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In the Heat of the Night (film)

In the Heat of the Night is a 1967 American mystery drama film directed by Norman Jewison, produced by Walter Mirisch, and starring Sidney Poitier and Rod Steiger. It tells the story of Virgil Tibbs (Poitier), a Black police detective from Philadelphia, who becomes embroiled in a murder investigation in a small town in Mississippi. The film was adapted by Stirling Silliphant from John Ball's 1965 novel of the same name.

Released by United Artists in August 1967, the film was a widespread critical and commercial success. At the 40th Academy Awards the film was nominated for seven Oscars, winning five including Best Picture, Best Adapted Screenplay, and Best Actor for Rod Steiger. Quincy Jones' score, featuring a title song performed by Ray Charles, was nominated for a Grammy Award. The success of the film spawned two film sequels featuring Poitier, and a television series of the same name, which aired from 1988 to 1995.

In the Heat of the Night is widely-considered one of the most important American films of the 1960s. The quote "They call me Mister Tibbs! was listed as number 16 on the American Film Institute's 100 Years...100 Movie Quotes, a list of top film quotes. The film also appears on AFI's 100 Years...100 Movies, a list of the 100 greatest movies in American cinema. In 2002, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Plot
Wealthy industrialist Phillip Colbert and his wife are in Sparta, Mississippi, to oversee the building of a factory. Late one night, police officer Sam Wood discovers Colbert's murdered body lying in the street. Wood finds Virgil Tibbs, a black man with a fat wallet, at the train station and arrests him. Police chief Bill Gillespie accuses him of murder and robbery, but soon learns Tibbs is a top homicide detective from Philadelphia, who was passing through town after visiting his mother. Tibbs wants to leave town on the next train, but his Chief in Philadelphia suggests he stay in Sparta to help Gillespie with the murder investigation. Though Gillespie, like many of Sparta's white residents, is racist, he and Tibbs reluctantly agree to work together.

A doctor estimates that Colbert had been dead for less than an hour when his body was found. Tibbs examines the body and concludes the murder happened much earlier, the killer was right-handed, and the victim had been killed elsewhere and moved to where Wood found his body.

Gillespie arrests another suspect, Harvey Oberst, who protests his innocence. The police plan to beat him to extract a confession, but Tibbs reveals Oberst is left-handed and has witnesses to confirm his alibi. Frustrated by the ineptitude of the police but impressed by Tibbs, Colbert's widow threatens to halt construction of the factory unless Tibbs leads the investigation, so the town's leading citizens are forced to comply with her demand.

Tibbs initially suspects the murderer is wealthy plantation owner Eric Endicott, a genteel racist and Sparta's most powerful citizen, who publicly opposed Colbert's new factory. When Tibbs begins interrogating him, Endicott slaps him, to which Tibbs responds by slapping him back. Afterwards, Endicott sends a gang of thugs after him. Gillespie rescues Tibbs and tells him to leave town to save himself, but Tibbs is determined to stay and solve the case.

Tibbs asks Officer Wood to re-trace his patrol car route during the night of the murder; Gillespie joins them. After questioning why Wood partially detours from his patrol route, Tibbs discovers that Wood enjoys passing by the house of 16-year-old Delores Purdy, who deliberately walks around nude with the lights on in an attempt to entice him, and that Wood changed his route to prevent Tibbs from seeing her. Gillespie learns that Wood made a $632 deposit to his bank account the day after the murder. He arrests Wood, despite Tibbs's protests that he is not the murderer. Tibbs tells Gillespie that the murder was committed at the site of the planned factory, which clears Wood because he could not have driven both his and Colbert's cars back into town. Later, Wood provides a credible account of where the money for his large deposit could have come from.

Delores' older brother Lloyd, a hostile racist, brings her to the police station to file statutory rape charges against Wood for getting her pregnant. When Tibbs insists on being present during Delores' questioning, Lloyd is offended that a black man is present during her interrogation and soon afterwards gathers a lynch mob to attack Tibbs.

Tibbs pressures illegal abortionist Mama Caleba to reveal that she is about to provide an abortion for Delores. When Delores arrives and sees Tibbs, she runs away. Tibbs follows Delores and confronts her armed boyfriend, Ralph Henshaw, a cook at a roadside diner. Purdy's mob arrives and holds Tibbs at gunpoint.

Tibbs tells Purdy to check Delores' purse for the $100 Ralph gave her for an abortion, which he got from killing and robbing Colbert. Lloyd realizes Tibbs is right when he opens the purse and finds the money. After Lloyd confronts Ralph for getting his sister pregnant, Ralph shoots Lloyd dead. Tibbs grabs Ralph's gun. Ralph is arrested and confesses to the killing of Colbert. He explains that after hitchhiking a ride with Colbert and asking him for a job, Ralph attacked him at the construction site of the new factory, intending only to knock Colbert unconscious and rob him, but accidentally killing him instead.

Tibbs arrives at the station to meet his train to return to Philadelphia, as Gillespie, having carried his suitcase, shakes Tibbs' hand and bids him farewell. In the final interaction between Gillespie and Tibbs, as the detective ascends the stairs onto the train, for one last time Gillespie calls out to him and sincerely tells Tibbs: "You take care, you hear?" After a moment of hesitation, Tibbs gives a warm smile in reply. Gillespie smiles back at Tibbs as he boards the train.

Casting
Both Sidney Poitier and Rod Steiger were the first choices to play their roles. According to the AFI Catalog of Feature Films, the two were "old friends who had long sought an opportunity to work together."

In the Heat of the Night was the film debut for several of its actors - Scott Wilson, Anthony James, Quentin Dean, and Eldon Quick. Clegg Hoyt's unbilled appearance in this film was his final acting role. He died two months after the film's release.

Filming
Although the film was set in Sparta, Mississippi, most of the movie was filmed in Sparta, Illinois (no relation), where many of the town's landmarks can still be seen. The original novel was set in the (fictional) town of "Wells, South Carolina", but the name of the town was changed to Sparta so that the filmmakers could use the existing signage and storefronts. The producers were unaware that "Sparta, Mississippi" was a real town, and the film's depiction bears little resemblance to the real community. For example, the film's Sparta is situated along Interstate 20, while the real town is nowhere near any interstate.

Jewison, Poitier, and Steiger worked together and got along well during the filming, but Jewison had problems with the Southern authorities, and Poitier had reservations about coming south of the Mason–Dixon line for filming. However, despite their reservations, Jewison decided to shoot part of the film in Dyersburg and Union City, Tennessee anyway, while the rest was filmed in Sparta, Chester (Harvey Oberst chase scene), and Freeburg (Compton's diner), Illinois.

The film is important for being the first major Hollywood film in color that was lit with proper consideration for a Black person. Haskell Wexler recognized that standard strong lighting used in filming tended to produce too much glare on dark complexions and rendered the features indistinct. Accordingly, Wexler adjusted the lighting to feature Poitier with better photographic results.

Slapping scene
The scene of Tibbs slapping Endicott is not present in the novel. According to Poitier, the scene was almost not in the movie, and it was he who had proposed the idea of Tibbs slapping Endicott back. In the textbook Civil Rights and Race Relations in the USA, Poitier states: "I said, 'I'll tell you what, I'll make this movie for you if you give me your absolute guarantee when he slaps me I slap him right back and you guarantee that it will play in every version of this movie. I try not to do things that are against nature." Mark Harris, in his book, Pictures at a Revolution, states that copies of the original draft of the screenplay clearly depict the scene as filmed, which has been confirmed by both Jewison and Silliphant. Nevertheless, Poitier is correct that Tibbs' slapping of Endicott was not originally envisioned. After Endicott's slap, Silliphant's initial step-outline reads: "Tibbs has all he can do to restrain himself. The butler drops his head, starts to pray. 'For him, Uncle Tom', Tibbs says furiously, 'not for me! Tibbs' counter slap first appears in Silliphant's revised step-outline.

Tibbs urging the butler to pray for Endicott was part of Silliphant's adaptation of In the Heat of the Night as a subversive Christian allegory, featuring Tibbs as the messianic outsider who confronts the racist establishment of Sparta.

Music
The film score was composed, arranged and conducted by Quincy Jones, and the soundtrack album was released on the United Artists label in 1967. The title song performed by Ray Charles, composed by Quincy Jones, with lyrics by Alan and Marilyn Bergman was released as a single by ABC Records and reached #33 on the Billboard Hot 100 chart and #21 on the Hot Rhythm & Blues Singles chart.

AllMusic's Steven McDonald said the soundtrack had "a tone of righteous fury woven throughout" and that "the intent behind In the Heat of the Night was to get a Southern, blues-inflected atmosphere to support the angry, anti-racist approach of the picture ... although the cues from In the Heat of the Night show their age". The Vinyl Factory said "this soundtrack to a film about racism in the South has a cool, decidedly Southern-fried sound with funk-bottomed bluesy touches, like on the strutting 'Cotton Curtain', the down 'n' dirty 'Whipping Boy' or the fat 'n' sassy 'Chief's Drive to Mayor'".

Track listing
All compositions by Quincy Jones
 * 1) "In the Heat of the Night' (Lyrics by Alan and Marilyn Bergman) – 2:30
 * 2) "Peep-Freak Patrol Car" – 1:30
 * 3) "Cotton Curtain" – 2:33
 * 4) "Where Whitey Ain't Around" – 1:11
 * 5) "Whipping Boy" – 1:25
 * 6) "No You Won't" – 1:34
 * 7) "Nitty Gritty Time" – 1:50
 * 8) "It Sure Is Groovy!" – 2:30 (Lyrics by Alan and Marilyn Bergman)
 * 9) "Bowlegged Polly" – 2:30 (Lyrics by Alan and Marilyn Bergman)
 * 10) "Shag Bag, Hounds & Harvey" – 3:28
 * 11) "Chief's Drive to Mayor" —1:10
 * 12) "Give Me Until Morning" – 1:09
 * 13) "On Your Feet, Boy!" – 1:37
 * 14) "Blood & Roots" – 1:07
 * 15) "Mama Caleba's Blues" – 5:00
 * 16) "Foul Owl [on the Prowl]" – 2:30 (Lyrics by Alan and Marilyn Bergman)

Personnel

 * Unidentified orchestra arranged and conducted by Quincy Jones including
 * Ray Charles – vocals (track 1), piano (track 15)
 * Glen Campbell – vocals (track 9), banjo
 * Gil Bernal – vocals (track 8)
 * Boomer and Travis – vocals (track 16)
 * Roland Kirk – flute
 * Bobby Scott – tack piano
 * Billy Preston – electric organ (track 1)
 * Ray Brown – bass
 * Carol Kaye – electric bass
 * Don Elliott – human instrument
 * The Raelettes – backing vocals (track 1)

Reception
In contrast to films like The Chase and Hurry Sundown, which offered confused visions of the South, In the Heat of the Night depicted a tough, edgy vision of a Southern town that seemed to hate outsiders more than itself, a theme reflecting the uncertain mood of the time, just as the civil rights movement attempted to take hold. Canadian director Jewison wanted to tell a story of a white man and a black man working together in spite of difficulties. Jewison said that this film proved a conviction he had held for a long time: "It's you against the world. It's like going to war. Everybody is trying to tell you something different and they are always putting obstacles in your way."

A particularly famous line in the film comes immediately after Gillespie mocks the name "Virgil": "Gillespie: 'That's a funny name for a nigger boy that comes from Philadelphia! What do they call you up there?' Tibbs (annoyed): 'They call me Mister Tibbs!'" This reply was later listed as number 16 on the American Film Institute's 100 Years...100 Movie Quotes, a list of top film quotes, and was also the title of the movie's sequel. Among other places, it was referenced by Pumbaa in The Lion King.

Another important scene that surprised audiences at the time occurs when Tibbs is slapped by Endicott. Tibbs responds by immediately slapping him back. In a San Francisco pre-screening, Jewison was concerned when the young audience was laughing at the film as if it were a comedy. The audience's stunned reaction to the slapping scene convinced Jewison that the film was effective as drama. That scene helped make the film so popular for audiences, finally seeing the top black film actor physically strike back against bigotry, that the film earned the nickname, Superspade Versus the Rednecks. During the film's initial run, Steiger and Poitier occasionally went to the Capitol Theatre in New York to amuse themselves seeing how many black and white audience members there were, which could be immediately ascertained by listening to the former cheering Tibbs's retaliatory slap and the latter whispering "Oh!" in astonishment.

Critical response
Bosley Crowther of The New York Times praised Jewison for crafting "a film that has the look and sound of actuality and the pounding pulse of truth." He further praised Steiger and Poitier for "each giving physical authority and personal depth" to their performances. Richard Schickel of Life magazine wrote that "almost everything in this movie is good—the sharply drawn minor characters, the careful plotting, the wonderful rightness of each scene's setting, mood and dialogue. Most admirable of all is the way everyone avoids oversimplifications." John Mahoney of The Hollywood Reporter deemed the film to be "a gripping and suspenseful murder mystery that effects a feeling of greater importance by its veneer of social significance and the illusion of depth in its use of racial color."

Time magazine applauded the film's theme of racial unity that was "immeasurably helped by performances from Steiger and Poitier that break brilliantly with black-white stereotype." Roger Ebert gave In the Heat of the Night a positive review, praising Steiger's performance although he noted "the story itself was slightly too pat". He would later place it at number ten on his top ten list of 1967 films. Arthur D. Murphy of Variety felt that the excellent Poitier and outstanding Steiger performances overcame noteworthy flaws, including an uneven script. Penelope Gilliatt of The New Yorker thought it had "a spurious air of concern about the afflictions of the real America at the moment" and that it is "essentially a primitive rah-rah story about an underdog's triumph over a bully".

Akira Kurosawa cited In the Heat of the Night as one of his favorite films.

On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 96% based on 89 reviews, with an average rating of 8.40/10. Its consensus states, "Tense, funny, and thought-provoking all at once, and lifted by strong performances from Sidney Poitier and Rod Steiger, director Norman Jewison's look at murder and racism in small-town America continues to resonate today." Metacritic assigned a score of 75 based on 14 reviews, indicating "generally favorable reviews".

Box office
The film opened at the Capitol Theatre and at the 86th Street East theatre in New York City on Wednesday, August 2, 1967, grossing $108,107 in its first five days. It opened in Miami Beach, Florida and in Toronto on Friday, August 4 and grossed $20,974 for the weekend which, together with the New York grosses, combined to give a weekend gross of $95,806. It was released soon after race riots in Newark, Milwaukee, and Detroit. By January 1971, the film had earned $11 million in box office rentals from the United States and Canada.

Legacy
In 2003, In the Heat of the Night was selected by The New York Times as one of the 1000 Best Movies Ever Made.

American Film Institute recognition
The film appears on several 100 Years lists by the American Film Institute.

 * AFI's 100 Years...100 Movies (10th Anniversary Edition): #75
 * AFI's 100 Years...100 Heroes & Villains:
 * Virgil Tibbs: #19 Hero
 * AFI's 100 Years...100 Movie Quotes:
 * Virgil Tibbs: "They call me Mister Tibbs!": #16
 * AFI's 100 Years...100 Cheers: #21

Preservation
The Academy Film Archive preserved In the Heat of the Night in 1997. In 2002, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Home media
In the Heat of the Night was first released on DVD in 2001. The only extras in that release were the theatrical trailer, and audio commentary with Norman Jewison, Haskell Wexler, Rod Steiger and Lee Grant.

Another DVD was released in 2008 to coincide the film's 40th Anniversary.

In 2010, the film was digitized in High Definition (1080i) and broadcast on MGM HD.

MGM released the film on Blu-ray on January 14, 2014, through 20th Century Fox. The release ports over all the extras from the 2001 and 40th Anniversary DVDs.

Another DVD and Blu-ray were released by The Criterion Collection on January 29, 2019. The release contained new and previously released extras.

Kino Lorber released In the Heat of the Night as a two-disc 4K Ultra HD/Blu-ray set on April 19, 2022. The main disc includes the UHD SDR version of the film plus two audio commentaries including the 2001 commentary and a brand new commentary featuring historians Steve Mitchell and Nathaniel Thompson, and Robert Mirisch. The special features Blu-ray contained the sequels They Call Me Mister Tibbs! and The Organization in addition to the 40th Anniversary extras, and theatrical trailers for all three films.

Sequels and adaptations
The film was followed by two sequels with Poitier, They Call Me Mister Tibbs! (1970) and The Organization (1971). Neither of the films were based on Ball's sequel novels. Both films still did fairly well at the box office though to less critical acclaim.

The film and the novel were the basis of a television series of the same name, which aired from 1988 until 1995. The series serves as a sequel to the film's events, with Virgil Tibbs returning to Sparta and joining the local police force full time as its new Chief of Detectives. The series starred Howard Rollins as Tibbs and Carroll O'Connor as Gillespie. It received a generally positive critical response, with Rollins winning an NAACP Image Award and O'Connor winning a Primetime Emmy Award.

title: In the Heat of the Night (film)


text:
Corydalus cornutus

The eastern dobsonfly, Corydalus cornutus, is a large insect in the Corydalidae family. It is found in eastern North America in regions with fast-flowing streams where its aquatic larvae develop. These are known as hellgrammites and are among the top invertebrate predators in the streams in which they live. They are used by anglers as bait.

Distribution
The eastern dobsonfly is found in most of eastern North America. It is usually found near the swift flowing, unpolluted streams in which its larvae develop.

Common names
The origin of the word "dobsonfly" is unclear. John Henry Comstock used the term in reference to this species in his 1897 book Insect Life, but did not explain it. He also mentioned that anglers use the word "hellgrammite" for the aquatic larvae they used as bait, but the origin of this term is also unknown. These common names are still widely used for this and other species of corydalids, and essentially all that is known is that the earliest recorded uses appear to originate in the southern Appalachian region of the US (Kentucky, Tennessee, Virginia, West Virginia), where there were other archaic regional names and variants such as "helgamite", "hojack", "go-devil", and "grampus" (or "crampuss"), all with no definitive source or etymology. The latter name, "grampus", was used in the same region for a large aquatic salamander, the hellbender, that lives in the same habitat.

Description
The eggs are grey and cylindrical, about 1.4 millimetres long and 0.5 millimetres wide. They are laid in groups of about 1,000, stacked in three layers. The pile of eggs is protected by a clear fluid which dries white and is applied by the female with the tip of her abdomen. The egg mass is said to look rather like a bird dropping. The larvae are light brown with a covering of tiny dark brown microspines. The thorax has three pairs of legs and each segment is covered by a tough, dark-coloured dorsal plate. The first eight abdominal segments have lateral tactile filaments and the first seven have tracheal gills in tufts. The larvae also have spiracles allowing them to breathe on land as well as in the water. At the tip of the abdomen there are two prolegs, each with a dorsal filament and a pair of terminal hooks which enables the larva to anchor itself in fast-flowing water. The mandibles are sclerotised and powerful.

The pupae are orange in colour with dark patches on the upper side of the abdomen and are covered with minute bristles. The developing limbs, wings and antennae project outside the pupal covering. The adult dobsonfly is a large insect up to 140 millimetres long with a wingspan of up to 125 millimetres. The female has short powerful mandibles of a similar size to those of the larva while the mandibles of the male are sickle-shaped and up to 40 millimetres long, half as long as the body. The antennae are long and segmented and the greyish translucent, many veined wings are often mottled with white dots. When at rest the wings are folded flat over the insect's back and extend beyond the abdomen.

Life cycle
Dobsonfly eggs are usually laid close to the water's edge on a rock or overhanging foliage and hatch at night one to two weeks later. The newly emerged larvae fall or crawl into the stream and make their way to a fast-flowing section with a stony bottom. They are called hellgrammites and they hide under stones, catching and eating soft-bodied invertebrates. They grow slowly, shedding their skins ten to twelve times and reaching a length of up to ninety millimeters. The larger hellgrammites are fearsome predators with well-developed jaws. After one to three years and when ready to pupate, they emerge from the water and travel up to fifteen metres looking for a suitable location under a rock, log or leaf litter. There may be a mass emergence of hellgrammites within a few days of each other. Each one digs a hole in moist soil and prepares a small, smooth walled chamber, and after a prepupal stage of a few days, sheds their skin and pupates. In some areas the adults emerge in seven to fourteen days but in other areas they overwinter as pupae. On emerging, they dig their way to the surface. They are not thought to feed as adults but spend their time in dense vegetation near streams. They are most active at night and are attracted by lights. They mate and lay their eggs, usually dying within a week.

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

title: Corydalus cornutus


text:
Talk:APRA AMCOS

Untitled
The article was misnamed. A common mistake. There is no 's' on the end of "Right". MPLX/MH 20:46, 9 Apr 2005 (UTC)

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Merge proposal
After starting a bit of work on Australasian Mechanical Copyright Owners Society, after repeatedly seeing references to "APRA AMCOS" in various sources doing other work, I am thinking that these two may as well be merged, with separate sections describing each. They share a website, and on this page, it says: "APRA AMCOS is one organisation". It looks as if members have to belong to APRA before they can elect to join AMCOS (see here). Thoughts? Laterthanyouthink (talk) 10:48, 28 August 2019 (UTC)
 * Merge I largely agree with your proposal. Note that there are differences in their spheres of interest and they do have separate directorial boards. To eliminate duplication you should carefully write the AMCOS section. To help with that consider, this summary, from Music in Australia website.
 * Aside, I think you misunderstood the page, "What type of account do you need?": from my reading one can become a member of APRA and AMCOS at the same time provided one is a writer or composer of original music. You don't have to be an APRA member first: however, if you are already an APRA member then you can also become an AMCOS member. AMCOS has members who are music publishers but not necessarily writers/composers.shaidar cuebiyar (talk) 10:48, 9 September 2019 (UTC)
 * Comment - Thanks, . I'm away for a few weeks at the moment and relying on poor connections and keyboards, so I'll come back to it when I'm back. That link of yours won't load at the moment. I didn't phrase it very well above but had the same understanding re joining AMCOS - I meant one can't just join AMCOS without being a member of APRA as well, as far as I can see. Anyway I'll get into the nitty-gritty when I get back to it, thanks. Laterthanyouthink (talk) 17:38, 11 September 2019 (UTC)
 * Reply Link still works for me. Try the straight url: here, which seems to be active – more than 12 years later. In any case, enjoy your time off.shaidar cuebiyar (talk) 00:17, 12 September 2019 (UTC)
 * Reply Thanks for that - that link works and I had a quick look. Nice clear explanation, which I will use when I get to it. (The archived link may not work for me because of slow download time here?) Laterthanyouthink (talk) 17:49, 12 September 2019 (UTC)

title: Talk:APRA AMCOS


text:
Talk:Heath bar

Comment
This is not even a stub. It is an external link to Hershey's. The description is wrong. The other stub is only marginally better and needs to be rewritten. I'll rewrite if someone else will do the merging.

Do you think Heath has nougats? —Preceding unsigned comment added by 209.0.48.197 (talk) 22:13, 13 December 2008 (UTC)

Mothperson 20:46, 9 Apr 2005 (UTC)

"British"
To whomever inserted "British" into this already pathetic stub, it doesn't really matter as I'm about to do a full rewrite. But in the future, elsewhere, please please PLEASE do not insert things that you DO NOT KNOW AS FACT. This is not helping. Heath bars are from Illinois, fer crissakes. Mothperson 18:34, 19 Apr 2005 (UTC)
 * My mistake, I assumed it was a British bar since I only know of Hershey's British branch. Sorry. Mgm|(talk) 20:35, Apr 19, 2005 (UTC)

You Europeans! You're forgiven. --Mothperson 20:53, 19 Apr 2005 (UTC)

I am editing the article to add "partially hydrogenated" to "soybean oil". It says it right on the wrapper in front of me. Maybe the ingredients changed recently, but dairy butter is also supposed to be before PHSO. To me, it tastes different than I remember, anyway, so I made the change to accurately reflect the ingredient list on the packaging.

Clarification of candy contents....
The article states "the toffee originally contained sugar, butter, and almonds." Does this imply that it no longer contains almonds? If so what does it currently contain. Information like this should be in the article.24.190.34.219 (talk) 19:53, 1 July 2010 (UTC)

The best place to answer your question is in the article itself... just further down than you've read so far! 842U (talk) 20:18, 1 July 2010 (UTC)

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title: Talk:Heath bar


text:
Mendeleyevo, Moscow Oblast

Mendeleyevo (Менделе́ево) is an urban locality (a work settlement) in Solnechnogorsky District of Moscow Oblast, Russia, which stands on the Klyazma River, about 10 km from its source, near the city of Zelenograd, and opposite of the ancient Russian village of Lyalovo. Population:

It was founded in 1957 as a closed town attached to the All-Union (now All-Russian) Scientific Research Institute for Physical-Engineering and Radiotechnical Metrology (VNIIFTRI), and is named after the famous Russian chemist Dmitry Mendeleyev who was an eminent metrologist as well. While not now officially in the list of Russian naukograds, it is still close to this category, as the VNIIFTRI scientific institute remains one of the most important local employers. Aeroflot Flight 411 crashed near the town in July 1982.

title: Mendeleyevo, Moscow Oblast


text: User talk:200.180.4.18

title: User talk:200.180.4.18


text:
Royal New Zealand Army Logistic Regiment

The Royal New Zealand Army Logistic Regiment, is the New Zealand Army's main military Logistics and combat service support (CSS) element. It is the largest regiment in the NZ Army.

History
Prior to 1996, the logistic support to the New Zealand Army was provided by three separate and distinct Corps:
 * The Royal New Zealand Corps of Transport (RNZCT),
 * The Royal New Zealand Army Ordnance Corps (RNZAOC)
 * The Royal New Zealand Electrical and Mechanical Engineers (RNZEME).

On 4 April 1996 the New Zealand Army Chief of the General Staff Major General Piers Reid signed a directive to initiate the establishment of a fully integrated logistic function in the New Zealand Army, with the intention of improving logistic support in both operational and non-operational environments. The integrated logistic organisation would combine the three separate Corps into a single Regiment. The new regiment, known as the Royal New Zealand Army Logistic Regiment (RNZALR), was formed on 9 December 1996.

On 9 December 1996, members of the RNZCT, RNZAOC and RNZEME marched onto parade grounds on each camp and base, the Flags of the individual Corps were lowered, headdress was replaced with and members of the RNZALR marched off.

Structure
Currently the Regiment includes:
 * 2 Combat Service Support Battalion (Linton Military Camp)
 * 10 Transport Company
 * 21 Supply Company
 * 2 Workshop Company
 * 5 Movements Company
 * 38 Combat Service Support Company (NZ Army Reserve)
 * Combat Service Support Company (North) (Papakura Military Camp)
 * 3 Combat Service Support Battalion (Burnham Military Camp)
 * 3 Transport Company
 * 3 Catering & Supply Company
 * 3 Workshop Company
 * 3 Reserve Company (NZ Army Reserve)

Both battalions are part of the New Zealand 1st Brigade.

Given the nature of NZ Army Units, RNZALR personnel are also embedded in most other units of the NZ Army providing 1st line logistic support to those units.

Trades
The RNZALR includes eleven trades providing various support functions within the NZ Army and across the New Zealand Defence Force (NZDF).

Ammunition Technicians
Ammunition Technicians provide support for the inspection, maintenance and disposal of all ammunition and explosives used by the New Zealand Army. This also includes civil NZ's Explosive Ordnance Disposal (EOD) capability.

Combat Drivers
Combat Driver operate transport from light to heavy vehicles carrying stores or troops.

Hospitality
The hospitality trades ensure that the forces are sustained with a balanced diet in garrison and field environments. the Hospitality trade consists of two trades;.

 * Chef
 * Steward

Maintenance Support Trades
There are five Maintenance support trades;

 * Armourer
 * Automotive Technician
 * Electrical Fitter
 * Electronics Technician
 * Maintenance Fitter

These trades are responsible for the repair and general maintenance of all the Army's equipment. This includes vehicles, radios, night vision devices, general engineering, electrical components and weapons.

Movement Operators
Movement Operators work across all the three services facilitating the movement and support of troops and equipment. The Movement Operator trade consists of three specialties:

 * Movement control - the planning and executing of the movement of personnel, vehicles and equipment by road, sea or air.
 * Terminal Operations - the management of the loading, unloading and transit of forces by road, sea and air. Terminal Operations include stevedoring and port operations.
 * Aerial Delivery - the Air Dispatch and Movement control of troops and equipment by aircraft including the rigging of stores for delivery by parachute or as under slung loads underneath helicopters.

Logistic Specialists
The senior trade within the RNZALR, Logistic Specialists, are responsible for delivering Supply & Quartermaster support. This support encompasses the provision, accounting, and management of ammunition, fuel, rations, weapons, general stores, spare parts, vehicles, and any other mission-critical equipment needed by the NZDF, whether in New Zealand or overseas.

The Duke of York's Own
On 22 June 1999, the Regimental Colonel of the RNZALR, Lt Col D.H Watmuff received notification that the Queen had approved the appellation "The Duke of York's Own" to the RNZALR. The title reflected the role of Prince Andrew, Duke of York, who served as the Colonel-in-Chief from 1996 until January 2022. With Prince Andrew's military affiliations removed by the Queen in January 2022, the use of the appellation "The Duke of York's Own" was ceased by the RNZALR.

Regiment Banner
The Prince Andrew Banner is an outward sign of the Regiment’s heritage, an acknowledgement of the important role it performs today, and the role its predecessors performed with courage and resilience in the past. The Banner represents the focal point for the traditions, loyalty and spirit of the RNZALR. Presentation of the Prince Andrew Banner by the Colonel in Chief, Royal New Zealand Logistic Regiment, His Royal Highness Prince Andrew on 16 Nov 1998 in Palmerston North.

The RNZALR Badge
The RNZALR was to amalgamate not only the RNZCT, RNZAOC and RNZEME Corps but also All Arms Storeman trade personnel from across all Corps and Regiments of the New Zealand Army. To break down the resistance to the new Regiment and extinguish the perceived traits of tribalism that existed among the corps and trades about to be amalgamated, a neutral badge was to be adopted. Following a design competition encompassing 110 designs, a design with no connection to the forming Corps and that was acceptable to the Herald of Arms was selected and approved on 21 October 1996.

The RNZALR badge consists of the following elements;

 * A set of green ferns unique to New Zealand providing the main body,
 * Crossed Swords representing the Army supporting an oval shield.
 * The oval shield has a blue background displaying the stars of the Southern Cross. The Southern Cross is an identifier long associated with New Zealand Army logistics in that it was used as an identifier by;
 * 2nd New Zealand Expeditionary Force non-divisional vehicles, primary logistics at Maadi in 1942
 * The Logistic Support Group from the 1960s
 * Headquarters Support Command up to the early 1990s
 * A riband embossed with “Royal N.Z Army Logistic Regiment.”
 * All surmounted with a St Edwards Crown, which represents the ties to the Monarch.


text:
Talk:Corriere della Sera

Untitled
From the article:
 * The "third page" (a page once entirely dedicated to culture, in the Italian tradition) contained a main article, named "Elzeviro" which has been signed by all the directors and the major novelists, poets and journalist of the country.

I don't understand this sentence. Did the Elzeviro piece appear each day? Does it still exist? How could it be signed by all major journalists of the country? Or does it mean that over time, all major journalists wrote a piece for Elzeviro? AxelBoldt 20:47, 9 Apr 2005 (UTC)

You're right, Axel Boldt. The sentence was written by someone who didn't know much English: "which over the years has been signed by all the editors as well as major novelists, poets and journalists". This makes it sound like an autograph album. What the guy meant to say was that this section of the paper "has published contributions by all the editors as well as by major novelists..." etc. I altered it to make sense.METRANGOLO1 (talk) 18:35, 8 December 2017 (UTC)

 * Not each day, at the beginning. If I well remember it was on the Sunday edition and later on Monday too (the day when barbers' shops - here - are closed, just to keep some distance...). In time, several newspapers used to keep cultural articles in the third page (the "third", tout-court) quite daily, but the habit has disappeared in favour of special removable sections (so to be able to collect them) in central pages.
 * It was called "Elzeviro" because it was traditionally printed with the Elzevier font, drawn out by Van Dick (legend says), so to distinguish its content from other news.
 * Over time, most of the finest talented writers dedicated a page to something they found interesting to discuss about; it was an open space for innovative ideas, as well as for conservative ethical calls.
 * It certainly was an authoritative message, for the cultural classes, both for the newspaper's and the writer's fame. Yes, the result actually was a sort of ipse dixit ("you'd better read John Doe on his latest third, my dear..."); but, in the end, intellectual debates (from poetry to politics, from science to phylosophy, from theology to Sofia Loren) were all held there, on that third page, week after week.

 * It still exists, indeed, but it has lost the prestige it once had: maybe it was with the Seventies that we lost the habit to look for it, to read it and to enjoy it (and that's a really sad loss); this is because our journalism progressively lost some quality (and I'm friendly...) and greater writers didn't want to be involved with it any more. I believe the latest good Elzeviri I read were by Indro Montanelli, a great director and a better journalist with bright (but not always shareable) ideas, some 20 years ago or more.
 * Of course, the newspaper's directors always had their smaller or bigger space in the page (usually on the left side column, that we call "spalla", shoulder) and they were sometimes selected for the leading role right because of their potential success "on the third" and their capability to attract great "pens".
 * Let's not forget that several novelists (in the article Dino Buzzati and Calvino are mentioned, but there were really many others) left us some masterpieces: good journalism in elegant words. And, however, most intellectual Italy passed by that page, sooner or later.

"Printed"
Is it printed (only) in Milan or published in Milan? --

Of course it is published in Milan. --Fertuno 15:16, 26 November 2006 (UTC)

"Evening mail"
Corriere della Sera comes out every morning. As far as I know, "Sera" - which does mean "evening" - refers to the fact that it's published in the North; just as "mezzogiorno" (noon) would refer to the South. Can someone confirm this?

The name refers to the fact that the newspaper used to come out in the evening. "Sera" is not used in Italian to refer to the North. thingfish 21:14, 8 May 2006 (UTC)

Isn't "Evening Courier" or "Evening Messenger" a more accurate translation of "Corriere della Sera?" I've changed the article to to say "Evening Courier". If I'm wrong, please correct the article.

"Berlusconi"

 * The newspaper has however not endorsed Berlusconi's government on several issues, such as the war in Iraq.

What this sentence has to do with the rest of the context? What Berlusconi has to do with that?

Maybe it means that the newspaper "tries to keep a neutral point of view" or that "it's a right wing newspaper, but has not always supported a right govern?" or that it's "on the side of the industrials", cause the sentence was talking of industrials as share holders?.

Someone should clarify and expand, or better delete that half sentence, or make a new paragraph that need expansion that talks about the point of view of the newspaper.

Gabriele Dini Ciacci 15:56, 12 November 2007 (UTC)

Links
WhisperToMe (talk) 16:18, 26 April 2011 (UTC)
 * http://m.corriere.it

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title: Talk:Corriere della Sera


text:
ATLiens

ATLiens is the second studio album by the American hip hop duo Outkast. It was released on August 27, 1996, by LaFace Records and Arista Records. From 1995 to 1996, Outkast recorded ATLiens in sessions at several Atlanta studios—Bosstown Recording Studios, Doppler Recording Studios, PatchWerk Recording Studio, Purple Dragon Studios, and Studio LaCoCo—as well as Chung King Recording Studio and Sound On Sound Recording in New York City.

The album features outer space-inspired production sounds, with Outkast and producers Organized Noize incorporating elements of dub and gospel into the compositions. Several songs feature the duo's first attempts at producing music by themselves. Lyrically, the group discusses a wide range of topics, including urban life as hustlers, existential introspection, and extraterrestrial life. The album's title is a portmanteau of "ATL" (an abbreviation of Atlanta, Georgia, the duo’s hometown) and "aliens", which has been interpreted by critics as a commentary about the feeling of being isolated from American culture.

ATLiens debuted at number two on the US Billboard 200 chart, and it sold nearly 350,000 copies in its first two weeks of release. The album was very well received by music critics upon its release, who praised its unique sound and lyrical content. It has been certified double platinum by the Recording Industry Association of America (RIAA), for shipments of two million copies in the United States. The album spawned the singles "Elevators (Me & You)", "ATLiens" / "Wheelz of Steel", and "Jazzy Belle". Since its release, ATLiens has been listed by several magazines and critics as one of the greatest hip hop albums of all time.

Background
In 1994, Outkast released their debut album, Southernplayalisticadillacmuzik, which was recorded when members Big Boi and André 3000 were 18 years old. Bolstered by the success of the single "Player's Ball", the record established Outkast as prominent figures in the Southern hip hop scene. After the album was certified platinum, LaFace Records gave Outkast more creative control and advanced money for their 1996 follow-up album ATLiens. The duo took the opportunity to recreate their image. On a trip to Jamaica with producer Mr. DJ, the two decided to abandon their cornrow hairstyles in favor of a more natural aesthetic, vowing to stop combing their hair. Dungeon Family member Big Rube observed an increase in the duo's confidence after returning from their first tour, remarking, "They started understanding the power they had in their music. They started showing a swagger that certain artists have—the ones that are stars." The members also underwent changes in their personal lives; in 1995, Big Boi's girlfriend gave birth to their first child and André 3000 and Total's Keisha Spivey ended their two-year relationship.

Despite its success, Southernplayalisticadillacmuzik had some detractors, including hip hop tastemakers who were unaccustomed to the album's style. As the East Coast and West Coast hip hop scenes were already well-established at the time, many did not view the South as a legitimate and respectable scene. At the 1995 Source Awards, an award ceremony held by The Source magazine, Outkast won in the "Best Newcomer" category, but were booed upon taking the stage and delivering their acceptance speech; in response, André 3000 said, "The South got somethin' to say." He later recalled how the album was received by some listeners: "People thought that the South basically only had bass music. At first people were looking at us like 'Um, I don't know.'" Taken aback by the backlash, André 3000 and Big Boi channeled their frustration in the studio to improve upon their debut.

Recording and production

After acquiring their own recording studio, the duo immediately started working on new material and assimilated themselves with music recording and studio equipment, as they sought to become more ambitious artists and less dependent on other producers. The two also became more accustomed to playing live, particularly Big Boi, and André 3000 significantly changed his lifestyle; he adopted a more eccentric fashion sense, became a vegetarian (he has since resumed eating meat), and stopped smoking marijuana. Having dropped out months before graduation, André 3000 returned to high school to earn his diploma during the recording of ATLiens.

Before beginning work on ATLiens, André 3000 purchased an SP1200 drum machine, an MPC3000 sampler, a TASCAM mixing board, and turntables with stacks of classic records. Although he had never produced a song before, he used techniques learned from observing the Dungeon Crew at work. "Elevators (Me & You)" was the first song the duo created together for the album. The duo refrained from sampling on the album, with Big Boi explaining "I feel like you cheat the listener when you sample. If it's an old school jam, leave it to the old. We wanna have our own school of music."

Outkast recorded the album in sessions at several Atlanta studios—Bosstown Recording Studios, Doppler Recording Studios, PatchWerk Recording Studio, Purple Dragon Studios, and Studio LaCoCo—as well as Chung King Recording Studio and Sound On Sound Recording in New York City. For ATLiens, the band aimed for a consistent set of songs in which a listener would not need to skip tracks; Outkast wrote around 35 songs for the album and reduced them to fourteen. The duo's songwriting style for the album had no solid structure and was mostly spontaneous; Big Boi noted, "Stuff'll just come to you. I'll be sittin' in the truck, and I'll start rhymin'. People look at me like I'm crazy, but that's how it starts."

Music
Two-thirds of the album is produced by Organized Noize, Outkast's primary production team. The rest is produced by Earthtone III, a production team that includes Outkast themselves and Mr. DJ. André 3000 and Big Boi produced the songs "Jazzy Belle" and "Elevators (Me & You)". It also has a notably more laid-back, spacey production sound, which they expanded upon on their follow-up album Aquemini. Although the group drew from George Clinton's outer-space inspired compositions, the band utilizes a more laid-back style as opposed to Clinton's hard funk leanings. Many tracks feature strong echo and reverb, taking influence from dub and reggae. Andrea Comer of the Hartford Courant perceives an "extraterrestrial feel" in the record's production.

MTV wrote that the album's production "built giddy, chaotic hooks around throbbing bass grooves, neck-snapping drums and bits of backwoods country and psychedelic rock for good measure." Outkast also incorporated elements of gospel into the music; being from the South, the group felt obligated to "stay close to [their] slave roots". The album's introduction track "You May Die" has been described as "churchy". "Elevators (Me & You)" contains atmospheric elements including echoes, dub-influenced bass, organ riffs, and telephone tones. "13th Floor/Growing Old" contains a spoken word introduction from Big Rube, somber soul vocals from Debra Killings, and a "Prince-ish" piano riff, while "Wheelz of Steel" features "furious" turntable scratching by Mr. DJ. "Extraterrestrial" offers a break in the continuity of the record as it features no drum beat.

Lyrics
Lyrically, André 3000 and Big Boi abandon the "hard-partying playa characters" of their debut album in favor of more spacey, funky, and futuristic personas on ATLiens. With their lyrics, the duo hoped to reflect on maturity in the wake of the birth of Big Boi's daughter. André 3000 explained, "It's like everybody's talking about sipping champagne and being big time, so we just took it upon ourselves to do something new ... I want my children to say, 'Daddy really said something, he wasn't just trying to brag on himself.'" Many songs on ATLiens feature more unconventional subject matter for hip hop. The lyrical content ranges from addressing urban life as hustlers and pimps to extraterrestrial life and space travel. The title track's chorus expresses Southern pride, while its verses feature André 3000 explaining his newly adopted drug-free lifestyle.

"Elevators (Me & You)" illustrates Outkast's rise to fame, and was inspired by a show the band played at Howard University with P. Diddy in the audience. The song also discusses the unlikely partnership of André 3000 and Big Boi, and uses the metaphor of an elevator for the ups and downs of fame. The final verse illustrates André 3000 dealing with a fan who pretends to have been childhood friends with him. It also references Southern culture, including mentions of Cadillacs and extended family gatherings. "Babylon" reflects on religious attitudes towards sex and illustrates André 3000's upbringing and his forbidden attractions throughout childhood. "Jazzy Belle" discusses the group's "increasingly enlightened" view regarding women: "Went from yellin' ... bitches and hoes to queen thangs". The album's closer "13th Floor/Growing Old" is a meditation on aging and emphasizes Southern hip hop's legitimacy.

Promotion

ATLiens was released on August 27, 1996, by LaFace Records. In September, LaFace created a promotion for the record in conjunction with Blockbuster in which customers could enter to win a 1970s Cadillac car, emphasizing Outkast and Cadillac's connection with the Southern lifestyle. The record's inner booklet features a 24-page comic strip foldout starring the members, who must defend "positive music" against the villain Nosamulli. The strip continues in the artwork for each single released from ATLiens except for "Elevators (Me & You)".

The album's title is a portmanteau of "ATL" (an abbreviation of Atlanta, Georgia) and "aliens". In his book Icons of Hip Hop: An Encyclopedia of the Movement, Music, and Culture, author T. Hasan Johnson interprets the album's title as "partly a statement about being from Atlanta, while also signifying on the theme of the group's name (by using the term aliens) framing themselves as societal outcasts." Mark Bould, author of The Routledge Companion to Science Fiction, observes that the title symbolizes Outkast's "estrangement from American society", suggesting that "the inner city of their formative years is out of this world and its hostile conditions."

Commercial performance
The album debuted at number two on the US Billboard 200 chart, and it sold nearly 350,000 copies in its first two weeks of release. It ultimately spent 33 weeks on the Billboard 200 chart. Three singles were released for the album—"Elevators (Me & You)" on July 5, 1996, "ATLiens" / "Wheelz of Steel" in November 1996, and "Jazzy Belle" in April 1997. "Elevators (Me & You)" reached number 12 and spent 20 weeks on the Billboard Hot 100 chart. It was certified Gold by the Recording Industry Association of America (RIAA) on September 13, 1996, for shipments of 500,000 copies in the United States. "ATLiens" reached number 35 and spent 17 weeks on the Hot 100, and "Jazzy Belle" spent 14 weeks and peaked at number 52 on the Hot 100. The album was certified Platinum by the RIAA on November 6, 1996, for shipments of one million copies in the US. By 1998, it had sold over 1.2 million copies. On June 24, 2003, the RIAA certified ATLiens double platinum, having shipped two million copies in the US.

Critical reception
ATLiens received critical acclaim. Andrea Comer of the Hartford Courant felt that Outkast's "lyrical acumen shines through" despite "Heltah-Skeltah mumbling and Southern slang", and stated, "after a few rotations, the alien feeling wears away, and [the album is] just out of this world." Sonia Murray of The Atlanta Journal-Constitution called the album "more thoughtful" than its predecessor, noting, "What the second album lacks in adventurous arrangements it more than makes up for in lyrical dominance." The Source's Allen S. Gordon observed "growth" from Outkast and Organized Noize, and stated, "Big Boi and Dre have gone out of this world into a new dimension of sight, sound and mind".

Kevin Powell of Rolling Stone felt that, like Outkast's debut album, ATLiens is "a gritty document of what's happening here and now, an up-to-the-minute briefing on Southern black ghetto life on which Outkast members Andre and Big Boi cast their feelings of alienation in familiar, realistic characterizations". Powell asserted that unlike East Coast hip hop's "hedonistic materialism" or "the gunplay and pimpism" of West Coast hip hop, "Andre and Big Boi display a unique ability to describe ghetto life while offering up life-affirming possibilities, something all too rare in today's hip-hop nation." Richard Harrington of The Washington Post enjoyed the record's "more serious and focused lyrical sensibility", explaining, "The raps are generally inventive, clever without being cloying, more proof (if any were needed) that hip-hop innovation isn't just an East-West thang."

Legacy
In a retrospective review, AllMusic editor Steve Huey viewed the album as Outkast's "most focused work" and commented that "In addition to the striking musical leap forward, Dre and Big Boi continue to grow as rappers; their flows are getting more tongue-twistingly complex, and their lyrics more free-associative". RapReviews critic Steve Juon recommended it to listeners who "want to be challenged by [their] hip-hop" and wrote of the album's aesthetic:

"It's deep. So deep that listening to ATLiens you might feel like drowning, but the smooth vo-cals of Big Boi and the earthy flows of Andre always push you back up to the surface. They are players in the truest sense of the word; not just playing for ends but playing to win in the ultimate battle of life over death, good over bad, and righteousness over evil. Yet, it's not that heavy either. This album is nod your head music, shake your ass music. It makes you think and groove at the same time."

In The Rolling Stone Album Guide (2004), Roni Sarig felt that, strong rapping notwithstanding, the album's music "suffers as the duo make their first attempt at self-producing" and stated, "Although ATLiens promised expanded vistas with its interstellar motif, the record delivered something of a sophomore slump ... At best, ATLiens is the sound of an ambitious group searching for its voice."

In 1998, the album was selected as one of The Source's "100 Best Rap Albums". In 2000, Exclaim! listed the album on their "100 Records That Rocked 100 Issues of Exclaim!" list. Hip Hop Connection ranked it number six on their list of "The 100 Greatest Rap Albums 1995–2005". Complex ranked the album fifth on their list of "The 50 Greatest Sophomore Albums in Hip-Hop History", its title 15th on "The 50 Best Rap Album Titles Ever", and the title track's beat 91st on "The 100 Greatest Hip-Hop Beats of All Time". Rappers Isaiah Rashad, Wiz Khalifa and Dom Kennedy, and DJ Jesse Marco have named ATLiens as one of their favorite albums.

Track listing
Track listing and samples compiled from album liner notes. All tracks produced by Organized Noize Productions, except where noted.

Notes
 * "You May Die (Intro)" features additional vocals by Joi, Screechy Peach and Trina
 * "Two Dope Boyz (In a Cadillac)" features additional vocals by Screechy Peach
 * "Ova Du Wudz" and "E.T. (Extra-Terrestrial) feature additional vocals by EJ Tha Witch Doctor
 * "Babylon" features additional vocals by Andrea Martin
 * "Wailin'" features additional vocals by Cee-Lo of Goodie Mob
 * "Mainstream" features additional vocals by Khujo and T-Mo of Goodie Mob
 * "Decatur Psalm" features additional vocals by Big Gipp of Goodie Mob and Cool Breeze
 * "Millennium" features additional vocals by ShaJuanna Edghill
 * "13th Floor / Growing Old" features additional vocals by Big Rube and Debra Killings

Sample credits
 * "You May Die (Intro)" is an interpolation of "Summer in the City" performed by Quincy Jones.
 * "Two Dope Boyz (In a Cadillac)" contains a sample of "D.E.E.P." performed by Outkast, and "Danger, She's a Stranger" performed by The Five Stairsteps.
 * "ATLiens" contains a sample of "Around the World" performed by Attilio Mineo, and "So Tired" performed by The Chambers Brothers.
 * "Wheelz of Steel" contains a sample of "Focus III" performed by Focus, "Saturday Night Style" performed by Mikey Dread.
 * "Jazzy Belle" contains a sample of "It's Yours" performed by T La Rock and Jazzy Jay, and "Prelude" performed by Lamont Dozier.
 * "Elevators" contains a sample of "Blue Suede Shoes" performed by Carl Perkins.
 * "Elevators (Me & You) [ONP 86 Mix]" contains a sample of "Come in Out of the Rain" performed by Parliament; the original contains SFX from the video game Super Mario Bros.
 * "Ova Da Wudz" contain a sample of "Judas" performed by Society of Soul.
 * "Babylon" contains a sample of "12 O'Clock" performed by Vangelis.
 * "Wailin'" contains a sample of "To the Establishment" performed by Lou Bond.
 * "Mainstream" contains a sample of "Sesame Street" performed by Goodie Mob and "Soldier In Our Town" by Iron Butterfly.
 * "Decatur Psalm" contains a sample of "Cebu" performed by The Commodores.

Personnel
Compiled from album liner notes.

Musicians

 * OutKast
 * Andre 3000 – vocals
 * Big Boi – vocals
 * Guests
 * Andrea Martin – vocals
 * Big Gipp – vocals
 * Big Rube – vocals
 * Carlos Glover – acoustic guitar
 * Cee-Lo – vocals
 * Cool Breeze – vocals
 * Craig Love – guitar
 * Debra Killings – vocals
 * Dee Simmons – drums
 * Ed Stroud – guitar
 * James "Jay" Nicholas – bass
 * Jazzyfatnastees – vocals
 * Joi – vocals
 * Kenny Wright – keyboard
 * Kerren Berz – violin
 * Khujo – vocals
 * Marq Jefferson – bass guitar
 * Martin Terry – guitar
 * Marvin "Chanz" Parkman – keyboard, organ
 * Mr. DJ – scratches
 * Preston Crump – bass guitar
 * ShaJuanna Edghill – vocals
 * Skinny Miracles – piano
 * Sleepy Brown – vocals
 * T-Mo – Vocals
 * Tamara Powell – vocals
 * Tommy Martin – acoustic guitar
 * Trina Powell – vocals
 * Screechy Peach – vocals
 * Witchdoctor – vocals

Production

 * Alvin Speights – mixing
 * Bernasky Wall – engineering
 * Blake Eiseman – engineering
 * Brian Frye – engineering
 * Carlton Batts – mastering
 * Derrick Williams – engineering
 * Dexter Simmons – engineering, mixing
 * Jarvis Blackshear – engineering
 * John Frye – engineering
 * John Wydrycs – engineering
 * Leslie Brathwaite – mixing
 * Mike Wilson – engineering
 * Neal Pogue – mixing
 * Organized Noize – drum programming, keyboard programming, mixing, production
 * Outkast – drum programming, keyboard programming, mixing, production

title: ATLiens


text: User talk:70.178.151.222

title: User talk:70.178.151.222


text:
User:Dan Guan

What's green and fuzzy and will kill you if it falls on you out of a tree?

title: User:Dan Guan


text:
Wikipedia:Articles for deletion/Demaizeaux

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. – ABCD 20:16, 17 Apr 2005 (UTC)

Demaizeaux
Someone's personal geneology, with an aside about their family's greatness. Feco 20:48, 9 Apr 2005 (UTC)
 * Delete unless there is some explanation forthcoming of his family genuinely being notable (e.g. a political dynasty). Average Earthman 20:56, 9 Apr 2005 (UTC)
 * Delete unless evidence of notability turns up. FreplySpang (talk) 21:22, 9 Apr 2005 (UTC)

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


text:
South Korea at the 1984 Summer Olympics

South Korea, as Korea, competed at the 1984 Summer Olympics in Los Angeles, United States. The nation returned to the Summer Games after participating in the American-led boycott of the 1980 Summer Olympics. 175 competitors, 116 men and 59 women, took part in 97 events in 19 sports. As the country hosted the next Olympics in Seoul, a traditional Korean segment was performed at the closing ceremony.

Archery
Korea's second appearance in Olympic archery was highly successful, especially for the women's team. Seo Hyang-soon (서향순) set new Olympic records in both the single and double FITA round categories. The Korean medalists were separated by only 13 points, while the fourth place competitor was 31 points behind Kim Jin-ho (김진호).

Women's Individual Competition
 * Seo Hyang-soon (서향순) — 2568 points (→ [[Image:Med 1.png]] Gold Medal and Olympic Record)
 * Kim Jin-ho (김진호) — 2555 points (→ [[Image:Med 3.png]] Bronze Medal)
 * Park Young-sook (박영숙) — 2445 points (→ 17th place)

Men's Individual Competition
 * Koo Ja-chung (구자중) — 2500 points (→ 8th place)
 * Choi Won-tae (최원태) — 2490 points (→ 11th place)
 * Jeon In-su (전인수) — 2467 points (→ 22nd place)

Athletics
Men's 100 metres
 * Sim Deok-seop

Men's 200 metres
 * Jang Jae-geun

Men's 800 metres
 * Kim Bok-joo

Men's 1,500 metres
 * Kim Bok-joo

Men's Marathon
 * Lee Hong-yul — 2:20:56 (→ 37th place)
 * Hong Nak-chae — 2:23:33 (→ 48th place)
 * Kim Won-sick — 2:30:57 (→ 58th place)

Men's 3,000 metres Steeplechase
 * Kim Ju-ryong

Men's Triple Jump
 * Park Yeong-jun

Men's Long Jump
 * Kim Jong-il
 * Qualification — 7.86m
 * Final — 7.81m (→ 8th place)

Women's 100 metres
 * Lee Young-sook
 * First Heat — 12.06s (→ did not advance)

Women's 200 metres
 * Mo Myeong-hui

Basketball

 * Women's Team Competition
 * Preliminary Round
 * Defeated Canada (67-62)
 * Defeated Yugoslavia (55-52)
 * Lost to United States (47-84)
 * Defeated Australia (54-48)
 * Defeated PR China (69-56)

 * Final
 * Lost to United States (55-85) → [[Image:Med 2.png]] Silver Medal

 * Team Roster
 * Park Chan-sook
 * Sung Jung-a
 * Lee Hyung-sook
 * Lee Mi-ja
 * Moon Kyung-ja
 * Kim Eun-sook
 * Kim Hwa-soon
 * Kim Young-hee
 * Choi Aei-young
 * Choi Kyung-hee
 * Jeong Myung-hee

Boxing
Men's Light Flyweight (–48 kg)
 * Kim Kwang-sun
 * First Round — Lost to Paul Gonzales (United States), on points (0:5)

Men's Flyweight (–51 kg)
 * Heo Yeong-mo

Men's Bantamweight (–54 kg)
 * Moon Sung-kil
 * First Round — Bye
 * Second Round — Defeated John Hyland (Great Britain), retired in third round
 * Third Round — Defeated Robert Shannon (United States), referee stopped contest in third round
 * Quarterfinals — Lost to Pedro Nolasco (Dominican Republic), referee stopped contest in first round

Men's Featherweight (–57 kg)
 * Park Hyeong-ok

Men's Lightweight (–60 kg)
 * Jeon Chil-seong

Men's Light-Welterweight (–63.5 kg)
 * Kim Dong-gil

Men's Welterweight (–67 kg)
 * An Yeong-su

Men's Light-Middleweight (–71 kg)
 * An Dal-ho

Men's Middleweight (–75 kg)
 * Shin Joon-sup → [[Image:Gold medal.svg|16x16px]] Gold Medal
 * First Round — Defeated Patrick Lihanda (Uganda), on points (5:0)
 * Second Round — Defeated Rick Duff (Canada), on points (4:1)
 * Quarterfinals — Defeated Jeremiah Okorodudu (Nigeria), on points (4:1)
 * Semifinals — Defeated Arístides González (Puerto Rico), on points (4:1)
 * Final — Defeated Virgil Hill (United States), on points (3:2)

Cycling
Nine cyclists, six men and three women, represented South Korea in 1984.

 * Men's individual road race
 * Park Se-ryong
 * Kim Cheol-seok
 * Lee Jin-ok
 * Sin Dae-cheol

 * Team time trial
 * Jo Geon-haeng
 * Jang Yun-ho
 * Kim Cheol-seok
 * Lee Jin-ok

 * Women's individual road race
 * Choi Eun-suk → 42nd place
 * Mun Suk → 43rd place
 * Son Yak-seon → 44th place

Diving
Men's 10m Platform
 * Park Jong-ryong

Fencing
Seven fencers, five men and two women, represented South Korea in 1984.

 * Men's épée
 * Kim Seong-mun
 * Yun Nam-jin
 * Lee Il-hui

 * Men's team épée
 * Kim Bong-man, Kim Seong-mun, Lee Il-hui, Min Gyeong-seung, Yun Nam-jin

 * Women's foil
 * O Seung-sun
 * Choi Bok-ran

Handball

 * Men's Team Competition
 * Preliminary Round (Group B)
 * Lost to West Germany (25:37)
 * Lost to Denmark (31:28)
 * Lost to Sweden (23:36)
 * Lost to Spain (25:31)
 * Drew with United States (22:22)

 * Classification Match
 * 11th/12th place: Defeated Algeria (25:21) → 11th place

 * Team Roster
 * An Jin-soo
 * Choi Geun-yeon
 * Choi Tai-sub
 * Hwang Yo-na
 * Kang Duck-soo
 * Kang Jae-won
 * Kang Tae-koo
 * Koh Suk-chang
 * Lee Kwang-nam
 * Lee Sang-hyo
 * Lim Kyu-ha
 * Lim Young-chul
 * Park Byung-hong
 * Park Young-dae
 * Shim Jung-man

 * Women's Team Competition
 * Team Roster
 * Kim Kyung-soon
 * Lee Soon-ei
 * Jeong Hyoi-soon
 * Kim Mi-sook
 * Han Hwa-soo
 * Kim Ok-hwa
 * Kim Choon-rye
 * Jeung Soon-bok
 * Yoon Byung-soon
 * Lee Young-ja
 * Sung Kyung-hwa
 * Yoon Soo-kyung

Modern pentathlon
Three male modern pentathletes represented South Korea in 1984.

 * Individual
 * Jeong Gyeong-hun
 * Kim Il
 * Gang Gyeong-hyo

 * Team
 * Jeong Gyeong-hun
 * Kim Il
 * Gang Gyeong-hyo

Shooting
Twenty South Korean shooters (twelve men and six women) qualified to compete in the following events:
 * Men

 * Women

 * Open

Swimming
Men's 100m Butterfly
 * Bang Jun-young
 * Heat — 58.91 (→ did not advance, 39th place)

Men's 200m Butterfly
 * Bang Jun-young
 * Heat — 2:07.80 (→ did not advance, 27th place)

Women's 100m Freestyle
 * Kim Jin-sook
 * Heat — 1:00.91 (→ did not advance, 30th place)

Women's 200m Freestyle
 * Kim Jin-sook
 * Heat — 2:13.76 (→ did not advance, 29th place)

Women's 100m Backstroke
 * Choi Yun-hee
 * Heat — 1:07.35 (→ did not advance, 24th place)

Women's 200m Backstroke
 * Choi Yun-hee
 * Heat — 2:23.80 (→ did not advance, 21st place)

Tennis

 * Women's individual (demonstration event)
 * Susanna Lee

Volleyball

 * Men's Team Competition
 * Preliminary Round (Group A)
 * Defeated Tunisia (3-0)
 * Lost to United States (0-3)
 * Defeated Brazil (3-1)
 * Defeated Argentina (3-2)

 * Classification Matches
 * 5th/8th place: Defeated China (3-1)
 * 5th/6th place: Defeated Argentina (3-1) → 5th place

 * Team Roster
 * Lee Jong-kyung
 * Kang Doo-tae
 * Chang Yoon-chang
 * Lee Yong-bun
 * Lee Bum-joo
 * Yang Jin-wung
 * Moon Yong-kwan
 * Yoo Joong-tak
 * Kim Ho-chul
 * No Jin-su
 * Kang Man-soo
 * Chung Euy-tak

 * Women's Team Competition
 * Preliminary Round (Pool A)
 * South Korea — Japan 1-3 (15-8, 11-15, 2-15, 7-15)
 * South Korea — Canada 3-0 (15-10, 15-1, 15-3)
 * South Korea — Peru 2-3 (8-15, 6-15, 15-7, 15-6, 3-15)

 * Classification Match
 * 5th-8th place: South Korea — Brazil 3-1 (13-15, 15-13, 15-9, 15-10)
 * 5th-6th place: South Korea — West Germany 3-0 (15-10, 15-10, 15-2) → Fifth place

 * Team Roster
 * Lee Eun-kyung (이은경)
 * Lee Un-yim (이은임)
 * Jin Chun-mae (진전매)
 * Lee Young-sun (이영순)
 * Kim Jeong-sun (김정순)
 * Jae Sook-ja (제숙자)
 * Han Kyung-ae (한경애)
 * Lee Myung-hee (이명희)
 * Kim Ok-sun (김옥순)
 * Park Mi-hee (박미희)
 * Lim Hye-sook (임혜숙)
 * Yoon Chung-hae (윤정해)

title: South Korea at the 1984 Summer Olympics


text:
Talk:Jodi Rell

Title
Whoever removed the title "Her Excellency" from the article should seriously read oh, I don't know, virtually every document published by the governor's office, most of which clearly display her title as "Her Excellency". Example:. I'm for putting the title back unless someone can give a good enough reason not to, considering I've seen the title used on a number of documents published by her office. ||bass 05:15, 11 October 2006 (UTC) In Connecticut, we number our Governors starting from colonial times. That makes Rell the 102nd governor, not the 82nd. See the full list for an updated order, along with an explanation in the notes. —Preceding unsigned comment added by 69.119.72.119 (talk) 06:26, 5 April 2008 (UTC)

"Homemaker"
I've deleted Rell's other supposed occupation. Unless she's made some claim to the title, I see no reason why someone who's in her third decade of elected office would need anything other than "Legislator." Cory.willis 08:39, 9 August 2006 (UTC)

I've corrected your incorrect edit. According to the New York Times (http://topics.nytimes.com/top/reference/timestopics/people/r/m_jodi_rell/index.html) she is "A former homemaker who dropped out of college..." The legislature in the State of Connecticut is NOT full time. How can one say this is their profession when she cannot, by law, work full time in it? The legislature is part-time and pays a meager stipend. Her husband owns a business and Ms. Rell stayed home to take care of her kids. (HartfordCT) —Preceding unsigned comment added by Hartfordct (talk • contribs) 14:19, 6 April 2008 (UTC)

Based on that theory, there are plenty of CT legislators who ought to have new "professions" as they do not earn money off-session.(including at least one Committee chairmen) Should the single ones be listed as "slackers"? —Preceding unsigned comment added by 68.9.141.78 (talk) 01:02, 9 April 2008 (UTC)

Moody
Remocved POV material better suited to the gubernatorial election article anyway.

It got added back so If one insists, lets have a NPOV sourced statement as to the circusmtances, not unsourced speculative theories

Poll
I took out the reference to "recent polls" as it was out of date. The last poll I can find online is from September, so that number may not be accurate anymore. Gerardw (talk) 14:34, 6 December 2008 (UTC)

Other
this image disappeared so i removed it

67.165.24.165 20:49, 9 Apr 2005 (UTC)

This is opinion: " She also supports a lawsuit in response to the No Child Left Behind Act. Connecticut's Attorney General Richard Blumenthal filed the lawsuit against the US Department of Education to force Bush to amend the act because it would make Connecticut, which already has the most rigorous standardized testing curriculum in the country, to spend tens of millions of its own tax dollars to pay for unfunded federal mandates. The act as it stands now would force the state to pay for standardized testing every school year, instead of every 2 years, even though the State Department of Education says it will provide little new information about students' academic progress."--69.37.125.45 23:00, 22 May 2006 (UTC)

I redid some of Gabe's edits. If you think a state would have a large surplus with a spendthrift governor.....well....

No one in CT knows this woman as anything but Jodi Rell. It's not a "nickname". Check the highway signs

Krayeske
The section on Krayeske is unsourced, not WP:NPOV (e.g. mysterious incarceration) and not notable. I'm removing it. Gerardw (talk) 21:32, 5 January 2009 (UTC)

Gerard - never seen the stuff on conflict of interest before. MY mistake. —Preceding unsigned comment added by 67.186.141.212 (talk) 19:24, 18 January 2009 (UTC)

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title: Talk:Jodi Rell


text:
Joseph Kent

Joseph Kent (January 14, 1779 – November 24, 1837) was an American politician and planter who was a United States Senator from Maryland, serving from 1833 until his death in 1837. He also served in the House of Representatives, representing the 2nd congressional district of Maryland from 1811 to 1815 and again from 1819 to 1826, and as the 19th Governor of Maryland from 1826 to 1829.

Early life and career
Born on January 14, 1779, in Calvert County, Maryland. He was the son of Daniel Kent, Sr. (1754–1805) and Anne Weems Wheeler (1761–1823). Joseph Kent received a liberal schooling at Lower Marlboro Academy, and studied medicine. He was admitted to medical practice in Lower Marlborough, Calvert County in 1799 with a Doctor Parran, but ceased relations with Parran after a political disagreement in 1801.

First marriage
Joseph married first, Eleanor Lee Contee Wallace (1782–1826) on October 30, 1804. Eleanor was born December 9, 1782, in Prince George's County, Maryland. She died August 14, 1826. Eleanor was the daughter Dr. Michael Wallace, Jr., Esq. (1749–1794) and Eleanor Lee Contee (1758–1786). Their daughter, Adelaide MacKubin Kent, would marry Thomas Pratt, another Governor of Maryland and U.S. Senator.

Farming and medicine
Kent purchased a 300 acre slave plantation named "Rosemount" near Bladensburg, Maryland, and settled there around 1807. "Rosemount" is part of the large estate, "Park Hall", owned by the Gantt family in 1735, about which time it was divided and sold. Joseph gave the name "Rosemount". He was passionately fond of roses and the old terraced garden was kept profusely planted with lilies and roses, justifying his choice of the new name he had given his home.

He continued the practice of medicine and also engaged in farming on his estate. In 1807, Dr. Kent removed to the vicinity of Bladensburg and entered the Maryland State Militia as a Surgeon's mate, in the 34th Regiment of the Maryland Militia. In 1809 he was made a full surgeon, but resigned. In the militia, Kent received the rank of a Lieutenant Colonel, and finally as a Colonel of the Cavalry of the 2nd Maryland Militia Cavalry.

Joseph presided at the first public meeting in Washington for the organization of the Chesapeake and Ohio Canal, in which he became a director.

Politics
Turning to politics, Joseph was elected to the United States Congress in 1810 taking his seat on March 4, 1811, and served several years until March 3, 1815. Though a Federalist, opposing War with Great Britain, he voted with the Republican party in declaring War. He was a Presidential Elector in 1816, casting his vote for James Monroe (1758–1831). He later broke with the Federalist party and by the time of the next election he was a Democratic-Republican, in which he was elected to another term in the House of Representatives from March 4, 1819, until he resigned on January 6, 1826. In his second tenure in Congress, Kent continued as chairman of the Committee on the District of Columbia.

Governor of Maryland
Joseph was elected Governor of Maryland in 1826. The primary goal of Kent's administration as governor was to work toward internal improvements. He was in support of improving internal transportation, including expanding the Chesapeake and Ohio Canal and the Baltimore and Ohio Railroad. The immense cost of these projects, however, were never fully repudiated until several decades after Kent's administration, and placed the state under immense financial burden for many years aftwards.

Other areas of interest for Kent included prison reform, separating presidential voting into districts, and for increased funding for schools and colleges. He also sought to improve the maintenance of the state's records, "so indispensably necessary to its correct history" as he said.

Second marriage
Joseph married Alice Lee Contee (1803–1868) on July 8, 1828, at "Bromont", near Newburg, Charles Co., Maryland. Alice was born at "Bromont", near Newburg, Charles Co., Maryland. She died August 24, 1868. Alice was the a first cousin of Joseph's first wife, Eleanor Lee Contee Wallace (1782–1826). Alice was the daughter of Capt. Benjamin Contee, Rev., Hon. (1755–1815) and Sarah Russell Lee (1766–1810).

United States Senate and later life
Kent was elected as a Republican (later Whig) to the United States Senate and served from March 4, 1833, until his death at his home, "Rosemount," near Bladensburg. He served as chairman of the Senate Committee on the District of Columbia (Twenty-fourth and Twenty-fifth Congresses). As senator, Kent was opposed to the Bank of the United States, and offered a resolution asking for negotiations with France regarding lower tobacco prices and restricting the importing of tobacco. However, although this resolution passed, it was not widely popular.

Due to ill health, Kent attended only four sessions of the Senate, and died in 1837 as a result of a fall from his horse. He is buried in an unmarked grave at his home of "Rosemount".

title: Joseph Kent


text: Talk:List of prime ministers of Italy

title: Talk:List of prime ministers of Italy


text:
Patriarch of the West

Patriarch of the West (Patriarcha Occidentis) is one of the official titles of the Bishop of Rome, as patriarch and highest authority of the Latin Church.

History
The origin of the definition of the patriarch of the West is linked to the disestablishment of the ancient system based on the three apostolic centers of Rome, Antioch (both founded by Saint Peter) and Alexandria (founded by Saint Mark, the disciple of Peter), and the establishment, despite papal opposition, of the new Pentarchy, with the First Council of Constantinople in 381 and the Council of Chalcedon in 451, which led to the elevation of the Patriarchates of Constantinople and Jerusalem. In this system, with the exception of Rome, the other four patriarchates fell under the authority of the Byzantine Empire and came to correspond with territorially well-defined entities. Rome, on the other hand, became the seat with authority over the territories of the Western Roman Empire.

In 450, Byzantine Emperor Theodosius II addressed a letter to Pope Leo I, in which he explicitly mentioned him as a patriarch for the West (this is the first mention of a pope in this capacity). After the Western Roman Empire collapsed in 476 and Justinian I extended the eastern legislation on Rome with the Pragmatic sanction of 554, the imperial ecclesiastical system of the Pentarchy was fully put into effect. In 642, as the Byzantine emperors were imposing the support for Miaphysitism on the popes, Pope Theodore I formally assumed for the first time the title of patriarch of the West.

On 22 March 2006, the Vatican released a statement explaining the omission of the title from the Annuario Pontificio on the grounds of expressing a "historical and theological reality" and of "being useful to ecumenical dialogue". The Vatican stated that the title patriarch of the West symbolized the pope's special relationship with, and jurisdiction over, the Latin Church—and that the omission of the title neither symbolizes in any way a change in this relationship, nor distorts the relationship between the Holy See and the Eastern Churches, as solemnly proclaimed by the Second Vatican Council.

In 2024, Pope Francis reinstated the title, reversing Pope Benedict XVI’s 2006 renunciation of it.

title: Patriarch of the West


text:
Electronic Meditation

Electronic Meditation is the debut album by German electronic music group Tangerine Dream. It was released in June 1970 by record label Ohr.

Recording and history
The album was recorded in a rented factory in Berlin in October 1969, using just a two-track Revox tape recorder.

Electronic Meditation is the only Tangerine Dream album to feature the line-up of Edgar Froese, Klaus Schulze and Conrad Schnitzler. Two other musicians, organist Jimmy Jackson and flautist Thomas Keyserling, also performed on the album although they were uncredited in the original release.

Content
Its style is a unique form of free jazz, electronic art music, and instrumental rock; or as Sound on Sound magazine described it, "free electronic rock". Its instrumentation ranges from conventional instruments such as the guitar, organ, drums, and cello to various custom-made electronic devices implemented by Edgar Froese and found sounds such as broken glass, burning parchment, and dried peas being shaken in a sieve. The backwards vocals at the end of side B are of Edgar Froese reading from the back of a ferry ticket from Dover to Calais.

The first five albums released by Ohr Records, including Electronic Meditation, featured sleeves by Reinhard Hippen, all with dismembered baby doll parts as a central aspect of the imagery. The original LP had a balloon inserted in the cover; the 2004 Japan CD release is a copy of the original LP cover and includes the balloon.

Reception
In its retrospective review, AllMusic wrote: "The album is not without its flaws, but it's strong in many ways and shows abundant promise". Stephen Dalton in his review for Classic Rock described the album as "more an historically interesting cult curio than essential Krautrock milestone", reminding however that "from sketchy but seminal basement tapes like these, an entire cosmos of sound was mapped."

Personnel

 * Tangerine Dream
 * Edgar Froese – six- and twelve-string guitar, organ, piano, sound effects, tapes
 * Conrad Schnitzler – cello, violin, addiator
 * Klaus Schulze – drums, percussion, metal sticks
 * Additional personnel
 * Jimmy Jackson – organ (uncredited in the original release)
 * Thomas Keyserling – flute (uncredited in the original release)

title: Electronic Meditation