text:
Talk:Superfluid helium-4

Poorly Written for Encyclopedia
An encyclopedia is written for the educated layman, not the specialist. This article is terrible in that regard. Sentences like "Landau thought that vorticity entered superfluid 4He by vortex sheets, but such sheets were shown to be unstable" is totally devoid of context or meaning for anyone but the professional scientist. After reading this article it is hard to understand anything about what superfluidity actually is, which I only understood after checking popular science writing on the matter.

59.93.184.227 (talk) 06:08, 6 August 2009 (UTC)
 * This is still a major problem -24.130.65.122 (talk) 21:49, 11 January 2010 (UTC)
 * Yeah, well, the theory behind the mechanics of superfluidity? Kind of a technical subject. But I was able to comprehend the majority of the article, including, most importantly, the introduction, and I have no expert knowledge on this subject. I'm not going to remove the flag at the top of the page, but I disagree with your views. --75.111.25.142 (talk) 02:55, 28 May 2011 (UTC)

Moved from helium II :
This is going to be moved from the Helium II subsection of helium, for that section is information which applies to all superfluids, as we know them now:

Liquid helium below its lambda point begins to exhibit very unusual characteristics, in a state called helium II. Boiling of helium II is not possible due to its high thermal conductivity; heat input instead causes evaporation of the liquid directly to gas. The isotope helium-3 also has a superfluid phase, but only at much lower temperatures; as a result, less is known about such properties in the isotope helium-3.

Helium II is a superfluid, a quantum-mechanical state of matter with strange properties. For example, when it flows through even capillaries of 10-7 to 10-8 m width it has no measurable viscosity. However, when measurements were done between two moving discs, a viscosity comparable to that of gaseous helium was observed. Current theory explains this using the two-fluid model for Helium II. In this model, liquid helium below the lambda point is viewed as containing a proportion of helium atoms in a ground state, which are superfluid and flow with exactly zero viscosity, and a proportion of helium atoms in an excited state, which behave more like an ordinary fluid.

Helium II also exhibits a "creeping" effect. When a surface extends past the level of helium II, the helium II moves along the surface, seemingly against the force of gravity. Helium II will escape from an vessel that is not sealed by creeping along the sides until it reaches a warmer region where it evaporates. It moves in a 30 nm thick film regardless of surface material. This film is called a Rollin film and is named after the man who first characterized this trait, B. V. Rollin. As a result of this creeping behavior and helium II's ability to leak rapidly through tiny openings, it is very difficult to confine liquid helium. Unless the container is carefully constructed, the helium II will creep along the surfaces and through valves until it reaches somewhere warmer, where it will evaporate.

In the fountain effect, a chamber is constructed which is connected to a reservoir of helium II by a sintered disc through which superfluid helium leaks easily but through which non-superfluid helium cannot pass. If the interior of the container is heated, the superfluid helium changes to non-superfluid helium. In order to maintain the equilibrium fraction of superfluid helium, superfluid helium leaks through and increases the pressure, causing liquid to fountain out of the container.

The thermal conductivity of helium II is greater than that of any other known substance, a million times that of helium I and several hundred times that of copper. This is because heat conduction occurs by an exceptional quantum-mechanical mechanism. Most materials that conduct heat well have a valence band of free electrons which serve to transfer the heat. Helium II has no such valence band but nevertheless conducts heat well. The flow of heat is governed by equations that are similar to the wave equation used to characterize sound propagation in air. So when heat is introduced, it will move at 20 meters per second at 1.8 K through helium II as waves in a phenomenon called second sound.

—The preceding unsigned comment was added by Centrx (talk • contribs) 18:52, 27 July 2005.

Watch out for possible crank edits
I've noticed that a recent edit mentioning that superfluidity in connection with gravity is probably related to this website. I couldn't find any other connection, except a paper mentioning that superfluids behave mathematically much like space-time. —The preceding unsigned comment was added by Peter bertok (talk • contribs) 12:34, 7 October 2005.

Film behavior in real life?
As this article and Talk page discuss, superfluids do some odd things. I've never seen this in real life, though. How difficult is it to set up a scenario in which a superfluid will flow out of a cup, or easily flow through a porous material? Can this be done at a macro scale as a demonstration or does it need to be done in a sealed container with small volumes of superfluid? —BenFrantzDale

Minor Edit
I made a minor edit to the last claim in the article. At American Physical Society and other meetings, Moses Chan has described the possible observation of supersolid hydrogen. In his good judgment, he did not publish this finding. Last week, in a private communication, he withdrew this claim upon the completion of another set of tests. The results for supersolid helium still stand. —The preceding unsigned comment was added by 129.128.241.111 (talk • contribs) 15:16, 12 May 2006.

temperature gradient
"(It is thus impossible to set up a temperature gradient in a superfluid, much as it is impossible to set up a voltage difference in a superconductor.)"

This sentence is misleading. For example, if you put an ice cube and a hot iron on either side of a container with a superfluid, that is by definition a temperature gradient (whether or not there is a temperature gradient *inside* the fluid). However, heat conduction is limited by the speed of light, and thus temperature can't change instantaneously, and so temperature gradients must also exist inside superfluids - if only for an unmeasurable amount of time.

Similarly for a superconductor, put a battery's leads on either end of a superconductor. Again the speed of light is a limitation. Fresheneesz 03:37, 30 May 2006 (UTC)

 * I would say that's a trivial distinction.::Although I could be wrong, the quote in dispute seems to contradict Superconductor which states "superfluid helium has immense but finite heat conductivity" as well as helium which says that heat flows at a rate of 20 m/s through helium II. The article also states that helium's thermal conductivity is non-infinite referring to it instead as: "several hundred times that of copper". Unless I've made a mistake it seems that the section in question should be changed immediately.-Fiber B 00:35, 22 August 2007 (UTC)

Possible vandalism alert
Slashdot recently linked to an article that prominently linked to this page on Wikipedia so keep your eye out for vandals. --froth T C  07:43, 4 January 2007 (UTC)

slowing a beam of light
I noticed that this article mentions Lene Hau slowing light to 17 meters per second with a superfluid the article for Lene Hau reads by 17 meters per second. Slowing a light beam to 17 meters per second would be much more extraordinary than by 17 meters per second but I am not sure which statement is true.162.84.60.14 00:48, 12 September 2007 (UTC)

im pretty sure hua used a b-e condensate and not a super fluid... —Preceding unsigned comment added by 129.110.196.48 (talk) 13:00, 19 January 2008 (UTC)

Error in statement about superfluidity and slow light
The statement about slow light in this entry is misleading. The experiment mentioned (Lene Hau) did slow light in a superfluid medium (Bose-Einstein condensate) but the superfluidity of BEC plays no role in why the light slows down. Light slowing has been performed in non-superfluid media, and the two phenomena are not linked, they just happen to both be possible in a BEC. I'm new to editing wiki, and so won't make any changes to the entry until I understand how to go through the process and can make a good edit, but this is a heads up to anybody watching this page. Maybe more detail in under a new heading (slow light) would be appropriate? Lazerbrane 15:08, 3 October 2007 (UTC)

one atom or 30 nm
The figure references the Rollin film article which says liquid helium forms a film 30 nm thick, but this article says it forms a layer one atom thick. Obviously one atom of helium is nowhere near 30 nm. I'm inclined to believe the 30 nm figure, but I don't understand why such a thick film is "needed" (energetically favorable). 70.15.116.59 03:38, 23 October 2007 (UTC)

Perpetual Motion
It appears that super fluids display endless motion. If this is true then I wonder if we can extract free energy from it, the only barrier I can see would be keeping it -271 degrees Celsius. Any thoughts on this.

Valros333 (talk) 09:04, 13 January 2008 (UTC)Valros333

 * You will not be able to extract continuous energy from it. If you do so the flow will slow down or stop. There may be perpetual motion, but not "free" energy. Graeme Bartlett (talk) 22:53, 13 January 2008 (UTC)

 * I have a thought too: it will fail... utterly. All ideas of free energy ex nihilo only serves as a laughing topic for the vast majority of people. Rursus dixit. ( m bork3 !) 14:14, 10 February 2010 (UTC)

What would stop this from working? http://compaq.port0.org/perpetual_motion_machine.jpg Just curious, COMPA (talk) 06:55, 10 February 2011 (UTC).
 * If you could get a setup likeнрвпсачирапгяпварпi.e., "happier"). However, the energy it had when it "jumped" up has become potential energy, and so no magic happened and in bulk the liquid cooled off.

This article uses unnecessarily convoluted sentences. First sentence of the article:
 * Superfluidity is a phase of matter or description of heat capacity in which unusual effects are observed when liquids, typically of helium-4 or helium-3, overcome friction by surface interaction when t a stage, known as the "lambda point" for helium-4, at which the liquid's viscosity becomes zero.пприва8нфынаф8гывпнагшнвзшпгрващзшвягщрхэящагвнрп

Rulatir (talпрk) 18:46, 26 June 2008 (UTC)

rotating container of superfluid
regarding a rotating container full of superfluid, what if the fluid is already rotating with the container as it is cooled below the point where it becomes superfluid? does it stop rotating? of so then where does its angular momentum go? also how exactly is the rotation of the superfluid measured? just-emery (talk) 00:23, 11 May 2009 (UTC)

Zero effective mass
Perfect vacuums are impossible to create here on earth but I seem to recall reading that a molecule floating in superfluid behaved exactly as it would in a perfect vacuum. If true then doesnt this imply that atoms in a superfluid behave as though they had zero effective mass? just-emery (talk) 04:15, 3 July 2009 (UTC)

IRAS
IRAS page mentions about 475 liters of superfluid helium, not 750. Which is correct? —Preceding unsigned comment added by 81.219.148.15 (talk) 22:22, 30 July 2009 (UTC)

Ouch! Prefixed-superscript notation like "[[Helium|4Helium]]" is too hard to read!
The simple "helium-4" notation is far easier to read in narrative. The superscript notation may be good for concise formulas, but not for narrative. I don't have time to fix this right now, but if someone else can it would be helpful. Thanks! -- DBooth (talk) 17:48, 7 July 2010 (UTC)

Conducting superfluids are superconductors
suggests that electrically conducting superfluids (as in a neutron star) are superconductors. Could some one say something about that in the article ? Are there any electrically conducting superfluids we can use on earth ? Rod57 (talk) 03:38, 25 February 2011 (UTC)

Propellor example
''For example, a paddle or propeller would meet no resistance in superfluid helium, and would fail to push a boat. However, once in motion (for example, when pushed from the side of a pool), a hypothetical boat would continue to move, without slowing, until it reached the other side.''

 * I'm pretty sure this is false. A propellor doesn't depend on any kind of dissipation in order to work, so it would work just as well in a perfect superfluid. You turn the propellor blades, the blades push the superfluid (because the superfluid can't actually penetrate the blades), and the boat moves because of the reaction force. There's no friction or dissipation involved, just normal force. Superfluids still feel the normal force.
 * If I'm totally wrong about this, there should be a reliable source that says so. —Keenan Pepper 06:11, 1 June 2011 (UTC)

 * Well, now you've got me. I know that lift vanishes in He-II in the limit of low velocity (we neglect the normal non-superfluid component), but this may be classic aerodynamic lift that doesn't just rely on brute angle of attack. The experiment is a well known one done in 1957 by Craig and supervised by Feynman . You can make an argument that a simple flat object dragged though He-II must have some drag because it pushes He-II out of the way. However, if that were true, all those experiments with He-II circulating around small objects in in a ring wouldn't work-- the simple drag of this kind would move the objects and stop the helium. Would it not? There are discussion on the web about whether or not your could swim in He-II (in the limit of perfect superfluidity) and the consensus is that you can by jet-siphon effect (grab some in a closed container and push it behind you) but with surfaces that the He=II can "get around" perhaps not. Probably I should remove this statement until I find something definitive. S  B Harris 18:50, 1 June 2011 (UTC)

infinite thermal conductance.
The article mentions super-fluids as having infinite thermal conductance, but this should be seemingly impossible as it would nesecitate thermal transfer at faster than c. can someone please explain how it is possible to have infinite thermal conductance without violating the laws of physics? — Preceding unsigned comment added by 68.48.169.133 (talk) 21:45, 31 October 2011 (UTC)
 * Actually, heat conductivity is defined to be thermal diffusivity × heat capicity × density. Thermal diffusivity has the units cm2/s rather than cm/s so if you have a glass sheet with a certain temperature difference between one side and the other, then a glass sheet twice as thick with the same temperature difference will actually take 4 times as long to conduct heat from one side to the other, not twice as long. In the case of a superfluid conducting heat at the speed of light, the larger the size of the superfluid, the larger is the speed of conductance times the distance the heat is conducted so the heat conductivity approaches infinity as the size of the superfluid approaches infinity. Blackbombchu (talk) 23:21, 31 July 2013 (UTC)
 * Not buying your handwaving. The glass sheet with the constant temperature difference on one side to the other is subject to Fourier's law. At steady state (that is what we're talking about, no?) it will have a linear and constant temperature gradient across it, and if it is twice as thick it will conduct heat half has fast (per unit area). The units of diffusivity are irrelevant. Conductivity is also diffusivity times volumetric heat capacity, which is just 1/V times dQ/dT. You see immediately that the units for k come out to dQ/dt per meter per K, as advertized. Heat transfer per time is proportional to temp difference and inversely proportional to a distance, which is the area divided by the insulation thickness. S  B Harris 03:54, 1 August 2013 (UTC)

 * Thermal conductance has nothing to do with how fast, in terms of m/s, i.e. a speed, heat is transfered. The common heat equation is not Lorentz invariant and as such is not compatible with relativity. The speed of heat is infinite according to that equation, regardless of the value of the thermal conductance. But it doesn't matter, it's still a good approximation for describing the temperature in most systems. Lastly, thermal conductance has to do with the rate of how the temperature stabilizes throughough the material. If one heats a spot of a material, the temperature in the whole material is affected instantly once the heat has been applied. Thermal conductance gives us a measure of how quickly (in terms of time), the rest of the material will achieve a homogeneous temperature (strickly speaking it should never be reached, but we can use reasonable reasonable thresholds to consider what a homogeneous temperature distribution is.) — Preceding unsigned comment added by 176.163.163.86 (talk) 10:46, 14 August 2018 (UTC)

What critical speed means
Under the heading Film Flow, by critical speed, did the article mean the speed limited by quadratic resistance? Blackbombchu (talk) 23:20, 31 July 2013 (UTC)

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title: Talk:Superfluid helium-4


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AT&T Alascom

Alascom, Inc., doing business as AT&T Alaska, is an Alaskan telecommunications company; specifically, an interexchange carrier (IXC). AT&T Alascom is currently a wholly owned subsidiary of AT&T Inc. AT&T Alascom, previously known as Alascom and many other names, was the first long-distance telephone company in Alaska. AT&T Alascom has extensive telecommunications infrastructure in Alaska, including three satellites, undersea and terrestrial cables containing optical fiber, and numerous earth stations.

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Alascom and General Communications, Inc. have been the two primary competitors for long-distance telephone service in Alaska since GCI's founding in 1979.

History
The company began in 1900 when the U.S. Congress authorized the U.S. Army Signal Corps to create the Washington-Alaska Military Cable and Telegraph System, or WAMCATS.

During the 1940s and World War II, the U.S. Army completed the system and it became known as the Alaska Communications System (ACS) and the White Alice Communications System.

In 1970, RCA Corporation purchased ACS and renamed it RCA Alascom. Alascom greatly built up the telecommunications infrastructure in the state during this time, due to RCA's major involvement in communications satellites.

In 1979, Pacific Power & Light Company (later known as PacifiCorp), thru its subsidiary Pacific Telecom, Inc., purchased RCA Alascom and it became known as Alascom, Inc.

The company launched three communications satellites into orbit: Aurora I on October 27, 1982, Aurora II on May 29, 1991, and Aurora III (later renamed AMC-8) in 2000. All three satellites are dedicated solely to providing telecommunications services to Alaska.

The original AT&T purchased Alascom in 1995 and gave the company its current name. Alaska regulatory approval of both that purchase and SBC's later purchase of AT&T required that AT&T Alascom continue to exist as a separate entity.

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

title: AT&T Alascom


text:
User talk:Porphyria

Welcome to the Wikipedia
I noticed you were new, and wanted to share some links I thought useful:

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For more information click  here . You can sign your name by typing 4 tildes, like this: ~.

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Red Links
Red links are an opportunity. What's the problem with them, exactly? siafu 18:14, 22 Apr 2005 (UTC)

Links between Iraq and Al-Qaeda
Could you please vote on the proposed move Links between Iraq and Al-Qaeda → Alleged links between pre-invasion Iraq and Al-Qaeda? The vote is here. Thanks. ObsidianOrder 17:16, 22 Apr 2005 (UTC)

Saddam Hussein and Al-Qaeda → Saddam Hussein and Al-Qaeda conspiracy theory - name change vote
Hello, there is another vote to rename Saddam Hussein and Al-Qaeda, this time to Saddam Hussein and Al-Qaeda conspiracy theory. The voting is here: Talk:Saddam Hussein and Al-Qaeda. I would appreciate it if you could vote. Thanks. ObsidianOrder 05:58, 26 July 2005 (UTC)

title: User talk:Porphyria


text:
Talk:Nicolo Tartaglia

Volume of a tetrahedron
The section on the volume of a tetrahedron is anachronistic and should probably be removed. Tartaglia has a numerical example in the General Trattato where he calculates the volume of a tetrahedron with sides 20, 18, 16, 15, 14, 13 ([General Trattato, Part IV, Book 2], p. 35r and following). Ostermann and Wanner have a brief discussion of this construction in Geometry by its History (p. 298-9), asserting mistakes in his calculations and saying that "Many texts or internet sites call [the Cayley-Menger determinant and other determinant formulas] 'Tartaglia's formula', which seems exaggerated."

Tartaglia inscribes the tetrahedron in a sphere and applies Volume = 1/3 Base x Height, a formula originating in antiquity. He uses Thales Theorem and the Pythagorean theorem, certainly showing his mastery of solid geometry and overall genius for calculation, but not quite as anticipatory as the ascription of Cayley-Menger to him suggests. — Preceding unsigned comment added by MikeB17 (talk • contribs) 15:11, 13 December 2019 (UTC)

In the end I focused on what Tartaglia did do rather than what he didn't do. The former is highly impressive without embellishment. "Tartaglia's formula" seems not exist in his writings and that needs to be documented (hence the detail), considering the traction it has gotten on the Internet and the negative attention that has gotten from scholars. MikeB17 (talk) 13:58, 20 December 2019 (UTC)

Untitled
Hi all, the name should be Niccolò with an accent. "Niccolo" is not a name in Italian. Most Italian pages on the subject report the accented version. What about moving the article? Furthermore, there should be a note reporting that tartaglia was actually a nickname, "tartagliare" means "to stutter". Orzetto 06:51, 12 Apr 2005 (UTC)

The article is incomplete. The McTutor link at the bottom provides good material. Stammer 16:25, 8 November 2006 (UTC)

fixed article-verb agreement in the opening line. i think "...method, let's say a construction, to..." near the end should be fixed/removed. Sullage 20:58, 8 April 2007 (UTC)

Italian translation of Archimedes and Euclid
I never heard of such translations of Archimedes by Tartaglia and I really doubt that this is true. It is well known that he appeared as editor (not translator) for a Latin (not Italian) version of some texts of Archimedes. Tartaglia claimed the authorship for the translation, but it was just a copy of a translation done by William of Moerbeke in the 13th century.

By the way, categorising his translation of Euclid's Elements as "was especially significant" is venturous. In accordance with Tartaglia's role in mathematics as a sort of private teacher (he never taught at universities) this translation might have been significant for the type of students he had. The lingua franca for renaissance mathematicians was Latin and not Italian. Finally the famous historian of mathematics Moritz Cantor mentioned in his "Vorlesungen über Geschichte der Mathematik" that Tartaglias translation was based on two Latin translations and ignored the origininal greek text, which was already available in printed form at that time.

After all the statement about Tartaglia's translation seems to express some sort of admiration for Tartaglia, but it doesn't match our historical knowledge.

Labus (talk) 21:55, 11 October 2008 (UTC)

Actually, according to the Dictionary of Scientific Biography by Charles Coulston Gillispie, Tartaglia "produced an edition of William of Moerbeke's thirteenth-centruy Latin version of some of Archimedes' works. Tartaglia returned to Archimedes in 1551, publishing an Italian translation, with commentary, of part of Book I of De insidentibus aquae that was included in the Ragionamento primo on the Travagliata inventione". I think the statement that Tartaglia translated texts by Archimedes therefore is true. 132.229.121.233 (talk) 16:20, 15 October 2008 (UTC)

Tartaglia's first solution to the cubic
Is there any written text about Tartaglia's original solution to $$x^3 \pm a x^2 = b\,$$? Also, I read somewhere that Tartaglia stole Scipione del Ferro's solution to $$x^3 + p x = q\,$$ while he was contesting with Antonio Fiore. Albmont (talk) 19:26, 30 December 2008 (UTC)

If you check out the website for MacTutor listed in the external links section there is an article about the poem which he wrote (translated to English) that allowed him to memorize the formula without having to write it down. — Preceding unsigned comment added by Mrorangesmu (talk • contribs) 22:14, 8 February 2011 (UTC)

There is a nice discussion of the poetic form that Tartaglia used as well as the original Italian and another English translation available. Is there a reason why we can't include that on this page? Copyright restrictions?Mrorangesmu (talk) 22:21, 8 February 2011 (UTC)

All the sources I have checked indicate that Tartaglia came up with his solutions on his own. He did this in response to a challenge from del Ferro's student Antonio Maria FioreMrorangesmu (talk) 20:15, 26 April 2011 (UTC)

Tartaglia's name
It looks as if his name is in fact not "Niccolò Fontana Tartaglia", but "Nicolo Tartaglia". His surname is not "Fontana" and he never wrote "Niccolò" himself, as Prof Friedrich Katscher said in the German Wikipedia - he wrote a book about Tartaglia. If you can read German, please have a look at Nicolo Tartaglia. Best greetings, --134.130.131.116 (talk) 07:50, 15 May 2009 (UTC)

Tartaglia's cubic problems
This is an interesting compilation of the problems that Tartaglia had to deal in the contests with Antonio Fior and Ferrari: http://www.gap-system.org/~history/HistTopics/Tartaglia_v_Cardan.html. Albmont (talk) 14:09, 28 July 2009 (UTC)

Tartaglia's formula
In Tetrahedron it is stated that Tartaglia's formula is is essentially due to the painter Piero della Francesca in the 15th century. If this is the case, it should be also stated in the Niccolò Fontana Tartaglia article. Maxal (talk) 16:54, 22 August 2009 (UTC)

Requested move 12 April 2023

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: moved to Nicolo Tartaglia. With only two participants, including the nominator, this was a very lightly attended discussion; however, there is no minimum participation required for RMs, and the discussion nevertheless addresses a number of relevant arguments. Agreement was unanimous that "Fontana" should be removed from the page title. Proposals for the mononym Tartaglia, disambiguated or otherwise, did not attract consensus; however, "Nicolo Tartaglia" attained consensus as a compromise title. (non-admin closure) ModernDayTrilobite (talk • contribs) 19:05, 27 April 2023 (UTC)

Niccolò Fontana Tartaglia → Niccolò Tartaglia – I don't see any support in the article for the name "Niccolò Fontana Tartaglia". Presumably his legal name (to the extent there was such a thing) was always Niccolò Fontana. The name he's most known by, Tartaglia, is technically a nickname. Images in the article suggest that he published as Nicolaus Tartaglia and Nicolo Tartaglia, with no "Fontana" in either. It seems a bit OR-ish to combine them into the tripartite name in the current title, and I don't believe I've ever seen his name in that form elsewhere. To be honest, my real preference would be to move to just Tartaglia, which is the WP:COMMONNAME, if he passes WP:PRIMARYTOPIC, which I think it's likely he does. However that would take more legwork to check up on. Trovatore (talk) 20:29, 12 April 2023 (UTC)
 * Update: it looks like "Nicolaus Tartaglia" was used in the caption of a portrait; I don't have any evidence he published under or otherwise used that exact name.

 * Comment I would reword the first sentence to something like
 * Niccolò Fontana, known as Tartaglia, was ...
 * --Trovatore (talk) 20:31, 12 April 2023 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.
 * Indented comment beginning Update: so the RM bot can find the timestamp. Rotideypoc41352 (talk · contribs) 22:49, 12 April 2023 (UTC)
 * Update I happened to see that there's a section above called Tartaglia's name, and now I have some doubts about the best title to move this to.
 * The case for moving it away from anything including "Fontana" is stronger than ever — it sounds like that may never have been part of his name at all. It would be a great service if someone would track down reliable sources for, against, or both.  In the case of "both" we should explicitly mention that in the article.
 * The modern spelling "Niccolò" seems a bit in question. He himself seems to have used "Nicolo" in published works.  He does seem to have been a rough contemporary of Niccolò Macchiavelli, but the spelling may not have been fully standardized.  Of course if modern sources overwhelmingly use the modern spelling then we should too, but we should probably mention that he used "Nicolo".
 * We could finesse both these issues if we could just move the article to Tartaglia (moving that page to Tartaglia (disambiguation), though this would require verifying that he meets PRIMARYTOPIC. This is my first choice if he does.
 * Failing that, I think Tartaglia (mathematician) would also be a reasonable choice.
 * Sorry for the somewhat unfocused RM; it turns out to be more complicated than I thought. --Trovatore (talk) 01:36, 13 April 2023 (UTC)
 * I support dropping "Fontana", bringing us in line with a bunch of large other language Wikipedias and the old books/prints used in the article. I don't care much about how we spell the "Nicholas" in Nicolo Tartaglia. I oppose plain Tartaglia or a disambiguated variant; we don't use Euler or Linnaeus as article titles either, and we do know the first name, and it is used reasonably often. —Kusma (talk) 11:53, 13 April 2023 (UTC)
 * It isn't really parallel to Euler; he had a first name (Leonhard) and a family name. Tartaglia is not a family name but a nickname, and in my experience he's usually referred to mononymically by that name.  That said, Nicolo Tartaglia strikes me as an acceptable solution given that he published under that name. -Trovatore (talk) 16:53, 13 April 2023 (UTC)

First name and language
It occurs to me to wonder whether the distinction between "Nicolo" (as Tartaglia seems to have written it) and "Niccolò" might be that the latter is in Italian and the former is in Venetian or Brescian? --Trovatore (talk) 19:36, 13 April 2023 (UTC)

title: Talk:Nicolo Tartaglia


text:
User:Junaeds

[Abak Ahmed Hussain]

Abak Ahmed Hussain is a philosopher who dreams of an utopian society in the impoverished Bangladesh. Born in an upper middle class family, Abak never suffered from the abject poverty so many of his countrymen deal with on a day to day basis. Yet he spent considerable amount of time to understand the people who surround him, and is never shy in giving good advice. He has many followers (mainly girls) both in his birthplace Dhaka and his alma mater located in Appleton Wisconsin, U.S.A.

title: User:Junaeds


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MESDAQ

MESDAQ (Malaysian Exchange of Securities Dealing and Automated Quotation) was launched on 6 October 1997 as a separate securities market, mostly for listing technology-based companies. It is part of Bursa Malaysia. Among the companies listed on MESDAQ in its early days include Viztel, Greenpacket, Jobstreet and others. The MESDAQ has now been changed to the ACE Market.

title: MESDAQ


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Anwarul Karim Chowdhury

Anwarul Karim Chowdhury (আনোয়ারুল করিম চৌধুরী; born 5 February 1943) is a Bangladeshi diplomat most noted for his work on development in the poorest nations, global peace and championing the rights of women and children. In a speech he gave in 2005, Chowdhury stated: "We should not forget that when women are marginalized, there is little chance for an open and participatory society." In his role as the leading United Nations Culture of Peace emissary, he said in May 2010 that peace efforts would continually fail until people embraced humanity's oneness.

Biography
Chowdhury was appointed in March 2002 by the Secretary-General of the United Nations as Under-Secretary-General and High Representative for the Least Developed Countries, Landlocked Developing Countries and Small Island Developing States.

In December 2003, Chowdhury was designated as the Secretary-General of the International Meeting for the ten-year review of the Barbados Programme of Action for the Sustainable Development of the Small Island Developing States held in Mauritius from 10 to 14 January 2005. Chowdhury was also designated the Secretary-General of the International Ministerial Conference of Landlocked and Transit Developing Countries and the Donor Community on Transit Transport Cooperation held in Almaty, Kazakhstan on 28–29 August 2003.

Prior to his appointment, Chowdhury completed his assignment (1996–2001) as Permanent Representative of Bangladesh to the United Nations in New York City. He also served as Bangladesh's Ambassador to Chile, Nicaragua, Peru and Venezuela, as well as Bangladesh's High Commissioner to the Bahamas and Guyana.

During his tenure as Permanent Representative, Chowdhury served as President of the Security Council, President of the United Nations Children's Fund (UNICEF) Executive Board and Vice-President of the Economic and Social Council of the UN in 1997 and 1998. He had served for more than 10 years as the Coordinator for the Least Developed Countries in New York City. In May 2001, he led the negotiations on behalf of the least developed countries at the Third United Nations Conference on Least Developed Countries, which adopted the comprehensive Brussels Programme of Action for the present decade. Chowdhury also chaired the Fifth (Administrative and Budgetary) Committee of the United Nations General Assembly in 1997–1998. From 1990 to 1993, Chowdhury was the UNICEF Director for Japan, Australia and New Zealand.

At the first annual Peace Education Conference, held virtually in September 2021, Chowdhury was the inaugural keynote speaker, as Founder of the Global Movement for the Culture of Peace. Also featured was Dr. Stéphane Monney Mouandjo, Director-General of CAFRAD, a UNPAN member, along with other dignitaries.

Education
Chowdhury was born in 1943 in Dhaka, British India and joined the diplomatic service in 1967. He holds a Master of Arts degree in contemporary history and International Relations from the University of Dhaka. He has been a regular contributor to journals on peace, development and human rights issues, and a speaker at academic institutions and other forums. He also served as an adjunct professor at the School of Diplomacy, Seton Hall University of South Orange, New Jersey, the United States.

Honours
Chowdhury is the recipient of the U Thant Peace Award and UNESCO Gandhi Gold Medal for Culture of Peace. He is an Honorary Patron of the Committee on Teaching About the UN (CTAUN), New York. In March 2003, Soka University of Japan conferred on Chowdhury an honorary doctorate for his work on women's issues, child rights and culture of peace as well as for the strengthening of the United Nations. His initiative in March 2000 as the president of the Security Council led to the adoption of the groundbreaking the UN Security Council Resolution 1325 on the role of women in peace and security.

Chowdhury has been decorated by the Government of Burkina Faso with the country's highest honour, L'Ordre national, on 18 June 2007 in Ouagadougou for his championship of the cause of the most vulnerable countries.

Interfaith dialogue
On 2 December 2008, Chowdury said: "Interfaith dialogue is absolutely essential, relevant, and necessary. ... If 2009 is to truly be the Year of Interfaith Cooperation, the UN urgently needs to appoint an interfaith representative at a senior level in the Secretariat."

title: Anwarul Karim Chowdhury


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The Queanbeyan Age

The Queanbeyan Age is a weekly newspaper based in Queanbeyan, New South Wales, Australia. It has had a number of title changes throughout its publication history. First published on 15 September 1860 by John Gale and his brother, Peter Francis Gale, The Golden Age, as it was known at the time, was the first newspaper of the small township on the banks of the Queanbeyan River. It was named due to the short-lived Kiandra goldrush, which generated large amounts of gold-based traffic through the region.

The Age published in 32 to 48 page editions on Fridays. Previously it published twice a week, and prior to that three times a week. Its weekly coverage includes politics, the courts, council, sport, community, health, environment, police and the emergency services. Following a merger with the Queanbeyan edition of The Chronicle, the last paid edition of the Age was published on 5 August. A free edition of the Age will be published weekly from Tuesday 16 August 2016.

The Age is part of the Federal Press Group with The Canberra Times and The Canberra Chronicle. Its website includes interactive timelines, videos, audio slideshows, photo galleries and interactive map features. It can also be found on Twitter and Facebook. Staff of the paper includes its editor Kimberley Le Lievre and sports journalist Gemma Varcoe (as of March 2016).

Earlier editions
The Queanbeyan Age went through many changes and variations since beginning as The Golden Age in 1860. In 1864 the name changed to Queanbeyan Age and General Advertiser. This publication was in circulation until 1867 when it again changed to Braidwood Independent with the alternative title Braidwood Independent and Queanbeyan Age. At this time it incorporated other papers, Captain's Flat Miner, Bungendore Mirror and Queanbeyan Times. It changed to the Queanbeyan Age for the first time in October 1867. In 1904 it became The Age until 1907, when it returned to the name of Queanbeyan Age. In 1915 it merged with the Queanbeyan Observer to form the Queanbeyan Age and the Queanbeyan Observer which was published until 1927 when it merged with the Canberra Advocate to become the Queanbeyan Age and Canberra Advocate. In July/August 1927 it again became the Queanbeyan Age, after it absorbed the paper The Queanbeyan Leader. The paper's title remains today as the Queanbeyan Age.

Braidwood Independent
During the period 31 August 1867 until 16 October 1867, the Queanbeyan Age ran a second publication called The Braidwood Independent, which was a semi-weekly English language newspaper published by John Gale in Braidwood, New South Wales. The Braidwood Independent prospectus stated the newspaper was devoted to the material, social, and political interests of the Braidwood district.

2016 merger
In March 2016 Fairfax Media’s Australian Community Media announced the impending merger of the Age with the Queanbeyan edition of The Chronicle. On 5 August 2016 the Queanbeyan office of the newspaper closed. The Canberra Times building in Fyshwick will be the new base for Age staff. The last paid edition of the Age was also published on 5 August. A free edition of the Age will be published weekly from Tuesday 16 August.

Digitisation
The paper has been digitised as part of the Australian Newspapers Digitisation Program of the National Library of Australia.

title: The Queanbeyan Age


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James Bland (priest)

James Bland (c. 1666 – March 1728) was an English Anglican priest in Ireland.

Bland was educated at Sedbergh School and St John's College, Cambridge.

He moved to Ireland in 1692 as chaplain to Henry Sydney, 1st Earl of Romney, the newly appointed Lord Lieutenant of Ireland. Bland became Archdeacon of Limerick on 1 June 1693, resigned in 1705, and became Archdeacon of Aghadoe on 12 July that year. He became Treasurer of Ardfert in 1711 and Dean of Ardfert in 1728.

He was married to Lucy Brewster, the eldest daughter of Sir Francis Brewster, Alderman of Dublin; and died as Vicar of Killarney in March 1728.

title: James Bland (priest)


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Komatsu D575A

The Komatsu D575A is a 1150 hp tractor crawler produced in a 'SR' or Super Ripper bulldozer/ripper configuration, or as a dedicated bulldozer in the form of the 'SD' or Super Dozer. Both models can move 90 cuyd of material per pass using the standard blade. The D575A-3 SD Super Dozer can move 125 cuyd of material per pass if equipped with an optional blade. The D575A-3 can dig to a maximum depth of 6 ft using its single-shank ripper.

Commonly referred to as the 'world's largest production bulldozer', the D575A series bulldozers were produced by Komatsu Ltd. in Osaka, Japan. Surface mine operators in the United States, Australia and Japan were the primary users of the D575A, although they were sometimes used in heavy construction applications and quarries as well.

Development
Komatsu first showed a 1,000 hp bulldozer prototype, the D555A, to the public at the Conexpo equipment exhibition in Houston, Texas in 1981. Due to economic conditions at the time, development was stalled for much of the 1980s. A successor to the D555A prototype, the D575A-2 SR Super Ripper, began field testing in North America in 1989 by the Cooney Brothers Coal Company in PA where over 1000 hours were logged. Prototype machines are also believed to have been tested at the Harrison Coal and Reclamation Park. Full production began in 1991. The first production machine, delivered in 1992, was initially trialed in PA where the prototypes tested. The first machine was built up by Anderson Equipment Company and then sold to American Asphalt and Paving Company where it initially worked in Las Vegas. The D575A-2 SR Super Ripper was joined by the D575A-2 SD Super Dozer in 1995. The first D575A-2 SD Super Dozer was purchased and placed into service by the Princess Beverly Coal Co. in Cabin Creek, West Virginia. The updated models, the D575A-3 and D575A-3SD Super Dozer were introduced in 2001.

Series
The first series of D575A bulldozers were the D575A-2 machines. These were produced in both SR 'Super Ripper and SD 'Super Dozer' configurations. These models were produced between the years of 1991 and 2000 and 41 machines were built. In 2001 the D575A-3 machines were introduced. These were produced in both SR 'Super Ripper and SD 'Super Dozer' configurations. They wore a new trade dress however most of the upgrades were electronic. Upgrades included features such as the 'Palm Command Control System', smooth and soft operation modes, ECMV controlled transmission, ECMV controlled transmission steering clutches/brakes, preset travel speed selection function and auto-shift down function. Upgrades made within the cab also included a new suspension seat and upgraded displays and monitoring systems. These models were produced between the years of 2001 and 2007 and 11 machines were built. In 2012, a custom order was placed by Alcoa in Australia and a final machine was built taking the total A3 build number to 12.

Production
All Komatsu bulldozers are identified by the letter D (for Dozer) followed by the model number (575A). Following that, the series is represented (-2 or -3) and finally the configuration (SR or SD). Each machine had its model number and serial number stamped onto a personal identification plate that was located inside the cab. Serial Numbers 10001 – 10043 were A2 machines. Serial numbers ceased at 10043 and started back up at 10101 when the A3 series machine production begun. Serial Numbers 10101 – 10112 were A3 machines. Serial numbers 10004 and 10013 were not produced due to the bad luck associated with both numbers (#4 and #13) in Japanese culture.

Production numbers were as follows:

D575A-2SR = 17 machines

D575A-2SD = 24 machines

D575A-3SR = 2 machines

D575A-3SD = 10 machines

Total -2 Machines = 41 machines

Total -3 Machines = 12 machines

Total SR machines = 19 machines

Total SD machines = 34 machines

Overall total = 53 machines

Specifications
A 12-cylinder, four-stroke, water-cooled, direct injected, turbocharged, intercooled, 1150 hp Komatsu SA12V170E diesel engine powers the D575A-3.

The D575A-3SD measures 16 ft tall, 38 ft long has a ground clearance of 2 ft.

The D575A-3SD features a Super Dozer blade designed to dump, dig or carry that measures 11 ft high and 24 ft wide. It has a capacity of 90yd3 (69m3).

The D575A-3 could be optioned with a Semi-U blade or a U-dozer blade. Either could be ordered with single or dual tilt cylinders. The Semi-U has a capacity of 44.5y3 (34m3) while the U-dozer blade has a capacity of 58.8yd3 (45m3).

The D575A-3SD has a ground contact area of 101.55 sqft and exerts an average ground pressure of 23 psi.

The D575A-3 Super Ripper weighs 289,570 lb (131,350kg). The D575A-3SD weighs 336,420 lb (152,600kg).

Applications
From new, North American companies purchased 31 machines, 14 machines were sold to Australia and 8 machines were sold within Japan. Within the United States, the D575A bulldozers were primarily used in surface mines in West Virginia, mostly operating for Alpha Natural Resources and Horizon / Princess Beverly Coal on mines in Appalachia. At one stage, 17 D575A's were in service in the West Virginia Coal Fields. In Australia, machines were used in surface mines and on some major road projects across the country. The majority of the machines sold within Australia were Super Ripper. Alcoa, located in Western Australia purchased 5 machines and used them to rip large areas where they couldn't blast due to the proximity to residential housing and they were often operated by Remote Control. 8 machines were sold within Japan working in quarries with many being owned by Fujisaco Co. LTD. Two second hand D575A-2SD machines (ex Australia) were sold to Kaipara Limited (New Zealand) and with the help of Komatsu Australia, had rippers retrofitted to the machines. The machines were operated out of Stockton coal mine in the West Coast region of New Zealand's South Island. These machines were used to rip above areas where abandoned mine shafts existed and were also often operated via Remote Control.

D555A (Prototype)
The D555A prototype was first shown to the public in 1981 at the Conexpo equipment exhibition in Houston, TX. Due to economic conditions at the time, development was stalled for much of the 1980s. A successor to the D555A, the D575A-2 SR Super Ripper began field testing in 1989 and was the first model to enter production beginning in 1991.

D575A-2 SR Super Ripper dozer/ripper (Discontinued)
The D575A-2 SR Super Ripper was the first production version of the D575A, going into production beginning in 1991. It produced 1,050hp (784kw). The D575A-2 SR Super Ripper included a single shank ripper capable of digging to a maximum depth of 6 ft. The D575A-2 SR Super Ripper was superseded by the D575A-3.

D575A-2 SD Super Dozer dedicated dozer (Discontinued)
The D575A-2 SD Super Dozer was the second version of the D575A, going into production alongside the D575A-2 SR Super Ripper beginning in 1995. The D575A-2 SD Super Dozer is an 1150 hp, 143,300 kg dedicated dozer with no ripper. The D575A-2 SD Super Dozer was superseded by the D575A-3 SD Super Dozer.

D575A-3 SR dozer/ripper (Discontinued)
The D575A-3 is an 1150 hp dozer/ripper weighing 131,350 kg and capable of moving up to 90 cuyd of material per pass. The single shank ripper has a maximum digging depth of 6 ft.

D575A-3 SD Super Dozer dedicated dozer (Discontinued)
Introduced in 2001 as the successor to the D575A-2 SD Super Dozer, the D575A-3 SD Super Dozer is a dedicated dozer with no ripper weighing 152,600 kg. Equipped with a standard blade, the D575A-3 SD is capable of moving up to 90 cuyd of material per pass, however, when equipped with an optional blade, the D575A-3 SD is capable of moving up to 125 cuyd per pass. The D575A-3 SD includes major changes to the frame, powertrain, undercarriage, and blade, making it substantially different from the D575A-3.

In comparison to its predecessor, the D575A-3 SD includes a significantly re-designed operator cabin and powertrain electronic control system to increase productivity and a number of durability improvements including reinforced undercarriage roller guards, simpler hydraulic plumbing and longer-life hoses, seals, wiring harnesses, and connectors.

Transportation
Due to its immense size, the D575A must be broken down into component form when it is moved from one job site to another. Moving all the components requires six to eight truck loads depending on local laws.

title: Komatsu D575A


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Market Street Tunnel

Market Street Tunnel may refer to:

 * Market Street subway, carrying Bay Area Rapid Transit (BART) and Muni light rail under Market Street, San Francisco
 * Market Street Tunnel, part of the Market–Frankford Line in Philadelphia, crosses the former Junction Railroad
 * Market Street Tunnel, part of the Junction Railroad in Philadelphia, and crosses the Market–Frankford Line
 * Center City Commuter Connection, carrying commuter rail trains a block north of Market Street in Philadelphia

title: Market Street Tunnel


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Zanchi (cymbals)

Zanchi (later spelled Zanki) is an Italian brand of cymbals. The brand was made between 1947 till around the mid 1990s, and was noted for its 'Vibra' cymbals.

History
Italian cymbal-maker, Fiorello Zanchi, reputedly started out working for the Tronci family of cymbal/pipe organ makers in the 1920s, according to Pinksterboer. Per the same source, it is said that Fiorello started his own workshop, Zanchi, in 1947, and began producing handmade, hand-hammered cymbals. However, to date none of these pre-50s Zanchis have shown themselves on the market (see below). Zanchi cymbals were marketed primarily in Europe. Fiorello and Figli (Fiorello Zanchi and Sons) were responsible for all Zanchi cymbals. They changed the spelling to Zanki to prevent foreigners from mispronouncing the name. Carlo Biasei (UFIP) depicts Fiorello Zanchi as the teacher of all Pistoian cymbal makers: "He was the man with the golden hands". In the company's heyday, the early 1950s there were around fourteen people working at the factory. In the 1970s the demand for Zanchi cymbals became so great (mostly in the U.S.A. distributed by Unicorn), the company couldn't deliver sufficiently, which led to their closing in 1992.

Some of their earlier series included the "Vibra Cymbals" line; for a number of years, Vibras were believed to have been produced in the 60s or 70s. Recent information provided by an owner of some hi-hats in Connecticut confirms that his were purchased in 1958, so this is the oldest attribution anyone has contributed thus far. A few F & F Vibra cymbals have appeared on the market which also show the "Revere" embossment: interesting because Revere was an early stencil brand of Pearl, Japan in the 60s, so one may presume that, for some period of time, Zanchi had a business relationship with Pearl, However, Revere was also a stencil brand of Kent drums which were American made and sold. Later Kent did sublet some of their manufacturing to Pearl. But the Revere Spotlight cymbals were made by Zanchi for Revere made by Kent drum Company. Vibras were B20 Alloy, usually thin, and are described by some as trashy sounding. Yet, their sizzle and iciness are considered by some musicians to be unique, even by today's standards.

Change of Name
In the 70s, the company name was changed to Zanki, perhaps because the Italian "ch" is pronounced as a "k"; or, perhaps, simply as a marketing device. During the 70s, Zankis usually had large ink logos with the 'Zanki' name. Sometimes the character font was hollow, sometimes bold. The embossed stamp was changed to read "ZANKI Italy". These cymbals were still handmade, but were heavier, and more conventional-sounding, and are considered by some to be comparable to a late 60s or early 70s Avedis Zildjian cymbal. Zanki occasionally still used the name Vibra on some of their 70s series cymbals, but they do not resemble the F & F Vibras from earlier, in either hammering or lathing.

Manufacturing
Perhaps Fiorello Zanchi's biggest contribution to cymbal-making history was his development of the "rotocasting" technique, in which molten bronze is poured into a cymbal cast that is mounted on a centrifuge, and rotated as the liquefied metal is being cooled inside the cast. This new technique created a brand new sound in Italian cymbals, much brighter than the previous Zankis. It is reputed that Fiorello used the larger workshop at UFIP to do his rotocasting. These rotocast cymbals bore a new embossed stamp, "Zanki Rotocasting". Some of these cymbals also show an additional embossment that reads: "Music Industries". Still others show an ink stamp by the Italian distributor "Mario Corso". It would appear from the varying stamps of this period that Zanki was associating with different distributors in an attempt to keep the cymbals on the market.

Closure and influence
According to Pinksterboer, Fiorello Zanchi died in the 80s and his sons, Mariano and Roni, continued the company. Ultimately, however, at some point in the late 80s or early 90s, F & F Zanki (like many other small, independent cymbal/gong-making families in Italy at the time, including Tronci and Tuscano) could no longer compete with the larger cymbal-makers. Amid concern that the Italian tradition of cymbal-making was at risk of becoming extinct, many of the smaller operations joined under the banner of the largest/oldest Italian union/workshop, UFIP, and ceased independent production. Thus, Fiorello and Sons brought to UFIP the technique of rotocasting, which is a UFIP trademark today.

As F & F Zanki was more or less targeting the mid-price range of the market, some of its cymbals are considered to be mediocre at best, while others ranged from "exceptional" to "not too good at all". The varying quality of these remaining cymbals may well be why they remain relatively obscure. However, Zankis are significant in cymbal-making history and Fiorello Zanchi deserves his place on the list of notable cymbal artisans.

Their signature stamp reads: "F & F Zanchi, Made in Italy". "F & F" stands for "Fiorello e Figli" (Fiorello and Sons).

title: Zanchi (cymbals)


text:
Talk:Knee-high boot

Quite good article, i think. Regard MgGGdDWS

 * Can we get an picture that focuses more on the boots, perhaps? Pnkrockr 19:01, 5 October 2006 (UTC)
 * Heh... I think the picture works :P Sancro 21:53, 18 October 2006 (UTC)
 * The picture keeps on getting reverted back and forth. I'll take a picture of just the boots as soon as I can. It doesn't offend me, I just find the controvery annoying. --Verdatum 09:16, 24 November 2006 (UTC)

title: Talk:Knee-high boot


text:
Wikipedia:Articles for deletion/Red Vs. Blue episode guide: Season 3

 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 keep. Mindspillage (spill yours?) 16:35, 29 Apr 2005 (UTC)

Red vs Blue episode guide, Red Vs. Blue episode guide: Season 2, Red Vs. Blue episode guide: Season 3
I nominate this page for deletion for the crimes of fancruft-dom and complete misuse of an encyclopedia. If much larger series don't qualify for this type of extensive Episode Guide Treatment, neither does this fancruft nonsense.--The Grza 07:05, Apr 12, 2005 (UTC)

Um... I'd like to call for a resolution on this issue. It's been two weeks, guys. Time to acknowledge, shake hands, and move on. Joylock 3:42, April 26, 2005.

 * Merge While an episode guide is probably not deserving of an article, the VfD/Precidents seems to indicate that precident says we merge all information on the series into a central article, in this case on RvB. Whether or not episode guids are encyclopedic; I would tend to say that in a limited way, yes, they can be.  Should Wikipedia echo tvtome, I don't think so. nb. The Simpsons has a very successful episode guide "List_of_The_Simpsons_episodes" TheDaveRoss 15:16, 13 Apr 2005 (UTC)
 * Comment. An episode list, I have no problem with, but the guide goes too far. --The Grza 17:12, Apr 13, 2005 (UTC)
 * Comment: This was apparently either never listed on vfd or removed out of process, so I'm bringing it to today's page for resolution. —Korath (Talk) 00:28, Apr 14, 2005 (UTC)
 * Keep - I wouldn't want articles on each individual episode, but I'm happy with the list. Radiant_* 08:38, Apr 14, 2005 (UTC)
 * Marginal Keep based upon precedent but condense a little. Some of the formatting here makes it almost look like a cut-and-paste from a fan site, so I'd check for copyvio. Wikipedia is not paper argument applies here, IMO. 23skidoo 13:41, 14 Apr 2005 (UTC)
 * Merge all info into one 'episode guide' article, maybe condense a bit. --InShaneee 16:34, 14 Apr 2005 (UTC)
 * Keep, I agree with Radiant on this. Does need a cleanup though K1Bond007 23:23, Apr 14, 2005 (UTC)
 * Merge. Cleanup and simplify the articles' information, merge it into a single article, and give it a name List of Red vs. Blue episodes so people don't confuse its purpose for an episode guide. --NormanEinstein 02:07, 15 Apr 2005 (UTC)
 * Merge and condense. The reason these were put on separate pages was that the main RvB page was getting towards 64k. I suggest merging all three guides and condensing info. Last several episodes entries are nearly blow by blow accounts. And they give away all the jokes.--DooMDrat 09:09, Apr 15, 2005 (UTC)
 * Delete non-notable. Grue 19:55, 15 Apr 2005 (UTC)
 * Merge into one episode guide. bob rulz 04:36, Apr 16, 2005 (UTC)
 * Merge and possibly condense to season-wide summaries. So little happens in any given episode that per-episode descriptions are a little pointless.  Should be pointed out, however, that as far as Google tells me, these pages is not copyvio--there ARE no other RvB episode guides on the Internet, except for copies of these pages.  (Old ones too--they don't reflect my Apr 2nd cleanups.) Delete.  Have just discovered full episode transcripts at http://rvb.chrismarks.net/.  That, plus the new season-by-season summaries on the main article, is enough to change my vote.  Marblespire 02:12, 26 Apr 2005 (UTC)
 * Keep - As far as I can tell, this information is not widely available, and I can personally testify that most of the info here is original and not a cut-and-paste job. NOTE: While I'd be fine with a merge and slight condensation of the episode summaries (although EP 49 is the only one that seems like problematic to me), I think too much deletion (such as reducing it all to a general season by season account) would be going too far. Because RvB is broken up into so many small episodes, it's good to have information as to what happens in each individual episode so you know what you've missed if you don't have the entire set (which alot of people don't). Someone's already streamlined the descriptions considerably, I think it's fine the way it stands. Joylock 2:00, 15 April 2005.
 * Keep The precedent for episode guides/lists is well established. It serves no purpose to strip an episode “guide” down to an episode “list” as a list of titles is virtually useless information, while a guide can provide useful encyclopedic information. Miros 9:25, 16 April 2005
 * Comment Also, some web cartoons such as the Homestar Runner set have entire articles devoted to single characters. If that doesnt qualify as fancruft, then I dont see how an "episode guide" for this web series can, considering everything else is rolled into one article.  Miros
 * Comment Some would and have argued that those articles completely qualify as worth deleting. The standard should be better then crappy unneeded articles, it should whether or not it is actually encyclopedic.--The Grza  19:28, Apr 16, 2005 (UTC)
 * Comment I agree, it's easy to be excessive with things like this. But I would also argue that it does have some value, and so long as it's confined to a relatively small number of pages, it does more good than harm.  And as far as the articles being needed or unneeded, I see that as a poor way of looking at things.  There are plenty of legit articles on wikipedia that nobody needs but there are plenty of articles that people find useful.  I certainly think that this has the potential to be useful to some people for some of the good reasons people have already pointed out.  And as long as it's useful to some, and harmless to everyone else (since we are talking about 3 total articles here), the obvious greater benefit is to keep it.  Without it, there is no benefit to anybody.  With it, there is no harm, and benefit to some. Miros 20:06, 16 Apr 2005 (UTC)
 * Keep, there are quite a few episode guides on Wikipedia... Soemone could merge these into one article but personally I think the article would be a bit too long however I suppose all it would need is a good TOC. -- Lochaber 09:59, 19 Apr 2005 (UTC)
 * Keep, reasons stated. Google "Red vs Blue" or "redvsblue" and you'll see how notable this is.-LtNOWIS 15:10, 19 Apr 2005 (UTC)
 * Comment It's a sad, sad day that reflects the fundamental flaws of Wikipedia when a amateur web comic about a video game made by a couple of fanboys gets four pages of fancruft, while a perfectly legitimate art movement THAT ACTUALLY EXISTS IN REAL FRICKIN' LIFE gets VFD out of existence just because there aren't thousands of rabid fanboys on the internet smearing it all around. Grza, I feel your pain. 166.666.666.011.
 * Comment Just because some of your legit content got VfD'd (wrongfully or otherwise) does not mean you should go on a crusade against whatever content you feel you can blast out of existance. I'm sorry about that, it sounds like it shouldnt have happened, but this is a community, and retribution isn't very neighborly...  Miros 12:25, 20 Apr 2005 (UTC)
 * Comment RvB is more than just "a amateur web comic about a video game made by a couple of fanboys". It is an example of machinima, an emerging artform if ever there was one. If anything it gave machinima new direction, showing that episode based series are more successful than singular long movies. It also gave a lot more exposure to machinima. Some of the people behind RvB have television production experience. Its not just 'fanboys' standing around recording themselves ingame going "bang bang you're dead stooopid! Dur hur hur!". Hell, the people behind the series aren't even very good at the games.--DooMDrat 18:50, Apr 19, 2005 (UTC)
 * It's not really "about" Halo, certainly not as much asM*A*S*H was about the Korean War. Yeah, they'll mock the genre and the absurdities of the environments from time to time, but it really is about characters and plots, not satire. Also, it's not as "amateur" as a lot of legitimate works of art. They sell DVDs and merchandise, and make people pay to see the archive.  But, I understand your frustration. I was pretty sad when I found the Star Destroyer articles got merged. If you're sad about something getting sub-optimal treatment on Wikipedia, you're perfectly free to start you're own wiki site, like Star Wars fans did.-LtNOWIS 03:12, 20 Apr 2005 (UTC)
 * OK, I'm assume that's true, and I'll conceed that RvB is professional made. I'll even let it be said that it's quality-comparable to mainstream TV shows (certainly, the resolution is higher). Because the point remains that excessive coverage of it is still excessive. Take the Seinfeld page. A brief description about the show, the stars, and the general impact on pop culture. That's all there is. That's all that's needed. That's all there should be. Do we really need to know Kramer's favorite blend of cigar, all of Jerry's personal issues, or what a friggin Soup Nazi is? Remember, compare African art to La La, and see the fundamental flaw in Wikipedia's design. 166.666.666.011
 * Well, your point now looks a whole lot more valid. But the fact of the matter is, people care more about some stuff than others, and people mostly write about stuff they know/care about. Maybe nerds, fans, and gamers are overrepresented online, but nothing stops anyone from expanding neglected topics. Furthermore, more is simply a lot better than less, when it comes to content. Despite this flaw and others, Wikipedia is still the best encyclopedia we've got, and it's free.  -LtNOWIS 21:20, 20 Apr 2005 (UTC)

 * If I may comment, that's precisely the point. The encyclopdia is in as good as shape as it is because people have fought to keep this fancruft out, to a large extent.  An article describing the show, fine, but the actual article of Red Vs. Blue along with three seperately huge episode guides goes too far.--The Grza  21:48, Apr 20, 2005 (UTC)

 * Respectfully, I have to totally disagree with anonymous. Take Seinfeld, for example. There IS an article about the Soup Nazi, and I believe that it is perfectly appropriate. The phrase was huge back in the 90's. It's more than just mere "pop culture". It's hard to put into words, but it's like it's become part of our society's collective social dialogue. Also, without the dedicated article to Cosmo Kramer, I would have never learned that he was based on a real guy. Sure, that info might not save anyone's life or bring them enlightenment or cure cancer or get them to vote for the right candidate or get involved in the right social issues, but it is interesting and informative and not hurting anyone. If you think an article is poorly written with embarassing or unprofessional grammer or outright lies, you can always edit it. As LtNOWIS said, nothing stops you from expanding neglected topics you think are worthwhile. But if you want to actually delete topics because you think that the information in an article is just "useless", than you might just be imposing your own POV on something you don't know all that much about. Who's to say Seinfeld is any less worthy of coverage than Gödel's incompleteness theorem? Both provide information that is useful to different types of people. RvB isn't some vanity page about some brief animation a bunch of neighborhood kids cooked up in their basement for their friends. It's not a neighborhood cafe frequented by at most three dozen people. It's a professionally made piece of media with a HUGE following on the internet numbering on the hundreds of thousands. Joylock 12:00, Apr 21, 2005.

 * Also, as far as Wikipedia standards go, the article on Red vs. Blue is very restrained, very conservative. All the information on the show is merged into one single article that just gives a brief summary of the story and a couple paragraphs for each character, which is not unreasonable seeing as how the show so heavily revolves around the characters. Compare that to, say, the Futurama article that has information about the show's fictional politics, religion, and seperate articles for each character. Joylock 12:00, Apr 21, 2005.
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


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Achilles Last Stand

"Achilles Last Stand" is a song by the English rock group Led Zeppelin released as the opening track on their seventh studio album, Presence (1976). Guitarist Jimmy Page and singer Robert Plant began writing the song during the summer of 1975 and were influenced by Eastern music, mythology, and exposure to diverse cultures during their travels. At roughly ten-and-a-half minutes, it is one of the group's longest studio recordings and one of their most complex, with interwoven sections and multiple, overdubbed guitar parts.

The song received mainly positive reviews from music critics, with some comparing "Achilles Last Stand" to other Zeppelin songs such as "Kashmir". The band featured it during concerts from 1977 to 1980, and a 1979 live performance is included on the Led Zeppelin DVD (2003). Page called it his favourite Led Zeppelin song in several interviews, and considers its guitar solo on a par with his "Stairway to Heaven" solo.

Background and lyrics
After their 1975 US tour and London concerts, Led Zeppelin took a break from performing. In order to remain tax exiles, the group members needed to limit their time in the UK. This is alluded to in the song's opening lines: "It was an April morning when they told us we should go, and as I turned to you, you smiled at me, how could we say no". Jimmy Page and Robert Plant went to Morocco in June 1975, where they developed material for their next album. Page heard local music, which influenced his guitar parts on "Achilles Last Stand". North African and Middle Eastern music had inspired earlier Led Zeppelin songs, such as "Friends", "Four Sticks", "No Quarter", and "Kashmir".

Although "Achilles Last Stand" uses mythological imagery drawn from William Blake's Albion, the Atlas myth and the Greek hero Achilles, its lyrics centre around the group's travels during their exile. The title is an ironic reference to Plant's August 1975 automobile accident, in which he severely injured his ankle, as Achilles was brought down by an arrow to his calcaneal tendon. Plant was unable to walk for a year, and recorded much of Presence in a wheelchair; the working title of "Achilles Last Stand" was "The Wheelchair Song". Group biographer Martin Popoff described Plant's lyrics: "Albion is a Blake reference, but it's also an ancient name for what would become England. The Atlas Mountains, which span Morocco, Algeria, and Tunisia, are also referenced, but through a nice twist, the lyric referring directly to Atlas instead, the god who held the earth on his shoulders. Within he [Plant] also relates his travels in Greece, Spain, Montreux, Jersey, and California, as well as what one internalizes from travel."

Composition and recording
"Achilles Last Stand" opens with Page's Moroccan-influenced solo guitar arpeggios, which Led Zeppelin biographers have described as haunting and mysterious. Drummer John Bonham and bassist John Paul Jones then establish a driving hard rock rhythm that persists throughout the song. After the long introductory riff is played four times, Plant begins singing. His vocal sections are broken up by brief instrumental passages, and Page adds the first of several overdubbed guitar parts.

At 3:42, the song shifts, and Page plays his first solo. In addition to a change in tempo, the section includes breaks and a switch to 5/4 time, with the rest notated in 4/4 time in the key of E minor with a moderately-fast tempo of 146 beats per minute. When the vocals return, Page adds more guitars. After a brief slide-guitar part, Plant begins an Eastern-influenced scat-style vocal. At 8:25, Page plays a second solo with more overdubbed parts; a minute and a half later, the song winds down with chords echoing the opening.

After extensive rehearsals in Los Angeles, Led Zeppelin went to Munich to record Presence at Musicland Studios. They recorded the basic tracks for "Achilles Last Stand" during early sessions on 12 November 1975. For the first time during a recording, Jones plays an eight-string bass guitar with a pick. He said that it added more mid-range presence during Page's high-register guitar solos; although Page objected at first, he soon recognized the effectiveness of Jones' innovation. Jones also uses a heavy metal gallop, a rhythmic figure in which an eighth note is followed by two sixteenth notes. To balance the sound, a second bass line was recorded; Popoff describes it as "a more traditional bass track, more elliptical and rife with pregnant pauses, simultaneously lying across the gallop and wholly independent of it."

Without the rest of the group, Page recorded all the guitar overdubs in one evening: "There must be half a dozen going at once. I knew that every guitar overdub had to be very important, very strong within itself to identify each section." The recording for Presence was completed on 27 November 1975, 15 days after the group laid down the basic tracks for "Achilles Last Stand". Page produced the album, with Keith Harwood providing the audio engineering.

Release and performance
Swan Song Records released Led Zeppelin's seventh studio album Presence on 31 March 1976, with "Achilles Last Stand" its opening track. Although the album initially sold well, it was ultimately not a great success for the group. There was no tour to support the album, but in November, after Plant had sufficiently recovered, Led Zeppelin began rehearsing for an American tour. "Achilles Last Stand" was one of the first songs they attempted. Since their studio recording relied heavily on overdubs, they needed an arrangement which would work for a three-piece-plus vocal ensemble. Page recalled: "We could have just eased into familiar stuff but we went straight in to the deep end by trying out "Achilles". I thought I'd have to use the twin-neck [6- and 12-string Gibson EDS-1275 guitar] but it actually sounded better with the six string using different effects. When we did that first rehearsal it just all clicked all over again."

The song and "Nobody's Fault but Mine" were the only tracks from Presence that the group added to their repertoire. Led Zeppelin performed it at most of their concerts – often late in the set, before "Stairway to Heaven". A live performance of the song at the Knebworth Festival 1979 was filmed, and was later released on the Led Zeppelin DVD in 2003.

When Presence was remastered for the 2015 deluxe-album editions, a reference mix of "Achilles Last Stand" entitled "Two Ones Are Won" was included.

Reception
The song received mostly positive reviews from music critics. In a 1976 review of Presence, Rolling Stone journalist Stephen Davis wrote: Achilles Last Stand' could be the Yardbirds, 12 years down the road. The format is familiar: John Bonham's furiously attacking drum is really the lead instrument, until Jimmy Page tires of chording under Plant and takes over." In a more negative view, Jon Young of Spin lambasted the song in his 1991 Led Zeppelin Boxed Set review: "Nothing could be less satisfying than ten minutes of 'Achilles Last Stand,' a simultaneously abrasive and boring ordeal." Music journalist Andrew Earles described it in a retrospective review of Presence as "a galloping, dour yet exhilarating onslaught of genuine heavy metal... 'Achilles Last Stand' can be seen as a precursor to the new wave of British heavy metal that would soon explode all over Europe".

In a 2011 review of Presence published by Classic Rock Review, "Achilles Last Stand" was called the album's "tour de force" and "a true journey", though the reviewer felt that the song was somewhat long and repetitive. In a retrospective review of Presence (Deluxe Edition), Andrew Doscas of PopMatters described "Achilles Last Stand" as the band's "last true epic". AllMusic's Brian Downing called it the album's "most ambitious song... the only one that resembles the layered masterpieces from Physical Graffiti."

Personnel
According to Jean-Michel Guesdon and Philippe Margotin:

 * Robert Plant – vocals
 * Jimmy Page – electric guitars
 * John Paul Jones – bass
 * John Bonham – drums

title: Achilles Last Stand


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User talk:DO'Neil/Images Uploaded/Heraldry

The coat of arms of East Germany is new in Wikimedia Commons. Please see its there. -- Jwnabd 07:06, 12 Apr 2005 (UTC)


text: User talk:68.161.156.107

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Almost Live!

Almost Live! was a local sketch comedy television show in Seattle, Washington, USA, produced and broadcast by NBC affiliate KING-TV from 1984 to 1999. A re-packaged version of the show also aired on Comedy Central from 1992 to 1993, and episodes aired on WGRZ-TV and other Gannett-owned stations in the late 1990s. The show was broadcast in Seattle on Saturday nights at 11:30, pushing Saturday Night Live back to midnight, while other Gannett stations aired it after Saturday Night Live.

Original format
Almost Live! began as a weekly half-hour talk and comedy sketch show created by then VP of Programming Bob Jones, and hosted by Ross Shafer and closely patterned after Late Night with David Letterman, airing at 6:00 p.m. on Sundays. From the beginning, it featured many spoofs and satires of local and national television, series such as Star Trek, and unique locales in and around the city such as Ballard, Green Lake, Lynnwood, and Kent. The show became so popular that it was expanded from a half hour to one hour and shown twice a week. After four years and nearly 40 local Emmy Awards and several national awards, Shafer left to host the Fox Network's The Late Show.

As a follow-up to the local music program Rev which had John Keister as a frequent contributor, Almost Live! featured some of the earliest local musicians in the format that would later be called grunge.

John Keister and a change in format
Keister became the permanent replacement after Shafer left the program. Keister hosted for one season (1988-89) in the one-hour, 6p.m. Sunday slot (and in the talk show format), but, following the lead of a "Greatest Hits" special that aired at 11:30 p.m. Saturday, the show moved into that slot. From the show's start until he became host in 1989, Keister was a regular supporting performer. Many of the initial award-winning elements of Almost Live! were his efforts, so the program quickly changed formats to feature more of his abilities, as well as other cast members, in video sketches. The guest interviews and live band segments were dropped. The focus changed to sketch comedy and the show was shaved back to a half-hour format. Because of its popularity among the station's staff members, KING-TV asked NBC to broadcast Almost Live at 11:30 p.m. slot, delaying Saturday Night Live locally by a half hour. The station received permission from the network to broadcast their show at that timeslot for a six-month trial basis, but host John Keister stated “Saturday Night Live tanked [in the ratings locally], and we won a big award [being named best local show in America by the National Association of Television Programming Executives], so the trial was allowed to continue [indefinitely].”

The format of the show during Keister's tenure as host always included an opening monologue. Much of the material had a local flavor to it. In addition to Seattle politicians and celebrities, regular targets of the show's barbs were various Seattle sports teams, local stereotypes, Seattle neighborhoods such as Ballard (home of elderly Scandinavian Americans who parked their cars halfway onto sidewalks with the seat belts slammed in the doors), Fremont and Wallingford (home of middle-aged hippies and New Agers), and suburbs such as Renton, Kent (perceived by the show's young, urban viewers as a low-income, white trash town) as well as Bellevue and Mercer Island (both of which have an upscale, snobby image). Other targets outside of Seattle proper included Olympia and Bellingham, both of which have hippie/pothead stereotypes. Most, but not all, of the local references were removed for the short-lived nationally aired Comedy Central version. The show also had promos for fake TV shows billed as "new shows on NBC for the upcoming season."

Besides Keister, regular cast members included Mike Neun, Pat Cashman, Tracey Conway, Nancy Guppy, Joe Guppy, Barb Klansnic, Joel McHale, Bob Nelson, Bill Nye, Bill Stainton, Andrea Stein, Lauren Weedman, Steve Wilson, Ed Wyatt, and Darrell Suto as Billy Quan. Writers included Scott Schaefer, who later went on to win three National Emmy Awards for writing on Bill Nye the Science Guy, and original Head Writer Jim Sharp, who is now Senior Vice President of Original Programming and Development for Comedy Central in Los Angeles. Later seasons occasionally featured Seattle-area comedian and voice actor David Scully who joined the core cast during the final season.

Cancellation
Almost Live! was canceled by KING-TV in 1999 because it was not making enough profit for Dallas-based Belo Corporation, which acquired the station's owner King Broadcasting Company two years earlier. KING-TV (now owned by Tegna) aired reruns of the show from its cancellation in 1999 until the fall of 2019; repeats of the show reappeared on KING-TV's streaming channel, KING 5+ in the fall of 2022; the episodes are also on KING-TV's YouTube channel. In fall 2000, Keister created a new sketch comedy show for competing station KIRO-TV, titled The John Report with Bob, essentially a carry-over of the news report segment he had done on Almost Live! with Bob Nelson in tow. The new show was canceled after two seasons, again because it was not making a profit.

KING aired a reunion show on September 12, 2005, featuring the cast of the final ten years. KING-TV also aired "Almost Live! Back At Ya", a series of "best of" shows, on Sundays starting September 10, 2006 at 9p.m. until that December.

Sequel
In July 2012, clips surfaced on YouTube that appeared to promote a sketch comedy series called The (206), referring to Seattle's area code. These clips featured John Keister and Pat Cashman and hinted strongly that the show would be a successor to Almost Live!. Subsequently, The Seattle Times published a blog article about the sequel which included behind-the-scenes glimpses at one of the sketches being filmed for the new show. Additionally, the new show has a presence on social networking Web sites such as Facebook. The show premiered on Sunday, January 6, 2013 on KING-TV after Saturday Night Live. The series would be revamped as Up Late NW (pronounced Up Late Northwest) in September 2015, and ran for one season, ending in 2016.

Segments

Some of the recurring segments featured on Almost Live! included:

 * "Bill Nye the Science Guy". Ross Shafer is credited as the creator of the Bill Nye the Science Guy idea, encouraging then-Boeing aircraft engineer Bill Nye to demonstrate science experiments on the show. Nye later developed the segment into the Bill Nye the Science Guy TV series debuting on PBS in 1994 after airing weekly on local TV stations nationwide via first-run syndication, eventually becoming a Disney property.
 * "Uncle Buzz": A parody of radio call-in shows, with Pat Cashman as the chain smoking, slick-haired Uncle Buzz doling out terrible advice.
 * Win a Date with Bill Gates. The show convinced the local billionaire and later world's richest man to go on a blind date with a lucky contestant.  A second version of the segment had it as Win a Date with Bill Nye before he was nationally famous.
 * The Beat Goes On. An attempt by Ross Shafer to reunite Sonny & Cher with much campaigning and promotional items like buttons.  This was considered Shafer's follow up stunt to his much publicized Louie Louie campaign.  To their surprise the duo chose to appear on The Late Show with David Letterman instead.  Shafer would go on to other famous reunions during his stint on Fox's The Late Show.
 * "Capable Woman": a super heroine who "rescues" men too "manly" to admit they can't do everything
 * "Jet Guy": parody of Republic Pictures' 1950s serial character Commando Cody and played by the show’s Director of Photography/Editor Ralph Bevins.
 * "Me": a talk show hosted by an obnoxiously egotistical woman who acts as if she is smarter than everyone else
 * "Mind Your Manners, with Billy Quan", a parody of Bruce Lee’s martial arts films, with staff cameraman Darrell Suto in the starring role. This later became a recurring segment on the Bill Nye the Science Guy TV show.
 * "Nature Walk, with Chuck": featuring a reckless, alcoholic outdoorsman, and, his naïve, young assistant, "JIMMIE!"
 * "Cops In...": a parody of Cops set in – and satirizing the stereotypes about – various Seattle neighborhoods. The segment also appeared in one episode of Bill Nye the Science Guy.
 * "Speed Walker": a superhero (played by Nye) who fights crime while adhering to the standards of competitive speed-walking (which rose to national prominence around 1990)
 * the "High-Fivin' White Guys": a group of excessively exuberant, young, middle-class, Caucasian males with low self-awareness who "go out on the town" all over greater Seattle (and once in Vancouver, BC, in the sketch "High-Fiving White Guys go to Canada")
 * "Ineffectual Middle-Management Suck-ups"
 * "A Woman's Place": sketches featuring Tracey Conway and Hollyce Phillips
 * "The John Report" [1990-1995]/"The Late Report" [1995-1999]: a weekly news-parody by Keister, similar to SNL's Weekend Update
 * "The Lame List", or, "What’s Weak This Week": a parody of 1980s/1990s Grunge/slacker culture, featuring "members of Seattle's heavy metal community" who disapprovingly react to a list of hypothetical, everyday situations (e.g., jobs that start in the morning; girlfriends who won't give us beer money) by repeatedly yelling "Lame!". Each list includes an additional, out-of-place, sophisticated hypothetical (e.g., Eastern European nations shifting to a free market economy), to which the metalheads react with blank bewilderment.  Participants included local DJ Jeff Gilbert, Kim Thayil of Soundgarden, Matt and Chris Fox of Bitter End, Tony Benjamins and Brad Hull of Forced Entry, Marty Chandler of Panic, KGRG DJ Ron Williams, Jeff Hubbard (head roadie of the band Alice in Chains) and other Seattle-area musicians.
 * "Sluggy": a parody of "Lassie" about a little boy and his pet slug.
 * "The Survivalist": a paranoid man broadcasting a public-access-type show from his underground bunker
 * "This Here Place": a parody of PBS' This Old House, featuring poorly- and lazily-done home repair projects
 * "The Worst Girlfriend In The World": features dating 'horror stories', with Tracey Conway as the Girlfiend
 * "Uncle Fran's Musical Forest": featuring an embittered, burned-out children's-show host and a raccoon hand puppet named Mr. Raccoon Man. The same Uncle Fran character later appeared on the  Bill Nye The Science Guy series.
 * "Urban Wildlife" mocked the idiosyncrasies of Seattle hipsters' and professionals' methods of social interaction (clothes, slang, etc.) in the style of a narrated nature show.
 * "Street Talk": one-word clips from man-on-the-street/local celebrity Q&A interviews – with the questions & answers played-back in an intentionally mismatched order, resulting in the questions being 'answered' in nonsensically funny ways. This bit was later used as the basis for a CBS pilot co-created and produced by Scott Schaefer, and hosted by Bill Maher.
 * "Qwik Fishin'": John Keister and Pat Cashman as redneck fishermen on Lake Washington.
 * "Subtitle Theater": a couple speaks to each other but subtitles show what they are really thinking.

Some sketches were borrowed for the Fox TV series Haywire, in 1990.

title: Almost Live!