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San Francisco Ferry Building

The San Francisco Ferry Building is a terminal for ferries that travel across the San Francisco Bay, a food hall and an office building. It is located on The Embarcadero in San Francisco, California and is served by Golden Gate Ferry and San Francisco Bay Ferry routes.

On top of the building is a 245 ft clock tower with four clock dials, each 22 ft in diameter, which can be seen from Market Street, a main thoroughfare of the city.

Designed in 1892 by American architect A. Page Brown in the Beaux-Arts style, the ferry building was completed in 1898. At its opening, it was the largest project undertaken in the city up to that time. One of Brown's design inspirations for the clock tower may have been the current 16th-century iteration of the 12th-century Giralda bell tower in Seville, Spain. The entire length of the building on both frontages is based on an arched arcade.

With decreased use since the 1950s, after bridges were constructed to carry transbay traffic and most streetcar routes were converted to buses, the building was adapted to office use and its public spaces broken up. In 2002, a restoration and renovation were undertaken to redevelop the entire complex. The 660 ft Great Nave was restored, together with its height and materials. A marketplace was created on the ground floor, the former baggage handling area. The second and third floors were adapted for office and Port Commission use. On every hour during daylight, the clock bell chimes portions of the Westminster Quarters. The ferry terminal is a designated San Francisco landmark and is listed on the National Register of Historic Places.

History
Opened on July 13, 1898, the building replaced a wooden predecessor constructed on the same site in 1875. The well built reinforced building with its arched arcades survived both the 1906 and the 1989 earthquakes with little damage. It served as the destination for commuters to San Francisco from the East Bay, who rode the ferry fleets of the Southern Pacific and the Key System. It also served as the connection to San Francisco for the transcontinental rail lines of the Southern Pacific, Santa Fe and Western Pacific which terminated in Oakland, and for the Northwestern Pacific running north from Marin County. The ferry piers north of the clock tower served the Key System, Santa Fe, and Northwestern Pacific, while the piers south of the tower served the Southern Pacific and Western Pacific. A loop track in front of the building enabled convenient transfers to streetcars. A large pedestrian bridge spanned the Embarcadero in front of the Ferry building to facilitate safe crossing of the busy plaza and transit hub. In the 1940s, the bridge was dismantled to supply scrap metal for the Second World War.

Until the completion of the Bay Bridge (which began to carry railroad traffic) and Golden Gate Bridge in the 1930s, the Ferry Building was the second busiest transit terminal in the world, second only to London's Charing Cross Station. After the bridges opened, and the new Key System and Southern Pacific (Interurban Electric/IER) trains began running to the East Bay from the Transbay Terminal in 1939, passenger ferry use fell sharply. In the second half of the 20th century, although the Ferry Building and its clock tower remained a part of the San Francisco skyline, the condition of the building interior declined with changes. Beginning in the 1950s, unsympathetic renovations installed a mezzanine level, broke up the grand space of the Great Nave, and partitioned the ticketing counters and waiting room areas into office space. The formerly grand public space was reduced to a narrow and dark corridor, through which travelers passed en route to the piers. Passengers were made to wait for ferries on outdoor benches, and the ticketing booths were moved to the pier.

In the late 1950s, the Embarcadero Freeway was built, which passed right in front of the Ferry Building, and views of the once-prominent landmark were greatly obscured from Market Street. Pedestrian access was treated as an afterthought, and the public was cut off from the waterfront.

Market Street Railway services terminated at a loop in front of the building prior to the construction of the Transbay Terminal. The last streetcars ran on July 2, 1949.

With the structural failure of the Embarcadero Freeway during the October 1989 Loma Prieta earthquake, San Francisco was offered the choice of whether to rebuild it or remove the freeway and reconnect the city with the eastern waterfront and the historic Ferry Building. As part of the larger rejection of the 1950s comprehensive freeway plan as unsympathetic to the city's character, and the general unpopularity of the freeway, Mayor Art Agnos led the charge to remove the Embarcadero freeway entirely. It was replaced with a ground-level boulevard, which reconnected a significant portion of San Francisco's waterfront and the rest of the city. Access was restored to Embarcadero Plaza (previously Justin Herman Plaza) and the foot of Market Street, of which the Ferry Building had been an integral part for so many decades.

Renovations
By 1992, the freeway had been removed and San Francisco began to create a comprehensive port development plan that would revitalize the newly cleared space, create public access, and reintroduce the ferry service. As the most iconic element of the waterfront, the Ferry Building was central to the aesthetic and the overall success of the development plan, and its status as a historic landmark for both architecture and engineering made a sympathetic restoration essential. The 1898 Ferry Building was a symbol of San Francisco's history as a bustling port city, but with the redevelopment plan, the city was choosing to also make the structure a symbol of San Francisco's future.

The vastness of the project resulted in the selection of a group of firms that could each focus on a key aspect of the redevelopment plan. ROMA Design Group—site design architects—designed the bayside and cityside promenades and plazas and reoriented the public spaces of the area to the building and to the bay. ROMA Design Group also designed new ferry terminals and the main historic streetcar stop that re-established the area as a multi-modal transit hub and gateway into the city. Simon Martin-Vegue Winkelstein Moris Architects (SMWM), founded by Cathy Simon, created an overall plan for the building; Baldauf Catton Von Eckartsberg Architects (BCVE) examined and planned for the needs of new retail spaces; Page & Turnbull, specialists in historic preservation, dealt with the restoration, replacement, and recreation of the historic elements of the structure.

Although the project was a restoration project, the structure would not be returned to its pure historic use as a nexus of bay transit. While the demand for ferry transit has experienced increasing demand in recent years by cross-bay commuters, the ferry service will never again reach historic levels. Therefore, in order to draw visitors, the Ferry Building has been transformed into a retail and restaurant space on the ground floor that focuses on local, sustainable products. The Port and the project developers believed that the combination of transit, office use, and unique retail would make the Ferry Building a destination for locals and tourists alike that would drive the greater goal of stimulating the waterfront.

The focus on creating a viable economic use for the Ferry Building was fundamental in developing the final restoration plan and while important historic features that are key to the structure's integrity were largely restored, some adaptations were allowed more license to meet the needs of the reuse proposal. The restored Ferry Building was opened in 2003. The lead developer was EQ Office. EQ Office was acquired by The Blackstone Group in 2007.

The ground floor of the building is occupied by a marketplace featuring about 50 restaurants, retail shops and food purveyors, most of which are open seven days a week. The outdoor Ferry Plaza Farmers Market, which is run by CUESA, operates on the surrounding plaza on Tuesdays, Thursdays and Saturdays. As of October 9, 2020, the San Francisco online, community radio station BFF.fm broadcasts live from the Ferry Building.

Architecture and design
The present structure was designed in 1892 by A. Page Brown, a New York architect who had started with McKim, Mead & White, was influenced by studies at the École des Beaux-Arts in Paris, and later moved to California.

Brown designed the building to satisfy needs of an industrial society but in the high style associated with traditional buildings. The entire base is an arched arcade reminiscent of European buildings. The highest quality materials were used, such as marble and mosaics for the state seal. The 660 ft Great Nave on the second floor was the major public space for arriving and departing ferry passengers.

It long has been asserted that Brown based his design of the clock tower on the current 16th-century iteration of the 12th-century Giralda bell tower in Seville, Spain. Although there are certain echoes of the Giralda in the Ferry tower, there appears to be no evidence to substantiate the claim that Brown used the Giralda as his prototype.

Grand Nave
The original description of the Ferry Building as published in the Board of Harbor Commissioners' Biennial Report (1888) specified that "Passengers should pass from the upper decks of the ferries through the second story, with a bridge over the crowded and dangerous portion of East [now Embarcadero] Street." The first floor was not intended for public viewing or access and was filled with the movement of baggage, mail, and freight. Instead, the public was meant to enter the structure from an elevated walkway and move through the more refined spaces of the second floor lit by the nave. By 1992, the nave had been turned into private offices and the loss of the foot bridge meant that all public approach to the building would be at street level, altering the way in which the building was understood and experienced.

With the restoration however, the developers argued that the public's historic interaction with the space was defined by the natural light cascading from the nave, not by the elevated entry way. With the movement of the primary public space to the first floor, it became essential to their proposal that this historic experience would be recreated. Beyond removing an added third floor and restoring the 660 ft nave to its two-story height, the proposal included cutting two openings, each at 33 by, into the floor of the second level. These openings would allow for this historic feature to be extended to the visitor's experience of the first floor. This was a controversial choice, and due to the building's historic status, the proposal had to be approved by the State Historic Preservation Office (SHPO); this was the subject of multiple hearings.

Marble mosaics
The greatest debate raised by the opening of the second floor cuts, however, surrounded the treatment of the historic mosaic tiling of the second floor. The second floor Grand Nave was tiled with a mosaic marble floor of white and gray tesserae with a border of red and purple. In the center of the space at the top of the main stairway is a reproduction of the Great Seal of the State of California worked entirely in mosaics. At the time of the restoration, this surface was primarily covered with linoleum, and some small sections had been lost to prior alterations. This feature was considered integral to the historic character of the building, and as a primary public space, the tiling was a key component of community memory.

In allowing the amplification of one feature (the nave), the loss of another (the mosaics) was inherently tied. The final agreement reached between the SHPO and the development team found that as long as the important decorative portions of the flooring were restored and extra tesserae would be used to repair damaged sections, the cuts would be approved.

In order to restore the mosaic, the applied linoleum surface had to be carefully peeled away and a mixture of crushed walnut shells was then used to clean the marble surface without damaging the material.

Arch reproduction and patinization
In the process of removing of the 1947 and 1950 third-floor additions, Page & Turnbull discovered the extent of the damage to the brick and terra cotta arches of the nave. Twenty-two arches span the length of the nave on each side, and of the 44 total, 11 had been destroyed. Over 25 percent of the original material had been removed in the first remodel, including terra cotta scroll-work, the arches themselves, and sections of the surrounding brickwork. In order to restore the highly significant nave, Page & Turnbull had to design and create replacements for these 11 arches that would be accurate enough not to detract from the sight line of the second story that these arches flank.

The prohibitive cost and effort of replacing these materials in kind led to the choice of a cast-stone with fiberglass support that mimics the buff brick in both color and finish. Through the use of a cast material, Page & Turnbull was able to create a fiberglass mold to be used for casting each arch as a unit that could then be inserted into sections where original fabric had been lost. The addition of fiberglass as a support material—that allows for both flexibility and compressive strength—was seen as an added benefit in meeting concerns over the building's continued seismic safety.

Creating visual continuity between the new and the old was critical in this instance due to the significance of the long stretch of the nave; here an obvious alteration in material or color would detract from the pattern of springing arches that continues through the length of the structure. Page & Turnbull invited faux-finishing specialist Jacquelyn Giuffre to disguise the new sections and recreate the continuity of pattern and color. Guiffre's job was made more difficult by the fact that the structure had not been completely sealed against the elements during the restoration and the salts of the bay air triggered a staining process that created green marks in the yellow and buff brick. In order to match the texture and patina of the old brick, Guiffre used six different pigments applied by hand, and then applied green shading to mimic the new staining process. Once the pieces were installed, a final stage of blending was completed on site to ensure the greatest possible accuracy.

Clocks
The original clock mechanism was refurbished in 2000; it is complete and intact, despite two previous modifications. The Ferry Building has its original Special #4 clock made in 1898 by the Boston clock maker E. Howard. It was the largest wind-up, mechanical dial clock in the world but is now powered by an electric motor. The four dials are each 22 ft in diameter, and a portion of the dial appears to be back-lit at night. This is the effect of two concentric dials on each clock face, in which the inner dial is lit and visible at night.

Although the hands and a small portion of the works are now powered by an electric motor, the entire clock mechanism is still there. The huge weight hangs in its 48 ft shaft; once wound, it formerly kept the clock running for eight days. The 16 ft pendulum also remains, but it is motionless, replaced by electric power. There is also a set of horn loudspeakers above the clock that play Westminster Chimes on the hour and make a loud siren noise every Tuesday at noon on the hour.

Ferry service
The Ferry Building is the primary San Francisco terminal for commuter ferry service (Pier 41 is used primarily for excursions). The facility has six ferry piers lettered Gate B through Gate G. Gate B, used by the San Francisco Bay Ferry Vallejo/Mare Island route and the Treasure Island Ferry is adjacent to the north end of the building. Gates C and D are the Golden Gate Ferry Terminal, located on a larger wharf near the center of the Ferry Building. They are used by Golden Gate Ferry service on the Sausalito, Tiburon, and Larkspur routes. Gates E through G are located south of the south end of the building; they are used by San Francisco Bay Ferry services on the Oakland/Alameda, Alameda Harbor Bay, and Richmond routes. Privately run service to Berkeley docks at Pier 1$1/2$ to the north.

The Golden Gate Ferry Terminal, which is located on a wharf built in the late 1960s as part of the Transbay Tube, opened with the introduction of Golden Gate Ferry in 1976. Vallejo service was added in September 1986. When emergency ferry service was added after the 1989 earthquake, Alameda service docked between Pier 7 and Pier 9, Berkeley service docked at Pier 1$1/2$, and all other service used the existing Ferry Building piers. Berkeley and Richmond service ended in March 1990, but Oakland/Alameda service continued, with Harbor Bay service added in March 1992. These services used a new pier constructed north of the Ferry Building at Pier $1/2$ (adjacent to Pier 1). The modern Gate B and Gate E opened in October 2001 as part of the larger renovation of the Ferry Building. The 2001–2003 renovation anticipated a future phase to add additional capacity. Around 2008, WETA and the Port of San Francisco began planning the construction of three new ferry piers to support increased frequencies and new routes. Environmental planning for the Downtown San Francisco Ferry Terminal Expansion Project began in 2011, with an Environmental Impact Statement released in 2014. Construction of Gate A in the North Basin was deferred, with focus shifted to the South Basin improvements. These include the addition of Gates F and G behind the Agriculture Building, reconstruction of Gate E, and the creation of a new public plaza between Gate E and The Embarcadero. A groundbreaking ceremony was held for the then-$79 million project on May 11, 2017. Gate G opened in December 2018, followed by Gate F on February 14, 2019, allowing Gate E to close for reconstruction. Gate E reopened in February 2020, and the $98 million project was completed in August 2020.

Transit connections
The two Muni historic streetcar lines — the E Embarcadero and F Market & Wharves — stop at a surface station located on the pedestrian plaza in front of the Ferry Building. The station (which is signed as Ferry Building, but also known as The Embarcadero/Ferry Building) opened with the extension of F Market service to Fisherman's Wharf on March 4, 2000.

No Muni bus routes run directly to the Ferry Building, but many stop in the surrounding area near Embarcadero station, the closest Muni Metro and BART station. The terminal is also served by a single northbound SolTrans route 82 bus trip in the late evening, intended for passengers who miss the last ferry to Vallejo.

title: San Francisco Ferry Building


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Wikipedia:Articles for deletion/Hydraulics demonstration/Archive1

 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 transwiki. Mindspillage (spill yours?) 22:19, 5 May 2005 (UTC)

Hydraulics demonstration
Transwiki to Wikibooks, as mentioned above. Images are already on the commons. -- Egil 08:29, 21 Apr 2005 (UTC)
 * Transwiki. Megan1967 12:05, 21 Apr 2005 (UTC)
 * Transwiki. Master Thief Garrett 21:55, 24 Apr 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.

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


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User talk:Junomanx

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Questions, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! -- Infrogmation 08:29, 21 Apr 2005 (UTC)
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Oleg Budargin

Oleg Mikhaylovich Budargin (Олег Михайлович Бударгин; born November 16, 1960) was the governor of Taymyr Autonomous Okrug in Russia. He took office in February 2003 after having won elections the previous month with 70% of the vote. He was previously the mayor of Norilsk.

Budargin's term ended when Taymyr Autonomous Okrug was merged into Krasnoyarsk Krai on January 1, 2007.

title: Oleg Budargin


text: User talk:67.35.90.213

title: User talk:67.35.90.213


text: Category:1450s BC deaths

title: Category:1450s BC deaths


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File:Sigh - Hail Horror Hail.jpg

Hail Horror Hail, one of Sigh's highly praised albums amongst the Black Metal community.

Fair use rationale
It is contended that the use of this image in Hail Horror Hail qualifies as fair use for the following reasons:
 * 1) This image illustrates the cover of the album discussed in the article.  This image can be used for identification purposes in relation to this article.
 * 2) It does not limit the copyright owner's rights to market or sell the album in any way.
 * 3) The image is of lower resolution than the original cover.
 * 4) The image is being used in an informative way and does not detract from sales of the album.

title: File:Sigh - Hail Horror Hail.jpg


text: User talk:64.121.193.143

title: User talk:64.121.193.143


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Combat!

Combat! is an American television drama that originally aired on ABC from 1962 until 1967. The exclamation point in Combat! was depicted on-screen as a stylized bayonet. The show covered the grim lives of a squad of American soldiers fighting the Germans in France during World War II. The first-season episode "A Day in June" shows D-Day as a flashback, hence the action occurs during and after June 1944. The program starred Rick Jason as platoon leader Second Lieutenant Gil Hanley and Vic Morrow as Sergeant "Chip" Saunders. Jason and Morrow would play the lead in alternating episodes in Combat!.

Development
Creator Robert Pirosh's early career in film was defined mainly by comedy films. After his service in World War II, his focus changed to telling the stories of lower-rank soldiers. He won an Academy Award for his 1949 screenplay Battleground, and directed 1951's Go for Broke! Both were noted for their realistic depictions of war, accuracy and portraying soldiers grappling with human vulnerabilities and ethical dilemmas. Those factors were central to Pirosh when, in 1961, he approached producer Selig Seligman with an idea for a television series. His proposal for an hour-long drama, called Men in Combat, would follow a small squad of enlisted men from their arrival in mainland Europe on D-Day to the liberation of Paris. Seligman's Selmur Productions was intrigued, and parent network ABC ordered a pilot.

Pirosh's pilot, "A Day in June", was shot over six days in December 1961. Contemporary newspaper reports called the show Combat Platoon. One day was spent shooting on location at Trancas Beach in Malibu, which stood in for Omaha Beach.

Series leads Rick Jason and Vic Morrow were unimpressed by Pirosh's pilot, and Morrow pondered quitting the show, fearing it would damage his career. Between completion of the pilot and greenlighting a full season, Seligman and ABC made several changes, including dropping some characters and altering others. Seligman also dismissed Pirosh and brought in Robert Blees to be the series producer. Robert Altman was hired to direct, assigned to every other episode of the inaugural season.

By April 1962, ABC announced it had picked up the series, now called Combat!, for its fall primetime schedule. The network committed to a thirty-episode season, and said Combat! would be complemented by another World War II drama scheduled for Friday nights, called The Gallant Men, where Altman had directed the pilot episode.

Production
The series went into production on June 2, 1962 and filming got underway on June 11. Episodes typically took six days to film, with a mix of soundstage shooting and heavy use of the MGM backlot for outdoor scenes. However, many scenes shot in the Hollywood Hills with parched grasses, eucalyptus trees and sandy soils were clearly unlike northern Europe, especially obvious in the color episodes. The first series opened with "Forgotten Front," telecast at 7:30 p.m. ET on Tuesday, October 2, 1962. Though it was the first to be broadcast, "Forgotten Front" was sixth in production order. The pilot, "A Day in June," would air as the eleventh episode, in December.

According to Rick Jason, "Our budgets for the first year, including pre-production, production, and post-production, (that is, the entire cost of each negative) was $127,500. In the fifth year (in color) we delivered them for $183,000. Our time schedules were six shooting days. Therefore, on a five-day week, we took a week and one day to shoot a show. Here and there, a segment went to seven shooting days and everybody in the front offices got a little nervous."

Jason said of the working conditions, "In the first year of the show, Vic and I were given dressing room suites in a building that hadn't been renovated in twenty-five years. We also had no dressing rooms on the outdoor sets (we were thankful just to have chairs). Vic went on strike the beginning of the second year and things got much better."

Wesley Britton wrote, "The producers and directors of the series (including Robert Altman, whose work on the show included 10 defining episodes) went the extra mile for establishing credibility and realism. Then and now, viewers see motion picture quality photography as in the long shots very unlike most network television of the period. They had military advisors on hand to look over scripts and maps. The cast couldn't shave during the five day shoots to help the 'beard continuity.' Except for occasional dialogue, for the most part when the 'Krauts' or 'Jerries' spoke, they did so in German. Actor Robert Winston Mercy, who wrote one script and played a number of German officers, told me the uniforms were so precisely recreated with correct pipings and insignias that he would cause a stir among Jewish cafeteria workers when he strode in wearing his costume during lunch breaks."

Broadcast history
Combat! premiered on ABC on October 2, 1962, and was broadcast for five seasons to become TV's longest-running World War II drama. In total Combat! aired 152 hour-long episodes. The first 127 episodes, spanning four seasons, were produced in black and white. The fifth and final season produced 25 color episodes. The show was developed by Robert Pirosh, who wrote the pilot episode.

Cast
Recurring Characters: Season 1 only (except Davis who appeared twice in Season 2)
 * Fletcher Fist as Cpl./Pvt. Brockmeyer 7 episodes
 * Joby Baker as Pvt. Kelly 3 episodes (killed in third)
 * John Considine as Pvt. Wayne Temple Jr. 2 episodes (killed in second)
 * Arnold Meritt as Pvt. Jerome Crown 3 episodes
 * Dennis Robertson as Pvt. Albert Baker 7 episodes
 * William Harlow as Pvt. Davis 5 episodes
 * Robert Fortier as Capt. Jampel 3 episodes

Prior to portraying Pvt. McCall, William Bryant made three guest appearances throughout the first four seasons. Throughout the whole series, however, Paul Busch portrayed multiple characters, the majority of them being German. Conlan Carter (a newcomer) was nominated for a Primetime Emmy Award in 1964 for his portrayal of PFC "Doc".

Guest cast

The majority of the guest stars appeared as additional squad members, French citizens or German soldiers. In the first season, the then little-known Ted Knight and Frank Gorshin made appearances. Other notable guest stars included: • Nick Adams

• Claude Akins

• Eddie Albert

• Richard Anderson

• Frankie Avalon

• Richard Basehart

• James Best

• Bill Bixby

• Eric Braeden

• Neville Brand

• Beau Bridges

• Charles Bronson

• Paul Burke

• James Caan

• Joseph Campanella

• Jack Carter

• Terry Carter

• John Cassavetes

• James Coburn

• Anjanette Comer

• Ben Cooper

• Robert Culp

• Andrea Darvi

• John Dehner

• Brandon deWilde

• Dan Duryea

• Robert Duvall

• Chad Everett

• James Franciscus

• Peggy Ann Garner

• Emile Genest

• Joan Hackett

• Dwayne Hickman

• Dennis Hopper

• Jeffrey Hunter

• Tab Hunter

• Richard Jaeckel

• Mike Kellin

• Ted Knight

• Fernando Lamas

• Carol Lawrence

• Claudine Longet

• Jack Lord

• James MacArthur

• Lee Marvin

• Walter Maslow

• Roddy McDowall

• Sal Mineo

• Ricardo Montalbán

• Ed Nelson

• Ramón Novarro

• Leonard Nimoy

• Simon Oakland

• Warren Oates

• Margaret O'Brien

• Michael Pataki

• Andrew Prine

• Luise Rainer

• Wayne Rogers

• Gilbert Roland

• Mickey Rooney

• Bobby Rydell

• Telly Savalas

• Tom Skerritt

• William Smithers

• Warren Spahn

• Harry Dean Stanton

• Warren Stevens

• Dean Stockwell

• Frank Sutton

• Rip Torn

• Alida Valli

• Dennis Weaver

• James Whitmore

• Keenan Wynn

Directors
Directors for the series were:

 * Jus Addiss (1 episode)
 * Robert Altman (10 episodes)
 * Laslo Benedek (2 episodes)
 * Richard Benedict (2 episodes)
 * Michael Caffey (11 episodes)
 * Alan Crosland, Jr. (6 episodes)
 * Richard Donner (1 episode)
 * Tom Gries (3 episodes)
 * Georg J. Fenady (6 episodes)
 * Herman Hoffman (1 episode)
 * Burt Kennedy (6 episodes)
 * Bernard McEveety (31 episodes)
 * Byron Paul (1 episode)
 * John Peyser (27 episodes)
 * Vic Morrow (7 episodes)
 * Ted Post (6 episodes)
 * Sutton Roley (15 episodes)
 * Boris Sagal (pilot episode)

Military accuracy and authenticity
From Pirosh's original ideation of Combat!, authenticity was considered important to the show. Most of the cast members were veterans of the armed services, with several having served during World War II. Dick Peabody and Shecky Greene served in the U.S. Navy, while Rick Jason served in the Army Air Corps. Vic Morrow served in the Navy in 1947. Pierre Jalbert served in the Royal Canadian Air Cadets during World War II, Jack Hogan served as a Staff Sergeant in the U.S. Air Force during the Korean War, and Conlan Carter served in the U.S. Air Force during the post–Korean War era. Steven Rogers served six months in the U.S. Army. Director Robert Altman served in the Army Air Corps during World War II, flying more than 50 bombing missions as a crewman on a B-24 Liberator in the South Pacific. Morrow's character often displays what appears to be a USMC cover on his helmet; it is actually a scrap from a camouflage parachute used in the D-Day invasion.

In May 1962, before filming for the series began, Seligman had the principal cast (Jason, Morrow, Rogers, Jalbert and Greene) go through a week of basic training at the Army's Infantry Training Center at Fort Ord in northern California. "We did everything from crawling under barbed wire with live .50 calibre machine bullets whizzing over our heads, to swinging across a muddy pond on a rope, to pulling the pin on a live grenade and throwing it properly, to running an obstacle course," Jason later wrote. "It was much more than I’d had to do in [World War II] for my real basic training in the Air Corps."

Morrow noted that the instructors who worked with the cast at Fort Ord had one common request: not to act like John Wayne. "Poor John," Morrow told a reporter. "I wonder if he knows he's almost a dirty word in the Army."

Seligman also asked the Army to assign a technical advisor to review and offer critique of scripts—specifically, someone who had been present at D-Day and subsequent campaigns. The Army complied, assigning Maj. Homer Jones. He served with the 82nd Airborne's 508th Parachute Infantry, parachuted into northern France on D-Day and participated in four campaigns. Jones had access to, and conferred with, Seligman, producer Robert Blees and the show's various directors and technicians to ensure the show was staged accurately. He would also arrange for the show to borrow Army equipment that could not be furnished by the studio's props department.

Syndication
Combat! has been aired on and off since the 1970s in Greece, Iran, Japan, Mexico, Philippines, Brazil, Guatemala, Nicaragua, Chile, Peru, Indonesia, Colombia, Argentina, South Korea, Canada, Venezuela, Australia, Malaysia, Pakistan, and Taiwan.

As of February 2023, the Heroes & Icons channel broadcasts the series as part of its Saturday night lineup.

Critical reception
The show is noted for its realism and character development.

Syndication created a new audience and interested commentators.

Pop culture scholar Gene Santoro has written,

"TV's longest-running World War II drama (1962–67) was really a collection of complex 50-minute movies. Salted with battle sequences, they follow a squad's travails from D-Day on—a gritty ground-eye view of men trying to salvage their humanity and survive. Melodrama, comedy, and satire come into play as Lieutenant Hanley (Rick Jason) and Sergeant Saunders (Vic Morrow) lead their men toward Paris. Under orders, Hanley keeps sending or leading Saunders and his squad on incessant patrols though they're dead on their feet and always shorthanded; replacements are grease monkeys or cook's helpers who are fodder, and everybody knows it. The relentlessness hollows antihero Saunders out: at times, you can see the tombstones in his eyes.

Most of the first 32 episodes are very good indeed, thanks to taut scripts and canny direction... Series developer Robert Pirosh copped an Oscar for writing Battleground: his hard-edged realism is often reflected in the plots.

Later episodes inevitably get uneven, though there are gems throughout... But this TV series, shot on MGM back lots when color TVs were rare, remains exceptional."

Wesley Britton, son of a World War II veteran, wrote, "Unless you watched Combat! during its original 1962–1967 run, you might not know just how popular and influential the program was... In a league of its own, Combat! was aptly titled as considerable time was spent with the American soldiers engaged in machine gun fire fights and explosions while the soundtrack was filled with the martial horns and drums of the rousing Leonard Rosenman score. Combat! was also distinguished by its grim and realistic stories that frequently had only the most minimal of dialogue, and that often being only quick orders from Sgt. Saunders to his unit while they were on the move."

Britton added, "The 25 episodes of the fifth and final season of Combat!, the only one broadcast in color, maintained the high-quality of the show so well established in the first four years. One major change was a move from MGM studios to CBS which meant, among other matters, a new sound crew and different props. Further, in this season the color was especially memorable as most viewers were accustomed to seeing World War II in black-and-white like the newsreels of the war years. However, using color resulted in a variety of production problems such as the lack of usable stock footage. But the show wasn't simply spectacular explosion fests, although most episodes opened and closed with violent skirmishes believably orchestrated by the special effects crew."

In 1997, TV Guide ranked the episode "Survival" #74 on its list of the 100 Greatest Episodes.

Original tie-In novels
Over the course of the series run, Lancer Books released three original paperback novels based on it by Harold Calin, a genre novelist who was concurrently building a catalog as one of the publisher's mainstay authors of World War II novels. The titles are Combat! (1963), Combat!: Men Not Heroes (1963) and Combat!: No Rest for Heroes (1965). The books represent their author's adaptive "take" on the TV series—a kind of "alternate storytelling universe" that was similar, if not exact—rather than strictly adhering to canonistic details and continuity. It's likely that Calin got the tie-in commission from Lancer before the series aired, and had to produce the first book to hit the stands shortly after the show debuted; thus he may have had little more to go on than some publicity material and/or a pilot script (and the series would change significantly from the pilot) and/or a show bible, and had to make best guesses without the opportunity to see an actual episode. In that pre-VCR era, even actual episodes would only have been available to him as they aired, with no way to preserve them for reference. And in that circumstance, a number of tie-in writers would likewise create similarly "approximate" novels, whose follow-ups might remain consistent to their own internal continuity.

Interestingly, an original novel that more accurately presents the series' tone and characters—whose author had clearly had time to absorb a number of aired episodes before writing—is one that was crafted for younger readers: Combat!: The Counterattack by Franklin M. Davis Jr (1964, Whitman Publishing, pulp pages, laminated cardboard hardcover), who himself had a long and distinguished military career and thereafter became an author of war novels and thrillers.

Other media
Coloring books, board and video games, and home media inspired by the show include:

 * In 1963, Saalfield Publishing published a 144-page coloring book based on the television show. A second coloring book was published the following year, featuring a different cover.

 * In 1963, the Ideal Toy Company released a board game whose cover featured images of Lt. Hanley and Sgt. Saunders along with the show's logo. However, the game itself had nothing to do with the series; it was a World War II strategy game for two players, each controlling six soldiers. The game had two basic benchmarks for victory: capture the opposing headquarters, or capture all of the other player’s soldiers.

 * The Super Famicom game, Sgt. Saunders' Combat!, was based on the television show and released only in Japan. It allowed players to re-enact crucial World War II battles in Western Europe and North Africa. The names of fictional officers in addition to real-world officers (i.e., Karl Bülowius, Joachim Peiper, and Anthony McAuliffe) are used in order to maintain a sense of historical accuracy.
 * A film version of the show was attempted by Todman/Simon Productions for Paramount Pictures, but it never came to fruition.
 * Image Entertainment has released the entire series on DVD (Region 1). They released each season in two-volume sets in 2004 and 2005. However, all episodes are the time-compressed versions that were distributed by Worldvision Enterprises for syndication; each comes in at 46 to 47 minutes, instead of the original runtime, which was 50 to 51 minutes.
 * On October 9, 2012, Image Entertainment released a five-DVD collection of 20 episodes called Combat! – 50th Anniversary Fan Favorites.
 * On November 12, 2013, Image released Combat! – The Complete Series, a 40-disc set that features all 152 episodes of the series.

title: Combat!


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Leonid Markelov

Leonid Igorevich Markelov (Леони́д И́горевич Марке́лов) (born 1963) is a Russian politician and lawyer, who is the former head of the Mari El republic in Russia. He took office on January 14, 2001, and resigned from office on April 6, 2017. Markelov was later arrested under suspicion of accepting bribes.

Early life
Markelov was born to a Russian Orthodox family living in Moscow, as the only child. His father, Igor Markelov was the chief of the USSR Ministry of Agriculture, and his mother was an economist. His father died when Markelov was nine years old, leaving him solely dependent on his mother throughout most of his childhood. He was educated at the Military University of the Ministry of Defence, where he graduated with a degree in law in 1986. He was a member of the Communist Party of the USSR from 1981 to 1991, while at the same time serving in the Soviet army. He was an attorney in 1992, and entered politics in 1999. Markelov is Russian by ethnicity. He is married to Irina Konstantinova Markelova, and together they have a son and a daughter.

Presidency
Markelov was elected in December 2000 in one of the most contentious elections that occurred in the period between 1991 and 2005 when leaders of Russian administrative divisions were directly elected. In the first round, Markelov came slightly ahead of incumbent Vyacheslav Kislitsyn with Markelov receiving 29% and Kislitsyn receiving 25% in a field of several other candidates. In the runoff two weeks later, Markelov was elected with 59% of the vote. In 1996, Markelov had been defeated by Kislitsyn, receiving 38% of the vote. Markelov was elected to a second 4-year term in 2004, receiving 56% of the vote.

On 6 April 2017, Russian President Vladimir Putin dismissed him as the head of Mari El upon Markelov's request.

Criminal case
A week later after his resign Markelov was arrested by the SKR on suspicion of taking a bribe in the amount of ₽235 million. In January 2019, the Prosecutor General's Office approved the indictment. According to this document, Markelov achieved the allocation of ₽5 billion of state support for the Akashevskaya poultry farm, and he received promissory notes for 234 million from its owner as a "gratitude". In late November 2019, the Nizhny Novgorod District Court confiscated Markelov's property for 2.2 billion rubles as acquired with undeclared income (including a shopping mall, 16 cars and gold bars.

On 24 February 2021, the court sentenced Markelov to 13 years in a strict regime colony and a fine of about ₽235 million. In addition, the court decided to deprive Markelov of all state awards and banned him from holding political positions for three years.

Controversies
Markelov is a controversial figure both in Russia and the Finno-Ugric community. He has been criticized by Western media for repressing the indigenous ethnicities of Mari El, and his disregard for human rights and his administration's inability to deal with the economic decay in Mari El.

Beatings of political dissidents
In early 2005, Markelov drew the ire of the international press when it was alleged that his authorities beat political dissidents and opponents of his governments with iron pipes. Numerous opposition members were beaten badly. No charges were brought to this incident, or for the other crimes of violence.

Vladimir Kozlov
During 2005, the Mari activist and chief editor Vladimir Kozlov was badly beaten by Markelov's enforcers after he published criticism of Leonid Markelov's politics.

title: Leonid Markelov


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Wikipedia:Cleanup Taskforce/Chiropractic medicine

Chiropractic medicine
Yikes. I just happened upon this one myself. It needs serious help (looks like part of it is disputed as NPOV as well); there's a much better article to be done here. Chiropractic medicine -- Knowledge Seeker? Feel up to it? · Katefan0(scribble) 18:49, Apr 20, 2005 (UTC)

 * I've put it on Knowledge Seeker's desk. Mgm|(talk) 08:41, Apr 21, 2005 (UTC)

 * Is this the appropriate forum to offer suggestions on the chiropractic medicine article to the taskforce? If so, please recommend an outline for the article and consider deleting the "Quotes" section.  Thanks! Edwardian 01:35, 25 Apr 2005 (UTC)
 * Sure, you can put suggestions here, or on Talk:Chiropractic medicine. — Knowledge Seeker দ 08:33, 27 Apr 2005 (UTC)

 * Dmcdevit, you think you could help out with some factchecking and referencing? I know little about chiropractic medicine, and I probably have a science- and evidence-based bias. Copying this to User:Dmcdevit/Desk. — Knowledge Seeker দ 08:33, 27 Apr 2005 (UTC)

 * Put on User:Oliverkeenan/Desk. The whole POV thing is confusing to me. I have done, and will do some copyeditting, but that's about done. Oliver, you think you could take a look at what needs to be done? --Dmcdevit 00:03, 30 Apr 2005 (UTC)

 * Thanks Dmcdevit. Sorry for the delay in replying - I'm a little busy. I don't feel I'm able to provide a NPOV on this one I'm afraid for two reasons, firstly I am biased against alternative medicine due to my training in conventional medicine/nursing and secondly I don't know enough about chiropractic medicine to comment. Oliver Keenan 14:18, May 4, 2005 (UTC) (I've moved it back to User:Dmcdevit/Desk, as I wasn't able to find anyone more appropriate to cleanup.

 * I've done copyediting, and the language looks okay to me. --Dmcdevit 05:43, 8 May 2005 (UTC)

 * There's nothing more I can really do—I added a little bit about what studies have shown and such but the rest is outside my expertise. I'm placing it on User:Tony Sidaway/Desk to see if he can help the article at all. — Knowledge Seeker দ 04:55, 18 May 2005 (UTC)

205.211.168.10Jonathan Graham
 * I've been making some edits here and there mostly to the Criticism section which didn't seem to reflect the evidence of the critics.  I apologise that I have done these edits largely without participation on the Talk list.  However they seem to have stood, dispite the torrent of edits that happen on this page. :-).  I just made one more edit to the "Scientific Evidence" section mentioning how case studies are classified.  I really mean no disrespect to Chiropractic but when you read a pile of case studies it makes it look like there is this mountain of evidence for treating these diseases which AFAIK aren't even part of standard Chiropractic medicine.  In retrospect it might be a better idea, to create a stub article linking off the term "case study" to short description of how these things are classified.   Any ideas folks?


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User talk:Craigbuttle

Zartizan University was established in Nov 2004, at Williamstown SA.

title: User talk:Craigbuttle


text: User talk:83.149.237.18

title: User talk:83.149.237.18


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Fogo

Fogo (Portuguese for fire) may refer to:
 * Fogo, Cape Verde
 * Mount Fogo
 * Fogo Island, Newfoundland, Canada
 * Town of Fogo
 * Fogo Aerodrome
 * Fogo (electoral district)
 * Fogo, Scottish Borders, a village in Berwickshire, Scotland
 * Fogo Priory, a religious house of the above settlement
 * Prior of Fogo
 * Fogo Seamounts, Canada
 * Gordon Fogo (1896–1952), Canadian lawyer and senator
 * William M. Fogo (1841-1903), American politician
 * Fogo (film), a 2012 film
 * Oyem Airport, in Woleu-Ntem Province, Gabon, having ICAO code "FOGO"

title: Fogo


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Swiss dagger

The Swiss dagger (Schweizerdolch) is a distinctive type of dagger used in Switzerland and by Swiss mercenaries during the 16th century. It develops from similar dagger types known as basler which were in use during the 14th and 15th centuries. The characteristic mark of the Swiss dagger are two crescent-shaped, inward-bent metal bars delimiting the hilt.

The curved shape of the Swiss dagger hilt appeared as early as the 13th century and remained peculiar to Switzerland, and does not appear to have been imitated elsewhere. The blade was characteristically double edged, tapering to a point and usually had a diamond shape cross-section.

One of the masterpieces of Hans Holbein the Younger is a 1521 design for a dance of death on the sheath of such a dagger (which was implemented on a number of surviving examples). The dagger was often worn horizontally on the hip, thus the ornaments on the scabbard were often also crafted in a horizontally. After 1550, the Swiss dagger became a prestigious ornamental weapon, with hilt and sheath decorated with precious metal and scenes from the Bible, classical antiquity or Swiss history. Daggers of this period are also referred to as "Holbein" daggers. Schneider (1977) dates the bulk of the extant specimens of this ornamented type to the 1560s to 1570s. The Swiss dagger disappears with the beginning Baroque period, in the early 17th century. Schneider (1977) compiled a full index of all known originals and copies (including a considerable number of 19th-century imitations forgeries), for a total of 156 specimens. Many copies of originals were made in the period of national Romanticism (19th century), using a casting method. Schneider was able to distinguish copies from originals due to a slight shrinking due to the casting process. His conclusion was that only slightly less than half of the extant "Holbein" daggers are originals.

The ordnance dagger issued to officers in the Swiss Armed Forces beginning in 1943 was modeled after the historical Swiss dagger. In Nazi Germany, the hilts of some political and military daggers (worn by members of SS, SA, and NSKK formations) were also modeled on the Swiss dagger. In the Swiss army, the dagger was removed from the officers' dress uniform in 1995.

title: Swiss dagger


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Wikipedia:Articles for deletion/NSwiki:Galactic Alliance

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE. Postdlf 02:15, 2 May 2005 (UTC)

NSwiki:Galactic Alliance
Delete fancruft for short-lived roleplaying alliance filled with "n00bs and wankers". Doesn't belong in wikipedia. Anilocra 08:43, 21 Apr 2005 (UTC)
 * Delete non-notable, vanity. --InShaneee 19:02, 21 Apr 2005 (UTC)
 * Delete. Slac speak up!  23:48, 21 Apr 2005 (UTC)
 * Delete. By order of the nations of Klonor and Jimathon. El_C 07:47, 22 Apr 2005 (UTC)
 * Merge into NationStates (the game). This information is useful in that context. - Pioneer-12 14:28, 26 Apr 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


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Wikipedia:How-to/Move to Wikibooks

In early Wikipedia history, a number of How-To's was added to the encyclopedia. Wikibooks is now considered the correct place for these howto's. This is a list of articles that should be considered candidates for moving to Wikibooks.

Articles should be identified with the template Move to Wikibooks.

Candidates

 * None

title: Wikipedia:How-to/Move to Wikibooks


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122 Leadenhall Street

122 Leadenhall Street, which is also known as the Leadenhall Building, is a 225 m skyscraper in central London. It opened in July 2014 and was designed by the Rogers Stirk Harbour + Partners; it is known informally as The Cheesegrater because of its distinctive wedge shape, similar to that of the kitchen utensil of the same name. It is one of numerous tall buildings recently completed or under construction in the City of London financial district, including 20 Fenchurch Street, 22 Bishopsgate and The Scalpel.

The site is adjacent to the Lloyd's Building, also designed by Rogers, which is the current home of the insurance market Lloyd's of London. Until 2007 the Leadenhall site was occupied by a building owned by British Land and designed by Gollins Melvin Ward Partnership, which was constructed in the 1960s. That building was demolished in preparation for redevelopment of the site. By December 2009 the site was cleared but construction had stalled, initially due to the financial crisis. The project was revived in October 2010 and Oxford Properties co-developed the property in partnership with British Land.

Site history
Prior to the site's previous redevelopment in the 1960s, it had been used as the head office of the Peninsular and Oriental Steam Navigation Company (P&O) for over a century. From 1840, P&O had occupied, rent-free, the offices of Willcox & Anderson. However, business east of the Gulf of Suez increased in the late 1840s, so they needed larger offices. In November 1845, the King's Arms inn and hotel at 122 Leadenhall Street was put up for sale. P&O purchased the freehold for £7,250, and then commissioned an architect, Beachcroft, to design a new building. The cost of the new building was estimated at £8,000. In March 1848, P&O moved into the new office.

In 1854, P&O unsuccessfully attempted to purchase the neighbouring building at 121 Leadenhall Street. They eventually took a lease from the charity which held it. They also bought leases of 80 years from St. Thomas's Hospital on the residential properties at Nos. 123, 124 and 125 Leadenhall Street, which were demolished to create a new frontage at No. 122. The new building provided more office space, some of which were for rent, and a spacious new courtyard.

By the mid-1960s P&O needed to redevelop the site to provide increased office space. At the same time, the Commercial Union Assurance Company was planning a redevelopment on an adjacent site on the corner of St Mary Axe. Due to a number of issues affecting both sites, notably poor access to the Commercial Union site and the restricted width of the P&O site, it was not possible to obtain planning consents that would optimise the amount of floor space for both companies. Hence they decided on joint development with the reallocation of site boundaries and the creation of an open concourse area at the junction of Leadenhall Street and St Mary Axe. Both companies would have frontages to the new concourse and would retain site areas equivalent to those enclosed by the original boundaries.

Previous building
When completed in 1969, the building at 122 Leadenhall Street was 54 m tall with 14 storeys above and three storeys underground. It was originally designed as a pair with the Commercial Union headquarters (now called St. Helen's) by the architects Gollins Melvin Ward Partnership. The two buildings have a central compressional concrete core and have suspended floors that hang using the steel 'chords' visible on the exterior of the building, which are hung from power trusses at the top of the building (and in the case of No. 1 Undershaft, a further central power-truss). It is an example of a tension structure. At the time, it was considered one of the most complex glass-fronted buildings in the United Kingdom. The architect acknowledged the influence of Mies van der Rohe.

The building was extensively damaged by an IRA bomb in the early-1990s and subsequently had to be recladded. It was occupied by various tenants until November 2006, including the Italian International Bank and Calyon.

In 2007–08, the building was demolished to make way for a new development designed by Richard Rogers. The demolition was undertaken by specialist engineering contractor, McGee, with Bovis Lend Lease acting as construction manager. The contract value was £16 million. The first phase of the demolition was conventional: after securing the site, the contractors performed a soft strip of the interior and an asbestos survey prior to demolishing the low-level structures up to podium level. After this, the suspended structure of the building required an unconventional demolition approach that successively dismantled each office floor from the lowest upwards. To achieve this, the contractors installed a structural deck that acted both as a work platform for the demolition work and as a safety barrier. This was jacked upwards as each successive office floor was removed. When all the office floors and upper support trusses had been removed, the concrete core was de-stressed and demolished. Concurrently, the 25,000 m3 basement was propped and excavated. The contract took just over two years to complete.

The Leadenhall Building
Designed by Richard Rogers and developed by British Land and Oxford Properties, the new Leadenhall Building is 225 m (737 ft) tall, with 48 floors. With its distinctive wedge-shaped profile it has been nicknamed the Cheesegrater, a name originally given to it by the City of London Corporation's chief planning officer, Peter Rees, who upon seeing a model of the concept "told Richard Rogers I could imagine his wife using it to grate parmesan. [The name] stuck."

The planning application was submitted to the City of London Corporation in February 2004 and was approved in May 2005. In 2006 Scheme Design (RIBA Stage D) started. In a statement made to the London Stock Exchange on 14 August 2008, British Land said it was delaying the project, which was due to start in October 2010. On 22 December 2010, the developer announced the project was moving forward with contracts being signed for the 50/50 joint venture with Oxford Properties.

The new tower features a tapered glass façade on one side which reveals steel bracings, along with a ladder frame to emphasise the vertical appearance of the building. It also appears to anchor the tower to the ground, giving a sense of strength. Unlike other tall buildings, which typically use a concrete core to provide stability, the steel "Megaframe", engineered by Arup, provides stability to the entire structure and is the world's tallest of its kind. The base features a 30m high atrium which is open to the public and extends the adjacent plaza. The flat side of the building is also encased in glass, and houses the mechanical services – in particular the elevator shafts. These have been turned into an architectural feature, similar to the neighbouring Lloyd's building – they deliberately display the elevator machinery, with bright orange counterweights and elevator motors.

This unusual design's main drawback is the building's relatively small floorspace (84,424 m2) for a building of its height. It is hoped that the slanting wedge-shaped design will have less impact on the protected sightline of St Paul's Cathedral when viewed from Fleet Street and the west.

In July 2011, British Land and Oxford Properties announced that Laing O'Rourke was the main contractor for the works of the new Leadenhall Building. Throughout 2011, construction began with the basement floors. By December 2012, the steelwork had progressed up to the fifth mega-level, with topping out expected in February or March. The glass cladding had also begun to rise. In May 2013, the co-developers announced that the building was over 51% pre-let. By June 2013, the steelwork of the building was completely topped out with the glass cladding covering almost half the building.

The construction of the building was the subject of an episode of the Super Skyscrapers documentary series by the American television channel PBS in February 2014.

Tenants
The development has succeeded in attracting tenants, especially in contrast to the nearby part-built Pinnacle and completed Heron Tower. In May 2011, it was announced that the lower 10 floors of the Leadenhall Building have been pre-let to insurance broker Aon, which moved its global headquarters to London from Chicago. Insurance group Amlin has also agreed terms on a 20-year lease of the 19th to 24th floors as well as the top floor, the 45th, from March 2015, for a total of 111,000 sq ft of office space.

title: 122 Leadenhall Street


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Mikhail Lapshin

Mikhail Ivanovich Lapshin (Михаил Иванович Лапшин; 1 September 1934 – 17 June 2006) was a Russian politician who had served as the 4th Head of the Altai Republic in Russia from 2002 to 2006.

Biography
Lapshin was born in Setovka, in what is now Altai Krai. He was an ethnic Russian, but registered as ethnic Altai in the 2002 census when he was Head of the Altai Republic.

He was founder of the Agrarian Party of Russia and served as its leader between 1993 and 2004.

He became Head of the Altai Republic in January 2002. He defeated incumbent Semyon Zubakin in the December 2001 elections with 68% of the vote. In the first round of the elections, Lapshin and Zubakin were in a field of many candidates, and Lapshin received 23% of the vote. Lapshin survived an impeachment attempt in March 2005 by a vote of 22–14 in the state assembly. In December 2005, as his term was expiring, Lapshin was not renominated by President Vladimir Putin for another term, which was necessary for him to continue in office because of changes in the law. He was succeeded on 20 January 2006, by one of his 2001 election opponents, Alexander Berdnikov.

Lapshin died of thrombosis at his home in Dubnevo, in the Stupinsky District of Moscow Oblast, several months after leaving his post as president. He is interred at Troyekurovskoye Cemetery in Moscow.

title: Mikhail Lapshin


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Lats

Lats or LATS may refer to:

 * Lawton Area Transit System
 * Latissimus dorsi muscle
 * Latvian lats, former currency of Latvia
 * Latin American Test Symposium of test and fault tolerance technologists
 * Landfill Allowance Trading Scheme, a UK scheme to reduce biodegradable waste sent to landfill
 * Long Acting Thyroid Stimulants in Graves' disease

title: Lats


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The StarPhoenix

The StarPhoenix is a daily newspaper that serves Saskatoon, Saskatchewan, Canada, and is a part of Postmedia Network. It has been referred to as a "sister newspaper" to the Leader-Post. The StarPhoenix puts out six editions each week and publishes one weekly, Bridges. It is also part of the canada.com web portal.

History
The StarPhoenix was first published as The Saskatoon Phoenix on October 17, 1902 (following a short-lived attempt at a local newspaper, the Saskatoon Sentinel). In 1909, it became a daily paper and, in 1910, was renamed the Saskatoon Capital.

The paper was sold and bought several times between its inception and the 1920s, at one point being owned by W. F. Herman, the future owner and publisher of the Windsor Star.

By 1927, there were two daily papers in Saskatoon: the Saskatoon Daily Star and the Daily Phoenix. In January 1928, both papers were bought by the Sifton family of Winnipeg and amalgamated into the Saskatoon Star-Phoenix. In the early 1980s the spelling of the newspaper name was modified to StarPhoenix. Between the 1928 amalgamation and the launch of the Saskatoon edition of Metro in April 2016, the StarPhoenix was the city's only daily newspaper.

In the early-1990s, the paper was owned by Armadale, but it changed hands in 1995 when it was purchased by Conrad Black, making the paper part of Hollinger International. Days after Black's purchase, dozens of employees were fired from the paper in the name of cost cutting with no regard for longevity of service (decades in some cases), a firm testament to "Black's views on what he calls demanning." The paper was later, in 2000, sold to CanWest Global Communications and became part of its Southam Newspapers division, later called the CanWest News Service; in 2003 ownership was noted as being by Canwest Global, while in 2004 ownership was CanWest MediaWorks. CanWest was acquired by Postmedia News, Inc., which is the current owner of The StarPhoenix.

In 2015, the StarPhoenix press began printing the Regina Leader-Post, in addition to its own print edition, after the Leader-Post's own press was shut down. In 2023, Postmedia announced that the StarPhoenix press would be shut down and the building be put up for sale. Both the StarPhoenix and Leader-Post were to continue publication, but printed at a facility in Estevan. The reporting staff, working from home since March 2020 at the beginning of the COVID-19 pandemic, were to continue doing so on a permanent basis.

Circulation
Like most Canadian daily newspapers, The StarPhoenix has seen a decline in circulation. Circulation in 2003 was 62,915, and 56,419 in 2004. Circulation dropped by 0 percent to 39,008 copies daily from 2009 to 2015.

 * Daily average

title: The StarPhoenix


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Barkston Ash

Barkston Ash is a small village and civil parish close to Selby in North Yorkshire, England. It was formerly known as Barkston, in the West Riding of Yorkshire. In 2011 the parish had a population of 370.

History
The village dates back to at least 1090, when it was spelled Barcestone. It was part of the Selby District from 1974 until 2023, the village previously gave its name to the former wapentake of Barkston Ash. The Ash part of the name comes from a large ash tree said to be at the approximate centre of the ancient county of Yorkshire, where meetings for the wapentake would be held.

What is now the A162 London Road was a turnpike constructed in 1769: the Main Street and the major part of the village goes East from the junction with this.

On 14 October 1976 the parish was renamed from "Barkston" to "Barkston Ash".

Barkston Ash was also the name of the local parliamentary constituency of Barkston Ash until 1983, when its boundaries were redrawn to divide the area into Elmet and Selby.

Features
The village contains a small Church of England church, Holy Trinity originally a chapel of ease constructed in 1880, but given its current name and status in 1974. There are two pubs, the Ash Tree (on the site of a former coaching inn) and the Boot and Shoe, a village hall and a primary school (dating from 1856). There were formerly two shops and a post office on Main Street, now private residences.

There are three 17th to 19th century stone Grade II listed building houses near the junction of Main Street and Church Street: Laurel Farm, Barkston House, and Turpin Hall Farm.

title: Barkston Ash


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Baselard

The baselard, Schwiizerdolch in Swiss-German (also basilard, baslard, in Middle French also badelare, bazelaire and variants, Latinized baselardus, basolardus etc., in Middle High German beseler, baseler, basler, pasler; baslermesser) is a historical type of dagger or short sword of the Late Middle Ages.

Etymology
In modern use by antiquarians, the term baselard is mostly reserved for a type of 14th-century dagger with an I-shaped handle which evolved out of the 13th-century knightly dagger. Contemporary usage was less specific, and the term in Middle French and Middle English could probably be applied to a wider class of large dagger. The term (in many spelling variants) first appears in the first half of the 14th century. There is evidence that the term baselard is in origin a Middle French or Medieval Latin corruption of the German basler [messer] "Basel knife".

Both the term baselard and the large dagger with H-shaped hilt or "baselard proper" appear by the mid 14th century. Several 14th-century attestations from France gloss the term as coutel "knife".

Historical uses
Depictions of mid-14th-century examples are preserved as part of tomb effigies (figuring as part of the full military dress of the deceased knight). By the mid-14th century, the baselard is a popular sidearm carried by the more violence-prone section of civilian society, and it retains an association with hooliganism. One early attestation of the German form pasler (1341) is from a court document of Nuremberg recording a case against a man who had injured a woman by striking her on the head with this weapon. Several German law codes of the 14th to 15th centuries outlaw the carrying of a basler inside a city. By the late 14th century, it became fashionable in much of Western Europe, including France, Italy, Germany and England. Sloane MS 2593 (c. 1400) records a song satirizing the use of oversized baselard knives as fashion accessories. Piers Plowman also associates the weapon with vain gaudiness: in this case, two priests, "Sir John and Sir Geoffrey", are reported to have been sporting "a girdle of silver, a baselard or a ballok knyf with buttons overgilt."

Wat Tyler was slain with a baselard by the mayor of London, William Walworth, in 1381, and the original weapon was "still preserved with peculiar veneration by the Company of Fishmongers" in the 19th century.

In the Old Swiss Confederacy, the term basler seems to have referred to the 14th- to 15th-century weapons with the characteristic crescent-shaped pommel and crossguard, which occurred with widely variant blade length, and which by the early 16th century had split into the two discrete classes of the short Swiss dagger (Schweizerdolch) and the long Swiss degen (Schweizerdegen), indicating a semantic split between the formerly synonymous terms Dolch and Degen. The baselard proper falls out of use by the early 16th century.

The term baselard and its variations persist for some time, but lose their connection with a specific type of knife. French baudelaire could now refer to a curved, single-edged hewing knife. Basilarda is the name of a sword in Orlando Furioso.

Also in English, the term could now refer to a Turkish weapon like the yatağan.

A very late occurrence of the term is found in 1602, in the context of a duel fought in Scotland, in Canonbie. The document recording the agreement on the weapons used in the duel mentions "two baslaerd swords with blades a yard and half quarter long".

After this, use of the term is restricted to antiquarian contexts.

title: Baselard


text:
Semyon Zubakin

Semyon Ivanovich Zubakin (Семён Иванович Зубакин; born 4 May 1952) is a Russian politician who was the 3rd Head of the Altai Republic in Russia from January 1998 to January 2002 serving one four-year term. In his unsuccessful reelection attempt in 2001, there were many candidates challenging him, and Zubakin received 15% of the vote in the first round, one of the worst showings for an incumbent candidate in world history, though he did take second place and proceeded to a runoff. He was defeated in a landslide by his opponent, Mikhail Lapshin and received only 23% of the vote.

title: Semyon Zubakin


text: Talk:Mad Gasser

title: Talk:Mad Gasser


text:
José Canalejas y Méndez

José Canalejas y Méndez (31 July 1854 – 12 November 1912) was a Spanish politician, born in Ferrol, who served as Prime Minister of Spain from 1910 until his assassination in 1912.

Early life
Son of a railway engineer, politician and editor of the newspaper  El Eco Ferrolano  José Canalejas y Casas and of María del Amparo Méndez Romero. He moved with his family to Madrid, and in October 1867 he enrolled in the Instituto San Isidro, "because at that time the incorporated schools could not teach the last two years of the six which made up the baccalaureate ». Already at the Central University of Madrid, he obtained the degrees of Law in 1871 and Philosophy in 1872, and the degree of doctor in both faculties. In 1873 he was assistant professor, but failed in two chair examinations, so he left teaching. He joined the company of the Railways of Madrid to Ciudad Real and Badajoz, where he became secretary general and He defended the company as a lawyer in lawsuits with other Spanish railway companies.

Political career
In 1881, Canalejas was elected deputy for Soria. Two years later, he was appointed under-secretary for the Prime Minister's department under Posada Herrera; he became minister of justice in 1888 and finance from 1894 to 1895. A brief spell as Minister of Agriculture, Industry and Commerce from March to May 1902 ended after only two months, when he resigned as he regarded the Sagasta Ministry weak and "incapable of safeguarding the Sovereignty of the State in view of the encroachments of the Vatican".

He served as President of the Congress of Deputies (the equivalent to the Anglo-Saxon office of parliamentary Speaker) from 1906 to 1907.

Canalejas Ministry
In 1909, after the bloody confrontations of the "Tragic Week" in Barcelona, Antonio Maura resigned and Segismundo Moret was again appointed prime minister. Moret was forced to resign in February 1910 when he was replaced by Canalejas who became Prime Minister and chief of the Liberal party. Moret denounced the Canalejas Ministry as "a democratic flag being used to cover reactionary merchandise".

While in office, Canalejas (with the support of his sovereign, Alfonso XIII) introduced several electoral reforms that aimed to win working-class support for moderately conservative policies; to curb the power of independent political bosses, quite common at the time, especially in rural areas; to weaken excesses of Catholic educational clericalism without threatening the Catholic Church as such; and to turn Spain into a true democracy. These policies successfully faced the social turmoil that radicals had been creating within Spain (and which had led, in 1909, to a brief but bloody unrest in Barcelona).

Death
On 12 November 1912, while Canalejas was window-shopping the literary novelties of the day from a bookstore in central Madrid, he was fatally shot by anarchist Manuel Pardiñas.

Legacy
Canalejas believed in the possibility of a monarchy open to a thoroughgoing democratic policy both in economic and in civil and political matters. Salvador de Madariaga, the liberal historian, argued that the disasters Spain experienced during the 1930s could be traced to Canalejas' murder, given that this murder deprived King Alfonso of one of his few genuine statesmen.

title: José Canalejas y Méndez


text:
Keller Williams

Keller Williams is an American singer, songwriter and musician who combines elements of bluegrass, folk, alternative rock, reggae, electronica/dance, jazz, funk, along with other assorted genres. He is often described as a 'one-man jam-band' due to his frequent use of live phrase looping with multiple instruments. Keller Williams was born in Fredericksburg, Virginia on February 4, 1970, and began playing the guitar in his early teens. He later matriculated at Virginia Wesleyan College in Virginia Beach where he received his degree in theater. After college, he moved to Colorado to advance his music career and expand his repertoire.

Touring
Though primarily a solo artist, Williams has toured with Yonder Mountain String Band, The String Cheese Incident, Umphrey's McGee and Ratdog, and has frequently performed at The Bonnaroo Music and Arts Festival, the AllGood Music Festival, Summer Camp Music Festival, The Rothbury Festival, the Elysian Fields Music Festival, and Jam Cruise.

Williams has an audio taping policy of his performances, and for non-commercial trading of the recordings, but use of video or flash photography, or any recordings for profit are prohibited.

Keller Williams Incident
Keller Williams Incident is a collaborative performance between Williams and The String Cheese Incident. They have performed together, and Williams' 1999 album Breathe was released collaboratively under the name Keller Williams Incident. Williams and SCI began collaborating after Williams saw the band perform in Colorado, offering to play with them in exchange for free ski passes.

Keller Williams with Moseley, Droll and Sipe
Williams also frequently performs with a backing band as "Keller Williams with Moseley Droll and Sipe". Formed in 2007 as the WMDs, they first played at the Bonnaroo music festival. The group consists of Williams on rhythm guitar, Jeff Sipe on drums, Keith Moseley on bass, and Gibb Droll on lead guitar. They changed their name to the WMDs in 2008.

Keller and The Keels
"Keller & The Keels" is a bluegrass project consisting of Williams and the husband and wife combo of Larry Keel and Jenny Keel. The trio released Grass in 2006, a collection of both original and cover songs. They released Thief, an album of cover songs, in May 2010. A new album, "Pick", with The Travelin McCoury's, was released in July 2012.The most recent Keller and The Keels album is Speed, which was released in 2019. It features a Larry Keel song, a Keller song, and several covers.

Instruments
A self-taught musician, Williams usually performs with a variety of instruments connected to a Boss Loop Station RC-300 phrase looper pedal, which allow him to play a riff once on an instrument, record, and repeat it. He also uses a Gibson Echoplex Digital Pro looping unit for that effect. He often then records and loops an accompanying instrument. This allows him to play unaccompanied on stage, helping him to recreate the sound of a full band. He also uses a wide variety of effects, including an envelope filter expression pedal, wah pedal, a Line 6 tap delay, a Roland GR-55 guitar synth, a Line 6 M13 Stompbox Modeler Guitar Multi Effects Pedal, and a Talk Box.

His main guitars used are a Martin HD-28 and D-35, an Alvarez/Joe Veillette MTB baritone, a Gibson Chet Atkins SST Acoustic Electric Guitar with synth pickup routed to a Roland synth processor, a Fender Precision bass, a Becker Acoustic Retro, an Avante baritone acoustic guitar, a Rick Turner baritone 12-string, a Tacoma Thunderhawk, an early 1950s tempo and a Gordon Anderson custom 8-string.

In addition, Williams incorporates a variety of acoustic and electric percussion instruments into his live sets, most notably a Roland Handsonic HDP-15 drum machine and a Korg Wavedrum. He also frequently performs on piano, a theremin, a Korg Kaossilator, a Macbook, and a set of Boomwhackers percussion tubes.

Other projects
Williams is the host of the radio show Keller's Cellar.

In 2009, Williams started the "Once a Week Freek" on his website, where every week he released a new song from his album "Odd". Upon release of every song on the album, he released the entire album in one download. Due to the success of this idea, Williams chose to keep the "Once a Week Freek" project going and released a new song/video or two each week. These tracks consisted of live performances of previously recorded songs, unreleased covers of other bands' songs, or just different renditions of his own recorded music.

Williams played as a member of the Rhythm Devils with Grateful Dead drummers Bill Kreutzmann and Mickey Hart at the Gathering of the Vibes festival in 2010. Williams then appeared with the Rhythm Devils in nine July shows on their summer tour.

Kdubalicious is a project involving Keller Williams on bass/guitar, Jay Starling on dobro/keyboards, and Mark D on drums. Kdubalicious is Reggae/ Dub/ Funk. Keller's project Kdubalicious formed in late 2010, and the group continues to play occasional shows. There was a unique winter concert held on a turf field in Fredericksburg, VA featuring Kdubalicous with Larry Keel, Jenny Keel, and John Starling in December 2010.

Albums

 * Freek (1994)
 * Buzz (1995)
 * Spun (1999)
 * Breathe (1999) – (with The String Cheese Incident as Keller Williams Incident)
 * Loop (live) (2001)
 * Laugh (2002)
 * Dance (2003)
 * Home (2003)
 * Stage (double live) (2004)
 * Grass (2006) – (with Larry and Jenny Keel as Keller & The Keels)
 * Dream (2007)
 * 12 (2007)
 * Rex (digital download) (2008) – (with Jeff Austin and Keith Moseley as Grateful Grass)
 * Odd (2009)
 * Thief (2010) – (with The Keels as Keller & The Keels)
 * Kids (2010) (Children's Album)
 * Bass (2011)
 * Pick (2012), with The Travelin' McCourys
 * Keys (2013), (Album of Grateful Dead covers played on Piano)
 * Funk (2013), with More Than a Little
 * Dos (2014) – (with Jeff Austin and Keith Moseley as Grateful Grass)
 * Vape (2015)
 * Raw (2017)
 * Sans (2018)
 * Add (2019)
 * Speed (2019) (with Larry and Jenny Keel as Keller & the Keels)
 * Cell (2020), (with Erothyme)
 * Grit (2022)

Compilations

 * High Times Presents Rip This Joint – Various Artists (2001)

Guest appearances

 * Hellhound Blues - Pretty Gritty (2012)
 * The J. Case Show – Julian Casellas (2010)
 * Seeds – Martin Sexton (2007)
 * Chateau Benares – Sanjay Mishra (2006)
 * Collision – DJ Harry (2004)
 * On The Road: 04-14-02 Ann Arbor, MI – The String Cheese Incident (2002)
 * On The Road: 04-13-02 Chicago, IL – The String Cheese Incident (2002)
 * Solar Igniter – Modereko (2001)

Videos

 * Sight (2005, DVD)

title: Keller Williams


text:
User:Jiu~enwiki

Hi, I'm Jiu.

title: User:Jiu~enwiki


text:
Indigenous music

Indigenous music is a term for the traditional music of the indigenous peoples of the world, that is, the music of an "original" ethnic group that inhabits any geographic region alongside more recent immigrants who may be greater in number. The term therefore depends upon the political role an ethnic group plays rather than upon its strictly musical characteristics, for all further criteria (territory, race, history, subsistence lifestyle, etc.) defining indigenous peoples can also be applied to majority cultures.

Societies defined as, or defining themselves as, "indigenous" are found in every inhabited climate zone and continent of the world. Some important articles are:

 * Music of Africa, especially the non-European, Asian or Arab-derived traditions
 * Māori music of New Zealand
 * Music of the Aborigines and Torres Strait Islanders of Australia
 * Music of the indigenous peoples of Latin America and the Caribbean
 * Native American music of the United States and Inuit, Métis and First Nation music of Canada
 * Sámi music of Norway, Sweden, Finland, and Russia
 * Music of South India
 * Music of the republics of Russia

title: Indigenous music


text: User talk:67.183.138.71

title: User talk:67.183.138.71


text:
Template talk:History of Australia

Template is too long
This template takes up too much right aligned space- I think it should be reduced to the main articles, and a second template used for federation, states and territories, and then a state specific template if anyone wants one.--nixie 05:15, 7 November 2005 (UTC)
 * Unless someone else does it before then, I'll fiddle with it when I finish my WikiBreak. There are ways I can see to keep what's there but make the box smaller. Alternatively, we could chop states and cities from the template or something. --Cyberjunkie | Talk 13:30, 7 November 2005 (UTC)
 * I think getting rid of states and capitals is the best way to go, that way the states can have their own history template. Also the division of the general history stuff into more refined categories might get underway soon- so those will need to be added to the history of Australia template.--nixie 04:07, 9 November 2005 (UTC)

I think the state/city links should stay. Perhaps something like this - it would make the box a tiny bit wider but a lot shorter. -- Chuq 04:36, 9 November 2005 (UTC)

Suggestion
The template is more than a screen long as is, which I think is far too long. I think that this is a better, more customised option. I think it is a good idea to have sates and territories separate from cities, since other large cities may eventually get their own pages, History of Newcastle, History of Mount Isa and so on which wouldn't fit easily into the states template.--nixie 02:49, 18 November 2005 (UTC)

 * The new ones look sensational to me. Ambi 03:07, 18 November 2005 (UTC)

 * I do like the smaller templates. Though I would like to see some way of navigating from a history article in one section to an article in another section. Otherwise we have effectively broken the series up into non-interconnected smaller serieses. Whether this could be doen using categories or a master template on History of Australia I am not sure. --Martyman- (talk) 03:13, 18 November 2005 (UTC)
 * Each one links back to History of Australia- which would have the chronological/topical template. I think categories would be another good way to navigate between articles- but I'm not sure about the state of the Australian history categories.--nixie 03:24, 18 November 2005 (UTC)
 * Do you mean History of Australia will have the chronological/topical template or that it will have a combination of all three? Because if it only has the chronological/topical one then there is still no way to navigate from a city to a state through the template. --Martyman- (talk) 06:29, 18 November 2005 (UTC)
 * The template on the general history summary page should just be the one that is currently the template.--nixie 06:40, 18 November 2005 (UTC)
 * Cool. Well, that makes sense. I wholeheartedly support this being implemented. --Martyman- (talk) 06:46, 18 November 2005 (UTC)

Nixie,

The new template looks good to me. Capitalistroadster 04:55, 18 November 2005 (UTC)

 * I think they're okay as well. I think this template should be retained for History of Australia, and the others created at etc.--cj | talk 05:08, 18 November 2005 (UTC)
 * There doesn't appear to be any objections to this change yet, so I am going to go ahead and copy these templates to History of Australia/Cities, History of Australia/States and History of Australia/Chronological. --Martyman- (talk) 08:21, 18 November 2005 (UTC)

I have rolled these smaller templates out across the existing articles. Do people think that we should add other Australian cities to the templates as articles are written. Currently we have a History of Geelong article that could be added. --Martyman- (talk) 09:37, 18 November 2005 (UTC)
 * It mightn't be a bad idea in the case of Geelong (perhaps put a dividing line in to seperate it from the capital cities), but I suspect that this isn't going to scale well (how long before we have history of Brunswick, Victoria?). Ambi 13:57, 18 November 2005 (UTC)

title: Template talk:History of Australia


text:
Leonid Potapov

Leonid Vasilyevich Potapov (Леони́д Васи́льевич Пота́пов; 4 July 1935 – 12 November 2020) was the President of the Buryat Republic in Russia from August 1991 to July 2007. He was reelected three times (in 1994, 1998 and 2002); in 2002 he received 68% of the vote.

Biography
Potapov was born in Uakit, Buryatia. In 1959 he graduated as an Engineer from Khabarovsk Institute of Railway Transport. From January to April 1990 he was nominal Vice President (Vice Chairman of Supreme Council) of Turkmen SSR. In April 1990 he returned to Buryatia and was nominated as a local communist party chief (1st secretary of CPSU Buryatian branch). In October 1991 he became Chairman of the Supreme Council.

He died from COVID-19 on 12 November 2020, aged 85.

Honours and awards

 * Order "For Merit to the Fatherland";
 * 3rd class (7 August 2007) - for outstanding contribution to strengthening Russian statehood and many years of diligent work
 * 4th class (11 May 1998) - for outstanding contribution to the socio-economic development of the republic, strengthening friendship and cooperation between nations
 * Order of Friendship (26 June 1995) - for services to the state, achievements in work and significant contribution in strengthening friendship and cooperation among peoples and selfless actions in rescuing the dying
 * Order of the October Revolution
 * Order of the Red Banner of Labour
 * Order of the Badge of Honour
 * Distinguished Engineer of the Buryat ASSR
 * Honorary citizen of the city of Ulan-Ude
 * Honorary Professor of the Buryat State University, Modern University for the Humanities, Irkutsk State University, Irkutsk State Technical University and the Plekhanov Russian University of Economics

title: Leonid Potapov


text:
Driver wrapper

A driver wrapper is a subroutine in a software library that functions as an adapter between an operating system and a driver, such as a device driver, that was not designed for that operating system. It can enable the use of devices for which no drivers for the particular operating system are available. In particular, Microsoft Windows is the dominant family of operating systems for IBM PC compatible computers, and many devices are supplied with drivers for Windows but not other operating systems.

Windows driver wrappers for Linux
Several open-source software projects allow using Microsoft Windows drivers under another operating system, such as Linux.

Examples include network drivers for wireless cards (such as NDISwrapper for Linux or Project Evil for FreeBSD) and the NTFS file system (see Captive NTFS).

The common thread among these examples is the use of wrapper technology, which allows execution of the drivers in a foreign environment. Limitations for driver wrappers include inability to function at real time. An example of this limitation includes latency problems as those associated with attempts to make compatible with Linux the ZoomR16 audio DAW sound recorder and control surface.

title: Driver wrapper


text:
User:Geocachernemesis~enwiki

I'm a New Zealander. I've contributed significantly to Wikipedia, Wikimedia Commons, and Wikibooks' Cookbook. For Wikipedia, I've made a concerted effort to contribute to Wiki Syntax Project, Spelling errors, Stub Cleanup Project, and less so to Untagged Images. I've added 76 of my own images to the Commons, 42 of those were linked to the Cookbook, 25 were panoramas and mostly linked to Wikipedia articles, one other was copied from Wikipedia to the Commons for use in the Cookbook, and another was uploaded to the Commons from a public domain source (see my gallery for all of my images). While adding image to articles in the Cookbook, I revised their content where it existed, otherwise I created new articles (which was most of the time). I fixed a heap of vandalism when I was an administrator there. Cheers, Donovan.

Barnstar
The Photographer's Barnstar from Jon Harald Søby for über-excellent panorama photos!

title: User:Geocachernemesis~enwiki


text:
Communist Refoundation

Communist Refoundation may refer to:

 * Communist Refoundation Party, a political party in Italy
 * Sammarinese Communist Refoundation, a former political party in San Marino
 * Communist Party of Puerto Rico, formerly named Communist Refoundation

title: Communist Refoundation