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Ursa Major (character)

Ursa Major (Большая Медведица, Mikhail Uriokovitch Ursus) is a fictional character, a mutant appearing in American comic books published by Marvel Comics. The character has been depicted as a member of the Soviet Super-Soldiers.

The character appeared as a human in the live-action Marvel Cinematic Universe film Black Widow (2021), portrayed by Olivier Richters.

Publication history
His first appearance was in Incredible Hulk (vol. 2) #258, and the character was created by Bill Mantlo and Sal Buscema.

Fictional character biography
Born in Blagoveshchensk, Mikhail Ursus was one of the first known mutants born in the Soviet Union in the 20th Century to survive past childhood. Up until the time of his birth, the Soviet government had killed all mutants at the first manifestation of their superhuman powers. In Mikhail's case this was at a young age and he was abandoned in the mountains, growing up amongst the animals of the forest and presumably using his shape-changing power to survive.

Due to the efforts of scientist Piotr Phobos, the government was made to see the potential value of superhumans serving the state and Phobos soon opened a private school to train mutants. Mikhail Ursus was among the first of the many mutants trained by Professor Phobos. Unknown to both his students and the Soviet government, Phobos had built a device to siphon off energy from his students to give himself artificial powers of his own. The process tended to kill the subjects after a time, and Phobos explained their deaths as training casualties. When the second Red Guardian discovered Phobos's scheme, he managed to overpower her and went into hiding, but not before giving two of his students, Darkstar and Vanguard, graduation 'gifts' through which he could continue to siphon their power.

Following certain field work, Mikhail, Darkstar and Vanguard (the three best-trained students of Phobos's school) were reunited and organized by the government into the elite Soviet Super-Soldiers, a team of Soviet government agents. Ursus was given the code name Ursa Major (though he is also known as 'Major Ursus'). The first mission of the Soviet Super-Soldiers was to investigate the contained radioactive area of Khystym known as the Forbidden Zone and to stop the Presence. There they encountered the Hulk, and discovered that their former teacher Professor Phobos was engaged in a project to radioactively contaminate all of the Soviet Union in order to foster the birth of more mutants whose powers he could eventually siphon. The Soviet Super-Soldiers, aided by the Hulk, thwarted Phobos's plan and brought him before the government to stand trial.

Although the Super-Soldiers resolved to remain together as a team, they vowed to never again unquestioningly serve the state. They have subsequently undertaken one government mission, but generally act independently. They were based in a scientific fortress in the region of Khystym.

Ursa Major later battled the Red Ghost alongside the Soviet Super-Soldiers. With the Soviet Super-Soldiers, he was dispatched to capture Magneto, and battled the X-Men and the Avengers. With Vanguard and Darkstar, Ursa Major later attempted to defect to the United States, but they were beaten comatose by the Supreme Soviets.

Later, Ursa Major followed Vanguard into the employ of General Tskarov, a communist sympathizer who wanted to undermine American business along the East coast. They only agreed, however, in order to find the missing Darkstar, who (as Ursa later discovered) was in fact being experimented on in Tskarov's own laboratory. Ursa, Darkstar, and Vanguard then joined the Black Widow and Daredevil in defeating Tskarov.

Ursa Major is one of the few mutants in the world to retain their powers after Decimation. Ursa Major returns as part of the Winter Guard, helping them and War Machine fight off a Skrull attempt to steal Russian nuclear bombs. Despite orders to the contrary, the entire Guard assists War Machine in killing or driving off the invaders.

The Winter Guard would soon fight a group of superhuman Soviet revolutionaries called Remont Six. This group is led by Iron Maiden and they come into conflict with the Guard when they raid an A.I.M. facility. Ursa Major would fight the Snow Leopards and Volga. The Winter Guard prevail and defeat the Remont Six. Later, Ursa and the rest of the Winter Guard team up with the Agents of Atlas to battle Warlord Krang. After teaming up with the Protectorate (including former Winter Guard members Powersurge and Vanguard), Ursa and the rest of the Winter Guard battle the Presence and former Winter Guard member turned Dire Wraith Fantasma and their Dire Wraith children.

He was later seen in a Russian gulag, forced to battle Bucky Barnes, who had been surrendered to the Russian government for alleged crimes as the Winter Soldier, convicted in absentia. When asked by the prison warden why Ursa Major had been incarcerated, Colonel Rostov replied "it's not too difficult to find treason or corruption charges on any government agent."

Following the "Secret Empire" storyline, Ursa Major is seen as a member of the Black Widow Ops Program where they cloned Black Widow following her death at the hands of Captain America's Hydra Supreme counterpart. He bribed Epsilon Red to let him add her current memories while secretly disposing of the bad programming.

At some point, Ursa Major was incarcerated in a gulag. He was approached by a Russian official who states that they are bringing the Winter Guard back together while presenting a pardon as a condition of him joining. Ursa Major accepted under the condition that they can expunge his criminal record as well. Ursa Major later represented the Russian government when he attended Black Panther's meeting in the Eden Room of Avengers Mountain. He started to get aggressive towards Black Panther. This caused Black Panther to have Avengers Mountain's teleportation system send Ursa Major to Siberia. Afterwards, Black Panther apologized and commented to the other representatives that he hoped that the Russian government would send Crimson Dynamo and that they sent Ursa Major on purpose. Black Panther concluded that they will not be getting any allies from Russia.

During "The War of the Realms" storyline, Ursa Major is seen talking to Gorilla-Man in the Wundagore Zoo in Transia, discussing about an undercover operation he is running for Black Panther, until Ka-Zar arrives to pick up Gorilla-Man and take him to Avengers Mountain.

Powers and abilities
Ursa Major has the mutant ability to transform himself into a large anthropomorphic bear. While in this form, Ursa Major retains his human intelligence and ability to speak, though his personality does become more feral and he begins to lose control over his human intelligence if he remains in his transformed state for several hours consecutively. Ursa Major was trained by the Soviet Military, and trained in the use of his powers by Professor Phobos, being a graduate of Professor Phobos's mutant training school.

While transformed, Ursa Major possesses superhuman strength, stamina and resistance to physical injury to a much greater degree than an actual bear of similar size possesses. His strength is sufficient to allow him to engage in a one-on-one battle with The Hulk and survive. His senses are also heightened to a superhuman degree, particularly his sense of smell, which he can use to track a target by scent. Also, like a real bear, Ursa Major possesses non-retractable claws. These claws are relatively blunt, as they are with an actual bear, but can be used as effective weapons when coupled with his great strength.

Civil War: House of M
Ursa Major is seen as a member of the Soviet Super-Soldiers in the House of M.

Marvel Zombies
In the Marvel Zombies universe, Ursa Major works as a guard for the Kingpin's human clone vats. He attacks the Earth-616 Machine Man and tries to bite his head off. Machine Man extrudes spikes from his head, killing Ursa Major.

Television

 * Ursa Major makes a non-speaking appearance in the Avengers Assemble episode "Secret Avengers" as a member of the Winter Guard.
 * Ursa Major appears in Marvel Future Avengers, voiced by Kenji Nomura in Japanese and JB Blanc in English. This version is a member of the Winter Guard.

Film
Ursa Major appears in Black Widow, portrayed by Olivier Richters. This version is an inmate of the Seventh Circle prison alongside Alexei Shostakov.

Video games
Ursa Major makes a cameo appearance in Lego Marvel Super Heroes 2 as a member of the Soviet Super-Soldiers.

title: Ursa Major (character)


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WAF

WAF, or waf, may refer to:

Computing

 * Waf, a software build system written in the Python programming language
 * Web application firewall, a proxy device with protocol awareness of HTTP
 * Web application framework, a software framework that is designed to support the development of dynamic websites, Web applications and Web services

Culture

 * World Architecture Festival, an annual festival and awards ceremony for architecture
 * "Wabash Always Fights," the rallying cheer of Wabash College

Organisations

 * Welsh Automotive Forum, a company that lobbies the UK government on behalf of the automotive industry in Wales
 * Women in the Air Force (WAF), organized in 1948 and active until 1976
 * Workers Autonomous Federation, one of several underground trade unions in the People's Republic of China
 * World Archery Federation, a governing sports body
 * World Apostolate of Fátima, a Roman Catholic movement to promote a faith according to the apparitions at Fátima
 * World Armwrestling Federation, a federation of arm wrestling associations which organises world championships
 * Wydad de Fès (Wydad Athletic de Fès), a Moroccan association football club

Science and technology

 * WAF1, a protein implicated in p53 transcriptional regulation
 * Weather and Forecasting, an American Meteorological Society journal
 * Width across flats, the distance between the two flats of a wrench (UK: spanner) or socket
 * Wife acceptance factor (or wife approval factor or wife appeal factor), a colloquialism used in discussions related to hi-fi and home theater equipment, home automation

Transport

 * Wah Fu station, a proposed MTR station in Hong Kong (MTR station code)
 * Wallyford railway station, East Lothian, Scotland (National Rail station code)

Other

 * 'With all faults', a phrase used as a disclaimer of any implied warranty of merchantability (often appears in descriptions of second-hand books, cars, knowledge, etc.)

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

title: WAF


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Wikipedia:Articles for deletion/Capnography

 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. Mel Etitis ( Μελ Ετητης ) 08:03, 14 Jun 2005 (UTC)

Capnography
I would like to nominate Capnography for deletion. It appears to be an advert by a quack doctor for his own medical method. I did originally put this up for speedy-delete, but one user objected, so I am submitting it for voting.

 * Speedy Delete (obviously, as Im the one submitting it)     17:50, 3 Jun 2005 (UTC)
 * Speedy keep. This is bad-faith nomination by someone who seems to be a reincarnation of banned user Lir.  After wrongly placing PoV and Speedy tags on this, he replaced the PoV tag three more times, despite offering no reason; I've since looked up and supplied a link to a search page on the American Society of Anesthesiologists ).  He has no reason other than a hunch for his reason for the VfD. Mel Etitis  ( Μελ Ετητης ) 17:57, 3 Jun 2005 (UTC)
 * I am not Lir, any more than you are a reincarnation of Sitite Lem.     17:15, 4 Jun 2005 (UTC)
 * Oh, p.s. I've just noticed your greek is wrong for your name, try iota rather than eta.

 * In Greek, the eta is pronounced the same way a iota is pronounced. Therefore there is nothing wrong with Mel Etitis' name. Btw, I abstain from voting. Aecis 23:01, 13 Jun 2005 (UTC)

 * David Gerard did an IP lookup and decided this is not Lir. He is, however, making a lot of suspect edits.  Keep.  RickK 20:23, Jun 4, 2005 (UTC)

 * I'm no doctor, but there is a lot of literature that looks pretty legitimate for this term. Seems to be pretty standard practice in anesthesiology. Keep. ESkog 18:02, 4 Jun 2005 (UTC)
 * Keep. Google turns up quite a number of legitimate hits. --khaosworks 17:57, Jun 4, 2005 (UTC)
 * Keep per khaosworks. A и D я 01D  TALK  EMAIL  20:31, Jun 4, 2005 (UTC)
 * Strong speedy keep. This is part of the basic standards on ventilation of the American SOciety of Anesthesiologists. DS1953 20:48, 4 Jun 2005 (UTC)
 * Strong Speedy Keep highly respectable 34,300 Google hits including legitimate medical and government sites. A book on this subject was published by Cambridge University Press (ISBN 0521540348). If the submitter has reason to believe this medical technique is less than sound, they should let us know why (hopefully backed by some sources).  It certainly isn't an advert or non-notable by any stretch of the imagination. Andrew Lenahan - St ar bli nd  21:27, Jun 4, 2005 (UTC)
 * Keep and expand. Notable medical topic. JamesBurns 03:58, 5 Jun 2005 (UTC)
 * Keep. Notable medical topic. Capitalistroadster 08:52, 5 Jun 2005 (UTC)
 * Strong Keep, ceartaintly a notable medical topic. Falphin 17:33, 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.


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Laced moray

The laced moray (Gymnothorax favagineus), also known as the leopard moray, leopard moray eel, tessellate moray or honeycomb moray, is a species of marine fish in the family Muraenidae.

Description
Gymnothorax favagineus is a large moray which can reach a maximum length of 3 metres (10 feet), but specimens usually encountered are much smaller.

Its body is serpentine in shape, with a white to yellowish background color dotted with numerous black spots. These spots vary in size and shape depending on the individual and on the environment in which the animals live: morays living on a reef with clear water will have fewer black spots than those living in a turbid environment. This characteristic color pattern is the source of its vernacular name.

Distribution and habitat
The laced moray is widespread throughout the Indo-West Pacific area from eastern coast of Africa, Red Sea included, to Papua New Guinea and from southern Japan to the Great Barrier Reef.

It lives on the outer slopes of coral reefs. During the day, it sits sheltered in crevices between 1 and 45 meters (3 and 150 feet) deep.

Diet and feeding habits
The laced moray is carnivorous. It leaves its lair at night to actively hunt its prey along the reef. It feeds mainly on small fish and cephalopods. Large adults are prone to be aggressive in the wild.

title: Laced moray


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The X-Files literature

During the run of the TV series The X-Files, many books based on it were released, written, including novels based on episodes, a series of comic books from Topps Comics, and many "official" and "unauthorized" non-fiction books.

Some of the novels, which were published in both hardcover and trade paperback editions, came out as audiobooks read by several of the series' stars, including Gillian Anderson (Ground Zero), John Neville (Fight the Future), Steven Williams (Squeeze), Bruce Harwood (Skin) and Mitch Pileggi (Antibodies and Ruins).

Apart from the novels, in 2016 first official The X-Files coloring book was released by IDW Publishing.

The X-Files fiction
Apart from the following series of books, there has also been a Fight the Future book based on The X Files Movie, written by Elizabeth Hand, as well as The X-Files: I Want to Believe by Max Allan Collins.

Juvenile Series (Middle Grade)

 * X Marks the Spot by Les Martin (Pilot)
 * Darkness Falls by Les Martin (Darkness Falls)
 * Tiger, Tiger!, by Les Martin (Fearful Symmetry)
 * Squeeze by Ellen Steiber (Squeeze)
 * Humbug by Les Martin (Humbug)
 * Shapes by Ellen Steiber (Shapes)
 * Fear by Les Martin (Blood)
 * Voltage by Easton Royce (D.P.O.)
 * E.B.E by Les Martin and Easton Royce (E.B.E)
 * Die Bug, Die! by Les Martin (War of the Coprophages)
 * Ghost in the Machine by Les Martin (Ghost in the Machine)

Young Adults Series

 * The Calusari by Garth Nix (The Calusari)
 * Eve by Ellen Steiber (Eve)
 * Bad Sign by Easton Royce (Syzygy)
 * Our Town by Eric Elfman (Our Town)
 * Empathy by Ellen Steiber (Oubliette)
 * Fresh Bones by Les Martin (Fresh Bones)
 * Control by Everett Owens (Pusher)
 * The Host by Les Martin (The Host)
 * Hungry Ghosts by Ellen Steiber (Hell Money)
 * Dark Matter by Easton Royce (Soft Light)
 * Howlers by Everett Owens (Unruhe)
 * Grotesque by Ellen Steiber (Grotesque)
 * Quarantine by Les Martin (F. Emasculata)
 * Regeneration by Everett Owens (Leonard Betts)
 * Haunted by Ellen Steiber (Shadows)
 * Miracle Man by Terry Bisson (Miracle Man)

Third Series

 * Ascension by Quentin Thomas (Duane Barry/Ascension/One Breath)
 * Hunter by Charles L. Grant (Colony/End Game)

Novels

 * 1) Goblins by Charles L. Grant (1994)
 * 2) Whirlwind by Charles L. Grant (1995)
 * 3) Ground Zero by Kevin J. Anderson (1995)
 * 4) Ruins by Kevin J. Anderson (1996)
 * 5) Antibodies by Kevin J. Anderson (1997)
 * 6) Skin by Ben Mezrich (1999)

Film Novelizations

 * Fight the Future by Elizabeth Hand (1998)
 * The X-Files: I Want to Believe by Max Allan Collins (2008)

====The X-Files Origins ====
 * 1) Devil's Advocate by Jonathan Maberry (2017)
 * 2) Agent of Chaos by Kami Garcia (2018)

Short Story Anthologies

 * The X-Files: Trust No One, edited by Jonathan Maberry. ISBN 978-1-63140-278-4. 2015.
 * Includes stories by Aaron S. Rosenberg, Brian Keene, Gayle Lynds and John Sheldon, Gini Koch, Heather Graham, Jonathan Maberry, Keith R.A. DeCandido, Kevin J. Anderson, Max Allan Collins, Paul Crilley, Paul Shipper, Peter Clines, Ray Garton, Stefan Petrucha, Tim Lebbon, Timothy Deal, W.D. Gagliani and David Benton.
 * The X-Files: The Truth Is Out There, edited by Jonathan Maberry. 2016.
 * Includes stories by Rachel Caine, Hank Philippi Ryan, Kelley Armstrong, Kami Garcia, Greg Cox and others.
 * The X-Files: Secret Agendas, edited by Jonathan Maberry. 2016.
 * Includes stories by Jim Beard, Joh Gilstrap, Lauren A. Forry, Weston Ochse, Yvonne Navarro, Jade Shames, Andy Mangels, Lois Gresh, Jeff Mariotte & Marsheila Mariotte, Joe Harris, Bryan Thomas Schmidt & Kate Corcino, Ryan Cady, George Ivanoff, Nancy Holder and Lucy A. Snyder.

Comic books (trade-paperback collections)

 * The X Files Collection: Seven Stories from the Best-Selling Topps Comics Series by Stefan Petrucha, Charles Adlard, Miran Kim (Berkley Publishing, 1996) ISBN 1-883313-10-4,
 * The X-Files, Vol. 1 by Stefan Petrucha, Miran Kim, Charles Adlard (Checker Book Publishing Group, 2005) ISBN 1-933160-02-0,
 * The X-Files Season 10 - series of official continuation comic books,
 * The X-Files Season 11 - series of official continuation comic books,
 * Millennium (2015 comic book) - official The X-Files and Millennium crossover,
 * The X-Files 2016 - series of official continuation comic books,
 * The X-Files Classics - series of comic books,
 * The X-Files: Year Zero - series of comic books,
 * The X-Files Deviations - series of comic books, Issue 1 released March 1st 2017
 * The X-Files X-Mas Special - series of comic books,
 * The X-Files: Conspiracy,
 * The X-Files / 30 Days of Night crossover.
 * The X-Files: Origins
 * The X-Files: Case Files

Non-fiction books
and others.
 * The X-Files Declassified: The Unauthorized Guide by Frank Lovece (Carol Publishing, 1996) ISBN 0-8065-1745-X
 * The Unauthorized X-Cyclopedia: The Definitive Reference Guide to The X-Files by James Hatfield and George "Doc" Burt (Kensington, reissued 1997) Reissue ISBN 1-57566-233-7
 * X-Treme Possibilities: A Comprehensively Expanded Rummage Through Five Years of The X-Files by Paul Cornell, Martin Day, Keith Topping (Virgin Publishing, reissued 1998) Reissue ISBN 0-7535-0228-3
 * The Truth Is Out There: The Official Guide to The X-Files, Vol. 1 by Brian Lowry and Chris Carter, research by Sarah Stegall (Perennial Currents, 1995) ISBN 0-06-105330-9
 * Trust No One: The Official Guide to The X-Files, Vol. 2 by Brian Lowry and Chris Carter, research by Sarah Stegall (HarperEntertainment, 1996) ISBN 0-06-105353-8
 * I Want to Believe: The Official Guide to The X-Files, Vol. 3 by Andy Meisler and Chris Carter, research by Sarah Stegall (Harper Paperbacks, 1998) ISBN 0-06-105386-4
 * Resist or Serve: The Official Guide to The X-Files, Vol. 4 by Andy Meisler ISBN 0-06-107309-1
 * The End and the Beginning: The Official Guide to The X-Files, Vol. 5 by Andy Meisler (Perennial Currents, 2000) ISBN 0-06-107595-7
 * All Things: The Official Guide to The X-Files, Vol. 6 by Marc Shapiro (Harper Paperbacks, 2001) ISBN 0-06-107611-2
 * X Marks the Spot: On Location With The X-Files by Louisa Gradnitzer & Todd Pittson, introduction by Tom Braidwood (Arsenal Pulp Press, 1999) ISBN 1-55152-066-4
 * The Real Science Behind the X-Files: Microbes, Meteorites, and Mutants by Anne Simon, Ph.D. (Simon & Schuster / Touchstone, 2001) ISBN 0-684-85618-2
 * The Art of the X-Files by Anne Rivers Siddons; introduction by William Gibson (HarperPrism, 1998) ISBN 0-06-105037-7
 * The X Files Book of the Unexplained, Vol. One by Jane Goldman (Simon Schuster Trade) ISBN 0-684-81962-7
 * The X Files Book of the Unexplained, Vol. Two by Jane Goldman (Harper Prism, 1997) ISBN 0-06-105280-9
 * The Anderson Files, The Unauthorized Biography of Gillian Anderson by Marc Shapiro
 * The Duchovny Files: The Truth Is in Here by Paul Mitchell (ECW Press, 1996) ISBN 1-55022-284-8
 * Anderson + Duchovny, eXtra story by David Bassom
 * The Unofficial X-Files Companion by N.E. Genge (Crown, 1995) ISBN 0-517-88601-4
 * The New Unofficial X-Files Companion, Volume Two by N.E. Genge (Macmillan, 1996) ISBN 0-333-67981-4
 * The X-Files Lexicon by N.E. Genge (Avon, 1997) ISBN 0-380-79023-8
 * X-Files Confidential, The Unauthorized X-Philes Compendium by Ted Edwards (Little, Brown and Company, 1996) ISBN 0-316-88181-3
 * The Science of The X-Files by Michael White
 * The Complete X-Files: Behind the Series the Myths and the Movies by Chris Knowles and Matt Hurwitz (Hardcover – November 11, 2008)
 * Wanting to Believe: A Critical Guide to The X-Files, Millennium & The Lone Gunmen by Robert Shearman (Mad Norwegian, 2009) ISBN 978-0-9759446-9-1
 * The X-Files, part of the TV Milestones series from Wayne State University Press, by Theresa L. Geller (Wayne State University Press, 2016) ISBN 9780814339428
 * The X-Files FAQ: All That's Left to Know About Global Conspiracy, Aliens, Lazarus Species, and Monsters of the Week (FAQ Series) by John Kenneth Muir (Paperback, 2015)
 * The X Files Encyclopedia by Richard B. Gosnell (Paperback, 2015)
 * The X-Files The Official Collection Volume 1 by Titan Comics (Paperback, 2016)
 * The X-Files - Little Green Men: Monsters & Villains, The Official Collection Volume 2 (X-Files: the Official Collection) by Titan Comics (Paperback, 2016)
 * The X-Files: The Official Collection Volume 3 Conspiracy Theory - The Truth, Secrets & Lies by Titan Comics (Paperback, 2016)
 * The X-Files: The Untold History of Television by Kathleen Olmstead (Kindle, 2016)
 * Writing The X-Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (Paperback, 2016)
 * The Complete X-Files: Revised and Updated Edition by Chris Knowles and Matt Hurwitz (Hardcover, 2016)
 * The X-Files: The Official Archives: Cryptids, Biological Anomalies, and Parapsychic Phenomena by Paul Terry (Abrams, 2020) ISBN 9781419735172

title: The X-Files literature


text:
I'm Not at All in Love

"I'm Not at All in Love" is a popular song written by Richard Adler and Jerry Ross, published in 1954. It was first presented in the musical The Pajama Game by Janis Paige.

In the 1957 film version, it was sung by Doris Day and it appears in the soundtrack album.

title: I'm Not at All in Love


text:
Ali-Akbar Sa'idi Sirjani

Ali-Akbar Sa'idi Sirjane (12 December 1931 – 28 November 1994) was an Iranian University professor, writer, poet and journalist who died in prison under mysterious circumstances after having been arrested for openly criticizing the government. He is widely believed to have been killed at the hands of the Islamic Republic intelligence ministry for criticizing of Iran's Supreme Leader.

Political activity
Saidi Sirjani was a disillusioned supporter of the Islamic Revolution who used satirical and allegorical stories to criticize the Islamic Republic for what he saw as its "authoritarianism, religious hypocrisy, and obtrusive meddling in people's personal lives." His first open confrontation with the authorities came following the publication of a book of essays, stories, and parables called You of Shortened Sleeves in 1989. The first printing sold out in days and the Ministry of Culture and Islamic Guidance banned not only the second printing but all other books by Sirjani.

Sirjani then initiated a letter-writing campaign, demanding that a second printing be released. Iran's Supreme Leader, Ayatollah Ali Khamenei, then told Sirjani through intermediaries to halt his writings and his protestations. Sirjani refused and "directly assailed the Islamic Republic in an open letter." According to Iranian scholar Ahmad Karimi-Hakkak, this 'letter sealed the author's fate in a way that no previous writing of his ... had done.'

Arrest
Saidi-Sirjani was arrested on 14 March 1994 (another source says 13 March 1993) and charged with openly criticizing the government, among other things. A spokesperson for the Iranian Ministry of Security and Intelligence claimed that the arrest was for "drug use, production of alcohol, homosexual activity, contacts with spy networks, and having received money from Western counterrevolutionaries" which majority of Iranians knew at the time to be a false accusation. A few months later a letter purportedly "written by Sirjani himself admitted to a range of crimes against the state, but even then everyone knew the confession was not written by him."

His arrest became "a rallying point" for disparate factions of "expatriate Iranian intellectuals, academics," who came together "as never before." Letters of protest were dispatched to various political and professional organizations in Europe and the United States. Organizations such as Amnesty International, the American PEN, Human Rights Watch, and the Middle East Studies Association, as well as many European associations of writers.

Death
The international human rights campaign failed to secure Saidi-Sirjani's release, however, and he died in custody 8 months after his arrest, reportedly at one of the safe houses of the Intelligence Ministry in Shemiran neighborhood in northern Tehran. Iranian authorities gave the cause of his death as a heart attack, although his daughter, Sayeh Sirjani, said her father had no history of heart ailments. The Sirjani family had also repeatedly denied allegations that he was addicted to drugs. The Government is reported to have "refused to deliver his body to his family or to allow an independent autopsy."

It is widely believed and there is some evidence that he was killed by Saeed Emami's "Unleashed" group at the Ministry of Security and Intelligence. According to journalist Emadeddin Baqi, the method used to kill him was potassium.

"One of Saeed Emami's colleagues and one of the last persons arrested, met a known clergyman and Majlis deputy from Tehran a few months before his arrest and revealed how Saeed Emami had murdered Saeedi Sirjani. He was the only witness present on the scene. Forcing a potassium suppository into the rectum of Saeedi Sirjani which caused a rapid heart attack was the method used by Saeed Emami to kill Saeedi Sirjani in the prison. This revealed the secret of other similar heart attacks."

Iranian journalist Afshin Molavi speculated that Sirjani was killed for crossing "the red line" from "writer and thinker to rebel." While the Islamic Republic would "grudgingly allowed allegorical criticism read by an elite," it took punitive action when the criticism became widely popular, when citizens disobeyed orders to stop protest and finally when they wrote "open letters to newspapers questioning the Supreme Leader."

title: Ali-Akbar Sa'idi Sirjani


text:
Talk:4′33″

Precursors
A letter to the New York Times shortly after Cage's death indicates that Harold Acton conceived of the idea of a totally silent piece of music in a prose work, "Cornelian" (1928). This may deserve mention in the "Precursers" section. Bill Jefferys (talk) 01:33, 28 July 2009 (UTC)
 * Thank you, and I'm sorry this hasn't been noticed earlier. I've added Cornelian to the section, citing the book the NYT reader referenced. --Jashiin (talk) 15:40, 13 August 2010 (UTC)

Missing section
Where is the section on the critical response? I'm sure at least some observers called this what it was, namely, total bullshit. 98.82.21.78 (talk) 00:47, 10 June 2010 (UTC)

 * Aside from the fact that this page is for discussion of the article, not the work itself, I think the fact that this piece has engendered so much philosophical discussion and plays a part in a larger movement (see the recent Met exhibition at http://www.moma.org/visit/calendar/exhibitions/1421), I think it's safe to say that we can not determine that 4' 33" is "bullshit." NewkirkPlaza (talk) 13:02, 30 October 2014 (UTC)

 * This section should be removed as noted above, instead of being left as an unanswered prod. Because as it is, it leaves one with a need to second the notion this work isn't "bullshit" but rather, "self-important, unoriginal, navel-gazing rubbish." And no....I'm not a critic. I'm an expert. Mad Bunny (talk) 00:29, 10 March 2015 (UTC)

Background and influences section
In the background and influences section there's a paragraph treating Cage's claims about his experience in the anechoic chamber skeptically. All of it is unsourced. I tagged it but I was hoping someone has some ideas. If no sources are forthcoming then that stuff needs to go as it's clearly unencyclopedic OR. SQGibbon (talk) 17:36, 19 July 2010 (UTC)
 * Well, I guess if no one has anything I'll go ahead and remove those lines. SQGibbon (talk) 23:35, 10 August 2010 (UTC)

Facebook group
Whilst Googling Cage, I noticed there is a Facebook group which (and I am not sure how serious they are about this) is called "John Cages 4.33 for Christmas no.1 2010". Is it worth adding a bit to the page about this? I found it rather amusing and kind of interesting in a slightly facile way. What do people think? —Preceding unsigned comment added by Dead celeb (talk • contribs) 22:20, 23 August 2010 (UTC) undefined N  a  N  10:53, 1 October 2010 (UTC)
 * Agree; this has since been noted by The Guardian, which should constitute it being mentioned.
 * I also think that the current Facebook campaign deserves a mention in this article, as there seem to be loads of reliable sources writing about it. I might have a go at including a section on it later, but, if anyone else would like to, here are some of the sources that I've found: The Guardian; The Telegraph; The Sun; The Sun (again); The Daily Mail; MSN UK; The Irish Times; Yahoo! Music; Scotland on Sunday; Kuar; Exclaim; Big Top 40; ; A Thousand Doors (talk) 02:27, 23 October 2010 (UTC)
 * Not so sure about all this. It seems like it's only pop-cultural reference.  What I don't see is how this advances the reader's understanding of the piece or of Cage in general.  I don't see future Cage scholars even mentioning this incident much less analyzing it to any degree.  Like I said, it's just a bit of trivia.  Further, the use of 4'33" seems more of an ironic statement and/or an attempt to pull off a prank.  In scanning the sources I didn't see anything to indicate that this was a celebration of the piece, John Cage, or 20th century classical music.  If it were any of those things then comparing it to a similar campaign to game the "Christmas Number One" program undercuts that assertion.  Putting all this together I don't see that it deserves mention in the article, but even if consensus comes out in favor of including it, and in its own section, I definitely do not think it should take up as much space as it does.  This is giving undue weight to a passing pop-cultural phenomenon that has little or no value to the article in terms of educating the reader on the significance of the piece.  Just because something is well-sourced does not mean it has to be included in Wikipedia. SQGibbon (talk) 03:40, 3 November 2010 (UTC)
 * I drew a lot of inspiration for this section from the similar "Killing in the Name" article. I felt that the section had relevance to the article as it shows the cultural significance of the piece. Maybe it'll be worth waiting to see what the results of this "campaign" are - if it crashes and burns, then obviously the section should be removed. But if the piece makes the UK Singles Chart, then that should at least be mentioned in a 'Chart performance' table or something. A Thousand Doors (talk) 19:18, 11 November 2010 (UTC)
 * I'm not sure how the "cultural significance" of the piece is being illustrated by what is essentially a prank. Furthermore, in the case of the other song the band became involved whereas with 4'33" neither Cage (who is dead) nor the Cage Trust have said anything about this.  Whether it belongs in the article is one thing, whether it deserves its own section and so much space is another.  I think that waiting to see "if it crashes and burns" completely misses the point.  Either it's something that helps illustrate the piece of music or it isn't.  Whether the campaign "succeeds" or not is irrelevant to understanding Cage's work. Also, just having looked at the Facebook page, what recording are they using?  I didn't see anything listed.  This makes the entire thing seem even more sketchy. SQGibbon (talk) 17:16, 17 November 2010 (UTC)

Plus, the wording for that section is confusing, and this sentence in particular is appalling: 'A recording of the piece by Cage Against the Machine was recorded by several musicians including Suggs, Imogen Heap and the Kooks, who took part in a recording session on 6 December.' A) it barely makes sense, B) the three incidences of the word 'recording' make it painful to read, C) the citation says nothing of the sort, and mentions none of the above artists. I can barely work out what it means, let alone if it's accurate...81.178.134.25 (talk) 15:01, 17 December 2010 (UTC)
 * I removed that section as you are correct, the citation does not support the text at all. I'm guessing that whoever made the edit copied in the wrong reference. SQGibbon (talk) 16:38, 17 December 2010 (UTC)

Performance by Bob Dickinson
Contentious text copied from article:

On December 5, 2010 at 2100 hours (GMT), an international simultaneous performance of Cage's 4'33" took place involving over 200 performers, amateur and professional musicians, vocalists and artists. The global orchestra, conducted live by Bob Dickinson via video link, performed the piece in support of the Cage Against The Machine campaign to bring 4'33" to christmas number 1 in 2010. Made up of many of the fans of the official facebook page promoting the Cage Against The Machine campaign (facebook.com/cageagainstthemachine), the performance was also recorded by engineers at performances across continents This was the first time Cage's piece had been performed at simultaneous venues worldwide. Full documentation of participants and their audio/video input at a multitude of global locations have been collected on an event site for future reference. A second performance is due to take place to coincide with the release of the Cage Against The Machine charity single on Sunday 12th of December 2010, with many more expected to take part. Links to the event can be found at the official Cage Against The Machine facebook page (facebook.com/cageagainstthemachine)

These all appear to be primary sources thus there is not a reliable source establishing the notability of the event (needs to be reported by a reliable source such as a newspaper). The claim that this was the first such performance also needs a reliable source to back that up (otherwise it's original research). I do not doubt that this event happened but that it was notable. Until a reliable secondary source establishes notability I do not believe this paragraph belongs in the article. SQGibbon (talk) 18:02, 7 December 2010 (UTC)

 * I agree that the paragraph, as it currently is, relies far too heavily on primary sources. But I think that enough secondary sources exist to justify its inclusion in the article, for example: The Independent, The Guardian, BBC News, Metro, Spinner and Yahoo! Music. Hopefully, these sources should be enough to verify any contentious material about the performance. Given the pedigree of acts that have come together to produce this recording, I think that it qualifies for inclusion in the article. Although, given also its link to the Facebook campaign, maybe it would be better placed for inclusion as part of the section below it. A Thousand Doors (talk) 01:13, 8 December 2010 (UTC)

 * These aren't the same things, though, are they? The original paragraph was about a world-wide collaboration whereas what you've linked to (at least the two I checked) are about a different recording.  I could be missing something though.  SQGibbon (talk) 03:51, 8 December 2010 (UTC)

 * Yes, you're right actually. My apologies, I should've checked the sources a bit more carefully - I assumed that, since they were both connected to the Facebook group, that they were the same thing. I've had a look for some reliable third-party sources regarding the Bob Dickinson performance, but I can't find any, so I guess that the above paragraph should be omitted. I think a mention of the other recording would be appropriate though. A Thousand Doors (talk) —Preceding undated comment added 23:32, 8 December 2010 (UTC).

OK, now that a source has been found for the Dickinson performance (establishing notability) it should be combined with the the Christmas campaign section. Then all of it needs to be seriously trimmed down. It's a prank and a single recording and doesn't need over 600 words to describe it. Obviously this latest addition needs to have the inline citations converted to references, some of the prose toned down, and less detail. Update: Right now all this text is just under 25% of the total text in the article. That's a clear case of undue weight for a prank and two recordings related to the prank. SQGibbon (talk) 00:21, 12 December 2010 (UTC)
 * I was wondering whether it'd be worth having information about the campaign in a separate article under the name Cage Against the Machine (currently a redirect to 4'33"), then just leaving a brief summary in the "Performances and recordings" section of this article. I might start drafting it out at some point. A Thousand Doors (talk) 14:10, 15 December 2010 (UTC)
 * I'm not sure if such an article would be able to survive the deletion process. Perhaps better would be an article dealing with all the efforts to get a song to the top of the Christmas chart like the Rage Against the Machine campaign, the "Never Gonna Give You Up" attempt the year before that, and a competing campaign this year as mentioned here.  I'm not positive that even that article would stand up to the deletion process but I think it would have a better chance.  It might also be the case that putting all the information in the Christmas number one single page would be best. SQGibbon (talk) 22:18, 15 December 2010 (UTC)

Re. 4' 33" I note that in 'Talk' the performance/recording has been described as a 'prank', however, I must take exception to this as further links have been provided to recent comments made by Laura Kuhn director of The John Cage Trust and these, surely, must be acknowledged in an objective manner alongside the link given to The Telegraph article by noted writer and critic, Norman Lebrecht. I do take exception to the rather subjective dismissal of the contributions made to this resource of material on 4' 33" and the performance/recording as a  'prank'. This appears as the expression of a personal opinion on the part of SQ Gibbon who although having an interest in Cage, with all due respect, is not an acknowledged commentator on Cage's oeuvre. An editor should remain neutral and not be judgemental. Unfortunately, this has not been the case with SQ Gibbon. The notable sources clearly counter what SQ Gibbon views as a 'prank' due to the performance/recording taking place in a 'popular culture' context and I now question the authority of SQ Gibbon to continue in an editorial capacity in relation to this article. To whom could I direct my concern (obviously I would provide my full contact details)? —Preceding unsigned comment added by 86.14.37.185 (talk) 21:17, 15 December 2010 (UTC) —Preceding unsigned comment added by 86.14.37.185 (talk)

 * By the way, it's "SQGibbon" - all one word; it's not a name, just a random set of letters. Anyway, I answered all this on your talk page before noticing that you had posted it all here (in addition to my talk page).  If anyone is interested it's there or if someone wants to copy it over here that's fine too. SQGibbon (talk) 22:06, 15 December 2010 (UTC)

Quite interesting that you have removed my criticisms of your judgemental stance? I give up. Quite simply, I no longer have confidence in your understanding of Cage. I've exchanged correspondence with Laura Kuhn on what you describe as a 'prank', and I can assure you, she definitely does not see it in this light. You even reference her comments. But did you read the very final paragraph? Anyhow, you're entitled to your culturally straight-jacketed opinion, that's fine by me. To describe the global performance as a 'prank' is a million miles from the truth. For now, I leave you with these words of Cage: "I have nothing to say, I am saying it, and that is poetry". —Preceding unsigned comment added by 86.14.37.185 (talk) 22:33, 15 December 2010 (UTC)
 * I've responded on your talk page. SQGibbon (talk) 22:53, 15 December 2010 (UTC)

Removal of the Kuhn reference from the 4'33" article
(Note: this is copied verbatim from a message I left on another editor's talk page and I'm not bothering to edit it anymore here). In no way was my removal a slight against Ms. Kuhn or the Cage Trust. Let's look at the text I removed "Additionally The John Cage Trust, and in particular, Laura Kuhn, executive director of the Trust, have documented the Cage 4' 33" campaign taking place in the UK." All this is is another source documenting that the recording happened. Nothing in this text added to the understanding of the recording (or more importantly to the subject of the article 4'33"). For instance the bombing of Pearl Harbor was probably documented by thousands of newspapers all over the word but we don't need to cite all of them if they're essentially saying the same thing. We are justified in just citing some of them. Likewise the text about Ms. Kuhn added nothing to the section so removing it doesn't hurt anything. If you want to add her back as an additional reference then that's fine (or I could do it if you're unfamiliar with the process) but I don't see that we need to mention her acknowledgement of the recoding of the text itself. If you think that mentioning her acknowledgement adds to our understanding of then I would be interested in your argument noting that the text I deleted was not an endorsement of the recording just a mention of it. SQGibbon (talk) 00:36, 18 December 2010 (UTC)

Removal of the Beethoven Virus reference from the 4'33" article
I added the reference to the popular K-drama show, "Beethoven Virus," where there was a highly significant scene in which 4'33" played an integral role. Now, I cannot find an "official" citation in which the scene is shown. Obviously, it's a scene in the show, and the main BV site does not have a play-by-play of the entire drama like DramaBeans. My question is how to include the link from the show, if there is no "official" site that designates that particular scene? I can link to the actual production site, but it doesn't contain the particular context of the actual scene like DramaBeans. The revision for that particular scene is located here: http://en.wikipedia.org/w/index.php?title=4%E2%80%B233%E2%80%B3&diff=413212550&oldid=413205385 Thanks for your help!
 * Does the official site at least list all the music performed in each episode? If so that would be enough (we don't really need any context, just evidence that the piece was performed).  Sometimes performers do long periods of silence without making any overt reference to Cage's piece so we really need something reliable that specifically states it was 4'33".  You can use the show itself for a source. Here's a link to a list of citation templates, just scroll down to the one that says "episode (television or radio): citation templates.  Did that episode specifically mention it was performing 4'33"? SQGibbon (talk) 07:41, 11 February 2011 (UTC)

 * Thanks for your clarification. The main site (Korean language) does not have a list of non-OST musical selections in the show, such as various Beethoven, Brahms, Mozart, and Chopin standards. However, the show is available to view online at Hulu.com as of this time, so it is easy to actually see the reference. The official Korean language show site is located at http://www.imbc.com/broad/tv/drama/thoven/, while the particular episode is located at http://www.hulu.com/watch/182185/beethoven-virus-episode-16#s-p1-so-i0 (the segment with 4'33" starts at the 35:20 mark with English subtitles). Finally, Beethoven Virus was the most awarded television show in Korea in 2008, so it is not a flash in the pan show. The reason that I hesitate to use the actual show at Hulu is that they can remove the online viewing link to the show at any time, therefore negating the link here. One more question: what would Dramabeans have to do to become an "accredited" citation source for Wikipedia? —Preceding unsigned comment added by 68.183.139.35 (talk) 12:04, 11 February 2011 (UTC)

What about the Jazz club from the fast show? surely this warrants a token mention

nice

82.22.155.26 (talk) 21:26, 21 September 2011 (UTC)

Minimalist?
Can 4′33″ be categorised as a Minimalistic composition? -- Michael Bednarek (talk) 13:17, 22 September 2011 (UTC)
 * According to the article Minimal music, "prominent features of the style include consonant harmony, steady pulse (if not immobile drones), stasis or gradual transformation, and often reiteration of musical phrases or smaller units such as figures, motifs, and cells. It may include features such as additive process and phase shifting". If 4′33″ fulfills one or more of these criteria then, yes, it could be categorised as minimalist.—Jerome Kohl (talk) 15:45, 22 September 2011 (UTC)

Recordings
Why do I think there was a recording of this in the LP days where you "enjoyed" the natural crackle of your LP's groove?

But I don't recall any details at the moment.

Varlaam (talk) 02:51, 9 June 2012 (UTC)
 * The idea that anyone would want to issue a recording seemed preposterous but checking the Library of Congress Worldcat shows that this has been done at least eight times. One, indeed, dates back to the LP era: Nova musicha, n. 1, on Cramps CRSLP 6101, containing (in addition to 4'33") Music for Marcel Duchamp, Music for Amplified Toy Pianos, Radio Music, and Sixty-two Mesostics Re Merce Cunningham: frammento. It was issued in 1974.—Jerome Kohl (talk) 01:22, 10 June 2012 (UTC)
 * I'm pretty certain Cage himself released an LP at least once. 68.146.70.124 (talk) 22:59, 11 September 2013 (UTC)

Absolute Zero
Shouldn't there be a reference to the fact that 4 minutes 33 seconds is 273 seconds, -273 Celcius is absolute zero, the inspiration for the length and name of the piece. User:jgharston 13:28, 11 July 2012 (UTC) — Preceding unsigned comment added by 82.38.206.148 (talk)
 * If this is documented somewhere, yes, probably, only with "Celsius" spelled correctly, of course.—Jerome Kohl (talk) 17:30, 11 July 2012 (UTC)
 * Well, it's sometimes mentioned, as in this article in Die Zeit, "Ob's Gott gefällt", 3 May 2006, but that article also states that Cage was not aware of this connection. (Found article via Talk:4′33″/Archive 1.) -- Michael Bednarek (talk) 10:28, 10 September 2012 (UTC)
 * There IS a widespread belief that choosing a length and title equal to 273 seconds is a reference to the Celsius or Centigrade reading for Absolute Zero (-273 degrees). The existence of this belief is so widespread that it should be mentioned in the article. The article doesn't need to say that the belief is an "encyclopedic fact", merely that it exists. Someone who cares more about this topic than I do should then include, in the article, citations asserting that this assertion is true, and/or citations asserting that this assertion is false, and/or citations asserting that it's impossible to verify either the truth or falseness of this assertion. But it shouldn't be left out of the article entirely. I did a word-search on the article for the words "absolute", "zero", "273", "=273", "Celsius", "Centigrade", and "Kelvin", and I don't find anything, so I believe it's an assertion that this article entirely omits.2600:1700:6759:B000:9DF9:4036:83B6:2CCE (talk) 20:06, 24 August 2023 (UTC)Christopher Lawrence Simpson.
 * Also discuss the story that "Absolute Zero" is the Rate-A-Record rating (out of a possible 10) that this John Cage piece received when it (or maybe the Extended Dance Remix "Seven Interminable Minutes Of Silence") was played for audience-members on Dick Clark's "American Bandstand". Probably false, but do the research.2600:1700:6759:B000:9DF9:4036:83B6:2CCE (talk) 20:06, 24 August 2023 (UTC)Christopher L. Simpson

Imperceptibly?
''It will open with a single idea which I will attempt to make as seductive as the color and shape and fragrance of a flower. The ending will approach imperceptibility.''

Shouldn't the adverbial form "imperceptibly" be used here? — Preceding unsigned comment added by 91.44.28.30 (talk) 06:29, 26 October 2012 (UTC)

Most played piece ever?
This or a shorter completely silent composition would be the most played song ever as it is consistently being played when any instrument isn't in use. 24.94.251.19 (talk) 03:51, 22 November 2012 (UTC)

You do not seem to have carefully considered or understood the piece known as 4'33". It is a piece of organized 'silence' with a score, and having three movements. The organization, and specification of three movements of intentional listening is important. It is a composed format for listening to the sounds in the performance environment and therefore depends on the composer, performer, audience, and environment. So, no, it is not the most played work of music ever. There is a balance of intention and non-intention which is designed and specified by the composer, interpreted by the performer and audience, contingent on the time and place it is enacted. 153.133.200.62 (talk) 06:28, 17 June 2020 (UTC)

 * No. Music is the "Purpose-driven creation and shepherding of tone, in meter." 4'33" fails to convey meter and is subsequently, not music.Mad Bunny (talk) 02:43, 18 January 2016 (UTC)

 * That is just one person's definition of music and there is no absolute definition of what music is. Here's another, which many, especially modern and contemporary composers have preferred: "Music is organized sound." 4'33" organizes three sections (or buckets, according to a metaphor given earlier in this entry) of sounds ambient to the environment of performance. It is certainly organized sound and therefore certainly music. The above editor is imposing a narrow-minded positivist definition of music where it is not appropriate: an article on a 20th century work of great significance. 153.133.200.62 (talk) 06:21, 17 June 2020 (UTC)
 * I don’t understand the need to repeat back to me what I said….while being insulting.
 * The “purposeful creation and shepherding of tone” is, in fact, “organized sound”. Only you’ve left out the requirement of a beat. Defining music as simply “organized sound” turns every word ever spoken by every human being in the past, present and future: into song.
 * Making something like the Gettysburg Address an aria and not a speech.
 * Anyone who cares to know why 4’33” isn’t music simply has to busk it as a solo vocal piece. No one who passes you will know what you’re doing. “Communication” being the primary component of language, you will have failed to communicate using the language of music. All Cage had to do was add the following to the performance notes: “The intended audience shall be given the opportunity to discern the beat, throughout” which, in the case of busking 4’33” would be fulfilled by simply tapping a finger against your leg. Someone walking by – your intended audience – will notice that and identify it as distinctly musical. At which point, all of the sounds around you will become the performance.  Which was Cages intent.
 * Mad Bunny (talk) 20:23, 30 August 2022 (UTC)

This "organized sound" definition is Stockhausen's. John Cage disagreed. He repeatedly asserted that music can be "disorganized sound" as well. The piece in question may involve "ambient sound", so to speak, and may be "organized" in the sense of being delimited by sections of fixed duration, but since the ambient sound is precisely what is not organized, then it seems clear to me that logically this piece does not fit Stockhausen's definition. It does easily fit Cage's though. (I disagree with both Stockhausen and Cage, as it happens. I don't think music is any kind of sound--organized, disorganized, consonant, dissonant. I'm not being the slightest bit facetious, and I think I can present a convincing, indeed, impregnable, argument, but the point here is simply that there are possible definitions other than "organized" or "disorganized".) The idea that music has to "have a beat" is patently absurd, however. A huge amount of music composed over a period of centuries that the average person with no tolerance at all for the avant-garde would readily accept as music has no or little perceptible pulse. See Paul Creston's "Priniples of Rhythm".TheScotch (talk) 16:22, 7 April 2023 (UTC)
 * I strongly disagree that music must, somehow, be about sound. It's about the logarithmic relationship between numbers, and a way to correlate those relationships with time (or with something else). Properly framed, music theory is something that a person born deaf could engage in. What two lines intersecting LOOK LIKE is irrelevant to the fact that the Cartesian equations for those two lines define their point of intersection, which can thus be worked out by a blind person. I would exclude the subject of this article from "music" not because it's not organized sound, but, rather, because it's not a set of fractional numbers that "point to" other fractional numbers, in effect numbers referring to and discussing other numbers. The idea that "music is organized sound" has caused music theory to get stuck in the realm of the senses, while the working-out of the rules of perspective in a painting, which rules don't require that we LOOK at any paintings, has progressed. Most sciences have substituted diagrams of the behaviors of phenomena and objects for the sense-perception of those phenomena and objects. Music theorists seem quite unable to dispense with the idea that it is HEARING that creates the underlying logic of music, and there they have stayed, mired, for centuries.20:06, 24 August 2023 (UTC)Christopher Lawrence Simpson
 * Unfortunately for you, this is Wikipedia, not Simpsonpedia. Wikipedia is based on WP:SECONDARY sources which define the topic. Various Wikipedia editors with opinions are not factored in. Binksternet (talk) 20:23, 24 August 2023 (UTC)

Article Needs Major Fixing
A great deal of the information in this article is either incorrect or highly speculative. Beginning with the first sentence: "Four minutes, thirty-three seconds" or just "Four thirty-three") is a three-movement composition..."

First off, 4'33" is NOT a "composition"; it is the name of the premiere performance of Cage's first silent piece: The piece has no fixed name, but takes its name from the duration of each given performance.  Thus, the name of the composition changes with every performance.  For convenience, critics, historians, and analysts of music usually refer to the piece by the name of its first public performance, which happened to last for four minutes and thirty-three seconds.

Second, the silent piece is NOT a "three-movement composition". No "movements" were specified by Cage. The piece can potentially have as many movements as the performer desires, or no movements at all. The primiere performance just happened to have "three movements," because that is how David Tudor decided to present that particular performance. Again, as with their number, the lengths of those "movements" are arbitrary, determined by the performer, and will likely be different for each performance.

As it stands, the initial sentence of this article in not only misleading, it also pretty much completely undermines the concept Cage was trying to convey with the piece.

Premier and Reception: The statement "It is not easy to get a large group of people to listen to ambient for nearly five minutes ... "  makes no sense. "Listen to ambient"?? Ambient what?

Versions of the Score: The discussion and speculation in this section is ridiculous and irrelevent. 4'33" is an early example of concept music. As many composers of the day (and since) discovered, publishers at that time hadn't quite figured out how to deal with the copyrighting and publication of concept pieces, many of which were conceived and realized without conventional musical scores -- or any scores at all.   This was the inception of the notion of documentation for art events, in which a written description, tape recording, photograph, or film record would be accepted as "the score" for purposes of copyright and publication.

Thus, the statement in the article "There is some discrepancy between the lengths of individual movements specified in different versions of the score" is completely erroneous, since NO MOVEMENT LENGTHS ARE SPECIFIED prior to performance; they are only documented (or not) afterwards.

Further, the statement "The causes of this discrepancy are not currently understood," is utter baloney. There is no "discrepancy" because there is no fixed score for the piece. Cage's various "scores" are his post-facto written descriptions of the piece, prepared after various performances. As each performance was different, each "score" was documenting a different event. Cage himself explained this, multiple times; I heard it personally, from his lips, at a lecture he gave at Union College in Schenectedy in 1978, and again in conversation with him after a performance he gave at an art gallery in Portland, Oregon in 1985.

Furthermore, while "the First Tacet Edition is described in Nyman 1974, but it is not reproduced in that book," it is reproduced in Leon Dalin's Techniques of Twentieth Century Composition: A Guide to the Materials of Modern Music, ISBN-0-697-036146, also published in 1974.

Again, this article, as it stands, pretty much misses entirely the main points Cage was attempting to illustrate with this piece.

Someone please fix it; or I will. THX. — Preceding unsigned comment added by 74.95.43.249 (talk) 22:51, 6 August 2013 (UTC)
 * I've added a brief explanation of the nature of the title of the piece. Since not only critics and historians, but also Cage himself refer to the piece by the name 4'33" (e.g. in the 1973 Gligo interview: "Implicit in this piece which is called 4’33” and which has three movements...", these are Cage's own words), I don't think much needs to be changed in the opening.
 * I did acknowledge that, "For convenience [various entities] usually refer to the piece by the name of its first public performance, which happened to last for four minutes and thirty-three seconds." Cage did sometimes avail himself of that same convenience in conversation.  More often, however, he refered to it as "the silent piece" or one of "the silent pieces".

 * Your second point is invalid, since Cage always refers to three movements, both in the Tacet editions and in numerous interviews. (That it would be in accordance with the idea of the piece to have as many or as few movements as one wants, is irrelevant.) The sentence in "Premiere and reception" lacked a word, I've fixed that. (For the record, I'm not comfortable with all those Taruskin references occupying so much space.)
 * The piece was not composed to have three movements. David Tudor's premiere performance arbitrarily divided it into three sections, and that became sort of the "traditional" version that many subsequent performers chose to emulate:  my point is valid.

 * I don't really understand why you call the "versions of the score" section speculation (it only describes facts), or why you find it so ridiculous. Concept music? Fine, so? Why not have a description of the various "post-facto" scores? Especially since the reader may be interested to know there's a graphic score as well as a simple written note. As for the "discrepancy" issue, I'm afraid you misunderstood, and perhaps the article text wasn't sufficiently clear. The discrepancy is between the descriptions of the first performance – one set of lenghts specified in the Woodstock program and in Kremen, and a different one in the 1st and the 2nd Tacet Editions, all referring to the same performance. You seem to think the article implies a fixed set of lenghts for each movement, but it does not. --Jashiin (talk) 11:06, 12 September 2013 (UTC)
 * It is speculation beacuse there really is NO score for this piece. All of the items called "scores" in the article are merely post-hoc descriptions of various performances of the piece.  The "score" exists in concept only.
 * A rough analogy would be if someone were to take three different reviews of a single performance of Beethoven's 5th Symphony, and go on about the differences between the reviews as "discrepancies among the scores". The difference being that the Beethoven example there is but one score in question; and in the Cage case there is no score; in neither case are there "discrepancies" among "scores".

 * I was going to post a separate question, but it does tie in with the comments/suggestions made by 74 here. I clearly recall that around the time Cage died (I can't remember however if this was before or after), a performer was actually sued for copyright infringement for "performing" an all-silent piece of music. And I have seen references to 4'33 being copyrighted, which is hard to do if no fixed score exists
 * It's not hard at all. In this case what is copyrighted is a particular publisher's "score" of the piece, and not the piece itself.  For example, Beethoven's 5th Symphony is in the public domain; the piece is not under copyright.  But C.F.Peters' or G. Schirmer's versions of the score, are copyrighted.  You can reproduce Beethoven's music all you want, even to the extent of copying from the Urtext and publishing and copyrighting your own version of the score.  But you cannot copyright the music, nor can you be sued by Schirmer or Peters for publishing your own version of the score.

 * Similarly, I can write a review (description) of a concert and copyright my review; that does not grant me copyright to the actual music that was performed, but it does grant me rights to subsequent use of my review.

 * (I'm referring to the actual "composition" itself being copyrighted, not individual performances - I have seen scans of actual "sheet music" for 4'33 which as you can imagine consists solely of rests).
 * And that "score" (or description) can be copyrighted, but the "score" is not the piece.

 * I've been trying to find a reference to this suit and whether it was successful or not, but haven't been able to find anything as yet. 68.146.70.124 (talk) 23:02, 11 September 2013 (UTC)
 * Your question is easily resolved using Google. Search for "4'33" lawsuit" and you'll find things like these.--Jashiin (talk) 11:06, 12 September 2013 (UTC)
 * Michael Batt placed a one minute silent piece on his album, and credited the piece to "Batt/Cage". This indicent has long since morphed into urban legend status.  Batt was not sued by Peters; Batt was not sued for writing or performing his own silent work; Batt was not sued for infringement of any score.
 * He was threatened with a lawsuit by the John Cage Turst for using Cage's name as co-composer, without permission.
 * See http://legendsrevealed.com/entertainment/2009/04/22/music-legends-revealed-2/ and also the Talk: John Cage page (Batt Lawsuit) for details.

Requested move 22 July 2015

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: not moved. Honestly forgot about this one. I thought it would be uncontroversial, that's why I only gave a link to the MoS. But clearly there's a consensus against it. Jenks24 (talk) 14:20, 30 July 2015 (UTC)

4′33″ → 4'33" – per WP:'. Jenks24 (talk) 14:40, 22 July 2015 (UTC)

 * So explain in prose what is the punctuation difference, please. Binksternet (talk) 15:59, 22 July 2015 (UTC)
 * Prime and double-prime marks, vs. straight single- and double-quote marks. I used to think I knew how abbreviations for minutes and seconds were done (prime and double-prime marks), but I have seen so many variations over the last few years, including "curly" single and double quotes, that I am no longer sure what the standard might be. I don't believe that the WP Manual of Style addresses this specifically, but it might be nice to consult some authorities on the subject before changing the article title, only later to find we have got egg all over our faces. I hasten to add that looking at the title as it appears on the covers of the various scores is not a reliable way of determining anything, particularly since those Henmar Press editions often made the titles with a typewriter, rather than using more sophisticated means of typography.—Jerome Kohl (talk) 16:36, 22 July 2015 (UTC)
 * A quick visit to Manual of Style/Dates and numbers answers the question: Neither of these options is acceptable on Wikipedia. The relevant passage reads:
 * Do not use ′ (′), ″ (″), apostrophe (') or quote (") for minutes or seconds. Use m for minute only where there is no danger of confusion with meter, as in the hours–minutes–seconds formats for time durations described in the Unit names and symbols table.
 * From the linked table it may be seen that the only correct format options (on Wikipedia) for the title of the present article are either 4m 33s or 4m 33s.—Jerome Kohl (talk) 17:00, 22 July 2015 (UTC)
 * You're confusing the title of the piece with its pronunciation. If the title were the written equivalent of saying "four minutes, thirty-three seconds", you'd be right. But it's not; the title is "4'33"". -- Irn (talk) 17:16, 22 July 2015 (UTC)
 * Not at all. The only issue is what those little blips and squeaks are. The first one, for example, resembles little other than the numeral otherwise written as "IV", "four", 四, etc.; the next symbol is potentially more ambiguous, though according to the article it is meant as an abbreviation for "minutes"; and so on for the remaining two symbols. If this is the case (and I am open to hearing arguments against this position), then the Manual of Style says it is improper on Wikipedia (though of course other publishers may have different views on the subject) to use either the prime symbol (′) or apostrophe aka straight quote ('). It has nothing at all to do with the way anything is pronounced. Unless of course you are saying that we should consider Victor Borge's "phonetic punctuation" as an option here, though I don't think even he went so far as to make a distinction between prime marks and apostrophes.—Jerome Kohl (talk) 17:34, 22 July 2015 (UTC)
 * "4'33"" is the title of the work. What each symbol within that title means is hardly relevant to what the title is. (Additionally, the text of the article does not say that the apostrophe means "minutes" but rather is pronounced "minutes".) -- Irn (talk) 17:53, 22 July 2015 (UTC)
 * Very well, then. Do you have a reliable source that verifies the title is "4'33"" rather than "4′33″"? If so, then I bow to your superior documentation. Oh, yes: WP:Manual of Style/Music dictates that true titles of musical compositions must be italicized, which in this particular case might have a significant effect on how those little marks appear to mere human eyes, though of course a computer will have no difficulty in discriminating them.—Jerome Kohl (talk) 18:11, 22 July 2015 (UTC)
 * Speaking of verification, I just re-checked the article, which says (amongst other things), "The title of the piece refers to the total length in minutes and seconds of a given performance, 4′33″ being the total length of the first public performance." I find it difficult to understand how this refers to the pronunciation of the title, though that is of course mentioned elsewhere, probably for the benefit of radio announcers.—Jerome Kohl (talk) 18:16, 22 July 2015 (UTC)

 * Oppose. I have looked at two dozen books discussing Cage and his pieces, or discussing this kind of performance piece, and it looks like there is not enough consistency to come down solidly in favor of changing the current typography, to dump the prime and double prime symbols. First, the prime and double prime are correctly indicating divisions of time, a piece with a length of 4 minutes and 33 seconds. Secondly, some high quality sources discussing the piece take pains to indicate prime and double prime symbols rather than straight quotes (see Kyle Gann's book published by Yale, for an extreme example.) Thirdly, some quite reliable sources insert a space or a thin space between 4′ and 33″, diminishing what might have been a more complete consensus in the literature to have no space at all. Finally, there is no way I would support a change to the abbreviations m for minutes and s for seconds as this style is not found in the sources discussing the piece. We should not take it upon ourselves to rename the piece in a style visually very different from its given name! Despite the confusion between the various visually similar marks, they all share the quality of being a quick mark, a non-alphabetic indicator of minutes or seconds, feet or inches, etc. That is the typography Cage used when naming the piece, and it is used by all the sources. So let's forget the m and s, there's no need for straight quotes here, no consensus for a space or a thin space, and instead let's keep the current prime and double prime marks. Binksternet (talk) 03:41, 23 July 2015 (UTC)
 * Oppose: WP:' says not to use curly apostrophes, but this title isn't using curly apostrophes anyway. WP:' doesn't say anything about how to represent minutes and seconds, and it doesn't say anything about primes, and the Prime (symbol) article seems to say that the prime and double prime are being used properly here, so I see no need for action. MOS:NUM says to use something different entirely, but that's guidance for ordinary text. Here we are talking about a composition title, not ordinary text, and we shouldn't change it to something like 4 min 33 sec. —BarrelProof (talk) 03:54, 23 July 2015 (UTC)
 * Speedy rename WP:TITLESPECIALCHARACTERS do not use special characters -- 67.70.32.190 (talk) 04:43, 23 July 2015 (UTC)
 * That guideline does not support your stance of "speedy rename", as the prime and double prime symbols are easily handled by browsers, and we have redirects in place for when people type various styles of quotation marks. Binksternet (talk) 12:58, 23 July 2015 (UTC)
 * WP:TITLESPECIALCHARACTERS does not say "do not use special characters". On the contrary, it just says that "Sometimes the most appropriate title contains ... characters not found on most English-language keyboards. ... In such cases, provide redirects from versions of the title that use only standard keyboard characters." We're already doing that, so I don't see a problem that requires action. —BarrelProof (talk) 16:52, 23 July 2015 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on 4′33″. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20060212191730/http://www.cbc.ca:80/sask/features/artist/journal2.html to http://www.cbc.ca/sask/features/artist/journal2.html

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

Cheers. —cyberbot II  Talk to my owner :Online 04:59, 19 October 2015 (UTC)

Audio file
About : I'm not trying to be WP:POINTy, but isn't the question of whether there's "no need for a computer silence file" part of the point of the piece? It's not obvious that it's useless—I, for example, clicked on it and had an interesting experience of suddenly noticing sounds I usually tune out.

The only policy-based problem I can see is copyright violation—Cage's estate clearly thinks they own a copyright on 4'3", so per WP:SAMPLE we can only include an "excerpt" of up to 28 seconds of silence. Is there a policy or guideline opposing this? FourViolas (talk) 00:36, 24 October 2017 (UTC)

 * I don't think it's a good idea to post an audio file consisting of silence in this article. The Cage piece is not about sounds that are recorded the same way for everybody but about performance impressions and momentary nuances. It's about intention of the performer combined with reception by the listener. So no kind of audio file will help the reader understand. Binksternet (talk) 05:16, 24 October 2017 (UTC)

 * That's one of several nice interpretations of the piece, although at odds with those who have made studio recordings of the piece. However, even if that's true there could be value in including an audio file, for example in making dramatically clear how much of the subjective experience of attending a concert is lost when listening to a recording.
 * Essentially, an audio file would serve the same purpose it would on an(other) article about a musical work: making the work more immediate, and giving a deliberately reduced-quality sample of what it's like to experience a performance of the piece. FourViolas (talk) 13:17, 24 October 2017 (UTC)

 * Interestingly, the John Cage Trust offers an app specifically for recording 4'33": johncage.org/4_33.html, and publishes the recordings on their website to listen to. YewBowman (talk) 20:37, 24 October 2017 (UTC)

Legal action related to composition
I recall quite distinctly there being a legal case some years ago - either plagiarism or copyright infringment - regarding 4'33 against someone who had either used a similar idea or had performed/recorded the composition without payment. I don't recall the details but I do recall it generated discussion as to whether one can actually copyright "silence" (or ambient sound, in this case). If someone can find info on this, I think it would make valuable addition to this article. 50.66.121.20 (talk) 17:59, 24 June 2018 (UTC) UTC)
 * yes, there was indeed a lawsuit for copyright infringement of the “composition” 4′33. It was against a man by the name of Mike Batt, a composer, starting in the 60’s, who wrote songs for the likes of Steeleye Span, Art Garfunkle, and the children’s TV show charector’s The Wobbles. He put out an album the included a piece called “One Minute Of Silence” in which he made credited to “Betts/Cage”. It was The mention of Cage as a co-composer that caught the attention of the Cage estate and led to a copyright lawsuit. Had a just left out Cages name no lawsuit likely would have occurred. The case never went to trial though as he settled the case for a small figure leaving the question of whether you can copyright a silence “song” or not for another day. Here is a link With info on he lawsuit: http://legendsrevealed.com/entertainment/2012/08/04/was-a-musician-really-sued-for-infringing-on-the-copyright-of-a-silent-song/ —-2600:1700:56A0:4680:DC73:E0A7:AEAB:14F8 (talk) 04:52, 27 August 2018 (UTC)
 * This has been discussed here and at Talk:John Cage. However, it's a hoax by Mike Batt; see "Wombles composer Mike Batt's silence legal row 'a scam'", 9 December 2010, BBC News. -- Michael Bednarek (talk) 11:04, 27 August 2018 (UTC)

category
https://en.wikipedia.org/wiki/Sleepify

https://en.wikipedia.org/wiki/4%E2%80%B233%E2%80%B3

Should there perhaps be a category of music that consists only of silence? Benjamin (talk) 14:58, 28 September 2018 (UTC)

Royalties?
It's not discussed in this article whether the heirs/assignees/designees/estate of John Cage receive royalties when excerpts of this work (typically a minute in length, but I don't know if that's the first 60 seconds of the piece, the last 60 seconds, or an except from the middle) are performed at funerals and commemorations of fatal disasters or persons sacrificing their own lives to save others. Nor is Cage's art of fugue discussed. Are some sections of the score the same as others played backwards? At double-time? At half time? Inverted pitchwise around a center-tone? What about modulations from one key to another? All of this craftsmanship has been left out of the article. (By the way, my tongue is NOT in my cheek. This post may receive criticism for being silly, BUT THAT IS ONLY GOING TO PROVE MY POINT, and in fact what I'm writing is serious. Just as John Cage can extend the meaning of "music" so that it becomes absurd, I can do the same thing in extending the meaning of "scholarly debate" and "music theory" so that it becomes absurd. Anyone who calls me "silly" should be prepared to have this article's subject be called "silly". The same standards apply to both. It's not out of the question that if John Cage were asked for permission to perform a 60-second extract of this work at a funeral, then he would not be offended but, rather, pleased, feeling that such a request artistically extended whatever point he was trying to make.)2600:1700:6759:B000:9DF9:4036:83B6:2CCE (talk) 20:06, 24 August 2023 (UTC)Christopher Lawrence Simpson

The word composition
I don't think this "piece" can be described as a "composition", nor can Cage be described as a "composer".

This is because composition are... composed of something, and this isn't it.

I don't think it can also be called a "three-movement" composition, because it's not composed of anything.

Also "for any instrument or combination of instruments"? I think it's redundant to state that you can choose not to play on any musical instrument.

I do not think it's in any way an actual composition, and should not be referred to as such in the page, but I want to reach consensus first. Quick Quokka [talk • contribs] 14:05, 10 October 2023 (UTC)

 * Some witty remarks I thought up which are irrelevant to the discussion:
 * 4"33' is such an earworm, I listen to it on repeat almost all day every day!
 * My piano is haunted by a ghost, yesterday I think I saw a ghost play 4"33' on it!
 * Cut off your ears to listen to 4"33' permanently.
 * Quick Quokka [talk • contribs] 14:09, 10 October 2023 (UTC)
 * I attempted to clarify the use of the term 'composition' in the lede. See whether you agree. DannyRogers800 (talk) 22:14, 11 February 2024 (UTC)

Work in progress
Hello fellow Wikipedians. I am currently attempting to fix this article to promote it to 'good article' or, perhaps, 'featured article' status, so your help would be highly appreciated. I chiefly seek to create a new 'influences' section, which delineates how Cage's 4'33" has impacted music and popular culture, adding a segment on the plagiarism associated with the work, adding some information from the German article, and making general quality of life improvements, such as the reorganization of references and sections. DannyRogers800 (talk) 22:18, 11 February 2024 (UTC)

title: Talk:4′33″


text:
Steam Heat

"Steam Heat" is a show tune from the 1954 Broadway musical The Pajama Game, written by Richard Adler and Jerry Ross.

"Steam Heat" was one of four songs which Adler and Ross wrote ("within two days, I think" - Adler) and submitted to George Abbott in hopes of being hired to score the stage musical Abbott was developing, which would become The Pajama Game. Rather than complementing the musical's storyline of a labor dispute at a garment factory, "Steam Heat" manifests as an overt staged number being a song-and-dance number featured as the "entertainment portion" of a union rally with the factory boss' s secretary Gladys as lead performer. Carol Haney originated the role of Gladys and she sang and danced the "Steam Heat" number in the original production of The Pajama Game with the accompaniment of Peter Gennaro and Buzz Miller.

History
The "Steam Heat" number in The Pajama Game would make stage musical history by introducing the signature style of choreographer Bob Fosse. George Abbott had asked Fosse to stage "Steam Heat" in a manner appropriate to the amateur entertainment it was supposed to be, with Abbott specifically stating: "Do something small". When the "Steam Heat" number, featuring Fosse's minimalist but riveting dance moves, prefigured its Broadway reception by stopping the show during The Pajama Game's out-of-town tryout in New Haven, Abbott - discomfited by the disruption to the play's flow - moved to cut the number: however Abbott's partner Jerome Robbins successfully lobbied for its retention.

The "Steam Heat" number would be recreated for the 1957 film version of The Pajama Game in which Haney would perform "Steam Heat" accompanied by Buzz Miller and Kenneth LeRoy. Haney, who would die in 1964 at age 39, had severe health problems during the film's shoot being hospitalized at one point and according to Harvey Evans, a dancer in the film: "When you watch 'Steam Heat' [in the film] you can see that [physically] she's not really up to par".

In the national tour of the original Broadway production of The Pajama Game Barbara Bostock would perform "Steam Heat" with accompaniment from Lee Capo and Cy Young.

The 1955 West End production of The Pajama Game featured "Steam Heat" as performed by Elizabeth Seal with accompaniment from Johnny Greenland and Ivor Meggido.

In the 2006-07 Roundabout Theatre revival of The Pajama Game the "Steam Heat" number was reassigned to a factory worker character named Mae, played by Joyce Chittick: Chittick was accompanied on the "Steam Heat" number by David Eggers and Vince Pesce. Taprena Augustine as Mae performed "Steam Heat" in the national tour of the Roundabout Theatre production (2008–09).

"Steam Heat" was performed in Fosse by Meg Gillentine with Julio Monge and Josh Rhodes.

"Steam Heat" became a staple of Shirley MacLaine's nightclub act, as MacLaine had been the understudy for Carol Haney in the original Broadway production of The Pajama Game and had gone on for Haney at a performance attended by film producer Hal B. Wallis who was interested in Haney: MacLaine's performance had so impressed Wallis that he'd come backstage to invite her to audition for him the next day with the result being MacLaine being signed for her motion picture debut in The Trouble with Harry. ("Hernando's Hideaway", Carol Haney's other big number from The Pajama Game, was also a staple of MacLaine's act.)

"Steam Heat" became at Top Ten hit for Patti Page as released by Mercury Records as catalog number 70380: debuting on the Billboard chart of 26 May 1954, the disc charted for nine weeks with a #8. (The film rights for The Pajama Game would eventually be purchased to provide a vehicle for Page although she was to play the character of Babe rather than Gladys: ultimately Babe would be played in the film by Doris Day.) The recording featured a replication of radiator being pounded, an effect performed by Mac Ceppos, a career session violinist who previously had been heard barking on Page's 1952 #1 hit "The Doggie in the Window". Page's recording was prominently featured at the end of "Hot Water", Episode 20 of Season 3 of Pretty Little Liars broadcast February 19, 2013: Spencer Hastings (played by Troian Bellisario) had been endangered by being locked in an overheating sauna earlier in the episode, which ends with the series' unseen stalker putting the finishing touches on a funeral wreath while listening to the Patti Page recording of "Steam Heat".

Ella Fitzgerald recorded "Steam Heat" for her 1963 album release Ella Sings Broadway.

Liza Minnelli and Tracey Everitt sang and danced Everitt's choreography to "Steam Heat" on The Judy Garland Show's Christmas Special episode (Aired Dec. 22, 1963).

The Pointer Sisters remade "Steam Heat" for their 1974 album That's a Plenty on which "Steam Heat" was framed by the original composition (by Jeffrey Cohen and Bruce Good) "Bangin' On the Pipes": released as a single, the Pointer Sisters' "Steam Heat" failed to become a major hit, only "Bubbling Under" the Billboard Hot 100 at #108. However "Steam Heat", which was featured on the 1974 concert album The Pointer Sisters Live at the Opera House, became a signature song of the Pointer Sisters' first career phase, with the group performing "Bangin' On the Pipes"/"Steam Heat" on The Carol Burnett Show broadcast of September 28, 1974. The November 27, 1976, broadcast of The Mary Tyler Moore Show titled "Murray Can't Lose", featured Georgia Engel performing a sultry song and dance number to "Steam Heat". The Good Times episode broadcast December 20, 1978, featured cast members Esther Rolle, Ja'net Dubois, BernNadette Stanis and Janet Jackson performing "Steam Heat", with the quartet introduced as "the Pointless Sisters."

Wall Street Crash performed "Steam Heat" for the European release of their 1982 self-titled album.

title: Steam Heat


text:
Spiš Castle

The ruins of Spiš Castle (Spišský hrad, ; Szepesi vár; Zamek Spiski; Zipser Burg) in eastern Slovakia belong to six largest castles sites in Slovakia. The castle is situated above the town of Spišské Podhradie and the village of Žehra, in the region known as Spiš (Szepes, Zips, Spisz, Scepusium). It was included in the UNESCO list of World Heritage Sites in 1993 (together with the adjacent locations of Spišská Kapitula and Žehra). The size of the castle area is 3,9 ha (39,000 m2). It is administered by the Spiš Museum at Levoča, a division of the Slovak National Museum.

Origins
Spiš Castle was built in the twelfth century on the site of an earlier castle. It was the political, administrative, economic and cultural center of Szepes County of the Kingdom of Hungary. Before 1464, it was owned by the kings of Hungary, until the time of King Matthias Corvinus, then (until 1528) by the Zápolya family, the Thurzó family (1531–1635), the Csáky family (1638–1945), and (since 1945) by the state of Czechoslovakia and then Slovakia.

Originally a Romanesque stone castle with fortifications, a two-story Romanesque palace and a three-nave Romanesque-Gothic basilica were constructed by the second half of the thirteenth century. A second extramural settlement was built in the fourteenth century, by which the castle area was doubled. The castle was completely rebuilt in the fifteenth century; the castle walls were heightened and a third extramural settlement was constructed. A late Gothic chapel was added around 1470. The Zápolya clan performed late Gothic transformations, which made the upper castle into a comfortable family residence, typical of late Renaissance residences of the sixteenth and seventeenth centuries.

Decline and reconstruction
The last owners of the Spiš Castle, the Csáky family, abandoned the castle in the early eighteenth century because they considered it too uncomfortable to live in. They moved to the newly built nearby village castles/palaces in Hodkovce near Žehra and Spišský Hrhov.

In 1780, the castle was destroyed in a fire. The cause of the blaze is unknown, but there are a few theories. One is that the Csáky family purposefully burned it down to reduce taxes as at the time additional taxes applied to roofed buildings. Another is that it was struck by lightning, which started the fire. A third is that some soldiers in the castle were making moonshine and in the process accidentally started the fire. Whatever the case, after the fire, the castle was no longer occupied and began to fall into disrepair.

The castle was partly reconstructed in the second half of the twentieth century, and extensive archaeological research was carried out on the site. The reconstructed sections house displays of the Spiš Museum, which is responsible for managing the castle, and artefacts such as torture devices formerly used in the castle.

title: Spiš Castle


text:
Jimmy Carter Library and Museum

The Jimmy Carter Library and Museum in Atlanta, Georgia, houses U.S. President Jimmy Carter's papers and other material relating to the Carter administration and the Carter family's life. The library also hosts special exhibits, such as Carter's Nobel Peace Prize and a full-scale replica of the Oval Office as it was during the Carter Administration, including a reproduction of the Resolute desk.

The Carter Library and Museum includes some parts that are owned and administered by the federal government, and some that are privately owned and operated. The library and museum are run by the National Archives and Records Administration and are part of the presidential library system of the federal government. Privately owned areas house Carter's offices and the offices of the Carter Center, a non-profit human rights agency.

The building housing the library and museum makes up 69,750 ft2, with 15,269 ft2 of space for exhibits and 19,818 ft2 of archive and storage space. The library stacks house 27 million pages of documents; 500,000 photos, and 40,000 objects, along with films, videos, and audiotapes. These collections cover all areas of the Carter administration, from foreign and domestic policy to the personal lives of President Jimmy Carter and First Lady Mrs. Rosalynn Carter.

The complex is situated next to John Lewis Freedom Parkway, which was originally called "Presidential Parkway" (and at one point, "Jimmy Carter Parkway" ) in its planning stages. The land on which the museum sits was a part of General Sherman's headquarters during the Civil War's Battle of Atlanta.

Although President Herbert Hoover and almost all Presidents since (except John F. Kennedy and Lyndon B. Johnson) have chosen to be buried at their presidential museum, this will not be the case for Jimmy Carter, who plans to be interred at his home at Plains, Georgia with his wife Rosalynn Carter. The Carters have also planned for their home, which is owned by the National Park Service and is part of the Jimmy Carter National Historical Park, to be converted into a museum after their death.

History
Early in his administration, Carter indicated interest in having his presidential library be built in Georgia. The site chosen was in the Poncey–Highland neighborhood of Atlanta, on land that had been acquired by the state of Georgia Department of Transportation, for an interchange between two redundant highways that were cancelled by Carter when he was governor of Georgia, in response to the Atlanta freeway revolts. (See Interstate 485, Georgia 400, Interstate 675, and the Stone Mountain Freeway.)

The Atlanta firm of Jova/Daniels/Busby was selected as architects, in cooperation with Lawton/Umemura/Yamamoto of Hawaii. During design and construction, Carter's papers were temporarily housed at the former post office building in downtown Atlanta. Construction commenced on October 2, 1984, and the library was opened to the public on Carter's 62nd birthday, October 1, 1986. Construction cost $26 million, funded by private contributions.

A $10 million renovation of the museum began in April 2009 with completion on President Carter's 85th birthday in October 2009.

The first director of the library and museum was Dr. Donald Schewe, who originally assisted with the transfer and processing of the Carter Administration materials at the end of Carter's term in early 1981.

As of 2014, the current director is Dr. Meredith Evans, an Atlanta native who had held various leadership positions in special collections and libraries in institutions such as Washington University in St. Louis and George Washington University.

The library and museum offers free admission to all students 16 and under. They can either go on a docent or self-guided tour. Together the library and The Coca-Cola Foundation have established funding for the library to provide transportation funds for all Georgia schools to use when bringing students to the museum for education activities.

Following her death, Rosalynn Carter laid in repose at the library on 27 November 2023.

title: Jimmy Carter Library and Museum


text:
Wikipedia:Articles for deletion/The Bulmershe School

 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. CDC  (talk)  21:35, 16 Jun 2005 (UTC)

The Bulmershe School
The claim to fame of this comprehensive school is that it has a headmaster. Dunc|☺ 17:54, 3 Jun 2005 (UTC)

 * It is a stub article - hence it does not have much information. Is it Wikipedia policy to delete stub articles? Ian Cairns 18:34, 3 Jun 2005 (UTC)
 * As noted in the entry above, per Schools:
 * A one sentence stub does not help anyone.
 * Do not unmerge or split out school stubs, unless you simultaneously expand the school article with verifiable information, so that it's no longer a stub.
 * Short, uninformative school articles may be merged by someone being bold. The relevant articles should generally not be unmerged unless expanded.
 * --Tabor 19:28, 3 Jun 2005 (UTC)
 * That page has no authority. It is merely a discussion page set up by a deletionist. Oliver Chettle 18:48, 5 Jun 2005 (UTC)

 * keep please it is a valid stub so allow for organic growth Yuckfoo 18:52, 3 Jun 2005 (UTC)
 * Merge and redirect with Woodley or a local school district article if one exists. If it expands significantly before end of VfD, keep.  JYolkowski // talk 22:30, 3 Jun 2005 (UTC)
 * Merge with the appropriate geographic article to keep the school inclusionists happy. --Carnildo 23:10, 3 Jun 2005 (UTC)
 * Keep, this is clearly somewhat more than a mere one-sentence stub. If merged, its LEA is Wokingham. --Tony Sidaway|Talk 23:19, 3 Jun 2005 (UTC)
 * It's been expanded significantly since nomination.  Un  focused  00:36, 4 Jun 2005 (UTC)
 * BTW, thanks for the work expanding it, Yuckfoo! -- Un focused  00:37, 4 Jun 2005 (UTC)
 * Comment. Thanks, I didn't check to see if it had been expanded. --Tony Sidaway|Talk 00:44, 4 Jun 2005 (UTC)
 * Keep as above - Ian Cairns 23:54, 3 Jun 2005 (UTC)
 * Keep expanded version is coming along nicely. -- Un  focused  00:36, 4 Jun 2005 (UTC)
 * Keep, all school articles have vast potential for expansion and this one is no different. --Bahn Mi 00:59, 4 Jun 2005 (UTC)
 * See WP:AN/I. This is a suspected sock of User:GRider, who is banned from VfD. --Tony Sidaway|Talk 17:58, 6 Jun 2005 (UTC)
 * Keep as expanded. Vegaswikian 06:48, 4 Jun 2005 (UTC)
 * Keep per what others have said -CunningLinguist 06:52, 4 Jun 2005 (UTC)
 * Keep as per the general consensus. —RaD Man (talk) 16:25, 4 Jun 2005 (UTC)
 * Delete, very few schools have potential for expansion to anything meaningful. RickK 21:36, Jun 4, 2005 (UTC)
 * Delete. How is it special as compared to any other school? No evidence of notability demonstrated. —Lowellian (talk) 13:20, Jun 5, 2005 (UTC)
 * Keep That is irrelevant. All schools should be kept. Oliver Chettle 18:48, 5 Jun 2005 (UTC)
 * Keep. Verifiable and NPOV. WP:SCH Double Blue  (Talk) 23:43, 5 Jun 2005 (UTC)
 * Verifable, encyclopedic institution. VFD is not cleanup. Keep. --Centauri 04:29, 6 Jun 2005 (UTC)
 * Merge into Woodley and delete - Skysmith 09:23, 6 Jun 2005 (UTC)
 * Merge into Woodley and delete. Jayjg (talk) 21:18, 8 Jun 2005 (UTC)
 * Comment. The Local Education Authority is Wokingham, so it's probably better to merge there. --Tony Sidaway|Talk 21:28, 8 Jun 2005 (UTC)
 * Keep. Relevant. --Ian Pitchford 19:49, 12 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 .