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Talk:Oksana Baiul

Untitled
http://www.webwinds.com/womenskate/oksana77432.jpg

I don't recall Baiul ever being called "the greatest female skater of all time" or "the greatest artistic skater". --F a ng Aili 19:35, 10 February 2006 (UTC)

AntonioConstantine: No offense Fang, but you must be really stupid? If someone wins 1st Place in both World Skate Championships and 1st place in the Olympics within the same year, for that 2 years or so if no one has accomplished that goal thereof, then YES that person is the best female skater of all time from the point of view of those two years.

I thought her maternal grandmother was dead.

 * AntonioConstantine, I ask you to mind WP:CIVIL. The sentence I was refering to was, "Following her win at the 1994 Winter Olympics, Baiul was called the greatest female skater of all time by many skating commentators and critics." (this was sometime back in February.) The key words are was called. By who? I was asking for a source for this statement. And no, just because someone wins the worlds and the olympics does not make that person "the greatest female skater of all time". --F a ng Aili 說嗎? 16:23, 30 April 2006 (UTC)

Fang. Yet again, I will re-iterate the point being. A World Olympic event is to determine who is the best at that moment. It does not have to be sourced. The event speaks for itself. Atheletes go through grueling training and competition all for what? A medallion only? No for the title of the best. Hence in 1994 Baiul is the greatest skater of all time :) agreed?

 * 1) No, winning Olympic gold only proves that competitor was the best for that particular competition. Not for that year, much less "for all time."  Sarah Hughes won in 2002 because she delivered when Slutaskaya and Kwan didn't, but no one would ever say overall she's better than those two--she was simply the best for that competition, prestigious as it is.  How can someone be the "greatest skater of all time" for just 1994?  Do you not see that's a contradiction in terms?

 * 2) In addition, there has never been any one skater deemed the greatest of all time, much less a teenager whose career has barely begun.

 * 3) "World Olympic" is contradictory. World Championships and the Olympic Games are two completely separate competitions.

 * 4) And yes, everything on Wikipedia has to be sourced. If you want to argue your point, go to a skating forum. 68.161.128.140 (talk) 04:03, 23 March 2008 (UTC)

This is not an Oksana Baiul fan site
I don't know what the heck happened to this article, but its tone is now completely non-encyclopedic. --Fang Aili talk 17:02, 21 July 2006 (UTC)

 * Had a look at the article Fang and it looked okay to me. Yes, the writer expressed an opinion but their points were well argued and well made. The article you put back in place is just as opinionated (almost an Anti Oksana Baiul artilce) as the one you removed. Unlike the one you removed however, the opinions expressed are not supported - almost baseless assertions. I have therefore put the new article back (its removal is vandalism). If you feel that there is a problem with the article, then you should edit it (not remove it) in a manner which is fair and balanced (being neither an overly pro or anti subject account of the person in question). —The preceding unsigned comment was added by 195.93.21.38 (talk • contribs).
 * Reformatted to make discussion flow easier to follow. No comments edited. EVOCATIVEINTRIGUE TALKTOME | EMAILME | IMPROVEME 21:39, 21 July 2006 (UTC)
 * Pretending you are another user will fool no one. Also, please assume good faith and do not call my edits vandalism. This version is full of unsubstatiated opinions and is not encyclopedic. If you wish the article to be "fair and balanced", it cannot contain statements like, "Quad and triple jumps are all very well but if the rest of package is a load of rubbish, then what is the point of watching?" I am reverting the article to its NPOV version. --Fang Aili talk 22:50, 21 July 2006 (UTC)

From manutdforever: I spent about an hour making a contribution to this page last night adding a substantial amount of new content only to see the original which contains far less content put back. Most of the content from the original format which has been put back in place plus the content contributed by 7g7em7ini was preserved (about 95%). Are people like myself allowed to make a contribution? What is it about this original version which seems to have been reinstated numerous times (removing contributions from several sources in the process) that is so good that nobody else can have a look in? The extra content I added I am sure others would have appreciated. As it was by and large factual information, there was nothing controversial about it whatsoever. What is the point of bothering? I thought anybody was allowed to contribute. I am new to Wikipedia and my experience has been totally spoilt by this. I have put my page back. I would be grateful if it could be left up for others to assess and add to/amend as they see fit. I note from the above discussion and the history that a Fang Ali and a 7g7em7ini had alternate versions of the page. I went out of my way to preserve 95% of both versions and I feel that my version is a good compromise between the two. So come on Fang Ali and 7g7em7ini, let others have a look in like myself!!! Don't just go and put back versions which contain far less detailed factual information. You don't own the page! Others, please provide us with your coments. What do you think? Please make your own contributions to the page. Nobody has a monopoly on it. As Wikipedia editorial policy states, the more people contribute the better it will be. It should not just be limited to just one or two people who believe that there contribution should be the one and only one. As for my own contribution, I have endeavoured to keep it bias/opinion free. If anybody believes that there is an element which does not meet this criteria, then please amend it. Please do not do what the last person did and go and remove the whole lot and degrade the page in the process. As I am sure the vast majority of people would agree, that is just an abuse of process. If the page is completely removed again, then quite frankly I shall not bother with Wikipedia again. For me, it will have lost its status as an encyclopedia which anyone can contribute to and become nothing more than a kind of newspaper where a minority of diehard contributors have a monopoly on editorial control.
 * These edits were a violation of WP:POV and WP:VERIFY. Please review these policies. Everything on Wikipedia must be written from a neutral point of view and be verifiable. Statements akin to "Oksana Baiul was the best skater ever" are not neutral, encyclopedic, and certainly are not verifiable. You will not be able to push your point of view here, and any editor who understands what Wikipedia is will support me on this point. --Fang Aili talk 16:19, 23 July 2006 (UTC)

From: manutdforever: All and sundry take note. Fang Ali believes that he has a monopoly on the page. How sad. I give up and will not be contributing to Wikipedia again. It is a waste of my time. What is the point when one is up against a tiny number of diehard editors who monopolise it. Look at the content of Fang Ali's article and note the bias. Look at AntonioConstantines views on Fang Ali's contributions above. They speak for themselves. Please note that my contribution did not say "Oksana Baiul was the best skater ever". It said that it is the opinion of some that she was. For the actual wording, please use the comparison tool to compare my version with the current version. Neutral observers will note that my contribution was very fair and balanced. Goodbye. As I said, my time will be better spent elsewhere. Not on this site.

Dear manutdforever, don't be put by this experience. This kind of thing is very rare. In this particular instance, you should bring the matter to the attention of Wikipedia through there complaints/resolution process. There decision is binding. I think given the history of the matter and whats been going on that they would rule in your favour. Henry

Complaint

Will bring it myself when I get the time. Too busy with work at the moment to make the effort. I was the person who compiled the original alternate article which I note manutdforever added to considerably. I note manutdforever said that Baiul rediscovered her Jewish heritage from her paternal grandmother whereas Fang Aili (the all knowing one who believes he has a divine right to the article!!) says it was her maternal grandmother. Does anyone know who is correct? I know one of them died when Baiul was 10. 7g7em7ini

 * You can complain to whoever if you wish, but I can guarantee you that established editors here will tell you the same thing: Wikipedia must maintain a neutral point of view. The versions I have reverted have been in that interest. I do not know if it was her paternal or maternal grandmother, and I encourage anyone to add/confirm the information with proper citations, and without adding biased opinions like "Oksana Baiul is the best skater of all time". --Fang Aili talk 02:05, 27 July 2006 (UTC)

NPOV
It was her paternal grandmother whom she met in 2003. Stating that Kerrigan delivered a almost clean skate and Baiul made mistakes at the olympics are subjective statements (i.e. opinion related) and therefore inconsistent with a NPOV. That is why I removed the remarks. If your going to remove other peoples contributions on the grounds of bias inconsistent with a NPOV, then you must ensure that your own contributions are not equally biased and subject to the same kind of criticism. To do otherwise would be hypocritical. Henry
 * Thanks for correcting the grandmother point. Yes, thank you for reminding me about NPOV; it is always something to keep in mind. However I disagree that the section you removed is an opinion; it is a fact that Kerrigan skated a "clean skate", that is, she landed all her jumps cleanly and was otherwise error-free, whereas Baiul two-footed one landing (and had another small mistake, but I don't recall exactly what it was). It is also a fact that the outcome was controversial. I think it's encyclopedic to at least note the controversy. I'll try to find some sources. Thanks for showing an interest in the article. --Fang Aili talk 13:45, 28 July 2006 (UTC)

 * Kerrigan did make mistakes. Her first jump was to be a triple flip, and she doubled it. She slipped off the entry edge of her double axle jump and on her tripel lutz jump she used the WRONG entry edge to enter the jump---it's known as a "flutz" in skating. This was a .3 technical deduction under the rules in place at the time.  Again on her triple lutz double-toe combination jump kerrigan again used the wrong entry edge into the move.  This meant she technically could not control her edges her skating was not precise.  Technically her spins travelled there were .02 deduction for these errors too. However just because these errors went unreported in America doesn't mean these were not so.  The judges transcripts list them.  Understand also that under the rules in place at the time Judges did not have to take ANY technical deductions from either skater during the free skate.  They WERE OBLIGATED to take mandatory artistic deductions during the artistic freeskate.  U.S TV went out of its way to hide this VERY IMPORTANT rule of figureskating judging. Nancy knew the rules she WASN'T CLEAN OR FLAWLESS in her skating.  Technically the skills of Baiul's spirals and spins were COMPLEX where kerrigan's were simple and poorly executed.  Swedish referee Britta Lindgren remarked. "Nancy had only one good spiral and the triple-triple jump combination was the higlight of her program and that was it."  The spins and spirals of Oksana were better her triple lutz jump was higher, cleaner, stronger."  Some of the judges found that Baiul gave a more solid technical and artistic interpretation.  All which allowed her to edge Kerrigan out of the gold. These judges wrote out their justifications when under questioning at a hearing held at the behest of the Kerrigan sponsors, supporters, IOC+ and U.S media.Request the transcript from the ISU.  Obtain a copy of the International skating Rules for 1994.

Few people understand that there were 8 required artistic elements to be judged during the free skate back then. The 8 being 1. Speed and power, 2., Gliding grace or "flow" 3. use of edges (this measure balance skills and precision), 4. Use of music 5. foot work or step sequence it must be intricate 6. body positions taken in spins, spirals etc. 7. Choreography 8. utilization of the ice surface. (how much ice does the skater cover?) Artistic marks are the tie-breakers. Understand that ice skating looks differently on TV than live in the arena. Television mutes some performances, edits them and waters them down while it appears to enhance others. TV coverage of skating did not capture or record fully what the judges and live audiences saw. Oksana Baiul was well noted for the speed,sheer power of her triple jumps and the lightness of her landings at the time. The Olympic Bronze medalist from China, Chen Lu stated "I think there is a big difference between the gold medalist and the silver medalist." Remember this young lady witnessed the performances live. Also to quote sports writer Tony Kornheiser who was observing the event live rinkside. "Baiul's jumps look like pershing missiles being launched." Five judges noted her speed as superior to the field. U.S Commentator Scott Hamiliton correctly stated, Oksana Baiul has no weaknesses to her skating. He meant every area of her programs was strong and every skill difficult and she skated without serious deductions. 5 Judges stated Nancy's freeskate program was "front loaded' which meant the difficulty was only in one area of the program "Jumps" Olympic Winning freeskating programs needed to be balanced to win in those days. It meant spirals, spins, choreography and step sequences all needed to be complex.  Judges were grading for overall composition and they were looking to reward the skater with the "best all-around skills as a skater"  like in gymnastics with the selection of the "all-around champion."  The winning skater must be strongest in SEVERAL OR EVERY area of skating or AT LEAST--STRONGER than their rivals.  Katarina Witt quoted, "Oksana is a perfect skater."  meaning she had the strongest overall package of TECHNCIAL AND PRESENTATION Skills or the fewest weaknesses whichever you prefer.

The "controversy" was all media generated. This also happened because of the way biased sources like USFSA Kerrigan's national skating federation and Kerrigan's family, coaches, friends, sponsors and supporters were all allowed to manipulate the media for their own personal gain and purposes. Elevating Nancy to cash in on whatever they invested. Crititcal thinkning and deductive reasoning are also called into use. Just because information appears in the media doesnot neccessarily make it true or infallible as a source of credulity.

—Preceding unsigned comment added by 198.49.154.34 (talk) 03:48, 15 February 2008 (UTC)
 * NOTE: There were NO broadcasts of the ISU JUDGES who graded Baiul ahead of Kerriga explaining their decisions AND WHY BAIUL'S SKATING WAS STRONGER. Pro Kerrigan reporters in the media were simply stating the judges were crooked and corrupt without ANY substantied PROOF.   A press conference is standard procedure after every Olympic competition.  Yet it was edited out in the 1994 winter Olympics U.S broadcast. But it was carried in Canada and the rest of the world. No other nation saw the need to delete this.  NObody from Oksana Baiul's camp or national skating federation were allowed to explain THE STRENGTHS of Baiul's skating in the U.S coverage of the event.  Americans were fed only the fixed view of people who supported Kerrigan.  Which is why outside of U.S the view exists rightly that Baiul won outright without controversy.

 * Fang, thank you for your comments. I will locate my video of the event and have a look at the two performances. Like you, its been a while since I last saw it. Kind regards, Henry

Oksana's alcohol problems
I am surprised that there is nothing about Oksana's alcohol problems. She was arrested for a DUI that was eventually dismissed after she completed alcohol educatiion program as part of her probation. And then later she went to alcohol rehab as well. She was under 21 both times. She appeared to have a lot of problems around this time. Mylittlezach (talk) 00:18, 31 July 2012 (UTC)

Early life and "being Jewish"
I've just read the begining of the article and I hope there are people, who will find time to improve it. 1. The chapter (section) entitled "Early life" seems to take Baiul up to the age of 35 – is that still "early"? 2. The subtitle (subsection) "Religious views" seems to be about ancestry, not religion. There also seems to be a lack of distinction between Jewish nationality and Judaism. The statement that Baiul was "brought up as Russian Orthodox" is not supported by any sources other than that of an article in an American Jewish magazine published 15 years or so after the Soviet Union was dissolved. It seems sensible to find other sources in support of this, as it was not obvious to be brought up in any religious beliefs in the Soviet Union, in which Baiul lived for the first 14 years of her life. PS. Perhaps a comment on the discussion above: keep in mind, Wikipedia is for readers – not editors. Król Maciuś II (talk) 02:08, 20 December 2020 (UTC)

title: Talk:Oksana Baiul


text:
Developed market

In investing, a developed market is a country that is most developed in terms of its economy and capital markets. The country must be high income, but this also includes openness to foreign ownership, ease of capital movement, and efficiency of market institutions. This term is contrasted with developing market (emerging markets and frontier markets are types of developing markets).

FTSE Group list
FTSE Group, a provider of economic and financial data, assigns the market status of countries as Developed, Advanced Emerging, Secondary Emerging or Frontier on the basis of their economic size, wealth, quality of markets, depth of markets, breadth of markets. From 26 September 2019, FTSE Group classifies 26 countries as developed markets:

FTSE criteria
Developed countries all have met criteria under the following categories:
 * 1) They are high income economies (as measured by the World Bank GNI per capita Rating, Market and Regulatory Environment)
 * 2) Formal stock market regulatory authorities actively monitor market (e.g., SEC, FSA, SFC)
 * 3) Fair and non-prejudicial treatment of minority shareholders
 * 4) Non or selective incidence of foreign ownership restrictions
 * 5) No objections or significant restrictions or penalties applied on the repatriation of capital
 * 6) Free and well-developed equity market
 * 7) Free and well-developed foreign exchange market
 * 8) Non or simple registration process for foreign investors
 * 9) Custody and Settlement
 * 10) Settlement – Rare incidence of failed trades
 * 11) Custody-Sufficient competition to ensure high quality custodian services
 * 12) Clearing & settlement – T +3 or shorter, T+7 or shorter for Frontier
 * 13) Stock Lending is permitted
 * 14) Settlement – Free delivery available
 * 15) Custody – Omnibus account facilities available to international investors
 * 16) Dealing Landscape
 * 17) Brokerage – Sufficient competition to ensure high quality broker services
 * 18) Liquidity – Sufficient broad market liquidity to support sizeable global investment
 * 19) Transaction costs – implicit and explicit costs to be reasonable and competitive
 * 20) Short sales permitted
 * 21) Off-exchange transactions permitted
 * 22) Efficient trading mechanism
 * 23) Transparency – market depth information / visibility and timely trade reporting process
 * 24) Derivatives
 * 25) Developed derivatives markets
 * 26) Size of Market
 * 27) Market Capitalisation
 * 28) Total Number of Listed Companies (as of 31 December 2008)

MSCI list
As of June 2019, MSCI classified the following 25 countries as developed markets:

According to MSCI Global investable Market Indexes Methodology – November 2019, Cyprus and Luxembourg "are part of the developed market universe", but "given their modest size, these markets are not included in the MSCI World index".

S&P list
As of 24 June 2019, Standard and Poor's classifies the following 25 countries as developed markets:

STOXX list
As of 23 September 2019, STOXX classifies the following 25 countries as developed markets:

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

title: Developed market


text:
Man at the Crossroads

Man at the Crossroads (1933) was a fresco by Mexican painter Diego Rivera. Originally slated to be installed in the lobby of the RCA Building at Rockefeller Center in New York City, the fresco showed aspects of contemporary social and scientific culture. As originally installed, it was a three-paneled artwork. A central panel, depicting a worker controlling machinery, flanked by two other panels, The Frontier of Ethical Evolution and The Frontier of Material Development, which respectively represented socialism and capitalism.

The Rockefeller family approved of the fresco's idea: showing the contrast of capitalism as opposed to communism. However, after the New York World-Telegram complained about the piece, calling it "anti-capitalist propaganda", Rivera added images of Vladimir Lenin and a Soviet May Day parade in response. When these were discovered, Nelson Rockefeller – at the time a director of the Rockefeller Center – wanted Rivera to remove the portrait of Lenin, but Rivera was unwilling to do so.

In May 1933, Rockefeller ordered Man at the Crossroads to be plastered-over and thereby destroyed before it was finished, resulting in protests and boycotts from other artists. The fresco was peeled off in 1934 and replaced by a mural from Josep Maria Sert three years later. Only black-and-white photographs exist of the original incomplete fresco, taken when Rivera suspected it might be destroyed. Using the photographs, Rivera repainted the composition in Mexico under the variant title Man, Controller of the Universe.

The controversy over the fresco was significant because Rivera's communist ideals contrasted with the theme of Rockefeller Center, even though the Rockefeller family themselves admired Rivera's work. The creation and destruction of the fresco is dramatized in the films Cradle Will Rock (1999) and Frida (2002). The reactions to the fresco's controversy have been dramatized in Archibald MacLeish's 1933 collection Frescoes for Mr. Rockefeller's City as well as in E. B. White's 1933 poem "I paint what I see: A ballad of artistic integrity".

Commission
John D. Rockefeller Jr., a businessman and member of the Rockefeller family, was heavily involved in the construction of Rockefeller Center in the 1930s. He wanted to have a 63 by mural placed on the lobby wall of the RCA Building (now 30 Rockefeller Plaza), the largest structure in Rockefeller Center. Meanwhile, his wife, Abby Aldrich Rockefeller, was a patron of the socialist Mexican artist Diego Rivera. This had been the case since winter 1931–1932, when Abby purchased many of Rivera's pieces at a Museum of Modern Art (MoMA) exhibition.

At the time, Rivera was painting a controversial fresco in Detroit entitled Detroit Industry, commissioned by the Rockefellers' friend, Edsel Ford, who later became a MoMA trustee. Rivera had recently been kicked out of Communist Party USA for accepting commissions from wealthy patrons, and his commission for Detroit Industry did not help improve the Communist Party's views of him.

The writer Daniel Okrent states that a key event in Man at the Crossroad's conception occurred during a luncheon that Abby hosted in January 1932, at which Rivera was a guest. Abby suggested that a mural by Rivera would be a positive addition to Rockefeller Center. The entire Rockefeller family became close friends with Rivera and his wife Frida Kahlo over the next few months, which led to the decision to commission Rivera for the RCA Building's mural. Rivera was given the theme "Man at the Crossroads Looking with Hope and High Vision to the Choosing of a New and Better Future", since John wanted the painting to make people pause and think. The historian Alan Balfour writes that the Rockefellers had full knowledge of Rivera's communist activities, but hired him anyway.

Rivera was officially commissioned by Todd, Robertson & Todd, the development agents for Rockefeller Center. The full commission had planned for Man at the Crossroads to be a three-paneled mural. The two panels to either side, The Frontier of Ethical Evolution and The Frontier of Material Development, would respectively contrast capitalism and socialism. According to Rivera's verbal description of the planned mural, the center panel would depict a person at the literal intersection of these two ideals (namely, the "man at the crossroads").

The RCA Building lobby's wall had such a prominent position within Rockefeller Center that John and Abby Rockefeller's son Nelson had originally wanted Henri Matisse and Pablo Picasso to create the paintings on either side of Man at the Crossroads. Nelson had chosen these artists because he favored their modern style. Rivera's artistic renown made his commission all the more fitting, since it was so prominently located. However, neither of the other two artists were available: Matisse was already completing commissions for Philadelphia's Barnes Foundation at the time, while Picasso never responded to the wire that requested a meeting with "Pierre Picasso". Josep Maria Sert and Frank Brangwyn were later hired to paint other murals in their place. Sert would paint murals on the northern corridor, while Brangwyn would paint murals on the southern corridor.

Rivera did not agree with principal Rockefeller Center architect Raymond Hood's suggestion that the mural be commissioned exclusively in grayscale colors. He also declined to take part in an artistic competition prior to the announcement of his commission, and wanted to withdraw from the project when it was announced that neither Matisse nor Picasso would be painting at the RCA Building. He eventually acquiesced after Nelson convinced Hood to remove his grayscale requirement and allowed Rivera to paint Man at the Crossroads in a fresco format. However, Rivera withdrew again after Sert and Brangwyn were announced as the new artists, calling them "two inferior painters". He eventually rejoined the project by fall 1932.

As part of the contract, Rivera would be paid $21,000 for the work. This was considerably more than the $10,000 he had been paid for Detroit Industry, which he continued painting even as he was negotiating for Man at the Crossroads. According to Daniel Okrent, Rivera did not read the fine print of the contract that he signed, which stipulated that in exchange for the $21,000, Rockefeller Center Inc. would hold full ownership of Man at the Crossroads; this would lead to a controversy when the work was later removed from the RCA Building.

Rivera showed Abby the sketch of his proposed work in November 1932. Nelson and John also looked at the sketch, and Nelson concluded that there was nothing controversial about the planned mural. Rivera and the Rockefellers signed a contract in which they agreed that the sketch was the final plan for the mural, and that the completed work could not be different from what was on that sketch. In March 1933, Rivera traveled from Detroit to New York so he could work on the RCA Building mural. He employed artists from around the world in his six-person crew, which also included the artists Ben Shahn and Lucienne Bloch. Rivera's assistants converted his small sketch to full-size 1 ft2 pieces of tracing paper, which would then be painted onto the wall. Also in March 1933, Webster B. Todd, one of the contractors working on the construction of Rockefeller Center, requested sketches of Man at the Crossroads because he was concerned about the mural's potential controversial effect. Even so, Rivera did not express worry about any potential issues, even expressing pride over his work when The New York Times wrote a lengthy profile on him on April 2, 1933. The Rockefellers did not show concern either, and the complex's publicist Merle Crowell took credit for the New York Times article.

Work
Rivera's composition depicted many aspects of contemporary social and scientific culture, and as with his other paintings, contained influences from Communism. In the center, a workman was depicted controlling machinery. Before him, a giant fist emerged holding an orb depicting the recombination of atoms and dividing cells in acts of chemical and biological generation. From the central figure four propeller-like shapes stretched to the corner of the composition, depicting arcs of light created by giant lenses anchoring the left and right edges of the space. Rivera described these as "elongated ellipses". Within these, cosmological and biological forces such as exploding suns and cell-forms were depicted. These represented the discoveries made possible by the telescope and the microscope.

Between and beyond the arcs were scenes of modern social life. Wealthy society women were seen playing cards and smoking at the left. Opposite, on the right, Lenin was seen holding hands with a multi-racial group of workers. Soldiers and war machinery occupied the top left above the society women, and a Russian May Day rally with red flags was seen at the right, above Lenin. For Rivera, this represented contrasting social visions: the "debauched rich" watched by the unemployed while war raged, and a socialist utopia ushered in by Lenin. Beyond the giant lenses to left and right were depicted figures contemplating the central scene, behind which were gigantic classical statues. The one on the left depicted an angry Jupiter, whose raised hand holding a thunderbolt had been severed by a lightning strike. This comprised The Frontier of Ethical Evolution. The one on the right was a headless seated Caesar. This comprised The Frontier of Material Development. For Rivera these represented the replacement of superstition by scientific mastery of nature, and the overthrow of authoritarian rule by liberated workers.

The bottom part of the painting was to depict the controlled growth of natural resources, in the form of a variety of plants emerging from their roots, visible in a cut-away view under the soil. This portion of the original mural was never completed, and it exists only in the later recreation of the composition in Mexico.

Initial controversy
On 24 April 1933, the New York World-Telegram published an article attacking the mural as anti-capitalist propaganda. As a defiant response to the article, Rivera or one of his assistants added a portrait of Lenin to the mural, which had not been apparent in initial sketches. The Rockefellers did not express any visible concern about the mural. On April 28, to ensure that the late addition of Lenin would be undetected, Rivera sent his assistants to make sure that there was no trace of the Lenin portrait in the blueprints and outlines for Man at the Crossroads. Rivera thought that if anyone were to check the blueprints, they would not be able to discern the hidden portrait of Lenin unless they looked closely. He believed that his close relationship with the Rockefellers would permit the surreptitious addition of the portrait. The Lenin portrait would still have gone unnoticed if not for a mistake made by workmen applying a final coat of paint to the wall above Rivera's mural. Some of the paint dripped onto the mural, and when Raymond Hood went to examine the drip, he found the portrait of Lenin.

Following the discovery of Lenin's portrait, Nelson Rockefeller delayed the mural's planned May 1 unveiling. He wrote to Rivera to request that the painter remove the picture of Lenin. The portrait was the only thing about Man at the Crossroads that offended the Rockefeller family, despite the presence of other overtly Communist icons such as the hammer and sickle. A letter of reply from Rivera, written on May 6, politely declined the offer to remove Lenin's portrait, but by way of a compromise, offered to add Abraham Lincoln to the work. Rivera also said that he would be amenable to adding portraits of other American icons such as the abolitionists Nat Turner, John Brown, or Harriet Beecher Stowe, but he refused to remove the portrait of Lenin: "'Rather than mutilate the conception [of the mural], I shall prefer the physical destruction of the conception in its entirety, but preserving, at least, its integrity.'" Daniel Okrent states that Rivera did not write the letter himself, instead leaving the task to Ben Shahn, the assistant most strongly opposed to Nelson's request to remove the Lenin portrait.

Nelson then left the decision about the future of the mural to Todd, Robertson & Todd. Hugh Robertson, one of the firm's principals, had written a reply to Rivera by May 9. In the letter, Robertson wrote that Rivera had deceived Rockefeller Center Inc. in the contract he made with them, and thus, Rivera was compelled to remove the Lenin portrait immediately. However, it was unclear whether Rivera understood that the painting belonged to Rockefeller Center Inc. After reading the letter, Rivera went back to his painting.

Removal
On 10 May 1933, as Rivera and his assistants worked on the mural, they were scrutinized throughout the day during what Rivera called "the battle of Rockefeller Center". By the evening, Robertson had ordered that Rivera stop all work on the mural. Rivera was paid in full, but the mural was covered in stretched canvas and left incomplete. He was unsatisfied with the monetary payment, saying that he intended to complete the mural: "I will not change my mural even if I lose in the courts." Rivera's net profit from Man at the Crossroads only amounted to US$7,000, a third of his total payment, after accounting for all expenses. He promised to reproduce the mural at any building that asked him to do so. On May 12, two days after the stop-work order was announced, Rivera was also dismissed from a commission at Chicago's Century of Progress exhibition, where he had been hired to paint a mural for General Motors' pavilion. An architect for GM cited the controversy surrounding Man at the Crossroads as the grounds for Rivera's dismissal.

The concealment of Man at the Crossroads was itself controversial. The artist John Sloan, the writer Lewis Mumford, and the photographer Alfred Stieglitz all showed support toward Rivera's position, while the Communist Party was stuck between endorsing a former member or his wealthy patron. The painter Edwin Blashfield supported Rivera's dismissal because the premise of Man at the Crossroads was contrary to the U.S. government. In May 1933, Rockefeller Center Inc. announced that the mural would "remain hidden for an indefinite time". Within days of the stop-work order, artists' groups had drawn up manifestos to demand that Rivera be able to complete his mural.

In December 1933, Rockefeller Center developer John R. Todd proposed that Man at the Crossroads be moved to MoMA, and suggested that Rivera could be re-hired to finish the mural. Rockefeller Center Inc. agreed to this proposal, but it was never carried out because the Rockefeller Center's management had not permitted Rivera's team to lay the plaster onto a specially built metal substructure which had been developed by Rivera and his principal assistant Clifford Wight so that Rivera's frescoes could be removed from the buildings they decorated if necessary. The mural remained covered until February 1934, when workmen peeled the mural off the wall. Rivera said that the mural's destruction "will advance the cause of the labor revolution", while Rockefeller Center Inc. simply issued a two-sentence press release saying that the walls had been replastered, resulting in the mural's demolition.

Reactions
The destruction caused widespread controversy, with many artists vowing to boycott any future exhibitions or commissions at Rockefeller Center. Ralph Stackpole and Bernard Zakheim created paintings in which figures held up newspapers with headlines alluding to the Man at the Crossroads controversy. The communist New Workers School in Manhattan was one of the entities who protested the destruction of Man at the Crossroads. Its leader Bertram Wolfe was one of Rivera's associates and would later become his biographer. Rivera painted 21 frescoes and gave them to the school as a gift for their protests. The protests largely stopped when Robertson released Rivera's previous correspondence about preferring the mural's destruction.

Aftermath
Despite the disagreement over Man at the Crossroads, Nelson Rockefeller still admired Rivera's work, and the two had an amicable relationship. Years afterward, he would collect paintings and loan them to Rivera's art shows. However, according to Daniel Okrent, his mother felt "betrayed" by Rivera, and they were not known to see each other again after the dispute had subsided. As a result of the controversy, John Rockefeller saw to it that no artwork would be commissioned for Rockefeller Center without his explicit approval. As for Rivera, Bertram Wolfe wrote that the artist commissioned paintings for movements that opposed the Rockefellers' "continued rule".

After Man at the Crossroads was demolished, Brangwyn was asked to exclude Jesus Christ from his own mural in the RCA Building's lobby, which depicted the Sermon on the Mount. Todd reportedly made the request because Christ could have been depicted in many different ways, but unlike with Man at the Crossroads, there was very little controversy. Brangwyn wrote to John Rockefeller to ask for reconsideration of this request. Brangwyn's mural, completed in December 1933, ultimately featured a depiction of Christ with his back turned. At the mural's unveiling, Todd said that Rockefeller Center management had not cajoled Brangwyn in any way.

Meanwhile, replacements for Man at the Crossroads were being considered, and Rockefeller Center Inc. approached many artists for possible offers. Initially, Picasso showed interest in the commission, but Todd declined the offer because Picasso refused to show a preview of what he was going to paint, and because Picasso would not negotiate from his stated price of $32,000. In 1937, Sert agreed to paint the replacement mural for $27,000. The mural, titled American Progress, depicts a vast allegorical scene of men constructing modern America, and contains figures of Abraham Lincoln, Mahatma Gandhi, and Ralph Waldo Emerson. American Progress wraps around the west wall of 30 Rockefeller Plaza's Grand Lobby.

According to American Heritage magazine, the controversy influenced Franklin D. Roosevelt’s reaction to the idea of a Federal Art Project and similar New Deal-funded public art initiatives: “Commenting on the suggestion that the federal government should undertake a relief program for unemployed artists, Roosevelt expressed some misgiving: he didn't want, he told a friend in 1933, ‘a lot of young enthusiasts painting Lenin's head on the Justice Building.’“ The New Deal art programs were ultimately funded and persisted until the height of World War II, and in the end, “The New Deal administration did its best to give American artists easy rein, recognizing that freedom and originality are inseparable. There were exceptional cases, especially in connection with over a thousand murals executed under Treasury Department auspices for United States post offices across the country; but in general the absence of censorship was remarkable.”

Man, Controller of the Universe
Concerned that Nelson Rockefeller would destroy the work, Rivera had asked Lucienne Bloch to take photographs of the mural before it could be destroyed. In late 1933, Rivera went to Mexico City and persuaded the Mexican government to let him repaint the mural on a blank wall at the Palacio de Bellas Artes. In his biography of Rivera, Bertram Wolfe stated that the artist did not care for the location of the mural this time around. Rather, Wolfe wrote, Rivera had been "looking for a public place where he could let men see what kind of painting it was that these 'patrons of the arts' had chosen to destroy".

Using the photographs as a reference, Rivera repainted the mural, though at a smaller scale, where it was renamed Man, Controller of the Universe. The composition was almost identical, but the central figure was moved slightly to be aligned with the supporting mast of the cylindrical telescope above him. The new version includes a portrait of Leon Trotsky alongside Karl Marx and Friedrich Engels at the right. Others appear at the left, including Charles Darwin. Beside Darwin is John Rockefeller, Jr, a lifelong teetotaler, drinking in a nightclub with a woman. Above their heads is a dish of syphilis bacteria.

Cultural significance
The Rockefeller–Rivera dispute has become an emblem of the relationship of politics, aesthetics, creative freedom and economic power. Some works dramatized the incident, and a few went so far as to lampoon it. The American poet Archibald MacLeish's 1933 collection Frescoes for Mr. Rockefeller's City was inspired by the incident. It included six poems about the mural in which both Nelson Rockefeller and Rivera were criticized. The New Yorker published E. B. White's poem "I paint what I see: A ballad of artistic integrity", an imaginary debate between Nelson Rockefeller and Rivera, on May 20, 1933. The incident has also been dramatized in the American films Cradle Will Rock (1999) and Frida (2002), both set in the 1930s.

Other works focused specifically on Nelson Rockefeller's and Diego Rivera's conduct during the dispute over Man at the Crossroads. In her 1983 biography Frida, Hayden Herrera mentions that Kahlo wrote, "one could fight against [the Rockefellers] without being stabbed in the back". This referred to Rockefeller and Rivera's continued relationship even after the controversy had passed. Cary Reich writes in The Life of Nelson A. Rockefeller that the controversy was an instance of Nelson's "princely tendency [...] to have surrogates handle his dirty work".

title: Man at the Crossroads


text:
Haunted House (video game)

Haunted House is a 1982 adventure video game programmed by James Andreasen for the Atari Video Computer System (later renamed Atari 2600) and published by Atari. The player controls an avatar shaped like a pair of eyes who explores a mansion seeking out parts of an urn to return to the entrance. The game world is populated by roaming enemies including vampire bats, tarantulas, and a ghost. Haunted House was among the first games to use player-controlled scrolling between large portions of the visual space.

Haunted House received positive reviews from contemporary video game publications such as The Space Gamer and Electronic Games while others, such as How to Win at Home Video Games, noted the game's difficulty and lack of intuitiveness. The game has seen several releases across consoles and formats as part of Atari compilation packages as well as follow-up games, such as Haunted House (2010) and Haunted House: Cryptic Graves (2014), and Haunted House (2023).

Video game critics such as Christopher Buecheler of GameSpy have called Haunted House one of the earliest examples of the survival horror video game genre due to its elements of creepy themes, limited item management, and a variety of monsters. Other studies of the genre have suggested that the game lacked the specific elements that later games like Alone in the Dark (1992) and Resident Evil (1996) had to establish it as a unique game genre.

Gameplay
Haunted House is a single-player video game in which the player's goal is to recover three pieces of a magic urn that are randomly placed throughout 24 rooms of a mansion and return them to the entrance. The items and some areas within the game are revealed to player via matches which the player can ignite and blow out. The magazine How to Win at Video Games described Haunted House as a "storyline" game, comparing its gameplay as being similar to that of Atari's previous games Superman (1979) and Adventure (1980). Tim Onosko of The Capital Times also compared Haunted House to the two previous games, describing it as an adventure game that requires players to learn rules and requirements and gathering items to reach a goal as they play.

The player has nine lives to attempt this task. The player can only collect one object at a time, and can swap between two objects by touching another one. The mansion is a set of 24 rooms between four floors. The player can traverse through different doors that ascend and descend, but none permit the player to go in both directions. Throughout the mansion, the player may encounter such enemies as vampire bats, tarantulas and a ghost, which cause the player to lose a life upon contact.

The game has nine settings of varying difficulty. For example, setting 1 has a room where walls around the room are lit by matches while all others are completely dark. Further challenges introduce locked doors, which require a master key that is also hidden within the mansion. Other difficulties add extra enemies and enemy abilities such as the bats stealing a carried item and placing it at a random location around the mansion. A scepter can be found inside the mansion as a collectable item, which prevent enemies from chasing the player on most levels of difficulty. The ghost will still give chase on higher difficulty levels regardless of whether the player has the item or not.

Development
Haunted House was developed by Atari. It was programmed by James Andreasen, a graduate of the University of Colorado in Boulder who worked as a software engineer at MSI and Atari. Working titles for the game included Mystery Mansion and Graves Manor.

The game was developed for the company's Atari 2600 video game system, then named the Atari Video Computer System. For sound and graphics, the Atari 2600 had its Television Interface Adaptor (TIA) which authors Nick Montfort and Ian Bogost described as a programming challenge, allowing for only a relatively small number of unique features. The Atari 2600 did not allow for such services such as graphic rendering, forcing programmers to draw the entirety of each frame of the game's display. Like other games such as Raiders of the Lost Ark (1982), the environments in Haunted House are hard-designed and loaded into the game, and are small compared to the other games such as Pitfall! (1982) where the worlds are consistently generated by code. Haunted House was among the first video games to use player-controlled scrolling between large portions of the visual space. To save further memory for the randomly placed items in the game, the locations of the urn pieces are generated through polynomial counters, creating numbers that are counted in unusual orders.

Sound effects were common in Atari 2600 games, though the frequencies that the TIA could generate would miss most parts of the chromatic scale. Due to the limited sound, programmers at Atari would often have the system make percussion sounds, which were applied by Andreasen to create the foot step sound effects of ascent and descent in the stairway in the game among other sounds.

Release
Haunted House was released in February 1982. The artist for the cover art and manual was Steve Hendricks. Hendricks stated that the art used within the game's manual was initially going to be the game's cover art. After receiving approval for the design, he was told by a member of Atari's marketing department that the art was going to be rejected due to the location of eyes over the chest of the person.

Haunted House was re-released in various compilation formats, such as the Atari 80 in One for Windows in 2003 and the Atari Anthology for PlayStation 2 and Xbox in 2004. It was also released on portable devices as part of the Atari Greatest Hits release for the Nintendo DS and iOS. Haunted House was included as part of the Atari 50: The Anniversary Celebration (2022) compilation for Nintendo Switch, PlayStation 4, Steam, and Xbox One.

Reception
Cashbox reported the game as one of the top selling video games by July 1982. Reviews commented on the game's similarity to other titles, graphics and sound, and its difficulty. Arnie Katz and Bill Kunkel of Electronic Games found the game similar to Atari's previous game Adventure (1980). The reviewers commented that it was "much more atmospheric" than Adventure, and found it to be "one of the most intriguing and novel video game cartridges to appear in some time" calling its audio and visuals excellent, while finding the scoring system a bit difficult to parse. Another review from Electronic Games, from the "1983 Software Encyclopedia" issue, gave the game a seven out of ten rating, again finding the audio and visuals as excellent while stating that the game gave the player "the spine-tingling sensation that something spooky is always about to happen". Richard A. Edwards of The Space Gamer declared that the game was among the best graphics and sound Atari had produced and could not find any drawbacks to the game.

Onosoko of The Capital Times wrote that the game's graphics were deemed as "blocky" and unimpressive, but the game itself could be challenging. A review in Video Games found that it was hard to get excited by a game predominantly played in darkness, giving it an "interest rating" of five out of ten and a "skill rating" of nine out of ten, stating that "you almost need to take notes to keep track of things in this game [...] there is no single solution to any of the [difficulty levels]". How to Win at Video Games found the game difficult and not easy to understand at first, but recommended it to audiences willing to give time to learn the game's mechanics.

In 1995, Flux magazine ranked Haunted House #68 on their list of "Top 100 Video Games". Christopher Buecheler of GameSpy included Haunted House into the website's "Hall of Fame" in December 2002. Beucheler praised the game, stating that "in an age where most game design was "fire lasers until you die"", that the game was a noteworthy accomplishment. Brett Weiss included the game as an "honorable mention" in his book The 100 Greatest Console Video Games 1977-1987 (2014), recommending it for Adventure fans who were "hankering for something creepier".

Legacy
Some video game critics, such as Buecheler of GameSpy and Skyler Miller of AllGame, have cited the game as being one of the earliest in the survival horror genre. Buecheler specifically noted the elements of the genre with its creepy themes, limited item management, and a variety of monsters. In her writings on the genre, Laurie N. Taylor traced the origins of the genre to Alone in the Dark (1992) and that the genre was expanded on by Resident Evil (1996) while stating that survival horror was "Like most genre definitions [...] a loose category and one unevenly applied by players, journalists, designers and scholars". Matthew Wiese in 2009 similarly said that labeling all horror-themed games as survival horror was problematic due to the term not existing prior to the release of Resident Evil (1996). In Horror Games Magazine (2003), Vim Sical and Remi Delekta found that horror required mise-en-scène, which required visual technical capabilities. Bernard Perron, in his book The World of Scary Video Games, agreed with this statement, stating that Haunted House could not have in mind the mise-en-scène of fear that would become possible in later decades and chose to regard games like Haunted House for "what they were".

Several follow-ups to Haunted House have been published. Atari released a new version of Haunted House for the PC, Xbox 360 (via Xbox Live Arcade) and the Nintendo Wii in 2010. Roland Lesterlin, the producer of the 2010 game, said that they made connections with the original game such as the pair of glowing eyes representing the player. Atari published another version of Haunted House, Haunted House: Cryptic Graves, by Italian studio Dreampainters for Windows on November 24, 2014. The game moved away from the more cartoonish look of the previous 2010 release. Digital Eclipse made a new game titled Haunted Houses featuring 3D voxel-based graphics which was included in the Atari 50 (2022) compilation release. Orbit Studio released a new version of Haunted House that was a roguelite-styled game on October 12, 2023.

title: Haunted House (video game)


text:
Talk:Roadrunner

Mating call
Personal observation: When the male does his mating call, he starts out with his head raised very high; with each "coo" he lowers his head a bit until the last call is made with his beak touching the ground. If anyone can find a reference to this behavour, I think it would make an interesting addition to the page.

Size
"It is said that some road runners can be up to 3.2 feet tall although most range from 1-2.6 feet tall."

The word "tall" is inappropriate and the numbers are both suspect and unsourced. This sentence should be removed.

Morphology
The size of the roadrunner needs updating, currently reads Template:Convert/Meters to 24 inches (61 cm). Jeh506 (talk) 08:53, 9 June 2008 (UTC)

Speed
How fast can they run?

Don't know, but quite fast, that's for sure. Dora Nichov 10:09, 12 December 2006 (UTC)

thats dumb u dont even say the exact speed

Who's dumb!? I just said what I knew, what's wrong with that, you rude... Dora Nichov 11:16, 22 April 2007 (UTC)

Merge proposal
There is a lot of overlap in the three articles. I'm not sure if they should be merged into one article or handled another way. Rsduhamel (talk) 16:54, 30 June 2008 (UTC)

After comparing to other articles I think there should be three separate articles. The geococcyx article should be renamed "roadrunner" to be consistent with the naming of similar articles. Also, much of the information in the geococcyx article should be merged with the greater roadrunner article. Rsduhamel (talk) 19:08, 30 June 2008 (UTC)

Chasing golf balls
I have heard that the Roadrunner is playful and will chase moving objects such as golf balls, despite knowing they aren't food. However the only source I can find online regarding this was written in the 30's by 'Oren Arnold' in a book titled 'Wild Life in the Southwest (page 90)'! Has anyone ever heard of Roadrunners behaving like this? — Preceding unsigned comment added by Asdasd23 (talk • contribs) 11:17, 6 March 2013 (UTC)

 * Interesting... Enjoyer of World (talk) 11:36, 30 August 2020 (UTC)

Flight ability
How well can these fly? Do they basically just use the wings for jumping like chickens, or can they fly properly but just don' feel like it? 85.157.76.57 (talk) 06:35, 12 October 2013 (UTC)

 * they can fly well, but like many ground-living birds (pheasants, grouse, etc) tend to walk or run more than smaller birds. I've seen Roadrunner fly up to a nest in a saguero  Jimfbleak -  talk to me?  11:27, 12 October 2013 (UTC)

Requested move 15 August 2015

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: moved. The consensus is that the proposed title is the common name for the genus and that, as both species can be referred to as "roadrunners", it also remains the primary topic. Jenks24 (talk) 12:57, 31 August 2015 (UTC)

Geococcyx → Roadrunner – Currently redirects here and is in the lead, while Geococcyx was not mentioned in the lead until I added it a minute ago. Our pages on the two species use "roadrunner", which is clearly the common name. Srnec (talk) 16:31, 15 August 2015 (UTC) --Relisted. George Ho (talk) 06:24, 23 August 2015 (UTC)

Survey

 * Feel free to state your position on the renaming proposal by beginning a new line in this section with  or  , then sign your comment with  . Since polling is not a substitute for discussion, please explain your reasons, taking into account Wikipedia's policy on article titles.

 * Oppose move, retarget "roadrunner" There are two species in the genus Geococcyx. The lesser roadrunner only occurs in Spanish speaking countries. The greater roadrunner is the only species occurring in an English speaking country (the southwestern US). There are relatively few incoming links to roadrunner in comparison to Geococcyx and most of the incoming links to "roadrunner" appear to be US contexts where a link to greater roadrunner would get readers to the appropriate article. Is "roadrunner" a common name in English for both Geococcyx species, or just the single species that occurs in an English speaking country? Retarget "roadrunner" to "greater roadrunner". Plantdrew (talk) 06:14, 17 August 2015 (UTC)

 * Strong support per WP:FAUNA. Both have "roadrunner" in their common name, so both are called roadrunners. Furthermore, the species are similar-looking enough that it should be no cause for skepticism that they are both called "roadrunners" in common parlance. As one of the many sources on Google Books that refer to Geococcyx velox as a roadrunner says, "The lesser roadrunner (Geococcyx velox) differs only slightly in appearance from its widespread and well-known relative." The greater roadrunner is better known to the English-speaking world because it is in the English-speaking world; for a comparison, eagles that are found outside the English-speaking world are still referred to as eagles (Steller's sea eagles, harpy eagles, Papuan eagles, etc.). — the Man in Question (in question)  23:28, 24 August 2015 (UTC)

Discussion

 * Any additional comments:

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

Cultural Significance
As well as mentioning the medicine and evil spirit ward aspects of the Roadrunner bird in cultures, it seems to me that The Road Runner, arch nemesis of Wile E Coyote, ought to get an honourable mention, at least? "meep-meep"

Indigenous lore
This section is copied mostly verbatim from its source material (Native American Roadrunner Mythology. While I don't believe the plagiarism was ill-intended, the section should be rewritten to bring the entry in line with Wikipedia's core content policies. This is a likely example of close paraphrasing, so I've added the appropriate template to the page in question.

It would appear this section was originally authored by. I would be happy to discuss.

--Michael.j.champlin (talk) 20:45, 29 April 2020 (UTC)

 * I made an attempt to fix this recently, see if it reads correctly --Cs california (talk) 05:14, 21 March 2024 (UTC)

Feeding - distendable jaw and throat
It's worth noting (with sources about this somehwere) that the greater RR, at least, can expand its mouth and throat like many snakes; it can easily swallow an entire adult sparrow or similar-sized bird whole (and sometimes alive-but-badly-battered). I've actually filmed this myself, but the footage was so bad it turned out useless (think first-generation Motorola Droid, recording from about 30 feet away). I've heard anecdotally that big ones can even swallow an entire blue jay. — SMcCandlish ☏ ¢ 😼  16:47, 20 March 2021 (UTC)

title: Talk:Roadrunner


text:
Grand Prince Hotel Akasaka

The Grand Prince Hotel Akasaka (グランドプリンスホテル赤坂) was an upscale hotel in Chiyoda, Tokyo, Japan. The site of the former hotel is now the location of a mixed-use development named Tokyo Garden Terrace Kioicho.

A design of Japanese architect Kenzo Tange, the hotel was well known for its "distinctive saw-toothed facade" of aluminium and glass. Following closure it became notable for being deconstructed in a top-down approach, the building appearing to shrink in height over time.

History
The oldest structure on the property was built as the Kitashirakawa Palace in 1930 as the residence of Yi Un, the last crown prince of Korea. After World War II, the palace was converted to the Akasaka Prince Hotel, which opened in 1955, with 30 rooms. Extensions were gradually built, culminating in a 40-story tower, added in 1982. Designed by architect Kenzo Tange, the tower was laminated in aluminium. Because of its proximity to Nagatachō Station and the National Diet buildings, it was often used by Japanese politicians for meetings and press conferences. In 2007, the hotel was renamed Grand Prince Hotel Akasaka, following the reorganization of the Prince hotel group.

When its closure was scheduled, Akasaka Prince Hotel tower was relatively new, being expected to last further decades with proper maintenance and renovation, it was one of the buildings that "fell victim to the vagaries of commercial real estate here, where high property values, changing design standards and other factors have conspired to create a bull market for demolition". It had low ceilings, like many office contemporaries built in the 1970s during the country's economic boom (height standards were increased in the 1990s to accommodate information technology infrastructure). In its final years, it faced competition from upscale hotels run by foreign companies.

The hotel closed in March 2011 for scheduled demolition. Soon after, it briefly housed evacuees from Fukushima prefecture, following the 2011 Tōhoku earthquake and tsunami.

The top floors of the building were used as a working space for deconstruction, and were gradually jacked down and lowered as each intermediate floor was removed. As of February 2013 the building had shrunk by 30 metres. Regenerative braking was used on the cranes being used to lower disassembled elements down to ground level, which recovered energy and generated electricity for powering aspects of the demolition operation.

The 1982 tower was replaced by the Tokyo Garden Terrace development, but the historic Kitashirakawa Palace was restored and reopened in 2016 as a function center for banquets and weddings, known as Akasaka Prince Classic House.

title: Grand Prince Hotel Akasaka


text:
User:Frühstücksdienst

An account among very many. Many of these share editing patters (e.g. dates) with each other, they have common traits identified here, they participate in the same V/AfDs as one another, sometimes on opposing sides and share closely similar topical interests. -Splash - tk 02:15, 12 June 2006 (UTC)

title: User:Frühstücksdienst


text: User:Yasth

title: User:Yasth


text:
Talk:Dillon, Montana

Comment
May I suggest a blurb on this page about the recent >5 Earthquake in Dillon?

Information can be sought for here:

Commercial links
I removed the commercial links to fly fishing businesses, per WP:EL. I also added a link to the city's official website. Mike Dillon 14:45, 15 December 2006 (UTC)

Name
It would be helpful if the town's namesake was put into the article. Why was it called Dillon? -- Marx01  Tell me about it 02:36, 14 July 2009 (UTC)

External links modified
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title: Talk:Dillon, Montana


text:
Talk:Bluestars (GAA)

Untitled
Ooops, I mean "Out" not "our" ><

title: Talk:Bluestars (GAA)


text:
File:TCWandCP.png

Taken in an exhibition at Government House, Hong Kong.

title: File:TCWandCP.png


text:
User:Jenks

It's an Italian surname.

It's pronounced as Gol-jee.

Fabrizio

Where are you in the world? and it is pronounced goal-guy. The Director 16:37, 23 October 2005 (UTC)

title: User:Jenks


text:
Marryatville High School

Marryatville High School (MHS) is a public state secondary school in Adelaide, South Australia. The school is situated on a large area of land in the eastern suburb of Marryatville, part of the City of Norwood Payneham and St Peters. First Creek cuts through the school grounds and large gum trees line the property. The school was founded in 1976 during the Dunstan era, from the amalgamation of the Norwood Boys' Technical High School and the Kensington & Norwood Girls' High School.

History
Marryatville High School's roots go back to 1877, moving through several incarnations until its naming in 1976 as a co-educational high school:

Norwood Model School (1877–1942)
The Norwood Model School was opened on the east side of Osmond Terrace (between the Parade and Beulah Road) in response to the 1875 Act which provided for State funding of school buildings and compulsory education for children aged 7 to 13. With the establishment of Norwood High School in 1910, it continued as a "Central School" until they were abolished in 1940, at which point it became a Junior Technical School.

Norwood Boys Junior Technical School (1942–1960)
The Junior Technical School continued to expand at the Osmond Terrace site, and in 1944 the Education Department bought 20 acres on Kensington Road at Marryatville. In 1947 Premier announced that classrooms and workshops would be built at Marryatville, and in 1950 tenders were called and work began. The workshops were opened in 1953. enrolments increased rapidly through the 1950s.

Norwood Boys Technical School (1961–1973)
Norwood Boys Technical School was officially opened in 1961 and the school continued to expand. In 1964 the school enrolment was 695 boys, 784 students attending night classes, and the Astronomical Observatory opened. enrolments peaked in the low 700s in the late 1960s, but by 1972 this had dropped to 316 and it was announced that the school would be converted to a comprehensive high school.

Marryatville Boys' High School (1974–1976)
The school was renamed in 1974 with an enrolment of 290. In 1975 it was announced that the school would amalgamate with the Kensington & Norwood Girls' High School.

Marryatville High School (1976–present)
Marryatville High School, known colloquially by the school referring to itself and by others in reference to its sports teams, etc. as MHS, formed in 1976 with a focus on a special interest music program, which it maintains today. The first principal was Glen McArthur, who served in the position till 1991, by which time the school had a well-established reputation and enrolment.

Severe floods in November 2005 overflowed the banks of First Creek and caused some damage to the school.

Curriculum
Marryatville High School was accredited as an international school by the Council of International Schools in 2003 and formed a number of sister school relationships in France, Japan and China. The school specialises in particular subject areas, including music, drama, languages and tennis.

Music
One of the school's main focuses is music, as the school is one of four Specialist Interest Music Schools in South Australia. The Marryatville High School big bands have also won music competitions around the country, notably at Generations In Jazz several times over recent years. In 2007, the Concert Choir won the SA state final of the inaugural ABC Classic FM Choir of the Year Competition and second place in the national final, and won the Children's and Youth Choir section of the 10th International Choir Festival "Tallinn 2007" in Estonia.

The school provides two types of music education in the junior high school, known as Music I and Music II, also known as 'Elective Music' and 'Special Music'. The Music I program is less intense than Music II, with only 5 lessons of music a week while Music II has 10 lessons. Music II is aimed at musicians with professional music potential, and includes lessons in Musical Development, Theory and Composition, Music Experience, Concert Practice and Choir.

Drama
The Performing Arts Centre, named "The Forge", is able to showcase drama, dance and musical performances. For the official opening of the school's theatre in 2005, a production by drama students was presented to guests including then South Australian Premier Mike Rann and state member for Norwood Vini Ciccarello. When talking to the cast and crew after the opening show, Mr Rann exclaimed, "I've never seen anything this good, at either a High School, University or TAFE". The drama department performs year level performances for students in year 10, 11 and 12, as well as putting on a Fringe performance in term 1, that for the first time in 2018, included a class of dancers, led by Ms K Cornish.

Languages
Marryatville High not only has an international student program, but has a large influence on languages for students. All students in year 8 do a language for the year, one of the three, Chinese, French or Japanese, and are then given the choice to continue languages later during their high school life. The language staff include 2 Japanese teachers, 2 Chinese teachers, and 4 French teachers.

Tennis
Marryatville High School also has a strong tennis program for students who are chosen by the school when they are in years 6 and 7. Each year level contains an average of 7 tennis students. These students study tennis as a subject, with theoretical study, as well as practice lessons during, before and after school. The tennis program is taught by accredited coaches, and includes participation in many state and national competitions.

Facilities
Eden Park, a grand two-storey Victorian house, is now used as the high school's Year 12 campus; the timber stables have been converted into a music centre. In 2005 Marryatville's Performing Arts Centre, The Forge, was opened. It serves as a performance area for year 11 and 12 Drama Productions and is also used by outside theatre groups. There is also a large gymnasium.

The school's most modern blocks are H Block and the Pines, the latter of which began operations in 2022 with the influx of Year 7 students, which the school was hosting for the first time. H Block is predominantly used for the sciences, having lab classrooms which include Bunsen burner gas valves, sinks, and other scientific equipment.

The school has a very progressive agenda, being a 'discrimination-free zone', and is one of only a few schools in Adelaide with Unisex toilets. The school provides significant support to the LGBTQIA+ community, with activities during Pride Month and on Pride Day and consistent engagement and representation of the LGBTQIA+ in the school community.

Principals

 * 1942 Cliff Rooney
 * 1961 P B Hillbig
 * 1964 R M Macpherson
 * 1965 Norman Dowdy
 * 1969 G B Payne
 * 1975 Glen McArthur
 * 1992 Kate Castine
 * 2004 Mark Leahy
 * 2018 John Tiver

Notable alumni

 * Imogen Annesley, film actress (Playing Beatie Bow)
 * Tilda Cobham-Hervey, actress (52 Tuesdays, Hotel Mumbai)
 * Sam Duluk, member of the South Australia Parliament for Waite
 * Callum Ferguson, Australian cricketer
 * Michelle Lensink, South Australian politician
 * Brad McKenzie, Australian rules footballer, North Melbourne Football Club.
 * George Oates, designer
 * Marijana Rajcic, football player with Adelaide AFL club, ex-football player in Adelaide United FC
 * Katrina Sedgwick, founding director of the Adelaide Film Festival, and director of the Australian Centre for the Moving Image
 * Michelle Tumes, contemporary Christian musician

Film location
The film Hey Hey It's Esther Blueburger (2008) included several scenes filmed at the school.

The TV Series First Day (TV series) (2020) was filmed predominantly at the school.

title: Marryatville High School


text:
Talk:Dakota Wizards

Untitled
This article has become way too detailed and really unreadable. I propose chopping it down to a much more sensible size. --MatthewUND 06:39, July 26, 2005 (UTC)

External links modified
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title: Talk:Dakota Wizards


text:
User:Saluyot

 Ilokano edition of Wikipedia Ilokano writer, Iloko literature enthusiast, Philippine literature enthusiast, world literature enthusiast, technology/computer/internet enthusiast. Visit my blogs mannurat.com and geekmannurat and alsodadapilan.com, an Iloko literature web portal I maintain, for more.

Also a contributor in Tagalog Wikipedia, and one of the initiators of the Ilokano Wikipedia.

Articles I've started:
 * Ilokano literature
 * Ilokano writers
 * GUMIL Filipinas
 * Palanca Awards
 * Mabasa, Dupax del Norte, Nueva Vizcaya
 * Juan S.P. Hidalgo, Jr.
 * Reynaldo A. Duque
 * Manuel Arguilla
 * Philippine Literature in English
 * Edilberto K. Tiempo
 * Edith L. Tiempo
 * Silliman National Writers Workshop
 * U.P. National Writers Workshop
 * Salvador P. Lopez
 * Precious Lara Quigaman
 * Liwayway
 * Bannawag

Collaborating, contributing:
 * Ilokano language
 * Dupax del Norte, Nueva Vizcaya
 * Nueva Vizcaya
 * Cagayan
 * F. Sionil Jose

curiosities and tools

 * wiki stats
 * most popular wikis, etc.
 * kate's tool
 * start new page
 * redirect pages
 * upload files
 * policies & guidelines

title: User:Saluyot


text:
Wikipedia talk:Summaries

Stemming from the previously unwieldly Harry Potter (plot) and the VfD discussion on Harry Potter and the Half-Blood Prince - Full Plot Summary, I thought that a policy or at least guideline should be made on the matter. My proposed policy, perhaps to be inserted in the Manual of Style is as follows (written by User:Radiant! at Fiction) (elided, see project page)

Some discussion is at: Wikipedia_talk:Manual_of_Style, Village_pump_(policy)/Archive I, Wikipedia_talk:What_Wikipedia_is_not, and Wikipedia talk:Fiction. - Jamesmusik 2005-07-21 08:32:31 UTC

 * Support. --Janke | Talk 06:40, 26 July 2005 (UTC)
 * I support this. I would add something like Plot summaries long enough to require splitting out a separate page from what is otherwise a reasonable page on a sereis or gorup of works are generally a poor idea. DES 21:37, 27 July 2005 (UTC)
 * There have been a couple such pages moved to WikiBooks. How about making this into policy (with a caveat: if WikiBooks doesn't want it, tough)? Septentrionalis 22:58, 28 July 2005 (UTC)
 * How about In other instances, it may be more appropriate to transwiki the summary to Wikibooks. This should only be done according to Wikibooks' policies and guidelines. James 23:26, July 28, 2005 (UTC)

title: Wikipedia talk:Summaries


text:
Hokkaido Consadole Sapporo

Hokkaido Consadole Sapporo (北海道コンサドーレ札幌) is a Japanese professional football club based in Sapporo, on the island of Hokkaido. They currently play in the J1 League, which is the top tier of football in the country.

Unlike other teams, their main home ground at Sapporo Dome is also used by the Hokkaido Nippon-Ham Fighters baseball team, so some home games are moved to Sapporo Atsubetsu Stadium.

Name origin
The club's name "Consadole" is a combination of consado, a reverse of the Japanese word Dōsanko (道産子) and the Spanish expression Olé.

Toshiba S.C. (1935–1995)
Consadole's club tradition dates back to 1935 when Toshiba Horikawa-cho Soccer Club was founded in Kawasaki, Kanagawa. They were promoted to the now-defunct Japan Soccer League Division 2 in 1978. They adopted new name Toshiba Soccer Club in 1980 and were promoted to the JSL Division 1 in 1989. Their highest placement, 4th in the 1990 and 1991 seasons. Relegating themselves as they were not ready for J.League implementation, they joined the newly formed Japan Football League in 1992 and played the last season as Toshiba S.C. in 1995.

They sought to be a professional club, but the owner Toshiba did not regard Kawasaki as an ideal hometown. This was because Verdy Kawasaki, one of the most prominent clubs at that time, was also based in the city, which Toshiba apparently believed was not big enough to accommodate two clubs. (Verdy has since crossed the Tama River to be based in Chōfu City in the west of Tokyo and has been renamed as Tokyo Verdy 1969; the only remaining professional club is Kawasaki Frontale, originally part of Fujitsu.)

They decided to move to Sapporo where the local government and community had been keen to provide a base for a professional soccer team as they awaited Sapporo Dome to be completed in 2001. The ownership was transferred from Toshiba to Hokkaido Football Club plc. before the start of the 1996 season.

Toshiba does not have financial interest in the club any more but Consadole still boasts their forerunner's red and black colours on their uniform. The colours were an idea from then-player Nobuhiro Ishizaki (who played when the team was still based in Kawasaki and later coached them in Sapporo) who was a fan of A.C. Milan. It also became the symbol of Toshiba's sports teams such as Toshiba Brave Lupus Tokyo.

Consadole Sapporo (1996–2015)
Consadole Sapporo inherited the JFL status from Toshiba S.C.. Their debut season in 1996 was not overly successful as they finished 5th and missed promotion. However, they won the JFL championship in 1997 and were promoted to J.League.

In 1998, their first J.League season saw them finish 14th out of 18 but this did not guarantee them staying up. From the 1999 season, the J.League had 2 divisions and the play-offs involving five teams (four J.League sides and the champions of the JFL) were to be played. In order to decide who were involved in the play-offs, not only the results of the 1998 season but also those of the 1997 were taken account of. Consadole, who did not play in the previous season, was placed 14th in the aggregate standing and despite finishing above Gamba Osaka (who had finished fourth in 1997), was forced to face the play-offs. They lost all four games, two against Vissel Kobe, and another two against Avispa Fukuoka, and became the first-ever J.League side that experienced relegation.

In 1999, Takeshi Okada, the former Japan national team coach, was appointed as head coach in an effort to make an immediate comeback to J1, but this attempt failed as they finished 5th. Their heavy investment on players counted against them and, at this point, the debt owed by the club exceeded three billion yen (US$33 million). The bankruptcy looked a near-certainty.

In 2000, they cut costs dramatically. As a result, the team often included as many as eight on-loan players in the starting line-up. However, this strategy paid off and the club won the J2 championship as well as promotion to J1. The club posted a single-year profit for the first time in their history this year.

In 2001, they finished 11th in J1. However, at the end of the season, the club failed to persuade Okada to renew the contract and several leading players also left the club. In 2002, they finished bottom and were relegated to J2 for a second time.

In 2003, they again tried to return to the top-flight immediately by investing heavily but the team didn't perform well on the pitch. They finished ninth and their debt again crossed the 3-billion-yen mark.

The deficit-ridden club realized they needed a drastic restructuring and released highly paid leading players including mainstay Yasuyuki Konno. The rejuvenated but inexperienced team finished bottom of J2 in 2004. The bright side was their improved financial situation where the debt was sharply reduced to less than 100 million yen.

In 2005 and 2006, they finished sixth. In 2006 they also reached the semi-finals of the Emperor's Cup, 15 years after reaching the semi-finals in Kawasaki–the furthest they've reached in the Cup. In 2007 they finally earned promotion as champions and play in J1 in the 2008 season.

A loss on October 19, 2008, confirmed Sapporo's relegation to J2 for the 2009 season, overtaking Kyoto Sanga as the league's most relegated side. Having won the Japanese second-tier championship a record five times (including two JSL Second Divisions as Toshiba, and one former JFL title), they were promoted to Division One after finishing third in 2011. However, a torrid 2012 season ended with Consadole holding the highest goals conceded per game ratio, the worst points per game ratio and the highest loss percentage in J.League history as they were relegated after just 27 matches played, making the 2012 team one of the worst to have ever featured in the top division. From the 2016 season, the club has adopted the new name as "Hokkaido Consadole Sapporo".

Hokkaido Consadole Sapporo (2016–present)
In 2016, the club changed its name to Hokkaido Consadole Sapporo. After four years spent at the J2, Hokkaido Consadole Sapporo returned to the J1 ahead of the 2017 season, having been promoted as 2016 J2 League champions.

On 9 February 2018, the team won the inaugural Pacific Rim Cup tournament in Honolulu, Hawaii, defeating the Vancouver Whitecaps 1–0. 2018 was the season they reached their highest placing in the J.League era and in Sapporo – 4th, 27 years after achieving the same place in Kawasaki.

In January 2022, Hokkaido Consadole Sapporo's Thai player Chanathip Songkrasin who was part of the 2018 J.League Best XI joined Kawasaki Frontale with a transfer fee of around $3.8 million, breaking the J.League record for the highest domestic transfer.

In the year 2024, the club is marking its eighth consecutive season in the J1 League.

In popular culture
In the Captain Tsubasa manga series, two characters were from Hokkaido Consadole Sapporo, midfielder Hikaru Matsuyama (himself a Hokkaido native) and forward Kazumasa Oda. In 2017, Matsuyama became an Hokkaido Consadole Sapporo player, given a squad number, 36, and is also an official ambassador of the team from Hokkaido.

Mascot
Hokkaido Consadole Sapporo's mascot is Dole Kun, an anthropomorphic Shima Fukurou (or Blakiston's fish owl). The owl was chosen as not only was it on Consa's crest, but also because it is the largest owl in Japan, and it also lives in Hokkaido. He also enjoys having hot baths sometimes. He also is friends with Frep the Fox and Polly Polaris, the mascots of the Hokkaido Nippon-Ham Fighters, which can be attributed because the Fighters and Consa share the same stadium.

Out on loan

 * Past (and present) players who are the subjects of Wikipedia articles can be found here

Record as J.League member

 * Key
 * Pos.. = Position in league
 * Attendance/G= Average home league attendance
 * † 2020, 2021 seasons attendance reduced by COVID-19 worldwide pandemic.
 * Source: J. League Data Site

Affiliated clubs

 * 🇹🇭 Khon Kaen (March 2013−)
 * Long An (March 2013−)
 * 🇲🇾 Johor Darul Ta'zim (April 2016−)
 * 🇧🇪 Sint-Truidense VV (April 2019−)
 * 🇹🇭 Buriram United (June 2022−)
 * 🇮🇩 Persipura Jayapura (June 2023−)
 * 🇮🇹 AC Milan (March 2024−)

title: Hokkaido Consadole Sapporo


text: File:Oamaru stonework.jpg

title: File:Oamaru stonework.jpg


text:
User talk:Dna-webmaster

A personal message from me (Dna-Dennis) to fellow Wikipedians
I am not very active anymore on Wikipedia, therefore I hope that users who post messages here don't feel offended if I don't respond to requests. I hope, trust - and leave it to - other wikipedians to carry on working on and/or altering things I have created for Wikipedia (e.g. various maps, diagrams and images etc). I'll surely check here on my talk page now and then, but please don't expect me to take on any work at the moment; if I feel the urge I will do so, but - it's purely up to me :). Throughout the years I have talked to and collaborated with many professional and friendly wikipedians, and I am very thankful for this fruitful and interesting experience. I'll surely participate in some way concerning scientific articles now and then, tweaking a little here and there. Dna-Dennis (talk) 17:08, 20 January 2012 (UTC)

Gravitational Constant
What is the meaning of the parenthesis in the gravitational constant? — Preceding unsigned comment added by 24.16.182.40 (talk) 16:20, 8 March 2012 (UTC)

 * Hi, the parenthesis is the uncertainty (+-) of the measurement(s). See Gravitational_constant and Uncertainty. --Dna-Dennis (talk) 21:09, 8 March 2012 (UTC)

Defining celestial & elliptical
Ty for the graphic showing the celestial poles, etc.

I found it via google.

Could you explain on your graphic why they'r called celestial, and what elliptical means in the context  of your graphic?

Ty. 151.204.190.111 (talk) 14:28, 21 March 2012 (UTC)

space travel
earth rotates east to west at 17000 mph, and the shuttle obits at the same speed. If the shuttle is orbiting on the same trajectory as earth east to west would it appear stationary in the sky? 50.72.67.195 (talk) 21:17, 1 December 2012 (UTC)

File:WW2-Holocaust-Europe.png
Hey Dna,

There are several positional errors on this map:
 * Topovske šupe was in Belgrade, just a couple of kilometers away from Sajmište
 * Crveni krst should be a part of town of Niš, so these 2 are also very close, and both are too much west (and southwest)
 * Jasenovac is way more to the east

These are the errors regarding Yugoslavia that I found in one quick look.

Cheers, Mattija 20:59, 26 January 2013 (UTC)  — Preceding unsigned comment added by Mattija (talk • contribs)

 * I came, I saw, I was, I AM.* *TEE*HEE* If you would like to know what it is that I just did, please, ask me, I will pass all knowledge on freely. Now let us BE AT PEACE. — Preceding unsigned comment added by 2600:100D:B029:219D:79BE:2149:4532:362D (talk) 04:58, 18 February 2013 (UTC)

http://commons.wikimedia.org/wiki/File:Hitler-Headquarters-Europe.png
Hi, I just came across your map http://commons.wikimedia.org/wiki/File:Hitler-Headquarters-Europe.png and I have to make a few comments, because there a some errors in it. Pleas take no offense. ;-)

The lines that separate the German territories before and after 1938 - they are mostly wrong, especially those in today's Poland and Czech Republic. Take the 3 lines between Berlin and East Prussia - the western line is merely post-war, then there is no reason why one line is broken and two are continuous. Frankly, I'd leave them all out in Greater Germany (as you do it in Greater Hungary and Greater Romania), because those areas were actually under direct control of the Hitler regime back then, and the separation suggests a status like the protectorate. And they only partly show present borders, so that's inconsistent. Same in France - the line separating Vichy France and the other half looks like the state borders elsewhere. On the other hand, those in the Soviet Union make sense.

And why is Italy not coloured as an Axis state? It was a foundation member.

Ok, that's it. But it's a cool idea to make a HQ map. — Preceding unsigned comment added by 217.86.2.64 (talk) 17:24, 5 October 2013 (UTC)

File:WW1 TitlePicture For Wikipedia Article.jpg
Hi, please note that File:WW1 TitlePicture For Wikipedia Article.jpg has been nominated for deletion, as it contains a deleted unfree image. This image should be replaced if the collage is to remain. --Eleassar my talk 11:38, 4 November 2013 (UTC)

http://en.wikipedia.org/wiki/Oradour-sur-Glane
Nice work... — Preceding unsigned comment added by 2.50.22.97 (talk) 08:55, 9 January 2014 (UTC)

WikiProject Albania
Hello Dna-webmaster. Probably I am at the wrong place, but since you had listed your name here, I thought that you might be the person that can take care of tagging articles with WikiProject Albania. Some are tagged, some aren't. If you can't do that through a bot, could you please advise who would? Thanks! --Perkohesisht ai i vjetri (talk) 17:10, 10 January 2014 (UTC)

about Hitler bunker
Hello My name is Martin I have some comments on the information we published on wykipedia Bunker Plans is wrong  Soon I will publish a true map of bunker If You want get the real map please of contact me on mail  bbrown.m@googlemail.com Your Sincerely Martin  Brown  — Preceding unsigned comment added by 92.23.51.181 (talk) 17:27, 9 June 2014 (UTC)

Photos
Thank you for the excellent photographs of Oradour-sur-Glane. I am an American, but with great sensitivity about that war because I am a native German born in 1949. Nothing good happened during that war, but perhaps photos like yours will forever remind us of what we can become if we allow it. I have my doubts about my country here. But thank you again. I visited all your photos. One question about this one. I do not see the bicycle, only wheels, drums and of course the sewing machine. My user name is Furshur, but my name is Ken (My father was an American soldier). — Preceding unsigned comment added by Furshur (talk • contribs) 18:16, 27 October 2015 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:06, 23 November 2015 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:32, 23 November 2015 (UTC)

Visual legend
I was wondering if you have separate files for all the symbols you used on and subsequent maps. If you do, and they are available in commons, I could use them to create visual legend ( {{legend}} ) for those maps without one. Thanks very much. Carlotm (talk) 21:05, 18 April 2017 (UTC)

The Holocaust in occupied Poland
Great map. I have two small corrections to offer, related to the long caption/explanation. 1. Nazi-German-and-Soviet what? Your hyphenated construction is inconsistent. Soviet-Russian would be a better adjective parallel to Nazi-German. However, I think everyone familiar with this era will recognize what Nazi-and-Soviet means, so I recommend shortening to the simpler phrase, not lengthening. 2. Deportation routes are what color? Perhaps "rosy brown" is meaningful in Swedish, but not in English. In fact, the color appears mauve (grayish purple) on my screen. However, the arrows on your excellent map all have the same color, so I recommend cutting the color adjective entirely. Martindo (talk) 21:24, 14 November 2023 (UTC)

Nomination of List of military engagements of World War II for deletion
A discussion is taking place as to whether the article List of military engagements of World War II, to which you have significantly contributed, is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or if it should be deleted.

The discussion will take place at Articles for deletion/List of military engagements of World War II until a consensus is reached, and anyone, including you, is welcome to contribute to the discussion. Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article.

To customise your preferences for automated AfD notifications for articles to which you've significantly contributed (or to opt-out entirely), please visit the configuration page. Delivered by SDZeroBot (talk) 01:02, 18 January 2024 (UTC)

title: User talk:Dna-webmaster


text:
Category talk:Scientists

Comment 1
For a comprehensive list of scientists may I suggest a blog I came across recently

topscientists.rediffblogs.com

Comment 2
Why is a complete nut like Karl Schappeller listed here as a scientist? 141.2.22.211 14:51, 4 September 2006 (UTC)

 * Deleted on 11 Jan 2007. See Articles for deletion/Karl Schappeller. -- Alan Liefting ( talk ) - 09:40, 18 May 2008 (UTC)

Comment 3
Hi! I have some suggestions for improving the organization of this category. I thought to put them here to make clear what I'm doing, and to see what others think. They all seem pretty minor to me, but I wanted to make sure. :) The "Ancient scientists" and "Medieval scientists" categories are redundant because they are both in the "Scientists by period" category. The "List of female scientists before the 21st century" page would fit into that category pretty well too. It is already in the "Women scientists" category. Afterwards that page should be removed from this category. Perhaps a "Scientists by religion" category could be created? The "Roman Catholic cleric–scientists" page and the "Quakers in science" page would both fit well there. The "Heimatforscher" page would fit well into the "Scientists by field" category. The "Geoprofessions" page doesn't really seem to fit in this category. I think it would be a good idea to move it to the "Scientific disciplines" category. Gentlemen scientists pay for their own work, and government scientists are paid for, obviously, by the government. Maybe a "Scientist by funding" or similar could be created? The "International Network in Biolinguistics" is a group, so I think it would fit better into the "Facilities and organizations of science" category. I'd appreciate any feedback! Also, if someone else could help actually reorganizing, I'd be immensely grateful. Thank you very much for reading this! JonathanHopeThisIsUnique (talk) 13:20, 19 June 2014 (UTC)

title: Category talk:Scientists


text:
Torrealba

Torrealba is a surname, and may refer to:
 * Annae Torrealba (born 1975), Venezuelan singer
 * Daniela Torrealba (born 1989), Venezuelan model
 * Honorio Torrealba (1950-2010), Venezuelan comedian
 * Irania Torrealba (born 1953), Venezuelan architect
 * José Torrealba (born 1980), Venezuelan football striker
 * José Francisco Torrealba (1896-1973), Venezuelan microbiologist
 * Juan Vicente Torrealba (born 1917), Venezuelan musician and composer
 * Jesús Torrealba (born 1958), Venezuelan politician
 * Manuel Torrealba Lossi (born 1927), Venezuelan poet and writer
 * Moisés Torrealba (born 1978), Venezuelan musician
 * Pablo Torrealba (born 1948), Venezuelan baseball player
 * Pompeyo Torrealba (born 1946), Venezuelan militar
 * Rafael Torrealba (born 1953),  Venezuelan  jockey
 * Steve Torrealba (born 1978), Venezuelan baseball player
 * Witremundo Torrealba (1935-1981), Venezuelan microbiologist
 * Yorvit Torrealba (born 1978), Venezuelan baseball player
 * Alberto Arvelo Torrealba (1905 - 1971), Venezuelan lawyer, educator and poet
 * Mariángel Ruiz Torrealba (born 1980), Venezuelan actress and show hostees

title: Torrealba


text: User talk:70.150.36.30

title: User talk:70.150.36.30


text:
Yanaikatchai Mantaran Cheral Irumporai

Mantharan Cheral Irumporai (Tamil: மாந்தரன் சேரல் இரும்பொறை) was a ruler of the Chera dynasty in early historic south India (c. 1st - 4th century CE).

Biography
He was a warring ruler, and constantly moved about the frontiers of his dominions. He was hailed "Yanai Katchai" meaning 'the One with an Eye-sight Like an Elephant'.

According to early Tamil literature, Mantharan Cheral was a contemporary of famous Pandya ruler Nedum Chezhian (II, early 3rd century CE ). Purananuru tells that he participated in the battle of Talaiyalam-Kanam allied with Chola ruler Killivalavan and five other small rulers including Ezhini, Thithiyan, Irungo Vaenman, Porunan and Erumaiyuran against Nedum Chezhian. However, the Pandyas invaded the Chera country, won the battle and Mantharan Cheral was taken as a prisoner to Madurai. After his court trial at Madurai he was locked in a fort "inside a bamboo forest surrounded by the crocodile lake". Mantharan Cheral later escaped from his cell and returned to his country and "continued to rule his loving people in peace, plenty and harmony for many more uninterrupted years".

The Chola ruler was also at war with Mantharan Cheral, and Thervan Malayan chief of Miladu is said to have assisted the Cholas in these battles. Kurunkozhiyur Kizhar, a poet in the Mantharan Cheral's court, praises the king for having once saved a city called Vilamkil from the enemies.

Death
The poet Kurunkozhiyur Kizhar and Kudalur Kizhar who were present at the death of Mandaran Cheral state that the death was portended by a falling star (possibly a comet) seven days previous to the occurrence.

"...after a bright falling star -with a leg erupting backward, appeared in the sky, amidst the Aadu (Aries) constellation, from the first leg of a Karthikai starday - past midnight, through to the Anusham starday in the first fortnight of the month of Panguni (Phalguna), neither moving north nor east, staying aput in solitude as an island, with the North star wandering, the Moolam star rising opposite and passing above it, and the Mrigasirisham star staying low over the port of Thondi, on the seventh day Mantharan Cheral Irumporai died suddenly..."

The mentioned brightly visualised comet that appeared in the said month of March and April might have been the Halley's comet of February–April 141 CE under the Aries across Phalguna.

title: Yanaikatchai Mantaran Cheral Irumporai