text:
Fire Emblem: The Sacred Stones

Fire Emblem: The Sacred Stones is a tactical role-playing game developed by Intelligent Systems, and published by Nintendo for the Game Boy Advance handheld video game console in 2004 for Japan and 2005 in the West. It is the eighth entry in the Fire Emblem series, the second to be released outside Japan, and the third and final title to be developed for the Game Boy Advance after The Binding Blade and its prequel Fire Emblem.

Set in a separate continuity to earlier Fire Emblem titles, The Sacred Stones takes place on the fictional continent of Magvel, which is divided into five nations, each built around a magical stone said to be linked to the imprisonment of an ancient demon. When one of the five nations, the Grado Empire, invades its neighbors and begins destroying the stones, protagonists Eirika and Ephraim of the royal family of Renais set out to gather allies and halt Grado's conquest, while also trying to uncover the reasons for the war. The gameplay is similar to previous Fire Emblem games, focusing on turn-based, tactical movement of units across a grid-based battlefield. Core features of the game include permanent death for characters defeated in battle and support conversations that grant advantages to certain units in battle.

The Sacred Stones began development alongside Fire Emblem: Path of Radiance as a side project, sharing much of its visual design and mechanics with Fire Emblem while incorporating elements from earlier entries such as Fire Emblem Gaiden. First announced in mid-2004, it was heavily promoted in Japan. When released, it sold over 230,000 units during 2004, with a further 90,000 being sold upon its North American debut. Reception was positive overall for its story and gameplay, although many critics cited it as being too similar to its predecessor. The Sacred Stones would be the last original handheld Fire Emblem title until Fire Emblem Awakening for the Nintendo 3DS in 2012.

Gameplay
Fire Emblem: The Sacred Stones is a tactical role-playing game where players take the role of royal siblings Eirika and Ephraim during separate campaigns as they fight hostile forces invading their homeland, along with allies acquired on their journey. The world's setting of Magvel is navigated using an overworld map, with routes going to different battle maps unlocked as the story progresses. In addition to story-related maps and dungeons, optional dungeons exist where chosen units can freely battle enemies, earning experience points. Each time a unit earns 100 experience points, that unit will gain a level and some of their stats will randomly increase. All characters can progress up to the 20-level cap. After a character has leveled up to 10, they have the option to be evolved using a class-specific item. A notable change from earlier games is that multiple options are available for class evolution: for instance, a Cavalier can evolve into either a Paladin or a Great Knight.

Battles use a turn-based system, with player, allied, and enemy units each taking turns to moving across a grid-based battlefield. Players can end their turn at any time, at which point the allied or enemy units can move. In each battle, the player is given command of a limited number of units and an objective to complete. Each unit's character class determines their abilities, available weapons, strength, and range of movement. For example, mounted characters can move within the remainder of their movement range if they traded with or assisted another player unit in a shorter range. Other units have the ability to "rescue" units, lowering their own stats while removing the rescued unit from harm. Depending on a unit's class and stats, items can be used heal or inflict status ailments such as "Poison" (a unit loses health each turn), "Berserk" (a unit attacks nearby units regardless of association), and immobilization ailments such as "Sleep" and "Petrify".

A key element of battle is the Weapon Triangle, a rock-paper-scissors mechanic governing which type of weapon is more effective against another. Weapon types vary from close-range melee weapons like swords and axes to long-range weapons such as bows and magical staves. Various items gathered during missions, such as healing items and weapons, can be traded with other units within the army, or sold at vendors found on the world map. All items degrade with use and will break after a certain number of uses. Different weapons also feature a minimum skill level for use, requiring units to train with that weapon type to earn the proper rank, which ranges from E to A, and then to S, the highest rank. When a unit reaches S rank with one weapon, all other weapon skills are locked at A rank.

Certain units which share a particular affinity stat can benefit from mid-battle Support Conversations. After spending a certain number of turns within a few spaces of each other, they gain the option to engage in a Support Conversation when occupying adjacent spaces. Each pair of units can have up to three Support Conversations, with each successive Support granting both units better stat bonuses in future battles if they are within three spaces of each other.

When a unit falls in battle, they are subjected to permanent death, removing them from the rest of the campaign unless the player restarts the game from a previous save file. Some character deaths, such as those of Eirika and Ephraim, end the game and require a restart from a save file.

In addition to the single-player, the game includes a local multiplayer option where four players can take chosen units into the Link Arena. Victory goes to the last group standing or to the party with the highest score depending on the match conditions. Permanent death is disabled in the Link Arena.

Synopsis
The Sacred Stones is set on the continent of Magvel, which is divided into six nations. Long ago, five of these nations were each given charge of one of five magical gemstones called the Sacred Stones. The Stones were used to seal away the soul of the Demon King Fomortiis at the end of a conflict between humans and monsters over 800 years ago. The game begins when the Grado Empire, largest of the five founding nations, launches an unexpected assault on the neighboring nation of Renais, home of the royal siblings Eirika and Ephraim. Taken by surprise, Renais is defeated and the two siblings are separated: Eirika escapes to the northern nation of Frelia with the king's general Seth, while Ephraim goes underground to mount a resistance against the Grado Empire to the south. As Eirika seeks aid from the other nations and gathers allies, the land becomes plagued with undead monsters, a sign of Fomortiis's return. She is eventually reunited with Ephraim, and the two discover that Grado plans to destroy the Sacred Stones and unleash Fomortiis once more. After failed attempts to contact Grado's Prince Lyon, the twins' closest friend, they are forced to mobilize against their former ally as the Empire turns its attention to the other nations' Sacred Stones, successfully destroying the Stone of Frelia.

The siblings part ways once again, each on a mission to preserve the Stones. Eirika is forced to reach the allied nation of Rausten by passing through the new republic of Carcino, the sixth nation, and secret ally of Grado. Her forces escape Carcino by passing through the desert nation of Jehanna, where the Stone of Jehanna is destroyed and Eirika is cornered by two legions of Grado's army. Meanwhile, Ephraim is joined by allies from the nations of Frelia and within Grado itself, and they fight their way into the heart of the empire, to the very throne of Grado's emperor, Vigarde. After defeating Vigarde in battle, Prince Lyon appears and reveals that the Emperor was merely a resurrected puppet, and that he had started the war. When Vigarde died of illness months before, Lyon had feared his inability to rule Grado and became desperate to bring his father back. Lyon sacrificed his nation's Sacred Stone to revive the Emperor's body, but inadvertently absorbed the fragment of the Demon King's shattered soul sealed within. Lyon became a slave to the Demon King's will, and Vigarde a soulless puppet. Lyon under the influence of the Demon King, declares that he will once more rule Magvel once the Stones are destroyed. With this revealed, he vanishes. Burdened with this knowledge, Ephraim heads to Jehanna and rescues Eirika.

Once reunited, the siblings gather their forces and liberate Renais, retrieving its true Sacred Stone, which had been replaced by a decoy when Grado invaded. After gathering reinforcements from Frelia, the twins head east to Rausten, hoping to protect its Sacred Stone. On the way, the twins are confronted by Lyon, who bests the twins and finally destroys Renais' true Sacred Stone. The twins manage to escape and retrieve the last intact Sacred Stone from Rausten. The siblings pursue Lyon to the Darkling Woods, where he is performing a ritual which will resurrect the Demon King. The twins do battle with Lyon and finally kill their former friend. This inadvertently supplies the final sacrifice that resurrects the true mastermind behind Grado's invasion of Magvel and the War of the Stones, the Demon King Fomortiis. Eirika and Ephraim use the Sacred Stone of Rausten to seal the Demon King's soul, and then their forces destroy its body. The siblings' allies from the other nations return home, while they themselves seal the final Sacred Stone away and set about restoring their nation.

Development and release
The Sacred Stones was produced by long-time developer Intelligent Systems, running parallel to the development of Fire Emblem: Path of Radiance, an entry for the GameCube. According to staff, development began unexpectedly in 2003 alongside Path of Radiance: the staff thought they would not be developing another entry for the Game Boy Advance. Production on the two titles ran parallel to each other. In addition to Intelligent Systems staff, freelance staff were brought in to help with development, including former Capcom developers. Character designs were done by Sachiko Wada, who had previously worked on The Binding Blade and The Blazing Blade, the latter localized as Fire Emblem. She also acted as the game's director. A second character designer was Ryo Hirata, a designer who had worked on The Blazing Blade, in addition to projects for animation studio Production I.G. The scenario was written by Kouhei Maeda. The majority of the gameplay systems designed for Fire Emblem were carried over into The Sacred Stones, barring some minor additions. Some of its gameplay mechanics were borrowed from the 1992 entry Fire Emblem Gaiden, along with other unspecified mechanics from the Super Famicom entries. It was later stated that the inclusion of these elements was a deliberate tribute to Gaiden by the staff. The series' titular "Fire Emblem", which takes different forms across each Fire Emblem universe, appears in The Sacred Stones as the gemstone kept by the Grado Empire, which was used to seal the Demon King's soul. Its setting of Magvel is the only setting within the Fire Emblem series to date which remains unconnected to another title. The Sacred Stones would be the last Fire Emblem game to be developed for the Game Boy Advance, along with being the last original Fire Emblem on handheld devices until Fire Emblem Awakening in 2012 for Nintendo 3DS.

The Sacred Stones was first announced in Japan in June 2004, scheduled for release in Autumn that year. It released in Japan on October 7, 2004. To promote its release, a special commercial was created for broadcast in September of that year: it involved a girl playing on a Game Boy Advance being drawn into the worlds of the Fire Emblem series. Two guidebooks were also published focusing on the game, the first on October 21 and the second on November 17. A Western release was first hinted at in a Nintendo report, revealing its prospective release of both Path of Radiance and what would turn out to be The Sacred Stones. It was released in 2005 in North America and Europe, May 23 and November 4 respectively. The Sacred Stones was the second Fire Emblem to be released in both North America and Europe. According to Nintendo Treehouse staff members Tim O'Leary and Alan Averill, The Sacred Stones was an easier game to localize for as it had less text content than its predecessor. The move from the first Western game to The Sacred Stones and Path of Radiance meant that any work on localizing The Binding Blade could not be managed. The title was later re-released as part of Nintendo's promotional "3DS Ambassador Program" as a free download on December 16, 2011. It was later re-released on the Wii U Virtual Console: it was released in Japan on August 6, 2014, the PAL regions on January 1, 2015, and in North America on June 18 the same year.

Reception
Upon its day of release in Japan, The Sacred Stones sold 97,842 units, achieving a sell-through rate of just over 64%. By the end of 2004, the game had sold 233,280 units, reaching #48 in Famitsu's annual video game sales rankings. In North America, The Sacred Stones was among the top 20 games in the Nintendo hardware charts, with sales of 96,000 units. Although no exact total sales figures have been published, Nintendo cited the game as being among its successful Game Boy Advance titles for 2005.

Famitsu praised the story, with one reviewer saying the characters had a tasteful charm. Karen Chu of 1UP.com said the story shone through, keeping players from burning out after the battle segments. IGN's Craig Harris called the storytelling "absolutely top-notch, if just a little wordy for comfort", praising the writing for making him care about his characters. David Chapman of GameSpy noted the storyline being rich. GameSpot's Greg Kasavin said that The Sacred Stones had "a well-written, surprisingly sophisticated narrative featuring plenty of endearing heroes and villains". Eurogamer's Tom Bramwell called the storytelling "wonderful", positively noting the more exotic narrative when compared to its predecessor. Simon Parkin, writing for NGC Magazine, praised the game's "delightful, uncurling narrative", and positively noted the translation quality as it helped him understand the workings of the game's world and characters. PALGN reviewer Mark Marrow said the story was a step above its predecessor, calling it "a beautiful narrative featuring plenty of action from villains and heroes, and even some comic relief in-between all of this". Matthew Foster of RPGamer, while noting the quality of the translation, said that the story was the game's weakest point due to its clichéd nature. RPGFan's Alan Knight called the plot "light and fairly easy-going", noting its eccentric characters eased players along.

Speaking about the gameplay, Famitsu enjoyed the tactical gameplay and new elements, along with appreciating the thrill induced by permadeath. A minor criticism was issues with the pacing. Harris enjoyed the gameplay despite noting that little had changed since the release of Fire Emblem, saying that players would not find any notable changes from their original experience. Chapman positively noted the improvements made since the release of Fire Emblem, along with positively noting the multiplayer options. Kasavin praised the deep strategy gameplay, and positively noted that it was geared towards players of various ages and skill levels. Foster called the gameplay the game's biggest feature and greatest strength despite not having changed much since the previous game. Knight enjoyed the gameplay experience, but was mixed to negative about the lack of true innovations, feeling that it was an overly similar experience to earlier Fire Emblem games. Bramwell enjoyed the gameplay despite getting frustrated with permadeath and positively noted the nuances in character customization. Parkin stated that it was quite easy to spend large amounts of time creating the perfect strategy, and that restarting a level after a character died or going to one of the EXP maps to boost character levels was extremely tempting. In the latter case, he noted it might upset the game's intended difficulty. Marrow enjoyed his time with the game, and praised the additional features that made playing easier for newcomers.

title: Fire Emblem: The Sacred Stones


text:
Hamburg School of Astrology

The German Hamburg School of Astrology (root school of the international Uranian Astrology offshoot) is a school of astrology based on the teachings of surveyor, astrologer and amateur astronomer Alfred Witte. It is characterized by use of astrological midpoints and eight astronomically-deduced hypothetical points, expanding the framework beyond traditional astrology.

History
The Hamburg School was established as an Association as "Astrologenverein Hamburger Schule" on October 31, 1925 in Hamburg. In 1932 the first partner group was established in Düsseldorf by Theodor Keysers.

Early collaborators of Alfred Witte were Friedrich Sieggrün and Ludwig Rudolph, and the Hamburg School's first points beyond Neptune were posited during the astronomical searches leading to the 'discovery' of Pluto (and so classified as 'Transneptunians'). They concluded that the additional points, initially classified as planets but now seen as possible barycenters of planetoid belts, were useful in verifying events not clearly identified by the astronomically-certified planets and asteods of that period. Witte postulated four trans-Neptunian "planets", and in 1927 Sieggrün postulated another four. Witte named his proposals Cupido, Hades, Zeus and Kronos. Sieggrün expanded the list with Apollon, Admetos, Vulkanus and Poseidon.

Ludwig Rudolph printed and published Witte's claims, the core of which were published in the Rules for Planetary Pictures (Regelwerk für Planetenbilder) in 1928. An increasing amount of the research of the Hamburg School revolved around astrological midpoints and use of the hypothetical planets.

In the 1930s, the American Richard Svehla gave lectures on the Hamburg School in the United States, translated the Rules for Planetary Pictures into English, and coined the term "Uranian Astrology" as the English name of the American branch of the school.

Witte and Rudolph were pursued by the Gestapo as enemies of the Third Reich. Witte is supposed to have committed suicide before he could be sent to a concentration camp, and Ludwig Rudolph was interned. The Rules was banned and burned by the Nazis, but copies were preserved by Rudolph.

Reinhold Ebertin, a student of Hamburg School methods, eliminated the use of the hypothetical planets while maintaining the core teachings of the Hamburg School, renamed it "Cosmobiology" (Kosmobiologie), and published some of the observations in The Combination of Stellar Influences in 1940, last updated in English in 1972.

After the fall of the Third Reich, the Hamburg School reconvened, and Ludwig Rudolph played the key role in perpetuating the teachings of the Hamburg School. The Hamburg School astrologer Hermann Lefeldt emphasized Witte's hypotheses with astrological traditions such as the use of astrological houses. However, other Hamburg practitioners maintained their focus on working only with astrological midpoints, abandoning traditional practices, including the 12 houses and rulerships, and these practitioners eventually gathered under Ruth Brummund and the title of "Uranische Astrologie".

Meanings of the hypothetical planets
Some astrological meanings of the astrological-observation hypothetical planets are:
 * Kronos indicates authority, things that are "high up" like heaven, kings, leaders, sky, etc. Meaning of Kronos
 * Cupido means romantic love and can indicate marriage through transits to planets that indicate marriage/love in a natal chart. It also indicates artistic abilities and kinds of partnerships.Meaning of Cupido
 * Hades is similar to Pluto, and it can be an indicator of esoteric vocations or vocations dedicated to healing. It can also indicate emotional or mental issues and life wounds. Meaning of Hades
 * Zeus indicates creativity and ambitious achievement. It is also a symbol of fertility.Meaning of Zeus
 * Poseidon indicates spirituality, similar to Neptune, and its positive qualities are spiritual, Christ-like, enlightened and agapical love. It can indicates psychic abilities and spiritual wisdom.Meaning of Poseidon
 * Admetos indicates transformative power, similar to Hades. The difference between Hades and Admetos is that Admetos' power is internal and is hard to release out into the world, while Hades' power can be released by helping others. Admetos also indicates spiritual blockage and depth of knowledge.Meaning of Admetos
 * Apollon indicates wisdom throughout life, a balanced temperament, and prophetic dreams.Meaning of Apollon
 * Vulcanus indicates overcoming of lifetime handicaps, because Hephaestos (Vulcanus/Vulcan) in Greek mythology isn't as beautiful as other Greek gods; he was exiled from Olympus as a result, but later returned to craft things that helped the other gods. Vulcanus also indicates a brute force of masculine energy that wants freedom.Meaning of Vulcanus

Associations of Hamburg School Astrology (inactive)

 * Astrological Association "Hamburg School", German: Astrologenverein "Hamburger Schule", Hamburg/Germany, est. 1925
 * Witte Study Group Düsseldorf, German: Witte-Studiengemeinschaft Düsseldorf, Düsseldorf/Germany, est. 1932
 * Uranian Astrology Research Club, Cleveland, Ohio/USA, 1939
 * Astrological Study Society (Hamburg School), German: Astrologische Studiengesellschaft (Hamburger Schule), Hamburg/Germany, est. 1947
 * The Bangkok Astrological School, Bangkok/Thailand, est. 1972

Associations of Hamburg School Astrology (active)

 * The Uranian Society, New York City/USA, est. 1985 (first announced in 1980).
 * The International Uranian Fellowship, The Hague/Netherlands est. 2007
 * Nontaburi Uranian Astrology Associations, ฺBangkok/Thailand est 1999 https://www.facebook.com/uranianastrologynonthaburi?mibextid=ZbWKwL

Publications

 * Brummund, Ruth: "Astropsychologische Charaktermerkmale", Ludwig Rudolph (Witte-Verlag), Hamburg 1972.
 * Brummund, Ruth: "Regelwerk-Neufassung", Udo Rudolph Verlag, Hamburg 1990.
 * Rudolph, Ludwig, and Witte: "Regelwerk für Planetenbilder von Alfred Witte - Die Astrologie von morgen", 1st Edition, Witte-Verlag Ludwig Rudolph, 1928/1929
 * Rudolph, Ludwig, and Witte: "Regelwerk für Planetenbilder von Alfred Witte - Die Astrologie von morgen", 2nd Edition, Witte-Verlag Ludwig Rudolph, 1932.
 * Rudolph Ludwig, and Witte: "Regelwerk für Planetenbilder von Alfred Witte - Die Astrologie von morgen", 3rd Edition, Witte-Verlag Ludwig Rudolph, Hamburg 1935.
 * Rudolph, Rudoph, and H.Lefeldt: "Witte: Regelwerk für Planetenbilder", Ludwig Rudolph (Witte-Verlag), Hamburg. Editions: 1946-50, 1959, 1983, 2012
 * Rudolph, Ludwig: "Rulesbook for Planetary Pictures", Ludwig Rudolph (Witte-Verlag), Hamburg 1974, USA 1990 (Second official Hamburg School endorsed translation).
 * Schnitzler, Ilse: "Lexikon für Planetenbilder", Ludwig Rudolph (Witte-Verlag), Hamburg 1957, based on 1946 edition of Rulebook.
 * Svehla, Richard: "Rulesbook for Planetary Pictures by A.Witte & L.Rudolph", Phoenix Bookshop, Cleveland/Ohio, USA 1939, Endorsed by German Hamburg School. Reprint 2014
 * Witte, Alfred: "Immerwahrende Ephemeride fur [...]Cupido, Hades, Zeus und Kronos [...]", Special Edition from "Regelwerk...", Witte-Verlag Ludwig Rudolph, Hamburg 1935.
 * Witte, Alfred: "Der Mensch - eine Empfangsstation kosmischer Suggestionen", compiled and commented by Hermann Sporner und L.Rudolph, Ludwig Rudolph (Witte-Verlag), Hamburg 1975.

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

title: Hamburg School of Astrology


text:
Talk:Defaka people

Sundar's comments
Very informative article. -- User:Sundar (talk • contribs) 09:10, Jun 1, 2005 (UTC)

Failed GA
Sorry, I just don't think there's enough here to make this a Good Article. Keep at it, though! —BorgHunter ubx (talk) 16:13, 22 February 2006 (UTC)
 * Have to say I disagree with that and think it looks perfect for a good article. Worldtraveller 16:33, 22 February 2006 (UTC)
 * ...so I've done what the tag said and made it a GA. Worldtraveller 16:34, 22 February 2006 (UTC)

 * Ah, I just started thinking that GA and these kind of articles are simply incompatible (there isn't much to expand when you've pretty much exhausted all published sources). — mark ✎ 16:46, 22 February 2006 (UTC)

Is this technically plagiarism?
Source: "The history of migration of the Defaka is a long narrative of the adventures of a small people constantly harassed by their numercally superior neighbours."

Article: "The Defaka have always been a people small in number, and their history is a long narrative of harassments by numerically superior neighbours and subsequent migrations."

Source: Jenewari, Charles E.W. (1983) 'Defaka, Ijo's Closest Linguistic Relative', in Dihoff, Ivan R. (ed.) Current Approaches to African Linguistics Vol 1, 85–111.

Large chunks of this article seem to be paraphrasing (borderline plagiarizing?) the source. It's listed as a reference, but at this point, shouldn't it just be quoted? —The preceding unsigned comment was added by Hrivers (talk • contribs) 10:18, 19 February 2007 (UTC).

 * I reverted the deletion of this question by Littlestbirds — mark ✎ 20:35, 21 February 2007 (UTC)
 * The sentence you're citing certainly is a close paraphrase. In fact, the rest of that paragraph, which reports on the history of the Defaka, also follows Jenewari's account quite closely. Thing is, Jenewari's 1983 article is the only detailed source we have on the history of this people, which makes it kind of difficult to 'synthesize' information from more sources into one encyclopedic overview. I think that particular paragraph does make quite clear where the information comes from; you may be right however that a direct citation might have been better.
 * As far as I can see, this is the only part of the article that comes close to a simple paraphrase of Jenewari's account. For the rest, info from other sources (sparse as they are) has been brought in, and the content has been reorganized and summarized. — mark ✎ 20:35, 21 February 2007 (UTC)

title: Talk:Defaka people


text:
St Columb Road

St Columb Road (Fordh Sen Kolomm) is a small village near Fraddon and Indian Queens in Cornwall, England, United Kingdom. It lies half a mile (750m) from the A30 road. St Columb Road railway station is on the branch line from Par to Newquay. When it opened in 1876 the station was called Halloon. It was renamed soon afterwards to reflect the existence of St Columb Major further north, and the new name was adopted for the local settlement which followed.

In 2007 following the world record pub quiz, the title of the brightest pub in Cornwall was awarded to the Queen and Railway at St Columb Road. However, the pub had the fewest and smallest teams but the highest average score per person.

title: St Columb Road


text:
Talk:People Power Party (Australia)

 * Merged with People Power Party. This article should be deleted now. - Bambul 09:14, 1 June 2005 (UTC)

title: Talk:People Power Party (Australia)


text:
Timothy Winter

Timothy John Winter (born 15 May 1960), also known as Abdal Hakim Murad, is an English academic, theologian and Islamic scholar who is a proponent of Islamic neo-traditionalism. His work includes publications on Islamic theology, modernity, and Anglo-Muslim relations, and he has translated several Islamic texts.

He is the Founder and Dean of the Cambridge Muslim College, Aziz Foundation Professor of Islamic Studies at both Cambridge Muslim College and Ebrahim College, Director of Studies (Theology and Religious Studies) at Wolfson College and the Shaykh Zayed Lecturer of Islamic Studies in the Faculty of Divinity at University of Cambridge.

In 2008 he started the Cambridge Mosque Project which raised money for the construction of a purpose-built mosque. The Cambridge Central Mosque opened on 24 April 2019 as the first purpose-built Mosque in Cambridge, and the first eco-mosque in Europe.

Background and education
Murad is the son of an architect and an artist. He became Muslim in 1979. He was educated at Westminster School and graduated with a double-first in Arabic from Pembroke College, Cambridge, in 1983. He then went on to study at Al Azhar University in Cairo but did not graduate with any formal qualification. He has also engaged in private study with individual scholars in Saudi Arabia and Yemen. After returning to England, he studied Turkish and Persian at the University of London. In 2015, he received a PhD at Vrije Universiteit Amsterdam, with his dissertation entitled "An assessment of Islamic-Christian dichotomies in the light of Scriptural Reasoning"; it is embargoed until 2050.

Major work and projects
In 2009 Murad helped to open the Cambridge Muslim College, an institute designed to train British imams. Murad also directs the Anglo-Muslim Fellowship for Eastern Europe, and the Sunna Project which has published the foremost scholarly Arabic editions of the major Sunni Hadith collections. He serves as the secretary of the Muslim Academic Trust. Murad is active in translating key Islamic texts into English including a translation of two volumes of the Islamic scholar al-Ghazali's Ihya Ulum al-Din. His academic publications include many articles on Islamic theology and Muslim-Christian relations as well as two books in Turkish on political theology. His book reviews sometimes appear in the Times Literary Supplement. He is also the editor of the Cambridge Companion to Classical Islamic Theology (2008) and author of Bombing without Moonlight, which in 2007 was awarded the King Abdullah I Prize for Islamic Thought. Murad is also a contributor to BBC Radio 4's Thought for the Day. Additionally, Murad is one of the signatories of A Common Word Between Us and You, an open letter by Islamic scholars to Christian leaders, calling for peace and understanding.

Cambridge Mosque Project
Murad is the founder and leader of the Cambridge Central Mosque project which has developed a new purpose built mosque in Cambridge to cater for up to 1,000 worshipers. The mosque is an "eco-mosque" with substantial reliance on green energy and an almost-zero carbon footprint. Regarding the project, Murad stated, "This will be a very substantial world class landmark building in what is considered by some to be a down-at-heel part of Cambridge."

Views on Islamophobia
Murad has criticized the term "Islamophobia" for its implication that hostility to Islam and Muslims is based on race or tribalistic fear rather than enmity against their religion itself. Nonetheless, he has decried the rising hostility to Islam in Europe, and suggested that it is fueled by the loss of faith and tradition within Europe itself, which he says results in Europeans formulating their identity by contrasting themselves with a Muslim Other.

Views on extremism
Murad is a traditionalist and considers the views of extremists like al-Qaeda as religiously illegitimate and inauthentic. He decries the failure of extremists to adhere to the classical canons of Islamic law and theology and denounces their fatwas. He unequivocally rejects suicide bombing and considers the killing of noncombatants as always forbidden, noting that some sources consider it worse than murder. According to Murad, Osama bin Laden and his right-hand man Ayman al-Zawahiri were entirely un-Islamic, unqualified vigilantes who violate basic Islamic teachings.

Murad is critical of Western foreign policy for fueling anger and resentment in the Muslim world. He is also equally critical of Saudi Arabia's Wahhabi ideology, which he believes gives extremists a theological pretext for their extremism and violence.

Traditionalism
Murad has expressed agreement with Julius Evola´s views on modernity, although he disagrees with his racist views.

Personal life
Murad's younger brother is football writer Henry Winter.

Awards and nominations
In 2003, he was awarded the Pilkington Teaching Prize by Cambridge University and in 2007 he was awarded the King Abdullah I Prize for Islamic Thought for his short booklet Bombing Without Moonlight. He has consistently been included in The 500 Most Influential Muslims list published annually by the Royal Aal al-Bayt Institute for Islamic Thought and was ranked in 2012 as the 50th most influential. In January 2015, Murad was nominated for the Services to Education award at the British Muslim Awards. Most recently in the 2022 Edition of The 500 Most Influential Muslims, Murad was ranked the 45th most influential Muslim in the world.

Books written

 * Travelling Home: Essays on Islam in Europe (Cambridge: The Quilliam Press, 2020)
 * Gleams from the Rawdat al-Shuhada: (Garden of the Martyrs) of Husayn Vaiz Kashifi (Cambridge: Muslim Academic Trust, 2015)
 * Montmorency's Book of Rhymes Illustrated by Anne Yvonne Gilbert (California: Kinza Press, 2013)
 * Commentary on the Eleventh Contentions (Cambridge: Quilliam Press Ltd, 2012)
 * XXI Asrda Islom: Postmodern Dunyoda qiblani topish (Tashkent: Sharq nashriyoti, 2005)
 * Muslim Songs of the British Isles: Arranged for Schools (London: Quilliam Press Ltd, 2005)
 * Postmodern Dünya’da kibleyi bulmak (Istanbul: Gelenek, 2003)
 * Co-authored with John A. Williams, Understanding Islam and the Muslims (Louisville: Fons Vitae, 2002)
 * Understanding the Four Madhhabs: Facts About Ijtihad and Taqlid (Cambridge: Muslim Academic Trust, 1999)

Books edited

 * The Cambridge Companion to Classical Islamic Theology (Cambridge: Cambridge University Press, 2008) ISBN 978-0-521-78058-2
 * Islam, Religion of Life by Abdul Wadod Shalabi (USA: Starlatch Press, 2006) ISBN 1-929694-08-3
 * Co-edited with Richard Harries and Norman Solomon, Abraham’s Children: Jews, Christians and Muslims in Conversation (Edinburgh: T&T Clark/Continuum, 2006)

Translations

 * Imam al-Busiri, The Mantle Adorned (London: Quilliam Press, 2009)
 * Al-Asqalani Ibn Hajar, Selections from Fath Al-Bari (Cambridge: Muslim Academic Trust, 2000)
 * Abu Hamid al-Ghazali, Disciplining the Soul and Breaking the Two Desires (Cambridge: Islamic Texts Society, 1995)
 * Roger Du Pasquier, Unveiling Islam (Cambridge: Islamic Texts Society, 1992)
 * Imam al-Bayhaqi, Seventy-Seven Branches of Faith (London: Quilliam Press, 1990)
 * Abu Hamid al-Ghazali, The Remembrance of Death and the Afterlife (Cambridge: Islamic Texts Society, 1989)

Articles

 * “America as a Jihad State: Middle Eastern Perceptions of Modern American Theopolitics.” Muslim World 101 (2011): 394–411.
 * "Opinion: Bin Laden's sea burial was 'sad miscalculation" CNN.com (9 May 2011).
 * “Jesus and Muhammad: New Convergences.” Muslim World 99/1 (2009): 21–38.
 * “Poverty and the Charism of Ishmael.” In Building a Better Bridge: Muslims, Christians, and the Common Good, edited by Michael Ipgrave (Washington, DC: Georgetown University Press, 2009).
 * "Ibn Kemal (d. 940/1534) on Ibn 'Arabi's Hagiology." In Sufism and Theology, edited by Ayman Shihadeh (Edinburgh: Edinburgh University Press, 2007).
 * "The Saint with Seven Tombs." In The Inner Journey: Views from the Islamic Tradition, edited by William Chittick (Ashgate: White Cloud Press, 2007).
 * "Ishmael and the Enlightenment's Crise de Coeur." In Scripture, Reason, and the Contemporary Islam-West Encounter, edited by Basit Bilal Koshul and Steven Kepnes (New York: Palgrave, 2007).
 * "Qur'anic Reasoning as an Academic Practice." Modern Theology 22/3 (2006): 449–463; reprinted in The Promise of Scriptural Reasoning, edited by David Ford and C. C. Pecknold (Malden: Blackwell, 2006).
 * “The Chador of God on Earth: the Metaphysics of the Muslim Veil.” New Blackfriars 85 (2004): 144–157.
 * “Bombing Without Moonlight: the Origins of Suicidal Terrorism.” Encounters 10:1–2 (2004): 93–126.
 * "The Poverty of Fanaticism." In Fundamentalism, and the Betrayal of Tradition, edited by Joseph Lumbard (Bloomington: World Wisdom, 2004).
 * “Readings of the ‘Reading’.” In Scriptures in Dialogue: Christians and Muslims Studying the Bible and the Qur'an Together, edited by Michael Ipgrace (London: Church House Publishing, 2004), 50–55.
 * “Tradition or Extradition? The threat to Muslim-Americans.” In The Empire and the Crescent: Global Implications for a New American Century, edited by Aftab Ahmad Malik (Bristol: Amal Press, 2003).
 * "Muslim Loyalty and Belonging: Some Reflections on the Psychosocial Background." In British Muslims: Loyalty and Belonging, edited by Mohammad Siddique Seddon, Dilwar Hussain, and Nadeem Malik (Leicester: Islamic Foundation; London: Citizens Organising Foundation, 2003).
 * “Pulchra ut luna: some Reflections on the Marian Theme in Muslim-Catholic Dialogue.” Journal of Ecumenical Studies 36/3 (1999): 439–469.
 * “The Last Trump Card: Islam and the Supersession of Other Faiths.” Studies in Interreligious Dialogue 9/2 (1999): 133–155.
 * “Scorning the Prophet goes beyond free speech – it’s an act of violence” Daily Telegraph (17 Jan 2015).

title: Timothy Winter


text:
Wikipedia:Articles for deletion/Christopher Buretta

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was Delete. Eugene van der Pijll 21:11, 15 Jun 2005 (UTC)

Christopher Buretta

 * Looks like incoherent vanity to me. Delete. jni 09:19, 1 Jun 2005 (UTC)
 * I'm not so sure think it might be interesting to research Buretta more first. Keep. Note: edit by article author 69.210.96.77
 * Delete, speedily: Results 1 - 2 of 2 for "Christopher Buretta" Dewet 09:35, 1 Jun 2005 (UTC)
 * Every human being in some way impacts the outcome of history. Every man is a hero for merely getting through the day. Have none of you read James Joyce's Ulysses? It would seem to me that a denial of this article is not just an insult to Mr. Buretta, it is also an insult to yourself. We all will leave our mark on the world, it would be impossible not to. Why deny any man the right to be known for who he is, or even who he wants to be? Maybe it is "incoherent vanity." But what is the sum total of history if not incoherent vanity?  Is it not written in the bible "vanity of vanities, all is vanity."  Just keep the damn article. Keep. User:byob19 04:39, 1 Jun 2005 Note: edit was actually made by 69.210.96.77
 * Very well put. Unfortunately we don't have the resources to check up on every human being, so we have to limit ourselves to those who make an impact which is measurably greater than average. Kappa 21:01, 1 Jun 2005 (UTC)
 * Delete Evil Monkey∴Hello 09:41, Jun 1, 2005 (UTC)
 * Delete - nonfamous person, despite of all the platitudes. Another Wikimanity candidate? - Skysmith 10:56, 1 Jun 2005 (UTC)
 * Delete, vanity, not written in a remotely encyclopedic style, and no, arguing semantics won't help. We're not denying someone the right to be known, they're free to go elsewhere to do that if somewhere exists. Average Earthman 13:04, 1 Jun 2005 (UTC)
 * Delete. Yes, every human impacts someone, but the "Jesus of cool" is not an encyclopedic topic. --Scimitar 16:24, 1 Jun 2005 (UTC)
 * Vanity page - delete--Kristjan Wager 16:27, 1 Jun 2005 (UTC)
 * Delete per Skysmith. Vanity. If you want to be known, set up a free website. This is an encyclopedia. Mgm|(talk) 16:40, Jun 1, 2005 (UTC)
 * Delete. It's vanity, but even if it wasn't, it'd still be an obvious fabrication. Every man may be a hero for merely getting through the day, but telling blatant lies about how "most Buddhist Scholars agree [Buretta] is one of the bodhisitvas", to pick an obvious example, is not only decidedly unheroic but also not a requirement for getting through the day. -- Captain Disdain 21:28, 1 Jun 2005 (UTC)
 * Delete teenage vanity. --Etacar11 00:16, 2 Jun 2005 (UTC)
 * Speedy Delete 'WOT' -- dob 1986, age 19! 'Perhaps need a guideline that someone has to be at least 25 or subject to speedy' would thin these vanity/hoaxes into something we should be spending our time on.  say    could immediate place the arty into a basket for 'merit review'... while making the arty invisible on the web. The occasional legit pop-star/icon/boy scientist/mass murderer can then be gated in w/o rewarding the hoaxer by giving them five+ days of fame. Fabartus 00:43, 2 Jun 2005 (UTC)
 * Captain Disdain is cognatively impaired and therefore his opinions should not be taken into consideration when making a judgement. I also feel wikipedia should Keep the article.
 * The only edit of anon User:69.210.99.13 - Skysmith 08:30, 2 Jun 2005 (UTC)
 * Cognitively impaired? Perhaps, but at least I know how to spell "cognitively". I mean, that's gotta be worth a cookie or something, right? -- Captain Disdain 01:02, 3 Jun 2005 (UTC)
 * Delete vanity. JamesBurns 11:02, 2 Jun 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Alvin Martin

Alvin Edward Martin (born 29 July 1958) is an English football manager, former professional footballer and pundit.

As a player, he was a defender, playing most of his footballing career for West Ham United he appeared in 598 games for them, scoring 34 goals. With the club for 21 years, and winning the 1980 FA Cup. He played in a number of Premier League seasons before leaving for Leyton Orient in 1996. He moved into football management with Southend United in 1997. He was capped 17 times England during the 1980s, Martin represented them at the 1986 World Cup.

He has since started a career in the media on radio station talkSPORT and also as a pundit on Sky Sports TV football talk shows.

Club career
Born in Walton, Liverpool, Lancashire, Martin played schools football for Bootle and Lancashire and was attached to Merseyside club Everton as a schoolboy, but left in 1974 after the Goodison Park club only offered him an apprenticeship on a part-time basis. An unsuccessful trial later that summer with Queens Park Rangers was followed the very next day by one for West Ham United, where he was awarded a contract as an apprentice 19 August 1974. He appeared in the FA Youth cup final of 1975 and signed as a professional on 29 July 1976. He did not make his first team debut until 18 March 1978 as a substitute against Aston Villa. His final appearance was as an 88th-minute substitute on 5 May 1996 against Sheffield Wednesday.

Martin went on to amass nearly 600 first-team appearances for the Hammers in a successful 19-year professional career at Upton Park, in which he became one of only two players, along with Billy Bonds, to be awarded two testimonials. The first was against Spurs on 21 August 1988 and the second against Chelsea on 11 November 1995. It was alongside Bonds in the centre of defence that Martin – nicknamed 'Stretch' – enjoyed his most rewarding years, winning the FA Cup and Second Division winners medals in successive seasons, 1980 and 1981.

Martin also achieved the rare feat of scoring a hat-trick against three different Newcastle United goalkeepers – Martin Thomas, who was then injured, and outfield players Chris Hedworth and Peter Beardsley – in a Football League First Division match in April 1986 which the Hammers won 8–1. This was among the most successful seasons the club ever saw, as it finished third in the top level, just four points behind champions Liverpool, with the player contributing with 40 games and four goals.

Martin remained loyal to West Ham despite their relegation from the top flight in 1989, and helped them gain promotion two years later. The club lasted just one season before again dropping down a level, only to bounce back at the first attempt. Martin, for decades the club's longest serving player, spent three more years with the team in the Premier League before finally departing at the end of the 1995–96 season after 21 years service, aged 37. After leaving West Ham, Martin had a brief spell with East London neighbours Leyton Orient.

International career
Martin was given his first England cap by Ron Greenwood against Brazil at Wembley in May 1981. Injury ruled him out of the 1982 FIFA World Cup finals in Spain, but he was playing some of the finest football of his career when the next manager, Bobby Robson, included him in his squad for the 1986 edition in Mexico: he played in the victory over Paraguay, replacing the suspended Terry Fenwick, but was dropped for the next game, the quarter-final defeat by Argentina's infamous 'Hand of God'; in total, he made 17 international appearances.

Managerial career
Martin managed Southend United for two years (1997- March 1999), during which the club was relegated to League One.

Media career
After retiring from management, he joined national radio station talkSPORT, while also being a regular pundit on Sky Sports TV football talk shows.

Personal life
Martin's sons, David and Joe, are also footballers. The former is a goalkeeper, whilst the latter is a defender.

Honours

 * West Ham
 * FA Cup: 1979–80

 * Individual
 * PFA Team of the Year Second Division: 1980–81

title: Alvin Martin


text: Category:Women's suffrage

title: Category:Women's suffrage


text:
Talk:Per Martin-Löf

Comment by User:80.177.13.22
I believe that he was born in 1942, not 1943.

It is probable that he is best-known for a certain information-theoretic definition of "random sequence", published in Martin Lof, P. "The Definition of Random Sequences", Information and Control, Vol. 9, no. 6, Dec. 1966, pp. 602--619.

(Of course I agree that well-known-ness aside, the type-theory will be by far his most important contribution.)

He has also worked in statistics. There are some influential notes "Statistika Modeller" (1973), and "The notion of redundancy and its use as a quantitative measure of the discrepancy between a statistical hypothesis and a set of observational data" (Scandanavian Journal of Statistics 1974, I, 3-18.)

There is another notion of randomness due to him (1968), based on a constructive approach to measure theory, that seems to be universally ignored.

Origins of dependent types
I had thought that the first usage of dependent types in a recognisable type theory was Dana Scott's usage in Constructive Validity, which was published in 1970. Scott used a less satisfactory formulation of equality than even the extensional formulation (to my mind), but the precedence seems clear. In any case, dependent types were not all that big a discovery, since Lawvere was using very similar ideas in topos theory.

While I'm at it, Martin-Loef randomness is a worthwhile page on its own: I encountered the idea as corresponding to one of the handful of natural intermediate degrees in talks by Stephen Simpson on Mass problems. This would be well worth writing up: it's been on my to do list for too long for me to have any confidence that I will ever do it... --- Charles Stewart 13:43, 2 Jun 2005 (UTC)

Re: Origins of dependent types
Good ideas like that get discovered by several people usually as a result of some direct or indirect interaction. Hence, I wouldn't claim that Martin-Lôf was the only one who discovered dependent types. I personally think that he was the one who used them most effectively.

Btw, why do you call the meaning explanation a form of a proof-theoretic semantics, this sounds a bit contradictory to me, proof-theory is usually about form not meaning. I am just asking, your other additions are very appropriate. --Thorsten 15:04, 2 Jun 2005 (UTC)

 * I agree that it was PML's ideas that really got the ball rolling with dependent types, but we have to be careful with the idea that he invented it. I have the idea that PML cited Scott's work, but it might not be in his 1971 paper, and most of my papers are the other side of the Atlantic.  De Bruijn's formulation of dependent types, I think in 1974, looks to me a clearer case of reinvention.
 * Check out proof-theoretic semantics for more about meaning explanations. The NJPL paper I cited discusses Prawitz's and Dummett's work: he is very much working in this strain, although he has this two-layered semantics that works rather differently to the work of the others. --- Charles Stewart 15:48, 2 Jun 2005 (UTC)

 * Btw the influence of Dana's article on Per's work was also discussed at a seminar in Nijmegen on occassion of Per's 60th birthday. I believe by Peter Aczel, but I am not sure.--Thorsten 18:25, 2 Jun 2005 (UTC)

Concerning the origin of dependent types: Curry had it already in the 50's, according to this article: --- 130.241.53.165 (talk) 09:39, 12 August 2010 (UTC)

picture
I admit this isn't a very good one, but it is my own (maybe the two facts are corelated). Also I wanted to try out how to upload an image... If sb has got a better one (with a clear copyright situation) you are more then welcome to replace it. Btw, why doesn't my caption show up? --Thorsten 18:28, 2 Jun 2005 (UTC)
 * The image markup can be a little tricky. You just had to swap "frame" for "thumb".eg, " [[Image:MartinLoef.jpg|thumb|200px|Per Martin-Löf 2004]] " instead of " [[Image:MartinLoef.jpg|frame|200px|Per Martin-Löf 2004]] ".  I like the photo.  Its brooding. --Commander Keane 09:35, August 5, 2005 (UTC)

NPOV
Martin-Löf's work provides a continuing inspiration for logic in computer science, and it seems that the potential of his ideas hasn't yet been fully realized.

Isn't this a non-verifiable fact -- it would be better to be quoting someone influential instead?

131.111.250.149 22:04, 15 October 2005 (UTC) genneth

Good point. Any ideas, or shall I just erase the offending factoid? :-)

--Thorsten 12:52, 19 October 2005 (UTC)

Statistics and birdwatching
His work has been very influential in statistics. I moved the material on type theory below, because it's rather technical and is last chronologically. I rated him as of high importance in philosophy and for the Sweden project, since he's probably the most influential Swedish mathematical scientist of the later half of the 20th century (I don't claim that he's stronger than Carlsson or Hörmander.). Thanks (TACK!), best regards/mvh, Kiefer.Wolfowitz (talk) 23:36, 25 February 2010 (UTC)

 * Thank you for extending the article, but I am actually very concerned about your de-emphasis of Martin-Löf's work in type theory. Calling it "rather technical and last chronologically" is misleading at best, since it represents his highly influential and ongoing work over the past four decades (which also makes the "In recent years" in the lede somewhat ridiculous).  It's hard to judge relative importance of his early work in probability vs his early work in type theory--since both were very important.  But we can at least use Google scholar as a sanity check for the tone of this article.  Of Martin-Löf's top ten most cited papers, eight are in type theory, two in probability. Noamz (talk) 08:21, 27 February 2010 (UTC)

 * It is chronological to list bird-watching first, and then probability (licenciate and foundations) earlier than statistics. Martin-Löf's publications on statistics ceased around 1977, after which most of his publications on type theory appeared. Can we agree on that chronology?
 * Following your comment, I'll change "in recent years". I wrote "technical" referring to the stub-paragraph on type theory, which is rather technical---I did not intend to de-emphasize type theory. (At least my article text was clear.)
 * Thanks/mvh, Kiefer.Wolfowitz (talk) 19:26, 27 February 2010 (UTC)

 * I wrote the following text for the introduction (Kiefer.Wolfowitz (talk) 19:44, 27 February 2010 (UTC)):

 * Since the late 1970s, Martin-Löf's publications have been mainly in logic. In philosophical logic, Martin-Löf has wrestled with the philosophy of logical consequence and judgments, partly inspired by the work of Brentano, Frege, and Husserl. In mathematical logic, Martin-Löf has been active in developing intuitionistic type theory as a constructive foundation of mathematics; Martin-Löf's work on type theory has influenced computer science.

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Per Martin-Löf. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20140202185943/http://www2.math.uu.se/PFM/ to http://www2.math.uu.se/PFM/

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 17:02, 10 September 2017 (UTC)

title: Talk:Per Martin-Löf


text:
Talk:Lady Mary Grey

Disambig
There's a famous Mary Stokes from the 1900s.

Heading
I believe she was not universally always known as Lady, and I believe she is recognizable without it. Therefore "Lady" shuld not be included in the article title (as the requirement for such inclusion is: person if universally recognised with it and their name is unrecognisable without it). It seems to me that recently, there has been sort of campaign by some users to put titulary into headings, without any solid support from naming conventions, and this here apparently is a part of such campaign. User:217.140.193.123 02:44, 19 July 2005 (UTC)

I disagree. This woman is known as "Lady Mary Grey" in every book in which I've ever heard her mentioned. Her sisters are always known as "Lady Jane Grey" and "Lady Catherine Grey" whenever they are mentioned. - CassieBlue 06/20/2006 4:33pmEST

She would have been "Princess Mary Grey" had her grand-mother, also briefly the Queen of France,not become embroiled in an dispute with her brother, Henry VIII. I also beieve that she was the mother of Thomas Kys whom was the spokesperson for the authors known as William Shakespeare. -Philip Havey 9/16/06

I should also add that, despite her awkward situation, she was the Elizabeth I's heir appearent between 1568 and 1578.- Ph
 * 'Appearant'? Not familiar with that word.

Birthdate
I am convinced the birth year is wrong for Mary Grey. How can she be born 11 months after her father's death? Being born that late would have been highly unusual and unlikely. Unless her legitimacy is questionable, I think her birth year must be 1544!--I am the Blood 22:09, 20 November 2010 (UTC) —Preceding unsigned comment added by Blood3 (talk • contribs)

Ignore this last comment. I read 1555 rather than 1545.--I am the Blood 22:12, 20 November 2010 (UTC) —Preceding unsigned comment added by Blood3 (talk • contribs)

title: Talk:Lady Mary Grey


text:
No audible release

A stop with no audible release, also known as an unreleased stop or an applosive, is a stop consonant with no release burst: no audible indication of the end of its occlusion (hold). In the International Phonetic Alphabet, lack of an audible release is denoted with an upper-right corner diacritic after the consonant letter, as in:, ,.

Audibly released stops, on the other hand, are not normally indicated. If a final stop is aspirated, the aspiration diacritic ⟨◌ʰ⟩ is sufficient to indicate the release. Otherwise, the "unaspirated" diacritic of the Extended IPA may be employed for this: apt.

English
In most dialects of English, the first stop of a cluster has no audible release, as in apt, doctor , or logged on. Although such sounds are frequently described as "unreleased", the reality is that since the two consonants overlap, the release of the former takes place during the hold of the latter, masking the former's release and making it inaudible. That can lead to cross-articulations that seem very much like deletions or complete assimilation.

For example, hundred pounds may sound like but X-ray and electropalatographic studies demonstrate that since inaudible and possibly-weakened contacts may still be made, the second  in hundred pounds does not entirely assimilate a labial place of articulation but co-occurs with it.

In American English, a word-final stop is typically unreleased; that is especially the case for /t/, but in that position, it is also analyzed as experiencing glottal reinforcement.

Such sounds may occur between vowels, as in some pronunciations of out a lot. The overlap there appears to be with a glottal stop, : the is pronounced, and since it is between vowels, it must be released. However, its release is masked by the glottal stop. (See: T-glottalization, in some dialects).

The term "unreleased" is also used for a stop before a homorganic nasal, as in catnip. In such cases, however, the stop is released as a nasal in a nasal release and so it would be more precisely transcribed.

Other languages
In most languages in East and Southeast Asia with final stops, such as Cantonese, Hokkien, Korean, Malay, Thai, and West Coast Bajau, the stops are not audibly released: mak. That is true even between vowels. That is thought to be caused by an overlapping glottal stop and is more precisely transcribed. A consequence of an inaudible release is that any aspirated–unaspirated distinction is neutralized. Some languages, such as Vietnamese, which are reported to have unreleased final stops, turn out to have short voiceless nasal releases instead. The excess pressure is released (voicelessly) through the nose and so there is no audible release to the stop.

Formosan languages
The Formosan languages of Taiwan, such as Tsou and Amis realize all obstruents as released but not aspirated, as in Tsou "four" and  "to pierce", or Amis  "one" and  "four". (The symbol for a release burst, ⟨˹⟩, is acknowledged but not supported by the IPA. )

Gyalrong languages
In Gyalrongic languages, plosives and nasal stops could be unreleased after a glottal stop, for example:

Pirahã
In Pirahã, the only surviving dialect of the Mura language, there is a special register of speech using solely humming, which does not involve an audible release and may be transcribed as of different length and tone.

title: No audible release


text:
Unity Tower

Unity Tower (commonly nicknamed the  Skeletor (Szkieletor ) prior to completion) is a 102.5 metre high-rise building located in Kraków, Poland. Unity Tower is located near the Mogilskie Roundabout (Rondo Mogilskie) and Kraków University of Economics. It is the second-tallest building in Kraków after K1. The construction work of Unity Centre was completed on 30 September 2020.

History
Originally, it was intended to become the regional office of the Main Technical Organization (Naczelna Organizacja Techniczna, NOT) and be named the NOT Tower. The construction of the building was started in 1975, but stopped permanently in 1979 because of economic constraints and political unrest which later culminated in the imposition of martial law in Poland in 1981.

Due to the skeletal appearance of the unfinished building, it was dubbed the Skeletor (Szkieletor).

Investors expressed interest in renovating the building throughout the years. In the 1980s, the building was proposed to house apartments for employees at the Nowa Huta steelworks, and after the fall of communism, a large hotel chain became interested in the facility and wanted to complete the unfinished building, but all these efforts were discouraged by the complicated legal status of the land on which it stood and the high cost of its demolition or adaptation. In 2007, a new plan for the building was put forward, which postulated to increase its height from 92 to as high as 130 meters. German architect Hans Kollhoff was invited to take part in the reconstruction of the building, which was supposed to be completed by the time of UEFA Euro 2012 in Poland and Ukraine. However, the project was rejected by the Provincial Conservation Council on the grounds that the new building was located within a historical urban landscape.

The building was partially owned by TreiMorfa Project. The long debate about its possible future use based on brand new plans was cut short by the courts in December 2011 because of legal improprieties by its new design team.

Austrian engineering company Strabag was given the commission to rebuild. The building's floors were removed and replaced, but the steel frame retained and reused. The exterior architecture was inspired by the Art Deco architecture of the 1920s and 30s. The use of grey stone and the architecture was partially inspired by the Maccabees Building.

In 2018, before the full reconstruction of the building was completed, the ArchDaily architecture website named Szkieletor as one of "History's Most Notorious Unfinished Buildings" alongside the Palace of the Soviets, Siena Cathedral and Ryugyong Hotel.

title: Unity Tower


text:
Habib Beye

Habib Frédéric Beye (born 19 October 1977) is a former professional footballer who played as a right-back. He was most recently manager of Red Star.

Formed at Paris Saint-Germain, where he was only a reserve, he played in Ligue 1 for Strasbourg and Marseille. From 2007, he spent five years in England, with Newcastle United and Aston Villa in the Premier League, and Doncaster Rovers in the Championship.

Born and raised in France, Beye represented the Senegal national team, earning 45 caps between 2001 and 2008. He was part of their squads at the Africa Cup of Nations in 2002 (runners-up), 2004, 2006 (semi-finalists) and 2008, as well as a quarter-finalist at the 2002 FIFA World Cup.

Early and personal life
Beye was born in Suresnes, Hauts-de-Seine, and grew up in Le Port-Marly. He is a Muslim.

Paris Saint-Germain
Beye joined Paris Saint-Germain in 1997, though he progressed no further than the reserve side, playing in the national fifth division. He transferred at the end of the season to RC Strasbourg in 1998 for an undisclosed amount.

Strasbourg
Following his summer move to RC Strasbourg in 1998, Beye made his league debut on 8 August 1998 in a home 0–0 draw against Lyon, and played a total of 23 times in his first season at the club. He missed just five league matches in the following season, and netted for the first time on 2 October 1999 in a 2–2 home draw with Bordeaux. He was a member of the RC Strasbourg side that won the 2001 French Cup, eventually defeating third division Amiens SC in a penalty shoot-out, which helped his team achieve UEFA Cup qualification in the following season. He appeared a total of 134 times in the league for Strasbourg, scoring 8 goals.

Marseille
On 6 August 2003, Beye signed a three-year contract at Marseille under manager Alain Perrin, for a reported fee of €1.2 million. He said that despite his Parisian upbringing, he had always supported the club.

He was in the side that reached the 2004 UEFA Cup Final, a run which involved a performance as a central defender against Newcastle United. He ended up on the losing side as Marseille lost the final to Valencia 2–0. He missed only one game in the 2004–05 Ligue 1 season as his team came fifth, and then extended his contract to 2008.

He was also a beaten finalist in the 2006 Coupe de France final against former club Paris Saint-Germain, a match which his team lost 2–1, and again in 2007 when his Marseille team lost on penalties to FC Sochaux. He was voted the fans’ Player of the Year in 2006. He was captain of the club for two years prior to his move to Newcastle United.

Newcastle United

Beye signed for Newcastle United for a fee of £2 million (€3 million) on 31 August 2007, during the closing minutes of the summer transfer window. He signed a three-year contract, with then Newcastle manager Sam Allardyce declaring that he was very pleased with the transfer. Allardyce said in a later interview on the club's website that he felt he acquired Beye for a "bargain" price and that he and his international colleague who also signed with him, Abdoulaye Faye would be excellent signings for Newcastle.

He made his Newcastle debut on 17 September 2007, as a substitute in the 1–0 defeat at Derby County. He then made his full debut at home to West Ham United. He scored his only Premier League goal for Newcastle in the 2–1 win against Birmingham City on 8 December, with a near-post header in second-half injury time. The Newcastle fans chanted his name to the tune of the Happy Days theme. On 22 May 2008, Beye was named Newcastle player of the season based on fan votes to a poll organised by the Evening Chronicle, he was then named the official Newcastle player of the season on 23 May 2008, as well as being named the Newcastle United Disabled Supporters Association Player of the Season on 22 August.

After missing the start of the 2008–09 season from injury, Beye started against Manchester City on 20 October 2008. He was sent off after only 12 minutes for a challenge on Robinho, the first red card of his Newcastle career. Newcastle appealed the red card and on 23 October the claim of wrongful dismissal was upheld. After Newcastle were relegated from the Premier League at the conclusion of the 2008–09 season, an article on the club's official website stated Beye's intention to remain at the club to help get them back into the Premier League. However, the continuing problems behind the scenes at Newcastle would lead to Beye stating that he would have to leave the club in order to save his career.

Aston Villa
Despite Hull City chairman Paul Duffen revealing that the Tigers had agreed a fee with Newcastle United to sign Beye on 6 August 2009, it was announced the following day that Beye had signed for Aston Villa. Beye was substituted late into his Villa debut on the opening day of the 2009–10 season, a 2–0 defeat by Wigan Athletic. He was sent off near the end of his third game for Villa in an away tie against West Ham United. Beye found it hard to break into the Villa first team with the likes of Carlos Cuéllar and Luke Young ahead of him in the pecking order and often found himself restricted to bench appearances. In February 2012, it was announced that Beye's contract had been cancelled by mutual consent.

Doncaster Rovers
After making just nine league appearances for Aston Villa since the summer of 2009 and being surplus to requirements, Beye signed on loan for Doncaster Rovers in November 2011, in a hope to revive his career after a turbulent two years spell in Aston Villa. After his first 3 games for the club, he received big praise from Rovers fans and Rovers manager Dean Saunders following some impressive displays in the centre of defence. He helped Doncaster to two home clean sheets in a row, whilst winning the sponsors man of the match award in both games (against Watford and Southampton) and has been a regular starter in the team. On 22 January 2012, Beye was sent off during a match against Bristol City in a Championship game which ended in a 2–1 defeat, resulting in a three-match ban.

Following his release by Aston Villa, Beye signed an 18-month deal to permanently join Rovers on 13 February 2012. After completing his domestic three-game ban, he played his first game after signing permanently against Peterborough United in a 1–1 draw on 25 February 2012. He scored his first goal for the club against fellow relegation candidates Portsmouth on 14 April. At the same time, he was sent off for the second time this season for a foul on Portsmouth's Dave Kitson, which conceded a penalty for the opposing side. That result ended 4–3 in favour of Portsmouth and Birmingham City's 2–2 draw against Bristol City confirmed Doncaster's relegation to League One for the upcoming 2012–13 season. He returned from suspension on 28 April, and scored a late consolation goal for Doncaster Rovers, in a 3–2 defeat by Ipswich Town on the final day of the season. Beye retired from football after his contract ended.

International career
Beye played in the Senegal national squad from 2001 to 2008, winning 45 caps and scoring one goal. His debut came on 6 May 2001 in a 1–0 loss away to Egypt in 2002 FIFA World Cup qualification. He was part of the squad that finished runners-up at the 2002 Africa Cup of Nations and then became quarter-finalists at the World Cup in South Korea and Japan, making substitute appearances against Denmark, Uruguay and Sweden.

At the 2004 Africa Cup of Nations in Tunisia, Beye scored his only international goal, equalising in a 1–1 draw with neighbours Mali. At the following edition in 2006 in Egypt, where his team were semi-finalists, he was sent off for an off-the-ball clash with Ghana's Laryea Kingston in a group-stage draw. Both players were fined US$1,000 by the Confederation of African Football and banned for four games, ruling each out for the remainder of the tournament.

Beye retired from international football in an effort to concentrate on his club career following a first-round exit at the 2008 Africa Cup of Nations.

Managerial career
After retiring, Beye became a pundit on France's Canal+. In May 2021, he was named assistant manager at Paris-based Red Star in the third-tier Championnat National, as assistant to Vincent Bordot. He was put in interim charge in September after Bordot's dismissal following six games of the season. On his debut on 17 September, the team lost 1–0 at home to Villefranche; he took them to the last 64 of the Coupe de France where they were defeated 2–0 by Monaco at the Stade Bauer. Having saved the team from relegation with an 11th-place finish, his contract was extended to 2024 in May 2022. In the 2022–23 Championnat National, Red Star came third, two points off the promoted pair of Concarneau and Dunkerque. The following season, Beye led Red Star to promotion to Ligue 2 for the first time in six years, and then allowed his contract to expire.

Honours
Strasbourg
 * Coupe de France: 2000–01

Marseille
 * UEFA Intertoto Cup: 2005
 * Coupe de France runner-up: 2005–06, 2006–07
 * UEFA Cup runner-up: 2003–04

Aston Villa
 * Football League Cup runner-up: 2009–10

Individual
 * Ligue 1 Team of the Year: 2004–05
 * Newcastle United Player of the Year: 2007–08

title: Habib Beye


text:
Scinde Dawk

Scinde Dawk (سندي ڊاڪ) was a postal system of runners that served the Indus Valley of Sindh, an area of present-day Pakistan. The term also refers to the first adhesive postage stamps in Asia, the forerunners of the adhesive stamps used throughout India, Burma, the Straits Settlements and other areas controlled by the British East India Company. The name derives from the words "Scinde", the British spelling of the name of the province of Sindh, and "Dawk", the anglicised spelling of the Hindustani word "Dak" or Post.

Origins
The Dawk, or Dak, was a very old postal system of runners. The runners were paid according to their distance of travel and the weight of their letters. This was a local Indus Valley system, inefficient and inadequate for the military and commercial needs of the British East India Company after their conquest of Sindh in February, 1843, following the Battle of Miani.

Reform of the postal system
Sir Bartle Frere of the East India Company became the Chief Commissioner of Sindh in 1850. Following the English example set by Rowland Hill, Frere improved upon the postal system of Sindh by introducing a cheap and uniform rate for postage, independent of distance travelled. In 1851 the runners were replaced with an efficient system using horses and camels, following routes through Scinde province, generally along the valley of the Indus River. The mail was carried quickly and efficiently, connecting government offices and post offices from Karachi through Kotri and Hyderabad up to Sukkur in the north.

The stamps
Stamps were required for the prepayment of postage, a basic feature of the new system. These stamps, first issued on 1 July 1852, bore the Merchants' Mark of the British East India Company in a design embossed on wafers of red sealing wax impressed on paper. Because they cracked and disintegrated, they were soon replaced by a colourless design embossed on white paper which was hard to see in a dim light. The last stamps were a blue embossing on white paper. All of these had a value of only one-half anna each, but today they rank among the rare classics of philately.

Forgeries
Forgeries of these rare stamps are plentiful. The most easily detected fakes are not embossed on paper. Other crude fakes show a misalignment of the second letter 'A' of ANNA with the 'K' of DAWK; and in other fakes the '1/2' is not separated from the central heartshaped emblem.

Later developments
After the Scinde Dawk, Colonel Forbes of the Calcutta Mint came up with an essay for a postage stamp depicting a lion and palm tree. This, and several other essays, were never printed because Forbes could not ensure an adequate supply with the limited machinery at hand. Soon after, new, lithographed stamps printed by the Survey Office appeared in several denominations valid for use throughout British India as part of sweeping postal reforms.

The British East India Company's posts are important, because the "Great Company" held sway over so much of the world's commerce in those days, extending across Asia and East Africa. It had its own armies, coinage, and postal service; constructed railways and public works; and acted like an imperial force long before the Empire was established.

Literature

 * Robson Lowe, Encyclopaedia of British Empire Postage Stamps, v.III, 1951: The Sind District Dawk, pp. 149–152.
 * H.D.S. Haverbeck, "The Sind District Dawk", The Collectors Club Philatelist v. 44 no. 2 (March, 1965) pp. 79–85.
 * Mohini Lal Mazumdar, The Imperial Post Offices of British India. Calcutta, Phila Publications, 1990.
 * B. B. Misra, "Postal Communications in India, 1773–1834", reprinted from The Central Administration of the East India Company 1773–1834, pp. 415–449. Robson Lowe, Manchester University Press, 1939.

title: Scinde Dawk


text:
King of Jazz

 King of Jazz is a 1930 American pre-Code color musical film starring Paul Whiteman and his orchestra. The film title refers to Whiteman's popular cultural appellation. At the time the film was made, "jazz", to the general public, meant jazz-influenced syncopated dance music heard on phonograph records, on radio broadcasts, and in dance halls. In the 1920s Whiteman signed and featured white jazz musicians including Joe Venuti and Eddie Lang (both are seen and heard in the film), Bix Beiderbecke (who had left before filming began), Frank Trumbauer, and others.

King of Jazz was filmed in the early two-color Technicolor process and was produced by Carl Laemmle Jr. for Universal Pictures. The film featured several songs sung on camera by the Rhythm Boys (Bing Crosby, Al Rinker and Harry Barris), as well as off-camera solo vocals by Crosby during the opening credits and, very briefly, during a cartoon sequence. King of Jazz still survives in a near-complete color print and is not a lost film, unlike many contemporary musicals that now exist only either in incomplete form or as black-and-white reduction copies.

In 2013, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Plot
King of Jazz is a revue. There is no narrative continuity, only a series of musical numbers alternating with "blackouts" (brief comedy sketches with abrupt punch line endings) and other short introductory or linking segments.

The musical numbers are diverse in style, adopting a 'something for everyone' approach to appeal to family audiences. They cater to the young, the old, and the middle-aged, each in turn. The slow Bridal Veil number, featuring (according to Universal) the largest veil ever made, exhibits Victorian sentimentality that might best appeal to the elderly. The middle-aged were courted with a tune by John Boles in a lush setting crooning It Happened in Monterey in waltz time, or in a barn with a chorus of red-shirted ranch hands belting out the Song of the Dawn. The "jazzy" Happy Feet number was designed to appeal to younger viewers.

One segment early in the film serves to introduce several of the band's virtuoso musicians (who are not credited by name). Another provides the audience with a chance to see the Rhythm Boys, already famous by sound but not sight because of their recordings and radio broadcasts, performing in a home-like setting. There are novelty and comedy numbers ranging from the mildly risqué (Ragamuffin Romeo, which features contortionistic dancing by Marion Stadler and Don Rose) to the humorously sadomasochistic (the second chorus of I Like to Do Things for You) to the simply silly (I'm a Fisherman). There is a line of chorus girls, practically mandatory in early musicals, but in their featured spot the novelty is that they perform the choreography while seated. The grand finale is the Melting Pot of Music production number, in which various immigrant groups in national costume offer brief renditions of characteristic songs from their native lands, after which they are all consigned to the American Melting Pot. Performers from some of the earlier musical numbers briefly reprise their acts while reporting for duty as fuel under the pot. Whiteman stirs the steaming stew. When the cooking is complete, everyone emerges transformed into a jazz-happy American.

There are a couple of early examples of the overhead views later elaborated and made famous by Busby Berkeley, but this film bears little resemblance to his films and other musicals of the later 1930s. It is very much a stage presentation, albeit on a very large stage, and visual interest is maintained only by changes of viewpoint. The cameras do not move. This is not because the Technicolor cameras were heavy and bulky. The cameras used for this early Technicolor process contained a single roll of film and were of nearly ordinary size and weight.

King of Jazz was the nineteenth all-talking motion picture filmed entirely in two-color Technicolor rather than simply including color sequences. At the time, Technicolor's two-color process employed red and green dyes, each with a dash of other colors mixed in, but no blue dye. King of Jazz was to showcase a spectacular presentation of George Gershwin's Rhapsody in Blue, so this presented a problem. Fortunately, the green dye Technicolor used can actually appear peacock blue (cyan) under some conditions, but acceptable results in this case would require very careful handling. Art director Herman Rosse and production director John Murray Anderson came up with solutions. Tests were made of various fabrics and pigments, and by using an all gray-and-silver background the bluish aspect of the dye was set off to best advantage. Filters were also used to inject pale blues into the scene being filmed. The goal was to produce a finished film with pastel shades rather than bright colors. Nevertheless, as it appears in an original two-color Technicolor print, the sequence might best be described as a "Rhapsody in Turquoise". Later prints made from the original two-component negative, which had survived, make the blues look truer and more saturated than they appeared to audiences in 1930.

King of Jazz marked the first film appearance of the popular crooner and singer Bing Crosby, who, at the time, was a member of The Rhythm Boys, the Whiteman Orchestra's vocal trio. Crosby was scheduled to sing "Song of the Dawn" in the film but a motor accident led to him being jailed for a time and the song was given to John Boles.

Music
Composer Ferde Grofé, best known for his Grand Canyon Suite, was, in these early years, a well known arranger/songwriter for Whiteman. He is documented to have arranged some of the music, and may in fact have composed some of the incidental music.

The film preserves a vaudeville bit by Whiteman band trombonist Wilbur Hall, who does novelty playing on violin and bicycle pump, as well as the eccentric dancing of "Rubber Legs" Al Norman to the tune of Happy Feet.

Versions
There were at least nine different foreign language versions of the film. Reportedly, the Swedish version has at least some different music.

Animated segment
The film included the first Technicolor animated cartoon segment, by animators Walter Lantz (later famous for Woody Woodpecker and other characters) and Bill Nolan. In this cartoon, Whiteman is hunting "in darkest Africa", where he is chased by a lion which he soothes by playing a tune on a violin (Music Hath Charms, played by Joe Venuti and Eddie Lang). After an elephant squirts water on a monkey in a tree, the monkey throws a coconut at the elephant. It misses and hits Whiteman on the head. The bump on his head forms into a crown. Master of Ceremonies Charles Irwin then remarks, "And that's how Paul Whiteman was crowned the King of Jazz."

One of the characters making a brief appearance in the cartoon is Oswald the Lucky Rabbit, the star of the Universal Studios animation department led by Lantz. A black-and-white sound cartoon featuring Oswald, titled My Pal Paul, also released in 1930 by Universal, promoted King of Jazz by including songs from the film and a cartoon Paul Whiteman character.

Some of the scenes from the animated cartoon sequence would be later re-used for a later Walter Lantz Oswald Cartoon, Africa.

Soundtrack
King of Jazz was the first feature-length film to use a mostly pre-recorded soundtrack made independently of the actual filming. Whiteman insisted that musical numbers featuring his orchestra should be pre-recorded to obtain the best sound, avoiding the poor recording conditions and extraneous noises typical of a movie studio sound stage. Universal opposed the idea, but Whiteman prevailed over the reluctant studio executives. After the sound was recorded, it was played back through a loudspeaker while the scene was being filmed and the performers matched their actions to the recording. Later, the resulting film was synchronized with the soundtrack. This also allowed the scene to be shot in the same manner as a silent film, with the director free to shout out instructions during the filming and the camera unrestricted by any need to silence its noises with bulky soundproofing.

Delbert Cobain, one of the singers in the film, is notable as being the great-uncle of musician Kurt Cobain (the late vocalist and guitarist of Nirvana).

The Rhythm Boys

The Rhythm Boys (Bing Crosby, Harry Barris, and Al Rinker) sang Mississippi Mud, So the Bluebirds and the Blackbirds Got Together, I'm a Fisherman, A Bench in the Park, and Happy Feet in the film. This singing trio also recorded as part of Whiteman's band and on their own with Barris on piano. Bing Crosby went on several benders during the filming, crashed his car on Hollywood Boulevard, nearly killing his female passenger, and after showing up in golf attire, and wise-cracking to a judge, was sent to jail for 60 days. Whiteman replaced him with John Boles for "The Song Of The Dawn".

Release
The film debuted on April 19, 1930, at the Criterion Theater in Los Angeles. Box-office receipts at this theater were below expectations within the first two weeks.

A grand premiere was held on May 2, 1930, at the Roxy Theatre in New York City, where the Whiteman Orchestra, together with George Gershwin and the 125-piece Roxy Symphony Orchestra, put on a stage show. It featured the Rhapsody in Blue and Mildred Bailey backed by the Roxy Chorus and was performed five times a day, between showings of the film, for a week. The film continued to play at the Roxy for only one additional week.

As originally released, the film was 105 minutes long. The 1933 reissue was 65 minutes. Several entire sequences and numbers were removed for the reissue, while others were trimmed of just a few shots. One cut for the 1933 re-release was a sketch with William Kent about a suicidal flute player, with the Whiteman Orchestra performing Caprice Viennois as background music.

The 2016 restoration runs 98 minutes with two minutes of playout music. Some sections were cut before the film's 1930 release and never seen by the general public. They include:
 * A specialty number featuring Nell O'Day, with unknown music, set in a cabaret lobby.
 * A segment featuring Grace Hayes singing My Lover.

A 93-minute version, cobbled together from the 65-minute negative and a 16mm print was used for the videocassette release of the film in 1983. Prints of the original uncut version still survive. The Criterion Collection had released the film on DVD and Blu-ray in March 2018. The Blu-ray version has a 4K restoration of the film and includes both the original film and two Oswald the Lucky Rabbit cartoons as well as both 1929 stage version and 1933 short featuring Whiteman and his band.

Reception
Universal expected this revue to repeat or surpass the box-office performance of a musical entitled Broadway which it had released in 1929. That lavish film had included Technicolor sequences and had been a success. Unfortunately, delays in beginning the filming of King of Jazz caused its release to occur after two unforeseen developments. First, the public had tired of the flood of movie musicals that began as a slow trickle with The Jazz Singer in late 1927 and rapidly became a torrent after the success of The Broadway Melody in early 1929. In particular disfavor were operettas set in bygone eras, musical comedies which were unimaginatively filmed Broadway stage productions, and plotless "revues" such as King of Jazz. Second, although the ripple effects from the stock market crash in October 1929 had not yet produced the full-blown depression which would soon be painfully obvious, people were already spending less freely and the effects were starting to be felt at the box office. During its national release, King of Jazz cleared less than $900,000. Around Hollywood, the movie came to be called "Universal's Rhapsody in the Red". Because of poor box-office receipts for the film and the cancellation of his lucrative nationally broadcast radio program by its sponsor in April 1930, Whiteman had to let ten band members go and cut the salaries of the remaining band members by fifteen percent.

The film received mixed reviews. A reviewer for The New Movie called it a lavish, over-produced "disappointment"; an overlong, "dull mélange" whose only effective performers were Whiteman and John Boles. In contrast, the New York Times asserted that "John Murray Anderson's initial contribution to the audible screen, 'King of Jazz,' with the rotund Paul Whiteman, reveals this director to be a magician of far greater powers than one imagined, even from his stage compositions." This Technicolor potpourri of songs, dancing and fun is a marvel of camera wizardry, joyous color schemes, charming costumes and seductive lighting effects." The reviewer, Mordaunt Hall, further praised the film for having "nothing imitative," added that "Mr. Anderson has visualized the full possibilities of the camera in connection with his flights of fancy," and concluded "there is no sequence that isn't worth witnessing and no performance that is not capable in this fastpaced picture."

Overseas, where there was never a backlash against musicals, it fared better and eventually made a profit. During the 1930s, the film found its best audience in Cape Town, South Africa, where it played seventeen return engagements.

The film won an Academy Award for Best Art Direction by Herman Rosse. Other films nominated in this category were Bulldog Drummond, The Love Parade, Sally and The Vagabond King.

In 2016 the film was included in the Library of Congress's National Film Registry after a significant restoration in 2013.

title: King of Jazz


text:
Coercion (linguistics)

In linguistics, coercion is a term applied to a process of reinterpretation triggered by a mismatch between the semantic properties of a selector and the semantic properties of the selected element. As Catalina Ramírez explains it, this phenomenon is called coercion because the process forces meaning into a lexical phrase where there is otherwise a discrepancy of the semantic aspects of the phrase. The term was first used in the semantic literature in 1988 by Marc Moens and Mark Steedman, who adopted it due to its "loose analogy with type-coercion in programming languages.” In his written framework of the generative lexicon (a formal compositional approach to lexical semantics), Pustejovsky (1995:111) defines coercion as "a semantic operation that converts an argument to the type which is expected by a function, where it would otherwise result in a type error."

Coercion in the Pustejovsky framework refers to both complement coercion and aspectual coercion. Complement coercion involves a mismatch of semantic meaning between lexical items, while aspectual coercion involves a mismatch of temporality between lexical items.

A commonly used example of complement coercion is the sentence "I began the book.” The phrase "I began" is assumed to be a selector which requires the following complement to denote an event, but "the book" denotes a noun phrase, not an event. So, as a result of coercion, "I began" forces “the book" from a simple noun phrase to an event involving that noun, causing the sentence to be interpreted to mean (most likely) "I began to read the book" or "I began to write the book."

An example of aspectual coercion involving temporal connectives is "Let's leave after dessert" (Pustejovsky 1995:230). Another example of aspectual coercion from psycholinguistics research is the sentence "The tiger jumped for an hour," where the prepositional phrase "for an hour" coerces the lexical meaning of "jumped" to be iterative across the entire duration, instead of having occurred only once.

Coercion is a well-discussed topic in the field of linguistics, especially in semantics and construction grammar. It is also explored in cognitive linguistics. An example is Yao-Ying Lai’s 2017 study on the effects of coercion on mental processing; results showed that phrases involving aspectual words (such as “start”) required longer reading times to understand than did phrases with psychological words (such as “enjoy” and “love”). Currently, there is debate surrounding the proper approach to coercion in linguistics, including systemic coercion versus language-user coercion and a semantic perspective versus pragmatic perspective, among others.

title: Coercion (linguistics)


text:
Wikipedia:Articles for deletion/Motherhood and how it protects against ovarian cancer

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was Delete. Eugene van der Pijll 21:10, 15 Jun 2005 (UTC)

Motherhood and how it protects against ovarian cancer
POV title, POV content, not wikified and totally unsubstantiated. Also note Motherhood and protection against ovarian cancer, a duplicated location (and now a redirect). violet/riga (t) 09:36, 1 Jun 2005 (UTC)
 * Merge the verifiable/encyclopedic parts (if any) to ovarian cancer. Radiant_* 13:40, Jun 1, 2005 (UTC)
 * Delete outright. Let's let others (with references) edit ovarian cancer without attempting a merge of this to there.  The article is an announcement and POV.  For what it's worth, what it says is true, and there are increasing epidemiological studies showing that poor countries without birth control have low incidence of ovarian cancer (and menopause) because women are pregnant much of the time, but that's beside the point. Geogre 15:33, 1 Jun 2005 (UTC)
 * Leave suggestion to research this at Ovarian cancer. However, this is POV titled and unsubstantiated. Delete. Mgm|(talk) 16:43, Jun 1, 2005 (UTC)
 * Delete and how it protects against POV announcements. Nestea 22:11, 1 Jun 2005 (UTC)
 * Delete pro-natalist tripe. Kaibabsquirrel 00:42, 2 Jun 2005 (UTC)
 * Delete quack opinion piece.     16:47, 4 Jun 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Brave New World (disambiguation)

Brave New World is a 1932 novel by Aldous Huxley.

Brave New World may also refer to:

 * "brave new world", a phrase from Shakespeare's play The Tempest

Film and television

 * Brave New World (1980 film), an American TV adaptation of Huxley's novel, starring Keir Dullea
 * Brave New World (1998 film), a 1998 TV adaptation of Huxley's novel
 * Brave New World (miniseries), a 1999 American documentary miniseries
 * Brave New World, a 1994 UK TV series about bioethics made by Open Media
 * Brave New World with Stephen Hawking, a 2011 UK television science documentary series
 * Brave New World (TV series), a 2020 TV series based on Huxley's novel
 * Captain America: Brave New World, an upcoming Marvel Studios superhero film

Episodes

 * "Brave New World" (Boy Meets World), the two-part series finale of Boy Meets World
 * "Brave New World" (Fringe), the two-part finale of the fourth season of Fringe
 * "Brave New World" (Grey's Anatomy), the fourth episode of the fifth season of Grey's Anatomy
 * "Brave New World" (Heroes), the eighteenth and final episode of the fourth season of Heroes (which also introduces Volume 6, also titled "Brave New World")
 * "Brave New World" (Heroes Reborn), the pilot episode of the miniseries Heroes Reborn, which was a spin-off from Heroes
 * "Brave New World" (One Tree Hill), the tenth episode of the third season of One Tree Hill
 * "Brave New World" (seaQuest 2032), the first episode of the third season of seaQuest DSV
 * "Brave New World" (The Vampire Diaries), the second episode of the second season of The Vampire Diaries

Albums

 * Brave New World (Iron Maiden album), or the title song
 * Brave New World (The Rippingtons album), or the title song
 * Brave New World (Steve Miller Band album), or the title song
 * Brave New World (Styx album), or the title song
 * Brave New World (Amanda Cook album), or the title song

Songs

 * "Brave New World" (song), by Toyah from The Changeling
 * "Brave New World", a song by Technology from Nositel Idey
 * "The Opera Song (Brave New World)", by Jurgen Vries and Charlotte Church
 * "Brave New World", by Covenant from Skyshaper
 * "Brave New World", by Weezer from Hurley
 * "Brave New World", by Geri Halliwell, a B-side to the single "It's Raining Men"
 * "Brave New World", by Hedley from Famous Last Words
 * "Brave New World", by Iron Savior from Iron Savior
 * "Brave New World", by Glenn Frey from Strange Weather
 * "Brave New World", by Jeff Wayne from Jeff Wayne's Musical Version of The War of the Worlds
 * "Brave New World", by Motörhead from Hammered
 * "Brave New World", by Reagan Youth from Volume 2
 * "Brave New World", by Richard Ashcroft from Alone with Everybody
 * "Brave New World", the main theme from the video game Namco × Capcom
 * "Brave New World", by Jan Hammer from Beyond the Mind's Eye
 * "Brave New World", by Thomas Newman from Skyfall: Original Motion Picture Soundtrack
 * "Brave New World", by Watsky and Kush Mody from x Infinity
 * "Brave New World", a song by Greta Van Fleet from Anthem of the Peaceful Army
 * "Brave New World", a song by New Model Army from The Ghost of Cain
 * "Brave New World", a song by Iron Maiden from Brave New World (Iron Maiden album)
 * ”Brave New World”, a song by Starset

Other

 * Brave New World, a television news music package composed by Shelly Palmer
 * Brave New World, a band founded by Adam Holzman

Other uses

 * Brave New World (role-playing game), a superhero role-playing game
 * DCU: Brave New World, a 2006 comic book released as part of DC Comics' One Year Later event
 * Civilization V: Brave New World, an expansion pack for the video game Civilization V
 * Project X Zone 2: Brave New World , a crossover tactical role-playing game for the Nintendo 3DS
 * Final Fantasy VI: Brave New World, a ROM hack of Final Fantasy VI

title: Brave New World (disambiguation)


text:
Wikipedia:Articles for deletion/Semiconductor Equipment and Materials International

 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 - kept - SimonP 23:39, Jun 15, 2005 (UTC)

Semiconductor Equipment and Materials International
NN CondeNasty 09:41, 1 Jun 2005 (UTC)
 * Object to vandalous listing. Alphax τεχ 10:27, 1 Jun 2005 (UTC)

 * Object There is no posible reason this article should be listed for deletion. Looking at CondeNasty's other edits, it's clear he's a vandal and I'm going to revert out the VfD notice. Atlant 14:06, 1 Jun 2005 (UTC)

 * Faulty listing, nominator failed to state why this was not notable. Mgm|(talk) 16:44, Jun 1, 2005 (UTC)
 * Comment I agree that this nomintaion is faulty. CondeNasty, please elaborate on why you think this subject is not notable. Zzyzx11 (Talk) 17:59, 1 Jun 2005 (UTC)

 * Comment CondeNasty was listed in Vandalism in progress (and not by me!) so I don't expect you'll see much in the way of discussion/defense from him. Atlant 19:01, 1 Jun 2005 (UTC)
 * Keep it is a valid group that has been around for a long time. Vegaswikian 06:18, 2 Jun 2005 (UTC)
 * Keep and expand. Agree with Vegaswikian. JamesBurns 11:04, 2 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.