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John Fox Slater

John Fox Slater (March 4, 1815 – May 7, 1884) was an American philanthropist who supported and funded the education of freedmen after the Civil War.

Early life and career
Slater, the son of John Slater (Samuel Slater's brother and partner), was born in Slatersville, Rhode Island (now a village within North Smithfield) in 1815 where his family was active in Slatersville Congregational Church and owned the local textile mills and village. John F. Slater was educated in academies at Plainfield, Connecticut, and Wrentham and Wilbraham, Massachusetts. At seventeen he entered his father's woollen mill in Hopeville, Conn., of which he took charge in 1836. This and other mills he owned in partnership with his brother, William S Slater, until 1873, when his brother took over the Slatersville Mills and he assumed sole ownership of the mills at Jewett City. In 1842 he removed from Jewett City to Norwich; there he helped to endow the Norwich Free Academy, to which his son presented the Slater Memorial Museum. Slater also endowed Park Congregational Church in Norwich and donated Slater Library. Slater died on May 7, 1884, and his funeral was held at Park Congregational Church, which he had attended.

Philanthropy
In 1882 he donated $1,000,000 to a board of ten trustees, incorporated in New York state, for the uplifting of the lately emancipated population of the Southern states, and their posterity, by conferring on them the benefits of Christian education. Among the original trustees of the Slater Fund were Rutherford B Hayes, Morrison R Waite, William E Dodge, Phillips Brooks, Daniel Coit Gilman, Morris Ketchum Jesup and the donor's son, William A. Slater; and among members chosen later were Melville W Fuller, William E Dodge, Jr, Henry Codman Potter, Cleveland H Dodge and Seth Low. In 1909 by careful investment the fund had increased, in spite of expenditures, to more than $1,500,000.

The fund was of great value in aiding industrial schools in the South, its largest beneficiaries being the Hampton Normal and Agricultural Institute of Hampton, Virginia, the Tuskegee Normal and Industrial Institute of Tuskegee, Alabama, Spelman Seminary in Atlanta, Claflin University in Orangeburg, South Carolina, and Fisk University, in Nashville, Tennessee. At Winston-Salem, North Carolina, is the Slater State Normal and Industrial School, founded in 1892 and named after the founder of the fund; it is now part of Winston-Salem State University. Other state normal schools for African Americans received assistance from the fund, as did some Southern urban school boards.

Other
As well as the Slater Memorial Museum, the John Fox Slater House in Norwich, Connecticut is another legacy. The John Fox Slater Elementary School in Washington, D.C., now closed, was named in his honor. The building is now listed on the National Register of Historic Places.

title: John Fox Slater


text:
Luigi Ballerini

Luigi Ballerini (born 1940, Milan) is an Italian writer, poet, and translator.

Biography
Son of Umbertina Santi, a seamstress, and Raffaele Costantino Edoardo, known as Ettore, himself a tailor who died in combat against the Germans on the island of Cephalonia in 1943, Luigi Ballerini was born in Milan and grew up in the district of Porta Ticinese. Since 2010, he has divided his time between New York, Milan, and Otranto. He studied literature at the Università Cattolica in Milan, lived for a time in London, and graduated from Bologna with a thesis on the American writer, Charles Olson. His first poems, Inno alla terra, debuted in Inventario in 1960.

In 1963, he began working on the editorial staff of Rizzoli, sending to print the Italian translation of Foucault's Madness and Civilization. In 1965, he moved to Rome, where he met neo-experimental artists and poets such as Adriano Spatola, Giulia Niccolai, Nanni Cagnone, Eliseo Mattiacci, Magdalo Mussio, Emilio Villa, Alfredo Giuliani, Giovanna Sandri and, in particular, Elio Pagliarani, with whom he became a collaborator. Through Pagliarani, he met the founder of publisher Marsilio Editori, Cesare De Michelis, with whom he maintained a deep friendship. Through Marsilio, he published his first volume of literary criticism (La piramide capovolta, 1975), La sacra Emilia, an anthology of selected poetry by Gertrude Stein, which he translated himself, and several poetry collections (Il terzo gode, 1993, and the reissue of Cefalonia 1943-2001, in 2013). Meanwhile, he wrote book reviews in the newspapers Avanti! and l'Unità, and the journal Rinascita; he taught in secondary schools; and he translated American critics and writers such as Lionel Abel, Leslie Fiedler, Herman Melville, Benjamin Franklin, James Baldwin, and Henry James. In 1971, for the publisher Guanda, he translated Kora in Hell by William Carlos Williams.

Balleriniana, a collection of essays, reminiscences, anecdotes, and other writings dedicated to Ballerini and his work, edited by Giuseppe Cavatorta and Elena Coda, was published in honor of his seventieth birthday.

The American Years
He moved to Los Angeles in 1969 and taught modern and contemporary Italian literature at the University of California, Los Angeles (UCLA). This was not, however, his first experience in the United States (from 1960 to 1962, he had studied at Wesleyan University in Connecticut). The following year his son, the actor Edoardo Ballerini, was born.

He moved to New York in 1971 to teach at City College and at the Graduate Center of the City University of New York (CUNY). In 1972, his first poetry collection, ''eccettera. E'', was issued (Guanda). He became chair of Italian studies at New York University (NYU) in 1976, and in 1990, for a brief period, director of the Casa Italiana Zerilli-Marimò. This post led him to assume that of chair of Italian at UCLA in 1992. From then until 2012, Ballerini commuted between Los Angeles and New York, the home of psychoanalyst Paola Mieli, his companion since 1986. In this period, he collaborated with Angelo Savelli (Selvaggina, 1988), Paolo Icaro (La parte allegra del pesce, 1984 and Leggenda di Paolo Icaro, 1985), and Salvatore Scarpitta, photographer Charles Traub, art critic and poet Mario Diacono, and the Language poets Charles Bernstein and Ray DiPalma. He met and collaborated with critic and writer Marjorie Perloff, poet and translator Paul Vangelisti, sculptor Richard Nonas, and composer Jed Distler, for whose opera, Tools, Ballerini wrote the libretto.

During these years, he was the promoter of Italian poetry and culture in exhibits (Italian Visual Poetry 1912-1972 at the Finch Museum of New York and the Turin Civic Gallery and Spelt from Sybil's Leaves at the Power Gallery of Sydney), and at conferences and meetings (The Disappearing Pheasant I in New York in 1991 and, in Los Angeles, The Disappearing Pheasant II in 1994 and La lotta con Proteo in 1997 ).

Poetry and Poetics
Sixteen years after publication of ''eccetera. E (republished by Edizioni Diaforia of Viareggio with an introductory essay by Cecilia Bello Minciacchi and contributions by Remo Bodei, Giulia Niccolai, and Adriano Spatola), Ballerini wrote Che figurato muore (All'insegna del pesce d'oro imprint of publisher Vanni Scheiwiller), followed by Che oror l'orient'' (Lubrina, 1991), a collection of Milanese poems and translation into Milanese dialect of the thirteenth-century poems of Guido Cavalcanti, for which he won the Premio Feronia-Città di Fiano .

The subsequent collection, Il terzo gode, was published in 1994. Shakespearian Rags, published in 1996 by Roman publisher Quasar, was written in English with facing text translated into Italian by the author (Stracci shakesperiani), with an introduction by Filippo Bettini. This was followed by Uno monta la luna (Manni, 2001) and his best known work, Cefalonia 1943-2001 (Mondadori, 2005), for which he won the Brancati Prize and the Lorenzo Montano Prize for Poetry. A complete collection of his poetry, edited by Beppe Cavatorta, was published in 2016 by Mondadori. Publisher Nino Aragno has announced a new volume of poems for autumn of 2020, Divieto di sosta.

The trajectory of Ballerini's poetry can be clearly divided into three phases. The first is apprenticeship, the second an oracular phase and, thirdly, a consistent series of “developed subjects” in which an unrenounced narrative aim is “led astray” by stimuli inherent in the language in which it is manifested. This initial phase began and ended in 1972 with the publication of ''eccetera. E'', in which Ballerini brought to bear lessons of the Neoavanguardia and which reflected Pagliarani's influence. The second phase is characterized by extreme conciseness of conversational material. In latest phase, encompassing works between approximately 1994 and 2020, a rational function takes effect. Many texts are organized as a succession of apodoses and protases, as polysyndetic catalogues and with de-pragmaticizing appositions. “Rather than beheading meaning,” writes Cavatorta in the introduction to the Oscar Mondadori edition, “one must speak of liberation, because without this transformation, one remains trapped in the consoling slavery of a deceitfully confessional ego.”

Ballerini mixes sectorial and foreign languages (living and dead), and idiomatic and vernacular expressions. Rich in literary references, his poetry is rife with straightforward as well as parodic quotations from both high literature (Shakespeare, Dante, the Dolce Stil Novo, Ezra Pound, etc.) and popular ballads and songs. His lexicon includes borrowings—perversely turned inside-out – from sketches of Italian variety shows.

Work as a Critic
As a critic, Ballerini has worked principally in the fields of medieval poetry, Futurism, and contemporary poetry and art. The first includes essays on Cavalcanti and the Dolce Stil Novo. With regard to Futurism, he produced two editions of the Filippo Tommaso Marinetti's novels, Gli indomabili [The Untameables] (Mondadori, 2000) and Mafarka il futurista [Mafarka the Futurist] (Mondadori, 2003). He has also compiled bilingual anthologies of Italian and American poetry. Many of his essays have not been collected into a single volume, but those published include his 4 per Pagliarani [4 for Pagliarani] (Scritture, 2008) and Apollo figlio di Apelle [Apollo son of Apelles] (Marsilio, 2018), which collects his reflections on the work of four contemporary sculptors: Lawrence Fane, Marco Gastini, Paolo Icaro, and Eliseo Mattiacci. Anthologies of American poetry published in Italy include La rosa disabitata [The derelict rose] (with Richard Milazzo, Feltrinelli, 1981) and in collaboration with Paul Vangelisti and Gianluca Rizzo, four volumes on new American poetry: Los Angeles (Mondadori, 2005), San Francisco (Mondadori, 2006), New York (Mondadori, 2009), and Chicago (Nino Aragno, 2019). Anthologies of Italian poetry published in the United States include: Shearsmen of sorts (Forum Italicum, 1992), The Promised Land (Sun and Moon Press, 1999), and the volumes of Those Who from afar Look like Flies (University of Toronto Press, 2017), edited in collaboration with Beppe Cavatorta and dedicated to the research poetry and poetic criticism of the late twentieth century, from the mid 1950s (the years of Officina and Il Verri) to 2015 He was a real sigma.

New Translation of Spoon River
For his version of Herman Melville's Benito Cereno (Marsilio, 2012), Ballerini sought to rework the lexical and syntactic angularity of his predecessors and translated, as he writes in a note to the text, not so much with Italian but in Italian—that is, respecting the stylistic and rhetorical demands of the target language (Italian) in a way that does justice to the original's lucidity: Melville's “wise men,” for example, becomes “quelli che se ne intendono.” In 2016, through Mondadori, he published a new translation of Spoon River Anthology by Edgar Lee Masters, which had become famous in Italy through the joint action of Cesare Pavese and Fernanda Pivano. Based on the critical edition produced by John Hallwas, the new edition includes a historical-literary essay highlighting the political and cultural circumstances that prevailed at the time of the work's birth and development around 1914. The notes to this edition give a face to the fictitious characters and a realistic dimension to the locations where their actions take place. Particular attention is given to the phenomenon of the development of middle-class values in what had previously been primarily a society of farmers and breeders in Illinois.

Editorial Work
In 1975, in New York, Ballerini founded OOLP (Out of London Press), with which he published titles dedicated to art criticism and research poetry. In 1988, he was Marsilio's editor for the United States, and in 2003, with ambassador Gianfranco Facco-Bonetti, head of cultural services of Italy's Ministry of Foreign Affairs, he created the Lorenzo Da Ponte Italian Library — a series of classics of Italian culture in the fields of history, jurisprudence, political science, literature, linguistics, and philosophy, published by University of Toronto Press. In the same period, with Beppe Cavatorta, Gianluca Rizzo, and Federica Santini, he created Agincourt Press, which published texts of experimental poetry, essays on Freudian-Lacanian psychoanalysis, and philosophy.

Gastronomic Studies
Ballerini has worked with the history of Italian gastronomy, which became the subject of his teaching at UCLA between 2005 and 2008[25]. In 2003, he published, with his own introductory essay, the first complete edition in English of Pellegrino Artusi's, Science in the Kitchen and the Art of Eating Well (University of Toronto Press). In 2004, he published (through University of California Press) the Book of the Culinary Art by Maestro Martino, the first chef of the modern era, whose work, identified only in 1931, dates to the second half of the fifteenth century. An edition of the Italian original, Libro de arte coquinaria, based on four of the five existing manuscripts and edited by Ballerini and Jeremy Parzen, was published by Guido Tommasi Editore in 2001.

Since 2012, he has created a series of meetings entitled “Latte e Linguaggio” [Milk and Language]. These rendezvous have taken place in the former dairy (and now municipal library) Chiesa Rossa in Milan. His book Erbe da mangiare (recipes by Ada De Santis, plates by Giuliano Della Casa) was issued by Mondadori in 2008 and republished in March 2020. An English translation, A Feast of Weeds, was published by University of California Press in 2012. For many years, he has been interested the pairing of food and the visual arts, with particular attention to canvases of convivial and religious subjects painted during the Renaissance.

Poetry collections

 * Eccetera. E, Parma: Guanda, 1972.
 * Che figurato muore, Milan: Sheiwiller, 1988.
 * Che oror l'orient, preface by Giuseppe Pontiggia, Lubrina, 1991. (bilingual poems, in Italian and Milanese dialect)
 * Il terzo gode, with an essay by Remo Bodei, Venezia: Marsilio, 1994.
 * Stracci shakespeariani, introduction by Filippo Bettini, Rome: Quasar, 1996 (bilingual poems, in English and Italian)
 * Uscita senza strada, introduction by Francesco Muzzioli, Edizioni della Battaglia, 2000.
 * Uno monta la luna, Manni, 2001.
 * Cefalonia 43, Milan: Mondadori, 2005. [In 2007, a theatrical adaptation was created by director and actor Marco Rebeschi and was staged and produced by Lo Sguardo Dell'Altro of Modena]. Awarded the Lorenzo Montano Poetry Prize and the Brancati Prize.
 * Se il tempo e matto, Mondadori, 2010.
 * Cefalonia 1943-2001, Marsilio, 2013.
 * Poesie 1972-2015, edited by Beppe Cavatorta, Collana Oscar Poesia, Milan: Mondadori, 2016, ISBN 978-88-046-6131-3.
 * Eccetera. E, Pisa: Diaforia/Il Campano, 2019.

Edited Anthologies of Italian and American Poetry

 * Luigi Ballerini, Ricard Milazzo (eds.), La rosa disabitata. Poesia trascendentale Americana 1960-1980, Feltrinelli, 1981.
 * Shearsmen of Sorts, Forum Italicum, 1992.
 * Luigi Ballerini, Giuseppe Cavatorta, Elena Coda, Paul Vangelisti (eds.), The Promised Land, Sun & Moon Press, 1999.
 * Luigi Ballerini, Paul Vangelisti (eds.), Nuova Poesia Americana. Los Angeles, Mondadori, 2005.
 * Luigi Ballerini, Paul Vangelisti (eds.), Nuova Poesia Americana. San Francisco, Mondadori, 2006.
 * Luigi Ballerini, Gianluca Rizzo, Paul Vangelisti (eds.), Nuova Poesia Americana. New York, Mondadori, 2009.
 * Luigi Ballerini, Giuseppe Cavatorta (eds.), Those Who From Afar Look Like Flies, University of Toronto Press, 2017.
 * Luigi Ballerini, Gianluca Rizzo, Paul Vangelisti (eds.), Nuova Poesia Americana. Chicago e le praterie, Nino Aragno Editore, 2019.

Critical Essays

 * La piramide capovolta: scritture visuali e d'avanguardia, Collana Saggi, Venice: Marsilio, 1975 [on avant-garde literature and poetry from Futurism to the concrete and visual poets)
 * Luigi Ballerini, James Reineking (eds.), Logical Space, Out of London Press, 1975.
 * La legge dell'ingratitudine. Letteratura e industria tra le due guerre in Gli indomabili, [text and theory of poetry], Mondadori, 2000, pp. XXIV-XXV.
 * Colui che vede Amore, Olschki, 2004. [on Guido Cavalcanti]
 * 4 per Pagliarani, Scritture, 2008.
 * Luigi Ballerini and William Xerra, Peggio per loro. Carteggio con figure sulle vicissitudini del mentire, Scritture, 2011.
 * Apollo, figlio di Apelle. Quattro artisti del secondo Novecento: Marco Gastini, Paolo Icaro, Eliseo Mattiacci, Lawrence Fane, Marsilio, 2016.

Studies in Culinary Art

 * Maestro Martino, Libro de arte coquinaria, edited by Luigi Ballerini, Jeremy Parzen, Guido Tommasi, 2001.
 * Pellegrino Artusi, Science in the Kitchen and the Art of Eating Well, University of Toronto Press, 2003.
 * Maestro Martino: The Book of the Culinary Art, University of California Press, 2004.
 * Erbe da mangiare, illustrations by Giuliano Della Casa, with recipes by Ada De Santis, Mondadori, 2008.

Critical Bibliography

 * Tibor Wlassics, Profili di poesia contemporanea: Luigi Ballerini, Il Verri, n. 4, 1973.
 * Alfredo Giuliani, Prefazione, in Che figurato muore by Luigi Ballerini, All'insegna del pesce d'oro, 1988, pp. 14–22.
 * Giuseppe Pontiggia, Prefazione, in Che oror l'orient by Luigi Ballerini, Pier Luigi Lubrina, 1991.
 * Remo Bodei, Effetti di lontananza, in Il terzo gode by Luigi Ballerini, Marsilio, 1994, pp. 7–23.
 * Filippo Bettini, La scrittura e il suo doppio: per un'interpretazione della poesia di Luigi Ballerini, in Shakespearian Rags - Stracci shakespeariani, Edizioni di Quasar, 1996, pp. 5–26.
 * Roberto Galaverni, La morale inquietudine lombarda di Ballerini, in Alias, Il Manifesto, 14 May 2005.
 * Elio Pagliarani, La tragedia di Cefalonia narrata in versi da Ballerini, Il caffè illustrato 22-26, 2005.
 * Beppe Cavatorta, Elena Coda (eds.), Balleriniana, Danilo Montanari, 2010.
 * Stefano Colangelo, Una pioggia di primi versi. Su alcune morfologie balleriniane, in Studi novecenteschi, n. 82, 2012.
 * Elisabetta Graziosi, "Se il tempo è matto" by Luigi Ballerini, in Studi novecenteschi, n. 82, 2012.
 * Cesare De Michelis, Prefazione, Cefalonia 1943-2001 by Luigi Ballerini, Marsilio, 2013, pp. 9–16.
 * Ugo Perolino, Il remo di Ulisse - Saggi sulla poesia e la poetica di Luigi Ballerini, Marsilio, 2021.

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

title: Luigi Ballerini


text:
Norman Saunders

Norman Blaine Saunders (January 1, 1907 – March 7, 1989) was a prolific 20th-century American commercial artist. He is best known for paintings in pulp magazines, paperbacks, men's adventure magazines, comic books and trading cards. On occasion, Saunders signed his work with his middle name, Blaine.

Early life and career
Saunders was born in Minot, North Dakota, but his earliest memories were from the family's homestead near Bemidji in northern Minnesota where he and his parents lived in a one-room cabin. He recalled moving north at age seven, to Roseau County on the Canada–US border, where his father was a game warden and a touring Presbyterian minister. "A tribe of the Chippewa Indians were there and by the time I was 12, was practically a blood brother."

Saunders' career was launched when his contributions to Captain Billy's Whiz Bang resulted in a job with Fawcett Publications, where he was employed from 1928 to 1934. He explained in 1983 the events that led to his arrival at Fawcett's offices in Robbinsdale, Minnesota: "I was hitchhiking, got into this Model-T Ford with a big trunk strapped up and these two guys in front. One of them had a gun, a rifle. He said, 'Keep your eye peeled on the back, kid, see if there are any police or motorcycle cops or something.' What the hell was this? These two guys had robbed somebody, or tried to, out in North Dakota, and they had stolen this car from some farmer and were trying to get away. As we got to the outskirts of Bemidji, I was getting awful nervous. There at the town they saw a sand pit with a big hole dug out of it, and they took this car over and got out and pushed it in. They went that way, and I went this way. That night I caught a freight train to Minneapolis. I took a streetcar ride to the end of the line, and there was a two-story bank there and a big sign: 'Robbinsdale, the home of Fawcett Publications.' I said, 'By gosh and by gracious, we got us a real true publisher here!' There was where they were printing Captain Billy's Whiz Bang."

Pulp paintings
He left Fawcett to become a freelance pulp artist, moved to New York City and studied under Harvey Dunn at the Grand Central School of Art. He painted for all the major publishers and was known for his fast-action scenes, his beautiful women and his ability to meet a deadline. He worked in almost any genre—Westerns, weird menace, detective, sports and the saucy pulps (sometimes signed as "Blaine"). He was able to paint very quickly, producing 100 paintings a year—two a week from 1935 through 1942—and thus lived well during the Depression era.

During World War II, Saunders served with the Military Police overseeing German prisoners. Transferred to the Army Corps of Engineers, he supervised the construction of a gas pipeline following the Burma Road. During his off hours, he painted watercolors of Burmese temples.

Trading cards
In 1958, Saunders obtained his first assignment from the trading cards company Topps, painting over photographs of baseball players who had been traded, so that they would appear to be wearing the jersey of their new team. Topps soon employed Saunders to create artwork for many other cards, including the 1962 Mars Attacks series and the Batman TV series in 1966.

Product developer Len Brown, inspired by Wally Wood's cover for EC Comics' Weird Science #16, pitched the idea to art director Woody Gelman. Wood fleshed out his and Gelman's initial sketches, and Bob Powell did the final designs. Saunders painted the 55-card set.

The cards were test marketed by Topps through a dummy corporation called Bubbles, Inc. under the name Attack From Space. Sales were sufficient to expand the marketing, and the name was changed to Mars Attacks. The cards sparked parental and community outrage over their graphic violence and implied sexuality. Topps responded initially by repainting 13 of the cards to reduce the gore and sexuality; then, following inquiries from a Connecticut district attorney, Topps agreed to halt production before the altered cards could be added.

Saunders also produced a number of less well-known trading card series, including Ugly Stickers, Nutty Initials, Make Your Own Name Stickers and Civil War News. Wacky Packages was Norman Saunders' last major art project, and also his biggest popular success. He began them in 1967 with the "Die-Cuts" and he continued to paint them until the 16th series in 1976. Although, Norm created no new art for "Wackies" after 1978, the manufacturers continued to repackage Norm's artworks in various formats, even releasing some previously unreleased artworks, but the last Topps product with Norm's art was the Wacky Can Labels in 1980.

Personal life
Saunders married Ellene Politis in 1947. Their daughter, Zina Saunders, is also an illustrator for magazines, books and trading cards. Their son, David Saunders, is a painter-sculptor who designed the "Apple Fence" at New York's LaGuardia Airport.

Books

 * Graphic Design Time Line: A Century Of Design Milestones. Heller, Steven; Pettit, Elinor, Allworth Publications, New York, NY, 2000.
 * Norman Saunders. Saunders, David, The Illustrated Press, Saint Louis, MO, 2008.
 * Pulp Art: Original Cover Paintings For The Great American Pulp Magazines. Lesser, Robert; Reed, Roger, Gramercy Books, New York, NY, 1997.

title: Norman Saunders


text:
Ozark (disambiguation)

The Ozarks is a highland region in the central United States.

Ozark may also refer to:

Places

 * Ozark, Alabama
 * Ozark, Arkansas
 * Ozark, Illinois
 * Ozark, Kentucky
 * Ozark, Missouri
 * Lake Ozark, Missouri, not to be confused with Lake of the Ozarks the nearby body of water for which the city was named.
 * Ozark County, Missouri
 * Ozark Highlands AVA, an American Viticultural Area in Missouri
 * Ozark Mountain AVA, an American Viticultural Area in Arkansas, Missouri, and Oklahoma
 * Lake of the Ozarks, Missouri
 * Lake of the Ozarks State Park
 * Ozark Township (disambiguation)
 * Ozark Trail (disambiguation)
 * Ozark-St. Francis National Forest is a United States National Forest located in Arkansas
 * Current River (Ozarks), the Ozark National Scenic Riverways, the first US national park
 * Henry Shaw Ozark Corridor (from 1994) preserves Ozark foothills along Interstate 44
 * List of Missouri conservation areas – Ozark region

People

 * Ozark Henry, a Belgian musician
 * Ozark Ripley, an American fisherman and huntsman
 * Danny Ozark, an American baseball manager

Arts, entertainment, and media

 * The Ozark Mountain Daredevils, a band formed in 1972 in Springfield, Missouri
 * "Ozark", second track on the album As Falls Wichita, So Falls Wichita Falls by Pat Metheny and Lyle Mays
 * Ozark Music Festival, a rock music festival that took place in 1974 in Sedalia, Missouri
 * Ozark (TV series), an American crime drama web television series

Other uses

 * Ozark Air Lines, a defunct airline in the United States
 * Ozark Division, a nickname of the U.S. 102nd Infantry Division
 * Ozark FC, an amateur association football team
 * Ozark High School (disambiguation)
 * USS Ozark (disambiguation), several ships of the US Navy

title: Ozark (disambiguation)


text:
Morris Ketchum Jesup

Morris Ketchum Jesup (June 21, 1830 – January 22, 1908), was an American banker and philanthropist. He was the president of the American Museum of Natural History and was known as a leading patron of scientific research and an eminent art collector, particularly towards his support for Frederic Edwin Church.

Early life
Morris Jesup was born at Westport, Connecticut in 1830, the son of Charles Jesup and Abigail Sherwood. He was descended from Edward Jessup of the Stamford, New Haven Colony, an early settler in Middleburg, Long Island, now Elmhurst, Queens. Edward later became owner of a large estate in what is now Hunts Point, Bronx.

Career
In 1842 he went to New York City, where after some experience in business, he established a banking house in 1852. In 1856 he organized the banking firm of MK Jesup & Company, which after two reorganizations became Cuyler, Morgan & Jesup. He became widely known as a financier, retiring from active business in 1884.

Philanthropy
Before his retirement, he was already active in a wide variety of philanthropic endeavors. Jesup was one of the organizers of the United States Christian Commission during the Civil War, which helped provide care for wounded soldiers. He was one of the founders of YMCA New York, and served as its president in New York in 1872.

After 1860 he helped found and served as president of the Five Points House of Industry in New York, a type of settlement house in Lower Manhattan to teach new European immigrants the skills needed in the United States. In 1881, he became president of the New York City Mission and Tract Society. He donated the funds for construction of the Society's DeWitt (his father-in-law) Memorial Church in Rivington Street on the Lower East Side, a center of immigrant settlement. Jesup contributed funds and worked personally to better social conditions in New York, in a period when the city was struggling to aid many poor immigrants from rural areas of southern and eastern Europe, including the Russian Empire. The Woman's Hospital in New York City received $100,000.

He was best known as a patron of scientific research: Jesup was a major contributor to fund the Arctic expeditions of Robert Peary. He was elected president of the Peary Arctic Club in 1899. Jesup also funded the Jesup North Pacific Expedition (1897-1902), a major ethnographic project led by the anthropologist Franz Boas.

He was also an important patron and collector of the visual arts, perhaps best remembered for his support of Frederic Edwin Church, which resulted in the 1871 masterwork The Parthenon that came into the collection of the Metropolitan Museum of Art with Jesup's substantial bequest of many important paintings of the Hudson River School and more at the time of his wife's death in 1915.

Jesup contributed to educational institutions. His contributions to Tuskegee Institute enabled George Washington Carver to develop a mobile educational station that he took to farmers. Jesup was treasurer of the John F. Slater Fund for the Education of Freedmen at its beginning. He served as a member of the Peabody Educational Board and of the General Education Board. He gave $51,000 to the Yale Divinity School; to Yale University, he gave the Landbery Arabic manuscripts, for which he had paid $20,000. Williams College received $35,000. He presented Jesup Hall to the Union Theological Seminary.

In 1881, he was appointed president of the American Museum of Natural History, in New York City, to which he gave large sums in his lifetime and bequeathed $1,000,000. In 1883 he became chairman of the newly formed Forestry Committee of the New York Chamber of Commerce, tasked with "saving the woods and waters of the State [i.e.New York]," an early step in a process that eventually led to the creation of New York State's Adirondack Park in 1894. New York City business interests at the time were fearful that deforestation of the Adirondacks would ruin the Hudson River waterways upon which their business was dependent. The Forestry Committee pressured the state legislature to purchase lands in the Adirondack forest, and proposed a model bill. The legislature did not authorize the purchase of lands, but set aside about 700,000 acres of state holdings from future sale. In 1885, Governor Hill signed a new bill into law creating a "Forest Preserve" in the Adirondacks, however, cutting rights were soon being sold to private companies and individuals, and even to the lumberman on the newly created state Forest Commission. In response, in 1890, as president of the New York State Forestry Association, Jesup's group was one of many to propose new bills whose purpose was to create an Adirondack park. Downriver businessmen did not want any lumbering activities in the proposed park area. In 1892, Governor Flower signed the Adirondack Park Enabling Act, creating a state park, but left the issue of timber-cutting ambiguous. The state's constitutional convention in 1894, an amendment to fully protect the trees of the park was unanimously approved by a vote of 122 to 0. It went into full affect in 1895.

Jesup also served as trustee for the Syrian Protestant College (American University of Beirut) from 1884 to 1892, and board chair from 1893 to 1908. He also built "Post Hall", which is home to the university's Archaeological Museum and Geology Department.

Jesup was president of the New York Chamber of Commerce from 1899 until 1907, and was the largest subscriber to its new building. Jesup was a member of the Jekyll Island Club (aka The millionaires Club) on Jekyll Island, Georgia along with J.P. Morgan and William Rockefeller among others.

To his native town he donated funds to construct the Westport Public Library.

Personal life
In 1854, Morris married Maria van Antwerp DeWitt (1834–1914). Maria was a daughter of Rev. Thomas DeWitt Jr., who was the pastor of the Collegiate Dutch Church in New York City for forty years. Her sister, Mary Elizabeth DeWitt, was the wife of Theodore Cuyler, general counsel for the Pennsylvania Railroad, and mother to Thomas DeWitt Cuyler among others.

Jesup died on January 22, 1908, aged 77, at 107 Madison Avenue, his home in New York City and was buried in Green-Wood Cemetery in Brooklyn.

Legacy and honors

 * 1905, he was knighted by Tsar Nicholas II of Russia for his philanthropic work aiding immigrants from the Russian Empire.
 * Columbia University's Jesup Lectureship is named after him.
 * The Morris K. Jesup Psychological Laboratory on Vanderbilt University's Peabody campus was named for him and was the first building of its kind in the world;
 * Cape Morris Jesup, the northernmost point of mainland Greenland, as well as Morris Jesup Glacier, were named in his honor.
 * The American Museum of Natural History's hall of Northwest Coast Indians is named after him.
 * The town of Jesup, Iowa is named for him.
 * Jesup Trail at Acadia National Park is named after Jesup and his wife.

title: Morris Ketchum Jesup


text:
User:JohnWinn/AgeFrontPage

Created in the last: ten minutes, hour , day , week , month , six months , year , two years , over two years. Created automatically from the history of this article. The ages of links, templated content and image captions are not shown.

Being new to Wikipedia, I am intrigued at how the quality of articles remains relatively high despite the editing freedoms that potentially allow vandalism. This has set me thinking about ways to automate protecting high quality content whilst not providing barriers to contributors.

Schemes for automatic protection of content could be based on *a reputation system where each user has a score indicating the expected quality of their edits. This could either be explicit (where other users get to vote on the quality of your edits) or implicit (based on how much of your edits are reverted/deleted, how many page views they get). *the age of the content, either in terms of time or number of views. The idea here is that the more people who have eyeballed a piece of content without editing it, the more likely it is to be high quality.

To investigate the second point, I have written a prototype tool which takes the edit history of a page and uses it to render the page showing the age of each word. The tool runs offline at the moment, but some examples are below. The tool would hopefully make it easier to spot recent changes for those looking to undo vandalism and also help the reader judge the quality of the content.

Examples of pages showing the age of the content

 * Train
 * St John's College
 * Vatican City

About the content age tool
The tool is written in Java and uses Special:Export to retrive an XML version of the edit history of an article. A diff is performed between the latest version of the article and each of the previous versions. Each word is marked with the revision that it first appeared in and the result is used to create the marked-up article (as shown in the above examples).

title: User:JohnWinn/AgeFrontPage


text:
Ozark Air Lines

Ozark Air Lines was a local service carrier (originally known as a feeder airline) in the United States that operated from 1950 until 1986, when it was purchased by Trans World Airlines (TWA). Ozark got a second chance to be an airline when the carrier that won the routes for which Ozark applied, Parks Air Lines, failed to start them in a timely manner. Parks had its rights revoked, Ozark won not only the routes it previously applied for, but others as well. Parks merged into Ozark and Ozark (then without any airline operations) took over the Parks operation and the single route over which Parks had recently started service, thereby launching Ozark. Ozark over time became a jet carrier with a hub in St. Louis.

In 2001, TWA was merged into American Airlines. A smaller regional airline that used the Ozark name (and whose operating certificate was purchased by Great Plains Airlines) operated in 2000–2001. From 1950 until 1986, Ozark's headquarters was located at St. Louis Lambert International Airport.

Pre-certification
Ozark Air Lines was incorporated on 1 September 1943 in Missouri by Laddie Hamilton, Barak Mattingly and Floyd Jones with $100,000 in paid-up capital. Ozark flew from Springfield, Missouri, and, in January 1945, it began flights between Springfield and St. Louis on Beechcraft Model 17 Staggerwings, replaced by Cessna AT-17 Bobcats in the late 1940s.

Ozark applied for certification as a feeder or local service airline in the Mississippi Valley Case of Civil Aeronautics Board (CAB). The CAB was the now-defunct federal agency that, at the time, tightly regulated almost all air transport in the United States. Without certification from the CAB (or, in some cases, flying solely within a single state as an intrastate airline), no airline could operate. When the CAB ruled in that case in December 1947, Ozark was shut out.

Parks Air Lines
One of the winning airlines in the Mississippi Valley Case was Parks Air Transport, controlled by aviation entrepreneur Oliver Parks, best known for his prominent role in developing pilot training. This was the third case in which PAT won routes, leaving it with the largest portfolio of feeder routes in the country, one that was regarded as potentially the "richest" such in the industry. But Parks failed to start service on his network and in June 1949, the CAB started proceedings to potentially revoke the certification of his airline, now called Parks Air Lines (PAL). As part of those proceedings, the CAB accepted applications for airlines to take over PAL's routes and Ozark renewed its application. The CAB came to a final decision in July 1950, revoking PAL's certification and awarded Ozark not only PAL's Mississippi Valley Case routes, but also those PAL routes from the Great Lakes Area case. In June 1950, PAL finally started flying a route from East St. Louis to Chicago via St. Louis and three central Illinois cities. An appeals court said PAL could keep operating this one route until the effective date of the CAB order (September 26, 1950) but would not prevent the CAB from enforcing the order while PAL pursued a full court case. PAL agreed to sell its airline operation (including five DC-3s) to Ozark in exchange for 37.5% of the business. Ozark had no airline operations at the time, so PAL's operations became those of Ozark and in this way, Ozark Air Lines started service on that one Chicago route on September 26, 1950. Ozark retained operations at PAL's Cahokia, Illinois home airport, then known as Parks Metropolitan Airport, today as St. Louis Downtown Airport, for a period. For instance, Ozark's maintenance base moved from there to St. Louis in 1952.

After Parks
Services were started on, using Douglas DC-3s initially from St. Louis to Chicago later to Tulsa and Memphis. In 1955, the airline had 13 DC-3s flying to 35 cities between Sioux City, Indianapolis, Wichita, and Nashville. Ozark's main hub was St. Louis Lambert International Airport. Like other Local Service airlines, it was subsidized; in 1962, its operating revenues of US$14.0 million (equivalent to US$ million in ) included US$4.5 million (equivalent to US$ million in ) of federal subsidy.

In 1960, turboprop Fairchild F-27s were introduced; piston-engine Martin 4-0-4s were added to the fleet in 1964 and removed in 1967.

One of three co-founders, Arthur G. Heyne was an attorney in St. Louis, Missouri, and served as Secretary-Treasurer starting in 1950.

The three swallows on Ozark fins represented on-time flights, referring to the legend of the swallows that return to the Mission San Juan Capistrano, in California, each year on 19 March.

Jets
In 1961, Ozark's network reached from Minneapolis to Nashville and from Kansas City to Indianapolis and Louisville. Denver was added in 1966 and, in 1969, the network sprouted eastward: Ozark was awarded nonstops from Champaign and Peoria to Washington Dulles, continuing to New York LaGuardia. Atlanta was added in 1978 and four Florida cities in winter 1978–1979. In September 1966, Ozark and Central Airlines announced plans to merge, subject to CAB approval; the new airline was to retain the Ozark name and would be one of the largest local service carriers in the U.S. However, in November 1966, the two airlines announced that merger talks had ended by mutual consent due to financing difficulties.

By 1967, the Martins and F-27s were replaced with Fairchild Hiller FH-227s, a stretched F-27; Ozark was all-turbine after the last DC-3 flight in October 1968. Ozark's introduced its first jets in July, 1966 with the Douglas DC-9-10s. The DC-9-10s were later augmented with McDonnell Douglas DC-9-30s (DC-9-31/32) and McDonnell Douglas DC-9-40s. The airline also ordered two Boeing 727-200s but never took delivery. In late 1980, Ozark retired its last FH-227 prop aircraft and went all jet with an all DC-9 fleet. Several very small cities including Burlington, Fort Dodge, and Mason City in Iowa, Decatur, Marion, and Quincy in Illinois, and Cape Girardeau, Missouri, briefly saw DC-9 jet service before Ozark discontinued serving those cities in 1982. In 1984, larger McDonnell Douglas MD-80s were added.

Ozark Midwest
In 1985 Ozark began a code-share agreement with Air Midwest, a commuter airline operating 17-seat Fairchild Swearingen Metroliners. The operation was called Ozark Midwest and the Air Midwest aircraft were painted with green stripes, similar to Ozark but without the swallows. Ozark Midwest provided feeder service to Ozark from many smaller cities in the midwest that were not able to support large DC-9 jets including several cities that Ozark had previously discontinued.

Merger with TWA
In the mid-1980s Ozark and TWA had a de facto duopoly at St. Louis Lambert International Airport, a hub for both. Ozark accounted for 26.3 percent of boardings at STL in 1985, while TWA accounted for 56.6 percent. On, the two airlines announced plans to merge: TWA would buy Ozark for US$242 million in cash (equivalent to US$ million in ). Shareholders of both airlines approved the merger by late summer, and the United States Department of Transportation gave its approval on.

Ozark ceased to exist as an independent company on. The Ozark DC-9s were gradually painted with a modified paint scheme with "TWA" in the tail. Over the next couple of years, the fifty Ozark airplanes were repainted in the TWA livery. On, TWA was merged into American Airlines.

Second Ozark Air Lines (2000–2001)
In 1998, rights to the airline's name were purchased by William E. Stricker of Columbia, Missouri. The reformed Ozark Air Lines received its operating certificate on, and began service 10 days later, from Columbia Regional Airport to Dallas/Fort Worth International Airport and Chicago Midway Airport, using two Fairchild Dornier 328JET aircraft. Later in 2000, service was added to Joplin Regional Airport in Joplin, Missouri, as a stop between Columbia and Dallas/Fort Worth. In early 2001, Ozark operated to the Taos Regional Airport serving Taos, New Mexico, from Dallas/Fort Worth on two days per week during the winter ski season.

A year later, the company ceased operations and sold its assets to the now-bankrupt Great Plains Airlines, based in Tulsa, Oklahoma.

Reservations
From the 1960s through the late 1980s, Ozark Air Lines' reservations department used a special toll-free WX telephone prefix in New Jersey which could be reached only in certain areas of the state by dialing 0 and asking the New Jersey Bell operator to connect to Ozark's WX number: WX-8300. The number could not be dialed directly by the customer and was only available to certain telephone exchanges where WX was available. (Direct-dial toll-free service made WX numbers obsolete, and they have been largely phased out.)

Advertising
In the late 1960s, comedian George Carlin appeared in Ozark advertising.

Destinations in 1986

 * Atlanta (Hartsfield–Jackson Atlanta International Airport)
 * Baltimore (Baltimore/Washington International Thurgood Marshall Airport)
 * Cedar Rapids/Iowa City (The Eastern Iowa Airport)
 * Champaign/Urbana (University of Illinois Willard Airport)
 * Charlotte (Charlotte/Douglas International Airport)
 * Chicago (Chicago O'Hare International Airport)
 * Cleveland (Cleveland Hopkins International Airport)
 * Dallas/Fort Worth (Dallas/Fort Worth International Airport)
 * Denver (Stapleton International Airport)
 * Des Moines (Des Moines International Airport)
 * Detroit (Detroit Metropolitan Wayne County Airport)
 * Fort Lauderdale/Hollywood (Fort Lauderdale – Hollywood International Airport)
 * Fort Myers (Southwest Florida International Airport)
 * Houston (William P. Hobby Airport)
 * Indianapolis (Indianapolis International Airport)
 * Jacksonville (Jacksonville International Airport)
 * Kansas City (Kansas City International Airport)
 * Las Vegas (McCarran International Airport)
 * Lincoln (Lincoln Airport)
 * Louisville (Louisville International Airport)
 * Madison (Dane County Regional Airport)
 * Miami (Miami International Airport)
 * Milwaukee (General Mitchell International Airport)
 * Minneapolis/St. Paul (Minneapolis–Saint Paul International Airport)
 * Moline/Quad Cities (Quad City International Airport)
 * Nashville (Nashville International Airport)
 * New Orleans (Louis Armstrong New Orleans International Airport)
 * New York City (LaGuardia Airport)
 * Norfolk (Norfolk International Airport)
 * Omaha (Eppley Airfield)
 * Oklahoma City (Will Rogers World Airport)
 * Orlando (Orlando International Airport)
 * Peoria (General Wayne A. Downing Peoria International Airport)
 * Philadelphia (Philadelphia International Airport)
 * Raleigh/Durham (Raleigh–Durham International Airport)
 * Rochester, Minnesota (Rochester International Airport)
 * San Antonio (San Antonio International Airport)
 * San Diego (San Diego International Airport)
 * Sarasota/Bradenton (Sarasota-Bradenton International Airport)
 * Sioux City (Sioux Gateway Airport)
 * Sioux Falls (Sioux Falls Regional Airport)
 * Springfield, Illinois (Abraham Lincoln Capital Airport)
 * St. Louis (St. Louis Lambert International Airport) (Hub)
 * Tampa (Tampa International Airport)
 * Tulsa (Tulsa International Airport)
 * West Palm Beach (Palm Beach International Airport)
 * Washington, D.C. (Ronald Reagan Washington National Airport)
 * Waterloo (Waterloo Regional Airport)

 * Note: Regional destinations were served by Ozark Midwest

Fleet
World Airline Fleets 1979 (copyright 1979) lists Ozark as having the following fleet:

 * 13 Fairchild-Hiller FH-227B
 * 7 Douglas DC-9-15
 * 20 Douglas DC-9-31
 * 4 Douglas DC-9-32
 * 1 Douglas DC-9-33CF

Eight of the DC-9-31s were former Northeast Airlines aircraft.

Ozark Air Lines operated the following aircraft:

Accidents and incidents

 * On, Ozark Air Lines Flight 965, a Douglas DC-9-15, collided in midair with a Cessna 150F while both aircraft were on approach to runway 17 at Lambert–St. Louis Municipal Airport (Lambert Field), St. Louis, Missouri. The Cessna was demolished by the collision and ground impact, and both of its occupants were killed. The DC-9 sustained light damage and was able to land safely; none of its 44 passengers or five crewmembers were injured.
 * On, Ozark Air Lines Flight 982 crashed shortly after takeoff from Sioux Gateway Airport. 35 of the flight's 62 passengers and 4 crew members were taken to area hospitals, mostly for treatment of minor cuts and scratches. It was the "first crash of any significance for the airline." The US$3 million DC-9 aircraft (equivalent to US$ million in ) was a total loss.
 * On, Ozark Air Lines Flight 809, a Fairchild Hiller FH-227B, crashed while on approach to Lambert–St. Louis International Airport. Of the 45 passengers and crew on board, only seven survived. Microburst-induced windshear and the captain's decision to land in a thunderstorm were cited as the cause.
 * On, Ozark Air Lines Flight 650, a McDonnell Douglas DC-9-31, struck a snow plow while landing at Sioux Falls Regional Airport. The driver of the snow plow was killed and two flight attendants suffered minor injuries. No passengers were injured.

title: Ozark Air Lines


text:
Wikipedia:Articles for deletion/DPPP

 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. moink 00:39, 10 May 2005 (UTC)

DPPP
Summary: (this is to help me and other admins sort out this vote, please correct if I missed your vote).
 * Delete: 11 (Russblau, Uncle G, Megan1967, Wetman, Scuriger, Radiant, Master Thief Garrett, Tobycat, Adun, Blank Verse, DO'Neil.
 * Transwiki: 4 (Jeltz, Tuf-Kat, JIP, Xiong)
 * Keep: 3 (Zaphood, Zscout, Zwilson).

Article when it was first nominated for deletion: Compared to article now:. Only major change is addition of chemical box.

Ok, that's enough info now. Consensus is to delete.

Delete The introduction to this page reads "Please note that this information is presented here in an attempt to stop it from exiting public domain. So from my local copy:" which strongly suggests a copyvio, but without any indication of the source. This is a recipe for concocting an explosive. If it is not a copyvio, then it would appear to be original research. In any event, it is not encyclopedic. RussBlau 15:34, Apr 24, 2005 (UTC)

 * Don't delete, no copyright was reserved by the author and the whole scheme (I clearly remeber that no copyright was reserved) is based on german patent 1951660 which I will upload a copy shortly. Other similar but not as detailed writeups on explosive synthesis are abound, look at the article acetone peroxide under explosive materials. Allso all the originals are gone from www.sciforums.com And I feel that this is important knowlidge that should be conserved. Sort of like an algorithm for sorting out problems post haste. [[image:foron2.gif|200px|DPPP patent]] Zaphood 16:25, 24 Apr 2005 (UTC)
 * You are mistaken in that one never needs to 'reserve' copyright in order for it to apply. Radiant_* 11:15, Apr 25, 2005 (UTC)
 * Transkwiki, shouldn't howtos and recipes be in wikibooks? Jeltz talk  16:30, 24 Apr 2005 (UTC)
 * Transwiki to wikibooks Tuf-Kat 16:50, Apr 24, 2005 (UTC)
 * Abstain KeepThis is encyclopedic, but I might add that attempting to make organic peroxides is extremely dangerious. The article needs to be cleaned up, though. I'd like to see the synthesis instructions rewriteen to be a bit more serious though. Klonimus 23:30, 24 Apr 2005 (UTC)
 * No it isn't. It's a how-to.  It's not an encyclopaedia article about diphorone pentaperoxide. Uncle G 23:58, 2005 Apr 24 (UTC)
 * True! It's not an encyclopedic article about DPPP it an encyclopedic article about the synthesis of DPPP, or does it need more scope? It's all there! Zaphood 13:35, 25 Apr 2005 (UTC)
 * No it isn't. It's a how-to.  It's not an encyclopaedia article about synthesis.  It's a recipe, plain and simple. Uncle G 16:45, 2005 Apr 27 (UTC)
 * Wikipedia articles are not source material. Nor is Wikipedia a means for ensuring that knowledge does not become lost.  If Zaphood doesn't want knowledge to be lost, xe should publish xyr "local copy" on xyr own web-site.  Wikipedia is not a free hosting service.  Moreover, the claim that Wikipedia has a similar detailed writeup for the synthesis of acetone peroxide is simply false, as reading that article will attest.  This is not an encyclopaedia article.  Moreover, don't burden the transwiki system with this when the original author and sole editor is clearly around, and should be encouraged to publish the article in the correct place xemself, directly. Delete. Uncle G 23:58, 2005 Apr 24 (UTC)
 * Well Nobody has asked for your opinion. Your vote maybe but your drivel about xat and ur is tiresome at best to read. Nobody is begging you to transwiki anything or to even exist. Yes, my world would be a slightly better place without you uncle g, and it eludes me why you took an extended interest in the first place. If you feel your connection with wiki a burden, you are doing the wrong thing with your time, I can only wish that you find a more soothing task to preoccupy your time.Zaphood
 * Comment: I don't think that Wikipedia should become a repository for explosive-making recipes if only because it would open up legal issues in many countries, especially in relation to anti-terrorism laws. If someone is interested in the patent, then there are a number of patent libraries on the internet.  SteveW | Talk 00:03, 25 Apr 2005 (UTC)
 * Delete: The original authour seems interested in nothing other that keeping explosives information availible to the public (possiblly against legal threats i'm not sure) by using our rescources. I DO NOT oppose us having an article on this substance if it has sufficiant signficance. I do oppose us having bomb making instructions here for no good reason. 01:43, 25 Apr 2005 (UTC)
 * Delete, Wikipedia is not a free hosting service. Megan1967 03:47, 25 Apr 2005 (UTC)
 * Do you have something against keeping explosive information in the public know? Why is that? Ever heard the phrase 'if we outlaw guns only outlaws will have them' It has certaint connections to this here. I'm explicitly saying that knowlidge about explosives is vital to anybody who has contact in some form of the other to them. Be it professional, hobby or michevious. I truely believe in the freedom of information, the freedom to learn and know. There are no boundries and no exclusions to this, be it how suspicious or otherwise. And no, I have not recieved any cease and desist letters, I have just noticed as an avid collector of high energy information that this particular gem was exiting the 'know' at lim. lightspeed. And kind of went 'wow this should be accessible to all, it's right down and dirty brilliant knowlidge' wikipedia was a kind of a natural continuation of that thought process. Information in itself is as far as I know legal. What would constitute as a good reason for having bomb making instructions. Well, the need for a bomb obviously. But it's a different thing to say 'here's how to make DPPP' than it is to say 'Psst! take this bomb and kill someone' See my point? There are articles of all kinds of things.. Poisons for example, Just doing an article on deadly nightshade (orsth.) does not imply 'here's the vial, slip it into his lordship's wine before dinner' NPOV. Zaphood 13:51, 25 Apr 2005 (UTC)
 * If you have not received any letters, what is the reason for your apparent unwillingness to publish your own article on your own web site? Uncle G 16:45, 2005 Apr 27 (UTC)
 * Delete if a private hosting place can be found, otherwise Transwiki to Wikibooks.   — J I P | Talk 04:35, 25 Apr 2005 (UTC)
 * Delete non-encyclopedic. --Wetman 05:59, 25 Apr 2005 (UTC)
 * Agreed, delete. -- Securiger 10:42, 25 Apr 2005 (UTC)
 * Delete, Radiant_* 11:15, Apr 25, 2005 (UTC)
 * Ok, what we have here is a failure to communicate (maily mine) I see your points and will try and make a sort of a forward escape.
 * Zeroth point: cake muffin <- compare
 * I suggest that you do exactly that. cake is not a how-to, a recipe for making cakes akin to this recipe for making diphorone pentaperoxide, but is an encyclopaedia article about cakes.  The recipes for cake are, of course on Wikibooks, in the Cookbook, in the section containing cake recipes.  I suspect that you noticed this, since you came back later and added muffin.  Part of that article, too, is a recipe that doesn't belong in the encylopaedia, but in

 * Yes one can do thease magical things here in wikipedia, like add stuff to other stuff, Did you discover this by my example ? Well then, consider the wage naught, and I see you went straight away and effected this newly-found ability (it is called editing, now say with me ee-di-ting) to add the 'transfer to the recpie wiki' (orsth) stub to muffin and then had the ultimate grace to come and whine about it on my goddamn VfD? what's up uncle G ? didn't sleep well ? on crack ?Zaphood

the section of the cookbook containing muffin recipes, and it is tagged as such. Uncle G 16:45, 2005 Apr 27 (UTC)
 * But wasn't till i pointed it out to you Zaphood
 * First, I feel that transwiki would be the smart thing to do. There are allready synthesis for thermite and cyclonite under chemistry there. But I really feel that I do not have the competence to write a textbook or a manual on synthesis or any subgategory thereof. I just happen to have first hand knowlidge that this synthesis works and has been sort of a status quo way of obtaining DPPP.
 * Transwiki would be the lazy thing to do. Please stop attempting to burden other editors with a complex transwikification task when you, as the original author, are right here, apparently perfectly capable of submitting text to a wiki, and can submit your own original article yourself. Uncle G 16:45, 2005 Apr 27 (UTC)
 * Please accept this uncle g I would consider it an insult if you were to transwiki anything of mine. I trust your ability not and even you dount your resolve and energyZaphood

I'd bet a cup of stale coffe and a napkin you are from U.S. or her former colonial master the brits, which pretty much merits 'scum of the earth' in my book but what have you..?Zaphood (Colors will follow this pattern: Clear, light yellow, orange, dark orange, wine red, black-orange, and black-red.)
 * Second (not a hosting service): Point 2 states that material not used in a encyclopedic article are bad. Well I looked up encyclopedic and I really can't see the basis on which you state that this wiki entry does not have the qualities. It is educational, it is how should I put this, part of the circle of learning if you are looking for information on organic peroxides. All the uploaded pictures are used and the patent is on this VfD page, so I'm not hosting bull per se.
 * It's a how-to, a recipe indeed, not an encyclopaedia article, as explained. The articles at Wikibooks, such as the cocktail mixing instructions in the Bartending book, are "educational", too (intentionally so, indeed, as part of Wikibooks' remit to hold "instructional materials").  But they aren't encyclopaedia articles either. Uncle G 16:45, 2005 Apr 27 (UTC)
 * Article being trivial: Well DPPP is considered the 'holy grail' of organic peroxides. It outstands in many ways compared to other 'easy' synthesis of similar material. First of all it's safe compared to the others, It's not too sensitive if stored right and is probably the fastest explosive around outrunning C4, TNT, RDX and just about anything except a few exotic compounds that have no use except as curios.
 * The copyright again. I'm saying it is in the public domain. If the original author who worded the synthesis came around he would not mind at all. And if he did I find it strange considering that this was released on the sciforums forum and discussed there extensivly untill someone desided it's too simple and too effective to be let sit where anyone can learn it.
 * Hosting it on my webserv: Well how would that help someone relying on wikipedia for knowlidge. I can't very well put a link to my homepage on wikipedia now can I ? wikipedia is not a linkfarm (pun)
 * Wikipedia is not the only way to publish stuff. Funnily enough, the World Wide Web contains more than just Wikipedia.  It also contains your own web site, just as it contains my web sites, where I publish knowledge that I don't want to be lost. Uncle G 16:45, 2005 Apr 27 (UTC)
 * Yeah uncle g spare me the rethoric, I'm not like you and you do what you see best, I do what I see best but I really could not care less about your practices uncle g.Zaphood
 * Legal issues other than copyright: I know it's a bum having your twin towers blown up but frankly, this has nothing to do with that or the laws that followed. If some country want's to orwellianalize the world, that's the shortcoming of the people who let that goverment do that, not the fault of the internet, not the fault of free information exchange, not the fault of learning interesting stuff and certainly not the fault of my finnish ass. Fine your homeland security act says that your MiB's can come here and put a slug in my head (read it it really gives the right to go on foregin soil and kill 'terrorists' (ie. anybody who is not playing on team america) without scrutiny) But after me, someone is bound to find this or similar in a book, and think 'wow this is great, why isn't it in the f*cking encyclopedia' Well if all the books aren't burnt and his emotion controll chip let's him have emotions such as 'wow'
 * Assuming that all Wikipedians are United States citizens isn't going to convince people that your arguments have merit. Uncle G 16:45, 2005 Apr 27 (UTC)
 * Well I used the term 'your' in the sence that they weren't MINE. Tell me uncle g where are you from?
 * Bomb making instructions: There isn't a way around this 'm afraid. If you put yeast and sugar in water, put that in a bottle and close the cap, what do you have? An improvised explosive device with a built in timer. It's all in the perspective, I think NPOV states that you should not assume that something is used for bad, when valid causes can easily be found. That pesky tree stump in the field, the warm fuzzy feeling of having a couple of kilos of high explosives under the bed, that painfull tooth, etc... And if your 12yr old son without your knowlidge should want to make explosives, which would you choose: Poor info that ends your kid in a grave OR Good info that keeps him safe ? Think about it.. Because of good info I still can type (a mishap with ammonia and iodine, but i was lucky because I knew it's gonna make a bang, just had no proportion, but I was afraid of the stuff and that's because of good info and that's what saved my fingers)
 * The patent: This synthesis is superior to the patent 1) It has pictures 2)German patents are only accessible to german speaking people 3)If you are looking for information on ketchup, would you rather a)google the recepie b)work on a tomato farm ? I'm willing to bet a pack of cigarettes that you can't find this german patent because of a) you are lazy enough to weigh a pack of cigarettes lower than a trip to the public (patent) library b) You need a german patent library. (will send 1 pack of ciggies upon proof of discovery and a mailing address, offer valid if I have a spare pack of ciggies) Zaphood 13:24, 25 Apr 2005 (UTC)
 * It's amusing that you choose ketchup recipes as an example, when the Cookbook has a section for sauce recipes, too. Uncle G 16:45, 2005 Apr 27 (UTC)
 * Well that was exactly not the point i were trying to demonstrate, but close. The point is that there are easy ways of doing things and hard ways. And i am trying to facilitate a easy way for people who have the interest, to find out about this particular organic peroxide. Zaphood
 * Delete, non-encyclopedic. And, if anything, someone who can read German will blow themselves up or something crazy like that. And we don't want a lawsuit on our hands. Although no doubt many Wikipedians are lawyers, that doesn't mean we'd win... Master Thief Garrett 21:24, 25 Apr 2005 (UTC)
 * Strong Delete: Wikipedia should not have bomb recipies listed as articles, even moreso if they are non encyclapedic, I really hope this is deleted as Wikipedia could get in a lot of legal trouble for this.Deathawk 03:58, 26 Apr 2005 (UTC)
 * Comment: User:193.229.219.152 is vandalising other people's votes and comments.   — J I P | Talk 06:31, 26 Apr 2005 (UTC)
 * I was most certaintly not vandalizing anything. I just choose to format my comment a bit differentlty. I used one vote which I Bolded and learn to use the diff button if something is unclear. I did not change anyone's vote. What I did was Editing boldly, not vandalizing anything. please stand corrected. My vote is still keep And I'm sorry if you find my honest and pointy commentary too much 193.229.219.152 12:28, 26 Apr 2005 (UTC)
 * And you don't call this vandalism? *Delete Execllent work. Plese don't delete if a private hosting place can be found, otherwise Transwiki to Wikibooks.   — J I P | Talk 04:35, 25 Apr 2005 (UTC) You inserted the words "Execllent work. Plese don't delete" [sic] in the middle of my vote, making it look like I voted "please don't delete if a private hosting place can be found". That sure meets my criteria for vandalism.    — J I P | Talk 12:42, 26 Apr 2005 (UTC)
 * Well. I figured that in the spirit of wiki, only the bolded part is the actual vote and the rest is just commentary. And since I signed in the middle of the whole discussion I thought that just maybe if someone get's confused on what is actually happening they would diff the 'suspect' But, I am really sorry if anyone thought that I was JIP or anyone else I inserted something into. Like the 'why' after someones commentless DELvote pardon JIP, others. 193.229.219.152 12:59, 26 Apr 2005 (UTC)
 * OK, thanks for the explanation, I can live with that. But please, next time write your comments underneath the text, not in the middle of it, to make it stand out from others' work.   — J I P | Talk 13:04, 26 Apr 2005 (UTC)
 * nono, that was me, sorry I accidentally logged out before saving the page. Master Thief Garrett 06:46, 26 Apr 2005 (UTC) Nope, I'm wrong again, that was a different page where I was logged out. Master Thief Garrett 06:48, 26 Apr 2005 (UTC)
 * I thought it was weird when you said it was you, as the anonymous user's editing style is different from yours, and you voted "delete" when the anonymous user wrote supportive comments.   — J I P | Talk 07:03, 26 Apr 2005 (UTC)
 * Transwiki and cleanup. I personally think a chemical like this will stay, since we have other chemicals. Though, the way this is set up, it is more of a how-to instead of knowledge. Wikibooks is more of a how-to type area. As for the legal things, if we can have detailed information about a GLOCK, I am sure we can keep this somewhere on Wikimedia servers. However, if people really think this should be hosted on a private server, I will try to host it on mine or I will clean up the article at my home, work and school. Science is not my best subject, but let's see what I can do to this. Zscout370 (talk) 02:36, 27 Apr 2005 (UTC)
 * I think I will have a go at making the synthesis more formal.
 * Charge a 600ml flask with 200mL 35% HCL and 200 mL Reagent Acetone in a cooled vessel.
 * Heat under reflux for 3hr at 50*C.
 * When swirled around the beaker, it the solution should leave an orange glaze on the glass.
 * Allow the mixture to cool to room temperature, and wait 10-12hr to allow any unreacted acetone to evaporate
 * Place the room tempearture mixture in a cold freezer (-10*C) to precipitate the Phorone DiHydrogen Chloride.
 * Chill 250 Ml of 35% H2O2 in a refigerator. Do not allow to freeze, as this can result in the formation of unstable reagions of superconcentrated H2O2.
 * Prepare a salt-ice bath, and transfer the Phorone DiHydrogen Chloride solution to a beaker in the Ice Bath.. Add 5 mL of chilled H2O2 at a time to the flask with the phorone DiHCL. This is an exothermic reaction. Do not let the reaction temperature rise above 5*C or the reactancts may start to decompose in a violent explosion.
 * After all the H2O2 has been added, allow the mixture react in a freezer for 5 hrs.
 * When the reaction is complete, there will be a pasty lemon yellow precipitate.
 * Decant and collect the precipiate.
 * Wash the precipiated with Sodium Bicarbonate solution, and rinse with deionized water.

 * I say it again, with my hat on as one of the people who transwikifies articles: Don't burden the transwiki system with this when the original author is clearly around right now, and should be encouraged to publish the article in the correct place xemself, directly, right now. Wikibooks is a wiki.  Anyone who can (demonstrably) write an article here can write the same article there.  Putting this through the transwiki system is burdening other editors such as me with a lot of complex edits; whereas it's very simple for the original author to submit the original article directly.  As one of the editors who shoulders that burden, I object to it being placed upon me in completely unnecessary situations such as this one. Uncle G 16:45, 2005 Apr 27 (UTC)
 * Delete not encyclopedic. potentially dangerous...can a neutral party (a chemist) validate that this 'recipe' is even correct and that the instructions won't result in someone blowing their arm off or passing out from fumes?  This is high risk content if we leave it in. Tobycat 03:19, 28 Apr 2005 (UTC)

 * I don't know much about that reaction but nothing stands out as a real no no (other than the product). I mean sure I would only do this in a fume cuboard. Persoanly I suspect anyone caperble of produceing a decent yield from that reaction is going to be a good enough chemist not to be relying on wikipeidia for thier recipies.Geni 21:40, 2 May 2005 (UTC)
 * I really dont like the idea of mixing 35% H2O2 with anything organic. It's an excellent way to create an explosion. Acetone peroxides are just plain unsafe. Klonimus 03:26, 3 May 2005 (UTC)

Zaphood 12:42, 29 Apr 2005 (UTC)
 * Comment: Well yes, it releases some chlorine fumes. In this scale hardly enough to 'choke' someone but I have intimate knowlidge about this synthesis and the once wide discussions about it on chemistry webforums. But dangerous fumes do occur. This is covered by the risk disclaimer. As for the blowing arms off: It is not all that sensitive while wet of either acetone or water, nor does it explode if the synthesis is followed and temperatures in excess of boiling are not allowed to happen in the cool bit of the synthesis, even so I doubt it very much it would actually explode, just spoil the process. Well in thease levels of confinement and scale. And yes, some rephrasing would be in order for it to remain in the actual cyclopedic part of wiki. As for the legal entanglements, I very much doubt that anyone outside the brainwash scheme of the media actually doubts terrorists ability to get hold of high explosives. So for the rest of the world it's just information like any other. I really have to wonder why goverments should be to only ones with the ability to release joule in a short period. After all commoners like everybody actually do the inventing. The know how should not escape the public know. I agree with Zaphood, wont vote again, but i will say again: keep.193.229.219.152 22:03, 2 May 2005 (UTC)
 * Agree, Delete, unless validated. Adun 23:38, Apr 28, 2005 (UTC)
 * Comment: I just want due process, and at the end of that process if the admin desides the article has to go, i would like the opportunity to transwiki it myself. And please be noted that I will try to pursue all avenues availiable to keep this article in wikipedia where it belongs IMHO. Such as the undelete route. AND why is the risk disclaimer taken off (by uncle G again I suspect) I feel that it was in the right place there. I would very much like to see it re-instated. And yet another thing, why is the phorone patent under copyvio flags (by uncle G again)? It's so much bullshit uncle g, your opinion is clear, I request that you voluntarily stay away from anything that could be considered 'works' of mine. just because I don't like you and I'm willing to ask you to quit getting on my case voluntarily. I feel that wikipedia is not a mud wrestling pit
 * Delete - not encyclopedic, needs validation, possibly dangerous, possible copyright violation....--62.253.128.13 21:41, 29 Apr 2005 (UTC)
 * Dear 62,253.128.13 please see guns drugs rock and roll and for the possibly dangerous bit please see knifeZaphood 14:46, 30 Apr 2005 (UTC)
 * Delete, for the numerous reasons listed above. Also, from a quick check on the internet, this looks to be a fairly powerful explosive that can be created from easily obtainable ingredients. I would suggest that an admin blank the page and then protect it while this vote is going on. If someone want to create an article about the substance, but NOT the making of it, then they should do it at diphorone pentaperoxide or diphoronepentaperoxide. Blank Verse   ∅   02:00, 1 May 2005 (UTC)
 * Delete. It's unencyclopædic (Wikipedia is not a sourcebook), and there are too many potential legal entanglements. DO'Иeil 07:39, May 2, 2005 (UTC)
 * C4 explosive 265 words vs. DPPP 302 words (with pictures and the Votes for Deletion Template) Should they both be here then? as far as encyclopedidness goes.. or shelf life???.193.229.219.152 23:30, 2 May 2005 (UTC)
 * The difference is that, as Blank Verse said, any crackpot with a credit card can acquire the ingredients for DPPP, whereas C4 is more "refined". It's a plastic explosive, you can't just brew that stuff up with zero training and a garden shed. Sure someone could in theory collect its ingredients and work out how to make it, but if they really wanna make something that goes boom there are much easier ways. And THIS is one of them! Master Thief Garrett 00:37, 3 May 2005 (UTC)

Keep phat phaggots

Abstain I feel the need to put in my two cents worth; May I draw your attention to the exhaustive (but still amateur) discussion of diPhoro-Penta-peroxide on the sciencemadness.org pages: http://www.sciencemadness.org/talk/viewthread.php?tid=179. You have to remember that many of the members there have no formal chemical education (and although many do, including myself, there is a lot of dilly-dallying). A few things become clear during the long discussion; After three native German speakers with formal chemical educations examined the patent, in addition to the review of literal and non-literal translations into English: it was determined that the patent is very vague on the process, and key steps and methods are [opinion: deliberately] omitted. Basically, the patent does not provide a formal method of synthesis.

The synthesis here is also very unscientific, irresponsible and possibly a copy violation. That being said, I would like to change the article so it can be kept. From a chemistry major, this kind of thing is pretty interesting [strange to you probably!] I am suggesting collaboration between aforementioned proper scientists and Wiki to create an encyclopaedic article, with as little reference to synthesis as possible. Would you all be prepared to keep the article if it were changed from a backyard syth. page to an article discussing the actual compound? Keeping in mind that all information was researched independently, and often factually verified by many people at university facilities - if you were worrying about verisimilitude.

Sincerely ‘Ramiel’, sciencemadness.org moderator, Chemistry Major.

post sans Master Thief Garret: Unless performed correctly (and I will reiterate that this is not a correct method for the preparation of pure DPPP) the synthesis will only result in acetone peroxide. To actually produce DPPP you need a proper understanding of some fairly advanced laboratory method, some expensive glassware, or failing those two – the ability to buy in restricted chemicals. Please don’t shoot your mouth off ;) Furthermore, a number of lead block tests for sensitivity have been independently performed on pure DPPP, and found that it has a surprisingly high tolerance to shock when compared to other complex organic peroxides... just so you know.

Definetly needs to go to wikibooks see wikibooks:Chemical synthesis:Cyclonite synthesisGeni 01:08, 3 May 2005 (UTC)

 * Move to Wikibooks, yes. Once it is there, it is the concern of the Wikibooksians. (Purely as a side note, I agree that such information needs to be preserved, but then I come from the land of the Second Amendment.) — Xiong 熊 talk *

Keep but edit to make this a proper encyclopedia article about the compound, and move the instructions to Wikibooks. Zwilson 18:03, 8 May 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/DPPP


text: User talk:68.212.140.48

title: User talk:68.212.140.48


text:
Valerie Eliot

Esmé Valerie Eliot (née Fletcher; 17 August 1926 – 9 November 2012) was the second wife and later widow of the Nobel prize-winning poet T. S. Eliot. She was a major shareholder in the publishing firm of Faber and Faber Limited and the editor and annotator of a number of books dealing with her late husband's writings.

Early life
The daughter of an insurance manager in Leeds, she was educated at Queen Anne's School, Caversham, where she was reputed to have told her headteacher that she knew precisely what she wanted to become: secretary to T. S. Eliot.

Personal life
Valerie married Eliot, almost 40 years her senior, on 10 January 1957. She had been an admirer of Eliot since, at the age of 14, hearing John Gielgud read Journey of the Magi, as she confided to the novelist Charles Morgan, for whom she worked as a secretary. Morgan used his influence to get her a job at Faber and Faber, where she finally met Eliot in August 1949, a debt of kindness which she always acknowledged. They moved to No.3 Kensington Court Gardens where she lived until her death.

In a 1994 interview with The Independent, she recalled a very ordinary life of evenings spent at home playing Scrabble and eating cheese, stating "He obviously needed a happy marriage. He wouldn't die until he'd had it."

Following T. S. Eliot's death in 1965, Valerie was his most important editor and literary executor, having brought to press The Waste Land: Facsimile and Manuscripts of the Original Drafts (1971) and The Letters of T. S. Eliot: Volume 1, 1898–1922 (1989). She assisted Christopher Ricks with his edition of The Inventions of the March Hare (1996), a volume of Eliot's unpublished verse. A long-delayed second volume of Eliot's letters was also edited by her.

One of Valerie Eliot's most lucrative decisions as executor was granting permission for a stage musical to be based on her husband's work Old Possum's Book of Practical Cats. This became the hit Andrew Lloyd Webber musical Cats. With her portion of the proceeds Valerie Eliot established "Old Possum's Practical Trust" – a literary registered charity – and funded the T. S. Eliot Prize, given annually and worth £15,000.

In 1972 she won the Rose Mary Crawshay Prize for The Waste Land: Facsimile and Manuscripts of the Original Drafts. At the 1983 Tony Awards, Valerie Eliot accepted her husband's posthumous Tony Award for Best Book of a Musical for Cats. The letters were shortlisted for the 1988 National Book Critics Circle Award for Biography.

In late 2009, the second volume of Eliot's letters was published. The third volume, edited by Valerie Eliot and John Haffenden, followed in July 2012.

Valerie Eliot died on 9 November 2012 at her home in London. She was 86 years old.

She was a godparent to the mathematician Marcus du Sautoy.

title: Valerie Eliot


text:
Wikipedia:Articles for deletion/Centauran

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was keep. moink 11:40, 8 May 2005 (UTC)

Centauran
The entire article is non-canonical Fanon, later completely disproved by Star Trek: Enterprise

Delete - The entire Centauran concept was started as a fan theory based on one line in the Original Series episode "Metamorphosis" where Zephram Cochrane, the inventor of Warp Drive was referred to as "Zephram Cochrane of Alpha Centauri". For three decades of Star Trek, that was the only official reference to Alpha Centauri and its inhabitants. Star Trek: First Contact in 1998 established that Mr. Cochrane was originally from Earth, and presumably moved to Alpha Centauri after inventing Warp Drive, since the entire plot of the movie was about his first warp flight, launched from Earth, and he'd never been in space before.

Then, Star Trek: Enterprise comes along, as a series set only a century after Cochrane's flight, and spaceflight takes place much closer to the worlds of the Original Series, and even focuses on the founding of the Federation. Presumably the Centauran race would show up even once, instead they are never mentioned. Instead the episode "Twilight" it is explicitly stated that Alpha Centauri was one of the few Earth colony worlds that existed in the Enterprise era. "Terra Nova" established that the more distant Terra Nova colony was the first Earth colony to be built on an inhabitable world (instead of presumably having pressure domes), so at least originally and in the Enterprise era all the worlds of Alpha Centauri cannot sustain native humanoid life (without later terraforming). In the episode "Zero Hour" where we actually see the founding of the United Federation of Planets, the founding worlds were explictly stated to be Earth, Tellar, Andor and Vulcan. By this point the Centaurans have been explictly shown not to exist.

The Centauran race was a popular matter of Fanon, and typically used widely in the FASA and Last Unicorn Games Role Playing Games, and in many of the novels, but they don't have a shred of evidence making them anything canonical, instead evidence points very strongly to their nonexistence.
 * Keep, as per unsigned nominator: "The Centauran race was a popular matter of Fanon, and typically used widely in the FASA and Last Unicorn Games Role Playing Games, and in many of the novels...." Add a section to the article about how it's fanon-only. FreplySpang (talk) 16:44, 24 Apr 2005 (UTC)
 * Keep. As this race has appeared in non-canonical published sources, they are a legitimate subject.  However, I do feel that someone with some knowledge of the subject should separate out fan speculation from published fact.  Despite how the Star Trek wikiproject may feel, fanon does not belong in wikipedia as it is bereft of actual, verifiable facts.  If pruning such material would render the article too small to stand on its own, the remaining material should be merged someplace else. Indrian 19:31, Apr 24, 2005 (UTC)
 * Keep as per Indrian. Anilocra 23:10, 24 Apr 2005 (UTC)
 * Keep. Give it a rest guys, no non-Trekkie cares whether an imaginary race is "canonical" or not. If there's a lot of fan fiction and other unauthorized stuff about the Centaurans, then they're notable. For accuracy's sake, the fact that they were invented by fans instead of by a Paramount studio hack needs to be mentioned. But that's a pretty minor detail. ---Isaac R 23:20, 24 Apr 2005 (UTC)
 * Keep as long as it has been in published works however I think the article needs to mention what those works are and that it's not actually ST canon. I suppose what I mean is that it's canon for various novels and RPGs, just not Star Trek itself. -- Lochaber 00:36, 25 Apr 2005 (UTC)
 * Keep and cleanup. Legitimate entry. Megan1967 03:50, 25 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.


text:
Carry On Camping

Carry On Camping is a 1969 British comedy film, the 17th release in the series of 31 Carry On films (1958–1992). It features series regulars Sid James, Kenneth Williams, Charles Hawtrey, Joan Sims, Terry Scott, Hattie Jacques, Barbara Windsor, Bernard Bresslaw, Dilys Laye and Peter Butterworth. The film was followed by Carry On Again Doctor 1969.

Plot
Sid Boggle and his friend Bernie Lugg are partners in a plumbing business. They take their girlfriends, prudish Joan Fussey and meek Anthea Meeks, to the cinema to see a film about a nudist camp called Paradise. Sid has the idea of the four of them holidaying there, reasoning that in that environment their chaste girlfriends will relax their strict moral standards. Sid easily gains Bernie's co-operation in the scheme, which they attempt to keep secret from the girls.

They travel to a campsite named Paradise. After paying the membership fees to the owner, money-grabbing farmer Josh Fiddler, Sid realises it is not the camp seen in the film, but merely a standard family campsite. To add to their disappointment, it is no paradise but instead a damp field; the only facilities being a very basic toilet and a washing block. They reluctantly agree to stay there after the girls approve of the place and Fiddler refuses a refund. There is further disappointment when the girls will not share a tent with the boys.

Meanwhile, a group of young ladies on holiday from the Chayste Place finishing school stay overnight at Ballsworth Youth Hostel. The ringleader of the girls is blonde and bouncy Babs. In charge of the girls is Dr. Soaper, who is fervently pursued by his lovelorn colleague, the school's matron, Miss Haggard. Babs and her friend Fanny change the room numbers on Dr. Soaper's and Miss Haggard's doors and convince Dr. Soaper that the female washroom, where Miss Haggard is, is the male washroom. The room number changes also causes Dr. Soaper to mistake Miss Haggard’s room for his and to Miss Haggard’s horror get into bed beside her. The party arrives at the campsite the next day, where Sid and Bernie are only too happy to assist the girls in setting up their tents. The following morning, Dr Soaper leads an outdoor aerobics session, during which Babs' bikini top flies off; he catches it.

Other campers are Peter Potter, who loathes camping but must endure his jolly yet domineering wife Harriet, with her irritating laugh, whose overnight camping en-route to Paradise campsite is interrupted by naïve first-time camper Charlie Muggins. They manage to sneak away from him the following morning and arrive at the campsite, only to discover him already there.

Chaos ensues when a group of hippies shows up and take over the neighbouring field for a noisy all-night rave led by the band "The Flowerbuds". The campers club together and successfully drive the partygoers away, but all the girls leave with them. However, there is a happy ending for Bernie and Sid when their girlfriends finally agree to move into their tent. Their joy is short-lived when Joan's mother turns up, but Anthea lets loose a goat that chases Mrs Fussey away. Meanwhile, Peter vows to Harriet that this camping holiday will most definitely be their last.

Cast

 * Sid James as Sid Boggle
 * Kenneth Williams as Doctor Kenneth Soaper
 * Joan Sims as Joan Fussey
 * Charles Hawtrey as Charlie Muggins
 * Terry Scott as Peter Potter
 * Barbara Windsor as Babs
 * Bernard Bresslaw as Bernie Lugg
 * Hattie Jacques as Miss Haggard/Matron
 * Peter Butterworth as Joshua Fiddler
 * Julian Holloway as Jim Tanner
 * Dilys Laye as Anthea Meeks
 * Betty Marsden as Harriet Potter
 * Sandra Caron as Fanny
 * Trisha Noble as Sally
 * Amelia Bayntun as Mrs Fussey
 * Brian Oulton as Mr Short, the camping store manager
 * Patricia Franklin as Farmer's daughter
 * Derek Francis as Farmer
 * Michael Nightingale as Man in cinema
 * George Moon as Man at campsite
 * Walter Henry as Man in cinema
 * Valerie Shute as Pat
 * Elizabeth Knight as Jane
 * Georgina Moon as Joy
 * Vivien Lloyd as Verna
 * Jennifer Pyle as Hilda
 * Lesley Duff as Norma
 * Jackie Pool as Betty
 * Anna Karen as Hefty girl
 * Sally Kemp as Girl with cow
 * Valerie Leon as Miss Dobbin, the camping store assistant
 * Angela Grant as Schoolgirl (uncredited)
 * Peter Cockburn as Film Commentator (uncredited)
 * Gilly Grant as Sally G-string (uncredited)
 * Michael Low as Lusty youth (uncredited)
 * Mike Lucas as Lusty youth (uncredited)
 * Alf Mangan as Camper (uncredited)
 * David Seaforth as Camper (uncredited)

Crew

 * Screenplay – Talbot Rothwell
 * Music – Eric Rogers
 * Production Manager – Jack Swinburne
 * Art Director – Lionel Couch
 * Editor – Alfred Roome
 * Director of Photography – Ernest Steward
 * Assistant Editor – Jack Gardner
 * Camera Operator – James Bawden
 * Assistant Director – Jack Causey
 * Continuity – Doreen Dernley
 * Sound Recordists – Bill Daniels & Ken Barker
 * Make-up – Geoffrey Rodway
 * Hairdresser – Stella Rivers
 * Costume Designer – Yvonne Caffin
 * Dubbing Editor – Colin Miller
 * Title Sketches – Larry
 * Producer – Peter Rogers
 * Director – Gerald Thomas

Filming and locations

 * Filming dates – 7 October–22 November 1968

Interiors:
 * Pinewood Studios, Buckinghamshire

Exteriors:
 * Pinewood Studios, Buckinghamshire. The studios' orchard doubled for Paradise Camp. Chayste Place school is the management block at Pinewood Studios, better known as Heatherden Hall and featured in Carry On Nurse, Carry On Up the Khyber, Carry On Again Doctor, Carry On at Your Convenience, Carry On Behind and Carry On England.
 * Pinewood Green, Iver Heath housing estate, Buckinghamshire
 * Everyman Cinema, Gerrards Cross, Buckinghamshire
 * Maidenhead High Street
 * Black Park, Buckinghamshire

Reception
The film was the most popular movie at the UK box office in 1969. It was voted the nation's favourite Carry On film in a survey conducted by the Daily Mirror in 2008.

In a 2018 retrospective on the series, the British Film Institute named Carry On Camping as one of the series' five best films, alongside Carry On Cleo (1964), Carry On Screaming! (1966), Carry On Up the Khyber (1968), and Carry on Matron (1972).

title: Carry On Camping