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72nd Street station (IRT Broadway–Seventh Avenue Line)

The 72nd Street station is an express station on the IRT Broadway–Seventh Avenue Line of the New York City Subway, located at the intersection of Broadway, 72nd Street, and Amsterdam Avenue in the Upper West Side neighborhood of Manhattan. It is served by the 1, 2, and 3 trains at all times.

The 72nd Street station was constructed for the Interborough Rapid Transit Company (IRT) as part of the city's first subway line, which was approved in 1900. Construction of the line segment that includes the 72nd Street station began on August 22 of the same year. The station opened on October 27, 1904, as one of the original 28 stations of the New York City Subway. The 72nd Street station's platforms were lengthened in 1960 as part of an improvement project along the Broadway–Seventh Avenue Line. The station's only exit was originally through a head house in the median of Broadway south of 72nd Street. In 2002, the station was renovated and a second head house was built north of 72nd Street, within an expansion of Verdi Square.

The 72nd Street station contains two island platforms and four tracks. The outer tracks are used by local trains, while the inner two tracks are used by express trains. The station's original head house and part of its interior are New York City designated landmarks and are listed on the National Register of Historic Places. The northern head house contains elevators, which make the station compliant with the Americans with Disabilities Act of 1990.

Construction and opening
Planning for a subway line in New York City dates to 1864. However, development of what would become the city's first subway line did not start until 1894, when the New York State Legislature passed the Rapid Transit Act. The subway plans were drawn up by a team of engineers led by William Barclay Parsons, the Rapid Transit Commission's chief engineer. It called for a subway line from New York City Hall in lower Manhattan to the Upper West Side, where two branches would lead north into the Bronx. A plan was formally adopted in 1897, and all legal conflicts concerning the route alignment were resolved near the end of 1899.

The Rapid Transit Construction Company, organized by John B. McDonald and funded by August Belmont Jr., signed the initial Contract 1 with the Rapid Transit Commission in February 1900, under which it would construct the subway and maintain a 50-year operating lease from the opening of the line. In 1901, the firm of Heins & LaFarge was hired to design the underground stations. Belmont incorporated the Interborough Rapid Transit Company (IRT) in April 1902 to operate the subway.

The 72nd Street station was constructed as part of the IRT's West Side Line (now the Broadway–Seventh Avenue Line) from 60th Street to 82nd Street, for which work had begun on August 22, 1900. Work for that section had been awarded to William Bradley. By late 1903, the subway was nearly complete, but the IRT Powerhouse and the system's electrical substations were still under construction, delaying the system's opening. As late as October 26, 1904, the day before the subway was scheduled to open, the walls and ceilings were incomplete. The 72nd Street station opened on October 27, 1904, as one of the original 28 stations of the New York City Subway from City Hall to 145th Street on the West Side Branch. The opening of the first subway line, and particularly the 72nd Street station, helped contribute to the development of the Upper West Side.

1910s to 1930s

After the first subway line was completed in 1908, the station was served by local and express trains along both the West Side (now the Broadway–Seventh Avenue Line to Van Cortlandt Park–242nd Street) and East Side (now the Lenox Avenue Line). West Side local trains had their southern terminus at City Hall during rush hours and South Ferry at other times, and had their northern terminus at 242nd Street. East Side local trains ran from City Hall to Lenox Avenue (145th Street). Express trains had their southern terminus at South Ferry or Atlantic Avenue and had their northern terminus at 242nd Street, Lenox Avenue (145th Street), or West Farms (180th Street). Express trains to 145th Street were later eliminated, and West Farms express trains and rush-hour Broadway express trains operated through to Brooklyn.

To address overcrowding, in 1909, the New York Public Service Commission proposed lengthening the platforms at stations along the original IRT subway. As part of a modification to the IRT's construction contracts made on January 18, 1910, the company was to lengthen station platforms to accommodate ten-car express and six-car local trains. In addition to $1.5 million (equivalent to $ million in ) spent on platform lengthening, $500,000 (equivalent to $ million in ) was spent on building additional entrances and exits. It was anticipated that these improvements would increase capacity by 25 percent. At the 72nd Street station, the northbound platform was extended 80 ft south and 25 ft north, while the southbound platform was extended 25 ft south and 100 ft north. A new crossover and signal tower were also built in conjunction with these extensions. Work progressed on the platform extensions at 72nd Street during 1910 and 1911. Six-car local trains began operating in October 1910. On January 23, 1911, ten-car express trains began running on the Lenox Avenue Line, and the following day, ten-car express trains were inaugurated on the West Side Line. The Broadway–Seventh Avenue Line opened south of Times Square–42nd Street in 1918, and the original line was divided into an H-shaped system. The original subway north of Times Square thus became part of the Broadway–Seventh Avenue Line. Local trains (Broadway and Lenox Avenue) were sent to South Ferry, while express trains (Broadway and West Farms) used the new Clark Street Tunnel to Brooklyn.

The original head house had two stairways to each platform, although a third stairway was added to the northbound platform at some point before 1924. In that year, it was proposed to build a third stairway to the southbound platform, and an exit-only staircase from the northbound platform to the traffic island just south of the head house; however, the Transit Bureau advised against this move as it would aggravate overcrowding. In 1930, there was funding allocated to remove the station head house, and replace it with an underpass and sidewalk entrances. In Fiscal Year 1937, space was cut out under parts of two staircases on the southbound platform to increase space for riders on the express side of the platform. Funding was again allocated to remove the station house in 1945.

1940s to 1980s
The city government took over the IRT's operations on June 12, 1940. The IRT routes were given numbered designations in 1948 with the introduction of "R-type" rolling stock, which contained rollsigns with numbered designations for each service. The Broadway route to 242nd Street became known as the 1, the White Plains Road (formerly West Farms) route as the 2, and the Lenox Avenue route as the 3.

During the early 1950s, the New York City Transit Authority (NYCTA; now an agency of the Metropolitan Transportation Authority, or MTA) considered converting the 59th Street–Columbus Circle station, a major transfer point to the IND Eighth Avenue Line, from a local stop to an express stop. This would serve the anticipated rise of ridership at the stop resulting from the under-construction New York Coliseum and the expected redevelopment of the area. In conjunction with that project, the NYCTA considered converting the 72nd Street station to a local station by walling off the express tracks from the platforms. While the work was never completed, the firm Edwards, Kelcey and Beck was hired as Consulting Engineers in 1955 for the construction of the express station.

The original IRT stations north of Times Square could barely fit local trains of five or six cars depending on the configuration of the trains. Stations on the line from Times Square to 96th Street, including this station but excluding the 91st Street station, had their platforms extended in the 1950s to 525 feet to accommodate ten-car trains as part of a $100 million rebuilding program (equivalent to $ million in ). The platforms at 72nd Street were extended in 1960, and the track layout was changed accordingly. Once the project was completed, all 1 trains became local and all 2 and 3 trains became express, and eight-car local trains began operation. Increased and lengthened service was implemented during peak hours on the 1 train on February 6, 1959. Due to the lengthening of the platforms at 86th Street and 96th Street, the intermediate 91st Street station was closed on February 2, 1959, because it was too close to the other two stations. In 1959, work was underway to install fluorescent lighting in the station.

In 1973, funding was allocated to study removing the headhouse and replacing it with sidewalk entrances. The project would have created entrances on either sidewalk between 71st and 72nd Streets, connected to the platforms by a passageway under the tracks. The city government allocated a $1.35 million grant for the project, which was withdrawn in February 1976. Afterward, U.S. representative Bella S. Abzug continued to advocate for the station's renovation. By 1979, there were plans to build a new station entrance and convert the existing headhouse into a newsstand. In 1987, the founders of Ben & Jerry's proposed to spend $200,000 to $250,000 a year to maintain, clean, paint the station, install mosaics, and pipe in music into the station. Though their proposal was supported by the MTA, the Transport Workers Union was opposed to the proposal as Ben & Jerry's wanted to hire non-union labor for the project. The proposal had stalled by the end of 1987. Ultimately, the contract expired at the end of March 1988. Rather than adopting the 72nd Street station for maintenance, Ben & Jerry's chose to sponsor a theater of geese.

From September 2 to 5, 1989, the station was closed so the station house could be reconfigured to reduce crowding at its northern end. The southern end of the station house was converted to an entrance, and two smaller token booths were installed, replacing the large token booth that blocked passenger flow through the middle of the station house. Turnstiles were moved to create separate fare control areas for northbound and southbound trains, eliminating free transfers between directions. In addition, the newsstand at the station house's northeastern corner was moved to the southwestern corner. The lack of a free transfer between northbound and southbound trains persisted through the early 2000s.

Renovation and 21st century
By the late 20th century, the original configuration of the station was inadequate. Its only entrance was on the traffic island between Broadway, Amsterdam Avenue, and 71st and 72nd Streets. Furthermore, the platforms and stairways were unusually narrow; the platforms were 15.5 ft wide at their widest point, and the staircases were 4 ft wide. Donald Trump developed his Riverside South complex two blocks to the west in the 1980s and 1990s; some locals opposed Trump's development, saying it would increase crowding at the 72nd Street station. In the 1990s, MTA officials announced that they would spend $40 million to widen the platform. To help fund the renovation, U.S. representative Jerry Nadler requested a $9.5 million grant from the federal government in 1994. MTA officials subsequently rejected the renovation as being infeasible, saying the expense of digging through the bedrock to widen the platforms would have increased the project's total cost to $200 million. Neighborhood groups protested the MTA's decision.

By February 1996, MTA officials were planning to award a $2 million design contract and a $55 million construction contract for the station renovation. Dattner Architects and Gruzen Samton completed the design the same year. In 1998, New York City Transit's vice president for capital improvements, Mysore Nagaraja, said that a renovation of the 72nd Street station would commence after more important projects were completed. The project was budgeted at $63 million, and state assemblyman Scott Stringer successfully campaigned to have money allocated to the 72nd Street station's renovation. The platforms would also be lengthened and a second entrance with elevators would be built. Local residents objected that the renovations would not address the platforms' narrow width. In February 1999, the MTA Board adopted a resolution allowing the MTA to use a request for proposals process for the project.

Work on the project was initially slated to begin in March 2000, with an expected completion date of Summer 2003. However, work on the project, which was to cost $53 million (equivalent to $ million in ), commenced in June 2000. As part of the project, a secondary station house entrance with elevators was built north of 72nd Street. Each platform was lengthened by 50 ft, although the platforms largely remained the same width. The work also involved permanently closing the northbound roadway of Broadway from 72nd to 73rd Streets, with northbound Broadway traffic being diverted onto Amsterdam Avenue. Constructing the station house required taking a portion of Verdi Square, which required the replacement of the lost park space. The original plan for the new station house would have included the use of vault lighting. However, in order to cut costs and deal with concerns over their maintenance, vault lighting was removed from the project. The renovation was completed on October 29, 2002, providing a new, larger station house on the traffic island between 72nd and 73rd Streets and slightly wider platforms at the north end of the station. The closeout of the project was done fourteen months late due to a setback in the installation of street lighting and acceptance by the New York City Department of Transportation.

Landmark designations
The New York City Landmarks Preservation Commission (LPC) designated the station house on the traffic island between 71st and 72nd Streets as a city landmark in January 1979. The LPC chairman at the time said: "The subway kiosk is one of those irreplaceable amenities that do more than serve a useful function." In October 1979, the LPC designated the space within the boundaries of the original station, excluding expansions made after 1904, as a city landmark. The station was designated along with eleven others on the original IRT. The original station house was listed on the National Register of Historic Places (NRHP) in 1980, and the original interiors were listed on the NRHP in 2004.

Station layout

72nd Street contains four tracks and two island platforms that allow for cross-platform interchanges between local and express trains heading in the same direction. Express trains run on the innermost two tracks, while local trains run on the outer pair. The local tracks are used by the 1 at all times and by the 2 during late nights; the express tracks are used by the 2 train during daytime hours and the 3 train at all times. The next stop to the north is 79th Street for local trains and 96th Street for express trains. The next stop to the south is 66th Street–Lincoln Center for local trains and Times Square–42nd Street for express trains. The 72nd Street station is fully wheelchair-accessible, with elevators connecting the street and platforms.

The platforms were originally 350 ft long, like at other express stations,  and 15.5 feet wide. The station platforms were later lengthened, and by 1941 the southbound platform was 482 feet long, with the center 340 feet being 15.5 feet wide. The platforms narrowed for 70 feet on either side. As a result of the 1958–1959 platform extension, both platforms became 520 ft long. From the southbound platform, two stairs go to the southern station house, while two stairs and one elevator lead to the northern station house. From the northbound platform, three stairs lead to the southern station house, while two stairs and one elevator lead to the northern station house. The station is only 14 feet below street level.

Design
As with other stations built as part of the original IRT, the station was constructed using a cut-and-cover method. The tunnel is covered by a U-shaped trough that contains utility pipes and wires. The bottom of this trough contains a foundation of concrete no less than 4 in thick. Each platform consists of 3 in concrete slabs, beneath which are drainage basins. The original platforms contain circular, cast-iron Doric-style columns spaced every 15 ft, while the platform extensions contain I-beam columns. Additional columns between the tracks, spaced every 5 ft, support the jack-arched concrete station roofs. There is a 1 in gap between the trough wall and the platform walls, which are made of 4 in-thick brick covered over by a tiled finish.

In the 72nd Street station, decorative elements are limited largely to the walls adjacent to the tracks, which are made of white glass tiles. The walls are divided by steel support columns every 5 ft; the panels between each set of columns are curved slightly away from the tracks. At 50 ft intervals along the station walls, there are 5 by mosaic panels with blue, buff, and cream tiles in tapestry designs. Atop each wall is a frieze with blue and buff mosaic tiles, with scrolled motifs protruding below the frieze band. The walls near the tracks do not have any identifying motifs with the station's name, as all station identification signs are on the platforms. There are some doorways along the trackside walls. At the platform staircases, the walls beneath the stairwell have white tile above brick wainscoting, while there are metal fences beside the stairwell. The mosaic tiles at all original IRT stations were manufactured by the American Encaustic Tile Company, which subcontracted the installations at each station. The decorative work was performed by tile contractor John H. Parry.

Exits
The entrances and exits are in two station houses, both on traffic islands between Broadway and Amsterdam Avenue. The original station house is south of 72nd Street, while the newer one is in Verdi Square north of 72nd Street. The preexisting median of Broadway made it possible for the IRT to provide an entrance to the station through a station house, with the platforms directly underneath.

Southern station house
The original station house is one of a few surviving examples designed by Heins & LaFarge, which designed elements of many of the original IRT subway stations. It is designed in the Flemish Renaissance style. The station house was one of several on the original IRT; similar station houses were built at Atlantic Avenue, Bowling Green, Mott Avenue, 103rd Street, and 116th Street. The station house occupies an area of 50 by and is aligned parallel to Broadway to create a focal point on Sherman Square. This places the station house slightly askew from the Manhattan street grid, of which 72nd Street and Amsterdam Avenue are part.

The one-story station house contains exterior walls made of buff brick, with a water table made of granite blocks. A limestone string course runs atop the exterior wall. At the corners of the station house are limestone quoins, which support a copper-and-terracotta gable roof facing west and east. The ridge of the station house's roof is a skylight made of glass and metal. The doorways are centrally located on the north and south walls of the control house, topped by four terracotta finials and a rounded gable. There are terracotta crosses on each rounded gable with the number "72" embossed onto them. The south doorway contains four doors, above which is a pediment and an arched window made of glass and wrought iron. The north doorway is similar, but with five doors. Flanking the entrances are small windows.

Inside the station house are artful wrought iron pillars, dating back to the days of the original subway system, as well as decorated ceiling beams. The walls are made of white glass tiles. As originally configured, the station house had separate turnstile banks and token booths for each side, which were subsequently combined into a single fare-control area. The original station house has five staircases, two to the southbound platform and three to the northbound platform,   although it was originally built with two stairs to each platform. On the north side, an unstaffed turnstile bank leads to 72nd Street; on the south side, three High Entry/Exit Turnstiles lead to 71st Street. Above the exit doorways are decorative transoms and pediments with wayfinding signs. The interior of the original station house also had a restroom.

When the station was completed, the station house's architecture was unpopular; an editorial in The New York Times derided it as "A miserable monstrosity as to architecture". The Times cited widespread complaints from neighborhood residents, including a member of the Colonial Club on Amsterdam Avenue and 72nd Street, who likened the structure's original dark-brown color to "a mud fence". The West End Association had adopted a resolution in December 1904, declaring the station house "not only an offense to the eye, but a very serious danger to life and limb", and recommending that it be demolished.

Northern station house
The northern station house was designed by Richard Dattner & Partners and Gruzen Samton. Its overall design was inspired by the Crystal Palace in London. The northern station house contains the station's elevators and a crossover between the northbound and southbound platforms. This station house has two staircases and one elevator from each platform going up to street level where turnstile banks lead to 72nd and 73rd Streets. Only the southern turnstile bank, which leads to 72nd Street, has a staffed token booth. The elevators from this station house make this station ADA-accessible. There are also employee areas in the northern station house.

The northern station house has an artwork, Laced Canopy by Robert Hickman, which consists of a mosaic pattern on the central skylight, made up of over 100 mosaic panels. The knots within the pattern make up the notation for an excerpt of Giuseppe Verdi's Rigoletto. The panels weigh over 161 lb and stretch about 100 ft.


text:
User talk:Spryom~enwiki

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! Kingturtle 03:02, 3 Jun 2005 (UTC)
 * The five pillars of Wikipedia
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 * Kingturtle's not available right now, but I saw the question you asked him, and no, that's currently not being done. Sorry about that. If it's really important to you, you can just put up a note on your user page. Best, Meelar (talk) 20:54, July 28, 2005 (UTC)

Names of the Greeks
Hi, you're right, I noticed that as well...sometimes information on the main page blurb is strange since it is such a small summary. I assume what they meant was "Persian Empire" instead of Byzantine, so I changed it to that. Adam Bishop 05:27, 27 October 2005 (UTC)

Gregoris Afxentiou
Hiya! How is Gregoris Afxentiou's death a world event for March 3rd? Did it mark some turning point in the fight against the British? If not, it seems that an individual's death would belong in the Deaths section - if the person has a Wikipedia article. Rklawton 16:21, 3 March 2006 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Spryom. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Spryom~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 02:50, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 19:10, 22 April 2015 (UTC)

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

title: User talk:Spryom~enwiki


text:
User talk:Hhst

Welcome!
Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! Kingturtle 03:02, 3 Jun 2005 (UTC)
 * The five pillars of Wikipedia
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 * Finally, I can contact English administrators. Thank you! --Hhst 09:27, 3 Jun 2005 (UTC)

Re: Copyright Violations
Hi! There is no problem is the current version doesn't contain any copyvio material. utcursch | talk June 29, 2005 06:10 (UTC)
 * It's a serious problem in Japanese Wikipedia. They should have been deleted "before" his version was written... --Hhst 29 June 2005 09:53 (UTC)

(My question: I found a "copyright violation" long time ago, that is, a German tennis player Tommy Haas. The First Edition includes copyright violation from ATP Official site, but someone added, not  . I noticed it in January 2005, but I wasn't accustomed to Wikipedia Project then. I didn't know what  meant. After 9 revision histories, This Edition removed copied sentences. What shall we do in this case? We can't leave such problematic histories, the previous nine.) --Hhst 29 June 2005 09:53 (UTC)

Hello. I've got message from you in polish Wikipedia. What can I do for you? The best way to find me is my discussion page in polish Wikipedia -. Berasategui 8 July 2005 07:46 (UTC)

Masashi Ozaki
I've made a couple of copyedits to your additions to the Masashi Ozaki article. I presume that you meant that the 1995 Masters was the only Masters that he played in. Please confirm this. Also could you please add the year that he finished 6th at the U.S. Open. It can't have been 1973 if Curtis Strange was the champion. Osomec 07:53, 31 July 2005 (UTC)
 * Sorry! U.S. Open 1989, I corrected. Ozaki attended the Masters, totally 18 times. The first one in 1972, the last in 1999. (Click "Tournament Results" By Year) I wrote his best records in two perspectives, his best "Position" (1973) and "Score" (1995). Most of his Masters qualification was "Japan Golf Tour money list wins". (My English is far from fine! I didn't access the English Wikipedia for several days. Sorry to be late.) --Hhst 08:23, 2 August 2005 (UTC)

Shuzo Matsuoka
Hhst, thanks for the message you left on my talk page. It's nice to know that you, as the orginal author of the page, are pleased with the additions that I've made, and that my edits have indeed been useful. Best of luck with everything you're doing to expand and improve the tennis articles on the Japanese Wikipedia. Zaxem 06:43, 21 March 2006 (UTC)
 * Thank you. I've regarded you as "the most conscientious tennis writer in English WP". About Shuzo Matsuoka, Polish Version is written very well, by Mr. Berasategui (above this talkpage). Japanese fans write "only his appearances on TV programs"!! --Hhst 05:29, 22 March 2006 (UTC)
 * The most recent "TV-POV" statement (immediately removed): "Summary: He's a simple glutton." (February 27th, 2006) --Hhst 07:13, 26 March 2006 (UTC)

Dent & Lučić
At your request, I've tried my hand at expanding the Phil Dent and Mirjana Lučić articles. Hope you like them. Zaxem 00:54, 16 August 2006 (UTC)
 * Thank you for your effort. Then, other Wikipedians can translate from English Version freely. In fact, Polish Wikipedia finished all enshrinees of International Tennis Hall of Fame -- Mr. Berasategui completed it in July 26th, the first achievement in WP Projects. (Polish Version) Tennis Wikipedians of all languages can learn countless things from his articles, even if we can't read Polish. (He's such a shy person: His useraccount is still red link!) --Hhst 15:28, 16 August 2006 (UTC)

Kurt Nielsen
Hi! I saw that you have made a Japanese entry for Danish tennis player Kurt Nielsen. While I cannot understand anything of the article (which I trust is good), I noticed that it links to http://www.hjerteforeningen.dk/sw42362.asp?usepf=true. This is a link to an article about a Dane named Kurt Nielsen, but who is not the tennis player. Could you please remove it? Best wishes, --HJ 10:25, 24 October 2006 (UTC)
 * It's nice to know you: Thanks for telling me. Surely, it's from the The Danish Heart Foundation. Quite confusing! I'll remove it. Best regards --Hhst 23:08, 24 October 2006 (UTC) -- I see, you're the author of Nielsen's English Version.--Hhst 23:36, 24 October 2006 (UTC)

Eileen Bennett Whittingstall
Hello there! Sure, I remember you from the Jadwiga Jedrzejowska article. I found Eileen Bennett Whittingstall's date of birth here. You can find some good (but mostly unsourced) information about women's tennis in the 1930s here. Of course, Google-ing her name will turn up a bit of information. Best wishes! Tennis expert 10:08, 11 March 2007 (UTC)
 * Thanks for a response! I find difficulties, unavailable dates even from googling. So I want more books from eBay shopping. --Hhst 10:40, 11 March 2007 (UTC)

Australian Opens/Championships
Hhst, that's great that you bought that book! Have you seen itftennis.com? If you go to and search for the date range "01/01/1900" to "31/12/1967", you'll get draws for tons of old tournaments, including the aussies. I've scraped these and plan to upload draws once we settle the discussion about naming on WikiProject Tennis. That book should still be incredibly useful, because I'm sure it gives some stories, background and details on each tourney that you wouldn't get just looking at a draw. --dantheox 16:34, 21 April 2007 (UTC)
 * Thank you for ITF link information! I'll add it to my IE favorites. ATP Tour drawsheets are so convenient, too -- but WTAWorld.com sometimes makes mistakes. --Hhst 19:53, 21 April 2007 (UTC) -- Women's circuit link, maybe more reliable than WTAWorld.com (unofficial thread site) --Hhst 20:01, 21 April 2007 (UTC)

Death dates
Many of my sources are restricted and need paying to access them. I have taken screenshots of them, but not all of them. If you need them, I can upload them to my personal webspace, just name the person(s) you want. For the ones you asked:

Evelyn Colyer - Obituary in New York Times (needs money to access the article.) (I don't have a screenshot.)

Phyllis Covell - From Ancestry.com (if you have ancestry.com account, you can view some of the data, for full access, you need to pay.) (I don't have screenshot, but will take one when I activate my account again.)

Pierre Albarran - Unfortunately this source isn't online any more. It was located here. I don't have screenshot. For further info, you have to contact this webspace owner. Sorry about that. Gh 15:24, 30 November 2007 (UTC)
 * Thank you. I tried Ancestry.com two months ago, but only three persons -- Myrtle McAteer, Herbert Flam and Keith Gledhill. Even Anita Lizana disappeared from TennisChile.com! We have to try various ways... --Hhst 21:43, 30 November 2007 (UTC)

Thank you for immediate response. I accessed Pierre Albarran's source site: There, they have annual CD-ROMs "Die Sportstatistik-CD 2007" -- Ordner "Nekrolog" mit den Todesdaten olympischer Sportler! Did you buy these? My best regards. --Hhst 08:16, 1 December 2007 (UTC) -- copied my question from User talk:Gh --Hhst (talk) 15:12, 6 December 2007 (UTC)
 * No I haven't bought his CD's, but the nekrolog was freely available about two years ago. Gh 13:22, 1 December 2007 (UTC)

Garrigues
I am currently proposing that the Garrigues page should be replaced by the content now found on the Garrigues (disambiguation) page and the the material presently on the Garrigues page should be moved to a new page to be titled Les Garrigues, Catalonia If you have the time I would appreciate your comments on the Discussion page at Garrigues. I hope you will agree. Sincerely, GeorgeLouis (talk) 20:05, 5 December 2007 (UTC)
 * Nice to see you. How did you find my name?? I simply wrote Anabel Medina Garrigues' Japanese Version. I agree with your proposition. However, I'm sorry to say that I have very little time to take part in English discussion page. My current concern is to start 601st tennis players' article in Japanese WP. My best regards. --Hhst (talk) 15:12, 6 December 2007 (UTC)

Dates of death
Most of the dates of birth/death can be found in books from Erich Kamper/Bill Mallon e.g. Who's who at the Olympcis. Kind regards Doma-w (talk) 22:37, 9 December 2007 (UTC)
 * Thank you. How did you gain it? Who published them? (Out of print?) I'd love to buy this book by all means. --Hhst (talk) 23:24, 9 December 2007 (UTC)

 * Yes, "The Golden Book of the Olympic Games" will help you of course! Kind regards Doma-w (talk) 16:01, 10 December 2007 (UTC)

1930 and 1931 US Championships
Could you give me a list of the mens singles results please. Because I doing this article Fred Perry Grand Slam record. Mr Hall of England (talk) 10:30, 8 July 2009 (UTC)
 * All right! New database website opened "Grand Slam Tennis Archive", all events of men's singles. Click "U.S. OPEN ARCHIVE" from toppage -> all events of each year. 1930 and 1931: 1930, lost John Van Ryn at the 4th round: 1931, lost Ellsworth Vines at the semifinal as "the Foreign No.1 seed". (How did you notice my name?) --Hhst (talk) 13:35, 12 July 2009 (UTC)

Could you tell me the name Perry played in the the rounds of the US Open which he did not lost please and tell me their nationality. If you care to look at this page carry on. Mr Hall of England (talk) 19:53, 12 July 2009 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:57, 23 November 2015 (UTC)

title: User talk:Hhst


text: Category:Subdivisions of Australia

title: Category:Subdivisions of Australia


text:
Talk:Fleur Delacour

Previously redirected to: Talk:Order of the Phoenix (fictional organisation)

title: Talk:Fleur Delacour


text:
Talk:Olympe Maxime

Previously redirected to: Talk:List of supporting Harry Potter characters

title: Talk:Olympe Maxime


text:
The File on H.

The File on H. is a novel by the Albanian author Ismail Kadare. It was first published in Albanian in 1981 under the title Dosja H. Jusuf Vrioni translated the work to French in 1989 (revised in 1996) as Le Dossier H. David Bellos translated the French version into English in 1996. Both Kadare and Bellos have received praise in the English speaking world for the edition.

The premise of the novel is loosely based on the research on the Homeric question done by Milman Parry and Albert Lord in the 1930s, where they helped to develop the theory of Oral-Formulaic Composition.

Themes
The File on H. follows the journey of two Irish-American scholars from Harvard University to a small town in Northern Albania known as N—. Armed with a then-state-of-the-art tape recorder, the scholars set out to the uncover the centuries-long mystery of how Homeric epics came to be, believing that the rhapsodies of the Albanian highlanders hold the answer, as they are thought to be the last known host of oral epic poetry unmuddied by modern society. Their mission is ultimately hindered by the political and racial tensions between the Albanians and the Serbs. The obtuse authorities of N— mistake the scholars as spies from the onset, and conduct extensive investigations in hope of discovering the scholars' true intentions. The novel is filled with elements of Albanian history as well as racial and interpersonal struggles in a setting filled with blundering, self-serving officials and blind loyalty to an inefficient government using the interwar Albanian Kingdom as proxy to the totalitarian rule of Enver Hoxha post WWII.

Plot
The story opens with news reaching the Albanian Ministry of the Interior that two American-Irish scholars, Max Ross and Bill Norton, have applied for visas to their country. The Albanian officials are extremely suspicious, seeing that the foreigners are equipped with extensive maps and plans, some rough training in the Albanian language and geography, as well as a novel contraption, the tape recorder. The governor's wife, however, finds her day-to-day life boring and monotonous, so she is excited to learn that they will be having visitors.

Upon arriving, Ross and Norton are immediately trailed by Dull Baxhaja, a diligent and loyal spy at the governor's behest. Dull tracks their every move, and despite not understanding English, is able to recall everything he observes perfectly. Ross and Norton are invited to dinner with many of the notable individuals of N—, including the governor, the soap-maker, the postmaster, and their wives. During dinner, the foreigners tell the governor that they are Homeric scholars, but show reservation in explaining the details of their quest. The governor becomes certain that the two are spies because of this. Meanwhile, Dull begins his first of several detailed reports for the governor. He conducts interviews, searches the foreigners' luggage, makes photocopies of their journal entries, and creates a hideout in the attic above their hotel room to surveil them. Receiving the report late that night, the governor learns that the scholars' desire to make a "Homeric discovery '' would lead to fame and recognition for them back home, and that their secretive nature was to ensure they could be the ones to claim such a discovery. Mistaking the references to Homeric poetry as a code for some espionage target, the governor is now certain the two are spies.

Ross and Norton leave the town of N— and head to Buffalo Inn. Situated at a crossroads near the base of the mountains in the North, the inn is a common resting place for traveling highlanders, making it an ideal location to intercept wandering bards. Realizing that their task would be significantly more difficult without the help of at least one local, the two confide their plan to the innkeeper, Shtjefen. He tells the scholars that although bards still wander through occasionally, their numbers are dwindling as of late. He also introduces them to the poor ethnic relations between the Albanians and the Serbs, explaining that the two peoples have fought for thousands of years, and both believe themselves to be the original inhabitants of the land. Both groups would vie to be considered the culture of origin of oral epic poetry.

Before long a group of highlanders passes through the inn with a bard among them. He agrees to be recorded while he performs for the scholars twice; the first time traveling south, and the second time a fortnight later, returning to his home. Although the first bard's return was delayed, the scholars eventually manage to record several bards performing over different periods of time. The two scholars are excited to discover slight alterations in the wording between performances, supporting their hypothesis of the origins of epic poetry.

Their work goes on for weeks, and they continue to document their findings on oral poetry. They also study the relationship between Albanian and Serbian oral poetry, and conclude that the two styles are closely related, though Albanian is considered to be the original of the two. Still, they struggle to find conclusive evidence of their theories. Meanwhile different events happen around the inn: A young stonemason was brought in on a stretcher with a severe disease. Shtjefan explains that the most likely cause was someone accidentally walling in his shadow while constructing. Just then, they meet a suspicious Serbian monk named Dushan. He tells Ross and Norton that he's heard of the research they're conducting, and in particular asks if they're also studying Serbian epic poetry. The two tell the monk that they are only focused on Albanian poetry, in order to avoid unnecessarily entering a conflict. The monk is envious of the service they are giving the Albanian people, but remains civil and leaves on friendly terms. The two continue their work, and while they struggle for many weeks, eventually seem to feel that they've successfully made connections between the Albanian epics and the ancient Greek stories.

The story then returns to Dull's reports to the governor. The governor reads that Dull observed Dushan returning to the inn, pacing and nervous, though not establishing contact with the scholars. Instead, he makes off without his horse to a place called Screech Owl's Cavern, where Frok the Hermit is known to take refuge. Dull follows Dushan and listens to the conversation between Dushan and Frok, learning that the two were infuriated by the scholars' tape recorder, and were preparing to take action. The governor also learns that the government will be sending an English-speaking informer to aid in the espionage. Daisy overhears that the two are being watched and becomes distraught. Around then, Dull sends in a surprise letter of resignation on account of the fact that he fell asleep on the job, missing an entire interaction between his targets and an unknown woman. Daisy had attempted to make contact and warn the two scholars of the spy, but her plan failed. She then makes contact with the new spy, and suddenly has intercourse with him.

The next day, the governor gets an urgent call that the two scholars have been attacked; witnesses recount that Dushan and Frok broke into the inn, smashed the tape recorder to pieces, and tore up all of the recordings and notes for the project. Ross and Norton are physically safe, but have lost everything. Dejected, they start their journey home empty handed.

Characters

 * Bill Norton: One of the Irish-American scholars. He suffers from worsening vision due to glaucoma, a reference to the thematic loss of vision in the story of Homer and other poets. Although he can be considered the "leader" of the two, they act as equals, Kadare often referring to them as "acting as one man".
 * Max Ross: One of the two scholars. A post-doc at Harvard University, he settled in New York after emigrating from Ireland. He was invited as the sole companion of Bill Norton to travel to Albania in search of the methods in which Homeric epics are created.
 * The governor: The head of the government in N— and main antagonist. He and the Minister of the Interior - the two heads of government in the novel - are some of the only two individuals to lack a name. He acknowledges that the area of N— is devoid of points of interest for a potential spy, but is entirely certain that the Americans are committing espionage, and dreams that their prosecution will lead to his political success and renown. He is extremely jealous over his wife. He is infertile, and feels extremely guilty that his wife cannot bear children because of it, and as a result constantly fears that others are trying to impregnate her.
 * Daisy: The wife of the governor. In the beginning of the novel, she seems to suffer from depression due to the monotonous nature of her life in N—. Her troubles are worsened by her childless marriage. Upon learning of the two visitors, she becomes very excited, dreaming of erotic fantasies with them. Though the two scholars are uninterested in her advances, she ends up having an affair with a spy from the capitol after he claims to have already seen her naked.
 * Dull Baxhaja: The governor's local spy. He is an intellectual, a wordsmith, and a keen observer. Hidden in the attic of the Buffalo Inn, he writes extensive daily reports for the governor, though is limited by his inability to understand English. The relationship between Dull and the governor as an attack on the structure of totalitarian government has been compared to the comedic works of Gogol.
 * Shtjefen: the innkeeper of Buffalo Inn. He is warm and accommodating to his guests. He educates Ross and Norton on some of the culture and geopolitics of the area. He even aids in their research endeavors by communicating to the highlanders for them.
 * Mr. Rrok: Owner of the soap factory of N—, the only industrial endeavor in the town. He is presented as a very dim-witted, thoughtless individual.
 * Dushan: A Serbian monk who overhears Ross and Norton's research plans. Learning that the two plan on only giving Albania credit for the origins of Homeric poetry, he becomes enraged and plans to destroy the research. He is representative of the hostile relations between the Albanians and the Serbs, underlining the fierce competition between the two people to be considered the "original" inhabitants of the Balkan Peninsula.
 * Frok: a hermit living in Screech Owl's Cavern for several years. He is known to the people in the surrounding villages to be somewhat of a lunatic. He aids Dushan in destroying the tape recorder. As an old hermit, he is angered that the two scholars are trapping the voices of the bards inside a machine, believing that to be an ill-omen.

Critical reception
Although the English reprinting after 2005 of The File on H. bears the emblem as winner of The Man Booker International Prize 2005, the judging system prior to 2016 was designed such that authors earned the award on the merit of the full body of their work, not an individual novel. Furthermore, all of Kadare's literary awards have been for his merit as an author and scholar rather than for any single piece. Thus, The File on H. has not received any individual literary awards. Still, critics generally praised the book:

 * In the Dec. 15, 1997 issue of Kirkus Reviews, the book received massive anonymous praise, applauding Kadare's "Masterly...use...of Albanian folk beliefs," and calling the novel "one of [Kadare's] most unusual and attractive books." They also complimented Bellos' translation of the work, calling it beautiful and graceful.
 * The Los Angeles Times included the novel in their list of best fiction of 1998. Richard Eder wrote that the book is "as satiric and absurd as something by the early Evelyn Waugh or Lawrence Durrell."
 * Kate Saunders wrote for The Sunday Times that "the originality shines through the many layers," and that it alluded to Gogolian comedy.
 * Many other independent book reviews found the novel to be an enjoyable read.

Though there were also some criticisms. Publishers Weekly was unfond of the translation, saying Bellos' secondhand work contained "many infelicities." Ken Kalfus for the New York Times wrote that the novel was "Among the least successful of Kadare's works. Lazily plotted [and] stylelessly written." Kalfus criticized not only the novel and the translation, but also Kadare's attitude towards Albanian politics, citing that, while Kadare has showed open disapproval for communist-nationalist doctrine, the novel suggests a pro-Albanian, anti-Serb, and anti-Slav rhetoric. Heather McRobie wrote in 2009 that "Such criticisms are hardly helped by Kadare's very honest admission that he never considered himself a dissident." She noted, though, that while several media outlets have mislabeled him as such, it shouldn't take away from his writing ability. Erica Weitzman, in a more neutral approach, noted in The File on H. 's journal article in The Modern Language Review that some have criticized Kadare's choice to adapt Parry and Lord's work in modern-day Bosnia and Herzegovina and relocate the setting to Albania as "blatant political tendentiousness, if not outright lies and propaganda."

title: The File on H.


text:
Alamosa National Wildlife Refuge

The Alamosa National Wildlife Refuge is an 11169 acre United States National Wildlife Refuge located in southern Colorado. The site is located in the San Luis Valley along the east side of the Rio Grande approximately 8 mi southeast of Alamosa primarily in southeastern Alamosa County, although very small parts extend into northeastern Conejos and western Costilla counties. It is managed by the United States Fish and Wildlife Service jointly with the Baca and Monte Vista National Wildlife Refuges. It was established in 1962 as a haven for migratory birds and other wildlife.

The site consists of wet meadows, river oxbows and riparian corridor primarily within the flood plain of the Rio Grande, and dry uplands vegetated with greasewood and saltbush. These areas support a small but rich biodiversity including songbirds, water birds, raptors, red fox, mule deer, black bear, beaver and coyotes. Water from the Rio Grande is supplemented by water from the Closed Basin Project. The site includes a visitor center and two-mile roundtrip hiking trail. It is considered to be more wild and less intensely managed than the nearby Monte Vista refuge.

title: Alamosa National Wildlife Refuge


text:
User talk:LordMitchell

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Questions, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! Thanks for experimenting with Wikipedia. Your test worked, and has been reverted or removed. Please use the sandbox for any other tests you want to do. Take a look at the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks. -- 03:07, 3 Jun 2005 (UTC)~
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

title: User talk:LordMitchell


text:
Talk:Colin and Dennis Creevey

Nigel?
In the later films who is Nigel and is he the replacement of Colin Creevey as lackey as he obviously doesn't appear in the books?  Valley 2 city  23:35, 23 July 2007 (UTC)

title: Talk:Colin and Dennis Creevey


text:
Ursula Hegi

Ursula Hegi (born May 23, 1946) is a German-born American writer. She is currently an instructor in the MFA program at Stony Brook Southampton.

She was born Ursula Koch in 1946 in Düsseldorf, Germany, a city that was heavily bombed during World War II. Her perception growing up was that the war was avoided as a topic of discussion despite its evidence everywhere, and The Holocaust was a particularly taboo topic. This had a strong effect on her later writing and her feelings about her German identity.

She left West Germany in 1964, at the age of 18. She moved to the United States in 1965, where she married (becoming Ursula Hegi) in 1967 and became a naturalized citizen the same year. In 1979, she graduated from the University of New Hampshire with both a bachelor's and master's degree. She was divorced in 1984. The same year, she was hired at Eastern Washington University, in Cheney, Washington, near Spokane, Washington, where she became an Associate Professor and taught creative writing and contemporary literature.

Hegi's first books were set in the United States. She set her third, Floating in My Mother's Palm, in the fictional German town of "Burgdorf," using her writing to explore her conflicted feelings about her German heritage. She used the setting for three more books, including her best selling novel Stones from the River, which was chosen for Oprah's Book Club in 1997. Hegi appeared on The Oprah Winfrey Show on April 8, and her publisher reprinted 1.5 million hardcover copies and 500,000 paperbacks. She subsequently moved from Spokane to New York City.

Hegi's many awards include an NEA Fellowship and five PEN Syndicated Fiction Awards. She won a book award from the Pacific Northwest Booksellers Association (PNBA) in 1991 for Floating in My Mother's Palm. She has also had two New York Times Notable Book mentions. She has written many book reviews for The New York Times, the Los Angeles Times, and The Washington Post.

Novels

 * Intrusions (1981)
 * Floating in My Mother's Palm (1990)
 * Stones from the River (1994)
 * Salt Dancers (1995)
 * The Vision of Emma Blau (2000)
 * Sacred Time (2003)
 * The Worst Thing I've Done (2007)
 * Children and Fire (2011)
 * The Patron Saint of Pregnant Girls (2020)

Short stories

 * Unearned Pleasures and Other Stories (1988)
 * Hotel of the Saints (2001)

Children's books

 * Trudi & Pia (2003), with pictures by Gisele Potter

Non-fiction

 * Tearing the Silence: On Being German in America (1998)

title: Ursula Hegi


text:
Institute of Psychiatry (disambiguation)

Institute of Psychiatry may refer to:

 * Institute of Psychiatry, Psychology and Neuroscience, previously known as the Institute of Psychiatry, at King's College London, UK
 * Centre for Addiction and Mental Health (College Street site), formerly the Clarke Institute of Psychiatry, in Toronto, Canada
 * Institute of Psychiatry and Human Behaviour, Goa Medical College, India
 * Max Planck Institute of Psychiatry, Munich, Germany
 * Central Institute of Psychiatry, Kanke, India
 * Somdet Chaopraya Institute of Psychiatry, Bangkok, Thailand
 * Institute of Psychiatry at Ain Shams University Faculty of Medicine, Cairo, Egypt
 * Stone Institute of Psychiatry at Northwestern Memorial Hospital, Chicago, U.S.
 * Sir Cowasjee Jehangir Institute of Psychiatry, Hyderabad, India
 * Institute of Psychiatry at the Benazir Bhutto Hospital, Rawalpindi, Pakistan
 * Institute of Psychiatry at MUSC Health Medical Center, Medical University of South Carolina


text:
Noorat

Noorat is a small township in southwestern Victoria, Australia. Noorat is located approximately 211 km west of Melbourne. The township is located at the base of Mount Noorat, a dormant volcano, which is considered to have Australia's largest dry crater. At the 2006 census, Noorat had a population of 252. By 2011, according to the census, the population had dropped to 167, although this drop in numbers is a bit deceptive as the town boundary was changed in between the 2006 and 2011 census.

Noorat derives its name from Mount Noorat, a dormant volcano named by explorer Major Thomas Mitchell after a local Indigenous elder, Ngoora. Europeans first settled the Noorat area in early 1839 when MacKillop and Smith established a run called Strathdownie – which was renamed Glenormiston by Niel Black, a Gaelic-speaking Scotsman from Cowall in Argyll who purchased the property in 1840. Prior to European settlement, the area near Mount Noorat was a traditional meeting site where Indigenous tribes – the Kirrae Wuurong people – held ceremonies, bartered goods and settled disputes. There are conflicting reports about the number of Indigenous people living in the district at the time of white settlement, but in 1841, the population of the Mount Noorat clan numbered only four people. An outbreak of smallpox during the 1830s was one cause of the population decline and it has been suggested that an alleged massacre of Indigenous people by white settlers was another.

Frederick Taylor, MacKillop and Smith's manager at Strathdownie was responsible for one of the worst massacres in the western district of Victoria somewhere along Mount Emu Creek (once known as Taylor's River) near Noorat in August 1839. This was verified by Niel Black, who found a mass grave on the Glenormiston property.

The settlement history of Noorat is closely linked with the Black family and the establishment of Glenormiston. Noorat ostensibly grew as a service centre for the Black family estate and many of the early residents either emigrated with Niel Black or worked at Glenormiston.

The post office opened on 1 August 1874 as Mount Noorat, and was renamed Noorat in 1875.

Noted author, Alan Marshall, was born in Noorat's general store, in 1902.

There is currently one place of public worship in Noorat, the Neil Black Memorial Presbyterian Church.

The township has two schools, Noorat Primary School, and the Noorat campus of Mercy Regional College, which houses the year 7 and 8 students of the school. There is also the senior campus at Camperdown. The Glenormiston campus of South West Institute of TAFE is located a few kilometres north-east of the township, on the other side of the mountain.

Noorat has a local football team, the Kolora-Noorat Power, who merged in 2002 from the Noorat Bombers and Kolora Magpies. They compete in the Warrnambool & District Football League. Their colours are teal, black and white.

title: Noorat


text:
Techland

Techland S.A. is a Polish video game developer and publisher founded in 1991 by Paweł Marchewka. It developed Call of Juarez (2006) and its prequel Call of Juarez: Bound in Blood (2009), as well as Dead Island (2011) and Dying Light (2015). The company is headquartered in Wrocław in western Poland and has offices in Wrocław and Warsaw.

History
The company was founded in 1991 by Paweł Marchewka. Marchewka, born in 1973 in Ostrów Wielkopolski, displayed an interest in video games since his early childhood. In his final years of high school, together with his friends, he started distributing video games to different shops across Poland.

The endeavour was successful enough that, in 1991, when Poland introduced changes to its intellectual property laws, he pivoted to officially founding Techland. Initially, the company focused on translating foreign programs and publishing them on the Polish market. In 1993, Techland began producing its own software: Dictionaries, translators, computer-games.

Techland started as a distributor of computer software and created Prawo Krwi, the first game developed in-house, in 1995. Techland released the sci-fi-themed first-person-shooter Chrome in 2003. A prequel titled Chrome: Specforce was released in 2005. Techland has also developed driving games including rally simulation games Xpand Rally and Xpand Rally Xtreme and Volkswagen-licensed GTI-Racing (2006).

In 2011, Techland released open world survival horror game Dead Island. Its sequel, Dead Island: Riptide appeared in 2013. In August 2013, the company launched a branch in Vancouver, Canada, under the name Digital Scapes Studios.

In 2015, Techland released Dying Light, a first-person survival horror game for the PlayStation 4, Xbox One, and Microsoft Windows. An expansion for the game, Dying Light: The Following, was released in 2016. Techland's first title as a game publisher was Torment: Tides of Numenera, released in 2017. In 2018, Call of Juarez: The Cartel and Call of Juarez: Gunslinger were both delisted from Steam, Xbox Live, and PlayStation Network citing a publishing dispute with Ubisoft. Call of Juarez: Gunslinger returned to those storefronts in April 2018 with Techland as the sole publisher.

In July 2021 Techland sold Digital Scapes Studios to CD Projekt, another Polish developer, who proceeded to rename it to CD Projekt Red Vancouver. They also celebrated the company's 30th anniversary that December with a series of discounts for its clients. In 2022, Techland released the open world survival horror game Dying Light 2: Stay Human, a sequel to Dying Light.

In July 2023, Tencent announced that it would become the company's majority shareholder. Despite acquiring a 67% stake in the company for a reported US$1.6 billion, the Polish developer is to maintain creative independence and control over its brands.

On January 10, 2024, it was reported that Tencent had completed the acquisition of a controlling stake in Techland.

Technology
Techland's proprietary Chrome Engine of 2003 has been developed further. ChromeEngine 4 was completed in 2006 and provided support for the PlayStation 3. Techland is using its own engine, known as C-Engine. Previously, Techland's engine was called Chrome Engine, but the C-Engine technology is all new. According to the lead designer of the company, Tymon Smektała: “we agreed that this is what we want to do and we want to create games with highly detailed graphics so that you can truly immerse yourself in this world. We knew that to achieve this, we had to create a new engine, a new technology”.

One of the main advantage of the technology is said to be the best possible support of ray tracing (and NVIDIA DLSS) and better use of multi-core processors.

title: Techland


text:
Talk:Neville Longbottom

Merge proposal
Discussion ported over to Harry Potter WikiProject: Merge Proposal Luna Lovegood and Neville Longbottom. As this discussion is redundant;y repeated over at Luna Lovegood, it is best to consolidate the discussion at the wikiproject level. - Arcayne   (cast a spell)  12:35, 23 July 2008 (UTC)

Merge and/or Split page
I come with this suggestion to split the contents of this page into other articles. This is basically because we have 4 characters listed under one single name. Also, the page violates several Wiki policies and guidelines: the plot appearances are extremely large if compared with the rest of the article, and the section is extremely overdetailed. The attributes and family section are also just plot re-tell. All of this violates WP:WAF and WP:PLOT. The page has also failed to meet notability, as no coverage by a large amount of reliable secondary sources nor any impact in popular culture has been added. Even within the universe, we have alredy merged characters with great importance such as Sirius Black (who have a book named after him) or McGonagall, or with critical/political commentary like Umbridge, or family articles like Weasleys, Potters or Dursleys already split or merged. Because of this, I propose to split the contents of this page into multiple articles:

 * Move Neville into Dumbledore's Army, his primary role in the series (apart from the prophecy thing, but as Rowling herself said, this didn't give him further role and remained the "tantalising might-have-been").
 * Move Frank and Alice into Order of the Phoenix.
 * Move Augusta into Supporting characters: if we have sections for Gabrielle Delacour, Andromeda, Xenophilius, Teddy Lupin, etc., then Augusta perfectly fits there.

Thoughts? -- LoЯd  ۞pεth  02:15, 21 January 2009 (UTC)
 * I actually like this idea better than merging all of this into Dumbledore's Army. Neville's article may be semi-good, but I'd rather see it split/merged than being trapped forever in this state. – sgeureka t•c 11:25, 21 January 2009 (UTC)
 * Well Augusta, Frank and Alice doesn't have anything to do with the DA. — CHAN  DLER #10 — 12:19, 21 January 2009 (UTC)
 * Chandler is right. Frank, Alice and Augusta have nothing to do with the D.A. and that's why I propose to split into different articles. This split would include the moving of some information from the "Appearances" section to Frank and Alice rather than Neville, for example the details that inspired Rowling to create the visit to St. Mungo's. This is similar to the case of the Potter and Weasley families, in which the listed characters were moved into different articles. -- LoЯd  ۞pεth  23:28, 21 January 2009 (UTC)

It has been over a week and no opposition has come at all. Furthermore, the article remains written in a primarily in-universe style. Given this, the different sections are moved as suggested in the proposal. The page redirects to Dumbledore's Army. -- LoЯd  ۞pεth  00:56, 28 January 2009 (UTC)

Feedback from New Page Review process
I left the following feedback for the creator/future reviewers while reviewing this article: Neat work..

Whiteguru (talk) 02:30, 26 July 2020 (UTC)

title: Talk:Neville Longbottom