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South Australian English

South Australian English is the variety of English spoken in the Australian state of South Australia. As with the other regional varieties within Australian English, these have distinctive vocabularies. To a lesser degree, there are also some differences in phonology (pronunciation). There is also significant influence from minority groups within the state, such as the ethnic German community, a sizeable amount of which speak Barossa German.

There are four localised, regional varieties of English in South Australia: Adelaide English, Eyre and Yorke Peninsula English, South East South Australia English and Northern South Australia English. While there are many commonalities, each has its own variations in vocabulary.

Vocabulary
While some of the words attributed to South Australians are used elsewhere in Australia, many genuine regional words are used throughout the state. Some of these are German in origin, reflecting the origins of many early settlers. Such was the concentration of German speakers in and around the Barossa Valley, it has been suggested they spoke their own dialect of German, known as "Barossa German". The influence of South Australia's German heritage is evidenced by the adoption into the dialect of certain German or German-influenced vocabulary.

One such local word with German origins is "butcher", the name given to a 200 ml (7 imp fl oz) beer glass, which is believed to be derived from the German Becher, meaning a cup or mug. "Butcher" is more commonly attributed to publicans around Adelaide who kept these smaller glasses for abattoir workers coming in straight from work for a drink before heading home.

Processed luncheon meat is known as "fritz" in South Australia, whereas in other states it is referred to as devon, stras or polony.

Another uniquely South Australian word is "Stobie pole", which is the pole used to support power and telephone lines. It was invented in South Australia by James Stobie in 1924.

Cornish miners represented another significant wave of early immigrants, and they contributed Cornish language words, such as wheal (from Cornish hwel, "mine"), which is preserved in many place names.

South Australian dialects also preserve other British English usages which do not occur elsewhere in Australia: for example, farmers use reap and reaping, as well as "harvest" and "harvesting".

split
In Australian English, pronunciations vary regionally according to the type of vowel that occurs before the sounds nd, ns, nt, nce, nch, and mple, and the pronunciation of the suffix "-mand". In words like "chance", "plant", "branch", "sample" and "demand", the vast majority of Australians use the flat  vowel.

In South Australia, however, there is a high proportion of people who use the broad  vowel in  words. For example, a survey of pronunciation in different cities found that 86% of those surveyed in Adelaide pronounced graph with an, whereas 100% of those surveyed in Hobart and 70% of those surveyed in Melbourne used.

Because of the prevalence of the South Australian broad A, the South Australian accent appears to be closer to Cultivated Australian English than other state dialects.

L-vocalisation
The tendency for some sounds to become vowels  ( vocalisation) is more common in South Australia than other states. "Hurled", for example, in South Australia has a semi vocalised, leading to the pronunciation [həːʊ̯d], whereas in other states the is pronounced as a consonant. The "l" is semi vocalised; for example, "milk" is pronounced as [mɪʊ̯k] and "hill" is pronounced as [hɪʊ̯].

title: South Australian English


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St. Andrew's College

St. Andrew's College may refer to:

Australia and New Zealand
 * St Andrews Christian College, Melbourne, Australia
 * St Andrew's College, University of Sydney, a university college in Australia
 * St Andrews College (Marayong), a high school in Australia
 * St Andrew's College, Christchurch, New Zealand

Canada
 * St. Andrew's College, Manitoba
 * St. Andrew's College, Aurora
 * St. Andrew's College, Saskatoon
 * St. Andrew's College, Prince Edward Island, predecessor of St Dunstan's College

Great Britain
 * St Andrew's College, Cambridge, England
 * St Andrew's College, Drygrange, Scotland
 * St Andrew's College of Education, Bearsden, Scotland

India
 * St. Andrew’s College of Arts, Science and Commerce, Mumbai

Ireland
 * St Andrew's College, Dublin

Singapore

 * Saint Andrew's Junior College, Potong Pasir, Singapore

South Africa
 * St. Andrew's College, Grahamstown

United States

 * New Saint Andrews College, Moscow, Idaho
 * St. Andrews Presbyterian College, Laurinburg, North Carolina

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

title: St. Andrew's College


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Wikipedia:Peer review/Six Sigma/archive1

Six sigma
The section "Why six?" has been edited into a state that's sloppy in technique and fairly incoherent. It starts out by trying to explain what "six sigma" has 3.4 defects per million"; it does that fairly decently according to this biased judge. Then it gets argumentative over the matter of the 1.5 sigma long-term drift of an industrial process.

The argument at present uses terms that aren't defined or cross-referenced in the article. And it talks of adding 1.5 sigma to a 4.5 sigma result; I for one don't know what in real life this refers to. People who know something about statistical quality control could usefully look at the article and make it make more sense.

Also, I removed a paragraph that seemed to be utter nonsense statistically. Perhaps I was missing the point; an independent check would be useful. Dandrake 23:54, Jun 3, 2005 (UTC)


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Roger Gaudet

Roger Gaudet (born May 26, 1945) is a Canadian politician and former restaurant owner.

Gaudet served as a councillor in Saint-Liguori from 1985 to 1989. In 1989 he was elected mayor of Saint-Liguoiri, and then in 1993 he became reeve of the Montcalm MRC. In 2002 he was elected to the House of Commons of Canada in a by-election for the Bloc Québécois in the riding Berthier—Montcalm. In the 2004 Canadian federal election he was re-elected- this time in Montcalm. He briefly was the Bloc's critic to Public Works and Government services in 2004.

Gaudet was born in Saint-Liguori, Quebec.

title: Roger Gaudet


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Stroud railway station

Stroud railway station serves the market town of Stroud in Gloucestershire, England. It is a stop on the Gloucester–Swindon Golden Valley Line and was designed by Isambard Kingdom Brunel. It is located 102 mi west of London Paddington.

History
The station was opened on 12 May 1845 with the opening of the Kemble to Gloucester section of the Cheltenham and Great Western Union Railway, later part of the Great Western Railway. For a period between 1886 and 1947, when Stroud had two passenger railway stations, it was known as Stroud Great Western, Stroud Russell Street or Stroud Central. Stroud's second station, Stroud Wallbridge, was the terminus of a short branch line from the Midland Railway's Stonehouse and Nailsworth Railway, and freight services were always more important there than passengers.

In 1905, the Great Western Railway inaugurated a motor bus service between Stroud and Painswick, similar to systems in operation at other places such as Penzance and Slough. The services were operated by Mills Daimler vehicles with 22hp petrol engines, capable of carrying 22 passengers. The journey time was around 30 minutes.

Stationmasters

 * Mr. Taylor, ca. 1854
 * William John Hamilton Notter, 1858 –1862
 * John Parkinson, 1862–1866 (formerly station master at Cirencester, afterwards station master at Cirencester)
 * Thomas Smith, 1866–1869 (formerly station master at Cirencester, afterwards goods agent at Hereford)
 * John Robert Ward, 1869–1876
 * Lawrence Henry Nolan, 1876 –1897
 * Richard Roberts, 1897 –1909 (formerly station master at Ledbury)
 * George Libby, 1909 –1915 (formerly station master at Warwick)
 * W.P. Roberts, 1915 –1916 (formerly station master at Ross on Wye, afterwards station master at Gloucester)
 * T. Cobourne, 1916–1919 (afterwards station master at Cheltenham)
 * W.H. Reed, 1919–1925
 * A.M. Taylor, 1925 –1926 (formerly station master at Melksham)
 * Mr. Mason, ca. 1926
 * C.W. Wilson, ca. 1930–1936
 * George Edwin Howell, 1936–1942 (formerly station master at Abergavenny)
 * W.J. Hough, 1943 –ca. 1950 (formerly station master at Kington)

Description
Stroud station has two platforms and is served by Great Western Railway. The station has a ticket office, located on the Swindon-bound platform, whose opening times are in theory 7am to mid-afternoon Monday - Saturday, though in reality somewhat erratic due to staff shortages (November 2021), and it is not currently open on Sundays. There is a ticket machine on the same platform as the ticket office.

Services
Great Western Railway operates services from London Paddington to Gloucester and Cheltenham using Class 800 trains, and limited local services from Swindon to Gloucester and Cheltenham using the former Class 165 two-carriage sets. Trains call hourly each way Monday to Saturday, with some additional weekday business peak services. On Sundays, there is an hourly service between Swindon and Cheltenham Spa, with 3 services a day onwards to Paddington.

title: Stroud railway station


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Wikipedia:Articles for deletion/Wikipedia talk talk:Approval mechanism

 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 deleted. — Xezbeth 19:53, Jun 16, 2005 (UTC)

Wikipedia talk talk:Approval mechanism
This page name is an obvious misspelling. I'm not quite sure what to do with its content... Wikipedia talk:Approval mechanism was blanked and its content moved when Approval mechanism was made a redirect to Article validation. Probably this should go there too.--Nabla 23:59, 2005 Jun 3 (UTC)
 * Comment I believe I read somewhere on Wikipedia, that there should be no internal references to other Wiki sections.  <> Who ? ¿ ?  06:52, 4 Jun 2005 (UTC)

 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages.  Please do not edit this page .


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Talk:Michael Karoli

This is the bio on spoon records. Secretlondon 21:27, 14 June 2007 (UTC)

title: Talk:Michael Karoli


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Cartman's Mom Is Still a Dirty Slut

"Cartman's Mom Is Still a Dirty Slut" is the second episode of the second season of the American animated television series South Park. The 15th episode of the series overall, it premiered on Comedy Central in the United States on April 22, 1998. The episode concludes the storyline of the season one finale "Cartman's Mom Is a Dirty Slut"; Mephesto is suddenly shot, just as he is about to reveal the identity of Eric Cartman's father. The four boys and Chef rush him to Hell's Pass Hospital while the town of South Park experiences a massive blizzard.

The episode aired after the season premiere, "Terrance and Phillip in Not Without My Anus" was aired in its place three weeks earlier as an April Fools' Day prank. Upset viewers wrote over 2,000 complaints to Comedy Central within a week of its premiere date. In 2013, fans voted "Cartman's Mom Is Still a Dirty Slut" as the best episode of season two.

Plot
Just as Mephesto is about to announce who Eric Cartman's father is, the electricity goes out, the room is darkened, and two gunshots are fired. As the lights come back on, everyone discovers that Mephesto has been shot. Chef notes that he is still alive and, along with the boys, rushes him to the hospital. Upon entering the hospital, they meet Dr. Doctor, and a nurse with no arms named Nurse Goodley; they are the only ones working in the hospital. He manages to get Mephesto on a life support system, but has many other patients to tend to. Outside, a terrible blizzard brews.

While the rest of the adults in town and a visiting television crew film a reenactment for America's Most Wanted, a tree falls on the power line causing the power to go out. All of the adults are now stuck in a building until the storm settles. After only a few hours of being trapped, the group hastily resort to cannibalism to survive, eating Eric Roberts and, in the following scenes, the America's Most Wanted film crew. The power also goes out back at the hospital, and a plan is enacted to restore it. Dr. Doctor suggests that they split into two teams: team A, consisting of everyone in the room except Kenny, and team B, consisting of Kenny. His job is to reconnect the generator in the cold, while team A give advice to him via walkie-talkie as they enjoy some hot cocoa and TV.

Once Kenny gets to the generator, he discovers that there is no wire connecting the cords, so he decides to make the connection himself to restore the electricity, fatally electrocuting himself in the process. Thanks to his brave deed, the power is restored and Mephesto survives. After casually revealing his shooter was his brother (who tries to kill him every month), he gathers everyone in the emergency room for the revelation of Cartman's father: his mother Liane. Mephesto explains that Liane is a hermaphrodite, someone with both male and female genitalia. He also reveals that hermaphrodites cannot have children, so Liane must have impregnated another woman on her intercourse spree. An angered Cartman then demands who his mother is, but when a narrator questions who his mother might be, he quickly refuses to pursue the issue any further.

Production
Written by series co-creator Trey Parker and David Goodman, and directed by Parker, "Cartman's Mom Is Still a Dirty Slut" originally aired on Comedy Central in the United States on April 22, 1998. This episode was originally to air on April 1, 1998, four weeks after "Cartman's Mom is a Dirty Slut" was first broadcast, but instead of continuing the storyline from "Cartman's Mom is a Dirty Slut", Parker and co-creator Matt Stone made an episode regarding the South Park minor characters Terrance and Philip, called "Terrance and Phillip in Not Without My Anus", as an April Fool's Day prank on viewers of the show. Upset fans wrote more than 2,000 angry e-mail complaints to Comedy Central within a week of the episode's original broadcast, and media outlets said some fans harbored a grudge against the show more than five years after the episode was broadcast.

The outcome of "Cartman's Mom is Still a Dirty Slut" was revisited in the season fourteen episode, "200", where it is revealed that Liane is not a hermaphrodite and is not Cartman's father after all, as revealed by Cartman's hand puppet persona, Mitch Conner. In the following episode, "201", it is revealed that Cartman's actual father is Jack Tenorman, the father of his personal rival Scott Tenorman.

Home media
On April 27, 1999, "Cartman's Mom Is Still a Dirty Slut" was released on the "South Park: Volume 7" VHS tape, which also contained "Cartman's Mom is a Dirty Slut", in a third series of South Park home video releases. Volume 7 was sold along with Volume 8, which contained "Chickenlover" and "Ike's Wee Wee", and Volume 9, which contained "Conjoined Fetus Lady" and "The Mexican Staring Frog of Southern Sri Lanka". All 18 episodes of the second season, including "Cartman's Mom Is Still a Dirty Slut", were released on a DVD box set on June 3, 2003.

title: Cartman's Mom Is Still a Dirty Slut


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Wikipedia:Featured article candidates/Vanilla Ninja

Vanilla Ninja
Self-nomination for Vanilla Ninja. Article is on an Estonian girl band and has been written pretty much completely by myself in the past week or so. Spent a few days on peer review and received a couple of concerns and suggestions, all of which have been implemented and/or fixed. I think it passes all of the criteria for a featured article, including a good amount of well-licensed images and numerous references. Hedley 00:01, 4 Jun 2005 (UTC)
 * Well done! However, object until the references are fixed to be more in line with cite your sources. Would appreciate the use of Template:Ref and Template:Note in the article. When this is done, will enthusiastically support! - Ta bu shi da yu 00:43, 4 Jun 2005 (UTC)
 * The issue I foresee with references is that I didn't include them within the text, but instead completely at the end because almost all of them are in German. As it is English Wikipedia, I feel it would be foolish to link to German language references so frequently. The sources are cited at the end under references, although some content comes from personal knowledge collected from news reports, looking up info, etc. that i've forgotten the source of. If you could be more specific with which bits of information should be cited better i'll attempt to fix. Hedley 01:28, 4 Jun 2005 (UTC)
 * support good informative article, much improved in last rewrite. Jtkiefer 01:22, Jun 4, 2005 (UTC)
 * Support. As long as the references section is as thorough as possible (you're right, English only), this is a very intersting and thorough article on an unknown quantity to most. Harro5 08:04, Jun 4, 2005 (UTC)
 * Object. Describing the plotlines of individual music videos is too detailed and not particularly interesting or encyclopedic. The article can certainly do without them. / Peter Isotalo 11:30, Jun 4, 2005 (UTC)
 * I hardly think its not encyclopaedic, its an article on the artist and their videos are inherently notable. The article could be without them, but many articles could do without things, but are better and more comprehensive with them. Hedley 13:28, 4 Jun 2005 (UTC)
 * Detailed plotlines of the individual videos are neither interesting to read nor particularly relevant; they're promotion stunts like most music videos, not world-renowned art projects. A list with brief summaries will suffice. / Peter Isotalo 21:12, Jun 5, 2005 (UTC)
 * So you think that everything that isn't 'world-renowned' should be summarised? Isn't being comprehensive one of the criteria for a featured article? Hedley 21:27, 5 Jun 2005 (UTC)
 * Comprehensive does not mean "include everything". They really don't add anything to the overall quality of the article. Really well-executed summaries is what makes the best FAs. It's definetly underestimated as a sign of article quality here on Wikipedia. / Peter Isotalo 08:25, Jun 6, 2005 (UTC)
 * Support, looks fairly crufty. Will oppose if Pete's objection above is acted on, although the detail could be moved to a subarticle if necessary, I suppose. Everyking 12:18, 4 Jun 2005 (UTC)
 * Support. Neutralitytalk 19:51, Jun 4, 2005 (UTC)
 * Support looks really good. I don't know what the article spoilt, though... smoddy 20:14, 4 Jun 2005 (UTC)
 * Support. Wow... looks good. Nice job, Hedley. Linuxbeak | Talk | Desk 20:17, Jun 4, 2005 (UTC)
 * Support, comprehensive and interesting Celestianpower 17:48, 5 Jun 2005 (UTC)
 * Support, although I am mildly concerned about the lack of explicit sourcing and the quirky approach to citation in the ==References== section. --Theo (Talk) 22:42, 6 Jun 2005 (UTC)
 * Support. Good work Hedley! Up to featured standard in a very short time. — Trilobite (Talk) 19:39, 7 Jun 2005 (UTC)
 * Support, though I agree inline citations would be nice. Tuf-Kat 00:30, Jun 8, 2005 (UTC)
 * Object Why are there no wikilinks to the band-members? But even if those girls have wiki-articles of their own, in addition to the information on all the music-videos there should be a section them as well, some information on their life + maybe education, etc. Themanwithoutapast 22:54, 8 Jun 2005 (UTC)
 * In contrast to the english article - the (much shorter) german article consists in half of short bios on the band-members, for instance Miss Siska apparently studies accounting at the university of talinn. Themanwithoutapast 23:02, 8 Jun 2005 (UTC)
 * Object An article about musicians should include substantive discussion of their music and its critical reception. I come away from this article with hardly a clue as to whether this band's sound resembles the Spice Girls, the Indigo Girls, the Supremes, the Runaways, or anyone else. And way, way, way too much detail on the music videos. Monicasdude
 * There is frequent mention of how each single sounded, and I believe that comparisons to other artists are made along the line. As for the music videos - detail is important, and I think its something that is good to include. Hedley 23:38, 11 Jun 2005 (UTC)
 * I'm sorry, but I don't think that "pop-rock" is a useful description of how particular tracks sound. It doesn't convey very much. As for detail, the featured article criteria say that articles "should stay tightly-focused on the main topic without going into unnecessary detail"; and I believe that such extensive summaries of individual videos reach an unnecessary level of detail -- for this or any other artist. Monicasdude 00:05, 12 Jun 2005 (UTC)


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Freestyle to Music

Freestyle to Music (from German kür, "freestyle"), originated in 1980 as a form of dressage competition in which movements are performed to music. Musical freestyle dressage entertains and appeals to both devotees of the sport and the general public, and has increased the popularity of dressage.

History
In October 1980, Olympic rider Jennie Loriston-Clarke met Gaynor Colbourn who, at the age of 17, was already an established classical and session musician, composer and multi-instrumentalist in the recording and TV/film industry. Their first collaboration was a demonstration of dressage to music at Wellington Riding in Heckfield, UK, in which Colbourn played keyboards live in the arena to match every single movement of Loriston-Clarke riding Dutch Courage and Benjamin Bunny. The demonstration also featured a pas de deux with Jeremy Michaels and Neirede Goodman, the co-owner of Wellington Riding who rode Wellington Oliver. This event marked the beginnings of dressage to music and Colbourn's trademark style of playing keyboards live in order to match every movement, tempo, change and nuance, wherefore she was awarded the Merle Park Rose Bowl Award at the Goodwood International Dressage Festival.

Freestyle to Music was officially recognised by British Dressage in 1980 and the FEI after its official debut at the 1996 Summer Olympics in Atlanta and has since grown. Not only is it compulsory in equestrian Olympic competitions, but it has spread beyond the grand prix circuit to freestyle classes at local riding club competitions around the world and at all levels.

Gaynor Colbourn remains the only person to have performed live music alongside the horses, which allowed her to tailor music to each individual rider and horse. She continues to lead clinics and demonstrations including performances by top international and Olympic riders, but creates music for horses and riders at all levels, which have won freestyle classes more than 10,000 times with Colbourn's music.

Levels
International Freestyle Dressage tests, organised by the FEI, include Pony Riders, Juniors, Young Riders, Intermediate I, Intermediate A/B and Grand Prix. Most National Federations (i.e. USDF, British Dressage) have their own freestyle levels which usually correspond to their established levels of training.

Each floorplan must consist of several mandatory movements and paces, depending on the level and federation, however their order and timing is free to the rider's discretion within certain margins. Additionally, movements of the same or lower level which are not listed as compulsory but are permitted may be included to increase the degree of difficulty, but are classed as "calculated risks" by the FEI due to the risk of losing points if not properly executed. Incorporating movements of a higher level than the intended level is forbidden, with penalties varying from elimination in lower levels to specific deductions and limits in FEI events. For example, an Intermediare I rider is not permitted to include passage, piaffe, or a pirouette greater than 360 degrees, and a Grand Prix rider may not do a pirouette that exceeds 720 degrees or advanced airs above the ground. If a rider does so, he or she receives a zero for the element, and in addition the score for Choreography and Degree of Difficulty will not receive a score higher than a 5.

Scoring components
The scoring of the freestyle is divided up into two major sections, known as Technical Execution, and Artistic Presentation.

Technical
The technical section is made up of scores for each of the compulsory movements. The technical requirements of each level mirror the level of training and balance expected in the compulsory tests at that level. Competence and ease in the execution of the movements is crucial to a successful program.

While the technical execution is divided so as to make up half the final score (50%), the technical components of rhythm, energy and elasticity and harmony between horse and rider are scored on the artistic portion score sheet as replacement for the collective marks on a set test. Additionally, poor technical execution can negatively affect the degree of difficulty, choreography and music scores, thus the technical execution make up nominally 70% of the final score, and can affect all of the marks.

Marks are assessed for the following movements:
 * Collected walk
 * Extended walk
 * Half-pass right (collected trot)
 * Half-pass left (collected trot)
 * Extended trot
 * Half-pass right (collected canter)
 * Half-pass left (collected canter)
 * Extended canter
 * 5 changes of lead every 2nd stride
 * 7 changes of lead every stride
 * Canter pirouette right 2
 * Canter pirouette left 2
 * Passage (minimum 20m on one track) 2
 * Piaffe (minimum 10 steps straight) 2
 * Transitions Passage-Piaffe and Piaffe-Passage
 * Entrance and halt at the beginning and end of the test

Artistic
The Artistic score is usually divided into 5 sections at international competitions, They are:
 * Rhythm, Energy and Elasticity
 * Harmony between horse & rider
 * Choreography
 * Degree of Difficulty
 * Choice and Interpretation of the music

 * Choreography
 * The choreography must incorporate the technical criteria for the level but is otherwise open to creative choices and highlighting the horse's strong points. Good marks are awarded to inventive choreography which contains movements not taken directly out of the set tests, but has an element of surprise and adventure to their placement. However, there should still be a logical order and flow to the movements, such as symmetry and without too many changes between the paces. A chaotic freestyle would score worse than a basic one.

 * Music
 * When Colbourn and Loriston-Clarke originated the sport in 1980, the whole ethos was for dressage to music to be beautiful, as with ballet and ice dancing. Early competitions were judged by prima ballerina Merle Park and ice skater Robin Cousins to ensure the judging of the artistic element was by a highly experienced performer. The music chosen will depend on the horse's movement, type, personality, and the rider's own musical tastes but should serve to accentuate all of them. Music for freestyles can be found in a variety of styles such as classical music, show tunes, movie scores, orchestral versions of pop and contemporary music. A copyright license is required for all music played during a competition. Generally, it is preferred that the music for all three gaits should be of the same genre, but is not required. It is more important that the music flows seamlessly through the transitions. The interpretation of the music means that it should enhance the horse's way of going and match the tempos of his gaits. The music should suggest the movements; transitions should correspond to the transitions in the music. It is imperative that the choreography interpret the music. Movements and figures should start and finish at obvious musical phrases.

 * Degree of difficulty
 * The level of difficulty should correspond to the horse's abilities so that the ride looks easy. A horse which is more advanced will be able to perform more complex movements and combinations. A good freestyle program is entertaining to the audience and pleasing to the eye.

title: Freestyle to Music


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Beard (companion)

Beard is a slang term, American in origin, describing a person who is used, knowingly or unknowingly, as a date, romantic partner (boyfriend or girlfriend), or spouse either to conceal infidelity or to conceal one's sexual orientation. The term also refers, in some areas, to anyone who acted on behalf of another, in any transaction, to conceal a person's true identity. The term can be used in heterosexual and non-heterosexual contexts but is especially used within LGBTQ+ culture. References to beards are seen in mainstream television and films, and other entertainment.

History
The usage of the term beard, also known as lavender dating or front dating, dates to the 20th century, prior to the gay rights movements. This was at a time when homosexual relationships had not yet gained public acceptance in the Western world. Often, in the early to mid-20th century, a beard companion was used by homosexual individuals to conceal one's sexual orientation through the disguise of a heterosexual relationship. This relationship typically was between a lesbian and a gay man in an attempt to dispel rumors of homo-orientation. In some situations, such as that of Vita Sackville-West and Harold Nicolson, the pair in the beard relationship may have children together despite a lack of sexual attraction. Today, the term beard or lavender dating is used less as a result of greater acceptance of homosexuality in both the United States and Western Europe, but is still occasionally used by young individuals from traditional communities or conservative countries.

Concealing infidelity
In early usage of the term, a beard scenario involved concealing infidelity in a monogamous relationship. In a typical scenario, X and Y are in a supposedly exclusive relationship, but X is actually cheating with Z. However, to prevent Y from learning about X's infidelity, W, the "beard", pretends to be paired with Z. Such a scenario is a central premise of Woody Allen's 1984 film Broadway Danny Rose. The titular talent agent is the beard, pretending to date Tina, a single woman who is actually having an affair with married singer Lou Canova, Danny's client. By posing as Tina's date, Danny can bring her to Lou's performance without drawing attention from Lou's suspicious wife. The term "beard" is a running gag, used four times (e.g., "I'm only the beard") when Tina's ex assumes Danny is Tina's previously mysterious lover.

Concealing sexual orientation
Though beard entered wider use in the 1960s, many of the reported lavender marriages of the 1920s in Hollywood, and the similar reported romantic marriage of Rock Hudson (mid-1950s) employed the same usage. In Hudson's case, Phyllis Gates acted as his beard to avert the damage that the disclosure of Hudson's homosexuality might have caused to his career. In a 2011 interview, Betty White stated that she often served as a beard to Liberace to counter rumors of his homosexuality. Such relationships can cause legal and emotional issues for both parties, particularly when they end.

title: Beard (companion)


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Trauma Center: Under the Knife

Trauma Center: Under the Knife is a simulation video game developed by Atlus for the Nintendo DS. The debut entry in the Trauma Center series, it was published in Japan and North America by Atlus in 2005, and by Nintendo in Europe in 2006. Set in a near future where medical science can cure previously incurable diseases, the world's population panics when a new manmade disease called GUILT begins to spread. Doctor Derek Stiles, a surgeon possessing a mystical "Healing Touch", works with the medical group Caduceus to find a cure to GUILT. The gameplay combines surgery-based simulation relying on the DS's touchscreen controls with a story told as a visual novel.

Designed to take advantage of the DS's control options after planned development for earlier consoles stalled due to inadequate hardware, development lasted just over a year. Its early inspirations included Western television series ER and Chicago Hope, with science fiction elements incorporated during a later stage. Development proved challenging for the staff, who were veterans of the Megami Tensei franchise and had little experience with genres outside role-playing.

The game was positively reviewed by journalists, who praised the title for its use of the DS controls while criticising its difficulty spikes and repetition. While a commercial disappointment in Japan, it sold beyond expectations in both North America and Europe, boosting Atlus' profits for that year. A remake for the Wii, Trauma Center: Second Opinion, released the following year. A DS sequel, Under the Knife 2, was released in 2008.

Gameplay
Trauma Center: Under the Knife is a video game that combines surgical simulation gameplay with storytelling using non-interactive visual novel segments using static scenes, character portraits, text boxes, and voice clips during gameplay segments. The top screen of the Nintendo DS is dedicated to story sequences and level statistics displayed as 2D artwork, while the bottom touch screen is dedicated to the operations themselves rendered using 3D models. Players take on the role of protagonist Derek Stiles, a young surgeon with a mystical ability called the Healing Touch. Each operation tasks players with curing the patient of one or multiple ailments within a time limit.

Operations take place from a first-person view over the affected area. The ten available surgical tools are required for different operations and injuries, selected using icons along the edges of the touch screen. Each operation is prefaced by a briefing, describing the patient's condition and possible treatments. Depending on the operation, players may need to drain blood pools obstructing the operating area, use a surgical laser to treat small tumors or virus clusters, a scalpel to open incisions or excise larger tumors, a scanner for detecting hidden ailments, forceps to close wounds and introduce or extract objects, a syringe to inject a variety of medications, and sutures to sew up both wounds and incisions. The player must frequently apply antibiotic gel to treat minor injuries and prevent infection. The player may also require the "hand" option for situations such as a heart massage or placing objects such as synthetic membranes. During one operation, several of these tools will be needed. Each operation ends with the sutured wound being treated and a bandage being applied. All of these actions are accomplished using the DS stylus.

Operations range from treating surface wounds and extraction operations, to special operations where Stiles must confront strains of a man-made parasitic infection dubbed GUILT. These strains can be highly mobile, complicating the operation. Some operations are affected by environmental hazards, such as turbulence on a plane. A key story-based ability is Stiles's Healing Touch, triggered by drawing a five-pointed star on the touch screen. The Healing Touch slows down time for a limited period, allowing the player to perform operation actions without the patient dying. Points are awarded with how fast and efficiently an action is performed, and graded from "Bad" to "Cool". After each operation, the player is graded on their performances, with rankings going from "C" (the lowest) to "S" (the highest). After an operation is completed in the story mode, players can attempt it again in the Challenge mode for a higher score. The player can save their game after each story chapter. If the patient dies or the timer runs out, the game ends and the player must restart from their last save.

Synopsis
Trauma Center is set in a near future Earth of 2018, where medical science has advanced to the point that previously major diseases such as AIDS and cancer are easily cured. The world's pioneering medical organization is Caduceus, a semi-covert group dedicated to curing intractable diseases. The story follows Derek Stiles, a young doctor who discovers his mystical Healing Touch during a difficult operation on an emergency patient from a car crash. After treating another patient infected with an unknown parasitic disease, Stiles is offered a position at Caduceus, which he accepts. The parasite is known as GUILT (Gangliated Utrophin Immuno Latency Toxin), a manmade disease being distributed by the medical terrorist cell, Delphi. Along with his companion and assistant, nurse Angela "Angie" Thompson, Stiles begins confronting new strains of GUILT in different patients, along with surviving attempts on his life by Delphi. During their work, several Caduceus staff members are infected, including the director, Richard Anderson. While the strain is eventually removed, Anderson ultimately succumbs to the stress on his body from multiple operations and gives his position to Stiles's old superior, Robert Hoffman.

During an attempted raid by Delphi on Caduceus, the intruder is identified as Angie's father Kenneth Blackwell. Trailing him to a Delphi laboratory, Stiles and Angie successfully treat a highly-virulent GUILT strain, first in a nascent form in a test subject, and then in Blackwell himself. Once cured, Blackwell offers his full cooperation and rejects Caduceus's offer of amnesty, wishing to serve out his term in prison to atone for his actions. Blackwell's information leads to the location of Delphi's headquarters, which consisted of an ocean vessel. When Stiles and Angie assist with a raid in cooperation with Caduceus Europe, they find that Delphi has been using children to incubate GUILT, and after curing the patients, they encounter Delphi's leader, Adam, now a vegetable host for all seven strains of GUILT, as well as a unique, eighth strain known as "Bliss." Caduceus Europe impound Adam's remains, and Stiles is hailed for his actions.

Development
The original plan for Trauma Center was created by the game's producer Katsura Hashino. During this early stage, many staff compared the game to similar surgery simulations for Windows. The concept behind Trauma Center originated several years before development started. While Atlus had explored the possibilities of a surgical simulation game, gaming hardware at the time was not able to realize their vision. This changed with internal previewing of the DS, which had the controls and functions to make the simulation elements work as intended. Planning for the game began in the summer of 2004. Most of the staff were veterans of Atlus's Megami Tensei role-playing video game (RPG) franchise, making the development a difficult one due to its thematic and gameplay differences. Production proved a challenge due to the new gaming hardware and its deviation from the RPG mechanics Atlus was known for. One of the more difficult elements was getting the gameplay to function, which they finally achieved after settling on a first-person perspective for surgery.

According to director Kazuya Niinou, the team drew inspiration from Western television series including ER and Chicago Hope, and unspecified Japanese television series and comics during their early work. The scenario was written by Shogo Isogai, who faced problems when creating a narrative that would be respectful towards the medical profession while being fun, and confront very different themes to his work on the Megami Tensei series. While keeping in line with creating a medical drama, Isogai was told to add science fiction elements, which was a relief for him as he did not need to be accurate to a field he knew little about. The team needed to think carefully about the naming of GUILT strains, which were all derived from Greek words, which sharply contrasted their free borrowing of demon names for the Megami Tensei series. They also strove to push away from the common video game motif of seemingly glorifying death. The characters were designed by Maguro Ikehata. The art style was described as "very anime-styled". The operation graphics were originally very stylised, but Hashino disapproved. While they decided against being too realistic, they managed to strike an aesthetic balance between realistic and cartoon graphics.

The music was composed by Kenichi Tsuchiya, Shoji Meguro and Kenichi Kikkawa. Meguro and Tsuchiya were both veterans of the Megami Tensei franchise, particularly its Persona and Devil Summoner subseries. The opening was one of the themes created by Meguro, who acted as sound director for the project. He found the limited sound environment even more of a challenge than earlier consoles he had composed for. Tsuchiya's work focused on environmental themes and general sound design, while Kikkawa's scores focused on orchestral tracks. While Meguro and Kikkawa composed standard-definition music and reduced it to fit into the DS sound environment, Tsuchiya composed his tracks within the sound environment. At the time, Atlus did not have a MIDI interface for DS composition, so the composers had to guess what the sound would be like when transplanted into the game.

Release
The game was first announced in July 2004 alongside five other Atlus titles for the DS. The game was released in Japan on June 16, 2005. A commercial demo was released through Nintendo's online store on May 29. While it lacked the high amount of blood and gore that would have earned it a mature rating, its content still merited a CERO rating of "B", indicating an age range of early teens and up. Its release was supported by a guidebook published by Enterbrain in July of that same year. A soundtrack album was released by Sweep Records in October 2011.

The game was first revealed under its English name at the 2005 Electronic Entertainment Expo. It released in North America on October 4. The game was localized for the West by Atlus USA. For the game's English version, the game's setting was changed from Japan to North America. Derek Stiles's English name was written as a pun on the word "stylus", referencing the DS stylus. The English dub was handled by PCP Productions, who had previously worked with Atlus on Shin Megami Tensei: Digital Devil Saga. Voice acting was restricted to shoutouts during operations, while Stiles himself did not have a voice actor. Due to their lack of a European branch, Atlus USA did not publish the game in the region. The game was instead published by Nintendo of Europe on April 28, 2006.

Reception
In Japan, Trauma Center did not appear in Japanese gaming magazine Famitsu's top 500 best-selling titles for 2005, indicating sales of less than 15,000 units. In contrast, the North American release was described by Atlus staff as "absolutely fabulous", with sales going "off the charts". The game's popularity prompted Atlus to issue further print runs of the game. The game also met with strong sales in Europe. While Atlus had seen financial losses prior to 2006, the international success of Trauma Center contributed to the company making a profit.

Famitsu praised the game's innovative use of the touch screen, while Christian Nutt of 1UP.com called the game a standout title for the DS due to its polished controls and unconventional premise. Eurogamer's Tom Bramwell praised the gameplay and, although he found faults in the game's presentation and confusing or arbitrary mechanics. GamePro called the game "a cure for what has been a spell of mediocrity on the DS". GameSpot's Alex Navarro praised the game's balancing of narrative and arcade-style gameplay.

Justin Leeper, writing for GameSpy, felt that Trauma Center could succeed in appealing to a broader audience than other titles with unconventional gameplay ideas. Craig Harris of IGN was surprised by how much he enjoyed his time playing. Tom East of Official Nintendo Magazine called Trauma Center "engaging, fun and highly original", and Matt Keller of PALGN generally enjoyed the gameplay experience despite its short length and other issues with the difficulty and graphics.

The use of the DS touch screen and stylus were generally lauded by critics;    East called it a concept only made possible by the hardware, while Leeper had issues with stylus motions registering. The story was generally praised, with many calling it both silly and engaging,    and a few noting its handling of mature themes. Others also negatively noted the large amount of text, which slowed the game's pace. Difficulty spikes in later portions of the game, lack of room for improvisation, and general repetitiveness were noted by reviewers as detrimental factors.

Legacy
During their 2005 gaming awards, GameSpot nominated Trauma Center in their "Most Innovative Game" category. In the years following its release, Trauma Center would become a notable success for Atlus, breaking into mainstream gaming when they had previously been restricted to niche success. In a feature by Jess Ragan for 1UP.com, Trauma Center: Under the Knife was described as having "helped pull the Nintendo DS out of a debilitating software drought and demonstrated the system's potential to both hardcore gamers and skeptical outsiders alike". Website VentureBeat listed Under the Knife as one of the most memorable games of 2005 due to breaking away from gaming trends and creating an experience focused on saving lives.

Following the release of Under the Knife, most of Hashino's team shifted to work on the Persona series, with a small number of staff being assigned to form a new team for further development of the series. This group would be known internally as "CadukeTeam". The Trauma Center series would be continued with three subsequent games on Nintendo hardware; Trauma Center: New Blood for the Wii in 2007, the direct sequel Trauma Center: Under the Knife 2, released in 2008 for the DS; and Trauma Team for the Wii in 2010. A remake of Under the Knife, Trauma Center: Second Opinion, was released for the Wii in 2006 as a launch title for the console. In a series retrospective, Peter Davison of USGamer noted both the series' notable position in Atlus's gaming library, and how the titles made use of the Nintendo console mechanics.

title: Trauma Center: Under the Knife


text:
User:Epolk

I had found Wikipedia in several searches for various topics of interest without ever really knowing what it was. One day I noticed the "edit this page" tab and thought for sure that I had some how found a hacked site that was giving everyone access to edit the site. That's when I did a little more looking and discovered the wiki concept.

Areas I like to work on:

 * Science updates - adding the latest science findings
 * Protected areas - National, state and local parks, monuments, etc.
 * Historical sites, especially National Register of Historic Places.
 * United States Federal Government institutions (NOAA, NASA, etc.)
 * Recent changes patrol

Currently working on

 * Adding descriptions to Wikidata entries.

title: User:Epolk


text:
Jazz harmony

Jazz harmony is the theory and practice of how chords are used in jazz music. Jazz bears certain similarities to other practices in the tradition of Western harmony, such as many chord progressions, and the incorporation of the major and minor scales as a basis for chordal construction. In jazz, chords are often arranged vertically in major or minor thirds, although stacked fourths are also quite common. Also, jazz music tends to favor certain harmonic progressions and includes the addition of tensions, intervals such as 9ths, 11ths, and 13ths to chords. Additionally, scales unique to style are used as the basis of many harmonic elements found in jazz. Jazz harmony is notable for the use of seventh chords as the basic harmonic unit more often than triads, as in classical music. In the words of Robert Rawlins and Nor Eddine Bahha, "7th chords provide the building blocks of jazz harmony."

The piano and guitar are the two instruments that typically provide harmony for a jazz group. Players of these instruments deal with harmony in a real-time, flowing improvisational context as a matter of course. This is one of the greatest challenges in jazz.

In a big-band context, the harmony is the basis for horn material, melodic counterpoint, and so on. The improvising soloist is expected to have a complete knowledge of the basics of harmony, as well as their own unique approach to chords and their relationship to scales. A personal style is composed of these building blocks and a rhythmic concept.

Jazz composers use harmony as a basic stylistic element as well. Open, modal harmony is characteristic of the music of McCoy Tyner, whereas rapidly shifting key centers is a hallmark of the middle period of John Coltrane's writing. Horace Silver, Clare Fischer, Dave Brubeck, and Bill Evans are pianists whose compositions are more typical of the chord-rich style associated with pianist-composers. Joe Henderson, Woody Shaw, Wayne Shorter and Benny Golson are non-pianists who also have a strong sense of the role of harmony in compositional structure and mood. These composers (including also Dizzy Gillespie and Charles Mingus, who recorded infrequently as pianists) have musicianship grounded in chords at the piano, even though they are not performing keyboardists.

The authentic cadence (V-I) is the most important one in both classical and jazz harmony, though in jazz it more often follows a ii or II chord serving as predominant. To cite Rawlins and Bahha, as above: "The ii-V-I [progression] provides the cornerstone of jazz harmony"

The ii-V-I may appear differently in major or minor keys, m7-dom-maj7 or m7♭5-dom♭9-minor.

Other central features of jazz harmony are diatonic and non-diatonic reharmonizations, the addition of the V7(sus4) chord as a dominant and non-dominant functioning chord, major/minor interchange, blues harmony, secondary dominants, extended dominants, deceptive resolution, related ii-V7 chords, direct modulations, the use of contrafacts, common chord modulations, and dominant chord modulations using ii-V progressions.

Bebop or "straight-ahead" jazz, in which only certain of all possible extensions and alterations are used, is distinguished from free, avant-garde, or post-bop jazz harmony.

Chord symbols
Analytic practice in Jazz recognizes four basic chord types, plus diminished seventh chords. The four basic chord types are major, minor, minor-major, and dominant. When written in a jazz chart, these chords may have alterations specified in parentheses after the chord symbol. An altered note is a note which is a deviation from the canonical chord tone.

There is variety in the chord symbols used in jazz notation. A jazz musician must have facility in the alternate notation styles which are used. The following chord symbol examples use C as a root tone for example purposes.

Most jazz chord symbols designate four notes. Each typically has a "role" as root, third, fifth, or seventh, although they may be severely altered and possibly use an enharmonic spelling which masks this underlying identity. For example, jazz harmony theoretician Jim Knapp has suggested that the ♭9 and even the ♯9 alterations are functioning in the root role.

The jazz chord naming system is as deterministic as the composer wishes it to be. A rule of thumb is that chord alterations are included in a chart only when the alteration appears in the melody or is crucial to essence of the composition. Skilled improvisers are able to supply an idiomatic, highly altered harmonic vocabulary even when written chord symbols contain no alterations.

It is possible to specify chords with more than four notes. For example, the chord C-Δ9 contains the notes (C E♭ G B D).

Melodic Minor Scale
Much of jazz harmony is based on the melodic minor scale (using only the "ascending" scale as defined in classical harmony). The modes of this scale are the basis for much jazz improvisation and are variously named as below, using the key of C-minor as an example:

The VII chord in particular is rich with alterations. As it contains the notes and alterations (I, ♭9, m3/♯9, M3, ♭5/♯11, ♭13, m7), it is particularly important in the jazz harmonic idiom, notably as a V chord in a minor key. For our example key of C-minor, the V chord is G7, so the improviser would draw upon the G7 altered scale (mode VII of the A♭ melodic minor). A complete ii-V-i progression in C-minor7 extended 9 flattened fifth might suggest the following:

title: Jazz harmony


text:
Kemble railway station

Kemble railway station is a railway station that serves the village of Kemble in Gloucestershire, England. The station is on the Swindon to Gloucester "Golden Valley" line, 90 mi from the zero point at Paddington. Despite its rural location, Kemble station has a high number of passengers, due mainly to the proximity of Cirencester.

History
The station was opened by the Great Western Railway (GWR) as an exchange station on 12 May 1845 with the line opening from Swindon to Gloucester. Only on 1 May 1882 did it become a public station replacing the nearby Tetbury Road.

The distance between the platforms and the large clearance between the remaining running lines is a legacy from when Kemble first opened because it originally accommodated Brunel's broad gauge tracks. These were changed to standard gauge tracks in 1892.

Until the 1960s the station was a junction, with services to the nearby market towns of Cirencester Town (to the northeast) and Tetbury (southwest). Both the Tetbury branch line and the Cirencester Branch Line were closed to traffic under The Reshaping of British Railways, the first day without service being 6 April 1964.

British Rail reduced the line to Swindon to single track in 1968 but the second track was reinstated in 2014.

Stationmasters

 * Jeremiah Greenaway ca. 1869 – 1900
 * John William Boyd 1900 - 1922 (formerly station master at Tetbury)
 * G. Evans 1922 – 1929 (formerly station master at Purton)
 * M.E. Waters until 1935 (also station master at Cirencester Town, afterwards station master at Cirencester Town)
 * C. Feldwick. 1935 – 1942 (afterwards station master at Cirencester Town)
 * Walter John Butt Watts from 1942 (formerly station master at Brimscombe)

Description
The station has two platforms in use. The former Tetbury bound platform remains but the track has been lifted. The building on the down platform (no. 2) has been out of use for several years, containing toilets and a waiting room, which are still in situ. On the former Cirencester platform, a short stub of track remains for the occasional stabling of track machines. This ends at a buffer stop just before the station car park. In 2013, Cotswold District Council refused an application by Network Rail to demolish part of the Grade II listed Cirencester bay platform in connection with the redoubling of the line from Swindon. According to the Council, the platform was still in a good state of repair and any public benefit from the demolition would not outweigh the damage that would be caused to the historical significance of the station. The station has a ticket office and a small café. The limestone bridge, at the south end of the station, was Grade II listed from 5 November 2015 and the station and water tank from 27 February 1986.

Services
Great Western Railway operate all services at Kemble using mainly Class 800 bi-mode trains.

The typical off-peak service in trains per hour is:
 * 1 tph to London Paddington
 * 1 tph to Cheltenham Spa via Gloucester

The station is also served by limited services extending beyond Cheltenham Spa to Worcester Shrub Hill. There is also a limited service to/from Westbury via the Wessex Main Line.

The station is occasionally served by trains to and from Cardiff Central and Swansea during periods of engineering work.

title: Kemble railway station


text:
Talk:Morin khuur

Photos available
69.3.70.175 00:04, 4 Jun 2005 (UTC): A photo of a morin khuur played by Yo-Yo Ma and of a closeup of the head of the instrument is available for download at:
 * http://press.silkroadproject.org/photos.html

According to the website:

These photos are for editorial and promotional use only in newspapers, news magazines, trade publications and broadcast media. Unless otherwise indicated, all images remain the property of The Silk Road Project, Inc. You must include the photo credit whenever using these. A caption is provided for your use as well.

 * http://press.silkroadproject.org/grfx/photos/artists/ma2.zip (Yo-Yo Ma, morin khuur, ©2001 Cylla von Tiedemann)

 * http://press.silkroadproject.org/grfx/photos/instruments/morin_khuur.zip (The morin khuur [MOO rin HOOR], a Mongolian horsehead fiddle, held by Yo-Yo Ma who performs the instrument in Kayhan Kalhor's Blue as the Turquoise Night of Neyshabur. ©2001 Cylla von Tiedemann)

Name of Entry
Should this entry be renamed to "Morin khuur"? Since the instrument is of Mongolian origin, and is of more significance to Mongolian culture than to Chinese culture, it seems that the Mongolian name should be the primary designation rather than the Chinese name. -- Takwish 18:48, 22 August 2005 (UTC)

I agree with it and also wants to ask that I don't understand why it's in chinese-related articles project? Better to be a mongolian-related article, wouldn't it? --Dolugen 11:23, 7 February 2007 (UTC)

Because majority of Mongols are Chinese. Karolus 2007-07-04

 * Is that so? Dolugen 04:03, 19 July 2007 (UTC)

 * No, they have different languages (altaic vs. sino-tibetan) and different cultures (nomadic vs. farmer).

 * Mongolians are most certainly not Chinese. Granted the majority of Mongols in the world live in Inner Mongolia, but they are ethnic Mongols who have maintained their language and culture. Amongst the predominantly Chakhar Mongols of Inner Mongolia the Morin Khuur is fundamentally the same instrument as amongst Khalkha Mongol majority of the Mongolian Nation (were it is never called matouqin). Was the person who wrote that comment poorly informed or just ignorant?

RESPONSE TO ABOVE: If the "Chuurqin" predates the "Morinkhuur", then it should stay as a separate article. If the Chuurqin is a Chinese-Mongolian variant derived from the Morinkhuur, then maybe it would be ok to merge with Morinkhuur. Despite all the "Altaic vs Sino-Tibetan" racially and politically motivated dichotomy, especially Euro-centric "scholars" out to distort Asian culture and history, the neolithic identity of Han (Chinese) people and Mongolian people (linguistically distinguished under the Altaic and Sino-Tibetan naming-classifications), are ethnically one-the-same. After the advent of Chinese civilization, did the advanced agrarian civilization (Gōngsūn Xuānyuán being the venerated founder of the Chinese civilization) and those remaining nomadic begin to diverge, becoming increasingly culturally-distinct, and their languages as well. I don't know the answer to this, but I think the Chinese of the Tang Dynasty were using the spike-fiddle about 400-500 years before the advent of the Mongolian-national identity and unification under Genghis Khan, making it possible that the "Chuurqin" may have predated the "Morinkhuur". Regardless, it's generally accepted that the spike-fiddle was adopted from amongst the "Wuhu" people, who were among the nomadic people of China and Mongolian regions during Southern and Northern Dynasties period, possibly related to the ancient Khitans. The modern day Daur people are the culturally distinct descendants of the Khitans who have not been assimilated into the Han Chinese, Jin Jurchen, or other ethnic groups. Culturally and linguistically speaking, the Daur-Khitan people are apparently closer relative to the Mongols than the Han Chinese are. The Han Chinese have a VAST array of spike-fiddle variants classified under the general name of Huqin spike-fiddle instruments. I would last like to point out here, that SPIKE-FIDDLE should be its own article, and not confused/mixed with the Rebab (from the 9th century), which Euro-centricists and other biased editors have distorted thus far here on Wikipedia; the same with Rong people, which should not be classified under the more-specific tribal name of "Xirong", although I'll have to let these go for now. Got Milked (talk) 12:15, 1 May 2011 (UTC)
 * Adding to my above statements regarding the Chuurqin predating the Morinkhuur, and the relationship between the Khitans and that of the Han Chinese and Mongols: I'm also pointing out that the Khitan or related "nationality", is determined by linguists to speak a closer-to Mongolian type of language than a closer-to Mandarin type of language; but the Khitans established the Liao Dynasty, incorporating many Han Chinese customs and Chinese-character based Old Khitan script. But this was after the Tang Dynasty, however, about 300 years before the appearance of the Mongol Empire. Got Milked (talk) 11:25, 4 May 2011 (UTC)

Marco Polo reference
The reference about Marco Polo's getting one of these instruments needs to be sourced. Badagnani 10:48, 9 January 2006 (UTC)

External Link Edit
As the webmaster for the ParisMonSantaro Mongolian Research Center, based out of Ulaanbaatar, we would sincerely like to have permission to link our website to the Morin Khuur wikipedia article. We have a gallery of beautiful morin khuurs on our web site, as well as contact information for professional morin khuur craftsmen who live and work in Mongolia. It would benefit those whom are interested in learning about the Morin Khuur to have our link readily accessible. Mongolian Studies Research Center syferia 16:37, 28th March, 2007

 * Wikipedia is not a sales directory. --Latebird 09:06, 28 March 2007 (UTC)

Reply
Thank you for your quick reply. We are a research center. Also, we are working to empower local Mongolian artisans by sharing information about their crafting skills, morin khuur history and art, and sharing their contact information. This is of clear and direct relevance to the Morin Khuur article on Wikipedia. Morin Khuurs are carefully hand crafted by skillfull local Mongolian luthiers, who by nature maintain their own business. Again, please reconsider your decision. Perhaps an appropriate link would be a link to our Morin khuur history page, which is especially of great value to wikipedia users. Great care and knowledge of several languages has been taken to translate information from Uighur script, Mongolian, and Chinese manuscripts about the Morin Khuur into English. —The preceding unsigned comment was added by 202.131.245.202 (talk) 04:31, 30 March 2007 (UTC).

merge from Chuurqin
The article Chuurqin offers no real information about the instrument it claims to describe, leaving us basically with a dictionary entry. If it really is a different instrument, then it should at least be possible to describe the differences. Otherwise, no information would be lost by simply mentioning its apparently older name(s) here. It may well be that we have a similar situation here as between "Uyghurjin script" and "Mongolian script", which also turned out to be the same thing, only seen in a different historical context. --Latebird (talk) 11:05, 1 November 2009 (UTC)
 * I hope someboby to improve it:
 * Chuurqin is in a counter-trapezoid shape, however the Morin khuur is in the trapezoid shape;
 * Chuurqin has a lower sound than Morin huur;
 * Using a Morin huur you can simulate the voice of Chuurqin, but it's still not the "original-taste" of Chuurqin;
 * The difference between dörbön chikhtei huur and Sihu (instrument) is smaller than the difference between Chuurqin and Morin huur, in China
 * a Mongol using a Sihu to play Mongolian song, but no professional player play Morin huur for those place they need Chuurqin, e.g. Bayan Baolige and Chi Bulag. In fact, dörbön chikhtei huur is merely an alias of Sihu. Ask Mongols.
 * --虞海 (Yú Hǎi) (talk) 04:02, 2 November 2009 (UTC)

 * If you have a source for those differences, then please add that information to the article. "Ask Mongols" isn't really helpful if there are no sources. --Latebird (talk) 15:32, 6 November 2009 (UTC)
 * Isn't the CCTV program a citation? --虞海 (Yú Hǎi) (talk) 15:18, 27 January 2010 (UTC)
 * Where does either article cite CCTV? (I assume that means China Central Television) --Latebird (talk) 20:10, 27 January 2010 (UTC)
 * This video is cut from CCTV-Music channel. --虞海 (Yú Hǎi) (talk) 05:02, 4 February 2010 (UTC)
 * That only answers the smaller part of my question. There's also the difficulty that the video is most likely a copyvio, so we can't link to it as a reference. Generally, a text reference would be much preferrable. But even besides that, as long as no explanation is in the articles, what exactly do you want to cite? --Latebird (talk) 19:22, 4 February 2010 (UTC)
 * I trust that Yú Hǎi is speaking in good faith. But even so, the article Chuurqin is too short to exist all by itself. Wikipedia's rationale on merging states : "If a page is very short and is unlikely to be expanded within a reasonable amount of time, it often makes sense to merge it with a page on a broader topic". So I also suggest we merge Chuurqin into Morin Khuur. Lnemekhbayar (talk) 15:10, 20 March 2010 (UTC)

First lines
Hi there, I just added 'horsehead fiddle' in first line, and hope that that is okay. In my humble opninion, this makes the article more accessible for readers who are new to this subject (such as myself). The term is also used (in addition to the name Morin khuur, of course) in articles such as Long song, Altan Urag and Music of Mongolia. If it is not accepted I interfere with this subject, as a lay-person, I understand! Laurier (talk) 08:13, 24 February 2015 (UTC)

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title: Talk:Morin khuur


text: User talk:69.235.168.129

title: User talk:69.235.168.129


text:
User:Burning~enwiki

Mmmmmkkk

title: User:Burning~enwiki


text:
Talk:South Australian English

‘sharply‘?
Recently added was Some sounds are pronounced more sharply then in other Australian places, and this could be a result of the German settlement. What does ‘more sharply’ mean? Which sounds are pronounced more sharply? Can we assume that this is throughout the entire state compared with no-where outside it? — Felix the Cassowary 11:30, 31 August 2005 (UTC)

I've heard that the South Australian accent as being described as "clipped". I presume that is what is meant by sharp. Personally I think that South Australians tend to schwa vowels where most Australians don't and tend to sound approaching a Kiwi accent. After a few more months living in Melbourne, I've noticed this phenomenon and this in my speech. I also noticed that when I went back home to Adelaide for a visit recently. I can now understand why Melbournians say that to me (not that they sound normal :) ). A Kiwi I talked to also said that we tend to schwa more than other Australians. That's probably why it sounds "clipped" or "sharp" or "truncated" like Kiwi speech - Frances 7/10/05

 * On the contrary, I've read reports of Victorians tending more towards the schwa than SAns. I'm deleting that sentence. There is no source for this, and one or two persons anecdotal support is not enough. Grant65 (Talk) 01:00, 7 October 2005 (UTC)

I'm not claiming this to be official information, it is just me listening to myself and others now that I am able to hear our "accents". This is only a theory I have developed myself. Of course, this has to be tested and it could be wrong - Frances 7/10/05

In my experience, people from the Adelaide and Outer Adelaide regions (encompassing the Hills through to the South-East "Alexandrina" area), tend to clip vowels more sharply than other Australians - approaching the distinctive Kiwi accent. However, that's just my experience...--Cyberjunkie | Talk 07:57, 8 October 2005 (UTC)

 * Frances, I have replied to your message on my talk page. Grant65 (Talk) 23:50, 12 October 2005 (UTC)

Allophone blah blah?
Could someone please translate the bit about the "back allophone" into something a general audience could understand. --Rkundalini 15:56, 16 October 2005 (UTC)

"MonKEY"
I don't want to be drawn too deeply into the "robust" debate apparently surrounding this article. I just wanted to draw contributors' attention to the very peculiar (indeed, unique) way in which residents of Adelaide pronounce the diphthong in "monkey". My IPA is a bit rusty, so I won't try to reproduce the sound now, but I wonder if others have noticed the same phenomenon? Wulfilia 08:07, 22 December 2005 (UTC)

Tell 'im he's dreamin'! Half these comments are subjective nonsense and opinion. No Adelaidean would pronounce any vowel in "monkey" as a diphthong. M.H. 218.165.74.191 16:29, 31 October 2006 (UTC)

Reverted merge?
Why was the merge to Regional variation in Australian English reverted? --Scott Davis Talk 14:14, 17 April 2006 (UTC)
 * Such proposals were voted down after a long and intense debate --- see above. No one would try to cram all British or American regional dialects into one article, why do it their Australian counterparts? Also, the merger took place only four days after a proposed merger tag was put on the article!!! It seems almost sneaky to do that, when so many people, myself included, are away over Easter. Grant65 | Talk 14:23, 17 April 2006 (UTC)

I don't see "voted down" as the outcome of the above. Maybe you do and I don't because we were both involved in the discussion and each see our own expectation. I thought User:jimp did a good job of the merge and thought one article gives more credit to the subject than myriad similar articles on what are very minor differences. There is no minimum time required by WP:MM for a tag to be present, or indeed a requirement to use one at all. --Scott Davis Talk 14:33, 17 April 2006 (UTC)

If I recall, the formal vote took place at VfD or somesuch. I stand by the rest of my comments. Grant65 | Talk 14:52, 17 April 2006 (UTC)
 * Here it is. Grant65 | Talk 22:46, 17 April 2006 (UTC)

 * Fair enough, Grant. Four days is not a long time but four days without a single comment ... how long does one wait?  Yes, I could have waited longer and perhaps I should have but, as Scott points out, "There is no minimum time required ..."  I saw no reason not to merge them nor do I really see one still.  As for people's being away over Easter, I hadn't given that a thought: it's pretty much just another weekend to me.

 * No, I hadn't read the VfD. This Talk page hadn't linked to it until you were kind enough to provide the link, Grant.  Now I have read it and, as I say, I still see no reason not to do what I had done.  "Such proposals were voted down after a long and intense debate ---" you write.  I'm afraid that I read it rather differently.

 * Right up until its final stages the discussion focussed on three options: keep, delete or merge with "Australian English". So a merger with "Australian English" was voted down but, mind you, not exactly overwhelmingly so.  Note for the record that I agree with the outcome of this vote.  Of those three options I'd have chosen "keep".

 * However, what I had done was completely different to what had been voted on. It wasn't until the third last comment, which was made by Felix, that this was even mentioned. What I did was to create a new page for regional vrieties of AusE and to merge South. Aus. Eng. there.  This was not what was being voted on.  So, now let's discuss this.

 * "No one would try to cram all British or American regional dialects into one article," you write, Grant "why do it their Australian counterparts?" No you wouldn't.  I certainly wouldn't try to cram all Australian dialects into one article.  Reading the VfD, Grant, you seem confident enough.  So I challenge you.  Take this pet stub of yours to full article status and I'll stick a  between the title and text of the respective section in my pet article & we'll all be happy as Larry.  Jim 16:24, 18 April 2006 (UTC)

I also checked, and while there is not a single article for all varieties of British English, there is also not a separate one for each tiny variation. For example there's only one Welsh English and one Midlands English. Variations within these are discussed in the geographic or culture article for the smaller area (e.g. Black Country), or in a section of the main article (e.g. Regional accents within Wales) not a separate language article. Canadian English covers the whole country with only separate articles for a few extremely distinct accents (like Quebec English). --Scott Davis Talk 03:12, 19 April 2006 (UTC)

 * Jim, the article is hardly even a stub anymore. And I don't see why it's incumbent on me to take it to a "full article", whatever you mean by that: 10kb? 32kb?

 * Scott, how about English English, East Anglian English, Estuary English, Highland English, Manx English, Mid Ulster English, Northern English, Received Pronunciation, Scottish English, West Country dialects, Cockney, Norfolk dialect, Brummie, Geordie, Pitmatic,  Tyke, Scouse and Mackem. There are probably others. Then there is the myriad of articles on US dialects. Grant65 | Talk 22:38, 19 April 2006 (UTC)

 * Grant; yeah, no, you're right it need not be incumbent on you to expand the article. I just threw the challenge out because you are the one who is disagreeing with my merger.  So my challenge would go out not only to you, Grant, but to everyone who thinks that the merger was a mistake.

 * I don't believe it was. The article is still rather small: fair game to be merged in my way of looking at things.  But, no, my way is not the only way and not necessarily the best way.  "hardly even a stub anymore", yeah, well, it's borderline.  But, fair enough, I had left "full article status" vague and undefined.

 * Anyway, as I see it, it just makes more sense to keep everything pertaining to regional variation in AusE in the one spot ... until, of course, there is no room. This seems to me a more useful way of oraganising information.

 * Grant, you've given us a nice long list of articles on various British dialects. I assume it took a while to gather the list up.  You even write "There are probably others."  You can't really be sure whether there are or not, right?

 * Ending up with this kind of mess is the kind of thing I'm trying to avoid. Do we want 27 odd articles, most of which will never be more than stubs, each covering some AusE dialect, all floating about unconnected to one-another?

 * The way I see it, it's better to have everything in one place where it's easier to find. Then when sections become large enough, split them out.  Do we need to do things the way they were done for British and American English or do we do things our own way and let them copy us? Jimp 15:39, 20 April 2006 (UTC)
 * Jim, you said: "as I see it, it just makes more sense to keep everything pertaining to regional variation in AusE in the one spot ... until, of course, there is no room. " I don't see any reason why we can't have it both ways: the general article on varieties of AusE should remain and so should the articles on various dialects.

 * You say "you've given us a nice long list of articles on various British dialects. I assume it took a while to gather the list up.  You even write "There are probably others."  You can't really be sure whether there are or not, right?" In fact it took me all of about five minutes; categories make searches like that very easy. I was giving examples, not an exhaustive list.

 * You say: "Ending up with this kind of mess is the kind of thing I'm trying to avoid. Do we want 27 odd articles, most of which will never be more than stubs, each covering some AusE dialect, all floating about unconnected to one-another?" Jim, the "mess" is in the eye of the beholder; there is no reason not to duplicate material on different pages when appropriate. They can be easily connected to each other by links in the articles (as they are in the "See also" section) and by categories. Grant65 | Talk 07:18, 22 April 2006 (UTC)

For the record, I'd like to state that I now oppose any merger.--cj | talk 09:52, 22 May 2006 (UTC)

 * Grant,

 * I've been a while getting back to you. Yes, have it both ways but iff the article on the specific dialect is large enough.  Yes, duplication isn't bad if done right.  When I split this stuff off from Australian English I left a summary there.  This is the way to do it in my opinion.  What we have now is the entire article duplicated as a section on the other page.  The setion is too small really to warrant summary.  There is also the problem of editing.  Now that this stuff appears twice it is likely to be edited in different directions.  Wouldn't it be better to direct potential editors to the one copy?

 * Cyberjunkie,

 * Why?

 * Jimp 00:14, 23 May 2006 (UTC)

 * Because Wikipedia is not a paper encyclopedia and precedent exists.--cj | talk 04:25, 23 May 2006 (UTC)

 * No, Wikipedia is not a paper encyclopædia but I think this merger makes sense in spite of this. From the point of view of readability it's better to have one decent sized article than to have a bunch of little ones. Cyberjunkie, you write that you oppose any merger.  Do you mean any merger of this article or any merger of any article at all?  Precedent exists, yes, and there is precedent of merging articles.  I've merged a number of articles.  I've also split quite a few too.  It's all a matter of attempting to find the best way of organising information.  One huge article can be a pain to get through whilst a dozen tiny ones can be a pain to surf about.  I was only trying to better organise this Aussie English stuff.  It makes no sense to me to have such a small article as this when there is a spot where it all fits nicely elsewhere paper encyclopædia or otherwise. Jimp 06:26, 23 May 2006 (UTC)
 * That's awfully patronising. Of course I know that mergers occur, and I have personally precipitated many. I should think it obvious that my statement refers to this article. However, since this appears not to be so, I shall clarify any remaining ambiguity: by precedent, I refer to the list of other variety articles. And no, I see no cause for the topics to be subsumed into Regional variation in Australian English; that article need only touch on them, not cover them in full. --cj | talk 06:34, 23 May 2006 (UTC)
 * Sorry, it's not my intention to be patronising. Thanks for clarifying what your position. Regional variation in Australian English does only touch on South Australian English, it by no means covers it in full.  This article does no more than this either.  I'd like to see the full coverage and to see it here but until such a full coverage exists I don't understand why the article should exist. Jimp 05:24, 24 May 2006 (UTC)

I don't understand why it shouldn't exist, as opposed to an article that attempts to cover all variation in Australian English. Have a good look at the ABC/Maquarie Australian Word Map site and you will start to get an idea of the absurdity of attempting to capture the whole gamut of regional variation. And that's without there's the education/occupation/class split into Broad/General/Cultivated. Grant65 | Talk 09:27, 24 May 2006 (UTC)
 * I have an idea of "the absurdity of attempting to capture the whole gamut of regional variation" in one article. I agree with you here, Grant.  Does Regional variation in Australian English do this?  Far from it: the sections on specific varieties are very few and breif indeed ... as yet.  Yes, they could and definitely should be expanded in size and in number and when they are they should be split out.  So, yes, I agree that there is a great deal to be covered and I agree that this is too much for one article.  However, this is talking of what there is to be covered.  Now, if we look at what is presently covered, we see a different picture.  At present we just don't have the kind of detail that you find at ABC/Maquarie Australian Word Map.  It would be great if we had, we wouldn't be having this debate in that case.  At present we have Regional variation in Australian English plus two stubby little articles floating about. What I don't understand is why the latter should exist when there's a perfectly good home for them. Jimp 07:36, 25 May 2006 (UTC)
 * Gawd. Wikipedia started with zero articles. It still wouldn't have any if everyone took that attitiude. Grant65 | Talk 11:58, 25 May 2006 (UTC)
 * How so? Jimp 03:21, 26 May 2006 (UTC)
 * Anyway it looks like it's Scott Davis and I verses Grant65 and Cyberjunkie. That's two to two.  Isn't anyobody else interested?  It's been a fun debate but it seems you have a better case, Grant65 and Cyberjunkie.  I've removed the merge tags from both articles.  I've also summarised the duplication at Regional variation in Australian English putting links to these main articles. I hope we can expand them and start more of them.  We've got nothing on the Eastern states dialects. Jimp 14:37, 29 May 2006 (UTC)
 * There's no consensus to change, so the merge proposal should be withdrawn.--cj | talk 05:41, 4 June 2006 (UTC)

Hello, seems there has been a bit of a biffo since I last checked this page. I think I mentioned previously that this page should be merged with other AusE things but can't locate any comments I wrote. After I write this bit here, I will add a tiny bit more to the page and will leave it all up to you if you want a merger of this page or not. Frances76 12:06, 3 June 2006 (UTC)

duh, just located it on the previous page! Frances76 12:07, 3 June 2006 (UTC)

 * Cyberjunkie,
 * I more or less had withdrawn it. Jimp 00:11, 5 June 2006 (UTC)
 * Frances,
 * What do you think? Was I wrong to have tried merging the page into Regional variation in Australian English? Jimp 00:11, 5 June 2006 (UTC)

Hi Jim -my problem with having this page as it is that although SAians sound different to the other states and have quirks and a lot unique words, there just hasn't been enough studies to define it as a "separate" accent as such. However, to be truthful, I'm feeling rather indifferent to whether this topic should be on its own or merged. I'll leave it to others as to whether it should merged. Maybe a non-Australian linguistically trained wikipedian might be a good aribiter in this matter.Frances76 01:13, 8 June 2006 (UTC)

Long A Sound
Most of the people I know in Adelaide use a long A sound in such words as dance and chance. Grant and plant are always pronounced with a similar sound. This seems to be the main difference to say a more cultured Melbourne accent. Ozdaren 17:31, 22 June 2006 (UTC)
 * I don't think it's the only difference between Adelaide and Melbourne accents, but it's perhaps the most obvious to listeners from neither place. For example, to my (SA) ear, the capital of Victoria is often called "Malbourne" by people who live there. For reader's who aren't sure, the "long A" is "ah"/"ar", not "ay" and also appears in last, fast, car. --Scott Davis Talk 13:20, 25 June 2006 (UTC)

Yes have to agree that Victorians also vowel swap and sound very nasal. Frances76 09:23, 26 June 2006 (UTC)

 * Interesting, just had a long conversation with an old Melburnian who resides in Adelaide. He does say Malburn for Melbourne. I wonder if the younger generations speak the same way. He is in his late 60's and very well educated. Ozdaren 10:32, 7 July 2006 (UTC)

 * I had noticed it in people my age and younger more than I had heard it in older people, so it must be all ages. It tends to show up less on television than in person. --Scott Davis Talk 22:56, 10 July 2006 (UTC)

I would have thought that the preponderance of the broad A amongst South Australians is the most distinctive aspect of the variation, and yet, it is not mentioned. Is there reason for this?--cj | talk 13:09, 24 July 2006 (UTC)

 * That's where this discussion started. You're right, it's the most obvious distinction for South Australian accents to other Australian English speakers. The dark L is surprisingly distinctive (and unintelligible) when travelling to some places overseas. You seem to know the right terms, so please add it to the article. --Scott Davis Talk 15:19, 26 July 2006 (UTC)

Yeah, but check out the dark L page. There it is suggested that the SA accent goes beyond dark-L and in fact exhibits L-vocalisation instead. That certainly agrees with what I hear ([o], [ʊ] or [w]). The link to the dark-L entry is useful in that it leads to the L-vocalisation info, but it should be made clear that the SA accent uses L-vocalisation, not dark-L. DaSuthNa

Dark /l/ is not unique to South Australians nor even to Australians; it is common all over Australia and in many British English accents. That bit should be deleted. M.H.218.165.74.191 16:54, 31 October 2006 (UTC)
 * No one said it was unique to South Australians.--cj | talk 06:40, 1 November 2006 (UTC)

Added bit about /ɑ/ sound. M.H. 218.165.76.83 04:29, 22 November 2006 (UTC)

What about 'No'/'Noy'?
Adelaideans (females more than males, the weather presenters especially) have a distinct "oy" sound on the end of words that you'd suppose end in an "oh", e.g. "Hello, go, no, show" as "Helloy, goy, noy, shoy" etc. It doesn't seem to be mentioned in a google search. Foreign exchange students always ask me about it in english classes - "what is this word 'noy'?" being the most common query and it leads into a discussion on accent. Weird it isn't mentioned. Anyone here care to comment? Is it perhaps also common in VIC? DaSuthNa

 * As an Adelaidean I'd describe it more as a lengthened vowel that begins like 'oh' and ends something like a German 'ü' (ue). It's certainly not like 'oi' or 'alloy'. Karldoh 15:17, 12 May 2007 (UTC)

 * If we have a credible source for this, other than personal observation, it would be a useful inclusion in the article. Grant | Talk 02:38, 13 May 2007 (UTC)

milk / 'miuwk'
"...the phenomenon known as the "dark-l", such that the "l" is vocalised; for example, "milk" sounds like "miuwk"..."

In at least some parts of Eastern Australia 'milk' is pronounced as 'milluck'. Another example is 'film' ('fiuwm in SA and 'fillum' elsewhere). This seems to me to be a genuine regional characteristic and not just a matter of a few different word pronunciations. If it is caused by education then "fillum" and "milluck" should be commonly heard in SA too.

In the case of "dance", might this be due to a SA perception of cultural superiority, as it was never a penal colony; the long A perhaps being an unconscious means of holding the ex-convict Melburnians (as the closest state capital, interstate rivalry has mostly been targeted there) at arms length by using speech that is closer to some perceived form of Received Pronunciation? Just my speculation.

Regarding the "back allophone" of words like 'pool', 'school', 'fool', the contrast with other regions is also distinct. As a child I knew that my father, from the Wagga region of NSW, pronounced a lot of words differently. As it happens, he is of Barossa German stock but his accent definitely came from his birth place. If the SA pronunciation of 'pool' is a drawn out 'pull', the NSW version sounds something like "poo-all" but the "poo" does not quite rhyme with "boo". It is almost as if the mouth is initially shaped to say "per". (Evidence for the old saw about Australians speaking with their mouths half closed to keep the flies out?)

My point is that these differences seem to be general differences in speech between regions. Not enough to make the SA accent distinct from general (or Eastern) Australian in a way that non-Australians would easily perceive, perhaps but it seems more significant than most linguists allow.

Bluemin (talk) 06:08, 5 May 2009 (UTC)

collective name given to
"Collective name given to" is redundant. I deleted it. You could equally say that "apple" is the collective name given to varieties of fruit. It is wrong and a use/mention error. There's an essay here wp:refers that explains the use/mention distinction. Volunteer1234 (talk) 02:01, 7 July 2017 (UTC)

The OO sound
Raised in the eastern states and now native to South Australia, one of the most distinctive local sounds I hear is the oo vowel, as in school and pool. I'm surprised neither the article nor the talk page mentions it. In the eastern states, these words are pronounced with a long vowel, to rhyme with rule. In South Australia, they are given a shorter sound, more like the vowel in full or pull. Peter Bell (talk) 08:22, 25 December 2018 (UTC)
 * Hi Peter. I think you need to express this differently. I'm South Australian for several generations. School, pool and rule rhyme for me, but are longer than full and pull. They sound different to the Queensland "skewel" and "pewel" though. --Scott Davis Talk 08:48, 25 December 2018 (UTC)
 * Oops I forgot to ping . --Scott Davis Talk 12:39, 25 December 2018 (UTC)
 * Hmmm, thank you Scott, but put me down as unconvinced. I have never heard 'the Queensland "skewel" and "pewel"' sound except in South Australian parodies of it.  To my ear, people in Sydney pronounce pool to rhyme with rule, and people in Adelaide pronounce it to (almost but not quite) rhyme with pull. I take it you don't want it mentioned in the article?  Peter Bell (talk) 09:40, 26 December 2018 (UTC)
 * It doesn't matter whether or not one "wants" anything to be mentioned in the article, we just need reliable sources that corroborate.
 * When you say "X rhymes with Y", is Y your Y or their Y? Because those indicate very different things. Nardog (talk) 16:53, 26 December 2018 (UTC)
 * What is being discussed here is the backness of . It's normally a fairly back vowel before in General Australian English ( or perhaps ), but apparently some dialects use central  also in this position, much like Scottish English. Kbb2 (ex. Mr KEBAB) (talk) 20:55, 26 December 2018 (UTC)

title: Talk:South Australian English


text:
User:Theaterfreak64/Wiki Calendar

22:18, Apr 24, 2005

The first article I've ever written from scratch, University of Alaska Press, is written. So is the second, User:Theaterfreak64 (actually, it was penned several minutes later). I predict the former will be promptly deleted.

Apr 30, 2005

I join Meta-Wiki. Same username.

June 4, 2005

I'm an editor for the Urban Dictionary. Does this count?

title: User:Theaterfreak64/Wiki Calendar


text:
Wikipedia talk:Today's featured article/June 4, 2005

Typo
"...Benedict's personal coat of arms does not show a tiara in the ornaments, it being replaced by with the papal mitre..." (emphasis mine)

The comma should be replaced by a semi-colon.

– Minh Nguyễn (talk, contribs, blog) 00:08, 4 Jun 2005 (UTC)
 * 'Done. →Raul654 00:15, Jun 4, 2005 (UTC)


text:
Kriyamana karma

Kriyamana karma, in Hinduism, is the karma that human beings are creating in the present, the fruits of which will be experienced in the future. These actions that are generated day-by-day may either join the prarabdha karma and become experienced in this very life or join the sanchita karma and become experienced in future lives. Kriyamana karma is the only karma that human beings have control over.

title: Kriyamana karma


text:
Wikipedia:Articles for deletion/The Dakotas

 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. — Xezbeth 19:52, Jun 16, 2005 (UTC)

The Dakotas
This seems like an ideal candidate for merging or deletion, there's already several pages on very similar topics, such as Dakota or Dakota Territory and it doesn't offer much that's new. What does everyone else think? StoneColdCrazy 00:10, 4 Jun 2005 (UTC)

 * Keep. The Dakotas are a specific geographical place and they deserve their own article (just like The Carolinas).  Although Dakota Territory and The Dakotas describe the same area of land, they are different things that deserve different articles.  "Dakota Territory" is a historical term and its article should have a historical perspective.  "The Dakotas" is an actively used term that deserves an article that briefly describes this portion of the United States.  I would encourage some expansion of The Dakotas article instead of deletion. --MatthewUND 00:30, Jun 4, 2005 (UTC)
 * Keep. The Dakotas was also the name of Billy J. Kramer's backing group so you'd need the entry for a disambig in any case.   --Tony Sidaway|Talk 00:50, 4 Jun 2005 (UTC)
 * Keep - and the term can be used to describe a native American tribe, too. Seems like a good disambiguation page. Grutness...  wha?  01:55, 4 Jun 2005 (UTC)
 * Keep as a disambig. -- BD2412 talk 02:17, 2005 Jun 4 (UTC)
 * Keep. Useful as a disambig or if expanded. They might as well be one state anyway... :-) A и D я 01D  TALK  EMAIL  03:13, Jun 4, 2005 (UTC)
 * Keep, as with other geographical articles of this sort (New England, Northern California etc.), and expand. Kaibabsquirrel 03:55, 4 Jun 2005 (UTC)
 * Keep as DAB move the current text to The Dakotas (states). Vegaswikian 06:59, 4 Jun 2005 (UTC)
 * Comment. What's wrong with the current primary topic disambig? By far the most common meaning is the area bounded by the pair of states. --Tony Sidaway|Talk 16:29, 4 Jun 2005 (UTC)
 * Keep. We also have the Carolinas, btw. jengod 01:15, Jun 5, 2005 (UTC)
 * Keep. Notable geographic area. Capitalistroadster 06:51, 5 Jun 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:
Great hall (disambiguation)

A Great hall is the main room of a royal palace, nobleman's castle or large manor house.

Great Hall may also refer to:
 * Great Hall of the People, Tiananmen Square, Beijing
 * Great Hall of the University of Sydney, Australia
 * Cooper Union's Foundation Building's Great Hall, New York
 * Volkshalle (Große Halle) the domed architectural centerpiece of the planned, but never built, renewal of the German capital Berlin during the Nazi period

title: Great hall (disambiguation)


text:
User:Theaterfreak64/Wikipedia To-Do List

Fix Get Happy!! (add template, get full track list, et certera).