text:
French conjugation

French conjugation refers to the variation in the endings of French verbs (inflections) depending on the person (I, you, we, etc), tense (present, future, etc.) and mood (indicative, imperative and subjunctive). Most verbs are regular and can be entirely determined by their infinitive form (ex. parler) however irregular verbs require the knowledge of more than just the infinitive form known as the principal parts of which there are seven in French. With the knowledge of these seven principal parts of a verb one can conjugate almost all French verbs. However, a handful of verbs, including être, are highly irregular and the seven principal parts are not sufficient to conjugate the verb fully.

French verbs are conventionally divided into three conjugations (conjugaisons) with the following grouping:
 * 1st group: verbs ending in -er (except aller and its derivates).
 * 2nd group: verbs ending in -ir, with the gerund ending in -issant
 * 3rd group: verbs ending in -re (with the exception of irregular verbs).
 * 1st section: verbs ending in -ir, with the gerund ending in -ant
 * 2nd section: verbs ending in -oir.
 * 3rd section: verbs ending in -re
 * aller and its derivates.

The first two groups follow a regular conjugation, whereas the third group is more complex. The third group is considered a closed-class conjugation form, meaning that most new verbs introduced to the French language are of the first group (téléviser, atomiser, radiographier), with the remaining ones being of the second group (alunir).

The verbs aller and its derivates are the only verbs ending in -er belonging to the third group.

Moods and tenses
There are seven different moods in French conjugation: indicative (indicatif), subjunctive (subjonctif), conditional (conditionnel), imperative (impératif), infinitive (infinitif), participle (participe), and gerund (gérondif). The infinitive, participle, and gerundive are not verbal moods.

Tenses are described under the mood to which they belong, and they are grouped as follows. Other tenses are constructed through the use of an auxiliary verb:

 * Indicative
 * Present (présent)
 * Present perfect (passé composé): literally "compound past", formed with an auxiliary verb in the present
 * Imperfect (imparfait)
 * Pluperfect (plus-que-parfait): literally "more than perfect", formed with an auxiliary verb in the imperfect
 * Simple past (passé simple)
 * Past perfect (passé antérieur): formed with an auxiliary verb in the simple past
 * Simple future (futur simple)
 * Future perfect (futur antérieur): formed with an auxiliary verb in the simple future
 * Subjunctive
 * Present
 * Past (passé): formed with an auxiliary verb in the subjunctive present
 * Imperfect
 * Pluperfect: formed with an auxiliary verb in the subjunctive imperfect
 * Imperative
 * Present
 * Past: formed with an auxiliary verb in the present imperative
 * Conditional
 * Present
 * Past (form 1): formed with an auxiliary verb in the present conditional
 * Past (form 2): formed with an auxiliary verb in the imperfect subjunctive
 * Infinitive
 * Present
 * Past: formed with an auxiliary verb in the present infinitive
 * Participle
 * Present
 * Past
 * Gerund: (constructed by preceding the present participle with the preposition en)

Auxiliary verbs
There are two auxiliary verbs in French: avoir (to have) and être (to be), used to conjugate compound tenses according to these rules:

 * Transitive verbs (direct or indirect) in the active voice are conjugated with the verb avoir.
 * Intransitive verbs are conjugated with either avoir or être (see French verbs).
 * Reflexive verbs (or "pronominal verbs") are conjugated with être.
 * être is used to form the passive voice. Être is itself conjugated according to the tense and mood, and this may require the use of avoir as an additional auxiliary verb, e.g. Il a été mangé (It was eaten).

Compound tenses are conjugated with an auxiliary followed by the past participle, ex: j'ai fait (I did), je suis tombé (I fell). When être is used, the participle is inflected according to the gender and number of the subject. The participle is inflected with the use of the verb avoir according to the direct object, but only if the direct object precedes the participle, ex:
 * il a marché, elle a marché, nous avons marché (he walked, she walked, we walked)
 * il est tombé, elle est tombée, nous sommes tombés, elles sont tombées (he fell, she fell, we fell, they (fem.) fell)
 * Il a acheté une voiture. Voilà la voiture qu'il a achetée. (He bought a car. Here is the car he bought)

As stand-alone verbs, the conjugation of the two auxiliaries is listed in the table below:

Avoir
This verb has different stems for different tenses. These are imperfect av- ; present subjunctive ai- ; future and conditional aur- ; simple past and past subjunctive e- (not pronounced: eus, eusse are pronounced as bare inflections ). Although the stem changes, the inflections of these tenses are as a regular -oir verb.

In the present, not only are there stem changes, but the inflections are irregular as well:

* Notice that the imperative form uses the subjunctive conjugation.

Non-finite forms:
 * Infinitive: avoir
 * Present participle: ayant
 * Gerundive: en ayant
 * Verbal adjective: ayant(s), ayante(s)
 * Past participle: eu(e)(s)

Auxiliary verb: avoir

Être
This verb has different stems for different tenses. These are all pronounced differently: imperfect ét- ; present subjunctive soi- ; future and conditional ser- ; simple past and past subjunctive in f-. The inflections of these tenses are as a regular -oir verb (that is, as an -re verb but with the vowel u in the f- forms). For example, subjunctive soyons, soyez is pronounced with the y sound of other -re and -oir verbs.

In the simple present, not only are there stem changes, but the inflections are irregular as well:

* The imperative form uses the subjunctive conjugation.

The non-finite forms use the stem êt- (before a consonant)/ét-  (before a vowel):
 * Infinitive: être
 * Present participle: étant
 * Gerundive: en étant
 * Verbal adjective: étant(e)(s)
 * Past participle: été

Auxiliary verb: avoir

First-group verbs (-er verbs)
French verbs ending in -er, which constitute the largest class, inflect somewhat differently from other verbs. Between the stem and the inflectional endings that are common across most verbs, there may be a vowel, which in the case of the -er verbs is a silent -e- (in the simple present singular), -é or -ai (in the past participle and the je form of the simple past), and -a-  (in the rest of simple past singular and in the past subjunctive). In addition, the orthographic -t found in the -ir and -re verbs in the singular of the simple present and past is not found in this conjugation, so that the final consonants are -Ø, -s, -Ø rather than -s, -s, -t.

Parler
Non-finite forms:
 * Infinitive: parl er
 * Present participle: parl ant
 * Gerundive: en parl ant
 * Verbal adjective: parl ant(s) , parl ante(s)
 * Past participle: parl é(e)(s)

Auxiliary verb: avoir (arriver, entrer, monter, passer, rester, rentrer, retourner, and tomber use être)

Exceptional contexts:
 * When the first-person singular present tense form of the indicative or subjunctive is found in inversion, the writer must change the final e to either é (traditional usage) or è (rectified modern usage), in order to link the two words : « Parlè-je ? »,, "Am I speaking?" (This is a very rare construction, however.)
 * When the second-person singular form of the imperative is followed by its object y or en, a final s is added: « Parles-en ! »,, "Talk about it!"

Exceptional verbs:
 * The verb aller, though it ends in -er is completely irregular and belongs to the third group.
 * In -cer verbs, the c becomes a ç before endings that start with a or o, to indicate that it is still pronounced /s/ (je déplac e - nous déplaç ons ); similarly, in -ger verbs, the g becomes ge before such endings, to indicate that it is pronounced /ʒ/ (je mang e - nous mange ons ).
 * In -oyer and -uyer verbs, the y becomes an i before endings that start with a silent e (nous envoy ons - j'envoi e ); in -ayer verbs, the writer may or may not change the y to an i before such endings (je pa ye - je pa ie ). Additionally, the future and conditional forms of envoyer start with enverr- rather than envoyer-; and similarly with renvoyer.
 * In -é.er verbs, the é becomes an è before silent endings, and optionally in the future and conditional tenses.
 * In -e.er verbs other than most -eler and -eter verbs, the e becomes an è before endings that start with a silent e (including the future and conditional endings). For example: peler (to peel) -> je p èle (present) / je p èlerai (futur) / je p èlerais (conditional).
 * In most -eler and -eter verbs, the writer must either change the e to an è before endings that start with a silent e, or change the l or t to ll or tt. In the rest of these verbs, only one or the other form is allowed. For example: appeler (to call) -> j'appel le (present) / j'appel lerai (futur) / j'appel lerais (conditional).
 * The verbal adjective of following verbs is irregular: adhérer - adhérent(e)(s); coïncider - coïncident(e)(s); confluer - confluent(e)(s); affluer - affluent(e)(s); converger - convergent(e)(s); déterger - détergent(e)(s); différer - différent(e)(s); exceller - excellent(e)(s); diverger - divergent(e)(s); négliger - négligent(e)(s); précéder - précédent(e)(s); violer - violent(e)(s); influer - influent(e)(s); communiquer - communicant(e)(s); suffoquer - suffocant(e)(s); provoquer - provocant(e)(s); naviguer - navigant(e)(s); déléguer - délégant(e)(s); fatiguer - fatigant(e)(s); intriguer - intrigant(e)(s).

Second-group verbs (-ir verbs / gerund ending in -issant)
The -ir verbs differ from the -er verbs in the following points:
 * The vowel of the inflections is always -i-, for example -isse in the past subjunctive rather than the -asse of the -er verbs.
 * A few of the singular inflections themselves change, though this is purely orthographic and does not affect the pronunciation: in the simple present and past, these are -s, -s, -t rather than -Ø, -s, -Ø. (The change in pronunciation is due to the change of vowel from e, ai, a to -i-.)
 * In the simple present, imperfect, the present subjunctive, and the gerund, a suffix -iss- appears between the root and the inflectional endings. In the simple present singular, this suffix has disappeared and the endings are -is, -is, -it.

choisir
Non-finite forms:
 * Infinitive: chois ir
 * Present participle: chois issant
 * Gerundive: en chois issant
 * Verbal adjective: chois issant(s) , chois issante(s)
 * Past participle: chois i(e)(s)

Auxiliary verb: avoir (partir uses être)

Third group
Most verbs of the third group end in -re. A few end in -ir and three end in -er. There are more irregularities in the third group than in the first two.

There is no single pattern that is followed by third group verbs, but rather a number of different paradigms. The verb perdre and its endings are frequently presented as an example for the third group conjugations. See the irregular verb section for more details.

perdre
Non-finite forms:
 * Infinitive: perd re
 * Present participle: perd ant
 * Gerundive: en perd ant
 * Verbal adjective: perd ant(s) , perd ante(s)
 * Past participle: perd- u(e)(s)

Auxiliary verb: avoir

First sub-conjugation: Verbs with seven principal parts
Most irregular French verbs can be described with seven principal parts. In reality, few if any verbs have separate stems for all seven parts; instead, they tend to "inherit" the same stem as another part. Note that the endings for these verbs are basically the same as for regular -ir verbs; in fact, regular -ir verbs can be fit into this scheme by treating the -iss- variants as different principal parts.

The following table shows how the paradigm of an irregular verb is constructed from its principal parts. Note that a few verbs construct the present indicative (especially the singular) differently.

1 The -t is regularly dropped when directly following a d or t (e.g. il vend "he sells", not *il vendt).

Non-finite forms:
 * Infinitive: (full infinitive, with suffix)
 * Present participle: 1P-ant
 * Gerundive: en 1P-ant
 * Verbal adjective: 1P-ant(e)(s)
 * Past participle: PP(e)(s)

The following table gives principal parts for a number of irregular verbs. There are a number of fair-sized groups of verbs that are conjugated alike; these are listed first. There are some additional irregularities in the present indicative, which are listed below. Nearly all irregularities affect the singular, and are purely issues of spelling. (Stems that are irregular in the sense of being unpredictable by the above rules are given in boldface.)

1 Only in Quebec French

2 The ending -t is regularly dropped when directly following a d or t (e.g. il vend "he sells", not *il vendt).

3 Alternation of "-ai-" and -oi- before consonant or unstressed e, "-ay-" and -oy- before other vowels is automatic in all verbs.

The following table shows an example paradigm of one of these verbs, recevoir "to receive".

Non-finite forms:
 * Infinitive: recevoir
 * Present participle: recevant
 * Gerundive: en recevant
 * Verbal adjective: recevant(e)(s)
 * Past participle: reçu(e)(s)

Verbs with eleven principal parts
Nine verbs also have an irregular subjunctive stem, used at least for the singular and third plural of the present subjunctive. These verbs can be said to have 11 principal parts, because the subjunctive stem may or may not be used for the first and second plural present subjunctive, the imperative and/or the present participle, in ways that vary from verb to verb.

The following table shows how the paradigm of an 11-principal-part irregular verb is constructed from its principal parts. Note that these verbs are generally the most irregular verbs in French, and many of them construct the present indicative (especially the singular) in an idiosyncratic fashion. The verb aller also constructs its past participle and simple past differently, according to the endings for -er verbs.

Non-finite forms:
 * Infinitive: (full infinitive, with suffix)
 * Present participle: 1P-ant or SUBJ-ant
 * Gerundive: en 1P-ant or en SUBJ-ant
 * Verbal adjective: 1P-ant(e)(s) or SUBJ-ant(e)(s)
 * Past participle: PP(e)(s)

The following table gives the principal parts for the 11-principal-part verbs. (Stems that are irregular in the sense of being unpredictable by the above rules are given in boldface.)

Aller
The verb aller means "to go" and is sufficiently irregular that it merits listing its conjugation in full. It is the only verb with the first group ending "er" to have an irregular conjugation. It belongs to none of the three sections of the third group, and is often categorized on its own. The verb has different stems for different tenses. These are all pronounced differently: past all- (simple past, imperfect, past subjunctive);  present subjunctive aill- ; conditional and future ir-. The inflections of these tenses are completely regular, and pronounced as in any other -er verb. However, in the simple present, not only are there stem changes, but the inflections are irregular as well:

The non-finite forms are all based on all- :
 * Infinitive: aller
 * Present participle: allant
 * Gerundive: en allant
 * Verbal adjective: allant(e)(s)
 * Past participle: allé(e)(s)

Auxiliary verb: être

1 In Classical French and even in certain dialects (like in Cajun and some Quebec dialects) je vas is used.

Inflectional endings of the three verb groups
1. In an interrogative sentence, the final e is written é (traditional spelling) or è (rectified spelling), and is pronounced as an open è. Additionally, the e in je becomes silent. For example: je marche (I walk), marchè-je? (do I walk?)

2. Only in je/tu peux (I/you can), je/tu veux (I/you want), and je/tu vaux (I am/you are 'worth').

. Verbs in -dre have a final d for the 3rd singular person, except for those ending in -indre and -soudre which take a final t. The verbs vaincre (defeat) and convaincre (convince) are conjugated as vainc and convainc, respectively, in 3rd singular person.

3. The only verbs having this ending are: assaillir (assail), couvrir (cover), cueillir (pluck), défaillir (default), offrir (offer), ouvrir (open), souffrir (suffer), tressaillir (shiver), and in the imperative only, avoir (have), savoir (know), and vouloir (want).

4. Except for je vins (I came), je tins (I held), etc..., que je vinsse (that I come), que je tinsse (that I hold), etc...

title: French conjugation


text:
Answer tone

Answer tone is a feature of wireline modems.

The answer tone is the first signal sent by the answering modem after the billing delay. In its most basic form, it is a single continuous tone with a frequency of 2100 Hz (or 2225 Hz for Bell modes). It is the tone heard by the caller after dialing the number.

The plain 2100 Hz tone is meant to disable echo suppressors on international trunk connections. It may include 180° phase reversals at intervals of 450 ms to disable network echo cancellers. It may also be amplitude modulated by a 15 Hz signal to indicate ITU-T V.8 capability.

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

title: Answer tone


text:
Crystal Enterprise

Crystal Enterprise is the Business Objects server-based delivery platform for Crystal Reports and Crystal Analysis originally developed by Crystal Decisions.

Crystal Enterprise is what is called a delivery platform in Business Intelligence terms. It provides an infrastructure for data access, which can store report templates. By using Crystal Enterprise, report designers can store report objects, instances of reports, schedule reports and request reports on demand through the use of clients, such as Web Browsers.

For example, an administrator could store a sales report on Crystal Enterprise, and schedule this report to be run at the beginning of every month. When the report is triggered, Crystal Enterprise would access the data sources specified in the report and save an instance of this report, which can be made available or automatically distributed to the relevant parties.

Supported platforms
Due to the complexity of the Crystal Enterprise, many factors must be considered for platform compatibility, such as Operating System, Web server, Application Server, databases and a combination of these factors. On the Crystal Enterprise installation CD, there is a text file called platforms.txt which covers every platform supported by Crystal Enterprise.

As for Operating Systems, Crystal Enterprise can run in many different Operating Systems, such as Windows 2000 Server, Windows Server 2003, Solaris, Linux, AIX and HP-UX.

Newer versions of Crystal Enterprise provide several add-ons such as integration with Microsoft Office applications (such as Microsoft Excel) and SharePoint Portal Integration kit.

Editions
Crystal Enterprise 11 was the last version, which was released after the acquisition of Crystal Decisions by Business Objects. This version was subsequently renamed Business Objects XI after adding Web Intelligence and Desktop Intelligence support.

Crystal Enterprise 10 had the following editions:

 * Crystal Enterprise Express
 * Crystal Enterprise Embedded Edition
 * Crystal Enterprise Professional
 * Crystal Enterprise Premium

title: Crystal Enterprise


text:
Leman

Leman may refer to:

People

 * Leman (surname)
 * Leman baronets, County of Hertford, England
 * Leman Altınçekiç (1932–2001), first female jet pilot in Turkey
 * Leman Bozacıoğlu (fl. 2006–2016), Turkish female football referee

Places

 * Léman (department), a former département, under the Napoleonic First Empire, France
 * Leman, Poland, a village in Podlaskie Voivodeship, Poland
 * Léman, a French name for Lake Geneva, in Switzerland and France
 * Leman, a town in Kersana Malima, Ethiopia

Education

 * Collège du Léman, a private, international school in Versoix, Canton of Geneva, Switzerland
 * Léman International School - Chengdu, China
 * Léman Manhattan Preparatory School, a private school in New York City, New York, U.S.

Other meanings

 * LeMan, a Turkish satirical magazine
 * Leman, a Dublin-based rock band involved in RTÉ's 2006 production of You're a Star
 * Leman, an archaic word for a man's unmarried (or extramarital) female lover

title: Leman


text: User talk:203.160.176.106

title: User talk:203.160.176.106


text:
Talk:The Report from Iron Mountain

Redundant or non-NPOV?
There is a statement that flirts with being non-NPOV: "...who seem unaware that in 1972 the satirist Leonard Lewin admitted he wrote it." It was stated earlier in the paragraph that Leonard admitted writing it. The second statement is redundant and possibly not NPOV. Any thoughts? 207.98.195.44 (talk) 03:32, 27 November 2012 (UTC)

Not a hoax, but fact.
My interest in the report centers not upon if it is a hoax or not, but rather upon if or not the ideas contained in it are meaningful and interesting, i.e. do they have anything productive to say about real world situations past or present, particularly regarding the role of war in the world, economically and psychologically? The report represents a perspective and an analysis regardless of it's authenticity and since wikipedia is a starting point for knowledge seekers; perhaps it would be useful to point the reader in the direction of any extant perspectives and analyses that are similar to, or sharply contradictory of the substance of the report conclusions. I feel the conclusions of the report are perhaps not clearly enough described in the present article. —Preceding unsigned comment added by 77.103.14.104 (talk) 16:05, 22 April 2010 (UTC)

Hoax?? Yeah sure..look around since 1963, wikipedia is bullshit —Preceding unsigned comment added by 71.77.135.111 (talk) 07:02, 26 January 2008 (UTC)

The neutrality of this history is questionable. The claim of hoax regarding "The Report from the Iron Mountain" is questionable due to the lack of background details on Leonard C. Lewin. We don't know much about why he would write such a convincing hoax in spite of actual circumstances and real events that are oddly correlated to the Report from the Iron Mountain. Even the confession from Leonard C. Lewin is dubious and suspicious. Perhaps he's not telling the whole story and just misleading you with a bizarre deception that we may not fully comprehend...yet.
 * Unsurprisingly, the above remark (made 20 July 2005) is anonymous. Navasky, I assume, is well enough known that I don't need to explain who he is, and is hardly a man one would expect to "cover" for the U.S. government. -- Jmabel | Talk 05:39, July 21, 2005 (UTC)
 * I think we should err on the side of calling this a hoax, simply because the author (Lewin) and the author's friend (Navasky) both said publicly that the piece was intended as a hoax. However, there have certainly been a lot of interesting observations made over the years regarding this report being factual and the hoax story being a cover, so we shouldn't necessarily conclude it's 100% a hoax either. In any case, since few people (i.e., primary or secondary sources) have been willing to go on the record as saying this is a real report, we should leave the hoax label as is and confine alternate theories to a proportionally small space. 99th Percentile 01:36, 21 August 2007 (UTC)

I do not think this article is very accurate in saying the Report From Iron Mountain is a hoax. I believe John Kenneth Galbraith himself confirmed its authenticy. Sincerely, Sutjo —Preceding unsigned comment added by 209.34.131.253 (talk) 17:54, 4 October 2007 (UTC)

The Report from Iron Mountain is not a hoax, and it is a real report in all seriousness. On November 26, 1976, the report was reviewed in the book section of the Washington Post by Herschel McLandress, which was the pen name for Harvard professor John Kenneth Galbraith. Galbraith, who also had been a member of the CFR (Council for Foreign Relations), said that he knew firsthand of the report's authenticity because he had been invited to participate in it. Although he was unable to be part of the official group, he was consulted from time to time and had been asked to keep the project a secret. Furthermore, while he doubted the wisdom of letting the public know about the report, he agreed totally with its conclusions.

He wrote: 'As I would put my personal repute behind the authenticity of this document, so would I testify to the validity of its conclusions. My reservation relate only to the wisdom of releasing it to an obviously unconditioned public.'

Six weeks later, in an Associated Press dispatch from London, Galbraith went even further and jokingly admitted that he was 'a member of the conspiracy' '

The original reporter reported the following six days later: 'Misquoting seems to be a hazard to which Professor Galbraith is prone. The latest edition of the Cambridge newspaper Varsity quotes the following (tape recorded) interchange: 'Interviewer: 'Are you aware of the identity of the author of Report from Iron Mountain?' Galbraith: 'I was in general a member of the conspiracy, but I was not the author. I have always assumed that it was the man who wrote the foreword - Mr. Lewin'' The joyous one (talk) 17:53, 9 January 2008 (UTC)

So, on at least three occasions, Galbraith publicly endorsed the authenticity of the report, but denied that he wrote it. —Preceding unsigned comment added by Elboertjie (talk • contribs) 17:53, 9 January 2008

 * I'm reverting to the January 3 version, prior to the addition of rewording which claimed that it was not a hoax on the basis of self-contradictory assertions by one person. I'll find a way to incorporate the additions concerning Galbraith's role as reviewer, but they cannot be taken as definitive or even credible evidence of a non-hoax.  I also think it's bad form to change the title of a discussion section unnecessarily as Elboertjie did  --Tony Sidaway 01:41, 23 January 2008 (UTC)

If you wish to use your way of arguing, that because there is not evidence of it being fact, then the same should apply to what you are claiming, there is no evidence that this is a hoax. Whatever evidence you point to that this is a hoax, has the same weight from counter-evidence that it is fact. So, you can't claim something to be a hoax if you say that fact can't be proven; whatever you claim has to be proven. I have changed the wording now to reflect that there are claims that it is a hoax just as there are claims that it is fact. The joyous one (talk) 12:31, 9 February 2008 (UTC)

Let's present all the information, with references to it (very important), and let the reader decide for themselves if this is a hoax or not. The joyous one (talk) 12:36, 9 February 2008 (UTC)

It is a hoax, get over it —Preceding unsigned comment added by 67.193.6.26 (talk) 07:54, 9 August 2008 (UTC)

"Reveal"/"Revelation"
This edit changed "The reveal" to "The revelation". Normally, I would consider "revelation" the better word, but I believe that "the reveal" is the more common term in stagecraft, mystery novels, etc., for the part of the performance/story where everything is made clear. But I won't revert without a third opinion. - Jmabel | Talk 20:49, 29 May 2006 (UTC)

See for a similar use of "the reveal". - Jmabel | Talk 23:22, 15 June 2006 (UTC)

 * I'm very new at this and am completely unfamiliar with the topic, but that may make me exactly what you're after. I think "The revelation" reads quite a bit more smoothly and naturally as a section header than "The reveal". If for some reason you're philosophically opposed to the use of the word "revelation" to describe a hoax, it might be better to rephrase the whole thing as "Revealing the hoax". Kickaha Ota 00:59, 16 June 2006 (UTC)

Leonard C. Lewin
I notice this author (who this article makes to be an important figure in 20th century literature) doesn't have an article -- not even a stub! Can't someone write it? —The preceding unsigned comment was added by 74.132.209.231 (talk • contribs) July 17, 2006.

 * I'm not sure I'd say "an important figure in 20th century literature"—no one would ever put him in a top 100, not even a U.S. top 100—but he's certainly a lot more important than a lot of people we have articles on. I'll see what I can do. - Jmabel | Talk 18:11, 22 July 2006 (UTC)

Validity of the document
Perhaps there are actually two questions:

1) How valid is the report as a description of the situation (as it was some 40 years ago "or at points thereafter), whatever its origin.

2) Whether the document was associated with an official/government source.

The truth or otherwise of the answer to each question is not dependent upon that of the other. (And - separate question - what "component of logic" describes the above?) Jackiespeel (talk) 16:02, 30 July 2008 (UTC)

Reference in fiction
The 1983 science fiction novel The Olympus Gambit by William Rollo contains a reference to the Iron Mountain report. One of the characters is approached by agents of a high ranking figure in the US intelligence community and asked to take fake alien artifacts to Mars. When asked why, the following is said:

I quote from the State Department Special Study Group paper of 1966 entitled On the Possibility and Desirability of Peace. I thought that was a hoax. Who told you that? When it was published, all the reviews said the chap wrote it himself. When it was leaked. Did the publishers say it was a hoax? The Olympus Gambit, pg 44

The discussion then continues on to describe how the discovery of the fake artifacts will be used to channel military monies into space exploration. This might be worth mentioning in the article. Graham1973 (talk) 09:45, 29 September 2009 (UTC) There is also a refrence to it made in Hanah Arendt's "On Violence" (page 5 footnote 4) —Preceding unsigned comment added by 159.28.161.151 (talk) 04:33, 12 October 2009 (UTC)

Needs rewrite
This article really needs a complete rewrite. This book was an antimilitarist satire/spoof and minor bestseller from the Vietnam War era (if anything a farce on the same level as the movie Dr. Strangelove), which for some reason conspiracy theorists rediscovered 20 years later and decided was a top secret government blueprint for implementing the "New World Order". The problem with the article is it doesn't make clear from the beginning that the book is satire, and gives WP:UNDUE weight to the fringe view that the book is a real government document. Conspiracy theorist interest in the book should of course be covered in the article, but not in such a way as to make it appear there is still some kind of legitimate controversy over the book's origins. According to all WP:RELIABLE sources the book is a spoof written by Leonard Lewin. There was a legitimate controversy over the book's origins in the late 1960s and early 1970s, but that was settled when Lewin came forward in 1972 and admitted he was the author. The article should state this upfront in the intro. 74.111.69.158 (talk) 13:01, 1 March 2010 (UTC)
 * I added some things to the intro that should address those issues. 74.111.69.158 (talk) 13:36, 1 March 2010 (UTC)

Because for some reason, J.K. Galbraith is not a reliable source. He was quite sane when he vouched for its authenticity, so either he was part of the great hoax or he was telling the truth and later recanted because he was threatened. Which is more unlikely? I leave now because Wiki is not worth anyone's time. —Preceding unsigned comment added by 68.197.236.146 (talk) 04:33, 13 July 2010 (UTC)

Page Looks Good To Me.

I am actually amazed that this page has not been sanitized to fit the bias of American Wiki staff. Usually if you want balanced information you have to search on the Spanish, Russian, Chinese and German wiki pages. — Preceding unsigned comment added by 99.162.4.7 (talk) 16:42, 23 March 2012 (UTC)

Whether "Report From Iron Mountain" is fiction or fact is a moot question
It doesn't matter whether the report is true or not, it is enough for it to be alarming. The present disarmament rate seems agonizingly slow. Yet disarmament is now serious. It appears to be the logical result of determining, with worldwide transportation, communications and space flight, the present array of secular facts about the world. The dream of flying to the Moon (and possibly Sun) is thousands of years old. At that time, religion was crude and imagination dominated it with images of all kinds. It was believed monsters and aliens could live in the Moon, Sun, planets and stars; gods might be there; wonderful new lands to live in might be there and fight over. It is no wonder that wars dominated the world until the recent, actual attainment of space flight by the Apollo Project. For peace, it was a terribly close shave. If the Apollo Project had failed miserably, world nuclear conflict could have ensued with the intention of destroying most of the existing cities. Fortunately the truth was determined: no place in the solar system is worth-or dangerous enough-to fight about with weapons of mass destruction. Habitable worlds and life may exist at other star systems but that's a very much different question. For the next century and possibly much more time, Earth is the only place to be and suddenly peace is vital and much more attractive.SyntheticET (talk) 08:24, 7 November 2011 (UTC)

You really believe that those in charge simply abandoned research into space travel? Of course many very intelligent engineers find it hard to believe you could land a rocket powered craft on the moon without a computer (given 1960s tape driven calculators are not computers). Under the existing police state we cannot get enough data to make informed conclusions about much of anything. — Preceding unsigned comment added by 99.162.4.7 (talk) 16:51, 23 March 2012 (UTC)

Creature from Jekyll Island?
Almost half this article seems to be taken almost verbatim from "A Creature from Jekyll Island" by G. Edward Griffin p516 - 528. Although the article does reference the book's original references, shouldn't the article reference the book as well? Could anyone comment on how much (if any) the book had to do with the popular understanding of "The Report from Iron Mountain"? Tcolgan001 (talk) 18:01, 11 December 2012 (UTC)

Publishing History
The publishing history lists only book publication. Sometime between 1966 and 1970 I read this work in some mass-circulation magazine---Saturday Evening Post, Look, something like that. 72.94.98.156 (talk) 07:15, 6 January 2013 (UTC)

Similar document
Should we create an article for Silent Weapons for Quiet Wars, a similar document? 173.88.246.138 (talk) 03:12, 26 April 2023 (UTC)

Lyndon Johnson & Authenticity
I've done a little clean up on the lede and section on publishing history. I'm inclined to remove "Reaction by Lyndon Johnson" and "Authenticity", since these don't really add much to the article. (The question of authenticity seems settled in reliable sources and what remains belongs here, on the talk page. The two-part issue of validity seems well-enough settled by simply pointing out that it is satire.) The bit on Johnson seems to be lifted from hoaxes.org, "authenticity" from Creature from Jekyll Island (and risks WP:PLAG). Before I remove those section, though, I thought I'd add a discussion note here to see whether there are any objections. Mr leroy playpus (talk) 17:27, 7 June 2024 (UTC)

title: Talk:The Report from Iron Mountain


text:
User:BrandonYusufToropov/Test

[]

title: User:BrandonYusufToropov/Test


text:
1953–54 in Scottish football

The 1953–54 season was the 81st season of competitive football in Scotland and the 57th season of the Scottish Football League.

Scottish League Division A
Champions: Celtic

Relegated: Airdrieonians, Hamilton Academical

Scottish League Division B
Promoted: Motherwell, Kilmarnock

Relegated: Dumbarton

Scottish League Division C
Promoted: Brechin City

County

 * * - aggregate over two legs

Scotland national team
Scotland qualified for their first ever World Cup in 1954 which was held in Switzerland.

Key:
 * (H) = Home match
 * (A) = Away match
 * BHC = British Home Championship
 * WCQG3 = World Cup qualifying – Group 3
 * WCG3 = World Cup – Group 3

title: 1953–54 in Scottish football


text:
Kim Jin-hi

Jin Hi Kim (born February 6, 1957, in Incheon, South Korea) is a composer and performer of komungo and electric komungo, and a Korean music specialist.

Kim is known as a pioneer for introducing geomungo (거문고, a Korean fretted board zither, also spelled komungo) to American contemporary classical music scene through her own cross-cultural chamber and orchestral compositions and her extensive solo work in avant-garde, as well as cross-cultural free improvisation. She is a Guggenheim fellow in composition and her recent works include the development of komungobot (algorithmic robotic instrument) and solo performances of the world's only electric komungo with live interactive MIDI computer system in her large-scale multimedia performance pieces.

Kim has received commissions from the American Composers Orchestra, Kronos Quartet, and Tan Dun's New Generation of East for Chamber Music Society of Lincoln Center, among others.

During the last three decades Kim has performed as a komungo soloist in her own compositions at Carnegie Hall, Lincoln Center, Kennedy Center (Washington, D.C.), Smithsonian Freer Gallery of Art (Washington, DC), Metropolitan Museum of Art, Asia Society (NYC), Haus der Kulturen der Welt (Berlin), and for collaborative improvisations at Royal Festival Hall (London), Venice Biennale, Moers Festival (Germany) and many significant international festivals throughout the USA, Europe, Canada, Latin America, South America, Russia, Asia, New Zealand, and Australia.

Early life
She began studies of traditional Korean music in South Korea in 1973, at her father's recommendation. She received a full scholarship to study at South Korea's first National High School for Korean Traditional Music (국립국악고등학교), one of 60 students accepted in the first year. The school was established under Ministry of Culture in association with the prestigious National Gugak Center for Korean Traditional Performing Arts (국립국악원). There, she practiced court orchestra music, learned both court and folk styles of singing (가곡 kagok, 판소리 pansori, 민요 folk song), drumming (장고 janggo) and bamboo flutes (단소 danso, 소금 sogeum), and selected the geomungo (거문고, a six feet long board zither with sixteen frets and six silk strings that are plucked with a thin bamboo stick) as her major instrument. Her selection of the instrument was audacious; dating to the fourth century, the geomungo had been favored particularly by male Confucian scholars, and was generally not played by women. Upon graduation she received Ministry of Culture's Outstanding Student Award (문화공보부장관상). She continued her studies with Korea's leading ethnomusicologists earning a B.A. degree in Korean traditional music theory and composition from Seoul National University in 1980. Upon graduation she received an award for rising new musicians and her composition was premiered for KBS-TV national broadcasting.

Move to the United States
Interested in learning more about the musics of other cultures but aware that this would not be possible in Korea, Kim emigrated in August 1980 to the United States, where she immersed herself in world music. She first attended the San Francisco Conservatory of Music and studied composition with John Adams for one year then transferred to Mills College in Oakland, California, where she studied with Lou Harrison, Terry Riley, David Rosenboom, and Larry Polansky and received an MFA in electronic music and recording media in 1985. She was awarded Paul Merrit Henry Prize upon graduation.

While in California, she also studied the Chinese guqin (an ancient 7-stringed zither) and Indian bansuri (bamboo flute) from G. S. Sachdev, and began to investigate the possibility of cross-cultural creative music.

During the 1980s, she regularly attended the New Music America festival, where she met many noted contemporary composers including John Cage, La Monte Young, Steve Reich, Philip Glass, Terry Riley, Lou Harrison, Laurie Anderson, Pauline Oliveros, Joan La Barbara, Morton Subotnick, Meredith Monk, Joseph Celli, Malcolm Goldstein, David Moss, Elliott Sharp, John Zorn and many others. From 1982 to 1988, she worked as a correspondent, interviewing and writing over 30 articles about those contemporary American composers for Eumak Dong-A, a Korean monthly music magazine published by the Dong-A Daily News.

Plunged into the American avant-garde music scene, she was invited to the Composer-to-Composer festival directed by Charles Amirkhanian in Telluride, Colorado, in 1989 and joined the one-week residency with John Cage and selected leading composers.

Kim premiered her commissioned works predominately in New York City and travels worldwide performing. Kim lives in Connecticut and teaches in the Music Department at Wesleyan University.

Instruments
Jin Hi Kim's primary instrument is the geomungo, though she also plays Korean percussion instruments such as janggo and dancer’s barrel drum set. With the Toronto instrument builder Joseph Yanuziello in 1998 Kim co-designed and now plays the electric komungo, for which she has created numerous interactive pieces with a MIDI computer system using MAX/MSP programmed by Alex Noyes. In collaboration with Alex Noyes Kim is developing komungobot, an algorithmic robotic instrument.

Career and works
Kim has released 15 CDs, including Living Tones, Komungo, Pulses, Komunguitar, Sargeng, No World Improvisations, and Sound Universe.

Cross-cultural compositions: Living Tones
Jin Hi Kim's compositions for Korean and Western instruments (both alone and in combination) have as their central focus the exploration of the Korean concept of shigimse (시김새), the technique of ornamentation used in traditional vocal and instrumental music. Although the term's literal meaning is not known, in 1985 Kim began to use the term "living tones" to describe this attitude toward melodic material as she applied it in her work. Thus, her compositions use newly developed forms of notation to indicate various types of vibrato, pitch bends, etc. in order that, as in Korean traditional music, each musical tone is given a unique expression and development. Kim's Living Tones CD features her signature bi-cultural compositions Nong Rock for string quartet and komungo, Tchong for flute and daegum, Piri Quartet for oboe/English horn with three piri(s) and Yoeum for kagok singer and baritone.

In 1986 she began to be recognized as a composer when she was commissioned by the Kronos Quartet for her work Linking. Jin Hi Kim is both composer and soloist for the following compositions: Nong Rock for the Kronos Quartet premiered at Alice Tully Hall, Lincoln Center in 1992; Voices of Sigimse for Chamber Music Society of Lincoln Center premiered at the Lincoln Center Summer Festival 1996 with Tan Dun conducting; Eternal Rock (2001) for American Composers Orchestra premiered at Carnegie Hall; and Tilings (2013) for Either/Or Ensemble conducted by Richard Carrick premiered at The Kitchen (NYC).

Kim also has introduced Korean tall and colorful barrel drums in the orchestra. Eternal Rock II (2006) was commissioned and premiered by the Boston Modern Orchestra Project, conducted by Gil Rose with Gerry Hemingway as soloist on drums. Monk Dance (2007) was commissioned and premiered by the New Haven Symphony Orchestra with Kim as soloist on the drums and Jung-Ho Pak conducting. Kim was Music Alive Composer-in-Residence with New Haven Symphony Orchestra (2009-2011) for which she premiered her commissioned Nori III for electric komungo and percussion quartet.

In 1998 Kim was featured composer for the Festival Nieuwe Muziek and Agate Slice was commissioned for Xenakis Ensemble (the Netherlands). Kim also performed her compositions as soloist with Empire State Youth Orchestra, Stanford Symphony, KBS Symphony (Korea), Zeitgeist, and Kairos String Quartet (Berlin).

Sociopolitical compositions
Responding to two wars involving American military in Asia, Jin Hi Kim composed two pieces, Child of War (2014) and One Sky (2005). A mixed choral piece, Child of War was dedicated to Kim Phuc who is renowned for ‘the girl in the picture' during the Vietnam War, was commissioned by John Marshall Lee and world premiered by The Mendelssohn Choir of Connecticut and Kim, conducted by Carole Ann Maxwell at Quick Center, Fairfield University. One Sky (2005), for chamber string orchestra and electric komungo, is dedicated to the reunification of North and South Korea, which was commissioned and performed by the Great Mountain Music Festival Orchestra, with Kim as soloist, at the Korean Demilitarized Zone (DMZ); Kim was featured on BBC The World/Global Hit radio program directed by Marco Werman for her One Sky; and the work was broadcast on KBS TV.

In collaboration with artist David Chung at the University of Michigan, Kim composed two soundtracks: Pyongyang, a multimedia installation, and Koryo Saram, an hour long documentary film about Korean refugees from Russia to Kazakhstan which was presented at Harvard University, Princeton University, Smithsonian Institution Freer Gallery of Art, and the Sackler Gallery (Washington, DC) and international film festivals including Sãn Paulo International Film Festival, Toronto Reel Asian International Film Festival, San Francisco Asian American International Film Festival, Vancouver Asian Film Festival and European Film Festival.

Multimedia performances
Kim has created hour-long cross-cultural multimedia works that led to a new direction incorporating Asian cultural heritage interfaced with emerging Western interactive technology.
 * Ghost Komungobot (2015): a true experience of mystic birds, for komungobot, electric komungo and visual design, in collaboration with Alex Noyes (interactive sound design) and Benton C Bainbridge (visual media) was co-produced by Harvestworks Digital Media Arts Center and CultureHub, The Art & Technology Center at La MaMa in New York City. Ghost Komungobot is a reflection of emerging aspects of American culture including robots, artificial intelligence, and explorations of multidimensional space in the universe.
 * Digital Buddha (2007-2014): a cosmic meditation, for electric komungo and komungo with video art (of Benton C Bainbridge and Joel Cadman), was performed at Metropolitan Museum of Art in 2004 and again in conjunction of 2014 Exhibition Silla; Korea's Golden Kingdom, Expo Cibao (Dominican Republic), Expo Zaragoza (Spain), Detroit Institute of Art, Korea Festival, Art & Ideas Festival (New Haven, Conn.), Festival Salihara (Indonesia), Bandung International Digital Art Festival (Indonesia), Roulette (New York City, NY), Cornell University, Yale University, Stanford Pacific-Asia Music Festival and Michigan University. Digital Buddha contrast both the neurotic intensity of American life with daily Asian meditative practice.
 * Touching The Moons (2000): a multi-media lunar ritual, interfaced electric komungo, Indian tabla, a Korean kagok singer, and an Indian kathak dancer with a computer-controlled MIDI system, sensors, and digital animation. Touching The Moons, won Wolff Ebermann Prize of International Theater Institute (Germany), was commissioned and premiered by The Kitchen (NYC) and performed at the Kennedy Center for the Performing Arts. Touching The Moons challenges the duality of Asian mythology and American scientific exploration of the Moon.
 * Sanjo Ecstasy : a 90-minute improvisational form for electric komungo, gayageum, haegum, janggo, drum set, and shaman trance dancer, was premiered at the Sanjo Festival in Jeonju, South Korea in 2003.
 * Dragon Bond Rite (1997): a masked dance and music, juxtaposed with diverse traditions from India, Indonesia, Korea, Japan, Tuva, and the United States. The work was commissioned and premiered at the Japan Society and performed at the John F. Kennedy Center for Performing Arts.

Cross-cultural improvisations
In 1986 Kim met Henry Kaiser and was quickly introduced to many other leading guitarists in the United States and Europe. Since then, she has improvised at many international festivals with Elliott Sharp, Bill Frisell, Derek Bailey, Hans Reichel, Eugene Chadbourne, James Newton, Evan Parker, Joseph Celli, Malcolm Goldstein, Oliver Lake, Billy Bang, William Parker, Leroy Jenkins, Peter Kowald, Reggie Workman, Mark Dresser, Joëlle Léandre, Jane Ira Bloom, Rüdiger Carl, Gerry Hemingway, and many other prominent figures in new music and avant-garde jazz.

For her own compositions and for collective creativity, she has improvised with traditional master artists from Asia and Africa including Kongar-Ol Ondar, Min Xiao-Fen, Wu Man, Samir Chatterjee, Mayumi Miyata, Vikku Vinayakram, Abraham Adzenyah, and Mor Thiam.

Awards
Kim received a 2001 Foundation for Contemporary Arts Grants to Artists Award, which was created by John Cage and Jasper Johns. She is a recipient of the composer fellowship from Guggenheim Foundation, American Composers Orchestra, National Endowment for the Arts, MAP fund from Rockefeller Foundation, McKnight Visiting Composer, Mary Flagler Cary Charitable Trust, Meet The Composer, Wolff Ebermann Prize of International Theater Institute, and Connecticut Commission on the Arts. She received the artist residence fellowship for the Rockefeller Foundation Bellagio Center (Italy), Asian Cultural Council to Japan and Indonesia, Fulbright Special Project to Vietnam, Djerassi Foundation (California), Composers Now Creative Residencies (Pocantico Center of Rockefeller Brothers Fund), and Freeman Artist-In-Residence at Cornell University.

Works about
An autobiography, Komungo Tango covering her 25-year performing career, was published (in the Korean language) in 2007.

A retrospective interview about Kim's major works was archived in Oral History of American Music at Yale University Library.

Kim is featured in Free Music Production (FMP)-In Retrospect, published in Berlin, Germany.

Interviews

 * Interview by Mike Heffley
 * Interview by Lonny Shavelson, Voice of America
 * Interview from PRI's The World-Global Hit

Listening

 * Korean Music Radio, October 2016
 * "Korean Music on Our Doorstep", from WNYC, 2003
 * "Jin Hi Kim Blends Komungo Styles with Western Music", Reported by Lonny Shavelson, PRI Global Hit, 2005

Video

 * Jin Hi Kim, The Komungo, BBC/PRI The World
 * Jin Hi Kim interview, from Exclamation! program, MBC TV
 * Jin Hi Kim interview, from Heart to Heart program, Arirang TV
 * KBS television program Han Nation (한민족 리포트)
 * MBC TV national broadcast of the film 100 Years of Sanjo

Articles

 * Asia as Silent Soul in the West (November 1999) Written by Jin Hi Kim, published by Asian American Renaissance for "Dancing Mosaic: A Pan-Asian Performance Showcase" Handbook, MN (1999); published by La Folio Magazine.
 * Adding White Noise to a Korean Lunar Ritual (May 2000)
 * A Korean Composer With Loyalty (March 2003)
 * Korean Identity in Cross-cultural Improvisation (October 2016) - Written by Jin Hi Kim Published by the Korea Society for World Music's Music and Culture Vol. 35

title: Kim Jin-hi


text:
Leaders of the Free World

Leaders of the Free World is the third studio album by English rock band Elbow, released on 12 September 2005 in the UK and 21 February 2006 in the US on the V2 record label. The Japanese version of the album (released on 7 September 2005) features two bonus tracks, "McGreggor" and "The Good Day", which were both B-sides to the first single "Forget Myself". Leaders of the Free World was entirely produced by the band at Blueprint Studios in Salford, Greater Manchester, a space the band hired for the duration of their recording sessions. The album reached number 12 on the British albums chart.

The band teamed up with video artists The Soup Collective to produce an integrated music and video DVD to accompany the album. In the UK there was a limited edition release of the CD and the DVD in a gatefold sleeve. When released in the US, initial limited copies contained the bonus DVD (with alternatively-colored green artwork).

The song "Mexican Standoff" was also recorded in Spanish. This version appears as a B-side to the "Leaders of the Free World" single.

Album cover
The album cover is highly reminiscent of the 1976 album A Trick of the Tail by Genesis, a group which is a major influence on Elbow frontman Guy Garvey. However this is completely coincidental, because the cover's designer had not seen the Genesis cover art prior to designing it. The album cover depicts five characters from the songs on the album itself:

 * 1) The ticket conductor from the train in "Station Approach" (or possibly the bus conductor in "Great Expectations").
 * 2) The bouncer ("the man at the door") from "Forget Myself". During "An Imagined Affair", Garvey sings "I drink until the doorman is a Christmas tree" possibly meaning the same character.
 * 3) The man "kicking up mischief" and drinking from "Picky Bugger" (or possibly the man who drinks "until the doorman is a Christmas tree" in "An Imagined Affair").
 * 4) A Mexican, from "Mexican Standoff".
 * 5) A man needing patching up, with tea and a bicycle pump, as in "Puncture Repair".

Singles
In the UK, there were two singles released from the album:
 * "Forget Myself" (29 August 2005)
 * "Leaders of the Free World" (7 November 2005)

Additional musicians

 * Alexis Smith and Jason Boshoff - additional programming on "Forget Myself", "Leaders of the Free World" and "My Very Best"
 * Jote Osahn and Stella Page - strings on "Forget Myself" and "My Very Best"
 * Strings arranged by Elbow, additional arrangement by Marius de Vries
 * Dylan Jupp - laughter on "Mexican Standoff"

title: Leaders of the Free World


text:
File:Ah-Rin.gif

Licensing
vi:Tập tin:20080701110748!Ah-Rin.gif

title: File:Ah-Rin.gif


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Robert Evander McNair

Robert Evander McNair Sr. (December 14, 1923 – November 17, 2007) was the 108th governor of South Carolina, a Democrat, who served from 1965 to 1971.

Early life and education
McNair was born in Cades, a town in Williamsburg County, South Carolina. In 1944, he married Josephine Robinson of Allendale, South Carolina. He served in the U.S. Navy during World War II, having been awarded a Bronze Star. After the war, he completed his bachelor's degree in 1947 at the University of South Carolina, where he was a member of the Euphradian Society. He received a law degree at the same school in 1948.

While attending USC, McNair served as the first governor of the South Carolina Student Legislature, was initiated into the Kappa Sigma fraternity.

Early career
He went on to practice law in Moncks Corner and Allendale, South Carolina. from which he was elected in 1950 to the South Carolina House of Representatives. He was elected lieutenant governor in 1962, then succeeded Donald S. Russell in 1965 when Russell resigned with the understanding that McNair would appoint him to a then-vacant United States Senate seat.

Governor of South Carolina
McNair won the 1966 general election over State Representative Joseph O. Rogers, Jr., of Manning, the first Republican gubernatorial nominee in South Carolina in the 20th century.

Orangeburg Massacre
McNair was governor during the Orangeburg Massacre in 1968, which he blamed on Black Power advocates, and called it a stain on the state's good record in civil rights. In 2006, decades after leaving office, McNair admitted responsibility for the deaths of the three Black civil rights activists killed in Orangeburg.

He said it was "one of the saddest days in the history of South Carolina." Following this, McNair became much more proactive in working to defuse tensions that were present during the integration of the public schools.

National politics
In 1968, McNair was considered as a potential running mate for Democratic nominee Hubert Humphrey. At the 1968 Democratic National Convention, McNair served as chair of the Southern Governors Conference.

Death and legacy
After his term as governor, he originated McNair Law Firm, P.A. in Columbia. He was inducted into the South Carolina Hall of Fame, and awarded an honorary doctorate in 2005 by Francis Marion University, a school which he signed into creation while governor in 1970. On May 21, 2009, McNair was inducted into the South Carolina Business Hall of Fame.

McNair was diagnosed with a cancerous brain tumor during a checkup on September 28, 2007, from which he died in Charleston on November 17. The following week, on November 25, 2007, the late Governor McNair's widow, former First Lady of South Carolina, Josephine Robinson McNair, died at age 84.

On December 19, 2007, about a month after her parents died, Claudia Crawford McNair died at age 50. She was from Jamestown in Berkeley County, South Carolina. On January 22, 2008, his son, Robert E. McNair, Jr., of Columbia, died at age 60 after a seven-year battle with cancer.

title: Robert Evander McNair


text:
Talk:Richard Dehmel

Untitled
Can someone translate the rest of the German version of this article? Thanks.--Pharos 03:08, 21 July 2005 (UTC)

title: Talk:Richard Dehmel


text:
15th Northwest Territories Legislative Assembly

The 15th Northwest Territories Legislative Assembly was the 23rd sitting legislature or council in Northwest Territories history. It lasted from 2003 until September 3, 2007. The primary membership was elected in the 2003 Northwest Territories general election. There were two by-elections conducted during the interim.

Joe Handley was Premier. David Krutko, then Paul Delorey were Speakers during the sitting.

Members elected in by-elections

 * Robert C. McLeod replaced Roger Allen in Inuvik Twin Lakes, November 29, 2004
 * Resignation of Roger Allen

 * Jackson Lafferty replaced Henry Zoe in North Slave, July 18, 2005
 * Resignation of Henry Zoe


text:
California State Lottery

The California State Lottery began in October 1985 after voters authorized it in Proposition 37, the California State Lottery Act of 1984. It offers a range of games including number draws, scratchcards and a mock horse race. The earnings provide supplementary funding for public education.

Lottery Act
The Lottery Act was intended to provide more money to schools without imposing extra taxes. Accordingly, the Lottery was required to provide at least 34% of its revenues to public education, supplementing (not replacing) other funds provided by California. Another 50% of its revenues must be paid to the public in the form of prizes, making a mandated minimum of 84% of all funds that must be given back to the public in the form of prizes or funds for public education. The remainder, a maximum of 16%, was to be spent on administration, such as salaries and running the games.

On April 8, 2010, Governor Arnold Schwarzenegger signed into law Assembly Bill 142 (Hayashi, D-Hayward). Amending the Lottery Act, this bill reallocates Lottery revenues "so as to maximize the amount of funding allocated to public education." As an urgency statute, this bill took effect immediately. The new allocation increased to at least 87% the portion of Lottery revenue returned to the public, and correspondingly decreased to a maximum of 13% the amount spent on administration. It then specified that "not less than 50% of the total annual Lottery revenues, in an amount to be determined by the commission, be returned to the public in the form of prizes." This leaves "the commission to establish the percentage to be allocated to the benefit of public education at a level that maximizes the total net revenues allocated to the benefit of public education." It also imposed requirements "to ensure continued growth in Lottery net revenues allocated to public education", with annual procedures that would, "in any one of the first 5 full fiscal years after the enactment of this measure, ... provide for the repeal of the changes made by this measure on the following January 1, and the prior law to be restored", if those requirements were not then met. This bill follows the practice of "other large state lottery systems, including Texas, North Carolina, and Florida, which have shown an increase in revenue through similar changes."

Commission
The Lottery Act mandates a five-member commission, appointed by the governor, to "oversee the Lottery and the Director" and make quarterly reports "to the Governor, the Attorney General, the Controller, the Treasurer, and the Legislature." Annually the commission selects a chairperson. Regular meetings of the commission are held at least quarterly and are open to the public. On January 29, 1985, Gov. George Deukmejian appointed the first Lottery commissioners: William Johnston, Laverta Montgomery, John Price, Howard Varner, and Kennard Webster. Deukmejian appointed the first director, Mark Michalko, formerly Ohio Lottery legal counsel, in May 1985. On 12 March 2012, Governor Jerry Brown appointed Gregory J. Ahern to the commission, who was also elected as Sheriff of Alameda County in 2006.

History
The Lottery Act of 1984 was presented to voters in November of that year as a ballot proposition, Proposition 37, and passed with 58% of the vote. On January 29, 1985, Gov. George Deukmejian appointed the first Lottery commissioners: William Johnston, Laverta Montgomery, John Price, Howard Varner, and Kennard Webster. The Act mandated an extremely tight timeline for establishing the Lottery and bringing it to operational status. To comply, the state government immediately built the Lottery's original headquarters in only three months in the Richards neighborhood of Sacramento (just north of downtown), where it has been located ever since. Governor Deukmejian appointed the Lottery's first director, Mark Michalko, formerly Ohio Lottery legal counsel, in May 1985. The first lottery games were Scratchers; sales began on October 3, 1985. A weekly Lotto game began a year later on October 14, 1986. Games hosted by the California Lottery include MEGA Millions, Super Lotto Plus, Fantasy 5, Daily 4, Daily 3, Daily Derby, and Scratchers.

In 1996, as a result of a lawsuit by a pachinko parlor and an association of owners and trainers of race horses, the Supreme Court of California unanimously struck down the lottery's implementation of keno, ruling that it was a house-banked game, not a lottery game, which at that time was illegal anywhere in California. In her opinion for the court, Associate Justice Kathryn Werdegar explained that the California Penal Code and case law interpreting the Penal Code have traditionally distinguished between a "lottery" and a "banked game" or "banking game", and it was the intent of the state electorate in enacting the Lottery Act to allow only a "lottery". In a true "lottery", the players play against each other; in a "banked game", they play each other and against the house. The critical distinction between the two is that a bank in a "banked game" can be broken based purely upon whether each of the individual bets is won or lost; the house unconditionally promises to pay prizes on all winning bets with no maximum ceiling. The high court explained that while this definition of a lottery does not prohibit fixed-prize lotteries, such lotteries are valid only if the total prize amount and the maximum number of fixed prizes to be won are fixed before the draw. Subsequently, California Attorney General Dan Lungren also ruled that Daily 3, which at the time had fixed payouts, also was illegal because it created an interest on the part of the state that fewer people should win, contrary to a lottery where the operator has no stake in the outcome of the draw. In response to these rulings, the Lottery modified Keno and created Hot Spot, which has a pari-mutuel payout format, and modified Daily 3 to a pari-mutuel format where payouts vary depending on the number of individuals who picked the winning numbers.

California joined Mega Millions on June 22, 2005; it became the 12th jurisdiction to offer the game, and the last to join before the 2010 cross-sell expansion with Multi-State Lottery Association (MUSL). A Mega Millions drawing was held in Hollywood to commemorate the event.

In September 2011, the California Lottery moved into a new $58 million headquarters at 700 North 10th Street across the street from the old one, which it promptly demolished. Because it was built in a frantic 90-day rush to comply with the Lottery Act, the original headquarters had numerous construction defects in the roof, foundation, and elevator, as well as a mold problem.

California, while initially never desiring to offer Mega Millions's rival Powerball, was briefly a member of the MUSL because an "international" lottery game that would have included a number of US lotteries was planned; however, the game never came to fruition. However, in February 2012 the California Lottery initiated an impact analysis of the Powerball game, in preparation for a recommendation in July 2012. Subsequently, the Fiscal Year 2012–2013 Business Plan included funding for a launch of Powerball within the fiscal year, with Powerball launching in California on April 8, 2013. As a result of the California Supreme Court's decision, California is the only state with variable payouts for both games.

Daily 3
Playing Daily 3 involves picking three digits 0 through 9 and a playstyle. Bettors can choose Quick Pick to have the numbers picked randomly by computer. The playstyle choices are straight (this is the default if the player doesn't choose one) box, or straight/box. The game costs $1 per play, per draw, and the Advance Play option allows up to 14 consecutive draws. There are two draws every day, televised at 1:29pm and 6:59pm.

Daily 4
A "pick 4" type game premiered on May 19, 2008. Each play costs $1 and drawings are held once per day. Playstyles, like "Daily 3".

Daily Derby
Daily Derby is a mock horse racing game. Players choose three horses out of 12, one each to finish first (win), second (place) and third (show); players also choose a race time from 1:40:00 to 1:49:99, by marking the last three digits of the time on the playslip. Alternately, players can select Quick Pick to have the computer choose the horses, the race time, or both. Daily Derby also offers Advance Play for up to 14 consecutive draws. The game costs $2 per play, per draw; held daily at 6:35pm and televised at 6:59pm.

Fantasy 5
Fantasy 5 players choose five numbers from 1 through 39. A ticket includes up to five sets of numbers; they can be played up to 12 drawings. Games cost $1 per play. Fantasy 5 is drawn evenings at 6:35pm and televised at 6:59pm. The starting jackpot ranges between $60,000 and $80,000. Players can win by matching 2, 3, 4, or all 5 numbers in any order with the numbers selected on their fantasy 5 tickets.

A player who bought a $5 Fantasy 5 ticket used to get a coupon to mail in for a "second-chance" drawing to be on the Make Me a Millionaire show, or to play the Dream Machine on the first TV show, The Big Spin. That drawing was cancelled in July 2010 and now players receive a "second-chance" coupon with a twenty digit code. Players can enter those codes at www.calottery.com/fan5 to be entered into a weekly drawing for a cash prize ranging from $1,000 to $10,000.

SuperLotto Plus
SuperLotto Plus is a lotto game played in the style of Mega Millions and Powerball. SuperLotto Plus is drawn every Wednesday and Saturday. The game began in 1986 as Lotto 6/49 (which was played similarly to the Canadian version of the game), then changed to SuperLotto somewhere in the 90s (with the matrix of 6/51). In 2000, the name was changed to SuperLotto Plus. Its starting jackpot is $7 million (annuitized); a cash option is available for jackpot winners. SuperLotto Plus players choose five numbers from 1 through 47, and one Mega Ball number from 1 through 27.

While the cash option usually is chosen, the SuperLotto Plus annuity is graduated. The advertised annuity jackpot represents a 30-payment graduated annuity stream, with the graduated payments beginning at 1.51% of the jackpot amount and rise exponentially such that the final payout is 6.20% (more than quadruple that of the first payment) of the advertised jackpot amount. Prior to 2013, the first payment was 2.5% of the annuity value (or share) of the jackpot, with the second installment 2.7%. The remaining 24 payments increased by 0.1 percentage point yearly, so that the final (26th) installment represented 5.1% of the annuity.

Hot Spot
Hot Spot is a quick-draw keno style game. The game was updated on August 1, 2011, to allow players to choose to play any number of "spots" from 1 through 10 from a pool of numbers from 01 through 80. A new higher top prize of $100,000 was also offered for 10 spot play. Previously, players could only choose to play 2, 3, 4, 5 or 8 spots. Wagering can be either $1, $2, $3, $4, $5, $10, or $20, for a maximum of 100 consecutive draws. In addition, players can choose a Bulls-Eye wager for each draw, hoping to hit the 1 number out of the 20 numbers drawn that is selected as the bulls-eye number. Drawings occur every day and every four minutes from 6:00 am until 2:00 am. Lottery retailers have monitors that display Hot Spot drawings and recent results from other Lottery games. Fixed prizes are awarded. To meet the pari-mutuel requirements, a continuous "wagered prize fund" is created from 63% of gross sales, which ensures that the fixed payouts are met under normal circumstances, and calls for reductions should an unusually large number of individuals win a particular prize. If the wagered prize fund exceeds $2.9 million, prize augmentation and promotions are created to distribute the excess funds.

Multi-jurisdictional games
The CSL's involvement in multi-state games includes part-time employees stationed in Atlanta (for Mega Millions) and Tallahassee, Florida (for Powerball), or wherever each game may be drawn, in order to fulfill the Lottery Act's requirement that a CSL employee supervises and audits the drawings for each game offered.

Mega Millions
In 2004, Gov. Arnold Schwarzenegger, as part of his redesign of California government, suggested that California join a multi-jurisdictional lottery. In June 2005, the Lottery Commission voted to join Mega Millions.

California is unique among the 45 Mega Millions participants in that all nine prize levels for Mega Millions within its borders are always parimutuel, rather than each non-jackpot prize having a set value. This leads to different prize amounts for equivalent winners sold in California when compared to those sold in the other 44 jurisdictions. For example, the "advertised" second prize in Mega Millions is $1,000,000; but in California the record amount was set for a $3.9 million sold in Hacienda Heights in 2023 as part of the roll for a $1.1 billion jackpot. The second prize pool within California frequently rolls; it is, in effect, a "secondary jackpot". Unlike the other Mega Millions members, California currently does not offer the Megaplier, which is drawn in Texas by a random number generator.

Powerball
In February 2012, as a response to declining sales and low per-capita revenue from the lottery, California Lottery management initiated a review of whether Powerball would be appropriate for the state. In September 2012, the Lottery Commission approved management's request to launch Powerball in April 2013, citing a net increase in revenue of $90 to $120 million as a result of Powerball, desiring to avoid the launch of a $20 scratcher in fall 2013.

In November 2012, California promulgated the regulations for Powerball in the state. Similar to Mega Millions, all non jackpot draws in the state are within an intrastate pool, with California sending its jackpot share (30% of draw sales) to MUSL for addition to the multi-state jackpot pool. This leads to different prize amounts for equivalent winners sold in California when compared to those sold in the other 44 jurisdictions. Each pool for a particular prize category will rollover, thus the "pick 5" prize will create a secondary jackpot similar to the "pick 5" payout in California's implementation of Mega Millions. The record amount was set in 2023 for $3,987,429, as part of a $600 million jackpot roll. Also, as a result of the California Supreme Court ruling which mandates pari-mutuel payouts, California will not participate in the PowerPlay multiplier option. California launched Powerball on April 8, 2013, with the first drawing on April 10, 2013.

Draw games
Little Lotto: A pick 6-out-of-39 game with a fixed top prize of $500,000. A year later, it became Fantasy 5.

Decco: Played in a similar fashion as most US "pick-4" drawing games, except players had to match one playing card(2 through Ace) in each of the four suits.

Topper: Each SuperLotto Plus ticket automatically was printed with the names of three of California's 100 then-most-populous-cities(e.g. Los Angeles, San Diego, Sacramento). If the player wagered an additional $1, they were eligible to win up to $25,000 in the Topper drawing, which was drawn by random number generator.

Raffle
The California Lottery offered two raffles; March 17, 2007 and one on January 1, 2008. The raffles offered the best chance to win a $1 million prize, as well as various smaller prizes, and were designed to respond to lottery players' complaints that many million dollar prizes be offered instead of a few larger prizes. However, the raffles did not sell out, and were not repeated.

TV game shows
The California Lottery has had two TV game shows.

The Big Spin
The Big Spin, the California Lottery's first game show, broadcast its final episode on January 10, 2009, ending its run as the longest-running lottery game show in the US. The Lottery had several methods for choosing contestants, including prizes in Scratchers games and "second-chance" drawings from other games. The top prize was fixed at $3 million; the minimum guaranteed prize was $1,750. While Big Spin Scratchers remained in circulation in 2009, winners who would previously have spun the wheel on The Big Spin had the option to spin the wheel—untelevised—as an alternative to going to the Make Me a Millionaire show, which succeeded The Big Spin. Following the show's ending in 2009, the California Lottery commission deemed the wheel to be too historic to salvage, and decided to preserve The Big Spin wheel as part of a permanent exhibit at their headquarters in Sacramento. Guests are invited to spin the wheel for fun without cash prizes.

Make Me a Millionaire
Make Me a Millionaire, the California Lottery's second TV game show, debuted on January 17, 2009, for an initial four-year run with host Mark L. Walberg and co-presenter Liz Hernandez. On May 4, 2010, the California Lottery announced the show's cancellation due to poor ratings, with the last program telecast on July 3, 2010. The show will not be replaced; money that was allocated for its production will be used for prizes for the Lottery's Scratchers games.

Players qualified for the Make Me a Millionaire show by winning in the "Make Me a Millionaire" Scratchers game, or by a Fantasy 5 second-chance drawing; when the show began, winners from "Big Spin" Scratchers also qualified. After the TV show was canceled, winners of the "Make Me a Millionaire" Scratchers games, which were sold until June 25, 2010, had until December 22, 2010, to claim their opportunities to play and win prizes off the air. Similarly, Fantasy 5 second-chance draw coupons, which were discontinued on July 4, 2010, could be submitted by December 31, 2010. Five unaired episodes of Make Me A Millionaire were produced and made available for viewing on the Lottery's YouTube channel.

During the game play, each of the 12 contestants won at least $2,000; seven of the contestants were selected randomly to play four different games of chance with a top prize of at least $1 million. The first game, Lucky Penny, gave three players a minimum prize of $2,000 and the possibility of winning a car. The second game is Safe Cracker, in which two players competed for prizes ranging from $2,000 to $92,000. Next is California Cool, with one player and prizes ranging from $5,000 to $200,000. The last game is Millionaire, also for one player; it guaranteed $10,000 with a jackpot that began at $1 million, increasing by $200,000 each week until won.

Scratchers
California sells scratch cards under the branding "Scratchers". The prizes are smaller than other lottery games, but there are better odds (averaging 1:5). There are dozens of Scratchers games on sale at any time, and the selection of games changes frequently. Winners must be claimed within 180 days of the announced end-of-game date. Scratchers range in price from $1 to $30. A $20 scratcher, "$5 Million Jackpot", was introduced September 25, 2013. To commemorate the Lottery's 30th anniversary, on August 24, 2015, a $30 Scratcher "California Lottery 30th Anniversary" was launched.

Claiming prizes
For each prize of less than $600, players may collect from either a Lottery retailer or the Lottery itself. Prizes of $600 or more must be collected from the Lottery, via claim form.

Claim period
Almost all prizes must be claimed within 180 days of the draw or the announced end of the game. If the 180th day is a weekend or holiday, the final claim date is extended to the next business day. Any unclaimed prize money is transferred to the education fund in addition to the minimum 34% that the Lottery is already obligated to transfer from income.

Because many of the 44 Mega Millions participants have a one-year claim period, the California legislature changed the language in the Lottery Act. On April 23, 2008, Gov. Arnold Schwarzenegger signed Assembly Member Van Tran's Assembly Bill 1251, modifying California Government Code section 8880.321 to allow for a one-year claim period for a Mega Millions jackpot prize. This is the only prize in California that has a one-year claim period. All other prizes have the 180-day claim period. This legislation affected Mega Millions drawings after July 5, 2008.

Payment options
All prizes for Fantasy 5, Daily Derby, Daily 3, Daily 4, and non-jackpot SuperLotto Plus, Mega Millions, and Powerball prizes, are paid out in one payment, less 24% or 33% (depending upon the winner's tax documentation) Federal withholding if the prize is over $5,000. Merchandise prizes over $5,000 are subject to 33% Federal withholding. Scratchers tickets are generally one-payment prizes; however, some games have annuity options for payments each year, or per week. California does not tax California Lottery winnings, however it taxes lottery winnings from other jurisdictions. For SuperLotto Plus and Mega Millions jackpots, the player may choose a single cash payout for a floating percentage of the jackpot, or an annuity. The SuperLotto Plus, Mega Millions, and Powerball payment schedule are on a graduated basis over 30 annual payments. Until 2005, when California joined Mega Millions, the payment choice on SuperLotto Plus had to be made when the ticket was bought. Since then, there is a 60-day window after winning, in which the choice of cash or annuity is to be made.

Unclaimed prizes
Unclaimed prizes remaining after the claim period expires always go to supporting California's public schools. As of the end of FY 2013–14, a total of $793.5 million in unclaimed prizes have been awarded to education.

TV Stations
As of 2022, California Lottery Drawings are Televised Daily at 1:29pm & 6:59pm, with SuperLotto Plus Drawings Televised between 7:57pm–8:00pm on Wednesdays & Saturdays, Mega Millions Drawings Televised on Tuesdays & Fridays and Powerball Drawings Televised on Mondays, Wednesdays & Saturdays between 8:00pm–8:25pm Pacific Time. California Lottery Drawings aired at each local station.

Bakersfield - KBAK-TV

El Centro, CA/Yuma, AZ - KYMA

Eureka - KIEM-TV

Fresno - KFSN

Los Angeles - KCAL-TV

Monterey/Salinas - KION-TV

Palm Springs - KMIR-TV

Redding/Chico - KRVU-LD

Sacramento - KTXL

San Diego/Tijuana - KSWB-TV

San Francisco - KRON-TV

Santa Barbara/San Luis Obispo/Santa Maria - KSBY

Controversies
On March 15, 2022, former lottery Investigator Reid Galbreath released a book titled "What Are The Odds? Blowing The Whistle on California's Lottery." Galbreath exposed several instances of the lottery misappropirating public funds meant for education and ignoring/violating established regulations against such conduct. Galbreath's book also cited an investigation by the California State Auditor which exposed millions of additional public money misspent by the California Lottery. To date none of the owed money has been repaid to education.

title: California State Lottery