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Talk:Historic Core, Los Angeles

==Move discussion in progress== There is a move discussion in progress on Talk:Harbor City, Los Angeles, California which affects this page. Please participate on that page and not in this talk page section. Thank you. —RM bot 19:31, 24 April 2010 (UTC)
 * Interested editors can also comment at Talk:Los Angeles Purplebackpack89  (Notes Taken)  (Locker) 22:36, 28 April 2010 (UTC)

title: Talk:Historic Core, Los Angeles


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Phoenix (Grand Funk Railroad album)

Phoenix is the sixth studio album by American rock band Grand Funk Railroad, released on September 15, 1972, by Capitol Records. The album was produced by the band and marks their first album without producer by Terry Knight. "Rock & Roll Soul" was released as a single and peaked at #29 on the US Billboard Hot 100 in 1972.

Track listing
All tracks written by Mark Farner.

Side one

 * 1) "Flight of the Phoenix" – 3:38
 * 2) "Trying to Get Away" – 4:11
 * 3) "Someone" – 4:04
 * 4) "She Got to Move Me" – 4:48
 * 5) "Rain Keeps Fallin'" – 3:25

Side two

 * 1) "I Just Gotta Know" – 3:52
 * 2) "So You Won't Have to Die" – 3:21
 * 3) "Freedom Is for Children" – 6:06
 * 4) "Gotta Find Me a Better Day" – 4:07
 * 5) "Rock 'N Roll Soul" – 3:40

Bonus track (CD release)

 * 1) "Flight of the Phoenix" (Remix with extended ending) – 5:22

Personnel

 * Grand Funk Railroad
 * Mark Farner – guitar, harmonica, vocals; organ on "Flight of the Phoenix"
 * Mel Schacher – bass
 * Don Brewer – drums, congas, percussion, vocals

 * Additional personnel
 * Craig Frost – organ, clavinet, harpsichord, piano
 * Doug Kershaw – electric violin

Charts
Album Singles

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

title: Phoenix (Grand Funk Railroad album)


text:
Frances Hellman

Frances Hellman is a physicist who was dean of the division of mathematical and physical sciences at the University of California, Berkeley from 2015 until 2021. Her primary academic focus has been the study of the thermodynamic properties of novel solid materials, especially thin film semiconducting, superconducting, and magnetic materials. She has served as chair of the physics department and holds a dual appointment in the materials science and engineering department.

Early life and education
Hellman was raised in New York City, where she attended the Brearley School. She graduated summa cum laude and Phi Beta Kappa with high honors in physics from Dartmouth College in 1978. Hellman obtained her Ph.D. in applied physics at Stanford University in 1985.

Career
After receiving her Ph.D., Hellman then served as a postdoctoral fellow at Bell Laboratories from 1985 to 1987, focusing on thin-film magnetism. She moved to San Diego, California, to become an assistant professor of physics at the University of California, San Diego 1987, where she worked until 2004. She received tenure in 1994 and became a full professor in 2000. Hellman is a fellow of the American Physical Society (APS) and received their Joseph F. Keithley Award For Advances in Measurement Science in 2006.

Hellman joined Berkeley's Physics Department in January 2005. She served as chair of the department from 2007 to 2013. In 2019, she was elected to be the 2020 vice president of the American Physical Society and in 2022 became the president of APS.

Personal
Hellman is the daughter of Chris and Warren Hellman of San Francisco. The Hellman family is involved philanthropically with a variety of causes, including the University of California. Frances Hellman married Robert Dynes, former UC President, in May 1998 and they divorced in 2006. In 2006 she met Warren Breslau. In 2009 they married.

title: Frances Hellman


text:
We're an American Band

We're an American Band is the seventh studio album by American hard rock band Grand Funk Railroad, credited as Grand Funk. The album was released by Capitol Records on July 15, 1973, and was certified gold by the RIAA a little over a month after its release. Two singles were released from the album. The title track was the first single from the album released on July 2, 1973 and the second, "Walk Like a Man", was released on October 29, 1973. Both were sung by drummer Don Brewer. There was also an addition to the band's membership with this release - Craig Frost - who played the organ, clavinet and Moog. Prior to We're an American Band being released, Grand Funk Railroad had been a power trio. Craig was credited as an additional musician on Phoenix, which was released the previous year.

The album cover was originally covered in gold-colored foil on the outside, and the initial run of pressings were pressed in clear, dark yellow vinyl to simulate or suggest a "gold" record. The album has been reissued many times and is currently available in the Compact Disc format. A Quadraphonic mix of the album was available in the Quadraphonic 8-Track cartridge format.

The album is #200 of the National Association of Recording Merchandisers (NARM) Definitive 200 albums of all time.

Recording, production, artwork, and packaging
We're an American Band was the group's first collaboration with producer-engineer Todd Rundgren. Rundgren and the band recorded the album at Criteria Studios in Miami, Florida on June 13–15, 1973. Rundgren would go on to produce the band's next album, Shinin' On (1974), before the band switched to Jimmy Ienner.

The album's original issue, as well as the "We're an American Band" single, was on translucent yellow vinyl, symbolic of a 'Gold record'. The album labels, above the side numbers, instructed listeners to play "at full volume". It included four stickers (two blue, and two red) with the Grand Funk "Pointing Finger" logo. Emphasizing the shortening of the group's name, the word "Railroad" does not appear anywhere on the album sleeve, liner, or vinyl record, except as the title of the first song on side two of the album.

Reception
Upon the album's release, We're an American Band became the band's best-received album by critics, so far. Robert Christgau gave the album a B−, his highest rating for a Grand Funk Railroad album at the time (although Shinin' On (1974) and Grand Funk Hits (1976) would receive a B and B+, respectively). A modern review of the album by William Ruhlmann for AllMusic stated that the album was a departure from the band's usual material, which was mostly due to Todd Rundgren's production and Don Brewer's increase in lead vocal work. Ruhlmann also said that the album sounded more professional than their previous ones.

It peaked at number 2 on the Billboard 200, the band's highest position on the chart, but spent one week at number 1 on the Cash Box, and Record World album charts.

Personnel
Per sleeve notes

Grand Funk Railroad (credited as Grand Funk)

 * Mark Farner – vocals, guitar, acoustic guitar, conga; electric piano on "Creepin'"
 * Craig Frost – organ, clavinet, electric piano, Moog
 * Mel Schacher – bass
 * Don Brewer – vocals, drums, percussion

Production
Per sleeve notes
 * Todd Rundgren – producer, engineer
 * Francesco Damanti – engineer
 * Seth Snyder – assistant engineer
 * Lynn Goldsmith & Andrew Cavaliere – album design and concept
 * Lynn Goldsmith – photography
 * John Hoernle – art direction
 * Andrew Cavaliere – management

Charts

 * Singles

title: We're an American Band


text:
Wikipedia:Articles for deletion/The Remenants

 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 delete. Joyous (talk) 17:42, July 30, 2005 (UTC)

The Remenants
Band vanity. Page creator's username is "Remenant", and this is his only edit. TheCoffee 07:14, 22 July 2005 (UTC) All songs written and performed by "The Remenants" are copyright © 2005 and remain the property of "The Remenants"
 * Delete as vanity. Appears to fail WP:MUSIC. - Mgm|(talk) 10:07, July 22, 2005 (UTC)
 * Delete per Mgm. Dcarrano 16:47, July 22, 2005 (UTC)
 * Delete nn band vanity. -- Etacar11   00:07, 23 July 2005 (UTC)
 * Delete, nn band vanity from a band that can't spell, either. --Idont Havaname 00:18, 23 July 2005 (UTC)
 * Delete nn band vanity. JamesBurns 04:16, 23 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: Category:Sports clubs and teams in Melbourne


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Staufenmauer

The Staufenmauer was an old city wall of Frankfurt am Main, Germany.

As part of the fortification of Frankfurt, it was built in 1180 under the Hohenstaufen rule to protect the city from attack and surround the present Altstadt. When the city was expanded in 1333, the old wall became a victim of efforts to reorganize the city defenses.

Today one can still see a small portion along the Fahrgasse, a part that was restored after the 18th century fire in the Jewish Ghetto.

title: Staufenmauer


text:
Talk:Lafayette Park (Los Angeles)

If Lafayette Park had a distictive "feel" to it apart from Westlake then I can see it being included in the overall neighborhood listing - as it stands prehaps it should also be deleted from the Los Angeles neighborhood listing

I agree and I was the one who dashed out the intial entry - but when I deleted the entry someone reentred (or reverted) it. Its unsuprising to me how people can be edit but not write - and belive me I am not a fluid writer. KenV

title: Talk:Lafayette Park (Los Angeles)


text: User talk:71.108.169.76

title: User talk:71.108.169.76


text: User talk:68.70.34.77

title: User talk:68.70.34.77


text:
Talk:Trapinch

Untitled
I will have to note that it is not very likely an ant, but more likely an Antlion. Additionally, I'll note that Run Away, unlike the Flying type or the Levitate ability, does not allow the Pokemon in play to switch - it simply allows the player to run away successfully from a wild Pokemon with Arena Trap, which has no use in competitive battling. --24.69.255.205 07:18, 22 July 2005 (UTC)

title: Talk:Trapinch


text:
Talk:Suzuki method

Advertisement markers
Deleted because they seem entirely unfair. I've seen advertising material for Suzuki Method materials and they are entirely different than the content of this article. This article is a straightforward description of a teaching method of significant global stature and included descriptions of its criticism, as well as plenty of references.

Historical Notes
I had thought Suzuki's father's factory manufactured the instrument called Koto before beginning to churn out violins. However, something I read recently made me think it was the samisen instead. Anyone know for sure? J Lorraine 11:04, 16 December 2005 (UTC)

criticism
POV: "So far as the first criticism is concerned, more sight reading exercises are now incorporated. So far as the second is concerned, the Suzuki method should not compromise individual musical development but should facilitate it, both by providing a sound technical base from an early age, and from encouraging the study of the instrument in the first place." Seems rather opinionated (and conclusive at that) to me. --Perlman10s 07:18, 22 July 2005 (UTC)

It is however balanced by the previous sentence which you have not quoted: "The most common criticisms of the Suzuki method from more traditional teachers are that its methods of group playing and the copying of playing styles by ear can (a) compromise sight reading skills and (b) tend towards rote learning at the expense of individual musicianship although a high degree of early technical ability is thereby produced." Chelseaboy 08:33, 22 July 2005 (UTC)

True, it does state the criticisms. But I'm concerned with the fact that the article chooses to refute them. Yes, you want to give both points of view in an article. But in this case, the author chose to give more credence to one POV, which is a no-no. --Perlman10s 04:10, 15 August 2005 (UTC)

...I'm relatively new to Wikipedia, but I agree with Perlman. The section on common criticisms to the method may need to be expanded and re-worked for a better sense of balance. On the other hand, since the criticism is not a recent thing, and Suzuki teachers (at least in the US) have been responding to it by modifying their methods as a whole group, including the way the SAA trains teachers, I think the SAA's response to the criticism is relevant. Perhaps a short history of how the method was introduced to the USA (as well as to the rest of the world outside of Japan), and how it was initially recieved, and what the major trends in the movement have been since then, is in order. J Lorraine 13:58, 2 September 2005 (UTC)

...I've added a heading "criticism & response in the US" (I don't know if criticisms are similar, or what the response to them has been, in other countries). I'm not satisfied that it's thorough, & I need to be more specific with citations/quotes. J Lorraine 08:34, 26 September 2005 (UTC)

 * Good refs, excellent contributions J Lorraine. The criticisms you mention are heard and addressed in Europe as well so I have done a minor edit to broaden the article back again.  The passages you have limited to the US were actually written by a non US Wikipedian! Chelseaboy 11:13, 26 September 2005 (UTC)

thanks. I've travelled to Europe as a musician but not in a specifically "suzuki" capacity -- and as all my references are US based (except the book "Nurtured by Love"), I don't feel qualified to say anything about teaching practices in the movement outside the US. J Lorraine 08:31, 13 October 2005 (UTC)

possible critique
As a critique I've heard that as adults relatively few students of the Suzuki method play instruments actively. I didn't see any reference to that one way or the other in this section; if anyone knows more it would be interesting to note there.

 * Hi. whoever you are, don't forget to sign your posts by using four tildes.  And now for my reply:    I've not heard this as a major critique specific to the Suzuki method -- logically, my brain tells me the reason is that anyone could use this same argument against any childhood education -- e.g. as a child I took classes in various sciences and was even instructed in how to perform various experiments, but I (and, I would guess, most of my classmates) do not now study or perform science experiments.  By necessity, if a certain culture strives to educate their children in many disciplines, then all of those disciplines will have relatively few adult participants compared to the number of children educated in them.  // But all that logic is besides the point.  I've tried to find reliable sources (mostly published articles in journals) for each criticism mentioned (along with reliable published sources for the rest of the information!) If you have specific, cite-able evidence that this is a major public critique worth mentioning in a balanced encyclopedia article, go ahead and add the critique in the appropriate section with citations and add the reference information at the end of the article.  J Lorraine 10:23, 27 December 2006 (UTC)

criticism within the suzuki community
I am removing the recently added point because I do not believe that it is 1)widespread within the suzuki community, or 2)a specific criticism of the suzuki method

(it reads: "Older students often have problems with improvisation since the method of learning is so structured and memorized. This makes it difficult for them to play with non-Suzuki musicians. This is a downfall of rote learning.")

First, I haven't heard any suzuki students, teachers, trainers, parents, or former students speak of this problem. Nor have I read it in any of the regular suzuki publications (SAA Journal, etc.). Second, the criticism appears to be mainly about older students being unable to improvise well, which is a downfall of most classically trained musicians who haven't been exposed to improvisational music as they grow up, not a specific downfall of Suzuki students.

I am deleting it entirely instead of moving it to the section of criticism from outside of the Suzuki community because I don't think it's a major criticism there, either. If you can come up with a citation (newspaper article, etc.) that shows it's a major criticism of the method, feel free to replace it. J Lorraine 09:11, 23 March 2006 (UTC)

 * This statement should also be considered for deletion under criticism.

 * teachers are often low-level performers, and are not required to hold a degree or have had any formal training on their instrument.
 * This is a false statement. The SAA considers training to be professional pedagogical study, intended for well-trained musicians. A video audition is required of everyone registering as a participant in an SAA-approved Teacher Workshop. Colleges and conservatories offer pedagogy studies. Most to all of the teachers I know that teach the Suzuki method have professional training and have studied their instrument in college and have been brought up with the method themselves. -- 68.55.129.44 (talk) 20:55, 2 July 2011 (UTC)

 * In reply to the previous comment I would like to report that none of the participants of the Suzuki violin teacher courses in Germany that I have met so far has a conservatory degree, despite the German Suzuki Association claiming that only musicians with a conservatory degree would be admitted. This fact alone already undermines in a serious way the GSA's credibility. (Strangely enough, the requirement of a conservatory degree is not mentioned in the English version of the web page).

 * Actually, it's not just that non-professionals are entitled to attend the teacher courses. The courses seem even to be tailored to their needs. As a matter of fact, teacher trainers tolerate that participants of the courses need several months to rehearse the pieces of the Suzuki repertoire. (Excluding the time needed for memorization, which additionally is required). A professional player, instead, would play them at first sight or after having had a brief look at the score, still delivering a decidedly better performance than their amateur counterparts after months of rehearsing.

 * Another striking fact is that at the end of a course you get, inter alia, scores for intonation. This suggests that the Suzuki Association indeed doesn't expect the participants of the teacher courses to be professional violinists who, as a matter of course, have an impeccable intonation and don't need to be judged by a Suzuki teacher trainer.

 * There may be exceptions, but, as far as my experience goes, the criticism about Suzuki teachers being low-level performers is absolutely justified. Fred73 (talk) 09:34, 20 February 2012 (UTC)

Orphan criticism paragraphs
I just modified (for grammar) the following, which was recently added to the bottom of the "criticism & response" section without references and without indication as to which section it belongs (from traditionally trained musicians/teachers, or from within the suzuki community). Does anyone have references/citations for these? Also, the grammar, diction, logic, and semantic style of the writing still sounds redundant to me, as if it doesn't flow very well. Both first and last sentences are rather long and the last sentence seems circuitous. Anyone up to help revise it/pare it down?

 * Opinions also include that if music is to be learned from audio recordings, the quality of the recorded pieces must be questioned in terms of style, integrity, and its positive or negative traits. The resulting views are subjective and may differ between people.

 * Also, any reliance on listening to a single peice in order to learn it is not sufficient for instilling a sense of the style of the work (where the style refers to the traits of performance that are common to many similar works), since a style can only be acquired by listening to a range of works of common style (including listening to works for enjoyment, rather than with only the goal of copying them).

J Lorraine (talk) 08:43, 17 May 2008 (UTC)

Historical Notes
I added this section with an eye for providing background on how the method was founded. On second thought, I wonder if this section should be moved to the page on Shinichi Suzuki himself? J Lorraine 14:06, 2 September 2005 (UTC)

Book Sources
Does anybody know any link to his compiled music sheets, from the first book to the tenth. I think we should add it up as an external link.

 * Do you mean a link to purchase the books? (BTW, don't forget to sign your name with four tildes) J Lorraine 23:32, 2 February 2006 (UTC)

Tonality
Should this concept be mentioned in the article? In Book 1 it is described as the ability to produce and recognize a quality tone on the musical instrument. I recall this being emphasized as a student, and now I have witnessed it emphasized with my daughter who is a Suzuki student. Aguerriero ( ţ ) ( ć ) ( ë ) 21:28, 3 May 2006 (UTC)

Hm, do you mean Tonalization? It may be worth putting it in, since beautiful tone is definitely a part of Suzuki's teaching. But where would it go? It isn't really "philosophy" -- more like a technique -- hm, hm..... J Lorraine 11:00, 4 May 2006 (UTC)

 * Yes I did mean Tonalization and I finally got around to adding it to the article. Edit or move it around if you think it needs it.  Aguerriero  ( talk ) 21:00, 16 May 2006 (UTC)

Reading
In Japan, children learned solfege (singing) anyway in kindergarten, so Dr. Suzuki did not originally include reading on the violin. Later it became apparent that you do need to learn to read using your own instrument. Many teachers delay reading initially while posture is being set, then keep it behind playing ability so it does not interfere with language learning. I use traditional reading methods when the children are ready, but sticking a traditional book in front of a 3-year old isn't usually age-appropriate. There is much variation among teachers; Suzuki said teachers should hyphenate their name with his, to have their own method.MsD925 09:00, 6 December 2006 (UTC)

 * Do you think these ideas need to be incorperated into the article better, or are you just making commentary? J Lorraine 11:04, 7 December 2006 (UTC)

 * Hmm, I'm new to Wikipedia... I get a lot of questions from prospective students' parents about reading, and it's under the article's list of criticisms.  Maybe the first 3 sentences would work there? MsD925 05:48, 10 December 2006 (UTC)

 * Maybe. Although those three sentences are relevant to the criticism on reading, they are also "historical".  Hm, hm, I wonder if it would be better to re-work the section on criticism to incorperate some of the historical reasons for the downfalls that are mentioned, instead of merely presenting it as a list of 'criticisms'....  BTW, welcome to Wikipedia! J Lorraine 07:56, 16 December 2006 (UTC)

Tsuyoshi Tsutsumi?
I play Suzuki for Cello. I have CD's 1, 2, 3, and 4. Doesnt Tsuyoshi Tsutsumi play all 4, not just 1 & 2? May I fix this in the article, if so? --67.185.26.89 08:26, 25 February 2007 (UTC)

 * yes, please do. J Lorraine 08:32, 25 February 2007 (UTC)

changing the reference system
When I first added references to this article, I used the harvard citation system (placing author's names in parenthesis). If no one objects, I'd like to change it to inline numbered references. J Lorraine 05:00, 18 April 2007 (UTC)

questions
What, if any, relationship is there now or in the past between the Suzuki method, the Suzuki motor company, and the Suzuki instrument company?76.105.99.78 22:19, 28 September 2007 (UTC)

 * I believe that the Nagoya Suzuki violin making company was founded by Shinichi Suzuki's father, so there is a direct family connection there. As for the motor company, I don't believe there is any connection besides the fact that it is a Japanese company and "Suzuki" is somewhat of a common surname in Japan.  J Lorraine (talk) 08:43, 20 December 2007 (UTC)

List of Suzuki musicians
Twenty or thirty years ago I was hearing from non-Suzuki violin teachers that Suzuki students might develop into orchestra players, but never into soloists. Since then many (if not most) young soloists have a Suzuki background. A list of well-known violinists (at least, if not other instrumentalists) with Suzuki backgrounds would, I believe, add to this article. Ccerf 02:10, 4 December 2007 (UTC)
 * The problem with such a list is that it would need to be sourced. If there is a reliable, neutral source (ie non-Suzuki) that lists notable Suzuki-training musicians, we could add it. --Spike Wilbury ♫  talk  23:11, 4 December 2007 (UTC)

 * If they started young enough, chances are that they have a Suzuki background, or were taught by a Suzuki-influenced teacher, regardless of whether or not they are professionals (soloists or orchestra musicians, chamber musicians, rock band stars or jazz musicians), or amateurs of any walk of life. J Lorraine (talk) 08:58, 20 December 2007 (UTC)

Suzuki's doctorate
This article repeatedly refers to "Dr. Suzuki". The article on Suzuki himself doesn't mention any doctorate. Why "Dr."? -- Hoary (talk) 01:32, 3 January 2008 (UTC)

It later occurred to me that even if Suzuki had a doctorate the article should not refer to him as "Dr(.) Suzuki". I've removed every instance of "Dr.". -- Hoary (talk) 01:43, 5 January 2008 (UTC)

 * Suzuki was given an honorary doctorate from the Cleveland Institute of Music in 1990. This should probably go in the Shinichi Suzuki article somewhere.   But I'd have to look up a reference for it first.  J Lorraine (talk) 06:47, 12 March 2008 (UTC)

I don't think it's customary to refer to somebody as Dr whatever on the strength of an honorary doctorate, however richly deserved. But honoriness (?) aside, WP doesn't refer to people as Dr this or that -- "Einstein", not "Dr(.) Einstein" -- and I'll therefore remove "Dr(.)" wherever I encounter it. Hoary (talk) 11:09, 17 May 2008 (UTC)

 * the second point, yes. the first point, I disagree with, but it really isn't that big of a deal. J Lorraine (talk) 08:46, 12 June 2008 (UTC)

Suzuki Guitar School: terrible Audio CDs
The Suzuki Method as envisioned by Shinichi Suzuki is really great!

However...

What the Suzuki Association of the Americas is offering in terms of the Classical Guitar AUDIO CD's (these CD's are an official part of the Suzuki Guitar School), is music that is so badly interpreted, that one wonders if it has perhaps been recorded by beginners. The phrasing and sound is terrible. Hideous.

And our children are supposed to learn from this? No thanks!

Eteriano (talk) 19:44, 5 June 2008 (UTC)

 * perhaps you should contact the SAA to request new guitar school recordings. J Lorraine (talk) 08:40, 12 June 2008 (UTC)

Criticisms: Pyramid schemes and cults
I removed the following text from the "criticism and response" section because I have never heard or seen this criticism published (If anyone has a reliable source for this criticism, please introduce it. Otherwise, it seems more like a smear than a valid criticism.)

"In addition, there are troubling ways in which the Suzuki organization itself resembles both pyramid-scheme models and cult:
 * Teachers must pay for each level that they move up within the structure, by becoming "certified" for each book of the method
 * The only way to become "certified" is to pay for membership and training, which enables one to use the Suzuki image and name for self-promotion
 * Materials put forth by the organization stress the sharing of methods and knowledge only within the body of members
 * The members of the organization hold a quasi-religious reverence for the founder
 * Suzuki materials continually refer to "Dr. Suzuki," who held no formal education beyond the high school level, and only held honorary or ceremonial "doctorates"
 * The group as a whole sometimes refers to itself as the "Suzuki Movement"; this term has no equivalent in any other form of music education
 * On his death, Suzuki handed off the organization to his own adopted son
 * Suzuki often used millennialist-type language, as in videos produced for the organization members: "Everybody awake and walk together!"

J Lorraine (talk) 08:19, 21 September 2008 (UTC)

Hi J!

I'd like to thank you for not just removing these points, but keeping them here on the talk page. I actually really appreciated those points and think that they are very valuable. They are not flatteringly positive, but in their criticism, these remarks provide valuable points, that may lead to an improvement of Suzuki method and how it is "run". (I can identify with the points raised and think they are relevant.) So I'm definitely in favour of having these points returned to the article.Slkjgvn (talk) 07:39, 28 September 2008 (UTC)

 * hmm. Thanks for your input.  Although I do think that some people are quasi-religious about the method, I also think most people are not.  Regardless of this, I still think we need cite-able, vetted information for the article. J Lorraine (talk) 02:41, 30 November 2008 (UTC)

Alfred or Albert?
A recent edit changed "Albert Einstein" to "Alfred Einstein" and claimed this was a common error and cited the biography on the australian suzuki website. But the international suzuki website, along with the documentary "nurtured by love" both say "Albert Einstein". I'm inclined to think the australian website bio is a typo. J Lorraine (talk) 01:37, 30 November 2008 (UTC)

I have (again) reverted "Alfred" back to "Albert". I haven't got anything against Alfred, but since the source cited in the "References" section (the documentary) does explicitly say "Albert Einstein", and I note that Evelyn Hermann also says "Albert" in her book on Suzuki "The Man and his philosophy", and (as I noted above) the "mother" website to the australian site says "Albert" as well. All this source material points to the conclusion that the au. site has a typo. I realize that sources are not "democratic" and "more votes" for Albert does not make it so. But I believe the australian website bio is a "late" source compared to the earlier published books (such as Evelynn Hermann's). Earlier sources tend to be more accurate than later ones. I also believe that, in comparing websites, the "higher authority" in sourcing should fall on the international, as opposed to the national, organization. If you want to change it again, please either cite something other than a website which appears to have a typo, or explain here why the one Au website has a higher authority than earlier sources, such as books which were printed and published closer to the actual event than any website. J Lorraine (talk) 19:06, 21 September 2009 (UTC)

In relation to Suzuki, i dont know what you are speaking about, but there are two of them. Albert the physician and violinist, and Alfred the musicologist and specialist of Schubert. There were cousins. Pipecat (talk) 01:48, 17 January 2011 (UTC)

title: Talk:Suzuki method


text:
User:Ruy Lopez/NPOV and categories

Wikipedia's main page currently lists the master categories of Wikipedia as being:

 Culture | Geography | History | Life | Mathematics | Science | Society | Technology

After some time of being on Wikipedia, I and others have come to the realization that Wikipedia works very well for some of these master categories, such as Science and Mathematics, and fails abysmally for master categories such as History and Society.

Wikipedia has decent articles on scientific topics such as quantum mechanics, but as far as political and historical articles it is hopelessly biased, and in my opinion will always remain so. The primary reason for this is embedded in the question, who runs Wikipedia? The answer is the millionaire Ayn Rand devotee Jimbo Wales, and to a lesser extent his various lieutenants. Also, Wikipedia contributors are English-speaking and have access to the Internet, and those two things alone already make the majority of people contributing here part of the world elite, especially if one considers half of the people on earth have never made a telephone call in their lives and live on less than two dollars a day. I am not the only one who recognizes this, see WikiProject Countering systemic bias. Contributions to articles like the History of Brazil from this group are modifications on an history summary which was originally written by the U.S. State Department, as all of the country history articles on Wikipedia are.

Wikipedia may look open and mutable at first, but it is not. Most people learn this the hard way, get discouraged and stop contributing to wiki encyclopedias altogether. I am/was very involved in Wikipedia over the past year, and say this from experience. Hopefully the painful frustration around this discovery will not prevent people from contributing to wiki encyclopedias other than Wikipedia. Unfortunately, most people begin getting frustrated, think they can beat the system, then disappear from Wikipedia and every other wiki encyclopedia altogether, which is unfortunate. Even Wikipedia administrators like User:172 and User:Secretlondon have been badgered off of Wikipedia, not to mention a host of users.

While Wikipedia itself will always be the way it is, articles are licensed under the GFDL, which is one positive thing. Unfortunately, many of the historical articles are garbage. Even the well-written articles have other people come in later and introduce the same bias you can find in the corporate media. It is like gold surrounded by dung. If I transfer a Wikipedia article to another wiki, I almost always use an old version of it, before people came in and started modifying it.

Good wikis to check out are:
 * Infoshop's OpenWiki - a general wiki with an anarchist bent (and run in an authoritarian fashion)
 * Anarchopedia - a general wiki with an anarchist bent (and run in an anarchic fashion)
 * Red Wiki - a general wiki with a somewhat socialist and Marxist bent
 * dKosopedia - a "left/progressive/liberal/Democratic" wiki
 * Demopedia - the "liberal/progressive" Democratic Underground's wiki
 * Sourcewatch - a good progressive wiki with a focus on think tanks, lobbyists, public relations firms and so forth

I urge you to contribute to these wikis for historical, political, economic and other such subjects, as Wikipedia is hopeless for these topics. The views reflect the owners, which is as it almost always is. Thus, you will feel better building the new society within the shell of the old in these other places, where you will be part of a welcoming instead of hostile community. And of course, especially since Wikipedia uses the GFDL, continue to contribute to pages on the Brontosaurus and such, but realize that Wikipedia will always have biased historical articles, and trying to fight it is pointless, the deck is stacked against you. We'll write our history on these wikis, the conservatives will write theirs on Wikipedia and other wikis, and that's how it is.

title: User:Ruy Lopez/NPOV and categories


text:
File:China,Qing,Emperor,Qianlong,Young,Painting,Color.jpg

Official Court Portrait of Emperor Qianlong (1711 – 1799)

Qing dynasty, dated 1736. Hanging scroll; H 220cm x W 183cm.

This official court portrait was completed in 1736 the year of Qianlong’s ascension to the throne at age 25. It is currently part of the collection of the Forbidden City Palace Museum in Beijing, China. The painting shows the emperor in winter court dress.


text:
User:Rhammond

Greetings.

I am the editor of the New York Quarterly poetry magazine. A newbie to Wikipedia. Am hoping to both contribute and edit.

title: User:Rhammond


text: File:Soporflowers.jpg

title: File:Soporflowers.jpg


text:
Flowers in Formaldehyde

Flowers in Formaldehyde is the second EP by darkwave band Sopor Aeternus & the Ensemble of Shadows, and was released in 2004 as a companion to the album La Chambre D'Echo - Where the Dead Birds sing. Only 2,000 CDs and 700 LPs were pressed.

Originally announced as The Adventures of Ms Penny Dreadful, Flowers featured four new songs, two instrumentals of songs from La Chambre D'Echo and an extensive remix of "Do you know my Name ?" from Sopor Aeternus' first album, Ich töte mich.... The first half of the EP remains some of Sopor Aeternus' most pop-oriented work yet.

Flowers in Formaldehyde was re-issued the following year as part of the rarities box set Like a Corpse Standing in Desperation.

Personnel

 * Susannah Simmons: Violin
 * Elizabeth Tollington: Cello
 * Miriam Hughes: Flute
 * Tonia Price: Clarinet
 * Andrew Pettitt: Oboe
 * Doreena Gor: Bassoon
 * Tim Barber: Trumpet
 * Julian Turner: Trombone
 * Anthony Bartley: Tuba
 * Paul Brook: Drums
 * Anna-Varney Cantodea: Vocals, all other instruments and programming

title: Flowers in Formaldehyde


text:
Talk:L.A.M.F.

Genre
From my POV it should be Punk. Ultimately it is all Rock 'N' Roll with Punk rock as a subgenre of the whole thing - should it be Rock music anyway as the Rock 'N' Roll article is specifically about the 1950's style? This recording dates from, is rooted in, and was culturally included within, the Punk era and ethos. If we follow the arguments raised here we should reclassify Sid Vicious as a Crooner because he did My Way but then he did C'mon Everybody too so it might just be some kind of categorisation swindle. Lame Name (talk) 09:11, 28 December 2008 (UTC)

Points
Should the Nina Antonia quote specify it was on the albums reissue or was it on the original issue too?

Should the Mother Fucker part of the title be linked like here? Lame Name (talk) 09:28, 28 December 2008 (UTC)

title: Talk:L.A.M.F.


text:
Valley Village, Los Angeles

Valley Village is a neighborhood in the city of Los Angeles, located within the San Fernando Valley.

Founding
According to Elke Garman, co-president of the Valley Village Homeowners Association in 1991, the history of Valley Village went back to the 1930s, when workers at nearby motion picture studios built houses there. The local post office on Magnolia Boulevard canceled all mail with a "Valley Village" postmark. It was, however, officially a section of North Hollywood.

On page 30 of his autobiography Endless Highway, David Carradine says: The San Fernando Valley is a really hot, dry place in the summer. I spent most of my time in swimming trunks, sitting in the upper branches of a giant apricot tree that grew at the corner of the farm, eating apricots and stuffing my trunks full of them to take home. In 1939, when we moved there, Valley Village was an isolated two-block town in the middle of miles and miles of orange and walnut groves, peach orchards, and cornfields. It was situated at what you might call the end of Los Angeles: the city, the county, and the idea. Across the street from the house was a dirt farm, usually in corn: acres and acres of it. After that, there were no more streets. The edge of the city. In the other direction from the house was an empty lot; well, that's what we called it. It was actually a peach orchard.

Separation from North Hollywood
The idea of separating Valley Village from North Hollywood was brought into public light with a meeting of about 300 homeowners at Colfax Avenue Elementary School in December 1985, yet it wasn't until 1991 that Valley Village got seven new blue reflective markers from the city of Los Angeles to mark its borders.

Reporter James Quinn of the Los Angeles Times wrote that Valley Village no longer wanted to be associated with North Hollywood, "a community that has grown old, heavily Latino and crime-plagued," but, in the same article, Valley Village leader Tom Paterson was quoted as saying that the move "was more than an attempt to boost property values" and that it "had nothing to do with ethnic demographics." Rather, he said, "It was one economic level seeking to have its own identity." Quinn wrote that:

"Houses along Valley Village's lushly landscaped, graffiti-free streets cost up to $800,000, and a two-bedroom, two-bath entry-level house will run $300,000, residents say. Elsewhere in North Hollywood, that same size entry-level house can be purchased for as little as $150,000, real estate agents say. And the cheaper house is likely to have an overgrown, dusty yard and to be in a neighborhood reeling from crime, with gang graffiti splattered on block walls and street signs."

"Stucco mountains"
In December 1985, some three hundred homeowners gathered at Colfax Avenue Elementary School to begin a campaign to head off development of what they called "stucco mountains" – continued construction of large apartments and office buildings in the area. Councilman Joel Wachs said he would support the drive, although he rejected the details of a proposed advisory panel for the area. He said a proposed panel of homeowners might overlook the concerns of renters and the need for rental housing. Residents complained about blocked views, parking problems and traffic congestion because of buildings as high as five stories next to their single-family homes.

The measure would not have banned construction but would have limited all new buildings to two stories and the square footage of commercial development to 1 1/2 times the size of the lot. The plan had the support of Valley Village resident Tom Paterson, president of the Valley Village Homeowners Association, but the opposition of, for one, Marvin Eisenman, an apartment-building owner who said it would not be fair to landowners who purchased property with the idea of developing it. It was touted as a temporary measure until city planners could conduct public hearings on new, permanent development limits. On September 17, 1986, the City Council approved the idea on a 10–2 vote, but less than a month later it reversed itself after heavy lobbying – by former Councilman Arthur K. Snyder, among others – and sent the ordinance back to committee, with the idea that it could be brought back with exemptions for areas where development had already occurred. Finally, substantially the same measure was approved by the council on a temporary basis with exemptions for two dozen properties in areas where there had already been substantial development, like the south side of Riverside Drive between Colfax Avenue and Laurel Canyon Boulevard.

Eventually, the Los Angeles city Planning Commission recommended that a three-story limit be adopted for the Valley Village area.

City of Los Angeles
The boundaries of Valley Village as delineated by the Valley Village Neighborhood Council are Burbank Blvd to the north, the Tujunga Wash to the west, the Ventura Freeway (US 101) to the south and CA 170 to the east.

Google Maps
The boundaries of Valley Village as delineated by Google Maps are Burbank Blvd to the north, the Tujunga Wash to the west, the Ventura Freeway (US 101) to the south and CA 170 to the east.

The Los Angeles Times' Mapping L.A. Project
The Los Angeles Times' Mapping L.A. Project delineates the Valley Village borders as Burbank Blvd. to the north, the Hollywood Freeway to the east, the Ventura Freeway to the south and Coldwater Canyon Avenue to the west.

The 2.09 mi2 neighborhood lies north of Studio City, east of Sherman Oaks, and south and west of North Hollywood.

Climate
Located within the San Fernando Valley, Valley Village has a higher degree of diurnal temperature variation than the nearby basin or coastal areas. According to the Köppen climate classification system, Valley Village has a hot-summer Mediterranean climate (Csa), with subtropical and semi-arid characteristics. Summers are long, hot, dry and smoggy, with average high temperatures in the mid-80s to lower-90s °F (30–34 °C), with nighttime lows in the upper-50s to lower-60s °F (14–17 °C). Temperatures reach or surpass 100 °F (38 °C) several times during the summer, raising the risk of heat stroke or other heat-related illnesses. The all-time record high temperature in Valley Village is 117 °F (47 °C), recorded on September 6, 2020.

Winters are short, sunny and typically warm, with average high temperatures in the upper-60s to lower-70s °F (20–23 °C), but with chilly nights in the lower-to-mid 40s °F (4–7 °C). Winter is also the wet season, but rain is usually infrequent, even during the winter months, as most of the area's rain comes from Pacific storms. It can be especially rainy during El Niño cycles, with flash flooding sometimes occurring. Sub-freezing temperatures (32 °F, 0 °C) and below, as well as frosts, occur several times during the winter; however, these cold weather events are typically brief, usually only lasting for a day or two before temperatures return to normal. Snow is extremely rare. The all-time record low temperature in Valley Village is 23 °F (–5 °C), recorded on January 29, 1979.

Spring and fall hardly exist in this climate, with these months typically being sunny and warm. The Santa Ana winds typically occur between fall and spring, lowering humidity levels and raising temperatures, which increases the risk for wildfires. During the late spring and early summer, more specifically in the months of May and June, conditions are often overcast and foggy, a phenomenon known by local residents as "May Gray" or "June Gloom".

Housing
In 1994, the Los Angeles Times called Valley Village an "area of upscale residences." The 2000 census found that renters occupied 68.7% of the housing units, and homeowners occupied the remaining 31.3%. In 2006, Valley Village was described in another article as a neighborhood "mostly of 1,700 sqft, single-story Spanish- and ranch-style homes that typically sit on nice-size lots." Most of the 3,881 single-family homes were on residential streets, and 1,073 condos and 8,213 apartment units lined the main boulevards.

Population
A total of 24,190 people lived in Valley Village's 2.09 square miles, according to the 2000 U.S. census – averaging 11,600 people per square mile, about average for Los Angeles. Population was estimated at 25,665 in 2008. With its percentage of white people considered high for Los Angeles County, Valley Village is still moderately diverse in its ethnic makeup, with a diversity index of 0.512. "The diversity index measures the probability that any two residents, chosen at random, would be of different ethnicities. If all residents are of the same ethnic group it's zero. If half are from one group and half from another it's .50." Whites made up 66.7% of the population, Latinos were 18.9%, with black people at 5.5% and Asians and others both at 4.4%. The median age was 36, considered old when compared to the city as a whole. There is a sizable Jewish community.

The $55,470 median household income in 2008 dollars was average for the city and county. The average household size of two people was low for both the city and the county. The percentages of divorced men, divorced women, never-married men and widowed women were among the county's highest.

Education
Schools within Valley Village are:

High schools:

 * North Hollywood High School, 5231 Colfax Avenue, LAUSD
 * Valley Torah High School, 12517 Chandler Boulevard, private.

Continuation school:

 * Amelia Earhart, 5355 Colfax Avenue, LAUSD

Elementary schools:
 * Burbank Boulevard, 12215 Albers Street, LAUSD
 * Colfax, 11724 Addison Street, LAUSD charter

Parks and recreation

 * Valley Village Park - located at 5000 Westpark Drive, the park features a children's play area, picnic tables, Restroom(s), and walking paths.
 * Tujunga Wash Greenway

Marilyn Monroe house
A house at 5258 Hermitage Avenue, where film actress Marilyn Monroe lived in 1944–45 under her married name of Norma Jean Dougherty, was demolished by a property developer to make way for a condominium project in June 2015 even as it was under consideration as a historic landmark. She lived there at age 17 while her husband, James Dougherty, was in the Navy, and she had a job inspecting parachutes at a nearby factory. She was living there when she was asked to pose for her first pin-up photo. It was said, however, that the chances of the house being declared a landmark were slim because, as Ken Bernstein, director of the city's Office of Historic Resources, put it, "There are hundreds, if not thousands, of houses associated with celebrities. Monroe resided at the property for only one year "and did not live in the unit during the productive period of her career," a report by city planning officials said.

In October 2015, Los Angeles was facing a lawsuit over the house's destruction by a group called Save Valley Village. At issue was the City Council's practice of "automatically heeding the wishes" of the council member who represents any given area in a controversy. The group said it also had "overwhelming evidence" that an environmental report should have been prepared for the condo project. The group also asked that the city nullify any development projects that received unanimous support during the previous twelve months.

Notable residents

 * Ryan Turell (born 1999), basketball player for the G-League Motor City Cruise, Yeshiva University.
 * Richard Rossi (born 1963), filmmaker, novelist, and musician.

Twin towns
Valley Village is twinned with Saint-Nom-la-Bretèche, France.

title: Valley Village, Los Angeles


text:
Talk:Dirty Girls

Untitled
Please help complete the Angel/Buffy episode articles. See what needs to be done on this sub-page of WikiProject Buffy:

WikiProject Buffy/Episodes

Also please help update any major changes made to episode articles on that page so that progress can be mapped.

________________________________________________________

Before they go into the vineyard where Caleb is, Spike makes a comment like, "Just like Falcon Crest." (Or maybe Falcon's Crest.) Given Spike's liking of Daytime TV, I'm assuming he was referring to the Soap Opera, Falcon Crest. Can someone confirm this? I never watched the show. --Gero 01:19, 20 July 2006 (UTC)

Faith trying to kill Dawn
In the trivia section, it says that it is implied from their conversation that Faith may have tried to kill Dawn. That doesn't seem right, their conversation seemed to clearly show that Dawn was angry at Faith for trying to kill her sister. Is this implication in the trivia section generally accepted? Riverbend 13:25, 21 September 2006 (UTC)
 * It's ambiguous, so I've removed it.--Nalvage 14:51, 21 September 2006 (UTC)

Removed edit boxes
I rewrote the plot summary and expanded overview, so I removed the boxes suggesting a re-write. I tried to improve both the tone and the content. If anyone feels that this was inappropriate, put the boxes back or post suggestions for improvement! Riverbend 14:20, 21 September 2006 (UTC)

Apologies and Such
I apologize if it turns out I caused a bunch of weirdness on this page. I pressed one wrong button and it snowballs into a calvacade of odd.

And as long as I have your attention, I think the expanded overview thing that is going on here and in other Buffy episodes is much, much too long. Detailing every single thing that happens in an episode is frowned upon by Wikipedia. Lots42 15:06, 12 September 2007 (UTC)

Nicholas and the Eyepatch
The bit about Nicholas liking the eyepatch...I can't wrap my brain around it at all. It doesn't make sense no matter how I look at it, especially since Xander the character would protest heavily agains Willow using magic to fix his eye. Lots42 01:18, 12 October 2007 (UTC)

Fair use rationale for Image:Buffy718.jpg
Image:Buffy718.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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

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

BetacommandBot (talk) 19:26, 13 February 2008 (UTC)

title: Talk:Dirty Girls


text:
User:JuergenL

Please use my discussion page at the German wikipedia (in German or English)

title: User:JuergenL


text:
User talk:JuergenL

Please use my discussion page at the German wikipedia (in German or English)

WikiProject Germany Invitation
--Zeitgespenst (talk) 14:57, 10 March 2008 (UTC)

ArbCom elections are now open!
Hi, You appear to be eligible to vote in the current Arbitration Committee election. The Arbitration Committee is the panel of editors responsible for conducting the Wikipedia arbitration process. It has the authority to enact binding solutions for disputes between editors, primarily related to serious behavioural issues that the community has been unable to resolve. This includes the ability to impose site bans, topic bans, editing restrictions, and other measures needed to maintain our editing environment. The arbitration policy describes the Committee's roles and responsibilities in greater detail. If you wish to participate, you are welcome to review the candidates' statements and submit your choices on the voting page. For the Election committee, MediaWiki message delivery (talk) 22:17, 30 November 2015 (UTC)

title: User talk:JuergenL


text: User talk:61.95.6.118

title: User talk:61.95.6.118


text:
Malkata

Malkata (or Malqata; الملقطة), is the site of an Ancient Egyptian palace complex built during the New Kingdom, by the 18th Dynasty pharaoh Amenhotep III. It is located on the West Bank of the Nile at Thebes, Upper Egypt, in the desert to the south of Medinet Habu. The site also included a temple dedicated to Amenhotep III's Great Royal Wife, Tiy, which honors Sobek, the crocodile deity.

Palace of Amenhotep III
There are various structures in the desert, consisting of several residential palaces, a temple of Amun, a festival hall, elite villas, houses for the relatives of the royal family, apartments for attendants, and a desert altar termed the Kom al-Samak, all of which were constructed of mud bricks.

The palace was built in the 14th century BC and its ancient name was Per-Hay, "House of Rejoicing". Originally, the palace was known as the Palace of the Dazzling Aten. Built mostly out of mud-brick, it was Amenhotep's residence throughout most of the later part of his reign. Construction began around year 11 of his reign and continued until the king moved there permanently around his year 29. Once completed, it was the largest royal residence in Egypt.

To the east of the palace a large ceremonial lake was dug. The palace area was connected to the Nile through a system of canals, which end in a large harbour or quay, now called Birket Habu.

Layout of the palace
The palace contained many audience halls, central halls, courtyards, villas, smaller palace complexes for the royal family, and apartments for officials. The harbor and canal connected the palace with the Nile, allowing easy travel across the river to the city of Thebes, which was situated on the eastern bank. There is little evidence of this lake today and little but the foundations of the palace itself remain.

The royal apartment featured a bedroom, a dressing room, a private audience chamber, and a harem, which, after the reign of Amenhotep III, was used simply for storage. The palace had a central courtyard, and across from the pharaoh's rooms were apartments for his daughters and son. His Great Royal Wife, Tiye, had her own smaller palace complex diagonally across from the pharaoh's. The palace grounds contained gardens and a large pleasure lake.

Remains exist of a temple of Amun to the north of the palace, within the complex. A "desert altar" on the outskirts of the ruins has also been excavated. Remains of a temple to the goddess Isis lie south of the main palace complex.

Malqata was managed by a veritable army of servants and staff. Remains of kitchens near the royal chamber have been found, as well as servant quarters. The palace resembled a complete city, with officials in charge of different sections, such as the gardens and the different apartments and quarters.

Palace decorations
Fragments of plastered wall paintings have given archaeologists a glimpse of how the palace was decorated. Various paintings of the goddess Nekhbet made up the ceiling of the royal bedchamber. The walls were decorated with scenes of wildlife - flowers, reeds, and animals in the marshes, as well as decorative geometric designs, complete with rosettes. Ornate wooden columns painted to resemble lilies supported the ceilings. In the palace archaeologists also found some paintings of the great royal wife, Tiye. Rare traces of original wall paintings are still visible on site, despite the badly ruined state of the mudbrick walls.

History of the palace
The palace seems to have been begun by Amenhotep III in the early 14th century BC and the site was occupied as late as the Roman-Byzantine Period. Malqata was most definitely Amenhotep's main residence near Thebes, the capital of ancient Egypt, and therefore, probably his main palace in all of the country. Remains of other smaller palaces in Thebes and other cities throughout Egypt have been found, but none were as large as Amenhotep's palace at Malqata.

Malqata was abandoned by Akhenaten, Amenhotep III's son and successor when he moved the capital to his new city at Amarna, perhaps in order to break the influence of the powerful priests of the Temple of Amun. However, it may have been re-inhabited by the youthful Tutankhamen, when the traditional religion and capital were restored and the priests of the temple regained their influence in the interwoven religion and government of Ancient Egypt.

Tutankhamen's successor, Ay, probably inhabited the palace briefly, and pharaoh Horemheb after him as well, but by the ascension of Ramesses II, it was simply a minor residence, as the capital was moved to Pi-Ramesses in the far north.

Excavations
The palace ruins were "rediscovered" several times: in 1888 by Daressy; by the Metropolitan Museum of Art in 1910–1920; by University Museum of Pennsylvania in the 1970s; and since 1985, they have been the site of excavations by the Archaeological Mission of Waseda University.

Temple of Isis
Just south of the palace there is a temple devoted to Isis which was built in the Roman period. The modern name for this temple is Deir al-Shalwi.

Roman settlement and cemetery
Excavations of the area by the Waseda team unearthed the remains of a Roman settlement and cemetery, finding remains from the times of Trajan and Hadrian.

Malkata today
Next to the site is a modern village. Here there is a tiny church and monastery dedicated to Saint Theodore Stratelates, also called Tawdros (or Tadros) of Shotep (AD 281-319).

title: Malkata


text:
Talk:Caleb (Buffy the Vampire Slayer)

Anti-Catholicism?
Are quite sure about this? Did the Master really, genuinely pervert the Roman Catholic church? Caleb, I agree 100%, but should we remove the part about the Master - unless I'm wrong. That has happened several times before. NP Chilla 16:13, 8 May 2006 (UTC)

 * I changed 'Catholicism' to 'religion'. Didn't the Master pervert religion (or maybe 'christianity') rather than specifically Catholicism?

 * I think the writers were interested in exploring the darker side of religion throughout much of the Buffyverse's history. This reaches it's height with the coming of Jasmine. -- Paxomen 20:13, 8 May 2006 (UTC)

Trivia: Firefly
If i'm not mistaken only Nathon Fillion (Mal) and Gina Torres (zoe) played villains? while Sumer Glau (river) appears in "waiting in the wings" she's not a villain

unless your talking about Jonathon woodward (Tracey) who actually played multiple villains (holden webster and Knox).

Okay less incorrect than it seems but still minorly noteworthy.
 * Adam Baldwin played Hamilton towards the end of Angel's last season.--Nalvage 08:41, 19 October 2006 (UTC)

Fair use rationale for Image:Caleb01.jpg
Image:Caleb01.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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

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

BetacommandBot (talk) 04:42, 12 February 2008 (UTC)

Caleb's powers
I'm not sure it's valid to say Caleb's powers dwarfed all the previous villains aside from Glory. What about the Mayor, who was the embodiment of an Old One, or Evil Willow who had a ton of magical power? As for physical strength, Adam might be a closer match than is implied here...

24.187.26.231 (talk) 07:59, 21 August 2008 (UTC)

Redirect
I feel Caleb doesn't meet qualifications for a seperate article. It contains a very slim amount of sources and i personally feel a character who appeared in only 5 of the 144 episodes of Buffy doesn't necessarily hold up an article. RAP (talk) 22:35 26 October 2011

Inspired by Harry Powell?
The similarities between these two misogynistic serial-killing itinerant ex-clergymen seem pretty obvious. Has Whedon every commented one way or the other? 72.81.233.106 (talk) 00:26, 12 January 2017 (UTC)

External links modified
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title: Talk:Caleb (Buffy the Vampire Slayer)


text:
Caught in the Act (Grand Funk Railroad album)

Caught in the Act is Grand Funk Railroad's second live album and was released in August 1975 by Capitol Records as a double album. It was recorded live on tour in 1975 and features "The Funkettes" – Lorraine Feather and Jana Giglio.

Early pressings of the album (including record-club pressings) simply state the band's name as "Grand Funk" on the front cover and spine, but have the full name on the record labels.

The 2003 re-mastered version of this release has a total time of 79:08, and was squeezed down to one disc. The 2:47 "Introduction" is gone, but "T.N.U.C" and "Gimme Shelter" are lengthened. Audience interaction and applause is shortened throughout to compensate. The missing "Introduction" is included as a hidden track at the end of "Some Kind of Wonderful" on the 2003 re-mastered version of "All the Girls in the World Beware!!!"

Track listing
Side one
 * 1) "Footstompin' Music" (from E Pluribus Funk) (Mark Farner) – 4:07
 * 2) "Rock & Roll Soul" (from Phoenix) (Farner) – 4:04
 * 3) "Closer to Home" (from Closer to Home) (Farner) – 7:08

Side two
 * 1) "Heartbreaker" (from On Time) (Farner) – 7:22
 * 2) "Some Kind of Wonderful" (from All the Girls in the World Beware!!!) (John Ellison) – 4:14
 * 3) "Shinin' On" (from Shinin' On) (Farner, Don Brewer) – 5:31
 * 4) "The Loco-Motion" (from Shinin' On) (Gerry Goffin, Carole King) – 3:21

Side three
 * 1) "Black Licorice" (from We're an American Band) (Farner, Brewer) – 4:27
 * 2) "The Railroad" (from We're an American Band) (Farner) – 6:13
 * 3) "We're an American Band (from We're an American Band) (Brewer) – 3:38
 * 4) "T.N.U.C." (from On Time) (Farner) – 9:32

Side four
 * 1) "Inside Looking Out" (from Grand Funk) (John Lomax, Alan Lomax, Eric Burdon, Bryan "Chas" Chandler) – 12:24
 * 2) "Gimme Shelter" (from Survival) (Mick Jagger, Keith Richards) – 7:00

Personnel

 * Mark Farner – guitar, harmonica, vocals; organ on "Footstompin' Music"
 * Craig Frost – percussion, keyboards, backing vocals
 * Mel Schacher – bass guitar, backing vocals
 * Don Brewer – drums, percussion, vocals

Funkettes Group
 * Lorraine Feather – backing vocals
 * Jana Giglio – backing vocals


text:
Talk:Civic Center, Los Angeles

Redirect?
Maybe a redirect to the Los Angeles Sports and Entertainment District? — Preceding unsigned comment added by 69.231.149.37 (talk • contribs) 03:25, July 22, 2005 (UTC)

The civic center is NOT the section previously described here; that is called South Park or Central City. Civic Center is the area in Los Angeles around City Hall. I have updated this article accordingly, writing a new article from the ground up. Catsonmars 20:54, 6 February 2006 (UTC)

Move discussion in progress
There is a move discussion in progress on Talk:Bunker Hill, Los Angeles which affects this page. Please participate on that page and not in this talk page section. Thank you. —RM bot 19:30, 24 April 2010 (UTC)
 * Interested editors can also comment at Talk:Los Angeles Purplebackpack89  (Notes Taken)  (Locker) 03:50, 28 April 2010 (UTC)

External links modified
Hello fellow Wikipedians,

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title: Talk:Civic Center, Los Angeles


text:
Austin station (MTR)

Austin is an underground MTR rapid transit station on the in Hong Kong, situated perpendicular to Wui Cheung Road and Austin Road West, and formerly adjacent to Jordan Road Ferry Pier Bus Terminus.

History
Austin station was built as part of the Kowloon Southern Link project, built to connect the West Rail line and. KCR Corporation originally planned two stations along the new section of line: Austin and Canton Road stations. The latter station was cancelled due to failed negotiations with private landowners. As a result, Austin was the only new station built as part of the Kowloon Southern Link scheme. It is also the first KCR-owned station to be opened after the MTR took over operations of the KCR network.

During the planning and early construction stages, the station was called "West Kowloon station". The construction contract KDB200 (West Kowloon Station and Tunnels – Jordan Road to East Tsim Sha Tsui Station) was awarded to the Leighton-Balfour Beatty-Kumagai-John Holland Joint Venture (renamed to "Link 200 Joint Venture" on 9 August 2005) for an estimated contract sum of HK$2.018 billion. This station is part of this contract. Construction was finished in July 2009 and the station opened on 16 August that year. It was named after Austin Road as Austin

It was located adjacent to the Canton Road Government Offices until that structure was demolished in 2011. An MTR residential property development, The Austin, was subsequently constructed on the site of the former government offices.

A direct connection between Austin station and the West Kowloon Terminus was opened on 23 September 2018.

A new underground pedestrian link between Austin station and Xiqu Centre, a Chinese opera house, was opened on 21 March 2021.

On 27 June 2021, the officially merged with the  (which was already extended into the Tuen Ma line Phase 1 at the time) in East Kowloon to form the new, as part of the Shatin to Central link project. Hence, Austin was included in the project and is now an intermediate station on the Tuen Ma line.

Station layout

The station has two tracks and one island platform. The surface station building is divided into two parts by Wui Cheung Road.

By interchanging between Kowloon and Austin stations, passengers using Octopus cards can connect to the MTR urban lines for free, immediately before or after the Airport Express journey. Airport Express passengers can travel around the two stations by walking through Exit B5 of this station or using the complimentary Airport Express shuttle bus service. However, it only provides out-of-system connection to Kowloon station for  passengers with gate charges.

Exits A and F are respectively connected with the pedestrian subways at the Jordan Road and the Austin Road junctions with Canton Road. But unlike cases like the subway at the Ngau Tau Kok station, the other exits of these two subways connected to Austin are not numbered.

Entrances/exits

 * Northern concourse
 * A: Jordan Road
 * B1/B2: Wui Cheung Road
 * B3: The Austin
 * B4: Hong Kong West Kowloon
 * B5: Elements, Kowloon Station
 * C: Hong Kong West Kowloon Station
 * Southern concourse
 * D1/D2: Austin Road West and West Kowloon Cultural District
 * D3: Grand Austin
 * D4: Hong Kong West Kowloon Station
 * E: Xiqu Centre
 * F: China Ferry Terminal and Austin Road

title: Austin station (MTR)


text:
Talk:Dutch courage

Misc
I became curious about the origin of the expression "Dutch courage" after seeing someone use it on a website I frequent. I found several different explanations and still have no idea which one, if any, is correct. But this is certainly the most interesting explanation.

Autarch Severian — Preceding unsigned comment added by Autarch Severian (talk • contribs) 04:35, 19 October 2011 (UTC)

As far as I know, Dutch courage came from the time of the plagues. When England was engulfed in the black death, the Dutch were the only people brave enough to sail to the English coast and do trading. The way the trading was done, involved the English placing trading goods on the beach, then they would retreat end the Dutch would go on shore and pick up the trade goods in exchange leave their trade goods. The man that was brave enough to go on shore got drunk, as they thought that it would protect them from the black death.

I have to say that I can not say if the story is true, but it is a nice one.

Scubafish

More specifically: during an alliance with the Dutch, English soldiers noticed the practice of drinking a tot of gin (jenever) at stand-to and before battle. Gin was introduced to Britain after this time. Martin Doherty 16:43, 9 April 2006 (UTC)

My understanding is that it comes from the Black Death. The Dutch ships were the only ones brave enough to sail into London during the plague. They were responsible for bringing in wines from the continent, therefore when people toasted they drank to the "Dutch Courage".

As a reward Dutch ships were later given "free port entry" to London.

24.22.73.41 02:31, 30 November 2006 (UTC) As an American, my colloquial understanding of the word "Dutch" is quite the opposite of that stated here. We associate the term "Dutch" reflexively with "good". Note the term "it beats the Dutch". In England "Dutch" may be synonymous with "bad", but in colloquial American the term is strongly positive.

24.22.73.41 02:31, 30 November 2006 (UTC)
 * In the UK we don't generally attribute any meaning to "Dutch" other than from or of the Netherlands.Mnealon (talk) 04:20, 30 June 2011 (UTC)

Removed from article page
Whilst studying at University I was required to do a literature research project on the "Perceived effects of alcohol, 1600-1800s." During this time I found numerous original newspaper articles citing the origin of the phrase "Dutch courage" relating to when the English and Dutch were at war.

The phrase was linked specifically to the difficulties English forces had in overcoming Dutch forces along the Dutch coast despite outnumbering the defending forces by a ratio of 3 to 1. The main reason for the ferocity of the Dutch forces was claimed to be due to their common bouts of drinking large amounts of gin and/or absinthe or other alcohol during battles. Hence, the term 'Dutch courage' being applied to the decreased sense of fear experienced by individuals when they have consumed alcohol.

I found no evidence during the research regarding the bravery of Dutch traders or sailors delivering goods to London during the plague. However there was a link between London, gin, and the Dutch. This link is best illustrated in the graphical works of William Hogarth, especially his drawings entitled "Mother Gin" and "Gin Lane". The Dutch link is that the downward spiral of English (London) society, as depicted by Hogarth, was associated with English soldiers returning from the wars with the Dutch (as mentioned above) and bringing gin and absinthe with them.

--Ich (talk) 18:41, 27 August 2007 (UTC)

Removed patent WP:BOLLOCKS
I've removed the following piece of unsourced (and untrue) original research. Please do not re-add it unless you can find a reliable source (which you won't) as it's patently untrue; not only were Britain and the Netherlands at war at the time of the Plague, but the earliest recorded use of the phrase was in 1826. And needless to say, the Dutch do not have "the freedom of the river". —  iride  scent  20:36, 20 May 2008 (UTC)

During the bubonic plague of London (1665), the city was sealed off to avoid contamination. This meant no food was permitted in. The only people willing to trade with London were the Dutch, who left food on jetties and then would take the money left there. They used to steel their nerves with liquor before landing on the plague-infested shores, hence "Dutch courage." To this day, the Dutch still have the freedom of the river Thames, which was granted as a reward for their courage and kindness. Another possible etymology of the phrase comes from the origin of Gin. Gin (originally called jenever) was created by the Dutch, from whom it spread to England through returning soldiers. The popularity of gin became a social scourge, eventually leading to the Gin Act of 1751 and the pejorative use of the term.

-

Would have been very stupid of any Dutch ship to sail anywhere near England let alone into London, for many years before or after, seeing as England and Holland were constantly at War at this time.

Gazza — Preceding unsigned comment added by 109.154.109.13 (talk) 18:10, 6 August 2020 (UTC)

"Dutch"
In a number of these phrases (e.g. "Dutch uncle", etc.), "Dutch" actually meant Deutsch (i.e. German)... AnonMoos (talk) 00:16, 11 September 2008 (UTC)

Rewrite of 84.249.3.82 's edits
I've rewritten the introductory material entered by 84.249.3.82 in an attempt to keep NPOV, and to emphasize the tentative nature of these unsourced additions. Citations showing that the Dutch navy or sailors were particularly feared for their courage would be necessary. There is also no indication that the meaning of the phrase originally referred to anything other than "liquid courage" - this should be cited before speculating further. I'd also suggest that placing this new paragraph before other theories smacks of impolitely trying to assert primacy, but haven't moved it. Grothmag (talk) 20:50, 22 October 2008 (UTC)

Link to gin
Why is there no link of the word 'gin' to the Wikipedia article on gin? I would do it myself but I can't remember how (and too lazy to look it up, lying here on the couch like a giant beached porpoise, half asleep).

--Atikokan (talk) 04:26, 8 February 2011 (UTC)

Error in dates?
Dutch gin created in 1650 then used in The Thirty Years War (1618 - 1648)? Dstone1163 (talk) 13:48, 30 March 2012 (UTC)

Another hypothesis for its origin
Is this site credible? It says, ''The Anglo-Dutch wars of the 17th and 18th centuries were acrimonious even by the usual standards of war. Following the conflicts the English came to hold the Dutch in very low regard and as a consequence there are numerous English phrases which portray them in an unflattering light,'' and goes on to describe the phrase as meaning that courage gained by intoxication isn't genuine. --Dan Wylie-Sears 2 (talk) 05:27, 1 April 2017 (UTC)

title: Talk:Dutch courage


text: User talk:202.146.241.6

title: User talk:202.146.241.6


text:
Talk:Bunker Hill, Los Angeles

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 28 August 2018 and 11 December 2018. Further details are available on the course page. Student editor(s): Mexikat.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 16:24, 16 January 2022 (UTC)

Opening heading
Gentrification - I dont see any point in bringing it up - Bunker Hill currently does not have any lower income people to displace.

 * No, but central Los Angeles does in general. Gentrification pressures are pushing a lot of the very poorest people out of nearby South Park and Little Tokyo, and to an extent out of Koreatown and Echo Park as well.--Slightlyslack 06:36, 7 September 2005 (UTC)

The history of the demolition of Bunker Hill probably deserves a little more space. It was controversial "urban renewal." Also, the architectural transformation deserves some extended mention. It didn't change from Victorians to the current glass towers. There were masonry buildings there in between. —Preceding unsigned comment added by 76.90.90.136 (talk) 03:04, 24 February 2008 (UTC)

Image problem
The previous image of "Bunker Hill as viewed from a parking ramp at USC" did not show Bunker Hill. As a former resident of both USC and Bunker Hill, I can say without doubt that it is not visible from campus. Rather, the view is of the Financial District. Bunker Hill lies on the opposite side (North) of the Financial District and is impossible to see from the USC campus (South). I have corrected the image's caption and removed it from this article (replacing it with two notable landmarks on Bunker Hill). Bobak 20:43, 14 February 2006 (UTC)

Requested move

 * Note to closing admin: please delay the closing of this RFM until Talk:Los Angeles has closed, on May 4, 2010. Purplebackpack89  (Notes Taken)  (Locker) 22:43, 30 April 2010 (UTC)

 * The following discussion is an archived discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

The result of the move request was: Pages moved - see also Talk:Los_Angeles  Ron h jones (Talk) 23:26, 4 May 2010 (UTC)

Bunker Hill, Los Angeles → Bunker Hill, Los Angeles — Per naming conventions of neighborhoods in Chicago, Brooklyn, Manhattan, Cleveland, Detroit, &c (American cities who are notorious enough to not need the states in their names), and to make names shorter and more navigable (WP:COMMONNAME). There are four of these as it only allows me to request twenty pages at a time Purplebackpack89  (Notes Taken)  (Locker) 19:19, 24 April 2010 (UTC)

 * Brentwood Circle, Los Angeles, California → Brentwood Circle, Los Angeles
 * Brentwood Glen, Los Angeles, California → Brentwood Glen, Los Angeles
 * Canoga Park, Los Angeles, California → Canoga Park, Los Angeles
 * Century City, Los Angeles, California → Century City, Los Angeles
 * Cheviot Hills, Los Angeles, California → Cheviot Hills, Los Angeles
 * Chinatown, Los Angeles, California → Chinatown, Los Angeles
 * Civic Center, Los Angeles, California → Los Angeles Civic Center
 * Country Club Park, Los Angeles, California → Country Club Park, Los Angeles
 * Crenshaw, Los Angeles, California → Crenshaw, Los Angeles
 * Cypress Park, Los Angeles, California → Cypress Park, Los Angeles
 * Del Rey, Los Angeles, California → Del Rey, Los Angeles
 * East Hollywood, Los Angeles, California → East Hollywood, Los Angeles
 * Encino, Los Angeles, California → Encino, Los Angeles
 * Fairfax District, Los Angeles, California → Fairfax, Los Angeles
 * Fashion District, Los Angeles, California → Fashion District, Los Angeles
 * Gallery Row, Los Angeles, California → Gallery Row, Los Angeles
 * Glassell Park, Los Angeles, California → Glassell Park, Los Angeles
 * Granada Hills, Los Angeles, California → Granada Hills, Los Angeles
 * Hancock Park, Los Angeles, California → Hancock Park, Los Angeles

 * Support per this move.  Butros  (talk)  23:51, 24 April 2010 (UTC)

 * Support Straight forward, and in line with what was recently agreed.  Someone's working hard!  Skinsmoke (talk) 14:51, 26 April 2010 (UTC)
 * Non-support per Naming conventions (geographic names) the correct format for U. S. place names is city, state, with the county included if further disambiguation is needed. None of the above are notable enough to rate the single name designation. Vgranucci (talk) 16:00, 26 April 2010 (UTC)
 * Neighborhoods don't apply to that. It says so right in your link.  You seem to be confused about these being cities, not neighborhoods, both here and at Talk:Reseda, Los Angeles  Purplebackpack89  (Notes Taken)  (Locker) 21:46, 26 April 2010 (UTC)

 * Strong Support These are neighborhoods and should follow the neighborhood guidelines.--Jkfp2004 (talk) 19:57, 28 April 2010 (UTC)
 * support +1, circlejerk in progress riffic (talk) 22:24, 28 April 2010 (UTC)
 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

Bunker Hill in popular culture
"On "The Adventures of Philip Marlowe" radio program with episode named "Baton Sinister" dated September 17, 1949, Angels Flight is referenced as Marlowe has a rendezvous set in Bunker Hill."  The above is most likely true but we need a better reference for it. All I can find in relation to this is Adventures of Philip Marlowe, 09-17-1949 The Baton Sinister Page 4 and Ralph Story's L.A. 08-04-1964 Bunker Hill page 132 http://www.tol.lib.ca.us/Specoll/radio_scripts_index_10-2013.pdf Can you help? Thanks Karl Twist (talk) 14:38, 2 January 2015 (UTC)

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Category:Amarna Period

The Amarna Period at the end of the 18th Dynasty covers the rule of the kings Akhenaten, Smenkhkare, Tutankhamun and Ay.

title: Category:Amarna Period


text:
Maxwell Maltz

Maxwell Maltz (March 10, 1899 – April 7, 1975 ) was an American cosmetic surgeon and author of Psycho-Cybernetics (1960), which was a system of ideas that he claimed could improve one's self-image leading to a more successful and fulfilling life. He wrote several books, among which Psycho-Cybernetics was a long-time bestseller — influencing many subsequent self-help teachers. His orientation towards a system of ideas that would provide self-help is considered the forerunner of the now popular self-help books.

Life and career
Maxwell "Max" Maltz was born March 10, 1899, in Manhattan's Lower East Side, the third child of Josef Maltz and Taube Elzweig, Jewish immigrants from what was then known as the town of Resche in the Austro-Hungarian Empire (today Rzeszów, Poland).

In 1923, Maltz graduated with a doctorate in medicine from the Columbia University College of Physicians and Surgeons. He also undertook training under German plastic surgeons who were considered most advanced in cosmetic surgery at the time.

In 1960, Psycho-Cybernetics: A New Way to Get More Living out of Life was first published by Prentice-Hall and appeared in a pocket book edition by 1969. It introduced Maltz's views that people must have an accurate and positive view of themselves before setting goals; otherwise they will get stuck in a continuing pattern of limiting beliefs. His ideas focus on visualizing one's goals and he believed that self-image is the cornerstone of all the changes that take place in a person. According to Maltz, if one's self-image is unhealthy or faulty — all of a person's efforts will end in failure.

On February 10, 1966, Dr. Maltz married Ms. Anna Harabin (1909-1993), his longtime secretary.

Maltz also wrote fiction, including a play called Unseen Scar (1946) and a novel, The Time is Now (1975). His autobiography, Doctor Pygmalion: The Autobiography of a Plastic Surgeon (1953), was popular and influential, discussed in many subsequent books on body and identity. It was re-titled Doctor Psycho-Cybernetics after his self-help work was published.

Although Psycho-Cybernetics was first published in 1960, as of 2008 it is one of 50 recommended in the book 50 Self-Help Classics.

title: Maxwell Maltz


text:
Traya

For Traya see:
 * Darth Traya
 * Misti Traya

title: Traya


text:
Neigong

Neigong (internal strength or internal skill ), also spelled nei kung, neigung, or nae gong, refers to a series of internal changes that a practitioner goes through when following the path to Dao, and these changes may be achieved through practices including qigong or tai chi. Neigong is also associated with xingyi quan.

Neigong practice is normally associated with the so-called "soft style", "internal" or neijia Chinese martial arts, as opposed to the category known as waigong 外功 or "external skill" which is historically associated with Shaolin kung fu or the so-called "hard style", "external" or waijia Chinese martial arts. Both have many different schools, disciplines and practices and historically there has been mutual influence between the two and distinguishing precisely between them differs from school to school.

Internal martial arts

The martial art school of neigong emphasises training the coordination of the individual's body with the breath, known as "the harmonisation of the inner and outer energy (內外合一)", creating a basis for a particular school's method of utilising power and technique.

Neigong exercises that are part of the neijia tradition involve cultivating physical stillness and or conscious (deliberate) movement, designed to produce relaxation or releasing of muscular tension combined with special breathing techniques such as the "tortoise" or "reverse" methods. The fundamental purpose of this process is to develop a high level of coordination, concentration and technical skill that is known in the martial arts world as neijin (內勁). The ultimate purpose of this practice is for the individual to become at one with heaven or the Dao (天人合一). As Zhuang Zhou stated, "Heaven, earth and I are born of one, and I am at one with all that exists (天地與我並生, 萬物與我唯一)".

Martial neigong is about developing internal power. One way to possibly achieve this is to train particular exercises regularly where the breath is matched with movements of blood or to effect the movement of blood throughout the body. Through these exercises it can be possible to move the blood to a particular area during a particular movement to have a particular result. One of the benefits of martial neigong exercises is the relaxation of blood vessels, nerves, muscles and sinews to help the body move more freely. With the body moving freely and an excess of blood moving to a particular area with little or no effort, the practitioner can possibly develop many benefits. These benefits may include:
 * faster recovery from injury to the hands
 * an ability to hit with more force
 * an ability to move faster (speed is crucial in martial arts)
 * the health benefits of being relaxed
 * an increase in connection to your legs, spine, arms and head
 * increased stamina
 * increased athletic ability and health
 * regulation of blood pressure
 * actually experiencing the channels of the body as they truly are, which can possibly be different from the books
 * developing an authentic dantian that is consciously nourished and deliberately formed which is not defined in the books
 * greater sensitivity for sparring and fighting

Anyone looking to learn neigong sincerely is more likely to learn it from a good teacher of internal martial arts like xingyi quan. It is rare to learn authentic Daoist practices from a true master of the subject as quite a lot of the neigong skills are an essential part of a complete system of martial arts. Neigong is not a philosophy, but a technique and an art of inner cultivation. There are intellectual guidelines to the practice of neigong, but it is "Inner Work" which means effort has to be put in to develop real, substantial and testable skills. This is not something that can be imagined or talked about, only from direct experience and hard effort can an understanding of neigong develop.

In popular culture
Wuxia and xianxia fiction often portray the training of neigong as giving practitioners superhuman powers. For example, one may use qi to attack opponents without physical contact, fly with qinggong, or harden the body to resist weapon attacks. These can be seen in novels by Jin Yong and Gu Long, films such as Crouching Tiger, Hidden Dragon, Shaolin Soccer and Kung Fu Hustle, as well as video games such as The Legend of Sword and Fairy and Xuan-Yuan Sword.

title: Neigong


text: User talk:81.214.118.202

title: User talk:81.214.118.202


text:
TIR Convention

The Convention on International Transport of Goods Under Cover of TIR Carnets (TIR Convention) is a multilateral treaty that was concluded at Geneva on 14 November 1975 to simplify and harmonise the administrative formalities of international road transport. (TIR stands for "Transports Internationaux Routiers" or "International Road Transports".) The 1975 convention replaced the TIR Convention of 1959, which itself replaced the 1949 TIR Agreement between a number of European countries. The conventions were adopted under the auspices of the United Nations Economic Commission for Europe (UNECE). As of December 2020, there are 77 parties to the Convention, including 76 states and the European Union.

The TIR Convention establishes an international customs transit system with maximum facility to move goods:
 * in sealed vehicles or containers;
 * from a customs office of departure in one country to a customs office of destination in another country;
 * without requiring extensive and time-consuming border checks at intermediate borders;
 * while, at the same time, providing customs authorities with the required security and guarantees.

The TIR system not only covers customs transit by road, but a combination is possible with other modes of transport (e.g., rail, inland waterway, and even maritime transport), as long as at least one part of the total transport is made by road.

To date, more than 33,000 international transport operators had been authorised (by their respective competent national authorities) to access the TIR system, using around 1.5 million TIR carnets per year.

In light of the expected increase in world trade, further enlargement of its geographical scope and the forthcoming introduction of an electronic TIR system (so-called "eTIR-system"), it is expected that the TIR system will remain the only truly global customs transit system.

Due to the large blue-and-white TIR plates carried by vehicles using the TIR convention, the word "TIR" entered many languages, such as Italian, Polish, Portuguese, Romanian or Turkish, as a neologism, becoming the default generic name of a large lorry.

Saudi Arabia acceded to the convention on 17 May 2018, and the convention entered into force for Saudi Arabia on 17 November 2018. Egypt acceded to the convention on 16 December 2020, and entered into force in Egypt on 16 June 2021.

With the accession of Saudi Arabia and Egypt, the TIR Convention had seventy-seven Contracting Parties.

TIR procedures
Lorriers making use of the TIR procedure must first obtain an internationally harmonised customs document, referred to as a TIR carnet. TIR carnets are issued by national road transport associations. This customs document is valid internationally and, as well as describing the goods, their shipper and their destination, represents a financial guarantee. When a lorry arrives at a border customs post, it need not pay import duties and taxes on goods at that time. Instead, the payments are suspended. If the vehicle transits the country without delivering any goods, no taxes are due. If it fails to leave the country with all the goods, then the taxes are billed to the importer and the financial guarantee backstops the importer's obligation to pay the taxes. TIR transits are carried out in bond, i.e. the lorry must be sealed as well as bearing the carnet. The security payment system is administered by the International Road Transport Union (IRU).

The TIR procedure is mostly used with Eastern European countries that are not in the EU (e.g. Russia and Ukraine), Turkey, and parts of the Near East. Since the formation of the European single market, the TIR procedure has become unnecessary for intra-EU goods transport.

As a result of Brexit, TIR carnets could become part of the solution to merchandise traffic between Great Britain and other European countries, or for goods to transit intra-EU, for example between Ireland and mainland Europe.

title: TIR Convention


text:
User talk:Nbkhsg

NPOV
Hello, and welcome to Wikipedia! You are very welcome to make edits on the encyclopedia, but for now I have reverted an edit you made on the Pandurang Shastri Athavale article to a previous version. This was done because your edit contained elements that do not fit into Wikipedia's NPOV (neutral point of view) policy. Wikipedia, as any encyclopedia, tries to be as neutral as possible, and edits with a distinctive bias, either a positive or a negative one, are discouraged. However, you are welcome to add any factual information you might have on Pandurang Shastri Athavale into the current version of the article. - ulayiti 07:42, 22 July 2005 (UTC)

title: User talk:Nbkhsg


text:
Imperial anthems of the Ottoman Empire

The Ottoman Empire used anthems since its foundation in the late 13th century, but did not use a specific imperial or national anthem until the 19th century. During the reign of Mahmud II, when the military and imperial band were re-organized along Western European lines, Giuseppe Donizetti was invited to head the process. Donizetti Pasha, as he was known in the Ottoman Empire, composed the first Western European-style imperial anthem, the Mahmudiye Marşı.

As was the case in many 19th-century monarchies, such as the Austrian Empire, the anthem of the Ottoman Empire was an imperial anthem, not a national one, so it paid homage to a specific ruler. However, unlike Western Europe, where the same music was used with modified lyrics (e.g. Gott erhalte Franz den Kaiser and Marche Henri IV), a new anthem was composed after each Ottoman imperial succession.
 * Mahmudiye Marşı, March of Mahmud – for Mahmud II (1829–1839, 1918–1922), by Giuseppe Donizetti
 * Mecidiye Marşı, March of Mecid – for Abdulmejid I (1839–1861), by Giuseppe Donizetti
 * Aziziye Marşı, March of Aziz – for Abdülaziz (1861–1876), by Callisto Guatelli
 * Hamidiye Marşı, March of Hamid – for Abdul Hamid II (1876–1909), by Necip Paşa
 * Reşadiye Marşı, March of Reşad – for Mehmed V (1909–1918), by Italo Selvelli

After the start of the imperial anthem tradition, two Sultans did not have specific anthems composed. The first was Murad V, who reigned for 3 months in 1876, and the second was the last Sultan of the Ottoman Empire, Mehmed VI, who used the Mahmudiye Marşı anthem.

Only the Hamidiye Marşı and Reşadiye Marşı had lyrics, the first three anthems being purely instrumental. The lyrics of the Reşadiye Marşı seem to have been lost to history.

Lyrics [Ottoman Turkish]
Hamidiye Marşı

Ey velîni'met-i âlem şehinşâh-ı cihan

Taht-ı âlî baht-ı Osmaniye verdin izz ü şan

Sâye-i lûtf-i hümayûnunla âlem kâm-ran

Saltanatta çok zaman Sultan Hamid zevk et heman

Çok yaşa ey padişahım devletinle çok yaşa

Çok yaşa ey padişahım şevketinle çok yaşa

Lyrics [English]
Hamidiye Marşı

O benefactor of the world, the world's crowning glory

You gave the throne of the Ottoman Empire honor and glory

With your imperial favor, the world will be in awe

Sultan Hamid, reign happily for a long time

Long live O sultan, long live your state

Long live O sultan, long live your majesty

title: Imperial anthems of the Ottoman Empire