text:
Talk:Victorian dress reform

Untitled
Great stuff, Zora. I made some links; more anon.

I can add the Wiggan pit girls' clothes (I have references, need to dig them up) under working women's clothes. PKM 03:19, 8 Jun 2005 (UTC)

NPOV
The Victorian dress reform was a bad concept.

This book is against the dress reform (in CHAPTER IX. CORSETS.) http://haabet.dk/patent/How_to_be_beautiful/index.html

This book is against both the dress reform and the Victorian dress. And this book is for a shoulder dress http://haabet.dk/patent/Die_kultur_des_weiblichen_korpers_als_grundlage_der_frauenkleidung/ Håbet 20:17, 14 April 2006 (UTC)

 * Haabet, I really have very little idea what you mean to be saying. If you mean that people ridiculed Bloomers and "artistic dress", then you're not saying anything new.  If you mean that you prefer Victorian attire to 20th-century clothing, then that doesn't belong in the article.  The "weight suspended from the shoulders instead of from the waist" debate was an issue in the late 19th century or Edwardian era, and could be mentioned in the article, but the fact that nobody has said anything about it yet is not "NPOV".  Otherwise, I don't know what meaning you're trying to convey, and I'm not going to sift through whole long texts in order to make a guess. Churchh 10:41, 15 April 2006 (UTC)

 * P.S. Here's an Oscar Wilde quote in the Pall Mall Gazette, October 14th 1884, replying to a woman who wrote a letter stating objections to dress reform:

 * She makes two points: that high heels are a necessity for any lady who wishes to keep her dress clean from the Stygian mud of our streets, and that without a tight corset "the ordinary number of petticoats and etceteras" cannot be properly or conveniently held up. Now, it is quite true that as long as the lower garments are suspended from the hips a corset is an absolute necessity; the mistake lies in not suspending all apparel from the shoulders.  In the latter case a corset becomes useless, the body is left free and unconfined for respiration and motion, there is more health, and consequently more beauty.  Indeed all the most ungainly and uncomfortable articles of dress that fashion has ever in her folly prescribed, not the tight corset merely, but the farthingale, the vertugadin, the hoop, the crinoline, and that modern monstrosity the so-called "dress improver" [bustle] also, all of them have owed their origin to the same error, the error of not seeing that it is from the shoulders, and from the shoulders only, that all garments should be hung.

Anti-dress-reform quote
''EVERY little while some writer, some "dress reformer," some one wishing to advance a theory of her own, opens up a tirade against corsets. They are generally represented by these "agitators" as a death dealing instrument of torture. If these people have personally found them injurious, they have made them so. Presumably, if the inventor of the much-abused corset had for one moment thought it necessary to furnish brains in the shape of written directions as to the use of his popular invention he would gladly have done so, or have made the attempt to get a bill passed prohibiting women from committing suicide by the aid of an invention intended only for comfort, grace and beauty. This unending war against corsets that has been raging for about two score years and ten is certainly as good an advertisement as the most enterprising manufacturers can wish for. It proves conclusively that the corset wins all of the battles. If, in the fight, it has even wiped off from the face of the  earth a few brainless women it is difficult to understand why the corset should be held responsible. If a woman's vanity, poor taste or ignorance leads her to "draw the strings" until a serious injury is the result, she should by all means discard the corset, just as she would flee from any other temptation she has not the will power to resist. The evil, however, should not be laid to the corset.''

''So much has been said and written upon the subject that, as we hear the word, a vision of a compressed waist floats through the mind, and yet one never heard a strong, healthy, well-developed, woman acknowledge that she could get along without one. Some kind of a support is positively necessary. The most enthusiastic reformer always has a substitute, not differing materially excepting in name. I know a slender, thin woman that insists upon parading the fact that she never wears  the "horrible things." Her underwaists are corded and whaleboned, her dress waists are padded to fill out the hollows, and each seam whaleboned. In addition her waists are fitted so snugly that it seems marvelous the buttons do not fly to the four corners of the earth. Yet, this woman considers because she does not wear a corset she is not imjuring herself. There is nothing more com fortable than a well-fitting corset. '' -- User:Haabet 21:17, 19 April 2006

 * That's nice -- some people defended the corset. However, considering that women went many thousands of years not wearing anything like a corset, and that 20th century fashion has rather decisively rejected it, it seems like it's not in fact true that "the corset wins all of the battles"[sic], or that "Victorian dress reform was a bad concept"[sic] (so that denying these assertions is not "NPOV").  And putting all the blame onto individual women for tight-lacing ignores the fact that the images of contemporary attractiveness that a Victorian woman would have seen all around her were mostly depictions of highly-corseted women -- just as putting all the blame onto an individual woman today for anorexia would ignore the fact that the images of contemporary attractiveness that a woman sees all around her are mostly of very thin women.  The first case of anorexia I ever heard about (maybe the first one that got wide media coverage) was of somebody who was obsessed with looking just like Twiggy.

 * So this "tightlacing Darwinism" in your quote above seems rather nasty and vicious to me -- a misogynistic blaming of the fashion victim. If you want to say that there were conservative defenders of the corset, then that would be a reasonable addition to the article (but don't try to add it yourself, since your English-language skills are not really up to par).  But if you want to say that they were correct, or quote from them at great length, then that WOULDN'T belong in the article.

 * If you're interested in contemporary quotes, try these: http://www.canadiana.org/ECO/PageView/91023/0008?id=d6bdd073d6 http://www.canadiana.org/ECO/PageView/91023/0013?id=d6bdd073d6 etc. Churchh 17:15, 20 April 2006 (UTC)

Problems
Håbet 01:07, 29 May 2006 (UTC)
 * The dress reform was rarity
 * The importance of dress reform is exaggerated in the history
 * The one dress reform by great success, was the straight front corset. But this is not mentioned in the article.
 * the Triumph of the natural silhouette was about 1924-28!

 * Haabet, women who were willing to take bold dramatic steps to go outside the conventional norms were a rarity -- but the constrictingness of corsets and the cumbersomness of heavy full skirts was something that most middle- and upper-class women felt at one time or another in their lives, and a small but significant number of women thought that it was a very major problem. Not much practical real-world "dress reform" was attained until the mid-1910s, but the desire or demand for it was a significant undercurrent of opinion from the 1850s on.  If a pamphlet was printed in 1894 by a respected organization saying "Women need no other one thing so much as freedom of dress" (see Canadiana.org links above), then that's worthy of note.

 * I know you're very preoccupied with the Gaches-Sarraute thing, but though the change from the Victorian corset to the Edwardian "S-bend" corset may have originally been intended as a dress reform, there's ample evidence that the manner in which the S-bend corset was adopted into high fashion wasn't much of a true dress reform at all... Churchh 14:14, 29 May 2006 (UTC)

bicycling illustration caption
I think this needs some work. The change I made yesterday has been altered, and I don't think it makes sense, grammatically or in general to the lay reader. It now says:
 * An 1897 ad, showing a relatively early example of an ordinary non-sea-bathing in public view in unskirted garments (to ride a bicycle).

I suggest that more background info be inserted into the text. I don't have the particular knowledge myself, but perhaps along these lines:
 * By (date), women in (countries) would commonly wear unskirted garments such as the (wotsit) to bathe in the sea (see link to other page about sea-bathing or whatever). This was still the only setting in which unskirted garments were socially acceptable. The advent of the safety bicycle proved a massive leap forward for women; American suffragist Susan B. Anthony called it a "freedom machine".  It gave women personal mobility and a greater need for rational dress.  (See Bicycle section on female emancipation.)  Shorter skirts and cycling bloomers were the way forward.

Then the caption can become briefer.
 * An 1897 ad for an embrocation depicting women cycling, wearing (???).

I think that captions should describe, and the main text explain, as a general principle. BrainyBabe 06:03, 30 May 2006 (UTC)

 * That seems to be me to be good solution. Let's see what Churchh says before we do anything, however. The editors in the clothing and costume articles generally get along, and I hope we can keep it that way! Zora 06:19, 30 May 2006 (UTC)

 * Thanks. I'll leave the details to you friendly clothing editors, as I don't have the specialist knowledge.  I have made some substantial alterations to bicycle and history of the bicycle about its effect on female emancipation (and thus found my way to rational dress), and would be pleased to have your comments. BrainyBabe 06:49, 30 May 2006 (UTC)

If someone is going to actually write the section (instead of it consisting solely of two images and their captions, as it does now), then all kinds of information could be added, but with the section being as it is now, the phrase "ordinary non-sea-bathing woman in public view in unskirted garments" provides essential context to understanding what it is that the image depicts, and why it's relevant to this page. An ordinary pre-1880's woman wouldn't have been caught dead in public in an unskirted garment in any context (though certain kinds of paid professional performers -- hopelessly non-"genteel" socially, of course -- wore tights in some cases). Churchh 22:06, 30 May 2006 (UTC)

 * I can see what you mean, but I think the fact that the two women ARE cycling (as opposed to, are NOT swimming) is of vital importance in understanding why their garments were considered appropriate. Bicycles (as I try to show in that article) played a significant role in liberating C19 women.  Or maybe it is just that non-sea-bathing strikes my ear as ugly.  How would it be if I, an averred non-specialist, wrote a few sentences along the lines described above, and then the ilustrations gain their context from the text in which they are embedded?  My research would be paltry googling, compared to the wealth of material I feel sure you have to draw on, but I am willing, if you will put up with my efforts. BrainyBabe 17:35, 31 May 2006 (UTC)

 * I'm actually by no means a god-like expert in the area of 1880s-1890s fashions (you can judge my level of neutral scholarly impartiality from http://www.pemberley.com/janeinfo/pembfun/victcfsh.html ), but I can tell that one of the "women" (the one eating dust) is actually a man... ;-)
 * It would be nice if the section got written, but I see no need to expand it just to avoid the alleged awkwardness of the appropriately specific descriptive phrase "ordinary non-sea-bathing woman in public view in unskirted garments". Churchh 19:55, 31 May 2006 (UTC)

 * P.S. The skirts of women's seabathing garments were always much shorter than the skirts of their ordinary clothes, from the time that women's public swimwear first really came into existence (ca. the 1850s), but I don't know what year skirtless swimear actually came in (it may have been after 1897).  The reference to "non-sea-bathing" in the image caption was meant to refer to the fact that for many years, swimwear had been a special domain free from some of the ordinary strictures (the Victorian equivalent of Bikinis), but that the 1897 "bicycle suit" was separate from that. Churchh 20:10, 31 May 2006 (UTC)

Image 1889
This image show the new bicycle. Now the women can bicycle without trousers. Håbet 07:29, 30 May 2006 (UTC)

 * Great! If the image is out of copyright, can you add it to bicycle and history of the bicycle? Thanks.  BrainyBabe 07:33, 30 May 2006 (UTC)

The image are from a advertising from 1889

Girls dress
Is dress reform only girls dress to grown-up woman? —The preceding unsigned comment was added by Haabet (talk • contribs) 08:54, 22 March 2007 (UTC).

Recent Dresses The Spring/summer '07 fashion for dresses was large, bold prints and rather skimpy too. This was a very big chamge from the whites and greys of the previous season, winter. The hairstyles to go with it were large, blowy hair or, in contrast, immaculately straight. The acceseries were similar to the dresses and the shoes were often lace up the ankles.

Link farm
I've removed the "External links" section, as it doesn't seem to add to the article and just seems to be a random pile of blogs that people have pasted on this page. If you want to try and improve the article by citing them within the body, here are the links: ~dom Kaos~ (talk) 05:56, 26 March 2012 (UTC)
 * Dress Reform
 * Victorian web
 * Dress reform
 * Rational dress
 * Die Kultur des weiblichen Körpers als Grundlage der Frauenkleidung Paul Schultze-Naumburg 1901

Suggestions:

1. There is only saying social, political and cultural shifts into the 1920s brought forth an organic relaxation of dress standards. Althrough it was linked to the 19th References, which is the "Women's Clothes and Women's Right" Robert E.Riegel, American Quarterly,15(1963)399-400, you still should talk about or mentioned the political or historical event that leads to the new movement in the Victorian era. And when I tried to find more information according to your link, I cannot find in my college's library database, and there is no online information, so how can I find more information about the real reasons for that? PS: By the way, you wrote "Right" in the 19th Reference, but wrote"Rights" in the 20th Reference, and they are the same book.

2. I first searched the Unisex Clothing, and it says it started as part of the "Victorian dress reform" from the late nineteen century. But in the link of the "Victorian dress reform", I did not see how it lead to the latter Unisex clothing trend, I think it will be better to mention that in both places. — Preceding unsigned comment added by 8.41.197.222 (talk) 03:25, 28 February 2017 (UTC)

title: Talk:Victorian dress reform


text:
Robia LaMorte

Robia LaMorte Scott (born 1970) is an American actress and former dancer who initially retired after converting to Christianity, becoming a counsellor and preacher of her new faith. She may be best known as a dancer and spokesperson for musician Prince, or for appearing as Jenny Calendar in 14 episodes of the television series Buffy the Vampire Slayer.

Early life
Scott was born in the New York City borough of Queens in 1970 and grew up in several locations including the Florida Keys and Ocean City, Maryland. She is named after her father, Robert LaMorte. After being inspired by the 1983 movie Flashdance, she began dancing and taking after-school lessons in jazz dance, ballet, and tap dance. She attended the Los Angeles County High School for the Arts as a dance major during the school's first year of operation, and then received a full scholarship to the Dupree Dance Academy in Hollywood. At sixteen, she began working as a backup dancer in music videos, first appearing in Debbie Gibson's "Shake Your Love".

Career
After having appeared in more than thirty music videos and toured in a six-dancer troupe with the Pet Shop Boys, LaMorte was picked by Prince to be one of two lead dancers for the music video for "Cream", a single from his 1991 album Diamonds and Pearls. Prince had originally sought identical twins, but chose LaMorte along with another dancer, Lori Elle, because of their similar appearance and the dance chemistry they had with him. Elle as "Diamond" and LaMorte as "Pearl" subsequently appeared in the videos for "Cream", "Gett Off", "Strollin'", and the album's title track, as well as on the album's holographic cover itself. LaMorte and Elle then toured Europe with Prince, and when he temporarily refused to do any public speaking, the two women served as his spokespersons and conducted the main promotional efforts for Diamonds and Pearls. Elle would later go on tour with Ricky Martin and Michael Jackson.

At the age of 22, LaMorte retired from dance and turned to acting. After doing numerous television commercials, she landed the role of Jason Priestley's girlfriend Jill Fleming on Beverly Hills, 90210 in two episodes and played the female lead (alongside Andrew Bowen) in the live action video game Fox Hunt. Her first regular role was as high school teacher and technopagan Jenny Calendar on the first two seasons of Buffy the Vampire Slayer. After her character was killed during the second season, she returned for two more episodes as a ghost. In the second season finale "Becoming, Part Two" she makes a brief appearance as a hypnosis induced suggestion by Drusilla to trick Rupert Giles into revealing the flaw in Angel's plan. Finally she returned during the third season episode "Amends" to play a false apparition of the dead Calendar, a guise assumed by the evil force known as "the First Evil". However, LaMorte had become a born-again Christian after a highway encounter with a Christian biker gang while she was praying for a sign from God. After having already accepted the guest appearance on her old show, she was upset to learn that she would be playing an equivalent of Satan.

After her role ended on Buffy, LaMorte periodically accepted guest starring roles on various television shows, before retiring from acting to focus her efforts on Christian counseling, although she was occasionally seen in commercials and smaller roles. She also spends some of her time preaching Christianity and selling audio CDs on her website that give accounts of her religious conversion and beliefs. In an FAQ on that site, LaMorte writes that while she was once a proponent of New Age beliefs, she rejected them after her conversion to Christianity. She criticizes these beliefs as a form of "earth worship" and characterizes the practice of witchcraft a dangerous opening for demonic influence. She later returned to acting, appearing in the film Unplanned.

Personal life
As of 2020, LaMorte is married under the last name Scott. She has one daughter. She is a committed Christian, and describes her conversion on her website.

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

title: Robia LaMorte


text:
Minam

Minam can refer to:

 * Minam Station, a station of Busan Metro Line 3 in Busan
 * Minam, Oregon, a community in the U.S. state of Oregon
 * Minam River in the U.S. state of Oregon
 * Kkonminam or Kkot-minam

title: Minam


text:
Tabitha Soren

Tabitha Soren (born August 19, 1967) is an American fine art photographer and former reporter for MTV News, ABC News and NBC News.

Early career
As a 19-year-old college student at NYU, Soren appeared in the 1987 music video for "(You Gotta) Fight for Your Right (To Party!)" by the Beastie Boys. At the age of 23, she was the face of MTV's Choose or Lose campaign, which focused on encouraging young adults to vote. The campaign received a Peabody Award in May 1992. She interviewed Hillary Clinton, Anita Hill and Yasser Arafat, among others. She had cameo roles in the films The Cable Guy and Contact as herself. Clips of her interviews with Tupac Shakur were included in the 2003 documentary film Tupac: Resurrection.

Later career
After working in television news, Soren spent a year studying art and photography at Stanford University.

Soren's projects have been published in The New York Times Magazine, Canteen, Vanity Fair, McSweeney's, Sports Illustrated, and New York, among others. Public collections include the Los Angeles County Museum of Art, Oakland Museum of California, the New Orleans Museum of Art, Pier 24 Photography, Transformer Station at Cleveland Museum of Art, and the Ogden Museum of Southern Art in Louisiana.

In 2012, her show Running appeared at the Indianapolis Museum of Contemporary Art. A three-year-long project shot in 15 states, as well as in Mexico and Canada, Running featured dramatically lit, isolated individuals running in everyday settings.

In 2015, Soren's exhibition Fantasy Life debuted at the Kopeikin Gallery in Los Angeles and traveled to the San Francisco Bay Area. The exhibition showcased images of 21 baseball players selected for the Oakland A's 2002 draft class, whom Soren followed for thirteen years until they were out of baseball. Later that same year, Soren exhibited Panic Beach, a photographic series of rugged, powerful waves along coastlines all over the world.

In 2017, the Aperture Foundation published a selection of Soren's Fantasy Life photographs, with text by Dave Eggers. The book was released just prior to a major exhibition at San Francisco City Hall also titled Fantasy Life, which displayed over 180 of Soren's images. Also in summer of 2017, EUQINOMprojects in San Francisco exhibited work from the Surface Tension series, in which all images were photographed using 8 x 10 sheets of film. The gallery also showcases photographs from her project, As Far As You Know.

Personal life
Soren married author Michael Lewis in 1997. They have three children.

On May 25, 2021, Soren’s daughter Dixie was involved in a head-on collision with a semi truck near Truckee, California. Dixie was pronounced dead at the scene.

title: Tabitha Soren


text: Talk:Kyŏn Sin-gŏm

title: Talk:Kyŏn Sin-gŏm


text:
Area code 868

The area code 868 is assigned to Trinidad and Tobago, a member of the North American Numbering Plan (NANP). The telephone numbering plan for the country is known as the National Numbering Plan. It is part of a system used for assigning telephone numbers in Trinidad and Tobago, and functions as a part of the North American Numbering Plan (NANP). It is regulated by the Telecommunications Authority of Trinidad and Tobago, which holds responsibility for telecommunications in the country.

Due to a long established affiliation with NANP, phone numbers in the Republic of Trinidad and Tobago are often styled as "(868) NXX-xxxx". However, the International Telecommunications Union's standards such as E.164 and E.123 both strongly advocate the inclusion of a "+1" prefix to indicate "868" is a part of the NANP.

History
Area code 868 ("TNT") was created during a split from the original Area code 809 with permissive dialing beginning 1 June 1997. With the end of permissive dialing on 31 May 1998, all calls placed to the Republic of Trinidad and Tobago required the use of the +1 868 prefix. The local telephone regulator proposed the area code 868, which corresponds to "TNT"—an abbreviation for Trinidad and Tobago—to reflect the nation's identity within the NANP.

Dialing to Trinidad and Tobago
When calling Trinidad and Tobago from elsewhere in the North American Numbering Plan (e.g., from the United States or Canada), callers dial as if undertaking regular ten-digit dialing within those countries. Callers must simply dial 1 + 868 + seven digit phone number.
 * From within North America (NANP)

When calling to Trinidad and Tobago from outside the NANP (e.g., from the United Kingdom), callers must dial their international dialing prefix followed by 1 to access the North American Numbering Plan. For example, a call placed from the United Kingdom would be dialled as 00 + 1 + 868 + local seven digit phone number.
 * From outside NANP

Dialing within Trinidad and Tobago
When placing a phone call from Trinidad and Tobago, also known as HNPA (home numbering plan area) dialing, callers simply use seven-digit dialing (i.e. dialing the last seven digits of the phone number).

When calling other places in the North American Numbering Plan, callers dial as if undertaking regular ten-digit dialing in those countries. Callers dial 1 + NPA area code + seven digit phone number.
 * To North America (NANP)

Though usually toll-free when dialed from the US, not all 1-800 phone numbers are toll-free when dialed from Trinidad and Tobago, and may be treated as a toll call.

When calling to areas outside the NANP (e.g., the United Kingdom), callers dial 011 + country calling code + phone number. In the case of the UK, a user would dial 011 + 44 + UK phone number.
 * To areas outside the NANP

General

 * National Operations Centre: 911, Police Force: 999, Ambulance: 811, Fire: 990
 * Information/Directory Assistance: 6411, 611 (proposed replacement)
 * Operator: 0

title: Area code 868


text:
When It All Comes Down

When It All Comes Down is an EP by the rock band Home Grown, released in 2004 by Drive-Thru Records. It was the band's final release, as they went on "indefinite hiatus" the following year. The EP found the band moving away from the humor-filled pop punk of their previous releases and towards more heartfelt and emotional subject matter. Bassist Adam Lohrbach would carry these stylistic elements over to his subsequent band New Years Day and continue to expand on them.

Personnel

 * John Tran - vocals, guitar
 * Dan Hammond - guitar, vocals
 * Adam Lohrbach - vocals, bass
 * Darren Reynolds - drums

Album information

 * Record label: Drive-Thru Records
 * Produced, mixed, and engineered by Parker Case
 * Co-produced by Home Grown
 * Recorded and mixed at Tetty Nash Studios in Coto de Caza, California
 * Mastered by Louie Teran at Marcussen Mastering in Hollywood, California
 * Tracks 1, 3 & 5 written by John Tran
 * Tracks 2, 4 & 6 written by Adam Lohrbach
 * Design by Joshua M. Ortega

title: When It All Comes Down


text:
Moonee Valley Racecourse

Moonee Valley Racecourse, currently marketed as The Valley, is a horse-racing track in Moonee Ponds, Melbourne, Victoria Australia.

History
Moonee Valley Racecourse was established in 1883 by William Samuel (W.S.) Cox, who purchased a farm the previous year belonging to John F. Feehan for the purpose of establishing a racetrack. Being entirely freehold land owned by a private club, this separates Moonee Valley from other Melbourne racecourses such as Caulfield and Flemington. Expansion of the racecourse facilities occurred in the 1960s, funded by compensation for land acquired for the construction of the adjacent Tullamarine Freeway. In the 1970s harness racing moved to the Valley, when night trotting relocated from the Royal Melbourne Showgrounds.

title: Moonee Valley Racecourse


text:
Talk:1981 Brixton riot

Number of arrests
Is it really true that the number of people arrested during Swamp 81 in the lead-up to the uprising, and then the number of people arrested during it, was the same -- 82? So 164 arrests overall? It seems a bit of a coincidence -- has there been a mistake?

Source
See the Daily Mail of 16/4/2011 for a source as to the three stabbers. — Preceding unsigned comment added by 93.97.55.83 (talk) 13:19, 26 July 2011 (UTC)

Lack of Neutrality
The article makes a political point in countering the official version that the riots were not about racial inequality. As much as I may agree with what the article says here, I think it's clearly biased and does not give the opposite view the slightest chance. This should be an Encyclopedia, not an op-ed. — Preceding unsigned comment added by 85.49.211.47 (talk) 16:37, 9 August 2011 (UTC)
 * Dop you have some sources to help here? All of the source material I have collated pretty much matches the article - Thatcher took a fairly strong stand that it was not about racial inequality, but academic works (historical ones) have a consensus that it was. I think we do OK reflecting that state. --Errant (chat!) 17:26, 9 August 2011 (UTC)
 * There is a consensus among left-wing academics, but not amongst all historians. A riot that started with 3 black men trying to murder another, and developed into looting of black-owned shops and homes, is hardly about young black men fighting inequality. — Preceding unsigned comment added by 109.150.116.193 (talk) 15:55, 12 April 2013 (UTC)
 * Nobody is saying they were fighting inequality, they're saying they were subject to inequality. Up to and including the high crime rate. The man being murdered was also black, and had he lived in a safer and whiter neighbourhood, wherein employment, infrastructure, public investment into education and healthcare etc existed, then he would probably be alive today. Combine that with the police covering up racially motivated terror attacks, and how London police have both a present and historical tendency to profile and mistreat migrants and people of colour, and it's clear that the tensions were caused by racial inequality. 78.69.180.157 (talk) 21:46, 13 February 2020 (UTC)

Infobox Military conflict
I'm not sure the use of a Military Conflict box is appropriate here. No other pages on riots use military conflict, they employ either a civillian attack box or a news event box. I'd like to see it changed to Template:Infobox_news_event Kaleeyed (talk) 12:19, 3 November 2011 (UTC)

The current civil conflict ibox is OK, but it needs to be would be better presented similar to its use on (the far superior) 2011 England riots article. Keri (talk) 16:28, 8 January 2016 (UTC)
 * ✅ Keri (talk) 13:32, 14 January 2016 (UTC)

Errors
The article has been lacking RS since at least 2010. This may have contributed to the large number of errors it presents as facts. A few examples: The initial contact between Michael Bailey and PC Margiotta took place at 6.10pm not 5.30pm; Margiotta did not go to a house on Atlantic Road where Bailey was first treated - and it was a 3rd floor flat on Rushcroft Road; the police didn't call a cab to take him from there, and nor did a large crowd gather as he got into the cab; etc. etc. And that's just from one paragraph (and arguably one of the most important paragraphs, describing the initial catalyst). All of the correct details about these events have been established since at least November 1981. The article needs to be thoroughly fact-checked, and RS used. Keri (talk) 16:20, 8 January 2016 (UTC)

An article that uses YouTube (4 times!) and the Daily Mail as references should always set off the spidey senses. I'm quite shocked that the Scarman Report isn't used once. Keri (talk) 16:34, 8 January 2016 (UTC)

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title: Talk:1981 Brixton riot


text: File:Home Grown - When It All Comes Down cover.jpg


text: Category:Mortal Kombat games

title: Category:Mortal Kombat games


text:
Deputy Prime Minister of India

The deputy prime minister of India (IAST: Bhārat Ke Upapradhānamantrī), although not a Constitutional post, is the second-highest ranking minister of the Union in the executive branch of the Government of India and is a senior member of the Union Council of Ministers. The office holder also deputises for the prime minister in their absence.

The office has since been only intermittently occupied, having been occupied for a little more than 10 years out of the 75 years since its inception. Since 1947 India has had 7 deputy prime ministers, of which none having at least one full term. The first was Vallabhbhai Patel of the Indian National Congress party, who was sworn in on 15 August 1947, when India gained independence from the British Raj. Serving until his death in December 1950, Patel remains India's longest-serving deputy prime minister. The post was vacant until Morarji Desai became the second deputy prime minister in 1967 and has the second-longest tenure. Morarji Desai and Charan Singh were the deputy prime ministers who later became Prime Minister of India. Jagjivan Ram and Yashwantrao Chavan became deputy prime ministers consecutively without the break in different ministries. Devi Lal is the only deputy prime minister to represent both parties in the same post. Lal Krishna Advani was the seventh and last person to serve as the deputy prime minister of India until the post became vacant.

The current government does not have a deputy prime minister and the post has been vacant since 23 May 2004.

List

 * Key
 * Resigned
 * Died in office

Statistics

 * List of deputy prime ministers by length of term

 * Timeline

 * List by party

 * Parties by total duration (in days) of holding Deputy Prime Minister's Office

title: Deputy Prime Minister of India


text:
User talk:JULIE

ANY RESEARCH FOLLOW UP ON HENRIETTA LACKS, AND HER DESCENDANTS?

title: User talk:JULIE


text: File:Home Grown - Kings of Pop cover.jpg


text:
Revolution Revolución

Revolution Revolución is the debut album by the American heavy metal band Ill Niño. It has sold over 430,00 copies worldwide. It was the only album to feature guitarist Marc Rizzo, who left the band in 2003 to join Soulfly, and percussionist Roger Vasquez, who also left in 2003 and was replaced by Daniel Couto for the second album, Confession. The album was recorded from November 2000 to February 2001.

Reception
Q magazine gave the album 3 stars out of 5 and said, "South American nu-metal with a strong Latin undercurrent... frontman Christian Marchado is equally adept at venting his spleen in English and Spanish." Allmusic gave the album 3 stars out of 5 and said, "This is an excellent debut for fans who lean more to the cerebral side of modern metallic endeavors."

Track listing

 * The album was re-released on October 22, 2002. Two multimedia tracks were also included:
 * 1) "What Comes Around" (Videoclip)
 * 2) "Unreal" (Videoclip)

The track "Liar" is played in the credits of the game Ghost Recon Advanced Warfighter for the Xbox 360.

Ill Niño

 * Dave Chavarri ― drums
 * Cristian Machado ― vocals
 * Jardel Paisante ― guitar
 * Lazaro Pina ― bass guitar
 * Marc Rizzo ― guitar
 * Roger Vasquez ― percussion

Additional musicians

 * Omar Clavijo ― programming, samples
 * DJ Skratch ― turntables
 * Krztoff ― keyboards, synthesizers
 * Mark Hunter ― additional vocals (track 15)

Production

 * Dave Chavarri – producer, engineer, additional sample and scratch direction
 * Ill Niño – co-producer
 * Cristian Machado – additional production, additional sample and scratch direction
 * Steve Regina – mixing, additional production
 * Rob Caggiano – mixing, additional production
 * Eddie Wohl – mixing, additional production
 * Henri Martinez – assistant engineer
 * Laz Pina – additional engineering
 * Carl Nappa – digital editing, additional engineering
 * Matt James – additional vocal production, additional digital editing
 * George Marino - mastering

title: Revolution Revolución


text:
National Agricultural Center and Hall of Fame

The National Agricultural Center and Hall of Fame is a museum and educational facility in Bonner Springs, Kansas, United States. The group holds a congressional charter under Title 36 of the United States Code (issued in 1960). It is located east of K-7 and south of State Avenue (US-24, near 126th Street) next to the Sandstone Amphitheater and Kansas City Renaissance Festival. It is north of the Kansas Turnpike "Bonner Springs" exit, and about one mile (1.6 km) west of the Kansas Speedway.

Main Building
The Main Building built in 1963-64 includes:
 * Gallery of Rural Art
 * National Agricultural Hall of Fame
 * Hall of Rural Living
 * National Farm Broadcasters Hall of Fame
 * Rural Electric Conference Theater
 * National Farmer's Memorial
 * National Poultry Museum

Museum of Farming
The 20400 sqft building opened in 1967. Much of the museum's 30,000 artifacts, including an extensive collection of farm implements, are housed there.

Farm Town, U.S.A.
This recreation a rural village which opened in 1968 includes:
 * Blacksmith Shop
 * School House
 * General Store
 * Poultry Hatchery
 * Railroad Depot
 * Union Pacific Caboose
 * Operational narrow-gauge train
 * Farm House
 * Farm Shed
 * Chicken Coop
 * Eight-sided Wooden Silo
 * 75-seat outdoor Pavilion
 * Smith Event Barn


text:
Talk:Seoul Subway Line 2

work needed
1) There are grammar errors. 2) This is confusing: How do the two branches relate to the main branch? 3) A schematic or at least a clear link to a schematic or the Seoul subway's own site would really help.211.225.34.185 (talk) 04:08, 2 October 2011 (UTC)

 * Fixed grammar errors. Added map to External Links Section. Hope it helps :) Rickinasia (talk) 16:41, 2 October 2011 (UTC)

Bad link?
Clicking on "Cyber Station - Map, station and route finder" in the External Links section gets me this message:

"웹 보안에 위반되어 페이지가 차단되었습니다. 담당자에게 확인 바랍니다."

Correct me if I'm wrong, as I don't read Korean, but I assume it means that it's a bad link. 108.246.205.134 (talk) 07:15, 23 January 2013 (UTC)
 * Thanks for the heads up. I'll fix it. ₪Rick n Asia₪ 14:55, 23 January 2013 (UTC)

longest loop
The claim that Line 2 is the world's longest subway loop line appears to based on the total length of Line 2's loop (47km) plus Line 2's branch lines (Seongsu and Sinjeong) of 5.4km and 6.0km. The recently completed Beijing Subway Line 10, which runs in a loop of 57.1km, appears have a longer loop than Line 2. ContinentalAve (talk) 00:58, 6 May 2013 (UTC)
 * Great find. Thanks for the update. ₪Rick n Asia₪ 06:32, 6 May 2013 (UTC)

Route map
Hello, I am thinking of putting a route map (below) just before the “See also” section, mainly to show how the two branches diverge from the circle. What do you think? -- Minoa (talk) 17:30, 18 August 2021 (UTC)
 * Pinging as significant contributor to this article, for the user's opinion. -- Minoa  (talk) 19:16, 20 August 2021 (UTC)
 * I am touched that you are asking for my opinion. I haven't been involved in the subway pages for awhile, so I'm not sure how common these are. The map you made is very well done and looks great! If you can find a spot for it, plug it in as I believe it will be useful. ₪Rick n Asia₪ 15:32, 7 September 2021 (UTC)

Route
Hello, I quite do not understand how that line function with its branches : are there trains running only on the loop ; train only inside branches (eg people must transfer) ? Or do train may either branches ? Bouzinac (talk) 21:34, 18 January 2022 (UTC)

title: Talk:Seoul Subway Line 2


text:
Talk:Seoul Subway Line 3

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 08:45, 4 March 2020 (UTC)
 * SMSC EMU3000 VVVF 301.jpg

title: Talk:Seoul Subway Line 3


text: Talk:Seoul Subway Line 6

title: Talk:Seoul Subway Line 6


text:
Talk:Seoul Subway Line 7

Korean text
I added Korean text (wiki-linked to the Korean article) for Gasan Digital Complex because there appears to be no English language article for this station. Please do not remove this. I will add further Korean text to the other station names as time permits. 220.76.15.52 (talk) 03:48, 12 May 2008 (UTC)

Station names
I live in Bucheon and I have watched for 2 years now as they build the station in my neighbourhood. Recent advertising suggests the name of the station will be Sangdong Station (the neighbourhood name) and not Theme Park. The only theme parks nearby are the WaterJoy (swimming) and the Bucheon Intangible Cultural Heritage Expo (BICHE) grounds (the latter is closed 11 months of the year). The Animation Museum and a Circus are under construction. No theme parks worth naming the station that. Also, Bucheon City Hall station appears correct although I cannot vouch for other names. They are currently promising finished in 2010. We'll see (since they were supposed to finish in 2008). Darkpoet (talk) 05:30, 16 February 2009 (UTC)

Another note regarding the name of "Theme Park" - it turns out the BICHE, Museum, and Circus, indeed are collectively known as "Theme Park" - although in other countries it might more accurately be referred to as "Exposition Grounds" or something. Darkpoet (talk) 01:53, 14 April 2009 (UTC)

Why isn't Line 7 a rapid transit line?
I had saw that in the article that Seoul Metro Line 7 is classified as a commuter rail line however in my belief it feels more of a metro line given if treated like any other metro line and does not even share any mainline Korail Lines 2406:3400:31F:AFD0:937:8679:1745:4F38 (talk) 05:25, 25 August 2023 (UTC)

title: Talk:Seoul Subway Line 7


text:
Talk:Seoul Subway Line 8

Image placement
The picture overlaps the table on my wife's computer but not on mine. My wife has a favorites toolbar down the left edge of the screen. Art LaPella 03:52, 20 October 2005 (UTC)

title: Talk:Seoul Subway Line 8


text:
Talk:Eugene (actress)

Untitled
Got hanja? -- Visviva 03:35, 8 Jun 2005 (UTC)

Name
Since she is more popularly known as Eugene, shouldn't the article title reflect that? No one calls her by her given name, and articles like Cher seem to follow the rules (at least, what I think the rules are). (And yes, this is cut-and-pasted from Bada's talk page, but all of S.E.S.'s solo pages have this problem.)SKS2K6 23:25, 12 July 2006 (UTC)

Eugene is not the lead lady or she was never in Memories of Bali - Chette

Current info
Who knows what she's doing now? Is "I Really Really Like You" still airing on MBC? SKS2K6 23:25, 12 July 2006 (UTC)

Name change
Can I PLEASE move this to Eugene (singer)? This is by far the most popular English term for her; even her album cover has "Eugene" on it. SKS2K6 07:46, 5 September 2006 (UTC)
 * ANYBODY? :P SKS2K6 07:43, 8 September 2006 (UTC)
 * She's also an actor. I don't mind moving it and yeah, her English name is much more common. --Nissi Kim 21:43, 25 September 2006 (UTC)
 * Thanks. I'm thinking Eugene (entertainer)...so if no one has any objections.... SKS2K6 03:58, 26 September 2006 (UTC)
 * Why not Eugene (celebrity) --Nissi Kim 01:26, 28 September 2006 (UTC)
 * Because standard naming procedures that "entertainer" be used for those who work in different entertainment areas. See Madonna (entertainer) or Usher (entertainer). SKS2K6 05:48, 28 September 2006 (UTC)
 * If there isn't any objections within the next week, lets change it then. --Nissi Kim 00:57, 4 October 2006 (UTC)

additional info about her..
there is more information about eugene's earlier life and some additional info. it's on her official website: http://eugene.pfull.com/ it's in korean and i can read it, but i'm still new to editing so if someone could organize and nicely put up her info...

her family consists of her parents, a younger sister, and herself. she graduated elementary school in korea. graduated from Agueda Johnston Middle School. moved to Korea after becoming a member of SES after graduating from John F. Kennedy High School. there's some conflict of info about her education since the media and many websites say that she graduated from JFK High School, but that she also graduated from Korea Kent Foreign High School. here's the website about the "extra" high school from which she graduated: http://epg.epg.co.kr/star/profile/index.asp?actor_id=1592

she has done some acting and has so far been in 3 korean dramas: "Wonderful Life" MBC, Mar 2005-Apr 2005. http://www.imbc.com/broad/tv/drama/wonderfullife/index.html "Save the Last Dance for Me" SBS, Oct 2004-Jan 2005. http://tv.sbs.co.kr/last/ "Really Like You" MBC, Apr 2006-Aug 2006. http://www.imbc.com/broad/tv/drama/reallylikeu/ --128.252.249.85 09:31, 15 December 2006 (UTC)

 * The dramas are listed at the bottom. And by the way, she does speak Chamorro, according to this link, so I will be adding it back to the article.  Thanks for the early life info; I'll (or someone will) try to integrate it into the head of the article. SKS2K6 09:33, 15 December 2006 (UTC)

 * i guess i can't argue with that link. i've met her personally and she can't speak it, but for the sake of citing sources, personal communication with the person doesn't count. —The preceding unsigned comment was added by 128.252.249.85 (talk) 09:47, 15 December 2006 (UTC).

Fair use rationale for Image:Eugene810303Cover.jpg
Image:Eugene810303Cover.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 20:59, 13 February 2008 (UTC)

Recent move to "Eugene (actor)"
This article was recently renamed from "Eugene (entertainer)" to "Eugene (actor)', with an edit summary "She is both a singer and an actor but is more known to people as an actor. Entertainer tag sounds a little disparaging." I don't think that's tenable.  She's far better known as a singer than an actor.  She's best known as a member of the singing group S.E.S and has released two solo albums.  I think the claim that she's better known as an actor is specious, and disagree that there is anything "disparaging" in labeling an entertainer as an entertainer.  The article should be moved back to Eugene (entertainer).  What is the consensus? TJRC (talk) 17:56, 11 August 2009 (UTC)
 * She is better known as a singer in Korea but in the most part of Asia and internationally she is known for her tv shows. —Preceding unsigned comment added by 124.107.63.20 (talk) 18:10, 11 August 2009 (UTC)
 * Hehe...I was going to write this big long thing against the move to "actor", but your argument states what I wanted to say in concise terms. But anyway, here's what I want to add:
 * Other articles are under the "(entertainer)" descriptor, including Madonna (entertainer), Usher (entertainer), Monica (entertainer)...there are a few others as well. Anyway, most of these people are known for one thing more than the other (in this case, singing); however, because they have also acted and done other things as well, "entertainer" is more accurate, and this is the established convention on Wikipedia.
 * To be honest, it shouldn't matter what a person is currently known for, as the article should not be biased towards more recent events (see WP:RECENT). In this case, Eugene may be acting right now, and be known as an actor right now, but overall, what is she known for the most?  Being the E in S.E.S. (as this article from SportsSeoul states (in Korean)).  She's still considered a country "yojeong" (literally fairy/spirit, although I believe the meaning is closer to goddess).
 * Eugene has stated recently that she wants to come back as a singer eventually. Does that mean that the article should be continually moved to relfect her current role in the Korean entertainment industry?
 * As TJRC said, the claim that actor > singer is really debatable. In terms of current work, I agree with that distinction, but in terms of notability...eh.  None of her acting works have been as successful as her songs (either with S.E.S. or solo).  I know that that's my opinion, but it shows the debatable nature of this issue.
 * So in short, I strongly support moving it back to Eugene (entertainer), and I was going to do it but felt that a discussion was necessary first, because I've been reverted back by the original mover...so yeah. I understand that throughout Asia, she may be more known as an actress, but in Korea (and I would say North America as well, to a degree) she is more known as a singer.  That's why "Entertainer" is the best descriptor to be used for the article, as it gives equal weight to both and does not choose "sides". SKS (talk) 18:19, 11 August 2009 (UTC)
 * Moved. And even if for some crazy reason it shouldn't have been moved, the article can't stay under the name "Eugene (actor)" because she, a woman, is not an actor. Eugeniu B  msg  04:10, 18 August 2009 (UTC)

Requested move

 * The following discussion is an archived discussion of the proposal. Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

The result of the proposal was moved. --BDD (talk) 22:59, 27 September 2013 (UTC)

Eugene (entertainer) → Eugene (Korean actress) – Or alternatively Kim Yoo-jin per natural disambiguation. Per discussion 2009 and previous moves above: still primarily known as an actress. FWIW "entertainer" + "Eugene" in Google Books leads to Eugene Stratton. In ictu oculi (talk) 04:58, 18 September 2013 (UTC)
 * Rename to Eugene (Korean actress) (better) or Eugene (Korean entertainer) and redirect the current title to Eugene (given name). -- 70.24.249.39 (talk) 05:49, 18 September 2013 (UTC)
 * Sure, sounds reasonable; therefore changed nom as per 70.24.249.39 suggestion adding "Korean" to ([Korean] actress). Also because I missed Eugene (wrestler) redirect on Eugene (disambiguation) in the nomination. In ictu oculi (talk) 06:29, 18 September 2013 (UTC)

 * Rename to Eugene (Korean actress) per the Google results above. 168.12.253.66 (talk) 14:36, 18 September 2013 (UTC)
 * The above discussion is preserved as an archive of the proposal. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

 * Subsequently moved to Eugene (actress), given the lack of another actress by this name (and the unlikelihood of such another person popping up). --BDD (talk) 23:08, 27 September 2013 (UTC)

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 * Added archive https://web.archive.org/web/20120915032713/http://www.mb.com.ph/articles/328187/monique-lhuillier-designs-elegant-wedding-dress-korean-star-eugene to http://www.mb.com.ph/articles/328187/monique-lhuillier-designs-elegant-wedding-dress-korean-star-eugene
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 * Added archive https://web.archive.org/web/20131113080846/http://www.ggent.co.kr/bbs/board.php?bo_table=eugene to http://www.ggent.co.kr/bbs/board.php?bo_table=eugene
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title: Talk:Eugene (actress)


text:
Talk:BRLESC

Thanks
Thanks for the rewrite. This reference says "a fifth of a million operations per second" which is probably more accurate then 5,000,000 in another reference http://ftp.arl.army.mil/~mike/comphist/hist.html. --Bubba73 03:36, 8 Jun 2005 (UTC)

Computation power?
Can I get a comparison to how much computer power in comparison to a 486 processor?

5 level code
see here for the probably right punch tape code. --Alexander.stohr (talk) 16:56, 11 October 2016 (UTC)

When I was at APG in 1963-6, my friends who worked on the BRLESC said that KSNJFL stood for "King Sized Numbers Just For Laughs." FWIW Maurice Fox (talk) 02:52, 12 March 2017 (UTC)

reference to "50 Years of Army Computing"
The link in the article is dead, but the PDF can be downloaded from the bottom of this page. I don't know how to make that a reference. Bubba73 You talkin' to me? 07:48, 8 December 2021 (UTC)

title: Talk:BRLESC


text:
AviSynth

AviSynth is a frameserver program for Microsoft Windows, Linux and macOS initially developed by Ben Rudiak-Gould, Edwin van Eggelen, Klaus Post, Richard Berg and Ian Brabham in May 2000 and later picked up and maintained by the open source community which is still active nowadays. It is free software licensed under the GNU General Public License.

Scripting video editor
AviSynth acts as a non-linear video editor controlled entirely by scripting (without a GUI). It emulates an AVI video file (or WAV audio file) as seen by the VFW downstream application, which is typically a media player, video editing software, or an encoder.

AviSynth is built upon filters, which are much like DirectShow filters, but with a different binary interface. Filter capabilities include cropping, deinterlacing, inverse telecine, working with still images, doing basic color grading, reducing video noise, and many other things. AviSynth also performs traditional video editing tasks like cutting, trimming and re-sequencing segments.

For example, consider the script "myAvi.avs" (just a plain text-file saved with the extension "avs") AviSource("myAvi.avi") Crop(0, 0, 320, 240) Blur(0.1) This script file can be opened in most media players (such as Windows Media Player). The program will play the video file "myAvi.avi" cropped down to its top-left 320 pixels by 240 pixels and blurred by a small amount. Operations occur in sequential order, so the cropping occurs first, then the blurring.

Technically, AviSynth constructs a filter graph (like Microsoft GraphEdit but with added capabilities), controlled by scripts written in the AviSynth scripting language. Its functionality can be extended through the use of third-party filters known as plugins. An external plugin list is maintained at AviSynth Filter Collection.

AviSynth is a frameserver – the calling program requests audio/video frames and the script serves them. The calling program can call frames in any order, allowing it to pause, jump forward or backward etc., just as with a physical file.

AviSynth scripting language
The scripting language is a dataflow language: a programming paradigm that describes a directed graph of the data flowing between operations. It lacks some procedural programming control structures, but it contains many features familiar to programmers, including variables, distinct datatypes, conditionals, and complex expressions.

The language works primarily with the audio/video clip as a built-in data type. The clip is a complex structure with many attributes such as width, height and duration. The language also has several other more standard data types: int, float, bool and string. These can be used to perform calculations, decisions, and write text such as subtitles to the video.

The script has a single return value, which is the audio and video 'seen' by the program running the script. This is normally the last line of the script, but a return statement may be inserted at any point.

"Hello World"
This example is a "Hello World" program. BlankClip Subtitle("Hello, world!") If the above text is entered into a text file with the .avs extension, it can be opened in Windows Media Player or any of the other programs in the list below, and a video containing the words "Hello, world!" will be displayed.

The BlankClip function creates a new video. The parentheses at the end of the word are optional, since no arguments are being passed, but are given in this case to indicate it is a function and not a variable.

The Subtitle function draws the words "Hello, world!" on top of the previously-created blank video.

Although both functions both accept many more arguments (for example, controlling the size and length of the blank video, and the positioning, font, and color of the subtitle), this example leaves them out; the functions use built-in default arguments.

Avisynth uses syntactic sugar that makes simple scripts far easier to write: an implicit variable called Last. Without implicit variables, the above script would have to be written like this: Last = BlankClip Last = Last.Subtitle("Hello, world!") return Last or like this: A = BlankClip B = A.Subtitle("Hello, world!") return B Explicit clip variables are normally only used for functions involving more than one clip: A = BlankClip B = A.Subtitle("Hello, world!") return Dissolve(A, B, 30) # 30-frame cross fade

Video-processing
This example takes an actual video, applies some simple processing, and returns it to the output. AviSource("C:\Example.avi") ReduceBy2 GreyScale The AviSource function is used to load an AVI video from a real location. To open other media types, the DirectShowSource function could be used instead. ReduceBy2 divides the vertical and horizontal size of the video in half, and GreyScale removes all color information.

AviSynth filters work in many RGB and YUV color spaces to allow all kinds of video input and output. Certain functions only work on specific color spaces, requiring conversion – for example, most videos are distributed in a YUV color space, but most color correction is done in one of the RGB spaces. A color-correcting script might look like this: DirectShowSource("movie.mp4") # YV12 color space ConvertToRGB32 RGBAdjust(1.0, 0.95, 1.0) # decrease Green channel ConvertToYV12

User defined
The AviSynth scripting language allows for users to define their own functions.

This is an example of a function that allows you to dissolve from one clip to another without damaging interlacing lines. clip1 = AVISource("video1.avi") clip2 = AVISource("video2.avi") # call the user-defined function which is defined below: interlaced_dissolve(clip1, clip2, 30) # ...the script returns the above result to the calling program # user-defined function: # dissolve from clip1 to clip2 over 30 frames function interlaced_dissolve(clip clip1, clip clip2, int iter) { clip1 = clip1.SeparateFields evn1 = clip1.SelectEven odd1 = clip1.SelectOdd clip2 = clip2.SeparateFields evn2 = clip2.SelectEven odd2 = clip2.SelectOdd evn = Dissolve(evn1, evn2, iter) odd = Dissolve(odd1, odd2, iter) Interleave(evn, odd).Weave.DoubleWeave.SelectOdd # ...the function returns the above result to the main script }

AviSynth 3.0 and AviSynth+
AviSynth 3.0 was a complete rewrite of AviSynth 2.x, and aimed to overcome the limitations of AviSynth 2.x. Adding improvements such as an abstracted color space model, in which new color spaces (including two with 45-bit depth) could be supported through a plug-in mechanism, better cache management for better performance, and using Ruby rather than the homegrown language employed in current versions.

AviSynth 3.0 was to be available for other operating systems than Windows, instead relying on GStreamer, extending support to platforms such as Linux, Mac OS X and BSD. Development has been stalled since August 2007.

AviSynth+ is a fork of the official AviSynth 2.xx, introducing long-sought features such as 64-bit support, multithreading, deep color spaces, support for recent compilers, new scripting constructs (new control-flow constructs such as loops), and increased performance in many areas. At the same time it retained 100% compatibility to the AviSynth 2.5/2.6 series, both for filters and host applications. At the time of writing (2023-06), it is also actively maintained.

AviSynth for non-Windows operating systems
AviSynth 2.xx may be used under operating systems other than Windows through the use of Wine. To work on scripts VirtualDub/VirtualDubMod can be used as on Windows. To interface between AviSynth under Wine and for example FFmpeg running on a Linux host, Avs2YUV can be used. Avs2YUV is a Windows command line program that is run under Wine and renders the output of an AviSynth script to stdout that is then piped to FFmpeg. Avs2YUV also supports writing to a named pipe.

There is a Linux port of AviSynth called AvxSynth.

AviSynth compatible programs
In addition, several programs have now been created which accept only AviSynth scripts as input - thereby simplifying the programs themselves but giving users the full power of AviSynth for input.

There are also several batch encoding applications that tie together AviSynth with command line audio and video encoders and muxers to provide an all-in-one, modular, customizable video encoding application. MeGUI is an example of this kind of application.

Although AviSynth scripts are meant to be easily opened in simple text editing programs, there are several editors meant especially for editing AviSynth scripts such as AvsPMod.

title: AviSynth


text:
Tech Triumph

"Tech Triumph" is the fight song of Virginia Tech. It was composed in 1919 by Wilfred Pete Maddux (class of 1920) and Mattie Eppes (Boggs).

The song is noted for beginning with the opening notes of Reveille — a nod to Tech's past as an all-male military school.

Composers
Wilfred Preston ("Pete") Maddux, a trombone and baritone player in the Virginia Tech Regimental Band (member of the band from the Fall of 1917 to 1919), jointly composed "Tech Triumph" in 1919 along with Mattie Walton Eppes (Boggs). Mattie Eppes was a neighbor of Pete in his hometown of Blackstone, Virginia. When he was home, Pete would often play violin with Mattie accompanying him on the piano. One evening in the summer of 1919, Pete asked her to help him compose a fight song for VPI. She played the tune and Pete wrote out the score and the words for two verses in a single evening. Pete Maddux is not listed in the yearbook with the band after 1919. Miss Eppes later married John C. Boggs, Superintendent of Randolph-Macon Military Academy.

First performance
The song was first performed on Saturday, November 1, 1919, before the football game between V.P.I. and Washington and Lee University. The issue of the university newspaper noted:

"On arriving at the grounds, the battalion was formed for the review on the football field. After passing in review before the grandstand, the four companies formed a hollow square with the band in the center, and the band played our new song, 'Tech Triumph'."

- Nov. 5, 1919

In a letter to The Virginia Tech published on Dec. 10, 1919, Maddux expressed his appreciation to the student body.

 * To the Editor of "The Va. Tech,"
 * Blacksburg, Virginia
 * Dear Billy [Virginia Tech editor William Clift]

 * May I take this means of asking you to express through the columns of "The Tech" my sincere appreciation for the generous way in which the Corps received our new song. It is needless to say that the hearty approval of the student body makes me fell highly pleased, for I am quite sure that those who love their Alma Mater are as eager as I am to see the song become more popularly distributed.

 * While, of course, every one realizes that I expect to benefit financially through the publication of "Tech Triumph", I want every body to know that it is mainly my devotion and love to the college, which I am proud to boast as my Alma Mater, that prompted me to write the song and it is for the sake of "Tech" that I want it to receive a wide circulation. It is more than gratifying to me to see the ardent spirit and loyalty which the Corps manifests when every man lends his lusty voice to swell the chorus of football singing.

 * You may be interested to know that the college has approved the song officially and a large number of copies will be sent out by the college to high schools throughout the state as an advertisement of the spirit of "Tech." If I will not be presuming too much upon your kindness, may I ask that you help boost the song through "The Virginia Tech," and furthermore that you encourage the men of V.P.I. to join us in spreading our song around the country until V.P.I. will be known throughout the South and the country at large.

 * Thanking you again for your cooperation in making the publication of "Tech Triumph" a success, ::I am

 * Yours very cordially,
 * W.P. Maddux

Other uses
A strain of the Bliss Triumph potato developed for its disease resistance by Virginia Tech researchers in 1926 and was named Tech Triumph.

title: Tech Triumph


text:
User:JULIE

NUCLEAR FUSION- CAN YOU SAY THE OCEAN! GOOD! CAN YOU SAY COPPER? I NEW THAT YOU COULD.

title: User:JULIE


text: File:Prince girlfriend.jpg

title: File:Prince girlfriend.jpg


text:
Talk:Tartrazine

Production of Tartrazine
Perhaps create a section devoted to the production of tartrazine (i.e. what it is derived from). There is a very common claim about tartrazine being derived from coal tar, though I have yet to find information from credible sources on this.--ΣΨΦ (talk) 05:30, 19 December 2016 (UTC)

title: Talk:Tartrazine


text:
Violently Happy

"Violently Happy" is a song by Icelandic singer-songwriter Björk, released in March 1994 by One Little Indian as the fifth and final single from her debut album, Debut (1993). The song was written by Björk and Nellee Hooper, who helped her in writing and producing most of the album. The lyrics speak of Björk feeling a love so intense that it is actually dangerous, requesting that her lover return to "calm her down". Musically, it is an upbeat song. "Violently Happy" peaked at number 13 on the UK Singles Chart, number ten on the UK Dance Singles Chart and number four on the US Billboard dance charts.

The song received positive reviews from music critics, who praised its musicality and its dance-pop appeal. The song received an accompanying music video which was shot by Jean-Baptiste Mondino, in which Björk and many guest appearances (including a then unknown Norman Reedus) dance frantically in a kind of asylum while they cut out their hair or parts of dolls. Björk performed the song live on TV a few times, including on Top of the Pops.

Background
After leaving The Sugarcubes, Björk traveled to London where she began having contacts with electronic music, and that inspired her to change her musical style from the pop-rock sounds of the Sugarcubes to a more alternative and electronic style of music. "Violently Happy" was released as the last single from Debut and demonstrates this musical shift. Björk explained:

"Violently Happy" is about when you’re a junkie on exchanging emotion, not at one but at the level 200. That thing. And then the person goes away and you really miss someone. When you’re with that person you’re really peaceful because you get what you need back and you both give everything you need to give. And that person goes away and all that exchange is not there so you get your kicks elsewhere, you end up running on rooftops in blizzards, drinking 97 tequilas just to feel. You know what I mean. So it starts off really happy then the longer the person’s away from you, it starts getting self-destructive.

Björk further said that the song was inspired by her living in Reykjavík and being far away from her lover: "For me, it's quite a brave thing. It's like putting your diary out for everyone to read. Of course, I didn't put everything in, I very carefully edited it. I'm very good with scissors". The lyrics are autobiographical as Björk stated: "It's just the same as if you go out with a mate and get drunk and get to the 'truth' stage and you wake up next day and think 'fuck, what did I say?'. Sometimes you feel fine, sometimes you feel embarrassed, sometimes you feel a friend has told you something they shouldn't have. I think our instincts know when you've given too much".

Composition
"Violently Happy" is an upbeat track influenced by techno. Its genres range from dance to synth-pop. The song begins with a nearly a cappella section, in which Björk sings the line "Since I met you/this small town/hasn't got room", underscored only by ambient sounds. When Björk continue the verse "For my/big feelings" percussion starts to play and lead into a house influenced score. The song is dominated by techno grooves mixed with percussions and drums. After Björk finishes the second refrain, a funk-rock oriented interlude starts, juxtaposed with repeating Björk vocals.

Portions of the melody are influenced by, if not directly lifted from, Björk's earlier composition "I'm Hungry" from The Sugarcubes' album Stick Around for Joy.

Critical reception
"Violently Happy" received generally positive reviews from music critics. It was defined "bittersweet" by Heather Phares of AllMusic, and "insanely addictive" by Sean McCarthy of The Daily Vault, which also deemed its title as "one of the best song titles of all time". The Daily Telegraph's journalist Emily Bearn noticed that "Violently Happy" finds her making guttural noises at the sea: "I tip-toe down to the shore/Stand by the ocean/Make it roar at me/And I roar back". Brantley Bardin of Details commented that "songs like “Violently Happy” summed up a worldview that put all its faith in emotional abandon instead of logic. “Too much cleverness,” says Björk, “is the worst disease in the world. It ruins everything. Give us a laugh—make us happy". Brad Beatnik from Music Week's RM Dance Update wrote, "A typical fourth single, this might not be quite as immediate as her previous hits but it still has some damn fine moments."

In particular, Simon Reynolds of The New York Times praised the song generally, "The title of 'Violently Happy' captures the Björk effect perfectly: a gush and rush of euphoria, a tidal wave of oceanic feeling. Over the song's brisk house beats, Björk stammers as she struggles to express feelings of excitement so intense she seems on the brink of leaping out of her skin: I'm driving my car too fast with ecstatic music on/I'm daring people to jump off roofs with me. In the end, she and Mr. Hooper resort to studio wizardry to gesture at inexpressible feelings, sampling one syllable and turning it into a stuttering vocal tic". Johnny Dee from NME commented, "More fun, madness and surprise follows", noting its "pulsating grind". Sylvia Patterson from Smash Hits gave it four out of five, writing, "Not quite the jovial rejoicings of "Big Time Sensuality" but a giant of space-dance majesty, nonetheless." Troy J. Augusto from Variety described it as "a smoothly twisted tune". David Petrilla from The Weekender stated that the singer "is aiming directly at the dance floor" with the song.

Background
The accompanying music video for "Violently Happy" was directed by French fashion photographer and music video director Jean-Baptiste Mondino. To shoot it, Björk flew to Los Angeles in January 1994 and she found herself involved in the 1994 Northridge earthquake, and as such the shooting was postponed until the next day. Nettie Walker, Björk co-manager, recalled the event and described Björk's peculiar behavior: "When she did the video for "Violently Happy" in LA, she was there in the middle of the earthquake. She described it like, a huge rumbling, deep in your stomach, which is exactly Björk, that she found it a brilliant rather than frightening experience. Everyone was trying to get hold of her to see if she was OK, but she had gone to the video shoot, dead on time, ready to start. That’s how Björk is, committed to doing something... She’s into this magpie mentality." and this was further confirmed by Mondino, who added: "She said she was so happy to have experienced the earthquake, and on top of that she didn’t have her son with her so she was freer to experience it without fear... For me she is an iceberg, we only see a little tip of it".

Synopsis
The video starts with a man, seemingly with white hair, shaking his head frantically in a padded room of a mental institute, where the entire video takes place. Björk appears in a white dress resembling an open straitjacket with pieces of hair surrounding her. Various scenes are intermingled: a girl seems to have cut down the hair of a doll to resemble hers, while various models look into the camera, some with scissors, others with dolls.

As the chorus starts, a patient begins to cut his hair with an electric razor, and Björk herself appears to cut her hair with scissors. Sounds of snipping of scissors are overlaid on the track. During one scene, Björk carries a teddy bear; while the video continues and the patients dance and caress their dolls or cut their hair, Björk disembowels the bear, removing all the foam rubber from it. The patients keep on dancing and acting emotionally throughout the room, and the white hair of the patient from the first scene is revealed to be shaving soap as he shaves his head with a razor. The video ends with a patient pulling a string from a doll, which garbledly pronounces "I'm the baby". This sound sample and all of this doll's samples are from the Disney show Dinosaurs.

Reception
The video received lukewarm reviews from critics. Charles Taylor of Salon.com stated that "Jean-Baptiste Mondino’s "Violently Happy", is what most people mean when they talk about how bad videos can be, as cold and pretentious and humorless as the worst fashion photography".

MTV found the video a bit too violent so when they showed the video it received a formal warning from the Independent Television Commission.

Live performances
Björk performed the song in a few TV appearances. On 12 February 1994, she performed the song in the French show Nulle Part Ailleurs, and on 17 March 1994, she performed "Violently Happy" on Top of the Pops. She further performed it on MTV show 3 From 1, along "Venus as a Boy". The song was part of Björk's MTV Unplugged performance, which was released on her DVD MTV Unplugged / Live and on Debut Live, included in Live Box

The song was performed during her first three tours. The performance during the Debut tour was released on Vessel, where she wears a dress similar to the one wore in the music video. The performance of the song during the Post tour, where "Violently Happy" was usually the encore was heavily praised by critics. Nick Coleman of The Independent stated that during "Violently Happy" "Björk formed a stubby pencil shape and bounced herself silly". During its review of Björk's performance at The Academy, MTV Online complimented the singer's energy and wrote that "during "Violently Happy", I thought maybe someone might have snuck something into the coffee I had before the show", on a similar note, Barry Walters of The San Francisco Examiner stated that "a relatively low-key track like "Violently Happy" was turned into the evening’s pounding peak".

Its performance during the Homogenic tour was praised by James Sullivan of the San Francisco Chronicle, who wrote that "As the string section sat motionless during the dance track "Violently Happy", Björk raced back and forth in bare feet to the syncopated thump. She’s an irrepressible dust devil, a former child star who knows how to command attention."

title: Violently Happy


text:
Crucify (song)

"Crucify" is a song by American singer-songwriter and musician Tori Amos. It was released as the fifth single from her debut studio album Little Earthquakes, on May 12, 1992, by Atlantic Records in North America and on June 8 by EastWest Records in the UK. In Australia, it was released on July 20, 1992.

Background
The song served as the fifth single from the album Little Earthquakes. It was released as an EP in the US and as a single in Europe and Australia.

The EP version of the same name includes a single remix, famous cover versions, and "Winter", which was released earlier as a single from the album. It sold 450,000 copies in the US according to Soundscan as of 2005, coming close to a Gold certification. Although the EP sold extremely well, it failed to chart on the Billboard 200. The length of this EP is 20:50.

The UK CD single includes the songs "Here. In My Head" and "Mary", which are B-sides of "Crucify". The UK limited-edition EP includes live versions of "Crucify", "Little Earthquakes", "Mother", and "Precious Things".

Legacy
The song has been covered by Sharon den Adel, vocalist of Within Temptation, and Nolwenn Leroy, French singer.

Track listings
US EP single
 * 1) "Crucify" (remix) – 4:18
 * 2) "Winter" – 5:41
 * 3) "Angie" (Mick Jagger, Keith Richards) – 4:25
 * 4) "Smells Like Teen Spirit" (Kurt Cobain, Krist Novoselic, Dave Grohl) – 3:17
 * 5) "Thank You" (Robert Plant, Jimmy Page) – 3:49

UK CD single
 * 1) "Crucify" (remix) – 4:18
 * 2) "Here. In My Head" – 3:53
 * 3) "Mary" – 4:27
 * 4) "Crucify" (alternate mix) – 4:58 (misprinted as "LP version")

Limited UK EP single
 * 1) "Little Earthquakes" (live) – 6:58
 * 2) "Crucify" (live) – 5:19
 * 3) "Precious Things" (live) – 5:03
 * 4) "Mother" (live) – 6:37

Personnel

 * Tori Amos – acoustic piano, vocals
 * Jef Scott – bass
 * Ed Greene – drums
 * Paulinho Da Costa – percussion
 * John Chamberlin – mandolin
 * Eric Williams – ukulele
 * Nancy Shanks (Beene), Tina Gullickson – backgrounds
 * John Beverly Jones – sound recording
 * Leslie Ann Jones – assistance
 * Paul McKenna – mixing
 * Davitt Sigerson – producer
 * Ian Stanley – producer

Live performances
Tori Amos performed "Crucify" on Late Night with David Letterman in May, 1992, and on CBS This Morning on September 9, 1992. She also played it on The Tonight Show with Jay Leno on January 13, 1993, along with the song "Winter." Additionally, she played "Crucify" live on MTV in 1992, as well as on Top of the Pops.

Music video
The "Crucify" video, directed by Cindy Palmano (photographer and video director) and Atlantic Records, was released in 1992 as well. It was shot using the radio edit of "Crucify" that can be found on the Crucify EP and single release, but the version used on Tori's 2006 Fade to Red 2DVD set is an edited version of the remastered track that is found on the compilation Tales of a Librarian. It includes images of Tori at the piano shot using overhead cameras, twin Toris who sing together at a counter, clothing "reminiscent of Anne Boleyn," and shots of Tori climbing into a bathtub fully dressed, then dancing in the wet dress.

Cindy Palmano has said that Atlantic Records finished the video because "I took it to a certain stage and then the record company wanted to edit it in a different way." Yet she approves of the bathtub sequence: "I like when she steps into the bath and comes out of the bath. It all looks really Hitchcock, I love it." (Palmano also directed the videos "Silent All These Years," "Winter," "China" and "Pretty Good Year," this last one from Amos' second album, Under the Pink.)

The music video can be found on Little Earthquakes, Tori Amos: Complete Videos 1991-1998 and Fade to Red: Video Collection.

Later appearances of "Crucify"
In 2003, Tori Amos released the compilation album Tales of a Librarian, which included remastered versions of many of her most popular songs. The original LP version of "Crucify" was one of them.

Amos has performed "Crucify" differently live in recent years, with the verses being performed slower and with some degree of repetition. One example of how she plays it now can be found on the Welcome to Sunny Florida DVD.

title: Crucify (song)


text:
User:RickAguirre

About Me
I was born in the spring of 1972 in San Francisco, where I've lived all my life. I feel fortunate to be from here, and realize how lucky I am whenever I leave and come back. For its great food, the topography and close proximity to mountains & ocean and everything in between, and for the more astute intellect of the people here (although this can also be very frustrating).

My interests include critical thinking, progressive politics, information & industrial design, and cooking & eating, among others. Currently I work as a FileMaker database developer, and I'm very fortunate to work with some very clever people. I've done some instructing (snowboard and database instruction), and very much enjoy teaching, largely because I've found it's the best way for me to learn.

Wikipedia
Seems like most people who have anything to say about Wikipedia have both good & bad things to say. I'm no exception, though I think the benefits far outweigh any complaints. Along with the potential for encyclopedic entries to be up-to-date, Wikipedia very successfully exposes what no written encyclopedia could—that controversy is inherent in history. So these edit wars people have, they're a microcosm of how we think about the world. I haven't been involved in any. My guiding principles in debate: Be reasonable; Don't try to be "right"; Don't get emotionally emphatic. I enjoy debating with people of differing outlooks who can at least with me respect these principles; I find we usually have something to learn from each other, usually in unexpected ways.

Wikipedia does seem to suffer from lack of credibility, but I am convinced this will be overcome with persistence and technology. It will be interesting to see how this project's interfaces evolve visually as we think differently with data.

To Do

 * Define:
 * Radicalism
 * Conservatism
 * Progressivism
 * Extremism
 * Preservationism
 * Being a Gentleman

 * Update:
 * Versit
 * US Senate Salary chart adjusted for inflation

title: User:RickAguirre


text:
Talk:Kathy Greenwood

Untitled
I'm just looking for some pictures of Kathy Greenwood, every site I have been to has no pictures of her. If you have anything or info can you mail me at The_Dragon_Lord1@hotmail.com Thank you

Picture
http://www.marchofdames.com/performers/greenwood.jpg I don't know how to upload pictures or anything, but there you go.

title: Talk:Kathy Greenwood


text:
User talk:Yander

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome!
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

Please make sure the picture taker explicitly grants permission for the image to be used. Thanks.

Regards, lots of issues | leave me a message 03:40, 8 Jun 2005 (UTC)

Image copyright problem with Image:NRAO,_Green_Bank,_WV,_Grosse_Pointe_North_Trip,_May_28-_(67).jpg
Thanks for uploading Image:NRAO,_Green_Bank,_WV,_Grosse_Pointe_North_Trip,_May_28-_(67).jpg. The image has been identified as not specifying the copyright status of the image, which is required by Wikipedia's policy on images. If you don't indicate the copyright status of the image on the image's description page, using an appropriate copyright tag, it may be deleted some time in the next seven days. If you have uploaded other images, please verify that you have provided copyright information for them as well.

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This is an automated notice by OrphanBot. For assistance on the image use policy, see User talk:Carnildo/images. 11:04, 25 March 2006 (UTC)

title: User talk:Yander


text:
File:Shag02.jpg

Artist Josh Agle, a.k.a Shag; July 2004. Photo by D.M. Short.

title: File:Shag02.jpg


text:
Frespañol

Frespañol or frespagnol (also known as frañol or fragnol) is a portmanteau of the words  (or  in Spanish) and, which mean French and Spanish mixed together, usually in informal settings. This example of code-switching is a mixture between French and Spanish, almost always in speech, but may be used in writing occasionally. Spanish and French are Romance languages and share similarities in morphology and syntax.

Such code-switching may be used or has been used in places where both languages meet, for example in Equatorial Guinea, among Haitians in the Dominican Republic, by first-generation Spaniards in France, or Latin American community in Montreal, Canada. This code-switching has historical and current presence in North, Central and South America.

Historically, the Isleños in Louisiana were also exposed to and accustomed to living with both languages, as were numerous French emigrant communities across Latin America (e.g. French Argentines and French Costa Ricans), whose descendants have overwhelmingly adopted Spanish.

During World War II many French immigrant communities flourished in the Americas, maintaining frañol a historically and currently observable example of code-switching in English, Spanish, and French-speaking countries.

Uses and calques
Frespañol forms part of a structure of sociolinguistics, it is a social and cultural code born from the contact of French and Spanish speakers. In its early days, the Frespañol was used in individual form meaning there was no set form to follow, everyone used their own variant of it. Now, it is more commonly used amongst the first generation of immigrants who use it more so when speaking Spanish. Calques are introduced by bilinguals, switching from one language to another, words are borrowed. For example, in this phrase in French "Je m'assome à la fenêtre” we see the Spanish word "asomarse" adapting to the sentence. These code changes are adapted to the context of the speaker. Some ways that the two languages are implemented together is sometimes minute. Looking through the chart, The word for cake in Fragnol, gató, is predominately French based such as other words listed. But, the thing that makes it more in tune with Spanish is the uses of the accents and the stress when pronouncing the word. Some other words, such as dèpanor, are also more alike to the French word for store, but the ending or pronunciation of the words can go through a morphological change and have more Spanish tones and pronunciations, or vice versa.

Identity
The use of Frespañol is often reflective of a minority group with two cultural identities regarding language. Similar to Spanglish, the hybrid language of Frespañol incorporates French and Spanish as a subset of both languages, which then has created a separate individuality and selfhood of heritages and cultural backgrounds. This often helps individuals of Frespañol with their identification of either group, or both at the same time while creating a separate identify of their own. As with Spanglish, this association allows for speakers to code-switch and also implement heritage, with the ability to shift when it is needed most and depending on environment. Apart from code-switching and creating a subset of the languages used, it allows for a separate identify in both heritage and cultural. This dual identity is reflected in social media and other platforms.

As the hybrid language of Frespañol grows and gains a prominent recognition, access to it has been made available in audio and online formats.

This identification and association to Frespanol (Fragnol) allows for identification of mistakes from non Frespanol speakers and visibility to inclusion or exclusion to be able to identify as a Fragnol speaker. Common example mistakes include taking the wrong word due to its similarity in one language and the assumption it translates the same with the other. For example: Me exprimire to mean, "I express myself", as the French translation is m'exprimer. However, in standard Spanish, exprimire is translated to: squeezing. It is understood that Frespanol speakers would not make this mistake and be aware of the appropriate phrase to use.

History
Frespañol/Frespagnol is an portmanteau of French (francés/français) and Spanish (español/espagnol). Frañol/Fragnol is similarly derived from the two. This dialect is the effect of a blend of two cultures. It began during the 20th century hundreds of thousands of Spaniards migrated to France in search of better living conditions. It first began with men migrating to France and then later on they would migrate their families into the country. The people from Spain that migrated to France did not all pick up the French language. Post-World War I France needed to be rebuilt, which opened the door to job opportunities for the Spanish in France. The Spanish had their own communities in cities such as Paris, Toulouse, Bordeaux and Lyon, where they spoke their mother tongue. The rise and development of Frespañol was in 1960s–1970s. The Spanish workers knew very little French and the French employers knew very little Spanish, regardless they had to communicate with each other, that's when Frespañol surged naturally and it was commonly found used with people working everyday jobs such as maids, construction workers and in the automotive sector. The people that spoke it were typically from lower class communities.

Boundaries and cultural impacts
The main geographic boundary where Frespañol first presented itself was along the border of Spain and France. As mentioned previously in the page, the initial flow of Spanish immigrants to France from the beginning of the 20th century up until the 1960s–1970s occurred for economic reasons and was the origin for this hybrid language. These migrations were the primary source for Frespañol, originating with the Spanish incorporating their language of origin with that of their new home country. The migrations caused an incline in the merge between the languages, resulting in the creation of this new culture for people who lived through and could share their similar language experiences. As the Spanish working class migrated deeper into France, Frespañol begun to appear in more populated cities, like Paris.

title: Frespañol


text:
User:Stbalbach/asl

One of the most significant mockingbirds in Lee’s tale is Boo Radley. Arthur Radley, or Boo, a reclusive and mentally unstable man ruined by his sadistic deistic father, lives near the Finches and infrequently, if ever, ventures outdoors. However, on one of these rare expeditions out, Boo rescues Scout and Jem from a crazed townsman’s attack by stabbing the perpetrator with a kitchen knife. When confronted with turning Boo into the authorities, Scout comments that hurting Boo Radley would be like "shootin’ a mockingbird." For despite the prejudice and pain Boo so feared his purity of heart ruled his actions when saving the Finch children. Forcing good intentioned and innocent Boo into the dogmatic, hateful, and harsh world of Southern Alabama’s Maycomb would have destroyed him; it would have been an awful lot like shootin’ a mockingbird.

title: User:Stbalbach/asl


text: Template:User ja-0

title: Template:User ja-0