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Sadya

Sadya (സദ്യ) is a meal of Kerala origin and of importance to all Malayalis, consisting of a variety of traditional vegetarian dishes usually served on a banana leaf as lunch. Sadya is typically served as a traditional feast for Onam and Vishu, along with other special occasions such as birthdays and temple festivals.

Overview
A typical sadya can have about 24–28 dishes served as a single course. In cases where it is much larger, it can have over 64 or more items, such as the sadya for Aranmula Vallamkali (Valla-sadya). During a traditional sadya meal, people are seated cross-legged on mats. Food is eaten with the right hand, without cutlery. The fingers are cupped to form a ladle.

The main dish is plain boiled rice, served along with other curries/koottaan (കൂട്ടാന്) which include parippu, sambar, rasam, and others like, , , , , , , , mango pickle, injipuli, mezhukkupuratti, , as well as papadam, plantain chips, , banana, plain curd and buttermilk. The buttermilk is typically served near the end of the meal. The traditional dessert called payasam served at the end of the meal is of many kinds and usually three or more are served. Some of the varieties are Paalada pradhaman, Ada pradhaman, Parippu pradhaman, Chakka pradhaman, Gothampu payasam, Paal payasam, etc. The multiple curries are all made with different vegetables and have their own flavor. The variety of curries is to symbolize prosperity and well-being.

The dishes are served in different spots on the banana leaf. For example, the pickles are served on the top left corner and the banana in the bottom left corner, which helps the waiters to easily identify and decide on offering additional servings. The most common ingredients in all the dishes are coconut as it is abundant in Kerala. Coconut milk is used in some dishes, and coconut oil is used for frying.

There are variations in the menu depending on the place. Although the custom is to use traditional and seasonal vegetables indigenous to Kerala or the Southwest Coast of India, it has become common practice to include vegetables such as carrots, pineapples, and beans in the dishes. Traditionally, onion and garlic are not typically used in the sadya. The meal may be followed by chewing of vettila murukkaan, betel leaf with lime and arecanut. This helps digestion of the meal and also cleanses the palate.

Preparations
The sadya is usually served for lunch, although a lighter version is served for dinner as well. Preparations begin the night before, and the dishes are prepared before ten o'clock in the morning on the day of the celebration. Nowadays, sadya is often served on tables, as people no longer find it convenient to sit on the floor. Sourcing of items/ingredients for a sadya is an elaborate and careful process to ensure quality. The lighting of the fire to prepare the sadya is done after a prayer to Agni, and the first serving is offered on a banana leaf in front of a lighted nilavilakku as an offering to Ganapati.

In a sadya, the meals are served on a banana leaf. The leaf is folded and closed once the meal is finished. In some instances, closing the leaf toward you communicates satisfaction with the meal, while folding it away from oneself signifies that the meal can be improved. However, the direction the leaf is folded in can have different meanings in various parts of Kerala.

The Central Travancore-style sadya is known to be the most disciplined and tradition-bound. There is usually an order followed in serving the dishes, starting from the chips and pickles first. However, different styles and approaches to making and serving the dishes are adopted in various parts of Kerala depending on local preferences. Aranmula Valla-sadya is the most celebrated sadya with over 64 items served traditionally.

Typical ingredients
The items include:

 * Rice: It is the main item in a sadya. It is always the Kerala red rice (semi-polished parboiled brown ) which is used for the sadya. Kerala matta rice is sometimes used.
 * Parippu: A thick curry lentil dish.
 * Sambar: A thick gravy made of lentils, tamarind, vegetables like drumsticks, tomato, yam etc., and flavored with asafoetida.
 * Rasam: A watery dish made of tamarind, tomatoes, and spices like black pepper, asafoetida, coriander, chili pepper, etc. It is very spicy in taste and aids in digestion. However, in some regions Rasam is not counted as part of a sadya.
 * Avial: A dense mixture of various vegetables and coconut, it is seasoned with curry leaves and coconut oil.
 * Kaalan: Made of curd, coconut, and any one vegetable like "nendran" plantain or a tuber-like yam. It is very thick and more sour, and typically can last for a longer period owing to the lower water content.
 * Olan: A light dish, prepared of white gourd or black peas, coconut milk, and ginger seasoned with coconut oil.
 * Koottukari: Vegetables like banana or yam cooked with chickpeas, coconut and black pepper.
 * Erissery: A thick curry made from pumpkin, black-eyed peas and coconut.
 * Pachadi: Sour curry made of curd and usually cucumber or sliced ash gourd cooked in coconut ground with mustard seeds and seasoned with sautéed mustard seeds and curry leaves.
 * Sweet Pachadi: A sweet form of Pachadi, made with pineapple, pumpkin or grapes in curd. The gravy masala comprises coconut ground with cumin seeds and green chillies.
 * Pulisseri: A sour, yellow-coloured thin curry made with slightly soured yoghurt and cucumber. A sweet variant called Mampazha-pulissheri replaces cucumber with a combination of ripe mangoes and jaggery.
 * Injipuli: A sweet pickle made of ginger, tamarind, green chilies, and jaggery, also called Puli-inji.
 * Thoran: A dish of sautéed vegetables such as peas, green beans, raw jackfruit, carrots, or cabbage (usually) with grated coconut.
 * Mezhukkupuratti: A style of preparation for a vegetarian dish where the vegetable is stir-fried with spices. Chopped onions or shallots may also be used.
 * Achaar: Spicy pickles of raw mango (Mango pickle), lemon, lime, (Narangakari) etc.
 * Pappadam: Made with lentil flour, it is paired with rice and can be eaten as an appetizer.
 * Sharkara upperi: Banana chips with jaggery.
 * Kaaya Varuthathu: Banana chips.
 * Banana: A ripe banana is often served with the sadya to be eaten with the dessert, Payasam.
 * Chammanthi podi: coconut powder served as a dry condiment or chutney.
 * Sambharam, also referred to as moru: A drink made from salted buttermilk with green chili, ginger, and curry leaves, it is drank to improve digestion and is typically served near the end of the meal.
 * Kadumanga: Sliced mango pickle. Usually served as the third condiment of the sadya.

These side dishes are followed by desserts like Pradhaman and Payasams.

Pradhaman
Pradhaman is a sweet dish in the form of a thick liquid; similar to payasam, but with more variety in terms of ingredients and more elaborately made. It is made with white sugar or jaggery to which coconut milk is added. The main difference between a pradhaman and a payasam is that the former uses coconut milk, while the liquid versions of payasam use cow's milk.
 * Palada pradhaman is made of flakes of cooked rice, milk, and sugar.
 * Pazha pradhaman is made of cooked "nendra" plantain or banana in jaggery and coconut milk.
 * Gothambu pradhaman is made of broken wheat.
 * Parippu pradhaman is made of green gram.
 * Chakka prathaman is made of jackfruit.
 * Ada pradhaman is made of rice-ada (Rice flakes).
 * Kadala pradhaman is made from black gram.

title: Sadya


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User talk:Didre

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! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome!
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * If you're ready for the complete list of Wikipedia documentation, there's also Topical index.

A good resource for mathematicians is also WikiProject Mathematics and its talk page. Enjoy! Oleg Alexandrov 00:20, 22 Apr 2005 (UTC)

Jiuzhang suanshu
Hello, and welcome to Wikipedia! We welcome and appreciate your contributions, such as Jiuzhang suanshu, but we cannot accept copyrighted text or images borrowed from either web sites or printed material. Perhaps you would like to rewrite the article in your own words. For more information about Wikipedia's policies and guidelines, take a look at our Five Pillars. Happy editing! DopefishJustin (・∀・) 21:12, May 24, 2005 (UTC)

Semi-automated template substitution

 * This page was modified to semi-automatically substitute templates using Pathoschild's template list. // Rory 0 96 02:33, 14 February 2006 (UTC)

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

title: User talk:Didre


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Rick Ferraro

Enrico Eugenio "Rick" Ferraro (born January 7, 1950) is a former politician in Ontario, Canada. He was a Liberal member of the Legislative Assembly of Ontario from 1985 to 1990.

Background
Ferraro was educated at the University of Guelph, and was a founder of Kids Can Play - Guelph. Ferraro is an active member of the Guelph community. He is a partner in Steele Ferraro Insurance Brokerage, he also owns the Grange and Victoria Plaza.

Politics
He was elected to the Ontario legislature in the 1985 provincial election, defeating Progressive Conservative Marilyn Robinson by 5,006 votes in the constituency of Wellington South. He was re-elected by more than 9,000 votes over NDP candidate Derek Fletcher in the 1987 election, in the redistributed riding of Guelph.

Ferraro was a backbench supporter of David Peterson's government, and held several parliamentary assistant positions. In 1986, he was appointed as Ontario's first Small Business Advocate.

The Liberals were defeated by the NDP in the 1990 provincial election, and Ferraro lost his seat to Fletcher by 3,097 votes. He attempted a comeback in the 1995 election, but lost to Brenda Elliott of the Progressive Conservatives by just over 5,700 votes.

title: Rick Ferraro


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Arithmetica

Arithmetica (Ἀριθμητικά) is an Ancient Greek text on mathematics written by the mathematician Diophantus (c. 200/214 AD) in the 3rd century AD. It is a collection of 130 algebraic problems giving numerical solutions of determinate equations (those with a unique solution) and indeterminate equations.

Summary
Equations in the book are presently called Diophantine equations. The method for solving these equations is known as Diophantine analysis. Most of the Arithmetica problems lead to quadratic equations.

In Book 3, Diophantus solves problems of finding values which make two linear expressions simultaneously into squares or cubes. In book 4, he finds rational powers between given numbers. He also noticed that numbers of the form $$4n + 3$$ cannot be the sum of two squares. Diophantus also appears to know that every number can be written as the sum of four squares. If he did know this result (in the sense of having proved it as opposed to merely conjectured it), his doing so would be truly remarkable: even Fermat, who stated the result, failed to provide a proof of it and it was not settled until Joseph Louis Lagrange proved it using results due to Leonhard Euler.

Arithmetica was originally written in thirteen books, but the Greek manuscripts that survived to the present contain no more than six books. In 1968, Fuat Sezgin found four previously unknown books of Arithmetica at the shrine of Imam Rezā in the holy Islamic city of Mashhad in northeastern Iran. The four books are thought to have been translated from Greek to Arabic by Qusta ibn Luqa (820–912). Norbert Schappacher has written: [The four missing books] resurfaced around 1971 in the Astan Quds Library in Meshed (Iran) in a copy from 1198 AD. It was not catalogued under the name of Diophantus (but under that of Qusta ibn Luqa) because the librarian was apparently not able to read the main line of the cover page where Diophantus’s name appears in geometric Kufi calligraphy.

Arithmetica became known to mathematicians in the Islamic world in the tenth century when Abu'l-Wefa translated it into Arabic.

Syncopated algebra
Diophantus was a Hellenistic mathematician who lived circa 250 AD, but the uncertainty of this date is so great that it may be off by more than a century. He is known for having written Arithmetica, a treatise that was originally thirteen books but of which only the first six have survived.

Arithmetica is the earliest extant work present that solve arithmetic problems by algebra. Diophantus however did not invent the method of algebra, which existed before him. Algebra was practiced and diffused orally by practitioners, with Diophantus picking up technique to solve problems in arithmetic.

In modern algebra a Laurent polynomial is linear combination of some variables, raised to integer powers, which behaves under multiplication, addition, and subtraction. Algebra of Diophantus, similar to medieval arabic algebra is aggregation of objects of different types with no operations present

For example, the Laurent polynomial written as $$6\tfrac14x^{-1} +25x^2 - 9$$ in modern notation is written by Diophantus as "6 4 inverse Powers, 25 Powers lacking 9 units", or "a collection of $$6\tfrac14$$ object of one kind with 25 object of second kind which lack 9 objects of third kind with no operation present".

Similar to medieval Arabic algebra Diophantus uses three stages to solution of a problem by Algebra:

1) An unknown is named and an equation is set up

2) An equation is simplified to a standard form( al-jabr and al-muqābala in arabic)

3) Simplified equation is solved

Diophantus does not give classification of equations in six types like Al-Khwarizmi in extant parts of Arithmetica. He does says that he would give solution to three terms equations later, so this part of work is possibly just lost

In Arithmetica, Diophantus is the first to use symbols for unknown numbers as well as abbreviations for powers of numbers, relationships, and operations; thus he used what is now known as. The main difference between Diophantine syncopated algebra and modern algebraic notation is that the former lacked special symbols for operations, relations, and exponentials. So for example, what would be written in modern notation as $$x^3 - 2x^2 + 10x -1 = 5,$$ which can be rewritten as $$\left({x^3}1 + {x}10\right) - \left({x^2}2 + {x^0}1\right) = {x^0}5,$$ would be written in Diophantus's syncopated notation as

 * $$\Kappa^{\upsilon} \overline{\alpha} \; \zeta \overline{\iota} \;\, \pitchfork \;\, \Delta^{\upsilon} \overline{\beta} \; \Mu \overline{\alpha} \,\;$$ἴ$$\sigma\;\, \Mu \overline{\varepsilon}$$

where the symbols represent the following:

Unlike in modern notation, the coefficients come after the variables and addition is represented by the juxtaposition of terms. A literal symbol-for-symbol translation of Diophantus's syncopated equation into a modern symbolic equation would be the following: $${x^3}1 {x}10 - {x^2}2 {x^0}1 = {x^0}5$$ where to clarify, if the modern parentheses and plus are used then the above equation can be rewritten as: $$\left({x^3}1 + {x}10\right) - \left({x^2}2 + {x^0}1\right) = {x^0}5$$However the distinction between "rhetorical algebra", "syncopated algebra" and "symbolic algebra" is considered outdated by Jeffrey Oaks and Jean Christianidis. The problems were solved on dust-board using some notation, while in books solution were written in "rhetorical style".

Arithmetica also makes use of the identities: $$\begin{alignat}{4} \left(a^2 + b^2\right) \left(c^2 + d^2\right) &= (ac + db)^2 + (bc - ad)^2 \\ &= (ad + bc)^2 + (ac - bd)^2 \\ \end{alignat}$$

title: Arithmetica


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Wikipedia:Articles for deletion/Windkin

 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 and redirect. — Xezbeth 19:55, May 7, 2005 (UTC)

Windkin
The entry just arouses nonnotability. Lotsofissues 00:20, 22 Apr 2005 (UTC)
 * Delete and send to the Home for Retired Necromancers. Yeesh. FreplySpang (talk) 00:37, 22 Apr 2005 (UTC)
 * Delete, doesn't establish notability. As a side note, List of characters in Elfquest links to the page, but it appears to be talking about an elf, not a gnome. LtNOWIS 01:31, 22 Apr 2005 (UTC)
 * Delete all player characters from MMORPGs and pen-and-paper RPG campaigns. android↔talk 01:55, Apr 22, 2005 (UTC)
 * Merge and redirect to Sullon zek, he is mentioned there (although that article needs formatting and expansion). Megan1967 03:31, 22 Apr 2005 (UTC merged into Everquest. android↔talk 03:33, Apr 22, 2005 (UTC)
 * Yes, you are probably correct. Megan1967 06:52, 22 Apr 2005 (UTC)
 * Delete. Barring that, we could merge this into Things that encourage VfD voters to coin new words ending in "-cruft".   [  +t,  +c  ] 05:39, Apr 22, 2005 (UTC)
 * Windkin is an important character from ElfQuest. Since his presence on EverQuest is merely that of a player character (arguably an ElfQuest fan), delete and redirect to List of characters in Elfquest. Radiant_* 10:14, Apr 22, 2005 (UTC)
 * What the?!?!?! NO, I repeat NO character from an MMO will EVER deserve a mention on Wiki. Unless they commit suicide and there's a huge intellectual debate or something like that. As suggested above, delete and redirect to List of characters in Elfquest. A very good idea Radiant! Might as well make the redirect of (potential) use. Master Thief Garrett 22:13, 22 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.

title: Wikipedia:Articles for deletion/Windkin


text: User talk:68.174.98.157

title: User talk:68.174.98.157


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John Cawood (printer)

John Cawood (1514–1572) was an English printer. He came of an old Yorkshire family of some substance and was apprenticed to John Reynes, who is best known as a bookbinder and who died in 1543 or 1544. In 1553 Cawood replaced Richard Grafton as Royal Printer. For his official salary of £6. 13s. 4d. per annum, Cawood was directed to print all "statute books, acts, proclamations, injunctions, and other volumes and things, under what name or title soever" in English, with the profit appertaining.

He was also granted the reversion of Reyner Wolfe's patent, authorized in 1547, for printing Latin, Greek and Hebrew books, for which he was to receive an additional 16s. 8d. per annum "and all other profits and advantages thereto belonging." He never enjoyed this reversion, for he died a year before Wolfe.

In 1553 Cawood seems to have acquired a certain amount of printing material from Steven Mierdman, who on the accession of Mary had been obliged to leave England. In that year a number of books printed by Cawood contain initials formerly used by Mierdman.

Upon the incorporation of the Stationers' Company in 1557, Cawood was one of the Wardens and he became Master in 1561, 1562 and 1566. During his lifetime Cawood was a great benefactor of the Company, though unfortunately his gifts perished in the Great Fire.

As Queen's Printer to Mary, Cawood was responsible for printing the proclamations and acts published during her reign, but on the accession of Elizabeth, the proclamation to that effect was printed by Richard Jugge, who subsequently printed several others and was termed in a letter from the Privy Council dated 20 December 1558, "the Quenes Majesties Prynter." On 25 January 1559, Cawood's name was conjoined with Jugge's in the printing of An Acte whereby certayne offences be made treason, and from that time they continued jointly to print the State papers.

Cawood died in 1572, and had been three times married. His device consisted of his mark and initials.

title: John Cawood (printer)


text: User talk:209.245.22.60

title: User talk:209.245.22.60


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LNER Class V2

The London and North Eastern Railway (LNER) Class V2 2-6-2 steam locomotives were designed by Sir Nigel Gresley for express mixed traffic work, and built at the LNER shops at Doncaster and Darlington between 1936 and 1944. The best known is the first of the class, 4771 (later 800 and 60800) Green Arrow, which is the sole survivor of the class.

Construction
The V2s were the only major class of 2-6-2 tender locomotives used in Britain. Whilst 2-6-2T tank locomotives were common in the UK, the only other 2-6-2 tender locomotives were the unsuccessful experimental Midland Railway Paget locomotive of 1908, and the two examples of Gresley's LNER Class V4 of 1941. The wheel arrangement allowed the fitting of a large firebox uninhibited by the rear driving wheel, and the front pony truck improved stability at high speeds.

The V2 was derived from the Class A1/A3 pacifics with smaller driving wheels (of 6 ft compared to 6 ft) and a shortened boiler. It retained Gresley's favoured 3-cylinder arrangement. Unusually all 3 cylinders were part of a single 'monobloc' casting.

184 locomotives were built in 14 batches between 1936 and 1944 at Doncaster and Darlington Works, construction continuing through the Second World War as they proved their usefulness. A further four locomotives, ordered as V2s, were redesigned by Gresley's successor Edward Thompson and completed as Pacifics (LNER Thompson Class A2/1).

The V2 was a versatile locomotive, capable of hauling fast fitted freights and express passenger trains. Their relatively heavy 22 ton axle load meant their use was restricted to around 40% of the LNER's route miles. For example, they were barred from all of the former Great Eastern Railway main lines. Gresley recognised that a lighter mixed-traffic locomotive was required, and the V4 class was designed to this end. However, it was to be the versatile LNER Thompson Class B1 4-6-0 which succeeded the V2 as the LNER's standard mixed traffic locomotive, although the B1 never matched the V2's power output.

Working life
First of the initial batch for five Doncaster-built V2s was number 4771, which emerged in June 1936 and was promptly named "Green Arrow", after the express freight service for which the locomotives had been built. Successful trials with this quintet led to both Doncaster and Darlington works producing further batches. The final locomotive, number 3695, was delivered from Darlington in July 1944.

The V2 had the free steaming qualities that the LNER's operating department required. Not only were they capable of working vacuum braked freights at up to 60 mph, they could deputise for Pacifics on express passenger schedules. In peak condition a V2 could almost match the Pacifics for sustained high speed running. One locomotive was reliably timed at 93 mph on the Yorkshire Pullman while another attained 101.5 mph on a test train.

The V2s were recognised as versatile and powerful locomotives by 1939, but their reputation was more firmly established by their remarkable feats of haulage during World War II. Trains of over 20 carriages loaded to 700 LT proved within their abilities. On at least one occasion a single V2 hauled 26 coaches from Peterborough to London. Given this capacity for work it was not surprising that construction was allowed to continue through the war years. The V2s performed equally competently for British Railways, leaving their mark on the East Coast Main Line, the Waverley Route between Carlisle and Edinburgh and on the ex-Great Central main line between London Marylebone and Sheffield.

Significant modifications were made to the V2 class during its service life. In 1946 a series of derailments was traced to the design of the leading pony truck, which was unduly sensitive to the often poor track conditions, a legacy of heavy wartime use and lack of maintenance. Modifications to the suspension cured the problem. During the 1950s cracks in the 3 cylinder monoblocs became increasingly frequent, but replacing them was expensive and in 1956 the decision was taken to replace the monobloc with separate cylinder castings. Seventy-one engines were thus modified: they can be identified by the presence of external steam pipes from smokebox to cylinders. Finally, around 1960 experiments were made with fitting double chimneys to two V2s. This yielded no significant performance gain, but eight engines were subsequently fitted with Kylchap exhausts. These so-called 'Super V2s' were reckoned to be fully equal in performance to the larger Pacifics. However, plans to fit Kylchap chimneys to the remainder of the class were abandoned once it became clear that replacement with diesel locomotives was imminent.

The V2s' swansong came on the Edinburgh—Aberdeen run, working alongside the last LNER A2s and A4s. The entire class was withdrawn from service between 1962 and 1966.

Accidents and incidents

 * On 29 January 1939, locomotive No. 4813 was hauling a passenger train which ran into the rear of another at Hatfield, Hertfordshire. Two people were killed and seven were injured.
 * On 5 January 1946, a freight train became divided on the East Coast Main Line in County Durham. The front portion was brought to a halt at Browney Signalbox, but the rear portion crashed into it. The wreckage fouled signal cables, giving a false clear signal to a passenger train hauled by locomotive No. 4895. This train collided with the wreckage, Ten people were killed.
 * On 10 February 1946, a passenger train was derailed at Potters Bar, Hertfordshire due to a signalman's error. The wreckage fouled signal cables, giving a false clear to an express passenger train hauled by locomotive No. 4876, which collided with the wreckage. A third passenger train hauled by locomotive No. 4833 was travelling in the opposite direction, and it crashed into the wreckage. Two people were killed.
 * On 9 August 1947, locomotive no. 936 was hauling a passenger train that was in a rear-end collision with another at Doncaster due to a signalman's error. Twenty-one people were killed and 188 were injured.
 * On 2 December 1953, a train ran off the end of the loop at Billingham, County Durham and was derailed. Locomotive No. 60891 was hauling an express freight train which ran into the wreckage and was also derailed.
 * On 19 April 1955, locomotive No. 60968 was in collision with Fairburn tank No. 42085 at Newcastle Central station, Northumberland. Both locomotives were derailed.
 * On 7 August 1958, a locomotive of the class was hauling an express passenger train that was derailed at Barby, Northamptonshire due to excessive speed through a crossover. One person was killed and seventeen were injured. Errors by a pilotman and confusion over where the train was to be diverted during a period of single line working were major contributory factors.
 * On 19 November 1958, a freight train overran signals and was involved in a rear-end collision with another at Hitchin, Hertfordshire. Locomotive No. 60885 was hauling a third freight train, which ran into the wreckage and was derailed.
 * On 15 December 1961, an empty coaching stock train was in a rear-end collision with a freight train at Conington, Huntingdonshire during permissive block working. A second freight train then ran into the wreckage. Locomotive No. 60977 was hauling a freight train which then ran into the wreckage.
 * On 7 January 1962, locomotive No. 60954 was hauling a freight train which was derailed at Mirfield, Yorkshire.

Names

Only eight V2s were named; seven by the LNER and one by BR. The first of the class was named after the express freight train Green Arrow. Five more were named after Regiments and two after public schools. It is probable that more would have been named had the outbreak of war not intervened.

Numbering
When built, the V2s were numbered 3641–3695 and 4771–4899. Under the LNER 1946 renumbering scheme they were to be renumbered 700-883 but the range 800–983 was allocated before renumbering was completed (19 locomotives briefly carried numbers in the original range). After nationalisation in 1948, British Railways added 60000 to their numbers so they became 60800–60983. BR also gave them the power classification 6MT.

Withdrawal
All 184 V2s were withdrawn from stock between February 1962 and December 1966. The last ones in service were No. 60831 and No. 60836 had the distinction of being Gresley's last big engines to be in service. No. 60831 and No. 60836 were withdrawn on 6 December 1966 and 31 December 1966 respectively. Both of them were scrapped the following year. The surviving V2 no 4771/60800 Green Arrow was withdrawn in August 1962 from Kings Cross shed.

Preservation

One Class V2 survives. The first of the class 4771 Green Arrow has been preserved as part of the National Collection, and was in use on preserved lines around Britain. On 1 April 2008, it suffered a boiler failure on the North Yorkshire Moors Railway and has since been a static exhibit at the National Railway Museum. Its boiler repairs have been determined as achievable, however the NRM are not currently willing to meet the cost involved in replacing the 'monobloc' cylinder casting. A crack in this means the casting now needs to be replaced before the locomotive can work again. It is unfortunate that 60800 was not one of the V2 class that were modified to incorporate separate cylinder blocks, when a lot of the class were modified in the 1940s and 1950s.

Modelling
Bachmann are currently producing a new 'OO gauge' model including an updated DCC ready chassis:

35-200 Class V2 Gresley 2-6-2 4791 LNER Lined Green (Original).

35-201 Class V2 Gresley 2-6-2 60845 in BR lined black with early emblem.

35-202 Class V2 Gresley 2-6-2 60847 "St Peters School" in BR lined green with late crest.

Older (pre 2012) Bachmann models had a split chassis design which required a lot of modification to convert to DCC.

title: LNER Class V2


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Herman Gref

Herman Oskarovich Gref (Герман Оскарович Греф; born February 8, 1964) is a Russian politician and businessman. He was the Minister of Economics and Trade of Russia from May 2000 to September 2007. He has the federal state civilian service rank of 1st class Active State Councillor of the Russian Federation.

He is the CEO and chairman of the executive board of Sberbank, the largest Russian bank.

Education and early career
Herman Gref was born in the Kazakh Soviet Socialist Republic (now Kazakhstan) into a family of ethnic German deportees who were exiled there in 1941. Later Gref was involved in the return of exiled Germans to Russia - with his assistance an entire German village called Strelna was built near St. Petersburg.

There are two versions of what Gref did after graduation. According to one of them, Gref entered the faculty of international economic relations at MGIMO of the Ministry of Foreign Affairs of the USSR, but after the first year he was expelled from the university. According to the other version, after school Gref and his first wife, Elena Velikanova, entered Omsk State University, but failed the exams.

From 1981 to 1982, he worked as a legal advisor for the Irtysh District Department of the Pavlodar Region.

From 1982 to 1984, Gref served in the Soviet Army.

After fulfilling two years of military service, he studied law at Omsk State University in Siberia from 1985 to 1990.

After that he enrolled in the post-graduate program at the Law Department of St. Petersburg State University. He graduated in 1993 under the guidance of Anatoly Sobchak. However, he did not defend his dissertation until 2011. From 1992 to 1998 Gref worked on several positions at the Saint Petersburg City Administration, notably a term as vice-governor from 1997 to 1998. He became a friend and ally of Vladimir Putin during this period; he also made acquaintance with Alexei Kudrin, Dmitry Kozak, and Dmitry Medvedev.

Deputy Minister of State Property (1998-2000)
In August 1998, Gref was appointed First Deputy Minister of State Property of the Russian Federation, and was a member of its board until 2000. He was also appointed to the board of the Federal Commission for the Securities Market of the Russian Federation and the board of state-owned Svyazinvest and Gazprom in 1999.

Minister of Economic Development (2000-2007)
Gref was first appointed as Minister of the newly formed Ministry of Economic Development and Trade on May 18, 2000 and was reappointed to the position in the succeeding Cabinet in 2004.

Gref was a major advocate of Russia's joining the World Trade Organization. He is also responsible for 2004 creation of the Stabilization Fund of the Russian Federation.

Gref was considered as one of the liberal reformers in Vladimir Putin's administration of the early and mid-2000s, besides Alexei Kudrin. Gref has repeatedly spoken out against the monopolization of the oil and gas sector of the economy.

Gref resigned in a furore as minister in September 2007 along with Mikhail Fradkov's Second Cabinet.

Sberbank CEO
In November 2007 Gref was elected as president of the state-owned savings bank Sberbank at an extraordinary general meeting. Under Gref's leadership, the bank has undergone a number of radical changes aimed at improving its efficiency and corporate culture.

At various times since he left the civil service he has been a member of the board of directors of such state-owned companies as Gazprom, Aeroflot, Rosneft, Svyazinvest, etc. Until October 2020 he was a member of board of directors of Yandex.

In 2010, speaking at the Davos Economic Forum, Gref spoke in favor of reducing the state's stake in the capital of Russian banks; in particular, he proposed reducing the state stake in Sberbank from 57.6 percent to 50 percent plus one share. In March of the following year, the sale of a 7.58 percent stake in Sberbank was approved by the National Banking Council, and in September 2012 the shares were sold on the stock exchange for $5.22 billion.

In January 2018, Gref was added to the US Treasury's "Kremlin list", a list of 210 officials, politicians and businessmen believed to be close to Vladimir Putin. According to the US Department of Treasury, the list is not a sanctions list and no restrictions are automatically imposed on its subjects. He was later subjected to full U.S. Treasury sanctions following the 2022 Russian invasion of Ukraine.

In 2019 the shareholders of Sberbank re-elected Herman Gref for a fourth term. He will be president and chairman of the bank until 2023.

In February 2019, Gref called upon Russians "to prepare for the very worst of situations" after the U.S. adopted new sanctions against Russia.

In January 2022, Gref, Elvira Nabiullina, and other economic advisors delivered to President Putin a report on international sanctions as well as the effect on the Russian economy if sanctions escalated due to the Russian military buildup on Ukraine's borders. Gref is said to have warned of serious economic impacts, but if he was attempting to dissuade Putin from proceeding with further escalation, this failed after the 2022 Russian invasion of Ukraine began a month later.

Sanctions
Following the start of the Russian invasion of Ukraine in 2022, Gref was added to the British sanctions list. In April 2022, Gref was added to the European Union sanctions list "in response to the ongoing unjustified and unprovoked Russian military aggression against Ukraine and other actions undermining or threatening the territorial integrity, sovereignty and independence of Ukraine".

Sanctioned by Canada under the Special Economic Measures Act (S.C. 1992, c. 17) in relation to the Russian invasion of Ukraine for Grave Breach of International Peace and Security. and by the

Personal life
Gref married the designer Yana on May 1, 2004 in the throne room of Peterhof Palace. His wife has a teenage son from a prior relationship, just as Gref has a son, Oleg, from his marriage with Yelena, who refused to move to Moscow when Gref was called into the government in 1998. Since 2006 the couple has a daughter. Oleg studied jurisprudence in St. Petersburg until 2004 and moved to Germany for further education. Gref speaks German and is an admirer of Goethe and German Expressionism.

After the Russian annexation of Crimea and a raised risk of being sanctioned, Gref used the Singapore firm Asiaciti Trust to restructure a $75 million family trust through a network of offshore companies in 2015. He gave more than $50 million held in the trust to a 24-year old nephew who lived outside of Russia, but remained in control of the assets through the offshore companies.

In a November 2016 interview with TASS, Gref revealed that he had done some speculating with Bitcoin.

title: Herman Gref


text:
Owain Goch ap Gruffydd

Owain Goch ap Gruffydd (also known as Owain Goch [Owain the Red]) (died 1282) was brother to Llywelyn ap Gruffudd and Dafydd ap Gruffudd and, for a brief period in the late 1240s and early 1250s, ruler of part of the Kingdom of Gwynedd (in modern-day North Wales).

Lineage
Owain was the eldest son of Gruffudd ap Llywelyn ap Iorwerth and the grandson of Llywelyn ab Iorwerth (Llywelyn the Great). He was imprisoned together with his father in Criccieth Castle in 1239 by his uncle Dafydd ap Llywelyn and accompanied his father to England two years later when Dafydd was forced to hand Gruffudd over to King Henry III of England. In 1244 Gruffudd was killed when a makeshift rope broke as he attempted to escape from the Tower of London.

This freed Dafydd ap Llywelyn's hand as King Henry could no longer use Gruffudd against him, and war broke out between him and King Henry in the spring of 1244. Owain meanwhile had been freed by Henry after his father's death in the hope that he would start a civil war in Gwynedd, but he remained at Chester, so that when Dafydd died unexpectedly in February 1246 without leaving an heir, his brother Llywelyn, who had supported his uncle against the king, had the advantage of being on the spot.

Treaty of Woodstock
Owain and Llywelyn came to terms with King Henry but were restricted by the terms of the Treaty of Woodstock in 1247 to Gwynedd Uwch Conwy, the part of Gwynedd west of the River Conwy, which was divided between them. Gwynedd Is Conwy, east of the river, was taken over by the king, who gave it to his son, Edward. Though initially paying homage to the English, Owain and Llywelyn soon broke with Henry III in protest over the ruthless raids being conducted on the Welsh borders.

The Battle of Bryn Derwin
The third brother, Dafydd ap Gruffudd, came of age soon afterwards, and King Henry accepted his homage and announced his intention of giving him a part of the already much reduced Gwynedd. Llywelyn refused to accept this, and Owain and Dafydd formed an alliance against him. This led to the Battle of Bryn Derwin in June 1255. Llywelyn defeated Owain and Dafydd and captured them, thereby becoming sole ruler of Gwynedd Uwch Conwy.

The medieval Welsh chronicle Brut y Tywysogion described the struggle thus:

"In those days great strife was bred at the instigation of the Devil between the sons of Gruffudd ap Llywelyn, Namely Owain Goch and Dafydd on the one side, and Llywelyn on the other. And then Llywelyn and his men, trusting in God, awaited, unafraid on Bryn Derwin the fierce coming of his brothers, and a mighty host along with them. And before the end of one hour, Owain Goch was captured and Dafydd fled, after many of his host had been slain."

Imprisonment and release

With his brothers out of the way, Llywelyn proceeded to extend Gwynedd's territory until it encompassed much of the rest of Wales, in the process claiming the title of Prince of Wales. Owain was imprisoned again and remained in prison until 1277.

In a contemporary poem of the 13th century, court poet Hywel Foel ap Griffri laments Owain's captivity, describing him in the opening line as: Gŵr ysydd yn nhŵr yn hir westai (a man who is in the tower, long a guest).

It is unclear where Owain was imprisoned, but some scholars believe he was kept in Dolbadarn Castle near Llanberis. Wherever he was kept, Llywelyn reluctantly released Owain in 1277 under the terms of the Treaty of Aberconwy, after some 20 years of captivity.

Upon being released, Owain retired to his estate in north-west Wales and never again mounted a serious challenge to his brother Llywelyn's rule. He is thought to have died c. 1282.

title: Owain Goch ap Gruffydd


text:
Talk:Kilfenora

2005 & 2007 post
I've removed the following from the article, as I can't make sense of it or see how it could be relevant (there is also some POV):

 * For a seriously convoluted reason, the bishop for the parish of Kilfenora is in fact the Pope of the time, and not the bishop of the diocese it should be in - the diocese of Galway

If someone can make sense of and NPOV this, please put it back in the article. -Rholton 00:27, Apr 22, 2005 (UTC)

I have frequently seen the claim that the Pope is bishop of Kilfenora-particularly in tourist leaflets. I should like to see a canon lawyer historian state the evidence for the claim if it is in any sense true. (The Pope is in a sense ordinary for every diocese according to Vatican I. Kilfenora unlike other administered dioceses, e;g. Ross is not a title accorded to titular bishops).Please clarify! —Preceding unsigned comment added by Clive sweeting (talk • contribs) 10:40, 7 September 2007

Copyright violation
Today I removed all the obvious copyright violation text that was copied and pasted from here from the Clare County Library site. That text has been online since early 2002 per this archive.org search. Do not readd it, though you may use it as reference for new written statements. ww2censor (talk) 18:00, 5 February 2010 (UTC)

Panorama View
Can i add this link in the external links http://www.360eire.com/360eire/Mumhan/ContaeanChlair/CillFhionnurach/CillFhionnurach.html —Preceding unsigned comment added by Dialinn (talk • contribs) 00:37, 16 July 2010 (UTC)

This should have been done a long time ago...
I did a major reworking. Things are still a little confused on which cross is now where after the restoration work. Maybe someone with more up-to-date sources can clean up this mess.

The article could also use some better pictures. Those were the best I could find on commons.

The construction date on the cathedral and the crosses are also a bit hazy (sources contradict each other), anyone with a reliable book would be welcome to clarify these. Once we have enough stuff on the cathedral, it may even merit its own page.Drow69 (talk) 16:53, 15 January 2014 (UTC)

New article on the cathedral
I copied all relevant material (possibly excluding some of the stuff on the crosses) to Kilfenora Cathedral. Not sure how much content should be deleted from the Kilfenora article itself...so I will leave this to someone else.Drow69 (talk) 16:40, 27 October 2016 (UTC)

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title: Talk:Kilfenora


text: File:CMXAurinko.jpg

title: File:CMXAurinko.jpg


text:
Talk:Bruno Gollnisch

Untitled
The French version of this article contains far more information (and well-sourced at that) about the holocaust denial section of this article, and reading that article, it would seem that Gollnish's comments were severly distorted. I have finals coming up and thus no time to fix it now, but the tag needs to be put in place until the article is fixed. I intend to translate the French article fully. If you read French, take a look at the French version and you'll see exactly what I mean. Oh, P.S. -- I can't stand the Front National at all, but we should be accurate :) --Zantastik 00:28, 22 Apr 2005 (UTC)

 * This section is highly controversial on fr: and even got us legal threats. We should be prudent before copying stuff. David.Monniaux 13:40, 15 May 2005 (UTC)

Controversy
I suggest to update this part with the ruling of the court :

On January 16, 2007, the court found Gollnisch guilty of Holocaust denial and sentenced him to three-month suspended jail and 60,000 Euros in damages and fine. He was also fired on these grounds from teaching position in Li'on University.

--Geo115fr 23:08, 18 January 2007 (UTC)

Some detailed info if somebody wants to write, European parliament report on the request for defence of the immunity and privileges of Bruno Gollnisch. (doc, html) --Zache 12:02, 12 September 2007 (UTC)

So let me see if I understand this correctly - If a person states that they feel that historians should have freedom of speech on the issue of the holocaust, this makes them a "holocaust denier"? So basically anyone who believes in freedom of speech is a holocaust denier? Is that what this article is trying to say? —Preceding unsigned comment added by 24.109.239.233 (talk) 08:26, 9 September 2010 (UTC)
 * This is really not quite as simple. "Free spech on Holocaust matters" does indeed sound innocuous at face value. But in France, thanks to, or because of, the Loi Gayssot, it has become a code word for Holocaust denial. I won't dwell on that issue for long, but suffice to say that it is people like Robert Faurisson who are always the first to ask for that kind of freedom of speech. You might also ponder on this: http://www.rue89.com/2010/09/12/chomsky-se-risque-encore-dans-le-bourbier-des-negationnistes-166289. --Insert coins (talk) 12:09, 9 February 2011 (UTC)
 * That's not what the article or it's authors say, but it seems that is what the French courts made of the Gollnisch statement. The whole issue shows that legislation against Holocaust "denial" not only endangers the freedom of speech of those who doubt the official Holocaust version, but of everyone. I do however think we need more context in the article on that. --41.151.175.135 (talk) 07:45, 20 January 2012 (UTC)

His Wife
Japanese wikipedia state that his wife is a Japanese. Google search in Japanese show multiple pages stating this as a fact. I'm rather puzzled that there is zero mention of this in Japanese or English media. (I can't read French, I'm afraid.) Is this one of non-AngloSaxon media's habit of make private life of politician off limit? Vapour (talk)

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title: Talk:Bruno Gollnisch


text: User talk:66.108.52.42

title: User talk:66.108.52.42


text:
Talk:René Laanen

Untitled
I couldn't find a reference for this edit, so I had to revert it. Please add it back and reference it if you can find a credible source. Thanks. -Frazzydee|✍ 00:30, 22 Apr 2005 (UTC)

title: Talk:René Laanen


text:
User talk:Wsk

Retired Commander in the U.S. Navy with duty stations in Japan, France, and the Antarctic as well as a number of localities in the U.S.

Hi Wsk, and thanks for the work you're putting into expanding our aircraft coverage at the moment. You might like to check out WikiProject Aircraft, the effort to co-ordinate aircraft articles.

A few tips that may be helpful:

 * Names - Aircraft articles are generally named Manufacturer then Name or Model Number (as applicable, but generally only one or the other). The convention for US military types is a little different: Where there's an official name, the article should be named Designation-Name (eg F-14 Tomcat, SOC Seagull). For those without official names, the article should be named Manufacturer-Designation (eg Lockheed U-2, North American A2J). You can find a full set of the current aircraft article naming conventions here.

 * Articles should only be named after a subtype (eg Monocoupe 90A) if we already have a more general article about the type, and there's enough material for an article about that specific version.

 * Instead of creating separate articles about the same aircraft (or very minor variations) under different designations, use redirects to make the different designations point to the one central article.

 * Please take a look at WikiProject Aircraft/page content - we have a standard way to lay out the specifications and related content sections of aircraft articles. It would be really helpful if you would use this standard in your contributions, without removing or altering lines of it. If you don't have the information to fill in all the lines, please leave the line intact (units and all). Similarly, if you don't know how to do the metric conversions (or don't want to), just leave the bracketed parts intact as well for someone else to fill in.

 * Please insert the "airlistbox" at the end of the article. This is done simply by typing before saving.

 * Try to get a feel for the category system and use it for your articles - aircraft articles are classified by Nation-role-decade of first flight, eg Category:U.S. fighter aircraft 1930-1939. You can find a full description of the system here, but it's probably easier just to browse around a bit and learn by example.

Hope I haven't put you off! Please keep up the good work. Cheers, --Rlandmann 02:51, 17 Jun 2005 (UTC)

Hi again! Thanks for putting in the time and effort to learn the system. If I haven't overstayed my welcome yet...

 * Always place aircraft only into the most specific category available: The Grumman F2F belongs in Category:U.S. fighter aircraft 1930-1939 - this category eventually branches up into all the other categories you placed the article in.

 * In the "Specifications" section, U.S. aircraft should have imperial units first (metric in brackets)

 * When you're ready, start getting a feel for the "Related content" section. The three essential lines of this are "Related development", "Comparable aircraft", and "Designation sequence". These three should be included, even if they're initially empty. Take a look at the North American A2J article as an example.

 * Placing "" as the first line of the article stops Wikipedia's software from automatically inserting a table of contents into the article (not useful and just plain ugly in articles of this length).

 * Wherever possible, try to wiki companies, powerplants, weapons, and dates. When wiki-ing dates, use 1943 rather than just 1943

Once again, I'm just nit-picking! Thanks for all your hard work! --Rlandmann 00:24, 22 Jun 2005 (UTC)

I agree with Rlandmann - your articles are really solid, and they're expanding our coverage (and my knowledge!) of some unique prototypes. The XP-67 Bat, for example, was a delightful new find for me. I thought I'd seen most of the WWII concepts, but a new one always turns up. Anyway, thanks for your contributions!

Also, a few wikilink tips: we've got articles on a lot of engine components and aviation items and maneuvers, so something like dutch roll or turbosupercharger can be bracketed nicely. If you take dates and bracket the date and year, like this - July 72005, the wikipedia can autoformat it to a user's own date prefs (if their nation has different formats). Finally, if you'd rather not use that method, linking to (year) will send visitors to an aviation history page like this: 1943. (haha, i missed the end of rlandmann's edit.) Hope to see more of your articles! -eric ✈ 8 July 2005 06:39 (UTC)

Aircraft specifications survey
Hi again Wsk! Even though you haven't yet listed yourself as a WikiProject Aircraft participant, you're definitely one of our key contributors at the moment. You may therefore be interested in a survey currently underway to help develop a revised version of our standard specifications section. I'd appreciate your input --Rlandmann 03:08, 18 July 2005 (UTC)

Infobox
There is a consensus discussion on Wikipedia talk:WikiProject Aircraft on adopting a non-specifications summary infobox for aircraft articles. Your comments would be appreciated. Thanks! - Emt147 Burninate!  18:43, 24 April 2006 (UTC)

An exciting opportunity to get involved!
As a member of the Aviation WikiProject or one of its subprojects, you may be interested in testing your skills in the Aviation Contest! I created this contest, not to pit editor against editor, but to promote article improvement and project participation and camraderie. Hopefully you will agree with its usefulness. Sign up here, read up on the rules here, and discuss the contest here. The first round of the contest may not start until September 1st-unless a large number of editors signup and are ready to compete immediately! Since this contest is just beginning, please give feedback here, or let me know what you think on my talkpage. -  Trevor  MacInnis   contribs  06:09, 23 August 2009 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:01, 23 November 2015 (UTC)

title: User talk:Wsk


text:
São Martinho (Funchal)

São Martinho (Saint Martin) is a civil parish in the municipality of Funchal, on the island of Madeira. The population in 2011 was 26,482, in an area of 7.95 km².

History
During the island's early settlement, the area that includes the present parish was part of the much large Sé, and later São Pedro, when it was finally deannexed in 1597. The lands immediately around the commercial centre of Funchal were quickly acquired and put into service for cultivation of subsistence crops. As with the other settlements in the Portuguese Empire, these settlements eventually formed from communities of living in the shadow of small chapels that dotted the landscape. The same was true for São Martinho: a small artesanal business and chapel constituted the first buildings in this region, owned by Afonso Anes, who was responsible for guiding the influencing development, becoming a parish on 3 March 1579. Much later a new church was a formal church constructed, by the 19th century.

The establishment of an Administrative Code in 1878, defined the creation of a level of government below the municipality, giving rise to the civil parish system that coincided with the older ecclesiastical parishes. On 23 June 1916, by decree law 621, the parish of São Martinho was created.

Geography
The parish covers the southwestern part of Funchal, located three to four kilometres west of Funchal and approximately three kilometres east of Câmara de Lobos. It consists of the localities Ajuda, Amparo, Areeiro, Casa Branca, Igreja, Lombada, Nazaré, Pico de São Martinho, Pico do Funcho, Pilar, Piornais, Poço Barral, Quebradas, Vargem, Virtudes and Vitória.

title: São Martinho (Funchal)


text:
Henry Bynneman

Henry Bynneman (died 1583), was an English printer of the 16th century.

Career
His career as a printer lasted from 1566, when he became free of the Stationers' Company, until 1583. He had been apprenticed to Richard Harrison in 1560, but that printer died about January 1563; though definitive evidence is lacking, Bynneman likely served the remainder of his apprenticeship with Reyner Wolfe. He became one of that select group of printers to whom the Archbishop of Canterbury, Matthew Parker, extended his patronage.

Through the good offices of Leicester and Sir Christopher Hatton, in 1580 Bynneman obtained a privilege to print "all dictionaries in all tongues, all chronicles and histories whatsoever." He had previously printed and published with privileges for "bookes" [i.e. proclamations] dealing with the lottery as well as a variety of works seemingly secured after Matthew Parker wrote to William Cecil in 1569 on his behalf. Though he is known for printing Holinshed's Chronicles for a group of wealthy stationers in 1577, he did not so under his royal patent, which he did not yet have. In addition to printing works by noted authors such as Edmund Spenser, Gabriel Harvey, George Turberville, and others, Bynneman printed the first Welsh New Testament translated directly from Greek in 1567 for publisher Humphrey Toy, along with the first Welsh edition of the Book of Common Prayer.

Bynneman had three presses by 1583, and, as the inventory of his property shows, had a varied stock of type, including Greek and Hebrew. He was the first printer in England to use a script of the kind known as civilité or "secretary."

Bynneman died in 1583, leaving a widow and several children, one of whom, Christopher, was in 1600 apprenticed to Thomas Dawson. Upon his death his stock of books was handed over to London Armourer Richard Hutton, because Bynneman had, by 1581, defaulted on a loan of £1,000 given to him by Hutton. The Eliot's Court Press purchased some of his type and his decorative blocks and initials.

title: Henry Bynneman


text:
Walt Elliot

Robert Walter Elliot (October 17, 1933 – June 4, 2020) was a politician in Ontario, Canada. He was a Liberal member of the Legislative Assembly of Ontario from 1987 to 1990. He represented the riding of Halton North.

Background
Elliot was educated at Kitchener-Waterloo College, Brock University and McMaster University, receiving a Master of Education degree. He worked as a high-school math teacher and principal before entering political life, and was a Freemason.

Politics
He first ran for the Ontario legislature in the 1977 provincial election, but lost to Progressive Conservative incumbent James Snow by about 6,500 votes in the constituency of Oakville. He ran again in the 1981 election, and lost to Snow by an even greater margin.

He was elected in the 1987 election, defeating PC candidate Dave Whitling by 4,724 votes in the redistributed riding of Halton North. Elliot was a backbench supporter of David Peterson's government after the election, and served as a parliamentary assistant to the Minister of Housing in 1989-90.

The Liberals were defeated by the New Democratic Party in the 1990 provincial election, and Elliot lost his seat to NDP candidate Noel Duignan by 548 votes. He sought a comeback to the legislature in the 1995 election, but lost to Progressive Conservative candidate Ted Chudleigh in a landslide.

Later life
Elliot later served as fundraising chair for the Halton Museum. He died on June 4, 2020, at the age of 86.

title: Walt Elliot


text:
Talk:Rhapsody in Blue

Music in Ohare walkway?
Although I haven't been through Ohare in a while, I believe it is Brian Eno's "Music for Airports" that plays in the moving walkway area, not Rhapsody in Blue. Can anyone else confirm this? Is this a mistake or did they change the music?

CSharpMinor 00:44, 3 December 2005 (UTC)

Rhapsody in Blue reaction
The reaction to rhapsody in blue made it anything but an instant success, some people walked out half way through the debut performance. The sentence saying it was met with instant success is wrong, i'd like to change it. Briaboru 22:54, 14 December 2005 (UTC)

 * I've replaced the "instant success" statement with a quotation from Olin Downes' review in the New York Times the following day. Add a quotation from your source about people walking out halfway through. Downes' obviously thought the audience liked it, but evidently the feeling was not unanimous. Dpbsmith (talk) 02:27, 15 December 2005 (UTC)

 * Hmmmm....

 * Program notes from the Springfield, MA symphony (OK, not a great source) says:

 * The premiere, on February 12 1924, was a smashing success. Although the critics – true to form – mostly panned it, the audience loved it and overnight, jazz became respectable. Gershwin himself played the piano part, becoming an instant celebrity.

 * Program notes from the San Francisco symphony say:

 * conductor Walter Damrosch [was at the concert]. Damrosch was so impressed with Gershwin’s Rhapsody in Blue that he immediately commissioned a concerto he could introduce with his New York Symphony.

 * This CD description says (apparent scannos corrected)

 * Listeners were electrified. Gershwin’s success was indescribable – even with the press. Rhapsody in Blue was an immediate hit – not only in America, but in Europe as well. It made Gershwin, son of Russian immigrants, a wealthy man. Records and music alone brought him a quarter of a million dollars worth of royalties in ten years – and when Paul Whiteman played the piece in his “The King of Jazz”, he paid Gershwin the enormous sum of fifty thousand dollars.

 * Program notes from another small symphony (Charlotte) say:

 * The premiere of the Rhapsody in Blue — New York, Aeolian Hall, February 12, 1924 — was one of the great nights in American music.... Gershwin ... and his music had a brilliant success. “A new talent finding its voice,” wrote Olin Downes, music critic for The New York Times. Conductor Walter Damrosch told Gershwin that he had “made a lady out of jazz,” and then commissioned him to write the Concerto in F. There was critical carping about laxity in the structure of the Rhapsody in Blue, but there were none about its vibrant, quintessentially American character or its melodic inspiration, and it became an immediate hit, attaining (and maintaining) a position of popularity almost unmatched by almost any other work of a native composer.

 * Quite a lot of program-note-writers seem to think it was an instant success. Dpbsmith (talk) 02:41, 15 December 2005 (UTC)

 * Here's another take on it, from the competing New York paper and reviewer:

 * "How trite and feeble and conventional the tunes are; how sentimental and vapid the harmonic treatment, under its disguise of fussy and futile counterpoint! ... Weep over the lifelessness of the melody and harmony, so derivative, so stale, so inexpressive!"  (Lawrence Gilman, New York Tribune, February 13, 1924)  (Quoted in Nicolas Slonimsky, Lexicon of Musical Invective)  (ps. that's a great book, a must have)  Antandrus  (talk) 02:45, 15 December 2005 (UTC)

 * I love it! I think that should go in the article, do you want to do the honors? Does it say anything about how the audience received it? Maybe the people who walked out during it were all critics? (I don't really think any of the program notes above are good sources for use in the article, because they don't cite their sources.) I'm fascinated by the statement that "It made Gershwin, son of Russian immigrants, a wealthy man." It seems to be saying that it was the Rhapsody in Blue that was the breakthrough for him... Dpbsmith (talk) 16:34, 16 December 2005 (UTC)

 * 'Tis done. And his reviews for the American and Paris and Porgy and Bess are even funnier ... Antandrus  (talk) 19:49, 18 December 2005 (UTC)

The section as it stands in the article now seems only to present negative reactions. I am not a music historian, but surely if response was mixed, the section on its reception should reflect this? The standing text seems biased toward negative criticism. 72.49.43.222 (talk) 04:54, 22 October 2010 (UTC)

Whatever the reaction of the audience, its supposedly illustrious members need to be documented with more care. Concert and CD programme note writers, and this article, confuse those named in the original programme as patrons of Whiteman's project with actual audience members. Rachmaninoff appears as an "influential composer" who was present. Well, he wasn't. On February 12, 1924 he was in Kansas City giving a recital as part of a long US concert tour. Two days beforehand he was in Davenport, Iowa, and one day later he was in Lincoln, Nebraska. That doesn't give him time to hop on a train and leg it to Aeolian Hall in Manhattan for an afternoon concert. A listing of all his known concerts can be found at rachmaninoff.org, and it has clearly been researched with great care, from concert programmes and other materials, mainly at the Library of Congress.

If Rachmaninoff was not there, how many other patrons have been inaccurately equated with members of the audience? In an article published in the Sioux City Sunday Journal on March 2, 1924, entitled "Jazz Dons the Purple", O.O. McIntyre names some of those listed as patrons in the original programme, which includes Amelita Galli-Curci, Mary Garden, Alma Gluck, Walter Damrosch, Jascha Heifetz, Victor Herbert, John McCormack, Sergei Rachmaninoff and Josef Stransky. If some other contemporary critic listed those whom he actually saw in attendance, will someone please quote the source material, so that we can all judge the original article? Otherwise this Wiki article needs to be modified, which I am happy to do myself, but only after giving those more closely involved the chance first. Pianola (talk) 21:28, 4 May 2012 (UTC)

Today. February 11th, 2024, I bit the bullet and removed several more false attendees from the main page. Since I am removing them, it is difficult to provide sources on the actual page, so I have augmented the advice on NOT including the various attendees, in between the arrow brackets that I found on the edit page, where I have quoted sources for the absence of those I have removed. I realise that I shall not be the most popular member of the Wiki community, dashing people's dreams, but after all we are here to be as truthful as we can. Additionally the BBC ran an item on its main lunchtime news programme today, mentioning that Stravinsky was there, and that was the last straw. There will be an academic article about all this, in a few months' time.Pianola (talk) 20:23, 11 February 2024 (UTC)

Tom and Jerry?
I'm snipping
 * In the Tom and Jerry cartoons, each of the character's leitmotifs are quite obviously directly inspired by Rhapsody in Blue.

I don't have any Tom and Jerry music handy and I'm afraid I don't remember the character's "leitmotifs."

"Quite obviously directly inspired by" doesn't sound too objective to me, tunes being what they are and implications of plagiarism being what they are.

Of course cartoons do quote and borrow from classical music all the time, but I would have thought MGM would have been cautious about referring to music which... wouldn't it still have been under copyright at the time? Is Gershwin credited in the cartoon credits? Dpbsmith (talk) 11:05, 27 January 2006 (UTC)

 * Well for a start I did not state that there was any form of plagiarism involved. I stated that the music was inspired by Gershwin.  I did not say that the composer stole, lifted entire musical passages, chord sequences etc. from RIB, just that the music is obviously heavily influenced.  So to be talking about plagiarism and copyright is a gross overreaction to my wording.  Also, if you do not have any Tom and Jerry music to hand, then I find it to be bad faith to remove the text.  I teach sound design for animation at two universities and I play my students both RIB (which most have never even heard before) and then an example T&J cartoon - and all of them (without even being musically inclined) can recognise similarities instantly.  Perhaps you would like me to provide you with a copy of a T&J soundtrack? Howie  ☎  20:50, 27 January 2006 (UTC)

 * No, what I'd like you to do is, per Wikipedia policies WP:CITE and WP:V, find and cite a verifiable source that says the music was "inspired by Gershwin." My opinion doesn't matter here, your opinion doesn't matter here, your students' opinions don't matter here.

 * You can't put a statement like that in as your own opinion, no matter how expert or well-founded it may be. You can't put it in as an unattributed opinion.

 * You certainly can put it in as the opinion of a good, verifiable source—a book on animation or film scoring, for example. If you've written such a book yourself, or a journal article, you can cite your own published work.

 * Best of all, of course, would be a quotation from Scott Bradley acknowledging the influence. Dpbsmith (talk) 21:29, 27 January 2006 (UTC)

 * P. S. as for removing the text, please reread the verifiability policy:

 * The burden of evidence lies with the editor who has made the edit. Editors should therefore provide references. Any edit lacking a source may be removed. If you doubt the truthfulness of an unsourced statement, remove it to the talk page. Otherwise, just request a source.

 * That's what I'm doing here. Dpbsmith (talk) 00:39, 28 January 2006 (UTC)

 * The Wikipedia is coming very close to being discredited. Leave the Tom and Jerry stuff alone, it's obvious listening to the cartoon that it was Rhapsody-in-Blue inspired.  While my recent edit complies with the verifiability policy, the verifiability policy is utterly stupid.

 * If you want to contribute to Wikipedia, you must abide by the verifiability policy, regardless of what you may think of it. It says so at the bottom of every edit box.

 * Please read my previous statement: "While my recent edit COMPLIES WITH THE VERIFIABILITY POLICY . . . ." I made no attempt to avoid the verifiability policy.  And yes, I can read the verifiability policy, apparently better than you can read my previous comment.

 * Did you read the part of WP:V that refers to "reputable sources?" The whole point of the verifiability policy is to use sources that do fact-checking. Can you present some evidence that www.recordhall.com does fact-checking? Can you or anybody tell us who the author of www.recordhall.com/george-gershwin-biography.html is? Dpbsmith (talk) 23:29, 30 January 2006 (UTC)

 * I'm not going to remove the material right away, because I want to get some other people to discuss whether http://www.recordhall.com/george-gershwin-biography.html meets the "having already been published by a reputable publisher." Since it is anonymous, and appears to be a Wikipedia-like site to which anyone can contribute, I don't think it does. You can't use publication on another anonymous Wiki as a source for material here. Dpbsmith (talk) 16:01, 30 January 2006 (UTC)

 * P. S. In the article you cite, "7/4 time, the common time for jazz..." is that statement correct? Dpbsmith (talk) 16:13, 30 January 2006 (UTC)

BTW, I've been trying to find a source since the wording was - quite justifiably - removed (due to it being un-sourced). Some of the above argument is unsigned, and I thought I'd better just state that it wasn't me(!)... I'm still looking for a suitable source, although I have come across mentions that RIB itself was used as a soundtrack in one particular T&J short... but no one seems to know the name! Still searching... Howie ☎  18:42, 30 January 2006 (UTC)

 * Thanks, I appreciate your understanding (and civility...)

 * A source that says "a Tom and Jerry short used Rhapsody in Blue as a soundtrack," assuming it's a halfway reasonable source, would be a perfectly valid source for a statement in the article that "a Tom and Jerry short used Rhapsody in Blue as a soundtrack." I think it would be perfectly reasonable to put that in the article. Of course everyone is going to be frustrated by not knowing which short, but it is still a verifiable statement. And that might lead to some other editor following figuring out which one it was.

 * imdb has a lot of stuff listed for Scott Bradley but they don't have much detail on each individual short. I was trying to see if any titles lept out at me as suggesting Gershwin. Oddly, one did: there's a short, not a Tom and Jerry, called Blue Monday, which happens to be the title of a short operetta with music by Gershwin and book and lyrics by Buddy de Sylva, which Gershwin wrote early in his career (1922). I doubt that there's any connection, though. Dpbsmith (talk) 23:49, 30 January 2006 (UTC)

 * A forum posting, not good enough for verifiability but may it's a clue, says:
 * "I think the first place I heard a Gershwin piece was in a Tom and Jerry cartoon as a kid (the episode where Jerry leaves for the big city only, lives the highs and lows and then returns before Tom wakes up from his cat nap). I loved the music in that episode but didnt know who had composed it until recently." Dpbsmith (talk) 00:05, 31 January 2006 (UTC)
 * I wonder if that could be Mouse in Manhattan? Dpbsmith (talk) 00:07, 31 January 2006 (UTC) Nope, not it, "One of their most famous cartoons was Mouse in Manhattan (1945) that featured a score by Scott Bradley (made up mostly of Louis Alter's Manhattan Serenade, later used in The Godfather (1972) and Arthur Freed and Nacio Herb Brown's Broadway Rhythm"

Discussion: does www.recordhall.com meet verifiability requirements?
Per above, a contributor has reinserted the assertion that "In the Tom and Jerry cartoons, each of the character's leitmotifs are inspired by Rhapsody in Blue and other Gershwin works." In response to my request for a citation, he references http://www.recordhall.com/george-gershwin-biography.html. Does this adequately meet the policies of WP:V and WP:CITE? Note that www.recordhall.com appears to be a Wikipedia-like site that allows anonymous contributions, and that no author's identity is available for the article being cited. Dpbsmith (talk) 16:01, 30 January 2006 (UTC)
 * "The Rhapsody in Blue serves as the soundtrack Tom and Jerry cartoons. It has been said that each of the character's leitmotifs are inspired by Rhapsody in Blue and other Gershwin works."--Urthogie 16:32, 30 January 2006 (UTC)
 * My problem is not the wording of the statement, but that the cited "source" being anonymous, and apparently being another Wiki that anybody can edit. Dpbsmith (talk) 17:37, 30 January 2006 (UTC)
 * From my investigation of the page, and the site, the bio seems to be totally without either a stated author or any other meta-information. As such, I think it's only use is as evidence that someone, somewhere on the net, has a some time, made the statements it makes.  It is wholly unacceptable as evidence for any factual assertion.   Keep looking. JesseW, the juggling janitor 18:45, 30 January 2006 (UTC)
 * If (as seems to be claimed above) the included text merely makes a claim that "It has been said", I would strongly argue that such a statement, while appropriatly sourced(someone apparently did say it) is inappropriate for the article, as it is unimportant and irrelevant. I would point to WP:NPOV(the section on not using "Some have said"), and AWT.  It's a random website; what it says is not factually reliable, and the fact that it says it is not notable or important.  Sorry. JesseW, the juggling janitor 18:50, 30 January 2006 (UTC)
 * Very well. I'm fine with removing the some have said, it has been said, if thats the consensus.  Makes sense.--Urthogie 18:58, 30 January 2006 (UTC)

Tom and Jerry/Gershwin
I'm settling for weasel-wording for now:
 * Scott Bradley's scores for the Tom and Jerry cartoons are sometimes perceived as reminiscent of Gershwin. The score for Mouse in Manhattan (1945) in particular has been described as "Gershwinesque" (although it is actually based on Louis Alter's "Manhattan Serenade"], which is also an alternate title for the film).

I'm not really happy with a http://www.recordhall.com/george-gershwin-biography.html as a source, but I think it's OK for the statement that the Tom and Jerry music is a) "sometimes perceived" as resembling b) Gershwin generally. I don't think anyone has yet pinned source citations that would make a connection with the Rhapsody in Blue specifically, and certainly not to the characters' leitmotifs referencing the Rhapsody in Blue. Dpbsmith (talk) 11:05, 31 January 2006 (UTC)

Seriously, wikipedia moderators, get a grip. The tune in the show is not "sometimes perceived as reminiscent of Gershwin": they are plain Rhapsodhy in Blue, chord-to-chord. One just has to listen to the piece and to the cartoon. How do you reference that? Easy with book passages, huh? Anyway, now that I've seen this discussion, I know my editing will get deleted. who cares? I just came here because I've been listening to Rhapsody non-stop for a few days trying to remember when I've heard it before and then, bang! Tom & Jerry came to mind... always thought that Scott Bradley was awesome. Now I know he was just adapting outside material... anyway, bye --189.125.176.194 (talk) 17:40, 1 November 2013 (UTC)

RfC
I'll offer this analysis of Richard Wagner and Star Wars as the standard for a convincing description of a serious composer's influence on a piece of modern popular culture. The reference cited here doesn't go into anything approaching that depth. Since it's a superficial statement from a dubious source and it fails to quote anyone involved in the production of the Tom and Jerry cartoons, I'd leave it out of the Wikipedia article altogether. It could return in future revisions if the editor finds better sources. Regards, Durova 19:56, 31 January 2006 (UTC)

Snipping "Tom and Jerry"
I'm snipping
 * Scott Bradley's scores for the Tom and Jerry cartoons are sometimes perceived as reminiscent of Gershwin. The score for Mouse in Manhattan (1945) in particular has been described as "Gershwinesque" (although it is actually based on Louis Alter's 1928 "Manhattan Serenade", which is also an alternate title for the film).

I just don't accept http://www.recordhall.com/george-gershwin-biography.html as a reliable source. And nobody's come up with any specific connection to the "Rhapsody in Blue."

And I've made a point of listening to a few Tom and Jerry cartoons recently, including Manhattan Serenade, and frankly, I don't buy it. I believe what people are hearing is music that is composed in a "Jazz Age" idiom (by "Jazz Age" I'm thinking of the likes Paul Whiteman and the other mostly-white big-band jazz-inspired music of the 1920s and 30s). The music that Leroy Shield composed for the Laurel and Hardy films has many elements of that idiom; all the music played by Whiteman at the Aeolian Hall concert, not just "Rhapsody in Blue" ihas elements of that idiom; Ferde Grofe's "Mississippi Suite" has elements of that idiom. What Gershwin did was to use the contemporary pop-music idiom in a sustained, sophisticated way in a longish piece of orchestral music.

I did not hear any "leitmotifs" for individual characters that were carried over from one cartoon to another.

"Mouse in Manhattan" of course does not just sound like Louis Alter, it is Louis Alter. I've listened to several recordings of "Manhattan Serenade" though nothing else by Alter. I'm not enough of a musicologist to judge how close a resemblance there is between Alter and Gershwin. I think, myself, OK, perhaps an influence, maybe something more than both just immersed in the same musical idioms. (I suspect a lot of things sounded like the Rhapsody in Blue for a few years after it came out).

I may not have listened to enough or to the right cartoons, but the ones that were not Mouse in Manhattan did not sound "Gershwinesque" to me at all.

There was a sort of tradition, that I connect with the name "Silly Symphonies" for the early Disney cartoons, of occasionally basing a cartoon on a (butchered) familiar bit of "pop" classical music, the sort of thing I imagine a town band might have played on a Sunday afternoon in the bandstand, and I think there are other cartoons that have a strong connection to one particular piece of music.

Anyway, I'm prepared to be convinced about the Tom and Jerry music, but I want a citable source before this goes into the article

Personally, at the moment I do not even buy a specific connection to Gershwin, let alone to the Rhapsody in Blue. I think this is rather like someone listening to the Max Steiner score of "Gone with the Wind," and saying, "Oh! that sounds just like Rachmaninoff's Second Piano Concerto." The Max Steiners and Erich Korngolds and John Williamses used classical idioms in their film scores for serious films; the Scott Bradleys and Carl Stallingses used 1920s-1930s pop-music, "jazz age," idioms (with considerable dashes of familiar classical music). But as I say, I'm fully prepared to be convinced otherwise. Dpbsmith (talk) 11:15, 9 February 2006 (UTC)

Sarah!!!!!

Al Capone's favorite tune?
I'm removing

 * Rhapsody in Blue was Al Capone's favorite tune.

until someone can provide a verifiable source for this interesting-if-true fact. It's been labelled as needing a citation for... months? A long time, anyway. Dpbsmith (talk) 13:58, 27 April 2006 (UTC)
 * I'd say this doesn't count as a verifiable source, but it suggests that there is one out there:
 * "The Green Mill has an enormous amount of history. Founded in 1907, it is the oldest and longest-running jazz club in the country. Gangster Jack "Machine Gun" McGurn used to run the joint in during the Prohibition era, and Al Capone was a frequent visitor at that time. The moment he entered the room, the band would stop whatever tune it was playing and begin Gershwin's "Rhapsody in Blue," Capone's favorite piece."
 * So don't stop looking, folks. :-) 82.95.254.249 20:44, 6 May 2007 (UTC)

Excerpt
What does copyright law say about short excerpts of music recordings? The clarinet opening seems an obvious choice if legal.
 * There's lots of recordings of classical pieces on wikipedia. You just have to find one that's not copyrighted.  DavidRF (talk) 23:57, 22 January 2008 (UTC)

whiteman king of jazz
Most of the work that I've read on Paul Whiteman states that although he was happy to be called the King of Jazz, he didn't invent it for himself, nor did he bandy it about often. His "King of Jazz" status, Benny Goodman's "King of Swing," Elvis Presley's "King of Rock and Roll," Michael Jackson's "King of Pop," and Clark Gable's "King of Hollywood" crown for that matter, were given to them by others and had nothing to do with artistic or historical circumstance and everything to do with ability to sell product. All of these men were talented, perhaps less talented than some others working at the same time and in the same fields, but all were absolutely the kings at the cash register in their respective eras - hence the title. Like others have stated in Whiteman's Wiki page and on this discussion page, he always acknowledged his sources, and 1920s audiences tended to be much broader in their definition of jazz than those of today or even the 1940s. Whiteman, however, couldn't yet make the leap to actually hiring African American musicians. That would wait another decade for Goodman to cross that line.PJtP (talk) 01:23, 17 March 2008 (UTC)

Just be sure to keep in mind, somebody already had the title of "King of Jazz." That would be King Oliver. (This is mentioned in many places, professors, textbooks, and the wikipedia page of jazz royalty.) He was the first truly dedicated jazz artist to be recorded. (If my text book serves me right.) Whiteman was alright with the name of King of Jazz, but maybe this was just a nickname for the times. I just wanted to throw in my two bits. I hope it helps out. 71.237.75.150 (talk) 23:58, 30 March 2009 (UTC)

Most famous Gershwin piece?
As the most famous classical composition by Gershwin, it established his reputation as a "serious composer." This sounds awfully subjective... who says it's his most famous piece and on what grounds? Record sales? Live performances? Not sure it really belongs. Figment79 (talk) 18:07, 15 September 2008 (UTC)

No response and no citation for it being his "most famous classical composition", so I have removed it per WP:ASF. Figment79 (talk) 15:31, 8 October 2008 (UTC)

Reeds in 1924 orchestration
The article says there were thirteen reeds, but only lists twelve. Can someone who has access to the score confirm or correct this discrepancy? — Preceding unsigned comment added by Thomprod (talk • contribs) 17:34, 19 January 2009 (UTC)

So when did Ferde Grofé orchestrate it? contradiction in the lead
The lead gives dates for three orchestral versions by Ferde Grofé and then lower down talks about a version from a fourth date. I suspect a typo somewhere. Anyone got the sources?--Peter cohen (talk) 22:02, 31 May 2009 (UTC)

Actually, I took out the part about the Grofe version in the lead paragraph because it is against WP:ASF. No citation, no grounds for calling it "one of the most popular american concert works", so it clearly violates WP:ASF. Figment79 (talk) 18:33, 7 May 2010 (UTC)

This is my first time contributing to a talk page on Wikipedia, so sorry for any breaches of etiquette! Please advise if I have broken any protocols. The statement 'It was completed some years earlier, as it was conducted by Grofe at the 1937 Gershwin Memorial Concert in New York (Harry Kaufman, piano), and must have been the scoring used by Gershwin when soloing with symphony orchestras in the 1930s' appears without a citation. I'd be very interested in knowing where that information came from. Also, it seems odd that Harms would have been asking Gershwin to create a symphonic orchestration in 1936-37 (see footnote 21) if the Grofé symphonic version already existed! Can anyone clarify? UGK97 (talk) 17:47, 11 January 2014 (UTC)UGK97

UK premiere: Billy Mayerl or Arthur Benjamin?
I seek to clarify whether it was Billy Mayerl or Arthur Benjamin who was the soloist in the British premiere of the Rhapsody in Blue.

There are plenty of sources (such as p.307 here), for Billy Mayerl and the date 28 October 1925, with the Savoy Orpheans at the Queens Hall, London. This says it was in Gershwin's presence.

There are also many hits crediting Benjamin with the premiere (see here and here, for example). I haven't seen a date or a venue for the supposed Benjamin premiere.

Both of our articles on these fine pianists claim the premiere. They can't both be right.

I've only found one place that acknowledges the competing claims, but it's just a footnote quoting a source, and is effectively denying the Benjamin claim: see p. 756, Note 28, here.

So, what is the actual story? Can anyone sort this out? --  Jack of Oz   [pleasantries]  22:14, 9 July 2015 (UTC)

 * Never resolved, it seems. Perhaps a naive question, but wasn't the UK premiere Gershwin's own performance broadcast from the Savoy on 15 June 1925 (it was a public live performance, even if no audience in the hall), as per JO's last quoted ref, pp158-159? Davidships (talk) 23:45, 7 July 2017 (UTC)

Early recording dates
According to the article, the only recordings of Gershwin playing the Rhapsody in Blue were made on June 10, 1924, and in 1927. However, the date on the embedded audio file of Gershwin playing is February 24, 1924. John D. Goulden (talk) 19:25, 16 July 2015 (UTC)

Now in public domain globally
As of 1 January 2020 public domain in the United States includes anything published before 1925. Rhapsody in Blue is from 1924 so is in public domain. The current image of original sheet music in the lead needs a date check, as it is marked as non-free when it might be free. Also there was mistakenly an upload of the song into Commons at The mistake was that the song was free in Europe but non-free in the United States. It seems that this media file was hardly used, so that is why it was not flagged for deletion. Now we can use it and probably it should go into the infobox of this article for easy access.
 * File:Gershwin - Rhapsody in Blue (1927).ogg

There was a 20-year freeze on public domain releases until last year on 1 January 2019. Now every year on 1 January the public domain gets an entire new year of media, and increasingly we will have interesting media works to share. This is also an era of great music so among other issues we should develop best practices for making audio recordings accessible in Wikipedia articles about those recordings. This article would be a great test case.  Blue Rasberry  (talk)  16:20, 7 January 2020 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 10:45, 2 January 2021 (UTC)
 * George Gershwin playing Rhapsody in Blue.ogg

Multiple doubling?
"Whiteman's band which consisted of: three woodwind players doubling one oboe, one heckelphone, one clarinet, one sopranino saxophone in E♭, two soprano saxophones in B♭, two alto saxophones in E♭, one tenor saxophone in B♭, one baritone saxophone in E♭; two trumpets in B♭, two French horns in F, two trombones, and one tuba (doubling on double bass)..."

Is this saying that three players doubled on 18 instruments? Each of them doubles on all of the instrument? Or each only doubled on certain instruments? It is unclear from the way the sentence is written. Certainly it would be unusual for one play to double on reeds AND brass, much less double bass.

Only three players seems like a pretty small section given the powerful sound of Whitman's orchestra, and I'm pretty sure he was recording before multi-track recording techniques existed.

Could this section be worded better to make it clear: a) how many musicians there are, and b) which instruments each one is doubling on? — Preceding unsigned comment added by 74.95.43.253 (talk) 01:03, 13 April 2021 (UTC)
 * Brass aren't 'woodwind'. At most it'd be 10 instruments which isn't all that odd; but there's something clearly wrong -- no mention bass clarinet which can clearly be heard on any recording of the original version. The article used to list what each 'Reed' (as they are called) player played, for instance here but was probably changed due to assumptions of cruft, and made some errors in fixing it. ♫ Melodia Chaconne ♫ (talk) 05:03, 13 April 2021 (UTC)

 * Heya folks, thank you for highlighting these issues. There were five different published orchestrations which sometimes involved different instruments, and it appears past editors added instruments to the orchestration section without realizing this fact. Case in point: A user inserted the heckelphone into the orchestration via this edit which made the existing sentence unintelligible. Regardless, I'll try to solve these issues by quoting the exact orchestration from Schiff 1997 p. 5 which lists each player and their respective instrument in the original recording. It includes both a heckelphone and a bass clarinet. -- Flask (talk) 04:39, 3 May 2021 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 04:08, 30 August 2021 (UTC)
 * George Gershwin playing Rhapsody in Blue.ogg

Copyright/Publication Info
For anybody interested, found 3 filings, nothing for Grofe's orchestrations (only checked 1924-1928) I found other arrangements he did, but not Rhapsody. Added pub line to infobox, that's all

Rhapsody in blue: by George Gershwin, of U. S. ; pf. © 1 c. June 12, 1924 E589226: Harms, Inc., New York. 11166

Rhapsody in blue; by George Gershwin, of TJ. S. ; pf. ; with 2nd pf. in sc. © Dec. 31, 1924; 2 c. Jan. 2, 1925: E 606144; Harms, inc., New York. 21165

Rhapsody in blue: by George Gershwin, arr. by Isidore Gorn : pf. © Aug. 24, 1927; 2 c. Aug. 26; E 674172; Harms, inc., New York. 19549

Anybody know what the 2nd 1924 filing was for? Tillywilly17 (talk) 05:39, 4 September 2021 (UTC)

"There were five different published orchestrations" <<< I will check later years

Fantasia 2000 version
In Fantasia 2000 there was a recording of Rhapsody in Blue. Shouldn't this be included in notable recordings? Pastastraw  ( talk ) 15:04, 16 February 2022 (UTC)

 * Fantasia 2000 is mentioned in the article under "Legacy and Influence". The "Notable recordings" section needs to be retitled since it is where the bulk of kruft routinely accumulates for the past several years. — Flask (talk) 15:18, 16 February 2022 (UTC)
 * I agree, it could be better as "Notable Performances" or something similar. Pastastraw   ( talk ) 15:40, 16 February 2022 (UTC)

Little King's Story
The video game Little King's Story has remixes of the piano piece as the background music of TV Dinnah and his kingdom. -- Apisite (talk) 07:30, 2 April 2023 (UTC)
 * Yes, and? ♫ Melodia Chaconne ♫ (talk) 12:20, 2 April 2023 (UTC)

Famous Members of the Audience at the Aeolian Hall Première
I'm pleased to see that Rachmaninoff's name has been removed from the imaginary members of the audience at Paul Whiteman's Experiment in Modern Music, but Stravinsky's name still appears, which is simply not true, since Stravinsky did not travel to the USA before January 1925, when he recorded music rolls for the Aeolian Company's Duo-Art. All Stravinsky's original correspondence is preserved at the Paul Sacher-Stiftung in Basel, Switzerland, and it is clear from many items of correspondence that 1925 was his first visit. I spent three months there in 1987, transcribing all the letters that referred to Igor's player piano activities.

But don't feel you have to take my word for it: Stravinsky first travelled to the USA on the transatlantic ship "Paris," leaving Le Havre on 24 December 1924 and arriving in New York on 4 January 1925. The passenger list is available on Ancestry.com. and the column where it asks whether the passenger has ever been in the United States before, and if so where, is answered with a simple "No."

The reason for all the apparent famous members of the audience comes from a US article published in the early 1930s, for which a lazy journalist looked at the page in the concert programme which mentioned "Patrons." In Great Britain the word "Patron" tends to mean someone who gives money or the use of their name in aid of some form of worthy endeavour. Since our schools and the internet are doing their best to make our version of the English language more like the American version, the word sometimes has a second meaning, which is that of what the US calls an "Attendee,", whom we would tend to call a "Member of the audience." But in 1924 what the word in the Whiteman programme meant was someone who had allowed their name to be quoted, not just for Gershwin, but mainly for Whiteman, along with all the composers whose music he conducted. Most likely most of them were not at the concert, and Stravinksy certainly wasn't, and, what's more, his name doesn't even appear in the programme. The lazy journalist saw the name of Josef Stransky, the chief conductor of the New York Philharmonic at the time, but since he probably hadn't even heard of Stransky, he conveniently altered the name to Stravinsky, and the error found its way into any number of Gershwin books and articles.

More generally, someone needs to check up on all these apparent attendees. I should think the majority of them were not there, but that they simply allowed their names to be used in order to give a notional pat on the back to Paul Whiteman. I have too much to do during the years that remain to me, and the copy I had of the relevant article got lost in a computer HD malfunction, but I'd be grateful if someone would at least remove Stravinsky's name. I'm well aware that making edits on Wikipedia is unlikely to be effective unless you belong to the unofficial committee that runs each significant page.

Cheers, Rex Lawson (pianola) Pianola (talk) 17:17, 17 June 2023 (UTC)

Recent mod and reversion in Other Uses section
In this edit I mentioned a version of Rhapsody in Blue by prog rock band Liquid Tension Experiment. It was reverted a day later by user:Nikkimaria with the comment "Significance?"

I believe the significance is showing the extension range of the music's influence. To note that an orchestral jazz piece (itself a genre-bending achievement) has also been rendered in pop music and prog rock is a significant observation about how Gershwin's legacy continues to blur the boundaries of music genre.

Anyone else care to affirm or deny that observation? Perhaps rather than just mention the various examples in this section, we could explicitly state that those examples show the on-going genre-bending legacy. Matthew C. Clarke 04:56, 25 June 2024 (UTC)

 * That sort of interpretation would be better based on sourcing on the topic, rather than just the examples we personally are aware of. Nikkimaria (talk) 04:58, 25 June 2024 (UTC)
 * Fair enough. Matthew C. Clarke  08:21, 26 June 2024 (UTC)

title: Talk:Rhapsody in Blue