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Contraflow lane reversal

Contraflow lane reversal is the altering of the normal flow of traffic, typically on a controlled-access highway (such as a freeway or motorway), to either aid in an emergency evacuation (the most common usage of the term in the United States) or, as part of routine maintenance activities, to facilitate widening or reconstruction of one of the highway's carriageways (the most common usage in the United Kingdom).

Usually, the term is used to refer to reversal of lanes which are normally configured for travel in one direction; routinely changing the configuration of reversible lanes (such as during rush hour) is not normally considered contraflow lane reversal.

Disambiguation
There are similar setups with slightly different usages, although the terms may be commonly used interchangeably.

Contraflow Lane: Typically used to refer to a bus lane running against a one-way street through the opposite direction

Contraflow Lane Reversal: Typically used to refer to a temporary setup of a lane running opposite to normal during special times, such as emergency evacuations, sports tournaments, or road construction/repairs.

Reversible Lane: Typically used to refer to a lane specifically designed to facilitate different directional usage regularly, with changes sometimes as frequent as twice a day.

Emergency evacuation
In an emergency evacuation, contraflow lane reversal roughly doubles the number of lanes available for evacuation traffic. Crossover sections are used to move outgoing traffic to these lanes. All incoming traffic is blocked until the end of the evacuation.

Contraflow lane reversal is usually done on freeways and other controlled-access roadways; however, some examples listed below (particularly in South Carolina) are divided and undivided roadways. Use of contraflow lane reversal is generally considered to be an emergency measure, as the contraflow lanes (and any associated ramps at interchanges) lack proper signage, signals, and other traffic control devices needed to orderly conduct traffic in the opposite direction.

Generally, a significant number of police officers or other officials are needed to manually direct traffic during a lane reversal (especially at interchanges, where ramp traffic in the wrong direction must intersect with other roadways that are operating normally).

Hurricane evacuation
From the 1990s, many states in the Southeastern United States adopted hurricane evacuation routes from coastal areas using contraflow lane reversals on Interstate Highways. State highway departments have coordinated on plans for traffic direction with state highway patrol agencies, constructed highway median crossovers, and installed signage for drivers and barriers and swing arms to inhibit wrong-way collisions.

Most evacuation plans involve only a single state; however, the states of Louisiana and Mississippi have developed coordinated plans to evacuate the New Orleans metropolitan area by using Interstate 55 and Interstate 59.

Current contraflow evacuation plans exist for:

 * Alabama
 * Mobile via I-65
 * Georgia
 * Savannah, via I-16
 * Louisiana
 * Lafayette, via I-49
 * Lake Charles, via I-10 and I-210
 * New Orleans metropolitan area, via I-10, I-12, I-55, I-59, and the Lake Pontchartrain Causeway
 * Maryland
 * Ocean City, via US 50 and Maryland Route 90
 * Massachusetts
 * Cape Cod via US-6, Route 3, and Route 28
 * Mississippi
 * Mississippi Gulf Coast, via I-59 and US-49
 * New Orleans metropolitan area, via I-55
 * New Jersey
 * Jersey Shore, via Route 47/Route 347, Garden State Parkway, Atlantic City Expressway, Route 72/Route 70, Route 35, and Route 138/I-195
 * South Carolina
 * Beaufort, via U.S. 21
 * Charleston, via I-26
 * Georgetown County, via U.S. 17
 * The Grand Strand, via U.S. 501
 * Hilton Head Island, via U.S. 278
 * Texas
 * Corpus Christi, via I-37
 * Houston, via I-10, I-45, I-69 (U.S. Highway 59), and U.S. 290
 * Freeport, Surfside Beach, and Lake Jackson via SH 288 and SH 36.
 * Rio Grande Valley, via I-2 (U.S. Highway 83) from Harlingen to McAllen, I-69E (U.S. Highway 77) from Brownsville to Harlingen, I-69C (U.S. Highway 281) from Pharr to Falfurrias
 * Virginia
 * The Hampton Roads area, via I-64

Florida had contraflow evacuation plans in place until 2017. The plans were abandoned for emergency shoulder use.

Highway reconstruction
When roads are undergoing construction amid heavy traffic, one lane of traffic may be blocked and another lane reversed.

Single track roads
Single track roads are often closed during reconstruction.

Two-lane arterials
A construction worker or police officer directs traffic with a "Stop/Slow Paddle", which is a sign displaying "STOP" on one side and "SLOW" on the other. The sign is turned, and the other side proceeds. Traffic signals are also sometimes used, especially during bridge construction or any situation in which a lane must be closed during times when construction crews are not at work. Other cases include treating the street as a temporary one-way street in areas in which several nearby parallel streets are available as a detour for the opposing side.

Roads with four or more lanes
If road construction necessitates the complete closure of one half of a road with four or more lanes, two lanes of traffic may be shifted to the other roadway. If the road being constructed is a highway, the used half is called a semi-highway.

Freeways and motorways
When controlled-access highways undergo reconstruction, both sides are often reduced to one lane. In some cases, traffic may be shifted onto one half, making it a temporary two-lane freeway corridor. An example of this is Interstate 10 in Arizona, in which eastbound traffic is reduced to one lane and shifted onto the westbound half of the road. Another technique is to treat the rightmost hard shoulder as a travel lane. On a six-lane freeway (i.e., one containing three lanes in each direction), a third lane may be kept open for the busier direction, or the shoulder may be opened to allow for four lanes of traffic but with little or no shoulder space; emergency breakdown areas may be added. In these situations, temporary "YIELD" or "STOP" signs are usually posted on merge ramps on freeways, expressways, and uncontrolled roads with interchanges. In such cases, opposing directions are separated by jersey barriers, or in rare circumstances, traffic cones.

Sporting events
At the beginning and end of major sporting events, the center turn lanes of roads around a stadium or arena may be used to accommodate event traffic. Because these lanes are typically not subject to lane control, this can be considered a limited form of contraflow reversal.

Once a year, upon completion of NASCAR races at New Hampshire Motor Speedway in Loudon, New Hampshire, a form of contraflow lane reversal, referred to as "borrow a lane" is conducted on Interstate 93 in Concord, New Hampshire. In this case, the left lane of northbound Interstate 93 is temporarily "borrowed" to use as a third southbound lane. Southbound traffic has the option of transferring to the "borrowed" lane north of the Interstate 393 interchange and can travel southbound in the left northbound lane to allow a bypass of heavy race traffic entering I-93 southbound from I-393 at Exit 15. The two lanes of traffic in the normal southbound lanes, and traffic in the bypass "borrowed" lane rejoin on the southbound side of the interstate just south of the Interstate 89 interchange in Bow.

Contraflow lane reversal is also used for Monster Energy NASCAR Cup Series and IndyCar Series races at Pocono Raceway in Long Pond, Pennsylvania. For these races, two-lane Pennsylvania Route 115 becomes one-way southbound between Interstate 80 and the track the morning of the race until everyone has arrived at the track. After the race concludes, PA 115 becomes one-way northbound between Pocono Raceway and I-80 until everyone has left the track.

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

title: Contraflow lane reversal


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Burning Up (Madonna song)

"Burning Up" is a song written and recorded by American singer Madonna included on her debut studio album Madonna (1983). Written by the singer and produced by Reggie Lucas, the song was released as a double-sided single with "Physical Attraction" on March 9, 1983. In early 1980, Madonna was beginning her music career as a member of band the Breakfast Club; together with band drummer Stephen Bray, they formed a new band, Emmy and the Emmys, but shortly after, she decided to pursue a solo career. She and Bray created demos for three songs: "Everybody", "Ain't No Big Deal", and "Burning Up".

In 1982, Madonna met and befriended DJ Mark Kamins at Danceteria nightclub, who took her to Sire Records, where she signed a deal for two singles. Following the success of first single "Everybody" on the dance scene, Sire Records green-lighted the recording of an album. Madonna chose to work with Lucas, who created two new songs for the album: "Physical Attraction" and "Borderline". However, problems soon arose between Madonna and the producer, who ended up leaving the project. She then called in John "Jellybean" Benitez, her boyfriend at the time, to remix some of the album tracks. A dance pop song with new wave influences, the lyrics to "Burning Up" juxtapose sex and ambition, with the singer proclaiming she "has no shame" and would do anything for her lover.

Upon release, both "Burning Up" was generally well received by critics and has been named one of Madonna's best singles in retrospective reviews. Chart performance was moderate: it charted at number 13 in Australia and at number three on the Billboard Dance Club Songs chart in the United States. The accompanying music video for "Burning Up" was directed by Steve Barron, and depicts the singer in a white dress, writhing on an empty road waiting for her lover. Many authors noted that the visual was the beginning of Madonna's subversion of power through sex. After a number of live appearances in nightclubs and television programs, the singer included the song on four of her concert tours, the most recent being 2023–2024's The Celebration Tour. "Burning Up" has been covered by artists such as Iggy Pop and Britney Spears.

Background
In early 1980, Madonna was living in New York City and establishing her music career as a member of rock band the Breakfast Club, alongside her boyfriend Dan Gilroy; soon after, she was joined by Stephen Bray, her former boyfriend from Michigan, who became the band's drummer. Bray and Madonna left the Breakfast Club and, together, formed a new band, Emmy and the Emmys. They were soon signed by Gotham Records, but short after, Madonna quit the band and decided to pursue a solo career. She carried with her three of the demos she had created with Bray: "Everybody", "Ain't No Big Deal", and "Burning Up". In 1982, she met and befriended DJ Mark Kamins at Danceteria nightclub. After listening to "Everybody", Kamins took her to Sire Records, where Seymour Stein, the label's president, signed Madonna for two 12" singles.

Released in October 1982, "Everybody" became a hit in the dance scene. The song's success led to the label approving the recording of an album, but the singer chose not to work with either Bray or Kamins, opting instead for Warner Bros. producer Reggie Lucas. Lucas brought two new songs to the project: "Physical Attraction" and "Borderline". While working on the album, problems arose between Madonna and the producer, as she felt he was "moving [the songs] away from the sparse form of the original demos", something she did not approve of; Lucas ended up leaving the project without altering the songs. She then brought in John "Jellybean" Benitez to remix the remaining tracks. In the case of "Burning Up", Benitez added extra guitar riffs and additional vocals.

Recording and composition
"Burning Up" was written by Madonna and produced by Reggie Lucas. Recording took place at New York's Sigma Sound Studios; personnel working on the song included Bray on programming and guitars, alongside Paul Pesco; Butch Jones, Fred Zarr, and Ed Walsh were in charge of the synthesizers, while Bobby Malach played tenor saxophone. Background vocals were provided by Gwen Guthrie, Brenda White, and Chrissy Faith. The artwork used for the 12" single was designed by the singer's friend Martin Burgoyne. According to Billboard's Chris Malone Méndez, unlike "Everybody", which had mostly a post-disco sound, "Burning Up" saw Madonna moving in a more pop-oriented path. The singer herself described it as her "foray into electric guitars, Rock and roll [and] hair music".

A "yearning" New wave-influenced dance track, with lyrics that conflate sex with ambition, it has a "starker" arrangement brought about by bass, single guitar and drum machine. Also present are tom-tom drum beats ―similar to the ones used on the work of Phil Collins―, electric guitars, and the "most state-of-the-art" synthesizers of the time. The refrain is a repetition of the same three lines of the lyrics, while the bridge consists of a series of double entendres that describe what she is prepared to do for her lover, showcasing that she "has no shame" and is "not like the others" According to the sheet music published by Alfred Publishing Inc., "Burning Up" is set in the time signature of common time with a dance beat tempo of 138 beats per minute. It is composed in the key of B minor, with Madonna's vocals ranging from the tonal nodes of A3 to B4. The song follows a basic sequence of Bm–Bm–A–E as its chord progression.

Release and reception
The double-sided single of "Burning Up" and "Physical Attraction" was released on March 9, 1983. "Burning Up" was later included on the compilations Celebration (2009), while a demo of the song was included on the compilation Pre-Madonna (1997). Upon release, critical reception was generally positive. Billboard's Brian Chin described "Burning Up" as a "fast [...] terrific one-two punch". To Rikki Rooksby, author of The Complete Guide to the Music of Madonna, "Burning Up" sounds like "the disco end of new romanticism", comparing it to something Gary Numan would do; nonetheless, he pointed out that the song was "noticeably weaker" than others from the Madonna album. Santiago Fouz-Hernández, one of the authors of Madonna's Drowned Worlds, complimented it for having upbeat dance music. Don Shewey from Rolling Stone named it simple but clever. AllMusic's Stephen Thomas Erlewine singled "Burning Up" and "Physical Attraction" as two "great songs" from the album, and applauded their "darker, carnal urgency". Writing for Entertainment Weekly, Jim Farber said that "Burning Up" proved that Madonna could also "rock". From Pitchfork, Jill Mapes named it a "striking" second single. A mixed review came from the Observer–Reporter's Terry Hazlett, who named it "inoffensive, danceable [but] ultimately forgettable". The staff of The Washington Times was also dismissive of "Burning Up", writing that it wasn't among the singer's best, and called it a "nugget better left buried".

Retrospective reviews towards "Burning Up" have also been positive; for BBC News' Mark Savage, it's one of the singer's "overlooked gems". A similar opinion was shared by Adam Graham from The Detroit News, who deemed it "underappreciated". The Portland Mercury's Mark Lore referred to "Burning Up" and previous single "Everybody" as "true gems, gritty New York anthems", that were overshadowed by the more known "Holiday" and "Borderline". On his ranking of Madonna's singles, Matthew Jacobs from HuffPost placed "Burning Up" at number 41, and added that it sounds like an "outtake from the punk persona [Madonna] never fully embraced". PinkNews' Mayer Nissim added that it "wouldn't sound out of place on an early New Order or late Joy Division record". "Burning Up" came in at number 21 on rankings done by The Backlot and The Arizona Republic; writing for the former, Louis Virtel held that, "as much as Madonna was something of a tartier Pat Benatar when she first arrived, she was also inspired by the punks of NYC – and this barebones, breathy war cry proves it", while Ed Masley ―from the latter publication― compared it to Michael Jackson's "Beat It", and said it had "the personality that would go on to help define the decade fully formed — playful, assertive and sexy".

The staff from The Advocate referred to "Burning Up" as "one of the sexiest songs of the [1980s] decade". Samuel R. Murrian from Parade placed it at number 32 of his ranking of Madonna songs, highlighting its production. It figured on the same position of Slant Magazine's list; Paul Schroeder called it one of Madonna's corniest yet "most aggressive" songs. Billboard deemed it Madonna's eleventh greatest: "No early '80s pop album was complete without one song that threw a scorching rock riff into the synth-dance mix, and on her self-titled debut, that was the irrepressible 'Burning Up' [...] [she] sounds less like a doormat and more like a pioneer of female Big Dick Energy", wrote Joe Lynch. Idolator's Robbie Daw considered "Burning Up" to be one of Madonna's "10 best songs that radio forgot". Finally, The National Student's Emily D'Souza hailed it her third most underrated song, calling it an "irresistibly catchy, quintessentially 80s" track.

"Burning Up" / "Physical Attraction" debuted on Billboard's Dance Club Songs charts at number 66 the week of April 9, 1983, peaking at number three one month later. By September 1983, according to a Warner Bros. Records advertisement in Radio & Records, the "Burning Up" / "Physical Attraction" 12" single had sold more than 150,000 copies. The song entered Australia's Kent Music Report in November 1983 and, almost eight months later, peaked at number 13.

Background and release
The music video for "Burning Up" was directed by Steve Barron, who had previously worked on Toto's "Africa" (1982), Michael Jackson's "Billie Jean", and Eddy Grant's "Electric Avenue" (1983). The director was on vacation when he got a call from Sire Records producer Simon Fields, asking him to direct the video. Barron initially refused, as the song "didn't have the atmosphere" he was looking for. However, Madonna, who was "really keen on the 'Billie Jean' video", insisted until Barron begrudgingly agreed. He went to meet the singer and was impressed with her confidence. He would later recall: I went to New York to meet with [Madonna], begrudgingly, and showed up at an address at SoHo, which turned out to be a squat basically. Madonna was scantily clad, working out to a massive disco track. She was charismatic. She kept putting her head down on the table and talking to me, very flirtatious, and that gave me the idea for the scene in "Burning Up", where her face is on the road, and the camera's really low and close. Filming took places for two nights in Los Angeles. The "mish-mash" concept of the video was based on Barron's own ideas as opposed to the song's lyrics and theme, as he still "didn't connect with it too much". According to him, Madonna was "very much in charge" of her look and clothes; she wore a white mini-dress, crucifix earrings, and black typewriter belts as bracelets. Actress Debi Mazar, a personal friend of the singer, was hired as make-up artist, while her then boyfriend Ken Compton played the role of her onscreen lover. During a 2015 interview with Rolling Stone, Barron recalled that a seven-ton crane that stretched out and had a camera placed on it, was used to shoot scenes of the singer lying in a boat at night; he also revealed that, at one point, the crane almost fell right on top of her. The video was added to MTV on October 8, 1983; years later, it was included on Madonna's 2009 compilation, Celebration: The Video Collection.

Analysis and reception
The video was described as a juxtaposition of "disparate images of illuminated busts and cars driving on water with Madonna writhing in the middle of the road", by the staff of Rolling Stone. It shows Madonna as a "helpless victim" proclaiming her passion for her lover. Robert Clyde Allen, author of Channels of Discourse, wrote that although lyrics such as "Do you want to see me down on my knees?" portray female helplessness, the video acts as a counter-text. When the fore-mentioned line is sung, Madonna is shown kneeling on the road in front of the advancing Amphicar, which is driven by Compton; she then turns her head back while exposing her throat back in a posture of submission. The tone of her voice and the look she gives at the camera, however, portray a hardness and defiance that contradict the submissiveness of her body posture, turning the question of the line into a challenge. The video ends with Madonna driving the car; she has a "knowing, defiant" smile on her lips, thereby giving the message that she is now in charge.

Author Andrew Morton, in his biography on Madonna, commented that the video was America's "first introduction" to the singer's "sexual politics". Allen compared it to "Material Girl" (1985), as both videos have an undermining ending, employ a consistent series of puns, and exhibit a parodic amount of excess associated with Madonna's style. The author also noted discourses of sexuality and religion: Madonna, knelt down and singing about "Burning in love", depicted the traditional ideological work of using women's subordination and powerlessness in Christianity to naturalize their equally submissive position in patriarchy. Georges-Claude Guilbert, author of Madonna as postmodern myth, commented that, as the video plays on, the male character becomes irrelevant. Her utterance of having "no shame" was interpreted by author James B. Twitchell as an attempt to separate herself from contemporary female artists of the era.

Jon Pareles, writing for The New York Times, compared Madonna's poses to those of Marilyn Monroe. In retrospective reviews, the staff of Rolling Stone said it's a "great testament to the anything-goes era of early MTV". Jill Mapes wrote that it was Madonna's "first great wink to her signature subversion of power through sex"; adding that, although her 1984 MTV Video Music Awards performance is considered "erotic lore on the level of Elvis' censored hips, that writhing set to 'Like a Virgin' would have had little context without the slow, sensual burn of ['Burning Up']". In the same vein, Louis Virtel, who deemed it Madonna's 18th greatest video, wrote: "Before [she] humped the stage of the MTV Video Music Awards in a wedding dress, she thrusted away at pavement in a chintzier white ensemble". It was ranked her 13th best by Nerdist News' Eric Diaz, who called it "iconic" and a "classic". He further wrote that "there is something [about 'Burning Up'] that is just so '80s, and so Madonna - the rubber bracelets, the chains, the bleach blonde hair with the terrible roots. When girls today dress up like '80s Madonna' for Halloween, it's the look from this video they're emulating".

Live performances
To promote the single, Madonna appeared on several television programs and nightclubs in Europe and the United Kingdom, such as Discoring, The Tube, and Manchester's The Haçienda. According to Andrew Morton, however, these performances were not well received by the European audience. "Burning Up" was then included on four of the singer's concert tours: Virgin (1985), Re-Invention (2004), Rebel Heart (2015–2016), and Celebration (2023–2024). On the first one, it was performed before the encore and found Madonna, decked in a black outfit of matching fringed top and mini-skirt, suggestively posing around her band; orange lights bathed the stage. The Dallas Morning News' Mikel Longoria praised the performance for being "crisp and energetic". "Burning Up" was one of three performances not included on the Madonna Live: The Virgin Tour video release.

Madonna played a black Gibson Les Paul electric guitar and sang a rock-style version of the track on the Re-Invention World Tour. She was dressed in military fatigues while the screens behind her depicted scenes of war and sex which, according to The New York Times' Kelefa Sanneh, looked like they were filmed with a camcorder and were reminiscent of the prisons in Abu Ghraib. The Daily Herald's Mark Guarino praised Madonna's ability to "transform the song's original adolescent whine into adult certitude".

On the Rebel Heart Tour, "Burning Up" was performed as the third number; similar to Re-Invention, the artist sang a rock rendition of the track and played a Gibson Flying V electric guitar. During the number, she knelt down for the guitar solo, and then ripped off her skirt to reveal a "barely there" nun's outfit. Rappler's Nicole Reyes opined that the singer "oozed attitude and charisma" during the number. The performance of the song at the March 19–20, 2016 shows in Sydney's Allphones Arena was recorded and released on the artist's fifth live album, Rebel Heart Tour (2017).

It was also performed on guitar during the Celebration Tour. Dressed in a "punky" tailcoat designed by Dilara Fındıkoğlu —inspired by one she wore for a performance in Japan— Madonna sang as "VHS-style projections that recalled her days bouncing off the walls at CBGB" played on the backdrops. From The Guardian, Laura Snapes singled out the "brilliant" rendition.

Usage and covers
In 1984, "Burning Up" was featured in a scene of the film The Wild Life. It was then covered by singer Isadar on his 2006 compilation album, Scratching The Surface: Vol 2 Electro-Voice Sampler. During Madonna's induction at the 2008 Rock and Roll Hall of Fame, Iggy Pop and The Stooges performed "punked-up" renditions of "Burning Up" and "Ray of Light" (1998). Two years later, it was covered by Jonathan Groff for American television show Glee; his version was included in an extended play titled Glee: The Music, The Power of Madonna. Britney Spears covered the song on her 2011 Femme Fatale Tour. The performance found Spears straddling a giant, glittering guitar; it received a mixed review from Rolling Stone's Barry Walters, who felt it "lacked Madge's authority". A studio recording of the cover, described by Billboard's Sarah Maloy as "glammed-up without a hint of the '80s to be found", leaked on June 10 of that year. Finally, in a 2020 episode of the twelfth season of RuPaul's Drag Race, Brita Filter and Heidi N Closet performed "Burning Up" in a lip sync challenge, which was won by Heidi.

Track listings and formats

 * 12" single
 * 1) "Burning Up" (12" version) – 5:56
 * 2) "Physical Attraction" (LP version) – 6:35

 * European 7" single
 * 1) "Burning Up" (7" version) – 3:50
 * 2) "Physical Attraction" (7" version) – 3:57

 * Australia 7" single
 * 1) "Burning Up" (alternate LP version) – 4:45
 * 2) "Physical Attraction" (7" version) – 6:35

 * European CD single (1995)
 * 1) "Burning Up" (12" version) – 5:56
 * 2) "Physical Attraction" (LP version) – 6:35

 * Digital single (2023)
 * 1) "Burning Up" – 3:46
 * 2) "Burning Up" (7" edit) – 3:52
 * 3) "Burning Up" (12" mix) – 6:00
 * 4) "Physical Attraction" (7" edit) – 3:58
 * 5) "Physical Attraction" – 6:40

Credits and personnel
Credits adapted from the album and 12" single liner notes.

 * Madonna – lead vocals, background vocals, writer
 * Reggie Lucas – producer, guitars, drum programming
 * Butch Jones – synthesizer
 * John "Jellybean" Benitez – remixing
 * Fred Zarr – synthesizer, electric and acoustic piano
 * Dean Gant – electric and acoustic piano
 * Bobby Malach – tenor saxophone
 * Paul Pesco – guitar
 * Ed Walsh – synthesizer
 * Gwen Guthrie – background vocals
 * Brenda White – background vocals
 * Chrissy Faith – background vocals
 * Martin Burgoyne – artwork

title: Burning Up (Madonna song)


text:
Talk:Tizona

[Untitled]
Fixed most of the misspellings, such as 'daugter'. Added the part I was actually looking for when I searched this, relating to Freelancer. I have no idea what 'Damasc steel' is. I can only assume this is another misspelling of some region of Spain.

Damascus steel.
Put the Damascus steel line back in, linked to the appropiate article.

Bad link
The link to the Spanish museum goes nowhere.

I've altered the link to point to the museum's front page, since they're undergoing renovations and apparently changing the website to match. The Dark 15:06, 26 June 2006 (UTC)

Fighting Muslims
New enough here that I don't want to just change this without mentioning it, but according to all I've read, including Fletcher's "Quest for El Cid," the Cid fought Christians as well as Muslims, as did most during that time.

Assuming that battle lines were always drawn along religious lines is misleading and should certainly be avoided - alliances often crossed the religion lines, typically more often than not(!). Charles Martel (the Hammer) who defeated the Muslim advance into Spain, did so with Muslim allies (see "Islamic Imperialism: A History"); Saladin allied himself with the Christian kingdoms when it suited him and was more focused on defeating his Muslim rivals for the leadership of the Muslim world than kicking out the Levantine kingdoms. The Turks were allied with various of the Balkan states at different times (see The Second Stage of Conquest of the Balkans.--210.184.0.122 (talk) 05:54, 30 October 2008 (UTC)

pic of sword
the pic on this page might be a sword of El Cid, but it's not Tizona. —Preceding unsigned comment added by 139.169.218.211 (talk) 19:27, 26 September 2007 (UTC)

"Tizona es falsa"
Apparently, a sword claimed to be Tizona was debunked and thus the Spanish military refused to buy that sword because of that. Why doesn't our article say anything about the debunked sword? 204.52.215.107 (talk) 22:39, 16 May 2008 (UTC)

 * That would need a reliable source to confirm it. -  Ca ri bb e a  n ~ H. Q.  22:42, 16 May 2008 (UTC)

 * It's not demonstrated that it's false (only that the inscription is later than the XI century). The historiographic tradition can follow the track of the sword until nowdays. I will translate it from the spanish article. Infinauta --14 Oct 2008

title: Talk:Tizona


text:
Wikipedia:Articles for deletion/Curved spacetime

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

The result of the debate was redirect. Joyous (talk) 21:42, July 30, 2005 (UTC)

Curved spacetime
This article is sloppy, incomplete, and inaccurate. It's content is better covered in the general relativity article, to which I suggest this article be redirected (as noted in my vote below). --EMS | Talk 18:43, 22 July 2005 (UTC)

Redirect to general relativity Xaa 03:47, 29 July 2005 (UTC)
 * Redirect to general relativity --EMS | Talk 18:43, 22 July 2005 (UTC)
 * Redirect. Gazpacho 19:34, 22 July 2005 (UTC)
 * Redirect as suggested, and I'd like to give a reminder that editors can perform such redirects at will, without coming to VfD. --Tony Sidaway|Talk 18:04, 23 July 2005 (UTC)
 * I felt that this was a more considerate way of doing this than just yanking it outright. I gather the you all would prefer that I be bold about this.  --EMS | Talk 21:40, 23 July 2005 (UTC)
 * Redirect as suggested, and I agree with EMS that taking a vote is wise. Several frequent contributors are passionately devoted to the "General relativity" category and we need to be careful that we don't work at cross-purposes.---CH  (talk) 02:49, 27 July 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
User:Thereverendeg

Noteworthy Wikipedians
Please note that this is not a voluntary listing!

title: User:Thereverendeg


text:
Talk:Sam Seder

Education
Sam Seder has a bachelor's degree in religious studies, and he attended law school. Krobin5 (talk) 12:10, 13 May 2019 (UTC)Krobin5 (talk) 12:06, 13 May 2019 (UTC)
 * Please provide reliable sources, thanks. THE NEW  Immortal  Wizard  (chat) 20:12, 16 May 2019 (UTC)

Excessive detail on Cernovich scandal
This section is written by someone who appears heavily invested on one side of the story and it should be condensed/adjusted for NPOV. — Preceding unsigned comment added by 174.96.126.219 (talk) 20:06, 10 February 2020 (UTC)

There is definitely way too much there. It gives undue weight to this one incident. That part should be significantly reduced, and other material that is generally much more important to Seder's biography should be expanded. 08:44, 5 April 2021 (UTC)
 * It can probably be condensed but NPOV isn't a concern, one side of the story is Mike Cernovich managed to get someone sacked by misunderstanding a joke directed at the expense of Polanski's defenders, and other idiots doing the same, before it all being fixed. Koncorde (talk) 11:38, 5 April 2021 (UTC)

 * It's recounted almost beat for beat when it should be like a sentence or two. From the amount of weight it gets in the article, the reader would think it's by far the most important thing about Seder's life.  Croctotheface (talk) 18:01, 5 April 2021 (UTC)

title: Talk:Sam Seder


text:
Ilse De Meulemeester

Ilse De Meulemeester (born Asse, 19 May 1971) is a Belgian actress, TV Host, model and beauty pageant titleholder who was Miss Belgium 1994. In the pageant she represented the province of Flemish Brabant. She was only the 2nd Miss Belgium to make it to the finals at the Miss World 1994 contest in South Africa. She obtained the 6th position. She was the first blond, first European in the Miss World contest in 1995.

Besides modelling and being a television presenter for the Belgian television station VT4, she used to have an interior shop in Brussels, Antwerp and Bruges.

title: Ilse De Meulemeester


text:
Honda HA-420 HondaJet

The Honda HA-420 HondaJet is a light business jet produced by the Honda Aircraft Company of Greensboro, North Carolina, United States.

Original concepts of the aircraft started in 1997 and were completed in 1999. It took its maiden flight on December 3, 2003, received its FAA type certificate in December 2015, and was first delivered that same month. By the end of 2021, 200 jets had been delivered.

The six- or seven-seat aircraft has a composite fuselage and an aluminum wing, and is powered by two unusually mounted GE Honda HF120 turbofans, on pylons above the wing. It can cruise at 422 kn and has a range of up to 1547 nmi.

The HondaJet has received several aeronautic design and innovation accolades.

Development

Honda began to study small-sized business jets in the late 1980s, using engines from other manufacturers. The Honda MH01 turboprop used an all-composite construction, and the Honda MH02 was fabricated and assembled at Mississippi State University's Raspet Flight Research Laboratory in the late 1980s and early 1990s. The MH02 was a prototype using carbon fiber/epoxy composite materials and was the first all-composite light business jet to fly. Flight testing on the MH02 continued through 1996, after which the aircraft was shipped to Japan.

Lead designer and company founder Michimasa Fujino began sketching the HondaJet in 1997, and the concept was solidified in 1999. According to Fujino, design of the HondaJet nose was inspired by Salvatore Ferragamo shoes. Testing in the Boeing windtunnel indicated a valid concept in 1999.

In October 2000, Honda R&D Americas established a research facility at the Piedmont Triad International Airport in Greensboro, North Carolina On December 3, 2003, a proof-of-concept HondaJet conducted its first successful test flight at the Greensboro facility. At this point, Honda executives remained unsure about whether or not to commercialize the HondaJet program. To better understand the commercial potential of the HondaJet, Fujino publicly displayed it for the first time on July 28, 2005, at the annual EAA AirVenture Oshkosh airshow. The debut attracted strong interest, and convinced Honda executives to commercialize the HondaJet, which Honda publicly announced at the following year's AirVenture.

In 2006, Honda announced the commercialization of the jet with a first delivery then planned for 2010. At the time, pricing was set at $3.65 million. The first FAA-conforming (built to Federal Aviation Administration rules) HondaJet achieved its first flight on December 20, 2010. The first flight of the first production HondaJet occurred on June 27, 2014, and it was displayed at that year's AirVenture on July 28. Four HondaJets had test-flown 2,500 hours.

The HondaJet was awarded a provisional type certificate by the FAA in March 2015. This enabled continued production and demonstration flights, including a HondaJet tour in Japan and Europe in 2015. The aircraft received its FAA type certificate in December 2015, and received its European Aviation Safety Agency (EASA) type certificate in May 2016. The HondaJet was also certified in Japan in December 2018.

Estimates for Honda's investment into the Hondajet program range from one to 1.5-2 billion dollars.

Production

The production aircraft are built at Piedmont Triad International Airport. Construction of the factory began in 2007 and was completed in late 2011. In early 2015, there were 12 aircraft in final assembly and five more in earlier stages of production. Twenty aircraft were in production by May 2015. Honda estimated it would produce 40 aircraft in the first full year and up to 60 each year after that. The engine factory achieved certification in March 2015.

Honda delivered the first customer aircraft on December 23, 2015, at its world headquarters in Greensboro, North Carolina. The first delivery of a HondaJet to a European aircraft dealer took place in April 2016. About 20% of the first 100 aircraft ordered were destined for European customers, according to coverage in April 2016.

Honda planned to ramp up production to 80 units per year after March 2019. Sixteen aircraft were delivered in the first three quarters of 2016, reaching a 36-per-year production rate. In 2017, 15 were produced in the first quarter, and the annual target is between 55 and 60 aircraft. After deliveries began in late 2015, the HondaJet soon became one of the top-selling aircraft in its class.

In July 2019, Honda Aircraft began construction of a new $15.5 million, 82000 sqft wing assembly center on its campus. The new facility, which is meant to enhance production efficiently by allowing wings to be assembled concurrently, was opened in September 2020.

HondaJet Elite

In May 2018, the $5.2 million (as of 2018) HondaJet Elite was revealed, with an expanded performance envelope, improved interior and updated flight deck. The type certificate was amended by the FAA on May 2, 2018, and soon followed by EASA. Honda began deliveries on August 7, 2018.

Elite's elevator authority is increased to reduce its takeoff roll by 500 to 3491 ft, reducing the Cessna Citation M2's take-off advantage. Range is increased by 214 to 1,437 nmi with an auxiliary fuel tank and aerodynamic improvements. The horizontal stabilizer tips are extended slightly and hinge gaps tightened up, allowing energized flow over the stabilizer without its vortex generators. A new engine inlet reduces vibration and cabin noise, the lavatory receives a belted seat allowing a seventh occupant even with a galley; avionics improvements with Garmin G3000-based flight deck include takeoff and landing (TOLD) calculations, angle of attack protection, and Flight Stream 510functionality.

Elite's payload is increased by over 200 lb: 107 lb from the empty weight reduction and 100 lb from an increased maximum takeoff weight, while 16 USgal larger fuel tank fills unused space in the aft fuselage.

At a weight of 9,500 lb and ISA+3 °C, the HondaJet Elite cruises at Mach 0.676 or 390 kn TAS, while burning 570 lb per hour, better than book predictions.

In October 2019, Honda Aircraft Company presented first medevac-configured HondaJet Elite for air ambulance use. In the same month, a HondaJet Elite flew to the 2019 National Business Aviation Association meeting using sustainable aviation fuel. Also in 2019, HondaJet received type certification in China, Canada, and Turkey. By then, its unit cost was US$5.28 million.

In 2020, EASA certified HondaJet Elite for steep approaches (descent angles of up to 5.5°), and for up to eight occupants (with the galley replaced by a seat). In May 2021, the MTOW of the Elite S was raised by 91 kg (200 lb). In 2022, its equipped price was $5.75M.

HondaJet APMG
To retrofit some of the upgrades of HondaJet Elite to pre-Elite HondaJets, an APMG (Advanced Performance Modification Group) upgrade is available for $250,000. This includes 100 to 120 nmi range increase, and a 45 kg MTOW increase and take-off run reduction by 135 m to 1064 m; this is achieved by an extending the span of the horizontal tailplane by a few inches, and by removing wing fences and vortex generators. Avionics upgrades include takeoff and landing (TOLD) calculations, Flight Stream 510 wireless gateway compatibility, an enhanced electronic checklist, angle-of-attack indicator on the PFD, and visual approaches. On the other hand, HondaJet Elite features such as an additional fuel tank or engine inlet acoustic improvement, are not available with APMG.

HA-480 Echelon

On October 12, 2021, Honda unveiled the HondaJet 2600 Concept, at the 2021 NBAA Business Aviation Convention and Exhibition as a mockup was displayed; with a cabin for up to 11 seats, it offers a range of 2,625 nmi, a cruising speed of 450 kn and a ceiling of 47,000 ft. The $10–12 million jet would be the longest-range single-pilot business aircraft, it would keep the HondaJet configuration, stretched from 42.6 to 57.8 ft, and has a 56.7 ft wingspan, 16 ft larger, for a maximum takeoff weight of 17,500 lb and a 3,300 ft takeoff distance, while its fuselage cross-section is more ovoid with a taller 62.5 in height. With a double club seating, the HondaJet 2600 concept was intended for testing the market to assess demand before deciding to launch the program.

In June 2023, the company announced that it will proceed to production of the HondaJet 2600. The HA-480 Echelon is to be certified as a variant to share a common type rating with similar Garmin G3000 cockpits. By October 2023, it had received 350 letters of intent. Assembly is projected to begin in 2025, with the first flight planned for late 2026 in anticipation of certification in 2028 or 2029. It will be powered by 3,600 lbf Williams FJ44-4C turbofans and Spirit AeroSystems will build a new carbon-fibre fuselage for a 11.4 cm (4.5 in) higher, 14-18 cm wider cabin. It should be 20% more fuel-efficient than its competition, the Cessna Citation CJ3/CJ4, Embraer Phenom 300 and Pilatus PC-24.

HondaJet Elite II
Announced on October 17, 2022, the $6.95 million new model has improved aerodynamics, increased fuel capacity and gross weight by 200 lb, giving a range of 1547 nmi and a cruise of 422 kn. It has a Garmin G3000 integrated flight deck, autothrottles from the first half of 2023 and a Garmin emergency autoland system later on in 2023. It features a new paint scheme and redesigned interior. FAA certification was expected in late 2022.

Design

The HondaJet is a low-wing monoplane that uses a composite fuselage and an aluminum wing. It belongs to the very light jet category.

It uses two engines mounted on pylons above the wing, a configuration called Over-The-Wing Engine Mount, or OTWEM, by Honda Aircraft. This configuration maximizes cabin space by removing the structure required to mount engines on the rear of the fuselage. A similar over-wing engine configuration was used in the 1970s on the VFW-Fokker 614, but had limited the aircraft's speed due to interference between the engine and the wing. This, along with the overall commercial failure of the VFW-Fokker 614, made the over-wing configuration unpopular with aircraft designers. To avoid these issues, Honda used computer analysis and wind tunnel testing to find the optimal position for engine placement on top of the wings, which was determined to be at 75 percent of the wing chord. The HondaJet's engines are positioned in such a way that the airflow over the wing is superimposed with the airflow around the engine to minimize wave drag at high speed. The HondaJet designer calls this "favorable interference." This configuration not only eliminated the problems associated with earlier over-wing engine mounts, but actually reduced wave drag compared to a conventional rear-fuselage mounted configuration. OTWEM configuration is often named the most unusual feature of the HondaJet.

The nose and wing are designed for laminar flow, and the main fuselage has a constant profile, making an eventual stretch easier. The combination of engine placement, wing and fuselage was achieved using computer simulations and wind tunnels. The HondaJet has a retractable tricycle landing gear with both main and nose landing gear single-wheeled.

The aircraft is powered by two GE Honda HF120 turbofans, developed with GE Aviation under the GE-Honda partnership. Honda began developing its own small turbofan engine, the HF118, in 1999, leading to the HF120. The HF120 was test-flown on a Cessna Citation CJ1. The engine features a single fan, a two-stage compressor and a two-stage turbine. The GE Honda HF120 received FAA type certification on December 13, 2013, and production certification in 2015.

Honda claims that the combination of lightweight materials, aerodynamics and efficient engines gave the HondaJet up to 20% better fuel efficiency than similar aircraft. In 2019, Business & Commercial Aviation reported that for a 1000 nmi 4-passenger mission, HondaJet Elite uses 1872 lb of fuel, compared to 1919 lb (% more) for the Phenom 100EV, and to 2018 lb (% more) for the Citation M2; for a 300 nmi mission the numbers become 679 lb, 753 lb (% more), and 804 lb (% more) respectively.

The interior dimensions are 17.80 ft (5.43 m) long, 5.00 ft (1.52 m) wide, and 4.83 ft (1.47 m) high, while the cabin is 12.1 ft long besides the enclosed lavatory. Total interior volume is 324 cuft, and luggage capacity is 66 cuft. The aircraft is equipped with a touchscreen 3-display Garmin G3000 glass cockpit system.

Accolades
Michimasa Fujino received the Business & Commercial Aviation – Vision Award (2008), the AIAA – Aircraft Design Award (2012), the SAE International – Clarence L. (Kelly) Johnson Aerospace Vehicle Design and Development Award (2013), the 2014 ICAS award for Innovation in Aeronautics for leading the design, the Living Legends of Aviation Industry Leader of the Year award,  as well as the 2021 AIAA Reed Aeronautics Award.

The HondaJet was included in the Robb Report – Best of the Best : Business Jets (2007), in the Aviation Week & Space Technology – Techs To Watch (2010), in the 2014 'Best of What's New' by Popular Science magazine, the Flying Magazine – Flying Innovation Award in 2017, and the AIN 2021 'Top Flight' Awards. The Honda Aircraft Company received the AIAA Foundation Award for Excellence in 2018.

Operational history
HondaJet has an ICAO designator HDJT. As of December 2021, the 200 HondaJet aircraft in service have logged 98,000 hours with a 99.7% dispatch reliability.

The HA-420 has been involved in three hull-loss accidents with no injuries.

In May 2023, fractional ownership company Jet It voluntarily grounded its fleet of HA-420s, following a runway excursion on landing on May 17, 2023, which involved a different operator. Jet It CEO Glenn Gonzales indicated that Honda's customer support was "grossly inadequate" and announced plans in the autumn of 2022 to sell its fleet of HondaJets and buy Embraer Phenom 300s instead. As a result, Honda launched a lawsuit against Jet It in December 2022, for an alleged breach of contract in reselling one of its Honda aircraft, although the lawsuit was subsequently settled out of court. The HondaJet Owners and Pilots Association also called for a safety stand-down and meeting for its members, as a result of eight HondaJet accidents in the previous 12 months.

Deliveries
Deliveries slowed in 2018 because of a combination of the transition to the HondaJet Elite, timing of fleet deliveries and customers' schedules. In 2020, they slowed again due to the COVID-19 pandemic.

title: Honda HA-420 HondaJet


text:
Everybody (Madonna song)

"Everybody" is a song written and recorded by American singer Madonna and produced by DJ Mark Kamins. In 1982, the singer was living with her former Michigan boyfriend Stephen Bray in New York, and since dance music was in style, they created a demo with four dance tracks, one of which was "Everybody". Madonna, who was not signed to any record label at the time, pitched the tape on her own: she would go to local nightclubs and try to convince the DJs there to play it. She met and befriended DJ Mark Kamins at Danceteria nightclub, who played "Everybody" to a positive reception from the crowd. Afterwards, Kamins took the tape to Sire Records, where Seymour Stein, the label's president, signed Madonna for two twelve-inch singles.

Recorded in three days at the Bob Blank’s Blank Tape Recording Studios, "Everybody" was officially released as Madonna's debut single on October 6, 1982. It was then added to the singer's 1983 self-titled album. A post-disco dance song with R&B elements, its lyrics invite the listener to dance and lose inhibitions. Music critics reacted positively towards the song, singling out its sound. In retrospective reviews, it is now considered one of Madonna's best songs. It was the singer's first entry on the Billboard Hot Dance/Club Play Chart, where it peaked at number three.

By incorporating R&B elements in its music and not including Madonna's image on the cover artwork, marketing for the song gave the impression that she was a black artist. That misconception was cleared with the song's music video, which was directed by Ed Steinberg; it shows the singer and two backup dancers performing at New York's Paradise Garage. The clip helped to further promote the song and Madonna in the dance scene. After a number of live performances throughout late 1982 and early 1983, "Everybody" was included on three of the singer's concert tours, with the Celebration Tour of 2023–2024 being the most recent.

Background
In 1979, Madonna was trying to establish her music career in New York City. She was the drummer of a band called Breakfast Club, which was headed by the Gilroy brothers, Dan and Ed. The following year, after a dispute with Dan, Madonna left the band. She then formed a new band called Emmy, with her former Michigan boyfriend Stephen Bray. In 1981, after attending one of Emmy's gigs at Max's Kansas City, Adam Alter and Camille Barbone from Gotham Records signed a contract with Madonna. However, the association was short-lived and dissolved the following year due to creative differences between the label and singer: Gotham was interested in rock and roll whereas Madonna wanted to pursue disco.

By 1982, the singer was living with Bray in an unused rehearsal studio. After coming to the realization that "funky dance records were in style on the radio and dance floor", they created a demo tape with four dance tracks, including "Everybody", "Burning Up", and "Ain't No Big Deal". With no record label to back her up, Madonna began pitching the tape on her own, visiting local nightclubs trying to get DJs to play it. She managed to get Mark Kamins, the resident DJ at Danceteria nightclub, to play "Everybody", which was met with a positive reception from the crowd. Kamins promised Madonna he would help her get a record deal on the condition that he would get to produce it. As he was also an A&R scout for Island Records, Kamins took the tape to his boss Chris Blackwell, but he wasn't impressed nor interested in signing Madonna.

Kamins then approached Sire Records president Seymour Stein, who at the time was at Lenox Hill Hospital recovering from a heart surgery. Stein had his secretary send the tape to the hospital so he could listen to it; "I liked the hook, I liked Madonna's voice, I liked the feel [...] I liked it all and played it again", the executive recalled. He signed the singer on for two twelve-inch singles; she would get $15,000 for each one, but would also have to pay for all recording costs. Sire A&E executive Michael Rosenblatt, who oversaw the entire process, wanted to release a double-sided single with "Ain't No Big Deal" as A-side and "Everybody" as B-side. "Ain't No Big Deal", however, "did not come out well", so Roseneblatt decided to put "Everybody" on both sides of the record: One version lasted 5:56, while the other was a dub form with a duration of 9:23. Since he had recorded the demo, Bray argued that he should be the producer for the single, but Stein decided to appoint Kamins, "for the sheer interest of seeing where it would go". Kamins, however, wasn't interested in producing, wanting to focus on A&R instead; he approached musician Kashif to see if he was interested in working on the song, but he turned down the offer.

Recording and composition
"Everybody" was recorded at the Bob Blank’s Blank Tape Recording Studios on April 1982, in a span of three days. Personnel working on the track included Fred Zarr and Dean Gant on keyboards, Ed Walsh on synthesizers, along with Butch Jones and Zarr; Bobby Malach played tenor saxophone, while background vocals were provided by Gwen Guthrie, Brenda White, and Chrissy Faith. Barry Eastmond had been hired as arranger, but left the project after getting into an argument with Madonna; she felt his work was "too slick", and lacked the "edge of the club-land grooves she was hankering after". Rosenblatt made the decision to replace Eastmond's keyboard parts, and it was Arthur Baker, an assistant to Kamins, who brought in Fred Zarr to redo all the keyboards.

Musically, "Everybody" is considered a post-disco dance and electro song with R&B elements. In Madonna's own words, the lyrics talk about "getting people to dance and lose their inhibitions". The singer's vocals, which were described by author Rikky Rooksby as being in "gum-chewing mode", were doubletracked. "Everybody" is written in the key of A minor, with the melody beginning in G and rising to the second scale degree on the syllable bo of Everybody, thus highlighting the refrain which follows in the chord progression of G–A–B–A. Just before the refrain, there is a "deft dab of reverb [that] sucks the listener in". A "funky Bernard Edwards-style bass" plays towards the song's breakdown, as Zarr's synthesisers whir around it.

Release and commercial performance
The twelve-inch single of "Everybody" was released on October 6, 1982. Lou Beach designed the sleeve's cover art, which did not show Madonna but rather a "hip hop–style NYC street scene". Beach cut out the images from different magazines and put them together forming a collage. Rosenblatt revealed that he did not want the cover to show the singer's face, as he felt it "could get a lot of R&B play [...] because a lot of people thought she was black". Matthew Lindsay from The Quietus found it ironic that the record sleeve did not depict Madonna on the cover, as she would go on to become "the face of the 80s".

The single debuted at number 40 of Billboard's Dance Club Songs chart one month after its release; it peaked at number three the week of January 8, 1983, remaining 17 weeks on the chart. On the Bubbling Under Hot 100, "Everybody" entered at number nine on December 25, 1982, peaking at number seven on January 22 of the following year. The first American radio station to embrace and play the song was WKTU. By September 2, 1983, according to a Warner Bros. Records advertisement in Radio & Records, the "Everybody" twelve-inch single had sold more than 150,000 copies.

To commemorate its 40th anniversary, a limited edition of the twelve-inch single was reissued on November 25, 2022; it included the original version, the dub version, and came with a new cover art. Following this release, "Everybody" reached the 22nd and second positions of the United Kingdom's Singles and Vinyl Sales charts, respectively. "Everybody" was included on Madonna's compilations You Can Dance (1987), Celebration (2009), and Finally Enough Love: 50 Number Ones (2022).

Critical reception
Since its release, critical reviews towards "Everybody" have been generally positive. Billboard's Brian Chin referred to it as a "spare, bright cut [that] has a relaxing quality at home listening levels, but sounds much harder-edged in the club". Barbara O'Dair, one of the authors of Madonna: The Rolling Stones Files, called "Everybody" a "moody, hiccuping" song. On his biography of the singer, J. Randy Taraborrelli described it as a "rhythmic call-to-party", while Matthew Rettenmund —author of Encyclopedia Madonnica— deemed it "one of her enduring chestnuts" that "immediately established [her] as a Disco Queen". Santiago Fouz-Hernández, one of the authors of Madonna's Drowned Worlds, wrote that "Everybody", alongside "Music" (2000), are the two singles that define Madonna's artistic credo – that music has the power to overcome divisions of race, gender, and sexuality.

From Rolling Stone, Don Shewey commented: "At first, ['Everybody'] doesn't sound like much at all. Then you notice its one distinguishing feature, a girlish hiccup that [Madonna] uses over and over until it's irritating as hell. Finally, you get hooked, and you start looking forward to that silly little catch in her voice". Mark Lore from the Portland Mercury referred to "Everybody" and "Burning Up" as "true gems, gritty New York anthems", that were overshadowed by the more known "Holiday" (1983) and "Borderline" (1984). The Arizona Republic's Ed Masley described "Everybody" as an example of "classic early '80s dance pop", singling out Madonna's "youthful exuberance". Idolator's Mike Was concluded that, although "everything [Madonna] touched in the '80s turned to gold, and ['Everybody'] is no exception, it’s just not in the same league as classic bops like 'Lucky Star' or 'Borderline'. Also mixed was Marcus Wratten from PinkNews, who said the song is "not bad by any means", but it's not among the singer's best, and its message has been replaced by "far greater singles" such as "Music" and "Into the Groove" (1985). A negative review came from Rikky Rooksby, who felt the single came off as "artificial, repetitive and uninspired".

In 2006, Slant Magazine placed the song at number 18 on their list of "The 100 Greatest Dance Songs"; "['Everybody'] sparkles with shiny-and-new-for-'82 synths, while Madge offers a preview for the world-as-a-dance-floor motif she'd never stop revisiting throughout the next 23 years", wrote Rich Juzwiak. Six years later, "Everybody" was included on the Dallas Observer's list of the "20 best Madonna songs you won't hear at the Super Bowl"; Hunter Hauk noted that, "after all these years, [it] remains one of her purest, most groove-addled dance tracks". Joe Morgan from Gay Star News placed the song at number 48 of his ranking of Madonna's singles, writing: "It sounds at first listen like a typical song of the decade. But there is something special to it, something that proves there's a Queen of Pop to come". Jude Rogers, from The Guardian, compared "Everybody" to the work of Tom Tom Club and placed it at number 31 of her ranking of Madonna singles.

Writing for The A.V. Club, Stephen Thomas Erlewine named it the singer's 17th best song; "all these years later, ['Everybody'] still sounds simultaneously tentative and vibrant [...] [It] does seem like a relic of the early 1980s, yet it hasn’t lost its potency". Matthew Jacobs from HuffPost considered "Everybody" to be Madonna's 24th best, writing that it "ushered in what she would inspire us to do for the next 32 years (and counting)". "Everybody" was considered a precursor to "Music", as well as the 23rd best single in Madonna's discography, by Entertainment Weekly's Chuck Arnold, who also added it was "ahead of its time". It was named one of the greatest debut singles of all time by Rolling Stone: "[Madonna'd] quickly go on to bigger things, and sharper material, but this song patterned the ebullient electro-pop sound of her early classic hits".

Music video
Ed Steinberg directed the music video for "Everybody", which was filmed on December of 1982 at New York's Paradise Garage, and shows Madonna performing onstage with dancers Erika Belle and Bags Rilez. Madonna had previously invited some Sire executives ―including Stein and Rosenblatt― to watch one of her performances at Danceteria; the video was approved after they realized "what a visual knockout" she was in person. Rosenblatt contacted Steinberg, who ran the Rock America video company, and gave him a $1,500 budget to work on the "strictly in-house production".

Intended to be filmed during Madonna's next live performance at Danceteria, the director opted to shoot at Paradise Garage, as he could use the venue for free. Actress Debi Mazar, a personal friend of the singer's, was in charge of makeup, and even brought a few of her own friends to act as audience in the video. Steinberg was impressed with the singer's "incredible work ethic". He recalled that one of the hired dancers hadn't shown up, which meant the choreography would need to be altered; "without missing a beat, [Madonna] had Erika and Bags restaged with precision and the show went on", the director recalled. He sent copies of the visual to nightclubs across the United States that used to play dance music videos as entertainment; according to Andrew Morton, this promotion helped the song go from local New York dance song, to nationwide hit. Regarding the importance of a music video, Madonna explained: "If I didn't [have a video], I don't think all the kids in the Midwest would know about me. It takes the place of touring. Everybody sees them everywhere".

Matthew Rettenmund felt Madonna looked "very early-80s butchy. Like a Go-Go gone bad", and opined that, "[the video] is mesmerizing, even sans all the glam and lighting and editing and stuff". Carol Gnojewski referred to the clip as a "low-budget, promotional affair primarily focusing on disco". By his part, Fab Five Freddy reminisced that it helped the singer appeal to "those who were more street, more savvy, more flavorful". Mark Elliott from website This is Dig! noted that it has become a "fan favourite that has now enjoyed millions of streams online".

Live performances
Madonna first performed "Everybody" as part of Haoui Montaug's No Entiendes cabaret revue on December 18, 1982, on the second-floor stage of Danceteria. In 1983, she travelled to the United Kingdom and sang the single at London's Camden Palace, and Manchester's The Haçienda. According to Andrew Morton, however, these performances were not well received by the British audience. Afterwards, "Everybody" was included on three of the singer's concert tours: Virgin (1985), the Girlie Show (1993), and Celebration (2023–2024). On the first one, Madonna played tambourine and was joined by two male dancers; her outfit consisted of matching fringed micro-top and skirt, a trilby hat, and multiple sized crucifixes. The performance of the song at Detroit's Cobo Arena was included on the Madonna Live: The Virgin Tour video release (1985).

On 1990's Blond Ambition World Tour, the song's line Dance and sing/Get up and do your thing was sampled at the beginning of opening number "Express Yourself" (1989). "Everybody" was the final song of the Girlie Show, where it was mashed up with Sly and the Family Stone's "Everybody Is a Star" (1969). The number saw the singer and dancers in denim and white tops, inviting the audience to dance and sing along. From The Vindicator, Gary Graff noted that Madonna displayed a "joy and innocence that hasn't been evident in [her] performances since the early days". The performance recorded on November 19, 1993, at the Sydney Cricket Ground, was included on The Girlie Show: Live Down Under home video release (1994).

On November 15, 2005, while promoting her tenth studio album Confessions on a Dance Floor, Madonna sang the single at a concert on London's Koko Club; dressed in velvet culottes, leather jacket and boots, with her hair done in a Farrah Fawcett-style, she "held nothing back" during the performance, according to The Daily Telegraph's David Cheal. The next year, on April 30, Madonna performed "Everybody" during her appearance at the Coachella Valley Music and Arts Festival, wearing a feather boa. Samples of "Everybody" were incorporated to the performance of "Holiday" on 2009's Sticky & Sweet Tour.

To commemorate the single's 30th anniversary, Madonna sang it at the San Jose concert of the MDNA Tour (2012). Reviewing the concert, Aidin Vaziri from the San Francisco Chronicle wrote it was "an off-script moment that inadvertently became the highlight of the show". On the Washington, D.C. concert of 2015―2016's Rebel Heart Tour, "Everybody" was included in a slow, Latin-infused medley, along with "Dress You Up" (1985), "Into the Groove", and "Lucky Star"; the number was referred to as a "delightful surprise" by the Washington Blade's Joey DiGuglielmo.

On the Celebration Tour of 2023–2024, "Everybody" was the second song of the setlist. The number sees Madonna and her troupe, who are dressed as "punk rock clubgoers of [her] early NYC days", dancing under a New York City skyline. She wore a "punky" tailcoat designed by Dilara Fındıkoğlu —inspired by one she wore for a performance in Japan in the 1980s. The number was one of many that "harkened back to a more buttoned-down era guided by conservative taboos", according to the Chicago Tribune's Bob Gendron.

Track listings and formats

 * US 12" single
 * 1) "Everybody" (extended version) – 5:56
 * 2) "Everybody" (dub version) – 9:23

 * Italy and UK 12" single
 * 1) "Everybody" (remix) – 6:16
 * 2) "Everybody" (dub version) – 5:59

 * Italy and UK 7" single
 * 1) "Everybody" (7" remix) – 3:20
 * 2) "Everybody" (dub version) – 4:40

 * German CD single
 * 1) "Everybody" (LP version) – 4:55
 * 2) "Everybody" (dub version) – 8:58

 * 40th anniversary digital and 12" single
 * 1) "Everybody" (7" edit) – 3:58
 * 2) "Everybody" (instrumental version) – 4:13

Credits and personnel
Credits adapted from the album and twelve-inch single liner notes.
 * Madonna – vocals, writer
 * Mark Kamins – producer
 * Butch Jones – synthesizer, engineering
 * Reggie Lucas – guitar, drum programming
 * Fred Zarr – synthesizer, electric and acoustic piano
 * Dean Gant – electric and acoustic piano
 * Bobby Malach – tenor saxophone
 * Ed Walsh – synthesizer
 * Gwen Guthrie – background vocals
 * Brenda White – background vocals
 * Chrissy Faith – background vocals
 * Christine Sauers – art direction, design
 * Lou Beach – artwork

title: Everybody (Madonna song)


text: List of Power Rangers episodes (seasons 16–30)


text:
Dann Gallucci

Dann Gallucci (born March 31, 1975) is an American songwriter, producer, musician and audio engineer best known for his work with Modest Mouse, The Murder City Devils, and Cold War Kids. Born and raised in the Pacific Northwest, Gallucci met Modest Mouse's Isaac Brock in Seattle, Washington in 1993, playing guitar with the band intermittently before joining full-time to record several singles that would eventually appear on the album Sad Sappy Sucker, released by independent record label K Records in 2001.

While in Modest Mouse, Gallucci co-founded the punk bands Area 51 and Death Wish Kids, featuring members that would go on to form The Murder City Devils. Area 51 recorded one single with Nation of Ulysses' Tim Green, and Death Wish Kids would record two singles before disbanding.

The Murder City Devils formed in 1996, consisting of members Spencer Moody, Dann Gallucci, Derek Fudesco, Coady Willis and Nate Manny. That year, the band released two singles, Three Natural Sixes (Hopscotch Records #5) and Dance Hall Music (Empty Records MTR-354), and signed with the Die Young Stay Pretty label, a subsidiary of Sub Pop. Their self-titled debut album was released in 1997.

In 1996, Gallucci co-wrote and played guitar on the Modest Mouse songs "Trailer Trash" and "Bankrupt on Selling," which appeared on the album The Lonesome Crowded West, released by Up Records in 1997. Pitchfork Media ranked "Trailer Trash" #63 in their list "The Top 200 Tracks of the 1990s."

In 1998, The Murder City Devils released their second full-length album, Empty Bottles, Broken Hearts. The album saw an increased use of electric organ, and that same year they recruited Leslie Hardy as their full-time keyboard player. To support the record, the band embarked on a yearlong North American tour, playing with At the Drive-In, Pearl Jam, and Built to Spill. After a short break, the band released their third full-length album In Name and Blood in 2000 followed by the Thelema EP in 2001. Keyboardist Leslie Hardy left the band mid-tour and was replaced by Nick Dewitt for their final concerts. The band's farewell concert on October 31, 2001, at Seattle's Showbox Theater was recorded and released by Sub Pop in 2003, titled R.I.P. and included two previously unrecorded songs. It was also released on DVD in 2005.

After the breakup of The Murder City Devils, Gallucci returned to Modest Mouse full-time from 2001 to 2005, co-writing and playing on the band's fourth full-length album, Good News for People Who Love Bad News, released by Epic on April 6, 2004. In addition to guitar, Gallucci played mellotron, keyboards, piano, glockenspiel, drum loops, timpani, and percussion. The first two singles from the album were "Float On" and "Ocean Breathes Salty," both of which debuted on American radio stations in the first half of 2004.

The album was released to widespread acclaim from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 83, indicating "universal acclaim". Tiny Mix Tapes gave the album five out of five stars, saying, "Ultimately, what makes Good News so successful is that it retains the melancholy mood of past works, while at the same time adding depth and maturity." Spin gave it an A and said it was "Half expansive, burnished radio-rock, half swampy Delta hoodoo-hollerin' that reeks of Brock's Southern sojourn." Filter gave it a score of 92% and said that it would soon be "one of the best albums of 2004". Billboard gave it a favorable review and called it "a daring yet accessible disc". The New York Times also gave it a favorable review and called it "the best Modest Mouse album yet." It was Planet Sound's #1 Album of 2004. It was also nominated for a Grammy in 2005 for Best Alternative Album. The album was certified Platinum by the RIAA in August 2004. As of March 19, 2007, it had sold 1,509,675 copies in the United States.

In 2003, Gallucci formed the band A Gun Called Tension with Sean Reveron of The Beta Band, Exodus 77, and The Free Association. A mix of dancehall, hip hop, reggae and punk, the band released a self-titled album on Cold Crush in 2003.

Gallucci left Modest Mouse in 2005 to pursue a career in audio engineering and production. Graduating from The Conservatory of Recording Arts and Sciences in Phoenix, AZ in 2007, he spent a year and a half working at Seattle's Avast! Studios, where he assisted producer Phil Ek on several records. In addition, he worked on releases by the bands Triumph of Lethargy and Past Lives. In order to round out his audio engineering skills, Gallucci began touring as a live sound engineer. In 2008, he worked as monitor engineer for M.I.A., and from 2009 to 2011 he worked as front of house engineer for Cold War Kids, Miike Snow, The xx, and Warpaint.

In 2011, Gallucci recorded the single "Fashionable" for Cold War Kids, joining the band later that year to play guitar and produce their next record. In preparation, Gallucci and the band decided to build their San Pedro rehearsal space into a studio. Gallucci produced, engineered, and played on the album, while sharing mixing duties with Lars Stalfors. Dear Miss Lonely Hearts was released on April 2, 2013, on Downtown Records, debuting at number 51 on the Billboard 200. The single "Miracle Mile" reached #22 on the Billboard Alternative Songs chart, giving Cold War Kids at that point the highest-charting single of their career. Critics saw the album as a return to form for the band. Heather Phares of AllMusic felt the record played to the group's strengths: "Dear Miss Lonelyhearts is more about what the band does best rather than breaking new ground, and the result is some of Cold War Kids' most promising and satisfying music since their debut."

On October 21, 2014, Cold War Kids released their fifth full-length album, Hold My Home on Downtown Records. Again, Gallucci produced, engineered, and played on the record and co-mixed with Lars Stalfors. Hold My Home spawned two singles: "All This Could Be Yours" and "First", which became the band's new highest charting single, spending two months at number one on the Billboard Alternative Songs chart, over six months in the top five, and over eight months in the top ten. AllMusic's Heather Phares praised the production throughout the album, calling it the band's best work since Robbers & Cowards, concluding that, "with 'Hold My Home', they emerge as a more straightforward band, and also a more confident and engaging one." Philip Cosores of Paste credited new members Gallucci and Plummer for raising the album's taste level over the previous two records and giving the band a whole new identity.

Before leaving Cold War Kids in 2016, Gallucci produced, engineered, mixed (with Lars Stalfors), and played on the albums Dear Miss Lonelyhearts and Hold My Home, as well as the EPs Tuxedos, Five Quick Cuts, and A Million Eyes.

From 2011 to 2014, Gallucci would return to Modest Mouse on an intermittent basis, eventually co-writing three songs on their album Strangers to Ourselves. Additionally, Gallucci played on recording sessions with Modest Mouse and OutKast's Big Boi at the rapper's Stankonia Studios in Atlanta, GA.

In 2016, Gallucci became the producer of the public radio show Bullseye with Jesse Thorn.

Notable awards and achievements:
 * Gold Album – Modest Mouse, Good News for People Who Love Bad News (2005) Platinum Album – Modest Mouse, Good News for People Who Love Bad News (2005)
 * Grammy Nomination, Best Alternative Album – Modest Mouse, Good News for People Who Love Bad News (2005)
 * Grammy Nomination, Song of the Year – Modest Mouse, "Float On" (2005)
 * 3 x Platinum – Lupe Fiasco, "The Show Goes On" (2011)
 * Grammy Nomination, Best Rap Song – Lupe Fiasco, "The Show Goes On" (2011)
 * ASCAP Songwriter of the Year Award – Lupe Fiasco, "The Show Goes On" (2011)

title: Dann Gallucci


text:
Talk:Franks (disambiguation)

Untitled
See also: Talk:Frankish people

Needless full disambiguation
Surely this should include Frankish people and have a semi-disambiguation Franks (disambiguation) page to cover the rest? --Joy [shallot]   22:34, 15 August 2005 (UTC)

Neutrality moved it with the log message Standardization. Exactly what kind of standardization took place here? This article was not just about some ethnic group, it was about history of their state which was basically a chapter in the history of those regions (and today countries). Also, even if it was about the ethnic group, there's still no reason to move it to the version with "people" because 1) it doesn't disambiguate an ethnicity from a nationality 2) the other meanings are fairly trivial compared to the main one. I'm moving it back. --Joy [shallot]   22:38, 15 August 2005 (UTC)

title: Talk:Franks (disambiguation)


text: Category:Archbishops by diocese

title: Category:Archbishops by diocese


text:
Category talk:The Prisoner

Incorrect categorising caused as a result of this page
"This category contains articles concerning the television show The Prisoner."

This page now creates an incorrect subcategory in the Category:ITC Entertainment Productions page. As The Prisoner - the actual entry for the TV show - is already listed on the ITC Entertainment productions page there is no reason for the "Category:The Prisoner" page to be added there; it's incorrect - the category page is not a production of ITC. Surely this page is for linking between Prisoner articles anyway, and not to link to other categories which already exist on the correct The Prisoner page anyway. The articles themselves should have categories, but why does this category need to be categorised? I've already taken off the link once, and I'm going to do it again. HowardBerry 18:40, 22 July 2005 (UTC)
 * The category needs to be categorised because that's how the category system works. I've put it as an ITV subcategory. The is absolutely no reason why this should have such a prominent position as a subcategory of the parent British television programmes.
 * Is The Prisoner an ITC production? (I'm not a fan, sorry) If it is, then it should be a subcategory of ITC, and neither ITV or BTP. The JPS 23:13, 15 August 2005 (UTC)

title: Category talk:The Prisoner


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Beer riots in Bavaria

The beer riots in Bavaria happened between 1 May and 5 May 1844, beginning after King Ludwig I of Bavaria decreed a tax on beer. Crowds of urban workers beat up police while the Bavarian army showed reluctance to get involved. Civil order was restored only after the King decreed a ten percent reduction in the price of beer. Following the Revolutions of 1848, Ludwig I abdicated in favour of his son, Maximilian II.

title: Beer riots in Bavaria


text:
CBAF-FM

CBAF-FM (88.5 MHz) is a French-language public Canadian radio station located in Moncton, New Brunswick. The station has a commercial-free news/talk format and is the flagship station of the Ici Radio-Canada Première network for Atlantic Canada. CBAF is owned and operated by the Canadian Broadcasting Corporation.

CBAF was launched in 1954, the first French-language radio station for the Moncton area at 1300 kHz. In 1980, the station was granted a rebroadcaster on FM at 88.5 MHz, to offset AM radio reception problems in the Moncton area. The CBC operated both transmitters until 1988, when the AM transmitter signed off and the FM transmitter became the station's primary frequency.

History
The construction of a new CBC station in Moncton was started in 1953 at an expected cost of $450,000.

CBAF went on the air on February 20, 1954. Studios and offices were then located at St. George Street in the former Assomption Building, a four-storey structure built in 1955 by the Société l'Assomption (the former Assomption Building is not the current Place Assomption on Main Street in Moncton). Today known as the Maison Commerce House, it overlooks St. George and Archibald Streets. The premiere French-language radio station for the Atlantic region, CBAF offered programming from the CBC's French-language network headquarters in Montreal, Quebec.

In 1957, CBAF had a radiated power of 5,000 watts and used a single directional antenna pattern. The transmitter was located in the nearby village of Saint Anselme. In 1968, a regional French-language production centre was set up at the Moncton studios.

In 1970, CBAF, with its Radio-Canada television station CBAFT, and English-language counterpart CBA, relocated to their new studios and offices on Archibald Street (today known as University Avenue) beside the Hôtel-Dieu de l'Assomption Hospital, which was renamed the Dr. Georges-L. Dumont Regional Hospital by the Government of New Brunswick in 1967.

On April 10, 1980, FM rebroadcaster CBAF-26-FM (88.5 MHz) signed on in Moncton to duplicate the programming of CBAF. The duplicate channel was needed in order to offset severe night-time coverage deficiencies of the AM signal and to improve the reception of the station in outlying areas. CBAF was to have gone silent by November 1, 1985, but the CBC kept it going until the plug was finally pulled in 1988. In the end, CBAF operated on 1300 kHz with a power of 5,000 watts (single directional pattern). CBAF-26-FM operated on 88.5 MHz with an effective radiated power of 50,000 watts. The FM repeater became CBAF-FM, following the closure of the AM signal.

The Radio-Canada network was renamed "Première Chaîne" on September 1, 1997, later becoming "Ici Radio-Canada Première" in August 2013.

Rebroadcasters
On July 25, 2013, the CBC filed and application to the CRTC to convert CBAF-21 Saint-Quentin from 1230 kHz to 91.1 MHz; this was approved January 10, 2014.

On August 15, 2013, the CBC filed and application to the CRTC to convert CBAF-20 Kedgwick from 990 kHz to 98.1 MHz. this was approved January 10, 2014.

Former rebroadcasters
CBAF-FM-5 in Halifax and CBAF-FM-15 in Charlottetown were once satellites of CBAF, but are now stations in their own right despite retaining rebroadcaster-like callsigns. CBAF-FM-5 and CBAF-FM-15 officially became separately licensed in 1987 and 1994 respectively.

title: CBAF-FM


text: User talk:81.159.157.236

title: User talk:81.159.157.236


text:
Mount Deception (Washington)

Mount Deception is a peak in the Olympic Mountains of Cascadia. It is in Olympic National Park on the Olympic Peninsula in the U.S. state of Washington.

Description
At 7788 ft high Mount Deception is the second highest peak of the Olympic Mountains, after Mount Olympus. It is the highest peak of the eastern Olympics. Mount Deception's prominence is 4108 ft, making it the 17th most prominent peak in Washington. Its nearest higher peak is Mount Olympus at 21.79 mi to the west.

Mount Deception is located in the northeast portion of the Olympics Mountains just northeast of Mount Mystery between Deception Creek and Royal Creek. The region is known as Royal Basin and includes the upper reaches of Royal Creek. Mount Deception lies at the head of Royal Basin. This location puts it in the rain shadow of the Olympics, resulting in far less precipitation than Mount Olympus and the western Olympics receive. Although Mount Deception is the highest peak in the eastern Olympics, it is not visible from Seattle. Radiating northward from the shoulders of Mount Deception are Gilhooley Tower, The Needles, Mount Clark (7528 ft), Mount Walkinshaw (7378 ft), and the northeasterly running spur known as Gray Wolf Ridge. To the east and south are Mount Fricaba, Hal Foss Peak, Mount Mystery, and Little Mystery. Two small glaciers hug the mountain's north-facing basalt slopes.

Mount Deception sits on the boundary between the drainage basins of the Dungeness River, to the north, and the Dosewallips River, to the south and east. Deception Creek, a tributary of the Dosewallips River, drains the southern slope of Mount Deception. Gray Wolf Pass is located about 1 mi west of Mount Deception. The pass connects the Dungeness and Dosewallips drainage basins.

History
Mount Deception had been given the name Mount Holmes by the Seattle Press Expedition in honor of John H. Holmes of the Boston Herald. Later, G.A. Whitehead of the U.S. Forest Service renamed it Mount Deception due to the difficulty mountaineers had in locating climbing routes on the often cloud-covered peak.

Recreation
Unlike the peaks of Gray Wolf Ridge, which are scalable for fit and determined day hikers, mountaineering skills are necessary for Mount Deception itself. While not a particularly technical climb, it is steep and exposed. If a climber falls and does not arrest immediately, loose rock and rotten snow may make it difficult to stop falling for some distance. Fatalities have occurred on Mount Deception and the National Park Service recommends climbers be experienced in self-arrest skills, rock climbing, and route-finding.

The adjacent Needles are typically regarded as providing better, and somewhat more difficult, mountaineering objectives in the Royal Basin area.

Climate
Based on the Köppen climate classification, Mount Deception is located in the marine west coast climate zone of western North America. Most weather fronts originate in the Pacific Ocean, and travel northeast toward the Olympic Mountains. As fronts approach, they are forced upward by the peaks of the Olympic Range, causing them to drop their moisture in the form of rain or snowfall (Orographic lift). As a result, the Olympics experience high precipitation, especially during the winter months. During winter months, weather is usually cloudy, but, due to high pressure systems over the Pacific Ocean that intensify during summer months, there is often little or no cloud cover during the summer. In terms of favorable weather, the best months for climbing are June through September.

Geology
The Olympic Mountains are composed of obducted clastic wedge material and oceanic crust, primarily Eocene sandstone, turbidite, and basaltic oceanic crust. The mountains were sculpted during the Pleistocene era by erosion caused by glaciers advancing and retreating multiple times.

title: Mount Deception (Washington)


text:
User talk:Thereverendeg

hello
aloha all. i'm back! --thereverendeg 18:44, 22 July 2005 (UTC)

THC Ministry, etc.
Hello, I'm pleased to have your help in cleaning this article up to a higher standard of quality. I recognize that your user page indicates you consider yourself a member of this organization, and therefore you likely have a broader knowledge of the subject than I or most people. I would like to be fair and open minded, but I hope you will be tolerant of my criticisms which are not for the purpose of injecting my own POV, but intended to distinguish the religious and sacramental aspects from the questionable legal theories that I see the organization promoting to believing and non-believing people. Whig 04:41, 24 July 2005 (UTC)

re: Whig - THC Ministry
Aye, though It does need a bit more work (I think the history needs to be pretty much rewritten to include the Religion of Jesus Christ). I will have to look at it for a little while and get it all worked out. Regardless of the fact that I am a member, I would like it to remain up to NPOV-standards. The way I felt about it was, that editing it to say that they "claimed" to be a religion would have very little difference from editing the article on christianity, hinduism, or any other religion and putting that they "claim" to be a religion. It is not up to the members of wikipedia to determine the legitimacy of any religion (and despite the fact that I cannot stand scientologists AT ALL, I would afford even them the same priveledge).

I agree that some of Roger Christie's claims regarding the THC Ministry are somewhat questionable.

I noticed that you are working on the Psychadelics, Dissociatives, and Deliriants Project. I just recently added my name to the contributor list; hopefully today I can get a bit more put into the project, which I was a bit shocked to find yet in its infancy. You seem like a bright person, deffinitely I will look foward to collaborating with you. --thereverendeg 12:41, 24 July 2005 (UTC)

Bistro
Some questions have been raised on this article's talk page. Could you respond there please? That'd be greaattt. humblefool® 14:31, 25 July 2005 (UTC)

 * responded --thereverendeg 18:38, 25 July 2005 (UTC)

GL groupoid
Is it me, or are there problems with this article? What notation is G0 supposed to represent? Isn't it more useful to speak of the GL group proper instead of talking about the GL groupoid? (of course, all groups are groupoids...)

I may be misunderstanding things, however. Dysprosia 06:36, 26 July 2005 (UTC)

 * You've taken this from Groupoid, then, I presume. In future, don't forget to take the context with the new article or, more usefully, redirect one to the other. Dysprosia

 * OK I see that you went ahead and just did the rd. I was originally going to just do that (as it did seem to make sense) but I wasn't sure if there was room for an entire GLG article. Thanks --thereverendeg 06:52, 26 July 2005 (UTC)

Category:Wikipedians
Hi, the categories you are adding to user pages with "Wikipedians in foo" is a grand-parent of these cats, so essentially you are double categorizing. Thats like putting Category:Actors and Category:American actors on the same page. Please reconisder adding more of these if a Wikipedian sub cat exists. Thank you. ∞ Who ? ¿ ? 07:54, 28 July 2005 (UTC)
 * Do you mean like when a user has both Category:Wikipedians and Category:Wikipedians in New York on their page? Right now I'm in the process of detangling the user categorization scheme (which on the enwiki is currently done mostly in lists, unlike most other wikis where categories, for good reason, are used instead). There is a lot of ambiguation right now and I'm working through it, I won't leave it a tangled mess, I promise!--thereverendeg 08:07, 28 July 2005 (UTC)

Your cat change to my userpage
Er... beyond issues of changing my userpage for me, I may live in DC, but I'm still from the South. I wouldn't mind adding the DC cat, but to replace the Southern cat with a DC cat on my personal userpage is a little presumptuous. I'm sure you meant no harm, but just FYI. · Katefan0(scribble) 19:26, July 28, 2005 (UTC)

 * Sorry, didn't mean to offend - I was a bit strucken when I noticed the existence of the Southern cat, which is an orphan category and doesn't really get used at all - BUT I suppose if people who are listed in it actually care about it, I will file it away under Category:Wikipedians in the United States as an extra category to hang in there. It just seems a bit redundant, but then I do know of southerners who wouldn't claim their southern origins, and I know quite a few folks not of the south who would claim it. Sorry about this, I will rectify it!--thereverendeg 19:29, 28 July 2005 (UTC)
 * No harm done! It's a new category actually just recently started, maybe it needs some tweaking (I don't really understand some of the way categories work functionally).  I believe User:JCarriker is the one that set it up, you might want to let him know if there are any problems with it. · Katefan0(scribble) 19:38, July 28, 2005 (UTC)
 * No harm done here either, but there was no notice on my talk page. --ThomasK 10:52, July 30, 2005 (UTC)

 * I won't be editing user pages any longer, I will instead modify talk pages to give notice of the changes as they take place. --thereverendeg 13:16, 5 August 2005 (UTC)

User categorisation
G'day, I apoligise for linking back to the subpage, as I didn't realise that it had been decided that the subpage lists are being converted to categories. This is a good idea replacing the subpage lists with categories and if you don't mind I've been helping you out. What I've been doing is sorting categories for all those user pages and location categories that have not been sorted. I'll get around to doing all of Australia (including states/territories) soon. I've also add piping so users can sort their own categories – because it seems alot of users don't know how to sort cats – like so:

To add yourself to this list, insert the following on your user page:

– AxSkov ( T ) 11:24, 29 July 2005 (UTC)

 * Awesome! Thanks a lot for lending your help. I'm thinking of going ahead and making a project page for this since it's looking to be quite a sizeable undertaking. --thereverendeg 00:02, 30 July 2005 (UTC)

You were listed on the Wikipedians/Quebec page as living in or being associated with Quebec. As part of the User categorisation project, these lists are being replaced with user categories. If you would like to add yourself to the category that is replacing the page, please visit Category:Wikipedians in Quebec for instructions.--Rmky87 01:38, 11 October 2005 (UTC)

Objections to project
Hi. Would you please respond to the objections to your cat project? Maurreen (talk) 03:56, 3 August 2005 (UTC)

 * Sorry it took so long, I've been out of town on business lately, but I've posted my responses. --thereverendeg 13:12, 5 August 2005 (UTC)

Reform?
Have a look at this article: Cutter_v._Wilkinson; seems that if you were to be sent to federal prison, your religious alignment would allow you to toke the ganja freely. - Static3d

 * Awesome! I take it you've read about the THC Ministry? There are other pieces of legislation out there as well, more info at Hawai'i Cannabis Ministry

FYI
A task has been added to your Cleanup Taskforce desk. -- Beland 08:03, 7 August 2005 (UTC)

 * Thanks! --thereverendeg 22:20, 8 August 2005 (UTC)

WikiHolic!
Here is a Working Man's barnstar for having an absolutely amazing WikiHolic score.

Happy editing, D. J. Bracey (talk) 00:28, 16 August 2005 (UTC)

Good luck on your job. D. J. Bracey (talk) 00:28, 16 August 2005 (UTC)

Wow, thanks :-D --thereverendeg 15:55, 20 August 2005 (UTC)

Category:Millennial Wikipedians
Category:Millennial Wikipedians has been listed on categories for deletion. Since you are using it on your user page please weigh in on the vote and that of the other generational categories here. Thanks. -JCarriker 20:44, August 26, 2005 (UTC)

More objections to project
Dear Thereverendeg, Would you please be so kind to respond to the elementary objections againstyour project or at least a shift from the lists? Can you put a reference to the first linse of yourProject"It has been proposed (and is currently being implemented) that these lists be replaced by a system of organised categories." When was this proposed, by who and where can we read it ? Thank you. --Leopard 12:33, 2 September 2005 (UTC)

Greetings from the United Federation of Planets
You may find the folowing template of interest :) -- Cool CatTalk 02:51, 20 November 2005 (UTC)

hacker emblem
Hi Thereverendeg.

I've just contributed a userbox for hackers, and noticed that you link to Image:Hacker Emblem.png, so I thought this might be of some minor interest to you. cheers -jmb 13:31, 12 February 2006 (UTC)

Image Tagging for Image:THC_Ministry_Court_stipulation.jpg
Thanks for uploading Image:THC_Ministry_Court_stipulation.jpg. The image page currently doesn't specify who created the image, so the copyright status is therefore unclear. If you have not created the image yourself then you need to indicate why we have the right to use the image on Wikipedia (see copyright tagging below). If you have not created the image yourself then you should also specify where you found it, i.e., in most cases link to the website where you got it, and the terms of use for content from that page.

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This is an automated notice by OrphanBot. If you have any concerns, contact the bot's owner: Carnildo. 13:58, 22 February 2006 (UTC)

Image copyright problem with Image:Thereverendeg.JPG
Thanks for uploading Image:Thereverendeg.JPG. However, the image may soon be deleted unless we can determine the copyright holder and copyright status. The Wikimedia Foundation is very careful about the images included in Wikipedia because of copyright law (see Wikipedia's Copyright policy).

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This is an automated notice by OrphanBot. If you have questions about copyright tagging of images, post on Wikipedia talk:Image copyright tags or User talk:Carnildo/images. 23:16, 23 February 2006 (UTC)

Wikipedia New York Meet-Up
Howdy! Please come to the First Annual New York Wikipedian Central Park Picnic. R.S.V.P. @ Meetup/NYC --David Shankbone 18:37, 20 June 2007 (UTC)

Vandalism
Please stop your disruptive editing. If you continue to vandalize Wikipedia, you will be blocked from editing.

Note: Based on the history of this account, it may have been recently compromised. -- John Broughton (♫♫) 17:58, 26 October 2008 (UTC)

File copyright problem with File:Thereverendeg.JPG
Thank you for uploading File:Thereverendeg.JPG. However, it currently is missing information on its copyright status. Wikipedia takes copyright very seriously. It may be deleted soon, unless we can determine the license and the source of the file. If you know this information, then you can add a copyright tag to the image description page.

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If you have any questions, please feel free to ask them at the media copyright questions page. Thanks again for your cooperation. ▫  Johnny Mr Nin ja  04:57, 23 March 2009 (UTC)

Category:Wikipedians in Palestine
Category:Wikipedians in Palestine, which you created, has been nominated for possible deletion, merging, or renaming. If you would like to participate in the discussion, you are invited to add your comments at the category's entry on the Categories for discussion page. Thank you. Emmette Hernandez Coleman (talk) 04:03, 29 September 2012 (UTC)

Category:Wikipedians in Palestine
Category:Wikipedians in Palestine, which you created, has been nominated for possible deletion, merging, or renaming. If you would like to participate in the discussion, you are invited to add your comments at the category's entry on the Categories for discussion page. Thank you. Emmette Hernandez Coleman (talk) 08:00, 29 September 2012 (UTC)

List of biomedical terms listed at Redirects for discussion
An editor has asked for a discussion to address the redirect List of biomedical terms. Since you had some involvement with the List of biomedical terms redirect, you might want to participate in the redirect discussion if you have not already done so. Steel1943 (talk) 09:47, 23 August 2017 (UTC)

"General linear groupoid" listed at Redirects for discussion
An editor has asked for a discussion to address the redirect General linear groupoid. Since you had some involvement with the General linear groupoid redirect, you might want to participate in the redirect discussion if you wish to do so. –Deacon Vorbis (carbon • videos) 19:08, 25 December 2019 (UTC)

title: User talk:Thereverendeg