text:
PopCultured

PopCultured is a Canadian television talk show, which aired on The Comedy Network in 2005 and 2006. The program featured stand-up comedian Elvira Kurt and other cast members (Jean Paul, Laurie Elliott, David Reale, Ellen McKinney, Jamillah Ross and Levi MacDougall) poking fun at celebrities in the context of a mock newscast similar to The Daily Show with Jon Stewart, with one interview guest at the centre of each episode.

The show began airing in April 2005.

The show was widely panned by critics, and was canceled after one season, in early 2006, due to poor ratings.

title: PopCultured


text:
Si-Te-Cah

According to reports of Northern Paiute oral history, the Si-Te-Cah, Saiduka or Sai'i (sometimes erroneously referred to as Say-do-carah or Saiekare after a term said to be used by the Si-Te-Cah to refer to another group) were a legendary tribe who the Northern Paiutes fought a war with and eventually wiped out or drove away from the area, with the final battle having taken place at what is now known as Lovelock Cave near Lovelock, Nevada, United States. They had red hair, and are often (though not always) described as having been cannibals. In some versions of the legend they were giants. In 1911, a large amount of artifacts and mummified human remains were discovered under three to six feet of guano by guano miners in Lovelock Cave.

Although the cave had been mined since 1911, miners did not notify authorities until 1912. The miners destroyed many of the artifacts, but archaeologists were still able to retrieve 10,000 Northern Paiute artifacts from the cave. Items included tule duck decoys, nets, a pair of sandals, and baskets, several dating back over 2,000 years.

Name
"Si-Te-Cah" means "tule-eaters" in the Northern Paiute language. Tule or Schoenoplectus acutus is a fibrous water plant. In order to escape harassment from the Paiutes, the Si-Te-Cahs were said to have lived on rafts made of tule on Lake Humboldt.

Oral history
According to archaeologists Llewellyn L. Loud and Mark Raymond Harrington, writing in 1929, the Northern Paiutes "have accounts of an extinct people living in various localities in Nevada". They expressed doubts over whether these were real historical traditions or whether "They should be regarded as an attempt by the Northern Paiute to explain the archaeological remains of a cultural period preceding their own".

They summarise the descriptions of the Si-Te-Cah given to them by local informants thus: "Characteristics of this ancient people are that they made some of their implements differently from the Northern Paiute and of different stone materials. They had spears and no arrows, while the Northern Paiute had arrows but no spears. They were mean, contemptible, foolish, degraded cannibals, had red hair which they were excessively fond of decorating with bone ornaments, and yet were so poor that they dressed in robes made of the skin and feathers of the mud hen. In a collection of specimens from Nevada every object which is unfamiliar to a Northern Paiute is attributed to them".

Sarah Winnemucca, daughter of Paiute Chief Winnemucca, wrote in 1883 about what she described as "a small tribe of barbarians" who ate her people in her book Life Among the Paiutes: Their Wrongs and Claims. She wrote that "after my people had killed them all, the people round us called us Say-do-carah. It means conqueror; it also means 'enemy.' My people say that the tribe we exterminated had reddish hair. I have some of their hair, which has been handed down from father to son. I have a dress which has been in our family a great many years, trimmed with the reddish hair. I am going to wear it some time when I lecture. It is called a mourning dress, and no one has such a dress but my family."

The accounts of when all this is supposed to have happened are confused, from "many hundred years ago" (Winnemucca) to "four or five generations ago" (Winnemucca's brother, known as Natchez) to "an old Northern Paiute man recently died at Stillwater who is said to have taken part in it, and to have had one eye shot out by an arrow in one of the charges on the cave mouth" (reported by Loud and Harrington).

Some accounts describe the Si-Te-Cah as very tall, or as giants, a thing not mentioned either by Winnemucca or by Loud and Harrington, who say that all their informants describe "ordinary human beings living an entirely rational human life. It is barely possible that further inquiry might bring out supernatural traits, but of all the numerous references made to them, there are no characteristics mentioned but what might well be possessed by some tribe hostile to the Northern Paiute".

Excavations
A written report by James H. Hart, the first of two miners to excavate the cave in the fall of 1911, recalls that in the north-central part of the cave, about four feet deep, "was a striking looking body of a man 'six feet six inches tall.' His body was mummified and his hair distinctly red." Unfortunately in the first year of mining, some of the human remains and artifacts were lost and destroyed. "The best specimen of the adult mummies was boiled and destroyed by a local fraternal lodge, which wanted the skeleton for initiation purposes."

Adrienne Mayor writes about the Si-Te-Cah in her book Fossil Legends of the First Americans. She suggests that the "giant" interpretation of the skeletons from Lovelock Cave and other dry caves in Nevada was started by entrepreneurs setting up tourist displays and that the skeletons themselves were of normal size. However, about a 100 miles north of Lovelock there are plentiful fossils of mammoths and cave bears, and their large limbed bones could easily be thought to be those of giants by an untrained observer. She also discusses the reddish hair, pointing out that hair pigment is not stable after death and that various factors such as temperature, soil, etc. can turn ancient very dark hair rusty red or orange. Another explanation for the "giant" interpretation of the skeletons may also come from the fact that the body of the 6ft 6in man was described by Hart as "a giant" in comparison to the much smaller apparently female skeletons.

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

title: Si-Te-Cah


text:
Christian Songs (album)

Christian Songs (styled CHRISTIANsongs) is the fourth studio album by the electropop band Joy Electric. A music video was recorded for "Children of the Lord." In 2006, it was rereleased on iTunes, along with Robot Rock and Melody. This album remains to this day the most overtly spiritual Joy Electric release, as the title suggests. Tracks such as "The Magic Of" and "Singing in Gee" maintain the distinct fantasy theme from Joy Electric's previous two albums, whereas tracks such as "Children of the Lord" and the cover "Make My Life a Prayer" speak in very plain and certain terms of Martin's devotion to God.

Track listing
(all songs written by Ronnie Martin except where noted)
 * 1) "The Voice of the Young" – 2:49
 * 2) "Children of the Lord" – 3:21
 * 3) "Disco for a Ride" – 3:36
 * 4) "Lift Up Your Hearts" – 2:09
 * 5) "I Sing Electric" – 3:42
 * 6) "Make My Life a Prayer" (Melody Green) – 3:09
 * 7) "Singing in Gee" – 5:18
 * 8) "True Harmony" – 2:03
 * 9) "The Magic Of" – 5:04
 * 10) "Synthesized I Want You Synthesized" – 3:48
 * 11) "Birds Will Sing Forever" – 4:40

The pre-release promotional CD contained a slightly different track order, omitting "Make My Life A Prayer":

 * 1) "The Voice of the Young"
 * 2) "Lift Up Your Hearts"
 * 3) "Disco for a Ride"
 * 4) "Children of the Lord"
 * 5) "I Sing Electric"
 * 6) "Singing in Gee"
 * 7) "True Harmony"
 * 8) "The Magic Of"
 * 9) "Synthesized I Want You Synthesized"
 * 10) "Birds Will Sing Forever"
 * 11) "hindi Christian Song

(The cover insert for the promo CD had the same layout as the final version, but used the photos that ended up on the back cover of the final CD booklet.)

Personnel

 * Ronnie Martin – vocals, synthesizers, vocoder
 * Jeff Cloud – synthesizer, tape machine
 * Caleb Mannan – percussion synthesizer

title: Christian Songs (album)


text:
Something Wicked This Way Comes (film)

Something Wicked This Way Comes is a 1983 American dark fantasy film directed by Jack Clayton and produced by Walt Disney Productions, from a screenplay written by Ray Bradbury, based on his 1962 novel of the same name. It stars Jason Robards, Jonathan Pryce, Diane Ladd and Pam Grier.

The title was taken from a line in Act IV of William Shakespeare's Macbeth: "By the pricking of my thumbs / Something wicked this way comes".

It was filmed in Vermont and at the Walt Disney Studios in Burbank, California. It had a troubled production – Clayton fell out with Bradbury over an uncredited script rewrite, and after test screenings of the director's cut failed to meet the studio's expectations, Disney sidelined Clayton, fired the original editor, scrapped the original score, delaying the film by five months, spent $4 million on the new changes, and spent many months re-shooting, re-editing, and re-scoring the film before its eventual release.

Plot
In Green Town, Illinois, two young boys, a reserved Will Halloway, and somewhat rebellious Jim Nightshade, leave from an after-school detention for "whispering in class" and hurry off for home. The boys live next door to each other and were born a minute apart on Halloween. Will lives with his mother and father Charles while Jim lives with his single mother; it is heavily implied that his father walked out on them. A lightning rod salesman named Tom Fury arrives and sells one to Jim, claiming that it will protect him from an upcoming storm. The boys soon hear of a carnival coming to town led by the ominous Mr. Dark.

The carnival arrives and is set up overnight. Will and Jim notice that many of the residents seem oddly entranced by some of the attractions such as the amputee bartender Ed who sees his missing arm and leg return in a mirror and the boys' teacher Miss Foley who wishes to regain her youth. Will and Jim see a carousel that is closed off and are confronted by Mr. Dark, who quickly becomes suspicious of them. Later, they witness Mr. Dark using the carousel on his assistant, Mr. Cooger, who reverts to a little boy. Will and Jim head off to see Foley, but she is with her "nephew", who is actually Cooger, and are forced to leave.

Foley suddenly becomes younger, but loses her vision and is taken by Cooger to Dark. Will gets into an argument with Jim when the latter reveals that he has always been envious of the former being older and wants to use the carousel. They then witness Fury being tortured by Mr. Dark, who wants the secret of the upcoming storm and uses his other assistant, the Dust Witch, to seduce him, but to no avail. The boys run when they are found out and try to go to bed. In the middle of the night, the two are attacked by tarantulas, but the lightning rod that Fury gave Jim earlier saves them.

In the morning, Mr. Dark leads his carnival, now consisting of some of the townspeople, in a parade, though Will and Jim deduce that it is a search party for them. Charles eventually figures out that the boys are in trouble, and when confronted by Mr. Dark, manages to deter him. Charles, Will and Jim head to the library where the former reveals that the carnival had come to town before and that his own father had fought them. Mr. Dark arrives, searching for Will and Jim and offers Charles his youth back, but he resists. He knocks out Charles and makes off with the boys back to the carnival. Charles regains himself and heads to the carnival just as the storm arrives. He runs into Jim's mother and deters her before she too succumbs to Mr. Dark's powers.

Charles heads into the hall of mirrors, where Mr. Dark continues to taunt him about his age. Will declares his love for his father and repels the Dust Witch, allowing Fury to escape his imprisonment and impale her with a lightning rod. Will and Charles find Mr. Dark attempting to use the carousel with Jim in tow, but they rescue him just as lightning strikes the ride. As Mr. Dark begins to age and decay, Will and Charles express happiness to awaken Jim and the three flee with the horses and ponies and the townspeople just as the carnival begins to get sucked away into a giant twister. Will, Jim and Charles head back into town and begin to happily dance back home, with the danger now over.

Cast

 * Jason Robards as Charles Halloway
 * Jonathan Pryce as Mr. Dark
 * Diane Ladd as Mrs. Nightshade
 * Royal Dano as Tom Fury
 * Vidal Peterson as Will Halloway
 * Arthur Hill as Adult Will (Narrator)
 * Shawn Carson as Jim Nightshade
 * Mary Grace Canfield as Miss Foley
 * Sharan Lea as Young Miss Foley
 * Richard Davalos as Mr. Crosetti
 * Jack Dodson as Dr. Douglas
 * Bruce M. Fischer as Mr. Cooger
 * Pam Grier as the Dust Witch
 * Jack Dengel as Mr. Tetley
 * Ellen Geer as Mrs. Halloway
 * James Stacy as Ed, the Bartender
 * Tony Christopher as Young Ed
 * Angelo Rossitto as Little Person #1

Production
Ray Bradbury first wrote the original screenplay adapted from his 1948 short story "Black Ferris" in 1958, intended for Gene Kelly as director. Financing for the project never came, and Bradbury converted the screenplay into a novel, published in 1962.

In 1971, Bradbury agreed to write a new screenplay based on the novel for Jack Clayton, with whom Bradbury previously worked on Moby Dick. In January 1973, Sam Peckinpah was announced as director for the film, with a script written by Bradbury.

In June 1976, Clayton returned as director and the property was being developed by The Bryna Company, a production company formed by Kirk Douglas. Douglas became interested in the property after meeting Bradbury at a bookstore in Los Angeles, and intended to star in the film. Douglas' son Peter Douglas was set to produce, with Robert Chartoff and Irwin Winkler. They secured a deal with Paramount Pictures to finance the $6,000,000 production, to be filmed on location in Texas. However, production never began and the film was eventually put into turnaround by Paramount CEO Barry Diller over the objections of feature division president David V. Picker. At various times, Mark Rydell and Steven Spielberg expressed interest in making the film.

At this time Walt Disney Pictures was focusing on films with more mature themes in an attempt to break free from its image as an animation and family film studio. In 1981, they acquired the film rights to Something Wicked This Way Comes and announced that it would go into production with a $16 million budget. They asked Bradbury for his input on selecting a cast and director, and he suggested Clayton, feeling they had worked well together at Paramount. Peter Douglas returned as the film's producer, but Kirk Douglas was unable to appear in it despite playing a major role in its pre-production. In a 1981 issue of Cinefantastique, Bradbury said that his top choices for Mr. Dark were Peter O'Toole and Christopher Lee, but to keep the budget down, Disney decided to cast Jonathan Pryce, who was still relatively unknown.

Principal photography began on September 28, 1981, and lasted 77 days. Filming was mostly on Disney's Golden Oak Ranch in Newhall, California, as shooting on location would have been too costly. Some exterior scenes were shot in Vermont. As the film progressed, two visions emerged for the film: Bradbury and Clayton wanted to stay as faithful to the novel as possible, while Disney wanted a more accessible, family-friendly film. Bradbury and Clayton fell out when Bradbury learned that Clayton had, at the studios insistence, hired John Mortimer to do an uncredited revision of Bradbury's screenplay.

At a Q&A session following a 2012 screening of the film, actor Shawn Carson explained that he read some ten times for the part of Will, but after a request from Bradbury, he read for and was cast as Jim Nightshade. Although he had blond hair at the time, and co-star Vidal Petersen had dark hair, Carson's hair was dyed jet black and Petersen's was bleached blond to fit the new casting.

For the original score, Clayton picked Georges Delerue who had scored his films The Pumpkin Eater and Our Mother's House, but his score—considered "too dark" by Disney—was removed and replaced on short notice with one by James Horner. A soundtrack album of Delerue's unused score was released by Intrada Records in 2015, who had released Horner's replacement score in 1998.

Editor Barry Gordon was hired as assistant to the film's original editor, Argyle Nelson Jr. He recalled in 2012 that after Clayton submitted his original cut, Disney expressed concerns about its length, pacing and commercial appeal. The studio then took the project out of Clayton's hands and conducted an expensive six-month reshoot and re-edit, resulting in the two child leads looking noticeably older in some shots. Nelson was let go for budgetary reasons, and although Gordon was prepared to follow Nelson and leave the production, Nelson encouraged him to stay, and Gordon edited the final cut (resulting in the film's dual editor credits).

Disney spent $4 million on re-filming, re-editing and re-scoring, with the changes requiring delaying the planned Christmas 1982 date by five months. Gordon was required to make a number of changes to Clayton and Nelson's original cut, removing several major special-effects scenes, and incorporating the new material directed by visual effects artist Lee Dyer, including a new prologue narrated by Arthur Hill. Among the casualties was a groundbreaking animation scene which would have been one of the first major uses of computer-generated imaging in a Hollywood film: combining the then-new technology of CGI with traditional animation, it depicted Dark's circus train rolling into town, and the carnival magically materialising—the smoke from the locomotive becoming the ropes and tents, tree limbs merging to form a ferris wheel, and a spider web morphing into a wheel of fortune. The deleted scene was previewed in detail in the May–June 1983 issue of Twilight Zone Magazine, but the re-edit retained only a few seconds of the sequence.

Another cut sequence depicted Mr. Dark using his sinister powers to send a huge disembodied hand to reach into the house to grab the boys. Disney executives felt the mechanical effect wasn't realistic enough, and was replaced by a scene where the room is invaded by hundreds of tarantulas, which was shot using real animals. Years later, Shawn Carson recalled the considerable discomfort he and Vidal Petersen experienced being exposed to the irritating urticating hairs of the 200 tarantulas used in the sequence.

The original themes of Bradbury's novel, the suggestion of menace, the autumn atmosphere of an American Midwest township and the human relationships between characters that attracted Clayton escaped preview audiences completely, with Clayton heavily criticized. New special effects sequences were shot and a hastily composed new score by composer James Horner replaced Delerue's original music. Initial test screenings did not fare well with audiences, and Disney recommissioned Bradbury to write an opening narration sequence and new ending.

Bradbury referred to the film's final cut as "not a great film, no, but a decently nice one".

The railroad scenes were filmed on the Sierra Railroad in Tuolumne County, California.

Lost / rejected original version
The Center for Ray Bradbury Studies in Indianapolis has a copy of the original cut on VHS which may be the only surviving copy of Jack Clayton's original cut.

Box office
The film grossed $8.4 million at the domestic box office against its $20 million budget.

Critical response
Roger Ebert of the Chicago Sun Times gave the film three-and-a-half stars out of four, and wrote: "It's one of the few literary adaptations I've seen in which the film not only captures the mood and tone of the novel, but also the novel's style. Bradbury's prose is a strange hybrid of craftsmanship and lyricism. He builds his stories and novels in a straightforward way, with strong plotting, but his sentences owe more to Thomas Wolfe than to the pulp tradition, and the lyricism isn't missed in this movie. In its descriptions of autumn days, in its heartfelt conversations between a father and a son, in the unabashed romanticism of its evil carnival and even in the perfect rhythm of its title, this is a horror movie with elegance."

Janet Maslin of The New York Times wrote the film "begins on such an overworked Norman Rockwell note that there seems little chance that anything exciting or unexpected will happen. So it's a happy surprise when the film...turns into a lively, entertaining tale combining boyishness and grown-up horror in equal measure"; according to Maslin, "the gee-whiz quality to this adventure is far more excessive in Mr. Bradbury's novel than it is here, as directed by Jack Clayton. Mr. Clayton, who directed a widely admired version of The Turn of the Screw some years ago, gives the film a tension that transcends even its purplest prose." Kevin Thomas of the Los Angeles Times praised the film as "one of Walt Disney's best efforts in recent years—a film that actually has something to offer adults and adolescents alike."

Variety wrote that the film "must be chalked up as something of a disappointment. Possibilities for a dark, child's view fantasy set in rural America of yore are visible throughout, but various elements have not entirely congealed into a unified achievement...Clayton has done a fine job visualizing the screenplay by Bradbury himself, but has missed really connecting with the heart of the material and bringing it satisfyingly alive."

Gene Siskel of the Chicago Tribune gave the film 2 stars out of 4 and wrote that it "opens promisingly" but has a script which "tries to cram too much material into one story" and a climax that "couldn't be more disappointing", with "neon special effects that overwhelm the last half hour of the movie. The result is an oddball combination of a Twilight Zone episode with the climactic, zapping-the-Nazis scene from Raiders of the Lost Ark."

Richard Harrington of The Washington Post criticized the "lethargic" pace, "stolid acting", and special effects that "are shockingly poor for 1983 (a time-machine carousel is the only effective sequence on that front)."

Tom Milne of The Monthly Film Bulletin lamented: "The novel's texture has been thinned out so ruthlessly that little is left, but the bare bones; and all they add up to, shorn of the slightly self-conscious Faulknerian poetics of Bradbury's style, is a dismayingly schoolmarmish moral tale about fathers and sons, the vanity of illusions, and homespun recipes for dealing with demons ('Happiness makes them run')."

Christopher John reviewed the film in Ares Magazine #15 and commented that "if the chance ever comes your way to take this one in, grab it. Rarely does such a quiet, yet strong picture get made in this country."

Colin Greenland, reviewing Something Wicked This Way Comes for Imagine magazine, called it "one for the SFX connoisseur, a visual feast".

As of June 2023, the film holds a 61% rating on Rotten Tomatoes, based on 33 reviews. The consensus reads: "True terror and typical Disney wholesomeness clash uncomfortably in Something Wicked This Way Comes."

Accolades
The film won the 1984 Saturn Award for Best Fantasy Film and Saturn Award for Best Writing, and was nominated for five others, including best music for James Horner and best supporting actor for Jonathan Pryce. It was also nominated for the Hugo Award for Best Dramatic Presentation and Grand Jury Prize at the Avoriaz Fantastic Film Festival.

Remake
In 2014, Disney announced a remake of Something Wicked This Way Comes with Seth Grahame-Smith writing the script, making his directorial debut, and producing with David Katzenberg from their producing banner KatzSmith Productions. Reportedly, Grahame-Smith wanted to focus mostly on Ray Bradbury's source material from the book.

title: Something Wicked This Way Comes (film)


text:
Yiram of Magdiel

Yiram of Magdiel (, tenth century) was a minor Italian Jewish commentator on the Bible, active in Rome. The term Magdiel, which appears in Genesis 36:43, was apparently interpreted as Rome (see Rashi on that verse), so that his name was really Yiram of Rome.

Yiram was a younger contemporary of Saadia Gaon and perhaps even his student. He apparently wrote a commentary on the Books of Chronicles, which is only known from a handful of quotes by the Commentary on Chronicles Attributed to a Student of Saadia Gaon.

title: Yiram of Magdiel


text: File:Talib Kweli Quality.jpg

title: File:Talib Kweli Quality.jpg


text:
Hans Dobbertin

Hans Dobbertin (17 April, 1952 – 2 February, 2006) was a German cryptographer who is best known for his work on cryptanalysis of the MD4, MD5, and original RIPEMD hash functions, and for his part in the design of the new version of the RIPEMD hash function. He was a member of the German Federal Office for Information Security (Bundesamt für Sicherheit in der Informationstechnik, BSI) and professor at the Ruhr University in Bochum.

Life
Dobbertin was the son of Hans Dobbertin and Anneliese Kamp. His father was a teacher. He attended Eldagsen primary school from 1959, the Tellkampf School in Hanover from 1963 to 1969 and a modern language high school from 1969 to 1973.

Dobbertin studied mathematics and received his doctorate in 1983 with his thesis on refinement monoids, Vaught monoids and Boolean algebras at the mathematics department at the University of Hanover. He completed his habilitation in Hanover in 1986 and moved to the Federal Office for Information Security (BSI) as an associate professor. In the following decade, at BSI, Dobbertin was involved in the analysis of hash functions and developed new methods to break hash algorithms of the MD4 family. He showed that the successor MD5, which was considered safe, also contains vulnerabilities. In 2004, this result was confirmed by Chinese researchers.

After a short stay at the University of Klagenfurt, Hans Dobbertin was appointed chair of cryptology and information security at the Ruhr University Bochum in 2001. In 2003, he opened the Horst Görtz Institute for IT Security (HGI) at the Ruhr University as founding director.

Death
Dobbertin died as a result of cancer on 2 February, 2006.

title: Hans Dobbertin


text:
Mirror image rule

In the law of contracts, the mirror image rule, also referred to as an unequivocal and absolute acceptance requirement, states that an offer must be accepted exactly with no modifications. The offeror is the master of their own offer. An attempt to accept the offer on different terms instead creates a counter-offer, and this constitutes a rejection of the original offer.

England
The English common law established the concepts of consensus ad idem, offer, acceptance and counter-offer. The leading case on counter-offer is Hyde v Wrench [1840]. The phrase "Mirror-Image Rule" is rarely (if at all) used by English lawyers; but the concept remains valid, as in Gibson v Manchester City Council [1979], and Butler Machine Tool v Excello.

Australia
This position is adhered to in Australia (New South Wales). If a person were to accept an offer, but make a modification, then they are actually rejecting the offer presented to them and are proposing a counter-offer: Masters v Cameron (1954) 91 CLR 353. That modifying party is then the one making a new offer, and the original offeror is now the one who has to accept.

United States
In the United States, this rule still exists at common law. However, the Uniform Commercial Code ("UCC") dispenses with it in § 2-207 (but it can also be argued that § 2-207(1) enforces the mirror image rule). Therefore, its applicability depends upon what law governs. Most states have adopted the UCC, which governs transactions in goods. Contracts for services or land, for example, would not be governed by the UCC. The second Restatement of Contracts also provides that when parties have not agreed to an essential term, "a term which is reasonable in the circumstances is supplied by the court." However, it may not be possible for a reasonable term to be supplied by the court.

title: Mirror image rule


text:
Lakeland High School

Lakeland High School
Lakeland High School may refer to:

 * Lakeland High School (Florida), Lakeland, Florida
 * Lakeland High School (Idaho), Rathdrum, Idaho
 * Lakeland Junior/Senior High School (Indiana), LaGrange, Indiana
 * Lakeland High School (Maryland), Lakeland, Maryland, now in College Park
 * Lakeland High School (Michigan), White Lake Township, Michigan
 * Lakeland High School (Missouri), Deepwater, Missouri
 * Lakeland High School (Shrub Oak, New York), Shrub Oak, New York
 * Lakeland Junior Senior High School, Lakeland School District, Jermyn, Pennsylvania
 * Lakeland High School (Virginia), Suffolk, Virginia

Lakeland High School may also refer to:
 * Lakeland Regional High School, Wanaque, New Jersey
 * Lakeland Union High School, Minocqua, Wisconsin

Lakeland School District
Lakeland school district may refer to:
 * Lakeland School District (Pennsylvania), a public school district located in northern Lackawanna County, Pennsylvania
 * Lakeland Central School District, a public school district in New York State
 * Lakeland School System, a municipal school district in Lakeland, Tennessee in Greater Memphis

title: Lakeland High School


text:
Jonathan Dayton and Valerie Faris

Jonathan Dayton (born July 7, 1957) and Valerie Faris (born October 20, 1958) are a duo of American directors and producers for films and music videos. They started their career directing videos for such artists as Red Hot Chili Peppers, R.E.M. and the Smashing Pumpkins. Together they directed the films Little Miss Sunshine (2006), Ruby Sparks (2012), and Battle of the Sexes (2017). They also directed the Netflix comedy series Living with Yourself (2019) and episodes of the Hulu series Fleishman Is In Trouble (2022).

Early life
Dayton was born in Alameda County, California, and grew up in Grass Valley, California. After graduating from Ygnacio Valley High School in Concord, California, he attended the UCLA School of Theater, Film and Television, in the late 1970s. Faris is a native of Los Angeles and the daughter of Paula Forbes, a supervising painter, and Jim Faris, a film editor. Faris met Dayton while attending UCLA as a dance student.

Careers
As a pair, Dayton and Faris have directed and produced music videos, documentaries, commercials and films. They have directed music videos for bands such as Oasis, Red Hot Chili Peppers, Beastie Boys, and R.E.M. Their 1996 video for "Tonight, Tonight" by The Smashing Pumpkins won six MTV Video Music Awards. Another of their videos that found significant success was for the 1990 Extreme song "More Than Words".

They directed a number of sketches for the 1995-1998 HBO sketch comedy series Mr. Show.

In 1998, they established a production company, Bob Industries. Through this company the pair directed commercials for companies such as Hewlett-Packard, Volkswagen, Sony, GAP, Target, IKEA, Apple Computer, and ESPN. The two directed a 1999 commercial for the Volkswagen Cabrio, titled Milky Way, whose soundtrack consisted entirely of the 1972 Nick Drake song "Pink Moon", and which is credited with initiating a massive revival of interest in Nick Drake's music.

They began to be offered feature films to direct at around this time; among projects that they turned down were The Mod Squad (1999) and Bad Boys II (2003).

In 2001, they began to work on the film Little Miss Sunshine; it was released in 2006. The film won the Audience Award at the 2006 Sydney Film festival and an ovation at the 2006 Sundance Film Festival, and was nominated for an Academy Award for Best Picture. Their directing style for the film involved a high level of improvisation to allow the actors to create organic connections to the roles.

In 2006, the pair were announced as the directors of a planned screen adaptation of Tom Perrotta's novel The Abstinence Teacher for Warner Independent Pictures. In 2007 Perrotta wrote a screenplay with input from Dayton and Faris. However, by 2012 they had left the project, and it was taken over by director Lisa Cholodenko.

Their next film was Ruby Sparks in 2012. Dayton and Faris then directed Battle of the Sexes, about the tennis match between Billie Jean King and Bobby Riggs, with Emma Stone as King and Steve Carell as Riggs. The film also stars Elisabeth Shue, Alan Cumming, and Sarah Silverman; it was released in 2017.

Personal life
Dayton and Faris married and began working as creative partners after meeting in college. They have three children together.

Filmography
Directors
 * Little Miss Sunshine (2006)
 * Ruby Sparks (2012)
 * Battle of the Sexes (2017)
 * Living with Yourself (2019, 8 episodes)
 * Fleishman Is in Trouble (2022, 3 episodes)

Producers
 * The Decline of Western Civilization Part II: The Metal Years (1988)
 * Gift (Jane's Addiction) (1993)

Videography
Directors
 * "Wolves, Lower", R.E.M. (1982)
 * "Blue Kiss (Version 2)", Jane Wiedlin (1986)
 * "Hole Hearted", Extreme (1991)
 * "More Than Words", Extreme (1991)
 * "Weight of the World", Ringo Starr (1992)
 * "Bad Luck", Social Distortion (1992)
 * "Pets", Porno for Pyros (1993)
 * "Rocket", The Smashing Pumpkins (1994)
 * "Gun", Soundgarden (1994)
 * "I Don't Want to Grow Up", Ramones (1995)
 * "Tongue", R.E.M. (1995)
 * "Star 69", R.E.M. (1995)
 * "The Good Life", Weezer (1996)
 * "1979", The Smashing Pumpkins (1996)
 * "Tonight, Tonight", The Smashing Pumpkins (1996)
 * "Spider-Man", Ramones (1996)
 * "All Around the World", Oasis (1997)
 * "The End Is the Beginning Is the End", The Smashing Pumpkins (1997; co-directed with Joel Schumacher)
 * "Perfect", The Smashing Pumpkins (1998)
 * "She Will Have Her Way", Neil Finn (1998)
 * "Go Deep", Janet Jackson (1998)
 * "Barbarella", Scott Weiland (1998)
 * "She's Got Issues", The Offspring (1999)
 * "Freak on a Leash", KoЯn (1999; co-directed with Todd McFarlane and Graham Morris)
 * "Road Trippin'", Red Hot Chili Peppers (2000)
 * "Californication", Red Hot Chili Peppers (2000)
 * "Otherside", Red Hot Chili Peppers (2000)
 * "Sexual Revolution", Macy Gray (2001)
 * "Sing", Travis (2001)
 * "Side", Travis (2001)
 * "When Your Eyes Say It", Britney Spears (2001) (unreleased)
 * "The Zephyr Song", Red Hot Chili Peppers (2002)
 * "By the Way", Red Hot Chili Peppers (2002)
 * "Tell Me Baby", Red Hot Chili Peppers (2006)

Executive producers
 * "Thirty-Three", The Smashing Pumpkins (1996)
 * "The New Pollution", Beck (1997)

Producers
 * "In My Darkest Hour", Megadeth (1988)
 * "Hole Hearted", Extreme (1991)
 * "More Than Words", Extreme (1991)
 * "Outshined", Soundgarden (1991)

Live action directors
 * "Shadrach", Beastie Boys (1989)

Awards

 * Directors Guild of America Award nomination for Little Miss Sunshine (Outstanding Directorial Achievement in Motion Pictures)
 * BAFTA nomination for Little Miss Sunshine (David Lean Award for Direction)
 * Independent Spirit Award for Little Miss Sunshine (Director)
 * Best Director at Tokyo International Film Festival for Little Miss Sunshine
 * ANDY Award for Sony PlayStation "Gravity Bomb" (Advertising Club of New York)
 * Ratchet & Clank: Going Commando "Gravity Bomb" (Clio Award)
 * Ratchet & Clank: Going Commando campaign: "Gravity Bomb / Tractor Beam" (2004 Winner Advertising Club of New York)
 * Ratchet & Clank: Going Commando campaign: "Gravity Boots, Gravity Bomb, Tractor Beam" (Clio Award)
 * Best Rock Video, "By the Way" (MTV Video Music Awards Japan, 2003)
 * Director of the Year (Billboard Music Award, 2000)
 * Best Direction, "Californication" (MTV Video Music Awards)
 * 9 Nominations for "Freak On A Leash" (MTV Video Music Awards)
 * 4 Nominations for The Smashing Pumpkins "The End Is The Beginning Is The End" (MTV Video Music Awards)
 * 5 Nominations for "Californication" (MTV Video Music Awards)
 * Best Short Form Video, "Freak On A Leash" (Grammy Awards)
 * Nomination for Oasis "All Around the World" (Grammy Awards)
 * Nomination for The Smashing Pumpkins "Tonight Tonight" (Grammy Awards)
 * 6 Awards for The Smashing Pumpkins "Tonight Tonight" (MTV Video Music Awards)
 * Best Alternative Video for The Smashing Pumpkins "1979" (MTV Video Music Awards)
 * 3 Nominations for Porno for Pyros "Pets" (MTV Video Music Awards)
 * Best Alternative Video for Jane's Addiction "Been Caught Stealing" (MTV Video Music Awards)
 * Best Longform Video for Janet Jackson "Rhythm Nation 1814" (Grammy Awards)

title: Jonathan Dayton and Valerie Faris


text:
Invitation to the Dance (album)

Invitation to the Dance is the second album by nu metal band 40 Below Summer. The album was released on October 16, 2001 via London-Sire Records. It is the band's first record to be put out on a major label. Two months after its release, the label went out of business, and the album was re-issued through Warner Music.

Background and recording
The band originally formed in 1998. The only two constant members, vocalist Max Illidge and rhythm guitarist Joey D'Amico, first met each other during late 1997. 40 Below Summer had made a name for themselves by performing heavily across their native New Jersey and New York. In late 2000, the band's self-released CD Rain found its way to No Name Management (known for acts such as Slipknot and Mudvayne). Slipknot's Shawn Crahan came into contact with the CD through the head of Slipknot's street team in New York, who had connections to 40 Below Summer. For eight hours straight, Crahan had the CD on repeat in his car while driving from Iowa to Los Angeles (where No Name was based). After hearing Rain, Crahan pushed for 40 Below Summer to join No Name. 40 Below Summer had a manager showcase, with three management groups showing interest in them. They chose to partner with No Name, due to their association with Slipknot and Mudvayne. They believed that partnering with No Name would give them a better chance of touring with these bands, and that it could allow them to take on tours that those bands didn't want to do.

After joining No Name, numerous record label showcases on both coasts followed. It was reported that up to fifteen prominent labels expressed an interest in signing the band. Crahan would continue to help out 40 Below Summer during the period where they were weighing up offers from prospective labels. The band flew out to Los Angeles and showcased for Madonna's record label Maverick, which was part of Warner Music Group. The band were excited about the prospect of potentially joining Maverick, since it was the same label that the Deftones were on. In Los Angeles, they also showcased for Capitol Records. London-Sire were at the same showcase as Capitol, and the band decided to join them. London-Sire was another Warner-owned label, but was based in New York, unlike Maverick. In addition to this, No Name had a good relationship with the A&R at the label. At first, the band were given a larger offer to join Maverick, and had initially accepted it. The band were happy with the deal, but were trying to negotiate an extra small sum of money. Illidge states that it was "an additional 5%" and that it "wasn't big". Illidge grew up around the record industry in New York, and had experience dealing with labels, which is why he involved himself in the label negotiations for 40 Below Summer. They ended up not signing with Maverick as a result of Steven Richards, who was the head of No Name at the time. Richards tried to get Maverick to pay the band a significantly larger amount of money than they had originally asked for, with the label refusing. Illidge recalls that Maverick told them that "what you're asking for is absurd, this is a metal band. This isn't the Backstreet Boys, this isn't something that's guaranteed to go gold almost immediately."

In March 2001, 40 Below Summer travelled to Los Angeles again to commence recording their major label debut for London-Sire. The band had never been to California prior to joining No Name, with D'Amico recalling in 2021, "the vibe there was very relaxed, and we're from New York, so we thought everybody there was weird, we're like 'why are they so nice? why is everybody so happy?'".

40 Below Summer were given a recording budget of around 250,000 dollars, and made Invitation to the Dance with well-known rock and metal producer GGGarth (Rage Against the Machine, Mudvayne, Kittie). Despite also being credited as a producer, Crahan only contributed to the business workings of the band. After first being approached to produce, GGGarth listened to their independent releases. He enjoyed what the band was doing, subsequently saying that one of the main things that made him want to work with 40 Below Summer was Max Illidge, who he found to be a charismatic frontman. GGGarth was originally from Vancouver, Canada, and had production gear from the city driven over to the studio where 40 Below Summer was recording. Lead guitarist Jordan Plingos recalled in 2001 "I think the first thing that we clicked with Garth about was that he was relaxed. He wasn't like, 'let's go, guys, let's go!' He was more like, 'get comfortable, get settled in.' His whole thing is bringing out the best in you, so pressuring you to do something doesn't help. He was all about us, which was amazing." Max Illidge said in 2002 "he’s a lot of fun. He’s crazy too. Definitely a crazy little fucker, but he’s a lot of fun and a very talented guy. He definitely helped unlock some doors inside of me."

GGGarth was a user of marijuana at the time, and would make sure Illidge and other members of the band had access to the drug when they came to the studio, with the members often using it before recording their parts. D'Amico recalled that GGGarth thought he "played better" when he was high on marijuana. In spite of this drug use, Illidge claims that they came to the studio on time every day and didn't do much hard partying, like many other bands would at the time. D'Amico said in 2021, "we weren't doing hard drugs, we never were a band like that. We were never like into doing coke and shit like that. Drinking and pot were mainly our vices, and California at the time had the best weed in the planet, [so] we were smoking our brains out." As a result of their major label deal, the band had access to hundreds of thousands of dollars, which meant they were able to afford all the marijuana they were using.

During the making of the album, the band came into contact with well-known musicians. Illidge says he remembers spending nights smoking marijuana with Stephen Carpenter from Deftones and B-Real from Cypress Hill. Illidge was introduced to B-Real through Jim LaMarca of Chimaira. 40 Below Summer also came into contact with the band Flaw, who were making their major label debut Through the Eyes at the same studios. One of their members, Ryan Juhrs, later became part of 40 Below Summer. The two bands would check on the progress of each other's album, with D'Amico recalling that Flaw were surprised at how heavy 40 Below Summer was. They had initially believed them to be an emo band because of their name.

The album was mixed by veteran producer and engineer Toby Wright, who shared the same management as GGGarth. Initially, it was going to be mixed by another engineer, but they had to find someone else at the last minute. Wright didn't know of the band prior to taking on the project, and listened to their previous independent material in order to get a sense of their musical progression. Wright interviewed GGGarth and the band before mixing it, since he wanted to know what their "vision" for the record was. The band later said that they believed Wright's mixing helped make the record "sound huge". While the band were pleased with Wright's overall work, Illidge notes that Wright decided to digitally replace the drum tones on the record with his own drum samples, which Illidge disagreed with. Illidge said in 2021, "still to this day I wonder how the record would sound if he hadn't of done [that]." Wright said that the changing of the drums was just a "little enhancement", adding that only certain parts of the album had the drums replaced.

Howie Weinberg had originally been hired to master the album, however, the band didn't like the job he did mastering three of their songs, and decided to get Illidge's godfather Alan Silverman to master it instead. Silverman, who had previously worked on their independent releases, had always been their original choice to master the album. Illidge said in 2021 that, "Howie Weinberg mastered our record like it was every other metal record, which back then is just smash it to death, compress the shit out of it and then make it loud as hell, which in turn just gave us a distorted piece of crap. It just didn't sound good."

Promotion, title and artwork
No conceptual music videos ended up being made to promote Invitation to the Dance, in part due to issues with the band's troubled label London-Sire. Despite being one of the heavier songs on the album, "Falling Down" received moderate airplay, leading to it initially being considered. Max Illidge stated in 2002 "We could have made a video for it and maybe if the video was shocking enough it would have given us a bigger push, but London-Sire just decided to scrap "Falling Down" and go with "Wither Away" for the video. I mean we were literally going to leave in like a few days to shoot the video for ‘Wither Away" — en route to LA — we had the plane tickets and the actresses schedules and just all that, and we were about three days away from the day of shooting and we got the phone call that we weren’t doing it and they were going to wait until early next year, but we knew that they were folding. We are not ever going to get that video." A live video for "Rope" was eventually created. Shortly before Invitation to the Dance was released, an electronic press kit for the album was also made, which shows the band members speaking to an actress playing a fortune teller.

The band only came up with the title Invitation to the Dance once they started recording the album in Los Angeles. The dance theme would be referenced again on 40 Below Summer's 2006 album The Last Dance, which was their final release before their initial breakup. The elderly man on the album cover also appeared in the 2000 music video for the 3 Doors Down song "Kryptonite." He is shown holding tarot cards, with the artwork concept being conceived by the band members and executed by Los Angeles-based t42design. The cover and booklet photography were shot in the Californian desert over the course of a single day.

Music and influences
The album combines the downtuned riffs of nu metal/alternative metal with elements of New Jersey hardcore, hip hop, jazz and hard rock. Regarding the album's sound, Joey D'Amico remarked in September 2001 that "the music is definitely emotional, but its hardcore in its roots". Illidge and D'Amico both had parents who were musicians, and as such were influenced by a variety of non-rock musical styles growing up. The New York progressive band Candiria, which combined genres such as jazz, rap, R&B and metal, has been cited as a major influence by Illidge and D'Amico. D'Amico said in 2021 that they "had the attitude we had, we never stuck to a formula or said 'we have to write this type of song', it was just whatever we felt." D'Amico often went to see local bands from the New Jersey/New York hardcore scene such as Vision of Disorder, and was influenced by them. While the band dislikes being put into the nu metal category, D'Amico noted in 2021 they were also influenced by bands associated with the movement, including Korn, Slipknot, Sevendust, Incubus, early Deftones and Limp Bizkit's first album Three Dollar Bill, Y'all. Prior to discovering these bands, they were influenced by 90s alternative bands such as Soundgarden and The Smashing Pumpkins, as well as metal bands such as Iron Maiden, Def Leppard, Pantera, Exodus and Testament. D'Amico said in 2021, "you have forever to write your first album, so the influences can run really deep from when you first encounter music up into that point. Right before we made the record, I was listening to Glassjaw's first record non-stop. That was a huge influence on me and Max as well."

Max Illidge used techniques with his microphone to create natural tremolo effects on his voice, which can be heard on songs such as "Smile Electric". He would also do these techniques with his microphones during live performances, and said that Faith No More vocalist Mike Patton influenced him in doing this. Illidge adds that his melodies were "inspired from strange places", saying that some of them were influenced by 1980s Britpop music as well as the band Queensrÿche. Illidge considers "Wither Away" to be his favorite vocal performance on the album. The chorus to the song was written by Illidge in 1995, before he had formed 40 Below Summer. D'Amico later came up with guitar work that was inspired by Iron Maiden's "Wasted Years", and Illidge then went to his home studio and wrote the rest of the song around D'Amico's guitar parts. Illidge had a drum machine at his home studio and at a practice session the next day came to his band members with a nearly complete version of the song. This version of "Wither Away" was written shortly before 40 Below Summer was signed to London-Sire, when they were still in the process of doing showcases for labels.

Songs such as "Falling Down" and "Rejection" feature a volatile brand of singing which frequently alternates between melodic crooning, rapping and more extreme vocal stylings. Jordan Plingos stated in 2001 "If somebody asks me what this band sounds like, I say 'go listen to 'Falling Down,' because it has everything. It starts off fast and heavy and brutal, and then, from the bridge and chorus to the end, it makes you cry. That song right there covers it all." D'Amico said in 2021 that the changes in mood throughout songs such as "Falling Down" were inspired by The Smashing Pumpkins, who often had "dreamy" parts mixed with heavier moments. However, he notes that the band didn't intentionally set out to have contrasting soft parts in "Falling Down" when they first wrote the song.

"Step into the Sideshow", "Falling Down", "Rejection" and "Jonesin" were all rerecorded songs that originally appeared on the band's independent releases Side Show Freaks (1999) and Rain (2000). D'Amico stated in December 2001 "'Falling Down' is like the epitome of 40 Below Summer. There was no way that it wasn't going to make the album. 'Jonesin' is a sick twisted tale that we just wanted to tell. It's a true story. 'Sideshow' is like the anthem. It always gets the crowd going. 'Rejection'… I don't know. It's just a pretty heavy song so it made it." The song "Power Tool" was one of the earliest pieces of music written by the band. It was originally titled "Monica" (in reference to the 1998 Monica Lewinsky and Bill Clinton scandal) but had to be changed for legal reasons.

Release
According to Max Illidge, the record has sold roughly 100,000 copies. He has noted that it is the only record in 40 Below Summer's discography which they do not control the rights to. Both this and the band's next album The Mourning After had limited releases overseas, with Invitation to the Dance also being released in countries such as Australia and Japan.

Reception
Allmusic's Jason D. Taylor gave the album a positive four-star review, noting that "Invitation to the Dance at first glance may seem to be just another hard rock album, but along with further observation it is apparent that 40 Below Summer is striving to spice up what modern hard rock became in the 21st century." He concluded his review by writing "40 Below Summer's ability to keep the listener guessing and the album's repetitive appeal make Invitation to the Dance a surefire hit for those looking for something more out of hard rock than a down-tuned bass and simplistic lyrics." In December 2001, Amber Authier of Canadian publication Exclaim! also gave Invitation to the Dance a positive review. She wrote, "this disc has all the trappings of a big monster metal record. Vocalist Max Illidge has a voice that is reminiscent of the master bands like Queensrÿche, but with a modern growl." Authier added, "don't get me wrong; this is a contemporary record that can hold its own in the company of bands like Slipknot and Korn, it just has that little something extra. Maybe it is the worldly influences of Peruvian drummer Carlos Aguilar and Puerto Rican bassist Hector Graziani."

Aaron McKay of extreme metal website Chronicles of Chaos had a more negative review. He gave it a 3 out of 10 in May 2003, writing that, "40 Below Summer is what I call radio metal. You know, Alien Ant Farm, Disturbed, Linkin Park and the like. Positively riddled from beginning to the welcome end with non-stop monotony like a mandatory week long insurance seminar." In 2015, VH1 ranked the album ninth on their list of "The 12 Most Underrated Nu Metal Albums".

40 Below Summer

 * Max Illidge – vocals
 * Joey D'Amico – guitar
 * Jordan Plingos – guitar
 * Hector Graziani – bass
 * Carlos Aguilar – drums, piano

Production

 * Producer – GGGarth, M. Shawn Crahan, Steve Richards
 * Engineer – Michael Baskette
 * Mixing – Toby Wright at the Record Plant
 * A&R – Adrian Vallera
 * Second Engineer at Cello Studios – Alan Sanderson
 * Second Engineer at Sound City Studios – Ben Mumphrey
 * Production Coordinator – Chris Vaughan-Jones
 * Digital Editing – Ben Kapplan
 * Mastering – Alan Silverman at Arf! Digital NYC
 * Photography – Dean Karr, M. Shawn Crahan, Stefan Seskis
 * album art – t42design

title: Invitation to the Dance (album)


text:
Gennady Lyachin

Gennady Petrovich Lyachin (Геннадий Петрович Лячин; 1 January 1955 – 12 August 2000) was a Russian navy officer. He was the commanding officer of the Russian submarine Kursk when the vessel suffered a series of explosions and sank on 12 August 2000.

Lyachin was born in Sarpinsky in Volgograd Oblast. He entered the Navy in 1972 and graduated from the Higher Naval School of Submarine Navigation named for Lenin Komsomol in 1977 and was commissioned as an officer. He served as a weapons officer aboard the diesel-electric Juliett class cruise missile submarine K-58. From 1984 to 1986, as Captain 3rd Rank, he served as the executive officer of the K-77, also a Juliett Class. In 1986 he attended Advanced Special Officers' Classes during which time he was promoted to Captain 2nd Rank.

In October 1988, Lyachin received his first command, the K-304 also a Juliett class. He held this position until the K-304 was decommissioned after the fall of the Soviet Union in 1991.

In April 1991, he was appointed executive officer of a nuclear submarine, the Project 949A Antey class (NATO reporting name Oscar-II) K-119 Voronezh and served aboard through 1996. He and the newly formed crew spent the time between September 1991 and March 1993 undergoing training in Obninsk.

Lyachin was promoted to the rank of Captain 1st Rank in 1996 and given command of the Voronezh's sister ship, the ill-fated K-141 Kursk, the very last Project 949A submarine to be completed, which had been commissioned only two years earlier. When the Kursk sank on August 12, 2000, Lyachin perished along with the rest of the 117 crew members.

President of the Russian Federation Vladimir Putin awarded the title of Hero of the Russian Federation to Lyachin posthumously "For courage and heroism, during performance of sailor's duties".

title: Gennady Lyachin


text:
Talk:P. Ballantine and Sons Brewing Company

Comment
Suggestion: This is a great article on Ballantine Brewery however this does not related to Ballantine as the name which would be more approriate can this article be changed to Ballantine Brewery? David Ballantine

Suggestion: The article mentions the beer can label; there should probably be a pic of it. abfackeln 02:48, 11 July 2005 (UTC)

 * There's a pic of the logo at http://www.liv.ac.uk/~spmr02/rings/beer_mat2.jpg, linked from http://www.liv.ac.uk/~spmr02/rings/beer.html , but it won't be public domain... AnonMoos 21:12, 16 April 2006 (UTC)

PLEASE HELP! I cannot understand the instructions. There's a file I scanned of a Ballantine promotional marker (ballantine_marker0001.jpg) that I'm trying to upload AND link to the Ballantine page (http://en.wikipedia.org/wiki/Ballantine).User:chameleonesta

 * Just click on "Upload file" link, and unless your browser is buggy or antiquated, you should be able to automatically specify the to-be-uploaded file's full location and name on your computer by clicking on "browse" button. Unless it dates from before 1923, the material will in all probability not have a free license, which will limit its usefulness... AnonMoos 11:50, 17 July 2007 (UTC)

I DID click the upload file link. It still just uploads the image without linking it to that page!!!! I'm confused about this whole deal. This is an aluminum 3-ring marker that I just want to upload so it shows on the page! It was given to me when the company still ran out of Newark, N.J. Copyright has me clueless also.

So, basically, I don't know how to link it to the page and what to say for copyright I have no idea.

The browser I'm using is the latest version of Safari, on a Macintosh.

 * For more detailed info, you would be likely to get help on the general "help Desk" suitable for Wikipedia qustions (this page is really supposed to be for discussions about Ballantine Brewery). See Help:Contents ... AnonMoos 19:01, 21 July 2007 (UTC)

John Bonham's symbol
In the 'Ballantine as sponsor and in popular culture' section, this was stated as fact:
 * * The famous drummer John Bonham of hard rock band Led Zeppelin used the logo of Ballantine beer as a high influence to create his "symbol" for the album Led Zeppelin IV.

There is no evidence for this as far as I'm aware and the symbol was actually taken from Rudolf Koch's Book of Signs. A more accurate rewording might be:
 * * The symbol chosen by Led Zeppelin's drummer, John Bonham, to represent himself in the sleeve notes of Led Zeppelin IV resembles the logo of Ballantine beer.

However, as it is probably not an overt reference and merely a passing similarity, I have removed the mention. John Bonham's symbol is upside-down with respect to the Ballantine logo, and the rings are intersecting, not interlocking. --Mr fanshaw (talk) 00:22, 30 January 2012 (UTC)

"XXX" Designation on Ballantine Ale
I will be explaining the origins of the "XXX" symbol/term used on their signature ale. It has to do with how strong the beer is, and thus how much it was taxed. I have reliable sources. Davecharlie0 (talk) 07:09, 5 June 2015 (UTC)

GoingBatty nice work. Davecharlie0 (talk) — Preceding undated comment added 03:07, 6 June 2015 (UTC)


text: User talk:69.224.42.149

title: User talk:69.224.42.149


text:
Gas turbine locomotive

A gas turbine locomotive is a type of railway locomotive in which the prime mover is a gas turbine. Several types of gas turbine locomotive have been developed, differing mainly in the means by which mechanical power is conveyed to the driving wheels (drivers). A gas turbine train typically consists of two power cars (one at each end of the train), and one or more intermediate passenger cars.

A gas turbine offers some advantages over a piston engine. There are few moving parts, decreasing the need for lubrication and potentially reducing maintenance costs, and the power-to-weight ratio is much higher. A turbine of a given power output is also physically smaller than an equally powerful piston engine, so that a locomotive can be extremely powerful without needing to be inordinately large.

However, a gas turbine's power output and efficiency both drop dramatically with rotational speed, unlike a piston engine, which has a comparatively flat power curve. This makes GTEL systems useful primarily for long-distance high-speed runs. Additional problems with gas turbine-electric locomotives include the fact that they are very noisy and produce such extremely hot exhaust gasses that, if the locomotive were parked under an overpass paved with asphalt, it could melt the asphalt.

Early developments
A gas turbine locomotive was patented in 1861 by Marc Antoine Francois Mennons (British patent no. 1633). The drawings in Mennons' patent show a locomotive of 0-4-2 wheel arrangement with a cylindrical casing resembling a boiler. At the front of the casing is the compressor, which Mennons calls a ventilator. This supplies air to a firebox and the hot gases from the firebox drive a turbine at the back of the casing. The exhaust from the turbine then travels forwards through ducts to preheat the incoming air. The turbine drives the compressor through gearing and an external shaft. There is additional gearing to a jackshaft which drives the wheels through side rods. The fuel is solid (presumably coal, coke or wood) and there is a fuel bunker at the rear. There is no evidence that the locomotive was actually built but the design includes the essential features of gas turbine locomotives built in the 20th century, including compressor, combustion chamber, turbine and air pre-heater.

Work leading to the emergence of the gas turbine locomotive began in France and Sweden in the 1920s but the first locomotive did not appear until the 1940s. High fuel consumption was a major factor in the decline of conventional gas-turbine locomotives and the use of a piston engine as a gas generator would probably give better fuel economy than a turbine-type compressor, especially when running at less than full load.

One option is a two-shaft machine, with separate turbines to drive the compressor and the output shaft. Another is to use a separate gas generator, which may be of either rotary or piston type.

Gas turbine-mechanical
Gas turbine-mechanical locomotives use a mechanical transmission to deliver the power output of gas turbines to the wheels. Owing to the difference in their speeds, this is technically challenging and so a mechanical transmission did not appear until ten years after the first electric transmissions.

France
The first gas turbine-mechanical locomotive in the world, Class 040-GA-1 of 1,000 hp was built by Renault in 1952 and had a Pescara free-piston engine as a gas generator. It was followed by two further locomotives, Class 060-GA-1 of 2,400 hp in 1959–61.

The Pescara gas generator in 040-GA-1 consisted of a horizontal, single cylinder, two-stroke diesel engine with opposed pistons. It had no crankshaft and the pistons were returned after each power stroke by compression and expansion of air in a separate cylinder. The exhaust from the diesel engine powered the gas-turbine which drove the wheels through a two-speed gearbox and propeller shafts. The free-piston engine was patented in 1934 by Raul Pateras Pescara.

Several similar locomotives were built in the USSR by Kharkov Locomotive Works.

Sweden
The power gas locomotive was built by Gotaverken. It had a vertical, five cylinder, two-stroke diesel engine with opposed pistons. There was a single crankshaft connected to both upper and lower pistons. The exhaust from the diesel engine powered the gas turbine which drove the wheels through reduction gearing, jack shaft and side rods.

Czechoslovakia
Turbine power was considered for railway traction in the former Czechoslovakia. Two turbine-powered prototypes were built, designated TL 659.001 and TL 659.002, featuring C-C wheel arrangement, 3200 hp (2.4 MW) main turbine, helper turbine and Tatra 111 helper diesel engine.

The first prototype (TL 659.001) was finished in February 1958 and was scheduled to be exhibited at Expo '58. However, this was aborted because it was not ready in time. The first out-of-factory tests were conducted in March 1959 on the Plzeň–Cheb–Sokolov line. On 15 May 1959, the first prototype pulled its heaviest train, 6486 metric tons, but the turbine caught fire only a day later. The engine was never restored and eventually scrapped.

The second prototype (TL 659.002) was built with lessons learned from the first. It left the factory in March 1960 and was the only turbine locomotive to pass the tests for regular service on tracks of the former Czechoslovak State Railways. It was tried near Kolín and Plzeň with mixed results. This engine was taken out of service in April 1966 and sold to the University of Žilina as an educational instrument. It was scrapped some time later.

Although the experiments had mixed results, these were the most powerful locomotives with a purely mechanical powertrain in the world and also the most powerful independent-traction locomotives in Czechoslovakia.

United Kingdom
The British Rail GT3 was a simple machine consisting essentially of a standard oil-fired gas turbine mounted on a standard steam locomotive chassis, built as a demonstrator by English Electric in 1961. Its almost crude simplicity enabled it to avoid much of the unreliability which had plagued the complex experimental GTELs 18000 and 18100 in earlier years, but it failed to be competitive against conventional traction and was scrapped.

Examples
Examples of gas turbine-mechanical locomotives:

 * 1933 Nydqvist and Holm, 1-B-1, Sweden
 * 1952 Davenport-Bessler Corp., 1-B-1, United States, 300 hp (220 kW) (designed by R. Tom Sawyer)
 * 1951 Renault, France, B-B, 1000 hp
 * 1954 Gotaverken, Sweden, 1-C-1, 1300 hp
 * 1958 Renault, France, C-C, 2000 hp
 * 1958 Škoda, C-C, Czechoslovakia, 3200 hp
 * 1959 British Rail GT3, 2'C, 2700 hp

Gas turbine-electric

A gas turbine-electric locomotive (GTEL) is a locomotive that uses a gas turbine to drive an electric generator or alternator, producing an electric current which is used to power traction motors. This type of locomotive was first experimented with during the Second World War, but reached its peak in the 1950s to 1960s. Few locomotives use this system today.

A GTEL uses a turbo-electric drivetrain in which a turboshaft engine drives the electric generator or alternator via a system of gears. The electric current is distributed to power the traction motors that drive the locomotive. In overall terms the system is very similar to a conventional diesel-electric, with the large diesel engine replaced with a smaller gas turbine of similar power.

Union Pacific operated the largest fleet of such locomotives of any railroad in the world, and was the only railroad to use them for hauling freight. Most other GTELs have been built for small passenger trains, and only a few have seen any real success in that role. With a rise in fuel costs (eventually leading to the 1973 oil crisis), gas turbine locomotives became uneconomical to operate, and many were taken out of service. Union Pacific's locomotives also required more maintenance than originally anticipated, due to fouling of the turbine blades by the Bunker C oil used as fuel.

Switzerland

In 1939, the Swiss Federal Railways ordered a GTEL with a 1620 kW of maximum engine power from Brown Boveri. It was completed in 1941, and then underwent testing before entering regular service. The Am 4/6 was the world's first gas turbine-electric locomotive. It was intended primarily to work light, fast, passenger trains on routes that normally handle insufficient traffic to justify electrification.

United Kingdom

Two gas turbine locomotives of different design, 18000 and 18100, were ordered by the Great Western Railway (GWR) but completed for the newly nationalised British Railways.

British Rail 18000 was built by Brown Boveri and delivered in 1949. It was a 1840 kW (2470 hp) GTEL, ordered by the GWR and used for express passenger services.

British Rail 18100 was built by Metropolitan-Vickers and delivered in 1951. It had an aircraft-type gas turbine of 2.2 MW. Its maximum speed was 90 mph.

A third locomotive, the GT3, was constructed in 1961. Although built by English Electric, who had pioneered electric transmission with LMS 10000 locomotives, this used a turbine-mechanical transmission.

The British Rail APT-E, the prototype of the Advanced Passenger Train, was turbine-powered. Like the French TGV, later models used an alternative electric powertrain. This choice was made because British Leyland, the turbine supplier, ceased production of the model used in the APT-E, having lost interest in gas turbine technology following the 1970s oil crisis.

United States

ALCO-GE built a prototype oil-fired gas turbine-electric locomotive in 1948, with a B-B-B-B wheel arrangement. After demonstration runs it was acquired by Union Pacific, who were seeking a more powerful alternative to diesel for transcontinental trains.

UP ran a fleet of 55 turbine-powered freight locomotives starting in the early 1950s, all produced by Alco-GE. The first- and second-generation versions shared the same wheel arrangement as the prototype; the third-generation version were C-C types. All were widely used on long-haul routes, and were cost-effective despite their poor fuel economy, due to their use of "leftover" fuels from the petroleum industry. At their height the railroad estimated that they powered about 10% of Union Pacific's freight trains, a much wider use than any other example of this class. As other uses were found for these heavier petroleum byproducts, notably for plastics, the cost of the Bunker C fuel increased until the units became too expensive to operate and they were retired from service by 1969.

In April 1950, Baldwin and Westinghouse completed an experimental 4000 hp turbine locomotive, #4000, known as the Blue Goose, also using the B-B-B-B wheel arrangement. The locomotive used two 2000 hp turbine engines, was equipped for passenger train heating with a steam generator that utilized the waste exhaust heat of the right hand turbine, and was geared for 100 mph. While it was demonstrated successfully in both freight and passenger service on the PRR, MKT, and CNW, no production orders followed, and it was scrapped in 1953.

In the 1960s United Aircraft built the Turbo passenger train, which was tested by the Pennsylvania Railroad and later used by Amtrak and Via Rail. The Via remained in service into the 1980s and had an excellent maintenance record during this period, but was eventually replaced by the LRC in 1982. Amtrak purchased two different types of turbine-powered trainsets, which were both called Turboliners. The sets of the first type were similar in appearance to SNCF's T 2000 Turbotrain, though compliance with FRA safety regulations made them heavier and slower than the French trains. None of the first-type Turboliners remain in service. Amtrak also added a number of similarly named Rohr Turboliners (or RTL) to its roster. There were plans to rebuild these as RTL IIIs, but this program was cancelled. The units owned by New York State were sold for scrap and the three remaining RTL trainsets are stored at North Brunswick, New Jersey and New Haven, Connecticut.

In 1966, the Long Island Rail Road tested an experimental gas turbine railcar (numbered GT-1), powered by two Garrett turbine engines. This car was based on a Budd Pioneer III design, with transmissions similar to Budd's 1950s-era RDCs. The car was later modified (as GT-2) to add the ability to run on electric third rail as well.

In 1977, the LIRR tested eight more gas turbine-electric/electric dual mode railcars, in an experiment sponsored by the USDOT. Four of these cars had GE-designed powertrains, while the other four had powertrains designed by Garrett (four more cars had been ordered with GM/Allison powertrains, but were canceled). These cars were similar to LIRR's M1 EMU cars in appearance, with the addition of step wells for loading from low level platforms. The cars suffered from poor fuel economy and mechanical problems, and were withdrawn from service after a short period of time. The four GE-powered cars were converted to M1 EMUs and the Garrett cars were scrapped.

In 1997 the Federal Railroad Administration (FRA) solicited proposals to develop high speed locomotives for routes outside the Northeast Corridor where electrification was not economical. Bombardier Ltd, at the Plattsburg, N.Y. plant where the Acela was produced, developed a prototype (JetTrain) which combined a Pratt & Whitney Canada PW100 gas turbine and a diesel engine with a single gearbox powering four traction motors identical to those in Acela. The diesel provided head end power and low speed traction, with the turbine not being started until after leaving stations. The prototype was completed in June 2000, and safety testing was done at the FRA's Pueblo, CO test track beginning in the summer of 2001. A maximum speed of 156 mph was reached. The prototype was then taken on a tour of potential sites for high speed service, but no service has yet begun.

Russia
Two gas turbine-electric locomotive types underwent testing in the Soviet Union. The test program began in 1959 and lasted into the early 1970s. The G1-01 freight GTEL, produced by Kolomna Locomotive Works, was intended to consist of two locomotives of a C-C wheel arrangement, but only one section was built. The GP1 passenger locomotive was a similar design with body of TEP60 diesel locomotive, also with a C-C wheel arrangement, introduced to the test program in 1964. Two units were built by Kolomna Works, GP1-0001 and GP1-0002, which were also used in regular service with passenger trains. Both types had a maximum power output of 2600 kW.

Another soviet gas turbine-hydraulic freight locomotive type GT101 was developed and produced in 1960 by Luhansk Locomotive Works. Like the G1 locomotive, it was intended to consist of two sections of a C-C wheel arrangement, but only one section was built. This section was equipped with four free piston gas generators and gas turbine with a maximum power output of 2200 kW, and a hydraulic transmission. Unlike other locomotives, it was not in regular service.

In 2006, Russian Railways introduced the GEM-10 switcher GTEL. The turbine runs on liquefied natural gas (LNG) and has a maximum power output of 1000 kW. The GEM-10 has a C-C wheel arrangement. The TGEM10-0001, which uses the same turbine and fuel as the GEM-10, is a two-unit (cow-calf) switcher GTEL with a B-B+B-B wheel arrangement. The slave unit of this locomotive is used as a fuel tender with compressed natural gas (CNG) and does not have a prime mover, so its traction motors are powered by the main section. The turbine of this locomotive also has a maximum power output of 1000 kW.

The GT1-001 freight GTEL, remade from an VL15 electric locomotive in 2006 and introduced in 2007, runs on LNG and has a maximum power output of 8300 kW. One section carries the LNG tank and the other houses the turbine with electric power generation, and both section have the traction motors and cabs. The locomotive has a B-B-B+B-B-B wheel arrangement, and up to three GT1 locomotives can be coupled together. On 23 January 2009, the GT1-001 conducted a test run with a 159-car train weighing 15,000 t; further heavy-haul tests were carried out in December 2010. In a test run conducted in September 2011, the locomotive pulled 170 freight cars weighing 16,000 t. In 2012, the helper diesel engine that used for shunting operations was replaced with an accumulator, and the locomotive was renamed to GT1h (where 'h' stands for hybrid). The GT1h-001 remained a prototype and never went into production.

The successor to the GT1h-001 is the GT1h-002. Despite the same type designation, this locomotive has a fundamentally different design with a (B-B)-(B-B)+(B-B)-(B-B) wheel arrangement, derived from the TEM7 diesel shunting locomotive, and the new body with open LNG tank, derived from the body of the 2ES6 electric locomotive. This serial type has a maximum power output of 8500 kW. Both GT1h locomotives are in operation in Egorshino in the Ural region.

Canada

Canadian National Railways (CN) was one of the operators of the Turbo, which were passed on to Via Rail. They operated on the major Toronto–Montreal route between 1968 and 1982, when they were replaced by the LRC.

In 2002, Bombardier Transportation announced the launch of the JetTrain, a high-speed trainset consisting of tilting carriages and a locomotive powered by a Pratt & Whitney turboshaft engine. Proposals were made to use the trains for Quebec City–Windsor, Orlando–Miami, and in Alberta, Texas, Nevada and the UK. One prototype was built and tested, but no JetTrains have yet been sold for service. However, nothing ever came of any of these proposals, and the JetTrain essentially disappeared, being superseded by the Bombardier Zefiro line of conventionally powered high speed and very high speed trains. The JetTrain no longer appears on any of Bombardier's current web sites or promotional materials, although it can still be found on older web sites bearing the Canadair logos.

France

The first TGV prototype, TGV 001, was powered by a gas turbine, but steep oil prices prompted the change to overhead electric lines for power delivery. However, two large classes of gas-turbine powered intercity railcars were constructed in the early 1970s (ETG and RTG) and were used extensively up to about 2000.

SNCF (French National Railways) used a number of gas-turbine trainsets, called the Turbotrain, in non-electrified territory. These typically consisted of a power car at each end with three cars between them. Turbotrain was in use up until 2005. After retirement, four sets were sold for further use in Iran.

Coal-firing
In the 1940s and 1950s research was conducted, in both the US and UK, aimed at building gas turbine locomotives that could run on pulverized coal. The main problem was to avoid erosion of the turbine blades by particles of ash. Only one working example is known to have been produced and it was written off as a failure following testing. The sources for the following information are Robertson and Sampson.

United States
In 1946, a Northrop-Hendy partnership launched an attempt to adapt the Northrop Turbodyne aircraft engine for locomotive use, with coal dust rather than kerosene as a fuel. In December 1946, Union Pacific donated their retired M-10002 streamliner locomotive to the project. However, the project was abandoned by the end of 1947 and there is no clear evidence that the locomotive provided for the experiment ever actually moved under gas turbine power or even had it installed. Details of the research were passed to Britain's London, Midland and Scottish Railway. Following a rise in fuel prices that was making their oil-fired GTELS uneconomic, UP experimentally revived the coal-fired gas turbine idea in the early 1960s, producing one prototype coal GTEL in October 1962. The problems with blade fouling and erosion were severe. The project was declared a failure after 20 months, during which time the locomotive ran less than 10,000 miles.

United Kingdom
On 23 December 1952, the UK Ministry of Fuel and Power placed an order for a coal-fired gas turbine locomotive to be used on British Railways. The locomotive was to be built by the North British Locomotive Company and the turbine would be supplied by C. A. Parsons and Company.

According to Sampson, the plan was to use indirect heating. The pulverized coal would be burned in a combustion chamber and the hot gases passed to a heat exchanger. Here, the heat would be transferred to a separate body of compressed air which would power the turbine. Essentially, it would have been a hot air engine using a turbine instead of a piston.

Robertson shows a diagram that confirms Sampson's information but also refers to problems with erosion of turbine blades by ash. This is strange because, with a conventional shell and tube heat exchanger, there would be no risk of ash entering the turbine circuit.

Working cycle

There were two separate, but linked, circuits: the combustion circuit and the turbine circuit.

 * 1) Combustion circuit.  Pulverized coal and air were mixed and burned in a combustion chamber and the hot gases passed to a heat exchanger where heat was transferred to the compressed air in the turbine circuit.  After leaving the heat exchanger the combustion gases entered a boiler to generate steam for train heating.
 * 2) Turbine circuit.  Air entered the compressor and was compressed.  The compressed air passed to the heat exchanger where it was heated by the combustion gases.  The heated compressed air drove two turbines; one to drive the compressor and the other to power the locomotive.  The turbine exhaust (which was hot air) then entered the combustion chamber to support the combustion.

Specification

The locomotive was never built but the specification was as follows:
 * Wheel arrangement: C-C, later changed to 1A1A-A1A1
 * Horsepower: 1,800, later reduced to 1,500
 * Weight: 117 tons, later increased to 150 tons

The projected output was:
 * Tractive effort,
 * 30000 lbf at 72 mi/h
 * 45000 lbf at 50 mi/h
 * Thermal efficiency,
 * 10% at 1/10 load
 * 16% at half load
 * 19% at full load

The transmission was to be mechanical, via a two-speed gearbox, giving a high speed for passenger working and a lower speed for freight. The tractive effort figures, quoted above, look suspiciously high for the specified speeds. It seems more likely that the figures quoted are for starting tractive effort and maximum speed in high gear and low gear respectively. There is a model of the proposed locomotive at Glasgow Museum of Transport and some records are held at the National Railway Museum.

title: Gas turbine locomotive


text: User talk:70.68.92.57

title: User talk:70.68.92.57


text: Category:Software engineering stubs

title: Category:Software engineering stubs


text:
Talk:Takatāpui

Untitled comments
"The word takatāpui was found to have existed in pre-colonial New Zealand to describe relationships between people of the same sex. The existence of this word kills the conservative Maori argument that homosexuality did not exist in Maori society"

- Is there a reference for this?

Regarding Maaori names for transpeople, not only are these terms are new to me, they seem pretty inaccurate. Shouldn't they be whakawahine (transwoman) and whakatane (transman)? Is there someone who can give a definative answer? Or course, this is assuming we are happy to conflate transgender with homosexuality which is problematic in itself.
 * Are they perhaps new words coined by Te Taura Whiri o te Reo Māori? --Hugh7 (talk) 09:03, 2 June 2016 (UTC)

Removal of bare links
I've removed two (of the tree) bare links of. I would love if someone could convert these removed links into citations. TheManInTheBlackHat (talk) 00:00, 16 October 2022 (UTC)

Potential globalisation
Hi, you tagged the article as needing globalisation, but it’s not clear how you want to see the page improved. This is a page on my radar as needing improvement, and I’d be happy to help, but I don’t personally see country scope as being something that needs attention; it is a Māori word after all, and one that doesn’t appear to have much relevance to other countries. — HTGS (talk) 02:38, 25 March 2023 (UTC)

 * I mostly did it as a test edit. I guess maybe some info about LGBT Māori in Australia would be good here (at least 200,000 Māori live in Australia, which is about one in six of all Māori and over 70% of all Māori outside New Zealand). Thiscouldbeauser (talk) 03:37, 25 March 2023 (UTC)

title: Talk:Takatāpui


text:
Wikipedia:Articles for deletion/AngelBear

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

The result of the debate was delete all three. Sjakkalle (Check!)  11:17, 20 July 2005 (UTC)

AngelBear
and Angelbear and Angel Bear (All three the same content)

Seems to be a hoax/joke. Zero hits for Angel Bear "Ursus Angelus". Sample from the article: "The North American Angel Bear (Ursus Angelus Americanus), most commonly referred to as Ann Marie, injests large amounts of honey and other sweet items to help match her personality."--sounds pretty joke-y. Niteowlneils 02:53, 11 July 2005 (UTC)
 * Delete. Hoax, joke, vanity, or some combination of the three. A и D я 01D  TALK  EMAIL  03:13, July 11, 2005 (UTC)
 * Delete. Looks like a hoax. DarthVader 03:23, 11 July 2005 (UTC)
 * Delete as per Android. -mysekurity 05:44, 11 July 2005 (UTC)
 * Delete: Kid (self-)tribute. Geogre 18:02, 11 July 2005 (UTC)
 * Delete nonsense. --Etacar11 23:55, 11 July 2005 (UTC)
 * Delete pointless vanity listing. Duckorange 15:08, 18 July 2005 (UTC)
 * Delete. Could have been speedied. Binadot 03:48, 19 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:
Talk:Chi Omega

Chi Omega's size, compared to other women's organizations and sororities
I don't think Chi Omega can claim to be the 'second largest women's organization in the US'. Can this be verified? The statement is ambiguous at best, incorrect at worst. For instance, National Organization of Women (NOW) claims over 500,000 members (although they include men and women.) The YWCA has over 2.6 million members in the US alone (again, not strictly women-only. But even among exclusive, women-only sororal groups - the Daughters of the American Revolution (DAR) boasts 168,000 living members, 3,000 chapters and since its founding has admitted over 800,000 members. The numbers for Chi Omega (at 300,000?) are for total members over the entire life of the organization and are most certainly less than that. Therefore I am removing this statistic from the post, barring verification to the contrary. --CaliGyrl 21:11, 10 April 2006 (UTC)

 * Chi Omega's claim as "largest womens' group" is unfounded. Other womens' groups are larger.  Starting with the DAR that has inducted over 700,000 members.  Time to lose that piece of urban legend.  —Preceding unsigned comment added by 65.7.134.213 (talk) 22:36, 7 September 2009 (UTC)

Chi O as a fraction of all sororities
The statistic discussed below is actually true because it includes alumnae of Chi Omega members. --Jobelle 18 June 2009 —Preceding unsigned comment added by 96.225.208.12 (talk) 17:40, 18 June 2009 (UTC)

 * I made a correction to the introduction paragraph to edit a false statistic - 1 in ever 4 sorority women are most assuredly not Chi Omegas. The current number of total initiates for NPC sororities alone according to The Greek Info Pages:

 * 240,000 - Chi Omega
 * 223,969 - Pi Beta Phi
 * 220,000 - Zeta Tau Alpha
 * 210,000 - Delta Delta Delta
 * 200,000 - Kappa Kappa Gamma
 * 191,000 - Kappa Alpha Theta
 * 190,000 - Delta Gamma
 * 189,000 - Alpha Chi Omega
 * 182,500 - Alpha Delta Pi
 * 180,000 - Kappa Delta .. and that is just the top ten in size - there are 26 NPC sororities total

 * And even with the top ten in size that is over 2 million sorority women right there - and only 240,000 of those are Chi Omegas. So, Chi Omega is the largest women's sorority, but 1 and 4 sorority women are not Chi Omegas.

Chi O initiation practices
In the book "Pledged" by Alexandra Robbins, an initiate of Chi Omega describes her initiation experience. She alleges that it involves that it involves new members being shut in coffins and then having lingerie pillow fights.
 * The allegations regarding the use of coffins are fundamentally untrue. The depiction of the whole of the Greek system within Ms. Robbins's book has been fairly soundly ridiculed in both Greek and non-Greek arenas.  The mere fact that her writing has been published should not be sufficient to give it the weight of fact.  Moreover, the alleged practice would be a violation of Chi Omega's founding principles, as well as the guidelines of the NPC.  --Duchamp 17 October 2006

 * I can tell you that in the PAST the coffin was used for more than one group. However, it is no longer used, so anyone initiated in the last several years would have no knowledge of it unless told about it. We are specifically not supposed to tell the new girls about it at all because it is not condoned any longer and no one wants to go there if you know what I mean. Almost ALL fraternities and sororities have minor and even major changes in ritual through out the years and your regular ole 4 year collegian would have no clue unless they attended a LOT of conventions or stayed active as an alumne. With a hundred years of history I seriously doubt many have a clue as to what their organization used to do before they joined.Eelmonkey 23:34, 17 October 2006 (UTC)

The True Story of the Founding of Chi Omega
In 1894, a group of young women at the University of Arkansas approached Delta Gamma's council. They were interested in starting a chapter of Delta Gamma at their school. The council duly sent out a group of sisters to investigate the school and the interested women. However, the Delta Gammas decided that they would not colonize there (the reasons for this are not known: some claim that it was because the Arkansas women did not meet the necessary qualifications for membership, others say it was because the DGs felt that the university had a bad reputation). The Chi Omega founders decided to start their own sorority, and with the aid of Dr. Richardson (a local dentist), the Psi chapter of Chi Omega was born on April 5, 1895, with 14 members.

 * Just so you all know---The above statement is ABSOLUTELY FALSE! The women of Chi Omega wanted to start their own sorority because the men in Arkansaa had fraternities. Whomever wrote this is sadly misinformed and its a disgrace that someone would lie, especially about our 5 founders.

 * I heard it was true, from a woman who heard it from an early member of Delta Gamma. Apparently DG keeps it quiet because they like the current incarnation of Chi Omega.  I think its rather funny since they're both such huge powerhouses in Greek Life- imagine if they had been combined! -Elizabennet 05:54, 9 October 2006 (UTC)

 * Our founders formed Chi Omega because they wanted to start a sorority, but did not believe there was one that already existed that upheld the strong moral and beliefs of Chi Omega —Preceding unsigned comment added by 75.180.44.107 (talk) 07:41, 29 January 2008 (UTC)

Additional Comment transfered
(THIS "STORY" OF CHI OMEGA'S START IS NOT TRUE)

The Chi Omega Amphitheater
Can anyone provide a background about this outdoor theater?

 * The Greek Theater at the University of Arkansas was donated by the Psi chapter some years ago. Chi Omega was founded by 5 beautiful, smart women who had no desire to be DG's.  They did indeed found Chi Omega because they felt the need for a women's fraternity.

wrong they didn't want to be dg's SMH — Preceding unsigned comment added by 150.135.165.62 (talk) 21:48, 3 April 2019 (UTC)

 * Note: The above statement is mostly correct, but with one change: only 4 of the 5 founders were women. The fifth was Dr. Charles Richardson, a Kappa Sigma, who helped the four ladies found Chi Omega and created the first Chi Omega badge. — Preceding unsigned comment added by 69.80.184.22 (talk) 01:06, 15 January 2016 (UTC)

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

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

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

BetacommandBot (talk) 20:08, 13 February 2008 (UTC)

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

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

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

BetacommandBot (talk) 20:09, 13 February 2008 (UTC)

Helping poor fat kids do their math . ..
Look at San Diego Padres, Baltimore, and Radial arm saw. You'll find that they were founded or invented in 1969, 1729, and 1922, respectively, but it doesn't say that they were invented or founded 41 years ago, 281 years ago, and 88 years ago. Why not? Because encyclopedias don't do that. We give the year something was founded or invented, and if someone needs to know how many years ago that was, they figure it out.

I'm going to once again take out the "years ago" in the info box, and if someone puts it back, I can only assume it's because they think that Chi O's are too frigging stupid to do the math themselves. Reverting my edit is tantamount to insulting the intelligence of every member of the largest sorority in the country. 98.71.218.248 (talk) 09:24, 1 February 2010 (UTC)
 * This edit was not vandalism. The reasoning behind it was explained in detail, as seen immediately above. I have reverted the change, and expect a discussion before it is placed back again. 98.71.244.147 (talk) 18:19, 19 May 2011 (UTC)

 * I've added Template:start date and years ago back in to align the infobox with Template:Infobox fraternity . If you have a problem with the template, please discuss it on the talk page, not here. Thanks. Elerina (talk) 09:37, 6 August 2011 (UTC)

Marketing or Encyclopedia ?
Now, I didn't check this pages contents origin, but this style is marketing speech that seems directly pasted over from the sorority. Words like "forever", "our", "you" and "emblems loved by" can't be considered encyclopedic and should be exchanged into NPOV statements. --Enyavar (talk) 20:54, 4 June 2013 (UTC)
 * Chi Omega is [...] forever committed to our founding purposes [...]
 * [...] all of the emblems known and loved by Chi Omegas [...]
 * [...] Today, over 200,000 copies of The Eleusis are mailed out three times per year to our collegiate and alumnae members. If you are a Chi Omega in good standing, you have a free lifetime subscription to the Eleusis. [...]
 * Agreed, I think this needs to be made more NPOV.Naraht (talk) 21:14, 4 June 2013 (UTC)

Bundy Murders
I realize the organization would rather not have it on here, but it seems relivant to include a mention of the 1978 murders of Margaret Bowman and Lisa Levy that took place at the FSU chapter. — Preceding unsigned comment added by 2602:30A:C7DF:E250:6141:4F1:986C:749C (talk) 04:22, 30 August 2016 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 2 one external links on Chi Omega. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20121106114018/http://www.chiomega.com:80/wemakeadifference/mawalliance to http://www.chiomega.com/wemakeadifference/mawalliance
 * Added archive https://web.archive.org/web/20130813084559/http://www.chiomega.com:80/weinviteyoutoconnect/theeleusis to http://www.chiomega.com/weinviteyoutoconnect/theeleusis

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

Cheers.— InternetArchiveBot  (Report bug) 18:07, 21 November 2016 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Chi Omega. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20160124161746/http://www.chiomega.com/wemakeadifference/nwlleadershipinstitute to http://www.chiomega.com/wemakeadifference/nwlleadershipinstitute

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 16:46, 4 August 2017 (UTC)

title: Talk:Chi Omega