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Samuel ibn Naghrillah

Samuel ibn Naghrillah (שְׁמוּאֵל הַלֵּוִי בֶּן יוֹסֵף, Šəmuʿēl HalLēvi ben Yosēf; أبو إسحاق إسماعيل بن النغريلة ʾAbū ʾIsḥāq ʾIsmāʿīl bin an-Naġrīlah), mainly known as Samuel the Prince (שמואל הנגיד) and Isma’il ibn Naghrilla (born 993; died 1056), was a medieval Sephardic Jewish Talmudic scholar, grammarian, philologist, soldier, merchant, politician, and an influential poet who lived in Iberia at the time of the Moorish rule. He held the position of Prime Minister of the Taifa of Granada and served as the battlefield commander of the Granadan army, making him arguably the most politically influential Jew in Islamic Spain.

Life
Samuel ibn Naghrillah was a Jew of al-Andalus born in Mérida to a wealthy family in 993. He studied Jewish law and became a Talmudic scholar who was fluent in Hebrew, Arabic, Latin, and one of the Berber languages.

Samuel was the student of Rabbi Chanoch, who was the head of the rabbinical community of the Caliphate of Córdoba; he was only twenty years old when the caliphate fell during the Fitna of al-Andalus, a disastrous civil war. He then moved to Málaga and became either a spice merchant or grocer. Around 1020, he moved to Granada, where he was hired as the secretary to Abu al-ʿKasim ibn al-ʿArif, who was the chief secretary to the king of the Taifa of Granada. His relations with the Granadan royal court and his eventual promotion to the position of vizier happened coincidentally. 20th-century scholar Jacob Rader Marcus gives an interesting account pulled from a 12th-century book Sefer ha-Qabbalah. The shop Samuel set up was near the palace of the vizier of Granada, Abu al-Kasim ibn al-Arif. The vizier met Samuel when his maidservant began to ask Samuel to write letters for her. Eventually, Samuel was given the job of tax collector, then secretary, and finally assistant vizier of state to the Granadan king Habbus al-Muzaffar.

When Habbus died in 1038, Samuel ibn Naghrillah made certain that King Habbus’ second son Badis ibn Habus succeeded him, not his firstborn son Bulukkin. The reason behind this act was that Badis was more favored by the people, compared to Bulukkin, with the general Jewish population under Samuel ibn Naghrillah supporting Badis. In return for his support, Badis made Samuel ibn Naghrillah his vizier and top general. Some sources say that he held office as a viziership of state for over three decades until his death sometime around or after 1056.

Because Jews were not permitted to hold public office in Islamic nations as an agreement made in the Pact of Umar, Samuel ibn Naghrillah, a dhimmi, should hold such a high public office was rare. This is cited as an example of the Golden age of Jewish culture in Spain His unique position as the viziership made him the highest-ranking Jewish courtier in all of Spain. Recognizing this, in the year 1027, he took on the title nagid "prince". That a Jew would command the Muslim army, which he did for 17 years, having them under his authority, was an astonishing feat.

Other leading Jews, including Joseph ibn Migash, in the generation that succeeded Samuel, lent their support to Bulukkin and were forced to flee for their safety.

One story that encapsulates Samuel ibn Naghrillah’s political prowess takes place soon after the succession of Badis. The faction of Yaddair ben Hubasa, Habbus' favorite nephew, told Samuel ibn Naghrillah that they wanted to overthrow the new king and wanted his support. Samuel faked support and allowed them to hold a meeting in his house. He told Badis and allowed him to spy on the meeting. Badis wanted to execute the plotters, but Samuel convinced him that it would be politically better not to. In the end, he was even further respected by the king but also in good standing with the rebels.

As a Jew, Samuel ha-Nagid actively sought to assert independence from the geonim of the Talmudic academies in Babylonia by writing independently on halakha (Jewish law) for the Iberian Jewish community. The Nagid became the leader of Spanish Jewry around the late 1020s. He promoted the welfare of the Jewish people through various acts. For example, he promoted Jewish learning by purchasing many copies of the Talmud, the massive compendium of commentaries on the Jewish oral law. He also promoted the study of the Talmud by giving a form of scholarship to those who wanted to study the Torah for a living. He died in 1056 of natural causes.

It has often been speculated that Samuel was the father or otherwise an ancestor of Qasmuna, the only attested medieval female Jewish poet writing in Arabic, but the foundations for these claims are shaky.

Kfar HaNagid, a moshav in modern Israel, was named after him.

Joseph ibn Naghrela
In 1049, Samuel ibn Naghrillah arranged a marriage for his son, Joseph ibn Naghrela (1035–1066), to the only daughter of the most respected Torah sage of the generation, Nissim ben Jacob, gaon of Kairouan Yeshiva. Joseph succeeded his father as vizier of Granada before turning twenty-one. Many Muslims, envious of his position, accused him of using his office to benefit Jewish friends. Joseph was assassinated in a mob uprising against him on December 30, 1066. The people then proceeded to crucify his body upon the city's main gate. The following morning, the massacre of Granada's Jews began and a mob went on a rampage, killing most of the Jewish population of the city.

The Jewish community of Granada was later reestablished; however, it was destroyed again in 1090 by the arriving Almoravid dynasty, who were puritans intolerant of non-Muslims.

Poetry
Shmuel Nagid was a famous Hebrew poet of the Middle Ages, as well as a patron of many other poets, and was well known for his homoerotic poetry. Eban says that the Nagid's influence was in that he established a new style of Hebrew poetry by applying aspects of Arabic poetry to biblical Hebrew. This unique application made Hebrew poetry access the major genres of Arabic poetry. He also wrote poetry in the battlefield. When he defeated the allied armies of Seville, Malaga, and the Berbers on Sept. 8, 1047, at Ronda, he wrote in his Hebrew poem of gratitude for his deliverance: "A redemption which was like the mother of my other redemptions and they became to it as daughters."His main poetic works include "Ben Tehillim" (Son of Psalms), "Ben Qoheleth" (Son of Ecclesiastes), and "Ben Mishlei" (Son of Proverbs), each of which imitates the "father work". He founded the yeshiva that produced such brilliant scholars as Yitzhaq ibn Ghiath and  Maimon ben Joseph, the father of Maimonides. Many of Naghrillah’s poems were also written as warnings or as an interpretation of religious rules. His poem The Reward shows his belief that one should set time for God and time for himself. His poem The Prison talks about how the world is a cage for all of man. He claims that one should live their life unrestrained. His poem The Two Cries talks about the beginning and end of life. He talks about how people are born crying, and when people die, others cry for them. His poem Leave The Hidden Things talks about leaving the mysteries of the world for God to know.

Other works

 * Samuel is generally credited as the author of Mevo ha-Talmud (Introduction to the Talmud), a manual for Talmud study that was reprinted in many later editions of the Talmud.
 * An Arabic treatise on biblical Hebrew grammar.
 * "Ben Tehillim" (Son of Psalms),
 * "Ben Qoheleth" (Son of Ecclesiastes), and
 * "Ben Mishlei" (Son of Proverbs).

title: Samuel ibn Naghrillah


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Talk:Norway's Religion

VfD
On April 12, 2005, this article was nominated for deletion. The result was redirect. See Votes for deletion/Norway's Religion for a record of the discussion. Mindspillage (spill yours?) 12:20, 25 Apr 2005 (UTC)

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

title: Talk:Norway's Religion


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Japonisme

Japonisme is a French term that refers to the popularity and influence of Japanese art and design among a number of Western European artists in the nineteenth century following the forced reopening of foreign trade with Japan in 1858. Japonisme was first described by French art critic and collector Philippe Burty in 1872.

While the effects of the trend were likely most pronounced in the visual arts, they extended to architecture, landscaping and gardening, and clothing. Even the performing arts were affected; Gilbert & Sullivan's The Mikado is perhaps the best example.

From the 1860s, ukiyo-e, Japanese woodblock prints, became a source of inspiration for many Western artists. These prints were created for the commercial market in Japan. Although a percentage of prints were brought to the West through Dutch trade merchants, it was not until the 1860s that ukiyo-e prints gained popularity in Europe. Western artists were intrigued by the original use of color and composition. Ukiyo-e prints featured dramatic foreshortening and asymmetrical compositions.

Japanese decorative arts, including ceramics, enamels, metalwork, and lacquerware, were as influential in the West as the graphic arts. During the Meiji era (1868–1912), Japanese pottery was exported around the world. From a long history of making weapons for samurai, Japanese metalworkers had achieved an expressive range of colours by combining and finishing metal alloys. Japanese cloissoné enamel reached its "golden age" from 1890 to 1910, producing items more advanced than ever before. These items were widely visible in nineteenth-century Europe: a succession of world's fairs displayed Japanese decorative art to millions, and it was picked up by galleries and fashionable stores. Writings by critics, collectors, and artists expressed considerable excitement about this "new" art. Collectors including Siegfried Bing and Christopher Dresser displayed and wrote about these works. Thus Japanese styles and themes reappeared in the work of Western artists and craftsmen.

Seclusion (1639–1858)
During most of the Edo period (1603–1867), Japan was in a time of seclusion and only one international port remained active. Tokugawa Iemitsu ordered that an island, Dejima, be built off the shores of Nagasaki from which Japan could receive imports. The Dutch were the only Westerners able to engage in trade with the Japanese, yet this small amount of contact still allowed for Japanese art to influence the West. Every year the Dutch arrived in Japan with fleets of ships filled with Western goods for trade. The cargo included many Dutch treatises on painting and a number of Dutch prints. Shiba Kōkan (1747–1818) was one of the Japanese artists who studied the imports. Kōkan created one of the first etchings in Japan which was a technique he had learned from one of the imported treatises. Kōkan combined the technique of linear perspective, which he learned from a treatise, with his own ukiyo-e styled paintings.

Early exports
The primary Japanese exports were initially silver, which was prohibited after 1668, and gold, mostly in the form of oval coins, which was prohibited after 1763, and later copper in the form of copper bars. Japanese exports eventually decreased and shifted to craftwork such as ceramics, hand fans, paper, furniture, swords, armors, mother-of-pearl objects, folding screens, and lacquerware, which were already being exported.

During the era of seclusion, Japanese goods remained a luxury sought after by European elites. The production of Japanese porcelain increased in the seventeenth century, after Korean potters were brought to the Kyushu area. The immigrants, their descendants, and Japanese counterparts unearthed kaolin clay mines and began to make high quality pottery. The blend of traditions evolved into a distinct Japanese industry with styles such as Imari ware and Kakiemon. They would later influence European and Chinese potters. The exporting of porcelain was further boosted by the effects of the Ming-Qing transition, which immobilized the center of Chinese porcelain production in Jingdezhen for several decades. Japanese potters filled the void making porcelain for European tastes. Porcelain and lacquered objects became the main exports from Japan to Europe. An extravagant way to display porcelain in a home was to create a porcelain room with shelves placed throughout to show off the exotic wares, but the ownership of a few pieces was possible for a wide and increasing social range of the middle class. Marie Antoinette and Maria Theresa are known collectors of Japanese lacquerware, and their collections are often exhibited in the Louvre and the Palace of Versailles. The European imitation of Asian lacquerwork is referred to as Japanning.

Re-opening (19th century)
During the Kaei era (1848–1854), after more than 200 years of seclusion, foreign merchant ships of various nationalities began to visit Japan. Following the Meiji Restoration in 1868, Japan ended a long period of national isolation and became open to imports from the West, including photography and printing techniques. With this new opening in trade, Japanese art and artifacts began to appear in small curiosity shops in Paris and London. Japonisme began as a craze for collecting Japanese art, particularly ukiyo-e. Some of the first samples of ukiyo-e were seen in Paris.

During this time, European artists were seeking alternatives to the strict European academic methodologies. Around 1856, the French artist Félix Bracquemond encountered a copy of the sketch book Hokusai Manga at the workshop of his printer, Auguste Delâtre. In the years following this discovery, there was an increase of interest in Japanese prints. They were sold in curiosity shops, tea warehouses, and larger shops. Shops such as La Porte Chinoise specialized in the sale of Japanese and Chinese imports. La Porte Chinoise, in particular, attracted artists James Abbott McNeill Whistler, Édouard Manet, and Edgar Degas who drew inspiration from the prints. It and other shops organized gatherings which facilitated the spread of information regarding Japanese art and techniques.

Artists and Japonisme
Ukiyo-e prints were one of the main Japanese influences on Western art. Western artists were inspired by the different uses of compositional space, flattening of planes, and abstract approaches to color. An emphasis on diagonals, asymmetry, and negative space can be seen in the works of Western artists who were influenced by this style.

Vincent van Gogh
Vincent van Gogh's interest in Japanese prints began when he discovered illustrations by Félix Régamey featured in The Illustrated London News and Le Monde Illustré. Régamey created woodblock prints, followed Japanese techniques, and often depicted scenes of Japanese life. Van Gogh used Régamey as a reliable source for the artistic practices and everyday scenes of Japanese life. Beginning in 1885, Van Gogh switched from collecting magazine illustrations, such as Régamey, to collecting ukiyo-e prints which could be bought in small Parisian shops. He shared these prints with his contemporaries and organized a Japanese print exhibition in Paris in 1887.

Van Gogh's Portrait of Père Tanguy (1887) is a portrait of his color merchant, Julien Tanguy. Van Gogh created two versions of this portrait. Both versions feature backdrops of Japanese prints by identifiable artists like Hiroshige and Kunisada. Inspired by Japanese woodblock prints and their colorful palettes, Van Gogh incorporated a similar vibrancy into his own works. He filled the portrait of Tanguy with vibrant colors as he believed that buyers were no longer interested in grey-toned Dutch paintings and that paintings with many colors would be considered modern and desirable.

Alfred Stevens
The Belgian painter Alfred Stevens was one of the earliest collectors and enthusiasts of Japanese art in Paris. Objects from Stevens' studio illustrate his fascination with Japanese and exotic knick-knacks and furniture. Stevens was close with Manet and to James McNeill Whistler, with whom he shared this interest early on. Many of his contemporaries were similarly enthused, especially after the 1862 International Exhibition in London and the International Exposition of 1867 in Paris, where Japanese art and objects appeared for the first time.

From the mid-1860's, Japonisme became a fundamental element in many of Stevens' paintings. One of his most famous Japonisme-influenced works is La parisienne japonaise (1872). He realized several portraits of young women dressed in kimono, and Japanese elements feature in many other paintings of his, such as the early La Dame en Rose (1866), which combines a view of a fashionably dressed woman in an interior with a detailed examination of Japanese objects, and The Psyché (1871), wherein on a chair there sit Japanese prints, indicating his artistic passion.

Edgar Degas
In the 1860s, Edgar Degas began to collect Japanese prints from La Porte Chinoise and other small print shops in Paris. His contemporaries had begun to collect prints as well, which gave him a wide array of sources for inspiration. Among prints shown to Degas was a copy of Hokusai's Manga, which Bracquemond had purchased after seeing it in Delâtre's workshop. The estimated date of Degas' adoption of japonismes into his prints is 1875, and it can be seen in his choice to divide individual scenes by placing barriers vertically, diagonally, and horizontally.

Similar to many Japanese artists, Degas' prints focus on women and their daily routines. The atypical positioning of his female figures and the dedication to reality in his prints aligned him with Japanese printmakers such as Hokusai, Utamaro, and Sukenobu. In Degas' print Mary Cassatt at the Louvre: The Etruscan Gallery (1879–80), the artist uses of two figures, one seated and one standing, which is a common composition in Japanese prints. Degas also continued to use lines to create depth and separate space within the scene. His most clear appropriation is of the woman leaning on a closed umbrella, which is borrowed directly from Hokusai's Manga.

James McNeill Whistler
Japanese art was exhibited in Britain beginning in the early 1850s. These exhibitions featured various Japanese objects, including maps, letters, textiles, and objects from everyday life. These exhibitions served as a source of national pride for Britain and served to create a separate Japanese identity apart from the generalized "Orient" cultural identity.

James Abbott McNeill Whistler was an American artist who worked primarily in Britain. During the late 19th century, Whistler began to reject the Realist style of painting that his contemporaries favored. Instead, he found simplicity and technicality in the Japanese aesthetic. Rather than copying specific artists and artworks, Whistler was influenced by general Japanese methods of articulation and composition, which he integrated into his works.

Theater
The first popular stagings of Asia were depictions of Japan from England. The comic opera Kosiki (originally titled The Mikado but renamed after protest from Japan) was written in 1876. In 1885, Gilbert and Sullivan, apparently less concerned about Japanese perceptions, premiered their Mikado. This comic opera enjoyed immense popularity throughout Europe where seventeen companies performed it 9,000 times within two years of its premiere. Translated into German in 1887, The Mikado remained the most popular drama in Germany throughout the 1890s. In the wake of this popularity, comedies set in Asia and featuring comic Asian figures appeared in rapid succession, both in comic opera and drama.

The successor to The Mikado as Europe's most popular Japan drama, Sidney Jones' opera The Geisha (1896) added the title character to the stock characters representing Japan, the figure of the geisha belongs to the "objects" which in and of themselves meant Japan in Germany and throughout the West. The period from 1904 to 1918 saw a European boom in geisha dramas. The most famous of these was, Puccini's opera Madama Butterfly. In 1900, Puccini saw a staging of David Belasco's play of the same name and reportedly found it so moving that he wept. The popularity of the opera brought on a slew of Madame Something or Others, including Madames Cherry, Espirit, Flott, Flirt, Wig-Wag, Leichtsinn, and Tip Top, all of whom appeared around 1904 and disappeared relatively quickly. They were not without lasting effect, however, and the geisha had established herself among the scrolls, jade, and images of Mount Fuji that signified Japan to the West. Much as this human figure of the geisha was reduced to the level of other objects signifying Japan in the drama, Japanese performers in Germany served German play wrights in their quest to renew the German drama. Just as ukiyo-e had proven useful in France, severed from any understanding of Japan, the troupes of Japanese actors and dancers that toured Europe provided materials for "a new way of dramatizing" on stage. Ironically, the popularity and influence of these Japanese dramas had a great deal to do with the westernization of the Japanese theater in general and of the pieces performed in Europe in particular.

Invented for the Kabuki theatre in Japan in the 18th century, the revolving stage was introduced into Western theater at the Residenz theatre in Munich in 1896 under the influence of japonism fever. The Japanese influence on German drama first appeared in stage design. Karl Lautenschlager adopted the Kabuki revolving stage in 1896 and ten years later Max Reinhardt employed it in the premiere of Frühlings Erwachen by Frank Wedekind. Soon this revolving stage was a trend in Berlin. Another adaptation of the Kabuki stage popular among German directors was the Blumensteg, a jutting extension of the stage into the audience. The European acquaintance with Kabuki came either from travels in Japan or from texts, but also from Japanese troupes touring Europe. In 1893, Kawakami Otojiro and his troupe of actors arrived in Paris, returning again in 1900 and playing in Berlin in 1902. Kawakami's troop performed two pieces, Kesa and Shogun, both of which were westernized and were performed without music and with the majority of the dialogue eliminated. This being the case, these performances tended toward pantomime and dance. Dramatists and critics quickly latched on to what they saw as a “re-theatricalization of the theater.” Among the actors in these plays was Sada Yacco, first Japanese star in Europe, who influenced pioneers of modern dance such as Loie Fuller and Isadora Duncan; she performed for Queen Victoria in 1900, and enjoyed the status of a European star.

Japanese gardens
The aesthetic of Japanese gardens was introduced to the English-speaking world by Josiah Conder's Landscape Gardening in Japan (Kelly & Walsh, 1893), which sparked the first Japanese gardens in the West. A second edition was published in 1912. Conder's principles have sometimes proved hard to follow: "Robbed of its local garb and mannerisms, the Japanese method reveals aesthetic principles applicable to the gardens of any country, teaching, as it does, how to convert into a poem or picture a composition, which, with all its variety of detail, otherwise lacks unity and intent." Tassa (Saburo) Eida created several influential gardens, two for the Japan–British Exhibition in London in 1910 and one built over four years for William Walker, 1st Baron Wavertree. The latter can still be visited at the Irish National Stud.

Samuel Newsom's Japanese Garden Construction (1939) offered Japanese aesthetics as a corrective in the construction of rock gardens, which owed their quite separate origins in the West to the mid-19th century desire to grow alpines in an approximation of Alpine scree. According to the Garden History Society, Japanese landscape gardener Seyemon Kusumoto was involved in the development of around 200 gardens in the UK. In 1937, he exhibited a rock garden at the Chelsea Flower Show, and worked on the Burngreave Estate at Bognor Regis, a Japanese garden at Cottered in Hertfordshire, and courtyards at Du Cane Court in London.

The impressionist painter Claude Monet modelled parts of his garden in Giverny after Japanese elements, such as the bridge over the lily pond, which he painted numerous times. In this series, by detailing just on a few select points such as the bridge or the lilies, he was influenced by traditional Japanese visual methods found in ukiyo-e prints, of which he had a large collection. He also planted a large number of native Japanese species to give it a more exotic feeling.

Museums
In the United States, the fascination with Japanese art extended to collectors and museums creating significant collections which still exist and have influenced many generations of artists. The epicenter was in Boston, likely due to Isabella Stewart Gardner, a pioneering collector of Asian art. As a result, the Museum of Fine Arts, Boston now claims to house the finest collection of Japanese art outside Japan. The Freer Gallery of Art and the Arthur M. Sackler Gallery house the largest Asian art research library in the United States, where they house Japanese art together with the Japanese-influenced works of Whistler.

title: Japonisme


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Talk:Intercounty Baseball League

VfD
I fully support the decision to keep this article. Anyone familiar with Canadian baseball knows that the IBL is a serious men's baseball league with a long history that has produced several members of Major League Baseball, AAA baseball, AA baseball, A baseball, while also featuring former MLB players and former Negro Leagues players of the past. To delete it would have been a travesty. Additionally, several former IBL players have been inducted into the Canadian Baseball Hall of Fame & Museum in St. Marys, Ontario. I suspect that anti-Canadian baseball bias may have played a role in its AfD nomination in the first place despite any protestations to the contrary. I'm continually coming across it on the Internet, however benign. Barry Wells 16:50, 19 September 2006 (UTC)
 * Further to the above AfD nomination, I'd like to add that the IBL has had numerous former MLB players in the league, including Fergie Jenkins (who's the only player to have been inducted into the National Baseball Hall of Fame and the Canadian Baseball Hall of Fame), Frank Colman, Denny McLain, Dave Rozema, Paul Spoljaric, Rob Butler, Oscar Judd, Tim Burgess, Mike Kilkenny and several outstanding former Negro Leagues players.
 * Additionally, many many players have been paid to play (albeit under the table), the league has many sponsors, fans, competent, paid umpires, an oficial media guy, statistician and commissioner. It is serious baseball, with most parks charging admission. The 1948 London Majors not only won the Intercounty title, but also the Ontario title, the Canadian title and the Can-Am title. Drinking beer while playing is not permitted, as one user frivously suggested. Many former IBL players have also gone on to baseball scholarships at U.S. universities, pro careers with MLB organizations or AAA ball, AA ball or A ball. The London Majors play at Labatt Park, the undisputed (to date) world's oldest baseball grounds in continuous use since 1877 (a heritage site under the Ontario Heritage Act) -- a park which won the prestigious Beam Clay Award as the best natural grass baseball park in North America in 1989-90. Barry Wells 19:02, 19 September 2006 (UTC)

Fair use rationale for Image:Intercounty Baseball League.png
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IBL Logo
The logo for the IBL displayed here is not quite the official logo as seen here: http://www.theibl.ca/view/theibl/the-ibl/logo-1

title: Talk:Intercounty Baseball League


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Bagrat I of Imereti

Bagrat I the Minor (ბაგრატ მცირე, Bagrat Mts'ire; died 1372), of the Bagrationi dynasty, was king of Western Georgia from 1329 until 1330, when he was reduced to a vassal duke by George V of Georgia.

Career
Bagrat was the only known son of King Michael of Imereti, on whose death he succeeded in 1329. Still a minor at this time (hence, his moniker mts'ire), Bagrat was compelled to remain in his capital, Kutatisi, as the provinces were being divided by the rivaling noble factions. In 1330, George V, the resurgent king in eastern Georgia, took advantage of the situation and of being Bagrat's relative and crossed the Likhi Range into Imereti, being welcomed by many Imeretians, weary of persistent violence and anarchy. Imereti was conquered and the integrity of the Kingdom of Georgia restored. Henceforth, Bagrat sat as eristavi ("duke") in Imereti, with his seat in Shorapani, under the tutelage of George V.

Family
In 1358, Bagrat married, with the approval of David IX of Georgia, a daughter of Qvarqvare I, a Jaqeli atabeg of Samtskhe. They had three sons:

 * Alexander I (died 1389), Duke of Imereti (1372–1378), King of Imereti (1387–1389).
 * George I (died 1392), King of Imereti (1389–1392).
 * Constantine II (died 1401), King of Imereti (1396–1401).

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Talk:Overdriven fluorescent light

VfD
On April 12, 2005, this article was nominated for deletion. The result was keep and cleanup. See Votes for deletion/Overdriven fluorescent light for a record of the discussion. Mindspillage (spill yours?) 12:24, 25 Apr 2005 (UTC)

Expertise needed
This article needs someone that understands the technical/electronic aspects properly. I dont have time to sort it now, and suspect it would get reverted by someone relying on information from inexpert sources.

"Only electronic ballasts can be used for this; magnetic ballasts will self-destruct."

This is not correct. I heavily overdrove a twin 5' fitting using mag ballasts. Resistors were added across the filaments to prevent them overheating.

Any mag ballast expects certain conditions to remain within its safe operating limits, and if you change those you may need to tweak the circuit to keep both tube and ballast happy. It is certainly possible to destroy tubes and ballasts by ill-designed overdriving, but that is not because the ballasts are magnetic, it is because someone failed to design the system to work correctly.

Electronic ballasts have some degree of self regulation and selfprotecting action, so less deliberate design is needed to (mis)use them.

"Each electronic ballast normally drives either two or four tubes. The ballasts are wired with their outputs in parallel such that a normal two-tube ballast drives a single tube; a four-tube ballast drives either one or two tubes."

Thats just one possible way to do it, and I doubt one any electronic engineer would recommend. This type of operation is a no-no for anyone but hobbyists as it creates multiple problems that lead to high failure rate and fire risk.

"The reason that this only works with electronic ballasts is that they use current mode programmed control to limit their output based on legislation for energy efficiency passed in 1992 in the United States."

The way an electronic ballast works is not a reason to not use magnetic ballasts. Also US legislation has little to do with ballast use in the other 95% of the world.

This article needs someone that understands the technical/electronic aspects properly, and is willing to search for basic electronic expertise offsite to use for references. Tabby (talk) 07:48, 6 January 2008 (UTC)

Rewritten :( No extra refs yet. Tabby (talk) 11:03, 6 January 2008 (UTC)
 * I've removed the how-to tone of the article. This needs more references - preferably published in a book, not blogs and web sites. I don't think Wikipedia generally gives hotrodding advice anywhere else. --Wtshymanski (talk) 18:51, 31 October 2009 (UTC)

title: Talk:Overdriven fluorescent light


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Tibor Serly

Tibor Serly (Losonc, Kingdom of Hungary, 25 November 1901 – London, 8 October 1978) was a Hungarian violist, violinist, and composer.

Life
Serly was the son of Lajos Serly, a pupil of Franz Liszt and a composer of songs and operettas in the last decades of the 19th century, who emigrated to America in 1905 with his family. Serly's first musical studies were with his father.

Spending much of his childhood in New York City, Serly played violin in various pit orchestras led by his father. In 1922, he returned to Hungary to attend the Franz Liszt Academy of Music in Budapest, where he studied composition with Zoltán Kodály, violin with Jenő Hubay, and orchestration with Leó Weiner. He greatly admired and became a young apprentice of Béla Bartók; Serly would go on to become one of Bartók's great champions, writing and lecturing about him and conducting and recording many of his works. For the most part, these efforts received praise, both by Bartók and by colleagues.

After graduating in 1925 with high honors in performance and composition, Serly returned to America, where he played viola with the Cincinnati Orchestra (1926–1927), Philadelphia Orchestra (1928–1935), and the NBC Orchestra (1937–1938). During these years, Serly formed close relationships with the poets Ezra Pound and Louis Zukofsky, who wrote a dedicatory poem to Serly, published in the avant-garde magazine Blues in February 1929.

When Bartók and his wife emigrated to America during World War II, Serly met them at the docks and provided support to them. After Bartók's death in 1945, the family turned to Serly to orchestrate the final seventeen measures of the Third Piano Concerto as well as the Viola Concerto, which took Serly more than two years to compile from sketches into a performable piece. It is now one of the most widely performed viola pieces. While working on this project, Serly composed the Rhapsody on Folk Songs Harmonized by Béla Bartók for Viola and Orchestra, which has become one of his most well-known compositions.

Serly taught composition at the Juilliard School and Manhattan School of Music in New York City (among other institutions) and was also a featured composer/conductor with the Danish Radio Orchestra. He taught orchestration to Carlyle W. Hall Sr., a trumpet player and arranger for Tommy Tucker's band; composer Glad Robinson Youse, and conductor/arranger/composer Mort Lindsey who worked with Judy Garland, Barbara Streisand, and Merv Griffin also studied with Serly.

In the course of rethinking the major developments in harmony found in the work of Stravinsky, Milhaud, Prokofiev, and Vaughan Williams as well as Bartók and other composers, Serly developed what he referred to as an enharmonicist musical language. In his book Modus Lascivus (1975) he explored a set of 82 basic tertian chords. Serly titled several of his later works as being "in modus lascivus", including sonatas for violin, viola, and piano. His Concertino 3 X 3 uses this compositional system, but is most memorable for its formal structure: it consists of nine movements, the first three for piano solo, the second set of three movements for orchestra without piano, and the final set combining the previous sets, played simultaneously.

In later life, Serly moved to Longview, Washington, with his second wife, the pianist Miriam Molin. He died at the age of seventy-six after being struck by a car in London.

Works

 * Symphony No. 2 in Two Movements for Woodwinds, Brass, and Percussion
 * Rhapsody on Folk Songs Harmonized by Béla Bartók for Viola and Orchestra (1946–48)
 * Concerto for Viola and Orchestra (1929)
 * Concerto for Violin and Wind Symphony (1955–58)
 * Concerto for Two Pianos and Orchestra (1958)
 * Concerto for Trombone and Orchestra (1951)
 * Piano Sonata No. 1 in "Modus Lascivus" (1946)

title: Tibor Serly


text:
Wikipedia:Articles for deletion/Pfirpfel

 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 move to BJAODN and delete moink 02:48, 10 May 2005 (UTC)

Pfirpfel
Appears to be nonsense - google has 8 hits on the word, most Wikipedia or mirrors. Others do not seem relevant (although I don't read German)Andypasto 12:30, 25 Apr 2005 (UTC)
 * Delete. The German Wikipedia describes it as a subtle hoax: . (If someone wants to verify that I've got the gist of the translation right, I'd appreciate it--my German is quite rusty.) --TenOfAllTrades (talk/contrib) 14:18, 25 Apr 2005 (UTC)
 * BJAODN and then Delete; it's a pseudo academical article (cross between apple and peach ); BTW,the page you found in the german wiki is actually a nice one (a step on the way to BJAODN) Lectonar 09:29, 26 Apr 2005 (UTC)
 * Delete - the article in German is a kind of scientific BJAODN. This article is nonsense.  Note that the inventor's name, "A. Loch", if translated into English would be "A. Hole", i.e. this is a joke.  SteveW | Talk 22:11, 26 Apr 2005 (UTC)
 * BJAODN. Megan1967 07:00, 27 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.


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High grading

In forestry, fishing and mining, high grading refers to the selective harvesting of goods to keep only the most valuable items. The term is frequently associated with fraud, especially in mining.

Forestry
In forestry, high grading, also sometimes referred to as selective logging, is a selective type of timber harvesting that removes the highest grade of timber (i.e. the most merchantable stems) in an area of forest. It is sometimes described by the phrase “cut the best and leave the rest”, and should not be confused with selection cutting.

Over time, high grading gives rise to forest stands containing stems of lower timber quality. The reduced income from timber can make it harder to fund good silvicultural practices, thereby impacting the economy of non-timber forest products and other activities such as hunting, wildlife watching or hiking. The practice also has an ecological cost, with a direct impact in terms of biodiversity, genetic diversity and species mix. Finally, it may cause forest to become unsafe due to an excessive amount of unmanaged trees at risk falling in a storm.

High grading can also be a form of fraud on the owner of the trees. Indeed, stumpage rates (the amount paid per a certain volume of wood) are based on the average quality of the wood. By taking only the best timber, the wood cutter obtains wood more valuable than average at the price of average wood.

The opposite of this practice is low grading, where the lower quality trees are periodically harvested, making the genetic stock faster growing and of better timber quality. Such stems might well be taken by use of thinning methods as part of a thinning régime, especially via the thinning from below method.

Fishing
High grading is a practice of selectively harvesting fish so that only the best quality fish are brought ashore. The practice is popular in situations under individual fishing quotas where only a limited number of fish are allowed to be harvested. Following the letter, but not the spirit of the law, fish are caught, and if not considered optimal, thrown back into the ocean. The practice of high grading allows fishers to get higher prices for their limited catch but is environmentally destructive because many of the fish returned to the water die. This was an issue with the EU regulation of fisheries. Hugh Fearnley-Whittingstall, a celebrity chef, led a campaign against this with a TV show called Hugh´s Fish Fight, which successfully lobbied for a change in EU law to reduce the waste (discards) from thrown back fish in sea fishery.

Mining
In mining, high grading refers to mining out the portions of the orebody that has the highest grade of material to be mined. However, it may also refer to the concealment and theft of valuable gold or silver ore by miners for personal profit. Common in the United States in the late 19th century and early 20th century, high graders would usually conceal the highest grades of ore they encountered during their work day in a pocket or lunch pail, or within the body, and later attempt to fence it on the black market.

As mining companies became more aware of the growing problem, they built changing stations where they forced the miners to shower after their shift in the mines, making it easier to foil attempts at theft.

"“HIGH GRADING AT TONOPAH.” The arrest of four men for high grading took place at Tonopah last Friday morning as the men were coming off shift at the McNamara mine. The men arrested are William Turner, vice president of the Tonopah miners' union; Tom Conifrey, Tom Cunningham and Patrick Flanigan. They were caught with the rich ore concealed upon their persons, and it is said that nearly a wagonload of ore was recovered from the residences of the high graders. These men have been suspected for a long time, and Friday morning the entire shift was held up and searched. All were lodged in the county jail, and two of them have since given bail. It is announced that they will be prosecuted to the full extent of the law."

title: High grading


text:
Alan Wilder

Alan Charles Wilder (born 1 June 1959) is an English musician, composer, arranger, record producer and member of the electronic band Depeche Mode from 1982 to 1995. After his departure from the band, the musical project Recoil became his primary musical enterprise, which initially started as a side project to Depeche Mode in 1986. Wilder has also provided production and remixing services to the bands Nitzer Ebb and Curve. In 2020, Wilder was inducted into the Rock and Roll Hall of Fame as a member of Depeche Mode. He is a classically trained musician.

Early years
Alan Charles Wilder was born the youngest of three boys to a middle class family and was raised in Acton, West London. He began piano at the age of eight, through the encouragement of his parents. Later on, he learned the flute at St Clement Danes grammar school and became a leading musician in his school bands. After school, Wilder worked as a studio assistant at DJM Studios. This led to him working for bands such as the Dragons and Dafne & the Tenderspots (as Alan Normal). Others include Real to Real (featuring Adrian Chilvers on bass, Pete Fresh on guitar, Wolfgang Marlander on drums and Paul St. James on vocals), the Hitmen, and the Korgis, appearing on the UK No. 13 single "If I Had You" (1979).

Depeche Mode (1982–1995)
Following the departure of Vince Clarke, Depeche Mode placed an advertisement in the music magazine Melody Maker: "Keyboard player needed for established band – no timewasters." Even though the ad was looking for someone under 21 (Wilder was 22), he lied about his age to get the job. He joined Depeche Mode in January 1982, initially as a tour keyboardist and soon thereafter as a full member of the recording band. His first studio contribution was on the single "Get the Balance Right!" in December 1982, released the following month.

Wilder wrote a handful of songs for Depeche Mode, including "Two Minute Warning" and "The Landscape Is Changing" (and a B-side, "Fools") from the album Construction Time Again, "If You Want" (and a B-side, "In Your Memory") from the album Some Great Reward, and co-wrote "Black Day" (and a B-side, "Christmas Island") around the release of the album Black Celebration. However, Wilder's more notable contributions to Depeche Mode were as a musician, arranger, and producer.

In addition to playing synthesizer throughout his time with Depeche Mode, Wilder also played piano on the band's signature ballad "Somebody". In the documentary film 101, Wilder demonstrates how different synthesizer parts of a song are split and arranged across a sampling keyboard for playing them live during the concert, just one small example of Wilder's ongoing contributions to Depeche Mode during his time as a member of the group. For the recording of the album Songs of Faith and Devotion and its corresponding Devotional Tour, Wilder also played live drums.

For "Enjoy the Silence" from the album Violator, Wilder took Martin Gore's melancholy ballad-esque demo and re-envisioned the song as a percolating, melodic dance track. The resulting single went on to become one of the most commercially successful songs in Depeche Mode's history.

Departure
In June 1995, Wilder announced his departure from Depeche Mode "due to increasing dissatisfaction with the internal relations and working practices of the group". After his split from the band, Wilder was approached by Robert Smith with an offer to join the Cure. According to Wilder himself, the possibility was offered on behalf of the Cure by Daryl Bamonte (tour manager for both Depeche Mode and the Cure, and brother of the Cure member Perry Bamonte), and Wilder declined as joining another band was the last thing on his mind.

Wilder briefly reunited with Depeche Mode during the Teenage Cancer Trust concert at the Royal Albert Hall in London on 17 February 2010. During the encore, Wilder played piano on "Somebody".

Side project
Recoil began in 1986 as a two-track experimental EP. Simply entitled 1 + 2, the collection of primitive demos caught the attention of Mute Records label boss Daniel Miller and was inconspicuously released as a mini-album on 12" vinyl. An album, Hydrology, soon followed in 1988, and both were eventually re-issued by Mute on CD as Hydrology plus 1 + 2.

Douglas McCarthy of Nitzer Ebb sang on Recoil's next album, Bloodline, released in 1992. Wilder recruited guest vocalists for the first time, with further contributions from Toni Halliday and Moby. Bloodline also yielded the first two Recoil singles, a cover of Alex Harvey's song "Faith Healer" as well as "Electro Blues for Bukka White".

Solo work
In September 1996, after leaving Depeche Mode, Wilder began work in his own studio, The Thin Line. He pieced together what would become Recoil's next album, Unsound Methods (1997). The album was followed by Liquid (2000), SubHuman (2007), and Selected (2010).

Recoil returned in 2012 to release the concert film A Strange Hour in Budapest on Blu-ray.

Personal life
In August 1991, after marrying his first wife, Jeri Young, Wilder bought a 30-acre, eight-bedroom country estate in Itchingfield, West Sussex, England, where he later built his personal recording studio, The Thin Line. In 2024, Wilder listed the property (minus the studio) for sale, citing the desire to downsize.

In May 2024, Wilder purchased a vacation property in Vestfold, Norway.

Early work

 * The Dragons – "Misbehavin'" (1977)
 * Dafne & the Tenderspots – "Disco Hell" (1979)
 * The Korgis – "If I Had You" (1979) – UK No. 13 (the track also appears on The Korgis, as well as all of the band's compilation albums)
 * Real to Real – "White Man Reggae" (March 1980)
 * Real to Real – "The Blue" (1980)
 * Real to Real – Tightrope Walkers (November 1980)
 * Real to Real – "Mr. and Mrs." (March 1981)
 * The Flatbackers – "Serenade of Love" (1981)
 * The Hitmen – "Ouija" (1981)

With Depeche Mode
Wilder appeared on all of Depeche Mode's releases from "Get the Balance Right!" (31 January 1983) up to "In Your Room" (10 January 1994), later taking part in reissues and compilations containing material from his time in the band.

Discography featuring Alan Wilder
Studio albums
 * Construction Time Again (1983)
 * Some Great Reward (1984)
 * Black Celebration (1986)
 * Music for the Masses (1987)
 * Violator (1990)
 * Songs of Faith and Devotion (1993)

Live albums
 * 101 (1989)
 * Songs of Faith and Devotion Live (1993)

Compilations
 * People Are People (1984) – all tracks, excepting: "Now This Is Fun" and "Leave In Silence".
 * The Singles 81→85 (1985) – all tracks, excepting: "Dreaming of Me", "New Life", "Just Can't Get Enough", "See You", "The Meaning of Love" (only on the CD version) and "Leave in Silence"; he also did not feature on the two bonus tracks on the 1998 reissue.
 * Catching Up with Depeche Mode (1985) – all tracks except "Dreaming of Me", "New Life", "Just Can't Get Enough", "See You" and "The Meaning of Love".
 * The Singles 86–98 (1998) – all tracks except "Barrel of a Gun", "It's No Good", "Home", "Useless" and "Only When I Lose Myself"
 * Remixes 81–04 (2004) – all tracks except "Barrel of a Gun" (Underworld Hard Mix) (one-disc edition), "Useless" (The Kruder + Dorfmeister Session™), "Home" (Air 'Around the Golf' Remix), "Just Can't Get Enough" (Schizo Mix) and "Enjoy the Silence 04"; all tracks except "Shout!" (Rio Remix), "Home" (Air 'Around the Golf' Remix), "Barrel of a Gun" (Underworld Hard Mix), "Freelove" (DJ Muggs Remix), "I Feel Loved" (Chamber's Remix), "Just Can't Get Enough" (Schizo Mix) (two-disc edition), "Painkiller" (Kill the Pain DJ Shadow vs. Depeche Mode), "Useless" (The Kruder + Dorfmeister Session™), "Dream On" (Dave Clarke Acoustic Version), "It's No Good" (Speedy J Mix) and "Enjoy the Silence" (Timo Maas Extended Mix); all tracks except the above and "I Feel Loved" (Danny Tenaglia's Labor of Love Dub (Edit)), "It's No Good" (Club 69 Future Mix), "Photographic" (Rex the Dog Dubb Mix).
 * The Best of Depeche Mode Volume 1 (2006) – all tracks except "Just Can't Get Enough", "See You", "It's No Good", "Suffer Well", "Dream On", "Martyr", "Precious" and "New Life".
 * Remixes 2: 81–11 (2011) – partial.

Singles
 * "Get the Balance Right!"
 * "Everything Counts"
 * "Love, in Itself"
 * "People Are People"
 * "Master and Servant"
 * "Blasphemous Rumours" / "Somebody"
 * "Shake the Disease"
 * "It's Called a Heart"
 * "Stripped"
 * "A Question of Lust"
 * "A Question of Time"
 * "Strangelove"
 * "Never Let Me Down Again"
 * "Behind the Wheel"
 * "Little 15"
 * "Personal Jesus"
 * "Enjoy the Silence"
 * "Policy of Truth"
 * "World in My Eyes"
 * "I Feel You"
 * "Walking in My Shoes"
 * "Condemnation"
 * "In Your Room"

Video albums
 * The World We Live In and Live in Hamburg (1985)
 * Some Great Videos (1985) – all clips except "Just Can't Get Enough"
 * Strange (1988)
 * 101 (1989)
 * Strange Too (1990)
 * Devotional (1993)
 * The Videos 86–98 (1998) – all clips except "Barrel of a Gun", "It's No Good", "Home", "Useless", "Only When I Lose Myself" and "Ultra – Electronic Press Kit".
 * The Best of Depeche Mode Volume 1 (2006) – all clips except "Just Can't Get Enough", "Barrel of a Gun", "It's No Good", "Home", "Only When I Lose Myself", "Dream On", "I Feel Loved", "Enjoy the Silence 04", "Precious" and "Suffer Well".
 * Video Singles Collection (2016) – all clips except "Just Can't Get Enough" and 33–55 clips

Depeche Mode songs composed by Alan Wilder

 * "The Great Outdoors!" (single "Get the Balance Right!", 1983 – co-written with Martin Gore)
 * "Work Hard" (single "Everything Counts", 1983 – co-written with Martin Gore)
 * "Two Minute Warning" (album Construction Time Again, 1983)
 * "The Landscape Is Changing" (album Construction Time Again, 1983)
 * "Fools" (single "Love, in Itself", 1983)
 * "In Your Memory" (single "People Are People", 1984)
 * "If You Want" (album Some Great Reward, 1984)
 * "Black Day" (single "Stripped" and album Black Celebration, 1986 – co-written with Martin Gore and Daniel Miller)
 * "Christmas Island" (single "A Question of Lust", 1986 – co-written with Martin Gore)

Collected
Wilder organized with Omega Auctions an auction selling a lot of Depeche Mode collectible items on 3 September 2011 in Manchester. A DVD called Collected + was released as a promotion for these events.

Covers and collaborations

 * 1991 – Mixed the Nitzer Ebb song "Come Alive" from the As Is EP.
 * 1991 – Along with Flood, produced the Nitzer Ebb album Ebbhead.
 * 2001 – Provided strings and ambient sounds for the song "Polaroid" from the Curve album Gift.
 * 2003 – Provided strings and sounds for The Digital Intervention track "Coma Idyllique" from the album Capture. 'PK', a longtime Recoil collaborator is one of its members, along with Olivia Louvel.
 * 2012 – Covered two tracks: "Inheritance" – Recoil (ft. Linton Kwesi Johnson & Paul Marshall) and "Dum Dum Girl" – Recoil (ft. Shara Worden) for a Talk Talk tribute album (double) CD/book set called Spirit of Talk Talk. He was also executive music producer for the album.
 * 2016 – Provided music and arrangements for "Calling the Clock" by Dede (featuring Alan Wilder).

Remixes

 * 1989: Toni Halliday – "Time Turns Around" (Euro-Tech Version)
 * 1991: Nitzer Ebb – "I Give to You" (Wilder Mix Full Version)
 * 2010: Nitzer Ebb – "I Am Undone" (Alan Wilder Remix)
 * 2011: Depeche Mode – "In Chains" (Alan Wilder Remix)
 * 2011: Sonoio – "Minutes" (Expansion Mix)

title: Alan Wilder


text:
Emily Thornberry

Emily Anne Thornberry (born 27 July 1960) is a British Labour politician who has been Member of Parliament (MP) for Islington South and Finsbury since 2005. She served as Shadow Attorney General for England and Wales from 2021 until the 2024 UK general election, and previously from 2011 to 2014. Thornberry has also served in a number of other senior positions on Labour's front bench, namely as Shadow Foreign Secretary from 2016 to 2020, Shadow First Secretary of State from 2017 to 2020 and Shadow Secretary of State for International Trade from 2020 to 2021.

The daughter of a teacher and a diplomat, Thornberry was born in Guildford, Surrey, and attended a local secondary modern school. After graduating from the University of Kent in Canterbury, she worked as a human rights lawyer from 1985 to 2005 and joined the Transport and General Workers' Union.

Thornberry was first elected to Parliament in 2005 and served as Shadow Attorney General for England and Wales in Ed Miliband's shadow cabinet from 2011 until she resigned in 2014 after sending a tweet mocking a house with England flags. After Jeremy Corbyn won the 2015 Labour leadership election, Thornberry was appointed Shadow Minister of State for Employment in September 2015, Shadow Secretary of State for Defence in January 2016 and Shadow Secretary of State for Foreign and Commonwealth Affairs in June 2016. She was a candidate to succeed Corbyn as Leader of the Labour Party in the 2020 leadership election but was eliminated from the race after failing to obtain the number of nominations needed.

Thornberry was appointed to Keir Starmer's shadow cabinet as Shadow Secretary of State for International Trade and Shadow President of the Board of Trade in April 2020. She was appointed Shadow Attorney General for England and Wales in November 2021, but did not receive a ministerial position in Starmer's post-election government formed in July 2024.

Early life and career
Emily Thornberry was born on 27 July 1960 in Guildford, Surrey. Her parents were Sallie Thornberry (née Bone), a teacher, and Cedric Thornberry, at the time teaching international law at the London School of Economics, and later a United Nations Assistant Secretary-General. Due to her father's birth in Belfast she is an Irish citizen and Irish passport holder. When Thornberry was seven, her parents divorced and she had to leave their home with her mother and two brothers. After this, she relied on free school meals and food parcels, with her cats being euthanised to save money. Her mother later became a Labour councillor and mayor (representing Stoke in Guildford from 1983 to 2003), and her father stood as the Labour candidate for Guildford in the 1966 general election.

Thornberry failed the eleven-plus exam, so attended a secondary modern school. She left to live with her father when she was fifteen until he left without warning to work for the United Nations when she was seventeen. She worked as a cleaner and a barmaid in London alongside resitting her O-Levels and taking her A-Levels. She went on to study law at the University of Kent in Canterbury, graduating in 1982, and afterwards led the students' union as an elected full-time officer. She was called to the Bar at Gray's Inn and practised as a barrister specialising in human rights law from 1985 to 2005 under Michael Mansfield at Tooks Chambers.

She joined the Transport and General Workers' Union in 1985.

Parliamentary career
At the 2001 general election, Thornberry stood as the Labour candidate in Canterbury, coming second with 36.9% of the vote behind the incumbent Conservative MP Julian Brazier.

1st Parliament (2005–2010)
Thornberry was selected as the Labour candidate for Islington South and Finsbury for the 2005 general election through an all-women shortlist of prospective candidates. She was elected to Parliament as MP for Islington South and Finsbury 39.9% of the vote and a majority of 484.

Thornberry made her maiden speech in the House of Commons on 24 May 2005. In Parliament, she has been a member of the Environmental Audit Committee and was on the Communities and Local Government Select Committee during the 2005–10 Parliament.

In 2006, Thornberry was criticised by the Parliamentary Commissioner for Standards Philip Mawer for adding a quote from herself into a news release by the Electoral Commission. She was found not to have broken the Parliamentary code of conduct.

Thornberry's main interests since becoming an MP have been in health, housing, the environment and equality. She has also spoken on the need for more affordable housing, particularly in Islington. In 2006, Thornberry introduced the Housing Association Bill, a Private member's bill which sought to improve the control of housing association tenants over their landlords, with many of the ideas from this bill were taken up by the Cave Review. On environmental matters, Thornberry worked with Friends of the Earth and World Wide Fund for Nature (WWF) to campaign for a Climate Change Bill and a Marine Bill. In 2006, Thornberry won the ePolitix Award for Environment Champion of the Year after being nominated by WWF.

In May 2008, Thornberry supported a change in the law to allow single women and lesbian couples to seek in vitro fertilisation treatment.

In 2009, she was appointed as a ministerial aide in the Department of Energy and Climate Change and attended the Copenhagen Summit in December that year with Joan Ruddock and Ed Miliband.

2nd Parliament (2010–2015)
At the 2010 general election, Thornberry was re-elected as MP for Islington South and Finsbury with an increased vote share of 42.3% and an increased majority of 3,569.

Thornberry was promoted to Shadow Minister for the Department of Energy and Climate Change soon after the general election. She missed out on a place in Labour's shadow cabinet, then elected by Labour MPs, by one vote. She was instead promoted to the role of shadow care minister under the shadow health secretary John Healey.

In April 2011, Thornberry surveyed all the local government directors of adult social care and highlighted the pressures on care for the elderly by the coalition government's cuts to local authority funds. In June 2011 Thornberry criticised the coalition government's lack of action over failing care home operator Southern Cross, calling for action and that the government put in place a plan B should the operator fail. She criticised the government over the Winterbourne View care home abuse scandal, calling for an investigation into the affair.

In July 2011, Thornberry challenged prime minister David Cameron over his false claims about wages at Islington Council, campaigning against government measures which Thornberry claimed to have exacerbated child poverty in Islington, and answering over 1,000 enquiries a month from constituents.

Thornberry was appointed shadow attorney general in October 2011, which allowed her to attend shadow cabinet meetings. Thornberry called for action by Dominic Grieve over Applied Language Solutions' failure to provide interpreters for court proceedings.

Thornberry resigned her shadow cabinet position on 20 November 2014, shortly after polls closed in the Rochester and Strood by-election. Earlier in the day, she had received criticism after tweeting a photograph of a house in the constituency adorned with three flags of St. George and the owner's white van parked outside on the driveway, under the caption "Image from #Rochester", provoking accusations of snobbery. She was criticised by fellow Labour Party MPs, including leader Ed Miliband, who said her tweet conveyed a "sense of disrespect", Chris Bryant, who said that it broke the "first rule of politics" and Simon Danczuk, who said that the party had been "hijacked by the north London liberal elite".

3rd Parliament (2015–2017)
At the 2015 general election, Thornberry was again re-elected with an increased vote share of 50.9% and an increased majority of 12,708.

Thornberry was one of 36 Labour MPs to nominate Jeremy Corbyn as a candidate in the Labour leadership election of 2015, though she later stated that she would be supporting Yvette Cooper. In September 2015, she was appointed as the shadow employment by the new Labour leader Jeremy Corbyn.

She was promoted to shadow defence secretary in January 2016, replacing Maria Eagle. Thornberry advocated spending money on the army rather than on the UK's Trident nuclear programme. On being appointed, Thornberry was interviewed by the British Forces Broadcasting Service, where she defended her appointment, saying she had "quite a lot more experience than people might think I do. I was made an honorary lieutenant colonel when I was doing court-martials [sic] when I was a barrister so I have a certain amount of experience of the military there." During her role as shadow defence secretary, Thornberry conducted a review of defence policy, including the role of the nuclear deterrent, which was delayed following the 2016 United Kingdom European Union membership referendum. During a private Labour discussion about the nuclear deterrent, Thornberry asked what "Defcon One", a status of the United States nuclear defence rating, meant.

Thornberry was promoted to Shadow Foreign Secretary in June 2016 after Corbyn fired Hilary Benn. She held the role of Shadow Brexit Secretary concurrently until Keir Starmer took on the role later that year. She accused Sky News presenter Dermot Murnaghan of sexism after he asked her to name French minister of foreign affairs and international development, Jean-Marc Ayrault and the president of South Korea, which she was unable to do.

In October 2016, Thornberry stated that she opposed Britain's involvement in the Saudi Arabian–led intervention in Yemen against the Shia Houthis. She said that "while Saudi Arabia will remain a valued strategic, security and economic ally in the years to come, our support for their forces in Yemen must be suspended until the alleged violations of international humanitarian law in that conflict have been fully and independently investigated".

3rd Parliament (2017–2019)
At the snap 2017 general election, Thornberry was again re-elected with an increased vote share of 62.8% and an increased majority of 20,263. Following the election, she was given the additional role of Shadow First Secretary of State, effectively acting as Corbyn's number 2.

In May 2018 Thornberry said support in Syria for the country's president, Bashar al-Assad, had been "underestimated" in the West. In October 2018 Thornberry criticised Theresa May's government's response to Jamal Khashoggi's disappearance as "too little, too late". She said: "Imagine how this government would have reacted if either Russia or Iran had abducted–and in all likelihood murdered–one of their dissident journalists within the sovereign territory of another country".

4th Parliament (2019–2024)
At the 2019 general election, Thornberry was again re-elected, with a decreased vote share of 56.3% and a decreased majority of 17,328. After Corbyn announced he was stepping down as leader, Thornberry was the first to announce that she would be running for leader of the Labour Party. Defeated Labour MP Caroline Flint appeared on Sophy Ridge on Sunday and accused Thornberry of saying that Brexit voters in Northern England were 'stupid'. Thornberry appeared on ITV News and accused Flint of 'making up shit about her' and threatened to take legal action. She was eventually eliminated from the leadership election after failing to achieve enough nominations from constituency parties or affiliated groups.

After the killing of Qasem Soleimani in the 2020 Baghdad International Airport airstrike, Thornberry condemned the actions of the United States government. She said that she shed no tears over the death, but was fearful of escalating tensions in the region.

Thornberry was replaced as Shadow Foreign Secretary by Lisa Nandy upon the election of Keir Starmer as Leader of the Labour Party. Thornberry herself was not sacked from the Official Opposition frontbench, but instead moved to a different frontbench role, becoming the new Shadow Secretary of State for International Trade. She replaced Barry Gardiner, and said on Twitter that, "It's been a pleasure to work with Barry Gardiner these past four years... I hope I can take the fight to the government on International Trade as effectively as he did, and I'll be very lucky to have his advice".

In late December 2020, Thornberry voted for the European Union (Future Relationship) Act 2020, in line with the Labour Chief Whip.

In the November 2021 shadow cabinet reshuffle, Thornberry was appointed Shadow Attorney General for England and Wales.

Thornberry was re-selected as the Labour candidate for Islington South and Finsbury at the 2024 general election in February 2022.

5th Parliament (2024–present)
In the 2024 United Kingdom general election, Thornberry was re-elected in her constituency with a reduced majority. With the Labour landslide and the formation of the Starmer ministry, Thornberry was not appointed a minister and returned to the backbenches. Thornberry was not appointed Attorney General for England and Wales as expected as she had held the position of Shadow Attorney General for six years under Starmer and Ed Miliband. The role was given to Richard Hermer who was given a life peerage. Thornberry was reportedly disappointed by this alleged snub. This ended eight and a half years of frontbench service.

Affordable housing
Thornberry's constituency is in the London Borough of Islington, which has disproportionately high house prices and private sector rents. She has supported measures by Islington Council to free up under-occupied homes by supporting tenants to downsize and to stop foreign investors from buying new homes and leaving them empty. She has also called for a greater degree of control over private sector rents and more support for social house-building. Thornberry has frequently campaigned for a greater commitment to affordable and social housing. She was criticised when the local Islington Tribune newspaper discovered that her husband had bought a former social house which was being rented out to her aides. Thornberry said the purchase was "not about property speculation".

In 2014 Thornberry clashed with Boris Johnson, the mayor of London, over the proposed redevelopments of the Mount Pleasant Mail Centre, the sorting office run by the Royal Mail, and the Clerkenwell Fire Station, both in her constituency. Camden and Islington councils sought to require a high proportion of the resulting new homes to be made available for social rent, but Johnson overturned this and allowed homes designated as "affordable" to charge rents of up to 80 per cent of market rates. Thornberry criticised Johnson, describing his definition of affordability as "nonsense", and called for at least 50% of homes in the new developments to be made available for social rent.

Statue of Emily Davison
In 2013, the 100th anniversary of the death of the suffragette Emily Davison, Thornberry called for a statue commemorating Davison in Parliament. She arranged a public meeting to discuss options for a memorial, attended by around 800 people, and settled on the idea of a statue as an appropriate memorial, pointing out that there were very few statues of female politicians and activists in Parliament.

Equal pay
In March 2015, Thornberry launched a campaign for a new Equal Pay Act. She said that, 45 years after the original Equal Pay Act was passed in 1970, women still earned 19% less than men on average.

Personal life
Thornberry has lived in Islington since the early 1990s. In July 1991 she married Christopher Nugee, of Wilberforce Chambers, in Tower Hamlets, and they have two sons and a daughter. Nugee later became Queen's Counsel, then a High Court Judge, when he was knighted, at which point Thornberry became entitled to be styled Lady Nugee, but does not use the title. Nugee later became a Lord Justice of Appeal. Since 1993 they have lived on Richmond Crescent, Barnsbury, where Tony Blair also lived until the 1997 general election, moving in on the same day as the Blairs. Thornberry also part-owns properties in Guildford and South London; her property portfolio "is believed to be worth £4.6 million."

In April 2005, it was reported that Thornberry and Nugee had sent their son to the partially selective Dame Alice Owen's state school 14 mi from their home and outside her constituency. The school was formerly based in Islington and reserved a quota of 10% of its places for Islington pupils. The Labour Party opposed selection and Thornberry was criticised over the matter as a result. Later, Thornberry's daughter attended the same school.

title: Emily Thornberry


text:
Rusty Cundieff

George Arthur "Rusty" Cundieff (born December 13, 1960) is an American film and television director, actor, and writer known for his work on Fear of a Black Hat (1993), Tales from the Hood (1995), and Chappelle's Show (2003–2006).

Biography
Cundieff was born in Pittsburgh, Pennsylvania to Christina and John A. Cundieff. He studied journalism at Loyola University in New Orleans and the philosophy of religion at the University of Southern California. While at USC, Cundieff became a member of Alpha Phi Alpha, a historically African American fraternity.

He is married to Trina Davis Cundieff, with whom he has two children: Simone Christina and Thelonious Jon Davis.

Film career
After graduating from USC in 1982, Cundieff performed stand-up comedy in Los Angeles while looking for opportunities to act. His first major role was a year-long run as Theo Carver on Days of Our Lives in 1985. In 1988, he played Big Brother Chucky in Spike Lee's School Daze. Cundieff was inspired by his experience working with Lee on the film to pursue writing and directing in addition to acting, and at age 29 he wrote, directed, and starred in the well-received 1993 rap parody Fear of a Black Hat.

He directed and co-wrote the 1995 horror anthology Tales from the Hood. He directed sequels in 2018 and 2020, Tales from the Hood 2 and Tales from the Hood 3, projects that he said he had been trying to make for 20 years, but that the success of Get Out had opened the door for.

Cundieff was also a correspondent on Michael Moore's comic TV magazine show TV Nation in the mid-1990s.

In 2013, along with 12 others he received a Razzie Award for Worst Director for directing a segment in the anthology comedy film Movie 43.

title: Rusty Cundieff


text:
Águeda

Águeda is a city and a municipality in Portugal. According to the Portuguese 2011 census, the municipality of Águeda had 47,729 inhabitants, in an area of 335.27 km2. The city proper had a population of 14,504 (2001 data), while the remainder is distributed in 11 parishes, within the Baixo Vouga Subregion.

History
Águeda has been a municipal seat since 1834 and has had official city status since 1985. It was built on a foundation of successive Celt, Turduli and Lusitanian inhabitants since 370 BC.

Ancient occupation of this area dates back to the Bronze Age, marked by diverse megalithic monuments, including the archaeological site at Cabeço do Vouga, an important Roman military fortification along routes from Olissipo (Lisbon) to Bracara Augusta (Braga).

In the 9th century, Águeda was a prosperous borough, with stable commerce and an active port that supported local and regional businesses. It was mentioned in documents from 1050 to 1077, by its primitive name Casal Lousado, or by its anglicized forms: Anegia, Agatha and Ágada; by the 9th century, this settlement was referred to as Ágata. In a document dated 1050, there is mention of several villages situated within the current borders, many with names originating from Arab languages.

Águeda never achieved a foral during the Middle Ages, in contrast to its neighbors, it was considered regal lands and dominions of the monasteries of Lorvão and Vacariça. It functioned as an ancillary center on the road to Santiago de Compostela, and the river-side village was most certainly visited by Queen Isabel (S. Elizabeth of Portugal) in 1325, during her customary pilgrimages to the religious center.

A new phase of settlement occurred after the establishment of the Kingdom of Portugal, from the 11th–12th century: although its inhabitants prospered, and had many privileges, their representatives from Aveiro in the Cortes of Évora (1451), never requested a foral declaration. King D. Manuel I included Águeda in a general foral granted to Aveiro, in 1515, but was only, later, provided a separate charter.

In 1834, Águeda ascended to the category of municipal seat, as a consequence of the Portuguese Liberal Revolution, when major administrative reforms were initiated. Its important political place and strategic politico-military position allowed Águeda to support military troops during the second French Invasion, when it functioned as military hospital. Resulting from the administrative reform, Águeda began its political career in the shadow of great change, and many of its citizens were important land reformers. The municipality of Águeda was established on 31 December 1853, and integrated many older concelhos of medieval origins long since extinct, including Aguada de Cima, Castanheira do Vouga and Préstimo.

As a frontier city located between the sea and land, it occupies a privileged position, serviced by both railroads and an expanding road network. These advancements allowed the economic and social development of the region and placed Águeda in an important position, resulting in its growth and development. On 14 August 1985, Águeda was elevated to the category of city by law.

Geography
The municipality of Águeda is administratively integrated into the district of Aveiro, in the former region of Beira Litoral; it is located 240 km from Lisbon, 72 km from Porto and 20 km from Aveiro.

Physical geography
It is situated in the hydrographic basin of the River Vouga, limited in the north by the Vouga, the south by the river Cértima, to the east by the Serra do Caramulo (Caramulo mountains) and west by the lowlands of the Ria de Aveiro. These frontiers establish Águeda in a central position, in a transition zone between the coastal zones and interior, thus affording the municipality with various socio-economic advantages. In addition to the mentioned rivers, the area is also delimited by the River Marnel, and the tributaries of the River Águeda: the River Alfusqueiro, Agadão and Dornes ravine.

Ecoregions/Protected zones
The Pateira de Fermentelos, shortly known as Pateira, is a natural lake located within the triangle of the municipalities of Águeda, Aveiro and Oliveira do Bairro, before the confluence of the Cértima and Águeda rivers. It is the largest natural lake in the Iberian peninsula, rich in diverse species of bird, fish and aquatic plants.

Human geography
Between 1991 and 2001, the population resident in Águeda increased 11.3%; these were primarily in parishes of Segadães (32.9%), Aguada de Cima (32.8%) and Recardães (20.8%), while there was a 32.9% decrease in the population. Population density increased in the parishes of Águeda, Recardães, Aguada de Baixo, Fermentelos and Trofa, while parishes closer to the interior (such as Agadão, Préstimo, Castanheira do Vouga and Macieira de Alcoba) were less concentrated.

Since the implementation of the national administrative reform in January 2013, the municipality includes 11 civil parishes (freguesias), resulting from the politico-administrative fusion of several of the former 20 parishes. These parishes handle local-level administrative tasks, which include provision of municipal and social services and are detailed in the following table:

Twin towns - sister cities
Águeda is twinned with:
 * 🇧🇷 Rio Grande, Brasil, since 16 November 1993
 * 🇬🇼 Bissau, Guinea-Bissau, since 10 March 1995
 * 🇪🇸 Ferrol, Spain, since 26 August 1999
 * 🇧🇪 Sint-Gillis-Waas, Belgium, since 25 August 2000
 * Madalena, Portugal, since 11 April 2016

Economy
Águeda is an important commercial and industrial center, located in an extremely fertile area. The gastronomical and economical region where it is inserted, known as the Bairrada, encompasses many of the local civil parishes and is well known for its vineyards and wine industry, as well as its suckling roasted pig (Leitão Assado à Bairrada).

It has also developed a strong industry, mainly based on the production of motorized and common bicycles and on civil construction. In 2001, 60% of the resident population was employed in the secondary sector, yet between 1991 and 2001 there has been a 53% increase in those employed in tertiary sector, while there has been a 78.4% decrease in secondary sector throughout the municipality.

Transport
Part of the litoral area, the region is crossed by elements of the north-south Porto-Lisbon roadway, and served by intramunicipal roads connecting it with Albergaria-a-Velha (in the north), Oiã (in the south), along the A25 and EN333, and the major EN1/IC2 motorway, that produces the major traffic influx of the region. To reach Águeda, there are essentially three distinct roadways: the EN230 (that connects Aveiro to Caramulo), the EN333 (linking Oiã to the A25, in Talhadas) and the EN336, by way of the EN230 to Mortágua. Still further, the municipality is crossed in the north by the A25, that links Aveiro and Vilar Formoso, resulting in reduced traffic along the EN1/IC2 and EN333.

Even within the municipality, a 21,082 km line of railway lines of the Vouga line, that links Aveiro and Sernada do Vouga, provides daily direct commuter service to railstops within the region.

Architecture
There are several sites of cultural significance and landscapes within the municipality that the local authority has attempted to preserve in order to promote tourism; resulting in the establishment of infrastructures and services to preserve these examples of local patrimony.

Civic

 * Archaeological site of Cabeço do Vouga (Estação arqueológica do Cabeço do Vouga),also referred by the Roman Castelium Marnelis, is an archeological excavation of an early Roman civitates in the foothills of the Vouga River (Cabeço da Mina, Cabeço Redonda and Cabeço do Vouga in Lamas da Vouga).

Religious

 * Convent of Santo António (Convento de Santo António) located in Serém, its construction began in 1634 by Diogo Soares, the Count/Duke of Olivares, to house a dozen Franciscans from the province of Santo António. On 16 April 1635, the cornerstone was placed, and construction lasted until December 1640, at the Count's expense. Construction continued in 1641, and lasted until 1658–59, briefly interrupted by the lack of funds, which originally stopped the addition of a cloister, chorus and some monastery offices. With the abolition of the religious orders in 1834, the convent passed into the hands of José Henriques Ferreira, then Augusto Gomes, who improved some of the installations.
 * Convent of Santa Maria de Lamas (Convento de Santa Maria de Lamas), was constructed (in 957) in the area of Passal, by Enderquina Pala, who later dedicated it to the Santissimo Salvador of Viseu (Holy Saviour of Viseu), but later donated it to the monastery of Lorvão (in 961). During the 17th century, it was remodeled, to include a commemorative wall, which has since been moved to the parochial church of Lamas do Vouga. In the 18th century, the convent's church was already in an advance state of degradation, resulting in the construction of a new church in the community of Lamas. The only remnants of original convent and church is a non-descriptive niche in the site in Passal.

Culture
Among its traditional artisan products, the region is recognized for its traditional clay pottery, handmade baskets, knitted craft-works and tannery products.

The suckling roasted pig in the style of Bairrada is the most significant contribution to gastronomy in the region, although sweets are not far behind: pasteis de Águeda (custard), barriga de freira, fuzis and sequilhos, in addition to the padas da Veiga. Other common dishes in this region: chanfana, rojões, carne à lampantana or caldeirada de peixe (fish stew), all great meals that are accompanied by local wines and sparkling drinks from the cellars of the Bairrada region.

Alongside to the handmade production and the gastronomy, Águeda is also known for its cultural traditions. There are several ethnographical groups and cultural associations representing many local civil parishes and also important choirs, such as the Orfeão de Águeda.

Sport
The municipality promotes many sport-related activities in the communities of Águeda, in order to foster participation and improve healthy living throughout its parishes. These initiatives include a walking and running program (Centro Municipal de Marcha e Corrida), support for many athletic clubs and leagues within its borders and the maintenance and operation of a municipal pool for local residents.

Major clubs

 * Associação Atlética Macinhatense
 * Associação Desportiva Valonguense
 * Associação Recreativa e Cultural da Borralha - BARC
 * Desportivo Atlético de Recardães - DAR
 * Ginásio Clube de Águeda - GICA
 * Liga dos Amigos de Aguada de Cima - LAAC
 * Recreio Desportivo de Águeda
 * Sporting Clube de Fermentelos
 * União Desportiva Mourisquense

Notable athletes

 * António dos Santos Baptista – from Aguada da Cima, António was awarded with a Silver Plate and road named in his honour, for his contributions to cyclism which included several regional championships, participation in the Tour de France, Vuelta a Espanã, Tour de Moroc and Vuelta a Andalucía, where he broke personal records, usually finished in the top-five.
 * António Manuel Oliveira Monteiro – natural of the parish of Águeda, participated in several canoeing championships, such as the International Regatt in Ribadesella (Spain), the Milan Regatta, European Junior and Senior Championships, the Iberian Tournament and Barcelona Summer Olympics, and returned several first-place trophies.
 * Hernâni Ferreira da Silva – (1 September 1931 – 5 April 2001), natural of the parish of Águeda, was a football player. Starting to play at his hometown club Recreio de Águeda, Hernâni quickly drew the attention of F.C.Porto to which he transferred in 1950. He played for the club his whole career until 1964, with the exception of the 1952–53 season in which he played (on a loan) for Estoril Praia, due to the military conscription and under the condition of not playing against F.C.Porto. He also played 28 matches for the Portugal national football team scoring 6 goals. Regarding honours, he was 2 times National Champion and won 2 Portuguese Cups. Considered as an exceptional player, he is amongst the F.C.Porto most notable players list of all times (253 apps, scoring 127 goals for the club) and was chosen by Portuguese sports newspaper Record as one of the best 100 Portuguese football players ever.
 * Mario Leandro Silva Galhano - (born 1982), football player (defender) with C.D. Feirense in Liga de Honra.

Notable citizens
Apart from those athletes mentioned above, the municipality has been the residency of many importance citizens, including:
 * Manuel Homem de Melo da Câmara, (Wiki PT) (1866–1953), 1st Earl of Águeda
 * António de Vasconcelos Nogueira (born 1931) a philosopher, author, dramatist and freelance journalist.
 * Manuel Alegre de Melo Duarte (born 1936), a writer, politician and candidate for the Presidency of Portugal in 2006 & 2011
 * João Pedro Matos Fernandes (born 1967) a Portuguese politician, Minister of Environment since 2015

title: Águeda


text:
Whisky Romeo Zulu

Whisky Romeo Zulu is a 2004 Argentine drama film directed by Enrique Piñeyro and written by Piñeyro and Emiliano Torres. Verónica Cura was the executive producer and Enrique Piñeyro was the producer.

The drama is based on the experiences of Enrique Piñeyro, former airline pilot turned whistle-blower, who became a film actor-director, and of the August 31, 1999 LAPA (Líneas Aéreas Privadas Argentinas) airline accident.

The LAPA Boeing 737-200 plane, LAPA flight 3142, went into flames after crashing into a mound in midtown Buenos Aires, causing the death of 65 people, and severely injuring 17. The film's basic theme: the general corrosive deregulation, the greedy cost-cutting corporations, and the corrupt government officials, found in the Argentine airline industry. The film is named after the NATO phonetic alphabet version of the identifier of the accident aircraft, LV-WRZ (Lima Victor – Whisky Romeo Zulu)

Plot
The picture opens with the District Attorney (Adolfo Yanelli), listening to voices from a recording in the black box retrieved from an air disaster. The docudrama then tells the story of director Enrique Piñeyro, who plays himself as T, a principled pilot at LAPA, an Argentine airline, upset over his company's disregard of basic safety regulations in order to save money.

When T complains, he is labeled a troublemaker by the airline company. Soon he's chastised by his fellow pilots. When things get worse he walks out of the cockpit after multiple navigational instruments are inoperative and refuses to fly. The company simply replaces him and gets another pilot to fly. Increasingly frustrated and worried about a crash, T finally writes an angry letter to his superiors, warning that a crash is inevitable if action is not taken.

The letter is leaked to the media, and the airline is sold, but the new owners want Pineyro to retract his statement. Complicating matters, their public relations person is Marcela (Mercedes Morán), a love interest from his youth. Even though Marcela is married, T pursues her. T's story is inter-cut with the District Attorney who is looking into the LAPA flight 3142 crash, and starts receiving death threats. Yanelli's character manages to bring the company’s chief executives and the Argentine Air Force authorities before a criminal court, establishing a unique precedent in commercial aviation history.

Cast

 * Enrique Piñeyro as T
 * Mercedes Morán as Marcela
 * Alejandro Awada as Gonzalo
 * Carlos Portaluppi as Gordo
 * Martin Slipak as Pequeño T (Little T)
 * Ana Celentano as the wife of Fiscal

Distribution
The picture was first presented at the Toronto International Film Festival on September 10, 2004. It opened wide in Argentina on April 21, 2005.

The film screened at various film festivals, including: the San Francisco International Film Festival, in April, 2005 the Biarritz La Cita Film Festival, France; the Flanders International Film Festival; Belgium; the Wisconsin Film Festival, United States; the Seattle International Film Festival; the World Film Festival of Bangkok; the Havana Film Festival; and others.

Background
The film is a fictional reproduction of the background of LAPA Flight 3142 as seen through the eyes of Enrique Piñeyro, who was a LAPA pilot from 1988 to 1999.

Piñeyro resigned from his position in June 1999 – two months before the accident occurred- after voicing his concerns about the LAPA's safety policy. Regarding his motivation for making the film, Piñeyro said:

 * "I was personally interested in recounting how the accident came to occur, not the fact that the pilots forgot about the flaps and the plane blew up, but why they forgot the flaps. And what was the process, because forgetting the flaps was the straw that broke the camel's back in a series of tremendous violations of regulations. I was interested in portraying what isn't apparent about the accident, not just the final link (the pilot). Because all the links that came before were conveniently hidden because they compromised the establishment, the business."

According to producers, due to the nature of the film, a lot of the filming was done in secret. This was especially true when they filmed in airline areas. Some shots were taken with telephoto lenses.

Critical reception
Film critic Pamela Troy liked the acting in the film and wrote, "Much more than a whistle blowing thriller, this beautifully made film is a powerful critique of profit-making over concern for human life."

Critic Scott Foundas, writing for FIPRESCI believes the film achieved Enrique Piñeyro's exact goal. He wrote, "Whisky Romeo Zulu ...emerges as a stirring, if obvious piece of agitprop that achieves exactly what it sets out to achieve. That is to say it works the audience up into an angry lather, and you emerge from the theater never wanting to set foot on another airplane again — at least, not if you feel you may have paid less than fair market value for the ticket." However, Foundas did not like the flashbacks to Piñeyro’s childhood which he called "gooey and nostalgic."

The film critic for Seattle's The Stranger, Andrew Wright, liked Piñeyro's directorial debut, and wrote, "[D]irector Enrique Piñeyro's utterly damning docudrama comes off as both a searing factual indictment of Argentina's passenger-flight standards, and a crackerjack thriller in its own right...It also helps that he proves to be an instinctive filmmaker, employing an intriguingly fractured, minutely detailed take on the material, which hopscotches between events leading up to the easily avoidable incident, and a harried investigator's efforts to make sense of the flight recordings afterward."

Awards
Wins
 * Biarritz La Cita International Film Festival: Best Film; Official Jury Award; 2004.
 * Havana Film Festival: Coral Award; Best Feature Film debut; Cultural Diversity Award; 2004.
 * Buenos Aires International Festival of Independent Cinema: Best Film – Audience Award, National Film; Best Film – Signis Award; 2004.
 * Viña del Mar International Film Festival: Best Actor Award to Enrique Piñeyro; 2004.
 * Bahamas International Film Festival: "Spirit of Freedom" Jury Mention; 2004.
 * Latin American Festival of Film and Video: Special Jury Award; Best Film – Critics Association Award; Brazil; 2005.
 * Lleida Latin-American Film Festival: Best Director; Enrique Piñeyro; 2005.

Nominations
 * Argentine Film Critics Association Awards: Silver Condor, Best Art Direction, Cristina Nigro; Best Cinematography, Ramiro Civita; Best Editing, Jacopo Quadri; Best First Film, Enrique Piñeyro; Best Original Screenplay, Enrique Piñeyro; Best Sound, Marcos De Aguirre; Best Supporting Actor, Alejandro Awada; 2006.

title: Whisky Romeo Zulu


text:
The Kentucky Kernel

The Kentucky Kernel is the student newspaper of the University of Kentucky.

The Kernel is distributed free on and around the University of Kentucky campus. It claims a circulation of 8,000 and readership of more than 30,000. Its sole source of revenue is advertising. It is issued during the weekdays during the spring and fall semesters.

History
The Kentucky Kernel was preceded by several student newspapers, with the earliest dating to 1892. From 1908 to 1915, the University of Kentucky's student newspaper was called The Idea, but it became the Kentucky Kernel following a naming contest in 1915. The first issue produced under the Kernel name was published September 16, 1915.

The paper had become an eight-page weekly by 1923, and it became a Monday-Friday daily newspaper in 1966.

In 1972, the Kernel formally established its editorial and financial independence from the University of Kentucky administration.

In 2005, students started a competing satirical newspaper The Colonel, which was revived again in 2014.

Operations and alumni
The Kernel operates out of the Grehan Journalism Building, which is located in central campus and also is the home of the School of Journalism and Telecommunications and the Department of Communication. The Grehan Building was completed in 1951 and named to honor Enoch Grehan, the founder of the school's Department of Journalism and one of its first faculty members.

Several prominent journalists worked at the Kernel while they were students, including current Associated Press Chief White House Correspondent Terence Hunt, former National Geographic photographer Sam Abell, current Chicago Tribune Washington correspondent William Neikirk and current New York Times South Africa correspondent Michael Wines.

The writer Bobbie Ann Mason also worked at the Kernel. The famous Disney writer and illustrator Don Rosa worked for the Kernel from 1969 to 1973. The Pertwillaby Papers were first printed in the Kernel, which inspired many of Rosa's later creations, including the Scrooge McDuck tales The Son of the Sun, Cash Flow, and The Last Lord of Eldorado.

Controversies
On October 5, 2007, the newspaper published an editorial cartoon that was considered racially insensitive to some students. The cartoon depicted an African American being auctioned off to fraternities and sororities in an attempt by the cartoonist to depict racial divide in the fraternity system. The paper officially apologized the next day and the incident spawned a panel discussion on diversity.

Awards
In 2006, 2008, 2015 and 2019 the Kernel won the National Pacemaker Award from the Associated Collegiate Press after having been nominated for several years.

title: The Kentucky Kernel


text:
Talk:Second Lateran Council

This should probably be moved to wikisource and we should just have an article about it here... not really everything with exact text listed... am I rght? gren 12:38, 25 Apr 2005 (UTC)
 * Please verify the source to be sure this english translation is in the public domain before moving to Wikisource.-- Birgitte§β ʈ  Talk  17:35, 1 February 2006 (UTC)

Per |the version that used to be here (that, incidently, had much more useful info in it than |the current revision): "This text is part of the Internet Medieval Source Book. The Sourcebook is a collection of public domain and copy-permitted texts related to medieval and Byzantine history." - Libertas 00:25, 30 June 2006 (UTC)

 * This article should redirect to Second Council of the Lateran. Where is the text on Wikisource that was originally here, and why wasn't it linked on at least one of these pages? Gimmetrow 22:09, 22 July 2006 (UTC)

title: Talk:Second Lateran Council