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User:SylwiaS

=HELLO!=

My name is Sylwia and I come from Warsaw, Poland.

I take an eager interest in many things, but as we mostly like those songs, which we have already heard before, I am particularly interested in things, which refer to my country.

I find Wikipedia a wonderful tool, which has provided me with information many times in the past, and I am sure, will be as useful to me in the future.

If you have a free minute, you are welcome to read a tongue in cheek How to deal with Poles --SylwiaS 06:34, 5 Jun 2005 (UTC)

To learn more about Poland, go to our Portal. Enjoy!

88%     Cultural Creative      75%      Existentialist      75%      Modernist      44%      Idealist      38%      Romanticist      25%      Materialist      19%      Fundamentalist      13%

My contributions

pl: User:SylwiaS

title: User:SylwiaS


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Ball-Hog or Tugboat?

Ball-Hog or Tugboat? is the 1995 debut solo album by American musician Mike Watt, previously known for his work as the bass guitarist and songwriter for the punk rock groups Minutemen and fIREHOSE.

The title references the difference between being a team player or being a glory hog. Watt explained it as "Are you going to be the tugboat which helps boats dock in rough surf safely? Or are you going to be like some glory hound who shoots the fucking ball every time you get it?" Watt recorded the album with a rotating cast of alternative rock all-stars.

Background
It was recorded in 1994, and came at a personal and professional career crossroads for Watt. fIREHOSE had broken up after eight years and six releases earlier in 1994, and his marriage to Kira Roessler (former Black Flag bassist) had ended in divorce, though they remained on good terms and worked as a duo in Dos; Kira also contributed some computer graphics to the album's artwork.

Without a full-time band, Watt recruited a wide variety of friends and fellow travelers to participate in the recording of the album. These included fellow SST Records alumni like former Black Flag vocalist Henry Rollins, members of Sonic Youth, Curt and Cris Kirkwood of the Meat Puppets, former Saccharine Trust guitarist Joe Baiza, Dinosaur Jr's J Mascis, and former SST house producer Spot. Other contributors included members of bands who had either toured with and/or been influenced by the Minutemen and Firehose, including Pearl Jam's Eddie Vedder, Nirvana's Krist Novoselic and Dave Grohl (making their first recorded appearance on a record since Kurt Cobain's death), Jane's Addiction and Porno for Pyros drummer Stephen Perkins, Red Hot Chili Peppers's Flea, Bikini Kill's Kathleen Hanna, Soul Asylum's Dave Pirner, former Germs and Nirvana guitarist Pat Smear, former Pixies singer Frank Black, former The Screamers and Twisted Roots keyboardist Paul Roessler (who was Watt's brother-in-law), The Lemonheads frontman Evan Dando, The Circle Jerks' Zander Schloss, former Screaming Trees vocalist Mark Lanegan and guitarist Gary Lee Conner, jazz/punk guitarist Nels Cline and his drummer Michael Preussner, that dog's Petra and Rachel Haden and Anna Waronker, and Mike D and Ad-Rock of the Beastie Boys. Also participating on the album were Parliament/Funkadelic organist Bernie Worrell, Carla Bozulich of the Geraldine Fibbers, Vince Meghrouni and Tony Atherton from the jazz band Bazooka and Bruce Hornsby drummer John Molo.

In interviews and on his online tour journals, Watt has nicknamed Ball-Hog... "The Wrestling Album", as he considered the various lineups we worked with on the album as "people getting into the ring" with him. Watt has also mentioned in interviews that professional wrestling is one of the few things he regularly watches on television (He once named The Magnificent Muraco as a favorite wrestler.) Watt's longtime friend, artist Raymond Pettibon (another wrestling fan), added to the wrestling theme by contributing to the artwork a panel cartoon with the caption "Sex with you is like watching scientific wrestling".

Singles
"Big Train" was the first single from the album and one of only two songs Watt sang lead vocal on (the other being the closing track, "Coincidence Is Either Hit Or Miss".) The album's other singles, "Against The 70's" and "Piss-Bottle Man", featured Eddie Vedder and Evan Dando on lead vocals respectively. The initial plan was for Vedder to sing on a cover of Captain Beefheart's "Dirty Blue Gene" but at the last minute they decided to record "Against the 70s" instead. All three of the singles were airplay hits on both modern rock and college radio, with "Against The 70's" peaking at #21 on the Billboard Modern Rock Tracks chart. Videos were also shot for "Big Train" and "Piss-Bottle Man"; the former video originally featured models of Union Pacific trains in the footage, which was blurred out in a subsequent version of the clip after the company raised a copyright objection.

As part of the label's push behind the album, Columbia released the album as a limited-run double-vinyl LP, pressed on deep blue vinyl, and in a limited edition cardboard 12-inch by 6-inch sleeve that included both the standard CD insert as well as a second CD booklet that contained a "glossary of Pedro slang".

Critical reception
The Indianapolis Star noted the "message-laden anthems, schizophrenic jazz-rock and an unbearable 12-minute version of George Clinton's 'Maggot Brain'."

Tour
Watt assembled an all-star grouping for his initial tour for the album in early 1995, attracting a great deal of attention from the alternative music press. Watt was backed by Vedder on guitar and vocals, Smear on guitar, William Goldsmith on drums, and Dave Grohl alternating on guitar and drums. The tour also featured Vedder's band Hovercraft and the Foo Fighters on their first national tour. Watt's ensemble performed on The Jon Stewart Show during this tour. Special guests such as Carla Bozulich and Perry Farrell appeared at select shows.

A May 1995 tour date in Chicago was recorded and later released as "Ring Spiel" Tour ’95.

Later in the year Watt toured with a four-piece nicknamed The Crew Of The Flying Saucer with guitarist Nels Cline and two drummers, Michael Preussner and Vince Meghrouni, who served as an opening act for Primus on their 1995 US tour.

Track listing
All tracks composed by Mike Watt; except where indicated

 * 1) "Big Train" (Tony Kinman, Chip Kinman) – 3:21
 * 2) "Against the 70's" – 3:28
 * 3) "Drove Up from Pedro" – 4:32
 * 4) "Piss-Bottle Man" – 3:16
 * 5) "Chinese Firedrill" (Watt, Joe Carducci) – 3:25
 * 6) "Intense Song for Madonna to Sing" – 3:05
 * 7) "Tuff Gnarl" (Sonic Youth) – 3:10
 * 8) "Sexual Military Dynamics" (Watt, Henry Rollins) – 2:39
 * 9) "Max and Wells" – 3:11
 * 10) "E-Ticket Ride" – 4:27
 * 11) "Forever... One Reporter's Opinion" – 3:41
 * 12) "Song for Igor" – 2:46
 * 13) "Tell 'em Boy!" – 3:29
 * 14) "Sidemouse Advice" – 3:31
 * 15) "Heartbeat" – 5:34
 * 16) "Maggot Brain" (George Clinton, Eddie Hazel) – 12:05
 * 17) "Coincidence Is Either Hit or Miss" – 2:20

Personnel

 * Mike Watt			- 	Bass, Lead Vocals, Background Vocals, Spoken Word
 * Dave Grohl		- 	Drums, Guitar
 * Nels Cline		- 	Guitar, Slide guitar, Lead Guitar, Nylon Guitar
 * Eddie Vedder		- 	Guitar, Lead Vocals, Background Vocals
 * J Mascis			-	Guitar, Drums
 * Cris Kirkwood		-	Banjo
 * Curt Kirkwood		-	Lead Guitar
 * Gary Lee Conner	-	Lead Guitar
 * Krist Novoselic		-	Farfisa Organ
 * Carla Bozulich		-	Vocals, Background Vocals
 * Michael Preussner	-	Drums
 * Joe Baiza			-	Guitar
 * Paul Roessler		-	Piano
 * Danny Frankel		-	Percussion
 * Spot	-	Mandolin, Viola
 * Evan Dando			-	Vocals
 * Bob Lee	-	Drums
 * Zander Schloss		-	Guitar
 * John Strohm		-	Guitar
 * Anna Waronker		-	Background Vocals
 * Petra Haden		-	Background Vocals, Violin
 * Rachel Haden		-	Background Vocals
 * Frank Black		-	Vocals
 * Keith McCaw		-	Acoustic Guitar
 * Stephen Perkins		-	Percussion, Drums
 * Thurston Moore		-	Guitar
 * Lee Ranaldo		-	Guitar
 * Steve Shelley		-	Drums
 * Epic Soundtracks		-	Tambourine
 * Henry Rollins		-	Vocals
 * Wayne Griffin		-	Drums
 * Butler	-	Guitar
 * Mark Lanegan		-	Vocals
 * Brock Avery		-	Drums
 * Todd Rigione		-	Guitar
 * Michael Diamond	-	Vocals
 * Tony Atherton		-	Alto Saxophone
 * Coco Hayley Gordon Moore	-	Background Vocals
 * Flea	-	Lead Bass, Pocket Trumpet
 * John Molo		-	Drums
 * Vince Meghrouni	-	Percussion, Background Vocals, Vocals, Drums, Tenor Saxophone
 * Pat Smear		-	Vocals
 * Dave Pirner		-	Vocals
 * Tiffany Anders		-	Vocals
 * Richie West		-	Drums
 * Kathleen Hanna		-	Spoken Word
 * Bernie Worrell		-	B3 Organ
 * Adam Horovitz		-	Drums, Guitar, Background Vocals
 * Ronda Rindone		-	Bass clarinet
 * Mario Caldato Jr.	-	Background Vocals
 * Tony Maxwell		-	Cello

Track credits
The album liner notes list the following performers by track:

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

title: Ball-Hog or Tugboat?


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Dale Hayes

Dale Hayes (born 1 July 1952) is a South African professional golfer.

Amateur career
Hayes won the 15–17 Boys category at the Junior World Golf Championships in 1969.

Professional career
Hayes turned professional in 1970. He won more than a dozen events in South Africa, leading the South African Tour Order of Merit in 1972/73. He also finished as runner up on the Order of Merit in 1974, 1975, 1976 and 1979. In 1974, he won the World Cup of Golf for South Africa in partnership with Bobby Cole.

In 1971, Hayes won the Spanish Open at the age of 18 years. In 1973, he was fourth on the European Tour Order of Merit, improving to second in 1974 and first in 1975. He played on the PGA Tour in 1976 and 1977, with a best finish of tied for second at the 1977 Florida Citrus Open. He also finished in the top four on the European Tour's Order of Merit in 1978 and 1979, but played little professional golf after his late twenties.

Since he stopped playing tour golf, Hayes has remained involved in the sport in a variety of ways. He has worked as a broadcaster in South Africa and for the Golf Channel, started and edited a golf magazine and helped to found an internet golf shopping business. He is involved in golf course design through a company called Matkovich & Hayes, although he deals only with marketing and public relations, while the actual design is handled by his business partner Peter Matkovic, a professional golfer. Hayes also works as a public speaker and gives golf clinics.

Amateur wins

 * 1969 World Junior Championship (Boys 15–17), South African Amateur Stroke Play Championship, German Amateur Championship, Brazilian Amateur Championship
 * 1970 South African Amateur Stroke Play Championship, Scottish Amateur Stroke Play Championship

European Tour wins (4)
European Tour playoff record (0–1)

Southern Africa Tour wins (14)
Southern Africa Tour playoff record (3–2)

Other wins (5)

 * This list is incomplete.

 * 1971 Spanish Open
 * 1974 Coca-Cola Young Professionals' Championship, World Cup (with Bobby Cole)
 * 1975 T.P.D. Young Professionals' Championship
 * 1980 Columbian Open

Results in major championships
{{legend|#eeeeee|Did not play}} CUT = missed the half-way cut (3rd round cut in 1972 Open Championship) "T" = tied Note: Hayes never played in the U.S. Open or the PGA Championship.

Team appearances
Amateur
 * Eisenhower Trophy (representing South Africa): 1970

Professional
 * World Cup (representing South Africa): 1974 (winners), 1976
 * Datsun International (representing South Africa): 1976 (winners)

title: Dale Hayes


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Wikipedia:Peer review/Hassan Evan Naseem/archive1

Hassan Evan Naseem
Hello, I would you guys to do peer reviewing of this article, mainly for grammitc errors. Other suggestions for improvement will very much be appricated. --Oblivious 06:36, 5 Jun 2005 (UTC)

 * I've made a few grammatical changes, feel free to revert if you think I've changed the meaning of anything.-gadfium 09:38, 5 Jun 2005 (UTC)

 * It's better now. Thanks --Oblivious 09:45, 5 Jun 2005 (UTC)


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Talk:O.C. Episodes

VfD debate. -- Scott eiπ  06:38, Jun 5, 2005 (UTC)

i'm going to blank and redirect this page to List of episodes of The O.C. That one has more information, and so this duplicate doesnt need to stay. Please see the talk page. Any bizarre reasons why it should stay? Or perhaps deleted rather than redirected? -- jeffthejiff  ( talk ) 12:52, 18 November 2005 (UTC)
 * Thanks for the note. I reverted this once yesterday when Jack Cox blanked it. He may have been doing the same thing as you, but at the time I didn't see any discussion on it (no edit summary). Cheers.--Bookandcoffee(Leave msg.) 17:51, 18 November 2005 (UTC)

title: Talk:O.C. Episodes


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Ginger beef

Ginger beef is a Canadian Chinese dish made from beef, ginger, and a distinctive sweet sauce.

The ingredients of ginger beef can depend on where it is featured, but the Albertan version generally consists of deep fried strips of beef coated in a dark sweet sauce that is reminiscent of other Asian sauces based on vinegar and sugar. It also contains flavors of ginger, garlic, and hot peppers, and is commonly served with a small amount of julienned carrots and onions in the sauce. Ginger beef is derived from the original Geung Ngao Yuk dish.

As with many dishes, the invention of ginger beef is claimed by several restaurants and chefs. However, the most widely accepted origin attributes the dish's development during the mid-1970s by chef George Wong at the Silver Inn in Calgary, Alberta. The dish is now a very common offering in Canadian Chinese restaurants. A radio segment featuring ginger beef was aired on CBC Radio One programme The Main Ingredient. In September 2022 the Silver Inn announced it would permanently close after serving the community for 45 years.

title: Ginger beef


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Autophone

The Autophone was an early type of organette, invented in 1878 by Henry Bishop Horton. One of the first table-top organettes to be mass-produced, it played music using punched cards to activate 22 reeds.

title: Autophone


text: User talk:68.76.103.244

title: User talk:68.76.103.244


text: Talk:Indian School of Business

title: Talk:Indian School of Business


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Breton literature

Breton literature may refer to literature in the Breton language (Brezhoneg) or the broader literary tradition of Brittany in the three other main languages of the area, namely, Latin, Gallo and French – all of which have had strong mutual linguistic and cultural influences.

Old and Middle Breton literature
Breton literature can be categorised into an Old Breton period, from the 5th to 11th century; and a Middle Breton period, up to the 17th century. The period break is marked by the Norman invasions of the 10th and 11th centuries which triggered an exodus out of Brittany. Many Old Breton extant words are glosses in Latin manuscripts from the 9th and 10th centuries, now scattered in libraries and collections throughout Europe. It is likely there was a highly developed oral tradition during the Old Breton period. And on the evidence of Breton names, it would appear that Old and Middle Breton literature inspired much of Arthurian literature, the story of Tristan and Iseult and the Lais of Marie de France.

Leyden Manuscript
The oldest surviving manuscript in the Breton language (dating to the end of the 8th century) is kept at Leyden University, Netherlands, and predates the oldest text referenced in French by more than a century. It is generally assumed by specialists that this is the most ancient text in a continental Brythonic language and was studied by the late Professor Léon Fleuriot (1923–1987). The manuscript itself is a fragment of medicinal recipes composed of plants suggesting that Breton may well have been used by people of learning at the turn of the 11th century.

The Breton Gospel
Although written in Latin the Breton Gospel (British Library, Egerton 609) is an important literary work in terms of the wider scope of Breton culture. Amongst other things it attests to a high degree of learning and, presumably, monasterial wealth in Brittany comparable to that of Lindisfarne and Kells. The Gospel Book manuscript dating from the 9th century contains the Latin text of the four Gospels, along with prefatory material and canon tables – an interesting admixture of traditions. The Breton Gospel is similar to the form of Carolingian minuscule developed at Tours – one of the classicising centres of the Carolingian Renaissance, and although the form of the large illuminated letters that form the beginning of each Gospel are comparable to those found in Carolingian manuscripts, the decoration thereof is far more similar to Celtic Church manuscripts such as the Book of Kells and the Lindisfarne Gospels, suggesting a continuum of cultural tradition. However, the decoration here is simpler and more geometric in form than that to be found in insular manuscripts. The beginning of each Gospel is preceded by a full miniature of the appropriate Evangelist's symbol and the vellum folios themselves measure 32.5 by 23 centimetres.

Glosses
Another early known piece of Breton literature is found in the margins of a 14th-century Latin manuscript, scribbled by a scribe weary of his toil and mind on more immediate concerns, he left for posterity a four line love poem, the first two lines beginning:

 * An guen heguen am louenas
 * An hegarat an lacat glas

 * The fair one, her cheek gladdened me
 * The lovable one of the blue eye.

Epic poetry
The main principle of Breton poetry is that the next to last syllable in a line should rhyme with one or more other syllables in the same line. For example, in the first line above, "en" is the second to last syllable, which rhymes with "guen" and "heguen". In the second line, "at" is the second to last syllable which rhymes with "hegarat".

There are several texts from the 15th and 16th century:
 * Destruction of Jerusalem, fragments.
 * Life of Saint Guénolé, fragments.
 * Dialogue Between Arthur and Guynglaff, a very badly damaged 247-line poem passed down through multiple generations of copies.
 * Life of Saint Nonn and Her Son Devy
 * Buhez Sante Barba ("The Life of Saint Barbara"), a mystery play on the life and miracles of Saint Barbara.

Modern literature
Before the literary revival movement promoted by Gwalarn in the early 20th century, most literature in Breton consisted of religious writings.

Prose writings in Breton, almost exclusively religious, started appearing from the 17th century. The second half of the 18th century saw the appearance of the first secular works in Breton: Ar Farvel Goapaer by François-Nicolas de Pascal de Kerenveyer and Sarmoun great war ar maro a Vikael Vorin by Claude-Marie Le Laë. Most literature remained oral, however.

Yann-Frañsez ar Gonideg (1775–1838) played an important role by initiating a reform of Breton orthography, producing an orderly grammar and making the first Modern Breton translation of the New Testament.

19th century
The 19the century witnessed "a veritable explosion" of published works of Breton literature, particularly after ties between the Breton people and the Catholic clergy were restored following the religious persecution of the First French Republic.

Increasingly, antiquarians and Celtic revivalists undertook the collection of folk texts, songs and stories. The wave of interest in collecting oral traditions reached Brittany around 1815-1820 when educated members of the nobility such as Aymar de Blois de La Calande, Barbe-Émilie de Saint-Prix, Jean-Marie de Penguern, Jean-François de Kergariou, Ursule Feydeau de Vaugien, exchanged their findings informally. Writers such as Anatole Le Braz and Théodore Hersart de la Villemarqué (son of Ursule Feydeau de Vaugien) brought new readers to traditional Breton literature.

Barzaz Breizh (literally "The Bards of Brittany") is a collection of Breton oral poetry collected by La Villemarqué and published in 1839 (revised and expanded edition 1845). It was compiled from the oral tradition and preserves Breton mythology, legends, and music. Although hugely influential, Barzaz Breiz came under attack from a later generation of collectors, who accused La Villemarqué, like James Macpherson and the Brothers Grimm, of collecting songs and stories and then editing them before publication to accord with contemporary literary taste. Taking a more rigorous approach to the collection of oral material, François-Marie Luzel published Gwerziou Breiz Izel (1868–1874) and Contes Bretons (1870). Despite their differences, both La Villemarqué and Luzel inspired many others to collect and publish other works of oral poetry and to also write and publish a flood of new poetry in the Breton language.

Auguste Brizeux used Le Gonidec's standardised Breton for Telenn Arvor (1844), and his collection of proverbs, Furnez Breiz (1845).

In 1877, Lan Inisan published Emgann Kergidou ("The Battle of Kergidou"), the first and only novel in Breton to be published before the First World War. The novel is set during the 1793 Chouannerie in Saint-Pol-de-Léon; an uprising by Breton nobles and commons against the French Revolutionary Army and the First French Republic.

20th–21st centuries
Even though the neo-bardic, Gorsedd, and Eisteddfod movement in Brittany was founded during the early 19th century by Auguste Brizeux, the real heyday of the movement took place between 1900 and the outbreak of the First World War. Those two decades were dominated by François Jaffrenou, whose bardic name was Taldir, and who introduced many Iolo Morganwg-inspired elements of Welsh culture into Breton culture. During those decades, Taldir founded the Gorsedd Barzed Gourenez Breiz Isel (The Gorsedd of Bards of the Peninsula of Brittany) and did much to encourage both traditional Celtic poetry and a sense of community among Breton Bards.

The poet Jean-Pierre Calloc'h (1888–1917) was killed during the First World War. His posthumously-published collection Ar en deulin established his reputation as a war poet.

According to Jelle Krol, "It is not merely a collection of poems by a major Breton poet: it is a symbol of homage to Yann-Ber Kalloc'h and all those Bretons whose creative powers were cut short by their untimely deaths. Breton literature from the trenches is very rare. Only Yann-Ber Kalloc'h's poems, some war notes written by Auguste Bocher, the memoirs recounted by Ambroise Harel and Loeiz Herrieu's letters addressed to his wife survived the war."

In the 1920s, a movement, in which the linguist and author Roparz Hemon played an important part, arose to introduce both literary modernism and world literature into the Breton language. The literary magazine Gwalarn provided an outlet for literary modernism, such as Jakez Riou and Yves Le Drézen (who published the first long novel in Breton in 1941). The artistic movement Seiz Breur included writers.

The literary magazine Al Liamm published its first issue in 1946. Numerous authors of modern Breton literature, such as Abeozen, Per Denez, Youenn Drezen, Xavier de Langlais (Langleiz), Añjela Duval, Reun Ar C'halan, Maodez Glanndour, Youenn Gwernig, Roparz Hemon, Ronan Huon, Paol Keineg, Kerverzioù, Meavenn, Youenn Olier, Yann-Ber Piriou ... have made contributions to the magazine with poems, short stories, essays, studies, ... Breton poets and singers who were directly involved in the revival of the music of Brittany, such as Milig ar Skañv (Glenmor), Youenn Gwernig, or Bernez Tangi, have also published poems and songs in Al Liamm.

Pierre-Jakez Hélias (1914–1995) wrote stage plays, literary adaptations of tales from Breton mythology, prose, nonfiction, and poetry in both Breton, which he often self-translated into French in order to reach a wider audience. In 1948, he was the co-founder, with François Bégot and Jo Halleguen, of Les grandes Fêtes de Cornouaille Breton: Cornouaille Kemper) in Quimper, which he helped adapt from an annual beauty contest into a Welsh Eisteddfod-inspired summer festival celebrating Breton culture, literature, and music which still continues.

Helias' contemporary Añjela Duval (1905–1981) wrote poetry reflective of her peasant origins, mysticism, and social conscience.

In contrast to the concentration on short-form writings in Breton which had dominated production in the previous century, a trend towards novel-length writing developed from the 1980s. By the beginning of the 21st century a dozen or so novels on average were being published in Breton every year. The choice of genres was diverse, including detective fiction, historical fiction, and autobiographies. With incentives from educational contexts, contests and literary prizes, there has been a development of young adult fiction, often using fantasy and science fiction themes. Yann-Fañch Jacq is a notable author of such fiction aimed at young Breton-speaking readers. New more adult themes have appeared as the novel genre has developed: for example, Yann Fulub Dupuy's Par Dibar (2006) deals with sexuality. Finally special mention should be made of the poet and singer Denez Prigent, whose creative career and international success (a rarity in contemporary France, as opposed to the epoch of Jacques Brel) testifies to the appeal of Breton artists.

Prizioù is an annual (since 1997) award for expressions of Breton culture in seven categories, of which fiction is one. Prix Xavier de Langlais (named after Xavier de Langlais) is an annual (since 1976) prize for best unpublished prose work or poetry collection.

In popular culture

 * In 1865 a literary translation of Barzaz Breiz into English by Tom Taylor was published under the title Ballads and Songs of Brittany. The same book has also been translated into German, Italian, and Polish.
 * The 1888 opera Le roi d'Ys ("The King of Ys"), by French composer Édouard Lalo and based upon a libretto by Édouard Blau, is based on the legend in Barzaz Breiz of the drowned city of Ys in the kingdom of Cornouaille. The same story also inspired Claude Debussy's 1910 La cathédrale engloutie in his first book of Preludes.
 * The Lay of Aotrou and Itroun a 1930 poem of 508 lines by J. R. R. Tolkien, is based on the Breton lay An Aotrou Nann hag ar Gorigann ("Lord Nann and the Korrigan"). The poem was first published in Welsh Review in December 1945 and then republished posthumously in an edition by Verlyn Flieger in 2016.
 * Pierre-Jacques Hélias' memoir Marh ar lorh ("The Horse of Pride") was adapted for the big screen by Claude Chabrol in 1980.
 * In her 2009 album Uam, Scottish traditional musician Julie Fowlis recorded Breton World War I war poet Yann-Ber Kalloc'h's most famous song, Me 'zo Ganet kreiz ar e mor ("I was Born in the Middle of the Sea"). The lyrics were first translated from the original Breton language into Fowlis' native Scottish Gaelic.

title: Breton literature


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David Frost (golfer)

David Laurence Frost (born 11 September 1959) is a South African professional golfer who was ranked in the top 10 of the Official World Golf Ranking in the late 1980s and early 1990s. Frost has 29 professional tournament wins to his name, spread across four continents, including the World Series of Golf, South African Open, Nedbank Million Dollar Challenge and Canadian Open. He has also been on the winning Alfred Dunhill Cup team and played in the Presidents Cup.

Early life
Frost was born in Cape Town, South Africa and graduated from Paarl Boys' High School in 1977. He used to be a cigarette salesman.

Professional career
In 1981, he turned professional. Frost scored his first professional win in his home country in 1983 and has continued to play in South Africa in the northern winter, but like other leading South African golfers he has spent far more time playing internationally. In line with many other Commonwealth golfers his first move abroad was to the European Tour and he played that tour from 1982 to 1984.

From 1985 he was primarily on the U.S.-based PGA Tour. He moved to Miami, Florida. In 1989, he won the NEC World Series of Golf, defeating Ben Crenshaw at the second playoff hole. He made the top ten on the PGA Tour money list twice, placing 9th in 1988 and 5th in 1993 and was ranked in the top 10 of the Official World Golf Rankings for 86 weeks between 1988 and 1994. By his forties, he was no longer a regular contender on the tour, but in 2005 he set the all time PGA Tour 72-hole putting record with 92 putts at the MCI Heritage.

In 2007, Frost re-established his career on the European Tour aiming on the senior tour when turning 50.

In June 2013, Frost won his maiden senior major championship at the 2013 Regions Tradition. He won by a single stroke over Fred Couples to claim his first major title in his 17th attempt. It was also his fifth career victory on the Champions Tour. In March 2015, Frost won his sixth Champions Tour title at the Mississippi Gulf Resort Classic by a single stroke over Tom Lehman and Kevin Sutherland.

Frost won the Sunshine Tour Order of Merit in 1998/99. He was a member of the International Team in the first staging of the Presidents Cup in 1994, and took part again in 1996. In both 1997 and 1998 he captained South Africa to victory in the Alfred Dunhill Cup at the Old Course in St Andrews, Scotland. His teammates were Ernie Els and Retief Goosen on both occasions.

Private life
The son of a vintner himself, Frost owns a winery in the Western Cape, South Africa, which produces vintages named after golf legends such as Jack Nicklaus and Arnold Palmer.

PGA Tour wins (10)
PGA Tour playoff record (2–3)

European Tour wins (2)
1Co-sanctioned by the Southern Africa Tour

European Tour playoff record (0–1)

PGA of Japan Tour wins (1)
PGA of Japan Tour playoff record (1–0)

Asia Golf Circuit wins (1)
Asia Golf Circuit playoff record (1–0)

Southern Africa Tour wins (5)
1Co-sanctioned by the European Tour

Southern Africa Tour playoff record (0–1)

Other wins (3)
Other playoff record (0–1)

Champions Tour wins (6)
Champions Tour playoff record (1–2)

European Senior Tour wins (2)
European Senior Tour playoff record (1–1)

Results in major championships
{{legend|yellow|Top 10}} {{legend|#eeeeee|Did not play}} CUT = missed the half-way cut "T" = tied

Summary

 * Most consecutive cuts made – 6 (1986 PGA – 1988 Masters)
 * Longest streak of top-10s – 3 (1987 Open Championship – 1988 Masters)

Results in The Players Championship
{{legend|yellow|Top 10}} {{legend|#eeeeee|Did not play}} CUT = missed the halfway cut WD = withdrew "T" indicates a tie for a place

Results in World Golf Championships
{{legend|#eeeeee|Did not play}} "T" = Tied

Results timeline
Results not in chronological order before 2022. {{legend|lime|Win}} {{legend|yellow|Top 10}} {{legend|#eeeeee|Did not play}} CUT = missed the halfway cut WD = withdrew DQ = disqualified "T" indicates a tie for a place NT = no tournament due to COVID-19 pandemic

Team appearances
Professional
 * Hennessy Cognac Cup (representing the Rest of the World): 1984
 * Alfred Dunhill Cup (representing South Africa): 1991, 1992, 1993, 1994, 1995, 1997 (winners), 1998 (winners), 1999, 2000
 * Presidents Cup (International Team): 1994, 1996
 * World Cup (representing South Africa): 1998, 1999
 * Alfred Dunhill Challenge (representing Southern Africa): 1995 (winners)

title: David Frost (golfer)


text:
Mountain warfare

Mountain warfare or alpine warfare is warfare in mountains or similarly rough terrain. The term encompasses military operations affected by the terrain, hazards, and factors of combat and movement through rough terrain, as well as the strategies and tactics used by military forces in these situations and environments.

Mountain ranges are of strategic importance since they often act as a natural border and may also be the origin of a water source such as the Golan Heights. Attacking a prepared enemy position in mountain terrain generally requires a greater ratio of attacking soldiers to defending soldiers than a war conducted on level ground. Mountains present natural hazards such as lightning, strong gusts of wind, rockfalls, avalanches, snowpacks, ice, extreme cold, and glaciers with their crevasses; in these ways, it can be similar to cold-weather warfare. The generally uneven terrain and the slow pace of troop and material movements are additional threats to combatants. Movement, reinforcements, and medical evacuation up and down steep slopes and areas in which even pack animals cannot reach involves an enormous exertion of energy.

Second Punic War
In 218 BC (DXXXVI AUC), the Carthaginian army commander Hannibal marched troops, cavalry and African elephants across the Alps in an effort to conquer Rome by approaching it from north of the Italian Peninsula. The Roman government was complacent because the Alps were viewed as a secure natural obstacle to would-be invaders. In December 218 BC, the Carthaginian forces defeated Roman troops, in the north, with the use of elephants. Many elephants did not survive the cold weather and disease typical of the European climate. Hannibal's army fought Roman troops in Italy for 15 years but failed to conquer Rome. Carthage was ultimately defeated by Roman general Scipio Africanus at Zama in North Africa in 202 BC (DLII AUC).

Early history

The term mountain warfare is said to have come about in the Middle Ages after the European monarchies found it difficult to fight the Swiss armies in the Alps because the Swiss fought in smaller units and took vantage points against a huge unmaneuverable army. Similar styles of attack and defence were later employed by guerrillas, partisans and irregulars, who hid in the mountains after an attack, which made it challenging for an army of regulars to fight back. In Napoleon Bonaparte's Italian campaign, Suvorov's Italian and Swiss expedition and the 1809 rebellion in Tyrol, mountain warfare played a large role.

Another example of mountain warfare was the Crossing of the Andes, which was carried out by the Argentinean Army of the Andes (Ejército de los Andes), commanded by General José de San Martín in 1817. One of the divisions climbed mountains surpassing 5000 m in height.

The Caucasian War was a 19th century military conflict between the Russian Empire and various peoples of the North Caucasus who resisted subjugation during the Russian conquest of the Caucasus.

The first British invasion of Afghanistan ended in disaster in 1842, when 16,000 British soldiers and camp followers were massacred as they retreated through the Hindu Kush back to India.

World War I
Mountain warfare came to the fore once again during World War I, when some of the nations that were involved in the war had mountain divisions that had not been tested. The Austro-Hungarian defence repelled Italian attacks by taking advantage of the terrain in the Julian Alps and the Dolomites, where frostbite and avalanches proved deadlier than bullets. During the summer of 1918, the Battle of San Matteo took place on the Italian front and was fought at the highest elevation of any during the war. In December 1914, another offensive was launched by the Ottoman supreme commander Enver Pasha with 95,000–190,000 troops against the Russians in the Caucasus. Insisting on a frontal attack against Russian positions in the mountains in the heart of winter, the result was devastating, and Enver lost 86% of his forces.

World War II
Examples of mountain warfare used during World War II include the Battles of Narvik, Battle of the Caucasus, Kokoda Track campaign, Battle of Attu, Operation Rentier, Operation Gauntlet, Operation Encore, and the British defence at the Battle of Hong Kong.

One ambush tactic used against the Germans during the Battles of Narvik utilised hairpin bends. Defenders would position themselves above them and open fire when attackers reached a certain point below, parallel to themselves. This would force the attackers to: retreat; to continue under fire; or to attempt to climb the mountain another way. The tactic could be planned in advance, or employed by a retreating force.

Another tactic utilised was the 'ascending platoon attack'. Attackers would scout higher enemy positions from the ground, aided by bad weather or poor visibility. A Light Machine Gun (LMG) team would open fire towards the high enemy position from a distance, offering cover for the remaining soldiers to gradually advance.

Kashmir conflicts
Since the Partition of India in 1947, India and Pakistan have been in conflict over the Kashmir region. They have fought two wars and numerous additional skirmishes or border conflicts in the region. Kashmir is located in the Himalayas, the highest mountain range in the world.

The first hostilities between the two nations, during the Indo-Pakistani War of 1947, showed that both were ill-equipped to fight in biting cold, let alone at the highest altitudes in the world. During the Sino-Indian War of 1962, hostilities broke out between India and China in the same area.

The subsequent Indo-Pakistani War of 1965 between India and Pakistan was mainly fought in Kashmir's valleys, rather than the mountains themselves, but several mountain battles took place. During the Kargil War (1999), Indian forces sought to flush out opponents who had captured high mountain posts. That proxy war was the only modern war that was fought exclusively in the mountains. After the Kargil War, the Indian Army implemented specialist training on artillery use in the mountains, where ballistic projectiles have different characteristics than at sea level.

Falklands War

Most of the Falklands War took place on hills in semi-Arctic conditions on the Falkland Islands. However, during the opening stage of the war, there was military action on the bleak mountainous island of South Georgia, where a British expedition sought to eject occupying Argentine forces. South Georgia is a periantarctic island, and the conflict took place during the southern winter and so Alpine conditions prevailed almost down to sea level. The operation (codenamed Operation Paraquet) was unusual in that it combined aspects of long-range amphibious warfare, arctic warfare and mountain warfare. It involved several ships, special forces troops and helicopters.

War in Afghanistan
Throughout history but especially since 1979, many mountain warfare operations have taken place throughout Afghanistan. Since the coalition invasion of Afghanistan in 2001, they have been primarily in the eastern provinces of Kunar and Nuristan.

Kunar and eastern Nuristan are strategic terrain since the area constitutes a major infiltration route into Afghanistan, and insurgents can enter the provinces from any number of places along the border with Pakistan to gain access to a vast network of river valleys. In that part of Afghanistan (Regional Command East), the US military adopted a hybrid style of mountain warfare incorporating counterinsurgency (COIN) theory in which the population is paramount as the center of gravity in the fight.

In counterinsurgency, seizing and holding territory are less important than avoiding civilian casualties. The primary goals of counterinsurgency are to secure the backing of the populace and thereby to legitimize the government, rather than to focus on militarily defeating the insurgents. Counterinsurgency doctrine has proved difficult to implement in Kunar and Nuristan. In the sparsely-populated mountain regions of eastern Afghanistan, strategists have argued for holding the high ground, a tenet of classical mountain warfare. The argument suggests that if the counterinsurgent does not deny the enemy the high ground, the insurgents can attack at will. In Kunar and Nuristan, US forces continued to pursue a hybrid style of counterinsurgency warfare, with its focus on winning hearts and minds, and mountain warfare, with the US forces seizing and holding the high ground.

Training
The expense of training mountain troops precludes them from being on the order of battle of most armies except those that reasonably expect to fight in such terrain. Mountain warfare training is arduous and in many countries the exclusive preserve of elite units such as special forces or commandos, which as part of their remit should have the ability to fight in difficult terrain such as the Royal Marines. Regular units may also occasionally undertake training of this nature.

title: Mountain warfare


text:
User talk:Brianjd

M.C. Brown Shoes
I filed an RFD, then retracted and tagged it for G1. Ten Pound Hammer and his otters • (Broken clamshells • Otter chirps • HELP) 22:43, 21 February 2009 (UTC)

AfD nomination of KrisWorld
I have nominated KrisWorld, an article that you created, for deletion. I do not think that this article satisfies Wikipedia's criteria for inclusion, and have explained why at Articles for deletion/KrisWorld. Your opinions on the matter are welcome at that same discussion page; also, you are welcome to edit the article to address these concerns. Thank you for your time.Please contact me if you're unsure why you received this message. Russavia Dialogue 04:17, 9 April 2009 (UTC)

Re: Life on Earth
The following comment by me is exactly the same as the one at Talk:Carbon, except for the link added in the first line to preserve the context [ Brian Jason Drake 02:11, 30 April 2009 (UTC) ] :

The article carbon states:
 * Carbon compounds form the basis of all life on Earth...

Huh? According to Wikipedia's article, we don't even have a good definition of life! Even if we did, it's not entirely clear (at least from what I've read) that we know about all life on Earth. Brian Jason Drake 13:09, 24 April 2009 (UTC)

Dear Brian, that article is about what we know, not about what we don't know. As a scientist, I agree that any fact can be questioned, but there is a threshold for what we consider "knowledge", and in this question, the threshold is long passed. If start adding such tags, then most wikipedia articles will be unreadable. Best regards. NIMSoffice (talk) 23:28, 24 April 2009 (UTC)

 * Why does this, as you claim at Talk:Carbon, belong here? Brian Jason Drake 02:11, 30 April 2009 (UTC)

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sorry
oh i know what you mean! by tempting Blocked Users it means i tried to make them write back Right?
 * 'MJfan9 (talk) 19:20, 1 February 2010 (UTC)

 * It's not just that you tried to make them write back, it's that the way you asked that question seems likely to upset them, and therefore likely to tempt them to write something nasty back. Brian Jason Drake 03:42, 2 February 2010 (UTC)

sorry! i'll think next time by the way please leave messages comments or Replies on my talkpage next time
 * 'MJfan9 (talk) 20:07, 2 February 2010 (UTC)

Proposed deletion of Clean Urban Transport for Europe

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Nomination of Fuel Cell Bus Club for deletion
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Proposed deletion of Murdoch Transit Link

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You didn't get a response to this question and I wouldn't know how to answer it either. Did you get any help elsewhere?— Vchimpanzee  •  talk  •  contributions  •  20:16, 4 August 2020 (UTC)

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File:Valéry Inkijinoff.jpg
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You had made a request on en.wiki to have the higher resolution version of the File:Valéry Inkijinoff.jpg restored so you can transfer it to Commons. closed as keep and so I have restored the higher resolution image. You may now transfer as you see fit. Cheers. -- Whpq (talk) 13:05, 3 March 2023 (UTC)

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title: User talk:Brianjd


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User:Ryano53086

hi

title: User:Ryano53086


text: User talk:68.80.147.132

title: User talk:68.80.147.132


text:
User talk:Drekk~enwiki

You have been temporarily blocked from editing for vandalism of Wikipedia. If you wish to make useful contributions, you may come back after the block expires. Shanes 06:45, 5 Jun 2005 (UTC)

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title: User talk:Drekk~enwiki


text:
Little Deschutes River

The Little Deschutes River is a tributary of the Deschutes River in the central part of the U.S. state of Oregon. It is about 105 mi long, with a drainage basin of 1020 mi2. It drains a rural area on the east side of the Cascade Range south of Bend. The Little Deschutes and two other streams in its basin are listed as parts of the National Wild and Scenic Rivers System.

Course
The Little Deschutes River rises near Mule Peak in the high Cascades in the Mount Thielsen Wilderness in northwestern Klamath County, approximately 20 mi north of Crater Lake. It flows generally north from the mountains through the Deschutes National Forest, roughly following U.S. Highway 97 past La Pine. It joins the Deschutes from the south approximately 20 mi south of Bend in southern Deschutes County.

It passes through the small towns of Crescent and Gilchrist and joins with the Deschutes at Sunriver. The stream meanders significantly most of its course, though this is less pronounced above river mile 80 (river kilometer 130), which is near its crossing of Oregon Route 58.

"Wild and Scenic" designation
In 1988, the upper 12 mi of the river was designated part of the National Wild and Scenic Rivers System. The river's canyon and outwash plain contain eroding deposits of pumice and ash from the eruption of Mount Mazama about 7,000 years ago. Two other streams in the Little Deschutes drainage basin are also part of the system. A 10 mi stretch of Crescent Creek, all 15 mi of Big Marsh Creek, and the canyon section of the Little Deschutes have all been designated "recreational".

title: Little Deschutes River


text:
Template talk:Infobox animanga

Parameter for budget and gross for anime films
Similarly to Template:Infobox film, is it possible to add fields for budget and gross to the template's film infoboxes? Morgan695 (talk) 04:33, 26 February 2020 (UTC)
 * Seconding this. Budget and gross parameters would be nice, as some anime films have documented such. lullabying (talk) 04:04, 23 April 2020 (UTC)
 * I support this per lullabying, would be very useful. — Goszei (talk) 08:33, 20 May 2020 (UTC)
 * I have just added support for "Budget" and "Box office" fields. The "type" parameters for which the fields are enabled can be seen in this diff: Special:Diff/1017991620/1033038512. I considered adding budget support for OVA/ONA, but I thought that may be too broad. — Goszei (talk) 18:19, 11 July 2021 (UTC)
 * Support 08:43, 12 September 2022 (UTC) Shorouq★The★Super★ninja2 (talk) 08:43, 12 September 2022 (UTC)

Print parameter order proposal
The current parameter order for print works (manga and novels) looks like this:
 * Written by
 * Illustrated by
 * Published by
 * English publisher
 * Imprint
 * Magazine
 * English magazine
 * Demographic
 * Original run
 * Volumes

My main problem with this is that it fails to be chronological, which is a more logical ordering that enables smoother reading. Here is my proposal:
 * Written by
 * Illustrated by
 * Published by
 * Magazine
 * Imprint
 * Demographic
 * Original run
 * Volumes
 * English publisher
 * English magazine

(1) I moved the English-language publishing info to the bottom, since everything above that is (typically) information on the Japanese run and volumes, and mixing these in breaks that continuity. English versions also typically happen chronologically after the JP run and volumes are done, so placement after "Original run" and "Volumes" seems logical. I also think there is value in placing the fields right next to each other, since they are closely related. (2) I moved "Imprint" below "Magazine", because that makes more sense chronologically for the vast majority of cases; collected editions under an imprint usually start after serialization begins in a magazine. (3) I think that "Demographic" can remain after both Magazine and Imprint (instead of being directly under Magazine) because the imprint usually has the same associated demographic. I am open to moving Demographic under Magazine, however.

To see how the proposed order looks when used in an article, you can preview "Infobox animanga/Print/sandbox" in place of "Infobox animanga/Print" in any manga article. Thoughts on this proposal? — Goszei (talk) 07:08, 11 July 2021 (UTC)
 * Note: If this proposal goes through, there is potential for a similar reordering of the Licensee and English network fields for Video works. — Goszei (talk) 08:54, 11 July 2021 (UTC)
 * Support Shorouq★The★Super★ninja2 (talk) 08:45, 12 September 2022 (UTC)

"English network" parameter
I find this parameter questionable for a couple of reasons. The first is that the wording in the infobox implies "television channel that the programme broadcast on in England" and not "English-language television channels that the programme was broadcast on", which seems needlessly specific and is confusing if television channels from outside England are listed (while it is implausible that an anime would only be broadcast in England and not Scotland, Wales, or Northern Ireland, it probably is possible with the different ITV regions). Secondly listing off all the different television channels that broadcast a programme in English seems like it could quickly become unwieldy, if it had to include channels from the US, the UK, Canada, Australia, India, Singapore, South Africa, New Zealand, Hong Kong, Ireland, etc. I don't know what should be done about the latter issue, but at the very least the wording in infoboxes should be changed to clarify that the English language is being referred to rather than the English geographical area. HumanBodyPiloter5 (talk) 15:38, 4 June 2022 (UTC)HumanBodyPiloter5 (talk) 15:39, 4 June 2022 (UTC)

 * To say "English-language" instead of simply "English" would make the infobox parameter text take up more space and thus be harder to read for no real reason. It should be fairly obvious given the context, and the fact that often many of the networks that anime are broadcast on are of United States or Canadian origin, that the text refers to "network broadcasting programming in English." If the intent was to specify that the network(s) are of British origin, then it would say "British network." If anything, the parameters should perhaps be altered to "Network (EN)" and "Network (JP)" since these take up less space in the infobox and are clearly explicitly referring to the language of the network(s) in question. Joyce-stick (talk) 23:40, 5 June 2022 (UTC)

Suggesting a parameter for webcomics
This suggestion comes to my mind when expanding the article Room Camp that I created before. This manga is only published on Comic Fuz, a manga service by Houbunsha available online and through an app. This manga is only published online (no print publication) so I find it difficult to see Comic Fuz be on the "magazine" parameter despite being not a magazine whenever I visit this article. Centcom08 (talk) 09:56, 9 June 2022 (UTC)

 * I agree. A lot of manga magazines are going digital now so it might be worth looking into. Pixiv also has its own exclusive online publising service. lullabying (talk) 00:01, 15 October 2022 (UTC)

"Creator" parameter is not really applicable
Recently a minor dispute between myself and another editor arose regarding the accreditation in the infobox on the page for RWBY: Ice Queendom. Previously, the infobox listed both Gen Urobuchi (the series planner for Ice Queendom) and Monty Oum (RWBY's original creator) as the "creators" of the series in the header. The editor in question,, removed Oum's name from this field, making the argument in their edit summary that "Monty Oum is not the creator of this anime. "Creator" and "Based" are not the same thing." I, disagreeing with this assessment, reverted their edit on account of the fact that Oum is commonly regarded as the original creator of the RWBY franchise in general, and therefore, can be reasonably called a creator of this anime. Aoito in turn reverted my edit, demanding to see a source, which I provided in the form of the official staff and cast list on Ice Queendom's English website. As this template lacks a "based on" parameter along the lines of what is seen in Template:Infobox film, they then edited the infobox's "creator" field yet again to say "Created by Gen Urobuchi, based on RWBY by Monty Oum."

As I find it a reasonable compromise, I don't see this edit worth challenging on its own, but it does raise some faults with this template and specifically the use of the "Created by" parameter, as well as the (faulty) assumptions it implies. The problem appears to arise primarily from two factors:

 * 1) This template appears to be derived partially from Template:Infobox Television which, being written for the context of British and American television programs, assumes the existence of a showrunner who is responsible for the program's concept and overall creative management. This is generally not the case in anime; there is no role in anime production that can truly be called a singular "creator." It's a complicated chain of command and process, but it usually boils down to that a production committee is formed from various interested parties and they contract the staff (whose creative freedom may be more or less limited depending on the context, but is in general limited according to what the production committee desires) to produce the show. (Some more information here.)
 * 2) There are some exceptions where a single person may have more creative sway to the point that they may approach something approximating a "showrunner" but even then it's not quite the same. More information on such edge cases, in this case specifically concerning the roles Mari Okada has taken in some productions in which she was involved, can be found in this video by Callum May of The Canipa Effect. (He is listed as a reliable individual source under WP:A&M/RS, so this video can be considered to be a reasonably reliable source of this information).
 * 3) Not to mention the fact that, in any production (be it a cartoon, film, video game, whatever) that has many hands in its creation, there's hardly if ever a single person who can truly be called the sole "creator" but that's a somewhat different discussion.
 * 4) This issue has likely not been considered or discussed before, given that most anime are based on pre-established works (like manga or video games or light novels) whose narratives they hardly, if ever, significantly deviate from, and as such most of the time the "created by" parameter is hardly used as the creator is assumed to be the original author of the original work (and so that person's name is typically written in the lead of the page, or the "novel/manga" part of the box, so editors aren't likely to consider this matter further in most cases. In cases like this, however, where the anime in question is not a direct translation of a story from one medium to another, but a derivative work in some other way, or if it's an original anime production or part of a media franchise, the issue may become more complicated.

Actual official anime credits (like Ice Queendom's for example), when officially translated into English, hardly if ever credit anyone as a "creator" but rather for the "concept," "original work," "original story," "scenario," or something of that ilk. Given all this, I'd argue it would be much more appropriate to replace this parameter with something along those lines that more clearly expresses the nuance that there is no equivalent "showrunner" role- perhaps "original work" or "original story" as those seem to be the most commonly used terms.

It may also be suitable to have a "series composition" field, as this is also a common role whose duty is distinct from that of the originator of the concept or the episode screenwriter(s), though there may be overlap. Perhaps a "based on" parameter, for cases like this where the source work is not an anime or manga, would be appropriate as well. Joyce-stick (talk) 05:06, 11 July 2022 (UTC)

 * They way I see it has nothing to do with the "showrunner" credit that American and British television uses-- even if the animanga infobox is a derivative of said television infobox, its usage is by no means the same. As far as it's been used in articles in my experience, "creator" simply refers to the person who came up with the idea for the series, manga, or whatever else; and in these cases, we can categorize them based on the 原案 (original plan/concept) and 原作 (original work/creator) credits, which are almost always attributed to someone in the case of original productions in the credits and in interviews with cast or staff members.

 * I don't think the comment about production committees is particularly relevant in this case. Yes, committees are the ones with all of the control in anime productions, but committees are groups of producers that end up funding and being somewhat creatively involved in the process behind the scenes-- they have pretty much nothing to do with creating the work itself. For example, Puella Magi Madoka Magica has a committee (Madoka Partners) consisting of Aniplex, MBS, Hakuhodo DY Media Partners, Houbunsha, MBS, Movic, Nitroplus, and Shaft, but not all of these companies are credited with creating the series as far as Japanese productions go-- Magica Quartet (Ume Aoki, Akiyuki Shinbo, Gen Urobuchi, and Shaft) is specifically created for the "original work" (原作) and are commonly credited as the series' creators. In other words, the committee has power of financial production and ultimately own the work itself and decide when to air it among certain creative aspects through their producers (in Madoka's case, Aniplex's producer Atsuhiro Iwakami was involved; but, he's not credited with its conception).

 * You're right in saying that anime, as well as pretty much all media that features production crews, aren't the results of just one person's doing, but I also don't feel this is relevant either. Director Shinbo, for example, commonly attributes many of the things present in his works to other people; whether it's saying that a particular gag he found funny was the work of Nobuyuki Takeuchi's suggestion, or otherwise, the point of crediting a "creator" isn't to notate that every staff member was creatively involved, it seems to be more or less to notate who concepted the initial world or story that is to be built upon by the staff. The works of Yoshiyuki Tomino can be brought up-- although they are the product of many people, the entire Gundam franchise, as well as pretty much everything he works on as a director, attributes him solely as the original work/creator (原作).

 * As far as "series composition" goes, that's kind of just what the "writer" parameter of the infobox has been used for (concurrently with "screenplay" when there is no peculiar writer credited for series composition), but a few points of contention could be brought up with that too-- if we do that, then we'd have a separate parameter for "screenplay" itself or we could eliminate screenplay from the infobox entirely and use it only in the episode tables; however, some productions feature no series composition writer, and some productions' screenplays are written entirely by one person, but feature a different series composition writer. There are also cases like Kizumonogatari where an entirely different credit (screenplay composition) is matched with a whole other "screenplay work." Unless we were to somehow catalogue exactly what each credit would match to in one of these projects (screen comp = series comp, screen work = screen), which we could even further expand to include other credits (chief director = director, chief unit director = director), and so forth. Going even further, we could add a separate "animation producer" credit, since that's the person who actually finds all of the main staff for a particular work and manages the project from the studio producing it (making them far more involved than an ordinary producer; see | Shuuhei Yabuta's explanation)-- and so forth.

 * As a fun bit of trivia, you can find similar examples to RWBY: Ice Queendom's case with Gankutsuou: The Count of Monte Cristo (based on Dumas' novel (credited as "original work/creator"), but recontextualized into a sci-fi story with new and changed elements by Mahiro Maeda (credited as "original plan/concept")) and Romeo x Juliet ("original plan/concept" credited to Shakespeare, and "original work/creator" credited to Gonzo and Sky Perfect Well Think). If anyone asks why they're different, I think it's because Romeo x Juliet utilizes narrative elements, themes, characters, and some events from Shakespeare's novel, but is a wholly new product (not an adaptation), whereas Gankutsuo is a legitimate adaptation of the novel in a new setting with some other added elements.

 * In other words, it's just a very complex situation that I'm not sure anyone has an answer to just because Japanese credits have so many different nuances that are dissimilar to the west. Sarcataclysmal (talk) 18:23, 11 July 2022 (UTC)
 * Thanks for your input. Looking more closely at some other pages using the animanga template, it seems like common practice has been to specify these specific role distinctions in notes or parentheses (like on the page for Monogatari (series) for example) which I'll definitely be keeping in mind going forward. I feel it would not make much sense for us to create numerous more parameters for all these distinct accreditations as it'd create confusion and bloat on the reader's end, so instead perhaps it'd be best to codify that current practice in MOS:A&M if it is not already, as well as specify in this template page that a "creator" of a series can also include not only people who directly worked on a series but also creators of the work it is adapting or derived from, if they are credited for "original plan/work" or whatever else.
 * I've also observed that WikiProject Japan/Film credits glossary exists and seems to already include some of these terms, so I suppose this problem is already partially solved. Joyce-stick (talk) 21:49, 11 July 2022 (UTC)

 * I think part of the problem is less that there is a significant problem and more that the solution to said problem is tribal knowledge that isn't really indicated anywhere... perhaps? Sarcataclysmal (talk) 00:01, 12 July 2022 (UTC)

 * Yeah, I'd say so. If that's the case, I guess it'd be relatively uncontroversial to try to indicate it, so maybe we can and should edit the template guide/MOS to do so unless further WP:CONSENSUS on the matter is needed. (Pinging User:Sarcataclysmal, as I'm experiencing a technical error with the reply link and am not sure you'll get notified about this.) Joyce-stick (talk) 05:11, 12 July 2022 (UTC)

 * (I didn't even know there was a "reply" feature, I just manually press the "edit" button every time lol, but in trying the edit button I am also getting an error) I think there is reason enough for trying to edit the template guide and indicating these things in words. If you're like to start something over there, feel free to see what the other editors of the project think (and if you'd like my assistance with anything regarding the credits themselves, ping me since I will probably forget to check). Sarcataclysmal (talk) 06:01, 12 July 2022 (UTC)

 * I have gone and made some edits to the header and video sections of the template guide, if you're interested in checking this over and refining if need be. I may start a separate discussion at the MOS talk page at a later point. Joyce-stick (talk) 06:41, 12 July 2022 (UTC)

 * Looks good to me. Sarcataclysmal (talk) 04:47, 14 July 2022 (UTC)

number of copies sold parameter
I suggest adding a "number of copies sold" parameter for the manga. Shorouq★The★Super★ninja2 (talk) 08:47, 12 September 2022 (UTC)

RfC for removal of "licensee" and "network_en" parameters
Should the "licensee" and "network_en" parameters from Infobox animanga/Video be removed?
 * Proposing this for Infobox animanga/Video, and coming here after the successful implementation of Template talk:Infobox television channel.

 * This template lists the English licensees of anime (television and film). Considering that this is a subcategory of the broader television and films, none of whose templates (Infobox television and Infobox film) specifically list English "licensees" or "networks", this exception for anime is incongruous and aberrant with the rest of the enwiki. The information contained herein appears mostly unencyclopedic per WP:NOTDIRECTORY and WP:NOTINDISCRIMINATE and from what I have seen serves no useful purpose but to clutter articles.

 * Any notable case of release by licensed broadcasters/film distributors can be noted in the article body (if relevant), as is the case for other films and television. I am not including the "publisher_en" counterpart of Infobox animanga/Print, as it appears to have precedent at Infobox book (though not at Infobox comic book title). Gotitbro (talk) 01:20, 23 September 2022 (UTC)

 * General support. I personally would include publisher_en and any other _en fields as well. The need to denote regional differences in any of these fields can be accomplished with video game release, which is what the oft-referred-to-in-documentation English anime licensee was originally based on many many moons ago. However, "English anime licensee" has languished for years without any updates or improvements, while VGR has been completely revamped with full support for any region and many other features. I realize that VGR's tight relationship with WP:VG makes the naming odd, but I've never quite figured out a good name to propose for it. It's essentially a template for making standardized lists of region/value pairs. (WP:VG's release timeline template, "Video game timeline", eventually was genericized to timeline of release years) -- ferret (talk) 01:37, 23 September 2022 (UTC)
 * I was originally going to propose English anime licensee wholly for deletion but deffered as I am unsure with the handling of print media here on enwiki (Infobox book seems to have inclusion for English publishers, though the focus there [and in literature generally] is on translators not the publishers). Gotitbro (talk) 10:04, 23 September 2022 (UTC)
 * English anime licensee should have been redirected to video game release and cleaned up years ago, but I suppose that's a matter we can look at separate and later. -- ferret (talk) 13:28, 23 September 2022 (UTC)
 * Perhaps this parameter should be changed to a "distributor" or "distributed by" parameter, since both of the templates you linked to above have one of those. If you are proposing that we remove the information on English distributors entirely, I strongly oppose that; time and time again, the English/international release has been proven to be an important part of the series, like Dragon Ball having a big impact on popularizing anime in the west or series like Tribe Nine that wouldn't exist without the involvement of the English licensor. I neither oppose nor support removing the parameter, but I do feel like the international distributor should have somewhere to go in the infobox. Perhaps this is just my opinion, but I think it would look weird to have just a manga licensor in the infobox and not one for the anime. Link20XX (talk) 02:14, 23 September 2022 (UTC)
 * I don't see why anime specifically would need an exception, non-English films and television are also released in English by different distributors/licensors but that is covered in neither of their infoboxes. Any notable and relevant information pertaining to international distribution/licensing is generally covered in-text/body of the article not the infobox for other media, as should the case be here. Gotitbro (talk) 10:04, 23 September 2022 (UTC)
 * is not always true; WP:FILMDIST says the film distributor parameter can list the foreign distributor if there is only one foreign distributor, which is often the case for modern anime as well. I have no idea if the TV infobox is the same though. Link20XX (talk) 14:02, 23 September 2022 (UTC)
 * A simple look at how English anime licensee is used with the corresponding params at anime articles will make it clear that a single licensor/distributor listing is almost never the case and not how this param is generally used. The primary purpose of this RfC to remove this exact clutter from infoboxes. Gotitbro (talk) 14:17, 23 September 2022 (UTC)
 * That template was created awhile ago, when the licensor for different regions was by a different company, which is still the case on some older titles, like Death Note or Naruto. However, that has changed in recent years. Nowadays, it is actually more common for series to be like Uncle from Another World or Blue Lock and only have one distributor. Just because the parameter lists all of them now doesn't mean that it can't be changed to just one. Not to mention that if reducing clutter is your biggest motivation, I find more clutter in the producer parameter, especially on articles like Holmes of Kyoto. I'm not advocating removing that parameter, just pointing that out. Link20XX (talk) 14:26, 23 September 2022 (UTC)
 * I am proposing for removing content that has been proven to be clutter [in infoboxes] time and again (cf. the previous RfC in the nom). Information on international licnesees in infoboxes has never been listed for television and is mostly not for theatrical films as well, both considered generally non-encyclopedic, while the same has not been the case for producers. This is better handled in-body where, if relevant, it can be better justified. Gotitbro (talk) 00:20, 24 September 2022 (UTC)
 * This is somewhat cross-media, though still related, but note that we removed the "Distributor" field from Infobox video game years and years ago as well, for the same reasons. -- ferret (talk) 00:44, 24 September 2022 (UTC)
 * Gotitbro, I do not see why this is relevant; just because it isn't used often doesn't mean it violates policy when it is used. Not to mention I've seen many film articles list the distributor in the infobox.  then WP:FILMDIS would not explicitly allow it; not to mention non-encyclopedic usually applies to whether the content should be mentioned in the article at all, not whether it should be in the infobox. As far as "clutter", in series with only one distributor, how is adding one extra line "clutter"? I understand for series with multiple, but not in my aforementioned examples. As for Ferret, I do note that the video game infobox includes a publisher section, which I see to have a similar use to distributor section in any other article (heck if anything that parameter listing all the different publishers by region is more clutter than this parameter causes). Link20XX (talk) 01:23, 24 September 2022 (UTC)
 * Most video games, especially now, rarely have multiple publishers, and the field has rather convoluted rules to keep it from being flooded with every little company and regional difference. Maybe something similar is needed here. Distributor for us was the company responsible for literal physical distribution, a rather mundane facet of the product that was rarely, if ever, actually covered by secondary sourcing. -- ferret (talk) 01:28, 24 September 2022 (UTC)
 * this is exactly what I have been saying is the case for most modern anime as well. is exactly what I am proposing be added to this parameter (though the template documentation for the publisher field states  should be included, which is all this parameter is intended to include as-is, though I note that it gives guidelines on what to do if the list gets too long).  now that I can understand why it was removed; for video games, physical distribution (as much as I prefer it to digital distribution) is being phased out and is nowhere near as prevalent as it once was, so I can understand removing that parameter. However, most of these companies (like Crunchyroll/Funimation, Netflix, etc) do streaming as well as physical distribution, the latter of which is the main method for anime consumption, not only internationally but increasingly so in Japan too. Link20XX (talk) 01:52, 24 September 2022 (UTC)
 * Anime warrants an exception because of how the industry works, as explained throughout this discussion. Emir of Wikipedia (talk) 13:21, 9 October 2022 (UTC)
 * The discussion does not seem to have moved much for some time. inviting participants from the past similar RfC here for their input. Gotitbro (talk) 22:52, 14 October 2022 (UTC)

 * Weak oppose: Maybe the fields can be renamed, but I still think it is important to note which English companies distribute anime. Netflix for example "jails" their seasonal anime so that it can't be seen without a Netflix account for 3 weeks before being released to non-subscribers. Also people make choices on which anime they watch based on where it can be found, such as Netflix-only subscribers are unlikely to watch Crunchyroll-exclusive anime through Crunchyroll's platform. RPI2026F1 (talk) 23:26, 14 October 2022 (UTC)
 * The same can apply to films and television and I doubt readers use Wikipedia for finding the availability of content, also WP:NOTDIRECTORY would go against that (numerous services like Justwatch [personally use this], Yidio, Reelgood etc. exist for that purpose). Gotitbro (talk) 04:00, 15 October 2022 (UTC)
 * Neutral Sorry, anime is in no way my interest field so I have no opinion here about this infobox. Please do not ping further for this discussion.  Nate  • ( chatter ) 00:20, 15 October 2022 (UTC)
 * Weak support I'm not quite sure how much insight I can provide in this field—most of us that got pinged by Gotitbro are not anime people and come from WP:TV broadly—but I did have an experience with Infobox television channel. I led the two-phase downsizing of that infobox to remove most of the channel name fields and abolish some of the cruftiest infoboxes we had on the encyclopedia. MOS:INFOBOXPURPOSE prescribes that an infobox shall summarize (and not supplant) key facts that appear in the article. The distribution of media content is a fragmented business by definition—that's why the axe was taken to Infobox television channel in the way it was. Is the distributor of an anime in the English language, or in English-speaking territories, a key fact about the anime that belongs in the infobox of the page? My gut feeling is no. That does not mean, of course, that it can't be mentioned in the body of the article. Sammi Brie  (she/her • t • c) 05:20, 19 October 2022 (UTC)
 * I disagree that the English licensor is not a key fact. In many cases, the English release/licensor is the only reason the series exists or continues to receive new content (see this for instance, along with the aforementioned Tribe Nine example, among a few others I can provide). Link20XX (talk) 23:48, 20 October 2022 (UTC)

network_en for OVA
Can someone enable network_en parameter for OVAs? For example, Strike the Blood OVAs aired on Animax Asia, but this can't be displayed. — Preceding unsigned comment added by Smeagol 17 (talk • contribs) 16:04, 2 October 2022 (UTC)
 * Considering there's an open RFC to remove that parameter, probably should wait for now. -- ferret (talk) 16:16, 2 October 2022 (UTC)

December 10, 2022
If can you add more:

179.215.208.123 (talk) 19:43, 10 December 2022 (UTC)

Expansion/"Further information" option question
Greetings and felicitations. Is the inclusion of the infobox expansion (labeled "Further information") option automatic after a certain point, and if so, what is that point? How does that part work? —DocWatson42 (talk) 13:40, 26 April 2023 (UTC)
 * I don't believe there is any formal guidelines to its usage; it is generally done whenever editors decide the infobox has gotten long. Link20XX (talk) 14:03, 26 April 2023 (UTC)
 * Then I missed something. What parameter do I include to add it?  (I previously checked the template's documentation, and did not see it.)  (IMHO Blade of the Immortal could use it.) —DocWatson42 (talk) 14:08, 26 April 2023 (UTC)
 * You need to add before the first element you wish to collapse and  at the end. See A Certain Magical Index or Log Horizon for examples of use. Link20XX (talk) 14:38, 26 April 2023 (UTC)
 * Thank you. ^_^ —DocWatson42 (talk) 14:04, 27 April 2023 (UTC)
 * I've bookmarked copies, but it would be helpful if the above information was included in the documentation. —DocWatson42 (talk) 23:03, 2 May 2023 (UTC)

title: Template talk:Infobox animanga


text:
Malargüe

Malargüe is a city in the southwest part of province of Mendoza, Argentina, about 370 km south of the provincial capital Mendoza. It is the head town of the Malargüe Department, and it has about 27,000 inhabitants as per the.

Overview
The city is located in a semi-arid area. Agriculture is focused on the production of seed potato, along with minor crops such as alfalfa, onion and garlic. In the past, the local industries included oil exploration and production (now almost completely deactivated) and uranium mining. As a touristic area, Malargüe provides hotels and cabins for visitors interested in eco-tourism in the summer and skiing in the winter at the nearby resorts of Las Leñas and Los Molles.

The city is known for its traditional dish, the chivito (baby goat). It hosts the annual National Festival of the Goat and the Provincial Festival of the Lamb, during the second week of January.

1972
On 13 October 1972 the Uruguayan Air Force Flight 571 crashed in the Andes, in the municipal territory of Malargüe (-34.765°N, -70.28639°W).

Climate
Malargüe's climate is dry and relatively cold. It is a semi-arid climate under the Köppen climate classification. Summers bring very warm days (the average high is 28 C) and cool nights (11 C), with sporadic thunderstorms occurring. By March or early April, frost is to be expected, and during the winter (May to September), wild fluctuations of temperature can occur: the average high is 11 C and the average low is -2 C, but northwesterly winds that blow downslope from the Andes can bring temperatures of 25 C, and extreme Antarctic outbreaks will bring periods of snow, daytime highs well below 0 C and night lows well below -12 C.

Transportation
Malargüe is linked to the north of Mendoza by National Route 40. This route continues south, entering Neuquén Province, but is only partially built and not well maintained beyond Malargüe City.

Air traffic in the area (only local flights) is served by the Comodoro D. Ricardo Salomón Airport. Aerolíneas Argentinas and American Jet offer services, as of 2021, to this airport.

Astronomic and space center
Malargüe is also home to the Pierre Auger Observatory, an international physics experiment searching for ultra-high-energy cosmic rays.

The European Space Agency began construction of a deep space ground station 30 km south of Malargüe in 2010. It became operational in early 2013 Malargüe Station and is the third 35m dish in its ESTRACK network.

title: Malargüe


text:
Porn 'n Chicken

Porn 'n' Chicken was a student club based at Yale University whose members met to watch pornography and eat fried chicken. The group briefly gained notoriety in 2001 when they announced plans to shoot their own adult film, titled The StaXXX, on campus with other students.

The film was never released or even completed. Nevertheless, a fictionalized version of the club's experiences was produced as a 2002 American TV movie titled Porn 'n Chicken and broadcast on Comedy Central.

Student club
In October 2000 an article in the Yale Herald announced the first known public discussion of the club, mentioning the project of its own adult film. The film's name had already been selected -- The StaXXX. Filming commenced in January 2001, and publications including The New Yorker, Fox News Boston, Hustler, The New York Post, Brill's Content, The Village Voice, Premiere Magazine, The London Evening Standard inquired for information on the production. Only a trailer was ever completed, and shown before a screening at the Yale Film Society.

Film adaptation of the story
James Ponsoldt and fellow Yale alumni sold the Porn 'n Chicken stories to Comedy Central, who filmed on the Columbia University campus. Directed by Lawrence Trilling, Porn 'n Chicken featured fictionalized versions of group activities and premiered on Comedy Central on October 13, 2002.

Reception
It received mixed critical reception, with the New York Daily News called it "more boring than offensive," but Variety commenting, "Sweeter and more relevant than its fratboy title suggests, Comedy Central’s Porn ‘n Chicken is a likable fusion of, of all things, Animal House, Dead Poets Society and Deep Throat." while the Daily Free Press stated, "Beyond the necessity of well spent free time, as expected, the message of Porn ‘n Chicken is largely empty. However, the two-hour escape succeeds admirably as a mental nap and an amusing tale of sticky-fingered American college students with little to revolt against besides the dullness of their existence."

title: Porn 'n Chicken


text:
Wikipedia:Articles for deletion/Normative legal thought

 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 no consensus --cesarb 20:29, 18 Jun 2005 (UTC)

Normative legal thought
This seems to be just someone's philosophical rant. Though I'd like an article on Normative Legal Thought... I'd prefer that this be simply rewritten instead of deleted. Tadanisakari 06:51, Jun 5, 2005 (UTC)

 * Delete for POV. The entire content of the article, as suggested by the title "my rant", seems to be original research. Xoloz 06:54, 5 Jun 2005 (UTC)
 * If you don't want it deleted, Tadanisakari, why are you nominating it for deletion? Why aren't you using the appropriate cleanup mechanism? Uncle G 07:36, 2005 Jun 5 (UTC)
 * Sorry guys, I'm a bit new to Wikipedia. I've added an "attention" template to the article and I added it to the Cleanup list. I guess that means a Keep, cleanup is more appropriate. I'm learnin' the ropes, thanks for being patient.  Tadanisakari 19:11, Jun 5, 2005 (UTC)
 * Don't delete articles which should exist for NPOV concerns - as Uncle G points out, this should simply be rewritten. If you don't have the expertise/time/whatever to do it yourself, there are mechanisms for this. Keep and send it through those mechanisms. ESkog 08:38, 5 Jun 2005 (UTC)
 * Keep, cleanup. -- BD2412 talk 14:54, 2005 Jun 5 (UTC)
 * My problem with keep votes is that, without other qualifications, "normative" legal thought is inherently a POV concept. Common law (Anglo-American, the Commonwealth) and Civil Law (mainland Europe and former colonies) are too vastly different to be subsumed in a single "Legal thought" article, imho.  This is in addition to any problems with "normative" concepts generally. Xoloz 21:22, 5 Jun 2005 (UTC)
 * I disagree. We have articles on certain ethnic slurs, for example, which are inherently POV, but the article addresses the origin and use of the term itself. Clearly there are people who believe that certain legal thought is indeed normative. We should have an article examining the origin and use of that concept, much as we examine Eurocentrism not from the perspective that Europe is the most important continent on earth, but from the perspective of examing why Eurocentrists think that it is, and how this bias has affected the wider world. -- BD2412 talk 20:20, 2005 Jun 10 (UTC)
 * I have no problem with your suggestion, except that I am unaware of serious scholarly (or even widespread common) criticism of "normative legal thought" as such. The closest I can come to such an argument would be one frequently encountered in law schools, that the common law is inherently and blindly capitalist, materialist, and acquisitive.  If I ever become really bold, I might write such an article myself, because it would be a useful one; but, I would call it "Criticisms of the Common Law" or "Socialist Criticisms of the common law."  In any case, I would happily entertain such content, but it isn't here now.  Even if it were, it would have a bad title -- one simply cannot speak of "normative legal thought" unqualified -- the article must at least be renamed "normative common law thought" or "normative Anglo-American legal thought."  Otherwise, this article will be the equivalent of writing an article on "normative philosophy" and discussing only thinkers from England -- a gross misnomer.  In short, I'd love to see loads of criticism of conventional legal thought, but it needs better classification.  Given that this piece is both ranting and under a horribly imprecise title, I see nothing of value in it. Xoloz 10:57, 12 Jun 2005 (UTC)
 * Delete. If an article of this name is to exist, I can't think of anything NPOV to put there. It is unlikely that the POV rant currently there can be reworked into something worthwhile, so it's better to delete for now with the possibility of starting afresh sometime later. arj 22:36, 5 Jun 2005 (UTC)
 * Delete the current text - though a page on that subject would be nice, I don't think there's much worth keeping in that article. I have no idea on that subject, but it seems that those here that do want to scrap it. Flammifer 12:20, 6 Jun 2005 (UTC)
 * Delete because there's nothing on the page worth keeping. If anyone wants to write an article on this subject, great, but what's the point of keeping this self-described "rant" while waiting indefinitely for that to happen? Russ Blau (talk) 18:20, Jun 6, 2005 (UTC)
 * Delete per RussBlau.carmeld1 22:00, 6 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:
Monomoy

Monomoy usually refers to Monomoy Island off of the coast of Cape Cod, Massachusetts. It may also refer to:

 * Monomoy Island Gunnery Range
 * Monomoy National Wildlife Refuge
 * Monomoy Wilderness inside the MNWR
 * Monomoy Point Light in Chatham, Massachusetts
 * Monomoy Shoals off the coast
 * Monomoy Regional High School, serving Harwich and Chatham, Massachusetts

Ships

 * USS Monomoy (AG-40), a cargo ship of the US Navy commissioned in 1918 and eventual US Coast Guard Cutter
 * USCGC Monomoy (WAG-275), the former USS Monomoy
 * USCGC Monomoy (WPB 1326), a US Coast Guard Cutter commissioned in 1989

title: Monomoy


text:
Massimo Pacetti

Massimo Pacetti (born August 22, 1962) is a Canadian politician from Quebec, Canada. Pacetti was first elected to the House of Commons of Canada in a 2002 by-election and continued as the Member of Parliament for Saint-Léonard—Saint-Michel sitting with the Liberal caucus until 2014; he served his last year of office as an Independent MP.

Life and career
Born in Montreal, Quebec, Pacetti is a former accountant and entrepreneur, and former commissioner of the Pointe-de-l'Île school board.

Pacetti ran as the Liberal candidate in a by-election in 2002 for a seat in the Canadian House of Commons and was elected in the riding of Saint-Léonard—Saint-Michel. He was re-elected in the 2004, 2006, 2008 and 2011 general elections.

In May 2009, he introduced bill C-302, an "Act to recognize the injustice that was done to persons of Italian origin through their "enemy alien" designation and internment during the Second World War, and to provide for restitution and promote education on Italian-Canadian history [worth $2.5 million]" which was passed by the House of Commons on April 28, 2010. Canada Post was also to issue a commemorative postage stamp commemorating the internment of Italian-Canadian citizens, however, Bill C-302 did not pass through the necessary stages to become law.

Pacetti is the Vice–Chair of the Standing Committee on Finance (FINA) and the FINA Subcommittee on Agenda and Procedure.

Pacetti opposed Parliament studying the definition of a human being, saying "In reality, this is just a back door to reopen the debate over abortion in Canada, and a debate that has been closed for many years."

On November 5, 2014, Pacetti and fellow MP Scott Andrews were both suspended from the Liberal Party caucus by leader Justin Trudeau, following allegations of harassment laid by two unnamed New Democratic Party MPs (in 2018 it was revealed that one of the MP was Christine Moore). Both Andrews and Pacetti sat for the remainder of the parliament as independent MPs pending investigation of the complaints. Pacetti announced on March 18, 2015 that he would not be running in the October 2015 federal election, however he continued to maintain that he is innocent of sexual misconduct. It had been reported that Trudeau had intended to meet Pacetti and Andrews later that day to inform them that they were being permanently expelled from the Liberal caucus and would not be allowed to run as Liberals in the next election.

Electoral record

 * align="left" colspan=2|Liberal hold
 * align="right"|Swing
 * align="right"| -0.3
 * align="right"|

title: Massimo Pacetti