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User talk:BillRice

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! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. Again, welcome! You (Talk) 22:31, Jun 14, 2005 (UTC)
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title: User talk:BillRice


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The Amazing Spider-Man (pinball)

The Amazing Spider-Man is a pinball game designed by Ed Krynski and released in 1980 by Gottlieb. It is based on the comic book character Spider-Man released by Marvel Comics.

Description
The machine, designed by Ed Krynski with art by Gordon Morison, was produced by D. Gottlieb & Co. as part of their Star Series 80 line. The first machine came off the assembly line in May 1980.

The Amazing Spider-Man was the first of Gottlieb's System 80 series of pinball machines and was the second Marvel character licensed by Gottlieb to be represented in a pinball machine (the first being The Hulk).

The pinball machine featured character poses taken directly from Marvel comics and style guides including Aunt May, Kingpin, Lizard, Scorpion, Vulture, Black Widow, Kraven the Hunter and the Green Goblin.

Features
The features;
 * Special 24-inch (60 cm) wide-bodied cabinet
 * 4-Player game
 * 4 6-Digit Vacuum fluorescent displays
 * 4 Flippers (No Center Post)
 * 1 Lane (with Spinner)
 * 4 Exit Lanes
 * 2 Slingshot Bumpers
 * 3 Kick-Out Holes
 * 2 Pop Bumpers
 * 2 Spot Targets
 * 2 Drop Target Banks (3 and 5 targets)

Design team

 * Game Design: Ed Krynski
 * Artwork: Gordon Morison

Production
A total of 7,625 machines were produced and are currently sought-after collectors items.

It was the first of Gottlieb's System 80 design pinball machines. It also was the first Gottlieb pinball, with an "attract mode" lighting. In which various playfield lights, alternate between off an on, to make the game more attractive to passerbye, thus encouraging play. It was also the first solid state pinball with the speaker in the backbox (head) instead of the bottom cabinet.

Stan Lee, the co-creator of "Spider-Man" and public face of Marvel Comics, claimed ownership of one of the first machines off the assembly line and kept it in his Marvel office until he auctioned it as part of his "Stan Lee collection" at Heritage Comics Auctions of Dallas, Texas. Lee said that "Over the years, I have spent countless frustrating yet perversely enjoyable hours attempting to play on it, as have numerous colleagues, friends and business associates (some quite famous, though a combination of modesty, shame and my legendary bad memory prevents me from divulging their names here) during their unrelenting pilgrimages to my office. In fact, I think many of these scions of arts and industry came over JUST to beat me up at pinball. I hope its new owner will be a better player than I am."

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

title: The Amazing Spider-Man (pinball)


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Oxycation

In chemistry, an oxycation is a polyatomic ion with a positive charge that contains oxygen.

Examples

 * Dioxygenyl ion,
 * Nitrosonium ion,
 * Nitronium ion,
 * Vanadyl ion, VO2+, a very stable oxycation
 * Uranyl ion,, all natural U6+ occurs in this form
 * Zirconyl ion, as a tetramer of [Zr(OH)2]2+

See category for a bigger list.

title: Oxycation


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User talk:Jasonclk1

JFW | T@lk  22:33, 14 Jun 2005 (UTC)

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title: User talk:Jasonclk1


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Infant bodysuit

An infant bodysuit or onesie (American English) is a garment designed to be worn by babies much like a T-shirt; they are distinguished from T-shirts by an extension below the waist, with snaps that allow it to be closed over the crotch. The purpose of the opening at the crotch is to facilitate access to the infant's diaper as well as preventing the garment from riding up the infant's body and exposing skin. Like T-shirts, infant bodysuits come in a wide variety of designs and may be worn as undergarments or as outer shirts.

Synonyms
Other names of this outfit include onesies (a registered trademark often used in the United States as if it were generic), creepers, diaper shirts, or snapsuits. If the bodysuit is sleeveless, it may also be referred to as a vest (British English only).

Types and design
An infant bodysuit may be sleeveless, have long sleeves, or have short sleeves. A common feature of the bodysuit is the lap neck (figures 1 and 2). This design makes it easier to get the head through the neck of the bodysuit, as babies have large heads proportional to their bodies, and additionally have poor head control, making traditional neck openings less suitable. Bodysuits without the lap neck may have snaps at the neck instead (figure 3).

Popularity
Infant bodysuits have gained significant popularity over the years and have become iconic in baby fashion. Their practicality, comfort, and versatility have made them a staple in many households worldwide. The convenience of the snap fasteners and the ease of dressing and changing diapers have contributed to their widespread use.

Infant bodysuits have also found their way into popular culture. They are often featured in movies, television shows, and advertisements, and have become a popular choice for personalized baby gifts.

Social media platforms have played a role in popularizing infant bodysuits. Parents frequently share cute and funny photos of their babies wearing personalized or unique bodysuits, contributing to the trend's visibility and popularity.

The term "onesie" has become widely recognized and is often used colloquially to refer to any type of infant bodysuit, regardless of the brand. It has also inspired the creation of adult-sized versions, known as adult onesies or jumpsuits, which have gained popularity as loungewear or costumes for events like themed parties or Halloween.

title: Infant bodysuit


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The Life and Adventures of Sir Launcelot Greaves

The Life and Adventures of Sir Launcelot Greaves, the fourth novel by Tobias Smollett, was published in 1760. The novel, Smollett's shortest, was published in serial style, starting with the first issue of the monthly paper The British Magazine, in January 1760, and ending with the magazine's December 1761 issue. The first bound book edition was published in 1762.

Description
Sir Launcelot is virtuous and strange, and he is surrounded by a Smollettian menagerie whose various jargons are part of this novel's linguistic virtuosity and satire. He is an eighteenth-century gentleman who rides about the country in armour, attended by his comic squire, Timothy Crabshaw, redressing grievances. These characters are inspired by Miguel de Cervantes's Don Quixote and Sancho Panza, though Smollett's novel has been compared unfavorably with Cervantes'.


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Lords of the Realm

Lords of the Realm is a turn-based strategy computer game published and developed by Impressions Games. It was first released on June 15, 1994, and is the first game in the Lords of the Realm series.

Summary
The game takes place in a medieval setting, with several characters warring for the right to be either King of England or King of Germany. Players manage their armies as well as their land and population, build and lay siege to castles, and generally attempt to crush their enemies.

Battles between armies take place in a real-time environment, similar to real-time strategy games, with players able to control individual units as well as control them as a group, during which units group into formations. Players may also choose to allow the computer to determine the outcome of the battle. The game also features a small castle-building portion.

Release
The game was published by Impression Games in the UK (Amiga) and US (DOS) both in 1994. It was distributed by Sierra On-Line Ltd. in the UK (Windows) in 1997, DMV Daten- und Medienverlag GmbH & Co. KG. in Germany (DOS) in 1997, and Axel Springer Polska Sp. z o.o. in Poland (DOS) in 2001.

In the Crucial Entertainment CD release of Lords of the Realm, the game came bundled with a 34-page PDF book of England Under Edward 1 written by Jennifer Hawthorne. This work described English history, ranging from the Norman Conquest through to the reign of King Edward I.

Critical reception
A reviewer for Next Generation deemed Lords of the Realm a must-have title for strategy fans, citing the randomized events, genuine challenge, impressive rendered cut scenes, player-controlled battles, and overall diverse gameplay.

In a retrospective review, Michael House of Allgame wrote, "Whatever faults can be attributed to the game's mechanics or contents are almost uniformly minor and in most instances an error of omission. From structure to game play, Lords of the Realm has notched its own place in wargaming history." The Escapist's Stew Shearer summed up his review with "Lords of the Realm is a stellar strategy game that's more than worth the $5.99 that GOG is asking for it (and Lords of the Realm 2) [sic]. It can have moments where things feel a bit too slow, but overall it's a fantastic experience that fans of the genre would be remiss to skip over".

Lords of the Realm was a nominee for Computer Gaming World's 1994 "Strategy Game of the Year" award, which ultimately went to X-COM: UFO Defense. The editors called Lords "so fresh in its approach, it even makes animal husbandry fun." PC Gamer US presented Lords of the Realm with its 1994 "Best Historical Simulation" award. The editors wrote that it "strikes a delicate balance between micro- and macro-management—and the result is one of the richest historical sims ever."

The One gave the Amiga version of Lords of the Realm an overall score of 84%, praising the game's controls, and stating "Presentation is excellent throughout, making good use of drag bars to make sure you always know exactly what's going on ... everything looks neat and pretty" and referring to the sound effects as "charming". The One compared the combat to Fields of Glory, remarking that Lords of the Realm requires more strategy and careful placement of troops, and compared the farming sections of the game to Genesia.

Sequels
Lords of the Realm was followed up by three sequels: Lords of the Realm II in 1996 (which included an expansion pack), Lords of Magic in 1997 and Lords of the Realm III in 2004.

title: Lords of the Realm


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Hong Kong Space Museum

The Hong Kong Space Museum is a public astronomy and space science museum located in Tsim Sha Tsui, Hong Kong. Opened on 8 October 1980, it is managed by the Leisure and Cultural Services Department of the Hong Kong Government. The building is notable for its hemispherical shape, which contains a planetarium, the only one in Hong Kong. The main facilities of the museum are located in a building next to the planetarium, showcasing information about the Solar System, cosmology, and spaceflight.

Accessible from Salisbury Road, it is adjacent to the Hong Kong Cultural Centre, the Hong Kong Museum of Art, and the Tsim Sha Tsui Clock Tower. The Hong Kong Science Museum and the Hong Kong Museum of History are also located in Tsim Sha Tsui.

History
The idea of a planetarium was originally proposed in 1961 by the Urban Council. Ten years later, the Urban Services Department (USD) set up a working group to study overseas experience in establishing planetariums. The study was aimed at laying the groundwork for setting up the future Hong Kong Space Museum. The Hong Kong Government decided to build the museum at Tsim Sha Tsui and invited Mr. Joseph Liu to serve as Planetarium Advisor. In 1974, The USD signed a contract with the Carl Zeiss Company to purchase a planetarium and other equipment with a price of HK$3,050,000. Construction commenced in 1977 and the museum opened on 8 October 1980. The museum contained the world's first computerized planetarium. In the 2008-2009 financial year, there were about 590,000 visits to the museum.

In 2015, in order to carry out renovation work, the exhibition hall in the Sky Hall was closed on 5 October and reopened on 25 April 2018.

Exhibits
Because most of the exhibits in the Space Museum are interactive ones, it has a relatively small number of exhibits of historical value. However, since 2019, the museum has had 17 such exhibits. From 1981, the museum started buying meteorites such as iron meteorites, pallasites and tektites. In 1983, the Space Museum acquired an Indian astrolabe. In May 2000, a flag of Hong Kong that was placed inside Shenzhou 1, the first unmanned Shenzhou spacecraft from China, was also put on display in the museum. In July the same year, the certificate which named Minor Planet 3297 Hong Kong was also put on display. In 2017, Yang Liwei, the first person sent into space by the Chinese space program, donated his work uniform to the Space Museum.

Facilities
The museum has two wings: east wing and west wing. The former consists of the nucleus of the museum's planetarium, which has an egg-shaped dome structure. Beneath it is the Stanley Ho Space Theatre, the Hall of Space Science, workshops and offices. The west wing houses the Hall of Astronomy, the Lecture Hall, a gift shop and offices.

The planetarium's egg-shaped dome covers more than 8,000 square metres, making it a famous landmark in Hong Kong. It was the first local planetarium for the popularisation of astronomy and space science. The computerized star imager in the Sky Gallery of the Space Museum is capable of simulating the sky through optical principles, projecting 8,000 stars onto the hemisphere screen of the Planetarium.

There is also a mock-up of the nose and cockpit section of the Space Shuttle orbiter.

Exhibition halls
Hong Kong Space Museum has two thematic exhibition halls: the Hall of Space Science and the Hall of Astronomy on the ground and first floors respectively. The exhibits, predominantly interactive, enable visitors to learn through a series of entertaining and educational experiences.

Transportation
The museum sits within walking distance of both Tsim Sha Tsui station and East Tsim Sha Tsui station of the MTR. It is also near the Star Ferry Pier and a bus terminus.

Renovation
In November 2008, the Hong Kong Space Museum spent 34 million HKD on the first major overhaul of the planetarium since it opened in 1980. The major overhaul mainly involved the installation of a new digital planetarium projection system, a high-resolution projection system that is only available in a few space museums from other parts of the world. Not only can the system play 3D shows and movies on the hemispherical projection dome inside the space museum, but it is also capable of simulating scenes of stars, planets, and other celestial objects from anywhere in the universe, either in real time or at a past point in time. The 300 seats in the planetarium were also replaced with ones that spot a multilingual interactive feature. The wireless Bluetooth headsets and the newly designed display unit installed on the armrest of each seat allow the audience to send short messages to each other, participate in real-time games, answer audience satisfaction surveys, and perform a number of other activities.

From 17 November 2008 to June 2009, the planetarium was closed for renovation. It reopened on 1 July 2009 with the new digital planetarium projection system installed, which was manufactured by American company Sky-Skan Inc and boasts a resolution of over 53 million pixels, matched globally only by the projection system in the Beijing Planetarium.

The Hong Kong Space Museum's planetarium also had all of its seats replaced by a French company. The new seats, which are equipped with an interactive system that supports multiple languages, can be reclined for a better viewing angle inside the projection dome. Also, the audience can view not only the night sky as simulated from the surface of the earth, but also that as simulated from the surface of the other planets in the solar system. In the night sky, the shapes of different constellations can be seen, and the changes in polar nights from outer space can also be tracked.

As a result of another renovation project, the Stanley Ho Space Theatre and the Lecture Hall were closed between 1 November 2015 and 1 March 2016. They had since reopened.

On 1 May 2020, during the height of the COVID-19 pandemic in Hong Kong, the Hong Kong Space Museum replaced the dome projection screen in the planetarium to improve image quality.

The Exhibition Halls

There was a plan to renovate the two exhibition halls at a cost of 32 million HKD. Under the renovation plan, which would last half a year, the themes of the exhibition hall on the first floor would be space exploration and the effects of solar activities on earth, and the exhibition hall would provide visitors with a surreal science fiction experience. However, by May 2013, the Space Museum had yet to carry out the renovation work. The Leisure and Cultural Services Department said that it had planned to start the renovation in mid-2015 and finish it by the end of the year, during which the exhibition halls would close but shows would still continue as usual in the planetarium.

In September 2015, the Leisure and Cultural Services Department announced that the two exhibition halls, which had been in use since 1991, would undergo renovation beginning on 5 October that year. The renovated exhibition halls would be renamed "Hall of the Cosmos" and "Hall of Space Exploration" respectively. Visitors would be offered a novel experience in which they could learn about the evolution of the universe, the exploration of the solar system and beyond, and more. The renovation was finally completed in 2018, and the exhibition halls reopened on 25 April that year.

Criticisms
In 2006, the Leisure and Cultural Services Department carried out a survey on the general satisfaction level among visitors to the seven museums it runs (the Hong Kong Space Museum, Hong Kong Museum of Art, Hong Kong Museum of Coastal Defence, Hong Kong Museum of History, Hong Kong Science Museum and Museum of Tea Ware) and also their satisfaction level with the museum facilities. The Hong Kong Space Museum scored the lowest among the seven museums, at only 76.1% for general satisfaction and 78% for satisfaction with the facilities.

In August 2014, an Oriental Daily News reporter was sent to inspect the museum. Some inaccurate information was found. For example, a satellite program in the 1990s was described as a future space program. In another example, Pluto, which had been removed from the list of planets in the Solar System, had yet to be removed from the Solar System model. Also, information on China's space program history was found to be severely lacking, with only a few display boards. On TripAdvisor, an International travel website, some netizens had also criticized the exhibits at the museum for being outdated and unappealing. In response to the criticisms, the Leisure and Cultural Services Department admitted that the inaccurate information on the display boards might have misled the public, promising to provide more up-to-date information on the display boards and remove any information that was misleading. The department also promised that some of the permanent exhibits would be replaced with newer ones. In 2018, an Oriental Daily News reporter was again sent to inspect the museum's exhibition halls, 4 months after they reopened following a renovation project. It was found that most of the exhibits had been badly damaged, suggesting that they had not been properly preserved. Yet, before the poor state of maintenance was discovered, 400,000 HKD had already been spent repairing the exhibits. Given that the state of the exhibits remained poor, it was said to be a huge waste of money and to have tarnished Hong Kong's image. Another reporter from HK01 was also sent to inspect the museum the same year. It was found that of the 110 new interactive exhibits, 64% had been repaired at least once. In January 2020, fences were placed around the Space Museum when its exterior walls were being cleaned, leading to a feeling that the Space Museum had been turned into a prison. This was criticized by netizens, who jokingly alluded that to the powerless people's fight against a powerful dictatorship.

2019 protests
In 2019, following the proposal of the Fugitive Offenders Amendment Bill by the Hong Kong government, the Anti-Extradition Law Amendment Bill Movement was triggered, and protests erupted all over the city. On 6 August, the then president of Hong Kong Baptist University Students' Union Keith Fong Chung-yin was arrested by undercover police for possession of offensive or lethal weapons after buying laser pointers in Sham Shui Po. Responding to the arrest, Fong said that he was just buying the laser points for his friends and leaving one for himself for stargazing, and that when he was buying the laser points, he was not aware they could be used as a weapon.

On 7 August, the police said during a press conference that the laser pointers Fong had bought, which were 18 centimetres long, had a power output of 100 mW, high enough to classify them as weapons by law. To prove that the laser pointers Fong had bought could cause bodily harm, the police ignited some newspapers with them in front of the public. As the laser pointers Fong had bought were seen as "stargazing pointers" and could indeed be used for stargazing, a "Stargazing Event" was organized that very same night in front of the Space Museum, with thousands of people taking part to protest against Fong's "arbitrary" arrest. During the event, some protestors shone their laser pointers at the walls of the Space Museum's Stanley Ho Space Theatre, the trees that were planted in front of it, and the walls of the adjacent buildings. They also sang songs to mock the police for using laser points to ignite the newspapers.

title: Hong Kong Space Museum


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Wikipedia:Articles for deletion/Schyl perry

 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 01:14, Jun 20, 2005 (UTC)

Schyl perry
Not notable. Vanity. Unverfiable. Failed the Google test. No results which means it failed the IMDB test. Trying to find a speedy delete criteria but seems that VfD shall do. The creator also vandalised a movie page just to put the person's name on an article. Chill Pill Bill 22:36, 14 Jun 2005 (UTC)

 * Agreed non notable. Delete. Ambush Commander 22:54, Jun 14, 2005 (UTC)
 * Delete does not exist. freestylefrappe 22:56, Jun 14, 2005 (UTC)
 * Delete unverified/possible hoax. Surely someone honored at the white house would get some hits on Google. --Etacar11 23:06, 14 Jun 2005 (UTC)
 * Delete even if somehow the son of a notable person as the article claims, that's all he is. Not notable on his own. -- Consumed Crustacean | Talk | 00:48, Jun 15, 2005 (UTC)
 * Delete this fruitage of his labor. -- BD2412 talk 04:56, 2005 Jun 15 (UTC)
 * Delete unverifiable. JamesBurns 06:28, 15 Jun 2005 (UTC)
 * Delete as an unholy abomination in my sight. "fruitage of his labor"? Yeesh. Also, no such person. democracys 00:53, 16 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 .


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User:Qwave

Qwave is the alias of Till Erik Kopper (*1965). Living in the south-west of Germany in the town Tübingen.

He is a master carpenter (german: "Zimmermeister") and hobby synthesizer player (Berlin School style).

title: User:Qwave


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Children's Scholarship Fund

The Children's Scholarship Fund is a privately funded tuition assistance program in the United States. The fund provides scholarships enabling low-income children to attend private schools. More than 25,700 students in Kindergarten to 8th Grade receive the fund's scholarships. It was founded in 1998 by Theodore J. Forstmann and John T. Walton.

History
Forstmann and the late John Walton met as donors to the Washington Scholarship Fund (WSF), founded in 1993 to provide scholarships for low-income families in Washington D.C. When more than 8,000 applications applied to WSF for the 1998-99 school year the two men realized there was substantial demand among poorer families for alternatives to the public school system.

This need in Washington convinced Ted and John that low-income parents everywhere would welcome the opportunity to choose a private or parochial school over their assigned public school, even if it meant they had to pay a portion of the tuition themselves. After the DC scholarships were awarded, they began thinking of a way to take the program nationwide and truly open the doors of educational opportunity. John and Ted first announced the formation of the Children's Scholarship Fund at the New York Public Library on June 9, 1998. Then Ted, John and CSF's new staff traveled across the country to secure partnerships in major cities and states. Once the partner programs were in place, CSF began to get the word out to parents through local community organizations, churches, and the private schools themselves, and scholarship applications began to roll in. The demand for scholarships was much higher than anticipated. By the March 31 deadline, the parents of more than 1.25 million children had applied.

An astonishing 43% of the eligible population in Newark, NJ, applied for scholarships. In New York, 168,000 applications came in – representing 32% of those eligible to apply. Other cities with especially notable numbers of applications included Los Angeles (26% of those eligible), Baltimore (38%), St. Louis (32%), and Philadelphia (35%). Parents all over the country were sending the same message: they wanted alternatives for their children's education, and they were willing to pay something out of their own pockets to get it.

On April 21, 1999, the first Children's Scholarship Fund scholarships were awarded to 40,000 children all across America. Ceremonies were held in New York, Los Angeles, and many other CSF cities. In New York, Ted Forstmann explained his goal for the scholarships, saying, "Every child, regardless of their parents' income, should have access to a quality education – an education that will not only prepare them for successful private lives, but help them to build cohesive communities and a strong democracy."

Present

Originally, CSF was planned as a four-year program, and families were not promised anything beyond that. But it quickly became obvious that to truly ensure the children would gain a solid foundation, funding would have to continue through the 8th grade. So, after the first four years, CSF went back to the partner programs and donors in an attempt to extend the original awards through 8th grade and allow younger siblings to get scholarships, too. Most of the partner programs not only agreed to extend the original scholarships through 8th grade and add siblings – they also awarded brand new scholarships.

Today, many of the CSF partner programs continue to offer new scholarships annually. The CSF national headquarters in New York administers more than 8,000 scholarships in New York City, as well as providing matching funds and program support for the partner programs nationwide.

Since inception, CSF has awarded $654 million in scholarships to 152,000 needy children. In the 2012-13 school year, more than 25,700 children in 30 partner programs across the country are using CSF scholarships to attend private school. Of the students who receive CSF scholarships, 92 percent graduate high school on time, and 90 percent enroll in college.

title: Children's Scholarship Fund


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Yes (Yes album)

Yes is the debut studio album by English rock band Yes, released on 25 July 1969 by Atlantic Records. After forming in the summer of 1968, the band toured extensively across the United Kingdom with sets comprising both original material and rearranged cover versions. They signed with Atlantic in March 1969, and entered Advision and Trident Studios in London to record their first album. Yes includes covers of "Every Little Thing" by the Beatles and "I See You" by the Byrds.

Yes was positively received by critics in the United Kingdom and United States, but was not commercially successful and failed to chart in either country. Two singles from the album were released: "Sweetness" and "Looking Around". The album was remastered in 1994 and 2003, the latter containing several previously unreleased tracks, including a rendition of "Something's Coming" from West Side Story.

Background
In August 1968, Yes formed with a line-up of singer Jon Anderson, bassist Chris Squire, guitarist Peter Banks, drummer Bill Bruford, and keyboardist Tony Kaye; the band played their first gig under the name on 4 August. They toured the United Kingdom extensively, playing sets featuring both original material and rearranged cover songs from rock, pop, funk, and jazz artists. Bruford left the band temporarily with the aim of pursuing education at university, but the line-up returned to its original formation in November 1968. In the course of the search for a record label, manager Roy Flynn and Atlantic managing director Frank Fenter secured a deal to have Yes audition at the Speakeasy Club in London for Ahmet Ertegun of Atlantic Records. The gig was a success, and news of the band's signing to the label were reported by the press in March 1969.

Recording
With their contract secured, Yes recorded their debut album in the spring of 1969, mostly at Advision with additional sessions at Trident Studios in London. Anderson and Banks recalled that the band were in the studio for between one and four weeks. They were joined by producer Paul Clay and engineer Gerald Chevin (and John Anthony at Trident). Banks was unsure as to how Clay became involved in the album; he deemed Clay unfit for the job, for he had worked on film soundtracks and knew little about working with rock bands, which caused the album to lack in quality as a result, with Bruford's drums sounding "like biscuit tins" and Banks' guitar sounding "clangy". Banks nicknamed Chevin "The Weasel" or "The Ferret", for his small stature and glasses that made him resemble "a rocket scientist from the 1950s", and for his general distaste for rock music. Chevin also consistently asked the band to turn their levels down, much to the dislike of Banks, who would put his guitar levels up when no one was looking.

Recording was also met with technical difficulties, with the group spending two days trying to get a Hammond organ for Kaye to play on to function correctly. They hired one to use, for Kaye owned a Vox Continental disguised as a Hammond. These sessions marked Bruford's first time in a professional recording studio, and it was only when the album was nearly complete that he realised he could alter the volume levels of the other band members' instruments in his headphones. Instead, he recorded his parts with the guitar loud in one ear "and nothing else in the other". Bruford described his playing on the album as "a mishmash of everything I'd heard" and later recognised his naïve playing, specifically to "swing on the cymbals". Around the third day of recording, Ertegun visited the studio to hear what had been put down, but the band had nothing to play for him.

Songs
"Beyond and Before" was written by Squire and Clive Bailey, former singer and guitarist in Mabel Greer's Toyshop, the rock band that was a precursor to Yes. The band would open their live shows with this tune, which features three-part harmonies, an attribute of Yes that quickly became a trademark in their sound. Years later, Banks was still unsure as to what the lyrics meant, yet suggested they were "drug induced". Squire described it as "one of those acid rock kind of songs" with its psychedelic lyrics. "I See You" is a cover version of the original performed by American rock band the Byrds. Banks was disappointed with the version recorded for the album, for he later recognised the mistakes on it. The instrumental section with the guitar solo was often stretched for several minutes when performed live, sometimes ending in Banks throwing his guitar in the air and banging it on stage. "Yesterday and Today" was one of the tracks recorded at Trident and features Bruford playing the vibraphone. Despite Bruford telling the band he could play the instrument, Banks remembered the drummer getting nervous when it came to recording. "Looking Around" remained one of Squire's favourite tracks on the album. When it came to recording it, the band had some difficulties with its pitching, for they were uncertain of which key the song was in.

"Harold Land" got its title from Bruford, who recalled someone asking out loud what the track should be called. "I remember somebody saying ... 'I want to write a song about a man called...' and I said, 'Harold Land' as I walked through the room". The song is named after Harold Land, an American tenor saxophonist, yet the song's lyrics deal with the effects of war on the named character. The album's second cover version is "Every Little Thing" by the Beatles. Squire did not realise how much he liked the band's version until he turned on the radio after performing at Madison Square Garden in New York City in 1984 and liked the instrumentation, failing to recognise it was the band's version being played until Anderson's voice was heard. "Sweetness" was the first song that Anderson and Squire collaborated on following their initial meeting. It is featured in the comedy drama film Buffalo '66 (1998), the first film with Vincent Gallo as director. "Survival" was a song that had contributions from the whole band, but it was not worked on fully due to the limited time they had to finish the album. It later became bothersome for Bruford, due to its ecology-inspired lyrics and "drippy" melody. Anderson said the lyrics are "a simple story about how nature is an amazing thing that surrounds us."

Sleeve design
The album was packaged in a gatefold sleeve, with the UK pressing featuring a front cover of the word "YES" in blue and red inside a speech bubble against a plain black background. The sleeve was designed by Crosby/Fletcher/Forbes, a design collaboration between graphic designers Theo Crosby, Alan Fletcher, and Colin Forbes, with additional design work from Haig Adishian. Music journalist and band biographer Chris Welch later wrote: "Although the sleeve wasn't graced with the kind of elaborate cover art that Roger Dean would introduce on the 1971 Fragile album, the ... cover was most effective". The front cover of the United States and Canada pressings features a photograph of the band at an architectural centre in Fulham, taken by American photographer David Gahr. It was also included in the album's 2003 remastered release. The gatefold includes a group photograph and mid-gig shots taken by Nicky Wright at Parliament Hill Fields in north London. When it came to producing the liner notes, Flynn requested that his name was omitted from the list of credits. Anderson is credited on the original release as "John"; he removed the "h" from his name in 1970.

Release and reception
Yes was released on 25 July 1969 in the UK. Its release in the US followed on 15 October 1969. "Sweetness" was put out as the album's lead single and the band's first overall; Banks disagreed with this being done, for he thought it was the song that least represented the band's style.

The album received a positive reception from two American newspapers. Scott Campbell of the Arizona Republic wrote that Yes are "a promising set" that deliver on being "solid and together at nearly all times", with "strong and competent" vocals from Anderson. David Wagner, in the Post-Crescent, agreed with Campbell that Yes were a "very promising" group. He recognised "a lot of jazz swinginess" on the album, particularly on the two cover songs, and compared Banks's guitar style to that of Wes Montgomery which comes across strong on the guitar and drum section on "I See You". Wagner rated the band's original material as "generally good" and "fully arranged" despite the over-sentimental quality of "Sweetness", "but there are so many delights on so many levels here that it's hard to complain". Lester Bangs favourably reviewed the album in Rolling Stone, writing that it was "the kind of album that sometimes insinuates itself into your routine with a totally unexpected thrust of musical power."

Personnel
Credits are adapted from the album's 1969 and 2003 sleeve notes.

Yes
 * Bill Bruford – drums, vibraphone
 * Tony Kaye – organ, piano
 * Peter Banks – guitars, vocals
 * Chris Squire – bass, vocals
 * Jon Anderson – lead vocals, incidental percussion

Technical personnel
 * Paul Clay – production
 * Yes – production
 * Gerald Chevin – engineer
 * John Anthony – engineer (Trident Studios sessions only)
 * Crosby/Fletcher/Forbes – sleeve design
 * Peter Sanders – other photographs
 * Nicky Wright – full page photograph
 * Haig Adishian – cover design (UK edition)
 * David Gahr – cover photograph (US edition)

Reissues

 * 1989 – Atlantic – CD
 * 1994 – Atlantic – CD (Remastered)
 * 2003 – Rhino – CD (Remastered with bonus tracks)
 * 2014 – Friday Music – Vinyl
 * 2015 – Music on Vinyl – Vinyl (Remastered by DigiPrep)
 * 2019 - Atlantic - Vinyl

title: Yes (Yes album)


text:
User talk:MichaelJacksonMolestedMe

Your user name is inappropriate. Please choose another one.-gadfium 22:37, 14 Jun 2005 (UTC)

Don't bother; you are, for something like the fifteenth time, permanently blocked from editing. Mel Etitis ( Μελ Ετητης ) 22:57, 14 Jun 2005 (UTC)

title: User talk:MichaelJacksonMolestedMe


text:
WJJK

{{Infobox radio station }} WJJK (104.5 FM) is a commercial radio station licensed to Noblesville, Indiana, and broadcasting to the Indianapolis metropolitan area. It is owned by Cumulus Media and broadcasts a classic hits radio format. Its studios and offices are on North Shadeland Avenue on the east side of Indianapolis.
 * name              = WJJK
 * logo              = File:WJJK 104.5WJJK logo.png
 * city              = Noblesville, Indiana
 * area              = Indianapolis metropolitan area
 * branding          = Classic Hits 104.5 WJJK
 * frequency         = 104.5 MHz
 * airdate           = {{start date and age|1950|9|25}}
 * format            = Classic hits
 * erp               = 50,000 watts
 * haat              = {{convert|150|m|ft|sp=us}}
 * coordinates       = {{coord|39.840|N|86.176|W|type:landmark_region:US-IN_source:FCC|display=inline,title}}
 * class             = B
 * licensing_authority = FCC
 * facility_id       = 28609
 * callsign_meaning  = Jack (former JACK FM branding)
 * former_callsigns  = {{ubl|WAJC (1950–1993)|WGRL (1993–1997)}WGLD (1997–2005)}}
 * former_frequencies = 91.3 MHz (1950–1956)
 * owner             = Cumulus Media Inc.
 * licensee          = Radio License Holding SRC LLC
 * sister_stations   = WFMS, WNDX, WNTR, WXNT, WZPL
 * webcast           =
 * website           = https://www.1045wjjk.com/

WJJK has an effective radiated power (ERP) of 50,000 watts, the maximum for most stations in Indiana. Its transmitter is located on Bulldog Road, near the athletic fields for Butler University, which once owned the station. WJJK is licensed to broadcast in the HD Radio (hybrid) format.

History
On September 25, 1950, the station signed on the air as WAJC, with the call letters standing for Arthur Jordan College of Music. It was originally a non-commercial, college radio station at 91.3 MHz. It moved to its current frequency of 104.5 MHz in 1956, as the Butler University radio station. The move came with an increase in power to 8,800 watts, but still just a fraction of its current output.

In 1993, Butler University decided to discontinue its radio station. The 104.5 frequency was sold to the Susquehanna Radio Corporation, which converted it to a commercial radio station. Susquehanna changed the call sign to WGRL and it adopted a country music format.

The call letters were changed to WGLD in 1997 when the station flipped to an oldies format as "Gold 104.5." In 2005, WGLD became WJJK, dropping oldies and subscribing to the nationally syndicated "JACK FM" adult hits format. The station became known as "104.5 Jack FM."

In 2006, Susquehanna Radio was acquired by current owner Cumulus Media. Also in 2006, in September, WJJK became a classic hits station, while keeping the same call letters, marking a return to a format similar to that of the former Gold 104.5 oldies format. The name "Jack" was dropped in December 2007 and it is now known as "Classic Hits 104.5 WJJK."

title: WJJK


text:
Talk:Cragg Hines

Untitled

 * Owen Courrèges of the KSEVradio-affiliated "Lone Star Times" weblog described Hines as the "most abrasive, pompous, and obese liberal ideologue" on the newspaper's staff.
 * LST is a major & newsworthy Chronicle critic.

It's a blog. A non-notable person blogging a smear against a journalist is not suitable material for this encyclopedia. -Willmcw 22:41, Jun 14, 2005 (UTC)
 * Even if the blog were the most reputable thing in the world, it wouldn't be appropriate to include such an ad hominem attack. There's no need to include a comment about whether Cragg Hines is fat or not. · Katefan0(scribble) 22:46, Jun 14, 2005 (UTC)
 * For the record, from Cite sources: At the other end of the reliability scale lie personal websites and weblogs, which are not acceptable as sources. Many websites are created by unknown individuals who have no one checking their work. They may be uninformed, misled, pushing an agenda, sloppy, relying on rumor and suspicion, or insane; or they may be intelligent, careful people sharing their knowledge with the world. Visiting a stranger's personal web page is often the online equivalent of reading an unattributed flyer on a lamp post, and should be treated accordingly — with significant skepticism. Partisan political and religious sources should be treated with caution. An extreme political website should never be used as a source for Wikipedia except in articles discussing the opinions of that organization or the opinions of a larger like-minded group. · Katefan0(scribble) 23:02, Jun 14, 2005 (UTC)
 * Reliable sources -Willmcw 23:16, Jun 14, 2005 (UTC)
 * Gee, Will, and what exactly was it that the quote I added did? Oh yeah, that's right - it used a political website for a source to discuss the opinions of that website, and in turn its larger audience at the radio station that sponsors that website, about Cragg Hines. The view was stated in a brief one-sentence segment and was fully attributed with a complete disclaimer of what LST is and believes. And of course you all would _never_ try to shove an extreme political website into an article as an unattributed source for something...(cough) Austin Chronicle (cough, cough)...Rangerdude 00:11, 15 Jun 2005 (UTC)

 * The Austin Chronicle is a free newspaper, not a website. This quote you want is from a blog. Different things entirely. This is inappropriate material. -Willmcw 00:32, Jun 15, 2005 (UTC)
 * The Austin Chronicle is also an extremist political publication from the far left wing. Quoting it without attribution and qualification is accordingly inappropriate. As to Lone Star Times, your ad hominem attack upon them as a source is no basis for excluding their properly qualified and attributed viewpoint, especially since that viewpoint characterizes the position of a noted Chronicle critic. Rangerdude 00:40, 15 Jun 2005 (UTC)
 * You seem to have no problem using the Houston Press, which is precisely the same sort of free newspaper as the Austin Chronicle (perhaps even published by the same company), to push your POV against the Houston Chronicle. · Katefan0(scribble) 02:45, Jun 15, 2005 (UTC)
 * The Houston Press is already disclosed repeatedly in qualifiers throughout the articles where it has been used. Its content was also DIRECTLY on topic pertaining to the subject of those articles. When you added the Austin Chronicle source it (1) lacked a proper disclosure of where it came from and (2) pertained to an extraneous secondary subject being mentioned within the subject of the Houston Chronicle itself but having nothing to do with the Houston Chronicle. Disclosing the sources and linking to their articles to let the reader decide is the best policy for matters such as these. Rangerdude 03:03, 15 Jun 2005 (UTC)

 * By whom has Owen Courrèges been noted? Do you really think anyone would take a critic seriously whose main criticism of a journalist is that he is "obese"? By analogy, is it appropriate to include quotes from all the left-wing blogs that attack President Bush? I don't think so. -Willmcw 00:48, Jun 15, 2005 (UTC)
 * You're arguing straw men, will. The notable party here is not Owen Correges but rather Lone Star Times, where his article is published. As to left wing attacks, it would be inappropriate to include attacks from each and every left winger but a single attack from a major Bush critic that is generally representative of their positions is permissible. Rangerdude 00:56, 15 Jun 2005 (UTC)

The author of the comment is hardly a strawman. Anyway, the LST itself is not especially noted as blogs go. Even if it were, it's still a blog. We don't use even noted blogs as sources. -Willmcw 01:21, Jun 15, 2005 (UTC)

 * Focusing your attention upon the author to dismiss him as insignificant while ignoring the publication he writes for is indeed a straw man, given that I have cited the significance of the publication he works for in relation to the issue. There is no wikipedia policy prohibiting the use of blogs as sources either, nor do you have the authority to impose one. Rangerdude 02:19, 15 Jun 2005 (UTC)

 * A non-notable author writing for a non-notable blog. Is this the standard you propose for all articles? Is it OK to add smears from blogs to politician's biographies? That'd make George W. Bush's article quite long. I didn't write the guideline calling blogs poor sources. Maybe you can get the guideline changed to allow blogs as sources. Even then, I still don't see what is gained by calling the subject the most obese reporter on staff. That's a pretty juvenile remark to make about a top political reporter. -Willmcw 04:14, Jun 15, 2005 (UTC)

 * Your ad hominems upon the source aside, Lone Star Times is notable and directly pertinent to subjects involving the Houston Chronicle for reason of their direct involvement in multiple disputes with that paper and as an outlet for major participants in those disputes such as Dan Patrick. You are also persisting in your straw man misconstruction of my argument when you suggest that multiple "smears" be added to the Bush article from every blog that criticizes him. That analogy is false as (1) we are not talking about multiple attacks from every blog rather but a single attack from a blog with notable relevance to the Houston Chronicle, and (2) I have already acknowledged that multi-blog attack quotes would indeed be inappropriate per the guideline. As to the obesity comment, it is somewhat juvenile and I would be open to excluding it from the quote to retain only the portions that are critical of Hines' abrasive writing style as their perception of that writing style is the purpose of including the source to begin with. Rangerdude 04:33, 15 Jun 2005 (UTC)

 * If we get an article about the LST then Courrèges's quote can be used as an example of the blog's standard of writing. Let's try to find a more intelligent, authoritative criticism of Hines. -Willmcw 05:05, Jun 15, 2005 (UTC)
 * I'm always in favor of adding new material, and if you have something better by all means offer it. Deleting existing material that you don't like without offering any replacement or improvement however gets to be problematic. Rangerdude 09:28, 15 Jun 2005 (UTC)

title: Talk:Cragg Hines


text:
Wikipedia:Articles for deletion/Jesus Aquinas

 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 Speedied by Lommer. A и D я 01D TALK  EMAIL  02:18, Jun 15, 2005 (UTC)

Jesus Aquinas
Irrelevant, not appropriate for Wikipedia 68.198.155.64 22:42, 14 Jun 2005 (UTC)
 * Speedy nonsense. Possible attack.  --Xcali 23:01, 14 Jun 2005 (UTC)
 * Delete, speedy if possible, hoax/attack page. --Etacar11 23:11, 14 Jun 2005 (UTC)
 * Speedy delete as attack page. --Idont Havaname 00:06, 15 Jun 2005 (UTC)
 * Speedy, nonsense, and I've tagged it as such. (Isn't that one of the guys from bumfights?) A и D я 01D  TALK  EMAIL  00:50, Jun 15, 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 talk:Dannybu2001

I've deleted all my talk, therefore all comments are gone forever. BWAHAHAHAHAHA!!! History button?! Oh, poo...

Userboxes
Danny, I think you need to move one of the first three userboxes you have to a new line because your side boxes are overlapping.--Sir hugo 17:53, 27 July 2006 (UTC)

You have soo many userbox groups I didnt notice when I first left this message. I can only see one group of them not all of them because they over lap. I would play around with formatting of them and try to get them to not overlap somehow, or maybe take them out of the large groups and just place them into headings.--Sir hugo 18:14, 27 July 2006 (UTC)

I am using IE and the default skin. Oh well, as long as you can see them that is the most important thing. I just wasnt sure if you had noticed it yet.--Sir hugo 18:23, 27 July 2006 (UTC)

A Wii Response
Don't worry about the Wii talk page, I just used page-move archiving. The side effect is that it takes a minute or two to restore the main Talk page from being a redirect. If the Wii article wasn't so active, nobody would've even noticed the redirect. ;) --Stratadrake 16:38, 1 August 2006 (UTC)

WikiProject Narnia
Hello, I noticed that you edited an article related to, or expressed interest in The Chronicles of Narnia. I thought you may be interested in knowing that there is a WikiProject working to improve articles about Narnia, your help would be greatly appreciated. Please consider joining the WikiProject Narnia. Thank you! Bornagain4 00:58, 9 August 2006 (UTC)

Your edit to Wizard (magazine)
Your recent edit to Wizard (magazine) (diff) was reverted by an automated bot that attempts to recognize and repair vandalism to Wikipedia articles. If the bot reverted a legitimate edit, please accept my humble creator's apologies – if you bring it to the attention of the bot's owner, we may be able to improve its behavior. Click here for frequently asked questions about the bot and this warning. // AntiVandalBot 19:06, 5 October 2006 (UTC)

Disputed fair use rationale for Image:Jetsons the movie.jpg
Thanks for uploading Image:Jetsons the movie.jpg. However, there is a concern that the rationale you have provided for using this image under "fair use" may be invalid. Please read the instructions at Non-free content carefully, then go to the image description page and clarify why you think the image qualifies for fair use. Using one of the templates at Fair use rationale guideline is an easy way to ensure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our criteria for speedy deletion. If you have any questions please ask them at the media copyright questions page. Thank you.BetacommandBot (talk) 19:15, 2 January 2008 (UTC)

Invitation to Meetup/Seattle6, a focus group
Hello. I'm part of a research group at the University of Washington (Seattle campus), and my group is reaching out to Wikipedians in the Puget Sound area. We're hosting a focus group designed to gather information on what Wikipedians would like to know about each other when interacting on Wikipedia. Our end goal is to create an embedded application that helps people quickly know more about others' history and activity on Wikipedia, and we feel our design will be much more useful if it's based on insights of users like you.

I'm hoping that the chance to help out local researchers, to engage in lively face-to-face discussion with other Seattle Wikipedians, and to contribute to Wikipedia in a new way will entice you to join us. The session lasts 2 hours and snacks are provided. Sessions will be held on UW Seattle campus - directions will be sent after registration. Your contribution will be greatly appreciated!

Willing and able to help us out? RSVP here. Want to know more? Visit our user talk page. Please help us contact other local Wikipedians, too! Commprac01 (talk) 01:32, 16 March 2009 (UTC)

NEW CATEGORY PAGE
Hello Washington-user!! What do you think of this category? Either on a scale of 1-10 or with commentary. Let me know through the "Special:EmailUser/" section. #TTiT# 10:34, 14 August 2009 (UTC) —Preceding unsigned comment added by The-Traveller-in-Tacoma (talk • contribs)

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:05, 23 November 2015 (UTC)

title: User talk:Dannybu2001


text:
USS Thatcher

USS Thatcher may refer to:

 * USS Thatcher (DD-162), a Wickes-class destroyer launched in 1918. She was transferred to Canada in 1940 and recommissioned HMCS Niagara (I57). She was decommissioned in 1945 and scrapped the following year.
 * USS Thatcher (DD-514), a Fletcher-class destroyer, launched in 1942 and struck in 1945.

title: USS Thatcher


text:
User:Remember me

It's probably time to change this account name. I was feeling uncreative and so I ripped the idea off from the little checkbox that says "Remember me" when you go to log on.

title: User:Remember me


text:
Matraca Berg

Matraca Maria Berg Hanna (born February 3, 1964, in Nashville, Tennessee) is an American country music singer and songwriter. She has released five albums: three for RCA Records, one for Rising Tide Records and one for Dualtone Records, and has charted in the top 40 of the U.S. Billboard country charts with "Baby, Walk On" and "The Things You Left Undone," both at No. 36. Besides most of her own material, Berg has written hits for T.G. Sheppard, Karen Brooks, Trisha Yearwood, Deana Carter, Patty Loveless, Kenny Chesney and others. In 2008 she was inducted into the Nashville Songwriters Hall of Fame and in 2018 she received the Poet's Award from the Academy of Country Music Awards.

Early history
Matraca Maria Berg was born February 3, 1964, in Nashville, Tennessee. Berg's mother, Icie Calloway, moved from Harlan County, Kentucky, to Nashville in the 1960s to seek her fortune as a singer and songwriter shortly before Matraca was born. Matraca's Aunt Sudie Calloway was a successful Music Row backing singer. Aunts Coleida Calloway and Clara Howard were backing vocalists on Kentucky's Renfro Valley Barn Dance. Uncle Jim Baker was a steel guitar player who also spent some time running Mel Tillis's song publishing companies. When Matraca was 2 years old, her mother married nuclear physicist Ron Berg, who legally adopted Matraca.

Berg's mother found only limited success in the music industry and eventually became a nurse. Berg herself then took up songwriting with her mother's encouragement. When Berg played her songs for songwriter Bobby Braddock, he volunteered to co-write with her. She found her earliest success in their collaboration, "Faking Love", which was sung by Karen Brooks and T. G. Sheppard, topping the Billboard Hot Country Singles (now Hot Country Songs) charts on February 19, 1983.

Career history
After her mother's death in 1985, Berg continued to have success writing songs for other performers. Reba McEntire had a No. 1 song with her "The Last One to Know", and Randy Travis, Tanya Tucker, Ray Price, Marie Osmond, Sweethearts of the Rodeo, Michelle Wright and others recorded her songs.

Berg signed to a recording contract with RCA Records Nashville in 1990, releasing her debut album Lying to the Moon that year. Its first two singles, "Baby, Walk On" and "The Things You Left Undone," both charted in the country top 40 at No. 36, followed by the No. 43 "I Got It Bad" and No. 55 "I Must Have Been Crazy."

Matraca was nominated for Top New Female Vocalist by the Academy of Country Music in 1991, losing to Shelby Lynne.

What was to be her follow-up album, Bittersweet Surrender, was recorded in 1991. It featured the single "It's Easy to Tell," which charted in November 1991. The album was rejected by the label, which wanted a more mainstream-sounding recording instead. One of the songs from this canceled album, "Wrong Side of Memphis," later became a Top Ten hit for Trisha Yearwood. She continued to write for others, and in 1994, released a pop album The Speed of Grace.

Berg's 1995 song, "You Can Feel Bad", co-written with Tim Krekel and recorded by Patty Loveless, was a Number 1 country single, spending twenty weeks on the charts.

Berg co-wrote "Strawberry Wine" along with Gary Harrison, which Deana Carter released as a single. Berg won the "Song of the Year" at the 1997 CMA (Country Music Association) Awards. The same year, she released the album Sunday Morning to Saturday Night via Rising Tide Records; it produced the singles "That Train Don't Run" and "Back in the Saddle," the former of which was released by Pinmonkey in 2006. In 1999, RCA released a compilation album entitled Lying to the Moon & Other Stories which also included tracks from her 1997 Rising Tide release.

In 2004 and 2005, Berg was nominated for induction into the Nashville Songwriters Hall of Fame, making her one of the youngest nominees in history. She was eventually inducted in 2008. She continues to be a prolific and respected country songwriter.

Personal life
She currently lives in Nashville with her husband, Jeff Hanna, a founding member of the Nitty Gritty Dirt Band. They were married December 5, 1993. The couple met while touring with Clint Black in the late 1980s.

title: Matraca Berg


text:
Talk:Saburō Ienaga

One-sided
This is possibly the most bigoted and one-sided portrayal of Saburo Ienaga, thanks to this edit by. Other than poor English - what one earth is a "radical establishmentarian"? - it alleges he became a radical dissident (what does this mean?) and then goes on to trash what he has done. Needs a complete rewrite.

See for a much fairer and more accurate write-up of the man. Mandel 22:47, Jun 14, 2005 (UTC)

 * I am working on it right now. Hermeneus 23:04, 14 Jun 2005 (UTC)

 * Well, half a year on and it's still POV. You sure take a long time to do your writing . Mandel 17:59, 1 November 2005 (UTC)

 * My mac had been dead for a couple of months from the early July and so I couldn't work on it. Anyway it's done now. Hermeneus (talk) 03:02, 8 November 2005 (UTC)

This article could use some more work. So far, just from the article, I'm not really sure what he did. It mainly seems like a list of lawsuits. That's not helpful information about the man. I had to use Mendel's link to actually find out more about him. Moogleii 02:05, 5 April 2006 (UTC)

Oscar's basics of the Ienaga story
I agree that this article needs some more work. But I have to throw in my two cents that this is actually a very difficult topic to work on. People on both the left and the right have been pretty shrill on this topic and some of the articles published in Japanese on Ienaga veer far from the original issues.

The bare bones of this story is that Ienaga Saburo, an historian, believed that the excesses of the Japanese military during WWII should be recorded and passed down in official history. (I don't think you could argue with that, but that is what a lot of people seem to be upset about.)

He chose highschool history textbooks as his medium. (His choice of mediums is, I think, what was debatable, and was the central issue of the contraversy.) The Ministry of Education allowed his textbook to be published but censored his books on what they said were factual errors and matters of POV. Ienaga sued the Ministry for violation of his freedom of speech, although had he not chosen a textbook as his medium he never would have been censored. Ienaga stuck to his position on a series of lawsuits.

Assuming that we all agree with Ienaga that excesses of the Japanese military should be written down, the contraversy is 1) whether he should have chosen a textbook when his views could have been more freely expressed in other mediums, 2) whether the Ministry was right in censoring his work in the way that they did, and 3) whether it was a violation of freedom of speech for the Ministry to decide what could be taught to children in schools. It is not the purpose of Wikipedia to provide "answers" to these questions, I believe, but to provide enough information on the issues so that the readers could decide for themselves.

So the information we need is 1) What were the facts and views that Ienaga wanted to convey? 2) What were the passages that the Ministry decided to cut out and on what grounds? 3) What were the other options at Ienaga's disposal other than a textbook to express his views and why did he choose the medium that he did?

To be honest, I have never read the "deleted passages" of Ienaga's history book. I would very much like to know what was such a big deal that the Ministry had to delete it and Ienaga had to fight in court to have it installed. 219.163.12.72 11:03, 19 December 2006 (UTC)Oscar_the_Grouch

Untranslated Japanese terms in text

 * For example, what does soumoutai mean? It is mentioned several times. We need translations in brackets at least. Grant65 | Talk 14:31, 28 December 2006 (UTC)

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

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

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BetacommandBot (talk) 23:15, 13 February 2008 (UTC)

title: Talk:Saburō Ienaga


text:
Robert S. Summers

Robert Samuel Summers (September 19, 1933 – March 1, 2019) was an American legal scholar who was the former William G. McRoberts Research Professor in the Administration of the Law at the Cornell Law School. He retired in 2011.

Early life and education
Summers was born in 1933 on his family's 80-acre farm a few miles outside Halfway, Oregon. His early academic education was limited, due to the difficulty in attracting good teachers to the remote valley in eastern Oregon. After graduating from the University of Oregon, he studied at the University of Southampton as a Fulbright Scholar. He earned a Bachelor of Laws degree from Harvard Law School.

Career
Summers taught for 50 years, 42 of them at Cornell Law School. He won international acclaim for his work in contracts, commercial law, jurisprudence, and legal theory. During his time at Cornell Law School, Summers authored and co-authored multiple works on various legal topics with a focus on contracts and commercial law. His treatise on the Uniform Commercial Code, co-authored with Professor James J. White, is the most widely cited on the subject. His other influential works include texts on legal realism, form and substance in the law, and on statutory interpretation. Summers has served as official advisor the drafting commissions of the Civil Code of Russia and Egyptian Civil Code. Summers was also named principal co-drafter of a new code of contract law for Rwanda. He lectured annually on jurisprudence and legal theory in Britain, Scandinavia, and Europe.

In the 1960s, Summers began advocating for more minority students in law schools, holding summer sessions around the country, with Robert M. O'Neil of the University of California, Berkeley, to recruit and prepare minority undergraduates.

Summers taught contracts and American legal theory with his class mascot, "the particularistic contract snail," and last completed a book on the varieties of legal form and their importance in law, which is titled Form and Function in a Legal System: A General Study, published by Cambridge University Press.

He was well known among Cornell Law School students for his inquisitive, spirited use of the Socratic method in instruction.

Personal life
Summers died on March 1, 2019, at the age of 85.

title: Robert S. Summers


text:
Denise Emerson

Denise Emerson (Alderman; born 13 May 1960) is an Australian former cricketer who played as a right-handed batter. She appeared in seven Test matches and 21 One Day Internationals for Australia between 1982 and 1987, including playing at the 1982 World Cup. She played domestic cricket for Western Australia and New South Wales.

Her brother Terry Alderman played at Test level for the Australian men's team. She is married to the umpire Ross Emerson.

title: Denise Emerson


text:
Race (biology)

In biological taxonomy, race is an informal rank in the taxonomic hierarchy for which various definitions exist. Sometimes it is used to denote a level below that of subspecies, while at other times it is used as a synonym for subspecies. It has been used as a higher rank than strain, with several strains making up one race. Races may be genetically distinct populations of individuals within the same species, or they may be defined in other ways, e.g. geographically, or physiologically. Genetic isolation between races is not complete, but genetic differences may have accumulated that are not (yet) sufficient to separate species.

The term is recognized by some, but not governed by any of the formal codes of biological nomenclature. Taxonomic units below the level of subspecies are not typically applied to animals.

Other terms
In botany, the Latin words stirps and proles were traditionally used, and proles was recommended in the first botanical Code of Nomenclature, published in 1868.

Definitional approaches
Races are defined according to any identifiable characteristic, including gene frequencies. "Race differences are relative, not absolute." Adaptive differences that distinguish races can accumulate even with substantial gene flow and clinal (rather than discrete) habitat variation. Hybrid zones between races are semi-permeable barriers to gene flow, see for example the chromosome races of the Auckland tree wētā.

chromosomal race: A population distinguished by having a unique karyotype, i.e., different chromosome numbers (ploidy), or different chromosome structure. geographic race: A distinct population that is isolated in a particular area from other populations of a species, and consistently distinguishable from the others, e.g. morphology (or even only genetically ). Geographic races are allopatric. physiological race: A group of individuals that do not necessarily differ in morphology from other members of the species, but have identifiably different physiology or behaviour. A physiological race may be an ecotype, part of a species that is adapted to a different local habitat, defined even by a specific food source. Parasitic species, often tied to no geographic location, frequently have races that are adapted to different hosts, but difficult to distinguish chromosomally. In botany, where physiological race (mostly used in mycology ), biological race, and biological form have been used synonymously, a physiological race is essentially the same classification as a forma specialis, except the latter is used as part of the infraspecific scientific name (and follows Latin-based scientific naming conventions), inserted after the interpolation "f. sp.", as in "Puccinia graminis f. sp. avenae"; while the name of a race is added after the binomial scientific name (and may be arbitrary, e.g. an alphanumeric code, usually with the word "race"): "Podosphaera xanthii race S". A physiological race is not to be confused with a physiologic race, an obsolete term for cryptic species. Neither biological form nor forma specialis should be confused with the formal botanical taxonomic rank of forma or form, or with the zoological term form, an informal description (often seasonal) which is not taxonomic.

The term race has also historically been used in relation to domesticated animals, as another term for breed; this usage survives in combining form, in the term landrace, also applied to domesticated plants. The cognate words for race in many languages (raza; Rasse; race) may convey meanings the English word does not, and are frequently used in the sense of 'domestic breed'.

Distinguishing from other taxonomic ranks
If the races are sufficiently different or if they have been tested to show little genetic connection regardless of phenotype, two or more groups/races can be identified as subspecies or (in botany, mycology, and phycology) another infraspecific rank, and given a name. Ernst Mayr wrote that a subspecies can be "a that is sufficiently different taxonomically to be worthy of a separate name."

Study of populations preliminarily labelled races may sometimes lead to classification of a new species. For example, in 2008, two populations of the brown planthopper (Nilaparvata lugens) in the Philippines, one adapted to feeding on rice, and another on Leersia hexandra grass, were reclassified from races into "two distinct, but very closely allied, sympatric species", based on poor survival rate when given the opposite food source, barriers to hybridization between the populations, uniform preference for mating between members of the same population, differences in mating sounds, oviposition variances, and other distinguishable characteristics.

For pathogenic bacteria adapted to particular hosts, races can be formally named as pathovars. For parasitic organisms governed by the International Code of Nomenclature for algae, fungi, and plants, the term forma specialis (plural formae speciales) is used.

In mycology and phytopathology
Classification of fungal microbes into races is done frequently in mycology, the study of fungi, and especially in phytopathology, the study of plant diseases, which are often fungal. The term "physiologic race" was recommended for use over "biologic form" at the International Botanical Congress of 1935. Although historically the term has been used inconsistently by plant pathologists, the modern trend is to use race to refer to "groups of host genotypes permitting characterization of virulence" (in simpler terms: grouping the parasitic fungi into races based on how strongly they affect particular host plants).

Commercial Cucumis melo (cantaloupe and muskmelon) production, for example, has been engaged in a biological "arms race", since 1925, against cucurbit powdery mildew, caused by successively arising races of Podosphaera xanthii fungus, with new cultivars of melons being developed for resistance to these pathogens.

A 2004 literature review of this issue concluded that "race identification is important for basic research and is especially important for the commercial seed industry", but was seen as having little utility in horticulture for choosing specific cultivars, because of the rapidity with which the local pathogen population can change geographically, seasonally, and by host plant.

Classification of fungal races can be difficult because host plants' responses to particular populations of fungi can be affected by humidity, light, temperature, and other environmental factors; different host plants may not all respond to particular fungal populations or vice versa; and identification of genetic differences between populations thought to form distinct fungal races can be elusive.

title: Race (biology)


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Talk:Alicia Witt

photos
Photos would be helpful on this article. KarateLadyKarateLady 01:05, 1 September 2006 (UTC)

prodigial child
A child prodigy, "Alicia, possibly started reading at the age of six-and-a-half, seven months" - Is this a hoax? Don't get me wrong, I am a huge fan, but I have never heard of a child that does not read at six years of age, unless traumatic or exceptional social circumstances have prevented this pretty normal developement. A "child prodigy" would be able to read at age three or four. This sentence is completely superfluous and I guess it has to be a result of vandalism/pranksters. -- 85.181.158.233 (talk) 12:13, 18 June 2012 (UTC)
 * The answer is in the very text you quoted. 6-7 months, not years. Elizium23 (talk) 12:23, 18 June 2012 (UTC)

Personal life
Alicia Witt has never been married. She is currently dating Ben Folds of Ben Folds Five. 211.28.145.148 (talk) 14:24, 24 January 2013 (UTC)

http://www.news.com.au/national/singer-songwriter-ben-folds-finds-love-with-us-actor-alicia-witt/story-fndo4dzn-1226517668898 http://www.thesuburbs.org.uk/Board/index.php?topic=6700.0`` ` Alicia recently had her first gig in Australia in November and subsequently holidayed with him, and they have appeared at a lot of gigs together.211.28.145.148 (talk) 14:28, 24 January 2013 (UTC)

 * Some editors delete personal information even it is verifiable, they also insist it must be shown to also be WP:NOTABLE

Complete absence of music information
…does a disservice to the subject, and to the encyclopedic claims of this venue. 71.239.87.100 (talk) 05:11, 24 January 2015 (UTC)

Extensive re-edit
…to create sections for theatre and music aspects of career, and for personal information (currently, limited to a statement already appearing at the Ben Fields article). As well, the very poor state of the sourcing of the article is noted, which is a serious issue for a BLP article. Please do not remove tags without cleaning up the bare URLs, and sourcing the vast tracts of career information that is currently unverifiable via non-publicity, non-IMDB (i.e., independent, encyclopedic) sources. Le Prof 71.239.87.100 (talk) 07:49, 24 January 2015 (UTC)
 * New reference 13 is offered as an example of what complete citations may look like (where, in the case that the URL becomes obsolete, the citation is not useless in tracing the original information). 71.239.87.100 (talk) 07:54, 24 January 2015 (UTC)

title: Talk:Alicia Witt


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Mérode Altarpiece

The Mérode Altarpiece (or Annunciation Triptych) is an oil on oak panel triptych, now in The Cloisters, in New York City. It is unsigned and undated, but attributed to Early Netherlandish painter Robert Campin and an assistant. The three panels represent, from left to right, the donors kneeling in prayer in a garden, the moment of the Annunciation to Mary, which is set in a contemporary, domestic setting, and Saint Joseph, a carpenter with the tools of his trade. The many elements of religious symbolism include the lily and fountain (symbolising the purity of Mary), and the Holy Spirit represented by the rays of light coming through from the central panel's left hand window.

The central panel was completed after 1422, likely between 1425 and 1428, it is thought by a member of Campin's workshop. An earlier version, now in Brussels, may be Campin's original panel. The outer wing panels are later additions by a workshop member, probably on request by the donor who sought to elevate the central panel to a triptych and place himself in the pictorial space. They contain views of the city of Liège, in today's Belgium.

The triptych is a founding and important work in the then emerging late Gothic, Early Netherlandish style, and has been described as a "milestone between two periods; it at once summarizes the medieval tradition and lays the foundation for the development of modern painting".

Dating and attribution
The attribution of the New York triptych has been the subject of wide scholarly debate. It seems to have been completed the same year as the Ghent Altarpiece, in 1432, making the painter a contemporary of Jan van Eyck. It is usually accepted as belonging to a group of paintings associated with the Master of Flémalle, assumed to be Robert Campin. For a time it was attributed to Campin's apprentice Rogier van der Weyden based on the realistic style that would become van der Weyden's hallmark. There is another version of the Annunciation panel in Brussels, slightly earlier but damaged, which may represent the original version by Campin.

Technical examination of the wood panels suggest that the triptych was completed by a number of hands. The wood of the central panel is different and earlier to that of the wings, while the hinging further suggest that the central panel was not intended as part of a triptych. The central panel is likely a copy of an earlier composition by Campin, while the wings were probably a later commission from the donor to attach to the main panel to form a small private devotional altarpiece. Areas of the panels have been reworked; both the female donor and bearded man on the left wing were painted over landscape, while the window behind the Virgin was originally painted in gold.

Campbell is not convinced by the association with Flémalle group, and thus Robert Campin. He describes the Mérode as "incoherent in design", lacking Campin's usual trait of spatial continuity, as found in the Seilern Triptych. The open sky as seen through the central panel windows is incongruous in point of view with the street scene in the donor panel. Campbell highlights poor command of perspective in the donor panel, and observes that it is "unfortunate that a line of one of the mortar courses in the garden wall disappear into the donor's mouth". Campbell describes the wing panels as pedestrian, and the product of lesser hands. He gives prominence to the Brussels panel, which he cautiously attributes to the Master of Flémalle.

Description
The triptych is relatively small, indicating that it was commissioned for private, domestic use; the central panel measures 64 × 63 cm and each wing is 65 × 27 cm. The panels share a very steep perspective, in which the viewer seems to be looking down on the figures from an elevated point of view. In other respects the perspective is underdeveloped; neither the Virgin nor Gabriel seem to rest on solid ground, while the female donor appears to hover and appears to be barely able to fit within the space she is positioned in.

The panels are in good condition, with little over-paint, glossing, dirt layers, or paint losses. They are almost entirely in oil, and establish many of the inventions that were to make the technique so successful and adaptable over the following centuries. The serenity of the works is achieved, in part, through the dominance of pale, opaque white, red, and blue hues. The size of the panels and the at times minute attention to detail are similar to the focus of contemporary miniatures, of the kind seem in the two illuminated manuscripts in the central panel.

Annunciation
The panel is one of the earliest representations of the Annunciation to Mary in a contemporary Northern European interior, which appears to be a dining room. This is Campin's main innovation, showing a reading Madonna, with unbound hair in a familiar setting, an image that lead to many adoptions, most famously Rogier van der Weyden's Reading Magdalen. The colors in the upper part of the central panel are dominated by the cool grays of the plaster and the brown of the timber wall, while the lower half is mostly of warmer and deeper brownish greens and reds. Art historians suggest that the success of the panel is due to the contrast between the warm reds of the Virgin's robe and the pale blue hues of the archangel Gabriel's vestment.

The panels' perspective is unusually steep and unevenly distributed. The angle of the table in particular is illogical. Art historian Lorne Campbell describes these distortions as "disturbing".

It shows the moment before the traditional Annunciation scene, when Mary is still unaware of the presence of Gabriel. She is in a red gown rather than the more usual blue, and in a relaxed pose, reading from a book of hours, with her hair unbound. Unusually for a medieval depiction of the Annunciation, the dove of the Holy Spirit is not visible. Instead he is represented by the extinguished light of the candle, and the beam of light falling from the window to the left, which carries the Christ Child holding a cross. The Christ Child flies down towards Mary from the left oculus, signifying her impregnation by God the Father. He gazes directly at her and holds a cross. The folding-table contains a recently extinguished candle, and shows coiling smoke and a still glowing wick. This may be a reference to the Holy Spirit, who, according to some late medieval writers, descended to the apostles "like a puff of wind".

The white lily in a Tuscan earthenware jug on the table represents Mary's virginity and purity, as does the white, ocher towel. The jug contains a series of enigmatic letters in Latin and Hebraic, deciphered by some art historians as De Campyn, which they presume as the artist's signature. An open manuscript is placed on the green velvet book pouch. Unusually, the book is positioned next to the Virgin rather than the shelf. The pages seem worn and handled, indicating that it has been well read. It has been suggested that the book reflects the Carthusian Ludolf of Saxony's idea of the secluded life of the Virgin - that she earlier lived with "the Holy Scriptures as her sole companion".

The right hand half of the back wall holds three windows, one of which contains a lattice screen. The beams of the ceiling are supported by a series of corbels. The sky visible through the windows is a later addition, which was painted over an earlier gold ground. The armorial shields are also later additions.

Donors
The donor and his wife are shown kneeling in prayer are in the left panel, looking through a half-open door into the Virgin's Hortus conclusus. The door presents a continuity oddity; although it can be seen opening into the Virgins room from the left panel, no such door entrance is visible in the center panel. Addressing this, the art historians Rose-Marie and Rainer Hagen suppose that the donor is "imagining that she has entered into his house. From without, he has opened the door; with his own eyes he beholds the Mother of God and petitions her for a family".

The attendant dressed in a festive outfit is by a later artist, perhaps it was added after the donor's marriage. The left hand space contains an unlocked entrance leading to a minutely detailed street scene. The panel is the more striking as the door leading into the Virgin's chamber is wide open, hugely presumptuous for even a mid-fifteenth century commission, and suggesting access to the gates of heaven.

The donors are identifiable as bourgeoisie from nearby Mechelen, and are documented in Tournai in 1427, identifiable from the coat of arms in the stained glass window of the central panel.

It is assumed that this panel was a later commission to Campin's workshop, not part of the original single panel design. There has been speculation that it was completed by the young Rogier van der Weyden.

The altarpiece was commissioned either by the businessman Jan Engelbrecht, or the Cologne-born merchant Peter Engelbrecht and his wife Margarete Scrynmaker. Engelbrecht translates from German as "angel brings", while Scrynmaker means "cabinet maker", the latter perhaps influencing the choice of Joseph in the right hand panel.

Joseph
Saint Joseph, a carpenter by trade, occupies the right-hand panel. He is shown at work, boring spike holes into one of the instruments of the Passion. An unusual feature is that, although Mary and Joseph did not marry until after the Annunciation, they are apparently living together and sharing the same space. Joseph is shown with the tools of his craft, visible implements include an ax, saw, rod, and a small footstool sitting before a fire of burning logs. Joseph's presence is may be intended to invoke 10 :15 from the Book of Isaiah: "Shall the ax boast itself against him that heweth there- with? or shall the saw magnify itself against him that shaketh it? as if the rod should shake itself against them that lift it up, or as if the staff should lift up itself as if was it were no wood." Isaiah's words were intended as incentatory and revolutionary, were followed by a treatise for the salvation of Israel, and protested against an Assyrian king he considered boorish and vainglorious. Given this, Joseph is seen by art historians as a reassuring presence, warding the devil from the center panel.

Joseph is presented as a relatively old man wearing an eggplant coloured coat and blue turban, in a panel dressed by dark and warm colours, framed by shadows thrown from the window shutters. He works on a mouse trap, probably a symbol of the cross at the Crucifixion, in that it represents an imagined but literal capture of the Devil, said to have held a man in ransom because of the sin of Adam. In some scripts, Christ's naked flesh was served as bait for the devil; "He rejoiced in Christ's death, like a bailiff of death. What he rejoiced in was then his own undoing. The cross of the Lord was the devil's mousetrap; the bait by which he was caught was the Lord's death."

The background contains a cityscape, probably fictitious, showing the spires of two churches, one of which is now lost, the churches of St. Pierre (left) and Sainte Croix (right) in Liege.

Iconography
The iconography contains complex religious symbolism, although their extent and exact nature is debated – Meyer Schapiro pioneered the study of the symbolism of the mousetrap, and Erwin Panofsky later extended, or perhaps over-extended, the analysis of symbols to cover many more details of the furniture and fittings. Similar debates exist for many Early Netherlandish paintings, and a number of the details seen for the first time here reappear in later Annunciations by other artists.

The symbolic elements in the central panel mostly relate to the Annunciation, the Mass and the sacrament of the Eucharist. Mary sits on the floor to show her humility. The scroll and book in front of Mary symbolize the Old and the New Testaments, and the roles Mary and the Christ child played in the fulfillment of prophecy. The lilies in the earthenware vase on the table represent Mary's virginity. Other symbols of her purity include the enclosed garden (Hortus conclusus), and the white towel, while the small windows to the right, and the half-closed windows at the rear, serve to emphasise the quiet, virginal life she has lived.

The lion finials on the bench may have a symbolic role (referring to the Seat of Wisdom, or throne of Solomon) – this feature is often seen in other paintings, religious or secular (like Jan van Eyck's Arnolfini Portrait). The arrangements for washing at the back of the room, which are considered unusual for a domestic interior, may relate to the similar arrangements of a piscina for the officiating priest to wash his hands during Mass. The sixteen sides of the table may allude to the sixteen main Hebrew prophets; the table is usually seen as an altar, and the archangel Gabriel wears the vestments of a deacon. The basin may represent both the purity of Virgin, and the cleansing of the Christian act of baptism.

In the right-hand panel, Saint Joseph, a carpenter, has constructed a mouse trap symbolizing Christ's trapping and defeat of the devil, a metaphor used three times by Saint Augustine: "The cross of the Lord was the devil's mousetrap; the bait by which he was caught was the Lord's death." The iconography of the right-hand panel has been studied in detail by Russell. He shows that the object that Joseph is working on is a scandalum or stumbling block, a spiked block that gashes the legs of a punishment victim who walks with it hanging from a cord around his waist. Joseph's joinery instruments are displayed in a consistently unnatural manner, suggesting that they have been planned to fit a specific agenda; for example the joinery instruments on the table are so placed as to represent the three crosses of Christ and the two thieves.

Provenance
Its early history is obscure. The triptych was owned by the aristocratic Belgian Arenberg and Mérode families from 1820 to 1849 before reaching the art market, and has been in the collection of the Cloisters, New York since 1956. Until its acquisition it had been in private collection for many years and thus inaccessible to both scholars and the public. Its purchase was funded by John D. Rockefeller Jr. and was described at the time as a "major event for the history of collecting in the United States".

title: Mérode Altarpiece


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Plastic pants

Plastic pants (also known as waterproof pants, plastic panties, diaper covers, nappy covers, dry joggers, nappy wraps, wraps, or pilchers) are garments worn over a diaper to prevent liquid or solid waste from leaking through the fabric. They are waterproof with a plastic texture, rather than a soft napkin texture. Plastic pants are usually made out of polyvinyl chloride (PVC) or polyurethane (PU).

Since the 1950s, it can be used by those with continence problems.

History
Originally, diaper covers were crafted from oiled wool. During the early 20th century, oiled silk was utilized as a waterproofing agent in adult clothing. The popularity of wearing protective garments increased with the widespread availability of latex rubber in the 1920s. For managing heavy menstruation cycles, the panties were equipped with a waterproof latex crotch insert or a waterproof panel at the back of an underskirt.

In the 1950s, plastics, particularly PVC, replaced latex due to their lower cost, maintenance, and noise during handling. Though modern terminology, like "rubber pants" and "rubbers", is commonly used to refer to various types of waterproof pants.

The introduction of lighter, less bulky, and often incorporated integral waterproof plastic backing superabsorbent polymers, along with blood-gelling polymers for sanitary pads, significantly displaced traditional pads.

Effectiveness
Until the late 1950s, infants of both sexes usually wore short dresses until they were ready for toilet training, thus avoiding the risks to clothing and hygiene of having top clothes in prolonged close contact with the diaper.

title: Plastic pants


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User:JShultz

hi there

title: User:JShultz


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Wikipedia:Articles for deletion/Wenis

 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 redirect Unas CDC   (talk)  16:52, 21 Jun 2005 (UTC)

Wenis
I don't see this term in anatomy books. Looks like a hoax to me. mikka (t) 22:49, 14 Jun 2005 (UTC)

 * It's contemporary usage, check Urban Dictionary's definition. Transwiki to wiktionary. Ambush Commander 22:53, Jun 14, 2005 (UTC)
 * Urban Dictionary is, to put it simply, pretty much no authority at all when it comes to how a word is defined. This definition is a prime example of UrbanDictionary codswallop.  This is not the meaning of that word at all.  (The only evidence that it is, is UrbanDictionary and people quoting UrbanDictionary.  No-one actually uses it in this way.  This is still a protologism.)  No transwiki.  Redirect to Unas because it is an alternative spelling of the name of that Pharaoh. Uncle G 23:14, 2005 Jun 14 (UTC)
 * .Transwiki, let them take a look. It does seem to get a lot of use, judging from google results. Kappa 23:05, 14 Jun 2005 (UTC)
 * Delete slang dicdef. JamesBurns 06:29, 15 Jun 2005 (UTC)
 * Actually the wenis is quite famous and the source of many jokes. It's a part of the anatomy, anyway, seems like we should have an article on any part of the anatomy. Everyking 01:30, 17 Jun 2005 (UTC)
 * Prove it. I didn't find anything other than direct and indirect references to UrbanDictionary.  (The jokes were, as indeed they were here on an earlier version of this page, because of the obvious rhyme, and nothing to do with elbows.)  Please cite your anatomical reference. Uncle G 01:44, 2005 Jun 17 (UTC)
 * Um, I don't have a reference, but I have heard "wenis" jokes before. Everyking 01:49, 17 Jun 2005 (UTC)
 * I'd rather conjecture the "reverse etymology": weenie + penis + Venus -> weenus, wenis, and only after that a suitable anatomic part was attached to the word. In some surgical pages I've seen elbow skin is called just thusly: Elbow skin : A 5-cm transverse incision is made 2 cm distal to the elbow skin crease. Also, there is Elbow Skin; tell them it is wenis. mikka (t)
 * Well, I'm not voting keep, I'm just pointing out that it is more than a internet inside joke. Everyking 02:37, 17 Jun 2005 (UTC)
 * I think it should be moved to the Wiktionary, because what more can you add to this?
 * Redirect to Unas. -Wiccan Quagga 09:48, 19 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 .

title: Wikipedia:Articles for deletion/Wenis


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HMS Culloden

Five Royal Navy ships have had the name of HMS Culloden, after the battle of Culloden which took place in Scotland in 1746 and saw the defeat of the Jacobite rising.

 * HMS Culloden was renamed before her launch in 1747 to HMS Prince Henry.
 * HMS Culloden (1747) was a 74-gun third rate launched in 1747 and sold in 1770.
 * HMS Culloden (1749) was a 2-gun storeship hoy launched in 1749 and sold in 1765.
 * HMS Culloden (1776) was a 74-gun third rate launched in 1776 and wrecked in 1781 during the American Revolutionary War near Long Island.
 * HMS Culloden (1783) was a 74-gun third rate launched in 1783. She participated in the Battle of the Nile, where she ran aground. She was broken up in 1813.

title: HMS Culloden