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Conchita Supervía

Conchita Supervía (8–9 December 1895 – 30 March 1936) was a highly popular Spanish coloratura mezzo-soprano singer who appeared in opera in Europe and America and also gave recitals.

Early life
Supervía was born in Barcelona to an old Andalusian family and given the baptismal name of María de la Concepción Supervía Pascual. She was educated at the local convent but at the age of twelve entered the Conservatori Superior de Música del Liceu in Barcelona to study singing.

Professional career
She made her stage debut in 1910 at the young age of 15 at the Teatro Colón, Buenos Aires, Argentina in Stiattesi's Blanca de Beaulieu. Then she sang in Tomás Bretón's Los Amantes de Teruel and as Lola in Mascagni's Cavalleria rusticana.

In 1911 she sang the role of Octavian in the first Italian-language production of Richard Strauss's Der Rosenkavalier at the Teatro Costanzi in Rome. In 1912, she appeared as Carmen at the Gran Teatre del Liceu in her native city, a role with which she would be associated for the rest of her career.

She made her American debut in 1915 as Charlotte in Massenet's Werther at the Chicago Opera, where she also sang in Mignon and Carmen. Back in Europe by the end of the First World War she was invited to Rome, where she started the Rossini revival that made her world-famous – as Angelina in La Cenerentola, Isabella in L'italiana in Algeri and Rosina in Il barbiere di Siviglia, in the original keys.

All in all, she made more than 200 recordings mostly for the Fonotipia and Odeon labels, featuring not only her famous roles in opera but also a vast song repertory in Catalan, Spanish, French, Italian and English, as well as pieces from zarzuela and even operetta (she had appeared in a legendary production of Franz Lehár's Frasquita at the Opéra Comique).

In 1930, she made her London debut at the Queen's Hall. The following year she married Ben Rubenstein, a Jewish businessman from London, and settled there. (She already had a teenage son, Giorgio, fruit of a previous and brief "marriage", in 1917, with Francesco Santamaria, ex-mayor of Naples.)

Her Covent Garden debut was in 1934 in La Cenerentola and in 1935 she repeated that part, plus L'Italiana in Algeri and Carmen. In 1934, Supervía appeared in the Victor Saville British motion picture Evensong as a singer named Baba L'Etoile, opposite actor Fritz Kortner.

Vocal qualities
She had a powerful chest register linked to a flexible upper voice that could cope easily with florid passages, allied to a musicianship of great individuality and infectious flair. Her voice is not without its critics; a pronounced vibrato that in the lower part of the voice became almost a machine-gun rattle, ‘as strong as the rattle of ice in a glass, or dice in a box’, in a comment attributed to the British critic, Philip Hope-Wallace.

Many who heard her in the flesh have said that this vibrato was more evident on records than on the stage – an example of the microphone exaggerating a singer's faults. In the 1920s Supervía sang at La Scala as Hänsel in Engelbert Humperdinck's Hänsel und Gretel but, strangely, she never sang the Rossini roles or Carmen at La Scala though she sang there in every season until 1929.

Death
Later, during her career, pregnancy forced her to cancel her planned appearances in the autumn of 1935. On 29 March 1936 she entered a London clinic to await the birth of her baby, which was stillborn on 30 March; a few hours later she herself died. She was buried with her baby daughter, in a grave designed by Edwin Lutyens, in the Liberal Jewish Cemetery in Willesden, northwest London. The grave, which had fallen into disrepair, was refurbished by a group of admirers and re-consecrated in October 2006.

title: Conchita Supervía


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Abercrombie-class monitor

The Abercrombie class of monitors served in the Royal Navy during the First World War.

History
The four ships in this class came about when the contracted supplier of the main armament for the Greek battleship GREEK BATTLESHIP Salamis being built in Germany was unable to supply due to the British blockade. The company – Bethlehem Steel in the United States – instead offered to sell the four 14 in twin gun turrets to the Royal Navy on 3 November 1914. The Royal Navy was using obsolete pre-dreadnought battleships for shore bombardment in support of the army in Belgium, and a design for a shallow-draught warship (known as "Monitors") suitable for shore-bombardment was quickly designed and built to use these turrets. The ships were laid down and launched within six months.

The ships carried a single main gun turret forward of a tripod mast, which was itself in front of a single funnel. A secondary armament of two 12-pounder (76 mm) guns was fitted, with a single 3-pounder (47 mm) anti-aircraft gun, with a 2-pounder pom-pom completing the ships armament.

The monitors had a box-like hull, with very bluff bow and stern, and were fitted with anti-torpedo bulges. In order to speed construction, it was intended to use off-the shelf merchant ship engines, giving about 2000 ihp, which were expected to drive the ships to 10 kn. The rushed design, however, meant that the ships were much slower than expected — Raglan's engines gave 2310 ihp but the ship could only reach 6+1/2 kn.

During the planning and build, they were to be the Styx-class named after four American figures; General Ulysses S. Grant, General Robert E. Lee, Admiral David Farragut and General Stonewall Jackson and they were launched under these names. Because the United States was still a neutral power at that time, using these names would have been undiplomatic and so they were renamed as simply M1 through M4 before completion, then receiving their final names.

The design included a seaplane for spotting the guns, but it was found that land-based aircraft were more effective; as monitors, they would never operate in the open sea, and storing the seaplane on top of the turret meant it had to be removed to avoid damage, even if not required before the guns could fire.

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

title: Abercrombie-class monitor


text:
Bight (geography)

In geography, a bight is a concave bend or curvature in a coastline, river or other geographical feature, or it may refer to a very open bay formed by such a feature. Such bays are typically broad, open, shallow and only slightly recessed.

Description
Bights are distinguished from sounds, in that sounds are much deeper. Traditionally, explorers defined a bight as a bay that could be sailed out of on a single tack in a square-rigged sailing vessel, regardless of the direction of the wind (typically meaning the apex of the bight is less than 25 degrees from the edges).

According to the United Nations Convention on the Law of the Sea, an indentation with an area as large as (or larger than) that of the semi-circle whose diameter is a line drawn across the mouth of that indentation, can be regarded as a bay not merely a bight.

Etymology
The term is derived from Old English byht ("bend, angle, corner; bay, bight") with German Bucht and Danish bugt as cognates, both meaning "bay". Bight is not etymologically related to "bite" (Old English bītan).

Notable examples

 * Bight of Bangkok
 * Bay of Campeche
 * Bay of Plenty
 * Bight of Benin
 * Bight of Biafra or Bight of Bonny
 * Canterbury Bight
 * German Bight or Heligoland Bight
 * Great Australian Bight
 * McKenzie Bight
 * Mecklenburg Bight
 * Mid-Atlantic Bight
 * New York Bight
 * North Taranaki Bight
 * Robson Bight
 * Santa Monica Bay
 * South Taranaki Bight
 * Southern Bight
 * Southern California Bight
 * Trinity Bight, Newfoundland and Labrador

title: Bight (geography)


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Lady with an Ermine

The Lady with an Ermine is a portrait painting widely attributed to the Italian Renaissance artist Leonardo da Vinci. Dated to c. 1489–1491, the work is painted in oils on a panel of walnut wood. Its subject is Cecilia Gallerani, a mistress of Ludovico Sforza ("Il Moro"), Duke of Milan; Leonardo was painter to the Sforza court in Milan at the time of its execution. It is the second of only four surviving portraits of women painted by Leonardo, the others being Ginevra de' Benci, La Belle Ferronnière and the Mona Lisa.

Lady with an Ermine is now housed at the Czartoryski Museum in Kraków, and is one of Poland's national treasures. It is part of the Princes Czartoryski Collection, which was sold for €100 million (5% of the estimated market value of the entire collection) on 29 December 2016 to the Polish government by Princes Czartoryski Foundation, represented by Adam Karol Czartoryski, the last direct descendant of Izabela Czartoryska Flemming and Adam George Czartoryski, who brought the painting to Poland from Italy in 1798.

Composition
The painting was executed in oils on a somewhat small, 54 × 39 cm (21 × 15 in) walnut wood panel. It depicts a half-height woman turned toward her right at a three-quarter angle, but with her face turned toward her left. The animal in her arms twists in a similar manner, resulting in considerable contrapposto with the lady, a technique Leonardo explored earlier with the angel in the Virgin of the Rocks. The work is prepared with a layer of white gesso and a layer of brownish underpaint. In general, the paint is evenly applied akin to the Mona Lisa, though certain areas of the lady's skin are more layered. Also present are the subtle remains of spolvero (in the outline of the face and head), underdrawing (in the right arm, right hand, left hand, top of nose and edge of the hair), and fingerprints (the face and animal's head), the latter of which are particularly common in Leonardo's paintings. It is made from a single piece of walnut wood; Leonardo recommended, and favored walnut wood, though it was not commonly used by other artists in Lombardy. The wood is thin (about 4 - 5 mm) and is most likely from the same tree as the wood for his later portrait, La Belle Ferronnière. The Lady with an Ermine is also connected to La Belle Ferronnière, as well as Leonardo's earlier Portrait of a Musician, due to the three paintings including black backgrounds.

Though there are a few areas of minor damage, art historian Frank Zöllner insists the work is in "very good condition... similar to the equally well preserved Mona Lisa". Such an evaluation is relatively recent, however, as the work was previously considered to be considerably damaged and repainted. Promotion of such an analysis largely began with the art historian Kenneth Clark, who asserted in 1961 that the entire left side of the figure, as well as the background had been repainted. Scholars such as Adolfo Venturi, Angela Ottino della Chiesa and Jack Wasserman advanced the idea; however, a 1992 technical analysis at the National Gallery of Art led by David Bull has confirmed that the damage was limited to the background. Specifically, the background was likely originally a bluish-grey, overpainted with black during the mid-18th century. The signature LEONARD D'AWINCI in the top left corner was probably also added at this time. There is also slight overpainting in the mouth and nose; some art historians suggest Eugène Delacroix was responsible for the overpaint in the background and elsewhere. The background was also subject to the misconception that it originally included a window. It was proposed by Kazimierz Kwiatkowski, who led 1955 X-ray testing at Warsaw Laboratories, and explained certain spots in the right background as being remnants of a window. Such a conclusion has been disproven by Bull, Pietro C. Marani and others. In light of this revision—with the primary damage being overpaint in the background—the art historian Martin Kemp noted that "the picture is in much better condition than the standard accounts suggest, and gives the clearest indication of the freshly brilliant quality of Leonardo's painting during his period at the Sforza court in Milan".

The Lady
The subject has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's Milanese employer, Ludovico Sforza. She looks to her left at something out of frame, toward the light, where the biographer Walter Isaacson suggests Ludovico is. Following the marriage of Isabella of Aragon, Duchess of Milan and Gian Galeazzo Sforza, her 'Spanish style' dress would have been particularly fashionable. She has a silk sbernia on over her left shoulder, though Leonardo has simplified the traditional manner of wearing—where it would be draped over both shoulders—potentially to avoid too much complication in the various elements of the painting. Her right shoulder shows an ornately embroidered gold band over a velvet dress. Again, Leonardo has simplified the design, by having the left shoulder band covered by the sbernia, so as to not take away from the animal's detailed head. Her coiffure, known as a coazzone, confines her hair smoothly to her head with two bands of it bound on either side of her face and a long plait at the back. Her hair is held in place by a fine gauze veil with a woven border of gold-wound threads, a black band, and a sheath over the plait.

As in many of Leonardo's paintings, the composition comprises a pyramidic spiral and the sitter is caught in the motion of turning to her left, reflecting Leonardo's lifelong preoccupation with the dynamics of movement. The three-quarter profile portrait was one of his many innovations. Il Moro's court poet, Bernardo Bellincioni, was the first to propose that Cecilia was poised as if listening to an unseen speaker. This work in particular shows Leonardo's expertise in painting the human form. The artist painted Cecilia's outstretched hand with a lot of detail, including the shape of each fingernail, the lines around her knuckles, and even the way the tendon in her bent finger moved as it bent

A recent study brings to the forefront and supports another so far little-followed hypothesis: the heroic character of Caterina Sforza, the lioness of Romagna, is proposed as being the model of this allegorical representation in which the mental strength and beauty that were attributed to Amazons in mythology.

The ermine
The animal resting in Cecilia's arms is usually known as an ermine. Commentators have noted that it is too large to be an actual ermine, but its size is explained by its being of a largely symbolic nature. The art historian Luke Syson notes that "Naturalism is not the point here; Leonardo has created a mythical beast, the composite of several animals he drew at this time". There are several interpretations of the ermine's significance and they are often used in combination with each other. In its winter coat, the ermine was a traditional symbol of purity and moderation, as it was believed it would face death rather than soil its white coat.

In his old age, Leonardo compiled a bestiary in which he recorded: "The ermine out of moderation never eats but once a day, and it would rather let itself be captured by hunters than take refuge in a dirty lair, in order not to stain its purity." He repeats this idea in another note, "Moderation curbs all the vices. The ermine prefers to die rather than soil itself." A drawing by Leonardo in pen and ink of c. 1490, housed at the Fitzwilliam Museum in Cambridge, depicts an ermine representing these ideals by surrendering to a hunter. The ermine has also been noted to have a personal significance to Ludovico Sforza, as he would use it as a personal emblem, having been appointed by Ferdinand I as a member of the Order of the Ermine in 1488. Alternatively, the ermine could be a pun on Cecilia's surname: The Ancient Greek term for ermine, or other weasel-like species of animals, is galê (γαλῆ) or galéē (γαλέη). Such allusions were particularly popular in Renaissance culture; Leonardo himself had done something similar in his earlier work, Ginevra de' Benci, when he surrounded Ginevra with a juniper tree, or ginepro in Italian. Krystyna Moczulska suggests that the ermine follows the meaning of an ermine or weasel in classical literature, where it relates to pregnancy, sometimes as an animal that protected pregnant women. Around the time of the painting's creation, Cecilia was known to be pregnant with Ludovico's illegitimate son.

Attribution
It was not until the 20th century that the Lady with an Ermine was widely accepted by scholars to be a work of Leonardo. The attribution is due to the style of chiaroscuro, intricate detail and "contemplative tone" typical of Leonardo.

Dating
The Lady with an Ermine can securely be dated to Leonardo's first Milanese period (c. 1482–1499). Specifically, scholars date the painting to 1489–1491.

Historical context
To some extent the painting includes traditional characteristics of Italian portraiture from the 1430s and 1440s; the coloring, for example, is particularly reminiscent of the Florentine quattrocento tradition.

Commission
The sitter has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's employer, Ludovico Sforza.

Gallerani was a member of a large family that was neither wealthy nor noble. Her father served for a time at the Duke's court. At the time of the portrait, she was about sixteen years old and was renowned for her beauty, scholarship and poetry. She was married at approximately age six to a young nobleman of the house of Visconti, but sued to annul the marriage in 1487 for undisclosed reasons and the request was granted. She became the Duke's mistress and bore him a son, even after his marriage to Beatrice d'Este eleven years previously. Beatrice was promised to the Duke when she was only five, and married him when she was sixteen in 1491. After a few months, she discovered the Duke was still seeing Gallerani, and forced the Duke to end the relationship by having her married to Count Ludovico Carminati di Brambilla, also known as Il Bergamino. The newly-wed couple was moved to Palazzo Carmagnola in Milan.

History
It has always been known that Leonardo painted a portrait of Ludovico Sforza's mistress, Cecilia Gallerani, but the Lady with an Ermine remained largely unknown to scholars until nearly the 20th century. The painting was acquired in Italy in 1798 by Prince Adam George Czartoryski, the son of Izabela Czartoryska Flemming and Prince Adam Kazimierz Czartoryski, and incorporated into the Czartoryski family collections at Puławy in 1800. The inscription on the top-left corner of the painting, LA BELE FERONIERE. LEONARD DAWINCI. , was probably added by a restorer shortly after its arrival in Poland, and before the background was overpainted. Czartoryski was clearly aware it was a Leonardo, although the painting had never been discussed in print; no record exists of any previous owner. The Belle Ferronière is the Leonardo portrait in the Louvre, whose sitter bears such a close resemblance; the Czartoryskis considered this sitter to be the same.

The painting travelled widely during the 19th century. During the November Uprising in 1830, the 84-year-old Princess Czartoryska rescued it in advance of the invading Russian army, hid it, and sent it 150 km south to the Czartoryski palace at Sieniawa. Soon after, it was transferred to the Czartoryski place of exile in Paris, the Hôtel Lambert. The family returned to Poland in 1869, settling in Kraków. In the tumultuous aftermath of the German occupation of Paris in 1871 and the Commune, the family brought the painting to Kraków in 1876 and the museum opened in 1878. During World War I, the painting was moved to the Gemäldegalerie Alte Meister in Dresden for safe-keeping, returning to Kraków in 1920.

In 1939, anticipating the German occupation of Poland, it was again moved to Sieniawa, but it was discovered and seized by the Nazis and sent to the Kaiser Friedrich Museum in Berlin. In 1940, Hans Frank, the Governor General of Poland, saw the painting there and requested it be returned to Kraków, where it hung in his suite of offices in the Wawel Castle. In 1941, it was transferred to a warehouse of other plundered art in Breslau. In 1943 it was brought back to Kraków and exhibited at the Wawel Castle. At the end of the Second World War it was discovered by Allied troops in Frank's country home in Schliersee, Bavaria, and was returned to Poland in 1946. It was again placed on exhibit at the Czartoryski Museum in Kraków. Throughout the mid–late 20th century the work traveled the world more extensively than any other Leonardo painting, being exhibited in Warsaw (1952), Moscow (1972), Washington, D.C. (1991/92), Malmö (1993/94), Rome/Milan (1998), Florence (1999).

The work remained displayed at the Czartoryski Museum until it closed for renovations in 2010. From May 2017 to 2019, it was exhibited in the National Museum, Kraków, just outside the Old Town. It returned to the Czartoryski Museum for the museum's reopening on December 19, 2019.

title: Lady with an Ermine


text:
Talk:Fort Wayne Komets

Merging
Shouldn't this page be merged with the Ft. Wayne Komets 1952-1990 page in order to have just one page with the Ft. Wayne Komets. I believe this is how it is done with NHL teams that have relocated.

 * Uh? The closest situation in the NHL would be the Ottawa Senators/Ottawa Senators (Original). No. ccwaters 02:01, 6 June 2006 (UTC)
 * Mmm ... I'd be sympathetic, myself, although I agree that there is no parallel with the NHL pages. They are technically different franchises, but they had the same nickname, the same city, the same coach, the same colors and several of the same players; only the owner was different.  Ravenswing 03:48, 6 June 2006 (UTC)

 * If we are not to merge them, then we need to delete all references in this article claiming that they are the same franchise, such as "Founded in 1952, they are the second oldest franchise in minor-league hockey." --Chancemichaels 18:16, 22 February 2007 (UTC)Chancemichaels
 * "Second oldest team in minor-league hockey" would be a useful distinction, although that's debatable in of itself, because there are at least three older AHL franchises - the Hershey Bears, the Peoria Rivermen (f/k/a Springfield Indians), and the Hartford Wolfpack (f/k/a Providence Reds). It might be worthwhile to discuss the provenance of other IHL survivors as well.  Ravenswing 21:15, 22 February 2007 (UTC)

Founded Date
The original Komets moved became the Albany Choppers in 1990. The Flint Spirits relocated and assumed the Komets namesake. REF: http://www.kometslegends.com/1990s/index.html ccwaters 23:21, 6 September 2005 (UTC)

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BetacommandBot 01:43, 1 August 2007 (UTC)

Fair use rationale for Image:Komets6.jpg
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Fair use rationale for Image:Komets5.jpg
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Fair use rationale for Image:Komets4.jpg
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Fair use rationale for Image:Komets2.jpg
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Fair use rationale for Image:Komets1.jpg
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Fair use rationale for Image:Fwkomets.gif
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BetacommandBot 17:52, 13 November 2007 (UTC)

General Manager
Why is the GM spot on the template(very nicely done might i add) on two different lines? On the K-wings page it is all on one line. Have any ideas? —Preceding unsigned comment added by Soilflaw (talk • contribs) 02:09, 14 December 2007 (UTC)
 * Looks the same to me. Check if your monitor displays at 1024x768 or 800x600, sometimes that makes a difference. Flibirigit (talk) 05:22, 14 December 2007 (UTC)

Merger proposal
I am proposing to merge Fort Wayne Komets (1952-1990) into this article. The Fort Wayne Komets (1952-1990) article is a stub, and this article covers everything succinctly. Flibirigit (talk) 22:53, 15 January 2008 (UTC)
 * Sounds good to me. They may have been separate franchises and owners, but they're perceived to be the same team.  Hm, much the same as with the Boston Celtics, actually, and under similar circumstances.    Ravenswing  02:20, 16 January 2008 (UTC)
 * Yeah I would just turn the one into a redirect. There isn't really much info to merge. -Djsasso (talk) 20:20, 16 January 2008 (UTC)
 * Very straightforward, I've be bold and done the merger, which is basically making the other article a redirect.  Maxim (talk)  23:57, 22 January 2008 (UTC)

Team roster template.
I revised the team roster and made it into it's own template and followed the grids of an NHL team's template however i have having difficulties editing the roster with the edit button which is located on the upper right corner above the roster. When clicking the edit button it takes me to a blank Wiki page. I looked into it and the only difference is that I guess I titled the template (template: Fort Wayne Komets Roster) while the link is to (template: Fort Wayne Komets roster) take notice of the lower case R for roster. I tried to move the page over to (template: Fort Wayne Komets roster) but it automatically redirects to (template: Fort Wayne Komets Roster) Soilflaw (talk) 17:52, 27 October 2008 (UTC)

2012-13 ECHL season
I wonder if there enough information to put the 2012-13 Komets season in the ECHL?--Sd-100 (talk) 00:29, 26 February 2013 (UTC)

title: Talk:Fort Wayne Komets


text:
Talk:Missouri River Otters

Fair use rationale for Image:Ottersnewlogo2.jpg
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PIE
PIE

title: Talk:Missouri River Otters


text:
Talk:Basingstoke Bison

Country Flag Icons
I am unable to find the list of country flag icons in order to add the correct icon for Viktor Kubenko (Slovakia). —Preceding unsigned comment added by 86.161.85.121 (talk) 10:09, 9 September 2010 (UTC)

Fair use rationale for Image:LogoBasingstokeBison.jpg
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External links modified
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title: Talk:Basingstoke Bison


text: User talk:69.177.253.205

title: User talk:69.177.253.205


text:
Talk:Belfast Giants

New Logo
The old Giant's logo has been replaced with a new one, which includes the Coor's sponsorship of the team. I'm not sure how encyclopedic this is; and would like a discussion on reverting to the old logo without the corporate logo included. Any ideas anyone. Y control 13:05, 25 January 2006 (UTC)
 * Question i would have is if the logo with the coors added is the official logo that they use, or just a protional one. --Boothy443 | trácht ar 07:34, 26 January 2006 (UTC)
 * Both logos (the old and the current one) in the article are near identical; apart from the introduction of the coors logo. I personally think that this looks cheap and unconventional, however I wanted to guage opinion before taking any action. Y control 09:42, 26 January 2006 (UTC)
 * Yeah, i would have to agree with you assesment on the current logo displayed. --Boothy443 | trácht ar 05:00, 27 January 2006 (UTC)
 * As there are no objections; I have replaced the logo with one without sponsorship Y control 12:11, 19 February 2006 (UTC)

title: Talk:Belfast Giants


text:
Emigrant Wilderness

The Emigrant Wilderness of Stanislaus National Forest is a wilderness area in the Sierra Nevada. It is bordered by Yosemite National Park on the south, the Toiyabe National Forest and the Hoover Wilderness on the east, and State Route 108 over Sonora Pass on the north. It is an elongated area that extends northeast about 25 mi in length and up to 15 mi in width. Watersheds drain to the Stanislaus and Tuolumne Rivers. The Emigrant Wilderness area, which is a glaciated landscape, is entirely within Tuolumne County, California and is approximately 140 mi east of San Francisco, California and 50 mi south of Lake Tahoe.

The northeastern third of the Wilderness is dominated by volcanic ridges and peaks; the remaining areas consist of many sparsely vegetated, granitic ridges interspersed with numerous lakes and meadows. Elevations range from below 5000 ft near Cherry Reservoir to 11570 ft at Leavitt Peak, but the elevation range of most of the popular areas is 7500 to 9000 ft. Precipitation averages 50 in annually, 80% of it in the form of snow. Snowpacks typically linger into June, sometimes later following very wet winters. Summers are generally dry and mild, but afternoon thundershowers occur periodically and nighttime temperatures could dip below freezing anytime.

History
Various native peoples occupied this area for 10,000 years, spending the summer and early autumn hunting in the high country and trading with groups from the eastern side of the Sierra Nevada. The most recent groups were the Sierra Miwok of the western slope and Piute of the Great Basin.

Following the discovery of gold in 1848, large numbers of miners and settlers came to the Sierra and the native cultures quickly declined. In September–October 1852, the Clark-Skidmore party became the first emigrant group to travel the West Walker route over Emigrant Pass, continuing through a portion of the present-day Emigrant Wilderness. Several more emigrant parties were enticed by officials from Sonora to use this route in 1853, but it was a very difficult passage with many hardships and was soon abandoned. Relief Valley and Relief Reservoir were so named because of the assistance some emigrants received there from residents of the Sonora area.

In 1931, the United States Forest Service designated this area for primitive management as the Emigrant Basin Primitive Area. On January 4, 1975, the Emigrant Basin Primitive Area was designated as the Emigrant Wilderness.

Dam Controversy
Since 1975, 18 small dams in the Emigrant Wilderness have been the source of an unresolved political debate. The dams were constructed by anglers who tightly stacked nearby stones and boulders. Some support proposals to maintain the dams while others feel the dams should be allowed to decay in keeping with the Wilderness Act. A decision by the Stanislaus National Forest to compromise and leave some dams to naturally deteriorate while allowing maintenance of others was overturned in court in 2006, reigniting some of the controversy. The Forest Service chose not to appeal and the dams will gradually disappear.

Recreation
From Sonora Pass in the north, the Pacific Crest Trail follows a scenic route at the east edge of the Emigrant Wilderness along the high ridge past Leavitt Peak, turns further east from Kennedy Canyon to Bond Pass, and then heads south down Jack Main Canyon. Many other trails criss-cross the Emigrant Wilderness, from Leavitt Meadow on the East side, Kennedy Meadow on the West side, and other trailheads. Highlights include cliffs in the Granite Dome area and lakes such as Emigrant Lake, Huckleberry Lake, and Lake Lertora.

title: Emigrant Wilderness


text:
Talk:Cardiff Devils

2006 Rink
The existing mention of the new rink was written as if it was still summer 2006 and the temprary rink was still anticipated to be ready for the 2006-07 season.

I've changed this slightly to show that the rink wasn't ready. I've also given the 2006 relocation its own section because the timeline of the history section was corrupted.

Tycobbuk 14:26, 19 December 2006 (UTC)

Retired Numbers
I think that it would be a good idea to list the Devils' retired numbers and the reasons they were retired.

Does anyone has this information ?

Important players from the past who's numbers haven't been retired could also be listed.

Tycobbuk 14:26, 19 December 2006 (UTC)

Thanks to Finny for the Retired Numbers info and for adding to the history section

Tycobbuk 09:18, 17 January 2007 (UTC)

References and Tone
This article has no references. Wikipedia material must be verifiable. Also the tone is all wrong. This article, I strongly suspect, has been copied word-for-word from Cardiff Devils' programs and fan-club literature. •• Fly by Night (talk) 18:12, 27 February 2010 (UTC)

title: Talk:Cardiff Devils


text:
Denise Orme

Jessie Smither, Duchess of Leinster (25 August 1885 – 20 October 1960), known by her stage name Denise Orme, was an English music hall singer, actress and musician who appeared regularly at the Alhambra and Gaiety Theatres in London in the early years of the 20th century. Married, successively, to an English baron, a Danish millionaire, and an Irish duke, she was the maternal grandmother of Aga Khan IV.

Early life
The daughter of Alfred John Smither, a servant working for lawyers, and Jessicah Henrietta Pococke, she studied at the Royal Academy of Music (where she won the Wessely Violin Exhibition in 1899) and later the Royal College of Music where she was 'discovered' as a singer by George Edwardes.

Her cousin. Ethel Rose Kendall, who acted under the name Eileen Orme, married, the Hon. Maurice Nelson Hood in 1908. He was the son and heir of the second Viscount Bridport (who was also the 5th Duke of Bronte).

Career
Orme's first stage appearance was in 1905 in the chorus of The Little Michus at Daly's Theatre in London, later taking the role of Blanche Marie in that production, and in 1906 the same year, she appeared in the title role of See-See, composed by Sydney Jones, at the Prince of Wales Theatre. Also in 1906, she also participated in gramophone recording of Gilbert and Sullivan's The Mikado, singing part of the role of Yum-Yum. She appeared in The Merveilleuses into early 1907. After the birth of her first daughter, she returned to the stage in The Hon'ble Phil in October 1908, and as Lady Elizabeth Thanet in Our Miss Gibbs at the Gaiety Theatre, London. She retired from the stage in 1910 when her husband acceded to the baronetcy.

In the 1940s, Orme owned and operated the Beech Hill hotel at Rushlake Green in Sussex, England.

Personal life
Orme was married three times. Her first husband was John Reginald Lopes Yarde-Buller, 3rd Baron Churston (1873–1930), whom she married on 24 April 1907. He was the only son of the John Yarde-Buller, 2nd Baron Churston and Barbara Yelverton (the only child of Sir Hastings Yelverton and the 20th Baroness Grey de Ruthyn). Before their divorce in 1928 due to her affair with Theodore W. Wessel, they had six children:
 * Joan Barbara Yarde-Buller (1908–1997), who married Thomas Loel Guinness in 1927. They divorced in 1936 and she married Prince Aly Khan in 1936. They divorced in 1949 and she married Seymour Berry, 2nd Viscount Camrose in 1986.
 * Richard Francis Roger Yarde-Buller, 4th Baron Churston (1910–1991), who married three times, including to actress Sandra Storme, whom Orme introduced to her son.
 * Hon. John Reginald Henry Yarde-Buller (1915–1962), a soldier who married Guendolen Osborn Roots, daughter of Rev. Charles Roots, in 1939.
 * Denise Margaret Yarde-Buller (1916–2005), who married (as his second wife) Robert Grosvenor, 5th Baron Ebury; they had four children together and were divorced in 1954.
 * Lydia Yarde-Buller (1917–2006), who married Capt. Ian Archibald de Hoghton Lyle (1909–1942), heir to a baronetcy. Five years after his death, she married, as his second wife, John Russell, 13th Duke of Bedford in 1947; they divorced in 1960.
 * Primrose Yarde-Buller (1918–1970), who married William Cadogan, 7th Earl Cadogan; they divorced in 1960.

On 31 October 1928, she married Theodor Wilhelm "Tito" Wessel (1889–1948) in London. Wessel was a Danish millionaire and one-time Danish chargé d'affaires in Chile and by this marriage, she had three stepchildren, Barbara, Frederika, and Nina. Before their divorce in Tahiti in 1934, they were the parents of one son, Hugo Wessel (1930–2012), a businessman and the first husband of Nina Van Pallandt.

In the late 1930s, Orme had an affair with Esmé Ivo Bligh, 9th Earl of Darnley. On 11 March 1946, she married, as his third wife, Edward FitzGerald, 7th Duke of Leinster, Ireland's Premier Peer of the Realm.

Orme died in London on 20 October 1960. Bankrupt, the Duke remarried Vivien Irene Conner, a waitress, in 1965 before his death by suicide by taking an overdose of pentobarbital on 8 March 1976.

Descendants
Through her eldest daughter, she was a grandmother to Aga Khan IV and Prince Amyn Aga Khan. Through her youngest daughter Primrose, she was a grandmother to four, including Charles Cadogan, 8th Earl Cadogan. Through her youngest son Hugo, she was a grandmother to the Danish photographer Mark Wessel (b. 1963).

title: Denise Orme


text:
Talk:Coventry Blaze

NPOV
An NPOV tag has been placed on the article. As no explanation of why it has been placed I intend to remove it in 7 days unless there are any objections. KingStrato (talk) 19:06, 10 April 2011 (UTC)

If you read the edit summary, I made it quite clear there, I think. Whether people agree or disagree with me, well, that's a whole other matter entirely of course. 174.115.214.39 (talk) 01:14, 13 April 2011 (UTC)

I agree the previous headings in the season by season history sections read in favour of the club and could have been interpreted as not being neutral. I have simplified these and also removed any language or words from the history section as a whole that sounded overly-complimentary to the club. Hopefully you agree with the changes made, and I will remove this tag in 7 days unless there are any other objections. Blazehockey (talk) 13:45, 20 July 2011 (UTC)

External links modified
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title: Talk:Coventry Blaze


text:
Talk:A Generation

Demonization of Home Army
This bit doesn't seem to be NPOV:

"This and the other two films of Wajda's wartime trilogy stand as a monument to the director's genius, but one must never forget that they sought on the one hand to conjure up a myth of a communist underground movement which never truly existed and on the other to demonize the popular and anti-communist Home Army."

I haven't seen this film but I have seen Ashes and Diamonds. I have the impression that that film if anything tried to potray the nationalist resistance as sympathictically as was possible given censorship - note GIVEN censorship. That the communists resistance was miniscule sounds about right tho.Dejvid 15:24, 19 Apr 2005 (UTC)

I suppose you are right, in that my characterization is slightly out of tune with the principles of NPOV. However, it is very difficult to be neutral or value free when discussing any work of art produced under a totalitarian system, especially under a Stalinist, or recently post-Stalinist regime.

What I mean is that the extremely fine shades of meaning and buried or double symbolism that is at the heart of many of the best films made under the Polish communist system do cut both ways, especially in the 50s. The authors were believing communists, or at the least semi-believing communists, and felt a powerful need to shed a positive light on the best that their principals had to offer. Yet at the same time nearly all of them were appalled at the actual behavior of the Stalinist regime of Boleslaw Bierut. Many of them worked both under this regime, and under the "more liberal" regime of Golmuka, where for a short time artists could get away with portraying a far more realistic and independent line in their work. They believed, and wanted their art to further a humane and positive communist system that permitted a far greater degree of liberty that existed  at the time (or at any time in the history of the People's Republic, before or up to 1989). But they put their skepticism of the existing party and regime into their work, as well.

In "A Generation," Wajda was officially making a Socialist Realist work of art, which was suffuce with far more propagandistic tendencies than any of his later work. The political goals of furthering the party's campaigns against any nostalgic for the right wing resistance during the war and constructing a myth of the communist underground were front and center in that film, above any personal artistic vision (and it is a tribute to Wajda's skill that his vision still comes through the propagana).

"Ashes and Diamonds" was made in 1956, in the heady days just following the fall of Bierut and Krushchev's Secret Speach to the 20th Party Congress. Suddenly artists could feel a loosening of control, and seized the moment to create works that came much closer to portraying historical reality and a personal artistic vision, rather than the party line. But they still believed, and still hoped to create a humane communist system, one that was in opposition to what certain elements of the right stood for in its resistance to the communists. Your perception of "Ashes and Diamonds" as much more sympathetic to the Home Army's actions and ideals is entirely correct - but don't forget, Maciek dies in a field with waste paper blowing over his corpse. In the novel, Andrzejewski is far less subtle - Maciek dies on a pile of garbage, naturally the "dustbin of history," a phrase you doubtlessly know the communists were very fond of. Here Wajda is portraying the practical and ideological failure of the Home Army and the right in the aftermath of the war, unable to offer an attractive or functional strategy for reorganizing the country besides violent, armed resistance to the Russians and their domestic Polish stooges.

Wajda fought with the Home Army and believed ferverently in Polish independence. He was also (at that time) a communist who truly wanted to see socialism triumph, over the worse tendencies of the Polish right as well as the totalitarian urges of the party and the men running the country at the behest of the Soviets. It didn't take him long to loose any of his communist idealism, and when you watch "Man of Marble" you can see how far he came to hate the principals and actions of the party. Benzamin 10:00, 20 Apr 2005 (EST)

I was actually beginning to think that I ought to retract the NPOV bit but I'm glad that you saw beyond that to the point I was trying to make. I have seen Man of Marble and indeed Man of Steel which is why I was questioning whether something more nuaced would not be in order. Thanks for replying. I've learnt something whether or not you decide to make changesDejvid 18:07, 20 Apr 2005 (UTC)

title: Talk:A Generation


text:
Talk:Tomorrowland (Disney Parks)

Untitled

 * Can someone list some of the attractions in Tommorowland? I'd also like to see more about why it was changed in 1998, what the changes were like, and why they decided to change it again. -- ShawnVW

Check List of current Disneyland attractions and List of past Disneyland attractions articles. --Evanwohrman 06:06, 20 Apr 2005 (UTC)

Fair use rationale for Image:HKDL tomorrowland concept.jpg
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Article organization
I think that the Disneyland Tomorrowland section from 1998-present should be sud-divided, as it is very different today than it was in 1998, so I would change it to be Tomorrowland 1998, and then a final section titled Today... also, I think the Tomorrowland 2055 section should be removeed because of disputes...and objections? Thank You. 53180 00:27, 23 August 2007 (UTC)53180.

Tomorrowland 1998
This section seems very biased...--72.208.195.160 14:07, 29 September 2007 (UTC)

Astro Orbit(o/e)r
For what it's worth, Disney itself spells the names differently. The version at the Magic Kingdom is spelled with an e, as evidenced here, while Disneyland's is spelled with an o, as shown here. Why it's different, I don't know ... but it is. --McDoobAU93 (talk) 21:07, 10 April 2009 (UTC)

Pictures
It would be nice if someone could find pictures that give a good example of the specific "looks" that Tomorrowland has gone through as they are described in the article. I personally don't have them. Does anyone else? MQinator (talk) 01:13, 17 May 2010 (UTC)

Neutrality in Introduction
I love the sentence "It is this movement into the future that has, on occasion, left Tomorrowland mired in the past." in the intro, but I fear that it violates Wikipedia's neutrality standard. Should it be removed? Sdkb (talk) 00:30, 21 March 2017 (UTC)

Move discussion in progress
There is a move discussion in progress on Talk:Tomorrowland (disambiguation) which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 02:18, 1 January 2019 (UTC)

Move discussion in progress
There is a move discussion in progress on Talk:Tomorrowland (disambiguation) which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 05:19, 22 September 2023 (UTC)

title: Talk:Tomorrowland (Disney Parks)


text: Category:Sport in Staffordshire

title: Category:Sport in Staffordshire


text:
Selwyn Edge

Selwyn Francis Edge (1868–1940) was a British businessman, racing driver, cyclist and record-breaker. He is principally associated with selling and racing De Dion-Bouton, Gladiator; Clemént-Panhard, Napier and AC cars.

Personal life
Edge was born in Concord township, near Sydney, on 29 March 1868; his parents were Alexander Ernest Edge and Annie Charlotte Sharp. At age three, he was taken to London where in his teens he competed successfully as a bicycle racer, winning the North Road Cycling Club's 100 Mile Road Race in 1888 and the Westerham Hill climb when he was nineteen. One of the English Team and aged 23 he came third in the first Bordeaux–Paris cycle race in 1891. He worked for Rudge then Harvey Du Cros as manager of his new Dunlop offices in London. In 1892 he married Eleanor Rose Sharp who died in 1914; his second wife, Myra Caroline Martin, whom he married in 1917, had two daughters by him.

From 1910 until at least 1922 he resided at Gallops Homestead, Ditchling, Sussex, and from 1912 to 1919, courtesy of his contract with Napiers, he devoted himself to farming.

He died 12 February 1940 in Eastbourne, Sussex, England.

Business career
In 1899, he went into partnership with pioneering motorist Charles Jarrott and Herbert Duncan to found De Dion-Bouton British and Colonial Ltd as importers of cars. He had become friends with Montague Napier (of D. Napier & Son), another keen cyclist, and in 1898 asked Napier to carry out some improvements to his Panhard. In 1899, along with Harvey du Cros, Edge formed the Motor Vehicle Company Ltd to sell these improved cars, made by Napiers (Edge paid £400, selling at £500), as well as Gladiators and Clément-Panhards, both manufactured in Paris by Adolphe Clément-Bayard. In 1907 The Sydney Morning Herald reported: "S. F. Edge (1907), Ltd., has been registered at Somerset House, London, with a capital of £275,000, to carry on the business of motor car, cycle, launch, and flying machine manufacturers." He sold his company, S.F. Edge Ltd, to Napier in 1912, for £120,000. The sale included an agreement not to be involved in motor manufacturing for seven years. During this period he devoted himself to farming at Ditchling, Sussex.

In 1917 he was appointed controller of the agricultural machinery department of the Ministry of Munitions.

When the embargo on motor manufacturing expired in 1919 he started to build up a shareholding in AC Cars, gaining full control in 1922. About 1923 Edge was also managing director of William Cubitt & Company, who had entered the car market with the Cubitt marque, but were out of business by 1925. Edge switched the contract for purchasing engines for the AC car from Anzani, where he also sat on the board, to Cubitt, who produced what was essentially a copy of the Anzani design. Edge purchased AC cars outright for £135,000 in 1927. When AC collapsed in 1929, Edge sold his interest in the company and took no further business interest in the motor industry.

Motor racing
Recognizing the value of publicity gained from auto racing, which no other British marque did, Edge entered an 8 hp (6 kW) four-cylinder Napier in the Automobile Club's 1900 Thousand Miles (1600 km) Trial of the Automobile Club on behalf of Edward Kennard; driven by Edge, with Kennard along, and the 14-year-old St John Nixon as his mechanic, on a circuit from Newbury to Edinburgh and back, she won her class, being one of only thirty-five finishers (of sixty-four starters) and one of just twelve to average the requisite 12 mph (19 km/h) in England and 10 mph (16 km/h) in Scotland. He did the same (with C. S. Rolls his riding mechanic) at the 837 mi (1350 km) Paris-Toulouse-Paris race in June; the car would be eliminated due to ignition trouble.

In the 1901 Paris-Bordeaux race that included the Gordon Bennett Cup, Edge entered a special 17-litre Napier which he was only able to test en route because it had been completed on 25 May, only four days before the event. Montague Napier was the riding mechanic. The car was too powerful for the Dunlop tyres and fitting new French tyres led to disqualification, since they were not of the same nationality of origin. The car was retired with clutch trouble.

For the 1902 Gordon Bennett, Edge's Napier was the sole British entrant; with his cousin, Cecil Edge, as riding mechanic, he won, at an average 31.8 mph (51.2 km/h) (though by default, since the French entrants all fell out). The preparation of the car was hurried with some parts being fitted on the train to Paris. Additionally the second gear had not been hardened properly so, on arriving in Paris, Edge got the gear out, contacted his friend Adolphe Clément (Adolphe Clément-Bayard), borrowed his factory, hardened the gear, reassembled everything, and went on to win the race. At the 1903 Gordon Bennett, Edge had an 80 hp (60 kW) Napier, the Type K5, but was disqualified. Edge (with Arthur McDonald, manager of Napiers' Genoa factory, as riding mechanic) fared no better with the K5 in the 1904 Gordon Bennett in Germany.

In 1903 Edge's eye for publicity created a world first when, on 2 October, Dorothy Levitt won her class at the Southport Speed Trials driving his 12 Hp Gladiator, shocking British society as she was the first woman, a working secretary, to compete in a 'motor race'.
 * ... "Selwyn Edge, Director of the Napier Car Company [he was never a Director of the Napier company, only S.F. Edge, Ltd] and famous racing driver ... spotted Miss Dorothy Levitt amongst his staff, a beautiful secretary with long legs and eyes like pools. In a bid to promote his cars ... Edge decided that she should take part in a race, though first he had to teach her to drive. She surpassed his expectations by winning her class in the 1903 Southport Speed Trial, and proved such a good driver that she was taken on by De Dion for a major publicity stunt." Jean Francois Bouzanquet

In June 1907 Edge broke the 24-hour distance record, driving a 60 hp (44.7 kW) Napier six, at the newly opened Brooklands track, accompanied by riding-mechanic Joseph H Blackburn.(Born 17 December 1875 D 8 May 1919) He covered 1,581 miles (2544 km), 1,310 yards at an average speed of 65.905 mph (106.06 km/h). This record stood for 18 years. In 1910 Edge was awarded the Dewar Trophy for his drive in top gear in a 60 hp Napier on the route London-Edinburgh-London.

In 1922 Edge returned to Brooklands in a Spyker setting a new "Double 12" world record covering 1,782 miles 1,066 yards (2,868 km 693 m) at an average speed of 74.27 mph for the aggregate 24 hours.

Edge lent Mrs Victor Bruce an AC Six car (PF6465) which she drove in the 1927 Monte Carlo Rally, travelling 1,700 miles (2,700km) in 72 hours without sleep, finishing sixth overall, and winning the Coupe des Dames, for the women's class.

His final contribution to motor racing was the inauguration of the Campbell Circuit at Brooklands in 1937.

Motor yachting
In 1903 Edge won the inaugural British International Harmsworth Trophy for speedboats held on the River Lee, Queenstown, Cork Harbour, Ireland, in a boat called Napier I. The 40 ft steel-hulled, 'Napier' speedboat fitted with a 3-blade propeller, achieved 19.3 mi/h. It was driven by Dorothy Levitt, but as both owner and entrant "S.F.Edge" is engraved on the trophy as the winner. The third crew member, Campbell Muir, may also have taken the controls.

In May 1905 The Rudder reported that :

 * The first event of the season, the Monaco meeting, from 2 to 16 April, ... is without precedent [for quantity of entrants] in yachting history; beginning with an exhibition of all types of motor-boats, lasting four days, after which three days afloat were allowed for preparations, the races began on 9 April and continued for the following week.

Edge, driving Napier II, won the 100 km race for racers in the eight to 12 metres classes in 1 hour 5 minutes, he also finished second in Napier 1 as it was common practice to describe the owner and entrant as the driver, even if he did not take the wheel.

Books

 * My motoring reminiscences, Selwyn Francis Edge, Foulis, 1934. For a review of this book see: The Manchester Guardian, 18 October 1934, Page 7.
 * 'S F Edge - Maker of Motoring History', Simon Fisher, Evro Publishing, 2022.

title: Selwyn Edge