text:
Reginald Blomfield

Sir Reginald Theodore Blomfield (20 December 1856 – 27 December 1942) was a prolific British architect, garden designer and author of the Victorian and Edwardian period.

Early life and career
Blomfield was born at Bow rectory in Devon, where his father, the Rev. George John Blomfield (1822−1900), was rector. His mother, Isabella, was a first cousin of his father and the second daughter of the Rt. Rev. Charles James Blomfield, Bishop of London. He was brought up in Kent, where his father became vicar of Holy Trinity Church, Dartford, in 1857 and then Rector of Aldington in 1868. He was educated at Highgate School in North London, whose Grade 2 listed War Memorial he later designed, and then Haileybury school in Hertfordshire, and at Exeter College, Oxford, where he took a first-class degree in classics. At Oxford, he attended John Ruskin's lectures, but found "the atmosphere of rapt adoration with which Ruskin and all he said was received by the young ladies... was altogether too much for me". Although he had a clear leaning towards the polite arts, his family did not have the means to sustain him as a gentleman artist, and Blomfield at this date had no clear career. After Oxford, he spent a year travelling on the continent as a tutor before accepting an offer from his maternal uncle, Sir Arthur Blomfield, to become an articled pupil in his London practice in the autumn of 1881. He also enrolled in the Royal Academy Schools, where Richard Phené Spiers was Master of the Architectural School. He found the atmosphere in his uncle's office uncongenial and the practice's traditional Gothic Revival output hard and soulless, although he gained valuable mechanical skills at draughtsmanship and site experience. He prospered more at the Academy Schools, taking the junior prize in 1882 and the senior prize the following year, with a design for a town house in the fashionable Queen Anne Revival style, of which he was later ashamed. During his years in his uncle's office, the practice produced two uncharacteristic schemes (for work at Marlborough College and Shrewsbury School) that appear to foreshadow Blomfield's enthusiasm for classicism, and in the design of which he was presumably involved. He was an occasional cricketer and played in matches with J. M. Barrie's Allahakbarries XI.

Design work
At the beginning of 1884, having completed his training, he left his uncle's office and spent a further four months travelling in France and Spain before returning to London and establishing a practice at 17 Southampton Street, off the Strand, in London; E.S. Prior had an office in the same building. Through Prior, a former pupil of Richard Norman Shaw, Blomfield met others of Shaw's circle, including Mervyn Macartney, Ernest Newton and Gerald Horsley. Although he never worked in Shaw's office, Blomfield was, like them, henceforth a great admirer of Shaw. With this ground, Blomfield was involved in the founding of the Art Workers Guild and was at first made its Honorary Secretary, but he attended infrequently and when admonished about this, resigned in a huff. In retrospect, however, he paid tribute to these efforts as formative in setting a new direction for architecture: "I think it is due to these young men of the 80s that the arts were rescued from the paralysing conventions of the Victorian era". In 1890, with the idea of designing and making fine furniture, Blomfield, Ernest Gimson, Macartney and William Lethaby joined forces to establish Kenton & Co. Although the venture had the makings of a success, it lasted only two years, as the partners decided to concentrate instead on their increasingly successful architectural practices.

In 1886 Blomfield married Anne Frances Burra, the daughter of Henry Burra of Rye, Sussex, a town where he had designed several houses, including his own, the very informal Point Hill. The same year, Blomfield and the printer T.J. Cobden Sanderson (1840–1922) built themselves a pair of pretty houses in Frognal, Hampstead, Middlesex; 51 Frognal remained Blomfield's London home until his death. The heyday of Blomfield's practice, between 1885 and 1914, was dominated by the construction of new country houses and the renovation and extension of existing ones on the most generous scale. Notable among these works are the alteration of Apethorpe Palace, Northamptonshire (1906-09);Chequers, Buckinghamshire (mostly 1909–12), Heathfield Park, Sussex (1896–1910) and Brocklesby Park, Lincolnshire (1898–1910). The completely new buildings are mostly slightly smaller but still substantial; houses such as Wittington House at Medmenham, Buckinghamshire in 1897; Caythorpe Court, Lincolnshire; Moundsmere Manor. Hampshire; or Wretham Hall, Norfolk. Much of this work was carried out in a manner inspired by Blomfield's studies of both English and French Renaissance styles. Blomfield's fairly numerous university and commercial buildings also included a number of prestigious commissions, including the college buildings for Lady Margaret Hall, Oxford and the United Universities Club in London. He played a major part in the completion of the Quadrant on Regent Street, London when Richard Norman Shaw withdrew from the project. The First World War put an end to the type of building projects on which he had been engaged, and after it ended in 1919 his practice never returned to its former size. He was sixty-five in 1921, but continued working at a gradually decreasing pace into his late 70s, producing a large number of war memorials in the 1920s, including the Menin Gate in Ypres. His last major project was the reconstruction of 4 Carlton Gardens, London, in 1932.

Publications
Blomfield had a gift for sketching and writing. His first book, The Formal Garden in England, illustrated by Inigo Thomas, appeared in 1892. His views invoked the criticism of the gardener William Robinson, who pursued a lengthy dispute with those architects who dared to interest themselves in gardening, especially Blomfield and John Dando Sedding. In 1897 Blomfield's first major historical work, A history of Renaissance architecture in England, 1500–1800 was published by George Bell and Sons. The architecture of the Wren era in particular appealed to him, and he came to regard it as the era of England's finest architecture. This book was complemented by the appearance of a companion study, A history of French architecture, published in two volumes covering 1494–1661 (1911) and 1661–1774 (1921). Together with the work of Blomfield himself, Sir John Belcher and Mervyn Macartney, the arrival of a serious account of architectural development in the 17th and 18th centuries led not only to the preservation of many previously neglected buildings of those periods, but also increased interest in the neo-Georgian style.

His other published works include Studies in Architecture (1905); The Mistress Art (1908), Architectural Drawing and Draughtsmen (1912); The Touchstone of Architecture (1925); Six Architects (1925); Memoirs of an Architect (1932); the controversial anti-Modernist polemic, Modernismus (1934) and the sketchy Richard Norman Shaw (1940). In 1920 he delivered the British Academy's Aspects of Art Lecture, which was published in the Proceedings of the British Academy. A further collection of autobiographical material, 1932–42, continuing his memoirs, remains unpublished and is in the possession of his descendants.

Archival materials
The British Architectural Library Drawings Collection has a number of his perspective drawings produced for Royal Academy exhibitions and an incomplete collection of his sketchbooks, photographs and papers. Other documents remain in the possession of his descendants, but he disposed of the majority of his drawings during the Second World War. A bronze bust of Blomfield by Sir William Reid Dick is in the National Portrait Gallery.

List of works
The following list of major works is selected from that given in R.A. Fellows, Sir Reginald Blomfield: an Edwardian architect, 1985, with additions from The Buildings of England and other sources cited in the bibliography:
 * Haileybury College, Hertfordshire: erection of Bradby Memorial Hall, 1886; Music School, Sports Pavilion and organ case, 1923
 * Broxbourne, Hertfordshire: erection of five houses on St Catherine's estate for J.A. Hunt, 1887
 * 20 Buckingham Gate, Westminster, Middlesex: new town house in free Queen Anne style, 1887
 * Rye, Sussex: new vicarage, 1887; mission room, 1900
 * Swinford Old Manor, near Ashford, Kent: restoration, 1887
 * Blacknoll, Dorset: new house, 1889
 * Hertford, Hertfordshire: new covered market, public library and art school, 1889 (with W.H. Wilds)
 * Brooklands, Weybridge, Surrey: alterations and renovation for Arthur Brook, 1889, in free Queen Anne style
 * Rye, Sussex: erection of houses in Gun Garden and Watchbell Street, 1890, 1910
 * Aslockton, Nottinghamshire: new church, 1890–92
 * Bern (Switzerland): rebuilding of St. Antonien Kapelle, 1891, in late Gothic style
 * Carshalton, Surrey: extension of All Saints church, 1891–1914 (with A.W. Blomfield)
 * Southwater, Horsham, Sussex: new house and gardens, 1891
 * Chequers Court, Buckinghamshire: restoration, alterations and gardens for Bertram Astley, 1892–1901 and Arthur Lee, 1st Baron Lee of Fareham, 1909–12, in neo-Jacobean style
 * Frogmore Hall, Hertfordshire: alterations, 1892
 * Frognal, Hampstead, Middlesex: new houses at 49–51 Frognal for himself and T.J. Cobden Sanderson, 1892
 * Swiftsden, Etchingham, Sussex: new house in neo-Georgian style, 1892
 * Borrowstone Lodge, Kincardine O'Neil, Aberdeenshire: new house, 1893
 * Queen Anne's School, Caversham, Oxfordshire: chapel, 1893
 * St. George, Hanover Square, London: new fittings, circa 1894
 * Warley Lodge, Essex: new gardens, 1894
 * Mystole House. Chartham, Kent: alterations and additions, 1895, in neo-Georgian style
 * Godinton Park, Kent: alterations, 1895, 1924 and new garden, circa 1902
 * Greycoat Place, London: warehouse for Army and Navy Stores, 1895
 * Limpsfield Chart, Surrey: St. Andrew's Church, 1895, in Arts & Crafts style
 * Rye, Point Hill, expansion of cottage into new house for himself, 1895–1912
 * Cowley House, Middlesex: addition and alterations, 1896
 * Heathfield Park, Sussex: alterations and additions for W.C. Alexander, 1896–1910, in neo-Georgian style
 * Lady Margaret Hall, Oxford: college buildings, 1896–1915
 * St Edmund's School, Canterbury, Kent: headmaster's house, 1897
 * Hillside School, Godalming, Surrey: school buildings and house, 1897
 * Wittington House, Medmenham, Buckinghamshire: house, gardens and lodge for Hudson Kearley, 1st Lord Devonport, 1897–1904, and enlargement, 1909; in Wrenaissance style
 * Mellerstain, Roxburghshire: restoration and gardens for Lord Binning, 1898–1910
 * Brocklesby Park, Lincolnshire: reconstruction and new gardens for Earl of Yarborough, 1898–1910 in Wrenaissance style
 * Caythorpe Court, Lincolnshire: new house and gardens for Edgar Lubbock, brewer and banker, 1899–1903, in neo-Jacobean style
 * Effordleigh House, near Plymouth, Devonshire: new house, 1899
 * Fratton, Portsmouth, Hampshire: St Mary's Church Institute (1899–1907)
 * Drakelow Hall, Derbyshire: restoration and gardens for Gresley family, 1900–06
 * West Broyle, Chichester, Sussex: new house, 1901
 * Yockley, Frimley, Surrey: new house and gardens for Charles Furse ARA, 1901–02 in neo-Georgian style; additional wing, 1910
 * Murraythwaite, Dumfriesshire: new house, 1901
 * Blundell's School, Tiverton, Devonshire: additions, 1901
 * Heywood Manor, Boldre, Hampshire: new house and gardens, 1902
 * Euston Hall, Suffolk: new gardens for Duke of Grafton, 1902
 * Hatchlands, Surrey: new Music Room, 1902–03, in Wrenaissance style
 * Sherborne School for Girls, Dorset: new buildings, 1902–26, in neo-Tudor style
 * Gogmagog Hall, Cambridgeshire: alterations, 1903
 * Ballard's Court, Goudhurst, Kent: new house, 1903
 * Leasam House, Playden, Sussex: alterations and new gardens, 1903
 * Medmenham Manor House, Buckinghamshire: restoration for Hudson Kearley, 1903
 * Apethorpe Hall, Northamptonshire: alterations and additions, and new gardens, for Leonard Brassey, 1st Baron Brassey, 1904
 * Knowlton Court, Kent: alterations and new gardens for Major Elmer Speed, 1904
 * St Mary's Church, Islington, Portico at west door, 1904
 * Merchant Taylors' Hall, London: alterations, 1904, 1926
 * Saltcote Place, Rye, Sussex: new house for Mr Hennessy, 1905 | URL=https://www.theargus.co.uk/news/14230958.slice-of-english-history-is-yours-for-35-million/
 * Kenfield Hall, Kent: additions and alterations, 1906–09
 * Oxford & Cambridge Club, Pall Mall, London: alterations, including new staircase, 1906–12
 * United University Club, Suffolk St., London: new building, 1906; extensions, 1924, 1938
 * Wyphurst, Cranleigh, Surrey: additions for C.E.H. Chadwyck-Healey, 1907, in neo-Tudor style
 * Garnons, Herefordshire: alterations, 1907, in neo-Georgian style
 * Ickworth, Suffolk: remodelling of entrance hall for 4th Marquess of Bristol, 1907
 * Hill House, Shenley, Hertfordshire: new gardens for S. de la Rue, 1907
 * Milner Court, Sturry, Kent: additions and new gardens, 1907
 * Moundsmere Manor, Hampshire: new house and gardens for Wilfred Buckley, 1908–09 in neo-Georgian style
 * Roehampton, Surrey: new archive repository for Bank of England, 1908–10
 * Hill Hall, Essex: alterations and additions for Mrs Charles Hunter, 1909
 * Sherborne School, Dorset: Carrington Building, 1909–10; Classrooms and Gatehouse Tower on the northside of the Courts, 1913–23; War Memorial Staircase and ante-Chapel, 1922; Gymnasium, 1923; Music School, 1926
 * Manoir de la Trinité, Jersey: remodelling for Athelstan Riley, 1909–12
 * Sandhouse, Witley, Surrey: new house, circa 1909–11
 * New Public Library, Lincoln, Lincolnshire, 1910–14, in Wrenaissance style
 * Westgate Water Tower, Lincoln, Lincolnshire, 1910
 * 20 Upper Grosvenor Street, London: alterations and redecoration, 1910
 * Regent Street/Piccadilly, London: redevelopment of The Quadrant with new shops and stores, 1910–26
 * Malma, Pyrford, Surrey: new house, 1914–1915
 * Lockleys, Welwyn, Hertfordshire: alterations, additions and gardens, 1911
 * Lord Wandsworth College, Hampshire: Entrance to campus, 1912
 * Whiteley Village, Surrey: new houses in North Avenue, 1911
 * The Lordship, Much Hadham, Hertfordshire: additions, 1912
 * Wretham Hall, Norfolk: new house and gardens for Sir Saxton Noble, 1912–13, in Wrenaissance style
 * Netherseal Hall, Derbyshire: restoration, 1914
 * Kinnaird House, Pall Mall, London: new building, 1915 (with A.J. Driver)
 * Penn House, Buckinghamshire: alterations, 1918
 * Brodick Castle, Arran: restoration and new gardens, 1919
 * Harefield Place, Middlesex: alterations, 1920, 1934
 * Carlton Club, Pall Mall, London: extension, 1920 (destroyed in Second World War: not the current premises in St James's Street)
 * Sulgrave Manor, Northamptonshire: additions and restoration, 1921
 * Halstead Hall, Lincolnshire: restoration, 1922
 * Barkers Department Store, High Street, Kensington, Middlesex: new department store, 1924
 * The Headrow, Leeds, Yorkshire: layout of new street with shops, offices and banks, 1924–37 (with other architects)
 * Lambeth Bridge, London: new bridge, 1929–32
 * Ypres (Belgium): new British School building, 1925
 * Stowe School, Buckinghamshire: development plan, 1926
 * Usher Gallery, Lincoln, Lincolnshire: new building, 1926–27
 * Chantry Bridge, Rotherham, Yorkshire: reconstruction, 1927
 * Crockerhill, Sussex: alterations, 1929
 * County Hall, Lewes, Sussex: rebuilding, 1928–30
 * Middlesex Hospital, London: new facade, 1930
 * 4 Carlton Gardens, London: new offices, 1932 (part of a scheme for the total redevelopment of Carlton House Terrace

Among war memorials for which he was responsible are:
 * Brandhoek Military Commonwealth War Graves Commission Cemetery, Ypres, West Flanders, Belgium, 1915.
 * Belgian War Memorial, Victoria Embankment, London, 1917, with Belgian sculptor Victor Rousseau
 * Derby School War Memorial, an obelisk at St. Helen's House, Derby, 1921
 * Hertfordshire Regiment Memorial, Hertford, 1921
 * Ypres (Belgium): Menin Gate, 1922 and Saint George's Memorial Church, 1928
 * The Royal Air Force Memorial in London, 1923.
 * The Cross of Sacrifice or War Cross, for the Imperial War Graves Commission (now Commonwealth War Graves Commission). These are in Commonwealth cemeteries in many countries.
 * Bury War Memorial

Awards and honours
Blomfield was made an Associate of the Royal Institute of British Architects (RIBA) in 1881 and a Fellow in 1906; an Associate of the Royal Academy in 1905 and elected to the Academy in 1914, where he had been Professor of Architecture 1907–11 and awarded the Royal Gold Medal in 1913. He was President of the RIBA in 1912–14 and was knighted in 1919. In 1933, he was elected into the National Academy of Design as an Honorary Corresponding member.

Death
He died aged 86 on 27 December 1942 and is buried in family plot in the churchyard of St Michael, Playden, East Sussex, half a mile north of his country home Point Hill, Rye. Fellow architect Horace Field, who was a near neighbour in both Rye and Hampstead, is buried in the same churchyard.

title: Reginald Blomfield


text:
Operation Starvation

Operation Starvation was a naval mining operation conducted in World War II by the United States Army Air Forces (USAAF) to disrupt Japanese shipping.

Operation
The mission was initiated at the insistence of Admiral Chester Nimitz who wanted his naval operations augmented by an extensive mining of Japan conducted by the USAAF. While General Henry H. Arnold felt this was strictly a naval priority, he assigned General Curtis LeMay to carry it out.

LeMay assigned one group of about 160 aircraft of the 313th Bombardment Wing to the task, with orders to plant 2,000 mines in April 1945. The mining runs were made by individual B-29 Superfortresses at night at moderately low altitudes. Radar provided mine release information. The 313th Bombardment Wing received preliminary training in aerial mining theory while their B-29 aircraft received bomb-bay modification to carry mines. Individual aircrew were then given four to eight training flights involving five radar approaches on each flight and dummy mine drops on the last flight.

Beginning on 27 March 1,000 parachute-retarded influence mines with magnetic and acoustic detonators were initially dropped, followed by many more, including models with water pressure displacement detonators. This mining proved the most efficient means of destroying Japanese shipping during World War II. In terms of damage per unit of cost, it surpassed strategic bombing and the United States submarine campaign.

Eventually most of the major ports and straits of Japan were repeatedly mined, severely disrupting Japanese logistics and troop movements for the remainder of the war with 35 of 47 essential convoy routes having to be abandoned. For instance, shipping through Kobe declined by 85%, from 320,000 tons in March to only 44,000 tons in July. Operation Starvation sank more ship tonnage in the last six months of the war than the efforts of all other sources combined. The Twentieth Air Force flew 1,529 sorties and laid 12,135 mines in 26 fields on 46 separate missions. Mining demanded only 5.7% of the XXI Bomber Command's total sorties, and only 15 B-29s were lost in the effort. In return, mines sank or damaged 670 ships totaling more than 1,250,000 tons.

Aftermath
After the war, the commander of Japan's mine sweeping operations noted that he thought this mining campaign could have directly led to the defeat of Japan on its own had it begun earlier. Similar conclusions were reached by American analysts who reported in July 1946 in the Strategic Bombing Survey that it would have been more efficient to combine the United States' effective anti-shipping submarine effort with land- and carrier-based air power to strike harder against merchant shipping and begin a more extensive aerial mining campaign earlier in the war. This would have starved Japan, forcing an earlier end to the war.

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

title: Operation Starvation


text:
User:Ahoerstemeier/Template empty page

Please don't create articles which contain only categories, interwiki or external links, or navigational boxes, but no other actual text. An article should have at least some text to be a valid article, otherwise it is a candidate for speedy deletion (see Criteria: Articles #3). The reason why such articles are discouraged is that they make red links appear blue like links to valid articles, but the user will be disappointed to find no meaningful text there except the metadata. At least a stub of actual text is needed.

title: User:Ahoerstemeier/Template empty page


text:
Joseph Déjacque

Joseph Déjacque (27 December 1821 – 18 November 1865) was a French political journalist and poet. A house painter by trade, during the 1840s, he became involved in the French labour movement and taught himself how to write poetry. He was an active participant in the French Revolution of 1848, fighting on the barricades during the June Days uprising, for which he was arrested and imprisoned. He quickly became a target for political repression by Louis Napoleon Bonaparte's government, which imprisoned him for his poetry and forced him to flee into exile. His experiences radicalised him towards anarchism and he regularly criticised republican politicians for their anti-worker sentiment.

After spending time in London and Jersey, he emigrated to the United States, developing a reputation as a controversial firebrand in New York City. There he became active in organising radical émigrés, helping to establish the International Association in 1855. He then moved to New Orleans, where he agitated for the abolition of slavery through social revolution, while also publishing essays that criticised Bonapartist figures and defended gender equality. Unable to find a publisher due to his abolitionist remarks, he returned to New York. There he established Le Libertaire, the first non-English-language anarchist newspaper in the United States, in which he printed his utopian fiction novel L'humanisphère. After Bonaparte's government extended an amnesty to exiled radicals, he returned to France, where he died in obscurity in the mid-1860s.

Today he is remembered as an early forerunner of anarchist communism and particularly for coining the political definition of the word "libertarian" (libertaire).

Biography
Joseph Déjacque was born in 1821. His father died while he was an infant and his mother worked as a washerwoman, paying for him to go to school in Faubourg Saint-Antoine, where he witnessed the July Revolution of 1830. In 1834, he left school to work as a paper hanger, going on to sell wallpaper on Boulevard des Capucines. He found the work boring and decided to join the French Navy in 1841, but was quickly put off by military discipline and the hierarchy of life at sea. He returned to selling wallpaper in Paris and by 1847 was self-employed as a house painter. At this time, he became involved with the radical workers' group that published the Christian socialist publication L'Atelier (1840–1850). During this time, Déjacque taught himself how to write what he called "social poetry".

Revolutionary activities (1848–1851)
Together with Ernest Cœurderoy, Déjacque was an active participant in the French Revolution of 1848, which deposed the July Monarchy and established the French Second Republic. Following the revolution, Déjacque joined the socialist feminist circles of Jeanne Deroin and Pauline Roland, becoming a keen supporter of women's rights and beginning his career as a revolutionary journalist.

Despite the regime change brought by the revolution, unemployment and poverty was still rife, forcing the newly-established provisional government to make concessions to Louis Blanc's socialist faction. The provisional government established National Workshops to employ Parisian workers, with Déjacque himself enrolling in the programme on 10 May. But within the month, the subsequent government of the Executive Commission shut down the Workshops and arrested a number of socialist leaders, which brought thousands of workers out into the streets in what became the June Days uprising. Déjacque fought on the barricades against the government, but the uprising was violently suppressed by the French Army and Déjacque was among the thousands that were arrested. Over 15,000 workers were deported, Déjacque himself was imprisoned at Cherbourg.

When Louis Napoleon Bonaparte was elected as President of France in December 1848, his government suppressed freedom of association and banned the remaining socialist clubs. Déjacque was released from prison in March 1849, but he continued to find himself in trouble with the authorities. Following the election of a conservative government in June 1849, he and Cœurderoy joined The Mountain's 13 June 1849 uprising against the administration. When this too was suppressed, Cœurderoy fled to Switzerland. Déjacque sought to justify the June events through his poetry, penning a collection of romantic poetry that depicted issues of class conflict, social injustice and the authoritarianism of religious and political institutions. This collection was published in August 1851 as Les Lazaréenes, Fables et Poesies Sociales (The Lazarenes, Fables and Social Poetry); by October 1851, Déjacque found himself charged with incitement over the anti-authoritarian themes he had expressed in the book, for which he was sentenced to two years in prison.

Exile and radicalisation (1851–1854)
During the "reactionary period" of the Second French Empire (1851–1871), the socialist press was suppressed, but French anarchist thought continued to develop abroad. Together with Anselme Bellegarrigue, Claude Pelletier and Ernest Cœurderoy, Déjacque became one of the period's most prominent French anarchist voices, helping to popularise the works of the anarchist thinker Pierre-Joseph Proudhon.

By the time of the 1851 French coup d'état, Déjacque had fled into exile, making his way to Brussels and then on to London. Upon arrival in the British capital, he was reunited with fellow French anarchist Gustave Lefrançais, who informed him of the situation of their exiled compatriots. Déjacque complained to Lefrançais about the moral disengagement of the republican exiles led by Alexandre Auguste Ledru-Rollin and the cult of personality around factional leaders such as Louis Auguste Blanqui, finding himself disillusioned by the complete lack of rapport between the rival émigré factions.

At the funeral of an exiled French worker, when republican leaders turned to leave prematurely, Déjacque forced himself to the front, demanding to speak and be heard. He fiercely criticised the "bourgeois republicans" and declared himself an enemy of "all who, in London and Paris, dream of governing to better guarantee their social privileges against proletarian demands, one in the name of Empire, the other in the name of the Republic." Some of the exiled French workers, including Déjacque and Lefrançais, found themselves living in poverty in Soho, subsisting only on meagre rations. They were sent relief funds by sympathetic workers in France, but the distribution of this money was controlled by the exiled political leaders, with their mutual aid societies sitting on much of the money that they collected.

By 1853, Déjacque had moved to the Channel island of Jersey. There he started to vocally advocate for violence against the state and began penning an essay, "The Revolutionary Question", inspired by the example of Armand Barbès. He also attended the funeral of the French revolutionary poet Louise Julien, where he protested the appointment of Victor Hugo as the "sole speaker" at the burial. Such continued radical outbursts ended up isolating Déjacque from the rest of the French exiles, spurring him to move to the United States the following year.

Émigré organising in New York (1854–1855)
Upon arrival in New York City, Déjacque returned to work painting houses and became involved with the French radical emigres in the city. Having earned fame for his romantic poetry, in June 1854, he was invited to speak at a republican society, where he presented his essay, "The Revolutionary Question", for the first time. In his speech, he called for a "war on civilization by criminal means", advocating for small revolutionary cells to carry out direct action against traditional institutions, such as the Church, state, private property and even the family. Although it was largely poorly received by its audience, he gained enough support to publish the essay the following month.

Having recognised the international character of the Revolutions of 1848 and that the counterrevolutionary repression had brought together revolutionaries of different nationalities, Déjacque began to advocate for workers to set aside bourgeois nationalism and instead practice proletarian internationalism. In February 1855, Déjacque participated in the establishment of the International Association (IA). The organisation was formed by a coalition of: British Chartists; German communists, veterans of Wilhelm Weitling's League of the Just and Karl Marx's Communist League; Americans of the National Reform Association; and French socialists of the Revolutionary Commune, a French revolutionary organisation established in London in 1852 by Félix Pyat. Despite the international character of the organisation, Déjacque mostly kept to the French community; there is no evidence that he ever spoke English during his time in the United States. By 1858, the IA had dissolved due to internal differences over revolutionary nationalism.

Activism in New Orleans (1855–1858)
Not long after the founding of the International Association, Déjacque moved to New Orleans, a relatively cosmopolitan southern city where French radicalism had taken already root, although its followers chose to defer the pressing question of abolition. While his fellow émigrés respected these boundaries of American republicanism, Déjacque himself made no pretence towards respectability. In 1856, he gave a public address at a bar in Royal Street, calling on slaves to arm themselves and rise up against the United States. He praised the actions of the radical abolitionist John Brown and advocated for a united front between the white working class and black slaves, which he believed could together overthrow the United States in a social revolution and bring about a post-racial America. He was not able to find a publisher for his abolitionist remarks.

He nevertheless continued to publish his radical writings, including a polemic against the Bonapartist Pierre-Jean de Béranger and an open letter on gender equality addressed to Pierre-Joseph Proudhon, the latter of which he included in an expanded second edition of Les Lazaréenes. In the open letter, he criticised Proudhon for his antifeminism, which he saw as inconsistent with anarchism; Déjacque declared that he refused to "establish hierarchic distinctions between the sexes and races," saying that to him "humanity is humanity". He also became the first person to use the term "libertarian" (libertaire) in a political sense, defining it synonymously with "anarchist".

He also attempted to publish a work of utopian fiction, but was not able to secure enough subscriptions to cover the cost of printing. By February 1858, the failure of Déjacque's publishing efforts left him disillusioned with New Orleans and he returned to New York.

Publishing in New York (1858–1861)
Upon his return, Déjacque found himself living in poverty; in order to fund his publishing efforts, he returned to work painting houses and solicited donations from sympathisers. In June 1858, he established the newspaper Le Libertaire, journal d'un mouvement social. Published on a shoestring budget and with Déjacque as its main contributor, the paper ran 27 issues between 1858 and 1861. With this, Déjacque became the first publisher of a non-English-language anarchist newspaper in the United States, although this limited its reach to French émigrés.

During this period, he finally published his utopian novel, L'humanisphère, which he serialised in Le Libertaire. Set in the year 2858, L'humanisphère depicted the kind of society that Déjacque hoped would eventually arise after the abolition of capitalism. Inspired by the work of Charles Fourier, Déjacque formulated a radical form of communism distinct from the authoritarian models advocated by many of his peers. His society had no government or religion; instead, sovereign individuals governed themselves and participated directly in all group decision-making.

In an attempt to go further than any previous works of utopian fiction, he depicted L'humanisphère as a world in which every individual was able to achieve their potential, as they lived in conditions of post-scarcity, without any form of poverty. In this future society, "commerce, [the] scourge of the 19th century," had been eliminated; nothing was being bought or sold. In order to achieve this, Déjacque proposed the abolition of all private property, exchange values and states, and their replacement with anarchy. He considered a worker's right to be the satisfaction of their needs, rather than the product of their own labour, as he felt the latter would inevitably lead to capital accumulation. He thus advocated for "unlimited freedom of production and consumption", subordinated only to the authority of the "statistics book". In order to guarantee the universal satisfaction of needs, Déjacque saw the need for the abolition of forced labour through workers' self-management, which he figured would replace "arduous work" with "attractive work".

Déjacque's imaginative writing in L'humanisphère has been described as a "series of anarchic dreams of marvelous textures and wondrous designs", going beyond rationality and constructing an entirely alternate reality. It has been cited as a literary form of Neo-Impressionism, with art historian Robyn Roslack highlighting the following passage: "Just as orbs [atoms and molecules] circulate anarchically in universality, so men must circulate anarchically in humanity, under the sole impulse of sympathies and aversions, of reciprocal attractions and repulsions. Harmony can only exist through anarchy. There is the whole solution to the social problem." Although it anticipated the utopian society depicted by H. G. Wells in Men Like Gods, L'humanisphère is often overlooked in studies of utopian fiction, which neglect it in favour of focusing on more well-known examples, like Plato's Republic, Thomas More's Utopia and Étienne Cabet's The Voyage to Icaria.

Final years (1861–c. 1864)
With the outbreak of the Franco-Austrian War in 1859, Louis Napoleon Bonaparte moved to mend ties with the previously repressed French secularists and offered amnesty to all exiled radicals. Shortly before the outbreak of the American Civil War, in February 1861, Le Libertaire ran its final issue and Déjacque finally returned to Paris.

Déjacque lived out his final years in obscurity, which has led to differing accounts over the cause and time of his death. According to Gustave Lefrançais, Déjacque died in 1864, reportedly having succumbed to mental illness. According to hospital records, he was admitted to Bicêtre Hospital on 22 April 1864 and died from paralysis on 18 November 1865. Other sources allege that he committed suicide in 1867, or died much later of natural causes after experiencing a religious conversion.

Anarchist communism
Around the time that Déjacque died, in 1864, the socialist movement experienced a revival with the foundation of the International Workingmen's Association (IWA), established by a coalition of British Chartists and French mutualists. As time went on, anarchists in the International increasingly gravitated away from Proudhon's mutualism and towards the anarchist communism favoured by Déjacque. Parts of his programme were implemented during the Paris Commune in 1871.

Déjacque's advocacy of violence also anticipated later insurrectionary anarchists' conception of "propaganda of the deed", as well as the nihilism of Sergey Nechayev. Embarrassed by this violent temperament, when Jean Grave re-published L'humanisphère in 1899, he cut out parts that could have been read as incitement. Nevertheless, this reprint exposed Déjacque's conception of communism to a new generation. Déjacque's "iconoclastic" anarchist communism, with both its utopian and insurrectionary dimensions, was soon taken up by Peter Kropotkin and Luigi Galleani. By the turn of the 20th century, anarchist historians Max Nettlau and Gustav Landauer were beginning to characterise Déjacque as a "vital forerunner" of anarchist communism.

Libertarianism
Before Déjacque, "libertarianism" had referred to a metaphysical philosophy that upheld the notion of free will. Over time, Déjacque's libertarianism was developed into a political philosophy that upholds liberty. It was first adopted in the 1880s by American individualist anarchists such as Benjamin Tucker; and then in the 1890s by French anarchists such as Sébastien Faure, in order to distinguish anarchism from authoritarian socialism.

During the 20th century, figures of the New Left began to refer to themselves as "libertarian socialists"; with anarchists such as Daniel Guérin using the term to avoid the negative connotations of "anarchism", while Marxists such as E. P. Thompson used it to distance themselves from Marxism-Leninism. By this time, the term also gained popularity among proponents of laissez-faire and free market economics, such as Robert Nozick, David Friedman and Murray Rothbard. This re-definition of libertarianism is largely used in the English-speaking world; in the contemporary French language, this latter form is today referred to by the word "libertarien", while the term "libertaire" has retained its left-wing anarchist definition.

Over one hundred years after his death, Déjacque's work has been slowly rediscovered, with the protests of 1968 and later dissolution of the Soviet Union spurring fresh interest in his vision of libertarian socialism. His works have recently developed an "underground reputation", due in part to the English language translations carried out by Shawn Wilbur.

Selected works
Essays

Novels

Poetry

title: Joseph Déjacque


text: File:LakeLouise 2.jpg

title: File:LakeLouise 2.jpg


text:
User:Mr Flack-Hill

Hallo. This is Eliot Flack-Hill's User Page. Feel free to leave any notes for me below.

This is my website.

==A note on copyright== I agree to multi-license all my contributions, with the exception of my User pages and associated talk pages, as described below and provided that attribution to Wikipedia - the free encylopaedia is given:

Some pages I find useful

 * How to edit a page
 * Editing tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * Boilerplate text
 * Policy Library
 * Template messages/User namespace
 * Cleanup

title: User:Mr Flack-Hill


text:
Talk:Un Chien Andalou

Picture from film
Is there a reason why Image:Andalou.jpg is not marked to be in public domain? There's also Image:Chien andalou frame publicdomain.png on Commons with the same motive. Shouldn't we use that one instead? --romanm (talk) 01:10, 8 February 2006 (UTC)

Isn't the caption under the image something of a spoiler? Not that the slicing is unexpected, but it is unexpected how graffic it is

calf's eye
I'm pretty sure the slashing scene was fake. If i recall, you can see tufts of hair around the eye, since they used a dead calf. If anyone believes this is not the case, correct me...

 * You are absolutely correct. A close viewing of the film shows the differences between the actress's eye and the calf's eye. StavinChain 22:04, 18 January 2007 (UTC)
 * According to Allan Havis, the eye in this scene is a donkey's eye..

Whatever animal it is, we should settle for one of the two. :P The main article says "The eye that was actually sliced in the opening scene was that of a dead donkey." and cites it, but under the film caption to the right of the text it says "The legendary shot of the cow's eye being slit by Luis Buñuel.", without citing. Gershake (talk) 01:27, 27 May 2010 (UTC)

 * geez, everyone gets all coo-coo re: is it a cow's? a sheep? a donkey? .. who gives a pig's eye!! See it as the woman's eye, and nothing else... but all this blabber goes to show just how queasy it made ALOT of people. hahaha!! dada rules! 2602:304:CDAF:A3D0:CCED:E233:44F2:9B54 (talk) 00:07, 31 March 2015 (UTC)

Influences
The information under "influences" is starting to look too much like trivia. Some of it, such as the Silence of the Lambs video cover, sounds like it could be WP:OR. What does everyone else think? --GHcool 06:38, 22 December 2006 (UTC)
 * If it was really influential than there should be enough information to devote prose to the influence rather than a bulleted statement. As in "Un chien's influence can be seen in X, Y, and Z in the general surreal tone and camerawork." Then in separate paragraphs more detail on X, Y, and Z or a link to the appropriate section in the articles of X, Y, and Z. I'm using X, Y, and Z because I think we should highlight the three (or some other small number) most important influences, and then list other homages that are very obvious and definitely not OR. As for the specific claim on Silence, I think a screen shot would verify/prove the claim. (Since Un chien can be found on the internet, one should be able to do this fairly easily.)--Supernumerary 08:46, 22 December 2006 (UTC)

 * In any case, there is no doubt that the moth in "Un Chien Andalou" and that used for various art (posters, DVD cover, etc.) for "The Silence of the Lambs" are of the same species. I'm not sure this is actually OR, but whether this is hommage or just coincidence (due to the striking nature of the skull image on the moth) is what is up for debate.  I'll post a cap of the closeup from "Un Chien Andalou" as soon as I read the "how to" on that. StavinChain 22:12, 18 January 2007 (UTC)

The presence of apparent trivia in the Influence section weakens it greatly in my view. They do need differentiation. High Heels on Wet Pavement 19:59, 11 February 2007 (UTC)

I personally doubt the influence of Un Chien Andalou on Oldboy. In Andalou, the ants were meant to give literal meaning to a French expression, akin to "an itchy trigger finger". In Oldboy, the ants were used to show the character's complete mental breakdown from being isolated for so long.
 * Apart from the meaning of the ants, I think the director of Oldboy did have this film in mind. Geert Rinkel (talk) 16:33, 2 February 2012 (UTC)

The trivia is far from insignificant. It points to the continued relevance and influence of this film almost a century after its release. That only strengthens the article. It answers the question of "why is this still important?" ZathrasSpawn (talk) 03:15, 21 November 2021 (UTC)
 * , unsourced trivia that you assume has relevance based on your own personal opinion is original research. Per WP:ONUS, content should not be restored unless there is consensus, and especially not if it is unsourced. – wallyfromdilbert (talk) 15:31, 21 November 2021 (UTC)

Analysis
several unattributed opinions - (no doubt attributable to notable sources-- but which?)  High Heels on Wet Pavement 20:03, 11 February 2007 (UTC)

Name
Just curious, why isn't the name capitalized? - An as  talk? 21:21, 22 March 2007 (UTC)

 * Because that's how they write titles in French. There's a discussion going at the moment about whether it's a good idea to follow foreign language norms in an English encyclopedia - see Wikipedia talk:Naming conventions (films). Cop 633 01:17, 23 March 2007 (UTC)

Behind the scenes.
Is this section really necessary? It's got one unreferenced claim that should be in a production section and one piece of trivia. Davidovic 23:22, 1 October 2007 (UTC)

Second Paragraph.
The third and fourth sentences of the second paragraph aren't any good. They contradict the first sentence of the second paragraph and also contradicts the analysis section. This part is a subjective analysis of the film by the writer of the paragraph and holds no validity. —Preceding unsigned comment added by 71.155.242.235 (talk) 00:14, 16 September 2008 (UTC)

Sources desperately lacking
It's already been marked for a long time, but sources and information on this page are really sketchy. I've looked and honestly can't find much to back alot of this stuff up. Even some of the sources listed are erroneous such as the first one for 'initially released in 1929 to a limited showing in Paris, but became popular and ran for eight months.' An unrelated link is listed. —Preceding unsigned comment added by 79.67.137.244 (talk) 21:17, 17 January 2009 (UTC)

Footnote #13 goes to a dead link. I've seen similar footnotes with a notation stating 'Dead Link" or something like that. I have no idea how to put that notation though. Jtyroler (talk) 19:44, 21 October 2011 (UTC)

 * I was looking for a connection between the film and the Mickey Mouse suicide urban legend. I can't find it anywhere. --24.61.191.94 (talk) 16:31, 23 December 2011 (UTC)

Pronunciation
Just wondering, how do you pronounce "Un chien andalou"? Maybe it should be written out in IPA at the beginning of the article. I would add that, but like I said, I don't know how to pronounce it. Also, the section "Legacy" kind of sounds like a bunch of made-up stuff that some person slapped together in five minutes. If any part of it is true, then it should be moved to appropriate sections in the article, and they could also use some references to make sure they are true. Cloudy fox 001 (talk) 21:14, 17 February 2009 (UTC)

Copyright
Shouldn't the copyright on this film have expired by now? Youtube cites Microcinema International as holding the copyright. Can this be verified or discussed?74.97.10.95 (talk) 15:18, 8 April 2010 (UTC)

Divide section on Production
I'd like to divide the section currently called "Production" into two -- one for "Background", which would deal with the planning and events leading up to the beginning of filming, and the second for "Production", which would cover the filming process itself. Any problems with that? Thanks. Jburlinson (talk) 18:13, 22 October 2012 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Un Chien Andalou. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20061205212607/http://www.brain-juice.com/cgi-bin/show_wok.cgi?p_id=136&w_id=391 to http://www.brain-juice.com/cgi-bin/show_wok.cgi?p_id=136&w_id=391

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers. —cyberbot II  Talk to my owner :Online 04:39, 30 August 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Un Chien Andalou. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20101225061923/http://archive.sensesofcinema.com/contents/cteq/01/12/chien.html to http://archive.sensesofcinema.com/contents/cteq/01/12/chien.html

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 03:21, 7 December 2017 (UTC)

runnig time 16 vs 17 vs 21 vs 24 minutes
This film is usually thought of being 16 minutes long or 21 minutes. The consensus appears to be 21 minutes these days :) you can it watch at both film rate:

21 minutes: https://www.youtube.com/watch?v=054OIVlmjUM

16 minutes: https://www.youtube.com/watch?v=79h05vqezJ0

This matter deserves an entire section in the article, cause it is not clear anywhere. In that section, there should be a clear explanation of how it is mistaken for being 16 minutes -- if that is a mistake... or how it it considered to be, wrongly, 21 minutes long.. (if it is a wrong approach, and number)

IN the article, right now, it is 21 minutes at the main data sheet / info block of the film. But in the article's body 17 minutes is mentioned and "some sources" and 24 minutes -- and the reference link takes us to a very low quality page.

So, I suggest, this should be all cleared up in a nice way :)

I'll do a research myself, too...

--peter.josvai (talk) 06:59, 12 June 2019 (UTC)

title: Talk:Un Chien Andalou


text:
Eastern Catholic Community in Hawaii

The Eastern Catholic Community in Hawaii encompasses all Catholics of the Eastern Catholic Churches. It is based in Honolulu, Hawaii.

History
Eastern Catholics from western Ukraine began arriving in 1897, as part of a wave of emigration from the Austro-Hungarian Empire. However these were often ensnared into indentured servitude on sugar plantations in Hawaii, and were not able to develop their own churches. Ukrainian Catholic, Orthodox, and Jewish clergy in mainland North America pressured the San Francisco Chronicle to investigate, and on July 24, 1899 the newspaper's headline blared "Slavery in Hawaii Under the American Flag". Once freed, many of the Ukrainians departed for Canada, where there was a larger wave of Ukrainian settlement and many had relatives.

In 1975, the community began meeting for Divine Liturgy at St. Anthony Roman Catholic Church, Kalihi Kai, Honolulu with the late Reverend Archimandrite Jules C. E. Riotte, Episcopal vicar for the Eastern Rite. The community subsequently met at Saint Sophia Chapel in Waianae, with Reverend Philip Harmon as its pastor.

On October 29, 2005, Most Reverend Richard Stephen Seminack, Eparch of the Ukrainian Catholic Eparchy of Saint Nicholas in Chicago visited Hawaii, announced the retirement of Father Harmon, the move of the parish to Kuliouou, and the grant of bi-ritual eparchial faculties to Reverend Halbert Weidner, C.O., pastor of Holy Trinity Church. Bishop Seminack installed Father Weidner as the pastor of Saint Sophia Ukrainian Greek Catholic mission parish.

The Ukrainian church is no longer at 5919 Kalanianaole Hwy., Honolulu, Hawaii. A physical location resides at 1300 Pali Hwy, Suite 204, Honolulu, Hawaii 96813.

While ritually and ethnically the same, the Eastern Catholic Community of Hawaii is distinct from the Eastern Orthodox Communities of Hawaii.

title: Eastern Catholic Community in Hawaii


text:
Talk:Pâté chinois

Sheperd's Pie
Pâté Chinois is similar to, but not Shepherd's Pie. The recipe is not exclusive to the province of Québec. Pâté Chinois is a traditional French-Canadian dish served by generations of French-Canadian families througout Canada, including the provinces of New Brunswick, Ontario and Manitoba. The recipe dates back to the Canadian trans-continental railroad construction days. The ingredients essentially include layers of ground beef and onions, creamed corn and mashed potatoes. It is indeed commonly served with ketchup or ketchup vert (green tomato chow chow).

Regarding the comment to "Pâté Chinois is similar to, but not Shepherd's Pie", in Montreal, it's always translated from Paté Chinois to Shepherd's Pie, even on restaurant menus.

- Pâté Chinois is just the french name for Shepherd's pie. It is essentially created the same elsewhere in Canada and probably even in the US too (ground beef, cream corn, (peas,) mashed potatoes, paprika). The author(s) of this article probably though everyone outside Quebec had the British variant (cheese on top) which is not the case. This article is redundant and should be merged with Shepherd's pie 24.81.199.249 01:37, 4 December 2006 (UTC)

 * That is false, as the French translation of Sheperd's Pie is "Hachis Parmentier", which does not use corn in the preparation. Medoli900 (talk) 06:41, 11 December 2023 (UTC)

Creamed corn
I'm from french Canada and have many maritimes friends -- we've eaten a lot of Pate Chinois. We have never heard of using creamed corn in this recipe and when I asked around, the consensus among my easter friends was that it would be an unpleasant or even disgusting addition. Quebecer's don't really use much creamed corn and it's a food that many Canadian's dislike, in my experience. It's more associated with american recipes. (I looked up a couple dozen recipes for this and none of these had creamed corn either). I believe this entry is based on a family recipe or an american version, and not a regional standard. I agree that it's made more or less the same in most of Canada.

Also, the receipe is not limited to canned corn as frozen or fresh corn is very commonly used and sometimes corn is replaced with peas and carrots or a corn, peas and carrot mix. In my experience, Quebec natives always call it shepherd's pie in English though the traditional English shepherd's pie is made with lamb and cottage pie is made with beef. The variant with potatoes in the middle is unknown to me, though it is very common to have some gravy in the meat layer.

The entry here seems to be based on an individual family recipe and it's just too specific in some areas (ie, the specifiction of canned corn as opposed to fresh or frozen is not appropriate for a general entry). It should be more general and talk about the common base ingredients.

—Preceding unsigned comment added by AUSU-Comm (talk • contribs) 01:50, 29 November 2007 (UTC)

 * I'm a Quebecker myself and can confirm that creamed corn is more than common, in Québec at least. This can easily be confirmed by a quick google search of paté chinois wich will turn this recipie as first hit (notice the .qc.ca), and that uses "maïs crémeux", or creamed corn only. Same thing with the first english version for shepherd's pie from food.com. TheSpooler (talk) —Preceding undated comment added 05:05, 24 July 2013 (UTC)

move was a mistake
This article should not have been moved. The food is called Pate Chinois. Yes, that could literally be translated to "Chinese Pie" but it is rarely (if ever) called "Chinese Pie." A google comparison shows about 3000 entries for Chinese Pie, and 79,000 for "Pate Chinois." For comparison, please note that escargot has its own article, even thought it COULD be literally translated as "Snails."

Does anyone oppose me moving it back? - TheMightyQuill (talk) 17:33, 16 December 2007 (UTC)
 * In the United States it is called Chinese Pie. Since both the French and English version of the name are in common use, (not just an English translation of an exclusively French name), then WP:NAME requires the article name to be the English one in the English wikipedia.  Google hits are not the arbiter of these things.  Many of the google hits under pate chinois are actually for Shepard's Pie, a different dish altogether, which is called the same name by some French-speaking people. JERRY talk contribs 23:14, 19 December 2007 (UTC)
 * In my experience, "pate chinois" is the English word for it, at least in Canada. I would also have thought it is much more common.  Is Chinese pie common in New England?  --JGGardiner (talk) 10:35, 15 January 2008 (UTC)

 * My French-Canadian family, the portion that lives in Maine, at least, calls it Chinese Pie when they are speaking English. The exact same dish is called Shepherd's Pie by my Irish grandmother. I always thought my family was a little weird for calling it Chinese Pie, and this article is so interesting becuase it finally gives a possible etymology for why this came about.  I would suggest not merging or moving it. ```deoboed  —Preceding unsigned comment added by 72.45.171.210 (talk) 13:00, 13 January 2010 (UTC)

French Canadian
"Chinese pie, (French: pâté chinois) is a French Canadian dish" If it's a French Canadian dish, should it not be called "Paté Chinois"? Jeeze, and they call Quebecers Language Nazis.

The LANGUAGE is what makes this article interesting (the variations in recipe probably have little to do with the language or name): Cottage/Shepperd's Pie, followed by Paté Chinois (a mutation of the former), followed by Chinese Pie (a mutation of the mutation). I'm curious, is Chinese Pie really that common in New England?

I think the railway explanation is more likely. First, there would be way more French Canadians exposed to working on the Railway than to the town of China.

Second, the town of China explanation requires French Canadians to knowingly take an English recipe and give it a joke name, then simultaneously have it adopted in Quebec and anglicize it in New England within a short time span.

I'm no expert in Linguistic change but the time span and order seem more plausible in the Railway theory. —Preceding unsigned comment added by Mathieudovan (talk • contribs) 14:55, 8 August 2008 (UTC)

In my house, we made a dish we called "Junk". Both my parents grew up in French Canadian homes in Connecticut and Junk was a common family dish. It was a dish I was embarrassed to talk about with friends. That is, until my future husband, a French Canadian from Montreal joined us for a quick meal. He called our Junk dish Pate Chinois, laughing at our literal translation for the dish. I had no idea what Shepard's Pie was. It is hardly politically correct, but Quebecers used to call things that were poorly made "Mets Chinois". — Preceding unsigned comment added by 76.168.198.163 (talk) 01:04, 1 December 2013 (UTC)

"Chinese Pie"
I don't know which part of French Canada the individual below is from, but in Quebec pâté chinois is nearly always is made with corn and usually with creamed corn. It is always called Shepherd's Pie in English. If it is called "Chinese Pie" somewhere, then I have never seen it.

Peas instead of corn are quite common in other parts of Canada, but then again that's "Shepherd's Pie"

Drgoochmobile (talk) 18:13, 25 June 2009 (UTC)

Clean-up? - Name Origins
The "name origins" section seems really anecdoctal (for example, what is the article that was published?) and could be edited for clarity. There must be a more efficient way to include the examples such as "Boston cream pie" and "French fries." The whole additional section at the end seems like it was meant for the discussion section and not the actual article. Writers, can you fix this? — Preceding unsigned comment added by 169.235.188.164 (talk) 21:04, 31 May 2011 (UTC)

The story I've heard in Montreal, which is as well documented as the one here, rests on the plain fact that Lachine Quebec is adjacent to Montreal. As the Wikipedia article Lachine, Quebec documents, Lachine was ironically named for explorers trying to reach China through it. So Pâté chinois is a humorously exotic name for very plain Quebec food. Colin McLarty (talk) — Preceding undated comment added 02:12, 6 December 2014 (UTC)

Still no fix on this, lots of conjecture with no references anywhere.--Haem0nculus (talk) 22:28, 13 February 2018 (UTC)

 * Agreed. It's been 10 years that this section has hung around with no sources, so I've removed the unsourced material.
 * Moreover, the earliest reference I was able to find to "pâté chinois" in Google Books is from 1955 -- which is a long long time after the building of the transcontinental railroad. --Macrakis (talk) 18:51, 12 February 2021 (UTC)

Pâté chinois does not have the same origins as Shepherd's pie
For years, annoying random people have proposed to merge Pâté chinois and Shepherds pie together. They must understand something: the origins of Pâté chinois are unknown. All that is known about Pâté chinois is that its earliest appearance was in the 1930s. It has no confirmed appearances before then. However, Shepherd's pie does. Its first confirmed appearance was in 1791 as Cottage pie (it only began to be called Shepherds pie in 1854). Furthermore, many authors and historians have researched facts surrounding Pâté chinois to try to pinpoint its origins and you'll notice that out of all the theories that exist (Railway Hypothesis, South China Hypothesis, Pemiccan Hypothesis, LaSalle's Failed Expedition Hypothesis, Échine Hypothesis), none of them propose that Pâté chinois is a derived form of Shepherd's pie (although one does propose it may have been derived from pemiccan surprisingly). People who constantly suggest to merge these two articles together just see two dishes that are kind of similar, think they're experts because of the Dunning-Kruger effect, and think to themselves: "This one looks like that one! They must be the same!!". If they were in charge, I imagine they would want to merge the Crocodile and Alligator pages based on this logic. Until the origins of Pâté chinois are discovered by actual smart people like researchers or historians, I suggest we leave this Pâté chinois page alone. If they end up discovering that Pâté chinois is Shepherds pie somehow, then you can feel free to merge. And no, the people in charge of that restaurant you visited in Montreal that translated Shepherds pie into Pâté chinois on their English menu are not researchers or historians. Safyrr (talk) 03:34, 24 February 2021 (UTC)

 * Most of the "hypotheses" about the origin of Pâté chinois seem to be rather tendentious and frankly far-fetched. As you point out, it isn't documented before 1930, so connecting it to La Salle is really tirer sur la ficelle. These "theories" are also sourced to non-reliable sources, though some of them refer to apparently more reliable sources, which need to be consulted.
 * But even if the origin of pâté chinois is different from the origin of shepherd's pie, that's no reason not to merge. We have no reason to believe that all different kinds of sausage were invented at the same place and time, and yet we cover them together (though of course we also cover notable variants separately).
 * By the way, we try to be civil around here, and not disparage other editors by calling them "annoying" and accusing them of suffering from Dunning-Kruger. --Macrakis (talk) 03:50, 24 February 2021 (UTC)

 * How you feel about the hypotheses is just your opinion (I also think the LaSalle one is dumb if it makes you feel better). This is what people who have researched this stuff -unlike us- have come up with. I hope you have checked out the books too, not just the webpages. If people want to merge this page with Shepherds pie because it is the same dish class, we cannot call this new page "Shepherds pie". We dont know if Pâté chinois is Shepherds pie. It could have completely different origins and thus be a different thing. Since the dish is one of the most popular and famous traditional Quebecois dishes, the origins are of cultural and historical importance. So, the page, after fusion, should be renamed something more general, like "Savoury pies" or something like that. The Sausage page is called "Sausages" after all, not "Black Pudding" or "Chorizo". I would agree with that. Safyrr (talk) 16:35, 24 February 2021 (UTC)

title: Talk:Pâté chinois


text:
John Boson

John Boson was a cabinet maker and carver whose work is associated with that of William Kent. It is said that if he had not died at such a relatively young age then his place would have been assured in the history of furniture making in the United Kingdom. He was born around the year 1705 and it is most likely that he learned his trade and served his apprenticeship near the naval shipyards of Deptford, for by the 1720s he had a yard and workshop in Greenwich. His name first appeared as that of a carver when he worked on St. George's Church, Bloomsbury in London. In 1725 his first domestic work is recorded when he made carvings for 4 St James's Square, London. He was at the same time one of the craftsmen employed to work on the Fifty New Churches designed by Sir Christopher Wren. He did not neglect the secular and domestic market and he is recorded as a worker at East India House, Leadenhall Street in 1730; this time with a partner named John How. He is well known for his carved chimney-pieces and there are good examples in the 'Great Room' at Baylies, Stoke Poges, Buckinghamshire and another example at Sir Michael Newton's seat of Culverthorpe, Lincolnshire. The 1730s were the years of Boson's greatest success and it was during this time that he regularly carried out work for Frederick, Prince of Wales at his houses at Leicester Fields, Kew Palace, and Cliveden, Buckinghamshire.

Boson is also believed to have carved the Corinthian capitals on the portico at Chiswick House, together with the capitals in the Link Building.

There are very few pieces that are recorded as being the work of John Boson and only seven pieces remain complete with their receipts. One of these is a large carved and gilt mirror that is in the collection of the Victoria and Albert Museum, London. At Chiswick House Boson carved two magnificent tables for Lady Burlington and their two accompanying mirror frames. All pieces included carved owls, part of the heraldic badge for Dorothy Savile.

title: John Boson


text:
Pissing Mare Falls

Pissing Mare Falls is a tiered waterfall in Gros Morne National Park, Newfoundland, Canada. It is formed from Burnt Woods Brook, which plunges over the edge of Big Level Plateau into Western Brook Pond. At 343 m high, with an unbroken drop of 250 m, it is the highest in the province, and the 31st highest in Canada.

title: Pissing Mare Falls


text:
Flame test

A flame test is relatively quick test for the presence of some elements in a sample. The technique is archaic and of questionable reliability, but once was a component of qualitative inorganic analysis. The phenomenon is related to pyrotechnics and atomic emission spectroscopy. The color of the flames is understood through the principles of atomic electron transition and photoemission, where varying elements require distinct energy levels (photons) for electron transitions.

History

Robert Bunsen invented the now-famous Bunsen burner in 1855, which was useful in flame tests due to its non-luminous flame that did not disrupt the colors emitted by the test materials. The Bunsen burner, combined with a prism (filtering the color interference of contaminants), led to the creation of the spectroscope, capable of emitting the spectral emission of various elements. In 1860, the unexpected appearance of sky-blue and dark red was observed in spectral emissions by Robert Bunsen and Gustav Kirchhoff, leading to the discovery of two alkali metals, caesium (sky-blue) and rubidium (dark red). Today, this low-cost method is used in secondary education to teach students to detect metals in samples qualitatively.

Process

A flame test involves introducing a sample of the element or compound to a hot, non-luminous flame and observing the color of the flame that results. The compound can be made into a paste with concentrated hydrochloric acid, as metal halides, being volatile, give better results. Different flames can be tried to verify the accuracy of the color. Wooden splints, Nichrome wires, cotton swabs, and melamine foam are suggested for support. Safety precautions are crucial due to the flammability and toxicity of some substances involved. When using a splint, one must be careful to wave the splint through the flame rather than holding it in the flame for extended periods, to avoid setting the splint itself on fire. The use of a cotton swab or melamine foam (used in “eraser” cleaning sponges) as a support has also been suggested. Sodium is a common component or contaminant in many samples, and its spectrum tends to dominate many flame tests others. The test flame is often viewed through cobalt blue glass to filter out the yellow of sodium and allow for easier viewing of other metal ions.

The color of the flames also generally depends on temperature and oxygen fed; see flame colors. The procedure uses different solvents and flames to view the test flame through a cobalt blue glass to filter the interfering light of contaminants such as sodium.

Flame tests are subject of a number of limitations. The range of elements positively detectable under standard conditions is small. Some elements emit weakly and others (Na) very strongly. Gold, silver, platinum, palladium, and a number of other elements do not produce a characteristic flame color, although some may produce sparks (as do metallic titanium and iron); salts of beryllium and gold reportedly deposit pure metal on cooling. The test is highly subjective.

Principle
In flame tests, ions are excited thermally. These excited states then relax to the ground state with emission of a photon. The energy of the excited state(s) and associated emitted photon is characteristic of the element. The nature of the excited and ground states depends only on the element. Ordinarily, there are no bonds to be broken, and molecular orbital theory is not applicable. The emission spectrum observed in flame test is also the basis of flame emission spectroscopy, atomic emission spectroscopy, and flame photometry.

Common elements

Some common elements and their corresponding colors are:

title: Flame test


text:
Talk:Straight-24

The Napier Sabre is a H-24, not a straight 24. -- Egil 16:15, 14 Apr 2005 (UTC)

I am having much trouble finding an inline 24 engine mentioned anywhere. Much aircraft literature will refer to any non-radial engine as an "inline" but omit that the engines they're talking about are V engines or H engines. Are you sure there is such a thing? —Morven 16:36, Apr 14, 2005 (UTC)

 * Confusing. // Liftarn

VfD
On April 14, 2005, this article was nominated for deletion. The result was merge/redir. See Votes for deletion/Straight-24 for a record of the discussion. Mindspillage (spill yours?) 03:03, 29 Apr 2005 (UTC)

title: Talk:Straight-24


text:
Samoa Breweries

Samoa Breweries is the main brewer in Samoa, established in 1978.

It brews a German type lager beer, called Vailima after a village in Samoa. Samoa Breweries also brewed San Miguel under licence from 1982 to 1990. In 1999 a majority stake in the company (68.3%) was purchased by the Carlton Brewery of Fiji, a subsidiary of the Foster's Group, the remaining shares were held by the Samoan government (15%), the Nauruan government (10%) and the remainder by small shareholders. In 2011 Foster's was acquired by SABMiller which subsequently sold its Fiji and Samoa operations to Coca-Cola Amatil.

Main brands include Vailima Lager (4.9% alc v/v), Vailima Special Export (6.7% alc v/v)and Vailima Pure (4.9% low carb) In 2013 they released "Vailima Natural" which uses locally grown breadfruit in its recipe as a partial replacement for imported malted barley.

"Vailima" is literally translated from the Samoan as "water in hand" and has its origin in a Samoan folktale in which a woman revives her dying lover by carrying water to him in her hands.

Samoa Breweries also bottles Coca-Cola and allied soft-drink brands under licence. Annual production is approximately 8,500,000 litres of beer (85,000hL) and 6,500,000 litres of soft-drinks. The majority of beer produced is for the domestic market. Exports amount to about 12% with American Samoa, New Zealand and the Cook Islands being the main export markets.

In July 2022 Samoa Breweries announced it would cease brewing Vailima in Samoa and move production to Fiji. Following public opposition to the move it licensed production of the beer to a Samoan producer in August 2022.

title: Samoa Breweries


text: User talk:84.10.49.49

title: User talk:84.10.49.49


text:
User:Agatharchus

I lack the faintest resemblance of a clue.

This account is no longer public. Agatharchus 19:30, 14 Apr 2005 (UTC)

title: User:Agatharchus


text:
Talk:Straight-fourteen engine

Is there any evidence that a straight 14 has been built? -- Egil 16:17, 14 Apr 2005 (UTC)

 * Sulzer's RTA96C includes a 14-inline engine. This is a large marine engine.  See .  It was made famous for these photos.  I'll add to the article.  --SFoskett 16:51, Apr 14, 2005 (UTC)

Votes for deletion debate
The article has been KEPT following a deletion debate at Votes for deletion/Straight-14. Sjakkalle 09:35, 27 Apr 2005 (UTC)

title: Talk:Straight-fourteen engine


text:
Guillermo Dávila

Guillermo Dávila (born 18 March 1955, in Bailadores) is a Venezuelan actor and singer who has acted in many telenovelas.

Biography
After starting his career in theatre in the 1970s, Dávila first gained national fame in after starring in the telenovela Ligia Elena together with its sequel Nacho. His international fame started rising then, and in 1984, he travelled to Puerto Rico, where he starred alongside Ivonne Goderich in the 1984 soap opera Diana Carolina for WAPA-TV. The series' title song, "Toda La Luz", became a number-one hit.

Dávila continued starring in telenovelas, and in 1992, he gained fame once more after starring in Cara Sucia.

As a singer, Dávila has released over ten albums, some of which reached international platinum or gold status. He sang the songs on the soundtracks for nearly all the soap operas he starred in.

Dávila had an international hit in 1989 when he recorded a duet with pop singer Kiara; the single was called "Tesoro Mío" (My Treasure) and was from the soap opera telenovela La Revancha. His first album of his new stage, Tu Corazón, followed in 1990.

Illness
On 2 November 2014, Davila arrived at Luis Muñoz Marín International Airport in San Juan, Puerto Rico on a flight from Miami International Airport, apparently affected by a cold. His condition worsened, however, and he was later hospitalized at Centro Medico hospital in San Juan under strict secrecy. He was diagnosed with pneumonia and was in serious condition. Venezuelan entertainer Carlos Mata visited Davila and posted online that Davila was breathing artificially, but Davila's wife Laura Echevarria declared on 7 November, days after arriving to Puerto Rico to be by her husband's bedside, that Davila continued being in stable condition. On 16 November, Davila was much better and was expected to remain in good condition.

Davila later recuperated and was able to perform in Puerto Rico on 21 February 2015.

Discography

 * 1) Guillermo Dávila (1982 Venezuela release as Sono-Rodven) (1983 U.S. release as Top Hits)
 * 2) Un Poco de Amor (1983 Venezuela release as Sono-Rodven) (1984 U.S. release as Rodven USA)
 * 3) Definitivamente (1984 Venezuela release as Sono-Rodven) (1985 U.S. release as Rodven USA)
 * 4) Cantaré Para Ti (1985 Venezuela release as Sono-Rodven) (1986 U.S. release as Rodven USA)
 * 5) Guillermo Dávila 5 (1988) (1990 U.S. release as Tú Corazón)
 * 6) Éxitos Y Algo Más (1990)
 * 7) Tuyo (1990) (1991 U.S. release)
 * 8) Por Amarte Tanto (1992)
 * 9) Dulce Enemiga Y Otros Éxitos De Guillermo Dávila (1995)
 * 10) Días de Pasión (1998)

Telenovelas

 * 1982: Ligia Elena as Ignacio Ramón Nacho Gamboa
 * 1983: Nacho as Ignacio Ramón Nacho Gamboa
 * 1984: Diana Carolina
 * 1985: Cantaré para ti
 * 1986: El Sol Sale Para Todos
 * 1989: Fabiola as Carlos Alberto
 * 1990: Adorable Mónica as Luis Alfredo
 * 1992: Cara Sucia as Miguel Ángel González De la Vega
 * 1995: Dulce Enemiga as Julio Cesar Guerrero
 * 1997: Contra Viento y Marea as Sebastián León
 * 1999: Sueños as Jose Carlos de la Vega
 * 2001: Felina as Abel
 * 2004: Cosita Rica as Gastón
 * 2006: Ciudad Bendita as Macario
 * 2007: Toda una dama as Juan Jose Reyes 'JJ'
 * 2008: Nadie me dirá como quererte as Francisco Alonso
 * 2013: Las Bandidas as Rodrigo Irazábal

title: Guillermo Dávila


text:
Wikipedia:Articles for deletion/Dale R. Corson

 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?) 07:03, 27 Apr 2005 (UTC)

Dale R. Corson
Seems to be a vanity page. Can someone affirm this?

Above by 62.251.89.253

Keep former President of Cornell University. Is that not noteable or vanity. TAS 16:30, 14 Apr 2005 (UTC)

Keep same reason as above --Xtreambar 18:19, 14 Apr 2005 (UTC)
 * Merge to Cornell University. Radiant_* 08:20, Apr 15, 2005 (UTC)

Keeep - Notable. --Irishpunktom\talk 14:36, Apr 19, 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Talk:Guy-wire

Etymology
anyone know where guy wires originated? the name? — Preceding unsigned comment added by 207.163.117.20 (talk) 16:19, 2005 April 14 (UTC)

 * Yes, where did this term come from? WilliamKF 23:05, 1 January 2007 (UTC)

 * So apparently the answer to this is in the article on "guy (sailing)". I think this should be included in this article as well, assuming it is true.  —Preceding unsigned comment added by 76.17.112.63 (talk) 04:51, 29 June 2010 (UTC)

---

Guidewire (re)directs here, yet it seems so should be in the article, itself. It is an Americanization, yet it is popularly known. A guy-wire is, technically, a "guide wire" (tensioned cable).

Nantucketnoon (talk) 12:20, 25 February 2019 (UTC)

example for structural insulator failure
there was this swedish (?) long wave transmitter, the center mast fell because of a lightning destroying one of the insulators (though not one of the guy wires, but of the mast itself) --Deelkar (talk) 02:57, 31 May 2005 (UTC)

Clean-up
I tried to clean up this article to make it flow a little better. I also wikified it quite a bit.

I am a bit fuzzy on some of the techincal discussions involving the effect of guy wires on broadcasting but I tried to clarify it as much as possible. Someone with a better grasp of radio communications should take a crack at this. — Preceding unsigned comment added by Epolk (talk • contribs) 17:38, 2005 June 23 (UTC)

Mast antennas
This phrase 'mast antennas' must I think have been translated from German. It relates to what are known in the UK as 'mast radiators', which now have their own page. For some reason many mast-related pages are full of this stuff, and it needs weeding out. Spliced 19:56, 23 Jun 2005 (UTC)

guy-wire and guy wire
which is correct? both forms are used in the article. — Preceding unsigned comment added by 63.114.24.9 (talk) 00:03, 2006 January 19 (UTC)

Ans..Both are currently used in the industry and can be used either way when ordering the wire from the manufactures. The term guy wire itself describes the application and not the wire. Most steel wire comes in various forms that are descriptive of both its mechanical properties and physical characteristics. such as EHS, Bridge stand, 19 strand or aviation just to name a few. -JM — Preceding unsigned comment added by 216.64.17.163 (talk) 18:22, 2007 February 22 (UTC)

 * I just did a Google search for "guy wire" and "guy-wire". This found 9.28 million matches for "guy-wire" and only 8.67 million for "guy wire".
 * HOWEVER, when I looked at the first 2 pages of matches for both, the only occurrence I saw of "guy-wire" was for this article.
 * I therefore suggest this article be retitled as "guy wire", with "guy-wire" as an alternative in the lede -- and then change all uses to "guy wire", since that seems to match what Google returned for "guy-wire". DavidMCEddy (talk) 18:46, 7 June 2018 (UTC)

page formatting issue
image overlaps text above it. tried to reduce the size of the caption to fix this butit didn't work — Preceding unsigned comment added by 66.124.231.38 (talk) 19:44, 2007 April 14 (UTC)

Can you give me your screen size and resolution ? eg. 15" 1024x768, so, i can check it ? reg. Mion 04:56, 17 April 2007 (UTC)

Proposed merge with guy (sailing)

 * Disagree. The proposal was made in October 2007, and until now there has been no discussion, and no action.  Each article can stand alone, sith suitable cross-references.  Each separate article fits neatly within the categories they were originally written for.  An alternative would be to create shift most of the content of the present page to guy (buildings), leaving only general material on the present page. But I am most in favour of the status quo.  — DIV (128.250.80.15 (talk) 01:30, 10 October 2008 (UTC))
 * Opposed, however the articles need more references and a bit of rewrite. Mion (talk) 01:54, 10 October 2008 (UTC)

Egg shaped weights on guys?
What are they called and what do they do? They are visible in the photo looking up the guys at the mast. —Preceding unsigned comment added by 199.233.178.253 (talk) 17:40, 6 April 2009 (UTC)

 * Not sure which picture you're talking about, but they're almost certanly Stockbridge dampers. —Steve Summit (talk) 10:46, 21 July 2013 (UTC)

Crane Tag Lines
Crane tag lines are not guy wires. They are connected to the load on one end and are free or held by hand on the other end. Guy wires are anchored on (at least) one end. They are both made of cables or ropes, but they are different applications of those items. --Vonhoser (talk) 15:25, 12 October 2012 (UTC)

 * Agreed. The discussion of tag lines does not belong here.  (Also, it's wrong in other ways.  For example, it's not just "unwieldy" loads; it's virtually all loads.) I'll try to fix it. —Steve Summit (talk) 10:42, 21 July 2013 (UTC)

Garble in lede?
What does "fire service extension ladders used in church raises and tents" mean?--agr (talk) 02:28, 3 November 2014 (UTC)

Anchors.
This section duplicates/is complementary to/is supplementary to the article Earth Anchor. Should there be a merger? AnnaComnemna (talk) 10:20, 10 October 2015 (UTC)

Etymology of the word guy wire
I came here to verify whether the word 'Guy wire' has any connection etymologically to the man “Guy Fawkes” infamous for his notorious GUNPOWDER PLOT in a failed attempt to blow up the British Parliament on November 5, 1605 ( Reference Websites: History and Wikipedia). Since there are no convincing explanations here, I propose the following one with a description of the background. After his failed attempt, Guy Fawkes was convicted and sentenced to death. Soon following this, people started celebrating annually across Great Britain the day – ‘November 5’ - in the name ‘Guy Fawkes Day’ in remembrance of the survival of their Parliament from Gunpowder Plot. As quoted in ‘The Merriam-Webster Book of Word Histories’ (1976), “ On this day bonfires are lit and fireworks displayed, and on the bonfires are burned effigies of Guy Fawkes made from old tattered clothes stuffed with straw or rags”. As early as 1806, these effigies had come to be called guys. … The use of this word was extended to … a person of grotesque appearance or dress. In the united states, by the middle of nineteenth century, guy had been generalized meant to mean simply ‘man’ or ‘fellow’ and its pejorative connotations are lost”. Now making a conjecture, is it possible that, people used to suspend the effigies of the guys by ropes fastened to gallows-type structures and eventually, the particular cable supporting the structure came to be addressed as guy wires? — Preceding unsigned comment added by 106.206.52.155 (talk) 07:12, 2020 July 29 (UTC)

 * No, this is not plausible. The OED has a 1620 citation of it, spelled guies (plural), and it's related to Dutch and French words for rope.  --Ccrrccrr (talk) 21:31, 13 October 2020 (UTC)

title: Talk:Guy-wire


text: Template:Pronunciation

title: Template:Pronunciation


text: User talk:68.34.102.157

title: User talk:68.34.102.157


text:
Menlove Ave.

Menlove Ave. is a 1986 compilation album by English rock musician John Lennon. It is the second posthumous release of Lennon's music (after Milk and Honey), having been recorded during the sessions for his albums Walls and Bridges and Rock 'n' Roll. Menlove Ave. was released under the supervision of Yoko Ono, Lennon's widow.

Background
The first side of the LP comprises session outtakes from the Rock 'n' Roll sessions with Phil Spector in late 1973, apart from "Rock and Roll People", which is from the Mind Games sessions. The remainder features rehearsal recordings in mid-1974 for Walls and Bridges.

The song "Rock and Roll People" was originally recorded and released on Johnny Winter's seventh studio album John Dawson Winter III.

The title refers to Lennon's childhood home, 251 Menlove Avenue, in Liverpool. Menlove Avenue is a long road in South Liverpool, part of the Liverpool ring road. While it is mainly residential, it is also a primary route: the A562. It also passes Woolton Village where Lennon and Paul McCartney first met.

Yoko Ono's liner notes mention that "John's American rock roots – Elvis Presley, Fats Domino and Phil Spector – are evident in these tracks. But what I hear in John's voice are the other roots of the boy who grew up in Liverpool, listening to 'Greensleeves,' BBC Radio and Tessie O'Shea."

Album cover
The artwork for the release was effected by artist Andy Warhol, just months before Lennon's death in 1980. It was later used as the cover for the 2005 compilation album Working Class Hero: The Definitive Lennon.

Reception and aftermath
Though Menlove Ave. included previously unreleased material of John Lennon, it failed to chart in the United Kingdom. It did manage to reach number 127 in the United States, making it Lennon's least-successful album. Menlove Ave. was issued on CD in 1987, and remains available from Capitol Records in that format.

Side 1, tracks 3–5 appeared as bonus tracks on the 2004 remastered version of Rock 'n' Roll. The song "Here We Go Again" was included on the 2006 soundtrack album The U.S. vs. John Lennon and 2010 box set Gimme Some Truth.

The album is the only one of Lennon's not available on music streaming platforms.

Track listing
Notes
 * Side 1, tracks 1 and 3–5 were recorded in late 1973.
 * Side 1, track 2 was recorded mid-1973 for, but left off of Mind Games.
 * Side 2, tracks 1–5 are mid-1974 rehearsal recordings for Walls and Bridges.

Personnel

 * John Lennon: vocals, guitar, piano (side 2), producer (side 1, track 2; side 2)
 * Jesse Ed Davis: guitar (side 2)
 * Klaus Voormann: bass (side 2)
 * Jim Keltner: drums (side 2)
 * Phil Spector: producer (side 1, tracks 1, 3–5)

title: Menlove Ave.


text: User talk:62.34.88.223

title: User talk:62.34.88.223