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Jaromír Weinberger

Jaromír Weinberger (8 January 1896 – August 8, 1967) was a Bohemian born Jewish subject of the Austrian Empire, who became a naturalized American composer.

Biography
Weinberger was born in Prague, Austria-Hungary, into a family of Jewish origin. He heard Czech folksongs from time spent at his grandparents' farm as a youth. He started playing the piano aged 5, and composing and conducting aged 10. He began musical studies with Jaroslav Křička, and later teachers included Václav Talich and Rudolf Karel. He became a student at the Prague Conservatory at age 14, as a second-year student, where he studied composition with Vítězslav Novák and Karel Hoffmeister. Later, at Leipzig, he studied with Max Reger, who influenced Weinberger on the use of counterpoint. In September 1922, Weinberger moved to the United States where he took up a position as an instructor at Cornell University. Between 1922 and 1926 he was professor of composition at the Ithaca Conservatory (now the music school of Ithaca College), New York.

When he returned to Czechoslovakia he was appointed director of the National Theater in Bratislava, and later received appointments in Eger, Hungary, and Prague. In 1926 Weinberger completed Schwanda the Bagpiper (Švanda Dudák), which became highly successful, with thousands of performances in hundreds of theatres including the Metropolitan Opera in New York City. His operetta Frühlingsstürme was first performed at the Theatre in Admiralspalast in Berlin on January 19, 1933, with Jarmila Novotná and Richard Tauber in the leading roles. Mary Losseff took over from Novotná in February, but the show was closed down by the Nazi government in March. His subsequent European works include the Passacaglia for orchestra and organ, Six Bohemian Dances for violin and piano, the opera The Outcasts of Poker Flat and a grand oratorio Christmas, though none of them matched the success of Schwanda the Bagpiper.

In 1939, after extensive travels to the United States, Bratislava and Vienna, he left Czechoslovakia to escape the Nazis and settled in New York state, teaching there and in Ohio. He wrote a number of works on commission from American orchestras. He became an American citizen in 1948.

In January 1949, Weinberger moved to St. Petersburg, Florida. In later life, he developed cancer of the brain. This, together with money worries and the neglect of his music, prompted him to take a lethal sedative overdose in August 1967. His wife, Jane Lemberger Weinberger (also known as Hansi), died on July 31, 1968.

In 2004 Czech pianist Tomáš Víšek and cellist František Brikcius organized a tour celebrating Weinberger's work.

Major works
Weinberger composed over 100 works, including operas, operettas, choral works, and works for orchestra. Until recently, the only one which remained even on the fringe of the repertoire was the opera Schwanda the Bagpiper (Švanda dudák), a worldwide success after its première in 1927. The opera is still performed occasionally, and the Polka and Fugue from it is often heard in a concert version. The artists of the Walt Disney studio considered making it into a segment for Fantasia 2000, but instead chose Shostakovich's Piano Concerto No. 2 in F major, in the form of Hans Christian Andersen's "The Steadfast Tin Soldier". Recent revivals of Frühlingsstürme (2019, Berlin Komische Oper and DVD/Blu-ray) and Wallenstein (2012, Wiener Konzerthaus and CD) indicate a renewed interest in his distinctive work.

Weinberger used a varied musical language. His studies in Prague and Leipzig stressed formal control and contrapuntal mastery; following the example of his teachers, Křička, Novák and Reger, Weinberger's works exhibit control, but are also playful. This combination received both praise and criticism.

List of works

 * Opera and operetta
 * Švanda dudák (Schwanda the Bagpiper), Opera in 2 acts (1926); libretto by Miloš Kareš after Josef Kajetán Tyl
 * Milovaný hlas (The Beloved Voice; Die Geliebte Stimme), Opera in 3 acts (1930); libretto by the composer after the 1928 novel by Robert Michel
 * Lidé z Pokerflatu (The Outcasts of Poker Flat), Opera (1932); libretto by Miloš Kareš after the 1869 short story by Bret Harte
 * Jarní bouře (Spring Storms; Frühlingsstürme), Operetta in 3 acts (1933); libretto by Gustav Beer
 * Na růžích ustláno (A Bed of Roses), Operetta (1933); libretto by Bohumír Polách and Jiří Žalman
 * Apropó, co dělá Andula? (By the Way, What Is Andula Doing?), Operetta (1934); libretto by Bohumír Polách and Jiří Žalman
 * Císař pán na třešních (The Emperor Lord of Cherries), Operetta (1936); libretto by Bohumír Polách and Jiří Žalman
 * Valdštejn (Wallenstein), Musical Tragedy (Opera) in 6 scenes (1937); libretto by Miloš Kareš after Friedrich Schiller; German translation by Max Brod

 * Stage
 * Únos Evelynion (The Abduction of Evelyne; Die Entführung der Evelyne), Pantomime in 1 act (1915); libretto by František Langer
 * Kocourkov (Schilda), Puppet Show (1926); libretto by František Smažík
 * Saratoga, Ballet (1941); libretto by the composer

 * Orchestral
 * Lustspiel (Veseloherní ouvertura), Overture (1914); with popular song "Pepíku, Pepíku" as the main theme
 * Three pieces for small orchestra (Tři kusy pro malý orchestr) (1916)
 * Don Quijote (1918)
 * Scherzo giocoso (1920)
 * Kocourkov (1923–1924)
 * Overture to a Marionette Play (Puppenspiel Ouverture; Předehra k loutkové hře) (1924)
 * Polka and Fugue (Polka a fuga z opery Švanda dudák) from the opera Schwanda the Bagpiper (1926, published 1928)
 * Furiant (Furiant z opery Švanda dudák) from the opera Schwanda the Bagpiper (1926, published 1931)
 * White Mountain Ouverture (Předehra k Bílé hoře) (piano arrangement 1926)
 * Dance rondo (Taneční rondo, 1927)
 * Vánoce (Christmas; Weihnachten) for orchestra and organ (1929)
 * Neckerei for chamber orchestra (1929); also for piano
 * 6 Czech Songs and Dances (České písně a tance) (1929); also for violin and piano
 * Overture to a Chivalrous Play (Ouverture zum einen ritterlichen Spiel; Předehra k rytířské komedii) (1931)
 * Passacaglia for orchestra and organ (UE 1932)
 * Chant hébraïque (Canto ebraico; Neima Ivrit; Hebrejský zpěv) (piano reduction 1936)
 * Valdštejn (Wallenstein), Suite from the opera (1937)
 * Under the Spreading Chestnut Tree (Pod košatým kaštanem), Variations and Fugue on an Old English Tune (1939, revised 1941)
 * Legend of Sleepy Hollow, 4 Movements from Washington Irving's Sketch Book (1940)
 * Song of the High Seas for chamber orchestra and organ (1940)
 * Prelude and Fugue on a Southern Folktune (1940); also known as Prelude and Fugue on "Dixie"
 * A Bird's Opera, Symphonic Suite (1940)
 * Česká rapsódie (Czech Rhapsody) (1941)
 * Lincolnova symfonie (The Lincoln Symphony) (1941)
 * Préludes Réligieux et Profanes (1952); composed in 8 parts, part 4 is titled Hymne an St. Wenzeslaus
 * Aus Tirol, Folkdance and Fugue (1959)
 * A Waltz Overture (1960)

 * Concert band
 * Homage to the Pioneers, Triumphant March (1940)
 * Mississippi Rhapsody (1940)
 * Prelude to the Festival, Concert March (1941)
 * Afternoon in the Village (1951)

 * Concertante
 * The Devil on the Belfry for violin and orchestra
 * Concerto for Timpani with 4 trumpets and 4 trombones (or 4 trumpets, 3 trombones and tuba) (1939)
 * Concerto for alto saxophone and orchestra (1940)
 * The Raven for cello, bass clarinet, harp and string orchestra (published 1942)

 * Chamber music
 * String Quartet
 * Colloque sentimental, Prelude after the Poem by Paul Verlaine for violin and piano (1920)
 * Une cantilène jalouse (Žárlivá kantiléna) for violin and piano (1920)
 * 3 Pieces (Tři skladby) for violin and piano (1924)
 * Banjos
 * Cowboy's Christmas (Cowboyovy Vánoce)
 * To Nelly Gray (Na Nelly Gray)

 * 6 Czech Songs and Dances (České písně a tance) violin and piano (1929); also for orchestra
 * 10 Characteristic Solos for snare drum with piano (1939–1941)
 * Sonatina for bassoon and piano (1940)
 * Sonatina for clarinet and piano (1940)
 * Sonatina for flute and piano (1940)
 * Sonatina for oboe and piano (1940)
 * Der Rabe for cello and piano

 * Organ
 * Bible Poems (1939)
 * Sonata (1941)
 * 6 Religious Preludes (1946)
 * Meditations, 3 Preludes (1953)
 * Dedications, 5 Preludes (1954)

 * Piano
 * Sonatina (1908)
 * Sonata, Op.4 (1915)
 * Étude in G major on a Polish Chorale "Z dymem pożarów" (1924; included in the 1942 collaborative album Homage to Paderewski)
 * Rytiny (Engravings; Gravures), 5 Preludes and Fugues (UE 1924)
 * Drei Klavierstücke (Tři klavírní kusy) (1924)
 * Spinett-Sonate (Spinet Sonata) (UE 1925)
 * Neckerei (1929); also for orchestra
 * Dupák, Folk Tune (1941)
 * Five-Eighths, Etude (1941)

 * Vocal
 * Hatikvah for voice and piano (1919)
 * Písně s průvodem klavíru (Songs with Piano Accompaniment) for low voice and piano (1924)
 * Má první láska byla Olympia (My First Beloved Was Olympia); words by Miloš Kareš
 * Rozhovor (Conversation); words by Miloš Kareš
 * Námořnická; words by the composer

 * Psalm 150 for high voice and organ (1940); Biblical text
 * The Way to Emmaus for high voice and organ (1940); Biblical text
 * Ecclesiastes, Cantata for soprano, baritone, mixed chorus, organ and bells (1946), premiered May 13, 1947 by the John Harms Chorus in New York's Town Hall.
 * Of Divine Work, Anthem for mixed chorus (1946); Biblical text from Ecclesiastes
 * Five Songs from Des Knaben Wunderhorn for soprano and piano (1962)
 * Ave, Rhapsody for chorus and orchestra (1962)
 * Tři písně (3 Songs) for children's chorus and piano
 * Volnost for 4 voices; words by Josef Václav Sládek
 * Dvě písně (2 Songs) for voice and piano
 * Pan Vrchní; words by Pavel Maternov
 * U Vrátek; words by Josef Václav Sládek

title: Jaromír Weinberger


text:
Dan Bylsma

Daniel Brian Bylsma (born September 19, 1970) is an American professional ice hockey coach and former player who currently serves as head coach of the Seattle Kraken of the National Hockey League (NHL). He was previously head coach of the Pittsburgh Penguins and the Buffalo Sabres in the NHL, as well as an assistant coach for the Detroit Red Wings, and head coach of the Wilkes-Barre/Scranton Penguins and Coachella Valley Firebirds of the American Hockey League (AHL). He also was the former head coach of the United States men's national ice hockey team. Bylsma won the Stanley Cup with the Penguins in 2009, just four months after being promoted to Pittsburgh's head coaching position.

Prior to coaching, he played as a forward in the NHL with the Los Angeles Kings and Mighty Ducks of Anaheim. He was drafted in the sixth round (109th overall) of the 1989 NHL Entry Draft, by the Winnipeg Jets.

Early life
During his high school days, Bylsma was a standout in many sports, including golf, baseball, and ice hockey. Bylsma graduated from Western Michigan Christian High School where he won the Class D golf individual championship as a freshman. He also played baseball and was the starting left fielder as a freshman on Christian's 1985 State championship team. In his senior year, he was a member of the all-state all-class "Dream Team" (the best player at each position in the state – all classes), and won many regional baseball honors.

Bylsma played amateur hockey in Muskegon Junior Hockey, Norton Shores Recreational Leagues, and Grand Rapids GRAHA before playing Junior "B" hockey in Canada for the St. Marys Lincolns and the Oakville Blades of the Ontario Hockey Association. Bylsma went on to play college hockey at Bowling Green State University from 1988–1992 and was drafted by the Winnipeg Jets in his freshman year. He was twice selected to the Central Collegiate Hockey Association All Academic Team and once earned Honorable Mention. He was a Bowling Green Scholar Athlete all four years and won the Jack Gregory Award for the highest grade point average on the team in his Sophomore season and the Howard Brown Coaches' Award for excellence in his senior year. Bylsma is one of the few players in the CCHA to have scored a shorthanded goal while his team was two men short.

Professional playing career
Despite being drafted by the Winnipeg Jets, Bylsma never played a game for them, and was signed by the Los Angeles Kings in the summer of 1994. During the 1994–95 labor stoppage, Bylsma earned the nickname "Disco Dan". The nickname was adopted by teammates while playing for a minor league team in Phoenix. Veteran goaltender Byron Dafoe already went by Bylsma's former moniker of "Bysie" so the name "Disco Dan" was given due to Bylsma's penchant for dancing in the locker room.

He played parts of five seasons for the Kings, acting as a defensive forward. In his first season, when he played only four games for the Kings, he was captain of their International Hockey League (IHL) affiliate, the Phoenix Roadrunners. He also played for the Long Beach Ice Dogs, who were the Kings' IHL affiliate after the Roadrunners folded in 1997. Bylsma played 95 American Hockey League (AHL) games with the Cincinnati Mighty Ducks, the Lowell Lock Monsters, the Springfield Falcons, the Albany River Rats, the Moncton Hawks and the Rochester Americans, and reached the Calder Cup Finals in 1994.

Signed as a free agent by the Mighty Ducks of Anaheim in the summer of 2000, Bylsma was a steadying influence on a rebuilding Anaheim team, and was made an alternate captain. In his second season, he set a career high in points (17).

Bylsma struggled his entire career to stay in the NHL, mostly due to a lack of natural offensive ability (his primary role in the NHL had always been penalty killing). Injuries took a toll in later years, and before being put on waivers in January 2004, Bylsma missed 31 games due to knee surgery. He retired from playing following the 2003–04 season.

Coaching career
Bylsma served as an assistant coach with the AHL's Cincinnati Mighty Ducks (2004–05) and the NHL's New York Islanders (2005–06). During the 2008–09 season, Bylsma coached the Penguins' AHL affiliate Wilkes-Barre/Scranton Penguins.

On February 15, 2009, with the Pittsburgh Penguins struggling to make the playoffs, the Penguins organization announced that it had relieved head coach Michel Therrien of his duties and had promoted Bylsma to serve as interim head coach of the team. At 38, he was the youngest head coach in the NHL at the time. Through his first 25 games as Penguins' coach, his 18–3–4 record amounted to 40 points—the second most of any coach in NHL history through their first 25 games. On April 28, Penguins General Manager Ray Shero announced that Bylsma had been named permanent head coach of the team. On June 12, 2009, Bylsma led the Pittsburgh Penguins to a Stanley Cup championship, becoming the 14th coach and the second mid-season replacement to win the Stanley Cup in their first season. While the win made him just the fifth ever American-born coach to win the cup, he also became the third American in the last five seasons to do so. Bylsma was awarded the Jack Adams Award as the league's most outstanding coach for the 2010–2011 season due to the Penguins still being a contender for the Stanley Cup without his two star players Sidney Crosby and Evgeni Malkin.

On April 22, 2013, Bylsma became the fastest NHL coach ever to reach 200 wins with a 3-1 win over the Ottawa Senators. On June 30 of the same year, Bylsma was appointed head coach of the United States Olympic Hockey Team for the 2014 Winter Olympics in Sochi, Russia. On January 7, 2014, a month before coaching at the Winter Olympics, Bylsma became the winningest coach in Penguins history (233 wins) with a 5-4 shootout victory over the Vancouver Canucks. On April 4, 2014, Bylsma became the fastest NHL coach to reach 250 wins, leading his team to a 4-2 victory over the Winnipeg Jets. He accomplished the feat in 395 games. On June 6, 2014, Bylsma was fired by the Pittsburgh Penguins, shortly after Jim Rutherford was announced as the team's new general manager.

Bylsma remained on the Penguins' payroll, with no job in the organization, through the 2014–15 season. Following that season, the Penguins granted him permission to seek employment elsewhere. On May 28, 2015, Bylsma was named head coach of the Buffalo Sabres, signing a five-year contract. Bylsma was the Sabres second choice for coach after Mike Babcock, who they heavily pursued before Babcock signed with the divisional rival Toronto Maple Leafs.

On April 20, 2017, Bylsma was fired by the Sabres after two seasons. The transaction came after rumors leaked that Bylsma was at odds with many of the Sabres players, including star Jack Eichel, who allegedly stated he would not sign a contract extension with the team had Bylsma remained head coach. On June 22, 2018, Bylsma was hired as an assistant coach for the Detroit Red Wings. On May 18, 2021, it was announced that he would not be returning to the Detroit Red Wings.

On August 10, 2021, Bylsma returned to the AHL, after he was hired by the Seattle Kraken to become an assistant coach with the Charlotte Checkers. On June 21, 2022, Bylsma was named as head coach of the Kraken's new AHL affiliate, the Coachella Valley Firebirds. After a 46-15-6 season in 2023–24 with the Firebirds, Bylsma was promoted to head coach of the Kraken on May 28, 2024, replacing Dave Hakstol.

Awards and records

 * 2011– Jack Adams Award

NHL coaching record

 *  When Bylsma joined the Penguins after the 57th game of the season the team had earned 59 points. The team earned 40 points with Bylsma as head coach.
 *  Only 48 regular season games played due to lockout.

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

title: Dan Bylsma


text:
Jim White (guitarist)

Michael Davis Pratt (born March 9, 1957), known professionally as Jim White, is an American singer-songwriter, visual artist and author.

Early life
White was born in California but moved to Pensacola, Florida at the age of 5. He was deeply influenced in his childhood by the spectacle of Pentecostal religion and gospel music. According to various sources, he has been a ditch digger, a suntan oil salesman, a landscaper, a dishwasher, a fry cook, a fashion model, a fashion photographer, a professional surfer and a New York City cab driver. Before embarking on a music career, White attended film school at New York University. Soon after finishing his lengthy thesis at the university, White entered a self-described "deep hole of sickness and depression and poverty". It was during this period that White began writing songs again after a long hiatus, many of which would appear on his debut album Wrong Eyed Jesus, released by David Byrne's boutique label Luaka Bop.

Musical career and performances

White's live shows, particularly when touring solo, can be characterized as off-beat, blending his playlist with open discussion with the audience, anecdotal storytelling derived from his own life experiences, all of which is typically humorous and insightful, with a deep sense of his feeling for the broken beauty of humanity.

White's albums often feature unlikely collaborations. On Wrong-Eyed Jesus, folk singer Victoria Williams sings on the track "Angel-Land"; British electronica trio Morcheeba produced and played on three tracks on No Such Place alongside Sade keyboardist Andrew Hale, who produced three tracks on the same album. Aimee Mann, Barenaked Ladies, and jazz guitarist Bill Frisell appear on Drill a Hole in That Substrate and Tell Me What You See, which was produced by Joe Henry, Tucker Martine, and Jim White himself. In an interview with David Byrne, White described the making of the album.

White's 2012 album Where It Hits You marked his first effort after an amicable parting of ways with Byrne's Luaka Bop. The record features guest appearances by members the roots group Olabelle, Terri Binion and Shak Nasty. Where It Hits You was released on the Yep Roc label.

In 2017 White's album Waffles, Triangles & Jesus came out via the PIAPTK label in the US and Loose in the UK. White was joined by musical group Hog Eyed Man, Holly Golightly, and Cicada Rhythm.

White's 2020 album Misfit's Jubilee marked a departure from his more solemn introspective previous work, featuring and upbeat collaboration with Belgian recording artists Geert Hellings and Nicolas Rombouts. White's longtime drummer Marlon Patton played drums on Misfit's Jubilee, as he did on White's previous four solo records.

White's debut album Wrong Eyed Jesus is considered a minor classic in the Americana genre, and his fan base includes various entertainment luminaries such as David Byrne, Matt Groening, and Vince Gilligan. The song "Wordmule" appeared in the Breaking Bad episode "Blood Money", while "Static on the Radio" appeared in the end credits of El Camino: A Breaking Bad Movie.

Side projects
In 2003 White appeared as de facto tour guide in the documentary film Searching for the Wrong Eyed Jesus, exploring oral and song traditions of the poor white US south. White appeared alongside writer Harry Crews and musicians Johnny Dowd, The Handsome Family and David Eugene Edwards. Before achieving cult status, the film was featured in festivals around the world, winning Best Documentary at the Seattle Film Festival.

In 2006, Jim White collaborated with Johnny Dowd and Willie B and formed a group called Hellwood; in 2006, the band toured throughout Europe to promote the album Chainsaw of Life. White served as producer and songwriter on a collaboration alongside Tucker Martine and blues singer Linda Delgado on a project titled Mama Lucky. Mama Lucky's first release Permanent Stranger was released in a limited fashion in February 2009.

In 2010 White created Sounds of the Americans, an experimental collaboration with guitarist Dan Nettles based on the soundtrack they composed for a Juilliard Music School theater production.

Continuing his pattern of alternating between solo projects and collaborations, in 2014 White teamed up with the Packway Handle Band to release the bluegrass hybrid Take It Like A Man, which peaked at #3 on the Billboard bluegrass chart.

In 2023, White released Permanent Stranger under the band name "Mama Lucky," his side project with Portland-based producer Tucker Martine. He also co-produced Ane Diaz's "Despechada" album and produced Ben De La Cour's critically acclaimed record Sweet Anhedonia (Jullian Records), which appeared on several "Best of 2023" lists.

Film

 * 2003: Searching for the Wrong-Eyed Jesus
 * 2016: Land by Babak Jalali (actor)
 * 2022: Ragged Heart by Evan McNary (actor)

Visual art exhibits

 * "Deep Fried Ephemera", The Douglas Hyde Gallery, Dublin, Ireland July 4 – August 18, 2009
 * "Winter at SECCA" Southeastern Center for Contemporary Art, Winston-Salem, NC
 * "Crossroads" series, performing with The South Memphis String Band, February 19, 2011
 * "Scrapbook of a Fringe Dweller" Ogden Museum of Southern Art, New Orleans LA, Oct.7 – December 15, 2013
 * Artist in residence 2015-2018, Aarhus, Denmark Festuge

Books
"Superwhite! / Wild-Eyed Tree", The Douglas Hyde Gallery, 2009. In conjunction with art exhibit. "Includes autobiographical text, Superwhite (Another True Story), and previously unreleased lyrics by Jim White. Also included are images of the exhibition and photographs by Jim White."

In 2013 White's story "The Bottom" was published in the literary journal Radio Silence, and in 2014, it was awarded the prestigious Pushcart Prize for Short Fiction.

After publishing work in various periodicals over his 20-year musical career, White's debut novel Incidental Contact was released in 2022.

"Blessings and Curses: Another True Story" - Illustrated pamphlet with story. 2001 Luaka Bop

Theater

 * Musical Score to "The Americans", a Sam Shepard play (with Dan Nettles), Juilliard School of Music NYC, February 11, 2010

Personal life
White is the father of recording artist Willow Avalon.

Albums

 * 1997: Wrong-Eyed Jesus (The Mysterious Tale of How I Shouted)
 * 2001: No Such Place
 * 2004: Drill a Hole in That Substrate and Tell Me What You See
 * 2005: Jim White Presents Music from Searching for the Wrong-Eyed Jesus
 * 2007: Transnormal Skiperoo
 * 2012: Where It Hits You
 * 2017: Waffles, Triangles & Jesus
 * 2020: Misfit's Jubilee
 * 2023: Mama Lucky: Permanent Stranger

EPs

 * 1997: Gimme 5
 * 2008: A Funny Little Cross to Bear

Collaborations

 * 2006: Hellwood (Jim White, Johnny Dowd, Willie B) Chainsaw of Life
 * 2009: Mama Lucky (Jim White, Tucker Martine, Linda Delgado) Permanent Stranger Limited Release
 * 2004: Tanakh (Jesse Poe) "Villa Claustrophobia"
 * 2006: Tanakh "Ardent Fevers"
 * 2010: Sounds of the Americans (Jim White, Dan Nettles)
 * 2011: Dare Dukes, Thugs and China Dolls (produced the song "Simon Says")
 * 2011: Producer, Belgian Alt Country band (Stanton)
 * 2011; Sounds of the Americans  (score for Juilliard Music School theatrical performance of Sam Shepherd works)
 * 2012: Producer, Skipperdees (Some Bright Mourning)
 * 2012: Producer Alex Wright (Starlight Navigator)
 * 2014: Jim White v.s The Packway Handle Band (Jim White, Packway Handle Band) The Sawyer Sessions EP
 * 2015: Jim White v.s The Packway Handle Band (Jim White, Packway Handle Band) Take It Like A Man
 * 2015: Sigmatropic ' Every Soul Is A Boat ' 12' ep [Record Store Day] (vocals & lyrics on ' That Throne in Your Heart ')
 * 2018 Producer Thomas Kozak (The Rubicon)
 * 2022: Producer Ben De La Cour (Sweet Anhedonia)
 * 2022: Producer Ane Diaz (Despechada)
 * 2023: Mama Lucky (Jim White, Tucker Martine, Linda Delgado) Permanent Stranger Worldwide Release

title: Jim White (guitarist)


text:
Talk:Eric Brill

Home page -> Photograph ?
Small note to 131.107.0.96 who kindly pointed to the current home-page: Eric, if that's you, who you also be as kind as to provide a photograph under a Free licence ? Thank you very much, I love your work ! :) Rama 21:34, 10 Jun 2005 (UTC)

Proposed Deletion
A quick google search shows many sites discussing Brills move from his poition as head of Microsofts adCentre to his post at ebay as vice president of research. The fact that the article has not been expanded for 20 months does not show that it is unexpandable. The move from Microsoft to ebay gained enough attention to assert notability so I went ahead and removed the tag proposing the article for deletion as it just needs more work. Weakopedia (talk) 12:22, 10 January 2010 (UTC)

Not in citation
"and was quoted in 2004 as predicting only brief success for Google's search engine business"

This is not in the citation as I read it. He was saying that search in general, while not short of money, could end up being commoditized; and that Google's current document-centric approach was vulnerable to new, improved, Microsoft-wins-again vapourware. That second point was standard Microsoft rhetoric of the era, and it's not to Brill's credit that he regurgitated the party line. — MaxEnt 06:46, 11 April 2017 (UTC)

title: Talk:Eric Brill


text:
Titan Airways

Titan Airways Limited is a British charter airline based at London Stansted Airport. The carrier specialises in short-notice ACMI (aircraft, crew, maintenance, and insurance) and wet lease operations, as well as ad-hoc passenger and cargo charter services to tour operators, corporations, governments, and the sports and entertainment sectors. The company holds a United Kingdom Civil Aviation Authority (UK CAA) Type A Operating Licence, permitting it to carry passengers, cargo and mail, on aircraft with 20 or more seats.

History
Founded on 20 January 1988, as a subsidiary of the Artac Freight and Shipping Group, Titan Airways was named after its first aircraft type, a Cessna 404 Titan, however, the airline's logo draws reference to Titan, a moon of Saturn. Their Cessna 404 aircraft were mainly used to carry car parts between various Ford and General Motors facilities in the UK and Europe, but it was also available for ad hoc freight charters and ultimately passenger charters. By 1993, the fleet had grown to include an Embraer Emb 110 Bandeirante, two Short SD 330s, and three SD 360s.

The airline's success attracted investment group 3i which took a stake in the company in 1995. Two ATR 42s were also added, before the first jet aircraft; a BAe 146-200QC was acquired in 1996. This was the first containerised jet aircraft used by the Royal Mail, but it also operated many passenger charter flights and airline sub-services. As the mail contract grew in size, the first of five Boeing 737-300s was introduced in 1999.

The airline has been consistently profitable, turning a profit in 32 of its 35-year history, and has ranked in the Sunday Times Profit Track 100 league table on six occasions since the year 2000. In the early 2000s, Titan Airways found an additional niche in the market, pioneering a rapid response Go Now sub-charter service for airlines experiencing operational problems. The innovative concept earned the company Queen's Award for Enterprise in 2001.

Demand by customer airlines for more seats and greater range led to the acquisition of two 757-200s in 2003 and 2005, with one aircraft having a VIP interior for corporate use. In 2006, Titan achieved ETOPS rating for the aircraft, enabling long haul charters to the US and Middle East. The largest aircraft in the Titan family, a 265-seat B767-300, joined the fleet in 2009, and the smallest, a new Cessna Citation CJ2+ arrived in December 2011.

In 2012, Titan Airways became an independent company, following a management buyout that left Gene Willson, Managing Director and one of the original founders, as the sole share holder.

Titan added its first Airbus aircraft, an Airbus A320, to its fleet in early Spring 2013. This addition was the first step in its long-term fleet strategy which will see Titan's current fleet of Boeing aircraft gradually being replaced by Airbus aircraft over the next five to six years. Two additional A320s joined the fleet in early 2015.

September 2015 saw Titan announce plans to add an Airbus A319 and Airbus A321 to the fleet before the start of summer 2016, and that they were considering adding the smallest member of the Airbus A320 family, an Airbus A318, to their fleet.

In early 2023, Titan Airways retired both their last Boeing 737 and 757 aircraft.

Airline sub-charter and lease
Titan Airways provides short, medium, or long term wet and damp lease operations worldwide to third party carriers. The UK carrier also operates short notice sub-charter services, with the ability to launch aircraft within sixty minutes when airline customers experience unexpected operational problems.

Tour operator flight series
Titan Airways operates charter flights on a seasonal basis to a number of destinations on behalf of UK-based tour operators and cruise-ship companies. Longstanding tour operator partnerships include regular operations from UK airports to Calvi in Corsica, Lourdes and Chambéry in France, Turin in Italy, Dalaman in Turkey, Preveza in Greece, and Banjul in the Gambia.

Ad hoc charter
Aside from these regular seasonal routes, Titan Airways operates long and short haul flights on an ad hoc basis on behalf of individuals, blue chip companies, Premier League football teams, high-profile personalities, and pop/rock groups. In September 2021, after a 19 months hiatus in filming due to the COVID-19 pandemic, the thirty-third series of the American version of The Amazing Race resumed, for the safety of the racers and the crew, instead of going back to taking commercial flights as they had done in the past, they used a Titan Airways Boeing 757 with an 'Amazing Race' livery. This was used again in the thirty-fourth series.

Corporate events
Titan Airways sometimes uses their aircraft in product launches, trade shows, promotional events, and hospitality trips for other companies.

Royal Mail
Titan Airways' cooperation with the Royal Mail dates back to the early 1990s, when operations began with the carrier's Short 360 and ATR 42 aircraft. In 1996, the carrier's BAe 146-200 fleet superseded the smaller aircraft, before being joined, and ultimately replaced, by Titan's Boeing 737-300QCs. The aircraft operated on behalf of the Royal Mail with nightly flights from Stansted to Edinburgh and to Belfast.

Government
Titan Airways operates flights for Home Office and the Foreign Office of the Government of the United Kingdom.

On 30 July 2020, Titan Airways' Boeing 757 became the largest passenger aircraft to land and depart from Saint Helena Airport. This flight was a repatriation mission on behalf of the British Government. A series of flights to Saint Helena and Ascension Island, once per month during the rest of 2020 and 2021, were performed with the same aircraft type. On 11 January 2021, one of Titan's Boeing 757 aircraft delivered 100 coronavirus vaccines to Saint Helena.

Military
Titan Airways' Boeing 767 operated the South Atlantic Air Bridge to the Falkland Islands on behalf of the UK Ministry of Defence (UK MoD) for two years until September 2012, with twice-weekly flights departing from (and returning to) RAF Brize Norton, in Oxfordshire, to RAF Mount Pleasant, with a mid-way refuelling stop at RAF Ascension Island. The South Atlantic Air Bridge service was subsequently taken over by AirTanker Services, operating a demodified demilitarised RAF Voyager (Airbus A330 MRTT).

In 2014, Titan Airways' RJ100 aircraft had been based in Sharjah on contract to the UK MoD since 2011. The RJ100 superseded Titan Airways' BAe 146 operations in the Persian Gulf region which dated back to 2009.

Geodis Air Network
In 2021, following significant air-freight capacity shortages due to the COVID-19 pandemic, Geodis Air Network leased an Airbus A330-300 converted freighter from JP Lease. The aircraft was operated by Titan Airways and is registered G-EODS. It is to fly between Amsterdam, London, Chicago, and Hong Kong.

Current fleet
, the Titan Airways fleet consists of the following aircraft:
 * Note: Titan Airways also operates an Airbus A321-253neo, registration G-GBNI (as a nod to Great Britain and Northern Ireland), MSN 10238, owned by the UK Government (originally owned by Titan Airways from 2021 to 2022, subsequently purchased by the UK Government) and converted to VIP configuration with a 'Global Britain' livery (identical to Vespina, the VIP-converted RAF Voyager multi-role tanker transport aircraft), for members of the British Royal Family, Prime Minister, and senior government ministers.

Accidents and incidents
On 26 February 2020, a Titan Airways Airbus A321-211 suffered an engine surge immediately after takeoff from Gatwick Airport. Shortly after, the other engine stalled, the aircraft landed safely at Gatwick eleven minutes after takeoff. The Air Accidents Investigation Branch (AAIB) determined fuel contamination following defective maintenance undetected for two days had caused the incident. Safety recommendations were made to the European Union Aviation Safety Agency (EASA), and changes made by organisations including Airbus and the International Air Transport Association (IATA).

title: Titan Airways


text:
Portal:Poland/Selected anniversaries/August

Today is Monday, July 29, 2024; it is now (UTC) ---

--- August 13: --- August 17: --- August 18: ---
 * 1873: birth of Józef Haller de Hallenburg a Polish general and politician
 * 1996: death of Witold Urbanowicz a Polish flying ace
 * 1944: death of Eugeniusz Horbaczewski a Polish flying ace

authors: ಮಲ್ನಾಡಾಚ್ ಕೊಂಕ್ಣೊ


text:
1995 Pulitzer Prize

The Pulitzer Prizes for 1995 were announced on April 18, 1995:

Journalism awards

 * Public Service:
 * Virgin Islands Daily News, St. Thomas, for its disclosure of the links between the region's rampant crime rate and corruption in the local criminal justice system. The reporting largely the work of Melvin Claxton, initiated political reforms.
 * Spot News Reporting:
 * Staff of the Los Angeles Times, for its reporting on January 17, 1994, of the chaos and devastation in the aftermath of the Northridge earthquake.
 * Investigative Reporting:
 * Brian Donovan and Stephanie Saul, Newsday, Long Island, New York, for their stories that revealed disability-pension abuses by local police.
 * Explanatory Journalism:
 * Leon Dash, staff writer, and Lucian Perkins, photographer of The Washington Post, for their profile of a District of Columbia family's struggle with destructive cycles of poverty, illiteracy, crime and drug abuse.
 * Beat Reporting:
 * David Shribman, The Boston Globe, for his analytical reporting on Washington developments and the national scene.
 * National Reporting:
 * Tony Horwitz of The Wall Street Journal, for stories about working conditions in low-wage America.
 * International Reporting:
 * Mark Fritz, Associated Press, for his reporting on the ethnic violence and slaughter in Rwanda.
 * Feature Writing:
 * Ron Suskind, The Wall Street Journal, for his stories about inner-city honors students in Washington, D.C., and their determination to survive and prosper.
 * Commentary:
 * Jim Dwyer, Newsday, Long Island, New York, for his compelling and compassionate columns about New York City.
 * Criticism:
 * Margo Jefferson, The New York Times, for her book reviews and other cultural criticism.
 * Editorial Writing:
 * Jeffrey Good, St. Petersburg (Fla.) Times, for his editorial campaign urging reform of Florida's probate system for settling estates.
 * Editorial Cartooning:
 * Mike Luckovich, The Atlanta Constitution
 * Spot News Photography:
 * Carol Guzy of The Washington Post, for her series of photographs illustrating the crisis in Haiti and its aftermath.
 * Feature Photography:
 * Staff of Associated Press, for its portfolio of photographs chronicling the horror and devastation in Rwanda.

Letters awards

 * Fiction:
 * The Stone Diaries by Carol Shields (Viking)
 * History:
 * No Ordinary Time: Franklin and Eleanor Roosevelt: The Home Front in World War II by Doris Kearns Goodwin (Simon & Schuster)
 * Biography or Autobiography:
 * Harriet Beecher Stowe: A Life by Joan D. Hedrick (Oxford University Press)
 * Poetry:
 * The Simple Truth by Philip Levine (Alfred A. Knopf)
 * General Non-Fiction:
 * The Beak Of The Finch: A Story Of Evolution In Our Time by Jonathan Weiner (Alfred A. Knopf)

Arts awards
Premiered on March 10, 1994, by the National Symphony Orchestra at The John F. Kennedy Center, Washington, D.C.
 * Drama:
 * The Young Man From Atlanta by Horton Foote (Dutton)
 * Music:
 * Stringmusic by Morton Gould (G. Schirmer)

title: 1995 Pulitzer Prize


text:
Portal:Poland/Selected anniversaries/September

Today is Monday, July 29, 2024; it is now (UTC) ---

---

September 6: --- September 12: --- September 28: ---
 * 1861: death of Józef Sowinski during the heroic defence of Polish positions at Wola, during the November Uprising
 * 1914: birth of Janusz Zurakowski a Polish fighter and experimental aircraft pilot
 * 1917: birth of Eugeniusz Horbaczewski a Polish flying ace

authors: ಮಲ್ನಾಡಾಚ್ ಕೊಂಕ್ಣೊ


text:
MTV Unplugged (Mariah Carey EP)

MTV Unplugged is a live EP by American singer-songwriter Mariah Carey, released in the United States on June 2, 1992, by Columbia Records. Following the success of Carey's previous two albums and the growing critical commentary on her lack of concert tours and unsubstantial televised performances, Sony organized a live performance show at the Kaufman Astoria Studios, New York on March 16, 1992. The show, titled MTV Unplugged, originally aired on MTV to help promote Carey's second album Emotions, as well as help shun critics who deemed Carey a possible studio artist. However, after its success, the show was released to the public as an EP, with an accompanying VHS titled MTV Unplugged +3.

Upon release, the EP garnered generally positive reviews from music critics, many of whom complimented Carey's vocals. Commercially, the album was a success, peaking at number three on the US Billboard 200, and was certified 4× Platinum by the Recording Industry Association of America (RIAA), denoting shipments of two million copies within the United States. Additionally, the EP experienced strong success in several international markets, such as the Netherlands and New Zealand, where it reached number one and were certified 2× Platinum. MTV Unplugged peaked within the top-five in the United Kingdom, and in the-top ten in Australia and Canada.

"I'll Be There" was chosen as the lead single from the album. Due to its critical success until that point, it was released one month before its parent EP, eventually becoming Carey's sixth chart-topper in the United States, and one of the few songs to do so by two different acts. Globally, the song was successful, topping the charts in Canada, the Netherlands and New Zealand, as well as reaching the top-five in Ireland and the United Kingdom. After its success, "If It's Over", a song from Carey's second studio effort Emotions was released, due to its exposure on the show and EP.

Background
After the release of Carey's second studio album, Emotions (1991), critics began wondering whether Carey would finally embark on a worldwide tour, having not toured to promote her self-titled debut album. Although Carey had done several sporadic award show appearances, as well as television program performances, critics began accusing Carey of being a studio artist, not capable of delivering or replicating the same quality vocals live, especially her whistle register. During several televised interviews, Carey addressed the accusations, claiming that she did not tour out of fear of the long travel times and distances, as well as the strain on her voice performing her songs back-to-back. However, in hopes of putting any claims of her being a manufactured artist to rest, Carey and Walter Afanasieff decided to book an appearance on MTV Unplugged, a television program aired by MTV. The show's purpose was to present name artists, and feature them "unplugged" or stripped of studio equipment. While live, the show allowed several musicians and back up vocalists, while recorded in an acoustic setting. The issues Carey faced once the show was booked was the content; she didn't know what material to present at the intimate concert. While Carey felt strongly of her more soulful and powerful songs, it was decided that her most popular content to that point would be included. Days prior to the show's taping, Carey and Afanasieff thought of adding a cover version of an older song, in order to provide something different and unexpected. They chose "I'll Be There", a song made popular by The Jackson 5 in 1970, rehearsing it few times before the night of the show.

Synopsis
Carey's performance was recorded on March 16, 1992, at Kaufman Astoria Studios in Queens, New York. The show featured a number of musicians, back-up vocalists and just a crew of ten, for filming and recording. Directed by Larry Jordan, who previously worked with Carey on the music video for "Someday". Dana Jon Chapelle was chosen as the sound mixer, having worked with Carey on her previous two studio albums.

The show began with the song "Emotions" Carey entered the studio dressed in a black jacket and matching pants and boots. Prior to the song's studio introduction, Carey opened the song with an impromptu gospel and a cappella number, eventually leading to the song's chorus led by David Cole. This is the only song from the performance that was filmed in two takes, since the first was not to Mariah's liking. After the song, Carey introduced the band and staff; to her left was a four-piece string section with Belinda Whitney Barnett, Cecilia Hobbs-Gardner, Wince Garvey and Laura Corcos, while San Shea played the harpsichord and harmonium. The show's rhythm section was led by Gigi Gonaway on the drums, Randy Jackson on bass, Vernon Black on guitar, and Sammy Figueroa and Ren Klyce, both percussionists. Additionally, Carey had ten background singers on stage, led by Trey Lorenz and Patrique McMillan.

The next song on the set-list was "If It's Over", a collaboration with Carole King. Walter Afanasieff replaced Cole on the piano, during which time a set of five male musicians were brought on stage. They were Lew Delgado, baritone saxophone; Lenny Pickett, tenor saxophone; George Young, alto saxophone; Earl Gardner, trumpet; and Steve Turre, trombone. They had been present during Carey's live performance of the song on Saturday Night Live a few months prior. As Carey introduced the song, she said "this next song I wrote with one of my idols, Carole King", beginning the performance shortly after.

For "Someday", Cole returned to the stage, replacing Afanasieff on the keyboard. During the song, Carey would often place her index finger over her left ear, especially while using the whistle register. She later explained to the audience that it would help her in hearing herself more precisely, something needed to properly execute a higher ranged note.

Once again, as Carey began "Vision of Love", her "first single ever", Afansieff swapped positions with Cole. The performance varied heavily from the studio version, as it was more low key and only used voices in a cappella form, without any heavy instrumentation. Prior to beginning the fifth song on the set-list, "Make It Happen", Afanasieff shared the organ with Cole, playing the bass while the latter handled the treble. After the song began, the back-up began "piling their vocals" over Carey's, according to author Chris Nickson, and allowed the song to attain a more "churchy feel". He felt the song was superior to the studio version, due to its stripped performance and vocals: "The roughness of this version succeeded in a way the recorded version on 'Emotions' could never manage. In the sterile atmosphere of a studio, where perfection, technology, and overdubbing were the rules, spontaneity had no place. On the stage, it was valued, and this performance had it. Everyone pushed everyone just a little further, to create something wonderful, and judging by the response, the audience realized it, as did Mariah when the song was finished."

Soon after completing "Make It Happen", Carey eagerly presented the final song on the set list, "I'll Be There". The way the song was arranged, Carey took Michael Jackson's lead, while Trey Lorenz sang the second lead, originally sung by Jermaine Jackson. After performing the song alongside a very simple arrangement and minimal instrumentals, the back-up singers began humming to the tune of "Can't Let Go", leading Carey to present "another final" song for the show. Several days after the concert, Carey sat down with Melinda Newman from Billboard, telling her of the experience recording the show, as well as her view on it from a creative perspective. She said "Unplugged taught me a lot about myself because I tend to nitpick everything I do and make it a bit too perfect because I'm a perfectionist. I'll always go over the raw stuff, and now I've gotten to the point where I understand the raw stuff is usually better."

Release
Originally, MTV planned to air the show several times during April 1992, it was normal for MTV Unplugged sessions to air around six times during the month of release, before being archived. Carey's version was met with critical acclaim and extended popularity, leading to it being shown more often than usual. Fans from around the United States made multiple requests for the show to be aired on television, and by the end of April 1992, Carey's episode of MTV Unplugged had aired over three-times as much as an average episode would. The concert's success tempted Sony officials to use it as some form of an album. However, Carey and Afansieff were already making headway on a new album set tentatively for release in 1993. This being so, Sony decided to release it as an EP, selling for a reduced price due to its shorter length. It became available for digital download on the iTunes Store on December 7, 2021.

Video
After the success of the EP's lead single "I'll Be There", Sony chose to release not only the EP, but a VHS accompaniment package; a video of the actual concert titled MTV Unplugged +3. Aside from featuring the seven song's performed at Kaufman Astoria Studios, it held three music videos; "Can't Let Go", "Make It Happen", and a rare remix version and video of "Emotions". The video peaked atop the Billboard video chart, and was certified Platinum by the RIAA, denoting shipments of 100,000 units throughout the United States.

MTV Unplugged +3 garnered generally positive reviews from music critics. Allmusic editor Shawn M. Haney gave the video three out of five stars, praising Carey's vocals as well as her cover of "I'll Be There". Haney wrote "Gradually, the power and esteem of these tales lift to new heights and remain at a peak with the breathtaking, moment-making performance of "I'll Be There," a charming song first cut by The Jackson 5." Writing for the St. Petersburg Times, Sabrina Miller called Carey an "artiste" and wrote "Programs like MTV Unplugged showcase talent like hers with an exclamation point." Journalist and writer from The New York Times Jon Pareles branded the performance "shrewd", and claimed Carey's cover of "I'll Be There" "set off fireworks". A writer for Entertainment Weekly called the show a "vocal Tour de force", and wrote "in addition to her breathtaking pipes, she has developed a commanding stage presence." Additionally, they felt Carey's performance of "I'll Be There" was "killer" and concluded their review with "In the process, this rare public appearance reminded us there was a big-league performer inside that party dress."

Singles
After the decision to release the EP was made, Sony decided to release Carey's live version of "I'll Be There" as the only single, due to its critical success. The song debuted at number thirteen on the Billboard Hot 100, becoming Carey's highest debut on the chart at the time. After four weeks, the song topped the chart, becoming Carey's sixth number one song in the United States, and spending two weeks there. Its success across the globe was strong, peaking at number one in Canada, the Netherlands, and New Zealand; as well as reaching number two and three in the United Kingdom and Ireland, respectively; it also reached the top-ten in Australia, Belgium, Norway and Poland. "I'll Be There" was certified Gold by both the Australian Recording Industry Association and Recording Industry Association of New Zealand, denoting shipments of 35,000 and 7,500 units of the song in their respective countries. After its success, "If It's Over", a song from Carey's second studio effort Emotions was released, due to its exposure on the show and EP. It was given a very limited release, and only charted in Australia and the Netherlands, peaking at numbers 115 and 80, respectively.

Critical reception
MTV Unplugged garnered generally positive reviews from music critics. AllMusic editor Shawn M. Haney gave the album three out of five stars, praising Carey's vocals as well as her cover of "I'll Be There". Haney wrote "Gradually, the power and esteem of these tales lift to new heights and remain at a peak with the breathtaking, moment-making performance of "I'll Be There," a charming song first cut by the Jackson 5." Writing for the St. Petersburg Times, Sabrina Miller called Carey an "artiste" and wrote "Programs like MTV Unplugged showcase talent like hers with an exclamation point." Journalist and writer from The New York Times Jon Pareles branded the performance "shrewd," and claimed Carey's cover of I'll be There" "set off fireworks." A writer for Entertainment Weekly called the show a "vocal Tour de force," and wrote "in addition to her breathtaking pipes, she has developed a commanding stage presence." Additionally, they felt Carey's performance of "I'll Be There" was "killer" and concluded their review with "In the process, this rare public appearance reminded us there was a big-league performer inside that party dress." MTV Unplugged was included at number 10 in the Pazz & Jop Critics Poll list for the best EP's of 1992 along Erasure's Abba-esque. Carey was nominated for a Grammy Award for Best Female Pop Vocal Performance for the album.

North America
MTV Unplugged debuted at number eight on the US Billboard 200 with sales of 67,000 copies, on the week of June 20, 1992, becoming Carey's third consecutive top-ten album in the US. In its third week, the album peaked at number three, charting one spot higher than Emotions. In total, the album remained in the top-twenty for fourteen weeks, and on the chart for fifty-seven (making one re-entry). MTV Unplugged was certified four times Platinum by the Recording Industry Association of America (RIAA), denoting shipment of two million copies throughout the country. As of November 2018, Nielsen SoundScan estimates actual sales of the album at 2.8 million in the United States. On June 20, 1992, MTV Unplugged entered the Canadian RPM Singles Chart at number thirty-seven, eventually peaking at number six five weeks later, becoming also Carey's third consecutive top-ten album in Canada. During the week of November 22, 1992, the album spent its last week on the chart, exiting at number eighty-seven after spending twenty-four weeks on the album's chart. To date, the album has been certified Platinum by the Canadian Recording Industry Association (CRIA), denoting shipments of 70,000 units throughout the country.

Europe and Oceania
Outside the United States, the album experienced success in several European markets. In Austria, MTV Unplugged entered the albums chart at number thirty-nine, eventually peaking number twenty-one and spending a total of ten weeks on the chart. In France, the album peaked at number twenty-two, and was certified double-Gold by the Syndicat National de l'Édition Phonographique (SNEP), with estimated sales of 144,000 copies. In the Netherlands, the EP entered the MegaCharts at number sixty-six during the week of June 20, 1992. It eventually peaked at number one, staying there for three consecutive weeks, and a total of 116 weeks on the chart. The Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers (NVPI) certified the album double-Platinum, denoting shipments of 200,000 units throughout the country. On the Swiss Albums Chart dated September 13, 1992, the album reached its peak position of number nineteen. After only five weeks charting within the country, it was certified Gold by the International Federation of the Phonographic Industry (IFPI). In the United Kingdom, the album debuted and peaked at number three on the UK Albums Chart, during the week dated July 18, 1992. After spending ten weeks on the chart, the album was certified Gold by the British Phonographic Industry (BPI), denoting shipments of 100,000 units.

In Australia, the album debuted at number thirty-four on the ARIA Charts, during the week ending July 12, 1992. Weeks later, it peaked at number seven, where it remained for four consecutive weeks, and a total of twenty-five weeks in the top 50, and thiry-three weeks in the top 100. The album was certified Platinum by the Australian Recording Industry Association (ARIA), denoting shipments of 70,000 copies. MTV Unplugged entered the New Zealand Albums Chart at number four during the week of August 2, 1992. After spending three weeks at number one, and a total of nineteen in the chart, the album was certified double-Platinum by the Recording Industry Association of New Zealand (RIANZ).

Personnel
Credits for MTV Unplugged adapted from AllMusic.

 * Mariah Carey – arranger, producer, vocals
 * Walter Afanasieff – arranger, piano, producer
 * Vernon "Ice" Black – guitar
 * Henry Casper – background vocals
 * David Cole – piano
 * Laura Corcos – strings
 * Melonie Daniels – background vocals
 * Lew Del Gatto – baritone saxophone
 * Darryl Douglass Workshop Company – background vocals
 * Sammy Figueroa – percussion
 * Earl Gardner – trumpet
 * Winterton Garvey – strings
 * Greg "Gigi" Gonaway – Drums
 * Peggy Harley – background vocals
 * David Hewitt – engineer
 * Cecilia Hobbs – strings
 * Randy Jackson – bass
 * Ren Klyce – bells, celeste, timpani
 * Trey Lorenz – vocals
 * Patrique McMillian – vocals
 * Geno Morris – vocals
 * Peter Moshay – production coordination
 * Lenny Pickett – tenor saxophone
 * Cheree Price – background vocals
 * Kelly Price – background vocals
 * Dan Shea – harmonium, harpsichord
 * Liz Stewart – background vocals
 * Steve Turre – trombone
 * Spencer Washington – background vocals
 * Belinda Whitney-Barratt – strings
 * George Young – alto saxophone

title: MTV Unplugged (Mariah Carey EP)


text:
Five Iron Frenzy 2: Electric Boogaloo

Five Iron Frenzy 2: Electric Boogaloo is the fourth studio album by the band Five Iron Frenzy. It was released November 20, 2001 by Five Minute Walk records.

Overview
Five Iron continued their tradition of tongue-in-cheek lyrics on songs such as "Pre-Ex-Girlfriend" and "You Can't Handle This". The album also tackles serious issues, elevating the social commentary to what HM characterized as a "new level of brutal honesty." "Far, Far Away" was inspired by The Seekers song "Come the Day" and "The Day We Killed" by Dee Brown's book Bury My Heart at Wounded Knee. The latter song references Crazy Horse, an Indian chief, to speak about racism toward Native Americans. Another theme visited on this album is consumerism in "Vultures" and "Blue Mix". "Blue Mix" specifically addresses practices of the music industry which Roper sees as disparaging when copied within the Christian music industry. Practices attacked include blue mixing, or limiting opening bands sound so that the headliners sound the best, and merchandising controls that raise profit margins at the expense of the band's freedom. As Roper stated to HM: "It really bothers me how often that happens in the Christian industry... it's not okay to do that kind of stuff." "Car" is dedicated to the memory of Carlos Ortega, brother of Leanor. It references a poem by E.E. Cummings to remind the listener that each day is a blessing to be cherished.

According to the band, "the '2' in the title doesn't signify anything, it is simply a reference to 1984's breakdancing film, Breakin' 2: Electric Boogaloo."

Track listing
(Credits adapted from album's liner notes)

Music credits
Five Iron Frenzy
 * Reese Roper – lead vocals
 * Micah Ortega – lead guitar
 * Sonnie Johnston – guitar
 * Keith Hoerig – bass
 * Andrew Verdecchio – drums
 * Nathanael "Brad" Dunham – trumpet
 * Dennis Culp – trombone
 * Leanor Ortega "Jeff the Girl" – saxophone

Additional musicians
 * Bret Barker (of The W's)
 * Aaron James
 * Michael Jon Leonardi
 * Justin McRoberts
 * Mary Joan Thyken
 * Mindy Verdecchio

Production
 * Masaki Liu – producer, engineer, mastering
 * Five Iron Frenzy – producer
 * Micah Ortega – assistant engineer
 * Bret Barker – assistant engineer
 * Shively – assistant engineer
 * Frank Tate – executive producer
 * Aaron James – art direction and layout
 * Melinda DiMauro – photography

title: Five Iron Frenzy 2: Electric Boogaloo


text:
Talk:The Magician's Nephew

Aslan, the Creator-Christ
From the article, as it stands GOD IS A AWESOME GOD.....
 * Aslan acts in the role of the Creator. There is no reference to the distant "Emperor over Sea" who had been paralleled with God previously in the series. Presumably this was a deliberate simplification by Lewis to keep the complexity at an appropriate level.

Or possibly Lewis was being thoroughly orthodox about all this?
 * In the beginning was the Word, and the Word was with God, and the Word was God. He was with God in the beginning.  Through him all things were made; without him nothing was made that has been made.  John 1:1-3
 * [Christ] is the image of the invisible God, the firstborn over all creation. For by him all things were created: things in heaven and on earth, visible and invisible, whether thrones or powers or rulers or authorities; all things were created by him and for him. Col. 1:15-16

What I mean to say is Aslan acts in the role of Creator because orthodox Christians believe that God the Father created the universe by his Son. The "Emperor over the Sea" may well be parallelled with God the Father; but Aslan, parallelled with God the Son ought (by virtue of the analogy with Christian theology) to be the one by whom Narnia is created. Lewis did it because it's good theology, not because it's simpler this way.

Of course, all this is too abstruse for me to be able to work into a WikiArticle, but if someone else reads this and is able to, please have a crack. The worst that can happen is I come back and completely re-write it. : D Wooster 20:27, 11 July 2005 (UTC)

 * I do agree. If I find a way to restate it right off, I'll try to write this into it. If not, then, I'll leave it for someone else to do. -- D. F. Schmidt (talk) 18:17, 30 July 2005 (UTC)

 * My thanks to the IP-addressed editor who worked this into the article. I beefed up the Trinitarian aspects of the edit slightly (it never hurts) just to make it quite clear what Lewis up to.  I also moved an ambiguous bracket to the correct position and removed the claim that Narnia was under British rule.  I half-understand the motivation for that claim, but even in the books, the Crown doesn't recognise Narnia as one of its dominions.  Rule by Brits is not the same as British rule.  What else?  Oh yeah, is it encyclopaedic to observe that similarities with Tolkien's creation myth will be because they both used the same source material for ideas? I'll bung it in; please remove if you think it's inappropriate.  Wooster 16:21, 26 August 2005 (UTC)

Aslan the Funny
I added a comment on "The First Joke," saying that it shows Christ's sense of humor. If someone minds, they can restate it, but it is important to me that it should at least be there in some form. As well, I don't have the book before me, so if I've misquoted, please correct me. -- D. F. Schmidt (talk) 18:34, 30 July 2005 (UTC)
 * I love this bit. Yes, God has a sense of humor, and I know it from personal experience and the experience of others! :) I've adjusted the wording slightly to make it more accurate to the original; it's abbreviated (and should stay that way imo - it's not sufficiently vital to the section to justify verbose quoting) but accurate. Rosuav (talk) 16:26, 7 May 2008 (UTC)

Social class
The present article states: "The reader is also left in no doubt about the precise social class of each of the English characters, with the implication that this matters to God; the cabby is of common origin and his wife is a washerwoman." This seems a decidedly eccentric reading. Social class was a hugely important reality of the era the story is set in, and was a pretty big fact of life in 1950s England when the book was published. But surely the calling of Frank the cabby to be king would indicate that it doesn't matter to God. Also, inheriting wealth as a form of happy ending was hardly invented by Lewis. Compare E. Nesbit, who was an influence on him. She used this sort of thing in her children's books despite the fact that she was a socialist!

A point that touches on class is that Lewis clearly favours the country over the town. You could make a case that the fact that Frank is really a countryman (and reverts to his real, good, country roots, leaving behind his nasty city coating) is something to do with class attitudes to the urban working class. Actually though I think it is probably mainly just Lewis's own prejudice about the country - in his writing the country is usually good and city bad. (His heaven is mountainous rather than a City.)

Suggestions?

 * I agree with you whole-heartedly; the article clearly needs to be changed a bit. Also, this section implies that Lewis was guilty of a certain Anglocentrism, which I highly doubt.  He was actually Irish and said some fairly chauvinistic things about the English. Joey1898 23:58, 4 January 2006 (UTC)

Commentary
I restored the "Commentary" section as it needs to be reworked to an NPOV rather than just excised in toto. There is some useful material in there. Ellsworth 23:29, 6 January 2006 (UTC)

The Rings
This is very poor quality. I would edit it myself, but I haven't read the book in years, so I think someone more qualified should handle it.
 * I've fixed the factual part of it. The book ought to have pride of place on my shelf, along with the rest of the series, but someone's gone and shifted it :( All the others are there, but not The Magician's Nephew. However, I know the rings are this way around (remember the mnemonic for the "homeward" (really "outward") rings - G for Green and R for Right, which are the first two letters of GReen). Rosuav (talk) 16:20, 7 May 2008 (UTC)

Time setting
"The story begins in 1900 ..."; I've seen that date elswhere, but is there any text-evidence? This seems awfully late, since by Lion (1940?) Digory Kirke is a "very old man" (or seems so to the four children). All I can find to date the story is that "this happened when your grandfather was a child" and the reference to Sherlock Holmes and E. Nesbit's Bastable children, which I guess puts it in the 1880s or '90s. —wwoods 07:57, 31 January 2006 (UTC)
 * I've also seen this repeated, but no sources. The Bastable reference would place it exactly in 1899 (The Story of the Treasure Seekers is set the year before The Wouldbegoods in 1900; ch. 10) and this tallies with Holmes in Baker Street, so if there are no sources forthcoming for 1900 or objections I'll change to 1899 and add a footnote explaining this as the source.
 * --xensyriaT 09:20, 10 January 2012 (UTC)
 * The date 1900 comes from Lewis's Narnian timeline, published by Walter Hooper. -- Elphion (talk) 14:24, 10 January 2012 (UTC)
 * Very interesting: thanks for the reference! After a little searching around, I've noticed a few other differences between the books and this timeline which I've edited into a more comprehensive Controversy section on Wikia's Narnia Wiki. Now, I know that at the moment, the scholarly consensus is that the book's set in 1900 as per the timeline, so I won't try to change the article, but it seems to me that the book's internal reference places it in 1899... which makes the timeline wrong! Hopefully this minor change will one day be reflected in a new generation of "Lewis scholarship"! --xensyriaT 03:28, 12 January 2012 (UTC)

Trivia
The trivia section says:
 * Of the seven Narnia books, The Magician's Nephew is one of the only two that does not feature the Pevensie children (the other is The Silver Chair). The Silver Chair however does mention them.

 * The Magician's Nephew is arguably the only book that spends a significant amount of time in our world.

 * Only during The Magician's Nephew do adults travel between worlds.

Some thoughts: Is any of this worth keeping? —wwoods 05:17, 17 June 2006 (UTC)
 * Nephew mentions Lucy, although not by name.
 * "Arguably"? Well, I guess so—Lion also spends (an unclear amount of) time in our world.
 * At the end of Caspian, a whole lot of adults travel between worlds.
 * Dunno, I couldn't figure a way to get it in the article body so I left it in. And you're right - Eustace does briefly mention his cousins = "the two Pevensie kids" to Jill at the beginning of the Silver Chair, so I deleted that bit. Ellsworth 03:00, 3 August 2007 (UTC)

 * In defence of the original points:
 * The Magician's Nephew and The Silver Chair may mention, but don't really feature the Pevensies.
 * By "a significant amount of time" I assume it means narrative time, that is, how long the book spends describing events in our world not how long they are supposed to have spent in it during the events described (and it says how long "the book spends" not how long the characters do).
 * "Only during The Magician's Nephew do adults travel between worlds" is just wrong as you point out.
 * -- xensyria T 16:12, 10 July 2012 (UTC)

Jadis
The article says that she changes colour and shape. She undergoes a colour-change but se doesn't change shape. It also says that she becomes less beautiful. It never says that. Just because your skin turns white doesn't make you any less beautiful. Some people might say it makes you more beautiful. — Preceding unsigned comment added by 81.145.242.82 (talk • contribs) on December 10, 2006 at 10:18 (UTC)

Diggory's ill mother
I think mention should be made of the fact that Lewis lost his own mother to disease at the same age as Diggory; thus the scene in which Diggory is tempted to steal the apple to save his mother's life had tremendous resonance for Lewis; and is not just an additional episode in a story.

The idea that Jadis' life will be immortal but miserable because she stole the spell is repeated by J.K. Rowling in HARRY POTTER AND THE PHILOSOPHER'S STONE, concerning Voldamort and unicorn blood. CharlesTheBold 04:48, 2 February 2007 (UTC) CharlesTheBold

esto apesta q

Citations needed
Much of the article, even the untagged portions, seem to contain a lot of original research. Accurate to be sure, but it'd be nice if someone familiar with the commentaries on Lewis' fiction could supply a few sources. --Tim4christ17 talk 01:46, 20 March 2007 (UTC)

Plot Summary Length
There have been some back and forth edits edits pertaining to the length of the plot summary for the last few days, and as I'm about to revert to the shorter version, I wanted to explain why. Plot summaries are meant to summarize the plot. This is different from summarizing the book itself. Here's the relevent section from WikiProject Novels/Style guidelines

 * Plot summaries should be short and an integral part of the article. According to WP:NOT, "Wikipedia articles on works of fiction should contain real-world context and sourced analysis, offering detail on a work's achievements, impact or historical significance, not solely a summary of that work's plot. A plot summary may be appropriate as an aspect of a larger topic."

 * A plot summary should be no more than three or four paragraphs (for example, four paragraphs for a complex plot such as that found in Charles Dickens' Bleak House). Shorter novels and short stories should have shorter summaries. Plot summaries should not contain an explication of every subplot in the novel nor need they be told in the same order as the novel itself. Well-written plot summaries are extremely difficult to achieve and one of the ways to make your article look like Sparknotes rather than a respectable encyclopedia entry is to detail the plot of every chapter rather than to attempt to truly summarize the novel. A summary details the most important events and character relationships in the novel.

But maybe I'm missing something here; if you have a good reason why the plot summary should be 20 paragraphs instead of 6, let me know. LloydSommerer 12:23, 25 July 2007 (UTC)

Plagiarism in plot summary
The last section of the plot summary appears to have been copied from the end of the book. Especially noticeable in these sentences: "The lamppost which the witch had accidentally planted burned brightly through the generations until it was happened upon years later by a young girl in another story."

" Though he never discovered the magical properties of that wardrobe, someone else did and thus began the travels between Narnia and our world."

Why can't we just mention that that the young girl was Lucy? The fact that the last section appears to have been copied verbatim is one reason why the plot summary is too long. I don't think the fact that Uncle Andrew later boasted of what happened should even be noted. Cerberusc (talk) 18:23, 26 May 2008 (UTC)

 * I've redone the plot summary somewhat. How's that look? Rosuav (talk) 04:27, 2 June 2008 (UTC)

Work on Article
I am planning to do some work on this article in the next few weeks.

As a reference to the kind of work I am considering (assuming the references I am sourcing at the moment allow me, it might all fizzle and pop if they don't), this: http://en.wikipedia.org/w/index.php?title=The_War_of_the_Worlds&oldid=269890270 Ended up (together with useful contributions of other editors) as this unfinished, not entirely satisfactory, but certainly majorly revised and perhaps more comprehensive version: http://en.wikipedia.org/w/index.php?title=The_War_of_the_Worlds&oldid=272947185

If anyone else is planning to do some work also, perhaps some discussion prior to major revisions might be useful. I just jumped in with The War of the Worlds, but I thought I might try a different tack this time as I felt like a bit of a new kid on the block bully steaming on in without discussing my intentions first in that case.

I am toying with the idea of providing some background to Lewis writing the novel, any publication information I can find, some context of the historical period in which the novel was published, some short analysis of childrens' literature prior and post (also with reference to previous Narnia novels), anything I can find that might allow some examination of the imagery in the novel which in my view is inventive and superb, some interpretations might be included if the sources provide solid grounding for it, materialist, Christian or otherwise. I do not intend to include anything that does not have a paper published secondary source behind it, excepting perhaps influences, which might be hard to find otherwise. I have no particular inclination as to what the novel means or does not mean I am just considering doing the work because I like the book best out of the series, and it was the first book read to me as a child. Mesmacat (talk) 11:47, 25 February 2009 (UTC)
 * Personally happy with all of that. Only the "short analysis of children's literature prior and post" bit seems likely to more appropriate to the series article as a whole. However if there is anything particular to this "individual" novel then do include it. I would have thought however it is more likely series wide. :: Kevinalewis  : (Talk Page) /(Desk)  12:05, 25 February 2009 (UTC)

Reading order
I have added a reading order section to the article as part of a general expansion of the article, which I expect to continue for some time. This issue does appear in the general article on the chronicles. However. I think it is worth having this section in this article in reasonable detail, because this issue is very specific and relevant to this novel, was perhaps first raised as a result of the publication of this novel and is highly pertinent given it was commenced as a writing project immediately after The Lion, the Witch and The Wardrobe and as a result of issues and questions raised about the origins of Narnia by that novel. Of course other views are welcome, and I will respect consensus if it leans away from my approach. Mesmacat (talk) 12:18, 19 March 2009 (UTC)

Plot summmary (again)
I am considering cutting this down by about half. More detail could be gleaned from the character summaries, which seem to work well in some articles if they give a bit of a sense of what the characters do in the novel and their significance rather than go into great details about the character, which can be picked up from the main articles. Perhaps a section of locations for Charn, Wood Betweeen the Worlds and Narnia would also help here and allow readers to gather information in digestable focused sections rather than piecing it together from the long summary section. I see however that this article has been down this road before with a expanding and contracting summary, hence my putting this suggestion to forum before acting on it. Mesmacat (talk) 11:41, 22 March 2009 (UTC)
 * The current summary (May 2010) is almost an order of magnitude too long. The addition of 12 May 2010 more than doubled the size of the article. -- Elphion (talk) 02:23, 14 May 2010 (UTC)
 * ✅ I've restored the earlier, much more concise summary in keeping with guidelines. Doniago (talk) 02:36, 14 May 2010 (UTC)

Adaptions
There is a play of this novel by Aurand Harris, which appears to have been performed quite a lot by smaller theatre companys, schools, etc, but I have not been able to find any references for it other than mentions of it being performed, does anyone know anywhere it has been written about? Mesmacat (talk) 12:04, 22 March 2009 (UTC)

Asllan or Asland?
Ive heard it pronounced Asland, but seen it spelled Aslan. Which one is it? —Preceding unsigned comment added by Jacobgreen35 (talk • contribs) 15:27, 29 January 2010 (UTC)

Themes and Interpretations Section
The following two paragraphs have been in this article for a while and in my personal view are holding the article back in terms of meeting the expected criteria for decent quality articles in this medium. I left them in when I did a substantial rework on this article last year because I thought someone might be able to source them, but that hasn't happened in a year or so.

I couldn't find a source for this stuff, despite having nearly 10 books on CS Lewis and his work sitting beside me ranging from hardcore academic to Christian literary appreciation, while I worked, and having many more texts on Google books that had a decent partial view.

It seems about time for them to go, if they cannot be anchored in some kind of published commentary. Having said that, I know there are some folks who might be attached or feel considerable meaning is invoked in this kind of commentary on the piece and the fact no one has deleted them strikes me as odd, given they are pretty speculative in overall tone, even if one or two aspects, like the first sentence in the first paragraph and the last in the second, seem intuitively reasonable to me.

For unsourced Wiki statements these are persistant survivors and there may be a reason for that, so I am putting it to consensus before doing the deed.

"Apple of Life. Queen Jadis resembles the Biblical Satan, as Aslan describes her as the first evil brought into the Narnia and Jadis later tempts Digory to eat one of the forbidden apples in the garden, as does Satan, disguised as a serpent, tempt Adam and Eve into eating a forbidden fruit in the Garden of Eden. Unlike Adam and Eve however, Digory rejects Jadis's offer. Jadis's satanic elements are perhaps evocative of Satan in Islam, where Satan is called Iblis and is portrayed as one of the race of the Djinn, the same race as Jadis."

"Aslan acts in the role of the Creator. There is no reference to the distant "Emperor-Over-the-Sea" echoing God the Father previously in the series. This corresponds with the New Testament concept of Jesus (God the Son) being the agent of Creation; e.g. "All things were made through Him, and without Him nothing was made that was made," (Gospel of John 1:3 NIV, see also Epistle to the Hebrews 1:10 and Colossians 1:15–16). Aslan's personal selection of some Narnian beasts to become talking animals is also reminiscent of the Book of Genesis, where Noah chooses two of certain creatures to survive the flood."

So,what's the feeling folks? Mesmacat (talk) 09:37, 12 May 2010 (UTC)

 * The second passage has little worth saving. Without some indication that Lewis was thinking about Aslan as God the Father in a sense different from the earlier books, it has no value (except possibly the observation that the Emperor is not mentioned in this book).  The selection of talking beasts is not "reminiscent" of the story of the Flood -- the whole point of the selection is entirely different.
 * The first passage has some valid points: the reference (not resemblance) to Satan and Genesis is unmistakable, though the parallel is not very precise. (Satan, for example, is not after the apples for himself; and Digory's descendants do not populate Narnia, with or without Original Sin.)  The episode refers to Genesis, but does not follow it -- indeed imagines how it might have played out differently.  The references to Eblis (Iblis) and the Djinn are out of place without a reference showing that Lewis had that in mind.  (This book, after all, makes clear that Jadis comes a long line of rulers from Charn, and is not a Djinn, as the rumor of LWW has it.)
 * -- Elphion (talk) 16:32, 12 May 2010 (UTC)

 * Have taken out the second passage and removed the Jadis/Djinn sentence. Don't have time at the moment to do further work on this, but there is some commentary around pages 32-34 at http://books.google.com.au/books?id=4T7u3Lvh9CwC&pg=PA34&dq=jadis+satan&hl=en&ei=0mAdTNqtMMiwce-EwOgM&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q=jadis%20satan&f=false that could be used to source and elucidate paragraph on jadis and the forbidden fruit if anyone else wished to do so. Mesmacat (talk) 00:34, 20 June 2010 (UTC)

I would change your resemblance of Jadis as a comparison to Satan; certainly she resembles the serpent, certainly, but there is no reference to the serpent as Satan within the book of Genesis in the Bible in the strictest sense. — Preceding unsigned comment added by 173.59.11.114 (talk) 02:21, 6 November 2011 (UTC)

Removed the reference to The Garden of the Hesperides as "a recurring image" in Lewis' work, since no evidence is given. Also, removed the claim that the Hesperides is associated with Aphrodite, which is incorrect. Cleeder (talk) 07:17, 15 December 2013 (UTC)

This book is dedicated to "the Kilmer family".
Somebody, please place this sentence in it's right place. I'm trying to find my copy and see if there really is a dedication. Right now the sentence is squating at the end of the second or third par..--Jondel (talk) 05:54, 30 January 2011 (UTC)
 * I moved it out of the introduction and into a spot I thought was right.CapBasics359 (talk) 21:18, 11 June 2012 (UTC)

Publisher and illustrator (dis)continuity

 * (cross-posted with appropriate changes at Talk: The Chronicles of Narnia)

This article should name the publisher and illustrator, perhaps in the lead paragraph, not only in infobox book.

Somewhere, not in the lead paragraph if a substantial explanation is possible, it should state that Bodley Head was a new publisher (and Pauline Baynes a continuing illustrator). Please explain if possible. Most important, did Lewis (or Lewis & Baynes, or Baynes) depart Geoffrey Bles for Bodley Head? Or did Bles go out of business? Or Bles join Bodley?

Finally, was there any physical change in the series at this point, such as quality of paper, font, etc?

The basic fact and the explanation, if any, should also be covered at The Chronicles of Narnia. Perhaps the explanation should be primarily in that article --something I can't judge; maybe no one can judge until the explanation is researched and written.

--P64 (talk) 22:39, 7 December 2012 (UTC)

Non-breaking spaces
&nbsp; is an HTML entity which creates a non-breaking space. This is useful for such constructs as "Mrs Kirke" as it forces both words to be on the same line. It is a common typesetting feature, and encouraged on Wikipedia by MOS:NBSP. Elizium23 (talk) 03:38, 26 August 2014 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 2 one external links on The Magician's Nephew. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20131202222228/http://www.charismamag.com/index.php/news/30308-the-voyage-of-the-dawn-treader-most-inspiring-faith-family-and-values-movie-of-2011 to http://www.charismamag.com/index.php/news/30308-the-voyage-of-the-dawn-treader-most-inspiring-faith-family-and-values-movie-of-2011
 * Added archive https://web.archive.org/20140501080821/http://www.aslanscountry.com/2011/10/gresham-confirms-waldens-contract-expired/ to http://www.aslanscountry.com/2011/10/gresham-confirms-waldens-contract-expired/

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

Cheers. —cyberbot II  Talk to my owner :Online 10:35, 28 August 2015 (UTC)

Critical reception
The final section contains links to two fuddy-duddies who didn't care for the book. Surely there have been some authoritative reviews of the book which give it the praise I, for one, think it deserves. Yes, I am biased. I could write a new review myself about how the book reverberates with the issues of today, as perhaps never before. Usually, a section "critical reception" contains links to a full spectrum of reviews. Richard Gill (talk) 07:40, 8 January 2020 (UTC)

Charn and the Wood between the Worlds.
(moved here from my talk page) -- Elphion (talk) 18:47, 28 December 2021 (UTC)

 * Actually should belong on the talk page for White Witch since that was where the edit was made.Romomusicfan (talk) 23:31, 28 December 2021 (UTC)

Up until The Magician's Nephew (in writing order) the world that contained Narnia/Archenland/the Calormene Empire and Our World/England/Earth/(whatever term Lewis chose to use on any given day's writing) were presented as dichotomatic - one was either "here" in the real world or "there" in Narnia's world. The depiction of Charn and the Wood between the worlds breaks this pattern and shows us a third world unrelated to England or Narnia, an infinity of worlds of which "Our world", Narnia's World and Charn are but three of many, and an interconnecting dimension (the wood). Therefore it is worth emphasising that Charn is as separate from both Earth and Narnia's world as they are from each other.Romomusicfan (talk) 17:33, 28 December 2021 (UTC)

 * I don't disagree, and I don't object to adding that in. But equally, the fact that MN opens new horizons in the series for the first time by introducing new worlds beyond Earth and the Narnian world is an important narrative feature that should be underlined. The phrasing of your earlier edit drew attention away from that. -- Elphion (talk) 18:53, 28 December 2021 (UTC)

 * I'll agree to differ. I felt my way made it clearer that Charn is as much different from either Our World or The World Of Narnia as they are different from each other. Romomusicfan (talk) 23:31, 28 December 2021 (UTC)

TMN as post-apocalyptic fiction
I was just reading the article on apocalyptic and post-apocalyptic fiction and realized that, in a small way, this book fits, specifically in the section about Charn. In this case, the use of the Deplorable Word is the apocalypse event and everyone except Jadis is dead. Maybe a mention of this in the article? -- Cromwellt|talk|contribs 05:25, 29 November 2023 (UTC)

 * You'd need a source that talks about this book as an example of that genre. DonIago (talk) 06:34, 29 November 2023 (UTC)
 * Fair enough. And since it's a rather small part of the book, it seems unlikely I'll find a source that says that. Still interesting to think of this book that way, I think. -- Cromwellt|talk|contribs 18:30, 29 November 2023 (UTC)

title: Talk:The Magician's Nephew


text:
File:Bomberman Max 2 Blue Advance box.jpg

Box art for Bomberman Max 2: Blue Advance, a video game for the Game Boy Advance.


text:
Wikipedia:Articles for deletion/Engineering Computing Center

 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. Golbez 07:37, Jun 18, 2005 (UTC)

Engineering Computing Center
It's a computer lab, just like any other one at thousands of other colleges and schools. --Xcali 21:38, 10 Jun 2005 (UTC)
 * Delete - Labcruft. --FCYTravis 22:00, 10 Jun 2005 (UTC)
 * Delete - not notable. DS1953 00:34, 11 Jun 2005 (UTC)
 * Delete. There is no need to start having articles about every detail at a university. Sjakkalle (Check!)  09:17, 14 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:
User:Atti~enwiki

See my it.wiki profile.

title: User:Atti~enwiki


text:
PANOSE

The PANOSE System is a method for classifying typefaces solely on their visual characteristics, developed by Benjamin Bauermeister. It can be used to identify an unknown font from a sample image or to match a known font to its closest visual neighbor from a font pool. The word "PANOSE" is composed of letters taken from the six classes in which the creator of the system organized the Latin alphabet.

History
The original PANOSE System was developed in 1985 by Benjamin Bauermeister. In 1988, it was published by Van Nostrand Reinhold Company Inc. under the title A Manual of Comparative Typography: The PANOSE System. This initial version of the PANOSE system consisted of seven classification categories, and was based on subjective visual parameters.

In 1990, the Weight category was added, and the Arm Style category was split off from the Stroke Variation category, bringing the number of classification categories to 9. Objective classification criteria were also added at this time.

In 1991, the Family Kind category was added, completing the PANOSE 1.0 definition.

In 1992, there were attempts made to classify Han ideographic typefaces, which allows applications to suggest the most appropriate Latin typeface to match a given Han ideographic typeface. Transliteral mapping could also be used to match between, for example, decorative or script faces and text equivalents.

In 1993, Mapper Application Interface (MAI) was developed. PANOSE 2.0 was also released in the same year, which is the basis for Hewlett-Packard's Infinifont font synthesis technology.

PANOSE was incorporated into a variety of digital font metadata tags in 1992 by ElseWare Corporation. The classification system, its matching algorithms reference databases, classification parameters, and trademarks were purchased by Hewlett-Packard in 1995. A font synthesis engine named Infinifont was also purchased by Hewlett-Packard at that time.

1.0
The PANOSE 1.0 definition was published in 1988. A PANOSE classification number consists of 10 concatenated values. Each value from a given category was computed from a specific visual metric, such as the weight of the font and the presence or absence of serifs. Special values "Any" (0) and "No Fit" (1) exist for every category, which have specific meanings to the mapper. "Any" means match that digit with any available digit, which allows the mapper to handle distortable typefaces. "No Fit" means that the item being classified does not fit within the present system.

The standard classifies fonts in following categories in following order:
 * Family: The Family value defines what type of font is being classified, which affects the valid values available for the latter categories, and the categories available. Different category definitions exist for Latin Text, Latin Hand Written, Latin Decorative, Latin Symbol, Iconographic, Japanese Text, Cyrillic Text, and Hebrew.

Latin Text categories

 * Serif Style: it describes the appearance of the serifs used in a font design and groups them into one of 14 general categories. Serif and sans serif faces are classified within this digit.
 * Weight: it classifies the appearance of a font's stem thickness in relation to its height. It offers 10 gradations, ranging from Very Light to Extra Black.
 * Proportion: it describes the relative proportions of the characters in the font. Distinguishes Monospaced from Proportional, Modern from Old Style, and Extended from Condensed.
 * Contrast: it describes the ratio between the thickest and narrowest points on the letter O. The uppercase O is used because it is generally of higher contrast than the other characters of the alphabet.
 * Stroke Variation: it specifies the relationship between the thicknesses of the thin stems and the wide stems. It further details the contrast trait by describing the kind of transition that occurs as the stem thickness changes on rounded glyph shapes.
 * Arm Style: it classifies special treatment of diagonal stems and termination of open rounded letterforms. The letter A and C are used extensively for this classification, along with G, M, S, V, W, and Y.
 * Letterform: it classifies roundness of the character shapes and the predominant skewing of the character forms.
 * Midline: it describes the placement of the midline across the uppercase characters and the treatment of diagonal stem apexes.
 * X-height: it describes the treatment of uppercase glyphs with diacritical marks and the relative size of the lowercase characters.

Latin Hand Written categories

 * Tool Kind:
 * Weight:
 * Spacing:
 * Aspect Ratio:
 * Contrast:
 * Topology:
 * Form:
 * Finials: Possible values are 0 (Any), 1 (No fit), 2/3/4 (None), 5/6/7 (Sharp), 8/9/10 (Tapered), 11/12/13 (Round). For each of the latter options there are three variants:  respectively No loops, Closed Loops, and Open loops.
 * X-ascent:

Latin Decoratives categories

 * Class:
 * Weight:
 * Aspect:
 * Contrast:
 * Serif Variant:
 * Treatment:
 * Lining:
 * Topology:
 * Range of Characters:

Latin Symbol categories

 * Kind:
 * Weight:
 * Spacing:
 * Aspect Ratio & Contrast:
 * Aspect Ratio of Character 94:
 * Aspect Ratio of Character 119:
 * Aspect Ratio of Character 157:
 * Aspect Ratio of Character 163:
 * Aspect Ratio of Character 211:

Example
For example, the PANOSE digits for Times New Roman are:

2.0
The system stores actual measurement data under the Rich Font Description (RFD) rather than bucketing it, which allows the matching system to use mathematical distance rather than penalty tables. It is designed for distortable font technologies (e.g.: Multi Master fonts). The system offers multiple methods for distortable fonts.

The original classification system was changed from a bucket-based system to an arithmetic system (except the Family from PANOSE 1.0 and derivatives), and was expanded to following categories: Each PANOSE 2.0 category value is a signed 16-bit number (from −32,768 to 32,767; only ranges between −10,000 and 10,000 are defined), where value zero (0) is considered to be the "normal" for the digit. For example, digit zero for the weight represents medium weight. The "any" value from PANOSE 1.0 is translated to a "don't care" parameter and is replaced by the more comprehensive distortable font descriptions.

The Family category is replaced by Class and Genre, where Class indicates a font's language and character set, where Genre indicates text faces, display faces, symbol faces, and so on. PANOSE matching software is designed to match fonts with different Class, but same Genre. The same Genre can have different meaning in different Class, so the matching heuristic decides the closeness of fonts based on adjusted values based on Class, rather than raw PANOSE values within the fonts themselves.

PANOSE Classification Procedures
Classification Procedures are objective measurement techniques used to assign a PANOSE number to a font.

PANOSE Mapper software
The PANOSE Mapper software determines the closest possible font match on any given system by comparing the PANOSE numbers of the requested and available fonts. The individual PANOSE digits are compared, weighted by their typographic importance, and summed to provide a numerical visual distance. Typographic importance is derived by assigning weights to each digit; for example, a font's weight (regular, bold, demibold, etc.) is more important than its contrast (difference between thick and thin strokes).

Standardizations
PANOSE 1.0 table is supported in TrueType font format.

PANOSE 2.0 is used in ElseWare Corporation's Infinifont parametric font generation system.

In 1996, during the W3C's draft process for CSS 1, Hewlett-Packard proposed a PANOSE syntax extension for font substitution. It was not included in the final CSS 1 recommendation partly because of licensing concerns. Although Hewlett-Packard Co. is not interested in profiting from PANOSE, it will negotiate licenses on a time and materials basis.

PANOSE 1.0 is supported in SVG since version 1.0 in the font-face element under panose-1 attribute. In CSS 2, it is used in the panose-1 property, which was removed in CSS 2.1.

In Office Open XML, it is part of WordProcessingML.

PANOSE 1.0 is used in Rich Text Format Specification 1.7.

title: PANOSE