text:
Talk:Samson

Photo selection for the "Death" section
Both of the photos in the death section appear to have Samson with long hair, despite the fact that his hair was cut which caused him to lose his strength. This may not be relevant to the purpose the photos are being used for, but I personally find it strange and erroneous. His long hair may have been a key characteristic of his, but here it doesn't make sense. It doesn't support the argument that he prayed for strength and received it (unless he prayed for strength and received hair, which I would find amusing). Could someone attempt to remedy this? 2601:1C0:6D02:3C10:40A1:D6AB:F929:EFD2 (talk) 05:58, 6 June 2018 (UTC)

Measures
Under 4.3, The day:

"the pillars were placed at least 3 metres apart, and as such to pull the philistine temple's down by pushing apart its two pillars would require an armspan significantly over 3 metres. To complete this task, Samson would thus require to be at least 3 times the size of an average human"

The armspan of an average human is the height of the same human. The average human male stands 1m75, right? So we can say that Samson would need to be twice the size of an average human, not three times. D. F. Schmidt 14:44, 13 July 2005 (UTC)

He would need to be 3 metres tall, or an orangutan. The current average human height is about 5'10". 3 metres requires a height of about 9", which is less than twice the size, but still ridiculously large, to still also have sufficient strength. It is plausible however, and an unbiased anthropologist could confirm, that the average human height in the region at the time was much smaller. 23:01, 13 July 2005 (UTC)

"overcoming the objections of his parents who didn't realise that it was 'of the LORD', he married her." I don't think that is very well worded; it uses a quote without explaining who it is of, or what it means. Can someone clarify it, please?--LadyAphelion 22:00, 4 October 2005 (UTC)

 * It's probably from the King James Bible, the book of Judges, chapter 14 verse 4, "But his father and his mother knew not that it was of the LORD, that he sought an occasion against the Philistines: for at that time the Philistines had dominion over Israel." I think it would be better to say, "overcoming the objections of his parents who didn't realise that it was the will of the Lord, he married her."

 * If you are new to Wikipedia, Welcome! Most of the time you should just dive in and edit. Be Bold!

Possible hidden meaning: which head is it?
Brazilian psychanalist Moisés Tractemberg proposed in his book Psicanálise da Circuncisão that Samson's hair may be a metaphor for a non-circumcised male; he is stronger - more virile - than other hebrews for being whole, and when he is cut as an adult, he loses his power. I think that's worth mentioning. Stormwatch 13:48, 27 January 2006 (UTC)

But then becomes stronger after all that.79.112.122.167 (talk) 22:11, 18 December 2011 (UTC)

4.3
I agree. You should say "twice the height," or possibly "more than three times the weight," but that would be silly.

 * Maybe I'm just being dense, but where in this article, or anywhere else, does it make any reference to the pillars of the temple being three meters apart? Primium mobile 03:00, 10 June 2007 (UTC)

Samson as a sun god
The section that's essentially an extended analysis of Samson as a sun god was uninformatively labeled "Samson's life." I gave the section a name that tells the reader what's coming. Jonathan Tweet 17:48, 20 July 2006 (UTC)

I don't see this section on the main article page. Did someone remove it? NCReligionBuff (talk) 16:06, 30 June 2008 (UTC)

I've updated the coment about Samson being a "solar deity". Strangely enough, the reference given (to Moblay) actually says the reverse:

Mobley, Gregory (2006) Samson and the Liminal Hero in the Ancient Near East, Continuum International Publishing Group, p. 5.

"(p. 7) Suffice it to say that, apart from the imaginative but forced allusions to astral activity--Samson's hair as the rays of the sun, the donkey jawbone as lightning; Delilah as a lunar goddess--the evidence for solar ideas in the narrative is minimal. The "Samson"--"sun" connection, the instance where fire and images of heat are mentioned, and the general setting of the story in the vicinity of Beth Shemesh, "Temple of the Sun" (though this towm does not appear in the story), are hardly enough to justify reading the narrative as a solar myth."

 * The Biblical narrative of Samson being a solar deity is the only way it makes any sense, read C. F. Burney, The Book of Judges (1918) where a comprehensive explanation is provided. Driver made the same argument - Samson's hair being the sun's rays with Delilah being the moon - with the cutting of the hair representing the eclipse, when the sun loses its power, and when Samson was divested of his strength. Lung salad (talk) 19:31, 5 July 2011 (UTC)

Very strange indeed! GDon (talk) 02:20, 30 October 2009 (UTC)GDon

Deuteronomist's prologue
Pointing out where the editor inserted an introductory verse. Jonathan Tweet 06:51, 21 July 2006 (UTC)

Biblical story
The Biblical story is pretty close to actual scripture, but it leaves out a few things and it suggests some additions that aren't actually in the text itself. I'm editing the text to make it closer to the actual Biblical text. If someone wants to suggest interpretations that aren't in the text, those can go in a subsection. So far I've done the first two paragraphs. Jonathan Tweet 16:16, 23 July 2006 (UTC)

An anonymous user inserted unsourced commentary on the relevance of Samson eating honey from the lion. Since the story itself makes no commentary one way or another as to whether eating the honey breaks Samson's Nazarite oath, and since there's more than one way to interpret it, the summary of the biblical story shouldn't include commentary one way or another. A separate section commenting on the story and on whether Samson breaks rules and his oath would be relevant. Jonathan Tweet 04:22, 2 August 2006 (UTC)

 * This is wild speculation. It is a human corpse that defiles a Nazirite, and honey poses no problem whatsoever in Jewish dietary law. Even so, the Nazirite vow doesn't suddenly disappear if the laws are broken. Quite on the contrary - Nazirism is prolonged by such violation. JFW | T@lk  23:49, 2 August 2006 (UTC)

This seems out of place: "The biblical story of Samson is so specific concerning time and place that Samson was undoubtedly a real person, who pitted his great strength against the oppressors of Israel.[1]". His date of birth isn't listed at the beginning of the article. So how is his time and place known? --SCJE (talk) 01:58, 20 December 2007 (UTC)

 * Out of place it most certainly is and should be deleted forthwith, which I shall do myself if no one objects in the next few days (and if I remember to come back to it!). Nick Michael (talk) 08:20, 20 December 2007 (UTC)

I object--Java7837 (talk) 23:49, 23 December 2007 (UTC)

 * 1. It is futile and childish to write "I object" without qualifying your objection(s).
 * 2. If you object, why did you delete the text yourself on 23 December 2007? Just curious.
 * Nick Michael (talk) 08:13, 24 December 2007 (UTC)

I didn't delete it I moved into the intro, also the text is important because some people just claim he is not historical yet great detail made in mentioning places in the story of Samson, shows that there may be some truth in the story--Java7837 (talk) 20:11, 24 December 2007 (UTC)

 * That's fine with me Java - you added a source rather than make it look un-NPOV. I must say I like your articles - great work... Nick Michael (talk) 21:52, 24 December 2007 (UTC)other

Thank you, very much--Java7837 (talk) 00:27, 25 December 2007 (UTC)

Date
There doesn't seem to be an estimate of the dates of Samson's birth and death.

 * That's because the Book of Judges is notoriously weak in chronology, and many think that Samson is more or less legendary anyway. However, if the Philistines came in with the Sea peoples, that would seem to place it in a more or less 12th century BC or early 11th century BC context... AnonMoos 18:38, 26 November 2006 (UTC)

Remove or reword the following....
Samson lived when God was punishing the Israelites by putting them under the Philistines.

A better way of putting it would be that God 'allowed them to be conquered by the Philistines'. A more neutral statement. Panda

Neutral statement? If we are stipulating the existence of a supreme Biblical God and all that entails, don't we have to take the Bible's word for his intent? FF

Angel of the LORD ... GOD should be simply "angel" (no capitalization, no "of the Lord"), and God/Lord, not GOD/LORD.

Someone with a poor sense of grammar currently repeatedly injects these POV affectations in capitalization and style, effectively spamming/bombing the Samson article with his minority POV. Fellow Wikipedia contributors, please do what it takes to prevent this meddling.

Although I respect that contributor's right to hold different religious values, it's obvious that his writing style imposes a minority POV writing style within a NPOV article. These affectations are far outside the mainstream of good English writing style. Wikipedia uses normal rules of grammar and style, such as are found in The Associated Press Stylebook and Libel Manual and The Chicago Manual of Style.

According to mainstream English grammarians, there is no precedent for entirely capitalizing GOD and LORD. Writers should only concern themselves with the initial letter: the G in God (and L in Lord) should be capitalized when referring to a monotheistic god, and not capitalized when referring to a polytheistic god. So, for example, "Jehovah is the Christian God" is correct, and "Apollo is a Greek god" is correct. At no time should the words "god" or "lord" be entirely capitalized, unless the rest of the sentence is also capitalized. "He is the LORD, my GOD" is never grammatically correct.

Capitalizing the "A" in "angel" and adding "of the LORD" are also examples of nonmainstream writing style. The word "angel" doesn't merit capitalization, unless it's at the beginning of a sentence or referring to an American baseball franchise. The addition of "of the LORD" is simply superfluous dead wood in the sentence. In the context of the article, there are no angels which are not "of the Lord". Even outside the immediate context, it's difficult to find any situation where we need reminding that a particular angel is "of the Lord"; it's simply a safe assumption that unless otherwise stated, an angel is playing for God's home team, just as Mets are from New York and All Blacks are from New Zealand.

It's only worth mentioning whether an angel is NOT "of the Lord", since that's exceptional. For example, even Satan (a 'fallen angel') was, according to the Bible, made by God and is therefore "of the Lord"; if one argues that in the Bible some angels are not "of the Lord" then in those rare cases, the context should make clear that those angels are not God's handiwork, not playing for His Home Team, or come from New Jersey (just kidding!) ;^). In all other situations, to write "Angel of the LORD" is to club readers over the head with obvious information simply in order to give a boost to fringe zealotry POV, like saying "the Pope of the ONE TRUE CATHOLIC CHURCH" or "a Koran that contains the WORD of ALLAH" or "a JEWISH Rabbi who follows the dictates of GOD".

In reviewing many online style guides using the search terms "god" and "capitalization", I could only find one style guide that recommended capitalizing all letters in Jesus's name (but not in the words GOD or LORD, as in their tag line "God's #1 Source of Christian News"): http://www.holyobserver.com/detail.php?isu=v02i08&art=caps An important bit of context is that this minority POV styleguide even suggests "Just to be sure, capitalize words on either side of the Word God; This shows how His holiness spreads to all that surrounds Him." This context shows that The Holy Observer's style guide orbits mainstream style somewhere out in the outermost fringe of minority POV... yet even The Holy Observer does not go so far as to fully capitalize "God" or "Lord".

I found several relevant style guides and debates within Wikipedia. There's some small debate about whether to capitalize God, Lord, Him, Bible, and so on, but none even consider whether to fully capitalize God/Lord.

Here are some relevant Wikipedia webpages. They all support the mainstream writing convention "monotheistic = God/Lord; polytheistic = god/lord": http://en.wikipedia.org/wiki/Wikipedia_talk:Manual_of_Style/Archive_62#Religions.2C_deities.2C_philosophies.2C_doctrines.2C_and_their_adherents http://en.wikipedia.org/wiki/Capitalization#Nouns http://en.wikipedia.org/wiki/Talk:Atheism/Godvrs.god_poll

Here are some non-Wikipedia sources, all in support of the mainstream rule of capitalization: http://www.ncsu.edu/ncsu/grammar/Capital3.html (quoting The Chicago Manual of Style) http://truth4believers.livejournal.com/5870.html http://atheism.about.com/od/doesgodexist/a/capitalization.htm http://wiki.ironchariots.org/index.php?title=God#Capitalization_of_.22God.22

We can't defend "all-caps" from a translator's point of view. Biblical Hebrew and Aramaic do not have capitals and lowercase letters. The Koine Greek in which the original New Testament was written contained no lower-case letters in any words. It wasn't until the 9th or 10th century C.E. that Greek started to use both upper and lower case letters. ref: http://www.theologyweb.com/campus/showthread.php?t=64857 Therefore, unless we're presenting quotes in the original language without translation, we're left with the absurd proposition that all words should be purely in capitals or lowercase. That's indefensibly poor writing style, so we're obligated to follow mainstream English capitalization conventions even when quoting from the Bible. Sethnessatwikipedia (talk) 07:58, 23 September 2008 (UTC)

How many eyes?
User 168.91.1.189, whose talk page is full of vandalism warnings, modified (8 Feb 2007) the transcript of Judges 16:28 from:

"O God, that I may be at once avenged of the Philistines for my two eyes." to "O God, that I may be at once avenged of the Philistines for one of my two eyes."

This didn't make sense to me and I even suspected vandalism (sorry!). Looking up the ref. however was interesting:

1608 (Robert Barker): my two eyes 1611: my two eyes Revised: my two eyes Vulgate: uno duorum luminum meorum i.e: one of my two eyes

although in all editions quoted above, including the Vulgate, verse 21 definitely refers to eyes in the plural being put out. This is interesting: I wonder why the different versions...

Nick Michael 21:02, 8 February 2007 (UTC)

In some Brazilian portuguese versions(maybe because portuguese is closer to latin language) this text, in english, will be like that:"..At least by one of my eyes..."

 * The Latin version isn't the original, Hebrew is. The Hebrew version indeed says "and I shall revenge one of my two eyes from the Philistines" TFighterPilot (talk) 21:14, 16 September 2009 (UTC)

 * That's interesting, thanks. I wonder what the other eye was destined to revenge... Nick Michael (talk) 13:30, 22 January 2010 (UTC)

Good Article Candidacy
I have put the nomination on hold. Below are my thoughts concerning what needs to be done to make Samson a Good Article. The information is in a bulleted list, with the pertaining section of What is a good article? noted.

 * 1a. The Biblical narrative section is painful to read.
 * 1b. The article could use some reorganization.
 * The lead seems very cluttered. The information concerning the meaning of the name should be limited in the lead and expanded in it's own section (Variants and meanings of name). Also, the sentence concerning Joan Comay's belief that Samson was undoubtedly a real person has no place in the lead. Consider adding a section concerning whether or not Samson was a real person with more in-depth information. In review... I would recommend a thorough rewrite of the lead, following WP:LEAD
 * The Biblical narrative section is painful to read. You should add subsections ( [Subsection title] ) to further break down the story.
 * The inline citations should appear at the same location throughout the article, per WP:CITE. I would recommend all references follow punctuation. Currently, there are references listed before and after periods throughout the article.

 * 2b. The article currently has unsourced statements, which could be considered controversial, in the section "Possible Philistine influence". These statements need to be referenced using inline citation.
 * 6. I think the article could do with a map of the areas being mentioned. There are numerous references to placenames and no map available. I would recommend one be added when the Biblical narrative section is re-organized.

Please address these matters soon and then leave a note here showing how they have been resolved. After 48 hours the article should be reviewed again. If these issues are not addressed within 7 days, the article may be failed without further notice. Thank you for your work so far. -- PEPSI2786 talk 13:17, 4 January 2008 (UTC)

 * As none of the recommended changes have been made, the article has failed to reach Good Article status. -- PEPSI2786 talk 18:16, 12 January 2008 (UTC)
 * May I still add a comment? I'd like to second Pepsi2786's comments.  The narrative section certainly is painful, and a map would be useful.
 * I also think that there are way too many footnotes in the article, 160 by my count!! I mean, c'mon.  The vast majority of the article is non-controversial and certainly we don't need 5 footnotes for the jawbone incident.
 * There also should be a section to discuss what modern scholars propose regarding these stories. I'll see if I can't add something.  Oscar (talk)  —Preceding undated comment was added at 03:55, 14 October 2008 (UTC).

Bible references
Since this is a story from the Bible, shouldn't there be a few more references to the actual verses, instead of just a few scattered chapters? There are plenty of references to scholarly articles, but the primary text is very accessible...when this article says that Samson's parents couldn't cut his hair, there should be a footnote referencing the primary text that says that exact thing. I'd do it myself, but I don't know how to use footnotes...maybe someday i'll do it, when i don't have three papers due in a week hi —Preceding unsigned comment added by 98.200.49.244 (talk) 21:43, 30 April 2008 (UTC)

"Believed to be"... by whom, based on what?
"He is believed to be buried in Tel Tzora in Israel overlooking the Sorek valley. "

BY whom, and based on what? Garth M (talk) 04:51, 19 April 2009 (UTC)

Should this picture be on the page?
http://en.wikipedia.org/wiki/File:Icelandic_Samson.jpg

 * Delightful, yes. Why don't you put it on? Nick Michael (talk) 13:31, 22 January 2010 (UTC)

Era notation
This 2006-NOV-24 edit seems to have been the first to introduce era notation into the article. It used BCE. The Era notation was deleted on 2007-DEC-05 by a currently and indefinitely blocked user without prior placement of a { {fact}} tag. This 2008-OCT-14 edit introduced AD notation. --JimWae (talk) 01:39, 13 April 2010 (UTC)

New image
Interesting new image from the Google Arts Project by German painter Lovis Corinth. Feel free to use or not. Dcoetzee 04:05, 9 February 2011 (UTC)

Samson and suicide bombers
Should this article discuss the similarity between Samson's suicide while killing his enemies and modern-day suicide bombers? — Preceding unsigned comment added by 66.212.73.122 (talk) 23:23, 5 June 2011 (UTC)

Umm no, apparently it was his duty to commit murder in the name of God, which he eventually did. his death would be payment for betraying god. In theory he wouldn't had to die if he did the job in the first place. I guess thats the moral of the story, kill when god says or you will suffer.79.112.122.167 (talk) 22:10, 18 December 2011 (UTC)

That doesn't put him so far away from the ethics of suicide bombers, does it? However, what matters is if this is discussed in relevant publications that ought to be mentioned here.--JakobvS (talk) 19:00, 19 February 2012 (UTC)

Joan Comay
Why are we giving Comay, who is an architect by profession, so much emphasis? How is she the equal to Professor James King West? What makes her a reliable source for whether or not Samson was a real historical figure? are there no academic sources for her perspective? Dougweller (talk) 10:14, 3 September 2013 (UTC)

Does the story of Samson date back to prior to the Hebrews adopting monotheism?
Several decades ago I read several analyses of the Bible. Issac Asimov's Guide to the Bible concurred with a more scholarly less well known book I read. Both books concurred on a point I had heard elsewhere: So, why doesn't this article say anything about the Samson story predating monotheism? Geo Swan (talk) 01:02, 14 October 2013 (UTC)
 * 1) The bible is stitched together from documents written at different times, by different factions -- this is why it doesn't seem particularly coherent, and why some sections contradict others;
 * 2) In particular, scholars concurred, the story of Samson predates the universal acceptance of monotheism by the Hebrews.  When it was written the temple Samson topples was the home to another god -- a rival to Jehovah/Yahweh.

 * Geo Swan's question contains some assumptions that are far from universally held, and is asking for more discussion on a minority point of view. I suggest that we not add speculation on this point in the article. Pete unseth (talk) 14:00, 14 May 2015 (UTC)

@Pete unseth suggests that we continue telling people what they want to hear since that's the majority view.

In any case, the exclusive monotheism to Jehovah doesn't begin until the 2nd C BCE. Historiaantiqua (talk) 14:32, 13 December 2020 (UTC)

Assessment comment
Substituted at 05:21, 30 April 2016 (UTC)

Killing of the 30 for their clothing
It's likely that a comparative religion scholarly source (or a philosophy or atheist source) critiques the killing of 30 random men for their soft undershirts and fancy clothing so Samson could repay a debt on riddle game that he unfairly setup with a riddle that couldn't be deduced like a normal game of riddles. In modern society this would be a mass murder of Ted Bundy status. Some scholars must have covered this aspect of the Samson Saga. Anyone know which source to look at? 97.85.173.38 (talk) 06:25, 23 December 2016 (UTC)

GA reconsideration
User:Katolophyromai given your intensive work on this just before you passed the GA review, and the very extensive editing subsequent to that, it would seem more appropriate for you to undo your acceptance of the GA nomination, and allow someone to review it when this intensive building phase is over. Thoughts? Jytdog (talk) 21:29, 30 October 2017 (UTC)
 * That might be a good idea. One problem with it is that it will probably be almost another year before someone else finally comes along to review it. My experience with GA reviews is that it usually takes forever for someone to express willingness to review the article. I nominated ancient Greek literature back in June and no one has touched it since then. Besides, I suspect that the ongoing changes are probably almost over. (On the other hand, when I took on the task of reviewing this article, I was not at all expecting to make as many changes as I did, and, even after making those changes, I was certainly not expecting any more major changes to occur immediately following the pass of the article.) --Katolophyromai (talk) 21:59, 30 October 2017 (UTC)
 * As you will. i don't intend to make drama over it. Jytdog (talk) 22:07, 30 October 2017 (UTC)

Encyclopedic
User:Dilidor, about this and this, where you are wanting the content to say:

Delilah, however, relentlessly nags at Samson, and "pressed him hard with her words day after day, and urged him," until "his soul was vexed to death."

This is not encyclopedic, not necessary, in my view and that of others. Please discuss. If we can't agree this is something we can easily have an RfC on. Jytdog (talk) 17:30, 9 November 2017 (UTC)

 * User:Jytdog: To say that she "persisted" is worse than an understatement; it is a misrepresentation of the text's implications. That is the reason that I included the quotations both times—which you referred to dismissively as "overcite"—in order to demonstrate the force of the text's wording. You (equally dismissively) persist on insisting that we use your chosen neutered wording. I have made a compromise edit which avoids the word "nag". If you are concerned about the footnote, I do not know how to make any other type of reference style; feel free to adjust the format of the Judges 16 reference. But kindly stop the revert war. —Dilidor (talk) 19:08, 9 November 2017 (UTC)

 * original diff 6 November 2017
 * diff 17:13, 9 November 2017
 * diff 19:02, 9 November 2017
 * diff 19:09, 9 November 2017
 * One more and you are done.
 * Thanks for finally coming to talk;; please do review WP:BRD (which is not BRRRRD)
 * You are not addressing the problem that others as well and I have raised, and that is we do not need all this "color" and emphasis (WEIGHT) on the extent of nagging, with the two quotes. What is encyclopedic is simply to recount what happened.  You have not explained why we need the "color" nor the WEIGHT; you are not even bringing a secondary source to justify that this emphasis is somehow DUE, but only the prooftexting.  So please explain. Jytdog (talk) 19:47, 9 November 2017 (UTC)

I am inclined to agree with Jytdog that, in this particular instance, the quote regarding the extent of Delilah's nagging is unnecessary and interrupts the flow of the text. Sometimes quotes are useful and can help add context, but they should be used sparingly and, in this case, the quotation does not add anything. It is simpler and more sensible to merely state that Delilah "persisted" than to quote the full verse saying she "pressed him hard with her words day after day, and urged him", which is pointlessly redundant and verbose. Furthermore, I suspect that the sudden shift from the literary present-tense used in the summary to the past-tense used in the quotation, followed by the abrupt return to the literary present-tense thereafter is likely to confuse most readers. --Katolophyromai (talk) 21:28, 9 November 2017 (UTC)

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Relevance and Logical Flow in Scholarly Interpretations Section
Reading the "Scholarly Interpretation" section, there are a number of transitional adverbial phrases (e.g. "In contrast", "Conversely") that do not seem to fit the logical progression of the paragraph. Are these scholars' opinions really in contrast to one another? Are they part of a single, coherent scholarly dialogue? It seems to me that Cornay is addressing issues of historicity, West is noting the moral issues in the narrative, and Gilad is speaking about the ethical issue of intermarriage in the wider biblical corpus. These are, indeed scholarly opinions, but they do not seem to be addressing the same issue. — Preceding unsigned comment added by Tylerjmowry (talk • contribs) 17:59, 27 February 2019 (UTC)

Controversy in the Introduction
As I understand it, there is controversy amongst theologians and academics as to whether accounts of Samson bringing down the temple say that he grabbed the outside of the pillars and pulled them in, or whether he put his hands against the inside of the pillar and pushed outward. I do not believe that there is a definitive answer, but the phrasing in the introduction: "he prayed to God and miraculously recovered his strength, allowing him to grasp hold of the columns and tear them down" seems to imply the former. I was just wondering if there is interest/consensus in rephrasing that sentence so that Wikipedia can maintain its neutral point of view and not make any implication one way or the other. Cheers! Jake (talk) 11:37, 3 April 2020 (UTC)
 * Seeing as the controversy was addressed later in the article, I went ahead and rephrased the introduction to avoid Wikipedia's taking a stance one way or the other. I understand it is a delicate subject and therefore neutrality is of heightened importance, so please improve upon my edit if possible. Jake (talk) 10:15, 11 April 2020 (UTC)

Terrorism?
Recently, well sourced info has been added to the article likening Samson to a terrorist and the perpetrators of the September 11th attacks. While if these interpretations are truly shown to be noteworthy enough, I will respect their inclusion in the article, but a) do they truly belong and b) would it be better to place them in another section in the article? Any and all input welcome. Thanks! Jake (talk) 09:44, 24 April 2020 (UTC)

Terrorism is in the eyes of the beholder. Since the story of the Hebrew Samson is told in Hebrew Scriptures, he certainly was not a terrorist. Making any connection to the terrorists of 9/11 is wrong in many ways. 73.85.201.118 (talk) 18:34, 29 July 2020 (UTC)

My small change was autoreverted - can anyone help?
I think this is a really strong page. Yesterday I tweaked the summary of the bible story of Samson's birth as I had the original text in front of me.

I changed:

Manoah then prepared a sacrifice, but the Angel of the Lord would only allow it to be for God. He touched it with his staff, miraculously engulfing it in flames, and then ascended into the sky in the fire.

to

On the Angel's instructions, Manoah sacrificed a kid to God and he and his wife watched as the Angel ascended into the sky in the flames.

which is a more accurate rendering of the story. There's nothing in the text about the angel touching the sacrifice with his staff.

This was then undone:

37.142.171.6 (talk) (Undid revision 961088516 by Davidbaker999 (talk)) Tags: Undo Non-autoconfirmed user rapidly reverting edits

Can anyone advise about how I should do this properly? I am not a regular editor on Wikipedia.

Thanks.

David

Davidbaker999 (talk) 13:12, 7 June 2020 (UTC)

Samson born c. 1200 BC, died c. 1160
Like with all historic figures, it's important to list the birth and death dates even if they're only approximate. Samson was born c. 1200 BC and died c. 1160. 73.85.201.118 (talk) —Preceding undated comment added 18:28, 29 July 2020 (UTC)

 * You need to provide a source for these dates. Martin of Sheffield (talk) 20:31, 29 July 2020 (UTC)

Bedan
Bedan is Beth-Dan, since Samuel is a Dannan or Dannoi, a Greek. This strengthens his connection to Herakles, but additionally, suggests the rabbis are correct, since that is his surname, or branch, ie. he is of the House of Dan Historiaantiqua (talk) 14:30, 13 December 2020 (UTC)

Gates of Gaza episode missing
... only alluded to ("gates of a city") in comparison to Hercules. Arminden (talk) 10:24, 24 October 2023 (UTC)

Touching a dead body
The article needs to include something about how touching the lion carcass (and being in a vineyard) would also (possibly) have been in violation of his Nazirite vow - that has been discussed a fair bit in the secondary literature. StAnselm (talk) 16:48, 4 January 2024 (UTC)

1 “some” christians view him as similar to jesus. 2 narrative and context of interpretations
1 What is the % and evidence?

2 what did Sampson do when it came to relationships 2601:406:4000:1B6:E5A7:82DA:5D19:EB6 (talk) 03:18, 2 February 2024 (UTC)

Seal: "long-haired"? Century?
I'm not a Haaretz subscriber. The press release photo shows a very sketchy incised image of a tiny stick figure almost disappearing into the seal's margin, next to a large animal with a tail. Does Nir Hasson really speak of a "long-haired man"? Quoting whom, the specialists, or making his own interpretation? Maybe there's a doubling of a line there that might represent long hair, but no other online source mentions it, not even the claim that the stick figure represents a man (why not woman, child, deity?), let alone a long-haired one.

The century varies, C12 or C11, some mixing up the period of the judges with the date of the artifact and/or of the layer it was found in, which isn't the same thing.

Eisenbrauns doesn't allow a preview into the final report. Maybe there is some online IAA publication on this? Arminden (talk) 13:10, 26 April 2024 (UTC)

title: Talk:Samson


text:
2005 Ghotki rail crash

The Ghotki rail crash occurred on 13 July 2005, at around 3:40am local time (2240 July 12 UTC) near Ghotki, Pakistan. No. 24 Dn train (Quetta Express) stopped at the station of Sarhad was hit from behind by the following Karachi Express (No. 16 Dn) train, causing several cars to derail; these were then hit by a third train running in the opposite direction (Tezgam). A total of seventeen train cars, carrying over 3000 passengers, were wrecked. Estimates of the death toll ranged as high as over 130. It was the worst train accident in Pakistan in fifteen years.

Accident
The Quetta Express was stopped at Sarhad station because of a fault in the brakes when the Karachi Express travelling from Lahore to Karachi on the same line half an hour later and moving at about 120km/h (75mph), collided with it from behind. An emergency brake application after the crew saw the tail light of the stopped train could not prevent the collision because of insufficient braking power; two coaches had been isolated from the train braking system. The collision caused at least three train cars to derail onto the opposite direction track, where they were subsequently hit by Tezgam, heading from Karachi to Rawalpindi. More cars were derailed by this second impact, bringing the total to thirteen. All three trains were full of passengers, as trains often are in Pakistan. a total of seventeen cars were wrecked, with over 3000 passengers.

The Ghotki crash was the worst rail accident in Pakistan since the 1990 Sukkur rail disaster. The exact number killed was not originally known; initial reports were of 109 120, 127, or more than 130 deaths, with many critically injured.

Causes
Initially the conductor or driver of the Karachi Express was believed to have missed or misread a signal,   but subsequent investigations found that the signalling system was faulty and the crew had misjudged which signal was wrong. Also the points had not been set to direct the train to the loop line.

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

title: 2005 Ghotki rail crash


text:
Talk:Soundtrack

Merging
I've got to be honest, I've never contributed to this page, but I read it and I don't think it should be merged with film soundtrack. Simply because soundtrack is a thing of it's own. Movies have soundtracks, but games also have soundtracks. This should be rewritten to mention this. The article should be written with the thought of what is a soundtrack in general and not speaking about film soundtrack only. – DarkEvil 06:32, July 13, 2005 (UTC)

I agree 80.179.13.34 23:19, 26 July 2005 (UTC)

Following suggestions of above, I merged the articles, moving film specific references to film soundtrack and adding more info about video game music. Leonsimms 16:01, 27 July 2005 (UTC)

§ The fact that there was no article relating to film soundtracks, I found it appropriate to link it here. Especially since this article didn't reflect any information on any other kind of soundtrack, only on films, it was unneccesary for me to write an all new page all about film soundtracks, when there's nothing about games or book soundtracks as their own pages.

If you look at the end of this article, there is already information about games and book soundtracks.

If you guys are really miffed about the change, then split it into 5: games, books, film, theatre (there're more theatre and opera soundtracks than anything other than film) and general soundtracks.

But I think it's superfluous. There's no need to have multiples where only the one is required.

Another thing to mention is that there's a definite need in this page to note sources.

And some contradictory information is given, such as that the blurb prior to the (absurdly long, considering it's an example) listing of soundtracks. It includes a few notoriously well known for containing pop songs, such as Back to the Future (Hip to be Square & Power Of Love) and Terminator 2 (Guns N' Roses songs), though purports that the ones in the list are only orchestral scores. Either the list needs to be adjusted (or culled), or the blurb needs to be fixed (again, this would need to be done also, in my opinion).

The list is based on bias, and because of this is unsuitable to be used in this instance. To remove from bias, it'd be more suitable to list soundtracks based on their qualifications, i.e.: Box office sales (So Spiderman, Titanic, Star Wars, Lord of the Rings etc belong there) or accoladed films (So whatever's won best original score or things like that in the Academy Awards).

--Lincalinca 04:54, 30 June 2006 (UTC)

Airwolf soundtrack
I'm going to remove the Airwolf references, it seems too much like spam. Before restoring please comment here first Reflex Reaction 20:36, 8 September 2005 (UTC)

POV
The section listing "Outstanding" soundtracks is POV. Either it can be removed entirely, or changed to show, for instance, only soundtracks that have won Academy Awards. Nationalparks 14:10, 23 June 2006 (UTC)
 * Agreed, though the Academy Awards are often not awarded to soundtracks which go on to be considered "classics". I propose that anything listed must (1) earn a nomination in either the Academy Awards, Grammy Awards, BAFTA, or equivalent organization with an industry-recognized prestige, as well as (2) soundtracks which are financially successful and sell well. If the soundtrack has not sold many copies and has not received any nominations, it does not belong on this list. --Ilyag 02:25, 4 July 2006 (UTC)

Is this a ok change?
Is this change ok? The previous edit by the ip was reverted correctly as vandalism. Nsaa (talk) 06:34, 26 October 2008 (UTC)
 * No, if you look closely, the person replaced content with the same stuff as below. I reverted it back to how it was the last edit three days ago. ♫ Melodia Chaconne ♫ (talk) 11:24, 26 October 2008 (UTC)

dialogue + sound + music = ?
The article says: "(dialogue track, sound effects track, and music track), and these are mixed together to make what is called the composite track", so

dialogue + sound + music = composite track

but "composite" just means that something has ≥ 2 parts

So is there any other term professionals use for this, that would uniquely define the content (contrary to "composite track" which is very vague)? I have heard "comp track", but this is just an abbreviation for the same thing. --boarders paradise (talk) 19:56, 20 May 2011 (UTC)

 * That part of the article is pretty badly written, and I would imagine is a result of the post at the top of this page, when the articles were merged.
 * The parts talking about composite are probably referring to the sound tracks down the side of 35mm and other sizes of film. Originally just the one, they did not really change much for the first decade or so, then started adding and stereo came out.
 * What did change was the way in which the whole process was completed. As it became easier to transfer recordings (or "records [of what happened]") from one medium to another, several recordings could be combined, taking the live audio from the orchestra/band straight to record and to the film sound track(s). Cloned records could then easily be made from the originals.
 * In 1935 the first 2.1 surround sound came out (as well as predictions of colour film making black and white obsolete!) pg. 171 and quite an in-depth 1935 explanation of the "hill-and-dale" and sideways wax records, as well as covering emulsion and photo-electric methods of recording audio for/onto film on pg. 176. Chaosdruid (talk) 06:02, 28 April 2013 (UTC)

"First" soundtrack album
Off my beaten WP editing path, so I leave it to someone else to hunt for the references, evaluate, and edit as they see fit:

One useful general rule of thumb is that all "first" claims should raise a big red flag, as they usually prove to be wrong unless very carefully qualified. That appears to be the case with the claim that "The first musical film to have a commercially issued soundtrack album was MGM’s film biography of Show Boat composer Jerome Kern, Till the Clouds Roll By [1946]." Setting aside the question of whether Snow White and the Seven Dwarfs (1937), previously mentioned in the article, also qualifies as a musical, The Wizard of Oz is usually accepted as one, and a 78 rpm album of its songs (including the deleted "Jitterbug" number) was commercially issued in conjunction with the original 1939 release. If I am not mistaken, all of the recordings were taken from the sound-on-film scoring sessions, and possibly even from the composite soundtrack, and were not record studio remakes. At the least, it would seem that another qualifier or two must be added if the current claimant is to be left standing.

 * Retraction: the Decca Wizard of Oz album sides were record studio remakes, not dubs from MGM optical sound sources. AVarchaeologist (talk) 04:53, 25 August 2013 (UTC)

In the category of single records (as opposed to albums), the "Carioca" number from "Flying Down to Rio" was published as a 78 rpm record in 1933. In that instance, I am 100 percent certain that the audio was taken from the original sound-on-film scoring session (orchestra only, no vocals, dialog or sound effects), and 99 percent certain it is also the exact same take used in the film. Absolutely not a subsequent purpose-made recording. Very unusually for material of its vintage, the original track on 35 mm nitrate film has survived and now reposes in the UCLA film archives. There may well be earlier examples that elude me at the moment—a British release, possibly of slightly earlier vintage, seems to be futilely struggling to emerge from the memory bank.

The statement that "the record producer needed to copy segments from the playback discs used on set, the[n] copy and re-copy them..." is highly questionable. Maybe in one or more instances involving one of the minor record companies, but RCA Victor, and I believe also Columbia, had the facilities for dubbing directly from optical soundtracks to wax master discs in-house by 1929—they had developed a sideline of making sets of Vitaphone-type soundtrack discs from completed sound-on-film productions, needed by theaters not yet equipped for playing optical soundtracks. Obviously, it was easier to edit the sound while it was still on film, so the claimed multiple generations of disc-to-disc editing seem very improbable in the case of soundtrack material. In any case, the "playback discs used on set" would have been audibly the worse for wear after use, and if the studio supplied the raw material in disc form the lacquers would surely have been made especially for that purpose and supplied in pristine condition. A high-quality blank lacquer ("acetate") disc only cost a couple of dollars. AVarchaeologist (talk) 19:33, 20 May 2012 (UTC)
 * Obviously not a reliable source, but there's been a few topics on the forum at FilmScoreMonthly.com about this over the years. That might help. ♫ Melodia Chaconne ♫ (talk) 22:06, 20 May 2012 (UTC)

found this brief explanation from a newspaper dated 1926: ("The Miracle" was the first motion picture to have a musical score specifically written for it) http://fultonhistory.com/Newspaper%208/Niagara%20Falls%20NY%20Gazette/Niagara%20Falls%20NY%20Gazette%201929%20May-Jul%20Grayscale/Niagara%20Falls%20NY%20Gazette%201929%20May-Jul%20Grayscale%20-%200901.pdf#xml=http://fultonhistory.com/dtSearch/dtisapi6.dll?cmd=getpdfhits&u=fffffffff9900ca5&DocId=2168906&Index=Z%3a\Index%20O-G-T&HitCount=2&hits=7da+82e+&SearchForm=C%3a\inetpub\wwwroot\Fulton_New_form.html&.pdf — Preceding unsigned comment added by Shokorus (talk • contribs) 21:27, 10 October 2012 (UTC)
 * I dunno where you got that info, but the first original score was for The Assassination of the Duke of Guise, in 1908. ♫ Melodia Chaconne ♫ (talk) 01:38, 11 October 2012 (UTC)

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Cleanup
I will start a cleanup on the article Soundtrack Mysteriumen•♪Ⓜ •♪talk  ♪• look 16:06, 4 October 2020 (UTC)

 * I have moved the current refs to the bottom of the article source, and ordered the refs with wikitext comments for easier managment. I prefer using citation templates WP:CIT and naming references WP:LDR for inline citations WP:IC. I find it easier to work on the main body of the text when there is not too much clutter. The problem with references looks different in the visual editor WP:VE/UG. Mysteriumen•♪Ⓜ •♪talk  ♪• look 17:08, 4 October 2020 (UTC)
 * I have cut the current article into pieces that are transcluded WP:TRANS onto the main article space Soundtrack, to help in working on each pieces from the current article structure WP:LAYOUT Mysteriumen•♪Ⓜ •♪talk  ♪• look 17:37, 4 October 2020 (UTC)
 * The current layout seem to be Lead->Definition->Elaboration. That is a good start, but I am not sure if this is the best layout for this article. I will sift the text to look for other possible layouts.Mysteriumen•♪Ⓜ •♪talk  ♪• look 18:11, 4 October 2020 (UTC)
 * Reference 1 provide little information to the article and seem to serve only as a point of exit. The dictionary definition behind reference 1 is of little use, and should perhaps be omitted.

The lead seem to be built of
 * an attempt at a definition, without references
 * a subject specific elaboration, and special definition
 * etymology
 * an “also known as” section

There are no good references for the lead part of text  (an attempt at a definition, without references) A soundtrack[1] can be recorded music accompanying and synchronized to the images of a motion picture, book, television program, or video game; a commercially released soundtrack album of music as featured in the soundtrack of a film, video, or television presentation; or the physical area of a film that contains the synchronized recorded sound. (a subject specific elaboration, and special definition) In movie industry terminology usage, a sound track is an audio recording created or used in film production or post-production. Initially, the dialogue, sound effects, and music in a film each has its own separate track (dialogue track, sound effects track, and music track), and these are mixed together to make what is called the composite track, which is heard in the film. A dubbing track is often later created when films are dubbed into another language. This is also known as an M & E track (music and effects) containing all sound elements minus dialogue which is then supplied by the foreign distributor in the native language of its territory.

(etymology) The contraction soundtrack came into public consciousness with the advent of so-called "soundtrack albums" in the late 1940s. First conceived by movie companies as a promotional gimmick for new films, these commercially available recordings were labeled and advertised as "music from the original motion picture soundtrack", or "music from and inspired by the motion picture." These phrases were soon shortened to just "original motion picture soundtrack." More accurately, such recordings are made from a film's music track, because they usually consist of isolated music from a film, not the composite (sound) track with dialogue and sound effects.

(an “also known as” section) The abbreviation OST is often used to describe the musical soundtrack on a recorded medium, such as CD, and it stands for Original Soundtrack; however, it is sometimes also used to differentiate the original music heard and recorded versus a rerecording or cover Mysteriumen•♪Ⓜ •♪talk  ♪• look 19:00, 4 October 2020 (UTC)

I tracked down a reference that may serve the article

 Originally published in 1931, Recording Sound for Motion Pictures is based on a series of lectures at the newly created Academy School in Sound Fundamentals. Talkies had burst onto the scene just a few years earlier, and the film industry was moving swiftly; synchronized sound had evolved from a cumbersome technical endeavor to an important artistic component with its own specialized vocabulary, equipment, and techniques. This publication provides a window into both early sound films and the building blocks of the current sound industry. Mysteriumen•♪Ⓜ •♪talk  ♪• look 20:01, 4 October 2020 (UTC)

Reference 2 is a list-article of top product, and it is not clear to what purpose the reference is added. There is information in the referenced list-article that could serve an argument about this type of product in the current state of this section of the article, but that argument is not formulated clearly.

Reference 3 is an important source in finishing the argument this section of the article is trying to make that soundtrack is a product. The source is a behind paywall.

Reference 4 add to the lingo confusion and seem to have important information on one special type of product.

The definition and examples section of the article seem to be confused. Confused and at the same time making an argument that a soundtrack is a product. The confusion seem to be based on sometimes vague and sometimes deep insight into the process of producing a soundtrack product. Lots of examples of products in this part of the article.

The section seem to be built of  Types of recordings
 * In a stretch trying to typify soundtracks, seem like popular wizdom
 * an early example of a soundtrack with a stretch to make the argument that soundtrack is a type of product
 * elaborating on the product argument with another example from a different movie genre, and adding insight into the production process and consumer experience
 * stretch definitions? definition variation
 * stretch insight into special use of term
 * stretch insight into history of term and into history of production
 * confused backward stretch in history and definition, seem to be caught in industry lingo
 * continued confusion on the product and the production
 * some product examples
 * unreferenced record of history, some example products)
 * one special example product
 * unreferenced popular product facts
 * some exceptional example products

(In a stretch trying to typify soundtracks, seem like popular wizdom) Types of soundtrack recordings include:

Musical film soundtracks are for the film versions of musical theatre; they concentrate primarily on the songs (Examples: Grease, Singin' in the Rain)

Film scores showcase the primarily instrumental musical themes and background music from movies (Examples: The Wizard of Oz, Psycho[4])

For movies that contain both orchestral film scores and pop songs, both types of music

Albums of popular songs heard in whole or part in the background of non-musical movies (Examples: Sleepless in Seattle, When Harry Met Sally...)

Video game soundtracks are often released after a game's release, usually consisting of the theme and background music from the game's levels, menus, title screens, promo material (such as entire songs of which only segments were used in the game), cut-screens and occasionally sound-effects used in the game (Examples: Sonic Heroes, The Legend of Zelda: Ocarina of Time)

Albums which contain both music and dialogue from the film, such as the 1968 Romeo and Juliet, or the first authentic soundtrack album of The Wizard of Oz.

(an early example of a soundtrack with a stretch to make the argument that soundtrack is a type of product) The soundtrack to the 1937 Walt Disney animated film Snow White and the Seven Dwarfs was the first commercially issued film soundtrack.[5] It was released by RCA Victor Records on multiple 78 RPM discs in January 1938 as Songs from Walt Disney's Snow White and the Seven Dwarfs (with the Same Characters and Sound Effects as in the Film of That Title) and has since seen numerous expansions and reissues.

(elaborating on the product argument with another example from a different movie genre, and adding insight into the production process and consumer experience) The first live-action musical film to have a commercially issued soundtrack album was MGM’s 1946 film biography of Show Boat composer Jerome Kern, Till the Clouds Roll By. The album was originally issued as a set of four 10-inch 78-rpm records. Only eight selections from the film were included in this first edition of the album. In order to fit the songs onto the record sides the musical material needed editing and manipulation. This was before tape existed, so the record producer needed to copy segments from the playback discs used on set, then copy and re-copy them from one disc to another adding transitions and cross-fades until the final master was created. Needless to say, it was several generations removed from the original and the sound quality suffered for it. The playback recordings were purposely recorded very "dry" (without reverberation); otherwise it would come across as too hollow sounding in large movie theatres. This made these albums sound flat and boxy.

Terminology

(stretch definitions? definition variation) MGM Records called these "original cast albums" in the style of Decca Broadway show cast albums mostly because the material on the discs would not lock to picture, thereby creating the largest distinction between `Original Motion Picture Soundtrack' which, in its strictest sense would contain music that would lock to picture if the home user would play one alongside the other and `Original Cast Soundtrack' which in its strictest sense would refer to studio recordings of film music by the original film cast, but which had been edited or rearranged for time and content and would not lock to picture.[6]

(stretch insight into special use of term) In reality, however, soundtrack producers remain ambiguous about this distinction, and titles in which the music on the album does lock to picture may be labeled as OCS and music from an album that does not lock to picture may be referred to as OMPS.

(stretch insight into history of term and into history of production) The phrase "recorded directly from the soundtrack" was used for a while in the 1970s, 1980s and 1990s to differentiate material that would lock to picture from that which would not (excluding alternate masters and alternate vocals or solos), but again, in part because many 'film takes' actually consisted of several different attempts at the song and edited together to form the master, that term as well became nebulous and vague over time when, in cases where the master take used in the film could not be found in its isolated form, (without the M&E) the aforementioned alternate masters and alternate vocal and solo performances which could be located were included in their place.

(confused backward stretch in history and definition, seem to be caught in industry lingo) As a result of all this nebulosity, over the years the term "soundtrack" began to be commonly applied to any recording from a film, whether taken from the actual film soundtrack or re-recorded in the studio at an earlier or later time. The phrase is also sometimes incorrectly used for Broadway cast recordings. While it is correct in some instances to call a "soundtrack" a "cast recording" (since in most cases it contains performances recorded by the original film cast) it is never correct to call a "cast recording" a "soundtrack."

(continued confusion on the product and the production) Contributing to the vagueness of the term are projects such as The Sound of Music Live! which was filmed live on the set for an NBC holiday season special first broadcast in 2013. The album released three days before the broadcast contained studio pre-recordings of all the songs used in the special, performed by the original cast therefrom, but because only the orchestral portion of the material from the album is the same as that used in the special, (i.e. the vocals were sung live over a prerecorded track), this creates a similar technicality because although the instrumental music bed from the CD will lock to picture, the vocal performances will not, although it IS possible to create a complete soundtrack recording by lifting the vocal performances from the DVD, erasing the alternate vocal masters from the CD and combining the two.

(some product examples) Among MGM's most notable soundtrack albums were those of the films Good News, Easter Parade, Annie Get Your Gun, Singin' in the Rain, Show Boat, The Band Wagon, Seven Brides for Seven Brothers, and Gigi.

Film score albums

(unreferenced record of history, some example products) Film score albums did not really become popular until the LP era, although a few were issued in 78-rpm albums. Alex North’s score for the 1951 film version of A Streetcar Named Desire was released on a 10-inch LP by Capitol Records and sold so well that the label later rereleased it on one side of a 12-inch LP with some of Max Steiner's film music on the reverse.

(one special example product) Steiner’s score for Gone with the Wind has been recorded many times, but when the film was reissued in 1967, MGM Records finally released an album of the famous score recorded directly from the soundtrack. Like the 1967 rerelease of the film, this version of the score was artificially "enhanced for stereo". In recent years, Rhino Records has released a 2-CD set of the complete Gone With the Wind score, restored to its original mono sound.

(unreferenced popular product facts) One of the biggest-selling film scores of all time was John Williams' music from the movie Star Wars. Many film score albums go out-of-print after the films finish their theatrical runs and some have become extremely rare collectors’ items.

Composite film tracks included on record

(some exceptional example products) In a few rare instances an entire film dialogue track was issued on records. The 1968 Franco Zeffirelli film of Romeo and Juliet was issued as a 4-LP set, as a single LP with musical and dialogue excerpts, and as an album containing only the film's musical score. The ground-breaking film Who's Afraid of Virginia Woolf? was issued by Warner Bros Records as a 2-LP set containing virtually all the dialogue from the film. RCA Victor also issued a double-album set what was virtually all the dialogue from the film soundtrack of A Man for All Seasons, Decca Records issued a double-album for Man of La Mancha and Disney Music Group (formerly Buena Vista Records) issued a similar double-album for its soundtrack for The Hobbit.

Mysteriumen•♪Ⓜ •♪talk <sub style="margin-left:-7.55ex"> ♪• look 22:45, 4 October 2020 (UTC)

Reference 5 is sourcing an article complaint on the current state of the industry compared to a perceived golden age of the soundtrack product. It is not clear what purpose the reference is serving, but the sourced article contain gold sentiment and opinion in finishing a possible argument about the history of the product. Later in the article section one can read sentiment from this source in the text and thought about an unreferenced paradigm.

Reference 6 is sourcing a special product, that may be interesting in adding confusion to this article section, or simply expanding our view of what a soundtrack may be. It needs to be established if the work referenced is an important work in the line of what it is doing.

Reference 7 seem to be lost. It is supposed to reference a very special example type of product.

Reference 8 seem to be lost. It is supposed to reference another special type of product.

Reference 9 seem to be a link to a product page in Brazilian Portuguese.

Reference 10 seem to be lost. It is supposed to link a product example

Reference 11 seem to be lost. It is supposed to link a product example

The elaboration and examples section collection seem to be built of pieces that are perceived to be important examples of some types of product. Lots of examples and only sources from news media or primary sources that only serve as links to products. There seem to be an argument that there are paradigms. There is confusion about what the product is because there are different types that are not clear because of a confusion of production and product. Concept is in the mix making things even more confusing in the spirit of postmodernism.

This collection of sections seem to be built of
 * continuing the product argument
 * some special case variations and product types
 * product sale and industry implications
 * imposed convention with poor sourcing
 * elaborating on variations of the product
 * unsourced statement about the content of the product
 * some unreferenced historical facts about product
 * some unreferenced history about product
 * some unreferenced paradigm of product, and consumer experience
 * hidden complaint about the state of the term, and a new unreferenced paradigm
 * History of a specialized part of the industry, that may be high importance for evolution of the product, all unreferenced
 * special type of product, the text piece seem to be cut from context
 * unreferenced special insight
 * unreferenced special examples
 * unreferenced special product examples
 * unreferenced very special example
 * unreferenced very special example and confused mixup of term and imposed term of a concept artist which are of uncertain importance in helping this article
 * unreferenced special history lesson
 * unreferenced special product
 * other special examples
 * one very special example product
 * unreferenced new paradigm, and some examples	 with lost references that make the paradigm plausible
 * unreferenced plausible link to related concept

<p style="line-height:100%;"> Movie and television soundtracks

Main article: Film score See also: Musical film and Music of Bollywood See also: Soundtrack album

(continuing the product argument) When a blockbuster film is released, or during and after a television series airs, an album in the form of a soundtrack is typically released alongside that.

(some special case variations and product types) A soundtrack typically contains instrumentation or alternatively a film score. But it can also feature songs that were sung or performed by characters in a scene (or a cover version of a song in the media, rerecorded by a popular artist), songs that were used as intentional or unintentional background music in important scenes, songs that were heard in the closing credits, or songs for no apparent reason related to the media other than for promotion, that were included in a soundtrack.

(product sale and industry implications) Soundtracks are usually released on major record labels (just as if they were released by a musical artist), and the songs and the soundtrack itself can also be on music charts, and win musical awards.

(imposed convention with poor sourcing) By convention, a soundtrack record can contain all kinds of music including music "inspired by" but not actually appearing in the movie; the score contains only music by the original film's composers.[7]

(elaborating on variations of the product) Contemporaneously, a soundtrack can go against normality, (most typically used in popular culture franchises) and contains recently released and/or exclusive never before released original pop music selections, (some of which become high charting records on their own, which due to being released on another franchises title, peaked because of that) and is simply used for promotional purposes for well known artists, or new or unknown artists. These soundtracks contain music not at all heard in the film/television series, and any artistic or lyrical connection is purely coincidental.

(unsourced statement about the content of the product) However depending on the genre of the media the soundtrack of popular songs would have a set pattern; a lighthearted romance might feature easy listening love songs, whilst a more dark thriller would compose of hard rock or urban music.

(some unreferenced historical facts about product) In 1908, Camille Saint-Saëns composed the first music specifically for use in a motion picture (L'assasinat du duc de Guise), and releasing recordings of songs used in films became prevalent in the 1930s. Henry Mancini, who won an Emmy Award and two Grammys for his soundtrack to Peter Gunn, was the first composer to have a widespread hit with a song from a soundtrack.

(some unreferenced history about product) Before the 1970s, soundtracks (with a few exceptions), accompanied towards musicals, and was an album that featured vocal and instrumental, (and instrumental versions of vocal songs) musical selections performed by cast members. Or cover versions of songs sung by another artist.

(some unreferenced paradigm of product, and consumer experience) After the 1970s, soundtracks started to include more diversity, and music consumers would anticipate a motion picture or television soundtrack. Majority of top charting songs were those featured or released on a film or television soundtrack album.

(hidden complaint about the state of the term, and a new unreferenced paradigm) in recent years he term "soundtrack" sort of subsided. It now mostly commonly refers to instrumental background music used in that media. Popular songs featured in a film or television series are instead highlighted and referenced in the credits, not as part of a "soundtrack".

Video game soundtracks

Main article: Video game music

(History of a specialized part of the industry, that may be high importance for evolution of the product, all unreferenced) Soundtrack may also refer to music used in video games. While sound effects were nearly universally used for action happening in the game, music to accompany the gameplay was a later development. Rob Hubbard and Martin Galway were early composers of music specifically for video games for the 1980s Commodore 64 computer. Koji Kondo was an early and important composer for Nintendo games. As the technology improved, polyphonic and often orchestral soundtracks replaced simple monophonic melodies starting in the late 1980s and the soundtracks to popular games such as the Dragon Quest and Final Fantasy series began to be released separately. In addition to compositions written specifically for video games, the advent of CD technology allowed developers to incorporate licensed songs into their soundtrack (the Grand Theft Auto series is a good example of this). Furthermore, when Microsoft released the Xbox in 2001, it featured an option allowing users to customize the soundtrack for certain games by ripping a CD to the hard-drive.

Theme park, cruise ship, and event soundtracks

(special type of product, the text piece seem to be cut from context) As in Sound of Music Live! the music or dialogue in question was prepared specifically for use in or at an event such as that described above.

(unreferenced special insight) In the case of theme parks, actors may be ensconced in large costumes where their faces may be obscured. They mime along to a prerecorded music, effects and narration track that may sound as if it was lifted from a movie, or may sound as if it had been overly dramatized for effect.

(unreferenced special examples) In the case of cruise ships, the small stage spaces do not allow for full orchestration, so that possibly the larger instruments may be pre-recorded onto a backing track and the remaining instruments may play live, or the reverse may occur in such instances as Elvis: The Concert or Sinatra: His Voice. His World. His Way both of which use isolated vocal and video performances accompanied by a live band.

(unreferenced special product examples) In the case of event soundtracks, large public gatherings such as Hands Across America, The Live Aid Concert, the 200th Anniversary Celebration of the U.S. Constitution in Philadelphia, The MUSE Concerts or the various Greenpeace events (i.e. The First International Greenpeace Record Project, Rainbow Warriors and Alternative NRG) all had special music, effects and dialogue written especially for the event which later went on sale to the record and later video-buying public.

Book soundtracks

See also: Category:Book soundtracks

(unreferenced very special example) Only a few cases exist of an entire soundtrack being written specifically for a book.

(unreferenced very special examples) ‘Kaladin’, a book soundtrack to popular fantasy novelist Brandon Sanderson's book, ‘The Way of Kings’, was written by The Black Piper. The Black Piper, hailing from Provo, Utah, is a combined group of composers who share a love for fantasy literature. ‘Kaladin’ was funded through Kickstarter and raised over $112,000. It was released December 2017.[citation needed]

(unreferenced very special example) A soundtrack for J. R. R. Tolkien's The Hobbit and The Lord of the Rings was composed by Craig Russell for the San Luis Obispo Youth Symphony. Commissioned in 1995, it was finally put on disk in 2000 by the San Luis Obispo Symphony.[citation needed]

(unreferenced very special example and confused mixup of term and imposed term of a concept artist which are of uncertain importance in helping this article) For the 1996 Star Wars novel Shadows of the Empire (written by author Steve Perry), Lucasfilm chose Joel McNeely to write a score. This was an eccentric, experimental project, in contrast to all other soundtracks, as the composer was allowed to convey general moods and themes, rather than having to write music to flow for specific scenes. A project called "Sine Fiction"[8] has made some soundtracks to novels by science fiction writers like Isaac Asimov and Arthur C. Clarke, and has thus far released 19 soundtracks to science-fiction novels or short stories. All of them are available for free download.

(unreferenced special history lesson) Author L. Ron Hubbard composed and recorded a soundtrack album to his novel Battlefield Earth entitled Space Jazz. He marketed the concept album as "the only original sound track ever produced for a book before it becomes a movie". There are two other soundtracks to Hubbard novels, being Mission Earth by Edgar Winter and To the Stars by Chick Corea.

(unreferenced special product) The 1985 novel Always Coming Home by Ursula K. Le Guin, originally came in a box set with an audiocassette entitled Music and Poetry of the Kesh, featuring three performances of poetry, and ten musical compositions by Todd Barton.

(other special examples) In comics, Daniel Clowes' graphic novel Like a Velvet Glove Cast in Iron had an official soundtrack album. The original black-and-white Nexus #3 from Capitol comics included the "Flexi-Nexi" which was a soundtrack flexi-disc for the issue. Trosper by Jim Woodring included a soundtrack album composed and performed by Bill Frisell,[9] and the Absolute Edition of The League of Extraordinary Gentlemen: Black Dossier is planned to include an original vinyl record. The Crow released a soundtrack album called Fear and Bullets to coincide with the limited edition hardcover copy of the graphic novel. The comic book Hellblazer released an annual with a song called Venus of the Hardsell, which was then recorded and a music video to accompany with.

(one very special example product) The Brazilian graphic novel Achados e Perdidos ("Lost and Found"), by Eduardo Damasceno and Luís Felipe Garrocho, had an original soundtrack composed by musician Bruno Ito. The book was self-published in 2011 after a crowdfunding campaign and was accompanied by a CD with the eight songs (one for each chapter of the story). In 2012, this graphic novel won the Troféu HQ Mix (Brazilian most important comic book award) in the category "Special Homage".[10][11]

(unreferenced new paradigm, and some examples	 with lost references that make the paradigm plausible) As Internet access became more widespread, a similar practice developed of accompanying a printed work with a downloadable theme song, rather than a complete and physically published album. The theme songs for Nextwave,[12] Runaways,[13] Achewood, Dinosaur Comics and Killroy and Tina are examples of this.

(unreferenced plausible link to related concept) In Japan, such examples of music inspired by a work and not intended to soundtrack a radio play or motion picture adaptation of it are known as an "image album" or "image song", though this definition also includes such things as film score demos inspired by concept art and songs inspired by a TV series but that are not featured in them. Many audiobooks have some form of musical accompaniment, but these are generally not extensive enough to be released as a separate soundtrack. Mysteriumen•♪Ⓜ <sup style="margin-left:+2.0ex">•♪talk <sub style="margin-left:-7.55ex"> ♪• look 01:44, 5 October 2020 (UTC)

Not sure if this clean-up was perfect
The article lacks the link between "incidental music" and 'soundtrack" now, let alone it lacks proofs "OST" is synonymous to "official soundtrack". 81.89.66.133 (talk) 13:54, 13 July 2023 (UTC)

title: Talk:Soundtrack


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User talk:Gladys.lopez1

Black Holes well I don't know much about black holes but I am trying to write about them, some 4 or 5 pages long research paper if anybody happen to read this, please I need help Thanks

title: User talk:Gladys.lopez1


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Balete people

The Balete people are a Southern African ethnic group.

In Botswana they have occupied a permanent territory since around 1780, officially recognized as a tribal reserve in 1909. They are the only one of eight major tribes that do not belong to the related Tswana people. They still have a traditional King, or Kgôsikgolo. Balete are settled in Southern Botswana villages that include Ramotswa, Gabane, Otse, Metsimotlhabe and Mogobane.

List of chiefs/Kings
Phatlê (Wa ko Tlhôgô ya Tlou)

Malete

Maphalaolê

Mongatane

Maio

Kgomo

Mokgwê

Marumô Pôwê I a Marumo

1805 Mokgôjwe a Pôwê (acting)

1805–1830 Pôwê II a Mokgôjwe (died c. 1830)

1830–1886 Mokgôsi I a Pôwê

1886–1896 Ikaneng a Mokgôsi

1896–1906 Mokgôsi II

1906–1917 Baitlotle (acting)

1917–1937 Seboko I a Mokgôsi

1937–1945 Ketswerebothata a Mokgôsi (acting)

1945–1966 Mokgôsi III a Seboko

1966–1996 Kelemogile a Seboko (Kelemogile Mokgosi) acting

1996–2001 Seboko II a Mokgôsi

2001–2002 Tumelo a Seboko (acting)

2002 - present Mosadi Seboko

Leboko la Balete (The Balete Poem)
Matebele a mantsho aga ma masodi-a mphela (a mazulu a mphela) A ga selala le namane letlhakoleng di robaroba matlhakola dia robile di satla go a lala namane tse di naka di diobe ere faere "gou!"di be dire "goo" kgodumo...o e tshabele mogotlhong more wa nare ga o lebalebelwe; mutlwa gao tswane le lenaka, o ka tlhomolwa. mogatsa mmolaya nare o ya a batla seantlo a sale gale. Barwa taola tsa mere Barwa motlhana o tlhokile motsei o jelwe ke magakabe le manong Barwa kgodumo ya leselesele

September 1, 2012 saw the beginning of a new era for the Balete tribe, as it revived its dormant tradition of male initiation, Bogwera, under the guidance of its first ever female Paramount Chief Mosadi Seboko. Among initiates were five councilors from the South East District Council – two from the Botswana Congress Party, another two from the ruling Botswana Democratic party and one from the Botswana Movement for Democracy. The naming of the new regiment ‘Matsosa ngwao’ (Cultural revivers) by Kgosi Seboko coincided with the annual national cultural day celebrations. The event attracted members of the diplomatic corps from Mozambique, Nigeria, the United States of America, the UK and the Chinese Women's Association.

Sources and references
World Statesmen website on political and administrative entities

title: Balete people


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User:Pault79

pault79

title: User:Pault79


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Category:Ethnic enclaves

Articles related to ethnic enclaves, geographic areas with high ethnic concentration, characteristic cultural identity, and economic activity. The term is usually used to refer to either residential areas or a workspaces with a high concentration of ethnic firms. Their success and growth depends on self-sufficiency, and is coupled with economic prosperity.

title: Category:Ethnic enclaves


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New Zealand Republican Party

New Zealand Republican Party may refer to:

 * New Zealand Republican Party (1967), political party founded in 1967, dissolved in 1974
 * New Zealand Republican Party (1995), political party founded in 1995, dissolved in 2002

title: New Zealand Republican Party


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Books of Magick: Life During Wartime

Books of Magick: Life During Wartime is a fantasy comic book series published by DC Comics under their Vertigo imprint in 2004 and 2005 that was discontinued after fifteen issues.

All of the issues are written by Si Spencer, with some script consultation done by Neil Gaiman. The artwork is done solo by Dean Ormston throughout most of the series' run. Steve Yeowell is co-credited as an artist in issues eleven and twelve and Duncan Fegredo fully replaces Ormston for issues six and ten.

The series depicts the events that take place on two fictional worlds, both of which are connected through an alternate version of the character Timothy Hunter.

When Timothy Hunter first appeared he was a young boy who had the potential to be the world's most powerful magic user. He starred in his own series titled The Books of Magic. Over the course of the character's history he changed and aged.

The idea behind Books of Magick: Life During Wartime was to present a more mature version of The Books of Magic without the character's past continuity attached. During the planning stage a problem appeared. A series of books based on the comics and also titled The Books of Magic had been released and marketed in this form to children. Books of Magick: Life During Wartime depicts nudity and sex, as well as a higher degree of violence than The Books of Magic. Although tastefully depicted these things make it a series inappropriate for children and there were fears that the new series and the books could be confused in some sectors. The decision to change 'Magic' to 'Magick' and to add the words 'Life During Wartime' was made and the series went forward.

Setting
The true Earth of this series is a world upon which humans (known as the Bred) live side-by-side with members of the races of Faerie (known as the Born). It is a world torn by war. On one side is the ruling elite made exclusively of Born. On the other is the Coalition made up of both Born and Bred. The majority on both sides are members of the same religion. They worship Tim Hunter as a god under the name The Hunter.

The second Earth is known as Hunter's World and was created by Hunter as a means of protection and escape. The things he was running from were magic, war, and religion. As a result, when he created Hunter's World none of those things existed there.

Publication history
The first five issues detail the current status quo in the final days of the war. The Born make their final attack and the war ends in issues seven to nine. Issues eleven to fifteen show the aftermath of these events with eleven and twelve dealing with the true Earth and thirteen, fourteen and fifteen showing the fate of Hunter's World and the main cast of characters. These three sections are separated by two one issue stories that show events from the perspective of two supporting characters. Issue six shows Dog's perspective while issue ten deals with Cat's.

Characters

 * Tim Hunter - the most powerful magic user on the real Earth. He is worshiped as a god, but hates it. He only wants the war to stop.
 * John Constantine and Zatanna - they are two of Tim's closest friends and key players around which events move. These two characters are based on the DC Universe characters of the same names (John Constantine and Zatanna).
 * Molly - she is Tim's girlfriend on Hunter's World.
 * Cat and Dog - they are brother and sister and Tim's close friends on Hunter's World.
 * Brewster - he is the only other person living on Hunter's World not created by Tim. His mission is to safeguard Tim for the Coalition and to ensure his memory of the real world returns when it needs to.
 * Lord Midian - a Faerie and one of the leaders of Coalition. He is in charge of the Coalition's Navy.
 * The Faerie Queen - she is the leader of the Born and rules over Earth from her palace in Jerusalem.

The Beginning of the End
The series starts fifteen months into the war between the Born and the Coalition.

On the real world John Constantine finds himself in charge of the besieged city of Kraków. The forces inside are surrounded by the soldiers of the Born under the command of a monstrous Faerie known as The Cherish, and the food stores ran out seven months previously. In Jerusalem Zatanna searches for a way to obtain the three keys that will give her access to the Books of Magick. Her hope is that the books will allow Tim Hunter to regain all of his memories when he comes back from his exile.

Things get worse for the Coalition when an apparition of the Hunter appears worldwide. Seeing this the Coalition launches its naval fleet from Reykjavík to attack England (known as Albion on this world) despite the misgiving of Lord Midian. This turns out to be a disastrous move when the fleet is destroyed by giant wood golems guarding the landing beaches. In Kraków things get much worse when the forces surrounding the city begin launching deadly cluster spells. On top of all of this Zatanna is captured in Jerusalem and tortured. The pain of this last event is lessened when Zatanna escapes taking the three keys to the Books of Magick with her. The apparition also allows the Faerie Queen to discover Tim's location. She sends her agents, the Micturides to get him.

On Hunter's World, Tim meets his girlfriend Molly at the train station. Later they meet with their friends Cat and Dog who give Tim a book named The Books of Magick. After looking through it he collapses and sees a vision of the real world. While in the middle of this vision he inadvertently causes the apparition that appeared there.

This event causes Brewster to make his presence known. He introduces himself a few days later and enters Tim's circle of friends. Brewster begins to take actions that are designed to force Tim to use his powers and to remember magic again.

Strange things begin to happen around Tim at this point. These culminate when Cat gets hit in the head by a broken stone. Her eyes turn solid red and insects begin to exit her mouth. Tim drives to the oceanside and submerges her and himself in the water. The magic he uses in this location allows him to save her. While this is going on The Micturides arrive and are confronted by Brewster.

The Return of the Hunter
On the true Earth things are dark for the Coalition. The Born begin their invasion of Iceland (known as Thule on this world and the last nation still under Coalition control).

On Hunter's World Tim has regained enough of his memories to know who he is and where he comes from. He creates a church and has a funeral for Brewster who he believes was killed by the Micturides. In attendance are the very confused Molly, Cat and Dog. A very much still living Brewster arrives and begins to argue with Tim over Tim's actions. The argument grows heated and Tim's church is cracked in half. In the chaos Molly, Cat and Dog disappear only to appear in the real world. Molly appears to John Constantine in Kraków. Dog appears in Zatanna's shower in Jerusalem while she is taking a shower. Finally, Cat appears in front of a captured Lord Midian in Thule and is taken prisoner alongside the other Coalition survivors.

The War Ends

Tim arrives back in the real world along with Brewster. While deciding what to do they encounter a group of Alfar, a Faerie race known for eating other sentients, Tim begins a relationship with one of their women named Birgit. After coming to a decision on what his actions should be Tim transports his allies to the prison in Thule where Cat and Midian are being held. They rescue Cat but Midian dies from wounds he received while being tortured.

While Tim is in Thule, The Cherish gives the order to begin the final assault on Kraków. Tim and his allies teleport in not long after that order is given. In the battle Birgit is killed and Tim challenges the Cherish to one on one combat. The head of the Cherish's conjoined twin is cut off by one of her own soldiers just as she is about to kill Tim. This soldier is a worshiper of the Hunter and did not wish to see his god killed. This small victory is not enough to save the day as the forces of the Born overwhelm the city's defenders and the war comes to a conclusion.

Confronting the Queen
Tim, Molly, Constantine and Cat are taken as prisoners to Jerusalem where they are placed in chains at the head of a victory parade led by The Cherish. The spectacle winds its way through the streets on its way to the Queen's palace.

Seeing this Zatanna and Dog hatch a plan to steal the last of the Books of Magick. Slipping into the palace they quickly make their way to the room containing the last book. Just as they are about to take the book the soldiers assigned to guard the book discover their presence.

In the Queen's throne room, Tim and his allies are presented to the Queen. Tim casts an illusionary spell that distracts the Queen long enough to allow an escape. Constantine leads this small group through the palace halls to where Zatanna and Dog are fighting. Now joined together, Tim and his allies take the last of the books and fight their way to a place of temporary safety. There Tim assembles all four books and casts the spell that will give him all of his memories back.

The spell fails and the Faerie Queen appears in the doorway. John Constantine goes to her and they embrace. He reveals that he is her lover, that he has been working for the Born the entire time and that the two of them destroyed the true Books of Magick months previously. As The Queen prepares to kill Tim and end any threat to her reign, Tim joins hands with Molly, Cat and Dog and casts a spell. Tim's three friends from Hunter's World crumble before his eyes and disappear. The effect on the Faerie Queen is similar as she dies and takes on the appearance of a desiccated corpse.

Seeking to see the Queen's true appearance Zatanna turns the corpse over only to see a feminine version of Tim's face. Constantine reveals that she was an alternate version of Tim and both he and Zatanna reveal to Tim that Constantine's actions were a double cross. Constantine's plan was to trick the Queen into allowing a small group close enough that she could be killed.

The Final Fate of Hunter's World
Since Tim's return to the true world, the social situation on Hunter's World has deteriorated. Tim returns with Brewster and is shocked to find that the strange events that preceded his departure have caused a religion to form. In a reflection of the true world this religion worships Tim as a deity under the name The Hunter.

This world has its own version of John Constantine named Jackie Constantine, who works as a delivery girl. Her assignment is to take a small package to the church that Tim created. Since Tim's leavetaking it has become the center of the new religion and the home for its leaders, the Holy Six. Jackie's delivery goes wrong and she barely gets away with her life.

Jackie is fired and now jobless she rescues a young woman from Hunter worshippers who were about to burn her at the stake. The young woman's name is Charlotte and the two of them become lovers. Later Jackie encounters a woman running from some more Hunter worshippers and saves her as well. This woman turns out to be the woman that Tim created on Hunter's World to be his "mother". This rescue leads to an encounter with Molly, Dog and Cat who have recently reappeared back on Hunter's World. The three of them and Brewster have a mission for her.

Tim has decided to destroy Hunter's World and Jackie is sent to talk to him in hopes that she can talk him out of it. She fails at this and Hunter's World ceases to exist. The only survivors are Jackie, Charlotte, Tim's "Mother", Dog, Cat and Molly. Along with Brewster, Tim transports this group to another realm using two cabins from the Hunter's World version of the London Eye.

This new world is a place of lush green beauty free from predators. Tim tells Cat and Dog that they are not really brother and sister and that they will be this dimension's Adam and Eve.

Tim takes the rest of his group to the Realm of Faerie to drop off Brewster and to have a talk with Titania, the Queen of Faerie (not to be confused with the foe he defeated). Molly and Tim's "mother" wander, see what Faerie is like and decide to stay.

Jackie and Charlotte travel with Tim to the true Earth. There Tim uses his powers to set them up in a new life.

Reception
Although most of the reviews were favorable, there was some criticism. Most of this centered around the thought that, despite the fact that the story had no connection to the history of Timothy Hunter, you still needed to know that history to fully understand many plot details. A review from TheForthRail.com complained that "the writers seem to assume that the reader will be familiar with Tim's history".

Collected editions
There has been one trade paperback collection so far:
 * Books of Magick: Life During Wartime: Book 1 (with Dean Ormston, Vertigo, tpb collects #1-5, 2005, ISBN 1-4012-0488-0)

title: Books of Magick: Life During Wartime


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User talk:Palani.ts

Spatial capacity is an indicator of "data intensity" in a transmission medium. It is usually used in conjunction with Wireless Transport mechanisms. This is analogous to the way that lumens per square meter determine illumination intensity.

Spatial capacity focuses not only on bit rates for data transfer but on bit rates available in confined spaces defined by short transmission ranges.It is measured in bits per second per square meter.

title: User talk:Palani.ts


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Wikipedia talk:Wikimediation

Initial comments
Snowspinner, I appreciate the effort and positive intention. But if Wikimediation is intended to draw in outsiders to help solve the problems, I think the format needs more. An outsider coming in has little knowledge or links to go on. That is, it's too much trouble for an outsider to become informed enought to make worthy comments. Maurreen 06:35, 13 July 2005 (UTC)

 * Good call. I'll add some to the pages today. Snowspinner 15:10, July 13, 2005 (UTC)

 * That is an improvement. Maurreen 06:27, 14 July 2005 (UTC)

 * I've redirected this to WP:RFM. Wikimed is not a bad idea per se, but there are presently four such processes running concurrently, and that redundancy is not very constructive. The four should join together in making one shiningly great process. Radiant_ >|< 09:55, August 12, 2005 (UTC)

title: Wikipedia talk:Wikimediation


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Spatial capacity

Spatial capacity is an indicator of "data intensity" in a transmission medium. It is usually used in conjunction with wireless transport mechanisms. This is analogous to the way that lumens per square meter determine illumination intensity.

Spatial capacity focuses not only on bit rates for data transfer but on bit rates available in confined spaces defined by short transmission ranges. It is measured in bits per second per square meter.

Among those leading research in spatial capacity are Jan Rabaey at the University of California, Berkeley. Some have suggested the term "spatial efficiency" as more descriptive. Marc Weiser, former chief technologist of Xerox PARC, was another contributor to the field who commented on the importance of spatial capacity.

The System spectral efficiency is the spatial capacity divided by the bandwidth in hertz of the available frequency band.

Relative spatial capacities
Engineers at Intel and elsewhere have reported the relative spatial capacities of various wireless technologies as follows:
 * IEEE 802.11b 1,000 (bit/s)/m²
 * Bluetooth 30,000 (bit/s)/m²
 * IEEE 802.11a 83,000 (bit/s)/m²
 * Ultra-wideband 1,000,000 (bit/s)/m²
 * IEEE 802.11g N/A

title: Spatial capacity


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Rockaway Beach (song)

"Rockaway Beach" is a song by American punk rock band Ramones, released in 1977 from the band's third studio album Rocket to Russia. The song was written by bassist Dee Dee Ramone in the style of the Beach Boys and early surf rock bands. The song is about Rockaway Beach in Queens, where Dee Dee liked to spend time. Guitarist Johnny Ramone claimed that Dee Dee was "the only real beachgoer" in the group. Released in 1977, it was the Ramones' highest-charting single in their career, peaking at number 66 on the Billboard Hot 100.

Background
"Rockaway Beach" was inspired by the actual Rockaway Beach located in New York, where lead singer Joey Ramone was raised. The song was written by bassist Dee Dee Ramone who frequently visited the beach.

Composition
"Rockaway Beach" is a punk rock song that runs for a duration of two minutes and six seconds. According to the sheet music published at Musicnotes.com by Alfred Music, it is written in the time signature of common time with the exception of the interlude, which is in, with a driving punk rock tempo of 185 beats per minute. "Rockaway Beach" is composed in the key of A major, while Joey Ramone's vocal range spans from the low-note of E4 to the high-note of A5. The song has a basic sequence of C♯–D–C♯–D during the introduction, follows A–D–E in the verses and chorus, and changes to G–Dtype2–D–E–F–C at the bridge as its chord progression.

The musical arrangement opens with an instrumental introduction, where a rhythm guitar part is played at high-speed using downstrokes with grinding distortion. "Rockaway Beach" is a breezy number laden with catchy hooks. It express carefree lyrics that hearken back to simpler, brighter days of the band's youth. The song's verses illustrate an idiosyncratic worldview, one flanked by surfboards and discotheques. They celebrate a scene set in the middle of a hot summer in New York.

Critical reception
Greg Beets of The Austin Chronicle called the song "backhanded genius". AllMusic's Stephen Thomas Erlewine cites "Rockaway Beach" as being among the "finest set of songs" Ramones had written for Rocket to Russia. He characterized its musical composition as "teeming with irresistibly catchy hooks". Gina Boldman, from the same publication, praised the song's "mindless, bopping opening" and summarized, "One of the group's most carefree and breezy songs ... The imagery puts you right in the middle of a hot New York summer in the mid-to-late '70s, and it's easy to feel as jubilant as the song (and Ramone) does. Time Out's Steve Smith hailed the song as a "bubblegum masterpiece". Music critic Robert Christgau regarded "Rockaway Beach" as an "actual potential hit". In his review of the anniversary edition, Zachary Hopskins from Slant Magazine ranks the song one of the group's "stone-cold classics: as likely to put a smile on one’s face and a bounce in one’s Chucks in 2017 as they were 40 years ago".

Chart performance
"Rockaway Beach" has since become the Ramones' highest charting single, peaking at number sixty-six on Billboard Hot 100.

Other uses

 * The song was used in 2002 in the What's New, Scooby-Doo? episode "She Sees Sea Monsters by the Sea Shore".
 * In June 2013, the song was used in a radio ad campaign sponsored by Queens Economic Development Corporation to promote recovery from Hurricane Sandy by drawing New Yorkers back to Rockaway Beach.

title: Rockaway Beach (song)


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Talk:Take Penacilin Now

Fair use rationale for Image:Take penacilin now.jpg
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If there is other 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 uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 04:31, 6 June 2007 (UTC)

title: Talk:Take Penacilin Now