text:
Talk:L.A. Guns

Two incarnations or versions of the band
I'm not going to debate which version of the band is more legitimate, but the second sentence of the Wikipedia article is completely misleading. There are two versions of the band. Both versions are legally legitimate and at this point have a long history since the band split in two. It's well documented that Tracii Guns and Steve Riley both have ownership of the band name, and both have versions of the band that contain longtime members of various versions. In actuality, of the two dueling band leaders, Tracii Guns was the one who caused the split between the two when he left L.A. Guns to form Brides of Destruction with Nikki Sixx of Motley Crue. In fact, the Riley version of the band included singer Phil Lewis, the man who sang on the band's hit records, for many years after Tracii Guns left the Riley version of the band. Of course, Lewis now plays in the Tracii Guns version, and Tracii Guns was the lead guitar player, major songwriter, and namesake of the band when they actually still recorded successful albums. In short: the second sentence of the article should state that there are two legitimate versions of the band. Then, there should be a brief rundown of the two versions (even if this whole saga makes both versions look incredibly foolish.) — Preceding unsigned comment added by 73.250.6.78 (talk) 04:29, 11 April 2020 (UTC)

Demos of L.A. Guns with Axl Rose?
A long time ago, someone told me that L.A. Guns recorded some demos with Axl Rose on lead vocals, but I've never been able to find more information on this.

Gringo300 14:45, 16 September 2005 (UTC)

Here are the four demo's they are currently on youtube. http://www.youtube.com/watch?v=f23sFVzqYV0 http://www.youtube.com/watch?v=lQyUrJuIw3E http://www.youtube.com/watch?v=xtYg1avSmtA http://www.youtube.com/watch?v=xYE3M2axazY

Warcorer 01:11, 4 October 2012(PST)

Axl in L.A. Guns
I can't find any reliable source that says Axl Rose ever was in L.A. Guns. According to the Hollywood Rose "The Roots of Guns n' Roses" booklet, he was only in A.X.L., Rose, and then Hollywood Rose before GNR.

There are many, many reference to this, where have you been? Just check out any older interview with the band or any rock book with L.A Guns in them, I'm looking at Guitar One hair metal special that says it all.Saviour of rock 07:46, 11 December 2006 (UTC)

 * He was also in Rapidfire. Gringo300 (talk) 19:20, 22 June 2008 (UTC)

Fully Loaded
I recently bought an LA Guns record called Fully loaded, but I haven't found anything about it in any webpage, not even in the official page, does anyone know something about this LA Guns record? I think should be palce on the LA Guns discography list. Pavel-mxli 17:50, 28 December 2006 (UTC)Pavel-mxli

Fair use rationale for Image:Wtd.jpg
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Reconciliaton
Would it be possible for the editors of this page and the page for Guns N'Roses to agree upon the reasons for Tracii Guns leaving Guns N'Roses? The L.A. Guns page states that 'Tracii quickly left the band due to differences with Axl Rose' whereas the GN'R page states 'A short time later, guitarist Tracii Guns left the group to reform L.A. Guns.' Not meaning to start an edit war and I'm not sure which version is truly correct but in the interests of consistency.... Less whining, more reclining (talk) 08:36, 25 March 2008 (UTC)

poorly written in general
Not trying to be snotty but this article needs a lot of work. The info seems to be put together in a haphazard manner with too much being crammed into one sentence. For example, I had to read the following sentence repeatedly to figure out who changed his name to Axl Rose:

Bailey would leave the group to front Rapidfire before going on to form Hollywood Rose, a group formed following the introduction of guitarists Izzy Stradlin and Chris Weber to each other by Guns,[4] and change his name to W. Axl Rose.[5][6]

The sentence simply makes no sense as is - especially to someone unfamiliar with the subject. I do not know enough about LA Guns to take on this project. — Preceding unsigned comment added by 67.1.68.129 (talk) 10:19, 24 December 2011 (UTC)

I think I know who did this and it's bringing down the quality of the article. — Preceding unsigned comment added by 198.105.0.4 (talk) 17:21, 7 October 2016 (UTC)

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Genre
The Band is referred to as Heavy Metal and many sources also call them heavy metal. Would it not be better to add Heavy Metal to the Genre List? Similar Bands also have that tag — Preceding unsigned comment added by 2001:16B8:1032:AD00:D814:19E4:9B5C:C97C (talk) 19:41, 18 August 2020 (UTC)

 * Can you provide reliable sources categorizing the band as heavy metal? Meatsgains (talk) 01:28, 19 August 2020 (UTC)

title: Talk:L.A. Guns


text: User talk:82.3.49.5

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text:
Euzhan Palcy

Euzhan Palcy (born in Martinique) is a French film director, screenwriter, and producer. Her films are known to explore themes of race, gender, and politics, with an emphasis on the perpetuated effects of colonialism. Palcy's first feature film Sugar Cane Alley (La Rue Cases-Nègres, 1983) received numerous awards, including the César Award for Best First Feature Film. With A Dry White Season (1989), she became the first black female director to have a film produced by a major Hollywood studio, MGM.

Palcy also directed the independent film Siméon (1992). She has since moved towards directing documentaries and television projects such as Aimé Césaire: A Voice for History (1994). She then directed the television films Ruby Bridges (1998) and The Killing Yard (2001), as well as the documentary The Journey of the Dissidents (2005) and the miniseries The Brides of Bourbon Island (2007).

Throughout her career, Palcy has explored various genres, often breaking ground being the first female black director to do so. She is the first black director to win a César Award and the Venice Film Festival's Silver Lion, both for Sugar Cane Alley (1983). In 2022, she was given the Academy Honorary Award for her contributions to cinema.

Early life and education
Euzhan Palcy was born in Martinique, an overseas department and region of France. She grew up studying the films of Fritz Lang, Alfred Hitchcock, Billy Wilder and Orson Welles. She decided at the age of 10 to become a filmmaker, largely due to being upset by the imprecise depictions of black people in film and television that she saw, and her desire for more accurate portrayals. She has said: "I'm a mixed blood person, I have African blood, European blood, Asian blood, but the one that I cherish most is the African one, because it is the one that is the most degraded, most insulted on the screen and all walks of life... I understood early on I must take my camera to restore the roots and heal the wounds of history, bring life back." Palcy attended college in Martinique, and eventually found work at a local TV network. When she was a teenager, her success as a poet and songwriter led to her being asked to do a weekly poetry program on local television. It was there she wrote and directed the short film La Messagère, and began her filmmaking career. The drama, which centers on the relationship between a girl and her grandmother, and which explores the lives of workers on a banana plantation, was the first West Indian production mounted in Martinique.

Palcy left for Paris in 1975 to earn a master's degree in French literature, in theater, at the Sorbonne, a D.E.A. in Art and Archeology and a film degree (specializing in cinematography) from École nationale supérieure Louis-Lumière. Palcy soon began her first film, Sugar Cane Alley – an adaptation of Joseph Zobel's 1950 La Rue Cases-Nègres (also translated as Black Shack Alley), a semi-autobiographical novel that explores the struggle for change with shifting race relations. Palcy has said: "I discovered the novel when I was fourteen. It was the first time I read a novel by a black man, a black of my country, a black who was speaking about poor people." As she became acquainted with members of the French film community, Palcy received encouragement from New Wave filmmaker François Truffaut and his collaborator Suzanne Shiffman. In 1982, the French government provided partial funding for the film in the form of a grant.

Early work
It was in Paris, with the encouragement of her "French Godfather", François Truffaut, that she was able to put together her first feature film, Sugar Cane Alley (1983). Shot for less than $1,000,000, it documents life on a Martinique sugar cane plantation in the 1930s through the eyes of a young boy. Sugar Cane Alley won more than 17 international awards, including the Venice Film Festival Silver Lion, as well as the Coppa Volpi (Volpi Cup) for Best Lead Actress Award (Darling Legitimus). It also won the prestigious César Award (the French equivalent to an Academy Award) for best first feature film. Among the firsts, it won the Special Jury Award at the Worldfest-Houston International Film Festival and the first Public Award at the Fespaco pan-African film and television festival. After seeing Palcy's work, Robert Redford handpicked her to attend the 1984 Sundance Director's Lab (Sundance Institute), becoming her "American Godfather".

A Dry White Season
In 1989, Palcy wrote and directed A Dry White Season, an American drama film directed by her and starring Donald Sutherland, Jürgen Prochnow, Marlon Brando, Janet Suzman, Zakes Mokae and Susan Sarandon. It was written by Colin Welland and Palcy, based on South African writer André Brink's 1979 novel A Dry White Season. It is set in South Africa in 1976 and deals with the subject of apartheid. She is also the only woman filmmaker to have directed Marlon Brando, whom she brought back to the screen after a gap of nine years.

Impressed by Palcy's commitment to social change, Marlon Brando came out of retirement, agreeing to act in A Dry White Season (1989) for free. Palcy was also the first black director to direct an actor to an Oscar nomination Also starring in the film were actors Donald Sutherland and Susan Sarandon. In Palcy's film adaptation of A Dry White Season, the story focuses on the social movements of South Africa and the Soweto riots, and was heralded for putting the politics of apartheid into meaningful human terms. Palcy was so passionate about creating an accurate story depicting the reality of apartheid that she risked her life traveling undercover to South Africa. To research the riots, she was introduced to the people of Soweto township by Dr Motlana (Nelson Mandela's and Desmond Tutu's personal physician), while she eluded the South African secret services by posing as a recording artist.

Palcy became the first black female director produced by a major Hollywood studio and is the only black filmmaker who succeeded in making in the U.S. a narrative feature against apartheid on the silver screen during the 27 years of Nelson Mandela's incarceration. The late Senator Ted Kennedy supported the filmmaker, scheduling a special viewing of A Dry White Season in Washington, D.C. and recommending the film as a "powerful story of the violence, injustice and inhumanity of that {apartheid} system." Brando's performance in the movie earned him his 8th and last Academy Award nomination for Best Supporting Actor and he received the Best Actor Award at the Tokyo Film Festival. For her outstanding cinematic achievement, Palcy received the "Orson Welles Award" in Los Angeles. For the first anniversary of his election Mandela welcomed Euzhan Palcy in South Africa and granted her an exclusive interview that has yet to be seen.

By 1992, Palcy veered away from the serious subject matter of her previous films to show the spirit and liveliness of her native Martinique with Simeon (1992), a musical comedic fairytale set in the Caribbean and Paris, featuring Kassav. Palcy remained in France to create her first feature three-part documentary, Aimé Césaire, A Voice For History (1994) about the famed Martinican poet, playwright, and philosopher, whom she has described as her "first godfather".

She then worked for Disney/ABC Studios, directing and producing an episode of The Wonderful World of Disney entitled, Ruby Bridges (1998), the story of Ruby Bridges, the little New Orleans girl who was the first to integrate the public schools, immortalized in the painting by Norman Rockwell. President Bill Clinton and Disney President, Michael Eisner introduced the film from the White House to American audiences. Palcy's film won four awards, including The Christopher Awards, The Humanitas Prize, the National Educational Media Network Gold Apple and best performance Young actress award Young Artists Awards. For Paramount/Showtime Studios, Palcy directed The Killing Yard (2001), starring Alan Alda and Morris Chestnut. The drama is based on the true events surrounding the 1971 Attica prison riot, which had an indelible impact on the American prison system and jury process. The film won a Silver Gavel Award for "Best Film About Justice" from the American Bar Association.

Later career
In 2005, Palcy returned to the documentary to direct Parcours de Dissidents ("The Journey of the Dissidents"), narrated by Gérard Depardieu. The film tells the story of the forgotten history of “dissidents”, the men and women of Martinique and Guadeloupe who left their islands between 1940 and 1943, many of who were trained at Fort Dix, New Jersey, during WWII and fought throughout the liberation of France. In 2007, Palcy wrote and directed Les Mariées de I’isles Bourbon ("The Brides of Bourbon Island") (2007), a romantic historical epic adventure, which tells of a romantic, historic epic action adventure where three women survive a harrowing ocean voyage from France to forcibly marry French expatriates on the island of Réunion.

On June 18, 2011, Palcy's The Journey of the Dissidents (Parcours de Dissidents) was screened at the French Military School at the invitation of the French Minister of Defense and the Minister of Overseas Territories. A National Exhibition (La Dissidence en Martinique et en Guadeloupe 1940–1945), based on her film, was launched at the French National Staff Headquarters on July 7 and is currently exhibited simultaneously in every one of the 101 Prefectures (equivalent of our Federal government building of every counties) along with the screening of her film.

Palcy's drive for the life and compassion for humanity inspire each and every project with which she is involved. Her passion spills into all areas of cinematic lexicon to include the animation, thriller, comedy and action genres. For Fox Studios, Palcy developed an animated feature, currently entitled Katoumbaza. She is actively developing a feature film, on Bessie Coleman, for which she recorded the very last witness of the first African-American woman aviator journey in France, and an action comedy set in Los Angeles and Paris. Palcy has chosen Teaching Toots, a comedy drama on illiteracy – a project close to her heart – to be her next film to co-produce and direct. Her interest in humanitarian work and supporting the younger generation has been known for years. Her last production has been Moly, a biographical short on young disabled one-legged Senegalese filmmaker Moly Kane. The film was screened in Cannes to rapturous public acclaim. Palcy announced on stage that Moly Kane would receive the prosthetic leg of his dreams so that he could be free to film with his camera.

In 2022, the Board of Governors of the Academy of Motion Picture Arts and Sciences voted to present Palcy, alongside Diane Warren and Peter Weir, with an Honorary Oscar, citing her as "a pioneering filmmaker whose groundbreaking significance in international cinema is cemented in film history".

Style and themes
The geographical setting varies from project to project, yet Palcy's focus on Black culture remains constant. Her films stress the themes and issues that are continuous across the physical space that separates Martinique from France, from South Africa, from America.

Themes of colonialism are present in Sugarcane Alley, A Dry White Season, and many of her other works. "Euzhan Palcy's two films Rue cases negres / Sugar Cane Alley (1983) and A Dry White Season (1989) share a set of thematic equivalences that represent postcolonial perspectives on Pan-African identities and experiences. In both instances the films focus is on the experiences of black communities and the atrocities they have suffered at the hands of their enslavers or oppressors."

Palcy often uses non professional actors in her films, and works with them to ensure a feeling of authenticity is maintained. In Sugarcane Alley, many actors were actual workers from the sugarcane plantation, and Palcy had them live on set for two months prior to the shooting date. Palcy explains, “We did the shooting in the middle of a sugarcane plantation, we built that set, so I asked the people all around, the sugarcane workers, to bring their pigs, their cattle, to bring everything there, and I asked everyone to live in the house on the plantation. So for two months in advance they were there every day. They were there having fun barbecuing, playing.”

In A Dry White Season Palcy wanted to get people from South Africa who were actually living in apartheid to act in these scenes. However, in order to get people from South Africa into Zimbabwe, many legal hurdles had to be leapt, since South Africans were not allowed to cross into their neighboring country with conventional methods. Palcy decided to go the extra mile to fly the cast from South Africa to London on an “artist” visa, then from there fly the cast to Zimbabwe; as she explains: "We couldn't let any journalists get in because of all the South African actors we had, we had to make them go to England, take them from England, bring them back to Zimbabwe, because the Black South Africans didn't have the right to have a passport, so in order to get a passport you had to be an artist… They said they had a deal to be in a play, so that was how they got their passports."

Awards and nominations

 * 1983: Venice Film Festival, Silver Lion, Best First Work for La Rue Cases-Nègres
 * 1983: Venice Film Festival, UNICEF Award for 'La Rue Cases-Nègres
 * 1983: Venice Film Festival, OCIC Award for 'La Rue Cases-Nègres
 * 1983: Venice Film Festival, Golden Lion (nominee) for 'La Rue Cases-Nègres
 * 1984: César Awards, César, Best First Work (Meilleure première oeuvre) for 'La Rue Cases-Nègres
 * 1989: Tokyo International Film Festival, Tokyo Grand Prix (nominee) for A Dry White Season
 * 1990: National Coalition of 100 Black Women, Candace Award for Trailblazing
 * 2001: Cannes Film Festival, Sojourner Truth Award
 * 2002: Silver Gavel Award by the American Bar Association for The Killing Yard
 * 2013: Cannes Classics official selection for Simeon

Legacy and recognition

 * 1984: First woman and first black director winner of a French Oscar
 * 1989: Glamour Magazine, 10 Most Inspiring Women
 * 1994: John Guggenheim Fellowship for Creative Arts
 * 1995: Chevalier de l'Ordre national du Mérite
 * 1997: Cinema Euzhan Palcy in Amiens, France, movie theater named in her honor
 * 2000: Martinique's first high school dedicated to film study was after her and she was presented with the Sojourner Truth Award by Roger Ebert at the 2001 Cannes Film Festival
 * 2004: National Order of the Legion of Honour Palcy is a Citizen of Honour of New York, Atlanta, New Orleans, and Sarasota, Fl.
 * March 25, 2007, the National Maritime Museum in London launched her first retrospective with the screening of Sugar Cane Alley. Later that year the British Film Institute / BBC online poll on "The 100 Black Screen Icons" of the last 100 years ranked it number 3.
 * October 2009, she received the Unita Blackwell Award in Las Vegas for the 35th anniversary of the National Conference of Black Mayors.
 * December 2009, Sugar Cane Alley, was selected for the third time by the French National Educational Organization (the organization that chooses the films from all over the world to be studied in French schools), breaking the record for any participating film in the organization's history. In December 2009, Palcy was the patron of the 20th anniversary of the organization at the Cinémathèque (the French Museum of Cinema) with Minister of Culture Frédéric Mitterrand and director Costa Gavras. In 2010, she was the Honoree of France Black Art Awards, broadcast on France Television Group, and was the first recipient of the Art and Media Prize of the Gotha Noir de France (France Black Who's Who) and in December 2010, she was honored at the Women's Gala of the 3rd World Black Arts Festival of Culture in Senegal.
 * April 6, 2011, Palcy directed Le Film Hommage that introduced “France National Tribute to Aimé Césaire at the Pantheon” with the keynote speech of French President Nicolas Sarkozy in front of an audience 1,000 dignitaries. The event was broadcast live on the French National TV (France 2).
 * May 14, 2011, French Minister of Culture Frederic Mitterrand and Cannes Film Festival paid tribute to the director with the screening of Sugar Cane Alley in the prestigious Cannes Classics Series (Cannes official selection of the Masterpieces of the Century). Heralded as one of the most important independent film of the last 50 years, Sugar Cane Alley is studied in most colleges and US universities (in Cinema studies, French studies, and African-American studies) In February 2009, Philadelphia Inquirer veteran film critic Carrie Rickey put Sugar Cane Alley in her top list of films that should be screened at the White House to keep hope alive.
 * May 18, 2011, the Museum of Modern Art in New York City honoured her as "Filmmaker in Focus: Euzhan Palcy" (May 18–May 30), the first retrospective of her career and "first retrospective of a black woman filmmaker at the MoMA". The Department of Film has acquired for its collection new 35mm prints of Palcy's Rue Cases-Nègres and Siméon (1992), her Caribbean musical-comedy fairytale—which by the closing credits of its New York premiere at MoMA had literally sparked dancing in the aisles of the theater, said Ron Magliozzi, assistant film curator of MoMA.
 * September 12, 2011, the Director General of UNESCO, Irina Bokova, named Palcy in the international sponsoring committee for the Unesco program of 2011–13 -- “TAGORE, NERUDA and CESAIRE, for a reconciled universal”.
 * September 28, 2011, Palcy received the Officer Medal of the National Order of Merit from French President Sarkozy at the Palais de l'Elysee.
 * October 13, 2011, Palcy opened the 7th Women's Forum in Deauville.
 * 2011: Cannes Film Festival's Tribute to Euzhan Palcy
 * 2011: Elle.fr magazine's 17 Most Influential Women of the Planet
 * 2013–present: National Committee for the Memory and History of Slavery (CNMHE), Member
 * 2013: First woman President of the Fespaco Grand Jury
 * 2013: Henri Langlois World Cinema Honor Award
 * 2013: Unveiling of the Euzhan Palcy road
 * 2015: Tribute to Euzhan Palcy by the American Cinematheque
 * 2016: Sabela International Recognition Award (South Africa Honorary Award)
 * 2017: The Order of the Companions of O.R. Tambo in Silver
 * 2018: Inductee on the Black Achiever's Wall of the International Slavery Museum of Liverpool for the Centenary of the Women's Vote in the UK.
 * 2019: The WRAP: 17 Women Who Revolutionized Hollywood (All-time list)
 * 2019: Inductee on the June Caribbean-American Heritage Wall of Fame
 * 2019: Montreal International Black Film Festival Pioneer Award
 * 2021: Toronto International Film Festival "Share Her Journey" Ambassador
 * 2022: Academy Honorary Award

title: Euzhan Palcy


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User talk:80.227.99.114

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August 2019
Hello, I'm Materialscientist. I wanted to let you know that one or more of your recent contributions to Satish Kaushik have been undone because they did not appear constructive. If you would like to experiment, please use the sandbox. If you have any questions, you can ask for assistance at the help desk. Materialscientist (talk) 11:25, 6 August 2019 (UTC)
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title: User talk:80.227.99.114


text:
User talk:Vacindak

NLP
Hi ! Would you fancy creating a NLP task force ? Cheers ! Rama 09:21, 13 Apr 2005 (UTC)

title: User talk:Vacindak


text:
Talk:French pronunciation

Perhaps it should also be noted that the stress in French words always falls on the last syllable. Unless the last syllable contains a schwa. In that case, the stress will fall on the penultimate syllable.

For example:

PARLER

je parle tu parles il parle nous parlons vous parlez ils parlent

Safari

84.193.165.47 19:01, 23 June 2006 (UTC)

Bold textThis is pretty misleading. Charles Matthews 09:22, 13 Apr 2005 (UTC)

Re the suggestion to merge French Pronunciation and French Phonology. I'd suggest keeping them separate as French Pronunciation is good for beginners, and has hints e.g. about silent letters, whereas while French Phonology takes a more technical, formal approach. So they're both useful, serving different audiences.

I agree that it's useful to have to separate pages for different audiences. Hopefully examples found to be unclear can be improved upon. User:Mvcorks 17 Aug 2005

 * If there are two pages, they should be French phonology and French orthography, since phonology and orthography are two completely different areas. The current situation, with French phonology and orthography one on page and French pronunciation on a different page is confusing and unnecessary. --Angr/undefined 09:48, 22 September 2005 (UTC)

Stress
I'm not quite sure about the relevancy of the example about stress. Being myself a native French speaker I can guarantee you that you wouldn't stress cathéDRALE as you would stress on [kə'θiːdrəl] in English. The pronuciation is pretty uniform along the word, even the long ones. Stressing a particular syllable does not sound very natural, except in some dialects.

Just my two cents since I'm not an expert in phonology, I just wanted to give you my feeling about that.

'''Answer : French uses no stress. If you saw that in the article then it's wrong. Being a native French speaker and a language nut, I can assure you so. -- Greensleaves'''

 * French utilizes stress, except that it always falls on the same syllable (with some exceptions in continuous speach), unlike English or German where it is quite unpredictable. Look it up in any book on French phonology.
 * Peter Isotalo 22:04, 8 December 2005 (UTC)

 * French does not use syllabic stress; the occasional slight stress on the last syllable of an utterance is not phonemic and is very different from the strongly marked and phonemic stress of English. And yes, I've been looking such things up for several decades. Agateller 17:24, 17 May 2006 (UTC)

 * But it still stresses, even if it's not phonemically distinctive. Saying French has no stress is wrong, and if people listen carefully to how you say things it will be noticeable. 24.203.155.119 02:35, 21 May 2006 (UTC)

 * The article cites a source for the view that French has no syllabic stress. The Wikipedia stress article also takes this view. If the opposite view is widespread it is simply a matter of citing scholarly sources to support the view. Without sources the discussion cannot go very far. Adrian Robson 12:25, 26 May 2006 (UTC)

 * The source does say that French has no syllabic stress. But the same source also insists on the importance in French of tonic and affective accents in word endings, a very important topic currently lacking in the wikipedia article. The necessity of putting the appropriate accents is definitively a prerequisite du Français soutenu, voire même du Français standard.

 * I see that all native French speakers insist on the point that there is no tonic accent in their language. Maybe it is surprising for them but speakers in whose language the tonic accent can be placed on any syllable (I'm native Spanish speaker) clearly hear a stress on the last syllable of French words. Therefore, when you learn French as a foreign language you are always explained that the stress must fall on the last non-mute vowel. I think French speakers compare their stress with that of English, which is quite different. In English, the vowels that are not stressed are not clearly pronounced. They are pronounced as short i's or ə's. Furthermore long words in English may have a main accent on one vowel and secondary accents on other vowels, which are also clearly pronounced i.e. "organization" ['o:gən'aiz'eiən"]. This does not happen in French, where all vowels, except mute e's are pronounced as if they were not stressed. I agree in the fact that when French speakers want to emphasize a word they stress every syllable i.e. ca-thé-drale but that is not the case in a complete sentence: La cathédrale de Paris est belle. luis_de_pedro 14:59, 28 October 2006 (UTC)

 * Indeed, most sources I have read (I don't have them at my fingertips, but I'm pretty sure the essentials are found in the Petit Robert and Grevisse's Bon Usage) state that there is a "tonic accent" at the end of a word group. Thus, in a sentence such as "Les distinctions sociales ne peuvent être fondées que sur l'utilité commune", there is a tonic accent on the syllables "ales", "dées", and "mune". When a word is pronounced independently, this principle will usually give the last syllable a light stress: compare cathédrale with cathédrale gothique.
 * GRAMMONT: La phrase française est composée d'un certain nombre de mots ou de groupes de mots. Chacun de ces mots ou groupes de mots porte sur sa dernière syllabe un accent d'intensité, c'est-à-dire que cette dernière syllabe est dite avec plus de force que les autres. Lesgles ( talk ) 17:39, 28 October 2006 (UTC)

Misc.
re: "If a word is a verb (that is, it has a subject like "ils" or "elles"), and it ends in "-ent," then the final "-ent" is completely silent. This rule does not apply in some parts of Québec and North America where simply the t is silent."

Being a native speaker of French from Québec (Montréal), I wonder where in the province the 3rd person plural has the "-en" pronounced. I've never heard native speakers from different regions of Québec pronounce "-en". The entire "terminaison", e.g. "-ent" is silent.--Shimmeryhz 19:03, 12 April 2006 (UTC)

 * I think they do that in Gaspésie. 24.203.155.119 02:35, 21 May 2006 (UTC)

Could I ask a question? How do you pronounce the third person of plural of the "passé indéfini" (aimerent). Is the "r" mute or not? --luis_de_pedro 15:03, 28 October 2006 (UTC)
 * I think you are referring to the simple past or passé simple: j'aimai, tu aimas, il aima, nous aimâmes, vous aimâtes, ils aimèrent. Aimèrent is pronounced (eh-mehr). The "r" is pronounced, but the "ent" is still silent. (It's often more efficient to post questions not directly related to the editing of the article at Reference Desk). Lesgles ( talk ) 17:15, 28 October 2006 (UTC)

Merge
I put the merge tag up because, as far as I can tell, the French phonology page not only covers the same ground, but does so to a much more extensive degree. This article should just be deleted and French pronunciation then redirect to French phonology. AEuSoes1 02:09, 13 August 2006 (UTC)
 * I disagree. Linguists, or those interested in linguistic structure, will look at phonology. Others will come here to learn how to look at a French word written and pronounce it, which is not at all covered in the other article. The purposes are different, so the article should remain separate. --67.109.56.162 23:32, 30 August 2006 (UTC)

Pas cette tra-la-la!
The British (yes, even the OED) love to use the symbol [a] for the sound in father (instead of [ɑ]) because they don't have a different pronunciation for the vowel in the word car as in America (before the r-coloring). Well, there's a difference in proper French between the pronunciation of pas and la, and it mirrors the American pronunciation of father and car. I would expect this difference to be given on this page.

Yet contrariwise I have read that recently the common folk of France no longer take the trouble to use the different sound in pas anymore. So I would also expect to find something about this matter on this page. Sobolewski 19:50, 29 August 2006 (UTC)

Pronunciation of é/er/ez
I decided to post here instead of starting an edit war. I recently changed the pronunciation guide for é/er/ez from "pay" to "sit". According to pay, the pronunciation is [peI]. However, in the American dialect, the pronunciation is much closer to [pɛI]. So I then decided to look up the pronunciation of sit. Shockingly, it is marked as IPA [sIt], not IPA [set]. Maybe this is just a matter of differences in the British and American pronunciation? Am I just not getting the IPA pronunciation? Because introductory French textbooks and examples of pronunciation in the media mark the pronunciation similar to the example "pay but shorter", this causes the vast majority of English speakers learning French to mispronounce all words containing é/er/ez. Either they end up pronouncing é/ez/er the same as è, or é/ez/er as èï. When I correct people's pronunciation, and tell them that its sounds like the i in 'sit', then they sound much closer to the correct pronunciation. Am I making sense here?--Cnadolski 21:07, 28 November 2006 (UTC)

 * The last edit replaced pay with "chaos", but that's still not quite right. The example implies that would make it sound like the French [ké-os], but reality sounds more like [queil os]. User:Lesgles what regions are you from?  My English is Midwestern, and my French is Parisien/Normand.--Cnadolski 23:24, 28 November 2006 (UTC)

 * Okay, I'll relent in that what you say is true for British variants of English, but I'm putting up a pronunciation sample for clarity.--Cnadolski 15:57, 30 November 2006 (UTC)

OK...
The AFD has been settled and we need an admin to merge this page.--PrestonH 06:10, 9 December 2006 (UTC)

title: Talk:French pronunciation


text:
Mother Earth (magazine)

Mother Earth was an American anarchist journal that described itself as "A Monthly Magazine Devoted to Social Science and Literature". Founded in early 1906 and initially edited by Emma Goldman, an activist in the United States, it published articles by contemporary activists and writers in Europe as well as the US, in addition to essays by historic figures.

History
Emma Goldman, a noted political activist in the United States, was the first editor of this magazine, which she founded in early 1906. She wanted an alternative means to reach people, as she was tired of her rounds of cross-country speaking tours. Alexander Berkman, another well-known anarchist and longtime friend, took over as editor in 1907, a year after he was released from prison. He served in this role to 1915. It published longer articles by American and European writers and activists on a variety of anarchist topics, including the labor movement, education, literature and the arts, state and government control, and women's emancipation, and sexual freedom. It was an early supporter of birth control. Its subscribers and supporters formed a virtual "who's who" of the radical left in the United States in the years prior to 1920. One of its traveling sellers was a friend of Goldman and Mother Earth circles, Eva Kotchever, who founded later the famous speakeasy Eve's Hangout in New York.

In 1917, Mother Earth began to call for opposition to US entry into the Great War and, specifically, for men to refuse to register for the military draft or submit to conscription. On June 15, 1917, Congress passed the Espionage Act. The law set punishments for acts of interference in US foreign policy and espionage. The Act authorized stiff fines and prison terms of up to 20 years for anyone who obstructed the military draft or encouraged "disloyalty" to the U.S. government. After Goldman and Berkman continued to advocate against conscription, Goldman's offices at Mother Earth were thoroughly searched by Department of Justice agents, and they seized volumes of files and detailed subscription lists from Mother Earth, along with Berkman's journal The Blast.

A US Justice Department press release said:

A wagon load of anarchist records and propaganda material was seized, and included in the lot is what is believed to be a complete registry of anarchy's friends in the United States. A splendidly kept card index was found, which the Federal agents believe will greatly simplify their task of identifying persons mentioned in the various record books and papers. The subscription lists of Mother Earth and The Blast, which contain 10,000 names, were also seized.

Mother Earth remained in monthly circulation until August 1917. Berkman and Goldman were found guilty of violating the Espionage Act because they encouraged men to resist the draft. The court had revoked Goldman's citizenship after that of her husband, Kershner, had been revoked. Along with 258 others, Goldman and Berkman were deported to the Soviet Union on a single ship in 1919.

Contributors
The following is a partial list of contemporary contributors whose essays or poems were published in Mother Earth:

The following is a partial list of contributors of cover art:

 * Jules-Félix Grandjouan
 * Manuel Komroff
 * Robert Minor
 * Man Ray
 * Adolf Wolff

title: Mother Earth (magazine)


text: Category:Regional timelines

title: Category:Regional timelines


text: User talk:129.241.29.226

title: User talk:129.241.29.226


text:
Bille Woodruff

Bille Woodruff is a director of film, television and music videos, noted for directing many videos for a number of R&B and hip-hop artists since the mid-1990s. These artists include Joe, for whom Woodruff has directed 9 music videos since 1994, and Toni Braxton, with whom he has worked 10 times since 1996. Woodruff directed the videos for some of Braxton's biggest singles, including "Un-Break My Heart", "You're Makin' Me High", and "He Wasn't Man Enough".

Film and television career
Woodruff directed the 2003 film Honey. Rumors stated singer and actress Aaliyah was originally slated to play the title role, but died before filming began. However, Woodruff said, "That’s incorrect. It was supposed to be Beyoncé. That’s been widely reported but it’s incorrect. She couldn’t do it because of her touring schedule for her first album Dangerously in Love." She was replaced by Jessica Alba. The film was released on December 5, 2003 and opened at #2 at the US Box Office, earning $12,856,040 in its opening weekend. The film received generally negative reviews from critics, with a rating of 20% on Rotten Tomatoes, but favorable reviews from moviegoers, with a rating of 76% on Rotten Tomatoes.

Woodruff then directed the 2005 film Beauty Shop, a spin-off of the Barbershop film trilogy, starring Queen Latifah. The film was released on March 30, 2005 and went on to gross worldwide $37,245,453 at the worldwide box office. Movie critics' reviews were generally negative, generating a rating of 38% on Rotten Tomatoes. However, moviegoers liked the movie, giving it a 70% rating on Rotten Tomatoes.

He then directed the 2009 film Bring It On: Fight to the Finish, starring Christina Milian. The film was released straight-to-DVD on September 1, 2009.

He directed the straight-to-DVD sequel to Honey, Honey 2, which was released in 2011.

He released the movie Rags on Nickelodeon in 2012. He directed 7 episodes of The Game TV series in 2012 and 2013.

Woodruff directed the film adaptation of the best-selling novel of the same name Addicted and A Very Larry Christmas.

In 2015, Woodruff directed Honey 3 in South Africa with new fresh Talent including Bobby Lockwood and 'Kenny Wormald.

He directed the film The Perfect Match starring Terence Jenkins and Paula Patton in 2016.

Since 2016, he has directed numerous episodes of the following television series: Hit the Floor, Star, Empire and Black Lightning.

In 2024, he is the director of Brigerton.

1991

 * Sounds of Blackness – "Optimistic"
 * The S.O.S. Band – "Sometimes I Wonder"

1994

 * Born Jamericans – "Boom Shak-a-tak"
 * Joe – "The One for Me"

1995

 * A Few Good Men - "Have I never"

1996

 * Joi – "Ghetto Superstar"
 * Tony Rich Project – "Nobody Knows"
 * Toni Braxton – "You're Makin' Me High"
 * Tony Rich Project – "Like a Woman"
 * Backstreet Boys – "I'll Never Break Your Heart" (version 2: USA)
 * Tony Rich Project – "Leavin'"
 * Toni Braxton – "Un-Break My Heart"
 * Gloria Estefan – "I'm Not Giving You Up"
 * T-Boz feat. Richie Rich – "Touch Myself"
 * Luther Vandross – "I Can Make It Better"
 * Dru Hill – "In My Bed" (version 1)
 * Puff Johnson – "All Over Your Face"
 * Tevin Campbell – "Back To The World"

1997

 * Backstreet Boys – "Nunca Te Haré Llorar"
 * OutKast – "Jazzy Belle"
 * Toni Braxton – "I Don't Want To"
 * Ginuwine – "I'll Do Anything"/"I'm Sorry"
 * Timbaland & Magoo feat. Missy Elliott & Aaliyah – "Up Jumps Da' Boogie"
 * Usher – "You Make Me Wanna"
 * Salt-N-Pepa – "R U Ready?"
 * Celine Dion – "My Heart Will Go On"
 * Az Yet – "Hard To Say I'm Sorry"
 * Jody Watley – "Off the Hook"
 * Brownstone – "Kiss And Tell"
 * Chico DeBarge – "Iggin Me"
 * Born Jamericans – "Send My Love"
 * Lysette – "Young, Sad & Blue"
 * Phajja – "What Are You Waiting For"

1998

 * Babyface & Des'ree – "Fire"
 * Gloria Estefan – "Heaven's What I Feel"/"Corazon Prohibido"
 * Joe – "All That I Am"
 * Dru Hill – "These Are The Times"
 * Celine Dion & R. Kelly – "I'm Your Angel"
 * Next – "Too Close"
 * Next – "I Still Love You"
 * Brian Mcknight – "The Only One For Me"
 * Chico DeBarge & Joe – "No Guarantee"
 * Rebbie Jackson – "Yours Faithfully"
 * Tony Rich Project – "Silly Man"
 * Luther Vandross – "I Know Remix"
 * Chico DeBarge – "Love Still Good"
 * Myron – "Destiny"
 * Debelah Morgan – "Yesterday"
 * Chico DeBarge – "Virgin"
 * Imajin – "No Doubt"

1999

 * Foxy Brown feat. Total – "I Can't"
 * Celine Dion – "Then You Look at Me"
 * Honeyz – "Love of a Lifetime"
 * 702 – "Where My Girls At?"
 * R. Kelly feat. Nas – "Did You Ever Think" (remix)
 * Kelly Price feat. Jermaine Dupri – "Secret Love"
 * 702 – "You Don't Know"
 * Blaque – "I Do"
 * Jessica Simpson – "I Wanna Love You Forever"
 * Blaque – "Bring It All to Me"
 * Britney Spears – "Born to Make You Happy"
 * Marc Nelson – "15 Minutes"
 * Shanice – "When I Close My Eyes"
 * Shanice – "You Need A Man"
 * Mint Condition – "If You Love Me"
 * Trisha Yearwood – "You're Where I Belong"
 * Joy Enriquez – "How Can I Not Love You"
 * Chico Debarge – "Give You What You Want (Fa Sure)"

2000

 * Celine Dion – "Live (For the One I Love)"
 * TLC – "Dear Lie"
 * Joe – "I Wanna Know"
 * Toni Braxton – "He Wasn't Man Enough"
 * Mary J. Blige – "Your Child"
 * Toni Braxton feat. Dr. Dre – "Just Be A Man About It"
 * Joe – "Treat Her Like a Lady"
 * Kelly Price – "You Should've Told Me"
 * Toni Braxton – "Spanish Guitar"
 * Kandi – "Don't Think I'm Not
 * 98 Degrees – "My Everything"
 * Ruff Endz – "No More"
 * BeBe Winans feat. Joe and Brian McKnight – "Coming Back Home"
 * Chanté Moore – "Straight Up"

2001

 * Lucy Pearl feat. Snoop Dogg and Q-Tip – "You"
 * Ray J feat. Lil' Kim – "Wait a Minute"
 * Mary Mary feat. Kirk Franklin – "Thank You"
 * Blu Cantrell – "I'll Find a Way"
 * Fat Joe feat. R. Kelly – "We Thuggin'"
 * Babyface – "What If"
 * R. Kelly – "The World's Greatest"
 * Britney Spears – "Overprotected" (original version)
 * R. Kelly – "The Storm Is Over Now"
 * The Isley Brothers feat. R. Kelly and Chanté Moore – "Contagious"
 * R. Kelly – "Feelin' on Yo Booty"
 * Remy Shand – "Take a Message"

2002

 * Fat Joe feat. Ashanti – "What's Luv?"
 * Joe – "What If a Woman"
 * Nelly – "Hot in Herre" (version 1)
 * Christina Milian – "When You Look at Me"
 * Kirk Franklin – "Brighter Day"
 * Joe – "Let's Stay Home Tonight"
 * Laura Pausini – "Surrender" (version 1)

2003

 * Nick Lachey – "Shut Up"
 * R. Kelly – "Ignition (Remix)"
 * The Isley Brothers feat. JS – "Busted"
 * The Isley Brothers feat. R. Kelly – "What Would You Do?"

2005

 * B5 – "All I Do"
 * Britney Spears – "Do Somethin'"
 * R. Kelly feat. Wisin & Yandel – "Burn It Up"
 * Artists for Hurricane Relief – "Come Together Now"
 * Sharissa feat. R. Kelly – "In Love with a Thug"

2006

 * The Isley Brothers – "Just Came Here to Chill"
 * Joe feat. Papoose – "Where You At"
 * 3LW feat. Jermaine Dupri – "Feelin' You"
 * Mary J. Blige – "Take Me as I Am"

2007

 * Paula DeAnda feat. Bow Wow – "Easy"

2008

 * Trina – "Single Again"
 * Enrique Iglesias feat. Lil Wayne – "Push"
 * Joe – "Why Just Be Friends"

2009

 * Miranda Cosgrove – "About You Now"
 * Toni Braxton – "Yesterday"

2010

 * Dru Hill – "Love MD"
 * Toni Braxton – "Make My Heart"
 * Toni Braxton – "Hands Tied"
 * Cymia – "Kid Nation"
 * Chris Willis – "Louder"
 * Shayne Ward – "Gotta Be Somebody"

2011

 * Jay Sean featuring Lil Wayne – "Hit the Lights"
 * Kat Graham – "Love Will Never Do Without an Escapade (Janet Mashup)"

2012

 * Toni Braxton – "I Heart You"

2014

 * Joe feat. Kelly Rowland – "Love & Sex, Pt. 2"

2017

 * Toni Braxton – "Deadwood"

Film

 * Honey (2003)
 * Beauty Shop (2005)
 * Bring It On: Fight to the Finish (2009)
 * Honey 2 (2011)
 * Rags (2012)
 * Addicted (2014)
 * Drumline: A New Beat (2014)
 * The Perfect Match (2016)
 * Honey 3: Dare to Dance (2016)

title: Bille Woodruff


text:
Wikipedia:Articles for deletion/Baseball gods

 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 02:08, 19 Apr 2005 (UTC)

Baseball gods
Too minor of topic and subject doesn't really exist -Naif 09:26, 13 Apr 2005 (UTC)
 * The subject will have to be better documented to survive this process. Delete. Fire Star 13:34, 13 Apr 2005 (UTC)
 * Delete Unless documented. Dsmdgold 00:57, Apr 14, 2005 (UTC)
 * Delete, not notable, trivial. Megan1967 07:45, 14 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:
Talk:Ŭ

Ŭ in Belarusian Łacinka first publicly used in 1891?
The supposition that Ŭ was taken by L. L. Zamenhof from the Łacinka alphabet seems to be erroneous. Rather it must be the other way round. According to article "Belarusian Łacinka", by Mikałaj Pačakejeŭ, University of Cambridge, Darwin College, Cambridge Ukrainian Studies (CUS), archived at 2007 04 11 the sign was first used by the poet Francišak Benedykt BAHUŠEVIC in his 1891 debute collection. Well, the first book on Esperanto, the so-called "Unua libro", emerged in 1887. Therefore the "Zamenhof hypothesis" must be changed. Wheter Bahuševic got his inspiration from Zamenhof (Esperanto was quite popular in Eastern Europe at the time, and Bahuševic's precedessors used a letter more similar to ú or û) or the two Ŭs developed independently, I cannot say, but both possibilities should at least be pointed out in the article. Bab from the Esperanto Wikipedia --129.177.202.170 09:32, 13 Apr 2005 (UTC)

 * There does appear to be some doubt. I've added a paragraph to the article. Jordi·✆ 12:30, 13 Apr 2005 (UTC)

title: Talk:Ŭ


text:
Ulla Anttila

Ulla Mari Ainikki Anttila (born 13 December 1963 in Helsinki) is a Finnish politician and a former member of Finnish Parliament, representing the Green League. She was first elected to the parliament in 1991 and left the parliament 2007. She is also a member of the city council of Vantaa (1985–1996, 2005-).

In 2011 she became the acting Executive Director of KIOS (the Finnish NGO Foundation for Human Rights) and in 2013 she took the job on completely.

Anttila was born in Helsinki, Finland. She has a Master's degree in Social psychology from the University of Helsinki. She is married to Tero Taponen. They have two children, Alli (b. 1994) and Taru (b. 1997).

title: Ulla Anttila


text:
User talk:194.81.44.127

November 2018
Please refrain from making unconstructive edits to Wikipedia, as you did at Xbox modding. Your edits appear to constitute vandalism and have been reverted. If you would like to experiment, please use the sandbox. Repeated vandalism may result in the loss of editing privileges. Thank you. Daiyusha (talk) 10:11, 6 November 2018 (UTC)
 * If this is a shared IP address, and you did not make the edits, consider creating an account for yourself or logging in with an existing account so you can avoid further irrelevant notices.

title: User talk:194.81.44.127


text:
Thomas Dundas

Thomas Dundas may refer to:

 * Thomas Dundas (of Fingask and Carronhall) (died 1786), MP for Orkney and Shetland
 * Thomas Dundas, 1st Baron Dundas (1741–1820), British politician
 * Thomas Dundas (British Army officer) (1750–1794), governor of Guadaloupe
 * Thomas Dundas (Royal Navy officer) (c. 1765–1841), British naval officer of the Napoleonic Wars
 * Thomas Dundas, 2nd Earl of Zetland (1795–1873), British nobleman and politician
 * Thomas Dundas (High Sheriff) of Sussex

title: Thomas Dundas


text: Template:Bus-stub

title: Template:Bus-stub


text:
Talk:Gothiscandza

Scandza
Scandza came from Skåne (Swedish) the southern part of Sweden. Skanör is the most dangerous place for sandbarrels. The ship take "skada". From skada to "skada - öresund" (skanör). Scandza to scania to scandinavia and landscape Skåne. Here in southern Sweden many names comes from south - because the people originally move from south towards north. Scania therefore reflected Scandinavia. —Preceding unsigned comment added by 213.66.89.29 (talk) 17:05, 16 October 2010 (UTC)

Does Scandza actually occur as simplex in Jordanes (as claimed on Scandza)? This would speak against the reading gutisk-andja. We should make clear how much depends on the competing analyses of gutisk-andja and guti-skandja (haplological for gutisk-skandja?) dab (ᛏ) 09:39, 13 Apr 2005 (UTC)

 * Yes, sure. You can have a go at the article. I am writing an article at the moment, and then I have to go teaching.--Wiglaf 09:44, 13 Apr 2005 (UTC)

 * Well, I can't remember having seen anything but Scandza and Gothiscandza in Getica. The interpretation Gothi-Scandza seems plausible, but I hesitate about the meaning of it. Could it be the "Gothic Scandinavia"?--Wiglaf 22:22, 13 Apr 2005 (UTC)
 * "gothi-" seems rather strange. It would have to be "gothisk-". Jordanes, according to Mierow's translation (is the original text online?) does have the simplex, Scandza, right in the introduction:
 * "The same mighty sea has also in its arctic region, that is in the north, a great island named Scandza, from which my tale (by God's grace) shall take its beginning."
 * Now, Gothiscandza appears right next to Scandza:
 * " Now from this island of Scandza, as from a hive of races or a womb of nations, the Goths are said to have come forth long ago under their king, Berig by name. As soon as they disembarked from their ships and set foot on the land, they straightway gave their name to the place. And even to-day it is said to be called Gothiscandza."
 * and the implication would be that the names are related. This may be Jordanes' misunderstanding, though. How are we going to reconcile Pliny's Scandia and Jordanes Scandza? It seems quite possible that Scandinavia was simply Scandia, and the new home of the Goths was Gutisk-andza. Jordanes (or his sources) would have misunderstood this as Guti-skandza and believed that Scandza=Scandia. This is just my own speculation at this point, but I am sure this must be discussed in literature somewhere, I'll try to find a reference. The alternative would be that it was, indeed "gutisk-skandja" which was simplified (haplology, even the barbarians weren't fond of saying "-sk-sk-" all the time) to "gutiskandja" and rendered as "gothiscandza" in Latin. dab (ᛏ) 17:21, 25 Apr 2005 (UTC)

 * Yes, there must be some literature on this. Here are some links to Latin versions of the text IORDANIS DE ORIGINE ACTIBUSQUE GETARUM and IntraText. My objection to the interpretation Gothisk-skandza/ia is semantic. If they migrated from Scandia, there would be a strong metonymic relationship between Goths and Scandza, as between Englishmen and Britain. Now, naming the new settlement Gothic Scandza would be to lift out that metonymy, but for a new location, when the old location would still be very much alive as a concept. Imagine that someone called New England English Britain, then it would seem rather strange. This is due to the metonymic relationship between English and Britain which makes the application to a new location seem unlikely. Then again, the tradition of a Scandinavian origin may be inspired by the similarity between Scandia and Gothiscanza.--Wiglaf 20:50, 25 Apr 2005 (UTC)

Madison Grant's map

This is the perfect illustration for the article Gothiscandza. The Goths from Scandinavia crossing the Baltic around 1900 BC to the Vistula Basin. /Pieter Kuiper 22:43, 22 August 2007 (UTC)

Note: Berig removed part of Pieter Kuiper's post here. As per talk page guidelines, I restored the post, adding "thumb" to reduce the displayed image size. — Athaenara ✉  20:40, 23 August 2007 (UTC)

 * I restored the Third opinion request. To user Berig Briangotts:  in order to aid editor consensus, and rather than relying upon edit summaries alone, please comment here on your reasons for removing the map from the article. — Athaenara  ✉  20:52, 23 August 2007 (UTC)

 * Further confusion: It was  who removed the image from the article, while it was  who removed it from this talk page.  I'm assuming neither that they're the same editor nor that they are two editors; I simply don't know.  — Athaenara  ✉  21:08, 23 August 2007 (UTC)

Before you even raise the possibility that Berig and I are sockpuppets of one another, a cursory review of each of our edit histories might be in order. It's an extremely serious allegation to even point out the possibility of, albeit obliquely. Briangotts (Talk) (Contrib) 13:31, 24 August 2007 (UTC)

There is no dispute here...merely a contention. This or these individual(s) acts through subterfuge and fails to properly defend his position. Restore the map and request admin help in blocking/warning this or these individual(s). :)  DRosenbach  ( Talk 04:03, 24 August 2007 (UTC)
 * I followed up on DRosenbach's view and restored the map to the article. I don't know what the best placement would be, but I think not at the top of the article.  — Athaenara  ✉  04:38, 24 August 2007 (UTC)

I have commented on this map at Talk:Berig, and my comments hold true for this article as well. In short, it is a map created by a non-historian eugenicist who based it on outdated notions of race (i.e., to prove that the "Nordic race" was superior to the "alpine" and "Mediterranean" races. It was not based on serious historical research or archeoglogy. It is very relevant in the article about Madison Grant, as it illustrates his ideas. Its placement in a history article, to illustrate that history is entirely improper. I note further that here Pieter acknowledges that the Grant map is pseudoscience. Don't see any good faith dispute here. Briangotts (Talk) (Contrib) 13:31, 24 August 2007 (UTC)

 * The only reason for Briangotts censoring this map is that Madison Grant is in general disrespect now. That is not relevant. What counts is that this is a detailed, high-resolution map in nice colors, showing Goths settling in the Vistula Basin. If Briangotts prefers an illustration of similar relevance and quality from some old historical atlas, that would be fine with me. But it does not seem that Briangotts is prepared to make that effort of trying to find a suitable replacement. He is just erasing. /Pieter Kuiper 14:00, 24 August 2007 (UTC)

 * The map is not a reliable source. Berig's map is referenced to a number of reliable historical sources and its placement is therefore proper. Being "in nice colors" is not a qualification for an image appearing or being used for a particular purpose. While I would like to find a "detailed, high-resolution map in nice colors" as PK suggests, it is certainly not my responsibility to do so. It is his responsibility to demonstrate why the map is appropriate here, and he has failed to do so in any substantive manner.
 * I have tried to assume good faith on PK's part as he clearly has not reviewed or understood many of WP's policies but it is getting difficult. Briangotts (Talk) (Contrib) 14:22, 24 August 2007 (UTC)

 * I suggest that Briangotts read WP:IMAGES. This map is pertinent, and it is properly sourced. /Pieter Kuiper 14:34, 24 August 2007 (UTC)
 * Well, if you write a section on racist and nazi theories in relation to Gothiscandza, it may have a place in the article.--Berig 16:36, 24 August 2007 (UTC)
 * Quite so. The map is suitable for a particular purpose- that purpose being to illustrate the theories of Madison Grant and others who subscribed to similar, outdated racial theories. It is not suitable to illustrate historical fact. "Properly sourced" means only that the source is given, it does not mean that the source is reliable for the purpose the map is used for. Briangotts (Talk) (Contrib) 17:29, 24 August 2007 (UTC)

As a final comment from me, as I've been keeping an eye on this discussion since it was posted on 3o, is that you may need to take this to WP:RFC/HIST for a wider community view if you're unable to come to an agreement. 3o isn't applicable any more as there's more than two editors involved in the discussion already, but RFC may be what you need to form a wider consensus. --User: (talk) 17:11, 24 August 2007 (UTC)
 * It might be a good idea, Darkwind. However, before it happens I'd like to have a real discussion with Athanarea and DRosenbach about their motivation for a racist pseudo-scientific map in an article on a 6h century legend. IMHO, such a map is highly off-topic and there are many many maps that are more relevant.--Berig 17:33, 24 August 2007 (UTC)
 * Yes, I don't know if it's entirely clear, but just to remove any confusion: The map was created by a pseudoscientific racist with no training in what we would consider the modern disciplines of history, archeology or anthropology, who believed without evidence in nonexisitent "Nordic", "Alpine", and "Mediterranean" races (which are depicted on this map). He further believed that all of the great acheivements of civilization were the result of the Nordic race's superiority and held non-whites in contempt. This is the background of the map that is being defended here to illustrate historical fact. Briangotts (Talk) (Contrib) 17:44, 24 August 2007 (UTC)
 * Even if the above were NOT true, the map is hopelessly flawed because it purports to illustrate 2000 years of history in one map, mixing together people who lived at vastly different times without proper annotations. Briangotts (Talk) (Contrib) 17:47, 24 August 2007 (UTC)
 * I do, however, believe that the map is appropriate in such articles as Nordic theory (to which I have added it), since it is not used in those articles to illustrate historical fact but rather to illustrate the discredited theories discussed therein. Briangotts (Talk) (Contrib) 17:59, 24 August 2007 (UTC)

As one of the Third opinion Wikipedians, I saw that a request had been posted and removed and, upon investigation, found further that an article talk page post by one user, whose edits were being reverted by a second user without discussion, had been altered (again without discussion) by a third user.

WP:3O followed up on that, and now there is discussion. — Athaenara ✉  18:09, 24 August 2007 (UTC)

 * Peter, I can't see how Wikipedia could justify use of that map in the context you want to use it. It was created by a lawyer who believed in eugenics. There's no indication of specialist knowledge on his part, or that his ideas were accepted by mainstream thinkers. SlimVirgin  (talk) (contribs) 18:15, 24 August 2007 (UTC)

 * The appearance of the Grant's map, especially the area I cropped, is very similar to other maps. I dug up my DTV-Atlas zur Weltgeschichte (1964). On page 20 (pre-classical times) is a B/W map with "Germanen" in Scandinavia and in Northern Germany. It is almost drawn as a bridgehead in warfare, sharp knife-like arrows protruding into the rest of Europa. On page 108 is a map about migrations in the first millennium. The island Bornholm is labeled Burgunderholm, Goths arrive with an arrow in the Vistula Basin. Some Germanic tribes are labeled with a question mark. Page 110 has "Gauten" in Sweden and "Dänen" in Denmark, but Slavs have pushed back the germanic area almost to the Weser. Did that draftsman have political convictions? Probably. /Pieter Kuiper 19:00, 24 August 2007 (UTC)
 * Please, stick to the topic Pieter. We are discussing why you want a racist map by Madison Grant in this article, not your opinion whether it has scattered resemblances to scholarly maps.--Berig 19:11, 24 August 2007 (UTC)
 * Please keep discussion within the limits specified in the civility and no personal attacks policies. Thank you.  — Athaenara  ✉  20:19, 24 August 2007 (UTC)
 * Athaenara. Could you please explain in what way my previous post was a personal attack? You are making a very serious allegation here. There are many scholarly maps that he could have used instead, and as you probably know most pseudo-scientific maps have things in common with scholarly maps. That is why I asked him to stick to the topic.--Berig 06:18, 25 August 2007 (UTC)
 * The DTV-Atlas zur Weltgeschichte (1964) is not PD; so I cannot use it here. This image by Shepherd is free: Image:German migrations 150 1066.jpg. However, it the wrong period to be pertinent as an illustration of the Jordanes story. Also, it is not as visually attractive. /Pieter Kuiper 07:38, 25 August 2007 (UTC)

 * There are maps on commons that you could have used, like Image:Karte völkerwanderung.jpg. I take the liberty of showing it here, since your map appears to be permitted to be shown.--Berig 07:46, 25 August 2007 (UTC)
 * Where was that map published? Seems unsourced to me. Also, the period 150-200 cannot pertain to Jordanes story. /Pieter Kuiper 07:55, 25 August 2007 (UTC)
 * I think 150 AD is relevant to Jordanes' account since the Goths are commonly held to have been residing in northern Poland at the time.--Berig 08:07, 25 August 2007 (UTC)
 * According to Jordanes they were out of there before the Trojan War. /Pieter Kuiper 08:18, 25 August 2007 (UTC)
 * According to Jordanes, Gothiscandza was still called so in the 6th c. AD (And even to-day it is said to be called Gothiscandza.). Moreover, according to archaeologists the Goths did not leave the territory until the 3rd and the 4th centuries AD. So, I am afraid that there are some problems with your argumentation here.--Berig 13:39, 25 August 2007 (UTC)

Already 1887 K. Müllenhoff believed that Cassiodorus had just invented the name "Gothiscandza" (cited by Arne Søby Christensen). Archeologists have not uncovered any road signs with incriptions "Gothiscandza" as far as I am aware. /Pieter Kuiper 13:58, 25 August 2007 (UTC)
 * The degree of reliability of Jordanes' Getica is a continuing academic debate to be solved in scholarly publications, not on this talkpage.--Berig 14:06, 25 August 2007 (UTC)
 * The name Gothiscandza is generally considered to live on in modern "Gdansk". /Leos Friend 19:45, 25 August 2007 (UTC)
 * Generally?? Will the city have a 3500-year brthday bash in 2010?? /Pieter Kuiper 19:54, 25 August 2007 (UTC)
 * Ever heard of Egypt or Hellas? You can check Gdansk and Gdynia river up on Google. /Leos Friend 19:58, 25 August 2007 (UTC)

Scandza came from Skåne (Swedish) the southern part of Sweden. Skanör is the most dangerous place for sandbarrels. The ship take "skada". From skada to "skada - öresund" (skanör). Scandza to scania to scandinavia and landscape Skåne. Here in southern Sweden many names comes from south - because the people originally move from south towards north. Scania therefore reflected Scandinavia. —Preceding unsigned comment added by 213.66.89.29 (talk) 17:01, 16 October 2010 (UTC)

Vote

Athaenara, DRosenbach and Pieter Kuiper have argued that we should use a map Image:Goths(Madison Grant).jpg, cropped by Pieter Kuiper from a map by Madison Grant, in the article, whereas SlimVirgin, Briangotts and I have argued that we should not. In order to reach a solution and avoid further edit wars, I suggest that we have a vote:

 * Oppose. A map made by a eugenics advocate who was neither an archaeologist nor a historian.--Berig 13:52, 25 August 2007 (UTC)
 * Keep. A visually attractive map, properly sourced, illustrating a naïve reading of Jordanes, made by a competent draughtsman. /Pieter Kuiper 14:23, 25 August 2007 (UTC)
 * Oppose per Berig. Briangotts (Talk) (Contrib) 16:18, 25 August 2007 (UTC)
 * Remove pseudo-historical map so as not to mislead our readers. --Ghirla-трёп- 17:17, 25 August 2007 (UTC)
 * The map is just reflecting Getica 25, "Scandza, a hive of races or a womb of nations" (which was misleading Ostrogothic state propaganda, I agree). /Pieter Kuiper 17:34, 25 August 2007 (UTC)
 * Oppose. The only reason P.K. wants this map here is because he wants to discredit Jordanes and defenders of the classical/traditional history view. It would be very easy to draw a new map depicting Jordane's descriptions. /Leos Friend 19:55, 25 August 2007 (UTC)
 * Such a map would be original research (WP:OR). /Pieter Kuiper 20:18, 25 August 2007 (UTC)
 * Removal from dispute. My profuse apologies -- when I provided a 3PO, it was my understanding that the argument was between one editor who had been posting his/her position and another editor who was merely editing/posting/deleting things without contributing to the dispute argument on the talk page.  It was for this reason that I recommended that the map be replaced and those editing without discussing should be blocked as vandals.  As I have been alerted that this was not the case, my recommendation should be struck from the record and I will henceforth not involve myself in this dispute.  Sorry. :)  DRosenbach  ( Talk 01:55, 26 August 2007 (UTC)
 * Oppose per Berig. Valentinian T / C 23:11, 9 September 2007 (UTC)

 * comment - if someone may make some type of explanation to the values of using the mape and the cons, i may be able to get more acquainted with the material and perhaps give an uninvolved party opinion. otherwise, it's a bit too vague for me.  Jaakobou Chalk Talk  21:19, 2 October 2007 (UTC)

Kulikowski on intellectual continuity
Michael Kulikowski writes on page 49 of "Rome's Gothic Wars":
 * Recent debates about barbarian society and Gothic origins have been poisoned by the mistaken belief that the intellectual continuity of pre- and postwar scholarship must imply political continuity. That is simply not the case. Yet the fact of this intellectual continuity is of fundamental importance, not for political reasons, but because it shows that the most self-consciously modern work on the barbarians rests on older scholarship rooted in a quest for Germanic origins. The Goths, and in particular Jordanes' Gothic history, have been central to any such quest since the Renaissance, and much of the continued reliance on Jordanes is rooted in that time-honoured tradition. Unfortunately, Jordanes' history cannot bear the weight that is placed on it.

/Pieter Kuiper 18:22, 6 September 2007 (UTC)

Gothiscandza and Kossinna
On the, now deleted as unreferenced, notion about the re-introduction of Gothiscandza to the German scholarship via Gustav Kossinna: it does exist. It was mentioned by Rolh Hachmann, Die Goten und Skandinavien, De Gruyter, 1970. Someone with access to that work may verify, provide page number and re-incarnate the deleted text in the article. Dipa1965 (talk) 21:42, 18 June 2008 (UTC)

Peter Kuiper: it would be better to find the page number before reviving the connection between the importance of Gothiscandja and a 19th-20th century racist archaeologist. Then put this info in the article as an in-line citation or footnote. This is how proper references are made. Otherwise, Berig may revert it again, although the rest of the article misses a lot of references too. I am sure no one wants another edit war. Dipa1965 (talk) 16:12, 19 June 2008 (UTC)

 * I read about Kossinna in a book that I had on interlibrary loan, probably Mikael Kulikowsky, maybe Arne Søby Christensen. The wikilink to Kossinna is in itself a reference. /Pieter Kuiper (talk) 21:41, 19 June 2008 (UTC)

 * I fail to see why Pieter Kuiper finds racist theories notable in this case, when there's non-racist scholarship to refer to. Maybe he could also add non-racist scholars to the article?--Berig (talk) 13:48, 10 July 2008 (UTC)

 * I agree with the move of Kossinna reference from the lead, because it suits better to the current structure of the article. It remains important, though, because of the revival of the Gothiscandza and also of his role in the creation of the "archaeologic-linguistic" school. Kossinna's theories actually still have a strong, though indirect, influence on the modern scholarship in Germany, Scandinavia and elsewhere. They also exercise a strong direct influence on the basic education institutions of those countries, as I am pretty sure one can easily notice in the editing history of this article. Dipa1965 (talk) 19:09, 10 July 2008 (UTC)

On a side note, the problem with the recent edits isn't Kossinna himself but our bias that tries to push the balance of controversial articles to the desired POV. Removal of warning templates and hasty incorporation (and removal) of unreferenced connections to deprecated scholars do prove that here. What we should do in such cases is to present all notable povs (properly referenced). For instance, I do think that Jordanes' story about Gothiscandza is almost entirely fictional, but what view *I* prefer doesn't matter since there is not such a thing as a scholarship consensus on the historicity of the Gothiscandza. Quite important scholars like H. Wolfram, R. Wenskus, W. Pohl and P. Heather did found some (or much) value in it while others, like Hachmann, Goffart, Amory et al., discredited it completely. However, the article in its current form doesn't even present a properly cited version of that POV. What I see is large amounts of original research and en masse copying of (also unreferenced) material from the Wielbark culture article. Dipa1965 (talk) 19:40, 10 July 2008 (UTC)
 * and the unreferenced-material saga continues.... Is it so hard for you people to cite a reliable source that supports your edits? --Dipa1965 (talk) 18:48, 19 January 2009 (UTC)
 * The new stuff that has now been added to the lead with "several archeologist and historians have proposed" is rather questionable when one reads Gdansk (sources are quoted there). /Pieter Kuiper (talk) 12:45, 20 January 2009 (UTC)

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Gdansk
Why is it left out that this is the original name of Gdansk?188.172.108.164 (talk) 07:46, 8 September 2021 (UTC)

title: Talk:Gothiscandza


text:
BMW Headquarters

The BMW Headquarters (BMW-Vierzylinder, lit. 'BMW four-cylinder'), also known as the BMW Tower (German: BMW-Turm or BMW-Hochhaus), is a high-rise building located in the Am Riesenfeld area of Munich, Germany. The building has served as the global corporate headquarters of German automaker BMW since 1973. It was declared a protected historic building in 1999, and it is often cited as one of the most notable examples of modern architecture in Munich. Extensive renovations commenced in 2004 and were completed in 2006.

Concept and construction
The tower was built between 1968 and 1972, and it was ready in time for the 1972 Summer Olympics. The inauguration followed on 18 May 1973. The 101 m building is located next to the Olympiapark and BMW's main factory. The tower's exterior is supposed to mimic the shape of four cylinders in a car engine, with the Museum building representing a cylinder head. Both buildings were designed by the Austrian architect Karl Schwanzer.

The tower consists of four vertical cylinders standing next to and across from each other. Each cylinder is divided horizontally in its center by a mold in the facade. Notably, these cylinders do not stand on the ground; they are suspended on a central support tower. During construction, individual floors were assembled on the ground and then elevated. The tower has a diameter of 52.30 m and has 22 occupied floors, two of which are basements and 18 of which serve as office space.

BMW campus
The BMW Museum is located right next to the tower while BMW Welt, which showcases the current cars of BMW and acts as a distribution centre, opened on the opposite side of the road on 17 October 2007.

Popular culture
During the 1972 Summer Olympics, BMW branding was removed from the buildings to prevent product placement. BMW badging was also removed from the 2002 sedans, which accompanied Olympic marathon runners during the competition. The branding was removed again for the building's cameo appearance in the 1975 film Rollerball, replaced by large orange circles, meant to stand for the fictional ruling Energy Corporation of the future.

The building also made an appearance in the 1977 horror film Suspiria.

title: BMW Headquarters


text: Category:Jewish history timelines

title: Category:Jewish history timelines


text:
Directgov

Directgov was the British government's digital service for people in the United Kingdom, which from 2004 provided a single point of access to public sector information and services. The site's portal was replaced (along with the Business Link portal) by the new GOV.UK website on 17 October 2012, although migration of all services to GOV.UK branding took several years.

The content was developed by government departments, working with a central Directgov team. The main outlet was the website, though content and services were also delivered via mobile telephones.

Directgov received more than fifteen million visits a month in 2008, from around eight million unique users. In September 2007, the site received its one hundred millionth visitor since its launch in April 2004.

Launch
Directgov was launched in April 2004, replacing the Ukonline portal. Rather than just providing links to government departments as UKonline had done, Directgov carried its own material, designed around users' needs. The first three sections were for motorists, disabled people and parents.

By 2006 the site had over ten million visits per month, and involved 18 government departments.

Departmental responsibility
In April 2006, Directgov moved from the e-Government Unit (eGU) within the Cabinet Office to become part of the Central Office of Information (COI), an executive agency of the Cabinet Office.

As part of the Transformational Government strategy, an annual report was published in January 2007 stating that hundreds of government websites would be shut down "to make access to information easier" for people. In future, most government information would be streamlined through two main "supersites" – either Directgov (for citizens) or Businesslink.gov.uk (for businesses). It was reported at the launch of the strategy that of 951 websites, only 26 would definitely stay, 551 would definitely close and hundreds more were expected to follow. About £9 million a year was expected to be saved over three years by cutting back on sites that did not serve a useful purpose.

On 1 April 2008, Directgov moved again, from the COI to the Department for Work and Pensions (DWP), in a machinery of government change.

By the end of the fourth quarter of 2009 Directgov reported traffic statistics of circa 20 million hits a month from over 8 million unique users.

A national TV and radio advertising campaign was launched in January 2010 featuring a number of celebrities including Suggs, Honor Blackman and Kelly Brook.

On 20 July 2010, Directgov was moved back to the Cabinet Office from the Department of Work and Pensions. On 1 April 2011 Directgov became part of the Government Digital Service, overseen by the Public Expenditure Executive (Efficiency & Reform) which was co-chaired by Minister for the Cabinet Office, Francis Maude and the Chief Secretary to the Treasury, Danny Alexander.

Replacement
On 13 September 2012, through a notice on the Directgov homepage, it was announced that the GOV.UK project, built by the Government Digital Service, would replace Directgov as the primary website of the UK government on 17 October 2012. The Directgov portal was closed and redirected to the new website from that date. Services provided by Directgov were not fully replaced for a number of years: for example, in 2018 the Universal Jobmatch service and the blue badge application form were still provided from direct.gov.uk webpages.

Services
The website was primarily an information resource, providing users with officially written advice and information targeted to specific topics (e.g. motoring, money) and audiences (e.g. disabled people, parents). It also provided directories of government departments, agencies and local councils. There was also a Welsh language version of the site.

Document applications
Over time, access to online government transactions and public services was added to the site. The site linked to a number of online transactions and forms such as applying for a passport, buying a television licence, car licensing, registering to vote, and completing a Self Assessment tax return.

Local services
From 2006, users in England were able to find out about a wide range of services provided by local councils in their area, from reporting illegally dumped rubbish to renewing a library book. Direct links to each type of service were collected from every local authority through the Local Directgov programme.

Budget documents
In a strategic partnership with HM Treasury and the BBC, Directgov hosted the Budget Day documents in March 2010 and June 2010. On Budget Day Directgov also provided real time updates from the Chancellor's speech on Twitter with the account @Directgov and using a custom Twitter widget. This strategic partnership was extended to cover the Comprehensive Spending Review on 20 October 2010.

Directgov ceased hosting documents for the Budget from 23 March 2011, with HM Treasury becoming the sole government host. Directgov focused instead on providing information for the public on how the Budget could affect them.

Alternative versions
A separate website branded as DirectgovKids was designed to help children aged 5 to 11 find out about the world around them, by exploring the places and people in their local community. The Flash animated site was based around a cartoon globe, with interactive buildings including a police station, a town hall and a school.

A version of Directgov for mobile phones was available by typing direct.gov.uk/mobile into the phone's browser.

Directgov was also available through analogue teletext pages as well as digital interactive television on Freeview channel 106 until 1 July 2010, Sky until 22 December 2010 and Virgin Media until 31 March 2011.

Directgov also provided a service that covered country-wide customised maps for blue badge holders, In addition to council policies, this service also would pinpoint the location of features specific to the disabled community.

Social media and article comments
Directgov was active on Twitter, Facebook and YouTube.

In April 2010 Directgov launched a "Comment on this Article" feature on each page allowing users to give articles one of five ratings ranging from "Very useful" to "Not at all useful". Users could also leave comments of up to 500 characters about how a page could be improved, but were asked not to include any personally identifiable information. Directgov collected the data from the comments feature for use in customer insight and product improvement, and published an overview of monthly ratings online.

Criticism
In 2005, several internet activists affiliated with mySociety wrote Directionlessgov.com to demonstrate that they could build something better in under an hour, by using a simple web page that linked to the Google search engine. Directionlessgov was later upgraded to compare the results of Directgov's own search engine with the Google results side by side. In discussion, one of the authors wrote:

"To me the [point we are] making is not that direct.gov should be licensing Google's search... it is that direct.gov should not exist at all - in practice everybody types what they want to do into Google. With the budget saved... instead optimise text and titles on government websites i.e. do some Search Engine Optimisation. Run user tests to find the terms that people search for when wanting to do things that government can help them with. Arrange that Google, Yahoo! and MSN searches for those terms take them to the correct site."

In an interview with The Guardian newspaper in August 2007, the Chief Executive of Directgov, Jayne Nickalls, responded:

"Directionless does work a lot of the time. But it misses the point that Directgov joins up information for the citizen in a way that they understand. If you do a Google search you will get the information from a number of places and the citizen has to do the linking up for themself."

title: Directgov


text:
Rutherford B. Hayes Presidential Center

The Rutherford B. Hayes Presidential Center is a complex comprising several buildings related to the life and presidency of Rutherford B. Hayes. It is the first presidential library, built in 1916, and one of three such libraries for US presidents during the 19th century.

History
Located in Fremont, Ohio, the Rutherford B. Hayes Presidential Center comprises the Rutherford B. Hayes Museum and Library and Spiegel Grove, an estate encompassing the Hayes home, residence to several generations of the Hayes family. Opened in 1916, the Rutherford B. Hayes Center Library was one of the first presidential libraries. The center is supported by the private foundations, the Ohio Historical Society and Hayes Presidential Center Inc.

The library holds the 12,000 volume personal library of Rutherford B. Hayes, as well as materials relating to his military and political career, particularly of his presidency from 1877 to 1881. It also contains 70,000 volumes plus newspapers and journals from the time of the Civil War to the eve of World War I.

The library was built by the state of Ohio in 1916, and was expanded in 1922 and in 1968. As of 2020, two descendants of President Hayes were serving on the Board of Trustees.

Focus
The library has continued its special interest in Rutherford B. Hayes and concentrates on the history of the U.S. from 1850 to 1917, especially the Civil War, Reconstruction, the Spanish–American War, railroad, education, black history and Indian/government relations. Second, the history of Ohio and the Sandusky River Valley and the Northwest are of interest. There is a large genealogical collection. The library contains history books on nearly every county of Ohio, but also on counties of many other states of the United States

title: Rutherford B. Hayes Presidential Center


text:
City-Hochhaus Leipzig

City-Hochhaus is 36-story skyscraper in Leipzig, Germany. At 142.5 m, it is the tallest multistory building in Leipzig and is located proximately of the eastern part of the inner city ring road in Leipzig's district Mitte. The tower was designed by architect Hermann Henselmann in the shape of an open book, and built between 1968 and 1972. It followed Henselmann's idea to cap central places in cities with a prominent tower, such as the Jen-Tower in Jena and Fernsehturm in Berlin.

City-Hochhaus was originally part of the University of Leipzig campus at Augustusplatz, was sold by the state government of Saxony and is now owned by the U.S. investment bank Merrill Lynch. The building was completely renovated between 1999 and 2002, when it lost its aluminium sheathing which was replaced by grey granite. The offices are now rented to private tenants, including the public broadcaster MDR, the European Energy Exchange and a restaurant called 'Panorama'. The roof is equipped with a viewing platform.

The building is nicknamed Weisheitszahn (wisdom tooth) by locals due to its form, or after its previous function, the Uniriese (university giant).

Panorama
Due to the height and location of the house in the city center, it offers a panoramic view of the entire city. Since 1972, the Panorama Café had been on the 26th and 27th floor during the GDR era, but was closed in 1991. In 2002, after the renovation of the house, the new panorama restaurant was opened. The restaurant now operates under the name "Plate of Art". It was redesigned in 2007 according to plans by the architect Rüdiger Renno and the designer Till Brömme.

A staircase leads from the restaurant floor to the open viewing platform on the 31st floor. At a height of 120 m, it provides a good overview of the city center and far beyond the Leipzig area. Only towards the east-southeast does the spire obstruct the view. Among other things, if the air is clear enough, there are Fichtelberg (110 km), Auersberg (100 km), Kulpenberg, Wurmberg, Brocken (132 km), Viktorshöhe (98 km) and even some Ore Mountains peaks in the Czech Republic (e.g. Jeleni Hora, 109 km) to see. The platform is a popular tourist destination.

Literature

 * Horst Riedel: City-Hochhaus. In: Stadtlexikon Leipzig von A bis Z. PRO LEIPZIG, Leipzig 2012, ISBN 978-3-936508-82-6, p. 91.
 * Wolfgang Hocquél: Leipzig – Architektur von der Romanik bis zur Gegenwart, 1st edition, Passage-Verlag, Leipzig 2001, ISBN 3-932900-54-5, p. 119-121

title: City-Hochhaus Leipzig


text: User:Diderobot~enwiki

title: User:Diderobot~enwiki