text:
Dwight William Tryon

Dwight William Tryon (August 13, 1849 – July 1, 1925) was an American landscape painter in the late 19th and early 20th centuries. His work was influenced by James McNeill Whistler, and he is best known for his landscapes and seascapes painted in a tonalist style.

Biography
Tryon was born in Hartford, Connecticut, to Anson Tryon and Delia O. Roberts. His father was killed in a gun accident before Tryon reached four years of age, and Tryon was raised by his mother on his grandparents' farm in East Hartford. His interest in art evolved naturally. As a young man Tryon took a job at a prominent Hartford bookstore and studied art instruction manuals from the store shelves. He also took to sketching the surrounding countryside during his off hours.

Tryon sold his first painting in 1870. After exhibiting and selling work locally, he successfully exhibited at the National Academy of Design in 1873. His artistic convictions affirmed, Tryon married Alice Belden, quit his job at the bookstore and became a full-time artist. Some of his first works from this period are seascapes and harbor views executed in a luminist manner. Soon after, however, Tryon's style shifted towards the Barbizon school, which was then becoming popular among American artists. He may have been influenced by the works of George Inness and Alexander Helwig Wyant.

In 1876 Tryon decided to advance his skills through a formal study of art. He sold all of his paintings at auction and, with the help of a benefactor, traveled to France with his wife. He enrolled in the atelier of Jacquesson de la Chevreuse, and took classes at the École des Beaux-Arts. He also received instruction from Charles-François Daubigny, Henri Harpignies, and Jean Baptiste-Antoine Guillemet. Impressionism was blossoming in France all around Tryon, but he was not swayed by the new style and remained comfortably within the realm of the Barbizon school.

Tryon traveled and sketched Europe with his wife, and met Abbott Handerson Thayer and his wife with whom he became friends. He returned to the United States in 1881 and settled in New York City where he taught and painted landscapes. In New York, Tryon became friends with artists Robert Swain Gifford and Thomas Dewing. He became an early member of the Society of American Artists and continued to exhibit paintings to the National Academy of Design. He also became a member of the American Water Color Society and the National Institute of Arts and Letters (now The American Academy of Arts and Letters).

On the advice of Gifford, Tryon and his wife built a summer house in South Dartmouth, Massachusetts in 1887. Though he would continue to spend each winter in New York City, South Dartmouth became Tryon's home for the rest of his life. The coastal area appealed to Tryon's aesthetic sensibilities and allowed him to indulge in fishing, his favorite pastime.

By the late 1880s Tryon, working most often in oils, began painting landscapes in what would become his mature and iconic style. Tryon's paintings typically feature a group or broken row of trees in the middle distance, often colored in an autumnal hue, separating a glowing sky above and a foreground marsh or pasture below. He also continued to paint the sea in his mature career, often employing pastel to show a bare expanse of water, sky and beach in various weather and light. He exhibited his works nationally but tended to favor The Pennsylvania Academy of Fine Arts in Philadelphia and the Montross Gallery in New York.

A Detroit industrialist, Charles Lang Freer, first bought a painting by Tryon in 1889 and became his most important patron. Freer eventually bought dozens of Tryon's paintings, including many of his best works, and worked closely with Tryon in the interior design of his Detroit home. Freer, a major collector of Asian art and works by James McNeill Whistler, went on to establish the Freer Gallery of Art, part of the Smithsonian Institution in Washington, DC, where many works by Tryon can be seen today.

He took the first prize for his painting Salt-Marsh, December at the Tennessee Centennial Exposition that was held in Nashville, Tennessee in 1897. He is described in the "Fine Art Catalogue" which is copyrighted by Theodore Cooley as follows: "William Tryon is an American landscape painter whose pictures are greatly sought for their delicacy of coloring and refinement of feeling. A pupil of Daubdigny, he is, like that artist, a painter of country life - the idyllic rusticity of apple trees in bloom, of waving cornfields, of shining valleys and streams rippling gently to the sea. He is especially fine in the silvery-gray atmosphere."

He went on to win the Carnegie Prize at the Carnegie Exhibition of 1908 at the Carnegie Museum of Art.

In addition to his painting, Tryon taught at Smith College from 1886 to 1923, visiting part-time to critique students' work and, late in his career, establishing the Tryon Gallery of Art. He died of cancer in South Dartmouth on July 1, 1925.

Papers
Dwight William Tryon's papers can be found at the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in Washington, D.C. Charles Lang Freer, founder of the Freer Gallery of Art, was a primary patron of Tryon. The collection includes correspondence, photographs, a sketchbook, and newspaper clippings.

Works by Tryon

 * Glastonbury Meadows, 1881
 * Cerney La Ville, 1881
 * Landscape: A Lighted Village, 1887, Freer Gallery of Art, Washington, D.C. Awarded the 1887 Third Hallgarten Prize by the National Academy of Design.
 * Early Morning, September, 1904

title: Dwight William Tryon


text:
Talk:Mung (computer term)

Unsigned/unverified comments
While I don't doubt that the necrophilia stunt is an urban myth, or at least I don't want to, it is certainly older than South Park because my father told us about it (don't ask) when we were in junior high school well before we'd seen the show and most likely before that episode ever aired.

--- Agreed - My college singing group discussed mung at length as early as 1994.

--- Thirded, I can remember that exact action discusses before 1990, personally.

--- This is the total wrong definition of the word "mung"... Mung means to take a roadkill animal, preferrably raccoon, sew up all of the orifices, hang it from a tree during the hottest week in summer and then squeeze all the juices out. The juices are mung. Season all your meals with mung.

--
 * Ok, that is just wrong. I cooked tonight, a new experience. At the moment I am totally broke (oops) so I cooked stew: cheap as hell ($5 total cost since I used what was hiding in fridge for most) and enough to last until I never want to look at it again. Imagine taking a large bite of still overly chewy (didn't quite believe you COULD cook meat that long, let along SHOULD - another oops) meat and, while mid chew, reading about roadkill-squeeze as füd :O{#### (my attempt at illustration of results): Never, in my life, had to clean off screen before replying to anything. Cheap meat out the nose: not good. You are a very evil person. And I haven't even read the necro part yet!

The word "munge" has been around at least since the late 60s and describes anything slimy and dirty and disgusting.

Munge and Mung are different words
Munge and mung are different words - see for example this page - mung means destruction, munge means conflation/merging. Munge possibly has a derivation from Lowland Scots. Scottkeir 11:07, 27 August 2006 (UTC)

 * Jargon File entry has very similar definitions for both, suggesting confusion and/or convergence: http://catb.org/jargon/html/M/mung.html . Maybe it's worth adding a section describing the etymology and discrepancy? I've updated Munge to redirect to this page, instead of [Munged_password] which I think should be deleted. Ambiguator (talk) 21:35, 21 August 2019 (UTC)

Mung involves desecrating a corpse
I have edited the main article to reflect the definition found on the urban dictionary website. While it is certainly disgusting, this reflects the way that many people I know talk about the word "mung."

PStrait 05:00, 27 September 2006 (UTC)
 * The sources you provided do not meet Wikipedia's reliability standards. See in particular the section on self-published sources and Wikipedia's guidelines regarding neologisms. --Muchness 03:45, 5 October 2006 (UTC)

With all due respect, Muchness, the University of Pennsylvania's language lab is a qualified source. The author, David Beaver, is an associate professor of linguistics at Stanford University. While the wikipedia neologism page proscribes using a blogs where a term is used a particular way, the source I cited had INTENT TO DEFINE and is as qualified as they come in terms of the use of language. As such, I have reverted the main page. PStrait 04:32, 5 October 2006 (UTC)

One more thing. The page on self-published sources, which you requested I review, states: "Exceptions to this may be when a well-known, professional researcher writing within their field of expertise, or a well-known professional journalist, has produced self-published material. In some cases, these may be acceptable as sources, so long as their work has been previously published by credible, third-party publications, and they are writing under their own name or known pen-name and not anonymously."

It is quite evident that the source I cited certainly meets these qualifications. Do not delete my addition. If you still have a problem with it, then we need mediation. PStrait 04:34, 5 October 2006 (UTC)

 * The key part of the guideline you quoted is "so long as their work has been previously published by credible, third-party publications" – there is no evidence in the provided reference  that David Beaver has published material relevant to this usage of "mung" in credible third-party publications. Furthermore, the reference's only cite for usage is urbandictionary, which is not a credible publication for the purposes of Wikipedia, and is insufficient to demonstrate notable current usage. I invite you to seek mediation or provide substantive references to demonstrate notable usage if you wish to include this material. --Muchness 05:24, 5 October 2006 (UTC)

 * wikipedia is only slightly more credible than urban dictonary, pretty much anyone can put on any definition they want, user edited remember, get off your high horse...AND NO, I'M NOT SIGNING MY COMMENT —Preceding unsigned comment added by 64.231.180.79 (talk) 15:35, 17 August 2008 (UTC)

Muchness, I think you are mistaken. Urban dictionary is one source. Beaver references this (http://itre.cis.upenn.edu/~myl/languagelog/archives/003233.html), but he also references a discussion with a colleague. He also provides a definition of munging which deviates from the urbandictionary definition. Moreover, while it is certainly the case that urbandictionary is insufficient to prove notable current usage, the discussion of an urbandictionary reference by an expert in linguistics brings it to a different level. If it were not "notable," an expert in the field would not have noted it. Also you have violated the three revert rule. I have requested mediation. In the meantime, I am restoring my addition.

One final note, in the passage I quoted and you requoted, the antecedent to the word "their" is the author, not the author's reference. Hence, so long as BEAVER's work has been previously published, he is credible. That one of his sources is urbandictionary does not disqualify his scholarly work.

PStrait 05:28, 5 October 2006 (UTC)
 * What Beaver has described is a protologism at best – that is, a neologism that is not yet in common usage. The issue here is not whether Beaver is credible, the issue is whether the referenced blog post establishes that the term is in current usage. The referenced blog entry does not address the issue of whether the usage is common, it provides an anecdotal exchange with a firend and a link to a site that you agree is insufficient. To include this material you need to establish that the term is in common usage, which the provided references do not do. --Muchness 07:22, 5 October 2006 (UTC)

I added an additional source to support my claim that this definition of "mung" is in current usage.

PStrait 05:41, 5 October 2006 (UTC)
 * A song lyric by a band that fails WP:MUSIC does not substantiate that this term is in common usage. --Muchness 07:22, 5 October 2006 (UTC)

Shifted disputed section from the article:

Mung as a product of corpse desecration
According to the urban dictionary (www.urbandictionary.com), "munging" includes the following: 1. a recently deceased corpse is disinterred, 2. one person places their mouth over the vagina or anus of the deceased, and 3. another person jumps on the corpse so that a combination of bodily liquids and embalming fluid flies into the mouth of the first person. That combination is referred to as "mung." (http://www.urbandictionary.com/define.php?term=mung) This definition is supported also by the University of Pennsylvania Language Log (http://itre.cis.upenn.edu/~myl/languagelog/archives/003233.html), which states: "to mung is to consume the bodily fluids of a corpse, preferably that of an old woman, and typically by direct mouth-on-orifice contact while a buddy jumps on the corpse's stomach. "

Additional support for this usage can be found in the lyrics to Goratory's song "Heading Mung Festivo," which include:

"A classic mung scenario With me the catcher and Griffin the jumper Positioned for mung driven madness My mouth in front of her rotted pu*** Waiting for dead excretions to vomit from the depths of her cu**"

(http://www.darklyrics.com/lyrics/goratory/riceonsuede.html#4)

Muchness, you are not answering my arguments
What you are doing constitutes vandalism and violates the 3RR. At least have the respect to answer my arguments. PStrait 14:52, 5 October 2006 (UTC)

The Urban Dictionary and Pennsylvania Langauge Log sources reflect common usage of the term 'mung' so far as i have ever heard it used. If that is the only additional criteria muchness is demanding then it seems pstrait's definition should stay up. BrettAWallace 15:45, 5 October 2006 (UTC)

Error in definition just before TOC
This definition seems to contain an error of some sort: "when you jump on a pregnant dead ladys stomach and then eat the ejaculated fetus" This must be out of place.

Urban dictionary is not a reliable source
Urban dictionary is not a reliable source. Anyone can write anything there. I could easily say Mung was the king of Sweden in 1412 and then I could link it here, but that would not make it true. So please stop adding it. Thank you. Cowman109 Talk 21:43, 5 October 2006 (UTC)

 * By your logic then Wikipedia isn’t a reliable source as anyone can add anything to anywhere on Wikipedia 50.65.113.96 (talk) 17:48, 17 July 2024 (UTC)

Cowman, urban dictionary was not the only source cited. What justification do you have for eliminating the entire passage just because one source is bad? Herbertmarcuse 22:09, 5 October 2006 (UTC)

Ah, I didn't even see the other sources. I thought the whole thing was a copy from the urban dictionary definition. I'll work on rewording that, then. Cowman109 Talk 22:15, 5 October 2006 (UTC)
 * To speak to these concerns, there is still no reliable source (as per WP:RS) that has been cited saying that the "corpse" definition is valid. Per WP:RS, blogs are not a reliable source, and the Penn Language Log is exactly that; a blog. I have reverted the addition of that definition until a reliable source can be found. --64.132.163.178 14:45, 27 December 2006 (UTC)

I've looked through the sources, and I believe listing the lyrics of the song is copyright infringement, and the University of Pennsyvania Language log also directly refers to the urban dictionary link. There is no reason to keep this unless there is some sort of reliable dictionary definition or some sort of reliable source that goes on to explain the roots of the word. If any mention should be made at all, it should not be displayed as such as it is clearly not the official definition. I will see if I can fix this as I've stated above. Cowman109 Talk 22:25, 5 October 2006 (UTC)

I've rewritten the paragraph. Is that alright now? Cowman109 Talk 22:34, 5 October 2006 (UTC)

 * Cowman109, thanks for your work on this article, but I still object to the section's inclusion. I agree with your initial assessment that "there is no reason to keep this unless there is some sort of reliable dictionary definition or some sort of reliable source that goes on to explain the roots of the word." However, I dispute that the provided source meets those requirements; as you say, it only cites urbandictionary as evidence of usage; no other sources for usage are provided. I don't feel that the section belongs in this article unless sources that meet WP:RS can substantiate pre-existing common usage. Urbandictionary doesn't meet this requirement, nor does a blog post citing urbandictionary as its only reference. --Muchness 04:07, 7 October 2006 (UTC)

Looks okay to me

Herbertmarcuse 23:15, 5 October 2006 (UTC)

The Language Log is reliable, but all it's asserting is that UrbanDictionary is asserting that there is a meaning of mung involving corpse-huffing. If we're describing that as a meaning of mung, we're relying on UrbanDictionary, not on the Language Log, and that's unreliable. So we lose. This reference should probably be removed; perhaps we could just link to the UD page and say something vague like "some believe that the word has other meanings, as catalogued here ...".

-- Tom Anderson 2006-12-12 18:38 +0000
 * As per my above comment, not only is a weblog without clear editorial oversight not a reliable source according to the official Wikipedia policy on the subject, one which accepts an assertion just because there's an urbandictionary entry on it is all the more suspect. Like I said above, until a reliable source can be found, I have reverted the addition of this definition. --64.132.163.178 14:47, 27 December 2006 (UTC)

Word/jargon definitions don't belong in Wikipedia
This article shouldn't be in Wikipedia, since Wikipedia is an encyclopedia, not a dictionary. Please see WP:NOT.

Seffer 19:29, 3 January 2007 (UTC)
 * If you want, you could put it up for deletion. --Aquillion 04:40, 7 August 2007 (UTC)

 * I support keeping it, as data munging is a common practice in IT nowadays. The article can encompass much more than just the definition. In other words, the article should be about the concept the jargon term refers to, and not the jargon term itself. I believe the term was invented because no suitable word already existed to describe this practice. Proxyma (talk) 17:55, 11 October 2013 (UTC)

Mungwall
Early versions of AmigaOS contained a program called "Mungwall", but I can't remember what it did. 91.49.116.110 (talk) 23:11, 24 June 2009 (UTC)

Zork/Implies Destruction
I am considering removing this paragraph (marked with Dubious-Discuss on the article page). Based on other definitions and current usage, I don't believe that munging implies destruction. Also, this article should focus on the IT practice of data munging (widespread), not other uses of the word as in computer games. Those aren't likely notable enough in themselves. Proxyma (talk) 17:57, 11 October 2013 (UTC)

The [Jargon File](http://www.outpost9.com/reference/jargon/jargon_28.html#SEC35) defines it as "to make changes to a file, esp. large-scale and irrevocable changes." Some of the most common munging operations involve removing punctutation or tags, which are certainly destructive. The second defenition from the same source reads "To destroy, usually accidentally, occasionally maliciously." I think destruciton is definately implied. I would like to rewrite the opening paragraph with that in mind.Soyiuz (talk) 16:43, 15 June 2015 (UTC)

Thinsoldier (talk) 15:27, 4 September 2014 (UTC) "often using the Perl programming language" I've been munging for a decade with php, html, and javascript. I'm sure others have been doing the same with a dozen other languages for even longer. Why the specific mention of Perl? Thinsoldier (talk) 15:27, 4 September 2014 (UTC)

Clearly, the word derives ultimately from the French manger, to eat. Grassynoel (talk) 11:21, 19 May 2015 (UTC)

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 * Added archive https://web.archive.org/web/20030512072826/http://wombat.doc.ic.ac.uk/foldoc/foldoc.cgi?munge to http://wombat.doc.ic.ac.uk/foldoc/foldoc.cgi?munge

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title: Talk:Mung (computer term)


text:
Talk:Badwater Basin

Elevation
Note that states that the elevation is -279 ft., whereas |another USGS page says -282. I removed the previous reference that referred to the National Elevation Dataset (NED), because the NED was retired, see and the link was no longer valid (archive.org was no help). The photo in the article says -282. See for a description of how the elevation of the sign is not actually -282. I did a bit of WP:OR with the 3DEP viewer at but I was only able to find locations that were -280 ft.  Cxbrx (talk) 04:56, 27 April 2021 (UTC)
 * Hmm. I see that there are several wiki pages that use the -279 value.  I'm fairly convinced that -282 is correct.  If I do a Google search for ' site:usgs.gov badwater "279 feet" ', I get "about 3 results".  Searching for ' site:usgs.gov badwater "282 feet" ' gets "about 46 results".  However, rather than updating the other pages, I'll wait a bit and see if there is disagreement.  Cxbrx (talk) 05:11, 27 April 2021 (UTC)
 * The 1986 1:24000 topo map shows a number of elevation measurements taken across the basin with -282 feet being the lowest one. I believe that is correct. I would speculate that the -279 elevation refers to the elevation immediately next to the tourist viewpoint on the east side of the basin. According to the topo map, the center of the basin is 3 feet lower. I believe the series of edits you have made are correct. — hike395 (talk) 08:53, 29 April 2021 (UTC)

Relevance to Mars
The lowest point on Mars' surface is known as Badwater. Perhaps the relation could be added to this article? Sink Cat (talk) 01:32, 16 June 2023 (UTC)

 * I have added that information. Cintilo (talk) 02:42, 16 June 2023 (UTC)

PIA26197: Badwater, Death Valley
Hurricane Hilary rained at the Badwater Basin as shown at JPL's Photojournal: PIA26197: Badwater, Death Valley. Rjluna2 (talk) 16:56, 18 December 2023 (UTC)

PIA26184: SWOT Death Valley Lake Depth
Here is the JPL's Photojournal of PIA26184: SWOT Death Valley Lake Depth. Rjluna2 (talk) 17:31, 17 April 2024 (UTC)

title: Talk:Badwater Basin


text:
Talk:Fare Thee Well (song)

[Untitled]
Added song stub notification, as well as new category (7/13/05)

Removed text from references
I removed the following text from the references because it didn't seem to make sense / add value.
 * c.12(368), "My Mary Ann"

However, if it is a correction or particular contextual reference, please re-add it in an appropriate place and format. --David Edgar (talk) 11:02, 4 January 2013 (UTC)

title: Talk:Fare Thee Well (song)


text:
Slow (Kylie Minogue song)

"Slow" is a song by Australian singer Kylie Minogue from her ninth studio album, Body Language (2003). It was released as the lead single from the album by Festival Mushroom Records and Parlophone on 3 November 2003. The song was written by Minogue, Dan Carey, Emilíana Torrini, and produced by Carey, Torrini, and Sunnyroads. "Slow" is an electropop and synth-pop song in which Minogue invites a man to "slow down" and dance with her.

Upon its release, "Slow" was acclaimed by music critics, many of whom praised Minogue's sensual and seductive vocals. At the 47th Grammy Awards ceremony, the song received a nomination in the category of "Best Dance Recording". Commercially, the song was a success and peaked at number one on the singles charts in Australia, Denmark, Romania, Spain, and the United Kingdom. The song also reached number one on the Billboard Hot Dance Club Songs in the United States. In Australia, the song was certified platinum by the Australian Recording Industry Association (ARIA) for sales of 70,000 units.

An accompanying music video for the song was shot in Barcelona, Spain, and features Minogue singing the song while sunbathing next to the Piscina Municipal de Montjuïc swimming pool. Minogue performed the song on a number of television shows and included it on the set lists of all of her subsequent concert tours to date, with the exception of the Anti Tour. In 2012, Minogue named "Slow" as her favourite song from her music career; in 2023, she cited it as a reference point for her album of that year, Tension.

Background and composition
"Slow" was written by Kylie Minogue, Dan Carey, and Emilíana Torrini, and produced by Carey, Torrini, and Sunnyroads. In 2009, Torrini explained how she was approached for writing the song, saying "It was like I had just accidentally walked into the line of fire with, "Hey! You There! It was all quite surreal. I still think Kylie's people were trying to call Jamelia, and they just got the wrong number. It'd be much more funny if that is how it actually happened". Through the lyrics of the song, Minogue urges a man, whom she meets at a club, to "slow down" and dance with her. According to Minogue, the lyrics of the song are about "how time and space have a different meaning when you meet someone". She further said that she "loved the way the song had this push-pull effect; the musical and lyrical combination gives you a sense of that".

Musically, the song is an eighties-inspired electropop and synth-pop track. It utilises a very simple and "minimalist" style of production and was described as an "electro-pop/disco fusion with percolating crackle-and-pop beats and sugary vocal overdubs" by Sal Cinquemani from Slant Magazine. Additionally, it contains elements of electroclash and club music. According to Tom Ewing of Freaky Trigger, the gentle bassline and 'shimmering' backing of "Slow" are derived from the then-popular microhouse genre, comparing it to the music found on the German label Kompakt. Dom Passantino of Stylus Magazine similarly described it as "German minimalist techno" similar to the work of Reinhard Voigt, while Alex Macpherson of The Guardian, in an article of German minimal techno, said "Slow" was "essentially a minimal track with an added pop vocal" and an early instance of the sound achieving mainstream success. Tim Sendra of AllMusic called it a revamp of disco, specifically the subgenre of space disco.

In late 2012, "Slow" was re-recorded by Minogue for inclusion in her orchestral compilation album The Abbey Road Sessions. On the album, Minogue reworked 16 of her past songs with an orchestra, which, according to Nick Levine from BBC Music, "re-imagine them without the disco glitz and vocal effects". "Slow" is approached with a more jazz and trip hop influenced take, with Minogue again delivering sultry and seductive vocals. The song was written in the key of B♭ minor.

Release and artwork
"Slow" was released as the lead single from Minogue's ninth studio album, Body Language, by Festival Mushroom Records in Australia and by Parlophone in Europe on 3 November 2003. The cover art of the single, as well as other promotion shoots related to the album, which was shot by fashion photographers Mert and Marcus, show Minogue striking a pose in a black and white striped crop top, which reveals her midriff, and low-cut pants. Her appearance is similar to that of French actress and singer Brigitte Bardot. Minogue described the promotion shoots as "the perfect mix of coquette, kitten and rock 'n' roll", and revealed that "We shot it on location in the South of France, so it was [easy to] channel the spirit of [Brigitte] Bardot. She's a great iconic reference, particularly that period where she was working with Serge Gainsbourg".

Critical reception
"Slow" was critically acclaimed by music critics. Ethan Brown from New York praised the production of the song and commented "Everything at the top of the pops should sound as good as Kylie Minogue's "Slow"". He further felt that most of the songs on Body Language "mimic its sound, [though] none of the other songs on Body Language come close to the achievement of "Slow" and concluded that ""Slow" should be a template for pop singers who fancy themselves aesthetes". Adrien Begrand from PopMatters commented that the song was "one of the strongest singles" of Minogue's career, praising her minimalistic approach on the song and its simple arrangement. The Spin magazine review of the song complimented Minogue's vocals, saying that they will "bring all the boys to the yard". Eric Seguy from Stylus Magazine favoured Minogue's demanding vocals, saying that the listener "is open to Kylie’s demands, and willing to resort to any means necessary to impress her". Sal Cinquemani from Slant Magazine felt that the song is one of the "few of the tracks on Body Language approach(ing) the club-thumping zeal of Fever". Chris True from AllMusic picked the song as an album highlight of Body Language. Olive Pometsey from GQ deemed it Minogue's best and most "seductive" track, concluding that "featuring breathy vocals over seductive synths, it's the kind of song that would soundtrack that moment when you accidentally lock eyes with a hot stranger in a club perfectly [...] is indeed a slower track, but don't write it off that reason".

The Abbey Road Sessions' version of the song also generated a favourable response. Tim Sendra from AllMusic enjoyed the "sultry trip-hop take" on the song and picked it as a highlight on the album. Nick Levine from BBC Music felt that "Slow" received the "most startling makeover" on the album, and described it as a "slinky jazz shuffle, complete with vampish vocal performance". Annie Zaleski from The A.V. Club appreciated the song's graceful nature, calling it a "slinky come-on". Philip Matusavage from MusicOMH appreciated the song's jazz influences, noting that it "suggests that Kylie and jazz could make for great things". Jeff Katz from Idolator singled out the song as the "Most Surprising Reworking" on the album. Jude Rogers from The Quietus, however, felt that the song does not "respond well to this (orchestral) treatment".

Accolades and recognition
Sal Cinquemani from Slant Magazine included "Slow" on his list of "Top 10 Singles & Videos of 2004" at number five, calling it "one of the hottest tracks of the year." At the 2004 Ivor Novello Awards ceremony, "Slow" received a nomination in the categories "Best Contemporary Song" and "International Hit of the Year", but lost the awards to Amy Winehouse's song "Stronger Than Me" and Dido's song "White Flag", respectively. At the 47th Grammy Awards ceremony held in the year 2005, "Slow" was nominated for "Best Dance Recording", but lost to Britney Spears's song "Toxic", which was originally written for Minogue. In order to celebrate Valentine's Day on 14 February 2012, UK copyright collection society and performance rights organisation PRS for Music compiled a list of the top ten "sexy songs" and placed "Slow" on the top of the list. In 2012, Minogue picked "Slow" as her all-time favourite song from her 25 years in music; in 2023, she cited the song as a reference point for her album of that year, Tension. Writing for the Herald Sun, Cameron Adams placed it at number 5 on his list of the singer's best songs in honor of her 50th birthday, calling it "'Can't Get You Out of My Head''s emo cousin – also with a deceptively simple electronic pulse, but taking a much darker tone [...] vocally Kylie moves from detached to carnal in the space of a verse, and somehow ["Slow"] sounds like everything and nothing is happening all at once".

Commercial performance
In Minogue's native country Australia, "Slow" entered and peaked at number one on the Australian Singles Chart, spending a total of 11 weeks on the chart. In this territory, the song was later certified platinum by the Australian Recording Industry Association for sales of 70,000 units. In Austria, the song entered the Austrian Singles Chart at number 24 and peaked at number 20, spending a total of 13 weeks on the chart. In the Dutch-speaking Flanders region of Belgium, the song entered the Ultratop chart at number 15 and peaked at number nine, spending a total of 10 weeks on the chart. In Canada, the song peaked at number six on the Canadian Singles Chart. In Denmark, the song entered and peaked at number one on the Danish Singles Chart, spending a total of nine weeks on the chart. In France, the song entered and peaked at number 45 on the French Singles Chart, spending a total of 18 weeks on the chart. In Germany, the song peaked at number eight on the German Singles Chart. In Italy, the song entered the Italian Singles Chart at number nine and peaked at number six, spending a total of eight weeks on the chart. In New Zealand, the song entered the New Zealand Singles Chart at number 10 and peaked at number nine, spending a total of six weeks on the chart. "Slow" also debuted at number one in Spain.

In the United Kingdom, the song debuted at number one on the UK Singles Chart with 48,500 copies in its first-week, becoming Minogue's seventh number one single in the region. It earned her a record for being the female artist for spending the longest duration as a UK chart topper. As of today, it is her last single to reach number one in the country. The single remained in the top ten for two weeks and in the top hundred for fifteen weeks. In the United States, "Slow" peaked at numbers 91 and one on the Billboard Hot 100 chart and Hot Dance Club Songs chart, respectively. It is Minogue's last entry on the Billboard Hot 100 chart, to date.

Music video
The accompanying music video for "Slow" was directed by Baillie Walsh and choreographed by Michael Rooney. The video was shot in Barcelona, Spain, and begins with a scene of a man diving into the Piscina Municipal de Montjuïc swimming pool and coming out of its edge, where a number of very lightly beachwear-clad people are sunbathing. Minogue stands out in a series of different zoom central shots lying on a sky-blue towel wearing a dark blue bodyhugging Balenciaga dress. The next scenes of the video capture her singing the song through different camera angles, particularly during the chorus when the camera angle shifts to a "bird's eye" view and show Minogue amid beach models performing synchronised choreography to the dance beats. A reviewer from District MTV commented that the video showed that "synchronised sun bathing is more fun than it sounds". Ben Taylor from Swide Magazine included the video in his list of Minogue's "Best Music Video Moments". Used for promoting the song, the video premiered earlier than the song's release date, on 21 October 2003. Minogue talked about the video, saying:

"'The video is set in Barcelona at the Olympic Diving site. I lie down for the whole video, which I thought was a very cunning plan. But then I ended up having to sing directly into the camera when the sun was right next it, so tears were streaming down my face! Videos always have a painful moment. It's either too hot or it's too cold or there's always something. That's part of the fun, I guess'"

Live performances
Minogue performed "Slow" on 6 November 2003, at the 2003 MTV Europe Music Awards. Since its release, "Slow" has been featured on all of Minogue's concert tour set lists, with the exception of the Anti Tour. In 2003, she performed the song on the one-night only concert Money Can't Buy, which was used to promote Body Language and was held at major entertainment venue Hammersmith Apollo in London. In 2005, she performed the song on her Showgirl: The Greatest Hits Tour. Minogue was unable to complete the tour as she was diagnosed with early breast cancer and had to cancel the Australian leg of the tour. After undergoing treatment and recovery, she resumed the concert tour in the form of Showgirl: The Homecoming Tour in 2007. In 2008, she performed the song on the KylieX2008 tour, which was launched to promote her tenth studio album X. The show was split in five acts and "Slow" was featured on the fourth act entitled "Xposed".

In 2009, she performed the song on the For You, for Me tour, which was her first concert tour in North America. In 2011, she performed a jazz-oriented version of the song on the Aphrodite: Les Folies Tour, which was launched to promote her eleventh studio album Aphrodite. In 2012, Minogue promoted The Abbey Road Sessions by performing on the BBC Proms in the Park at Hyde Park, London. During the event, she sang the orchestral version of "Slow". In 2014 and 2015, Minogue performed the song during her Kiss Me Once Tour and Kylie Summer 2015 Tour respectly. The performances employed a laser lighting display and featured a "Matrix-style" break-dance routine. For the Golden Tour in 2018–19, Minogue performed a "leather-bar version" of the song; she was dressed in an all-leather ensemble and was surrounded by a group of motorbike-riding men. Writing for news.com.au, Nick Bond felt the performance showcased the singer's ability to "breathe new life into some of her most inescapable hits via canny new arrangements".

A "pulsating" mashup of "Slow" and David Bowie's "Fashion" (1980) was performed during Minogue's 2019 summer tour. She wore a hot red racing driver outfit and was joined by male dancers in pink blazers and kilts. The performance was highlighted by the Evening Standard's Thomas Hobbs as one of the show's best moments. Hobbs also praised the singer for looking "every inch the icon". Minogue repeated the performance during her appearance at The Graham Norton Show in November 2019. A "sexy, languid disco" mashup of "Slow" and Donna Summer's "Love to Love You Baby" (1975) was performed by the singer, who wore a gold 1970s-inspired jumpsuit, on her 2020 live stream concert Infinite Disco. The performance was praised by i's Kate Solomon, who highlighted its "sultry, bassy arrangement".

Track listings
Australian CD1 and UK CD2
 * 1) "Slow"
 * 2) "Sweet Music"
 * 3) "Slow" (Medicine 8 Remix)
 * 4) "Slow" (video)

Australian CD2
 * 1) "Slow"
 * 2) "Soul on Fire"
 * 3) "Slow" (Radio Slave Mix)
 * 4) "Slow" (Synth City Remix)

UK CD1
 * 1) "Slow"
 * 2) "Soul on Fire"

UK limited-edition 12-inch picture disc
 * A1. "Slow" (extended mix)
 * B1. "Slow" (Radio Slave Mix)
 * B2. "Slow" (Medicine 8 Remix)

Japanese maxi-CD single
 * 1) "Slow"
 * 2) "Soul on Fire"
 * 3) "Slow" (Medicine 8 Remix)
 * 4) "Slow" (Radio Slave Mix)
 * 5) "Slow" (extended mix)

title: Slow (Kylie Minogue song)


text:
File:Rapturetattoo.jpg

Rapture tattoo. Greek writing is pronounced “harpaz(d)o”, meaning “to seize with force” This is in reference to 1 Thessalonians 4:17. Photo and tattoo owned by Veracious Rey.

title: File:Rapturetattoo.jpg


text: Wikipedia:POTD/July 14, 2005

title: Wikipedia:POTD/July 14, 2005


text:
Ihsan

Ihsan (إحسان, also romanized ehsan), is an Arabic term meaning "to do beautiful things", "beautification", "perfection", or "excellence" (Arabic: , lit. 'beauty'). Ihsan is a matter of taking one's inner faith (iman) and showing it in both deed and action, a sense of social responsibility borne from religious convictions.

Meaning
In Islam, Ihsan is the Muslim responsibility to obtain perfection, or excellence, in worship, such that Muslims try to worship God as if they see Him, and although they cannot see Him, they undoubtedly believe that He is constantly watching over them. That definition comes from the Hadith of Gabriel in which Muhammad states, "[Ihsan is] to worship God as though you see Him, and if you cannot see Him, then indeed He sees you". (Al-Bukhari and Al-Muslim). According to Muhammad's hadith "God has written ihsan on everything".

In relation to islam and iman
Ihsan is one of the three dimensions of the Islamic religion :
 * 1) Islam – voluntary submission to God, expressed in practicing the five pillars of islam.
 * 2) Iman – belief in the six articles of faith.
 * 3) Ihsan – attaining perfection or excellence in the deployment of righteousness on Earth. This includes doing good things for the benefit of others, such as supporting the oppressed and vulnerable.

In contrast to the emphases of islam (what one should do) and iman (why one should do), the concept of ihsan is primarily associated with intention. One who "does what is beautiful" is called a muhsin. It is generally held that a person can only achieve true Ihsan with the help and guidance of God, who governs all things. While traditionally Islamic jurists have concentrated on islam and theologians on iman, the sufis have focused their attention on ihsan. Those who are muhsin are a subset of those who are mu'min, and those who are mu'min are a subset of muslims:

"From the preceding discussion it should be clear that not every Muslim is a man or woman of faith (mu'min), but every person of faith is a Muslim. Furthermore, a Muslim who believes in all the principles of Islam may not necessarily be a righteous person, a doer of good (muhsin), but a truly good and righteous person is both a Muslim and a true person of faith."

Some Islamic scholars explain ihsan as being the inner dimension of Islam whereas shariah is often described as the outer dimension. Ihsan "constitutes the highest form of worship". It is excellence in work and in social interactions. For example, ihsan includes sincerity during Muslim prayers and being grateful to parents, family, and God.

title: Ihsan


text: Wikipedia:Picture of the day/July 14, 2005


text:
Talk:Media 100

Untitled
I really do not know much about media 100 exept that it exists. If you know anything about it, please add.

NuBus systems
Feel free to crib whatever you want from here. "The Unofficial NuBus Media 100 Info Site" http://members.aceweb.com/gregg1/media100/NuBusM100.html I'm Gregg Eshelman, the owner of the site.

More legacy info
http://www.media100.com/pdf/Media100LegacyCPG.pdf That is all, 100%, of the legacy info available from the current owners of Media 100. —The preceding unsigned comment was added by 67.136.145.237 (talk) 08:03, 5 December 2006 (UTC).

External links modified
Hello fellow Wikipedians,

I have just modified 1 one external link on Media 100. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Corrected formatting/usage for //www.media100.com/Releases.html

When you have finished reviewing my changes, please set the checked parameter below to true or failed to let others know (documentation at ).

Cheers.—cyberbot II  Talk to my owner :Online 15:30, 1 April 2016 (UTC)

title: Talk:Media 100


text: Template:House of Aviz

title: Template:House of Aviz


text:
Wikipedia:Articles for deletion/Pakkaran

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was speedy delete, see my comment below, Sjakkalle (Check!)  09:44, 13 July 2005 (UTC)

Pakkaran
Personal attack/vanity. Unencyclopedic. "He was an under performer in all examinations. His hobby is drinking and fall unconscious in city gutters." Delete. --Dmcdevit·t 04:31, July 13, 2005 (UTC)
 * Delete. I hope he finds a more healthful hobby. —Cleared as filed. 06:03, July 13, 2005 (UTC)
 * Delete attack page. JamesBurns 08:46, 13 July 2005 (UTC)
 * I am going to speedy delete this as an attack page containing personal information (home address). Sjakkalle (Check!)  09:44, 13 July 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Wikipedia:Articles for deletion/Biographical Dictionary of the Extreme Right Since 1890

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was no consensus. The votes are: 3 to delete (including the nominator), 2 to keep. -- BD2412 talk 20:29, July 20, 2005 (UTC)

Biographical Dictionary of the Extreme Right Since 1890
This "article" has such minimal content about the book (an advertisement that's practically a dicdef) that it's just listcruft, which is enough to delete it to begin with, but this list in particular I find is also a blatant violation of WP:NOT Indiscriminate Information. The Literate Engineer 04:31, 13 July 2005 (UTC)
 * Delete, book is not notable (#1,775,232 at Amazon, 1 review) and therefore list is not. Dcarrano 16:23, July 13, 2005 (UTC)
 * Since when has Amazon been an arbiter of notability? (Not a vote). Secretlondon 15:22, 15 July 2005 (UTC)
 * As plenty of pages link to this as a reference I say keep and prune the list. Secretlondon 15:23, 15 July 2005 (UTC)
 * Delete - non-notable - Tεx  τ  urε  19:51, 19 July 2005 (UTC)
 * Keep. Real, albeit rare, reference book. jni 11:28, 20 July 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
User talk:Kurianperayil

Hullo, Kurianperayil, you've contributed material to articles about two movies. We certainly NEED lots of work on Indian films but -- do try to remember that this is an encyclopedia, not a fan site. We can't just rhapsodize over films! I know it's a temptation -- I've been scolded for it a few times, mixing my own reactions with what is supposed to be a neutral presentation. Let's just give readers enough info to know whether or not they might want to view the film, and let them judge whether they like it or not.

Now ... let me direct your attention to the List of popular Bollywood films . There are a number of films in there that don't have any descriptions at all. Also a lot of older movies that should be there, and aren't. And if you're a devotee of Tamil films -- a list like that for Tamil films would be a great idea! I am a foreigner and mostly watch Bollywood films because it's so much easier to find information about them. I'm sure I'm missing some very good movies. Zora 04:31, 13 July 2005 (UTC)

Welcome!

Hello, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you have any questions, check out Where to ask a question or ask me on my talk page. Again, welcome!
 * The five pillars of Wikipedia
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 * Help pages
 * Tutorial
 * How to write a great article
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Pamri • Talk • [ Reply] 09:08, 2 November 2005 (UTC)

Nominated Niagara Falls picture for Featured Picture!
Kurian, I'm pleased to tell you that I've nominated one of your pictures, Niagara1.jpg, for the honor of a Wikipedia Featured Picture. You can view the nomination right here. I hope it makes it, as it's a truly gorgeous panoramic shot! ekedolphin 03:31, 19 April 2006 (UTC)
 * Hmm, already three "no" votes-- while it's early, I'm guessing it probably wasn't meant to be. But I still like the picture, regardless.  ekedolphin 05:29, 19 April 2006 (UTC)

title: User talk:Kurianperayil


text:
User:Larryfooter

Welcome

 * Click here to leave me a new message.

 * It is not the critic who counts: not the man who points out how the strong man stumbles or where the doer of deeds could have done better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood, who strives valiantly, who errs and comes up short again and again, because there is no effort without error or shortcoming, but who knows the great enthusiasms, the great devotions, who spends himself for a worthy cause; who, at the best, knows, in the end, the triumph of high achievement, and who, at the worst, if he fails, at least he fails while daring greatly, so that his place shall never be with those cold and timid souls who knew neither victory nor defeat."
 * Theodore Roosevelt - "Citizenship in a Republic," Speech at the Sorbonne, Paris, April 23, 1910

 * All experience hath shewn, that mankind are more disposed to suffer, while evils are sufferable, than to right themselves by abolishing the forms to which they are accustomed. But when a long train of abuses and usurpations, pursuing invariably the same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government, and to provide new Guards for their future security.
 * Thomas Jefferson - The Declaration of Independence

 * The tree of liberty must be refreshed from time to time with the blood of patriots and tyrants.
 * Thomas Jefferson to William Stephens Smith, 1787.

 * Do not let us speak of darker days: let us speak rather of sterner days. These are not dark days; these are great days - the greatest days our country has ever lived; and we must all thank God that we have been allowed, each of us according to our stations, to play a part in making these days memorable in the history of our race.
 * Winston Churchill - | Never Give In, Never, Never, Never

 * THESE are the times that try men's souls. The summer soldier and the sunshine patriot will, in this crisis, shrink from the service of their country; but he that stands it now, deserves the love and thanks of man and woman. Tyranny, like hell, is not easily conquered; yet we have this consolation with us, that the harder the conflict, the more glorious the triumph. What we obtain too cheap, we esteem too lightly: it is dearness only that gives every thing its value. Heaven knows how to put a proper price upon its goods; and it would be strange indeed if so celestial an article as FREEDOM should not be highly rated.
 * Thomas Paine - The American Crisis

 * The statesman who should attempt to direct private people in what manner they ought to employ their capitals, would not only load himself with a most unnecessary attention, but assume an authority which could safely be trusted to no council and senate whatever, and which would nowhere be so dangerous as in the hands of a man who had the folly and presumption enough to fancy himself fit to exercise it.
 * Adam Smith - The Wealth of Nations

 * Well, the trouble with our liberal friends is not that they're ignorant; it's just that they know so much that isn't so.
 * Ronald Reagan - A Time for Choosing

 * Nothing ever built arose to touch the skies unless someone dreamed that it should, believed that it could, and willed that it must.
 * Charles Kettering

 * We must always fear the wicked. But there is another kind of evil that we must fear the most, and that is the indifference of good men.
 * Monsignor, The Boondock Saints.

 * If you can keep your head when all about you
 * Are losing theirs and blaming it on you;
 * If you can trust yourself when all men doubt you,
 * But make allowance for their doubting too;
 * If you can wait and not be tired by waiting,
 * Or, being lied about, don't deal in lies,
 * Or, being hated, don't give way to hating,
 * And yet don't look too good, nor talk too wise;

 * If you can dream - and not make dreams your master;
 * If you can think - and not make thoughts your aim;
 * If you can meet with triumph and disaster
 * And treat those two imposters just the same;
 * If you can bear to hear the truth you've spoken
 * Twisted by knaves to make a trap for fools,
 * Or watch the things you gave your life to broken,
 * And stoop and build 'em up with wornout tools;

 * If you can make one heap of all your winnings
 * And risk it on one turn of pitch-and-toss,
 * And lose, and start again at your beginnings
 * And never breath a word about your loss;
 * If you can force your heart and nerve and sinew
 * To serve your turn long after they are gone,
 * And so hold on when there is nothing in you
 * Except the Will which says to them: "Hold on";

 * If you can talk with crowds and keep your virtue,
 * Or walk with kings - nor lose the common touch;
 * If neither foes nor loving friends can hurt you;
 * If all men count with you, but none too much;
 * If you can fill the unforgiving minute
 * With sixty seconds' worth of distance run -
 * Yours is the Earth and everything that's in it,
 * And - which is more - you'll be a Man my son!

 * If, by Rudyard Kipling

 * I play it cool
 * and dig all jive
 * That's the reason
 * I stay alive.

 * My motto,
 * As I live and learn,
 * Is Dig and Be Dug
 * In Return.

 * Motto, by Langston Hughes

title: User:Larryfooter


text:
The Sisterhood (gothic rock band)

The Sisterhood was a musical project led by Andrew Eldritch. With guest musicians, the Sisterhood recorded songs he had originally intended for a second album by the Sisters of Mercy.

Background
After the March 1985 release of the first Sisters of Mercy album First and Last and Always the band prepared themselves for a follow-up. Eldritch: "The next Sisters album was going to be called 'Left On Mission and Revenge'."

Singer Andrew Eldritch saw the time ripe for a change of direction: "I always wanted to do something different, because whatever we did it all eventually sounded the same." "I wanted to find out how to record songs without any rock structures and especially without guitars."

Together with guitarist Wayne Hussey, Eldritch went to Hamburg-Bramfeld during August and September 1985 to compose new material. Wayne Hussey: "I went to Hamburg for a month with Andrew to try and write songs for the second Sisters album, and we came back with all my ideas rejected and Andrew's very skeletal." "Andrew rejected all my songs and let me work on one single chord all the time: 'Here's my song – E minor!"

Back in England the band came together for rehearsals in October 1985, but the musical differences had become irreconcilable. Wayne Hussey: "We got to doing the second album and Andrew said 'I'm not singing any of your songs.'"

Eldritch: "Then they said 'Well, okay, what are we gonna do for new songs?' And I said 'How about this, this and this' and, unfortunately, the first 'this' I cited had too many chords per minute and Craig said 'If that's the guitar line, I'm not playing it' and walked out. That was really that." "The others didn't want to play my new songs, such as 'Torch' for instance. [...] The song has some unusual chord changes. Craig thought it was crap, he said 'I'm not playing it, I'm going home.' And there he stayed."

Hussey: "Craig walked out of rehearsal and a day later I did."

The music press reported the break-up of the band on Saturday, 2 November 1985: "The Sisters of Mercy were down to singer Andrew Eldritch and his faithful drum machine Doktor Avalanche this week after guitarist Wayne Hussey and bassist Craig Adams left the band. Although this has scuppered recording plans for a new album this month, Andrew now intends to record the same album in the New Year and could well be using Wayne as a session guitarist. The split was described as 'friendly' by a Merciful Release spokesperson. 'The cliché of musical differences would not be inappropriate. Wayne and Craig were unable to comprehend the direction the band was going.' Andrew has also approached former Gun Club bassist Patricia Morrison – now in Fur Bible – to play on the album, but it's not yet known whether Andrew will continue with the name Sisters of Mercy. Wayne and Craig are now reported to be getting their own band together."

Andrew Eldritch: "The people that are now the Mission and myself had an agreement, no one would use the name when the band went its separate ways." "The band was good and successful, each of us could continue. The split came at a time when it wouldn't do us any damage."

"Giving Ground" single (January 1986)
On the very same day Eldritch made a phone call to bassist Patricia Morrison, whose band Fur Bible was on a UK tour with Siouxsie and the Banshees at the time, and asked her to play on his planned album. Morrison: "The day they fell apart he called me and said 'Will you do it?' and I said yes. [...] We had some tours set up, so I waited until that was cleared, then left."

Hussey and Adams, who like Eldritch remained under contract with WEA Records, booked studio time at Slaughterhouse Recording Studios in Driffield at the end of October 1985, recorded a four-song demo tape, and set up a new band. But the demo tape was rejected by the record company who were not convinced by Hussey's singing talents.

Eldritch went into the studio at the tail end of 1985 to produce the debut single of James Ray and the Performance for his Merciful Release label. James Ray: "The Sisterhood project arose during the recording of 'Mexico Sundown Blues'."

While Eldritch was in the studio, Hussey and Adams, who had taken over the Sisters' roadcrew and equipment, announced their debut concert for 20 January 1986, which they were going to play under the new name the Sisterhood.

Eldritch was alarmed: "They began to claim rights to [the Sisters name], which patently had to be stopped. And when they wanted to be called the Sisterhood, there was nothing I could do but be the Sisterhood before them – the only way to kill that name was to use it, then kill it." "Warners thought they could have two bands on the same label with pretty much the same name."

Eldritch decided to secure the rights to the Sisterhood name as quickly as possible. He registered a company under the name and prepared a record to be released on his own label.

In only five days Eldritch recorded a song called "Giving Ground," which he co-wrote with Merciful Release manager Boyd Steemson and co-produced with Lucas Fox. Fox and Eldritch had met in the spring of 1985, when Fox was the stand-in drummer for Australian support band the Scientists on the Sisters of Mercy's UK tour. Eldritch recorded all instruments himself (guitar, bass, synthesizers and drum programming), while Fox programmed some additional percussion tracks.

The single contained two different mixes of the song, Eldritch's original instrumental "Giving Ground (AV)" (5:45 min) on the b-side and the vocal remix "Giving Ground (RSV)" (4:50 min) on the a-side. 'AV' and 'RSV' are explained on the official Sisters of Mercy website this way: "The 'Authorised Version' of 'Giving Ground' is Andrew's original version, and the 'Revised Standard Version' is the version developed by colleagues at Merciful Release and subsequently adopted as the standard version. 'AV' and 'RSV' are well-known versions of the Bible."

Because Eldritch, as an artist, was under contract to WEA Records, he could not sing on the record, otherwise WEA would have had an option on the recording. James Ray: "He asked me and I did the vocals, as easy as that". Merciful Release announced the single's release with a press statement: "From among the forces allied to Merciful Release we bring you the Sisterhood. capturing (in this instance) the musical bile of Andrew Eldritch, and introducing James Ray and the Performance ... of whom more soon."

The single was released as planned on 20 January 1986, the same day that Hussey and Adams played their debut concert in London as the Sisterhood. The press hype about the two conflicting parties made the single enter the UK Indie Chart on 8 February, where it got to no. 1 on 15 February 1986. The reviews in the music press were unanimously negative, and even James Ray later declared: "It's a terrible track."

Hussey and Adams had to give up the Sisterhood name. A radio session for the Janice Long Evening Show on BBC Radio 1 on 10 February was broadcast under the provisional name of the Wayne Hussey and Craig Adams Band, and at the end of February 1986 the new name the Mission was announced.

Another Eldritch press release commented: "We assume that their choice of name is entirely unconnected with the forthcoming Andrew Eldritch album that for some months has had the working title Left on Mission and Revenge."

On 2 March 1986 the Mission played in Birmingham. Wayne Hussey: "The majority of the songs we've been doing in the set so far are my songs that Andrew rejected for the Sisters' second album. It's ironic cos he saw us at Birmingham and told us how good he thought the songs were."

"This Corrosion" 12 inch EP (spring 1986, unreleased)
Sounds magazine reported on 20 February 1986 that "a new 12-inch EP called 'This Corrosion' will soon be in the shops, featuring the same line-up but with the addition of a mysterious and so far undisclosed American vocalist." This 12 inch single even appeared in German music paper adverts as "available soon".

James Ray: "So during the recording of ['Mexico Sundown Blues'] we made and released 'Giving Ground'. We then spent weeks on what was to be the Sisterhood's second single, 'This Corrosion', but Eldritch decided he was going to use it to kickstart the Sisters Mk II."

Recording took place at Fairview Studios near Hull with in-house engineer John Spence. American vocalist Alan Vega, who had made friends with the Sisters of Mercy in 1983, and undertook a solo tour through the UK and Europe during February and March 1986, recorded one version of the song, other vocal takes featuring James Ray and Andrew Eldritch are in existence as well.

The projected 12 inch EP remained unreleased, instead the song "This Corrosion" in 1987 became the Sisters of Mercy's comeback single.

Gift album (July 1986)
In March 1986, the Mission began negotiations with Phonogram Ltd. as WEA Records refused to release any material. So the band released the October 1985 demo tape in slightly re-recorded form as an independent single on 9 May 1986. The single (its b-side was titled "Wake (RSV)" as a nod to "Giving Ground (RSV)") promptly entered the UK Indie Chart at no. 1. WEA Records had to release the Mission from their contract.

Both Andrew Eldritch and the Mission still had a publishing contract with RCA Records from their days in the Sisters of Mercy. A sum of £25,000 for one studio album was payable for the year of 1986 in an Advance against royalties deal, so RCA decided to split up the money to the two concerned parties.

Eldritch decided to claim the whole sum for himself by being first to compose, produce and release a studio album, much in the same way as he did with the "Giving Ground" single. Again he didn't appear as a vocalist, so he could release the album on his own label without having to offer it to WEA Records: "They thought it was great that I called myself the Sisterhood while they still had the Sisters of Mercy, so they didn't have to back me at all. I had to put out the album on Merciful Release, but it gave me free rein."

Eldritch and Lucas Fox returned to Fairview Studios. Merciful Release office manager Boyd Steemson: "Basically, we had some extra tracks around, so Andrew quickly put some songs together."

James Ray: "I wasn't involved too much with the album, as it was taking ages for Eldritch to formulate any concrete ideas, and I wanted to be writing my own stuff. I personally think the album transpired to cash in on the sales of the single."

"Giving Ground" was included as an extended remix on the album, the only track featuring James Ray.

James Ray: "Lucas Fox done the spoken word stuff." "If I remember correctly I advised Andrew on how Lucas Fox should approach his vocals and that was quite enough for me."

Lucas Fox does the vocal parts on "Colours", "Finland Red, Egypt White" and "Rain from Heaven". The text of "Finland Red, Egypt White" comes from an arms dealer's catalogue for the AK-47 rifle, while the title cites the country code for blank cartridges. James Ray remembers Norman Cook (AKA Fatboy Slim), then bassist of local band the Housemartins, having done a mix of the track that remains unreleased. "Rain from Heaven" with its choral singing seems to have been one of the tracks Eldritch intended for the Left on Mission and Revenge album, as he later mentioned how "Wayne and Craig had said those choral singings were insane."

Patricia Morrison got her first opportunity to collaborate with Eldritch, but her only verified contribution to the album is one spoken passage on the opening track "Jihad". Eldritch: "So I asked Patricia to come to the studio and told her: 'Speak this – Two-Five-Zero-Zero-Zero'. It took the Mission two months to realise the meaning of those words. Two months!" i.e. £25,000.

Alan Vega gets a credit on the album cover but it remains unknown whether he made any contributions to the recording. He was possibly part of the "Chorus of Vengeance" on the track "Rain from Heaven".

In July 1986 Eldritch put the album out on his Merciful Release label to unanimously negative press reactions. The album did not accomplish its purpose, as RCA Records dissolved the publishing contract with Eldritch and decided to keep the Mission instead.

Tony Perrin, the Mission's manager: "I think Eldritch perpetuated it longer than anyone else bothered. We'd still get letters from his lawyers ages after but nothing would ever come of it. The whole thing cost us legal bills and that's all, the rumours about big losses by us were all rubbish, it was never going to court."

Andrew Eldritch later said about the album: "The Sisterhood album was a weapon in this corporate war. That's why I called it Gift. [in German: poison] [...] But I still like the record. It's weird but it's fine." "I see it as a techno record. Or what I thought to be techno at the time."

The official Sisters of Mercy website comments: "The Sisterhood album has become a classic; it parallelled the New Beat of the Continental avant-garde that eventually spawned Techno."

Album CD releases

 * On 1 August 1989 Gift was released on CD for the first time.
 * On 16 May 1994 the Gift CD was re-released in Germany.

Album trivia
The final episode of BBC drama Spooks' seventh series references this album. The Russian code broadcast on a Cold War number station is "2.5.0.0.2.5. Finland Red, Egypt White. It is twice blest. It is twice blest. Rain from Heaven". This code activates a Russian sleeper agent in Faversham (also a reference to the Sisters of Mercy as the Faversham is a pub in Leeds that "was where goth's dark lords, the Sisters of Mercy, would hold court"), Kent to collect a hidden portable nuclear weapon to be taken to Grosvenor Square in London and detonated at 15:00hrs. Also, while trying to get to London Bridge through an unused underground tube tunnel, Lucas North says the sentence "What is lost can never be found"; a line from the "Giving Ground" track.

title: The Sisterhood (gothic rock band)


text:
Genzano di Lucania

Genzano di Lucania (Genzanese: Ienzàne) is a town and comune in the province of Potenza, Basilicata, southern Italy.

title: Genzano di Lucania


text:
Unity of science

The unity of science is a thesis in philosophy of science that says that all the sciences form a unified whole. The variants of the thesis can be classified as ontological (giving a unified account of the structure of reality) and/or as epistemic/pragmatic (giving a unified account of how the activities and products of science work). There are also philosophers who emphasize the disunity of science, which does not necessarily imply that there could be no unity in some sense but does emphasize pluralism in the ontology and/or practice of science.

Early versions of the unity of science thesis can be found in ancient Greek philosophers such as Aristotle, and in the later history of Western philosophy. For example, in the first half of the 20th century the thesis was associated with the unity of science movement led by Otto Neurath, and in the second half of the century the thesis was advocated by Ludwig von Bertalanffy in "General System Theory: A New Approach to Unity of Science" (1951) and by Paul Oppenheim and Hilary Putnam in "Unity of Science as a Working Hypothesis" (1958). It has been opposed by Jerry Fodor in "Special Sciences (Or: The Disunity of Science as a Working Hypothesis)" (1974), by Paul Feyerabend in Against Method (1975) and later works, and by John Dupré in "The Disunity of Science" (1983) and The Disorder of Things: Metaphysical Foundations of the Disunity of Science (1993).

Jean Piaget suggested, in his 1918 book Recherche and later books, that the unity of science can be considered in terms of a circle of the sciences, where logic is the foundation for mathematics, which is the foundation for mechanics and physics, and physics is the foundation for chemistry, which is the foundation for biology, which is the foundation for sociology, the moral sciences, psychology, and the theory of knowledge, and the theory of knowledge forms a basis for logic, completing the circle, without implying that any science could be reduced to any other.

title: Unity of science


text:
Colac Botanic Gardens

The Colac Botanic Gardens is a regional botanical garden, located at the corner of Fyans and Gellibrand streets, on the shores of Lake Colac in Colac, Victoria, Australia. Land was allocated in 1865, with the garden being established in 1868 by Daniel Bunce, and later remodelled in 1910 by Melbourne Botanical Gardens director William Guilfoyle.

The Colac Botanic Gardens covers fifteen hectares, and contains over a thousand specimens (more than any other provincial garden in Victoria). The garden hosts variations of trees such as bunya bunya pine (Araucaria bidwillii), Black Matipo (Pittosporum tenuifolium), Firewheel Tree (Stenocarpus sinuatus), Bird Plant (Crotalaria agatiflora) and Tecate Cypress (Cupressus forbesii). Several trees in the garden have been placed on the Victorian Significant Tree Register.

The gardens are listed on the Victorian Heritage Register.

title: Colac Botanic Gardens


text:
Staalplaat

Staalplaat is an independent record label that is located in Amsterdam with a separate store in Berlin. Founded in 1982, the company's mission was to create a sound forum for sound artists, who write and perform new and experimental music.

Staalplaat artists
• Alvin Lucier

• Asmus Tietchens

• Autopsia

• Big City Orchestra

• Charlemagne Palestine

• Deutsch Nepal

• Edward Ka-Spel

• Francisco López

• Gregory Whitehead

• Hafler Trio

• Heimir Björgúlfsson

• In Slaughter Natives

• Jaap Blonk

• John Duncan

• Laibach

• Lustmord

• M'lumbo

• Machinefabriek

• Mark Templeton

• Muslimgauze

• Nocturnal Emissions

• O Yuki Conjugate

• People Like Us

• Pimmon

• Randy Greif

• Rapoon

• The Legendary Pink Dots

• The Tape-beatles/Public Works

• Time's Up

• Tom Cora

• Troum

• Z'EV

• Zoviet France

Mort Aux Vaches
Mort aux Vaches is the name of a series of albums released by the Staalplaat record label in collaboration with the Dutch radio station, VPRO. The name translates literally from French as “Death to Cows,” with “cows” being French slang for cops - it is equivalent to “Death to Pigs” in English. Each album in the series is a live session by a particular artist, recorded in the VPRO studios. The releases keep to the principles of Staalplaat by being packaged in a peculiar and interesting way, including using sand paper and copper. Each release is limited to around 1000 copies. Most artists who contribute to the series make electronic music, with a particular bias towards experimental and ambient electronica. Other genres are also represented, such as metal and noise music.

title: Staalplaat


text:
Horatio Walker

Horatio Walker  LL.D. (May 12, 1858 – September 27, 1938) was a Canadian painter. He worked in oils and watercolours, often depicting scenes of rural life in Canada. He was influenced by the Barbizon school.

Early life

Walker was born in 1858 to parents Thomas and Jeanne Maurice Walker. Thomas Walker emigrated in 1856 from Yorkshire, England, to Listowel, Canada West with his wife of French and English heritage. Thomas purchased land for lumber in the western area of the United Province of Canada and Horatio was raised in relative comfort. His interest in art may originate from his father who crafted small figures as a hobby, and both his father and the local school teacher encouraged drawing as a pastime.

In 1870, on Walker's 12th birthday, his father brought him to Quebec City, Quebec, for the first time. His father made occasional business trips to the city as part of his timber business. During this sojourn, they visited the Île d'Orléans, in search of pine timber. Walker made subsequent visits to Quebec City during the following years. His formal schooling ended at the Listowel Public School in 1872; he never went on to pursue formal academic training in art. At the age of 15, Walker moved to Toronto, Ontario to apprentice with the photographic firm Notman and Fraser. It was a fortunate opportunity, as several successful artists also worked there; Walker learned watercolour from Robert Ford Gagen, miniature portrait painting from John Arthur Fraser, and painting from Lucius Richard O'Brien and Henri Perré.

Mature life and career
Walker was only at the firm for three years until he moved to the United States of America for uncertain reasons. Writing in 1928, Hector Charlesworth suggested that Walker was "chucked down the stairs" and fired for quarrelling with a family relative. However, it is more likely that Walker travelled to Philadelphia for the American Centennial in 1876, an exhibition where Notman and Fraser won the international award, which gave the firm the privilege of exclusive photographic rights for the celebrations. Ultimately, Walker may have decided to stay and pursue painting.

During the period of Walker's life around 1878, he would have become familiar with the painters of the Barbizon school, which were at the time, exhibited in American museums and galleries. In 1880, Walker made an extended trip to Europe to learn more about Barbizon methods, and its agrarian subject matter, that would come to define his painting for the rest of his life.

What happened with Walker during the two following years remains vague, but in 1878, he opened a studio in New York City. During the 1880s, Walker's parents moved to Rochester, New York, and Walker participated in the founding of the Rochester Art Club. A further sign of Walker's growing success was an invitation to join the American Watercolour membership in 1882. In 1883 he married Jeanette Pretty (died 1938) of Toronto. They had two children, Alice (1884–1891) and Horatio Jr. (1886–1910). It was sometime during this period that Walker purchased a residence on Île d'Orléans in the village of Sainte-Pétronille. From now on until his retirement, Walker would spend his summers in Quebec and winters in his New York City studio.

Walker's personal life was disastrous: his daughter died of diphtheria, his son of tuberculosis and his wife Jeanette, was committed to hospital permanently in 1914 due to paranoia. These tragedies do not seem to have influenced his painting; Walker's subject matter and style remained constant throughout his career without much variation.

Memberships and organizations
Walker was a member of several artists' organizations, including the American Watercolor Society (1882), the Royal Canadian Academy of Arts (associate member in 1883, full member in 1913), the Society of American Artists (1887), the National Academy of Design (associate member in 1890, full member in 1891), and the British Institute of Watercolours (1901). He was a founding member of the Canadian Art Club, which elected him as its president in 1915. In 1928 he officially retired and moved to Sainte-Pétronille, Quebec. He died there on September 27, 1938.

Awards and prizes

 * Gold medals, American Art Gallery, New York (1887, 1889)
 * Evans Prize, American Watercolor Society (1888)
 * Bronze medal, World Exposition, Paris, France (1889)
 * Gold medal, World's Columbian Exposition, Chicago, Illinois (1893)
 * Gold medal, Pan-American Exposition, Buffalo, New York (1901)
 * Gold medal, Charleston Exposition, Charleston, South Carolina (1902)
 * Two gold medals (for oil and watercolor), Louisiana Purchase Exposition, St. Louis, Missouri (1904)
 * Medal of honor, Pennsylvania Academy of Fine Art, Philadelphia, Pennsylvania (1906)
 * First prize, Worcester Art Museum, Worcester, Massachusetts (1907)
 * Gold medal, Pan-Pacific International Exposition, San Francisco, California (1915)

He was awarded honorary doctorates from the University of Toronto (1916) and Université Laval, Québec City (1938).

Walker has been designated as an Historic Person in the Directory of Federal Heritage Designations.

Selected works

 * A Canadian Pastoral
 * After the Wedding
 * An Old Islander
 * At Low Tide
 * Ave Maria
 * Boeuf à l'abreuvoir
 * By the Fireside
 * Canoe Cove
 * Célestin
 * Corner of Pig Lane in Québec
 * Corner of Sainte-Pétronille
 * Corner of the Stable
 * De Profundis
 * Deo Gratias
 * Église de l'Île-aux-Grues
 * Fagot Gatherers
 * Farmhouse Interior
 * First Snow
 * Fishing Nets
 * Girl with Turkeys
 * Golden Dew
 * Hauling the Log
 * Hauling Wood
 * Hay Making

 * Horses at Trough
 * Ice Cutters
 * Interior of a House
 * Killing Pigs
 * La Rencontre
 * La soue à cochons
 * La tonte du mouton
 * Le vieux four
 * Little White Pigs and their Mother
 * Man Sawing Wood
 * Maple Sugar Harvest
 * Mare and Foal
 * Milk Maid Île d'Orléans
 * Milking Early Morn
 * Milking on the Batture
 * Morning Île d'Orléans
 * Morning Sainte-Pétronille
 * Old House at Sainte-Famille
 * Oxen drinking
 * Oxen Ploughing
 * Peasant Scraping Pig
 * Pétronille de Saint-François
 * Potato Gatherers
 * Preparing the Feed

 * Sheep Shearers
 * Spring Forage
 * The Bake Oven
 * The Farmer's Wife
 * The Gardener
 * The Harrow
 * The Rainbow
 * The Return
 * The Royal Mail
 * The Sheep Fold
 * The Shepherdess
 * The Smugglers
 * The Sorcerers
 * The Thresher
 * The Turkey Girl
 * Tournant la herse
 * Tree Fellers
 * Turkeys
 * Turning the Harrow
 * Unloading Hay Boat
 * Vieille Maison à Ste-Famille
 * Way-Side Shrine at Saint-Laurent
 * Winter
 * Wood-Cutters

title: Horatio Walker


text:
Bartlett's test

In statistics, Bartlett's test, named after Maurice Stevenson Bartlett, is used to test homoscedasticity, that is, if multiple samples are from populations with equal variances. Some statistical tests, such as the analysis of variance, assume that variances are equal across groups or samples, which can be checked with Bartlett's test.

In a Bartlett test, we construct the null and alternative hypothesis. For this purpose several test procedures have been devised. The test procedure due to M.S.E (Mean Square Error/Estimator) Bartlett test is represented here. This test procedure is based on the statistic whose sampling distribution is approximately a Chi-Square distribution with (k − 1) degrees of freedom, where k is the number of random samples, which may vary in size and are each drawn from independent normal distributions. Bartlett's test is sensitive to departures from normality. That is, if the samples come from non-normal distributions, then Bartlett's test may simply be testing for non-normality. Levene's test and the Brown–Forsythe test are alternatives to the Bartlett test that are less sensitive to departures from normality.

Specification
Bartlett's test is used to test the null hypothesis, H0 that all k population variances are equal against the alternative that at least two are different.

If there are k samples with sizes $$n_i$$ and sample variances $$S_i^2$$ then Bartlett's test statistic is

 * $$\chi^2 = \frac{(N-k)\ln(S_p^2) - \sum_{i=1}^k(n_i - 1)\ln(S_i^2)}{1 + \frac{1}{3(k-1)}\left(\sum_{i=1}^k(\frac{1}{n_i-1}) - \frac{1}{N-k}\right)}

$$

where $$N = \sum_{i=1}^k n_i$$ and $$S_p^2 = \frac{1}{N-k} \sum_i (n_i-1)S_i^2$$ is the pooled estimate for the variance.

The test statistic has approximately a $$\chi^2_{k-1}$$ distribution. Thus, the null hypothesis is rejected if $$\chi^2 > \chi^2_{k-1,\alpha}$$ (where $$\chi^2_{k-1,\alpha}$$ is the upper tail critical value for the $$\chi^2_{k-1}$$ distribution).

Bartlett's test is a modification of the corresponding likelihood ratio test designed to make the approximation to the $$\chi^2_{k-1}$$ distribution better (Bartlett, 1937).

title: Bartlett's test


text:
Talk:Bill Lear

Radio engineer
I edited:

"One of his first ventures was with Lawrence Sorensen, selling Loose radio Couplers",

to read:

"One of his first ventures was with Lawrence Sorensen, selling "Loose Coupler" radios"

As the former makes no sense at all.

Untitled
Removed stub markers because I believe this arcitle is a quality article, and is long enough to merit the stub's removal. (7/13/05)

8 track
Didn't he also invent the 8 track system?

Yep. It's in there. -- Pil o  t|  guy  21:22, 6 May 2006 (UTC)

Car Radio
Did he invent the automobile radio?

 * Yes. The paragraph on that is misplaced under "Life". Want to fix it? Dicklyon 19:53, 29 November 2006 (UTC)

I added that to the intro because I thought it was pretty important.--Gloriamarie (talk) 02:38, 14 April 2009 (UTC)

His son
There is no mention to his son John Lear, the famous inventor. Why? It would enrich the article!

Well, right now there is a tiny mention, one or two sentences that says he is a "ufologist" and a "conspiracy theorist," but nothing more. Also, John Lear's *own* page has apparently been deleted, and that is a crying shame. John Lear deserves his own page, for sure. HendixVibrato (talk) 17:33, 9 April 2013 (UTC)

Collier Trophy
There is no mention of the President of the United States awarding him the Collier Trophy. Tcisco 18:43, 2 October 2007 (UTC)
 * Now there is! Thx for the tip. But 8+ years, oh my. — Rgdboer (talk) 23:23, 22 June 2016 (UTC)

Steiger 2001 citation too skimpy
The article's note 17 cites a work by Steiger from 2001, but a full citation is missing and a superficial Google search doesn't make finding it obvious. (This came up because someone on a radio program mentioned a statement in this Wikipedia article, but said they didn't believe it; this is supposed to be the source for the statement.) Nick Levinson (talk) 21:21, 2 July 2016 (UTC)
 * The reference concerns son John Lear and has an incomplete reference:
 * Lear's son John is an accomplished pilot and ufologist, noted in the latter field for promoting a variety of theories which were based, he claimed, on information obtained from military contacts.Reference: Steiger 2001, p. 737.
 * The comment was removed pending an improved reference. — Rgdboer (talk) 22:05, 2 July 2016 (UTC)
 * Actually, the radio comment and what I tried to look up was about the daughter said to have been named Crystal Shanda Lear as if the pun was intended. I took the Steiger citation as applying to the paragraph; if it didn't, then the remaining part of the paragraph is unsourced, except where the next paragraph overlaps it. What is now note 17 seems irrelevant to her name but what is now note 18 supports "Shanda" but not "Crystal". I'd rather not edit this, not knowing enough myself. Nick Levinson (talk) 01:22, 10 July 2016 (UTC)

External links modified
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Breedlove
The following was removed:
 * In 1969, Lear and his friend Art Linkletter offered their support for Craig Breedlove's supersonic car project.

This "support" is not documented and the supersonic car was not built. — Rgdboer (talk) 01:42, 15 December 2018 (UTC)

title: Talk:Bill Lear


text:
User:Micheal Pociecha

Information on Micheal can be found at his blog, which, believe it or not, is often posted in the third person as well. ^_^

micheal.interi.org

title: User:Micheal Pociecha


text:
Sir Edward Pellew Group of Islands

The Sir Edward Pellew Group of Islands is situated in the south-west corner of the Gulf of Carpentaria, off the coast of the Northern Territory, Australia.

History
They were named in 1802 by Matthew Flinders in honour of Sir Edward Pellew, a fellow naval officer. Although Flinders was the first British explorer to pass that way, his journals describe indications of some "foreign" people having visited beforehand. Flinders speculated that these visitors were Chinese. The islands were also sighted in 1644 by Abel Tasman who thought they were part of the mainland and called them "Cape Vanderlin".

Description
The group includes Vanderlin Island, North Island, West Island, Centre Island and South West Island. Combined, the islands have a total area of 2100 square kilometres; the largest, Vanderlin Island, is 32 km long and 13 km wide. Most islands are inhabited (some part-time) by the indigenous Yanyuwa people, and are also part of Wurralibi Aboriginal Land. Tourists may negotiate a fee to visit, camp, and fish there. North Island is home to the 5.41 km2 Barranyi (North Island) National Park and offers free camping, with drinking water and barbecue facilities located near Paradise Bay The Pearce, Urquhart and Hervey Islands Important Bird Area, so identified by BirdLife International because of its importance as a breeding site for thousands of terns, comprises three small islands in the group and lies to the north-east of North Island.

title: Sir Edward Pellew Group of Islands


text: Wikipedia:Picture of the day/July 16, 2005


text:
Ryan Girdler

Ryan Girdler (born 19 September 1972) is an Australian former professional rugby league footballer who played in the 1990s and 2000s. A New South Wales State of Origin and Australia international representative goal-kicking centre, he played his club football for the Illawarra Steelers and the Penrith Panthers, winning the 2003 NRL Premiership with the Panthers.

Background
Girdler was born in Sydney, New South Wales, Australia.

Playing career
Girdler first played in the New South Wales Rugby League for the Illawarra Steelers in 1991, playing his first game from the bench in a 26–14 win over South Sydney at the Wollongong Showground. During his time at Illawarra, he struggled with injuries and with the likes of Paul McGregor and Brett Rodwell cemented as the Steelers centre pairing, received few chances to reach his full potential. As a result, he usually found himself playing on the for the Steelers, though in 1992, his form saw him play 20 games for Illawarra (12 in the centres) and take over the goal kicking duties from Rod Wishart. Girdler was the Steelers top point scorer in 1992, scoring 118 points from 8 tries and 43 goals from 66 attempts (65.15%)

This prompted a move to the Penrith Panthers in 1993 where he stayed for the rest of his career.

In 1997 he played three games for New South Wales in the Super League's Super League Tri-series. In the 1997 post season, Girdler was selected to tour England as part of the Super League only Australian team as a centre and goal kicker, playing two of the three matches of the Super League Test series against Great Britain.

The 1997 Super League season saw Girdler record his career best goal kicking figures when he kicked 76 goals from 82 attempts (92.68%) for the Panthers. With 197 points (11 tries, 76 goals and 1 field goal), Ryan Girdler was the highest point scorer for the Super League season (he finished one point clear of Cronulla's Mat Rogers). As this was the only SL season to be played in Australasia, this remains the all-time record number of points scored for the competition.

Following Super League, Girdler's standing as one of the best centres in rugby league was cemented when he was then selected for New South Wales in State of Origin. As the Super League War had ended at the end of 1997 with the Super and Australian Rugby Leagues merging to form the National Rugby League, the 1998 State of Origin series saw players from both the SL and ARL available for Origin selection (prior to 1998, Origin selection had only been open to ARL aligned players in 1995 and then again in 1997, though SL had their own 'Origin' in the form of the Tri-series which also included New Zealand).

Girdler was selected for the Australian team to compete in the end of season 1999 Rugby League Tri-Nations tournament. In the final against New Zealand he played from the interchange bench in the Kangaroos' 22–20 victory at Auckland's Ericsson Stadium.

In 2000 Ryan set one of his many records at Penrith, kicking 78 goals in the season. In the 2000 State of Origin series he set records for most points in a game (32 in game 3) and most points in a series (52). Later that year Ryan was selected to play for the Kangaroos in the 2000 Rugby League World Cup. Ryan scored three tries and kicked 17 goals for a 46 points in total when Australia defeated Russia 110 to 4 at The Boulevard in Hull.

In 2002, Ryan was once again injured, a knee injury ruling him out for half the season, despite the injury, Ryan was able to set another record at the Penrith club, scoring 28 points in a match against Manly-Warringah Sea Eagles at Penrith Stadium in July.

In 2003 he was injured in the opening round and did not make a return until round 14. 2003 was the last year that Ryan would represent Australia, scoring the first try in a game against Wales, 76 to 4. That season the Panthers finished minor premiers and went on to the grand final. In the 2003 NRL grand final Ryan played in the centres and had to come from the field with a calf injury in the Panthers' victory over the Sydney Roosters. After that he went on the 2003 Kangaroo tour of Great Britain and France, helping Australia to victory over Great Britain in what would be the last time the two nations contested an Ashes series.

His last game was the Preliminary Final loss to the Canterbury Bulldogs who went on to win the 2004 NRL premiership.

Records
Girdler was the top point-scorer in 1997's Super League premiership season. During the 2000 State of Origin he scored 32 points in one game, equalling Dally Messenger's for most points in an interstate game set 89 years earlier in 1911. His tally of 1,690 first grade points is the 8th highest in history and he was the first player to score 100 tries and kick 500 goals (a feat subsequently emulated by Canterbury's Hazem El Masri and Parramatta's Luke Burt).

Club-Penrith

 * Most Points (Penrith): 1,572 (101 tries, 581/803 goals (72.35%), 6 field goals – 1993–2004)

State-NSW

 * Most Goals (Match): 10 (2000)
 * Most Points (Match): 32 (2000) record held with Dally Messenger (1911 for NSW)
 * Most Points (Series): 52 (2000)
 * Most Tries (Series): 5 (2000) record held with Lote Tuqiri (2002 for Queensland)
 * Most Goals (Series): 16 (2000)

Country-Australia

 * Most Goals (Match): 17 (2000)
 * Most Points (Match): 46 (2000)

Outside football
Girdler was a regular on the rugby league television show The NRL Footy Show, eventually gaining his own segment on the show in 2001 with a segment named Gone Fishin' and then an occasional recurring segment from 2002 titled Their House, a loose parody of Australian lifestyle program Our House. He is a regular on Triple M's NRL coverage. He owns cafes trading as Girdlers on Sydney's Northern Beaches in Dee Why, Westfield Warringah Mall, Manly and Avalon Beach. He also rejoined The NRL Footy Show as a co-host on the panel for its revamp in 2018.

title: Ryan Girdler


text: Wikipedia:POTD/July 16, 2005

title: Wikipedia:POTD/July 16, 2005