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Talk:History of Australia (1788–1850)

Terra Nullius
The concept of "terra nullius" is an important one in the history of Australia and is referenced already in the Timeline section ("1835 - the Proclamation of Governor Bourke, issued by the Colonial Office and sent to the Governor with Despatch 99 of 10 October 1835 implements the doctrine of terra nullius upon which British settlement was based."). I think it's important enough to mention in the lede and made this WP:BOLD edit which was promptly reverted with the comment "Australia was never officially proclaimed to be terra nullius.". This is semantics - "terra nullius" means uninhabited land (literally "land of nobody") and Australia (well the New South Wales colony - which at the time included everything bar WA and Tasmania) was declared previously uninhabited, officially, in 1835. The reference used in the timeline section states: "This document implemented the concept now known as terra nullius upon which British settlement was based".... so even though the document didn't use the exact phrase "terra nullius", it formally established the same concept. The term "terra nullius" for this kind of land claim only came into common use in the late 1800s, so it's an unreasonable requirement that documents before that time must use that exact phrase. Tobus (talk) 10:26, 18 September 2022 (UTC)

 * The problem is trying to fix a date in which the doctrine of Terra Nullius was "officially proclaimed". The doctrine was never officially proclaimed, it was just a post hoc justification used by some legal scholars to explain the fact that the colonial officials simply assumed that the Crown had given them the right to dispose of the land of the NSW colony as they saw fit. It's true that the commentary from the Powerhouse Museum states that Bourke's 1835 proclamation "implemented the doctrine of "terra nullius". But this is demonstrably wrong. The governors of NSW had been issuing land grants since 1788 without asking any Aboriginal Australians whether it was ok by them. It you want an authority for this look at the Mabo decision per Dawson par 36: "Upon any account, the policy which was implemented and the laws which were passed in New South Wales make it plain that, from the inception of the colony, the Crown treated all land in the colony as unoccupied and afforded no recognition to any form of native interest in the land." Bourke's Proclamation was just another in a long line of executive acts regulating land use in the colony. It's real significance is that Bourke was trying to give Aboriginals some protection against squatters. (A battle he lost). If you want the first proclamation of a notion which was later turned into the idea of Terra Nullius have a look at the instructions to Governor Phillip. I've been meaning to add this to the articles about Terra Nullius in Australia for some time.  Aemilius Adolphin (talk) 12:16, 18 September 2022 (UTC)

 * I have corrected and summarised the information on the Proclamation of Govenor Bourke in the timeline section. I have added Banner's Why Terra Nullius? Anthropology and Property Law in Early Australia (2005) as a source.--Aemilius Adolphin (talk) 10:07, 20 September 2022 (UTC)

Establishment and consolidation of colony
Hello all

I have replaced a lot of unsourced content with sourced content from History of Australia. I have also replaced some original research based on primary sources with content based on recent scholarship.

Happy to discuss Aemilius Adolphin (talk) 06:03, 7 July 2024 (UTC)

Expansion of NSW and Establishment of Further Colonies
Hello all

I have replaced the Timeline with two new sections: Expansion of the Colony and Establishment of Further Colonies. The timeline was mostly unsourced and was inadequate to provide a proper history of Australia from 1788 to 1850. Some of the Timeline was properly sourced and I have incorporated these parts into the text.

Happy to discuss Aemilius Adolphin (talk) 06:23, 7 July 2024 (UTC)

Introduced diseases and frontier violence
Hello all

I have significantly expanded these sections based on more recent scholarship. The previous section on frontier violence was largely based on Reynolds (1991 and 1999). I have copied over the relevant section from History of Australia which is based on a wider range of more recent scholarship.

Happy to discuss Aemilius Adolphin (talk) 04:29, 8 July 2024 (UTC)

Politics and government
Hello all

I have expanded this section, adding material based on recent scholarship. Most of this new content is from History of Australia.

Happy to discuss. Aemilius Adolphin (talk) 00:14, 9 July 2024 (UTC)

Culture
Hello all

I have significantly expanded this section using scholarly sources. I have removed one image of a painting from 1860 which is outside the time frame of this article.

Happy to discuss Aemilius Adolphin (talk) 05:47, 10 July 2024 (UTC)

Education
Hello all

I have significantly expanded this section using scholarly sources. I have removed some content which was outside the time frame of this article.

Happy to discuss. Aemilius Adolphin (talk) 04:53, 11 July 2024 (UTC)

title: Talk:History of Australia (1788–1850)


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User talk:P. Gollakota

Please don't add external links to your site. Your help in improving articles would be appreciated, though. How about making Wikipedia an "excellent site" and then linking the Flash animations individually? JFW | T@lk  15:04, 18 July 2005 (UTC)

 * You have obviously not read my comment above. Wikipedia is supposed to replace that "excellent" site, not serve as a pointer to it. To paraphrase your message on my talk page, it is depressing how easily people misunderstand the purpose of Wikipedia. JFW | T@lk  16:41, 18 July 2005 (UTC)

I do agree the site looks very nice. If you really insist in inserting those links I will not remove them again.

You're not the first to come to Wikipedia with your first contributions being links to external sites. I was hoping you could contribute more content to articles as well. JFW | T@lk  17:09, 18 July 2005 (UTC)

 * The electronics contributions will be highly welcomed. Please make it very clear that you license these contributions under the GFDL, before they are marked as a copyright violation by our ardent edit patrol team :-) JFW | T@lk  19:27, 18 July 2005 (UTC)

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

title: User talk:P. Gollakota


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Slow Down (Larry Williams song)

"Slow Down" is a rock and roll song written and performed by Larry Williams. Recorded in 1957, AllMusic writer Stewart Mason describes it as "raucous enough to be punk rock nearly a full two decades before the concept was even in existence." Specialty Records released it as a single in 1958, but only the second-side "Dizzy, Miss Lizzy" reached the record charts. Both songs were later covered by the Beatles.

Recording
Williams recorded the song at Master Recorders, Hollywood, California, on September 11, 1957. Music journalist Gene Sculatti describes the instrumentation provided by the back-up musicians as "unstoppable, nongimmicky, almost careening out of control with its pounding piano and booting sax, 'Slow Down' is arguably Williams's hippest track". The personnel includes:
 * Larry Williams – vocal, piano
 * Jewell Grant – baritone sax
 * Plas Johnson – tenor sax
 * René Hall – guitar
 * Ted Brinson – bass
 * Earl Palmer – drums

The Beatles rendition
On June 1, 1964, the Beatles recorded most of their version of "Slow Down" at EMI Studio 2 in London. Producer George Martin added piano overdubs three days later. Parlophone released the song on the Long Tall Sally EP in June in the UK. In July, the song was included on the American album Something New. Capitol Records also released it as a single, with "Matchbox" (also from the Long Tall Sally EP) as the A-side, on August 24, 1964.

"Slow Down" reached number 25 on the Billboard Hot 100 singles chart. The song is also included on the 1988 Past Masters compilation. A performance specifically recorded for broadcast by the BBC is found on the album Live at the BBC (1994).

In his book Revolution in the Head, Ian MacDonald criticizes the performance as "one of the Beatles' least successful rock-and-roll covers", lacking "bottom, drive and basic cohesion" and states that "The guitar solo is embarrassing and the sound balance a shambles". He also points out the edit at 1:14 where the piano momentarily disappears and McCartney's bass becomes inaudible. According to MacDonald, the personnel includes: However, author John C. Winn states that Harrison played the lead guitar on the track. Musicologist Walter Everett also lists Harrison as the lead guitarist, and says he played his parts on a Gretsch Country Gentleman.
 * John Lennon – vocal, lead guitar
 * Paul McCartney – bass guitar
 * George Harrison – rhythm guitar
 * Ringo Starr – drums
 * George Martin – piano

title: Slow Down (Larry Williams song)


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Mukho

Mukho is a harbor in Donghae City, Gangwon Province, South Korea. It is located on the shore of the East Sea. In the past it played an important role in the shipping of iron ore and coal; much of this role has been taken over by Donghae Harbor in recent years. Mukho is an important harbor of refuge and home to a large number of fishing vessels. A passenger ferry operates from the port to Ulleung Island. The harbor is connected to land-based transportation by two stations on the Yeongdong Line and an interchange on the Donghae Expressway. The ship Mangyongbong 92 carrying a 140 person delegation for the 2018 Winter Olympics from North Korea berthed at this harbor, as protesters opposing North Korea subsequently gathered singing Aegukga. The harbor first opened in 10.14.1937.

title: Mukho


text:
Talk:Killer7

Untitled
It should be noted that the story is much, much, more complex than the (partially incorrect) story summary would have one believe. - Orikaeshigitae

Seriously, what the heck is up with the "Story" section after this sentence: "This operation takes the form of a giant bridge reaching across the Pacific."? It becomes disjointed and rather different in tone. - Eihwaz

Isn't the official title "Killer7" not "Killer 7"?
 * On a magazine in Italy, the author of a killer7 article stated that the title is "killer7" (with lowercase 'k'), it seems that Capcom asked the magazine to write the name in this form. For Kaede Smith the correct writing (same previous sources) is "KAEDE". I'm not sure about the case bits but i'm sure that is "killer7" and not "killer 7" --Gmilza
 * A single Italian article is your whole basis. That is exceedingly silly. In that case, it looks to me like Capcom changed their mind and made it a capital after all since it's spelled that way, all over the box and in the game, in every region. (Momus (talk) 00:36, 27 October 2009 (UTC))

OKAY, now that we've all played the game through to the end, it's time to edit this whole entry, which seems to be based entirely on gamespot/Ign previews from a year ago. - Apossum

So, is the current Story section better? It's a really complex plot, I'm sure very few people can explain it accurately in text. - Cronohyper

The game is "on rails"?
That's a pretty poor description. Rail shooters usually have constant forward movement, with no stopping or reversing, like Star Fox. A better description would be "an adventure game with gunplay". It resembles point and click adventure games, in that you try to find certain objects to let you progress, and complete puzzles and such. It's not anything close to a rail shooter, even if you don't have complete freedom of movement.

 * It's a better description than you might think, when you think about it. You have two options: forward or back.  You're given the chance to change rails occasionally, but still have the same option - press onward, or go back.  Exploration is anywhere from minor, to impossible, and you are always riding the rail of where the game believes you need to go.  The only difference between Killer7 and your StarFox example is that Killer7 allows you to turn around.  --Dal 23:14, 13 April 2006 (UTC)

Er no, I think he's right, on rails is a terrible term to describe Killer 7. On rails would be a game like Time Crisis. Or as the on rails description states, "like a rollercoaster", which is something K7 sure as heck is not. I believe the adventure game description is in the right step, although you would need to describe it better than just the adventure label. So stop being self-centered and form a compromise rather than stubbornly refusing to cooperate.

If you want to get technical about it, yes it is on rails, however it has much more in common with early 90s point and click adventure games than a standard rail shooter. The only real difference is the lack of pixel hunts.

Controversial?
Can someone explain why this article is in Category:Controversial computer and video games? I don't see anything mentioning controversy at first glance. --WikiSlasher 14:42, 9 October 2006 (UTC)
 * Not finding anything mentioning controversy, I have removed the category. --WikiSlasher 07:21, 24 October 2006 (UTC)
 * Old Jack got all excited about the game, spouting some of his usual soundbites about the game being depraved. I don't have enough bandwidth right now for any page outside of Wikipedia to load, but I'll go and have a look for exactly what he said in 2 hours and 27 minutes. --Dreaded Walrus 20:33, 13 March 2007 (UTC)
 * Not to mention it was banned in Thailand recently. —Preceding unsigned comment added by 75.206.144.48 (talk) 09:19, 6 December 2008 (UTC)

Screenshot
The pre-release screenshot should really be replaced with a current one. I don't have the time now, but if nobody puts anything up in like a week, I'll grab something through my TV tuner. 128.226.230.89 17:08, 4 December 2006 (UTC)

Comic Book
Should there be a small paragraph summarising the comic book and the way it develops the plot, or should it be concidered fairly un-important? Devilmaycare 21:18, 10 December 2006 (UTC)

 * An update on the comic book front, or rather a lack of one: from what sources I can find (such as mycomicshop.com), there hasn't been a comic released in two years. Was the series cancelled? JaffaCakeLover (talk) 19:57, 11 March 2009 (UTC)

Story Description
I think that a lot of the stuff in the story description is open for interpritation. The game never fully states that there are 'three Harmens" and several other things are...interprited by whoever wrote that section? Maybe this should be re-vamped to state what is entirely factual. Ittan 05:22, 21 January 2007 (UTC)

It says that the courrier pigeons are named after bond girls. This is wrong as they are named after song titles by The Smiths.

Soundtrack
Should there be a separate page for the killer7's kickass OST? I have all the track titles and song lengths and stuff (I own it too =]). The music on the game was flawless; I think an article should be made for it.

 * After at least half a year since posting the above comment, I've finally come back and created a sufficient article for the Killer7 Original Sound Track. R-Tiztik 16:47, 6 June 2007 (UTC)

all in head
In an ign review one of the developement members said something that hinted to the story perhaps being all inside harmans head. After reading this i noticed several little things durring the game that sort of hinted to this as well. Anybody know what im talking about?

No.

Need a Wikiquote link
There are an extensive number of quotes on this game in the Wikiquotes database, can someone add the proper link needed at the end of the article? Sorry, I'm not sure of how to add links to seperate Wiki projects. Thanks. -- AS Artimour 19:05, 12 March 2007 (UTC)

List of Killer7 locations
was this article created and deleted or just not yet created? it's linked on the 'see also' section of the killer7 article. if it was deleted it should probably be removed, if it just hasn't been created i'm willing to get to work on it. -- Alex Ov  Shaolin  05:07, 21 March 2007 (UTC)
 * According to the deletion log for that article, it was deleted as per an AFD decision. There is a link from that AFD to what is supposed to be a copy of the article, but the link is timing out for me currently, so I don't know if that's just temporary, or not. Either way, it's currently a redlink, no matter what happens in the future, so I'll remove the link for now. :) --Dreaded Walrus 08:39, 21 March 2007 (UTC)

I think this article needs more information regarding each level and part of the game to bring up to date the over-all story and how the small bits all tie into the general picture.

Title
The title should be killer7 and not Killer7, right? In the case I'm going to change it. MrDrak (talk) 15:51, 16 January 2008 (UTC)

 * Why? That looks like a capital K on the cover, to me. (Momus (talk) 19:30, 29 January 2008 (UTC))

 * I have to agree, it's certainly Killer7 and not killer7. Gold Stur (talk) 20:38, 29 January 2008 (UTC)

It's "Killer7" anyways under the wikipedia conventions, stated in the Manual of Style for trademarks. Xangel (talk) 13:34, 25 June 2008 (UTC)

So, if we all agree three-to-one that it's Killer7 with a capital K, then why do I still see these insolent little k's all over the place? By the way, the game's joke mode Hopper7 is also rendered with a capital H. (Momus (talk) 04:29, 26 January 2010 (UTC))

Assassin Backgrounds
Who on earth deleted the character list?????? That was very important!!!!!(LonerXL (talk) 22:42, 9 December 2008 (UTC))

Editorial
For future reference:

http://www.thunderboltgames.com/opinion/article/style-substance-and-killer-7-opinion-for-ps2-gamecube.html

Cheers, Axem Titanium (talk) 11:52, 1 July 2010 (UTC)

Other sources to use:
 * http://www.adilegian.com/HAND_IN_KILLER7.txt HAND IN KILLER7 translation
 * http://www.insertcredit.com/reviews/killer7/ Insert Credit review
 * http://www.electronictheatre.co.uk/index.php/articles/4317-electronic-theatre-interview-suda51 Interview
 * http://www.comicbookresources.com/?page=article&id=6384 Comic book source
 * http://www.businessweek.com/innovate/content/jul2005/di20050718_544452.htm Business Week review
 * http://www.gamesetwatch.com/2009/04/interview_suda51_talks_pushing.php Interview
 * http://dofuss.net/2010/04/12/a-retrospective-look-at-killer-7/
 * http://kotaku.com/248774/chattin-with-goichi-suda-about-punks-killer7--no-more-heroes Interview
 * http://www.unseen64.net/2008/04/08/killer-7-proto-beta/ Beta beta info
 * http://www.gamesradar.com/f/10-reasons-why-killer-7-will-melt-your-brain/a-20070327102815719073
 * http://www.nintendoworldreport.com/pr/9587 Press release
 * http://www.monstersandcritics.com/books/comics/news/article_10346.php/Devil_s_Due_to_publish_comic_based_on_Capcom_s_Killer_7 More comic book stuff

Reference material
While digging through the online print archive, I found this interview with the game's producer. Hope it's useful. JimmyBlackwing (talk) 08:38, 14 December 2010 (UTC)

Themes section
For a possible future "Themes" section, http://www.popmatters.com/pm/column/95263-the-mask-of-the-deviant-understanding-our-role-in-killer-7/, http://www.brainygamer.com/the_brainy_gamer/2008/02/look-at-the-cam.html, and http://www.popmatters.com/pm/column/120459-the-hitchcock-of-video-games Who knows if enough other sources will come into existence to fill out a full section though. Axem Titanium (talk) 14:42, 4 September 2011 (UTC)

Writing flow
The intro is horrendous, needs a rewrite as it was featured. JTBX (talk) 08:13, 7 July 2012 (UTC)
 * Thanks for the feedback. Can you go into a bit more detail as to why it's "horrendous"? Axem Titanium (talk) 16:00, 7 July 2012 (UTC)
 * I have seen one line that can do with some work that being the game was written and directed by Goichi Suda, also known by the nickname Suda51, and produced by Hiroyuki Kobayashi. Unless that line is talking about game code I don't think it makes much sense to say that a game is written. I think a better version might be Goichi Suda, also known by the nickname Suda51, directed and was one of the main writers for the game, while Hiroyuki Kobayashi was the producer. I mentioned one of the main because the article also states that Shinji Mikami was a writer as well. I am not partial to the version I came up with so I have no problems if anyone wants to make changes.--174.93.167.177 (talk) 02:37, 9 July 2012 (UTC)
 * I'm not sure I follow. People say films are written and directed by one person all the time. Why can't games be the same? I also don't think that people automatically assume "writing" when referring to games means "writing code". A "video game writer" would be the person who writes the script, while a "video game programmer" is the one who makes the actual code. Axem Titanium (talk) 04:41, 9 July 2012 (UTC)

Good vs. Evil?
I have considered it quite long and played Killer7 many times and I have come to the conclusion that Harman and Kun Lan may not represent Good and Evil, but rather Order and Chaos. Harman is a lead member of a school that trains assassins from childhood and fixes presidential elections. Kun Lan turns people into mindless, suicide-bombing zealots. Neither of these seem to represent Good, but one clearly represents order while one clearly represents Chaos. --76.114.58.90 (talk) 11:07, 19 September 2012 (UTC)

Game engine is RenderWare?
From what I know the game uses a custom game engine, not RenderWare. Which reliable source stated that it is using RenderWare? - spike — Preceding unsigned comment added by 94.221.120.175 (talk) 17:48, 4 January 2017 (UTC)

The PS2 version shows the RenderWare logo on startup, as well as on the back of the box.

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title: Talk:Killer7


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Brewers–Cubs rivalry

The Brewers–Cubs rivalry is a Major League Baseball (MLB) rivalry between the Milwaukee Brewers and Chicago Cubs. Both clubs are members of MLB's National League (NL) Central Division. The rivalry is also sometimes known as the I-94 Rivalry, because the two teams' ballparks are located only 83 mi from each other off Interstate 94 (I-94).

The Brewers and Cubs have been playing each other in spring training Cactus League games since the Brewers franchise began as the Seattle Pilots in 1969. However, the rivalry did not begin until, when the Brewers moved from the American League (AL) Central Division to the National League Central. Until then, the Brewers had a rivalry with Chicago's AL team, the White Sox.

The Brewers-Cubs rivalry has been ranked among the best and most competitive in baseball. Conversely, the notion of a rivalry continues to be questioned by Cubs players, who cite the omnipresence of Cubs fans in attendance at games played against the Brewers in Milwaukee. At least 16% of the lift in Milwaukee attendance for Cubs games is attributed to Cubs fans. This is despite the Brewers efforts to restrict Cubs fans ability to purchase tickets.

In 2023, Craig Counsell left the Brewers to become the Cubs manager. He admitted he may have underestimated the rivalry part of Brewers fans feeling like he just went to “the other side.”

The teams have never met in the postseason.

1997–1998: First meetings
The Brewers and Cubs met for the first official time on June 13, 1997, in interleague play, a 4–2 Brewers victory at Wrigley Field in Chicago. They met for the first time as division rivals on June 15, 1998, a 6–5 Cubs victory also in Wrigley Field.

1999–2016: Geographic foes and division races
After battling for the NL Central title in both 2007 and 2008, the teams met at Miller Park for the Brewers' home opener in 2009. During the second game of the series on April 11, the Brewers had the highest attendance in Major League Baseball for the rivalry game.

During games in Milwaukee, it was sometimes common for there to be many Cubs fans in attendance. This has been largely due to the ticket availability at Miller Park; Wrigley Field has routinely sold out in the past, so it has often been easier and cheaper for Cubs fans to watch games at Miller Park (with Amtrak's Hiawatha Service providing low-cost access between both cities and trains often packed during rivalry games either way ), leading Cubs fans to call Miller Park by the derisive nickname of "Wrigley North". During the 2006 season, the Milwaukee Brewers started the "Take Back Miller Park" campaign to regain home field advantage. Since then, the dominating presence of Cubs fans has somewhat dwindled as the Brewers have become more popular with local fans following the sale of the team from Bud Selig to Mark Attanasio. Through the 2007 and 2008 seasons, the rivalry became more intense with both teams battling for the National League Central crown, a prize the Cubs eventually claimed both seasons. During 2008, the Brewers had a sellout streak going at the start of a mid-July series at home against the Cubs.

The rivalry was less prominent in the early 2010s, as both teams finished well out of playoff contention in 2010, while in 2011 the Brewers claimed the NL Central title and the Cubs struggled to a 71–91 record.

After the season ended, former Brewer player, coach and manager Dale Sveum was hired by the Cubs to be their new manager in. The Brewers in 2012, won 13 of 17 games against the Cubs to take the all-time series at 118–117.

2017–present
In 2017, a surprisingly competitive Brewers team led by young prospects and resurgent veterans challenged the defending World Series champion Cubs for the division, the two played in a key end of the season series which led to the Cubs clinching their second division crown in a row, finishing the season 92–70, six games ahead of the 86–76 Brewers.

The rivalry reached a pivotal stage in 2018. After narrowly missing the playoffs in 2017, the Brewers made several acquisitions during the off-season. They signed free agent outfielder Lorenzo Cain and acquired former Miami Marlins outfielder Christian Yelich in a blockbuster trade. These acquisitions, both occurring on January 25, 2018, helped the Brewers match the Cubs in terms of offensive prowess. During the regular season, the Cubs won eight of first nine meetings, but the Brewers ended up winning the last four series against the Cubs and both teams were tied for first place in the NL Central after 162 games. The teams faced off in a tie-breaker game for the division title. Milwaukee won 3–1, winning the division and securing home-field advantage throughout the National League playoffs. The Brewers also enjoyed a large contingent of Brewers fans at Wrigley Field during this game, which marked a turn in a series where Cubs fans normally "took over" Miller Park. The Cubs were relegated to the Wild Card Game, which they lost to the Colorado Rockies. The Brewers went on to beat the Rockies in the NLDS but lost to the Los Angeles Dodgers in the NLCS. The two would remain competitive in 2019 & 2020, with the Brewers making the playoffs in 2019 as a wild card and the Cubs winning the division in the Pandemic shortened 2020 season (the Brewers would make the playoffs as a wild card that year). However it cooled off for a few years following the Cubs sell off of their 2016 World Series core leading to two under .500 seasons, while the Brewers won the division in 2021 and narrowly missed the playoffs in 2022, however never made it past the first round. In 2023, the rivalry came back when this time a young Cubs team led by prospects and resurgent veterans (led by free agent signings Cody Bellinger, Dansby Swanson and Marcus Stroman) challenged a first place Brewers team for the division. The Brewers would win the division, the Cubs would collapse and miss the playoffs, the Brewers would once again be knocked out in the first round.

title: Brewers–Cubs rivalry


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Matchbox (song)

"Matchbox" is a song written and recorded by Carl Perkins and released in 1957. Blind Lemon Jefferson wrote and recorded a song entitled "Match Box Blues" in 1927, which is musically different but which contains some lyric phrases in common.

"Matchbox" was recorded as a rockabilly song by Carl Perkins in December 1956 and by fellow Sun Records performer, Jerry Lee Lewis – who played piano on the original track – in 1958. Sam Phillips and Sun Records released the Carl Perkins version as the B-side to "Your True Love". Although only the A-side became a record chart hit in 1957, "Matchbox" is one of Perkins' best-known recordings and a variety of musicians have recorded the tune.

Background
Ma Rainey recorded "Lost Wandering Blues" in Chicago in March 1924. Paramount Records issued it on the standard ten-inch 78 rpm single (no. 12098). Her lyrics include the matchbox as a suitcase reference:

Three years later, Blind Lemon Jefferson used it for the title of his recording as "Match Box Blues" on March 14, 1927, for Okeh Records in Atlanta, Georgia. Blues author Paul Oliver stated that both Rainey and Jefferson "may have absorbed [the line] from traditional usage".

Jefferson recorded the song twice more in April 1927 for Paramount Records. Although they contain some differences, they include

Subsequently, the song was recorded by several blues and country swing musicians, such as Lead Belly, Big Bill Broonzy, the Shelton Brothers, and Roy Newman and His Boys.

Perkins recording
After recording "Your True Love" at Sun Records studio, Carl Perkins' father, Buck suggested that he write a song based on snatches of lyrics that he remembered. Buck knew only a few lines from the 1927 song from the recordings by Jefferson or the Shelton Brothers. As Perkins sang the few words his father had suggested, Jerry Lee Lewis, who was at that time a session piano player at Sun Studios, started a boogie-woogie riff. Perkins began to improvise on his guitar and with lyrics. The Sun recording on December 4, 1956 was produced by Sam Phillips at Sun Studios in Memphis.

Perkins maintained that he had never heard Jefferson's song when he recorded "Matchbox". The songs are musically, thematically, and lyrically totally different. Jefferson's song is about a mean spirited woman; Perkins' is about a lovelorn "poor boy" with limited prospects. The song was published and copyrighted in 1957 in the US with words and music by Carl Lee Perkins by Knox Music/Hill and Range Songs of New York.

The "Matchbox" recording session is historically significant as a milestone in rock and roll history because later that day, Elvis Presley, Johnny Cash, and Lewis were all in the Sun Studio with Sam Phillips with Carl Perkins and his band. The impromptu group formed at this jam session became known as the Million Dollar Quartet.

Carl Perkins performed the song on ABC-TV's Ozark Jubilee on February 2, 1957. Perkins and his band also performed the song on the syndicated TV show Ranch Party hosted by Tex Ritter in 1957. There was also a promo ad for the release of the Sun single in Billboard magazine.

The Beatles' rendition
The Beatles were fans of Perkins and performed "Matchbox" during their shows in 1961 and 1962. The song served as the vocal spot for their drummer, Pete Best, until his sacking in August 1962, at which point John Lennon took over as lead singer. A live version from December that year was included on the 1977 album Live! at the Star-Club in Hamburg, Germany; 1962. In July 1963, the Beatles performed "Matchbox" with Ringo Starr, Best's replacement, on lead vocals for their BBC radio show Pop Go the Beatles. This version was included on the 1994 compilation Live at the BBC.

Starr also sang lead vocals when the band recorded the song for their Long Tall Sally EP in 1964. Perkins was visiting London and was invited to observe the session on June 1. Starr later recalled feeling "very embarrassed" because he had a bad throat; two days later, he was hospitalized with acute tonsillitis and pharyngitis, resulting in him missing the start of the Beatles' world tour. The band were supplemented on the recording by producer George Martin, who played piano. In his commentary on the track, author Ian MacDonald dismisses the Beatles' performance as "flat-footed", adding that, as a keen student of Perkins' guitar playing, only George Harrison demonstrates "any motivation" in his contribution.

"Matchbox" was released in the UK on June 19 as the final track on Long Tall Sally. In the US, it instead appeared on the Capitol Records album Something New in July, before being issued on a single, backed by "Slow Down", on August 24. "Matchbox" peaked at number 17 on three record charts: in the U.S., on the Billboard Hot 100 and Cash Box, and, in Canada, on the national RPM Top 40 chart. The song was subsequently included on the Beatles compilation albums Rock 'n' Roll Music, Past Masters and Mono Masters.

Additional musicians
 * Ringo Starr – drums and lead vocals
 * John Lennon – rhythm guitar
 * Paul McCartney – bass guitar
 * George Harrison – lead guitar
 * George Martin – piano

title: Matchbox (song)


text:
Ibn Khordadbeh

Abu'l-Qasim Ubaydallah ibn Abdallah ibn Khordadbeh (ابوالقاسم عبیدالله ابن خرداذبه; 820/825–913), commonly known as Ibn Khordadbeh (also spelled Ibn Khurradadhbih; ابن خرددة), was a high-ranking bureaucrat and geographer of Persian descent in the Abbasid Caliphate. He is the author of the earliest surviving Arabic book of administrative geography.

Biography
Ibn Khordadbeh was the son of Abdallah ibn Khordadbeh, who had governed the northern Iranian region of Tabaristan under the Abbasid caliph al-Mamun ((r. 813 – 833)), and in 816/17 conquered the neighbouring region of Daylam, as well as repelled the Bavandid ispahbadh (ruler) Shahriyar I ((r. 817 – 825)) from the highlands of Tabaristan. Ibn Khordadbeh's grandfather was Khordadbeh, a former Zoroastrian who was convinced by the Barmakids to convert to Islam. He may have been the same person as Khordadbeh al-Razi, who had provided Abu'l-Hasan al-Mada'ini (died 843) the details regarding the flight of the last Sasanian emperor Yazdegerd III during the Arab conquest of Iran. Ibn Khordadbeh was born in 820 or 825 in the eastern province of Khurasan, but grew up in the city of Baghdad. There he received a cultivated education, and studied music with the prominent singer Ishaq al-Mawsili, a friend of his father. When Ibn Khordadbeh became of age, he was appointed as the caliphal postal and intelligence service in the central province of Jibal, and eventually in Samarra and Baghdad. Around 870 ibn Khordadbeh wrote Kitāb al Masālik w’al Mamālik (The Book of Roads and Kingdoms) (with the second edition of the book being published in 885). In this work, ibn Khordadbeh described the various peoples and provinces of the Abbasid Caliphate. Along with maps, the book also includes descriptions of the land, people and culture of the Southern Asiatic coast as far as Brahamputra, the Andaman Islands, peninsular Malaysia and Java. The lands of Tang China, Unified Silla (Korea) and Japan are referenced within his work. He was also one of the earliest Muslim writers to record Viking trade to the east: 'merchants called Rus traded in the Black Sea and the Caspian Sea, transporting their merchandise by camel as far as Baghdad.

Ibn Khordadbeh clearly mentions Waqwaq twice: ''East of China are the lands of Waqwaq, which are so rich in gold that the inhabitants make the chains for their dogs and the collars for their monkeys of this metal. They manufacture tunics woven with gold. Excellent ebony wood is found there. And again: Gold and ebony are exported from Waqwaq.''

Claudius Ptolemy, Greek and Pre-Islamic Iranian history have clear influence on the work.

It is one of the few surviving sources that describes Jewish merchants known as Radhanites.

Khordadbeh wrote other books. He wrote around 8–9 other books on many subjects such as "descriptive geography" (the book Kitāb al Masālik w’al Mamālik), "etiquettes of listening to music", "Persian genealogy", cooking", "drinking", "astral patterns", "boon-companions", "world history", "music and musical instruments". The book on music had the title Kitāb al-lahw wa-l-malahi which is on musical matters of pre-Islamic Iran.

title: Ibn Khordadbeh


text:
Yes It Is

"Yes It Is" is a song by the English rock band the Beatles. Written by John Lennon (credited to Lennon–McCartney), it was first released in 1965 as the B-side to "Ticket to Ride". It features some of the Beatles' most complex and dissonant three-part vocal harmonies and showcases George Harrison's early use of volume pedal guitar. Ian MacDonald describes the song as having "rich and unusual harmonic motion."

Composition
In his 1980 interview with Playboy, John Lennon described "Yes It Is" as an attempt to rewrite "This Boy" (the style of the song) that "didn't quite work". Paul McCartney on the other hand described it as "a very fine song of John's" that he and Lennon had finished writing together.

Musical structure
The song is in the 12/8 time signature, in the key of E and begins (on "If you wear red tonight ...") with a I–IV–ii7–V7 chord progression (E–A–F#m7–B7) in which the word "tonight" (B melody note) appears as a "delicately haunting" 4th above the F#m7, creating a suspension. The melodic pitches of this first two bar phrase are repeated (with initial repetition of the G# melody note) on "remember what I said tonight," except that the B melody note on the second "tonight" is now backed by a ♭VII (D) chord that shapes the B melody note into a more "luscious" 6th. The chorus ("Yes it is, it's true. Yes it is, it's true") involves a I (E chord) – III (G# chord) – IV (A chord) – I (E chord) progression in which the major III (G#) chord appears for the first time in the song to propel the Plagal drop from IV (A) to the tonic I (E) chord.

Recording
Over the course of a five-hour recording session, the Beatles attempted 14 takes of the basic track before perfecting it. "Yes It Is" was recorded on 16 February 1965, the same day that they completed Harrison's "I Need You". After completing the rhythm track, Lennon, McCartney and Harrison recorded their vocal harmonies in three hours, singing live together using the suggestion of George Martin that they sing their three-part harmony in the style of a barbershop quartet.

Release and reception
"Yes It Is" was released as the B-side of the "Ticket to Ride" single in both the U.S. and the UK. American pressings of the single erroneously show "Yes It Is" as being from the film Eight Arms to Hold You (the original title for the film, Help!), in which it did not appear. It reached number 46 in the Billboard Hot 100.

The song was included on Beatles VI in the U.S. (using the "duophonic" stereo remix from the original mono track, with additional echo and reverb added), and on compilation albums, including Love Songs, the British version of the Rarities album; Only the Beatles, an unauthorised British promotional cassette for Heineken Beer in 1986 (on which it made its first true stereo appearance); Past Masters, Volume One; and on Anthology 2 in an alternate version that combines the second and fourteenth takes. The original mono single mix appears on the Mono Masters CD as part of The Beatles in Mono box set.

Author Ian MacDonald praised "Yes It Is" along with its accompanying a-side "Ticket to Ride". He described both songs as "psychologically deeper than The Beatles had ever recorded before" and declared that they marked a huge step forward in the Beatles' development as songwriters.

Personnel
According to Ian MacDonald:
 * John Lennon – double-tracked lead vocal, classical guitar
 * Paul McCartney – harmony vocal, bass guitar
 * George Harrison – harmony vocal, lead guitar
 * Ringo Starr – drums, tambourine

title: Yes It Is


text:
Talk:Pleasant Plain, Iowa

A city with a population of 131? Lofty

title: Talk:Pleasant Plain, Iowa


text: Template:Submarine-stub

title: Template:Submarine-stub


text:
Goguryeo art

Goguryeo art is the art of Goguryeo, an ancient Korean kingdom (37 BCE – 668 CE) which occupied large areas of present-day Northeast China and Korea. Its distinct style is marked by flowing lines and vivid colors. The prime examples of this style are tomb murals excavated in North Korea and Manchuria, which were produced from the 3rd to 7th centuries.

title: Goguryeo art


text:
I'm Down

"I'm Down" is a song by the English rock band the Beatles, written by Paul McCartney and credited to Lennon–McCartney. It was released on a non-album single as the B-side to "Help!" in July 1965. The song originated in McCartney's attempt to write a song in the style of Little Richard, whose song "Long Tall Sally" the band regularly covered.

Inspired by 1950s R&B and rock and roll numbers, the song's lyrics sing of an unrequited love, but rather than a lament are instead performed in a hysterical, "celebratory frenzy" of self assuredness. Some commentators interpret the song's tone as partially parodic. Melodically uncomplicated, the composition uses only three basic chords. The Beatles recorded "I'm Down" during sessions for their album Help! in June 1965. The first song by the band to incorporate a Vox Continental electric organ, John Lennon plays the instrument in the style of Jerry Lee Lewis, doing glissandos with his elbow. In the decade following its release, the song became a comparative rarity among the band's recordings. It has subsequently appeared on compilation albums such as Rock 'n' Roll Music; the UK edition of Rarities; Past Masters, Volume One and Mono Masters.

"I'm Down" has received praise from several music critics and musicologists, with several mentioning McCartney's strong vocal and the band's raucous performance. The Beatles regularly performed the song during their 1965 and 1966 tours as the closing number, including an especially chaotic performance in August 1965 depicted in the documentary The Beatles at Shea Stadium. Beastie Boys and Aerosmith are among the artists that have covered the song.

Background and composition
In November 1963, Paul McCartney moved into the family home of his girlfriend, Jane Asher, located at 57 Wimpole Street in central London. He later recalled writing "I'm Down" in the family music room in the basement of the house. Written in the style of Little Richard, the song began as an attempt to replace "Twist and Shout" and "Long Tall Sally" as the closing number of the Beatles' concert tour set list. In an October 1964 interview, McCartney explained that he and John Lennon had been trying for years to write a song like "Long Tall Sally", and that the closest they had come was with their song "I Saw Her Standing There". Comparing the writing process of Little Richard-like songs to abstract painting, he further explained: "[p]eople think of 'Long Tall Sally' and say it sounds so easy to write. But it's the most difficult thing we've attempted. Writing a three-chord song that's clever is not easy". In his authorised biography, Many Years From Now, McCartney remembers "I'm Down" as entirely his composition, but raises the possibility that Lennon added a few lyrics or made minor suggestions in the writing process. In a 1972 interview, Lennon credits the song to only McCartney, but in his 1980 Playboy interview he instead suggests he provided "a little help". Musicologist Walter Everett argues that McCartney often forgetting the song's lyrics in concerts suggests he wrote the song quickly and with little practice.

"I'm Down" is in the key of G major and is in 4/4 (common time). A simple twelve-bar blues number extended into fourteen-bars, the song uses only the chords I, IV and V. One of the few Beatles songs to feature a simple verse form, musicologist Alan W. Pollack suggests that, in the context of the Beatles' 1965 compositions, its simple format is stylistically regressive. The song opens with a solo vocal from McCartney, which music critic Tim Riley sees as the part of the song bearing the most resemblance to "Long Tall Sally", with "one mad voice screaming at the top of its lungs". With neither bass nor drums to clarify the key or downbeat, Pollack writes that "no matter how many times you've heard the song", McCartney's opening vocal is "an effect which retains the power to startle". The repeating refrains incorporate improvisational scat singing and, according to Pollack, get "successively wilder and less structured" with each repeating. Everett writes the concluding coda serves the purpose of "[raising] the rock-and-roll spirit to a higher level of excitement than does the song proper".

The song's lyrics tell the story from the perspective of a pained lover who is frustrated due to an unrequited love. Rather than a lament, the music functions as a "celebratory frenzy" of self assuredness. Pollack writes the song's style originates in a 1950s R&B cliché, being "a semi-improvisatory rave-up" where the lyrics are unimportant compared to the tone in which they are sung. Riley describes the song as an instance of "dancing on your problems", as heard in rock and roll oldies like "That's All Right" and "Blue Suede Shoes". Author Ian MacDonald suggests that, besides being a blues send-up, the lyrics are "a tongue-in-cheek response to Lennon's anguished self-exposure in 'Help!, opining that the song's "pseudo-hysterics" began as a joke. Riley similarly describes the song as partially parodic, singling out the backing vocals' response of "I'm down".

Recording

The Beatles recorded "I'm Down" on 14 June 1965 during a session for their fifth album, Help!, in which they also recorded McCartney's songs "I've Just Seen a Face" and "Yesterday". Recording in EMI's Studio Two, George Martin produced the session, assisted by balance engineer Norman Smith. The song's basic track features McCartney singing and playing bass, George Harrison on electric guitar and Ringo Starr on drums. On the band's first take, the song did not yet have a definitive ending, McCartney telling Harrison and Starr after the last chorus to "keeping going". The final attempt – take seven – was marked "best".

The band overdubbed several parts onto take seven. Lennon and Harrison provided backing vocals, with Lennon singing in a low register, dropping to G during the choruses. Starr added further percussion with bongos while Harrison added a new guitar solo. Lennon added an organ solo with a Vox Continental electric organ – the first Beatles recording to feature the instrument – playing glissandos with his elbow in the style of American musician Jerry Lee Lewis.

On 18 June, Martin and Scott returned to Studio Two to remix the track, along with the rest of the Help! album, for mono and stereo. The mixes are slightly different, with the stereo fading out two seconds earlier than the mono. On the stereo version, another overdubbed guitar solo is slightly audible, likely due to audio leakage from other microphones.

Release and reception
Capitol issued "I'm Down" in the US as the B-side of "Help!" on 19 July 1965, with EMI's Parlophone label releasing the same single in the UK four days later. While "Help!" reached number one in both countries, "I'm Down" did not chart, but did appear at number 101 on Billboard magazine's Bubbling Under Hot 100 chart.

"I'm Down" remained relatively elusive among Beatles songs after its initial release, with critics and fans criticising Apple Records manager Allen Klein for omitting it from the 1973 compilation album 1962–1966. Capitol first included the song on an LP in June 1976, appearing on the double album compilation Rock 'n' Roll Music. While authors Nicholas Schaffner and Robert Rodriguez are each generally critical of the compilation, they count the inclusion of "I'm Down" as one of the album's redeeming features. Rather than using the 18 June 1965 stereo mix, Martin remixed the song for the release from the original four-track tapes. The song has since appeared on the 1978 British compilation album Rarities, but was omitted from the 1980 US LP of the same name. Parlophone used Martin's 1976 stereo remix when they included the song on the compilation album Past Masters, Volume One, released on CD in March 1988. The mono mix was subsequently included on the Beatles' Mono Masters compilation.

Writing for AllMusic, Stephen Thomas Erlewine calls the song "peerless" and that it demonstrated the Beatles' ability to "rock really, really hard". Ian MacDonald describes the song as an American rock-and-roll classic and a "demented raver" which illustrates the musical versatility of McCartney. Journalist Mark Hertsgaard calls the track "a wildly raucous rock 'n' roller" and "a rock 'n' roll raver, pure and simple", with McCartney's powerful vocal evoking "Long Tall Sally" while anticipating "Helter Skelter". Scholar Michael Frontani similarly compares McCartney's vocal to "Long Tall Sally", while also mentioning the "rock and roll shout" of his 1971 solo B-side "Oh Woman, Oh Why". Hertsgaard further praises the band's intense backing, singling out Lennon's organ contribution, which "all but literally [catches] fire". Barry Miles calls the song an "uptempo rocker", and Pollack calls it "raucous" and "rough-shod", with one of the most primal McCartney screams heard on a Lennon–McCartney original. Everett compares the song's style to both Little Richard and American rock and roll singer Larry Williams, and adds that the same style was later captured by the American rock band Creedence Clearwater Revival with their 1970 song "Travelin' Band". In 2011, the editors of Rolling Stone magazine ranked "I'm Down" at number 56 in their list of the "100 Greatest Beatles Songs".

The Beatles live performances
In August 1965, the Beatles purchased a new electric organ, a Vox Continental Mk I, using it for all subsequent performances of the song. The band regularly performed "I'm Down" during their 1965 and 1966 tours, incorporating it as their closing number. McCartney later recalled that it worked particularly well at large concert venues and was "a good stage song".

The band's 15 August 1965 concert at Shea Stadium in New York City was filmed and became the centrepiece of the documentary film The Beatles at Shea Stadium, released in the UK and US in March 1966 and January 1967, respectively. Though "I'm Down" closed the concert, the film was edited to show it as the opening number. Due to the overwhelming sound of audience screaming, technical issues with the live recording and musical mistakes on the part of the Beatles, the band rerecorded and overdubbed sections of the film's soundtrack on 5 January 1966 at CTS Studios, London. Among the fixes to "I'm Down" were overdubs of a new bass line by McCartney and a new organ part by Lennon. The song's original performance was chaotic, with Lennon and Harrison fumbling their backing vocals as they burst into laughter, McCartney spinning in excitement and Lennon playing the organ with his elbow. Lennon's rough use of the instrument resulted in it malfunctioning at their next show, played in Toronto two days later. In The Beatles Anthology, Starr reminisced that while watching Lennon during the song, he felt Lennon "cracked up" and "went mad; not mentally ill, but he just got crazy. He was playing the piano with his elbows and it was really strange". Riley suggests that Lennon's unhinged keyboard playing on "I'm Down" reflected the absurdity of the Beatles' live shows, and that "[t]he band's hysteria on this song [mirrored] their fans' deafening adulation".

Covers
The American hip hop group Beastie Boys recorded a cover of "I'm Down" for their 1986 debut studio album, Licensed to Ill. Produced by Rick Rubin, the recording samples elements of the original track while replacing the original organ solo with a guitar solo. Its inclusion on the album was blocked by the copyright owner, musician Michael Jackson, because he disapproved of several of the cover's altered lyrics, including: "I keep a loaded pistol inside my pants / Find a def girl and do the new dance." The record has since circulated as a bootleg. Music critic Rob Sheffield opines that the Beastie Boys' version "lives up to the garage-band vandalism of the original".

American rock band Aerosmith covered the song for their 1987 album Permanent Vacation. Dave Reynolds' review of the album in Metal Forces magazine calls the cover "superb", and John Franck of AllMusic describes it as "well executed". Though music critic Robert Christgau is generally negative in his review of the album, he refers to their version of "I'm Down" as an "ace Beatle cover". Sheffield disparages the attempt, writing Aerosmith "[gives] it a professional polish that makes it meaningless".

Personnel
According to Ian MacDonald, except where noted:

 * Paul McCartney – vocal, bass guitar
 * John Lennon – backing vocal, rhythm guitar, Vox Continental electric organ
 * George Harrison – backing vocal, lead guitar
 * Ringo Starr – drums, bongos

title: I'm Down


text: Talk:Goguryeo art

title: Talk:Goguryeo art


text:
Start Point

Start Point or Start point may refer to:

Promontories

 * Start Point, Devon, near Dartmouth on the south coast of Devon, England
 * Start Point, Cornwall, near Tintagel on the north coast of Cornwall, England
 * Start Point, Livingston Island on Livingston Island, Antarctica
 * Start Point, Sanday, in the Orkney Islands, Scotland

Other uses

 * Start point (yeast), the point in the cell-division cycle of yeast when cells are committed to division
 * Restriction point, also known as the start point, in cells

title: Start Point


text:
User:Duckorange

Genius, gentleman explorer, French cabaret chantoose and small bets placed.

title: User:Duckorange


text: File:Story So Far.jpg

title: File:Story So Far.jpg


text: User talk:209.179.200.34

title: User talk:209.179.200.34


text:
Are language

The Are language is an Austronesian language of the eastern Papua New Guinean mainland.

title: Are language


text:
Talk:Degree Confluence Project

Photo
I added a photo, but I'm not completely happy with it because there are too many other numbers showing on the GPS screen. My photo at http://www.confluence.org/photo.php?visitid=8332&pic=4 is more readable; but it's 0.1" out, and I really wanted one that showed "all zeros". Does anyone have a photo which meets both goals? — Preceding unsigned comment added by Stephen Turner (talk • contribs) 15:11, 18 July 2005 (UTC)

 * Photoshop is your friend. You could copy and paste the 0" in the second line onto the 1" in the first line, and then crop the image down to the screen. But a map of the world with some confluences marked out would be a better way to illustrate this article; it would remove any doubt as to what they are. -Ashley Pomeroy 02:19, 13 January 2007 (UTC)

 * A nicely appropriate photo I think, on the Greenwich line. The quality is typical or better than most of them, so I wouldn't worry about it. Landroo 22:37, 19 April 2007 (UTC)

Update
I don't have a login (and don't really want one either), but could someone update the "percentage complete" with newest stats from the projects site? /Tuk — Preceding unsigned comment added by 195.41.97.4 (talk) 10:19, 19 July 2007 (UTC)

 * You can edit without a login on most pages - including this one. - DavidWBrooks 13:04, 19 July 2007 (UTC)

title: Talk:Degree Confluence Project


text:
User:Malchick

I'm a student from Warrington, England. My only major contribution to Wikipedia so far is that I wrote, reorganised, and/or reworded almost all of the Tim Curry wiki, though I have also added a couple of sections to the b3ta entry.

title: User:Malchick


text:
WGNO

WGNO (channel 26) is a television station in New Orleans, Louisiana, United States, affiliated with ABC. It is owned by Nexstar Media Group alongside CW owned-and-operated station WNOL-TV (channel 38). The two stations share studios at The Galleria in Metairie; WGNO's transmitter is located in Chalmette, Louisiana.

Channel 26 went on the air October 14, 1967, as WWOM-TV, the first independent station in New Orleans. After being sold in bankruptcy in 1971, the station was renamed WGNO-TV in 1972. For most of its first 16 years on air, the station was known for airing old movies, programs turned down by the local network affiliates, and a series of low-budget local shows. This changed in 1983, when Tribune Broadcasting acquired WGNO-TV; Tribune brought stronger programming purchases, improved local programming, and the resources needed to contend in a market that gained a second major independent station. It was a charter affiliate of The WB in 1995.

The purchase of New Orleans's previous ABC affiliate, WVUE, by a group linked to the Fox network led to an affiliation switch in New Orleans on January 1, 1996, in which ABC programming moved to WGNO. The station also began producing local newscasts, which found some viewers but generally were in fourth-place in the market. Tribune acquired WNOL-TV in 2000, but the stations' operations were not integrated in one facility until July 2005—a month before Hurricane Katrina evicted them from the New Orleans Centre.

In the wake of the hurricane, WGNO lacked permanent studios for two years; it produced local newscasts from a compound of trailers and with anchors reporting from outside for months, but there was little ratings movement. The station changed the format of its evening news programs in 2011 to News with a Twist, mixing news and entertainment features. This lasted until 2020, in the wake of the COVID-19 pandemic and Nexstar's purchase of Tribune.

History
When the Federal Communications Commission (FCC) lifted its four-year freeze on TV station grants in 1952, channel 26 was one of the channels in the new ultra high frequency (UHF) band allotted to the city. There was some initial interest around the channel, such as by the Community Television Corporation (connected with New Orleans radio station WBOK) and by the CKG Television Corporation, an affiliate of radio station WMRY. CKG obtained the construction permit, but it was never built and deleted in 1960.

WWOM-TV: Early years
After applying in March 1964, Channel 26, Inc., an affiliate of WWOM-AM-FM radio, received a construction permit in July 1965 for channel 26, with studios and transmitter in the International Trade Mart Building. During 1966, some details of WWOM-TV's programming were published: bullfighting from Mexico City, all-night programming on weekends, music programming, and a steady diet of movies, turning the WWOM call letters of "Wonderful World of Music" into "Wonderful World of Movies".

Test patterns were broadcast for the first time on September 27, 1967, and WWOM-TV began programming on October 14, 1967. The first program aired was the 1927 film The Jazz Singer. The debut of an independent station in the market immediately provided flexibility and allowed shows not aired by the network affiliates to be seen in the market. Months after going on the air, WWOM-TV aired the 1968 Winter Olympics after ABC affiliate WVUE was told it had to air them live. It experimented with all-night broadcasting, the first local station to do so, and it also featured the local program Nite People, a late night variety show that turned into the local equivalent of The Gong Show and gained a cult following; after its original run from 1968 to 1970, a revival special was aired in 1987.

WGNO-TV: Communications Corporation of the South ownership
After three years of operation, in November 1970, Channel 26, Inc. filed for bankruptcy. A trustee was appointed for WWOM-TV, which remained on the air; a representative of United Artists told bankruptcy court that his company was supplying films to channel 26 "to keep the station on the air more or less on faith at this time". and a process began in July 1971 to sell the station's assets. Two bids were initially received for $151,000, but neither were satisfactory to the trustee, who wanted to offer more money to the creditors whose liabilities totaled $1.4 million. One of the original bidders, a consortium of New Orleans investors known as Communications Corporation of the South (CCSI), increased its offer to $300,000 and was accepted; the new owners also announced their intention to repair transmission equipment damaged in a fire and expressed their admiration for the staff's ability to keep channel 26 going "with essentially nothing more than gum and baling wire technique and inadequate equipment". The new owners changed the call sign to WGNO-TV, for "Greater New Orleans", on March 9, 1972.

Mark Lorando, television columnist for The Times-Picayune, described WWOM-TV/WGNO-TV from 1967 to 1983 as "an artfully bad independent station", while one of his predecessors, Benjamin Morrison, noted that its local programming "offered levels of amateurishness previously undreamed of". Local programming during this period included such shows as the music program Homegrown; monthly teen magazine Hey Kids, It's For You; Black Is..., a discussion show about issues in the local Black community; and the Groovy Guru, future WDSU weathercaster and former radio DJ Dan Milham hosting movies. In 1977–78, the station aired twelve road games of the New Orleans Jazz of the NBA; the schedule increased to 25 games in the 1978–79 season, the team's last in New Orleans before moving to Utah.

In 1978, WGNO-TV was purchased by Greater New Orleans Television, a subsidiary of General Media Corporation of Rockford, Illinois, for $4.9 million. (CCSI then invested in New Orleans radio station WWIW. ) Under General Media, the station moved its transmitter to a new, purpose-built tower that offered greater height than the International Trade Mart building and provided for a power increase from 500,000 to 2.5 million watts. The station's programming continued to be a mix of local shows of secondary interest, older sitcoms and movies, and religious programs.

From 1982 to 1987, WGNO aired a series of public service announcements featuring a local mime known as Tom Foote; Foote was seen in area schools and in the French Quarter. For a time, the station produced an hour-long program called Tom Foote's Video Clubhouse.

Tribune Broadcasting ownership
General Media Corporation began to liquidate its assets in late 1982, beginning with its cable system and TV station in Rockford and continuing in April 1983 with the announced sale of WGNO-TV to Tribune Broadcasting for $21 million, a significant return on the $4.9 million General had paid for it five years prior. The new ownership came in time for WGNO-TV to meet its first head-on independent competition in station history. A group led by Hal Protter, Channel 38 Associates, built WNOL-TV, which began broadcasting in March 1984 and immediately had an impact on the market with credible ratings. Protter had bought into the New Orleans market because WGNO-TV had been a comparatively weak station, not anticipating that Tribune would end up being his competitor in the market.

Tribune brought to WGNO its considerable clout as a buyer of programming on the syndication market and its other resources as a company, which it would need to overcome the "shoestring" management style of General Media and face its new competition at WNOL-TV. Stronger programming and equipment were acquired. The company also used its muscle to consolidate WGNO operations within the International Trade Mart. With operations on the 20th, 24th, 28th, and 29th floors, its employees called themselves "elevator people", a moniker brought to an end in 1985 when Tribune consolidated operations on the 28th and 29th floors. As WNOL-TV's ratings swooned, WGNO established itself as the leading independent in the market; its early evening syndicated shows were beating WVUE in the ratings. It took until 1989 for WNOL-TV, bolstered by Fox prime-time programming, to tie WGNO again in total-day ratings, a situation that persisted into the early 1990s.

Local programming continued to play a role at channel 26. Real New Orleans, a weekly and later monthly program aired in late nights, debuted in 1990, and the station also had sports programs (Saints Sideline, Hometown Sports Page, Friday Night Football) and a cooking program, Cookin' with Soul. In 1993, the station debuted a new local game show: N.O. It Alls, which was produced by Brandon Tartikoff. Tartikoff, the former head of programming at NBC, had relocated to New Orleans because his daughter was rehabilitating after a car accident. The program continued in production through November 1996 and aired on WGNO through the end of that year. From 1993 (when the team relocated to New Orleans from Denver) through 1995, WGNO served as the over-the-air broadcaster of the American Association's New Orleans Zephyrs (now a member of the Pacific Coast League), carrying a handful of games a year from the minor league baseball franchise.

In November 1993, Tribune committed to the new The WB Television Network, a new service to be launched by Warner Bros. Television in January 1995. Tribune would hold an ownership stake, and six of the company's seven independent stations, including WGNO, would join at launch.

Becoming an ABC affiliate
On August 25, 1994, it was announced that SF Broadcasting—a partnership with minority-owned communications firm Savoy Pictures in which Fox held a minority stake —would acquire three Burnham stations, including WVUE. This immediately set up an affiliation switch in the New Orleans market and left two stations—WNOL and WGNO—seeking the ABC affiliation. While WNOL-TV owner Quincy Jones met with leaders of Capital Cities/ABC in Los Angeles at the start of September, talks reached an impasse, reportedly over the fact that Warner Bros. parent Time Warner was an equity investor in his company. After Jones returned, several WNOL advertising staffers applied for jobs at WGNO, already under the impression that their station would not be the ABC affiliate. In a September 18 article, Lorando told ABC that it need not bother announcing WGNO as its new affiliate because "everybody already knows". Tribune's involvement with WNOL deepened in November, when Jones and other minority investors formed a new company, Qwest Broadcasting; Tribune would own up to 45 percent of the company and provide back-office management services to its stations in New Orleans and Atlanta, both markets where Tribune already owned stations.

As FCC approval of the SF Broadcasting purchase was delayed by more than a year because of a commission inquiry as to whether Fox was a foreign-owned company as a result of Rupert Murdoch's interest, ABC opted to strike first. On August 10, 1995, WGNO was finally announced as the new ABC affiliate in New Orleans beginning in 1996. That set up an affiliation switch on January 1, 1996. WGNO became the new ABC affiliate, while WB shows moved to WNOL-TV and Fox moved to WVUE. The switch, however, caused overall ratings to fall at channel 26.

WGNO and Atlanta's new CBS affiliate, WGNX, were the only two Big Three affiliates the company owned at the time and outliers in Tribune's portfolio of Fox and WB affiliates; in 1998, Tribune began actively seeking trades for the two outlets in exchange for WB and Fox stations elsewhere. While such a trade was arranged for WGNX, Tribune took WGNO off the market after the legalization of duopolies in November 1999; this allowed it to acquire WNOL-TV outright and create the first such pairing in New Orleans. The stations were combined under WGNO's general manager; WNOL began to air prime time news breaks promoting channel 26's late newscasts. Despite being commonly owned, WNOL and WGNO did not operate from the same facility until July 2005, when channel 26 moved from the 28th and 29th floors of the World Trade Center (the former International Trade Mart) to the New Orleans Centre, where WNOL had been operating since 2000. The relocation and installation of new transmitters at Chalmette were an investment of nearly $10 million.

Hurricane Katrina
Hurricane Katrina devastated the New Orleans area in August 2005 and led to years of operational challenges for WGNO and WNOL. Even though the New Orleans Centre was only flooded on the first floor, its owner canceled all leases, and it never reopened. Both stations' transmitters were a loss, submerged by 6 ft of flooding and with a small alligator found stuck in a fence; a digital transmitter from Tribune-owned WTIC-TV in Hartford, Connecticut, was converted to analog use and shipped to New Orleans, and WGNO was temporarily broadcast in digital form by WPXL-TV. Tribune had already restored a signal for satellite viewers by moving master control for the stations to Indianapolis and Chicago. WGNO–WNOL set up facilities in two double-wide trailers, dubbed "The Compound", and moved its business operations to Covington. The stations moved back to the World Trade Center in April 2006.

The Trade Center was only a temporary solution. In August 2007, Tribune officially moved to The Galleria in Metairie. Work also began on restoring digital broadcast facilities. WGNO had been assigned channel 15 for digital use and WNOL channel 40, but after Katrina, Tribune opted to rebuild WNOL on channel 15—broadcasting both stations—and convert WGNO to digital on channel 26 at the analog transition, sharing a site with WDSU.

Sale to Nexstar
After Sinclair Broadcast Group's attempt to purchase Tribune failed in 2018, Tribune was acquired by Nexstar Media Group of Irving, Texas, in 2019 for $6.4 billion in cash and debt.

During Hurricane Ida on August 29, 2021, The Galleria studio's ceiling was ripped by high winds at the control room forcing all staff, producers, and anchors to evacuate the studio, just minutes prior to a power outage being reported inside the studio.

Establishment
In becoming an ABC affiliate, WGNO committed to building the first new TV newsroom in New Orleans since WWL-TV signed on in 1957 and increase its overall staff from 65 to 110. The station was also able to draw on the existing resources of its local production unit. Ed Daniels, the host of N.O. It Alls and several sports programs, became the sports anchor for the station's newscasts. (Ronnie Virgets, the host of Real New Orleans, left for WWL-TV. )

ABC 26 News launched with a 10 p.m. newscast on March 18, 1996. The program was anchored by Andre Trevigne, pulling double duty with a radio show on WWL radio; Brad Giffen, formerly of Toronto; meteorologist Bruce Katz; and Daniels. It featured a high story count and fast pace and was aimed toward a younger audience than the existing newscasts in New Orleans. While another newscast was not immediately planned, news ratings struggled, in part because the shift from an independent to an ABC affiliate was also a shift from a more urban to a more suburban audience. With general manager Bill Ross believing that a second newscast was necessary for people to take the station seriously as a news source, a 5 p.m. edition debuted in September 1996; Trevigne moved to that newscast only, citing her radio duties, and eventually left in April 1997. WGNO slowly carved out more of an audience for its evening newscasts than initially anticipated, adding a 6 p.m. half-hour in 1998 on the strength of beating WDSU and WVUE; though it was in third or fourth in most timeslots still, it was second at 5 p.m., and its audience was younger than that of the news offerings on channels 4, 6, or 8. However, the Project for Excellence in Journalism gave the station's news output one of the lowest grades in the country and criticized it for covering too many car accidents.

While ratings had steadily increased in the late 1990s, they slipped badly in May 2002; the station posted year-over-year viewership declines of 20 percent or more for each of its three daily newscasts. Daniels moved from anchoring sports to news later that year, an experiment that accompanied an overhaul of the station's newscasts with new visual elements and weekly contributions from Virgets. The experiment ended when veteran New Orleans anchor Susan Roesgen became the 10 p.m. anchor in November 2003. Founding news director Paula Pendarvis departed in February 2004.

Hurricane Katrina
Hurricane Katrina arrived only a month after WGNO and its news department moved into the New Orleans Centre. As part of the evacuation plan, newscasts were aired from the studios of Baton Rouge ABC affiliate WBRZ-TV for six weeks; the two stations produced combined coverage seen by evacuees in Baton Rouge and elsewhere, with meteorologist Katz the first to leave New Orleans to cover the storm. Dave Walker of The Times-Picayune, in a retrospective a year after Katrina, called Katz's commentary on the first helicopter footage of a flooded New Orleans "one of Katrina's most indelible moments". After that, newscasts began originating from an outdoor set on a nightly basis, using an anchor desk salvaged from the New Orleans Centre studios and a variety of cobbled-together equipment in "The Compound" of double-wide trailers.

WGNO returned to the Trade Center on a temporary basis in April 2006 (remaining there until moving to The Galleria in August 2007), though much of the equipment that had been left at the Trade Center had been damaged from being shut off and stored in hot, humid spaces. During this time, WGNO began producing a half-hour prime time newscast at 9 p.m. for WNOL-TV on May 1, 2006; news had been planned for a number of years under Tribune management. The program lasted four years and was canceled on June 4, 2010, owing to low ratings and a desire to promote channel 38's sitcoms.

After twelve and a half years, as part of a push by Tribune, WGNO debuted a morning newscast on September 29, 2008: Good Morning New Orleans, a two-hour conversational news and lifestyle program. However, the station's ratings were still stuck in last place: new anchors were introduced to the morning and evening newscasts in 2009.

News with a Twist
On January 31, 2011, WGNO reformatted the 6 p.m. newscast as News with a Twist, a newsmagazine format that focused on lighter stories and commentary and was mostly unscripted. The set for the program doubled as a functional bar; guest anchors included New Orleans archbishop Gregory Michael Aymond, the chief of the New Orleans Police Department, and a lawyer who also was a station advertiser. On December 12, 2011, the News with a Twist format was extended to the 5 p.m. newscast, concurrent with the cancellation of the 6:30 p.m. newscast; the station's Saturday evening newscasts were replaced on December 17 with a weekend edition of News with a Twist that reviewed feature stories seen during that week's 5 and 6 p.m. broadcasts. The weekday morning, 11 a.m., 10 p.m., and Sunday evening newscasts retained a more traditional news format. Meteorologist Katz left in 2012 for WVUE.

The News with a Twist format was abandoned in 2020 and consigned to occasional specials due to the onset of the COVID-19 pandemic.

Notable former on-air staff

 * Mike Church – commentator for News with a Twist
 * Kinsey Schofield – anchor/reporter (2018–2019)

Subchannels
The station's signal is multiplexed: {{legend|#DFEBF6|Broadcast on behalf of another station}}

The 54.2 and 54.3 subchannels of WUPL is broadcast on WGNO as part of the market's ATSC 3.0 (NextGen TV) deployment plan. WUPL began broadcasting in ATSC 3.0 on December 15, 2022.

title: WGNO


text: Category:Submarine stubs

title: Category:Submarine stubs


text:
User talk:Bishonen/Dorset Garden Spectacular

This is a userpage
Please note that this is a userpage. It's not an article, it's just my draft. Don't add categories, please. And if anybody should have the idea (however flattering) of nominating it on WP:FAC while it's still in my userspace, I'll be upset. Bishonen | talk 02:12, 30 July 2005 (UTC)

Questions
Ummm, Charles Killigrew, not Thomas? "hateful ideology?" (The Shadow 18 July somedanged time in UTC)
 * Thomas. Thanks, Tom. No, "the ideologically hateful make-believe of play-acting". As in: play-acting is make-believe, and is therefore an object of hatred in Puritan ideology, see Histriomastix (the text, not so much the wiki stub). Maybe I need to make it clearer? I realise that "hateful" is one of those subject/object reversible words. Bishonen | talk 16:22, 18 July 2005 (UTC)

Ah, you did see the comment. I couldn't find it again, so I thought I typed into the void. Anyway, I think "ideologically hateful make-believe" needs some expansion. They didn't like the "telling lies" part of drama (see also Defense of Poesy, where Great Guy Sidney did a hell of a defense by synthesizing Plutarch and Aristotle), but they also didn't like public assemblies, so worshipful, that were idolatrous and libidinous. I.e. it's not just the make believe, but the fact that there are some people of low morals on the stage, and audiences are worshipping them, and there are people up there telling stories that invite people to think bad thoughts. Finally, some one of them must have made the comparison of the stage with the pulpit and the Satanic inversion thereof, because Swift repeats it over and over again in the Tale, and I doubt he would have if it weren't a parody. Geogre 17:54, 18 July 2005 (UTC)
 * I don't want the reasons they hated it in focus, though, I just want to allude to the fact that they did—I'm starting to worry the page will never get to the subject anyway. The remark about make-believe is just a distraction, I'll remove it. Bishonen | talk 18:12, 18 July 2005 (UTC)

Well, if you want, but don't take what I say too seriously. You know me. I can dissertate about just about any adjective-noun combination for a good hour, in that charmingly pedantic way of mine. You knew it was a trouble phrase. Everything after that was just lack of keeping my trap shut on my part. Geogre 18:58, 18 July 2005 (UTC)

1. Any chance of your making this on anything that I can link to for "spectacle?" Any chance of saying, when you put in "spectacular," the following, "(or 'spectacle,' as it was referred to by contemporaries)" so that I can link? 2. Umm, what was 2? 3. You know, if you scan up one of the illegal-to-reproduce images to me privately, I might be able to draw it with a graphics program, thus making it a private artwork that I can give to the world. 4. What were the others I was going to ask? Geogre 17:55, 19 July 2005 (UTC)
 * I'd like to have the "spectacular" page be about the 1660—1700 period, because for why:
 * 1. I think it's gonna be long anyway, I have the most fascinating quotes to put in. For instance, a fine stage direction from a burlesque of Settle's Empress of Morocco that I just realized the King's Company put on, making fun of the special effects.. heh heh.. I'm not the only person to find them comical!
 * 2. There are two stages of the London-loves-opera thing: first the somewhat homegrown Restoration kitsch (though borrowing freely from French opera), and then your visiting Italian opera vogue, which starts pretty sharpish in 1705. So it's actually possible to keep them in separate articles. Mind you, I think it's all the more important that we cross-link the opera stuff! Not just as in wikilink, but in saying stuff about what, opera-wise, went before (in auggie), and what came after (in DG spectacular). I just wrote a paragraph about that and stuck it into DGS, as the Lead. It's not comfortable there, I'll obviously have to reformulate it if it's gonna be the Lead, but i'm putting it in for safe-keeping, and for you to look at. (Is the Pope thing I say even true? I was improvising.) See, you're getting a taste of the snail-pace article creation of teh Bishonen, does that make you writhe with impatience, you one-man wiki..? Anyway, referring backwards in auggie drama is probably more important than referring forwards in DGS, so do feel free to cannibalise anything on this page that you think might help there. Seriously, do, I can easily churn out more of the similar if I need it.
 * 3. Aaahaa. A leeetle sneaky... I'm not sure you'll be able to do that and sleep at night. You'll see what I mean when you take a look. Hmm, the ones I can lay my hands on at the moment are fairly bad photocopies made at the library, that's not good enough. OTOH, I think I can find something on the web. Watch this space. Bishonen | talk 19:24, 19 July 2005 (UTC)

Ok. Well, Pope's "Smithfield muses" are raree shows, carnivals, etc. The most particular barb there is aimed at John Rich as Lun, for Theobald had written "plays" for Rich as Lun. I.e. he carried the dumbshow/Punch muse from the fairgrounds to the ear of George II. However, there are plenty of nasty digs at the opera, as well as the theatrical special effects. I quote Pope's line about opera's one trill covering joy and rage. Umm, what else? You threw me.

Oh, yeah. You figure it's worth mentioning that Thomas Killigrew was a spy master for Charles and that he had been a spy for Charles II in exile? I think Davenant had also been conspicuously in the court-in-exile and had done some spying for Chuck. I.e. they had the two theatre contracts in their pockets before the Restoration. Geogre 21:54, 22 July 2005 (UTC)
 * Well, they were both being rewarded for loyalty, I guess mentioning that would more be just a way of making the narrative "thick" (per Greenbaum), I don't see it as having a lot of implications for how the company competition played out. Anyway, I'm worrying about this article not turning out very interesting. I started to write it because I read these amusing stage directions about Juno's chariot being drawn by peacocks, and Proteus turning into a crocodile... but there seems to be so much that needs explaining before I even get there! I'm trying to write something introductory (not the Lead, which is supposed to be a mere summary, but after the Lead) about how the bad rep is Dryden's fault, and that his criticism is somewhat bad faith—the jealous comment from a writer whose own company couldn't afford the special effects he wanted, not a defence of Good Taste from on high. Anyway, get out of here, I want to phone you! Bishonen | talk 22:12, 22 July 2005 (UTC)

Bad faith? Hmmm. I don't think so. We don't know, after all, how he felt about that stuff in his own plays. Did he like it, or did he put it in to satisfy the demands of others? The man who did the "Defense of Poetry" and all those Prefaces was probably interested in the Shakespeare-type density of text and was probably not happy with Dance of the Slave Girls #3 being put in. Literary playwrights in general don't like things that they don't get to write to this day, which is why there are people who write musicals and people who don't. Anyway, you distract me again. The Killigrew/Davenant thing thickens the text a bit, but it would really only cost you an adverbial phrase, and it would pay off highly, IMO (and for my interests, which may not be yours). It builds the case that I will some day pursue on my own time of plays getting staged as favors from the King himself (most particularly Behn's plays getting staged at first as payment for her Suriname work). Between you and me, it also explains Gould's one and only play: he did something to please Dorset, and that thing may well have been the attack on Dryden. If it wasn't that, it was still something. Some of the nobles used their fawning poets to say things they themselves wished to say, and that particular thing kept happening all the way up to the present day, when graduate students launch attacks on professors who are the enemies of their own dissertation director's. But, back to the point, it's an adverbial, and it strengthens the court = stage connection that you yourself make use of in the "intrusion of court/masque techniques" and the "private houses/private drama" stuff. :-) Geogre 03:40, 23 July 2005 (UTC)  (And you said I wasn't clever!)
 * True, but what adverbial is it you have in mind? I already say that they got the patents because they'd been "notable for their loyalty" during the Commonwealth. As for Dryden's bad faith, that's Hume, but it sounds convincing to me—check out the bit about his personal financial interest and his operas, in the "Introductory" section. Anyway, yes, you're clever, and, well, the adverbials aren't that important, please tell me what you think of the structure? Do you think it's unencyclopedic to have that argumentative "Introductory"? I felt, without it, as if the reader would be nonplussed by being plunged straight into the early history: Why is it all so vague? Why don't we get told how it looked? Or how it was achieved? And why aren't there any really helpful piccies? I think something about the paucity (hey, there's a word! I'm a stick that baby in somewhere!) of specific sources is needed, but that's not saying that's what's there now is acceptable. I dunno. Is the intro too much of a mess of different things? Bishonen | talk 18:54, 23 July 2005 (UTC)

I like the present structure, although I don't think it's at all argumentative. Further, I think you can even fit in an interrogative structure past the 1st paragraph to set up a thesis. One of those, "Why are spectacles and specatulars accorded such ill fame in the history of the theatre, if the economics of theatrical production necessitated them, and if the playhouses themselves sought them out?" It would then give you, essentially, a chance to posit an answering thesis or to use the interrogation as, itself, an organizing principle. To me, this is not unencyclopedic, exactly, even though it is not common practice. As for the adverbial phrase, I was just thinking of something like, "Thomas Killigrew, who had operated as one of Charles II's spy-masters during the Interregnum, and William Davenant, who had been [I think] Charles II's Secretary of State in exile, were rewarded for their services by receiving the two patents for theatres." The reason was that I thought an explicit quid pro quo, rather than a general pat on the head for a faithful dog, would make it clear that this exchange was much more coarse and exact than just, "I like you, man! Here, have a letter of patent." It's the kind of coarsening that would make it easier to suspect that all first-time stagings were similarly handed out as rewards. Geogre 20:01, 23 July 2005 (UTC)

Minutiae
Next time you're editing the lead, the last sentence of the first paragraph says that a success would put the house in the "red." It would put them in the black (profit) rather than red (debt). Geogre 12:23, 25 July 2005 (UTC)

Paragraph on why no one tells us how the effects were made added, invisible, along with a citation for it, invisible. Geogre 14:23, 25 July 2005 (UTC)
 * I guess you don't like it because 1709 is too late? Dennis works in the 1690's, and his attitude is the only one I know of that's documented.  Oh well. Geogre 01:38, 26 July 2005 (UTC)

Querulous and quarrelsome
My feeling on reading the whole of it was that I was left wanting the just-so story element of narrative that I like so much. The introduction and conclusion I wanted to tell me that it starts in the mists of times and continues to this day -- a big sweep of history and context that would pan the camera from cavemen to the 17th c. and then focus. That's why I kept urging telescopic comments on you. This may be my personal writing habit that's fooling me into thinking that it's an unmistakeable good, however.

The second thing was that I felt like the precise subject wasn't hit and hammered as well as it would have otherwise been, if the article had been dealing with a specific set of years or a specific person. I worried that a words of one syllable sentence was needed to explain to the naive reader what it was, exactly, that they needed to focus on. In that, I might have made matters worse rather than better with my inserted paragraph. I could confuse them about spectacle vs. spectacle play vs. musical spectacle.

Anyway, that was my problem, before. I re-read the article with a clearer head, and I think the article is FA, myself. I don't know if the naive reader will be confused, but I think it reads well and is well organized. It's scrupulously researched, of course, and the reader is carried along through the narrative very easily and smoothly.

On another note altogether, I found a new Dryden picture Image:J-Dryden.jpg that wouldn't be a disgrace, if you need it. Geogre 03:53, 29 July 2005 (UTC)

Size
As I've said, I'm probably the wrong person, because I don't think it's long, much less too long. The deflating paragraph I have trimmed and made as tense as I could. At 35 kb, it really, really doesn't seem long at all. I don't see things to cut, first, and I see an interesting thesis about literary history. Geogre 13:02, 29 July 2005 (UTC)

 * If my sentence combining is noxious, please let me know, and I'll stop. I have tried to combine modifiers from sep. sentences to function as singles, but I have also tried to leave the originals in place, but between invisible marks.  One of the strong points of the article is the narrative of the war between houses, with he did/he did, so I wouldn't want any cutting, but it is possible that the 2 sections on pre-history (1630-60) could be combined to one section that covered the early practice, ban, and ban evasion, leading to Restoration.  That could cut a kilobyte and move to what seems to me to be the main business of the war that leads to high stakes gambles on decoration sooner.  Are you going to be home 20:00-ish?  Geogre 15:24, 29 July 2005 (UTC)

1st sentence

 * What's (a?) spectaculars again? El_C 17:13, 30 July 2005 (UTC)
 * Hi, how are you? (High?) One of my sources called these plays "Dorset Garden Spectaculars", which kind of appealed to me. A spectacular is not an established historical term, but, well, maybe a Broadway promotional kind of word for very expensive and flashy shows. I hope it is. ;-) In the 17th-century sense, that would be, as I say, plays, or operas, with action, music, dance, "moveable" or "changeable" scenery (wings and backdrops that could be smoothly and mechanically changed between or within acts, a new invention at the time), and so on. Yesterday, someone else complained about my calling them "multimedia shows"... sheesh, I don't know what to call them! It's just about ready to go live in the article space, and I'm really trying to figure a name that people will understand, please help, El C! What would you call them? Theree's also a term "machine play", referring to all the wave machines and thunder and lightning machines and such used in the productions, but who has ever heard that? I sure hadn't, ten days ago. Bishonen | talk 17:49, 30 July 2005 (UTC)
 * I like Spectaculars, it just sounds so off beat, I thought I was missing something. Totally beats festive-carnivale or merriment-fair-of-fantasticness. Also, it's more concise and less of a hyperbole than a fire-works flower show! Home honey, I'm high! But kinda sleepy, though. I may sit outside in the sun for a while and pet a cat. ANY CAT! This one, I'll take him. Yours, El_C 18:11, 30 July 2005 (UTC)
 * Wait, there's animations!? Why was I not informed? Grrr. El_C 19:08, 30 July 2005 (UTC)
 * Well, it ain't Fantasia, they're a little pathetic, actually, especially the flying machine. But I'd very much like to know if they work on your box! Bishonen | talk 19:19, 30 July 2005 (UTC)
 * Wait, a sec!? I have a box? This day just keeps getting better and better! El_C 19:24, 30 July 2005 (UTC)