public Radio Inc., which was 250 watts and had the callsign WMEX. Vineyard Public Radio had originally planned to use WMEX to carry a format of adult standards and big band music, but ran into zoning problems. WMEX began carrying Mvyradio programming at 4 p.m. on May 21, 2014, following a 20-minute stunt of ocean wave sounds. A week later, the callsign was changed to WMVI; on June 9, the WMVY callsign was assigned to the station. Also in June 2014, power was increased to 580 watts. In July 2015, power was increased to 13,000 watts, albeit using a directional antenna that reduces power westward to protect WJMF, Smithfield/Providence, which also transmits on 88.7 FM. The 13,000-watt signal covers most of Cape Cod, the Vineyard, the South Coast, and Nantucket.

Translators
From 2013 to 2018, WMVY was heard on 96.5 FM in Newport by way of leasing 102.7-HD2 (WNPE) from Rhode Island Public Radio; this translator now directly rebroadcasts WMVY.

For a few years, beginning in June 2005, WMVY had two additional translator stations on Cape Cod: W264BA (100.7 FM) in Harwich Port and W230AW (93.9 FM) in Centerville. W230AW currently rebroadcasts WFRQ, while W264BA rebroadcasts WKFY on 100.5 as W263CU.

title: WMVY


text:
Wikipedia:Articles for deletion/Presidential Hotel, Enugu

 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 redirect to Enugu. Smoddy (Rabbit and pork) 19:52, 25 Apr 2005 (UTC)

Presidential Hotel, Enugu
Has been tagged with since February. All that it says is, "The Presidential Hotel is the main hotel in Enugu, Nigeria. It was built in the 1970s." Zzyzx11 | Talk 05:39, 17 Apr 2005 (UTC)
 * Expanded slightly Kappa 06:08, 17 Apr 2005 (UTC)
 * Redirect to the city its in and include in a list of ammenities. Conferences get held in hotels all the time. --nixie 07:36, 17 Apr 2005 (UTC)
 * Redirect to Enugu. Megan1967 08:32, 17 Apr 2005 (UTC)
 * Meh. Keep the main hotel in a large city, and help redress systemic bias against developing countries. Kappa 22:03, 18 Apr 2005 (UTC)

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


text:
User talk:Poopoopoopooslav

Please stop vandalizing, and choose another user name because your current one is offensive. Thanks. -- Stevey7788 05:39, 17 Apr 2005 (UTC)

title: User talk:Poopoopoopooslav


text:
WCAI

WCAI (90.1 FM) in Woods Hole, Massachusetts, WNAN (91.1 FM) in Nantucket, and WZAI (94.3 FM) in Brewster, are NPR member radio stations serving the Cape Cod and Islands area of southeast Massachusetts. They broadcast primarily news and information programming and are owned by the WGBH Educational Foundation in Boston. WCAI's studios are located at 3 Water Street in Woods Hole (a census-designated place in Falmouth) and its transmission facilities are located in Tisbury, Massachusetts.

The station was founded by independent radio producer Jay Allison and his organization, Atlantic Public Media, with construction and operation duties assigned to WGBH, and first went on the air in 2000; Atlantic Public Media has also produced local programming for the station. (WNAN went on the air on March 15, 2000) Coverage for WCAI and WNAN didn't reach all of Cape Cod and the nearby islands, however, and in 2005 the third signal, WZAI, went on the air. In addition, an online stream of the station is available.

In 2007, the station won the prestigious Alfred I. duPont-Columbia Award, often called the Pulitzer Prize of broadcast journalism, for a 20-part series called "Two Cape Cods: Hidden Poverty on the Cape and Islands". The series was produced and reported by Sean Corcoran, and it highlighted numerous poverty issues in a region that often is thought of as playground for the rich. WCAI was the only radio station to win the award that year.

In 2020, the station rebranded as CAI, as part of a larger rebranding underwent by WGBH (which similarly dropped "W" from its branding organization-wide).

Apart from being owned by WGBH, there is no connection between the Cape and Islands NPR stations and WNCK in Nantucket, which formerly simulcast WGBH's primary radio service and later WCRB, a classical music station owned by WGBH. WCAI itself carries WCRB's programming on its second HD Radio channel, which was added in late 2013 after WCAI boosted its power.

title: WCAI


text:
Banggai Regency

The Banggai Regency (Kabupaten Banggai) is a regency located at the eastern end of Central Sulawesi Province of Indonesia. It makes up a re-established regency (kabupaten), created on 4 October 1999 by splitting the existing Banggai Regency into this smaller Banggai Regency situated on the mainland of Sulawesi (capital, Luwuk) and a new Banggai Islands Regency comprising the offshore islands to the southeast (capital, Banggai town) which are separated from mainland Sulawesi by the Peleng Straits (Selat Peleng). The residual Banggai Regency covers an area of 9,672.70 km2 and had a population of 323,626 at the 2010 census and 362,275 at the 2020 census; the official estimate as at mid 2023 was 373,693 (comprising 190,430 males and 183,260 females).

Administration
At the 2010 census, the Banggai regency was divided into eighteen districts (kecamatan). Subsequently, another five districts have been created by the division of four existing districts in 2012 and 2015. The twenty-three districts are tabulated below with their areas and their 2010 and 2020 Census populations, together with the official estimates as at mid-2023 (rounded to the nearest 100 persons). The table also includes the locations of the district administrative centres, the number of villages in each district (291 rural desa and 46 urban kelurahan in total), and its post code.

Notes: (a) The 2010 populations of Luwuk Utara and Luwuk Selatan Districts are included in the figure for Luwuk District, from which they were split away in 2015 and 2012 respectively. (b) The 2010 population of Nambo District is included in the figure for Kintom District, from which it was split away in 2012. (c) The 2010 population of Mantoh District is included in the figure for Lamala District, from which it was split away in 2012. (d) The 2010 population of Balantak Utara District is included in the figure for Balantak District, from which it was split away in 2012.

title: Banggai Regency


text:
Don Meineke

Don "Monk" Meineke (October 30, 1930 – September 3, 2013) was an American basketball player. He played college basketball for the University of Dayton and was a consensus second-team All-American in 1952. He later played professionally in the National Basketball Association and won the inaugural Rookie of the Year award in 1953.

College career
Meineke averaged 20.6 points as a junior for the Dayton Flyers, carrying the team to an NIT runner-up finish in 1951. He averaged 21.1 points per game as a senior and led the team to another second-place finish in the NIT in 1952. Meineke was an AP second-team All-American selection after his senior year.

Professional career
Meineke received the National Basketball Association's first Rookie of the Year Award after the 1952–53 NBA season while playing for the Fort Wayne Pistons. He led the league in personal fouls and disqualifications the same season. The 26 disqualifications he had in his first year is still the NBA single-season record. His 334 personal fouls in only 68 games gave him an average of more than 4.9 fouls per game.

Meineke played for the Rochester Royals in the 1955–56 season, and after sitting out the 1956–57 season, rejoined the relocated Cincinnati Royals in 1957–58.

Personal life
Meineke was married to Mary Jane (Hautman) and with her had four children.

Regular season
{| class="wikitable sortable" style="font-size:95%; text-align:right;" !Year !Team !GP !MPG !FG% !FT% !RPG !APG !PPG
 * style="text-align:left;" |1952–53
 * style="text-align:left;" |Fort Wayne
 * 68
 * 33.1
 * .381
 * .783
 * 6.9
 * 2.2
 * 10.7
 * style="text-align:left;" |1953–54
 * style="text-align:left;" |Fort Wayne
 * 71
 * 20.9
 * .344
 * .805
 * 5.2
 * 1.1
 * 5.7
 * style="text-align:left;" |1954–55
 * style="text-align:left;" |Fort Wayne
 * 68
 * 15.1
 * .372
 * .700
 * 3.6
 * 0.9
 * 5.8
 * style="text-align:left;" |1955–56
 * style="text-align:left;" |Rochester
 * 69
 * 18.1
 * .372
 * .700
 * 3.6
 * 1.5
 * 7.1
 * style="text-align:left;" |1957–58
 * style="text-align:left;" |Cincinnati
 * 67
 * 11.8
 * .356
 * .647
 * 3.4
 * 0.6
 * 4.9
 * - class="sortbottom"
 * colspan="2" style="text-align:center;" |Career
 * 343
 * 19.8
 * .367
 * .756
 * 4.7
 * 1.3
 * 6.8
 * .367
 * .756
 * 4.7
 * 1.3
 * 6.8

title: Don Meineke


text: User:DuKot/Wikipedia Ranks

title: User:DuKot/Wikipedia Ranks


text:
Natasha Rostova

Countess Natalya "Natasha" Ilyinichna Rostova (Наталья "Наташа" Ильинична Ростова, named Natasha Rostov in the Rosemary Edmonds version; born 1792, according to the book) is a central fictional character in Leo Tolstoy's 1869 novel War and Peace. She is the beautiful daughter of Ilya Rostov, a loving, kind, and generous nobleman. Natasha is based on both Tanya Behrs, Tolstoy's sister-in-law, and Sophia Tolstaya (née Behrs), Tolstoy's wife.

Biography
At the start of the novel in 1805, Natasha is a 13-year-old girl, the daughter of Count Ilya Rostov and Countess Natalya Rostova. She has fallen in love with young Prince Boris Drubetskoy, who lives with his mother Anna Mikhaylovna in the Rostov estate. She becomes close friends with Count Pierre Bezukhov, who frequently visits the Rostovs. When Boris leaves to pursue a career in the staff of General Mikhail Kutuzov, their friendship evaporates. At her first ball, Pierre introduces her to Prince Andrei Bolkonsky. They fall in love and become engaged, but Andrei's father objects to the match. He forces Andrei to postpone the marriage for a year, during which he goes on a tour of Europe and finds a tutor for his son. A visit to Andrei's father ends in a falling-out between Natasha and Princess Maria, Andrei's sister. During Andrei's absence, Prince Anatole Kuragin takes advantage of the situation by courting Natasha, even though he is already married. She succumbs to his charms and tries to elope with Kuragin. Although this is thwarted by Natasha's cousin Sonya, Natasha hastily writes to Princess Maria, breaking off the engagement. After her plan to elope is ruined, Natasha attempts suicide. She is rescued by the doctor before she dies. As Napoleon advances into Russia, the Rostovs are forced to evacuate their estate and retreat to their Moscow residence. When the Rostovs plan to evacuate Moscow, her parents use the carts for transportation of the wounded soldiers, and Natasha discovers that Andrei is among the wounded soldiers. She devotes all her time to nursing him.

After the French forces depart Moscow, Natasha again meets Andrei's sister Maria and together they nurse Andrei until he dies. They are reunited with Pierre, whose estranged wife Helene has died. Natasha and Pierre fall in love. Eventually, they marry and have four children.

Adaptations
The character of Natasha Rostova is difficult to portray on film or television because she ages from a 13-year-old girl in book one to a 28-year-old mother of four at the end of the novel. Several actresses have portrayed Natasha Rostova to critical acclaim.

In 1956, Audrey Hepburn was cast as Natasha in King Vidor's War and Peace. She was nominated for a BAFTA Award for best British actress and for a Golden Globe Award for best actress in a drama production. Moreover, Harlow Robinson writes that Hepburn "makes a visually compelling Natasha...".

Other performances include those of Morag Hood in the 1972 BBC miniseries with Anthony Hopkins as Pierre, Ludmila Savelyeva in Sergei Bondarchuk's adaptation, Clémence Poésy in the 2007 miniseries and Denée Benton (Phillipa Soo Off-Broadway) in the New York musical adaptation, Natasha, Pierre & The Great Comet of 1812, which received 12 Tony nominations in 2017. In the 2016 BBC One six-part drama based on the novel, Lily James played Natasha Rostova.

Scholarly reception
The Encyclopedia of Literature remarks that Natasha "is undoubtedly Tolstoy's ideal woman," while the Academic American Encyclopedia describes her as "the embodiment of impulsiveness and spontaneity...". The transformation of her character towards the end of the novel from a joyous, spirited 'waif-like' beauty into a plump, rather slatternly woman who is only interested in her husband and children has been criticized. Dorothea Barrett compares this to the description of a matronly Dinah Morris at the end of Adam Bede, which she calls 'inappropriate, almost humiliating'.

title: Natasha Rostova