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Talk:Jedi and sith ranks

Changed article into a redirect. I don't know why someone would have made one for Jedi ranks in the first place.--Kross 13:26, May 27, 2005 (UTC)

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Talk:Dimitri Yachvili

Untitled
Does anyone have anymore info on Yachvili?

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

title: Talk:Dimitri Yachvili


text: Template:List of drugs W

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User:Humanbot~enwiki/selectproj

If you are seeing this page, you probably turned Humanbot on. Yay!

'WARNING: WHEN WORKING ON A PROJECT you must check every'' edit you save! Just because they're "mostly" OK doesn't mean you shouldn't check!'''

 * Think of it this way: if these edits didn't need checking, you wouldn't be here. :) r3m0t talk 19:18, May 31, 2005 (UTC)

Current projects
None.

spelling
Done.

spelling2
efford -> effort except John Efford

enter - Done. -JJLeahy 04:38, 13 Jun 2005 (UTC)
 * Congrats guys! We tore through that project! -Tadanisakari 04:42, Jun 13, 2005 (UTC)

This really should not be used to edit other people's comments; indeed, restrict it to the readers' view-space (i.e., only things inside the :, Image:, and Template: namespaces). James F. (talk) 16:32, 12 Jun 2005 (UTC)

 * Worry not, for now it is working on Image:, Template:, Category: and Help: namespaces (: is already done). r3m0t talk 16:45, Jun 12, 2005 (UTC)

spelling3
If you want to announce any false positives or pitfalls, do so here.

Noone -> no one except for Kathleen Noone -Tadanisakari 15:58, Jun 13, 2005 (UTC)
 * Shouldn't that be no-one instead of no one? Master Thief GarrettTalk 02:26, 24 Jun 2005 (UTC)

Note: most words removed due to disputes of "honouraray" and "colouration" among others

enter done

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Category:Central Hockey League

Articles relating to the most recent incarnation of the Central Hockey League.

__NOGALLERY__

title: Category:Central Hockey League


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Talk:Eucynodonts

Eucynodontia was listed in a line that just said "Taxon" under the line for infraorder Cynodontia. I moved it here to make the taxobox work. If it is identified, please replace the line in the taxobox. --DanielCD 13:28, 27 May 2005 (UTC)

title: Talk:Eucynodonts


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National Left

National Left may refer to:

 * National Left (Argentina), an Argentinian political party
 * The National Left (Israel), a left-wing Zionist movement in Israel
 * National Left (Australia), a faction of the Australian Labor Party
 * New National Left, a far-right political party in Spain

title: National Left


text: Template:List of drugs Z

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ChromaFlair

ChromaFlair is a pigment used in paint systems, primarily for automobiles. When the paint is applied, it changes color depending on the light source and viewing angle. It was created at Optical Coating Laboratory, Inc. (OCLI) [later JDS Uniphase and Viavi Solutions] in 1979 and is used by DuPont and PPG.

Names
The paint system (and competing versions made by other companies) are known by a wide variety of proprietary names, including ChromaLusion, ChromaPremier, ColourShift, Exclusive Line, Extreme Colors, Harlequin Color, IllusionColor, Maziora, MultiTones, MystiChrome, Ch(K)ameleon, Interference Fireglow and Paradis Spectrashine.

Effect
The ChromaFlair effect is achieved by interfering with the reflection and refraction of light from the painted object's surface. The paint contains tiny synthetic flakes about one micrometer thick. The flakes are constructed of aluminium coated with glass-like magnesium fluoride embedded in semi-translucent chromium. The aluminium and chrome give the paint a vibrant metallic sparkle, while the glass-like coating acts like a refracting prism, changing the apparent color of the surface as the observer moves.

ChromaFlair paints contain no conventional absorbing pigments; rather, the pigment is a light interference pigment. The color observed is created entirely by the refractive properties of the flakes, analogous to the perception of rainbow colors in oil slicks.

ChromaFlair paint has also been used as a substitute for optically variable ink in the use of counterfeiting the currency of the United States. Counterfeiter Art Williams stamped green-silver ChromaFlair paint onto counterfeit bills to replicate the color-shifting ink on the 1996-issued $100 bill.

The ChromaFlair pigment is available in thousands of color variations. It is usually applied to items where visual appeal is important — such as motor vehicles, electric guitars and computer case mods.

In addition to paint, it can be applied as a coating, for example, on synthetic polyurethane leather, or dispersed in a resin for injection molding.

title: ChromaFlair


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1999 FIFA Confederations Cup

The 1999 FIFA Confederations Cup was the fourth FIFA Confederations Cup, and the second organised by FIFA. The tournament was hosted by Mexico between 24 July and 4 August 1999.

It was won by Mexico, who beat Brazil 4–3 in the final. Mexico became the first host nation to win the FIFA Confederations Cup. The competition was to originally be held in three stadiums, in three cities in the country. However, since the stadiums in Monterrey were sponsored by a competing beer company other than the official advertiser, the city was left out of the tournament altogether. The tournament was originally scheduled for 8–20 January 1999, but was rescheduled by FIFA on 17 November 1998 to accommodate the scheduling of the participating European teams.

The tournament was organized in two groups of four teams, in which two teams from both groups advanced to the semi-finals.

Venues
Matches were played at two venues: the Estadio Azteca in Mexico City served as the venue for matches in Group A, while the Estadio Jalisco in Guadalajara hosted matches in Group B. Each of the venues also hosted one of the semi-finals; the final was played at the Azteca and the third place play-off was played at the Jalisco.

Qualification
The tournament featured eight teams, representing the six continental confederations. Mexico qualified as both the host nation and the winners of the 1998 CONCACAF Gold Cup, so the CONCACAF berth was given to the United States. France also qualified automatically as winners of the 1998 FIFA World Cup, but they declined to participate; World Cup runners-up Brazil took their place, which meant Bolivia replaced Brazil as the CONMEBOL representatives, having finished as runners-up in the 1997 Copa América. The other four places went to the winners of the most recent continental competitions: Germany (UEFA), Saudi Arabia (AFC), Egypt (CAF) and New Zealand (OFC).

Match officials
Africa Asia Europe
 * 🇧🇯 Coffi Codjia
 * 🇰🇷 Kim Young-joo
 * 🇸🇪 Anders Frisk

North America, Central America and Caribbean South America
 * 🇲🇽 Gilberto Alcalá
 * 🇺🇸 Brian Hall
 * Ubaldo Aquino
 * 🇨🇴 Óscar Ruiz

Group stage
All times CST (UTC−6).

Knockout stage
In the knockout stage, if a match was level at the end of normal playing time, extra time was played (two periods of 15 minutes each). If still tied after extra time, the match was decided by a penalty shoot-out to determine the winners.

Goalscorers
Cuauhtémoc Blanco, Marzouk Al-Otaibi and Ronaldinho are the top scorers in the tournament with six goals each. Ronaldinho won the Golden Shoe award by having more assists than Blanco and Al-Otaibi. In total, 55 goals were scored by 29 different players, with none of them credited as own goal.

 * 6 goals

 * 🇧🇷 Ronaldinho
 * 🇲🇽 Cuauhtémoc Blanco
 * Marzouk Al-Otaibi

 * 4 goals
 * 🇧🇷 Alex

 * 3 goals

 * 🇧🇷 Zé Roberto
 * 🇲🇽 José Manuel Abundis

 * 2 goals

 * 🇧🇷 Rôni
 * 🇪🇬 Samir Ibrahim
 * 🇲🇽 Miguel Zepeda
 * 🇺🇸 Brian McBride

 * 1 goal

 * 🇧🇴 Limberg Gutiérrez
 * 🇧🇴 Renny Ribera
 * 🇧🇷 Marcos Paulo
 * 🇧🇷 João Carlos
 * 🇧🇷 Serginho
 * 🇪🇬 Abdel Sattar Sabry
 * 🇪🇬 Yasser Radwan
 * 🇪🇬 Ahmed Hassan
 * 🇩🇪 Michael Preetz
 * 🇩🇪 Lothar Matthäus
 * 🇲🇽 Pável Pardo
 * 🇲🇽 Francisco Palencia
 * 🇳🇿 Chris Zoricich
 * Nawaf Al-Temyat
 * Ibrahim Al-Shahrani
 * 🇺🇸 Jovan Kirovski
 * 🇺🇸 Ben Olsen
 * 🇺🇸 Joe-Max Moore
 * 🇺🇸 Paul Bravo

Tournament ranking
Per statistical convention in football, matches decided in extra time are counted as wins and losses, while matches decided by penalty shoot-outs are counted as draws.

Awards
The following Confederations Cup awards were given at the conclusion of the tournament: the Golden Boot (top scorer), and Golden Ball (best overall player).

title: 1999 FIFA Confederations Cup


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Fred Hersch

Fred Hersch (born October 21, 1955) is an American jazz pianist, composer, and a 17-time Grammy nominée. He was the first person to play weeklong engagements as a solo pianist at the Village Vanguard in New York City. He has recorded more than 75 of his jazz compositions.

Early life
Hersch was born in Cincinnati, Ohio, to Jewish parents. He began playing the piano at age four, under the tutelage of Jeanne Kirstein. He began composing music at eight, and won national piano competitions starting at the age of ten.

Hersch first became interested in jazz while at Grinnell College in Iowa. He dropped out of school and started playing jazz in Cincinnati. He continued his studies at the New England Conservatory under Jaki Byard, attracting attention from the press ("a fine showcase for Fred Hersch") in a college recital. On graduation, he became a jazz piano instructor at the college.

In his 2017 autobiography, Good Things Happen Slowly: A Life In and Out of Jazz, Hersch talks about seeing Sun Ra and his Intergalactic Arkestra at Gilly's, a now-closed jazz club in Dayton, Ohio. He recalls being in the audience when bandleader Art Pepper kicked the pianist hired for the occasion off the stand and asked if there was anyone in the audience who could sit in—an offer Hirsch took up, which essentially launched his career.

Career
In 1977, Hersch moved to New York. One of his earliest professional engagements was with Art Farmer in Los Angeles in 1978. Jazz critic Leonard Feather wrote that Hirsch "showed his ability as an accompanist and soloist at the out-of-tune piano". He played with Farmer again in 1981. In 1982, the album A Work of Art (Art Farmer Quartet, Concord Jazz CJ-179), was released, with Hersch on piano, including two of Hirsch's own compositions; Leonard Feather gave it 3½ stars.

In 1980, the Fred Hersch Trio played at B. Dalton Bookseller, one of many fringe events that were an offshoot of the Newport Jazz Festival. The next year, his trio played for singer Chris Connor, who was making a comeback after completing a recovery program for alcoholism. Hirsch also played at the Kool Jazz Festival that year, and with Joe Henderson in the New Jazz at the Public series.

In 1983, Hersch played a duo session with bassist Ratzo Harris at the Knickerbocker Saloon, New York. The New York Times wrote: "Mr. Hersch is a romantic. He is openly involved in what he is playing and projects this involvement with body English and facial expressions that subtly underline the sense of his music. His lines often become gently billowing waves of sound, and he rises and falls, tenses and relaxes along with them."

In 1983–84, Hersch played many sessions with Jane Ira Bloom in several venues, and with whom he recorded the album, Mighty Lights. In 1985, he played with the Jamie Baum Quartet.

In 1986, he played with Toots Thielemans at the Great Woods jazz festival. He played with him in several sessions the following year, and again in 1987, receiving special attention for his solos. In 1986, he taught at Berklee College of Music.

He was the pianist for the Eddie Daniels quartet in 1987 and appeared on his album, To Bird with Love.

In 1988, Hersch played in Somerville, Massachusetts with his quintet at the Willow Jazz Club. The Boston Globe described him as "an elegant, highly melodic player."

In 1989, Hersch played with Janis Siegel of The Manhattan Transfer and they recorded together in a studio set up in his home. His first solo piano recording came in 1993: Fred Hersch at Maybeck.

In 2006, Palmetto Records released the solo CD Fred Hersch in Amsterdam: Live at the Bimhuis, and released his eighth solo disc, Fred Hersch Plays Jobim, in 2009.

In 2024, Hersch played with Drew Gress and Joey Baron at the Teatro Mario Del Monaco, in Treviso, in North East of Italy. The concert was part of the festival Treviso Suona Jazz Festival.

Composing
Hersch's own compositions feature prominently in nearly all of his concerts and recordings. He has received commissions from the Gilmore Keyboard Festival, the Doris Duke Foundation, the Miller Theatre at Columbia University, the Gramercy Trio and the Brooklyn Youth Chorus. A disc of his through-composed works, Fred Hersch: Concert Music 2001-2006, was released by Naxos Records.

Many of Hersch's compositions have been transcribed by music publisher Edition Peters, including Valentine, Three Character Studies, Saloon Songs, and 24 Variations on a Bach Chorale.

Hersch was awarded a 2003 Guggenheim Memorial Fellowship for composition. In the same year, he created Leaves of Grass (Palmetto Records), a large-scale setting of Walt Whitman's poetry for two voices (Kurt Elling and Kate McGarry) and an instrumental octet; it was presented in March 2005 at Zankel Hall at Carnegie Hall as part of a six-city U.S. tour.

Accompanist
Hersch has worked with instrumentalists and vocalists in the worlds of jazz (Joe Henderson, Charlie Haden, Art Farmer, Stan Getz and Bill Frisell), classical music (Renée Fleming, Dawn Upshaw, Joshua Bell, Christopher O'Riley, Nadja Salerno-Sonnenberg), and Broadway (Audra McDonald). He has accompanied jazz vocalists such as Nancy King, Norma Winstone and Kurt Elling.

Hersch has taught at The New School and Manhattan School of Music, and conducted a Professional Training Workshop for Young Musicians at The Weill Institute at Carnegie Hall in 2008.

Awards and honors

 * Académie Charles Cros
 * Guggenheim Memorial Fellowship in Composition, 2003
 * Coup de coeur for Alone at the Vanguard, 2011
 * Grand Prix du Disque for Alive at the Vanguard, 2012
 * Pianist of the Year, Jazz Journalists Association, 2011, 2016, 2018
 * Pianist of the Year, DownBeat magazine Critics' Poll, 2015
 * Artiste étranger de l'année, Jazz magazine in France, 2015
 * Grand Prix du Disque de l'Académie du Jazz, Solo, 2015
 * Honorary Doctor of Musical Arts, Northern Kentucky University, 2015
 * Doris Duke Performing Artist Award 2016
 * Honorary Doctor of Humane Letters, Grinnell College, 2016
 * Prix Honorem in Jazz and Coup de cœur jazz, 2017
 * Book of the Year about Jazz, Good Things Happen Slowly, Jazz Journalists Association, 2018
 * Hersch has been awarded a Rockefeller Fellowship, grants from Chamber Music America, the National Endowment for the Arts, Meet the Composer, and seven composition residencies at the MacDowell Colony.

Grammy Awards nominations
Art Farmer's A Work of Art in 1983 and two of Eddie Daniels' albums with Hersch in 1986 and 1987 preceded Short Stories, a collaboration between Janis Siegel and Hersch, co-led and co-produced with arrangements by Hersch, that got a nomination for her vocal performance in 1989. In 1992 finally Dancing in the Dark, his seventh trio recording and second for Chesky Records, was nominated for Best Jazz Instrumental Performance. Hersch is one of the Grammy artists with the most nominations (17) without a win.
 * 1992: Best Jazz Instrumental Performance, Individual or Group for Dancing in the Dark
 * 1995: Best Jazz Instrumental Performance, Individual or Group for I Never Told You: Fred Hersch Plays Johnny Mandel
 * 2005: Best Instrumental Composition for "Valentine" (on In Amsterdam: Live at the Bimhuis)
 * 2011: Best Jazz Instrumental Album for Alone at the Vanguard, and Best Improvised Jazz Solo for "Work"
 * 2013: Best Improvised Jazz Solo for "Song Without Words No.4: Duet" with Julian Lage
 * 2014: Best Jazz Instrumental Album for Floating (as the Fred Hersch Trio), and Best Improvised Jazz Solo for "You and the Night and the Music"
 * 2016: Best Jazz Instrumental Album for Sunday Night at the Vanguard, and Best Improvised Jazz Solo for "We See"
 * 2017: Best Jazz Instrumental Album for Open Book, and Best Improvised Jazz Solo for "Whisper Not"
 * 2018: Best Jazz Instrumental Album for Live in Europe and Best Improvised Jazz Solo for "We See"
 * 2019: Best Instrumental Composition for Begin Again
 * 2023: Best jazz vocal album for Alive at the Village Vanguard and Best Improvised Jazz Solo for But Not For Me

Critical response
DownBeat magazine described Hersch as "one of the small handful of brilliant musicians of his generation." The New York Times described him as "singular among the trailblazers of their art, a largely unsung innovator of this borderless, individualistic jazz – a jazz for the 21st century."

Influence
Hersch's influence has been widely felt on a new generation of jazz pianists, from former Hersch students including Brad Mehldau, Ethan Iverson, Sullivan Fortner, Aaron Diehl and Dan Tepfer to his contemporary Jason Moran, who said: "Fred at the piano is like LeBron James on the basketball court. He's perfection."

Illness
In 1993, Hersch came out as gay and that he had been treated for HIV since 1984. He fell into a coma in 2008 for two months. When he regained consciousness, he had lost muscular function as a result of his long inactivity and could not play the piano. After rehabilitation, he was able to play again. In 2011, he performed My Coma Dreams, a stage show written and directed by Herschel Garfein about the contrast between dreams and reality.

Charity work
Hersch has been a spokesman and fund-raiser for AIDS services and education agencies since 1993. He has produced and performed on four benefit recordings and in numerous concerts for charities including Classical Action: Performing Arts Against AIDS, and Broadway Cares/Equity Fights AIDS, which had raised over $250,000 as of June 2013. In April 2016, he played a benefit concert for Buddhist Global Relief. He has also been a keynote speaker and performer at international medical conferences.

Autobiography
Good Things Happen Slowly: A Life In and Out of Jazz, published in 2017

As leader/co-leader
(Artists and labels are linked only once, at first appearance. Lineup can be sorted by "solo", "duo", "trio"... All trios are classic piano trios with (grand) piano, upright bass and drum kit, except for the trio Thirteen Ways, with saxophonist Michael Moore.)

title: Fred Hersch


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Lower-back tattoo

Tattoos on the lower back became popular in the first decade of the 21st century, and gained a reputation for their erotic appeal. The tattoos were sometimes accentuated by low-rise jeans or crop tops. Their popularity was in part due to the influence of female celebrities. A 2011 study of media stereotypes criticized media portrayals of lower-back tattoos, arguing that they were unfairly cast as a symbol of promiscuity.

History
Although historically in the western world men are more often tattooed than women, in the early 1990s the practice gained popularity among women. Prior to the late 20th century, women with tattoos were heavily stigmatized, and were rarely found in middle-class society. Lower-back tattoos were popularized in the early 2000s, in part owing to the influence of female celebrities, including Britney Spears, Aaliyah, Christina Ricci and Pamela Anderson. The popularity of low-rise jeans and crop tops may have also spurred the increase in lower-back tattoos. Another appeal of tattooing the lower back is that there is little fat there, lessening the chance that images will become misshapen over time. Also, the lower back is often concealed, providing women the choice of when to reveal their tattoo. Although some males have lower-back tattoos, including some celebrities, they are generally not acquired by men.

Perception
Women's lower backs are often viewed by people as an erotic body part, leading to the association of lower-back tattoos with sexuality. Lower-back tattoos are also perceived as an indication of promiscuity by some, possibly owing to media portrayals of women with tattoos. A 2011 study of media stereotypes criticized media portrayals of lower-back tattoos, arguing that they are unfairly cast as a symbol of promiscuity. The show Saturday Night Live seems to at least have partially played a role in bringing prejudice and shaming to the placement of the tattoo. For instance, the term "tramp stamp" started gaining widespread popularity after being used in one of their May 2004 skits. In another instance, the show also satirized the practice, describing a "rub-on" tattoo remover marketed at middle-age women who received lower-back tattoos while young. Sports Illustrated once edited out Danica Patrick's tattoo out of the magazine for her issue. SI stated Patrick was aware of the edit and responded "The Swimsuit Issue emphasizes natural beauty". Actress Jessica Alba regretted her lower back bow tattoo and had it removed.

Medical aspects
Medical practitioners who administer anesthesia have questioned whether epidural analgesia should be provided to women with lower-back tattoos. Concerns have emerged that epidural catheters may cause tattoo pigment to enter interspinous ligaments and other areas, potentially leading to health problems. There is consensus that epidural catheters should not be placed through irritated or infected tattoos. However, harm has not been clearly documented when placing epidural catheters through healthy tattooed skin; a review in the American Association of Nurse Anesthetists Journal concluded that "epidural catheter placement through lumbar tattoos is a practitioner's decision based on clinical judgment". In Current Opinion in Anesthesiology, Frédéric J. Mercier and Marie-Pierre Bonnet state that the evidence for complications when placing epidural catheters is unconvincing, but advocate avoiding the practice owing to the lack of long-term evidence.

title: Lower-back tattoo


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Aether (classical element)

According to ancient and medieval science, aether (, alternative spellings include æther, aither, and ether), also known as the fifth element or quintessence, is the material that fills the region of the universe beyond the terrestrial sphere. The concept of aether was used in several theories to explain several natural phenomena, such as the propagation of light and gravity. In the late 19th century, physicists postulated that aether permeated space, providing a medium through which light could travel in a vacuum, but evidence for the presence of such a medium was not found in the Michelson–Morley experiment, and this result has been interpreted to mean that no luminiferous aether exists.

Mythological origins
The word αἰθήρ (aithḗr) in Homeric Greek means "pure, fresh air" or "clear sky". In Greek mythology, it was thought to be the pure essence that the gods breathed, filling the space where they lived, analogous to the air breathed by mortals. It is also personified as a deity, Aether, the son of Erebus and Nyx in traditional Greek mythology. Aether is related to αἴθω "to incinerate", and intransitive "to burn, to shine" (related is the name Aithiopes (Ethiopians; see Aethiopia), meaning "people with a burnt (black) visage").

Fifth element
In Plato's Timaeus (58d) speaking about air, Plato mentions that "there is the most translucent kind which is called by the name of aether (αἰθήρ)" but otherwise he adopted the classical system of four elements. Aristotle, who had been Plato's student at the Academy, agreed on this point with his former mentor, emphasizing additionally that fire has sometimes been mistaken for aether. However, in his Book On the Heavens he introduced a new "first" element to the system of the classical elements of Ionian philosophy. He noted that the four terrestrial classical elements were subject to change and naturally moved linearly. The first element however, located in the celestial regions and heavenly bodies, moved circularly and had none of the qualities the terrestrial classical elements had. It was neither hot nor cold, neither wet nor dry. With this addition the system of elements was extended to five and later commentators started referring to the new first one as the fifth and also called it aether, a word that Aristotle had used in On the Heavens and the Meteorology.

Aether differed from the four terrestrial elements; it was incapable of motion of quality or motion of quantity. Aether was only capable of local motion. Aether naturally moved in circles, and had no contrary, or unnatural, motion. Aristotle also stated that celestial spheres made of aether held the stars and planets. The idea of aethereal spheres moving with natural circular motion led to Aristotle's explanation of the observed orbits of stars and planets in perfectly circular motion.

Medieval scholastic philosophers granted aether changes of density, in which the bodies of the planets were considered to be more dense than the medium which filled the rest of the universe. Robert Fludd stated that the aether was "subtler than light". Fludd cites the 3rd-century view of Plotinus, concerning the aether as penetrative and non-material.

Quintessence
Quintessence (𝓠) is the Latinate name of the fifth element used by medieval alchemists for a medium similar or identical to that thought to make up the heavenly bodies. It was noted that there was very little presence of quintessence within the terrestrial sphere. Due to the low presence of quintessence, earth could be affected by what takes place within the heavenly bodies. This theory was developed in the 14th century text The testament of Lullius, attributed to Ramon Llull. The use of quintessence became popular within medieval alchemy. Quintessence stemmed from the medieval elemental system, which consisted of the four classical elements, and aether, or quintessence, in addition to two chemical elements representing metals: sulphur, "the stone which burns", which characterized the principle of combustibility, and mercury, which contained the idealized principle of metallic properties.

This elemental system spread rapidly throughout all of Europe and became popular with alchemists, especially in medicinal alchemy. Medicinal alchemy then sought to isolate quintessence and incorporate it within medicine and elixirs. Due to quintessence's pure and heavenly quality, it was thought that through consumption one may rid oneself of any impurities or illnesses. In The book of Quintessence, a 15th-century English translation of a continental text, quintessence was used as a medicine for many of man's illnesses. A process given for the creation of quintessence is distillation of alcohol seven times. Over the years, the term quintessence has become synonymous with elixirs, medicinal alchemy, and the philosopher's stone itself.

Legacy
With the 18th century physics developments, physical models known as "aether theories" made use of a similar concept for the explanation of the propagation of electromagnetic and gravitational forces. As early as the 1670s, Newton used the idea of aether to help match observations to strict mechanical rules of his physics. The early modern aether had little in common with the aether of classical elements from which the name was borrowed. These aether theories are considered to be scientifically obsolete, as the development of special relativity showed that Maxwell's equations do not require the aether for the transmission of these forces. Einstein noted that his own model which replaced these theories could itself be thought of as an aether, as it implied that the empty space between objects had its own physical properties.

Despite the early modern aether models being superseded by general relativity, occasionally some physicists have attempted to reintroduce the concept of aether in an attempt to address perceived deficiencies in current physical models. One proposed model of dark energy has been named "quintessence" by its proponents, in honor of the classical element. This idea relates to the hypothetical form of dark energy postulated as an explanation of observations of an accelerating universe. It has also been called a fifth fundamental force.

Aether and light
The motion of light was a long-standing investigation in physics for hundreds of years before the 20th century. The use of aether to describe this motion was popular during the 17th and 18th centuries, including a theory proposed by Johann II Bernoulli, who was recognized in 1736 with the prize of the French Academy. In his theory, all space is permeated by aether containing "excessively small whirlpools". These whirlpools allow for aether to have a certain elasticity, transmitting vibrations from the corpuscular packets of light as they travel through.

This theory of luminiferous aether would influence the wave theory of light proposed by Christiaan Huygens, in which light traveled in the form of longitudinal waves via an "omnipresent, perfectly elastic medium having zero density, called aether". At the time, it was thought that in order for light to travel through a vacuum, there must have been a medium filling the void through which it could propagate, as sound through air or ripples in a pool. Later, when it was proved that the nature of light wave is transverse instead of longitudinal, Huygens' theory was replaced by subsequent theories proposed by Maxwell, Einstein and de Broglie, which rejected the existence and necessity of aether to explain the various optical phenomena. These theories were supported by the results of the Michelson–Morley experiment in which evidence for the motion of aether was conclusively absent. The results of the experiment influenced many physicists of the time and contributed to the eventual development of Einstein's theory of special relativity.

Aether and gravitation

In 1682, Jakob Bernoulli formulated the theory that the hardness of the bodies depended on the pressure of the aether. Aether has been used in various gravitational theories as a medium to help explain gravitation and what causes it.

A few years later, aether was used in one of Sir Isaac Newton's first published theories of gravitation, Philosophiæ Naturalis Principia Mathematica (the Principia, 1687). He based the whole description of planetary motions on a theoretical law of dynamic interactions. He renounced standing attempts at accounting for this particular form of interaction between distant bodies by introducing a mechanism of propagation through an intervening medium. He calls this intervening medium aether. In his aether model, Newton describes aether as a medium that "flows" continually downward toward the Earth's surface and is partially absorbed and partially diffused. This "circulation" of aether is what he associated the force of gravity with to help explain the action of gravity in a non-mechanical fashion. This theory described different aether densities, creating an aether density gradient. His theory also explains that aether was dense within objects and rare without them. As particles of denser aether interacted with the rare aether they were attracted back to the dense aether much like cooling vapors of water are attracted back to each other to form water. In the Principia he attempts to explain the elasticity and movement of aether by relating aether to his static model of fluids. This elastic interaction is what caused the pull of gravity to take place, according to this early theory, and allowed an explanation for action at a distance instead of action through direct contact. Newton also explained this changing rarity and density of aether in his letter to Robert Boyle in 1679. He illustrated aether and its field around objects in this letter as well and used this as a way to inform Robert Boyle about his theory. Although Newton eventually changed his theory of gravitation to one involving force and the laws of motion, his starting point for the modern understanding and explanation of gravity came from his original aether model on gravitation.

title: Aether (classical element)


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Aether (mythology)

In Greek mythology, Aether, Æther, Aither, or Ether (Αἰθήρ (Brightness) ) is the personification of the bright upper sky. According to Hesiod, he was the son of Erebus (Darkness) and Nyx (Night), and the brother of Hemera (Day). In Orphic cosmogony Aether was the offspring of Chronos (Time), and the brother of Chaos and Erebus.

Genealogy
According to Hesiod's Theogony, which contained the "standard" Greek genealogy of the gods, Aether was the offspring of Erebus and Nyx, and the brother of Hemera. However, other early sources give other genealogies. According to one, the union of Erebus and Nyx resulted in Aether, Eros, and Metis (rather than Aether and Hemera), while according to another, Aether and Nyx were the parents of Eros (in Hesiod, the fourth god to come into existence after Chaos, Gaia (Earth), and Tartarus). Others tell us that Uranus (Sky) (in Hesiod, the son of Gaia) was Aether's son, and that "everything came from" Aether.

In Orphic cosmogony Aether was the offspring of Chronus (Time), the first primordial deity, and the brother of Chaos and Erebus. And made from (or placed in) Aether was the cosmic egg, from which hatched Phanes/Protogonus, so Aether was sometimes said to be his father. The Orphic Argonautica gives a theogony that begins with Chaos and Chronus, and has Chronus producing Aether and Eros.

Aether also played a role in Roman genealogies of the gods. Cicero says that Aether and Dies (Day) were the parents of Caelus (Sky), and reports that according to the "so called theologians" Aether was the father of one of the "three Jupiters". According to Hyginus's (possibly confused) genealogy, Nox (Night), Dies, Erebus, and Aether were the offspring of Chaos and Caligo (Mist), and Aether and Dies were the parents of Terra (Earth), Caelus (Sky) and Mare (Sea), and Aether and Terra were the parents of: "Pain, Deception, Anger, Mourning, Lying, Oath, Vengeance, Self-indulgence, Quarreling, Forgetfullness, Sloth, Fear, Arrogance, Incest, Fighting, Ocean, Themis, Tartarus, and Pontus; and the Titans, Briareus, Gyges, Steropes, Atlas, Hyperion and Polus, Saturn, Ops, Moneta, Dione, and the three Furies (Alecto, Megaera, Tisiphone). Hyginus, Fabulae Theogony 3 (Smith and Trzaskoma, p. 95). Hyginus's genealogy is very different from that given in Hesiod's Theogony, where Tartarus is the third primal deity after Chaos and Gaia (116–122); Uranus (Sky) and Pontus (Sea) were the offspring of Gaia (Earth) alone (126–132); Ocean (Oceanus), Themis, Hyperion, Saturn (Cronus), and Ops (Rhea) are five of the twelve Titans, Briareus and Gyges are two of the three Hundred-Handers, and Steropes was one of the three Cyclopes, who were all the offspring of Gaia and Uranus (132–153); Atlas was the offspring of the Titans Iapetus and Clymene (507–509); the Furies (Erinyes) are the offspring of Gaia and Uranus' blood (185). In addition the abstract personifications Pain, Deception, Anger, Mourning, Lying, Oath, Vengeance, Self-indulgence, Quarreling, Forgetfullness, Sloth, Fear, Arrogance, Incest, and Fighting, are similar to the personifications, in the Theogony, who are the children of Nyx (211–225, e.g. Oizys (Distress), and Apate (Deceit)) or Eris (226–232, e.g. Algea (Pains), Pseudea (Lies), Horkos (Oath), Neikea (Disputes), Lethe (Forgetfulness), Hysminai (Combats), and Makhai (Battles))."

Early
For the ancient Greeks, the word aether (unpersonified), referred to the upper atmosphere, a material element of the cosmos. For example Homer has Sleep climb: "a fir-tree exceeding tall, the highest that then grew in Ida; and it reached up through the mists into heaven [aether]." However, Aether (personified) figured prominently in early Greek cosmogony. In Hesiod's Theogony, Chaos was the first being after which came Gaia (Earth), Tartarus, and Eros, then from Chaos came Erebus (Darkness) and Nyx (Night), and from Erebus and Nyx came Aether and Hemera (Day): "From Chaos came forth Erebus and black Night; but of Night were born Aether and Day, whom she conceived and bore from union in love with Erebus."

Aether perhaps also figured in the lost epic poem the Titanomachy (late seventh century BC?). Two ancient sources report statements about Aether, which they attribute to the "author of the Titanomachy". The Homeric Parsings (from Methodius), reports that Uranus was Aether's son, while Philodemus, in his De Pietate (On Piety), reports that "everything came from Aither".

Aether also appears in genealogies attributed to the sixth-century BC logographer and mythographer Acusilaus. According to the Neoplatonist Damascius (c. early sixth century), Acusilaus said that Aether was, along with Eros and Metis, the offspring Erebus and Nyx. However, a scholion to Theocritus reports that, according to Acusilaus, Aether and Nyx were the parents of Eros.

Orphic
Aether played a significant role in Orphic cosmogony. West 1983, pp. 70, 198–200; Meisner (throughout, see index); Athanassakis and Wolkow, pp. 5, 80 (citing Orphic frr. 78, 111 Bernabé); Orphic frr. 30 [= Chrysippus, apud Philodemus, De Pietate (On Piety) pp. 80–81 Gomperz], 54 [= Damascius, De principiis 123.31–80], 60 [= Damascius, De principiis 123.8–30], 65 [= John Malalas, Chronographia 4.9 p. 74 Dindorf], 66 [= Proclus, Commentary on Plato's Republic 2.138.8 Kroll], 70 [= Damascius, De principiis 55], 72 [= Proclus, Commentary on Plato's Republic 2.138.18 Kroll], 73 [= Lactantius, Divine Institutes I, 5, 4–6 p. 13, 13 Brandt.], 74 [= Proclus, Commentary on Plato's Timaeus 31 a (I 433, 31 Diehl)], 75 [= Etymologicum Magnum p. 787.29, 76 [= Hermias, Commentary on Plato's Phaedrus 246e], 79 [= Proclus, Commentary on Plato's Timaeus 30 c, d (I 427, 20 Diehl)], 168 Kern; Orphic [https://archive.org/details/orphicorumfragme00orphuoft/page/64/mode/2up?view=theater test. 224 Kern] [= Orphic Argonautica 7–46. There are a large number of ancient texts which have been called "Orphic", a few are extant, such as the Orphic Hymns, but most are not. Several important Orphic texts, which exist now only in fragments, have been called theogonies, since they contained material, similar to Hesiod's Theogony, which described the origin of the gods. At least three of these, the so called "Derveni Theogony", the "Hieronyman Theogony",  and the "Rhapsodic Theogony" or Rhapsodies, contained references to Aether the personification as well as aether the material element.

Derveni Theogony
The oldest of these theogonies, the Derveni Theogony, is a text which is extensively quoted in the Derveni papyrus (fourth century BC). One of these quotes contains a reference to aether the material element:

When Zeus had heard the prophecies from his father, he swallowed the revered one [or phallus], who [or which] sprang forth first into the aither [or who first ejaculated aither].

Also possibly from the Derveni Theogony is the idea, from a fragment of Chrysippus (preserved in Philodemus, De Pietate (On Piety)), that "everywhere is aither, which itself is both father and son".

Hieronyman Theogony
The early 6th-century Neoplatonist Damascius, in his De principiis (On First Principles) comments on an Orphic text, which he describes as "under the names of Hieronymus and Hellanicus, if indeed this is not the same". This text is called the "Hieronyman Theogony" (second century BC). Damascius says that the Hieronyman Theogony had "serpent Time" as the father of three offspring, "moist Aether", "limitless Chaos" and "misty Erebos".

Rhapsodic Theogony
Also in his De principiis, Damascius briefly summarizes the "standard Orphic theology" as found in another text, which he refers to as "these Orphic Rhapsodies currently circulating". According to Damascius, the Rhapsodies (first century BC/AD?), began with Chronus from which came two offspring, Aether and Chaos:

"the theology in the Rhapsodies, ... starts from ... 'ageless Time' and father of Aether and Chaos which is honored most in that account."

The 5th-century Greek Neoplatonist Proclus, in his Commentary on Plato's Republic, quotes the following verses from the Rhapsodies:

This Time unaging, of immortal resource, begot Aither and a great Chasm, vast this way and that, no limit below it, no base, no place to settle. Here Chasm is another name for Chaos. In another passage from the De principiis, Damascius quotes other verses from the Rhapsodies:

Then great Time fashioned from (or in) divine Aither
 * a bright white egg. While Proclus, in his Commentary on Plato's Timaeus, describes the Orphic cosmic egg as "born from Aither and Chaos", and calls Phanes the "son of Aither". Proclus also says that, when Phanes hatched from the cosmic egg, Aether and Chasm were split.

Aether, the material element is also mentioned twice in a thirty-two line hymn-like passage to Zeus which was apparently part of the Rhapsodies in which various parts of the physical cosmos are associated with parts of Zeus' body. Line 8 lists things contained in Zeus' body:

"fire and water and earth and air [aether], night and day," while line 17 says:

"his [Zeus'] truthful, royal mind is imperishable aither."

Also possibly drawn from the Rhapsodies is an account of the creation of the world attributed to "Orpheus" by the sixth century AD chronographer John Malalas:

"This is what Orpheus stated. He said that at the beginning Aither was revealed to Time, having been created by God, and there was Chaos on this side of Aither, and on that, while dark Night held everything and covered what was under Aither, signifying that Night came first. Orpheus said in his account that there was a certain Being who was incomprehensible, supreme over all, before all, and the creator of all things, including the Aither itself and Night and the whole creation that was concealed and was beneath the Aither. He said that the Earth was invisible beneath the darkness. He declared that Light broke through the Aither and illuminated the Earth and all creation, saying that the Light which broke through the Aither was that being mentioned above, that was supreme over all things, whose name Orpheus heard from the oracle and declared: 'Metis, Phanes, Erikepaios'."

Another Orphic verse fragment, also possibly from the Rhapsodies, is quoted in the Etymologicum Magnum's entry on the name Phanes: they call him Phanes and Protogonus because he became the first one visible (φαντός) in Aither.

Hymn to Aether
The Orphic Hymns (3rd century AD?) are a collection of eighty-seven poems addressed to various deities or abstractions. The fifth Orphic Hymn was addressed to Aether:

Yours are Zeus' lofty dwelling, endless power too; of the stars, of the sun, and of the moon you claim a share. O tamer of all, O fire-breather, O life's spark for every creature, sublime Ether, best cosmic element, radiant, luminous, starlit offspring, I call upon you and I beseech you to be temperate and clear.

title: Aether (mythology)


text:
Big Chicken Island

Big Chicken Island is a small, flat, treeless island in Ontario located within Lake Erie. Although it is called an island, it is actually a reef. It is one of the three "chickens" that surround Hen Island, the other two being Chick Island and Little Chicken Island.

The island is located near the water boundary between Canada and the United States in Lake Erie.

title: Big Chicken Island


text:
Talk:Josef Hofmann

Name
I think that his name is misspelled: it should be Jószef Kazimierz Hofmann.

 * Now is ok (Józef Kazimierz Hofmann). Gdarin  |  talk  20:41, 6 January 2006 (UTC)

Proposed name change
I've just changed most occurrences of "Josef" to "Józef", for consistency with the article title.

But I'm wondering about the spelling we should be using. In the US, other English-speaking countries, and the West generally, he was overwhelmingly known as "Josef". There's the "Josef Hofmann Piano Competition", not the "Józef Hofmann Piano Competition". I really think we should title the article "Josef Hofmann", but make reference to the original Polish orthography Józef Kazimierz Hofmann, not the other way around. -- JackofOz (talk) 19:24, 30 October 2009 (UTC)

 * Since the name used in most English speaking contries is Josef, and this is the English Wikipedia, I concur. I'd also add that pages on two well known pianists are titled Vladimir Horowitz - not Gorovitz - and Arthur Rubinstein not Artur, so there is precedence.THD3 (talk) 19:51, 30 October 2009 (UTC)

 * Thanks for the support. (Not to undermine you, but Arthur Rubinstein was always Arthur, not Artur;  from the talk page: In his memoir, Rubinstein addressed this issue. He wrote that his name was Arthur and not Artur, and that he was greatly irritated by people who insisted on calling him Artur.)  Cheers.  --  JackofOz (talk) 20:50, 30 October 2009 (UTC)

 * Yes, I know he preferred to be called Arthur in English speaking countries. But his birth name was Artur.  That's my point: we don't always go by birth name, we use the Engish equivalent.THD3 (talk) 21:42, 1 November 2009 (UTC)

 * Thanks. I've followed up this question @ Talk:Arthur Rubinstein.  --  JackofOz (talk) 08:03, 2 November 2009 (UTC)

 * Now listed @ Requested moves. --   Jack of Oz    ... speak! ...   19:57, 19 December 2009 (UTC)

German ancestry
Noted his German paternal ancestry. Antidote 07:14, 22 January 2006 (UTC)

Good Start
This article on Hofmann is a good start, but there are a few problems. The slap at Shura Cherkassky is uncalled for (Cherkassky was one of the most beloved and inquisitive pianists of his generation).

Hofmann himself was figure of some controversy. Despite the accolades showered upon him by Rachmaninoff and others, he was known as a bitter, often nasty man.

This article reeks of POV. There isn't even any comment on how alcholism impaired his abilities during the last twenty years of his life.

 * Several points. It needs to be noted, because this information has been deleted from the article, that Hofmann (like Rachmaninov) was considered one of the first "modern" pianists because (compared to contemporaries such as de Pachmann and others) he remained relatively faithful to the printed score and did not embellish it in the older Romantic tradition.  In fact, he was often accused of being a cold, mechanical player by the old guard.  Despite such criticism, Hofmann was almost universally considered the greatest pianist of his day.  Mhare40 03:18, 5 December 2006 (UTC)

We can cite Oscar Levant both for his ability and his alcoholism: The Unimportance of Being Oscar, Pocket Books 1969 (reprint of G.P. Putnam 1968), p. 124. ISBN 0-671-77104-3. "One of the terrible tragedies of music was the disintegration of Josef Hofmann as an artist. In his latter days he became an alcoholic. …[H]is last public concert…was an ordeal for all of us…"

He then goes on to say "He was an elegant performer at the keyboard, a keyboard made especially for him because his hands were so small." His praise continues for two paragraphs, singling out his "impeccabl[e]" performance of a particularly difficult Chopin nocturne, his "ultrasensitive ear and … incredible memory, and quoting Felix Salmond as also praising him. If someone wants the passage in full but doesn't have access to the book, drop a note on my user talk page and I can quote it. - Jmabel | Talk 07:05, 3 March 2007 (UTC)

I have to say I don't know much about Wiki, so I don't know if i'm doing the right thing. Mr. Hofmann was my great-grandfather but I don't know much about him. Could you suggest some literature that might help me learn more?

p.s The specially made keyboard made for him was REAL BELIEVE ME!!!! —Preceding unsigned comment added by 138.32.32.166 (talk) 04:19, 18 March 2009 (UTC)

--There is a New York Times article from the 1887 archives describing the young Hofmann on his first trip to America. If he was your great-grandfather, you might find this interesting. I don't doubt that Steinway eventually made a special keyboard for him. However, the notion that his rather small hands REQUIRED this accommodation is false. I doubt that he carried this special piano around with him when he concertized. And he was playing on a conventional keyboard as a youngster, even before his hands reached full size and even before his feet could reach the pedal! Those who are interested in playing piano need not be discouraged merely because their hands are small. Remember that Hofmann, universally recognized as the greatest pianist of his day, and arguably the most technically proficient pianist ever, had small hands.98.200.153.134 (talk) 21:08, 24 April 2009 (UTC)

 * Harold Schonberg noted in "The Great Pianists" that Hofmann could play on an ordinary sized keyboard, but that the smaller keyboard was "more comfortable."THD3 (talk) 11:31, 27 April 2009 (UTC)

Is it about the same Hofman?
''Hofmann's invention of pneumatic shock absorbers for cars and planes earned him a fortune in the early twentieth century. His other inventions included medical devices, a furnace that burned crude oil, automobile windscreen wipers, a device to record dynamics in reproducing piano rolls that he perfected just as the roll companies went bust, and a house that revolved with the sun. He spent his last years working on improvements in piano recording.''

Is it indeed about the same Hofmann??? Can someone confirm this?83.6.223.101 01:23, 25 November 2006 (UTC)

Yes, this is the same Hofmann. Like some other highly gifted musical prodigies, Hofmann was a superb mathematician and had a good head for science. He has something like 64 patents to his credit. Mhare40 03:02, 5 December 2006 (UTC)

Hofmann and Tchaikovsky
I've just watched a DVD containing masterclasses given by Daniel Barenboim to some young pianists, included in the EMI DVD set of Barenboim's 32 Beethoven sonatas performed live in Berlin. In the portion dedicated to Saleem Ashkar, the Nazareth-born pianist fondly mentions a recording by Hofmann playing Tchaikovsky's First Piano Concerto (and Ashkar says he still has that acetate record at home). I've never heard of any such recording by Hofmann. Does anyone know anything about it ? MUSIKVEREIN (talk) 16:56, 8 March 2009 (UTC)

Clarification
The acetate cannot be of Hofmann since, reportedly, the last he performed this piece was in year 1912 while the acetate technology came in use only in the 1930's. Apparently, that acetate is not genuine. —Preceding unsigned comment added by Alextierno98 (talk • contribs) 06:31, 21 December 2009 (UTC)

Peacock
User:Alextierno98 has been doing a great deal of editing on this page recently. Many of the edits have improved the page, but there has also been a bit of peacocking going on. I have thus added the tag. Phrases like lit by incandescent pianism are not apropos to an encyclopedia article.THD3 (talk) 15:25, 30 October 2009 (UTC)

Great pianist?
How come the assertion that "he is widely considered one of the greatest pianists of the 20th century" has been omitted when this has almost become like common knowledge to any serious classical musician?

It seems that almost every other major pianist: from Friedman to Rachmaninov, Godowsky to Arrau, Novaes to Gould, Richter to Rubinstein, Cortot to Michelangeli, Fischer to Schnabel, and Horowitz to Gilels, has some sort of "honorary" status among wikipedia articles, while equally fine pianists like Sofronitsky (whom many of the above idolized), Lhevinne, Moiseiwitsch, Rosenthal, Busoni, Joseffy, and Hofmann (most bizarrely, as he is often seen as one of the greatest of the bunch) get left off the boat.

This makes me question a lot of the superlatives being used on Wikipedia. Who decides if a relatively lesser-known pianist like Novaes (even though she is fantastic) is allowed to be considered "great"? Her fans? It would seem this way.

I also see that this article spends a lot of highlighting Hofmann's great technique, making him seem like some sort of mundanely perfect piano machine with controversial musicianship. But just because he may be controversial to some (who?) does not mean that he should be dismissed as the Alexander Dreyschock of his day, as he definitely is not. Almost every great pianist has received criticism, even the greatest - Gould, Busoni, von Bulow, Horowitz, Artur Rubinstein (before he became THE pianist), Richter, Yudina, Michelangeli, Cortot (not as a musician, but as a pianist) and the list goes on.

I do not feel the need to cite sources to support my entreaty here, as there are hundreds, even thousands that put him down as the "greatest pianist of the century". I believe that much of the prejudice against him comes from the quality of his later recordings, which probably do not stand up to much of his earlier work (though it is still excellent)- and here Hofmann is in the same situation as pianists like d'Albert and Godowsky (he is also doomed to a small recorded legacy, and probably did not take recording as seriously as he should of). I don't understand why this article tries to paint his pianism as some sort of "half white, half black" picture, as other pianists do not get this same treatment here on Wikipedia. Sjpavlova (talk) 05:55, 30 April 2010 (UTC)

 * Your comment is fairly old, but still: see WP:V, WP:RS, WP:DUE, WP:FRNG and WP:OR. Toccata quarta (talk) 04:37, 4 June 2013 (UTC)

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title: Talk:Josef Hofmann


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Chick Island

Chick Island is a small, flat, treeless island in Ontario located within Lake Erie. Although it is called an island, it is actually a reef. It is one of the three "chickens" that surround Hen Island, the other two being Big Chicken Island and Little Chicken Island.

title: Chick Island


text:
Talk:Onward Muslim Soldiers

Comment 1
"Spencer provides an honest view on radical Islam that the media denies and disregards."? I smell soap... Eixo 13:36, 27 May 2005 (UTC)

It looks that way. I have expanded the article from information gleaned from online reviews. This is far from adequate; I request that someone who has read the book proofread and expand it. I have putatively removed the NPOV banner. Could someone add a yellow attention banner (cant seem to do it - D'oh).--ChrisJMoor 15:06, 27 May 2005 (UTC)

Fair use rationale for Image:OnwardMuslimSoldiers.jpg
Image:OnwardMuslimSoldiers.jpg 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.

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If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot 23:44, 1 July 2007 (UTC)

Fair use rationale for Image:OnwardMuslimSoldiers.jpg
Image:OnwardMuslimSoldiers.jpg 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 insure 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 there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 17:36, 2 January 2008 (UTC)

Deletions
The nom of the AfD of this article has deleted sources in the article which support the notability of the article. See here. I've restored them. I view the text, and the refs that supports it, as completely appropriate. Nom's deletion of them is interesting, considering the pendency of the AfD. I would urge nom not to delete the sourced material, and the refs, and nom has. Nom is free to discuss nom's concerns here, with the community.--Epeefleche (talk) 03:14, 20 January 2012 (UTC)
 * Notability requires coverage in reliable sources. Stacking the reflist with sources that you pretend are reliable in order to claim a notability that doesn't exist is disruptive to the AfD process. –Roscelese (talk ⋅ contribs) 03:25, 20 January 2012 (UTC)
 * These are fine RSs for the purposes for which they are used -- as book reviews, of the book in question.--Epeefleche (talk) 03:30, 20 January 2012 (UTC)
 * Can you point to a guideline or consensus that says that we may ignore WP:RS if the source is a "book review"? –Roscelese (talk ⋅ contribs) 03:34, 20 January 2012 (UTC)
 * Read Wikipedia:Verifiability, not truth at WP:NOTTRUTH. Those are reliable sources, then you can source information from them.   D r e a m Focus  19:02, 20 January 2012 (UTC)
 * What on earth made you consider that a sensible response to my pointing out that the sources were not reliable? Verifiability is entirely dependent on finding reliable sources. –Roscelese (talk ⋅ contribs) 07:36, 21 January 2012 (UTC)
 * Ros -- I agree with Dream. And I also agree with the two other editors -- Jeff Song and Tigerboy1966 -- who have, in addition to me, disagreed with you by reverting your deletions.  You are edit-warring against the four of us.  Despite having received two warnings with regard to your edit warring here (Tigerboy1966 and Armbrust), before your most recent deletion.  And similar requests from me that you stop edit warring.--Epeefleche (talk) 08:01, 24 January 2012 (UTC)
 * What do you possibly hope to gain by claiming the support of people who have never spoken in your favor? Is this indicative of a desperation to be loved, or just a problem with counting numbers larger than two? If you're hoping that endless reverting will make the source reliable, you are sadly mistaken. People opposing the use of the source have pointed out that they solicit reviews from whoever feels like submitting them, that they don't pay for content so it's written by whoever's desperate enough to put their work out there for free, that their claims of having well-known writers on their roster are false, and that most of their other content is written by their editorial board. All you have produced to weigh on the other side is "But my friend and I both reverted you!" It's meaningless. –Roscelese (talk ⋅ contribs) 18:31, 24 January 2012 (UTC)

Mention in "The Islam Industry," Middle East Journal...
...is, as I've said, trivial. This is the sum total of the article's discussion of this book: "Robert Spencer, who (like Berman) does not have any background in Middle East or Islamic studies, and who is active in right-wing Christian causes, has now written two books on matters Islamic. Spencer, much like Berman, insists that Bin Ladin is an Islamic figure who inspires the masses. Spencer is very good at finding quotations from the Qur'an or from obscure Muslim clerics to 'prove' the danger of Islam. ... Spencer states that '[w]hen modern Muslims like Jaffar Umar Thalib [sic] and Usama Bin Ladin declare Jihad, Muslims take them seriously....'2...In present-day studies of Islam, one can easily cite as a source for research 'a writer on a Muslim bulletin board.'4 ... 2. Robert Spencer, Onward Muslim Soldiers: How Jihad Still Threatens America and the West (Washington, DC: Regnery, 2003), p. 11. 4. Spencer, Onward Muslim Soldiers, p. 21." –Roscelese (talk ⋅ contribs) 03:38, 20 January 2012 (UTC)

Review in Arts & Opinion
There's no consensus that the Arts & Opinion site's opinions or those of the reviewer Bassam Madany are reliable or notable (see discussion at Reliable sources/Noticeboard) so I've moved this link to "External links". And rew D alby 10:18, 24 January 2012 (UTC)
 * But see the five opinions referred to above.--Epeefleche (talk) 16:34, 24 January 2012 (UTC)
 * Putting aside the fact that you seem to have trouble counting, what you're arguing here is "Consensus doesn't matter if my buddy and I disagree with it." That is not a productive way of editing Wikipedia. –Roscelese (talk ⋅ contribs) 18:27, 24 January 2012 (UTC)

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title: Talk:Onward Muslim Soldiers


text:
Talk:Jon Kimura Parker

Untitled
The "Vancouther Youth Orchestra"? Shouldn't it be the "Vancouver Youth Orchestra"?

title: Talk:Jon Kimura Parker


text:
Talk:Smith's Bible Dictionary

Study Bibles category
I removed Category:Study Bibles...the page as is doesn't really claim the Smith's resource (with which I'm not very familiar) as a study Bible, but rather as a Bible dictionary. I could be wrong, but maybe some more explanation on the page is necessary before we replace the category. KHM03 13:36, 27 May 2005 (UTC)

title: Talk:Smith's Bible Dictionary


text:
Meryl Cassie

Meryl Danielle Cassie (born 2 April 1984) is a New Zealand actress and singer. She has three children, a son, Rylon born in 2006 and two daughters Breeze (Born 18 October 2013) and Diaz (born 2015). She is most famous for her role as Ebony in the sci-fi series The Tribe, but has also appeared in other series, such as Revelations - The Initial Journey, Shortland Street and Hercules.

She is also a talented singer, and sung the theme song of The Tribe from season 2 to 5, including being the lead singer on Abe Messiah, an album inspired from The Tribe. Along with her sisters Megan Alatini and Monique Cassie, she formed a band called the Nubian Angels in her early teens. The band relaunched in 2007, and have made various performances for charity in co-operation with Variety, the Children's Charity, including joining them on the 2008 Variety Bash tour, and at other charity and social events.

Cassie moved from New Zealand to Bondi Beach, Australia in 2008. She auditioned for Australian Idol but was not selected.

Career
Cassie wanted to become an actress ever since she was five years old. She has trained in drama at the Young People's Theatre and Nathan Homestead. Because she wanted to get into acting as soon as possible, she got an agent at the age of 9, as she saw this as the first and best option to achieve her goal. Cassie got her first acting job in the New Zealand kids show What Now at the age of 11, where she starred as a field presenter.

In 1998, Cassie auditioned for the show that would give her both success and acting experience: The Tribe. She auditioned for the role of the character Salene, but the producers called her and told her she had received the role of Ebony, one of the antagonistic characters on the show.

Official filming of the first season commenced in August 1998, and lasted for six months to March 1999. The fifth and last season wrapped up principal photography on 1 March 2003.

In the period of 2004 to 2007, Cassie went on a hiatus, and took a break from acting and singing. She worked in a bank, helped out at her mother's hair braiding salon and gave birth to her first child, Rylon Ngarino Watt, on 16 September 2006.

In 2004, she auditioned for New Zealand Idol. She did not make it past the second round, partly because the judges thought she had too much experience to be in the contest. Various reports have stated that Cassie was very sad and actually cried on camera, saying how mean the judges were. Cassie's brother, Miguel Cassie, was going to make a TV documentary about Idol, where the rejected contestants could have a new chance. This show never saw the light of day.

In 2006 Cassie provided music for New Zealand teen series Karaoke High. Though she didn't appear on the show, she provided her singing talent for the character Miri (played by Alina Transom).

In 2008 Cassie appeared in the music video for P-Money's "Everything", where she was dancing on the shoulders of the lead female in the music video. She also sang an impromptu performance of the Kelly Clarkson track "A Moment Like This" at a reunion of members of The Tribe cast, which was held on 13 September 2008. She ended the year performing on stage at the Coca-Cola Christmas in the Park 2008, where she sang "What Time Is It?" with fellow New Zealand entertainers Drew Neemia, Catherine Campion, Anthony Utama, Cameron Douglas and Jodie Clarke.

Following on from her appearance in P-Money's music video for "Everything" in 2008, Cassie became the lead in his music video "Angels", where she plays the girlfriend of P-Money's who is being haunted by supernatural beings. January 2010 saw Cassie appear in Legend of the Seeker, in the season 2 episode "Resurrection" where she played a courtesan named Bella.

As well performing in several gigs in Auckland, Cassie also featured on the P-Money album Everything, doing vocals on the track Dance With You. The track also features PNC, Vince Harder and Mz J. Cassie joined them and P-Money in the music video for the track, it marked her third appearance in a P-Money music video.

In August 2010 Cassie has an appearance on New Zealand comedy series The Jono Project where she will be in a parody/homage to the international hit show Glee (TV Series).

In 2013, Cassie successfully auditioned for The X Factor, progressing to the boot camp round, but failed to make it through the following round.

As of 2017 Cassie is now touring as the ring mistress of the Weber Bros Circus show Adrenaline throughout New Zealand.

title: Meryl Cassie