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Community band

A community band is a concert band or brass band ensemble composed of volunteer (non-paid) amateur musicians in a particular geographic area. It may be sponsored by the local (municipal) government or self-supporting. These groups rehearse regularly and perform at least once a year. Some bands are also marching bands, participating in parades and other outdoor events. Although they are volunteer musical organizations, community bands may employ an Artistic Director (conductor) or various operational staff.

Community bands can also be known as "town", "citizen", "municipal" (which may pay their members) or "civic" bands. They may use the terms "wind orchestra", "wind symphony" or "wind ensemble" in place of "band". A group of this type often includes the name of the community or organization which sponsors it, the town or county where it is based, or a local geographical landmark or regional term in its name.

Community bands in the United States
In the United States, community band concerts are most frequently given during holidays and patriotic events, such as the Fourth of July, Memorial Day, Father's Day and the lighting of community Christmas trees. During the summer, most community concerts are given outdoors. The size of a community band varies from about ten musicians to over one hundred. During the United States Bicentennial, having a community band was one of the criteria for being designated a "Bicentennial City". There are about 2,500 community bands across the United States.

The modern American community band is rooted in European tradition. Immigrants, like the German Moravians who settled in Pennsylvania and North Carolina, brought the band tradition with them. The Moravians organized bands in towns where they settled and they offered both secular and religious music selections. The Moravian bands are still playing in Moravian communities, such as in Winston-Salem, North Carolina.

Community bands in the United States often emerged from militia or military bands. The earliest amateur bands in the United States did occasionally include woodwind instruments but band and band music emphasized primarily the brass instruments. The popularity of early community bands can be attributed to the participation of thousands of ordinary citizens in these ensembles and the patriotic appeal of the music and performance.

There is one estimate that there were 10,000 bands in the United States in 1889. Of those, close to 100 are still active. Wartime patriotism, such as the War of 1812, the Civil War, World War I and II, and even the war with Iraq have added to the popularity and number of community bands.

In 1921, the famous band composer Karl King was influential in establishing the Iowa Band Law, which allowed cities to levy a local tax "for the maintenance and employment of a band for musical purposes". This law was eventually adopted by 28 other states.

Community bands experienced a great dying out after the end of World War I, victims of the automobile, new mass media and a large cultural shift. This actually led to a rise in school music programs when the death of community bands left instrument manufacturers without a market for their product, so they marketed heavily to schools.

The increased number of musicians who learned to play an instrument in high school or college bands but did not pursue music as a career has also provided a rich pool of amateur talent seeking an outlet for their musical abilities. An increased availability of music written for concert band has also benefitted the community band from after World War II to the present.

Other references

 * Bowen, C. 1995, Adult Community Bands in the Southeastern United States: An Investigation of Current Activity and Background Profiles of the Participants, PhD dissertation, The Florida State University.
 * Cohen, R. 1997. The Musical Society Community Bands of Valencia, Spain: A Global Study of Their Administration, Instrumentation, Repertoire and Performance Activities. PhD dissertation, Northwestern University.
 * Compton, B. 1979. Amateur Instrumental Music in America, 1765-1810, PhD dissertation, Louisiana State University.
 * Keoguh, Sarah Beth, 24 Apr 2003, The Geography of Community Bands in Virginia, Masters Thesis Virginia Polytechnic Institute and State University.
 * Martin, P. 1982. A Status Study of Community Bands in the United States, PhD dissertation, Northwestern University.
 * Marvin, A. 1997. 'Facing the Music: The turn of the century hometown band'. Kansas Heritage 5, 4: 4–8.
 * Neidig, K. 1975. 'A survey of Community bands in the U.S.' The Instrumentalist, 30: 40–47.
 * Rothrock, D. 1991. The perpetuation of the Moravian instrumental music tradition: Bernard Jacob Pfohl and the Salem, North Carolina, bands (1979-1960). Ed. D. dissertation, The University of North Carolina at Greensboro.

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

title: Community band


text:
Jackie Tyler

Jackie Tyler is a fictional character played by Camille Coduri in the British science fiction television series Doctor Who. The character, a resident of contemporary London, is introduced in the first episode of the 2005 revival as the mother of Rose Tyler, a travelling companion of the alien time traveller the Doctor. Jackie is a recurring character during Series 1 and 2 and later makes guest appearances in Series 4 and the 2010 New Year’s special, The End of Time. The character has also appeared in expanded universe material such as the Doctor Who New Series Adventures novels and the Doctor Who Magazine comic strip.

Within the series narrative, Jackie is a widow who lives alone with her daughter Rose until Rose leaves her mundane life behind to travel through time and space with the Doctor. Jackie's feeling of loss and of being left behind is explored in subsequent episodes. As the character is brought into danger by her proximity to the Doctor, she resents his influence over Rose. However, once he undergoes a regeneration, effectively becoming a new man, Jackie realises how much he cares for Rose and begins to have a more cordial relationship with him. The character was written out at the end of the 2006 series, along with Rose, in a storyline which sees them trapped in a parallel universe where Jackie forms a new relationship with an alternate version of her deceased husband Pete Tyler. She later returns in the finale of the fourth series in order to help the Doctor.

In reviving the television series after a sixteen-year hiatus (1989–2005), executive producer Russell T Davies was keen to provide a believable background for the Doctor's companion and a context for her travels to the past and future. The character of Jackie was created, along with Rose's on/off boyfriend Mickey, to keep the series grounded in reality. In writing Jackie, Davies incorporated both comic and tragic elements. Following the departure of the Tyler family, Davies was keen to bring Jackie back alongside Rose for future appearances. Reviewers generally reacted positively to the development of the character, though some identified unlikeable traits.

Television
Jackie is introduced in "Rose" (2005) as the late-thirties single mother of the episode's eponymous character, Rose Tyler (Billie Piper). After the Ninth Doctor (Christopher Eccleston) arrives at Jackie's flat in search of Rose, Jackie attempts to seduce him. She is later attacked by shop window dummies but is saved when Rose and the Doctor destroy the alien consciousness able to control plastic. When Rose returns to London, twelve months have passed; in the intervening year Jackie had organised a missing person campaign to search for her daughter and accused Rose's boyfriend Mickey Smith (Noel Clarke) of murder. She also suspects the Doctor of being an internet predator. She learns the truth about Rose's new life after battling the Slitheen and being present with Mickey as he organises a missile strike to destroy the aliens. The episode "Father's Day" depicts two younger versions of Jackie also played by Coduri. It is shown that whilst Rose was a child (Julia Joyce) Jackie told her idyllic stories of her deceased father, Pete (Shaun Dingwall). Rose attends her parents' marriage, in which Pete is unable to recite Jackie's full name, Jacqueline Andrea Suzette Prentice, and after then travelling ahead to 1987, learns that her father was a failed entrepreneur and that her parents' marriage had been stormy; Jackie suspects Pete is an adulterer and also threatens him with divorce. In the 2005 series finale, "The Parting of the Ways", Jackie is glad to have Rose home after the Doctor returns her to the 21st century from the far future in order to protect her. She is persuaded to help return Rose to save the Doctor after Rose mentions her encounter with her father, reminding Jackie that he would try anything rather than give up.

In the 2005 Christmas day episode "The Christmas Invasion" Jackie is bewildered by the Doctor's new incarnation (David Tennant) and concerned about the side-effects of his regeneration. When he recovers, Jackie is happy for Rose to resume travelling with him. In "Rise of the Cybermen" and "The Age of Steel" (2006) Coduri plays a parallel universe Jackie, who is rich and famous because of the parallel Pete Tyler's success. This version of Jackie is intent on maintaining a facade; she hides the fact her marriage is deteriorating, denies turning forty and chastises Rose for speaking to her whilst posing as staff. Rose and the parallel universe Pete try to save her when the Cybermen invade, but she is killed during the attack. In "Love & Monsters", Jackie expresses how hard and lonely it has been to be left behind by her daughter. After learning a romantic interest, Elton Pope (Marc Warren), only befriended her to track Rose and the Doctor, Jackie, she throws him out of her house, stating a priority to defend the Doctor and Rose. In "Army of Ghosts" Jackie is unwillingly taken in the TARDIS, the Doctor's time machine, to the Torchwood Institute where he brings her on an investigation. In "Doomsday", due to invading Cybermen from the parallel universe, the walls between universes break down and Jackie meets the parallel universe version of Pete. The defeat of warring Cybermen and Dalek armies results in Jackie being sent to the parallel universe, where Rose is also later trapped. In the epilogue it is mentioned that Jackie is in a relationship with Pete and expecting a baby.

In the series four finale episode "Journey's End" (2008), Jackie returns to her original earth with Mickey in order to find Rose, who has travelled back to stop the Daleks destroying reality. Comfortable carrying a large gun, Jackie blows up a Dalek to save former companion Sarah Jane Smith (Elisabeth Sladen). After a half-human genetic clone of the Doctor wipes out the Daleks, Jackie returns to the parallel universe with Rose, who is tasked with healing the new Doctor. It is revealed that Jackie and Pete now have a young son named Tony. Jackie cameos in David Tennant's final story, "The End of Time" when the dying Tenth Doctor visits the Powell estate on New Year's Day 2005 to bid a final farewell to Rose, telling her she will have a really great year..

Literature
Jackie appears in several of the Ninth and Tenth Doctor New Series Adventures novels. In Winner Takes All by Jacqueline Rayner, published in May 2005, Jackie falls for a scheme to take humans "on holiday" to fight in an alien war. A thug who lives in Rose's estate mugs Jackie and takes the "winning ticket" that qualifies her for the trip. Jackie ends up in hospital, but her assailant fares worse: he takes her place as a remote-controlled soldier on an alien planet, and is killed. Jackie makes cameo appearances in Only Human by Gareth Roberts and The Stealers of Dreams by Steve Lyons published in September 2005. In Only Human, a time-lost Neanderthal flirts with Jackie at a London nightclub before Captain Jack Harkness steers him away from her (Jack is helping the Neanderthal adapt to life in the present as the time machine that sent him to the future disrupted his physiology so that he can't be sent back), feeling that Jackie would not appreciate further Doctor-related strangeness in her life. In The Stealers of Dreams, Rose uses the "superphone" to call Jackie from a human colony world in the future. Jackie complains that Rose did not let her know she was going to be in Cardiff during her recent visit to that city. Jackie appears in the introductory section of The Stone Rose, released in April 2006, in which she and Mickey alert the Doctor and Rose to a strange statue of Rose in the British Museum. Released the same month, The Feast of the Drowned by Stephen Cole, is set wholly on contemporary earth and explores the context of Jackie's relationship with Rose further. When Rose is captured by the malevolent "waterhive", Jackie is targeted by ghostly apparitions seeking to lure her to the same fate.

Jackie also appears in the Doctor Who Magazine comic strip "The Green-Eyed Monster" in which she and the Tenth Doctor feign a romantic relationship in order to free Rose from possession by a creature that feeds on jealousy.

Audio drama
Following the folding of AudioGO and Big Finish's acquisition of the new series license, Billie Piper and David Tennant reprised their roles as Rose Tyler and the Tenth Doctor in Doctor Who: The Tenth Doctor Adventures. Coduri reprised her role as Jackie in the story titled Infamy of the Zaross, released in November 2017, where she calls the Doctor and Rose for help when an alien invasion strikes Norwich while Jackie is visiting friends. During this encounter Jackie is teleported up to an alien ship, and overhears crucial information about the Zaross's masters that reveal their true nature. Cordui narrated two short trips titled The Siege of Big Ben and Flight into Hull which depict Jackie working with the Meta-Crisis Doctor; Siege shows Jackie doubting the Meta-Crisis Doctor after he lies to a woman who wanted to use time travel to save her dead husband, and Flight depicts the Meta-Crisis Doctor and Jackie facing another alternate version of Jackie trying to escape her dying world. Coduri featured in the Ninth Doctor Chronicles alongside Piper and Adam Mitchell (Bruno Langley), where she is manipulated into helping sell a new fad that turns out to be a tool of an alien invasion. She also returns in Rose Tyler – The Dimension Canon, where she plays both the "prime" Jackie Tyler now living in Pete's World and two alternate versions of herself, including a world where she and Pete were never married and a world where Pete created a technology that is powered by the life energies of the deceased.

Casting and concept

In creating Rose as a new companion for the 2005 revival of Doctor Who executive producer and lead writer Russell T Davies felt that it would be necessary to examine the questions of "do her family miss her?" and "has she gone missing?" which he believed to be unavoidable questions. Davies created Jackie and Mickey and provided a story structure that would see Rose return frequently to them in order to make her "real" and to "give her a life". In Davies' original pitch for the series, Jackie was initially named Judy Tyler. The roles of Jackie and Mickey were cast alongside other guest characters for the 2005 series' first production block including Joseph Green and Indra Ganesh from "Aliens of London" and "World War Three". Camille Coduri was suggested to casting director Andy Pryor and the other members of the production team by executive producer Mal Young. Both producer Phil Collinson and executive producer Julie Gardner felt that Coduri and Billie Piper (Rose) physically resembled each other and this aided the portrayal of their mother/daughter relationship. Discussing Coduri's casting, Collinson stated that she "understood what Jackie was, from the very first scene she read". Coduri was already "very familiar" with Davies' work as writer and executive producer and so "was very excited and quite terrified" about being part of the series because of her level of respect for him.

Coduri felt Jackie to share similarities with herself, insofar as she is "very protective of [her] children" and a "bit gobby". The Doctor Who Annual 2006, published in August 2005, gives further background information on Jackie in an article written by Russell T Davies. Davies states that Jackie supports herself financially by working occasionally from home as a hairdresser. In the Journal of Commonwealth Literature Lindy A. Orthia observes that the "giro-collecting" Jackie is part of the group of companions introduced in Davies' era of Doctor Who that are "drawn from a cosmopolitan vision" in that they are all "black, queer and/or working class." Orthia contends that whilst working-class companions had featured previously in the show "none were unskilled workers nor chronically under- or unemployed like Rose, Donna and Jackie."

Character development
Piper felt that in series one the relationship between Rose and Jackie is "like any mother-daughter relationship" in that as much as Rose loves her mother "there's also this resentment there" because Jackie tries to stop her "moving forward". Despite sometimes writing Jackie as a comic character, Davies chose to examine the sadder aspects of her character such as her loneliness and unwillingness to let Rose go. In his book The Writer's Tale, Davies expresses his contention that comedy and sadness are often inseparable and states that though "Jackie Tyler makes us laugh" he knew he would "uncover something sad at the heart of her". He argues that even as far back as "Rose" Jackie is "holding Rose back" citing her suggestion her daughter work in a butcher's shop. Discussing Jackie's attempted seduction of the Doctor, Coduri stated that her character "has the hots for him" and in general "loves the company of men and is always looking for Mr Right". Promoting her role in the 2005 Christmas special, Coduri describes Jackie as being "not very good in a crisis" and "a bit of a screamer" in contrast to Rose who is adept at saving the world. Andy Pryor believes that Coduri's acting ability influenced the writing decisions regarding the character in the second series. He felt Jackie' actions in the second series were "incredibly moving" as a result of Coduri's acting range. Gardner concurred, stating in 2006 that "she's grown in performance, episode by episode". In the commentary for "Army of Ghosts" Davies expresses delight at having Jackie aboard the TARDIS. He stated that he had been "dying" to have Jackie take Rose's place for an episode. To explain Torchwood not realising that Jackie was not Rose, Davies amended the script for "Love & Monsters" to mention that Torchwood's files on Rose had been corrupted by the "Bad Wolf" virus. Ahead of 2006 series finale "Doomsday" Coduri expected the character of Jackie to be killed off in a "comic but sad moment." She was therefore pleasantly surprised to discover that the character would be sent to live in a parallel universe instead.

Davies had planned for the character to return in the fourth series finale since the episodes were first conceived and had asked Coduri to keep four weeks free for filming. In January 2008, whilst still writing the scripts, Davies became afraid that there was not space for the character. Her appearance was set to be reduced to a single scene at 'Bad Wolf Bay' at the end of "Journey's End". He also was concerned that because the character has a young son it would not have made dramatic sense for her "to enter a bloody battlezone." Eventually, he decided to pair the character with Mickey and Sarah Jane and reasoned that seeking her daughter provided enough motivation for her to get involved in the conflict. Returning to the series in 2008 for "Journey's End", Coduri initially felt it was "weird" to be playing Jackie again. She describes Jackie as being "braver" in this episode but frightened of "losing Rose full stop." When asked in 2011 whether she would return to the series, Coduri stated that she would return if asked but felt it was not likely because she had already "been back to say goodbye at least twice" and believes that the story has been wrapped up.

Reception
James Chapman, author of the book Inside the Tardis: The Worlds of Doctor Who, identifies the presence of Jackie and Mickey as part of Davies attempt to "create a social context" for Rose. In a 2006 essay entitled "Jackie Tyler Leaves the TV On", television writer and author Paul Cornell notes that whilst some fans would rather see less time devoted to Rose's family, Jackie is emblematic of a section of the revival of Doctor Who's target demographic. Kay McFadden of The Seattle Times felt the character to be "antic" and overbearing" in the premiere episode, whilst SFX described the character's appearance in "The End of the World" as a "wonderful moment" that reminded the audience of the context of the adventure. Charles McGrath of The New York Times, in a review of "Rose" and "The End of the World", described Jackie as "vain" and "slutty". In their unauthorised guide to the revival of Doctor Who Graeme Burk and Robert Smith? identify "Aliens of London" and "World War Three" as a turning point in the character from comic relief to a character the audience "are invested in and care about". For the authors, the moment where Jackie and Mickey stand behind "Rose's mad dream" in "The Parting of the Ways" is the "stand up and cheer moment to end them all".

SFX reviewer Nick Setchfield praised Davies' "populist voice" in relation to Jackie's characterisation in "Love and Monsters" stating "there's something just right about Jackie seducing Elton to the Asda charms of Il Divo." He commented that the script provided something "genuinely moving about Jackie's desperation" which was "well played by Coduri". Similarly, IGN's Ahsan Haque felt that Jackie 's "attention seeking attraction towards Elton was handled extremely well." Burk and Smith? identify Jackie's "because it's hard" speech as "Coduri's best acting in the series, bar none" opining that the actress "infuses her scenes with comic brilliance, wistful reflection and raw anger, all in the space of several minutes". They felt that Davies keeps "[her] humorous elements intact and shows us the bittersweet pain that underpins it." In his review of "Army of Ghosts" Arnold T Blumberg, writing for Now Playing magazine, observes that the character "gets to be a companion for a little while" and "does a damn fine job of it too." Burk and Smith? list the simultaneous reunion and first meeting between Jackie and Pete in "Doomsday" as one of the episode's poignant moments, stating that the scene "sings joyously" through the performances of Coduri and Dingwall. Commenting on Jackie's involvement in "Journey's End" Travis Fickett observed that having the Doctor tell her to stay away from the TARDIS console was "a fun moment", although he felt that having so many characters present in the episode was "a bit awkward." Dave Golder of SFX stated that there being "not enough Jacqui [sic]" was one of the episode's low points.

Reviewers also compared the character of Donna Noble's mother, Sylvia (Jacqueline King), who featured semi-regularly during the fourth series, against Jackie. Airlock Alpha's Alan Stanley Blair remarked upon the premiere of "Partners in Crime" that Sylvia "doesn't have the same appeal" as Jackie. Charlie Jane Anders of io9 comments that until the episode "Turn Left" Sylvia seemed like "a weak copy of Jackie Tyler" who lacked Jackie's "saucy warmth." Of her role in the series, Jon Wise of People magazine opined that Coduri "adds a certain sexiness" to the role of Rose's mum. In an interview with Coduri, Gay Times magazine stated that she is "beloved" by members of the gay community because of her role as Jackie, something the actress felt was a "privilege". The exposure given to Coduri whilst playing the role led to her being recognised frequently on the street. The actress commented that she also received "heaps of fan mail, mostly from men" which verged more on the "respectful, romantic side than the drop-your-drawers side".

title: Jackie Tyler


text:
Talk:James Wolfensohn

Untitled
I added a succession box. Please don't add Paul Wolfowitz to it until he actually takes office. --Chowbok 03:00, Apr 26, 2005 (UTC)

Citizenship
I dont understand him being an honorary appointment to the Order of Australia. Did he have to renounce his Australian citizenship ? Dowew 01:27, 21 May 2006 (UTC)
 * The award is listed with his name on the Citigroup bio, which is extremely comprehensive. Unfortunately, it doesn't mention the date of his AO, but he was born in Australia and didn't become a US citizen until 1980. There are probably three possibilities: either he has dual citizenship (I don't think this is right though), he got the AO before 1980, or he is still eligible for the award as a former citizen. Harr o 5 03:05, 21 May 2006 (UTC)

 * * He got his AO in January 1987 . He was not an Aussie citizen at that time, so it was an Honorary Officer award. The fact that he has since regained his Aussie citizenship (2010) does not mean the Honorary appointment is retrospectively changed.  --   Jack of Oz   [your turn]  01:15, 12 December 2011 (UTC)

 * Doesn't someone's British/Commonwealth (honorary) honour automatically become substantive when they become a citizen of a Commonwealth country? He is an Australian citizen and a KBE, therefore he is known as "Sir". — Preceding unsigned comment added by 182.239.187.167 (talk) 07:37, 9 June 2014 (UTC)  Are Commonwealth citizens even eligible for honorary awards in the Order of the British Empire?

 * (a) No, it's not automatic. The person has to apply for conversion from honorary knight to substantive knight status.  There's never any problem, but that process still has to be followed.  Trouble is, despite extensive googling, I've found zero evidence that he has actually applied for this.  Sure, some sources call him "Sir James", but most places call Bob Geldof "Sir Bob" too, and he certainly has absolutely no entitlement to such an honour.
 * (b) Commonwealth citizens are eligible for substantive awards in the Order of the British Empire. Whether their governments generally participate in imperial honours may have a bearing on whether they would be offered such awards in the first place; Australia does not participate any longer, but it cannot prevent the Queen of the UK, or of Papua New Guinea, or of New Zealand or wherever, giving an Australian citizen an award if recommended by the relevant government.  Australia does give honorary awards in the Order of Australia, and since March 2014 that could now include honorary knighthoods (AK) or honorary damehoods (AD).  Honorary awards in the Order of the British Empire are only recommended by countries that participate in imperial honours.  The UK gave Wolfensohn an honorary KBE at a time when he was an American citizen and no longer an Australian citizen.  He has since regained his Oz citizenship, but see (a) for why we have no reason to believe he has become "Sir James", at least officially.  --   Jack of Oz   [pleasantries]  22:45, 12 September 2014 (UTC)
 * According to Wolfensohn, his citizenship certificate has him listed as "Sir James Wolfensohn", however there is no indication as to whether this is a mistake or note. Hack (talk) 08:21, 29 June 2015 (UTC)

World Bank tenure
It would be interesting to have more (and balanced) info on his World Bank tenure. Anybody? —Preceding unsigned comment added by 143.58.160.62 (talk) 20:26, 7 May 2008 (UTC)

Regarding his World Bank Tenure, there is much online and in his book.

Regarding his Australian Citizenship:

1) He was born an Australian Citizen.

2) To be eligible for appointment to the World Bank, he needed to become an American Citizen. At time time, it was against Australian law to be a citizen of two countries ie. Dual citizenship was forbidden. So to become American, he had to relinquish his Australian citizenship. Rupert Murdoch did something similar. He had to become American citizen to purchase some media interests in USA. I think it was Fox. He could nt keep his Australian citizenship.  He relinquished his Australian citizenship.

3) In the 1990s, the Australian law was changed. A person could be a dual citizen. There was provision for those who had relinquished Australian citizenship to apply to get it back. Wolfensohn applied and regained his Australian citizenship.

He sounds very Australian for a man who has not lived in Australia for 40 years. — Preceding unsigned comment added by Andrew9148 (talk • contribs) 06:17, 30 November 2011 (UTC)

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COD
https://www.washingtonpost.com/local/obituaries/james-wolfensohn-dead/2020/11/25/be7c0100-2f48-11eb-bae0-50bb17126614_story.html

His son Adam Wolfensohn said the cause was complications from pneumonia. MikaelaArsenault (talk) 20:45, 25 November 2020 (UTC)

title: Talk:James Wolfensohn


text:
Triphenylphosphine

Triphenylphosphine (IUPAC name: triphenylphosphane) is a common organophosphorus compound with the formula P(C6H5)3 and often abbreviated to PPh3 or Ph3P. It is versatile compound that is widely used as a reagent in organic synthesis and as a ligand for transition metal complexes, including ones that serve as catalysts in organometallic chemistry. PPh3 exists as relatively air stable, colorless crystals at room temperature. It dissolves in non-polar organic solvents such as benzene and diethyl ether.

Preparation and structure
Triphenylphosphine can be prepared in the laboratory by treatment of phosphorus trichloride with phenylmagnesium bromide or phenyllithium. The industrial synthesis involves the reaction between phosphorus trichloride, chlorobenzene, and sodium:

 * PCl3 + 3 PhCl + 6 Na → PPh3 + 6 NaCl

Triphenylphosphine crystallizes in triclinic and monoclinic modification. In both cases, the molecule adopts a pyramidal structure with propeller-like arrangement of the three phenyl groups.

Oxidation
Triphenylphosphine undergoes slow oxidation by air to give triphenylphosphine oxide, Ph3PO:
 * 2 PPh3 + O2 → 2 OPPh3

This impurity can be removed by recrystallisation of PPh3 from either hot ethanol or isopropanol. This method capitalizes on the fact that OPPh3 is more polar and hence more soluble in polar solvents than PPh3.

Triphenylphosphine abstracts sulfur from polysulfide compounds, episulfides, and elemental sulfur. Simple organosulfur compounds such as thiols and thioethers are unreactive, however. The phosphorus-containing product is triphenylphosphine sulfide, Ph3PS. This reaction can be employed to assay the "labile" S0 content of a sample, say vulcanized rubber. Triphenylphosphine selenide, Ph3PSe, may be easily prepared via treatment of PPh3 with red (alpha-monoclinic) Se. Salts of selenocyanate, SeCN−, are used as the Se0 source. PPh3 can also form an adduct with Te, although this adduct primarily exists as (Ph3P)2Te rather than PPh3Te.

Aryl azides react with PPh3 to give phosphanimines, analogues of OPPh3, via the Staudinger reaction. Illustrative is the preparation of triphenylphosphine phenylimide:
 * PPh3 + PhN3 → PhNPPh3 + N2

The phosphanimine can be hydrolyzed to the amine. Typically the intermediate phosphanimine is not isolated.
 * PPh3 + RN3 + H2O → OPPh3 + N2 + RNH2

Chlorination
Cl2 adds to PPh3 to give triphenylphosphine dichloride ([PPh3Cl]Cl), which exists as the moisture-sensitive phosphonium halide. This reagent is used to convert alcohols to alkyl chlorides in organic synthesis. Bis(triphenylphosphine)iminium chloride (PPN+Cl−, formula [(C6H5)3P)2N]Cl is prepared from triphenylphosphine dichloride:
 * 2 Ph3PCl2 + NH2OH·HCl + Ph3P → {[Ph3P]2N}Cl + 4HCl + Ph3PO

Protonation
PPh3 is a weak base (aqueous pKaH = 2.73, determined electrochemically), although it is a considerably stronger base than NPh3 (estimated aqueous pKaH < –3). It forms isolable triphenylphosphonium salts with strong acids such as HBr:
 * P(C6H5)3 + HBr → [HP(C6H5)3]+Br−

Organic reactions
PPh3 is widely used in organic synthesis. The properties that guide its usage are its nucleophilicity and its reducing character. The nucleophilicity of PPh3 is indicated by its reactivity toward electrophilic alkenes, such as Michael-acceptors, and alkyl halides. It is also used in the synthesis of biaryl compounds, such as the Suzuki reaction.

Quaternization
PPh3 combines with alkyl halides to give phosphonium salts. This quaternization reaction is particularly fast for benzylic and allylic halides:
 * PPh3 + CH3I → [CH3PPh3]+I−

These salts, which can often be isolated as crystalline solids, react with strong bases to form ylides, which are reagents in the Wittig reactions.

Aryl halides will quaternize PPh3 to give tetraphenylphosphonium salts:
 * PPh3 + PhBr → [PPh4]Br

The reaction however requires elevated temperatures and metal catalysts.

Mitsunobu reaction
In the Mitsunobu reaction, a mixture of triphenylphosphine and diisopropyl azodicarboxylate ("DIAD", or its diethyl analogue, DEAD) converts an alcohol and a carboxylic acid to an ester. DIAD is reduced as it serves as the hydrogen acceptor, and the PPh3 is oxidized to OPPh3.

Appel reaction
In the Appel reaction, a mixture of PPh3 and CX4 (X = Cl, Br) is used to convert alcohols to alkyl halides. Triphenylphosphine oxide (OPPh3) is a byproduct.
 * PPh3 + CBr4 + RCH2OH → OPPh3 + RCH2Br + HCBr3

This reaction commences with nucleophilic attack of PPh3 on CBr4, an extension of the quaternization reaction listed above.

Deoxygenation
The easy oxygenation of PPh3 is exploited in its use to deoxygenate organic peroxides, which generally occurs with retention of configuration:
 * PPh3 + RO2H → OPPh3 + ROH (R = alkyl)

It is also used for the decomposition of organic ozonides to ketones and aldehydes, although dimethyl sulfide is more popular for the reaction as the side product, dimethyl sulfoxide is more readily separated from the reaction mixture than triphenylphosphine oxide. Aromatic N-oxides are reduced to the corresponding amine in high yield at room temperature with irradiation:

 * Deoxygenation of an aromatic amine oxide using triphenylphosphine.png

Sulfonation
Sulfonation of PPh3 gives tris(3-sulfophenyl)phosphine, P(C6H4-3-SO3−)3 (TPPTS), usually isolated as the trisodium salt. In contrast to PPh3, TPPTS is water-soluble, as are its metal derivatives. Rhodium complexes of TPPTS are used in certain industrial hydroformylation reactions.

Reduction to diphenylphosphide
Lithium in THF as well as Na or K react with PPh3 to give Ph2PM (M = Li, Na, K). These salts are versatile precursors to tertiary phosphines. For example, 1,2-dibromoethane and Ph2PM react to give Ph2PCH2CH2PPh2. Weak acids such ammonium chloride, convert Ph2PM (M = Li, Na, K) into diphenylphosphine:
 * (C6H5)2PM + H2O → (C6H5)2PH + MOH

Transition metal complexes
Triphenylphosphine binds well to most transition metals, especially those in the middle and late transition metals of groups 7–10. In terms of steric bulk, PPh3 has a Tolman cone angle of 145°, which is intermediate between those of P(C6H11)3 (170°) and P(CH3)3 (115°). In an early application in homogeneous catalysis, NiBr2(PPh3)2 was used by Walter Reppe for the synthesis of acrylate esters from alkynes, carbon monoxide, and alcohols. The use of PPh3 was popularized by its use in the hydroformylation catalyst RhH(PPh3)3(CO).

Polymer-anchored PPh3 derivatives
Polymeric analogues of PPh3 are known whereby polystyrene is modified with PPh2 groups at the para position. Such polymers can be employed in many of the applications used for PPh3 with the advantage that the polymer, being insoluble, can be separated from products by simple filtration of reaction slurries. Such polymers are prepared via treatment of 4-lithiophenyl-substituted polystyrene with chlorodiphenylphosphine (PPh2Cl).

title: Triphenylphosphine


text:
Eagle Scout (Boy Scouts of the Philippines)

Eagle Scout is the highest rank awarded to a Senior Scout in the Boy Scouts of the Philippines (BSP). To be awarded the rank, a Scout must lead in planning and doing two community service projects and earn a total of 23 merit badges consisting of 17 required merit badges and 2 specialist ratings (a specialist rating involves 3 related merit badges and a community service project). After achieving the rank of Eagle, a Scout may earn an Anahaw award for earning 2 additional specialist ratings.

The term Eagle Scout, Eagle, or Agila is used to refer to a person who was given the award. The award's name was derived from the Eagle Scout awarded by the Boy Scouts of America (BSA). From 1923 to 1936 (when the Philippines was a protectorate of the United States), the BSA administered the Boy Scouts program in the Philippines through the Philippine Council, BSA. According to the BSP's Diamond Jubilee Yearbook from 1936 to September 1996 there are 121,369 Scouts awarded the highest rank by the Boy Scouts of the Philippines.

The BSP's highest rank went through a number of name and requirement changes through the years after the Philippines gained its independence from the United States of America.
 * Eagle Scout (1936–1962)
 * José Rizal Scout (1962–1976)
 * Scout Citizen Award (1976–1994)
 * Eagle Scout (1994–present)

All awardees are eligible for membership into the Eagle Scouts Organization of the Philippines, the fellowship and service association of all Eagle Scouts from the BSP and from the BSA having Filipino lineage and/or nationality and the National Eagle Scouts Association of the Philippines, the Premiere Honor Society of Eagle Scouts in the Philippines.

Anahaw award
The Anahaw Award is a metal Anahaw leaf that is pinned on the ribbon of the Eagle Scout Medal. The award is similar to the Boy Scouts of America's use of Eagle Palms for their Eagle Scout Award. The name derives from Anahaw, a Filipino common name of palm trees in the genus Livistona.

After a Scout has earned the Eagle Scout Rank and before reaching the age of 17 years, he can go on to pursue the Anahaw Award. In addition to the 23 Merit Badges for the Eagle Scout Rank, the Anahaw Award may be granted as follows:
 * For any 2 additional Specialist Rating after earning the Eagle Scout Rank - Bronze Anahaw Award.
 * For any 2 additional Specialist Rating after earning the Bronze Anahaw Award - Silver Anahaw Award.
 * For any 2 additional Specialist Rating after earning the Silver Anahaw Award - Gold Anahaw Award.

The Bronze Anahaw Award shall be given only after at least three-(3) months of active Scouting as an Eagle Scout. Subsequent Anahaw Awards may be made at intervals not less the four-(4) months of tenure following the conferment of an Anahaw Award of lower grade.

Eagle Scout Association of the Philippines
The Eagle Scout Association of the Philippines (ESAP) is the national fellowship and service association of men who have received the rank of Eagle Scout from the Boy Scouts of the Philippines (BSP). The association also accepts into membership Eagle Scouts from the Boy Scouts of America (BSA) who are of Filipino lineage or nationality.

The association was founded in January 1998 during the BSP's 11th National Jamboree at Clark Field in the province of Pampanga. It replaced an earlier association named Citizen Awardees, Rizals, and Eagle Scouts Association (CARES).

It started its ESAP milestone in the 1st ESAP General Assembly held last May 23–25, 2008 at Columban College Hotel, Olongapo City with the theme: "Eagle Quest and Beyond". It was hosted by ESAP Olongapo Chapter headed by CSE Mario Esquillo, Chapter President. The Eagle Scout Gathering marks the start of the association where it held the ESAP Ritual officiated by ES Arnell Alambra, Vice President for International Affairs as Ritual Master and ES Chito L. Morante, National President and other ESAP Officers as Guardian of the Circle.


text:
Talk:Hong Kong action cinema

Girls with Guns subgenre
Need help building the Girls with Guns section.

Vandalism
As a featured page, shouldn't editing the article be locked for the moment?

the policy is not to lock any featured page. usually vandalism gets reverted quite quickly on a featured page. Zzzzz 12:56, 26 April 2006 (UTC)

The policy needs to be changed PRONTO. The last couple of days have been rediculous and obscene. I see someone finally had the sense to lock this page down for the day. Good. If the main page is locked, there is no good reason for the featured article not to be locked for 24 hours as well. People put a lot of work into these articles just to see them trashed. I have a featured article scheduled for tomorrow and I am seriously considering requesting it to be remove from the queue and having its featured status removed. Lately, FAs of the day have been getting 40 vandal hits per 1 constructive edit. If this policy isn't changed permanently, editors such as myself are going to leave Wikipedia altogether. No point spending months working on articles only to have them replaced with pictures of penises and littered with vulger epithets... --Jayzel 16:13, 26 April 2006 (UTC)
 * See user:Raul654/protection Raul654 20:42, 26 April 2006 (UTC)

New page, new problems
Encountering zero objections and one concurrence after suggesting so weeks ago, I've created this entry and moved a large chunk of the Cinema of Hong Kong entry here, more or less intact, so far. HK Action Cinema inspires so much interest in its own right and is so influential in global cinema today that it probably needs its own space. Clearly it did, since it was getting so huge and unwieldy in its original spot.

First order of business: Can anyone tell me how I get the 'k' capitalized in 'kong' in the page heading? My first mistake on the new page.

What we have here now clearly needs more information, as usual. Particularly pre-'70s. Also a reduction in rambling anecdotal material, some of which could get moved to relevant entries, especially in the case of the Bruce Lee material.

Thank you, all. Michael Wells 03:01, 26 Apr 2005 (UTC)

Comments about the article
i like this article alot, and think it has definite potential to become featured. i can help to take it thru WP:GA and WP:PR. some issues need to be addressed first though:

 * why is there an empty "postwar martial arts cinema" section?
 * do people like King Hu deserve a mention, or does the fact he was taiwanese exclude him completely?
 * important 60s/70s figures like cheng pei-pei and jimmy wang-yu are not mentioned at all.
 * bey logan once mentioned that HK films were dominated with "Jane Bond" type female fighters and men were sidelined, but masculinity began to dominate in the 70s, but there is no mention of this in the article.
 * why did the films switch from mandarin language to cantonese language in the 70s? were they always in mandarin before the 70s or at one time were they cantonese?
 * wasnt five fingers of death the first breakthrough kungfu film in the west? or maybe one-armed boxer? or king boxer? i know it was pre-bruce lee but dont know any details. "The kung fu wave" should be expanded to say something about that, plus the "Venoms" should get a mention.
 * "Reinventing action cinema" section should mention the prevalence of supernatural/horror stuff that started from shaw bros' legend of the 7 golden vampires, was popularised by sammo hung's spooky encounters, and hit heights with mr vampire and chinese ghost story.
 * regarding "influence in the west", did things only kick off in 1989 with the killer? what about the popularity of HK kungfu flix (esp. jackie chan) on video in the 80s? what about john carpenter's big trouble in little china? what about Jonathan Ross's tv series "the incredibly strange film show" which highlighted many of these HK-action figures like JC, TH and others?
 * what about the strange role of "action choreographer" and how it worked together with the real "film director"?

i'm not enough of an expert to write it myself, and dont have any of those reference books used (i think the logan book will definitely have answers to the above though). if this stuff can be fixed then its well on its way to featured status already. thx! Zzzzz 19:18, 22 March 2006 (UTC)

 * Thanks for the encouragement and suggestions. "Not enough of an expert," huh?  I was thinking while I was reading, "Zzzzz knows a lot about this - why not put this stuff in the article?"  Jump on in, the water's fine!  I'm just an amateur obsessive myself, with a handful of good books at hand.

 * A number of your concerns occur because this section started when I moved it over in one chunk from the general Cinema of Hong Kong page because the action cinema material was getting long and unwieldy as a section there. I was hoping others would be inspired to get busy cleaning up and expanding this subject, as I was busy attacking the general HK cinema article, which burned me out after a little while.  Not much has happened in the nearly one year since then, and today I got a burst of energy; some of your concerns, I was taking care of as you typed!  To address some specific points:

 * I had just created, and was busy writing, the "postwar martial arts cinema" section at the moment you asked the question. Maybe it's better to wait until there's some text typed in the edit box to hit "save."
 * King Hu started in Hong Kong before moving to Taiwan, and his Taiwanese work still influenced HK films greatly.
 * Cheng Pei-Pei and Wang Yu definitely belong. Anyone?  Anyone? Zzzzz?
 * The masculine/feminine dichotomy is now briefly mentioned by me but might deserve a little more discussion.
 * The Cantonese/Mandarin relationship is discussed in some detail (see here and here) in the main HK Cinema article. The '70s change might be worth a passing mention here.
 * As far as what films are most influential or "groundbreaking" or deserve mention, there's plenty of variation from source to source and fan to fan. That's the sort of thing that should be worked out as different writers contribute (hint, hint).  I'd love to see most of what you mention included, as long as we don't go fanboyishly overboard with too many titles and movie descriptions.

 * We also need to note more recent trends, even regrettable ones like bad CGI and Cantopop pretty boys on wires.

 * I still feel the section on Brucealikes is skippable. I think I'll kill it unless anyone wants to leap in front of the bullet.

 * Michael Wells 21:04, 22 March 2006 (UTC)

 * i like the brucesploitation stuff (although listing "game of death" as "just another brucesploitation flick" is a bit inaccurate), it is (was) an important part of HK action in the 70s/early 80s... still would like more on the supernatural/horror scene... i *could* add/change some stuff myself but would have to rely on web references which could break the "scholarliness" of the article... any objections to putting the article on peer review? Zzzzz 21:15, 22 March 2006 (UTC)

 * Brucesploitation certainly merits a mention, but a whole subsection is going quite a bit overboard, I think. A sentence might be good.  In fact, the whole Bruce Lee section needs to be slimmed down; the biographical details  are either repeated in, or can be moved to, the looooooong article on him.  This article should stick to detailing his place and importance in the HK industry as succinctly as comfortably possible.

 * In the first paragraph of the "1970s kung fu wave" section, I mention "seriously trained martial artists" as stars. Would be nice if someone else could supply a couple or three verifiable examples.  I know names, but sometimes I'm unclear on which started out as martial artists and which didn't and were faking it.  Jimmy W.Y. was a swimmer, for example.  Was Chen Kuan Tai the real deal?  I know Gordon Lau Kar-fai was. How about David Chiang and Ti Lung? Michael Wells 22:14, 22 March 2006 (UTC)

 * Oh, and I'd prefer to wait for some more work to be done before it goes to peer review. My two cents.  Michael Wells 22:18, 22 March 2006 (UTC)

 * ok please trim brucesploitation and bruce lee as u see fit. p.s. i striked out some more comments & added 1 new one. Zzzzz 08:25, 23 March 2006 (UTC)
 * "Ti Lung was born August 3rd, 1946 in Hong Kong and began studying Wing Chun under Master Chu Wan"
 * The article seems to be about 10 years out of date. The marginalization of Johnny To and Milkyway is ludicrous... Johnny To has dominated the HK genre film market for the last decade. —Preceding unsigned comment added by 131.215.115.31 (talk) 17:40, 13 May 2009 (UTC)

Citations needed
new school wuxia:

(1) "The trend may also have been encouraged by a need to win back local audiences from the newly popularized medium of television." - who said it?

70s kunfu wave:

(2) "Kung fu cinema was particularly influenced by Chang's concern with his vision of masculine values and male friendship;" - who said chang's film had these concerns?

(3) "African-Americans and other racial minorities particularly embraced the genre (as exemplified by the popular hip-hop group, the Wu-Tang Clan) perhaps as an almost unprecedented source of adventure stories with non-white heroes, who furthermore often displayed a strong streak of racial and/or nationalistic pride." - need a strong source for this statement.

bruce lee:

(4) "The fad did little to engender mainstream respect in the West for the relatively new phenomenon of martial arts cinema. But despite such posthumous treatment, Lee continues to cast a long shadow over Hong Kong film." - any evidence of the west hating brucesploitation?

jackie chan modern kunfu:

(5) "The new formula grossed over HK$19 million." - where did this figure come from?

(6) also need a citation for the whole section - i assume one of the reference books covers it

wire fu wave:

(7) "she made an unlikely specialty of androgynous woman-warrior types, such as the villainous, sex-changing eunuch in The Swordsman 2 (1992), epitomizing martial arts fantasy's often-noted fascination with gender instability." - who noted that fascination?

(8) also need a citation for the whole section - i assume one of the reference books covers it

influence in the west:

(9) whole first pgraph needs citation.

exit of many leading figures:

(10) "many of the leading lights of Hong Kong cinema left for Hollywood, which offered budgets and pay which could not be equalled by Hong Kong production companies." - anybody actually say this is the reason?

recent trends:

(11) "The number of local films produced, and their box office takings, are dramatically reduced; American imports now dominate in a way they had not for decades, or perhaps ever. This crisis and increased contact with Western cinema have probably been the biggest recent influences on Hong Kong action cinema." - this is a strong assertion, needs a strong source.

(12) also need a citation for the whole section - i assume one of the reference books covers it

Zzzzz 19:10, 24 March 2006 (UTC)

Fraternal bonds
I deleted the words "particularly Chinese" from the sentence about John Woo's films having "a particularly Chinese emphasis on the fraternal bonds of duty and affection among the criminal protagonists". American gangster movies are also about fraternal bonds between gangsters; if there's something distinctive about the Chinese version of this, it needs explaining. The Singing Badger 16:04, 26 March 2006 (UTC)

Latest edits
the title is "chinese boxer" not "the chinese boxer" (see imdb), jimmy wang yu is the famous name of the man, i've never heard anyone call him "jimmy wang", also he does not need to be wikilinked there as he is lready wikilinked one/two pgraphs up. and i think linking "cinema of america" is way too vague and uncontextually useful, so i prefer less wikilinks (especially in the lead).

 * Wang is his family name. It's confusing to combine his name in the western style and romanised form of his Chinese name on an encyclopædia. — Instantnood 17:19, 8 April 2006 (UTC)

i would rather go with the "famous" name, which is the combined western+romchin Jimmy Wang Yu which always appears on the movie posters, film reviews, publicity etc, and is the more likely search term also. it also matches with the Jimmy Wang Yu article itself, which uses this name as his "main" name. on imdb it states: "Sometimes Credited As: Wong Yu Lung / Yue Wang / Yu Wong / Jimmy Wang Yu / Wang Yue". no mention of Jimmy Wang, although that name could still be made into a redirect also.

 * I'm no expert but I'd be interested to see such posters. :-) (And please be reminded to sign your messages.) — Instantnood 00:02, 9 April 2006 (UTC)

"Most successful Chinese film"
Re - In what way is it a Chinese film? It was a Hong Kong-United States production, and Hong Kong was then a British crown colony. — Instantnood 00:02, 9 April 2006 (UTC)

mohap/wuxia and other Cantonese/Chinese spelling pairs
An anon has been changing "wuxia" to "mohap/wuxia" and "gongfu" to "gong fu" everywhere in the article. Is there any consensus for this change? Kimchi.sg | talk 13:14, 28 April 2006 (UTC)
 * i agree with kimchi's reversions. Zzzzz 23:41, 28 April 2006 (UTC)

Sorry, I happened to be the chap who modified the wuxia to mohop/wuxia. It is the same characters in Chinese but mohop is more universally used by normal Hong Kong Chinese (I was one of them, now an expatriate in the US). Wuxia is generally used by the mainlanders, Taiwanese, and others who speak Mandarin. Prior to the handover to the People's Republic of China, HK predominately speak Cantonese. No offense to Mr .(?, sorry) Kimchi but it appears his country identifier seems to be Singapore. This being an article on HK, I believe I owe it to the HK citizens who are proud to have created the mohop/wuxia phenomenon and have annotated it as such in their honor. If the Mandarin speakers wish to call it 'wuxia', ok but we Cantonese, Hakka, Tanka Hkers and ex-HKers know it only as 'mohop' or the whatever dialectical name (but 'mohop' will suffice). By the way, I only changed the 'gongfu' to 'kung fu' whenever it was a HK production orf mention not when it was not. Lastly, I reside (still) in a free and democratic society with flaws but nevertheless still free and if wikipedia still stands for freedom and honour then please permit me to modify the mandarin wuxia to Cantonese mohop. Pre-revolutionary China may have made 'wuxia' but HK made 'mohop'.It is one of the HK's more endearing legacies before the 1997 takeover. Please restore the changes or allow me to restore the changes and you chaps can supervise or edit it. Unlike perhaps some others, I can never return home. Thank you. Anonymous but still an HKer.

thanks for your comments. this article uses the most commonly used term worldwide, which is "wuxia". few english speakers have ever heard of "mohop". discussions about different terms for "wuxia" should go in the wuxia article, not here. Zzzzz 10:04, 30 April 2006 (UTC)

Spoken version
Hi - I'm interested in recording a spoken version of this article, but I'm not 100% sure about the pronunciation of the following words. If someone could spell them out phonetically for me, it'd be a great help. I'll try and get started as soon as I know how to pronounce them.

 * Wuxia
 * woo-zhia
 * Wusha
 * woo-shoo
 * Tsui Hark
 * choy hok
 * Kuomintang
 * koo min tung
 * Sino-Japanese
 * scy (as in scythe)- no-japanese
 * Cheng Pei Pei
 * cheng pay pay
 * Shaolin
 * show (as in cow)-lin
 * Yuen Biao
 * yoon-byoo
 * Ching Siu-tung
 * ching-si-dong

Cheers, Panser Born   (talk)  12:40, 21 March 2007 (UTC)

see above Zzzzz 12:51, 21 March 2007 (UTC)

 * Thanks for the help - I've now finished recording the spoken version and uploaded it. Hope you like it. Cheers, -Panser Born-   (talk)  17:10, 4 April 2007 (UTC)

Fair use rationale for Image:Swordswoman of Huangjiaing.jpg
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BetacommandBot 08:55, 29 September 2007 (UTC)

Fair use rationale for Image:Sammo Hung white eyebrows.jpg
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Fair use rationale for Image:Sammo Hung white eyebrows.jpg
Image:Sammo Hung white eyebrows.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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BetacommandBot (talk) 05:25, 18 February 2008 (UTC)

Influence on Western cinema
Wuxia isn't anywhere close to my specialties and unfortunately the section is already completely unsourced, so I won't add to it, but I'd like to add that besides the already mentioned on Talk:Wuxia, a user mentions and de:Wuxia even adds Moreover, the TV series is also influenced by the genre. --Florian Blaschke (talk) 00:56, 22 January 2017 (UTC)
 * Reservoir Dogs
 * Kill Bill
 * Desperado
 * Once Upon a Time in Mexico
 * The Matrix
 * The Departed
 * Big Trouble in Little China
 * Star Wars.
 * Xena: Warrior Princess

title: Talk:Hong Kong action cinema


text:
User:Pianoface

PUMPERNICKEL (AMERICANO) Ingredients Night before:

* 1 cup dark rye * 3/4 cup warm water * 1/4 teaspoon instant yeast

Day of:

* 2 1/2 cups bread flour * 1/2 cup whole wheat flour * 1/2 cup bran flakes * 2 tablespoons molasses * 1 tablespoon cocoa power * 1 1/2 teaspoons salt * 1 teaspoon instant yeast * 2 tablespoons oil * 1 cup warm water

Method

The night before you make this pumpernickel, add all the "night before ingredients" into a bowl and mix till smooth. Cover with plastic wrap allow to rest on the counter for 12-16 hours. The next day mix the night before mixture and water in a large bowl. Mix in with a wooden spoon the bran, molasses, oil, cocoa powder, salt, instant yeast and whole wheat flour. Allow to rest uncovered for 10 minutes. Start to add in the bread flour, about a half cup at a time. After each addition mix with a wooden spoon till smooth. Once the dough becomes to hard to mix, pour out onto a floured surface. Continue to add more flour and knead for 10 minute. You want the dough to be a little sticky but not sticking to your hands. After kneading, place dough into a lightly oiled bowl. Turn over a few times to lightly coat all sides. Cover with plastic wrap and allow to rest for 2 hours. After resting, pour the dough out onto a flat surface and cut in half. Shape each piece into a log shape. Take a piece of parchment paper and sprinkle some cornmeal on top. Place the loaves onto the corn meal and cover with plastic wrap. Allow to rest for 1 hour. About 45 minutes before baking, place your baking stone into the oven and preheat the oven to 425 degrees. Also place a cast iron skillet on the bottom of the oven, to create steam. If you are using a cookie sheet do not place the cookie sheet into the oven before hand. Sprinkle some whole wheat flour on top. Using a sharp knife score the top of each loaf. Place the loaves into the oven, then pour about a cup of boiling water into the hot cast iron skillet and close the door. Bake for 30-35 minutes or till the bottom of the loaf sounds hollow when tapped. Cool on a wire rack.

FARMERS BREAD This tasty and stunning rustic look bread, is simple and easy to make. The stone ground whole wheat flour adds a wonderful flavor to this farmers bread. Ingredients Night Before:

* 1 cup stone ground whole wheat flour * 1 cup bread flour * 1/4 teaspoon instant yeast * 3/4 cup warm water

Day of:

* 2 3/4 cup bread flour * 1 1/4 cup lukewarm water * 1/2 teaspoon instant yeast * 1 teaspoon salt * 1 tablespoon barley malt or molasses

Method

The night before you want to make this bread add all the "night before" ingredients together and mix till smooth. Cover with plastic wrap and leave on the counter overnight for 12 - 16 hours. The next morning place the mixture into a large bowl.

Add water ( 110F. ) to the night before mixture and mix with a wooden spoon.

Add in the instant yeast, salt and malt. Add in a cup of bread flour and mix till smooth. Continue to add more flour till it becomes to hard to mix in the bowl

. Pour the dough out onto a floured surface and continue to add in the rest of the flour.

Knead the dough for 8 - 10 minutes and than place into a clean bowl with a little oil. Turn the dough over in the bowl till all sides of the dough is lightly coated with oil.

Cover with plastic wrap and allow to rise for 1 1/2 to 2 hours or till double in bulk. Pour out onto a flat surface.

Cut dough in half and shape each piece into a tear drop ball. Cover with plastic wrap and allow to rest for for 20 minutes. Afterwards, use a rolling pin and roll out one side of the dough to about the length and diameter of the dough.

Brush the edges of the rolled out part of the dough with oil. Now, pull that rolled out part of the dough over the round part of the dough. Do the same with the other piece of dough.

Place them onto a piece of parchment. Cover with plastic wrap and allow to rise for 1 hour. Now, dust the top of the dough with a little stone ground flour. Place into a preheated 400 degree oven with a hot baking stone or on a cookie sheet ( do not heat the cookie sheet ahead ). Create some steam by placing a cast iron pan on the bottom of the oven the same time that you turn on the oven. Once you place the breads into the oven pour about a cup of boiling water into the hot pan and close the door. Bake for 30 -35 minutes or till when tapped on the bottom of the loaf it sounds hollow. Allow to cool on a wire rack.

PERE AL VINO This particular version of pears in wine is Piemontese, and is traditionally made with Martin Sec pears, a small golden-russet variety whose slightly grainy flesh is especially suited to being cooked. To serve 6 you will need an hour's preparation time, and: Ingredients:

* 2 1/4 pounds (1 k) pears * 10 cloves * 2 cinnamon sticks (about 4 inches of cinnamon stick) * 3/4 cup sugar * 1 quart Barbaresco or other tannic, full bodied dry red wine, e.g. Nebbiolo di Langa or Roero

Preparation: Wash and dry the pears. Bring the wine to a boil, with 2/3 cup sugar, the cloves, and the cinnamon. Add the pears and cook covered for about 45 minutes, at a steady boil, taking the lid off every now and again to check the level of the wine, which should cover the pears. When the pears are cooked transfer them to a platter with a slotted spoon. Strain the sauce, and, if it is too runny, cook it down until it thickens somewhat. Then pour it over the pears and sprinkle them with the remaining sugar as well. Serve cold.

Pommes Soufflées 6-8 large russet potatoes

Here is how Julia Child and Jacques Pepin tell us to make pommes soufflés.

1. First Jacques peels the potatoes. Next he trims each one into a uniform oblong with flat sides and bottom. Either by hand or with a mandolin, he slices the potatoes just a bit thicker than 1⁄8". The slices are fried once in a pan with at least 1 1⁄2" of vegetable oil heated to 300°, then fried for a second time in hotter oil-375°-until they puff into golden, perfect pommes soufflés. Salt to taste and serve immediately.

Gougères Two things to keep in mind when making these. One is that you should have all the ingredients ready to go before you start. Don't let the water and butter boil away while you grate the cheese. Otherwise you'll lose too much of the water. Second is to let the batter cool for a few minutes before adding the eggs so you don't 'cook' them. Make sure when you stir in the eggs that you do it vigorously, and without stopping. I'm not a fan of extra dishes to wash, but the intrepid can put the dough in a food processor or use an electric mixer to add and mix the eggs in quickly.

If you don't have a pastry bag with a plain tip, you can put the dough into a freezer bag, snip off a corner, and use that. Or simply use two spoons to portion and drop the dough onto the baking sheet. This recipe can easily be doubled.

1/2 cup (125ml) water 3 tablespoons (40g) butter, salted or unsalted, cut into cubes 1/4 teaspoon salt big pinch of chile powder, or a few turns of freshly-ground black pepper 1/2 cup (70g) flour 2 large eggs 12 chives, finely-minced (or 1 to 2 teaspoons minced fresh thyme) 3/4 cup (about 3 ounces, 90g) grated cheese (See above for ideas)

1. Preheat the oven to 425F (220C.) Line a baking sheet with parchment paper or silicone baking mat.

2. Heat the water, butter, salt, and chile or pepper in a saucepan until the butter is melted.

3. Dump in the flour all at once and stir vigorously until the mixture pulls away from the sides into a smooth ball. Remove from heat and let rest two minutes.

4. Add the eggs, one at a time, stirring quickly to make sure the eggs don't 'cook.' The batter will first appear lumpy, but after a minute or so, it will smooth out. (You can transfer the mixture to a bowl before adding to eggs to cool the dough, or do this step in a food processor or electric mixer, if you wish.)

5. Add about 3/4s of the grated cheese and the chives, and stir until well-mixed.

6. Scrape the mixture into a pastry bag fitted with a wide plain tip and pipe the dough into mounds, evenly-spaced apart, making each about the size of a small cherry tomato.

7. Top each puff with a bit of the remaining cheese, the pop the baking sheet in the oven.

8. Bake for 10 minutes, then turn the oven down to 375F (190C) and bake for an additional 20 to 25 minutes, until they're completely golden brown.

For extra-crispy puffs, five minutes before they're done, poke the side of each puff with a sharp knife to release the steam, and return to the oven to finish baking.

Risotto al Peperone e Gorgonzola Ingredients:

* 1 1/2 cups (300 g) Arborio or similar short-grained rice * 2 grilled bell peppers (bought from the deli will be fine), skinned and chopped * 1/8 pound (60 g) Gorgonzola * A small onion, or a spring onion, chopped (the green part too of the latter) * 1 clove garlic, crushed * 1 quart (1 liter) beef broth (unsalted bouillon will also work) * Salt and pepper to taste * 3/4 cup (40 g) freshly grated Parmigiano * 2 tablespoons heavy cream * 2 tablespoons olive oil * 2 tablespoons unsalted butter

Preparation: Sauté the onion and the garlic in the oil and half the butter, over a moderate flame, for a few minutes -- you want them to wilt, but not brown. Add the peppers and the rice, together with a pinch of salt and pepper to taste. Cook, stirring, over a medium flame for 3-5 minutes, and then fish out and discard the garlic.

Add a first ladle of broth, and continue adding broth and gently stirring as the rice absorbs it, until it reaches the al dente stage. About half way through the cooking, add the gorgonzola to the pot, and then the rice is al dente, stir in the butter, Parmigiano, and cream. Cover and let rest for a minute, and it's ready.

To drink? Bubbly; a sparkling Gavi would be nice, as would a sparkling Lugana.

BOMBOLONI

Ingredients

1. 1/2 cup plus 1 tablespoon lukewarm water 2. 1 1/2 envelopes active dry yeast (3 1/4 teaspoons) 3. 1 1/2 tablespoons honey 4. 3 cups all-purpose flour, plus more for dusting 5. 3 tablespoons milk 6. 6 large egg yolks 7. 1/3 cup granulated sugar, plus more for rolling 8. 2 teaspoons kosher salt 9. 3 tablespoons unsalted butter, softened 10. 3 cups canola oil, for frying 11. 3/4 cup seedless raspberry preserves 12. Confectioners’ Sugar, for dusting

Directions

1. In the bowl of a standing electric mixer, mix the water, yeast, honey and 1 cup plus 2 tablespoons of the flour. (Alternatively, whisk the ingredients by hand.) Cover with plastic wrap and let stand at room temperature until foamy, about 1 hour. 2. Return the bowl to the mixer, fitted with a dough hook. Add the remaining 13/4 cups plus 2 tablespoons of flour, along with the milk, egg yolks, 1/3 cup of granulated sugar and the salt. Mix at low speed until blended, then add the butter and knead at medium speed until silky but sticky, about 5 minutes; the dough will not pull away from the side of the bowl. Using an oiled spatula, scrape the dough into an oiled bowl and cover with plastic wrap. Refrigerate overnight. The dough will not rise. 3. In a large saucepan, heat the canola oil to 360°. Line a rack with paper towels. Fill a shallow bowl with 1/2 inch of granulated sugar. On a lightly floured surface, roll out the dough a scant 1/2 inch thick. Using a 1/2-inch round biscuit cutter, stamp out 32 rounds; do not reroll the dough. Fry the rounds, 8 at a time, until they are browned, about 4 minutes. Be sure to keep the oil between 360° and 375°. Drain the bomboloni on paper towels, then roll them in the granulated sugar. Continue frying and rolling the remaining bomboloni. 4. Fit a pastry bag with a plain donut tip (or a 1/4-inch tip) and fill with the preserves (you can also use a squeeze bottle). Poke the tip three-fourths of the way into the bomboloni and squeeze in the preserves, pulling the tip out slightly as you squeeze to fill them as much as possible. Dust the bomboloni with confectioners' sugar and serve warm.

Lemon Chiffon Cake Makes one 7″ cake From Martha Stewart Living

3/4 cup cake flour 1/4 tsp baking soda 1/4 tsp salt 3/4 cup plus 1 tbsp sugar, divided 3 large eggs, separated, room temperature 1/4 cup vegetable oil 1 tbsp lemon juice 2 tbsp grated lemon zest (about 4 lemons) 1/2 tsp vanilla extract 1/3 cup water 1/4 tsp cream of tartar

Preheat the oven to 325 degrees.

In a medium bowl sift together the flour, baking soda, salt, and 3/4 cup sugar. Set aside.

In a large bowl, whisk together the three egg yolks, oil, lemon juice, lemon zest, vanilla, and water. Stir in the dry ingredients.

In an electric mixer, beat the three egg whites on medium speed until foamy. Add the cream of tartar and beat on high until soft peaks form, 1-2 minutes. Gradually add the tablespoon of sugar, beating on high for about 3 minutes until stiff peaks form.

Stir 1/3 of the egg white mixture into the batter, then use a rubber spatula to gently fold the remaining 2/3 into the batter. Pour into an ungreased 7″ tube pan and smooth the top with the spatula. Bake 45 minutes or until a skewer poked into the cake comes out clean and the top is golden.

Cool the cake upside down by inverting the pan onto a bottle. Let cool to room temperature, at least 2 hours, before running a knife between cake and pan and inverting onto a plate. Dust with powdered sugar and serve. You can also split the layers horizontally and fill with lemon curd, or pour a glaze over the cake. It’s also delicious with fresh fruit or ice cream.

French Pastry Dough

One 9 (23 cm) tart shell

Adapted from a recipe by Paule Caillat of Promenades Gourmandes

In France, I used type 65 organic flour, which is similar to American all-purpose flour. Paule says that her students report back, saying that the dough works beautifully with American butter, too. Small cracks in the dough are normal so I wouldn't use this for a thin, custardy filling, although it works well filled with chocolate ganache and I would imagine it would be lovely filled with fresh berries resting on a base of pastry cream.

Do be careful with the hot bowl of butter. Not only will the butter spatter a bit when you add the flour, but it's uncommon to have a very hot bowl on the counter and easy to simply give in the urge to grab it with your bare hands.

90 g (3 ounces) unsalted butter, cut into pieces 1 tablespoon vegetable oil (I used canola) 3 tablespoons water 1 tablespoon sugar 1/8 teaspoon salt 150 g (5oz, or 1 slightly-rounded cup) flour

Preheat the oven to 410º F (210º C).

1. In a medium-sized ovenproof bowl, such as a Pyrex bowl, combine the butter, oil, water, sugar, and salt.

2. Place the bowl in the oven for 15 minutes, until the butter is bubbling and starts to brown just around the edges.

3. When done, remove the bowl from oven (and be careful, since the bowl will be hot and the mixture might sputter a bit), dump in the flour and stir it in quickly, until it comes together and forms a ball which pulls away from the sides of the bowl.

4. Transfer the dough to a 9-inch (23 cm) tart mold with a removable bottom and spread it a bit with a spatula.

5. Once the dough is cool enough to handle, pat it into the shell with the heel of your and, and use your fingers to press it up the sides of the tart mold. Reserve a small piece of dough, about the size of a raspberry, for patching any cracks.

(Paule takes a fork and reinforces the dough to the sides, which I didn't find necessary.)

6. Prick the dough all over with the tines of a fork about ten times, then bake the tart shell in the oven for 15 minutes, or until the dough is golden brown.

7. Remove from the oven and if there are any sizable cracks, use the bits of reserved dough to fill in and patch them.

I find it best to pinch off a small amount of the reserved dough, roll it gently between your fingers to soften it, then wedge it into the cracks, smoothing it gently with your pinky.

8. Let the shell cool before filling.

Kouign Amann

About 8 to 10 servings

1 tablespoon (12 g) dried yeast, not instant ¾ cup (175 ml) tepid water 2 cups (260 g) all-purpose flour ½ teaspoon sea salt 1 cup ( 200 g) sugar (which will be divided later) (Plus additional sugar for rolling out the pastry) 1 stick salted butter (110 g), cut into ½-inch (2 cm) pieces and chilled

2-3 tablespoons additional salted butter, melted

1. In a medium bowl, dissolve the yeast in the water with a pinch of sugar. Stir briefly, then let stand for 10 minutes until foamy.

2. Gradually stir the flour and salt. The dough should be soft, but not too sticky. Lightly dust your countertop with flour and transfer the dough onto it.

Knead the dough with your hands until the dough is smooth and elastic, about 3 minutes. If the dough is very sticky, knead in just enough flour, one tablespoon at a time, until the dough doesn't stick to your hands.

3. Brush a medium bowl with melted butter, put the dough ball into the bowl. Cover, and let rest in a warm place for 1 hour.

4. Meanwhile, line a dinner plate with plastic wrap and set aside.

5.On a lightly floured countertop, roll the dough into a rectangle about 12" x 18" with the shorter sides to your left and right.

The dough may be sticky and difficult to handle. Use a metal pastry scraper to coax the dough into shape, and a minimal sprinkling of flour, as necessary. (It will all be beautiful later, trust me.)

unrolled.jpg

Distribute the butter in the center of the dough and sprinkle with ¼ cup (50 gr) of sugar. Grab the left side of the dough, lift and fold it over the center, than do the same with the right side (like a letter). You should have what resembles a 3-level pastry.

firstfold.jpg

6. Sprinkle the entire length of the dough with ¼ cup (50 gr) of sugar and (without rolling) fold again into thirds, as before.

secondandhalffold.jpg

Place on the plastic wrap-covered dinner plate and chill for 1 hour.

(At this point, wipe excess flour from the countertop and dust the countertop with a rather liberal handful of sugar for rolling out the pastry again.)

7. Once chilled, remove dough from refrigerator.

thirdfold3.jpg

Ease it away from the plastic onto the sugar-covered countertop. (Use more sugar than shown. I was busy doing double-duty as the photographer and baker.)

Top the dough with ¼ cup (50 gr) of sugar, press it in a bit with your hands, and roll into a rectangle for the last time.

lastroll.jpg

Now wasn't it easier this time?

Again, fold into thirds and let rest in the refrigerator for 30-60 minutes.

8. Preheat oven to 425° F (220° C) and brush a 9-inch (23cm) pie plate, preferably non-stick, with melted butter.

9. Remove dough from refrigerator. Roll dough into a circle about the size of the baking pan. It will be sticky; dusting the top with a sprinkle of sugar will help.

Once rolled, lift the dough and coax it into the pan. (It will want to break. If so, fold it in half and quickly slide something flat under it, like the metal bench scrape AND a metal spatula and quickly slip it into the pan. If it does break, just piece it back together in the pan.)

10. Sprinkle with the remaining ¼ cup (50 gr) of sugar and drizzle with 1 tablespoon melted butter.

beforeoven.jpg

Bake for 40-45 minutes, until the top is deeply caramelized. Let stand a few minutes, then run a spatula around the edges to release the Kouign Amann and slide the cake from the pan onto a cooling rack.

PEPERONATA RUSTICA Ingredients:

* Bell peppers of a variety of colors * 2 onions * 2-3 tomatoes * Olive oil

Preparation: Take bell peppers of a variety of colors, seed them, and rib them. Thinly slice one or two onions, depending upon the number of peppers, and blanch, peel, seed, and crumble a couple of tomatoes. Mince and sauté a little bit of the onion in olive oil, and when it begins to brown add the remaining onion and the peppers. Cook covered for a few minutes over a medium flame, just long enough for the peppers and onion to wilt without browning. At this point remove the cover and cook, stirring gently, until the liquid evaporates. Next, add the crumbled tomatoes; when they have wilted but aren't completely cooked the peperonata is ready: You'll end up with a dish that's somewhat cooked and somewhat raw, and which can be eaten hot, as a side dish, or spread cold over slices of toasted bread as a snack.

Patricia Grace’s ‘Ngati Kangaru’ and Sally Morgan’s ‘The Letter’ both contain versions of the no/stov trope – that of homecoming. As with all such stories, the particular way in which their respective no/stoi are acted out reflects the histories the homecomer and the home have each experienced since the two were originally separated. Unlike the Odyssey (the archetype of no/stov), however, these homecomings are complicated by the fact that the homecomer didn’g choose to leave their home for the sake of glory, but rather the homecomer was separated from their home from without – and in the case of Grace’s story the homecomer is an entire iwi and an entire class of people. In an indigenous context, the concept of ‘home’ is of prime importance; one’s home defines one’s indigeneity. This can work as a metaphoric home – as in the case of Morgan’s story – or as a specific geographical home – as in the “old stamping ground” (Grace 135) of Grace’s story. In both cases, though, no/stov re-establishes indigeneity’s usurped connection to home, whether geographical or social. The homecoming involved in Morgan’s ‘The Letter’ is particularly complex. It is not a quest on the part of the homecomer to return home; rather it is a quest on the part of those at home to have her return – and, more notably, a quest on the part of the home to have her recognise it as such. For, like countless (or at least uncountable) other children, Elaine was moved from her biological home and transplanted into a white home in the interest of assimilation. For this interest to come to fruition, the culture of the ersatz family must replace her biology. This transplantation happened at the hands of the euphemistically-named Aborigines Protection Board and, of course, “the law”. Elaine in this story is surely an exception – for, while she attains her no/stov (or so we, ever hopeful, must assume), so many others did not. And even though she does attain it, it comes decades after she was taken from her mother. The pain of this no/stov is determined by the depth of the cut made by the separation of Elaine and her family. When it occurred Elaine was a toddler, but now – at the moment of her return – her aunt is borderline geriatric. Her age is shown throughout the story, from her “tired old heart” invoked in the first line through to how long it now takes her to climb the stairs to the telephone. The fact that she is now a great aunt would be reminder enough of the passage of time, but Morgan adds a nice touch in noting how “faded and worn” the letter is; if the time between the writing of the letter (the first contemplation of the possibility of homecoming) and no/stov is long, the time between Elaine’s separation from her family and her return is clearly far longer. The urge that brings Elaine back to her family is the same thing that makes all indigenous people indigenous: ancestral identity. Indentifying oneself as being part of one’s ancestry builds a connection that means one identifies with the ones who were originally colonised, the ones who signed (or, here, didn’t sign) the treaties – this connection makes people First Nations. One aim of assimilationist policy is to hide the existence of indigenous people, to cover up the blood on the hands of the colonialist, to obscure unpleasant truths. It is as it turns out very successful in achieving these repugnant aims. For as Auntie Bessie sits on the bus with her tin of memories that are significant only to her, she refuses to cry. It is a history she will allow only herself to confront, not letting her tears implicate other passengers, other Australians, in their mutual past. The silence around assimilation’s crimes makes assimilation live far beyond changes to policy, far beyond apologies; with aboriginality being something unspeakable and thus, if I dare invoke the Sapir-Whorf hypothesis, unthinkable – why would Elaine believe a strange woman’s claim that she is her mother anyway? Decades of deception have the unsurprising effect of turning the truth into a “silly mistake” (Morgan 108). Where Morgan picks up the pieces broken by the ‘stealing’ of generations, Patricia Grace turns the entire act of colonising New Zealand on its head. In ‘Ngati Kangaru’, Billy, appropriating the colonialist discourse employed by the Wakefields in the 1800s, establishes a real New Zealand Company. This company, Te Kamupene o Te Hokinga Mai, has two no/stoi as its aims. The first is what Hiko even calls “The Return” – the resettlement in New Zealand of Maaori living in Australia. The second is far more powerful, though, as it crosses more history in coming full circle – the resettlement of Maaori in their ancestral lands. This is a far more public, a far more political no/stov than that in Morgan’s story – and with farther reaching implications. In ‘The Letter’, of course, Elaine does not function just as a character in a short story – she functions in a more generalised way to represent the collective experience of the stolen generations. This means that the story is meaningful; it can be related to the world external to the story. But ‘Ngati Kangaru’ documents homecoming as a deliberate, political act. Unlike Grace’s other fiction in which she is “just writing about ordinary people” (Valle 2007), in ‘Ngati Kangaru’ she imagines realistic characters doing extraordinary things – they act much less as meaningful characters than as characterisations of meaning. This repatriation is indiscriminate; no attention is paid to class, but rather all Maaori are sought to be settled in the reclaimed land. Billy &c. aim to “round them all up – the solos, the UBs, pensioners, low-income earners, street kids, derros” (Grace 142). Of course, the working class has much more of an interest in being given houses as its members are unlikely to be landed. But Local businesspeople side with the Maaori – seems strange at first, but then you realise that they’re good for the economy! 140 Unsustainability of living in this place only over summer as a holiday place When the inevitable occurs and the European otherwise owners of the holiday homes arrive for their summers, another colonisation is acted out. This time, however, it is not a reversal of the original European colonisation of New Zealand; it is its direct parallel. After all, Europeans are arriving in land settled by Maaori with the intention to stay. The awkwardness of this colonial effort, the surprise the Europeans show and the strangeness of the situation for the reader all stand testament to the alienation contemporary Pakeha experience from their colonial past. The situation Grace sets up is undeniably impossible to accept as being valid; however, I suspect most Pakeha are rarely aware of the position in which our ancestors’ role in the colonisation of New Zealand places us. This is rather odd, especially given that the Pakeha identity is essentially a definition of the Other to the land. The joke is, of course, that this new community has the same legal right to exist as all of non-Maaori New Zealand does; denying its legitimacy means admitting the illegitimacy of New Zealand’s entire legal framework. REFERENCES Grace Morgan Paolo della Valle 2007. ‘The Wider Family: Patricia Grace interviewed by Paolo della Valle’. In The Journal of Commonwealth Literature 42 (1): 131-141.

title: User:Pianoface


text: Template:Buffyverse-stub

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WBC

WBC may stand for:

Business

 * Westinghouse Broadcasting Company, a former large American broadcaster now folded into CBS
 * Westpac (New Zealand Exchange code: WBC), a multinational financial services company
 * Wholesale Broadband Connect, a UK internet provider
 * Workers Beer Company, a UK/Ireland organization providing event catering services

Government

 * War Bureau of Consultants, a 1941 US committee on biological warfare
 * West Berkshire Council, a UK local government district

Media

 * World Book Club, a radio programme on the BBC World Service
 * Worldview Broadcasting Channel, a Malaysian news channel
 * White Blood Cells (album), 2001, by the White Stripes
 * Warner Bros. Cartoons, a defunct U.S. animation studio, which operated from 1930 to 1969

Sports and competitions

 * S.V. Walking Boyz Company, a Surinamese association football club
 * BWF World Championships, a.k.a. World Badminton Championships
 * World Baseball Classic, an international tournament
 * World Basketball Challenge, an international competition
 * World Boxing Council, an international boxing sanctioning body
 * World Barista Championship, for coffee drink preparers
 * World Boardgaming Championships, an annual convention

Other uses

 * White blood cell, part of the immune system
 * WBC hive, a type of artificial beehive
 * Waterbeach railway station, station code WBC, in Cambridgeshire, England
 * Westboro Baptist Church, a small unaffiliated US church considered to be a hate group
 * The Word Biblical Commentary, a series of analyses of the Bible

title: WBC


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User talk:Pianoface

Pianoface is a good personal friend of mine. His writing style certainly enlivens Wikipedia. --Exparrot 08:21, 19 Dec 2004 (UTC)

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

Thanks!--DASHBot (talk) 05:49, 25 January 2010 (UTC)
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User:UTSRelativity/Workspace

The Ontario Academic Credit (OAC) was part of the curriculum(s) codified by the Ontario Ministry of Education in Ontario Schools: Intermediate and Senior (OS:IS, oh-sis) and its revisions. In common parlance, the term is used to describe the fifth high school year (also known as Grade 13) that used to exist in the province of Ontario, Canada. It can also refer to the courses offered at the OAC level, or the high school credits that are associated with these courses. Finally, it can refer, rather vaguely, to students who were in their OAC year (OACs). Ontario Academic Credits and its related curriculum have been phased out and were last offered for the 2002-2003 school year.

Ontario Academic Credit year
OAC year (Grade 13) was the final year of high school in Ontario for students under OS:IS. Students were not required to complete that year in order to receive the Ontario Secondary School Diploma (OSSD); many students graduated after Grade 12. OAC credits were a university requirement, however, so those wishing to reach that level stayed on to complete those courses.

Prior to the introduction of OAC for the 1984-1985 school year, Ontario had 13 grades. There were two high school diplomas in Ontario, the Secondary School Graduation Diploma (SSGD) which was awarded after Grade 12 and the Secondary School Honours Graduation Diploma (SSHGD) awarded after Grade 13. The "Grade 13 diploma" was recognised in some jurisdictions as being the equivalent of first-year university and having it would enable some students to apply directly for entry into second-year at universities outside of Ontario. This practice ended with the replacement of the SSHGD with the OSSD of OS:IS.

OS:IS more formally allowed for the completion of schooling after only 12 grades, where previously, this had been an exceptional circumstance.

Ontario Academic Credit courses
OAC courses had course codes ending in "OA" (e.g., ENG OA was OAC English) and were the highest level courses in Ontario high schools until the formal elimination of the Ontario Academic Credit. To enter university, students were required to complete 30 high school credits (courses can have different credit values, but most courses were worth 1 credit; some courses were compulsory and there were other restrictions), 6 of which had to be at the OAC level. Assuming that one had taken the necessary prerequisite courses, one could complete OAC courses before the OAC year, thus in many schools, it was common for Grade 11 or Grade 12 students to take OAC courses. Students who completed these requirements in 4 years of high school were permitted to graduate; this practice was known as fast-tracking. However, most students chose to stay in high school the extra year.

Ontario universities looked at a prospective matriculant's "top-six" (the six OAC courses taken with the highest grades) and averaged them. If one's "top-six" average was above a university's "cut-off" (the lowest average they would be willing to accept for that year), one would be admitted. It should be noted that most university programmes had certain course requirements (e.g., humanities programmes typically required at least OAC English; science programmes typically required, in addition to OAC English, a combination of OAC Algebra, OAC Calculus, OAC Biology, OAC Chemistry, and OAC Physics), thus these courses had to be completed and are considered part of the student's "top-six".

Students with an average of 80% or greater over all OAC courses were named Ontario Scholars.

Secondary school reforms and the "double cohort"
The phasing out of the OAC (Grade 13) year, a part of a series of Secondary School Reforms, was announced by the governing Ontario Progressive Conservative Party soon after their election to office in 1995 under the leadership of Premier Mike Harris. Some suggested motivations for these reforms are to modernize the education system or to save money. The reforms cumulated into a new, standardized curriculum documented in Ontario Secondary Schools, Grades 9 to 12: Program and Diploma Requirements (OSS, oh-es-es). OAC year was replaced with an extra ten days of schooling in each lower grade. Most Ontario universities which had offered three-year Bachelor's programs began to phase those out in favour of four-year Honours degrees.

The elimination of the OAC year produced a "double-cohort" caused by both the last OAC (OS:IS) class and the first Grade 12 (OSS) class graduating in the same year (the double-cohort year, 2003). This led to more competitive admission standards at most Ontario universities. Some students under OS:IS who feared that they might not be able to gain admission to the university of their choice as a result of the double cohort decided to fast-track to graduate before 2003; a variation of this is where a student under OSS decided to take an extra year of high school to graduate in 2004 or delayed application to post-secondary institutions. Double-cohort students who chose the latter options in their turn affected those in the year after them.

Informally, OAC is used to refer to the OS:IS curriculum and Grade 12 is used to refer to the OSS curriculum in discussions of the double-cohort.

Category:Education in Ontario

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Wikipedia:Articles for deletion/Steve Downes

 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 (Wiwaxia, I don't think those two are the same person). Marblespire 03:59, 5 May 2005 (UTC)

Steve Downes
nominate for reasons of non-notability. The fellow's IMDB page shows only three credits and a comment about how he DJ's for a radio station. I'm a big fan of Halo, but, still. Marblespire 03:06, 26 Apr 2005 (UTC) [EDIT] Oh yeah, I vote Delete. (Duh. =) )
 * Delete, not notable. Megan1967 08:14, 26 Apr 2005 (UTC)
 * Redirect to the Stephen Downes who was arrested after wearing a "Give peace a chance" T-shirt at the mall. Wiwaxia 22:08, 27 Apr 2005 (UTC)

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