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Trisagion

The Trisagion (Τρισάγιον; 'Thrice Holy'), sometimes called by its opening line Agios O Theos, is a standard hymn of the Divine Liturgy in most of the Eastern Orthodox, Western Orthodox, Oriental Orthodox, and Eastern Catholic churches.

In churches which use the Byzantine Rite, the Trisagion is chanted immediately before the Prokeimenon and the Epistle reading. It is also included in a set of prayers named for it, called the Trisagion Prayers, which forms part of numerous services (the Hours, Vespers, Matins, and as part of the opening prayers for most services).

It is most prominent in the Latin Church for its use on Good Friday. It is also used in the Liturgy of the Hours and in some Catholic devotions.

Form of the prayer
The Trisagion prayer is an ancient prayer in Christianity.

In Greek:

In Latin:

In English – literal translation:

In English – common liturgical translation:

In Syriac:

Traditional origins
The Greek phrase Trisagion translates as "Thrice Holy". In this hymn God is described as holy in three different qualities; Agios o Theos means "Holy God".

The hymn is of great antiquity, and perhaps much older than the event assigned by the Greek Menology as connected to its origin. The tradition recounts that during the reign of Theodosius II (408–450) Constantinople was shaken by a violent earthquake, 24 September, and that whilst the people, the emperor and the Patriarch Proclus of Constantinople (434–446) were praying for heavenly assistance, a child was suddenly lifted into midair, to whom all cried out Kyrie eleison ('Lord, have mercy'). The child was then seen to descend again to the earth, and in a loud voice he exhorted the people to pray : 'Holy God, Holy Mighty, Holy Immortal'.

The hymn was one of the exclamations of the fathers at the Council of Chalcedon (451), and is common not only to all the Greek Oriental liturgies but was used also in the Gallican Liturgy (see Saint Germain of Paris, d. 576), which shows that the hymn is ancient. Some believe it is extremely ancient, perhaps of apostolic-era origin. However this goes against the menology tradition regarding its origin.

The Coptic Orthodox Church and Armenian Apostolic Church believe that the Trisagion originated from Nicodemus. While taking the body of Christ off the cross with Joseph of Arimathea, Nicodemus saw Jesus Christ's eyes open and then shouted "Holy God, Holy Mighty, Holy Immortal". Traditionally, it is also considered proof that his Divinity did not part from his humanity.

Greek and Latin
The Gallican Liturgy refers to it as being sung both in Greek and in Latin: Incipiente præsule ecclesia Ajus [that is, Agios] psallit, dicens latinum cum græco, as also previously in Greek alone, before the Prophetia. Benedict XIV thought that the Greek formula was joined with the Latin in allusion to the divine voice heard at Constantinople. But the explanation seems hardly necessary, in view of the retention of Kyrie eleison in the Roman Liturgy, as well as such Hebrew words as Amen, Alleluia, Hosanna, Sabaoth. It is true that the Kyrie eleison is not joined to a Latin version; on the other hand, it is so simple and occurs so frequently, that its meaning could easily be learned and remembered – whereas the entire Trisagion might well receive a parallel version into Latin.

Modifications in history
Various additions or modifications made to the Trisagion at certain points in history have been the subject of considerable controversy. According to Pseudo-Zacharias Rhetor, the phrase 'who wast crucified for us' was added to it by Eustathius of Antioch to combat the Arians, although this is dismissed by some scholars. It was more likely written during the time of Peter the Fuller who enforced its use as a sort of "test of orthodoxy against Nestorianism". Those who understood the hymn as being addressed to the Trinity (such as John of Damascus ) censured Peter for propagating the teaching of the Theopaschites. Emperor Anastasius I's attempt to adopt the addition in 512 at Constantinople resulted in a riot.

Whether the Trisagion is to be understood as addressed to the Holy Trinity or addressed to God the Son has been a matter of contention, particularly between those who approved of the council of Chalcedon and those who were against it. But, in light of widespread adoption of the hymn with the above addition ('who wast crucified for us'), Calandion, Bishop of Antioch, sought to allay the controversy surrounding it by prefixing the words 'Christ, King'. This had the effect of making the hymn refer directly to the incarnate Word: Holy God, Holy and Strong, Holy and Immortal, Christ, King, who was crucified for us, have mercy on us. Though perhaps well intended, this effort at emendation was ultimately rejected.

Later Severus, who was the Non-Chalcedonian Patriarch of Antioch, wrote to prove the correct ascription of the hymn to the Son of God, and made the use of the emended version standard in his diocese.

The eighty-first canon of the Council of Trullo anathematized anyone who allows the Trisagion to be modified by adding "who was crucified for us" or any other modification.

In the eleventh century, Pope Gregory VII (1073–1085) wrote to the Armenians, who still used the emended formula, instructing them to avoid all occasion for scandal by removing the additions, which Pope Gregory argues (incorrectly) that neither the Roman nor any Eastern Church (save the Armenians themselves) had adopted. The injunction appears to have been ignored. When, centuries later, Roman Catholic union with the Armenians was again discussed, a question was addressed (30 January 1635) to the Congregatio de Propaganda Fide as to whether the Armenian Catholics might still use the formula 'who suffered for us'. The request was answered in the negative. Nevertheless, Armenian Catholic continue to use the traditional formula.

Variations of the traditional formula and Trinitarian ascription are found also in the Armenian Orthodox Liturgy. In these the hymn is addressed to the Redeemer, and versions vary with the feast or office. Thus, the formula of Peter the Fuller (above) is used on all Fridays; on all Sundays: 'risen from the dead'; on Holy Thursday: 'betrayed for us'; on Holy Saturday: 'buried for us'; on the Feast of the Dormition of the Theotokos: 'who came to the death of the Holy Mother and Virgin'; on the feasts of the Holy Cross: 'who was crucified for us'; for the celebration of marriages: 'who took flesh for us', etc.

The Coptic Orthodox, Syriac Orthodox, Malankara Orthodox and other Oriental Orthodox Churches also use the formula 'crucified for us', with minor seasonal variations from the Armenian use.

In the Divine Liturgy
When the Trisagion is sung during the Divine Liturgy of the Byzantine Rite, before the Prokeimenon of the Gospel that precedes the Epistle reading, it is normally sung three times to one of many melodies composed for it. This is followed by singing ''Glory... Now...'', the second half of the Trisagion once, and finally the whole Trisagion a fourth time:

 * Holy God, Holy [and] Mighty, Holy [and] Immortal, have mercy on us.
 * Holy God, Holy [and] Mighty, Holy [and] Immortal, have mercy on us.
 * Holy God, Holy [and] Mighty, Holy [and] Immortal, have mercy on us.
 * Glory to the Father, and to the Son, and to the Holy Spirit, both now and ever and to the ages of ages. Amen.
 * Holy and Immortal, have mercy on us.
 * Holy God, Holy and Mighty, Holy and Immortal, have mercy on us.

On the other hand, in the usage of the other, non-Byzantine Eastern Churches, the Trisagion is simply sung thrice, with no Glory... Now....

In the East Syriac Rite, used by the Assyrian Church of the East and Syro-Malabar Catholic Church, the Trisagion is sung towards the beginning of the Holy Qurbana, before the Old Testament Readings.

In the West Syriac Rite, used by the Syriac Orthodox Church, Malankara Mar Thoma Syrian Church, Malankara Orthodox Syrian Church, the Syriac Catholic Church, Syro-Malankara Catholic Church and in a hybrid form, the Maronite Church and other derived rites of Syriac Christianity, the Trisagion is sung towards the beginning of the Holy Qurbana (Divine Liturgy), after the Old Testament Readings and the Introductory Hymn.

In the Armenian Rite, used by the Armenian Orthodox Church and the Armenian Catholic Church, the Trisagion occurs early in the Divine Liturgy, coming after the troparion of the Monogenes (Only-begotten Son) and the Midday first Antiphon. The choir sings the Trisagion during the lesser entrance of the Gospel Books.

The Trisagion also has a similar place in the liturgies of the Coptic Orthodox Church of Alexandria, the Ethiopian Orthodox Tewahedo Church and Eritrean Orthodox Tewahedo Church, as well as the Coptic Catholic Church and the Ethiopian Catholic Church.

As part of the Trisagion Prayers
During most services of the Eastern Orthodox Church, the Trisagion is combined with several other prayers to form a unit, often called simply the Trisagion Prayers. This set of prayers forms part of the opening prayers of most services, and is also located within many of the Hours and daily cycle of services.

The full version normally looks like this:

 * Holy God, Holy [and] Mighty, Holy [and] Immortal, have mercy on us. (three times)
 * Glory... Both now...
 * All-holy Trinity, have mercy on us. Lord, cleanse us from our sins. Master, pardon our iniquities. Holy God, visit and heal us for thy Name's sake.
 * Lord, have mercy. (three times)
 * Glory... Both now...
 * Our Father...

While it is possible that the Trisagion has origins in the Biblical 'thrice holy' of Isaiah 6:3 (the Sanctus: Holy, holy, holy, Lord of Sabaoth. Heaven and earth are full of your glory', etc.), they are today separate prayers. The latter is used at a different point in the Liturgy (in the Divine Liturgy, during the anaphora).

The trisagion is also sung at the entry of the coffin into the church at a funeral and when the coffin is carried to the grave. It is also sung at the conclusion of the Great Doxology.

In the Latin liturgy
In the Latin Church, the main regular use of the Trisagion is on Good Friday, when it is sung during the ceremony of the Adoration of the Cross, in Popule meus. In the Sistine Chapel, the traditional setting was the polyphonic musical setting of Palestrina. During this service, the hymn is sung by two choirs, alternately in Greek and Latin, originally two antiphonal Greek and Latin choirs, as follows:
 * Greek (First) Choir: Hágios ho Theós. (Holy God)
 * Latin (Second) Choir: Sanctus Deus.
 * Greek (First) Choir: Hágios iskhūrós. (Holy Strong One)
 * Latin (Second) Choir: Sanctus fortis.
 * Greek (First) Choir: Hágios āthánatos, eléēson hēmâs. (Holy Immortal One, have mercy on us)
 * Latin (Second) Choir: Sanctus immortális, miserére nobis.

The hymn is sung in this manner thrice, responding to the first three of twelve reproaches.

In the Latin Church, the Trisagion is employed in the hour of Prime, in the ferial Preces, on ferias of Advent and Lent and on common Vigils. There is a Chaplet to the Holy Trinity used by the Order of the Most Holy Trinity called 'The Trisagion' or the 'Angelic Trisagion', which makes use of both forms of the Trisagion. It also occurs in the Little Office of the Blessed Virgin and in the Chaplet of Divine Mercy.

Latin Catholic devotions
In the Latin Church, an indulgence of 100 days was once associated with the Trisagion when prayed once a day together with the Sanctus, with a contrite heart to adore the Holy Trinity.

A prayer similar to the Trisagion is a part of the Chaplet of the Divine Mercy:
 * Holy God, Holy Mighty One, Holy Immortal One, have mercy on us and on the whole world.

It is referred to as the "Holy God prayer," and is said near the end of the chaplet.

Book of Common Prayer
A paraphrase of the Trisagion was used in the anthem "In the midst of life" found in the graveside Burial liturgy in the first Book of Common Prayer and subsequent revisions, including those in 1552, 1559, 1604, and 1662. The form found in the 1662 prayer book is:

In the midst of life we are in death: of whom may we seek for succour, but of thee, O Lord, who for our sins art justly displeased? Yet, O Lord God most holy, O Lord most mighty, O holy and most merciful Saviour, deliver us not into the bitter pains of eternal death.

The Episcopal Church's 1979 Book of Common Prayer introduced the Trisagion into the Eucharist in both Rite One and Rite Two as part of the Word of God. In Rite One it follows the Summary of the Law. In Rite Two it can be used as an alternative to the Kyrie eleison, which follows the Collect for Purity and precedes the Collect of the Day. The form of the Trisagion found in the 1979 BCP is as follows:

Holy God, Holy and Mighty, Holy Immortal One, Have mercy upon us.

Common Worship
In Common Worship used by the Church of England, the Trisagion is used principally as a concluding prayer of the Litany in the following form:

"Holy God, holy and strong, holy and immortal, have mercy upon us."

It is also used in the Good Friday liturgy in the same way as in the Roman Catholic Church.

Africa
Afrikaans:
 * Heilige God, Heilige Sterke, Heilige Onsterflike, Ontferm U oor ons.

Amharic (Ethiopia):
 * ቅዱስ ፡ እግዚአብሔር ፡ ቅዱስ ፡ ኃያል ፡ ቅዱስ ፡ ሕያው ፡ የማይሞት ፡ የማይለወጥ አቤቱ ፡ ይቅር ፡ በለን ።
 * Qədus ʾƎgziäbḥer, Qədus Ḫayal, Qədus Ḥəyaw, Yämaymot, ʾÄbetu Yəqər Bälän.

Coptic (Egypt):

Ⲁ̀ⲅⲓⲟⲥ ⲟ̀ Ⲑⲉⲟⲥ: ⲁ̀ⲅⲓⲟⲥ Ⲓⲥⲭⲩⲣⲟⲥ: ⲁ̀ⲅⲓⲟⲥ Ⲁ̀ⲑⲁⲛⲁⲧⲟⲥ: ⲉ̀ⲗⲉⲏ̀ⲥⲟⲛ ⲏ̀ⲙⲁⲥ.

Agios O Theos: Agios Isheros: Agios Athanatos: Eleison Imas.

Ge'ez (Classical Ethiopic):
 * ቅዱስ ፡ እግዚአብሔር ፡ ቅዱስ ፡ ኃያል ፡ ቅዱስ ፡ ሕያው ፡ ዘኢይመውት ፡ ተሣሃለነ ፡ እግዚኦ ።
 * Qədus ʾƎgziäbḥer, Qədus Ḫayal, Qədus Ḥəyaw, Zäʾiyəmäwət, Täśahalänä ʾƎgzio.

Tigrinya:
 * ቅዱስ ፡ እግዚኣብሔር ፡ ቅዱስ ፡ ኃያል ፡ ቅዱስ ፡ ዘይመውት ፡ ሕያው ፡ ይቕረ ፡ በለልና ።
 * Qədus ʾƎgziäbḥer, Qədus Ḫayal, Qədus Ḥəyaw, Zäyəmäwət, Yəꝗər Bäläləna.

Asia
Hebrew:
 * אלהים הקדוש, גבור הקדוש, אל-עולם הקדוש: רחם נא
 * Elohim HaQádosh, Guibor HaQádosh, El-Olam HaQádosh: Rájem Ná.

Arabic:
 * قدوس الله، قدوس القوي، قدوس الذي لا يموت ارحمنا
 * Quddūsun Allāh, Quddūsun al-qawī, Quddūsun alladhī lā yamūt urḥamnā.

Cebuano:
 * Balaan na Diyos, Balaan na Hingpit sa Kagamhanan, Balaan na Wala’y Katapusan, kaloy-i kami.

Chinese:
 * 至聖之上帝，至聖及大能之上帝，至聖及永生之上帝，憐憫我們. (Traditional characters)
 * 至圣之上帝，至圣及大能之上帝，至圣及永生之上帝，怜悯我们. (Simplified characters)
 * Zhì shèng zhī Shàngdì, zhì shèng jí dà néng zhī Shàngdì, zhì shèng jí yǒngshēng zhī Shàngdì, liánmǐn wǒmen. (pinyin)

Filipino:
 * Banál na Diyós, Banál na Puspós ng Kapángyarihan, Banál na Waláng-Hanggán, maawà Ka sa amin.

Indonesian:
 * Allah Kudus, Perkasa Kudus, Abadi Kudus, kasihanilah kami.

Japanese:
 * 聖なる神, 聖なる勇毅, 聖なる常生の者や、我等を憐れめよ.
 * Seinaru Kami, Seinaru Yūki, Seinaru Jōseinomonoya, Warerao Awaremeyo.

Korean:
 * 거룩하신 하느님이여, 거룩하고 전능하신 이여, 거룩하고 영원하신 이여, 우리를 불쌍히 여기소서.
 * Georukhasin Haneunimiyo, Georukhago Jeonneunghan Iyo, Georukhago Yeongwonhashin Iyo, Urirul Bulsanghi Yeogisoseo.

Malayalam:
 * കന്ദീശ ആലാഹ, കന്ദീശ ഹൈലസാനാ, കന്ദീശ ലാ മോയൂസ, എതറാഹിം ആലെയ്ൻ. (East Syriac Rite)
 * Kandeesha Alaha, Kandeesha Hailsana, Kandeesha la Moyusa, Etharahem Aleyn.
 * കാദീശത് ആലോഹോ, കാദീശത് ഹെൽതോനോ, കാദീശത് ലോ മോയൂതൊ ഇതരാഹേം ആലെയ്ൻ. (West Syriac Rite)
 * Kadeeshath Aloho, Kadeeshath Helthono, Kadeeshath lo Moyutho Itharahem Aleyn.

Marathi:
 * पवित्र देवा, पवित्र शक्तिमान, पवित्र अमर्त्या, आम्हावर दया कर.
 * Pavitra Deva, Pavitra Shaktiman, Pavitra Amartyaa, Aamhaavar Daya Kar.

East Syriac: ܩܰܕܺܝܫܰܐ ܐܰܠܰܗܰܐ ܩܰܕܺܝܫܰܐ ܚܰܝܠܬܰܢܰܐ ܩܰܢܕܺܝܫܰܐ ܠܐܰ ܡܰܝܽܘܬܰܐ ܐܶܬܪܰܚܰܡ ܥܠܰܝܢ
 * Qadisha Alaha, Qadisha Haylthana, Qadisha La Mayutha, 'ithraham 'alayn.

West Syriac: ܩܰܕܺܝܫܰܬ ܐܰܠܳܗܳܐ ܩܰܕܺܝܫܰܬ ܚܰܝܠܬܳܢܳܐ ܩܰܕܺܝܫܰܬ ܠܐܳ ܡܳܝܽܘܬܳܐ ܐܶܬܪܰܚܰܡ ܥܠܰܝܢ
 * ''Qadishath Aloho, Qadishath Haylthono, Qadishath Lo Moyutho, ethraham 'alayn.
 * (Holy God, Holy and Strong, Holy and Immortal, have mercy on us.)

Chavacano:
 * Santo Dios, Santo Mapuersa, Santo Imortal, tene lastima kanamon.

Vietnamese:
 * Lạy Thiên Chúa Chí Thánh, Đấng Toàn Năng Chí Thánh, Đấng Bất Tử Chí Thánh, xin thương xót chúng con.

Europe
Albanian:
 * "Shenjt Perëndi, Shenjt i fuqishëm, Shenjt i pavdekshëm, mëshirona."

Classical Armenian:
 * Սուրբ Աստուած, սուրբ եւ հզօր, սուրբ եւ անմահ, որ խաչեցար վասն մեր, ողորմեա մեզ։
 * Soorp Asdvadz, soorp yev hzor, soorp yev anmah, vor khatchetsar vasn mer, vołormya mez։
 * "Holy God, Holy and mighty, Holy and immortal, who wast crucified for our sake, have mercy on us."
 * Սուրբ Աստուած, սուրբ եւ հզօր, սուրբ եւ անմահ, որ յարեար ի մեռելոց, ողորմեա մեզ։
 * Soorp Asdvadz, soorp yev hzor, soorp yev anmah, vor haryar i meṙelots, vołormya mez։
 * "Holy God, Holy and mighty, Holy and immortal, who didst rise from the dead, have mercy on us."

Belarusian:
 * Сьвяты Божа, Сьвяты Моцны, Сьвяты Несьмяротны, памілуй нас. (Cyrillic orthography)
 * Śviaty Boža, Śviaty Mocny, Śviaty Nieśmiarotny, pamiłuj nas. (Latin orthography)

Bulgarian:
 * Светий Боже, Светий Крепки, Светий Безсмъртни, помилуй нас!
 * Svetij Bože, Svetij Krepki, Svetij Bezsmărtni, pomiluj nas!

Church Slavonic:
 * Old Church Slavonic:
 * свѧтꙑи боже · свѧтꙑи крѣпъкꙑи · свѧтꙑи бесъмрьтьнꙑи · помилоуи насъ ⁘
 * svętyi bože, svętyi krěpŭkyi, svętyi bezsŭmrĭtĭnyi, pomilui nasŭ.
 * Russian Church Slavonic:
 * Свѧты́й Бо́же, Свѧты́й Крѣ́пкый, Свѧты́й Безсме́ртный, поми́луй на́съ.
 * Svjatyj Bože, Svjatyj Kriepkyj, Svjatyj Bezsmertnyj, pomiłuj nas.

Croatian:
 * Sveti Bože, Sveti Jaki, Sveti Besmrtni, smiluj nam se.

Danish:
 * Hellige Gud, hellige Stærke, hellige Udødelige, forbarm Dig over os.

Dutch:
 * Heilige God, Heilige Sterke, Heilige Onsterfelijke, Ontferm U over ons.

Estonian:
 * Püha Jumal, püha Vägev, püha Surematu, halasta meie peale!

Finnish:
 * Pyhä Jumala, Pyhä Väkevä, Pyhä Kuolematon, armahda meitä.

French:
 * Saint Dieu, Saint Fort, Saint Immortel, aie pitié de nous.

Georgian:
 * წმინდაო ღმერთო, წმინდაო ძლიერო, წმინდაო უკვდავო, შეგვიწყალენ ჩვენ.
 * Ts'mindao Ghmerto, Ts'mindao Dzliero, Ts'mindao Uk'vdavo, shegvits'qalen chven.

German:
 * Heiliger Gott, heiliger starker, heiliger unsterblicher, erbarme dich unser.

Hungarian:
 * Szent Isten, Szent Erős, Szent Halhatatlan, irgalmazz nekünk!

Icelandic:
 * Heilagi Guð, heilagi Sterki, heilagi Ódauðlegi, miskunna þú oss.

Italian:
 * Santo Dio, Santo forte, Santo immortale, abbi pietà di noi.
 * Dio santo, Dio forte, Dio immortale, abbi pietà di noi.

Low Mari (spoken in the Russian Federation):
 * Святой Юмо, Святой Куатле, Святой Колыдымо, мемнам серлаге.
 * Svyatoy Yumo, Svyatoy Kuatle, Svyatoy Kolydymo, memnam serlage.

Macedonian:
 * Свети Боже, Свети Крепки, Свети Бесмртни, помилуј нè.
 * Sveti Bože, Sveti Krepki, Sveti Besmrtni, pomiluj ne!

Norwegian:
 * Hellige Gud, hellige Sterke, hellige Udødelige, forbarm Deg over oss.

Polish:
 * Święty Boże, Święty Mocny, Święty Nieśmiertelny, zmiłuj się nad nami.

Portuguese:
 * Santo Deus, Santo Poderoso, Santo Imortal, tende piedade de nós.

Romanian:
 * Sfinte Dumnezeule, Sfinte Tare, Sfinte Fără de Moarte, miluieşte-ne pe noi.

Russian:
 * Святый Боже, Святый Крепкий, Святый Бессмертный, помилуй нас!
 * Svyaty Bozhe, Svyaty Krepky, Svyaty Bessmertny, pomiluy nas!

Serbian:
 * Свети Боже, Свети Крепки, Свети Бесмртни, помилуј нас. (Cyrillic orthography)
 * Sveti Bože, Sveti Krepki, Sveti Besmrtni, pomiluj nas. (Latin orthography)

Slovak:
 * Svätý Bože, Svätý Silný, Svätý Nesmrteľný, zmiluj sa nad nami.

Spanish:
 * Santo Dios, Santo Fuerte, Santo Inmortal, ten piedad de nosotros.

Swedish:
 * Helige Gud, helige starke, helige odödlige, förbarma Dig över oss.

Turkish:
 * Kutsal Tanrı, Kutsal Kudretli, Kutsal Ölümsüz, bize merhamet göster.

Ukrainian:
 * Святий Боже, Святий Кріпкий, Святий Безсмертний, помилуй нас.
 * Svâtij Bože, Svâtij Krìpkij, Svâtij Bezsmertnij, pomiluj nas. (ISO 9 transliteration)
 * Sviatyi Bozhe, Sviatyi Kripkyi, Sviatyi Bezsmertnyi, pomylui nas. (English transilteration)

Anti-Trisagion
Some feasts call for replacing the Trisagion in the Divine Liturgy with an alternative invocation known as an Anti-Trisagion. The variants of the hymn include:
 * "Before Thy Cross we bow down in worship, Master, and we glorify Thy Holy Resurrection."
 * "As many as have been baptized into Christ have put on Christ. Alleluia." – from

title: Trisagion


text:
Talk:Chetham's School of Music

Notable Alumni
Reverted to edition without Postman Pat as a notable alumnus; Im not saying he didn't study at Chets, just that it's unlikely. If user 83.99.18.184 - or anyone else for that matter - can provide evidence to the contrary, feel free to revert it back. M A Mason 23:17, 24 July 2005 (UTC)

Pronunciation
Anyone care to comment on how "Chetham's" and "Chet's" are pronounced? Flapdragon 12:23, 22 March 2006 (UTC)

 * I've always heard "Chetham's" as "Cheat-ums", and then "Chets" as 'Ch' as in 'chair', then 'et' as in 'bet'. I don't know enough about IPA to add it though. Also, I'm sure about the grammatical rules for including the apostrophe in a Chet's/Chets contraction. Lambyuk 00:31, 14 August 2006 (UTC)
 * It's as "Cheat" "Umz" if you get that. -- Alex 9891 00:33, 14 August 2006 (UTC)

Pheonix Brass Quintet and the G-Floor links
Anyone know why these two external links are in this article? Pheonix Brass Quintet states on the site that they were formed by students of Royal Northern College of Music and the G-floor appears to be some English guy's personal website. Is there something more to them than that? --Siobhan Hansa 21:02, 23 October 2006 (UTC)
 * I think they should go, they don't really add anything to the article. --Alex (Talk) 21:12, 23 October 2006 (UTC)
 * That's good enough for me! I took them out. If another editor knows why they were here please let us know.  Thanks --Siobhan Hansa 21:26, 23 October 2006 (UTC)

They were there because two members of the Phoenix Brass Quartet studied at chets, and the G-floor used to be chets' "underground" website (referring obviously to the palentine practice block) and had gossip, news, photos etc. but has since morphed more into a personal site. Were you guys even at chets??

 * I wasn't. Why would you assume editors of this article attended the school?   Thanks for clearing up the mystery.  The links you're describing seem a bit tenuous for an encyclopedia article.  I suggest they stay off the page.  -- Siobhan Hansa 04:23, 9 January 2007 (UTC)

Pictures
Refs required.... any pictures. Welcome Victuallers 15:23, 17 April 2007 (UTC)

Picture
I uploaded and added a free photo from Flickr. It isn't the best, but better than nothing. I'll try and get one myself.  Majorly  (talk) 13:35, 16 August 2007 (UTC)

Alumni list
Clearly there are a lot of notable alumni, given the nature of the school. I've trimmed it down to 20 but still feel that's too many. At the moment, it's just a list but would prefer it in prose. Any thoughts? AD 01:14, 19 December 2010 (UTC)

 * It would be better in prose, perhaps the alumni should have a separate article/list. These sections can overwhelm an article. Just a thought.--J3Mrs (talk) 00:18, 20 December 2010 (UTC)

 * A separate article is a good idea. AD 00:19, 20 December 2010 (UTC)

Removal of sourced content
I understand that there may be sensitive issues, but this is an encyclopaedia and is not censored. Certainly there is room for discussion about its content and what is and is not appropriate; there are arguments which can be brought, but just repeatedly editing out of the article text of which one does not approve is never going to work out well. The material over which concern has been expressed is already in the public eye - rather thoroughly so, one might add - so it is hard to see the practical value of the exercise anyway.

The article has no obligation towards Chets or anyone else - its job is just to contain the facts. Editors working on it, in consensus, can agree what those facts are and what is appropriate. If a member of staff had stolen a packet of paperclips then you would find plenty who would agree that it didn't need to be here as it gives undue weight to something which is trivial and has nothing to do really with the article topic - but that is not what we have here. To suppress what seems to be a highly relevant fact about the institution makes it look like Wikipedia is trying to help sanitise its image ... which would be particularly odd when you look at Chets's own website at the moment - I mean, have you seen it?

Given that, how is it helping to simply remove, over and over (and in breach of 3RR, over which the editor has been warned), the same content which is so thoroughly everywhere else on the internet? Who would it help, and how would it help them, to have this article as a little secret garden which is the only place where this never happened? I am honestly and truly baffled. I invite the other editor here to discuss their concerns and perhaps try to help us understand what is going on here, because at the moment I am not getting it.

With best wishes to all DBaK (talk) 13:14, 16 February 2013 (UTC)

Separate article needed on sex abuse scandal?
I've added information from the BBC and the Independent on the latest police statements, and in view of the expanding nature and scale of the inquiries reorganised the information in the article into a separate sub-section. I also think it should be mentioned in the lead. I've also mentioned the latest school statement. Do others feel that the time is right yet to have a separate article on the Chetham's School of Music sexual abuse scandal (or Operation Kiso), or should the information be retained in this article - bearing in mind that it seems as though the inquiries may go on for some time yet, potentially unbalancing the article as a whole? For comparison, see Jimmy Savile sexual abuse scandal, North Wales child abuse scandal, and Elm Guest House child abuse scandal - though I recognise this one may not be as major in terms of numbers involved. Ghmyrtle (talk) 09:57, 10 May 2013 (UTC)
 * Concerning which: Frances Andrade did not commit suicide. From http://www.bbc.co.uk/news/uk-england-28489500 we read 'At the inquest, Mr Travers [the coroner] ruled out a verdict of suicide'.

Campus Buildings
Now Chetham's have built another building. The music department is no longer in the Palatine building, and the classrooms in Millgate are no longer in use.

George George8211 (talk) 10:29, 9 June 2013 (UTC)

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

title: Talk:Chetham's School of Music


text:
Illinois Route 143

Illinois Route 143 is an east–west state highway in southwestern Illinois. Its western terminus is at U.S. Route 67 (very near, but not at the termini of Illinois Route 100 and Illinois Route 140) in Alton. Its eastern terminus at Illinois Route 127 at a rural intersection west of Tamalco. This is a distance of 47.96 mi.

Route description
Illinois 143 overlaps Illinois Route 157 and Illinois Route 159 in Edwardsville, and Illinois Route 160 and U.S. Route 40 in Highland. It has 4 lanes from IL 140 to just east of Illinois Route 255, a portion from around Southern Illinois University Edwardsville to Edwardsville, and briefly around Interstate 55 in Edwardsville. The rest of the road is generally rural and has 2 lanes.

History
SBI Route 143 ran from Benton to Harrisburg; this was replaced by Illinois Route 34 when it was extended north in 1937. That same year, IL 143 was applied to a former lettered route, Illinois Route 127A from Highland to Illinois 127. In 1950, it was extended west to Edwardsville. In 1964, it was extended west again to Alton, replacing Illinois Route 159. There have been no changes since.

In 1987, the alignments of Illinois Route 3, Illinois Route 100, and Illinois Route 143 were switched to their current routes in the Alton area with the opening of the extension of the Homer M. Adams Parkway and the construction of Madison Avenue in Wood River. IL 143 was put on the new Madison Avenue alignment and routed on the Berm Highway, while IL 3 was put back on an older alignment through East Alton and the Homer Adams Parkway (later taking over the old IL 100 alignment north of Godfrey to Grafton), and IL 100 was put on then-unmarked River Road from Alton to Grafton. The old alignment of IL 143 (Alton-Edwardsville Road) became unmarked.

title: Illinois Route 143


text:
Optimus

Optimus may refer to:

Organisations

 * Optimus Telecomunicações, S.A., a Portuguese mobile phone company who was merged with ZON and formed a new company called NOS
 * Optimus S.A., a former Polish computer assembler

Fictional characters

 * Optimus Prime, a Transformers character, leader of the Autobots
 * Optimus Primal, a Transformers character, leader of the Maximals

Music

 * Optimus Rhyme, a trio of nerdcore rap artists
 * Optimus (album), an album by guitarist John Norum

Technology

 * LG Optimus, a series of smartphones by LG Electronics
 * Nvidia Optimus, a technology which saves laptop battery life by switching between two graphics adapters
 * Optimus UI, a front-end touch interface developed by LG Electronics with partners
 * Optimus Maximus keyboard, a keyboard with displays in each key
 * Optimus brand, a proprietary RadioShack brand of electronic products
 * Optimus platform, a process integration and design optimization software by Noesis Solutions
 * Tesla Bot, also known as Optimus, a concept robot proposed by Tesla, Inc.

title: Optimus


text:
User talk:Warped9

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, please be sure to sign your name on Talk and vote pages using four tildes (~~~~) to produce your name and the current date, or three tildes (~~~) for just your name. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! - UtherSRG 23:17, July 24, 2005 (UTC)
 * The Five Pillars of Wikipedia
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
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 * How to write a great article
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Eragon
Your edits on Eragon have been reverted because they do not conform to the wikipedia policy of writing articles in a neutral point of view.--May the Force be with you! Shreshth91 ($ |-| r 3 $ |-| t |-|)  12:03, 17 August 2005 (UTC)

title: User talk:Warped9


text:
User talk:Nascigl

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, please be sure to sign your name on Talk and vote pages using four tildes (~~~~) to produce your name and the current date, or three tildes (~~~) for just your name. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! - UtherSRG 23:18, July 24, 2005 (UTC)
 * The Five Pillars of Wikipedia
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
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 * If you're ready for the complete list of Wikipedia documentation, there's also Topical index.

Striking your vote
Hello Nascigl,

Thank you for your interest in the Wikimedia Board Election. The Election Committee regretfully informs you that your previous vote was received in error and will be struck according to the election rules, described below.

The Election Committee regretfully announces today that we will have to remove approximately 220 votes submitted. These votes were cast by people not entitled to vote. The election rules state that users must have at least 400 edits by June 1 to be eligible to vote.

The voter lists we sent to Software in the Public Interest (our third party election partner) initially were wrong, and one of your account was eventually included to our initial list. There was a bug in the edit counting program and the sent list contained every account with 201 or more edits, instead of 400 or more edits. So large numbers of people were qualified according to the software who shouldn't be. The bug has been fixed and an amended list was sent to SPI already.

Our first (and wrong) list contains 80,458 accounts as qualified. The proper number of qualified voters in the SPI list is now 52,750. As of the morning of July 4 (UTC), there are 2,773 unique voters and 220 people, including you, have voted who are not qualified based upon this identified error.

In accordance with voting regulations the Election Committee will strike those approximately 220 votes due to lack of voting eligibility. The list of struck votes is available at https://wikimedia.spi-inc.org/index.php/List_of_struck_votes.

We are aware of the possibility that some of the people affected may have other accounts with more than 400 edits, and hence may still be eligible to vote. We encourage you to consider voting again from another account, if you have one. If you have no other account eligible to vote, we hope you reach the criteria in the next Election, and expect to see your participation to the future Elections.

Your comments, questions or messages to the Committee would be appreciated, you can make them at m:Talk:Board elections/2007/en. Other language versions are available at Translation requests/Eleccom mail, 07-05.

Again, we would like to deeply apologize for any inconvenience.

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For Wikimedia Board Election Steering Committee

Speedy deletion of Antônio Candeia Filho
A tag has been placed on Antônio Candeia Filho requesting that it be speedily deleted from Wikipedia. This has been done under section A7 of the criteria for speedy deletion, because the article appears to be about a person or group of people, but it does not indicate how or why the subject is notable: that is, why an article about that subject should be included in an encyclopedia. Under the criteria for speedy deletion, articles that do not assert the subject's importance or significance may be deleted at any time. Please see the guidelines for what is generally accepted as notable, as well as our subject-specific notability guideline for biographies.

If you think that this notice was placed here in error, you may contest the deletion by adding  to the top of the article (just below the existing speedy deletion or "db" tag), coupled with adding a note on the article's talk page explaining your position, but be aware that once tagged for speedy deletion, if the article meets the criterion it may be deleted without delay. Please do not remove the speedy deletion tag yourself, but don't hesitate to add information to the article that would would render it more in conformance with Wikipedia's policies and guidelines. Hers fold  (t/a/c) 22:28, 17 November 2007 (UTC)

1934 FIFA World Cup squads
Sorry Gleidson, can you provide a more specific link? Thank you! --necronudist (talk) 13:06, 5 July 2008 (UTC)

Unreferenced BLPs
Hello Nascigl! Thank you for your contributions. I am a bot alerting you that 1 of the articles that you created  is tagged as an Unreferenced Biography of a Living Person. The biographies of living persons policy requires that all personal or potentially controversial information be sourced. In addition, to ensure verifiability, all biographies should be based on reliable sources. If you were to bring this article up to standards, it would greatly help us with the current Category:All_unreferenced_BLPs article backlog. Once the article is adequately referenced, please remove the unreferencedBLP tag. Here is the article:

Thanks!--DASHBot (talk) 21:28, 16 January 2010 (UTC)
 * 1) Jaques Morelenbaum -

ArbCom elections are now open!
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 Hello! Voting in the 2022 Arbitration Committee elections is now open until 23:59 (UTC) on. All eligible users are allowed to vote. Users with alternate accounts may only vote once.

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January 2024
Please do not add or change content, as you did at Shim Seo-yeon, without citing a reliable source. Please review the guidelines at Citing sources and take this opportunity to add references to the article. Thank you. Snowflake91 (talk) 15:24, 12 January 2024 (UTC)

 * Can you read in Korean?
 * http://www.spochoo.com/news/articleView.html?idxno=9216 Nascigl (talk) 15:33, 12 January 2024 (UTC)

title: User talk:Nascigl


text:
Pistacia terebinthus

Pistacia terebinthus also called the terebinth and the turpentine tree, is a deciduous shrub species of the genus Pistacia, native to the Mediterranean region from the western regions of Morocco and Portugal to Greece and western and southeastern Turkey. At one time terebinths growing on the eastern shores of the Mediterranean Sea (in Syria, Lebanon and Palestine) were regarded as a separate species, Pistacia palaestina, but these are now considered to be a synonym of P. terebinthus.

Description
The terebinth is a deciduous flowering plant belonging to the cashew family, Anacardiaceae; a small tree or large shrub, it grows to 10 m tall. The leaves are compound, 10-20 cm long, odd pinnate with five to eleven opposite glossy oval leaflets, the leaflets 2-6 cm long and 1-3 cm broad. The flowers are reddish-purple, appearing with the new leaves in early spring. The fruit consists of small, globular drupes 5-7 mm long, red to black when ripe. All parts of the plant have a strong resinous smell.

The terebinth is a dioecious tree, i.e. it exists as male and female specimens. For a viable population both sexes must be present. The oblong leaf is bright green, leathery, with 10 cm long or more with three to nine leaflets. Leaves alternate, leathery and compound paripinnate (no terminal leaflet) with three or six deep green leaflets. They are generally larger and rounder than the leaves of the mastic, reminiscent of the leaves of carob tree. The flowers range from purple to green, the fruit is the size of a pea and turns from red to brown, depending on the degree of maturation. The whole plant emits a strong smell: bitter, resinous, or medicinal. In the vegetative period they develop "galls" shaped like a goat's horn (from which the plant gets the name "cornicabra", the common name in Spanish), that occur on the leaves and leaflets which have been bitten by insects.

The species propagates by seeds and shoots. Although marred by the presence of galls, it is a very strong and resistant tree which survives in degraded areas where other species have been eliminated. Pistacia terebinthus is related to Pistacia lentiscus, with which it hybridizes frequently in contact zones. Pistacia terebinthus is more abundant in the mountains and inland and the mastic is usually found more frequently in areas where the Mediterranean influence of the sea moderates the climate. The mastic tree does not reach the size of the Pistacia terebinthus, but the hybrids are very difficult to distinguish. The mastic has winged stalks to its leaflets, i.e., the stalks are flattened and with side fins, whereas these stems in Pistacia terebinthus are simple. On the west coast of the Mediterranean, Canary Islands and Middle East, P. terebinthus can be confused with P. atlantica.

Habitat
The terebinth prefers relatively moist areas, up to 600 m in elevation. It tolerates more intense frost and summer drought than mastic can. The plant is common in the garrigue and maquis. It appears in deciduous oak wood. It has a gray trunk that is very aromatic, and may have multiple trunks or stems when grown as a shrub. Usually reaching 5 m in height, although in rare cases can reach 10 m. P. terebinthus is one of the European species of Anacardiaceae, a family of about 600 mostly tropical species. It can be found to 1500 m above sea level. P. terebinthus is more moisture demanding than the mastic and more resistant to cold. It requires a sunny exposure and average soils, tolerating lime and some salt, often grows near the sea, deep ravines and near salt-lakes and streams.

History
Historian of Mycenae John Chadwick believes that the terebinth is the plant called ki-ta-no in some of the Linear B tablets. He cites the work of a Spanish scholar, J.L. Melena, who had found "an ancient lexicon which showed that kritanos was another name for the turpentine tree, and that the Mycenaean spelling could represent a variant form of this word."

The Latin name is underlain by the Ancient Greek name τερέβινθος which, in turn, is underlain by a pre-Greek Pelasgian word, marked by the characteristic consonant complex νθ.

Terebinth from Oricum is referred to in Virgil's Aeneid, Book 10, line 136, where Ascanius in battle is compared to "ivory skilfully inlaid in [...] Orician terebinth" ("inclusum[...] Oricia terebintho [...] ebur").

Terebinth is referred to by Robin Lane Fox in Alexander the Great: "When a Persian king took the throne, he attended Pasargadae, site of King Cyrus's tomb, and dressed in a rough leather uniform to eat a ritual meal of figs, sour milk and leaves of terebinth."

The terebinth is mentioned in the Hebrew Scriptures (or Old Testament), where the Hebrew word elah (plural elot) is used, although the word is sometimes translated as 'oak'. It is clear that the translators are uncertain which translation is correct, [...], yet the two are very different trees to any but the most superficial observation. (The Hebrew word alon means 'oak', and the words may be related.)

The word terebinth is found in three successive chapters of Genesis (12:6, 13:18, 14:13, 18:1) in reference to the places where Abram (later Abraham) camped called "Terebinths of Mam're the Amorite". Here, the traditional rendering in English is "oaks of Mamre."

It is also found in Genesis chapter 35, where Jacob commands his family to remove idols that were taken as booty from the battle in Shechem before travelling to Bethel.

Terebinths are also found in Isaiah in possible reference to idolatry associated with the trees, although in the Septuagint and Vulgate the word is translated 'idols', as the plural of el.) "For you will be ashamed of the terebinths that you have taken pleasure in."

The best known clear reference to a terebinth (elah) in the Hebrew Scriptures is that of the Valley of Elah or 'Valley of the Terebinth' (עמק האלה), where David fought Goliath.

Later in David's rebellious son Absalom is caught in the terebinth tree and is killed by Joab and his men, who were part of David's army.

At least a few references occur in Judges: chapter 4 (in reference to Heber, the Kenite, of the children of Hobab), chapter 6 (in reference to an angel of the Lord who came to visit Gideon—most versions use 'oak'), and Ch 9 (in reference to the crowning of Abimelech, by the terebinth of the pillar that was in Shechem—again most versions use 'oak'). This reference of Abimelech's crowning by an oak is actually referring to the Palestine oak, closely related to the Kermes oak (Quercus coccifera). The Hebrew distinguishes the Palestine oak and the terebinth. It is also mentioned in Hosea 4:13 when Hosea is talking about Israel's spiritual adultery by sacrificing to false gods and how to repent and be forgiven in Hosea 14.

Uses
The word "turpentine" was originally used for the exudate of terebinth trees (P. terebinthus and related species such as P. atlantica), now called Chian, Chios, or Cyprian turpentine, and it was later transferred to the crude turpentine (oleoresin) and the oil of turpentine (essential oil) of conifer trees. The word turpentine derives (via Old French and Latin) from the Greek word τερεβινθίνη (terebinthínē), the feminine form (to go with the feminine Greek word for resin) of an adjective τερεβίνθινος (terebínthinos), derived from the Greek noun τερέβινθος (terébinthos), the name for the terebinth tree. However, the main source of the terebinth turpentine is P. atlantica which produces abundant resin instead of P. terebinthus of which the amount of resin is limited.

The fruits are used in Cyprus for baking of a specialty village bread. In Crete, where the plant is called tsikoudia, it is used to flavor the local variety of pomace brandy, also called tsikoudia. In the Northern Sporades the shoots are used as a vegetable (called tsitsíravla). The plant is rich in tannins and resinous substances and was used for its aromatic and medicinal properties in classical Greece. A mild sweet scented gum can be produced from the bark, and galls often found on the plant are used for tanning leather. A triterpene has been extracted from these galls. In Turkey, it is known as menengiç or bıttım. A coffee-like beverage, Kurdish coffee or menengiç kahvesi, is made from the roasted fruit, and a soap is made from the oil. Terebinth resin was used as a wine preservative in the entire ancient Near East, as proven by many findings in areas such as the foot of the Zagros Mountains and Middle Bronze Age Galilee.

title: Pistacia terebinthus


text:
Silver Bullet

Silver Bullet(s) or The Silver Bullet may refer to:

 * Silver bullet, in folklore, a weapon against supernatural creatures; metaphorically, a simple, effective solution to a problem

Film and television

 * The Silver Bullet (1935 film), an American western film
 * The Silver Bullet (1942 film), an American western film
 * Silver Bullet (film), a 1985 horror film by Daniel Attias
 * Silver Bullets, a 2011 film by Joe Swanberg

Music

 * Silver Bullet (rapper) (born 1972), British rapper
 * Silver Bullets (album) or the title song, by the Chills, 2015
 * "Silver Bullet", a song by Hawthorne Heights from The Silence in Black and White
 * "Silver Bullet", a song by Pixies from Beneath the Eyrie
 * Silver Bullet Band, the 1970s–1990s backing band for Bob Seger

Places and structures

 * Silver Bullet (Frontier City), a roller coaster in Oklahoma City, Oklahoma, US
 * Silver Bullet (Knott's Berry Farm), a roller coaster in Buena Park, California, US
 * The Silver Bullet, a music venue in London

Other

 * Silver Bullet (car), a 1929 unsuccessful land speed record car
 * Colorado Silver Bullets, a women's baseball team
 * Comics Bulletin, originally Silver Bullet Comics, a website covering the American comic-book industry
 * Coors Light, a beer referred to as "the Silver Bullet" in marketing campaigns
 * Two BD-5J aircraft used by Coors for marketing in the 1980s and early 1990s
 * Hughes H-1 Racer or Silver Bullet, a 1935 racing aircraft

title: Silver Bullet


text: User talk:68.79.135.181

title: User talk:68.79.135.181


text: User talk:68.60.123.49

title: User talk:68.60.123.49


text:
Llewellyn Park

Llewellyn Park is a historic gated community and census-designated place (CDP) located within West Orange in Essex County, in the U.S. state of New Jersey. Llewellyn Park is thought to be the country's first planned residential community, and the site of the first large-scale naturalization of crocus, narcissus, and jonquils. The community features 175 homes on 425 acres and is located 12 mi west of New York City.

Llewellyn Park was one of the first gated communities in the United States, where the natural environment was both carefully cultivated and allowed to remain undisturbed. The landscaping is in the 19th century romantic style of New York's Central Park, and includes winding paths, ornamental trees, shrubs, and flowers.

The Llewellyn Park Historic District was added to the National Register of Historic Places in 1985 and was added to the state register the following year.

History
Llewellyn Park was founded in 1853 by Llewellyn Solomon Haskell, a New York City businessman and was designed by Alexander Jackson Davis. Haskell discovered the lush, wooded area on the eastern slope on the first range of the Watchung Mountains which was originally farmland owned by Ira Harrison Condit. Purchasing 100 acres from Condit in 1855, Haskell set out to create a suburban community of country estates. These finely crafted homes would stand amid majestic trees and running streams. The first annual meeting of proprietors was held at the Park's Gatehouse on January 1, 1858, and continues today.

The Park became home to many residents of note, especially Thomas Edison, whose home Glenmont is part of the Thomas Edison National Historical Park. Other residents over the years included abolitionist James Miller McKim, whose charming house contained secret chambers to hide escaped slaves traversing the Underground Railroad, the Merck family (George W. Merck was raised there), and the Colgate family.

Its annual meeting, going on for 158 years, is the longest continuous string of meetings of any residential association in the United States.

A number of Llewellyn Park's homes were designed by prominent American architects including Alexander Jackson Davis, Calvert Vaux, Charles McKim, Stanford White, and Robert A.M. Stern.

Location
The main entrance to Llewellyn Park is located on Main Street in West Orange, near Thomas Edison's factory complex, now a museum and also a part of the Thomas Edison National Historical Park. The entrance is within West Orange's historic district, which is entering a phase of major revitalization. There is a side entrance to Llewellyn Park located on Eagle Rock Avenue that is electronically monitored and activated by the security guards within the Gatehouse on the Main Street entrance.

Llewellyn Park residents enjoy the combination of close proximity to New York City, a relaxed semi-rural lifestyle, and exceptional privacy.

Demographics
As of the 2020 United States census, the population was 821.

Community
The Ramble is a common area of 50 acre landscaped with streams and paths. Period gas lamps line the curving streets of the community. The Llewellyn Park Ladies Association is largely responsible for the beautification of the Park. Its activities include annual plantings; purchasing, and selecting appropriate sites for rustic architecture including gazebos and benches; and directing the Park's maintenance staff to care for the trees, shrubs and flowers.

A major function of the Ladies Association is its commitment to fostering a sense of community among Park residents by planning social activities for adults and children. These activities include a Halloween Party for the children and a Holiday Party for adults. Recently the Ladies Association has also sponsored a barn dance, an Easter egg hunt, a Victorian picnic, and a High Tea. Residents' professions and occupations range widely and include business persons, professionals, academics, and artists.

Residents operate a Llewellyn Park Historical Society dedicated to preserving historic artifacts relating to the creation and history of the Park. The Llewellyn Park Preservation Foundation (an independent 501 c(3) charitable organization) is dedicated to maintaining and restoring the historic character.

Notable people
People who were born in, residents of, or otherwise closely associated with Llewellyn Park include:
 * John L. Blake (1831–1899), politician who represented New Jersey's 6th congressional district from 1879 to 1881
 * Alexander Jackson Davis (1803–1892), architect who helped create Llewellyn Park
 * Charles Edison (1890–1969), United States Secretary of the Navy 1940, Governor of New Jersey 1941 to 1944 and son of Thomas Edison
 * Theodore Miller Edison (1898–1992), only child of Thomas Edison who graduated from college; went on to become an inventor with over 80 patents
 * Thomas Alva Edison (1847–1931), inventor of the phonograph, the incandescent electric lightbulb, and the first practical motion picture camera whose home was Glenmont Mansion. Edison's Black Maria, the first movie studio, was located in West Orange
 * Whoopi Goldberg (born 1955), comedian, actress, talk show host
 * Llewellyn F. Haskell (1842–1929), United States Army officer and a Union general during the American Civil War

title: Llewellyn Park


text:
Living Newspaper

Living Newspaper is a theatrical form presenting factual information on current events to a popular audience. Historically, Living Newspapers have also urged social action (both implicitly and explicitly) and reacted against naturalistic and realistic theatrical conventions in favor of the more direct, experimental techniques of agitprop theatre, including the extensive use of multimedia. Living Newspapers originated in Russia during the Bolshevik Revolution,

The English term is most often associated with the Living Newspapers produced by the Federal Theatre Project. Part of the federally funded arts program established under the Works Progress Administration in the United States of the 1930s, the Federal Theatre Project wrote and presented a number of Living Newspapers on social issues of the day, including Triple-A Plowed Under, Injunction Granted, One-Third of a Nation, Power, and Spirochete.  Controversy over the political ideology of the Living Newspapers contributed to the disbanding of the Federal Theatre Project in 1939, and a number of Living Newspapers already written or in development were never performed, including several that addressed race issues.

Establishment of the NY Living Newspaper Unit and Ethiopia
"... the [Living Newspaper] seeks to dramatize a new struggle – the search of the average American today for knowledge about his country and his world; to dramatize his struggle to turn the great natural and economic forces of our time toward a better life for more people."

The Living Newspaper program began very shortly after the establishment of the Federal Theatre Project (FTP). Following her appointment as National Director of the FTP in July 1935, Hallie Flanagan, a professor and playwright at Vassar College, and playwright Elmer Rice set to work planning the organization and focus of the FTP. The New York Living Newspaper Unit (which performed at the Biltmore Theatre) came from this meeting. Allied with the American Newspaper Guild, this first and most active of the Living Newspaper Units employed out-of-work journalists and theatre professionals of all types, providing hourly wages for many reporters and entertainers left unemployed by the Depression.

The research staff of the Living Newspaper Unit quickly compiled their first Living Newspaper, Ethiopia, which went into rehearsal in 1936. It never opened to the public. The federal government issued a censorship order prohibiting the impersonation of heads of state onstage; the order effectively scuttled the production, which dramatized the invasion of Ethiopia by Italy and featured Italian dictator Benito Mussolini and other real-life figures prominently as characters. Elmer Rice withdrew from the FTP in protest.

Controversy: Triple-A Plowed Under and Injunction Granted
Left with no script and the pressing need to provide its performers with a play, the Unit drew up another Living Newspaper, Triple-A Plowed Under, within a matter of weeks. Morale had dropped after the cancellation of Ethiopia, and the original director of Triple-A Plowed Under left in frustration; Joseph Losey, known for his support of the Communist Party and recently returned from a visit to Moscow, replaced him. Triple-A Plowed Under dramatized the plight of Dust Bowl farmers and suggested that farmers and workers unite to cut out the "middlemen" – dealers and other commercial interests. The "Triple-A" in the title came from the Agricultural Adjustment Act of 1933, which the play criticized. Like other Living Newspapers to follow, it employed the "Voice of the Living Newspaper," a disembodied voice which commented on and narrated the action; shadows; image projections; elaborate sound design, with sound effects and music; abrupt blackouts and scene changes; and other non-realistic devices to keep the audiences' attention and support the message of the play.

A minor Living Newspaper, Events of 1935, followed Triple-A Plowed Under. A collage of scenes from many 1935 news events, ranging from celebrity gossip to major legal cases, 1935 ran for only 34 performances. Cosgrove identifies it as the "least successful" of all the Living Newspapers.

Though Triple-A had clearly criticized government decisions and supported the laborer over the "merchant," the Unit's third Living Newspaper, also directed by Losey, explicitly supported workers' organizations and angered members of the federal government. Injunction Granted, which opened four months after the close of Triple-A, lampooned big business men such as H. J. Heinz and newspaper baron William Randolph Hearst and called for unions to join the Congress of Industrial Organizations (CIO), a major, militant workers' association. It aroused government concern during rehearsal; and Hallie Flanagan urged Losey to re-write parts of the script, but the play made it to the stage largely unaltered. The piece ran on over-the-top satire and explicit bias: Heinz was introduced holding a giant pickle; Dean Jennings of the Newspaper Guild trounced Hearst in a boxing match; and a clown (played by actor Norman Lloyd ) served as master-of-ceremonies for the entire production, according to Cosgrove. Injunction Granted drew massive criticism and closed early. Losey soon left the Unit and the FTP, though Flanagan offered to give him another chance.

The turnaround: Power and One-Third of a Nation

"Here is a play that has no hero, or heroine, that has no great figure or fanciful character ... here is a play about you."

With the censorship of Ethiopia and the negative reaction to Injunction Granted, the Living Newspaper Unit had twice attracted criticism from the government that funded it. In order to continue as a federal program, it became more retrospect and less politically radical in its choice of topics but did not give up its dedication to reportage on major social issues and calls for social change.

Its first production following Injunction Granted demonstrated this new emphasis. Opening early in 1937, Power clearly supported the policies of the New Deal and the Works Progress Administration. Power chronicled the search of the public consumer for affordable electric power and held up the Tennessee Valley Authority project as an example of where such power could come from. The play also introduced the "little man" figure to the Living Newspaper – a character who represented the consumer and the public, appearing throughout the play, asking questions and receiving explanations. Power garnered a positive reception, running for 140 performances and then converting to a scaled-down travelling form for outdoors summer performances throughout the city.

The next Living Newspaper also met with public and critical success. Over the summer of 1937, Flanagan oversaw the Federal Theatre Project Summer School at Vassar College; the forty theatre artists invited to this program developed the first version of a Living Newspaper on tenant housing which grew to become One-Third of a Nation. In its finished form, One-Third of a Nation opened early in 1938 and ran for 237 performances, making it the most successful of the Living Newspapers. The play abandoned some of the experimental nature of the earlier Living Newspapers, using a very realistic set to display the filth and dangers of a tenant slum, but retained the episodic format and multimedia (sound, film, and image) displays that characterized the form. The production received praise from critics and may have helped push through housing legislation. It eventually opened in major cities throughout the country.

The end of the FTP and the Living Newspaper Unit
Despite its rising success and less radical tone, the tide of government opinion turned against the Federal Theatre Project – and the Living Newspapers in particular – in 1938. Established in this year, the House Un-American Activities Committee (HUAC) began an investigation of the FTP, focusing on its alleged Communist sympathies and anti-American propagandism. Flanagan defended the FTP and the Living Newspapers, holding that the program had presented propaganda, yes, but "... propaganda for democracy, propaganda for better housing," not propaganda against the government. Despite her defense of the program and President Roosevelt's protests, Congress disbanded the FTP – and with it, the New York Living Newspaper Unit – on July 30, 1939.

The end of the FTP and the Unit left many complete and partially developed Living Newspaper scripts unperformed and unfinished. Among these were three by African-American playwrights that dealt with race issues and racism, including Liberty Deferred, by Abram Hill and John Silvera, which followed the history of slavery in the U.S. and addressed the lynchings of African-Americans in the South. Some historians suggest that Congress shut down the Federal Theatre Project partially to stifle the voices of African-American theatre professionals and criticism of racism in the U.S., or that the FTP delayed production of these plays out of fear of just such a reprisal.

The Living Newspaper project has influenced progressive theatre in the 21st century. A good example of a theatre company performing in the style of the Living Newspaper is the progressive DC Theatre Collective whose piece, The Tea Party Project, was performed in Washington DC in July 2010.

Living Newspapers outside of New York

Though the New York Living Newspaper Unit produced most of the major Living Newspapers, other units in cities throughout the U.S. produced or planned Living Newspapers. In most cases, these productions were local runs of the New York Living Newspapers. Both Power and One-Third of a Nation ran throughout the U.S., with the scripts altered to various degrees to suit local conditions. In Seattle, the mayor declared "Power Week" in honor of the week-long run of Power, recognizing the timeliness of the play's subject matter: With the public Bonneville hydroelectric project on the horizon, private and public power companies were vying for support in the city.

Non-New-York Units also researched and wrote their own Living Newspapers. The Southwest Unit, in California, planned and researched Spanish Grant, on a historical incident in which a series of "speculative land deals" took land from communities, and Land Grant, on the 1848 cession of California to the United States and corrupt land deals that led up to it. Washington's unit planned Timber; Iowa's Dirt; and Connecticut's Stars and Bars; however, none of these regional Living Newspapers ever made it to full production.

On the other hand, Chicago produced an original Living Newspaper that rivalled the later New York Living Newspapers in its impact and positive reception. In 1938, Arnold Sundgaard's Spirochete, a Living Newspaper on the history of syphilis, opened in Chicago. Using the image projections, extensive sound design, shadowplay, brief scenes, and "little man" character (here, a patient embodying all syphilis sufferers throughout history ) made standard by the New York Unit, Spirochete followed syphilis from its introduction in Europe in the 15th century through to the social stigma surrounding it in the 1930s. The play pushed for audiences to support the Marriage Test Law of 1937, which required blood tests for syphilis prior to marriage. Spirochete became the second most produced Living Newspaper, after One-Third of a Nation and ran in four other major cities as part of a nationwide syphilis-education and -prevention campaign.

Style of the FTP's Living Newspapers
"The Living Newspaper is a dramatization of a problem – composed in greater or lesser extent of many news events, all bearing on the one subject and interlarded with typical but non-factual representations of the effect of these news events on the people to whom the problem is of great importance."

Though definitions of the Living Newspaper and its purpose, both within the Federal Theatre Project and at large, varied, certain characteristics united all of the FTP's Living Newspaper productions.

First, a Living Newspaper's content always centered on some current event or issue affecting the United States working class at large – whether it be the spread of syphilis, slum housing conditions, or the search for affordable electrical power. Teams of research workers, many of whom were out-of-work journalists, carried out extensive research to provide the factual base for each Living Newspaper. Editors then organized the information and turned it over to writers, who collectively assembled a Living Newspaper from this collage of facts, statistics, newspaper clippings, and anecdotes. Though Hallie Flanagan repeatedly stated that Living Newspapers should be objective and unbiased, most Living Newspaper productions communicated a clear bias and a call for action from the watching audience.

Second, the FTP's Living Newspapers tended to break from realistic stage conventions in favor of non-naturalistic, experimental dramaturgy and stage design. "Techniques Available to the Living Newspaper Dramatist," a guide compiled by the Federal Theatre Project in 1938, lists many of the elements that became characteristic of the Living Newspaper. These included quick scene and set changes; flexibility of stage space, using many levels, rolling and hand-carried scenery, and scrims to establish a multitude of locations without elaborate constructed sets; projection of settings, statistics, and film; shadowplay; sound effects and full musical scores; the use of a loudspeaker to narrate and comment on the action; and abrupt blackouts and harsh spotlights. The guide also suggests the use of puppetry, modern dance, and pantomime. In terms of dramatic construction, the guide urges writers and designers to keep the concept of counterpoint in mind when constructing Living Newspapers—alternating quickly between scenes and voices displaying contrasting viewpoints, to comment on the action and keep the audience involved and aware.

Living Newspapers in Russia
The developers of the Living Newspapers built upon theatrical forms they had encountered in Bolshevik Russia, Germany, and European workers' theatre. Living-Newspaper-like performances appeared in Bolshevik Russia as early as 1919, using a variety of devices (such as lantern slides, songs, newspaper readings, and film segments) to present news and propaganda to the illiterate. As the form matured in Russia, workers' groups put on highly regionalized Living Newspapers, treating issues of public interest and concern. Zhivaya Gazeta (the Russian term for "Living Newspaper") reached its peak from 1923 to 1928; Hallie Flanagan visited the country and witnessed workers' performances during this period, in 1926. The Blue Blouse theatre groups, which employed satire and demanding acrobatics to bring news to the public, particularly captured Flanagan's attention. The work of Russian theatre artists Vsevolod Meyerhold and Vladimir Mayakovsky, active during this time, also influenced the form, as did the work of German theatre artists Bertolt Brecht and Erwin Piscator.

title: Living Newspaper


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Wikipedia:Articles for deletion/Fabio (dj)

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

The result of the debate was redirect. -Sean Curtin 23:52, 14 September 2005 (UTC)

Fabio (dj)
This article should be deleted. It features heavy vandalism and rather than being sent to cleanup, it should be deleted, as there is already an article on this DJ - Fabio (DJ) - with 'DJ' in the correct capitalized form. Thenugga 23:21, 24 July 2005 (UTC)
 * This nomination was malformed and never added to a main VfD page. Completing now.  Redirect to Fabio (DJ).  JYolkowski // talk 13:56, 5 September 2005 (UTC)
 * Redirect to Fabio (DJ). A lot of people don't seem to be able to spell DJ so it's a useful redirect. Heavy vandalism on an article is not a valid reason to delete something. Vandals would like it if that was true. - Mgm|(talk) 19:26, September 5, 2005 (UTC)
 * Redirect to Fabio (DJ) as per above user. Capitalistroadster 22:57, 5 September 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.


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William Gibson (Lincoln, Ontario politician)

William Gibson (August 7, 1849 – May 4, 1914) was a Canadian politician. From 1891 to 1900, he served as a Liberal Member of Parliament in the House of Commons of Canada representing the riding of Lincoln and Niagara.

Born in Peterhead, Scotland, the son of William Gibson and Lucretia Gilzean, he was educated in Scotland and emigrated to Canada in 1870. Gibson was a contractor and engineer involved in the construction of the St. Clair Tunnel, the Welland Canal, the Victoria Bridge and several bridges on the Grand Trunk Railway. He operated a limestone quarry near Beamsville, Ontario and was also president of the Bank of Hamilton, the Hamilton Gaslight Company and the Keewatin Power Company. On 11 February 1902, he was appointed to the Senate of Canada, a position which he held until his death in Beamsville at the age of 64.