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Talk:Zoo TV Tour

MacPhisto, et.al.
what other artists have created alter egos for the stage? —Preceding unsigned comment added by 74.178.228.111 (talk) 22:38, 23 July 2009 (UTC)

 * I Am… Tour, Best of Both Worlds Tour, The Fame Ball Tour, The Nightwatchman Tour (got deleted), maybe even Satanic Mick in The Rolling Stones American Tour 1969, probably some others I'm not thinking of. Whether Bono influenced any of these ones that came after, I don't know.   Wasted Time R (talk) 23:55, 23 July 2009 (UTC)

"The Inside Broadcast"?
Was the first leg of the tour really called "The Inside Broadcast", as has been recently added to the article? I think this is a little-used retronym applied after the fact. Can you find any sources from that time that called it that? By comparison, "The Outside Broadcast" was printed on ticket stubs (including one that I have) and used in promotional material, as were of course "Zooropa" and "Zoomerang" even more prominently. Wasted Time R (talk) 04:25, 20 January 2010 (UTC)
 * I've never heard it called the "inside broadcast". --Merbabu (talk) 08:09, 20 January 2010 (UTC)

More info?
I dunno if much of this has been included in the article or not, but if the latter it could potentially be squeezed under Reception. I've added tidbits from this PDF article to "Discotheque" and "Miss Sarajevo", and it has some info on Zoo TV near the end. It's basically a commentary and analysis of how Irish music changed during the 1990s, and there's some suggestion that the Zoo TV Tour and U2's influence in Irish music may have played a part of it. Might be interesting if it can be worked in. MelicansMatkin (talk, contributions) 05:36, 5 February 2010 (UTC)

Whither the MacPhisto quote
Y2K has yanked the long MacPhisto quote:

 * "Look what you've done to me..... you've made me very famous, and I thank you. I know you like your pop stars to be exciting, so I bought these (gestures to his shoes). Now, my time among you is almost at an end; the glory of Zoo TV must ascend and take its place with all the other satellites. Don't fear, for I will be watching you. I leave behind video cameras for each of you. So many listening tonight, I have a list... People of America, I gave you Bill Clinton—I put him on CNN, NBC, C-SPAN. Too tall to be a despot, but watch him closely. People of Asia, your time is coming—without your tiny transistors, none of this [gestures to Zoo TV stage set] would be possible. People of Europe—when I came among you, you were squabbling like children. Now you're all hooked up to one cable, as close together as stations on a dial. People of the former Soviet Union—I gave you capitalism, so now you can all dream of being as wealthy and glamorous as me. People of Sarajevo, count your blessings... There are people all over the world who have food, heat and security, but they're not on TV like you are. Frank Sinatra, I give you the MTV demographic; Salman Rushdie, I give you decibels. Goodbye "Squidgy," I hope they give you Wales; goodbye Michael ... Goodbye all you neo-nazis, I hope they give you Auschwitz."

It's been in the article for a long time and I don't agree with Y2K's assertion that no one would read it through. To me, it really gets across the MacPhisto persona and a lot of what Zoo TV was about in terms of tone and subject matter. (Although it certainly helps to have known what his voice sounded like while saying it.) I think there should be a consensus before it's removed, not just a unilateral action. So what do others think? Wasted Time R (talk) 01:58, 17 February 2010 (UTC)
 * I put it into the quote box about a week ago. The case for that change is clear - it's way too long a quotation to be placed as part of the prose. As for "unilateral removal", I share Y2K's sentiment that it is way too long. ON the other hand, Wasted Time is also right - it does look into MacPhisto's character in depth. However, we could say that about any quotation about any topic - the trick for an encyclopedia is to be concise. As I said in my edit summary about a week ago, perhaps this quote can be linked to WIkiquote - but I'm not so familiar with that. We need to find a middle ground. Alternatively, a more appropriate quotation (not necessarily from MacPhisto) could be sourced.
 * As a bit of trivia on the quotation, I was at this concert, and there was a a lot of cheering and laughter during the speech - but an overwhelming boo and a tut-tutting "ohhhhh" which is not evident in the video version. But almost immediately, Bono was forgiven as the crowd cheered again for Salman Rushdie and the Auschwitz line. --Merbabu (talk) 02:44, 17 February 2010 (UTC)
 * "the trick for an encyclopedia is to be concise" – you must be working on a different project than I am ;-) WP gave up 'concise' a long time ago, and that's okay with me.  I'd rather a goal of this becoming the definitive online account of the greatest concert tour ever.  But to capture the essence of the tour without breaking the alphabet soup of WP:* rules is very difficult, and I think long quotes like this help us do it.  (With respect to your aside about being there, the reaction it got does illustrate the high-wire act that Bono and the group were taking on, as the article mentions.)  Moving it to Wikiquote is tantamount to deleting it, since I don't think Wikiquote has much of a readership.  Wasted Time R (talk) 02:50, 17 February 2010 (UTC)
 * Granted, "concise" is the wrong word - how about an "efficient use of words". (much like Edge and his guitar!?!?) I just think the quote rambles on without really making it self-evident what it's inclusion is trying to say. there are much better descriptions available and the article already does OK describing him. Summarise or paraphrase is the key - or just improve from other sources - the quotes great for fans, but it's not the be all and end all of MacPhisto. --Merbabu (talk) 03:02, 17 February 2010 (UTC)
 * Further, in terms of length, I'm not sure this article needs any expansion on MacPhisto (quality of info we can continue work on though), rather, perhaps there might even be a future justification for a whole article on MacPhisto? Perhaps then that quote could be included??? --Merbabu (talk) 03:03, 17 February 2010 (UTC)
 * Just to reiterate, I think the value of the quote is as much in illuminating the whole tour's ethos as it is to describing MacPhisto, and is thus an aid in showing not telling. A separate article on MacPhisto?  Seems like a stretch even to me ...  Wasted Time R (talk) 13:16, 17 February 2010 (UTC)
 * It's just not effective. Sure it's a great further insight to those (like us presumably) who are familiar with the character, but for the first time reader, it's not that illuminating without context, etc. Indeed, a MacPhisto article would certainly be way down on my priority list - my point being, the Macphisto section's length, if not it's quality, is already about enough, or long enough already. --Merbabu (talk) 00:14, 20 February 2010 (UTC)

 * I'm not sure what the attachment to this quote is - unwieldly length aside (not to mention undue weight), I think the casual reader would actually be confused by simply reading the quote. A lot of it references items that are out of context and it's hard to ascertain what Macphisto's point is. I think a casual reader would get much more out of understanding Macphisto by actually watching video of the speech - hearing the accent, seeing Bono's antics, putting the different aspects of this character together. Otherwise, it just seems like a bit of a rant that won't be understood very well. Y2kcrazyjoker4 (talk) 15:23, 19 February 2010 (UTC)

Okay, I'll give up on this one, unless someone else shows to weigh in. The quote was added by an IP four years ago, so I guess he/she isn't around to defend it. I like the "The MacPhisto speech is a masterpiece of bitter irony ..." line from that edit too, but of course that was purged a long time ago because Thou Shalt Never Render An Assessment Here. Wasted Time R (talk) 18:18, 20 February 2010 (UTC)
 * I just don't agree with you on this one. (ie, inclusion of the whole quote). In summary, I believe there are more effective ways to get the point/s. I hope there are no hard feelings. --Merbabu (talk) 23:22, 20 February 2010 (UTC)
 * No hard feelings; this got a good airing.  Wasted Time R (talk) 01:27, 21 February 2010 (UTC)

Gross, ranking and profit
As a break from all the content disputes, it would great if someone could find a definite answer to: These are key points that articles on tours like this always cover. Wasted Time R (talk) 04:39, 18 February 2010 (UTC)
 * 1) What was the worldwide gross of the tour? I could only get the North American gross.  I saw $155 million once for the worldwide, but it was uncited and quite possibly wrong.
 * 2) How did the worldwide figure compared with other tours up to then?  Again, I only got North American ranking.
 * 3) Did the tour earn a profit, lose, or more or less break even?
 * Can't say I know all that. But, the band always harp on about them breaking even on T-shirt sales. Whether that's accurate or just myth/Bonolese who knows??? --Merbabu (talk) 05:56, 18 February 2010 (UTC)
 * I'm making my way through "U2 at the End of the World". When I get to the end, I'll add whatever concluding information about the tour that is available. Y2kcrazyjoker4 (talk) 15:28, 19 February 2010 (UTC)

I added a characterization of the profit margin for individual shows, but still nothing on the whole tour. Wasted Time R (talk) 01:31, 21 February 2010 (UTC)
 * I've now added Merbabu's T-shirt sales, as earthily stated by McGuinness, which put the tour slightly in the black overall. Still don't have a total gross amount, though, which is what tours are most commonly ranked by. Wasted Time R (talk) 02:13, 23 February 2010 (UTC)
 * Thanks. One wonders though how much credence we put on these comments. U2 are a private corporation and don't have to disclose much - and, who's to say the snippets they do toss out can be taken that seriously? --Merbabu (talk) 04:45, 23 February 2010 (UTC)
 * You have a point. But the characterisations about high expenses, low profit margin on sold-out shows, and the tour overall making a small profit, are made by various writers, including Flanagan.  Presumably those writers have been convinced they are correct.  And they seem reasonable; the tour certainly was expensive to put on.  That T-shirt sales made the difference and that the group was close to bankruptcy are quotes from McGuinness and Bono; the reader can decide if there's hyperbole in them or not.  The first really isn't surprising (lots of promoters make their money off parking and concessions, this is sort of the equivalent for the artist) and the latter, assuming true, shows that the group was living on the edge financially as well as artistically. Wasted Time R (talk) 11:16, 23 February 2010 (UTC)

Background section
I find it a bit amusing that a number of pieces of descriptive material and quotes about the tour have been removed on grounds that the article is too long or needs tightening up, yet a Background section has appeared which tells yet again the 'U2 became too pretentious and had to reinvent themselves' story, which is already well trod over in the U2 article and the Achtung Baby article and is already alluded to in the Rattle and Hum article and the Lovetown Tour article. No, I'm not arguing to elimination of the Background section. I'm arguing that this article should be comprehensive; there's probably more to write about the Zoo TV Tour than any other concert tour in history, so let's do that without self-imposed boundaries on size. Wasted Time R (talk) 14:56, 28 February 2010 (UTC)
 * Hmmm - i was kind of agreeing with you until you got to the last part of your last sentence. We need some limit. --Merbabu (talk) 15:00, 28 February 2010 (UTC)
 * Okay, we shouldn't go over the 60 kB / 10,000 words readable prose size guideline of WP:SIZE. It's currently at 45 kB / 7655 words, or about 3/4 full.  How about that?  Wasted Time R (talk) 15:05, 28 February 2010 (UTC)
 * Yeah, that's fine. But on a section-by-section basis, some parts are/were just too long. --Merbabu (talk) 15:06, 28 February 2010 (UTC)
 * Based on what criteria, other than just you don't like it? This isn't like the U2 summary main article, where everything has to be ruthlessly edited down to its core.  An article like this has room to breathe.  (Although if you want to lop off the entire tour dates section, which is a directory listing that will be hard to cite well enough to achieve GA or FA status, I'm cool with that, although it should be discussed in advance first.)  Wasted Time R (talk) 15:13, 28 February 2010 (UTC)
 * Just a side-note, but in the "City of Blinding Lights" FAC I was told that primary sources are okay for things like tracklistings and concerts. If a cite needs to be found for the tour dates, U2.com's ZooTV page should be fine to use (or alternatively, Pimm Jal de la Parra's U2 Live: A Concert Documentary; Crazyjoker and I used it for the Sarajevo concert article after I found it on Google Books, and it seems to be pretty damn comprehensive (comes with dates, setlists, and even the venues). MelicansMatkin (talk, contributions) 18:15, 28 February 2010 (UTC)
 * I had forgotten that the de la Parra book includes the supporting acts for each show, which is what I was worried about (U2.com's listing omits them). So I was wrong, this section can be cited without problems.  In many tour articles for other artists, citing this section is a problem though, especially if grosses from each night are included as well.  Wasted Time R (talk) 18:32, 28 February 2010 (UTC)
 * While I didn't construct the table, I did do a fair bit of filling out the support acts, and putting in corrections - based on Parra's 1994 edition. I should cite it in the article. --Merbabu (talk) 23:54, 28 February 2010 (UTC)
 * Criteria? That would depend on the section at hand. If you're talking about your these two edits, it's no good leaving the connections you've drawn in edit summary. It needs to be explicit in the text - most readers won't get a connection between the DHOH and ZooTV. --Merbabu (talk) 15:20, 28 February 2010 (UTC)
 * You lost me here. Rather than just say Reed appeared with U2 and performed "SoL" (your terse version), I'm saying that he dueted with Bono (not necessarily true, could have had the whole vocal) and that their vocal styles were completely different. That describes musically what happened, instead of just being a directory listing of guest appearances, which isn't especially interesting.  It also illustrates how artists are often influenced by those unlike themselves, and feeds into the next sentence.   You're probably happy with the preceding paragraph's sentence, "Other guest performers on the tour included Axl Rose, Jo Shankar and Daniel Lanois." as nice and tight.  But that leaves me cold – what on earth did Axl Rose and U2 do together, and why?  Now there's actually a description of it in the Flanagan book, but why should I add it knowing you're just going to throw it out?   [18:32, February 28, 2010 Wasted Time R]
 * Indeed, you completely missed my intended points. So, looking again at the specific two edits at hand, but individually:
 * This is just a bit of trivia as it stands. The edit summary tries to explain the intent, but one should write for readers' benefit, not editors'. Then there's also the problem of the DHOP and Zoo TV connection being original research.
 * and, in this one if you feel that Lou Reed singing a duet on Zoo TV in the Giants Stadium is so pivotal, profound and of such gravitas, then it really needs to be spelt out. It's not something that *I* need to have explained in the edit summary, rather, it's for the *readers* benefit. Then it needs to be established whether it's something of trivial value, or something of great import to the subject matter.
 * Please try and address these, otherwise, without significance appropriately asserted in the text, I don't believe the info merits inclusion. --Merbabu (talk) 23:52, 28 February 2010 (UTC)
 * It seems to me that you guys are getting lost among some petty details. The fact, Wasted, is that while this article offers some room to grow on Zoo TV era happenings for the band, it can't just be allowed to carelessly grow. The Background section was added to offer context to the band's situation - if the tour was a big reinvention for them, what were they like before? That's an important question to answer for the reader. When you are having a disagreement about what to add and what to exclude, think about if adding it will really help the reader's understanding about the band and the tour, or if there is a more concise way to get the same point across (or if the point is even necessary). Such is the approach I take when looking for details that may be unnecessary and may just be what I call "puffery" (e.g. the point about Bono and Lou Reed's vocal stylings). Y2kcrazyjoker4 (talk) 06:38, 1 March 2010 (UTC)
 * I'm not opposed to Wasted points being restored and I didn't remove his restoration - I just want the point to actually be stated. Ie, if indeed, the DHOH are thematically linked to Zoo TV (Wasted's justification for mentioning them in the prose) then this point needs to be made. --Merbabu (talk) 06:59, 1 March 2010 (UTC)
 * I've reworked the DHOH text, both for accuracy (de la Parra says "Television" didn't get added on until partway through the Euro indoor leg, and "the tour DJ" is Fallon) and to indicate the importance of it (Flanagan calls it "the perfect Zoo anthem"). And it's clearly significant that U2 liked the song so much they invited DHOH on as a supporting act.  I'm not saying DHOH was the supporting act most integrated into the show, but they certainly were more than most (the Pixies and Primus had zilch to do with it, for example ... Public Enemy had some involvement, but more as rabblerousers that Bono liked than any real connection to Zoo themes).  By the fact that the article doesn't mention any of the other supporting acts, the reader can get a sense of DHOH's signficance without us plunging into the OR that you're worried about.  Wasted Time R (talk) 02:56, 2 March 2010 (UTC)

As for the larger question of what's "trivia" or "puffery" versus what's "something of great import to the subject matter" and "will really help the reader's understanding of the tour", in reality the recent addition that's done the most to increase the article's length is the Conception section, which goes on at great length about the ideas that went into the show, the ideas that didn't go into the show, the seven stages of Trabants appearing, billboards, inflatable dolls, etc etc. It's the longest section in the article now, and none of it was added by me. The things added by me have been things that actually appeared in the show, not all the things that didn't appear in the show. So it seems that the metric for "trivia" and "puffery" is WP:JUSTDONTLIKEIT, not anything really objective or consistent. Now, don't get me wrong; I like the Conception section, it's interesting and illuminating, even if not of great import. But so are the pieces I've added. There's room for both. Wasted Time R (talk) 04:34, 2 March 2010 (UTC)
 * It's hard not to be sensitive about one's edits. And speaking generally, of course, the edits of some editors show they are indeed more insistent about their edits than others - often to the determinant of the motivation of others (some call it ownership fatigue - but one would be a WP:DICK to bring that up...). At the end of the day, people are not going to agree with all of our edits. As for your edits, I personally think some are outstanding particularly with the excellent research and source finding you sometimes use (see RTSS for which i gave you a barnstar if you remember), and other ideas such as the long (and initially in-prose!) MacPhisto quote I don't quite agree with - but I got your intent and suggested other approaches be sought. Your edits and drive are an overwhelming benefit to the U2 articles and you should continue. Speaking of which, where is your implementation of your inspired suggested addition on the influence of Edge's break up on Achtung Baby. I know at least one of us wants to copy edit it.... :-P --Merbabu (talk) 07:31, 2 March 2010 (UTC)
 * As I said there, I'm not. And your latest "copyedits" show part of the reason why; in three places you lost important and well-sourced meaning just in the guise of saving a few words.  I have to battle over and over and over to keep anything in the article, why would I want to do this elsewhere?  Wasted Time R (talk) 11:58, 2 March 2010 (UTC)
 * What's wrong with the Conception section? You can't just talk about the tour without giving a frame of reference. If the tour was such a departure for the band, what were they changing from, and what gave them the ideas and inspirations to make these changes? I find the answers to these questions to be more illuminating than various trivia that is sprinkled in (e.g. fan philosophically challenging Bono?). You also exaggerate the amount of rejected ideas that are discussed - exactly half a paragraph out of 6 is dedicated to rejected ideas. Y2kcrazyjoker4 (talk) 13:45, 2 March 2010 (UTC)

Georgia Dome vs. The Omni
I have no idea what I am doing here procedure wise on wikipedia, and I could be factually mistaken, but I think the 5 March 1992 Atlanta concert date was at the newly opened Georgia Dome and NOT the Omni, as stated in the chart. I was there and unless old age is kicking in, the show was at The Dome. Please notice that U2 did play a few years earlier at the Omni...but my memory combined with the fact that the GA Dome had just opened, leads me to believe the chart is wrong. This link suggests I am right: http://www.levyrestaurants.com/Levy/DiningExperiences/SportsAndEntertainment/Georgia+Dome.htm

Terry —Preceding unsigned comment added by 74.243.32.69 (talk) 07:34, 20 November 2010 (UTC)

 * For future reference, please do not place new discussions/topics inside old discussion sections. I think you are mistaken: U2.com, u2gigs.com, u2station.com, and the book U2 Live all say the concert on March 5 was at The Omni - which makes sense, since that leg of the tour was devoted to American arenas. U2 returned to Georgia later that year for the outdoor leg, which saw them playing stadiums. September 25 was when they played the Georgia Dome. I would not trust one piece of information on that website you listed. They called the tour the "Pop Tour". The tours from 1992-1993 were called "Zoo TV" and the 1997 tour wasn't called the "Pop Tour" either - it was the "Popmart Tour". Y2Kcrazyjoker4 (talk • contributions) 23:53, 20 November 2010 (UTC)

Encore set list change Desire and Ultraviolet to Daddy's Gonna Pay For Your Crashed Car and Lemon
I changed this article a few days ago to include Daddy's Gonna Pay For Your Crashed Car and Lemon to be mentioned in the encores part of the show outline. After the Zooropa leg and the band moved on to the Australian (Zoomerang) leg Desire and Ultraviolet were not included in the set list. Desire wasn't played until the Popmart Tour and Ultraviolet wasn't played until the 360 Tour. These songs were replaced by Daddy's Gonna Pay For Your Crashed Car and Lemon. This is shown on the Live in Sydney dvd. If you check the set lists from this part of the tour this continued until the end of the tour. With Or Without You and Love Is Blindness were still played afterwards. I am going to change it back. Whoever changed it after I corrected it last time don't do it again check your facts! If you don't like the way I wrote it you rewrite it in your words.

Source:

http://www.u2setlists.com/zooropa.shtml - at the bottom of the page it notes that Desire is not played again until 1997 and Ultraviolet until 2009.

http://www.u2setlists.com/zoomerang-newzooland.shtml - this is the final leg and the encore is always the same: Daddy's Gonna Pay For Your Crashed Car, Lemon, With Or Without You, Love Is Blindness, Can't Help Falling In Love. — Preceding unsigned comment added by 124.187.16.216 (talk) 08:58, 24 April 2012 (UTC)

 * As per Y2kcrazyjoker4's edit summaries and mine, it's better to cover Zoomerang set list changes in the "Recording and release of Zooropa" section, which the article already does. The point of the show description sections is to capture what most of the shows looked like, not cover every exception along the way.  After all, Zoomerang was only 10 shows out of the tour's 157. Wasted Time R (talk) 11:31, 28 April 2012 (UTC)

 * I agree with Wasted Time R, the concert setlist more or less stayed intact as it was throughout the duration of the tour, albeit with a few minor changes (dropping some of the latter Achtung Baby tracks). The Zoomerang/New Zooland leg was the last ten shows. Even though the Zooropa album had been released in early July of 1993, U2 did not include its songs all at once in the live set. As previously mentioned in the article, Zooropa and Babyface were dropped after a handful of performances. Squaredroot (talk) 01:32, 2 December 2012 (UTC)

Mirror ball Trabant
From the page: "A seventh Trabant by the B-stage doubled as a DJ booth and a mirror ball." I take it this Trabant was also suspended from the stage, except gently revolving ala a mirror ball, but was this also the case when being used as a DJ booth? When was it used in the U2 sets (i.e. was it used during any performances specifically)? Is this also the mirror ball referred to in the PopMart Tour page? --TangoTizerWolfstone (talk) 17:45, 18 April 2015 (UTC)

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Addition of box office figures and doubts about accuracy
I'm not sure how useful the recent addition of box office figures (attendance and revenue) is to the "Tour dates" section, given that the data is missing for over half of the dates. And at some point all this information gets into WP:NOTADIR territory.

Furthermore, all the U.S. figures are sourced to the "Boxscore" feature in Billboard, whose figures were not always accurate. In particular, page 17 of this issue lists the 2–3 September 1992 shows at Veterans Stadium in Philadelphia as combined attendance "88,684 sellout". The second of these shows was one of the shows I saw on the tour and it was most definitely not a sellout. I had bought the ticket a week or two before the show, as they were readily available. I took detailed notes at the show and they say "Lots of empty seats – almost all but lower part of upper deck empty." And 44,000 is too low for the concert capacity of Veterans Stadium, which was huge (this news piece puts concert capacity at 55,000–60,000, where the low end would apply here given the Zoo TV stage was larger than average for outdoor acts). I suspect the combined attendance figure itself may be right but it was 54,000 first show and 34,000 second show, something like that.

I know, I know, WP is about verifiability and not truth. But just had to say this ... Wasted Time R (talk) 11:10, 9 April 2016 (UTC)

Opening Act at Arrowhead Stadium, Kansas City, October 18, 1992
So Public Enemy did not open for U2 at this show. Trust me, I would have remembered that! Not sure if the rest of the block in the chart is correct or not, but the openers were the Sugarcubes and The Disposable Heroes of Hiphoprisy. See: http://tours.atu2.com/concert/arrowhead-stadium-oct-18-1992 Sorry I'm too lazy to actually edit the page. — Preceding unsigned comment added by 74.87.108.134 (talk) 17:35, 6 June 2016 (UTC)

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anti-fascist themes of zooropa and the zootv tour
hi,

it seems the main contributor to this page does not like that i have explicitly stated the anti-fascist themes of the zoo tv tour, and presumably the zooropa album.

they claim that the source i used references the opening act (macnas) only, and not the ideas.

however, one website that discussed parts of the show mentions:

"The tour that developed from this was an audio-visual extravaganza to say the least. Giant video screens surrounded the stage and beamed out ZooTV images and messages in a sensory overload of information. Phrases such as "Everything you know is wrong", "Watch more TV" and "Freedom is slavery" flashed hypnotically from the stage in between Bono actually watching local TV using a remote control to flick restlessly between channels. Some observers suggested that there were more sinister hidden messages hidden among these images (in particular, it was pointed out that the sentence "Bomb Japan now" could be spotted if you looked carefully). This was widely dismissed as mere paranoia. However, there was some controversy in Germany due to the decision to use footage from Nazi propaganda films ('Olympia and 'Triumph Of The Will' by Leni Riefenstahl) during the intro to the show. Similarly, during the live performance of 'Bullet The Blue Sky', the burning crosses referred to in the song appeared on the video screens before metamorphosing into burning swastikas. The fact that the display of Nazi symbols is illegal in Germany made this a potentially dangerous move, but the audiences took it in the spirit in which it was intended, ie anti-fascist."

further, what is being said by macnas really does fit the theme of zoo tv and zooropa in general. the cover of zooropa is an alien with the stars of europe around it, and there are many messages that confirm or support the macnas artist's claim of being anti-fascist.

indeed, the rolling stone in 1993 (when it was good) also seems to support this:

"For the band, however — and in particular the Edge, whose increased musical and conceptual input earned him a co-production credit on the new Zooropa album (he also sang lead on the first single, “Numb”) — the pangs of European politics have been anything but remote. In retooling the Zoo TV stadium extravaganza that blitzed the United States in the summer of ’92 for European audiences, U2 charged straight into the belly of the beast. The show’s opening visual assault on gigantic vidiwalls and banks of televisions now included dramatic footage from Triumph of the Will, Leni Riefenstahl’s Nazi propaganda film from the 1930s. Huge flaming swastikas and burning crosses appeared on the vidiwalls during “Bullet the Blue Sky.” Meanwhile, Zooropa, the Achtung Baby follow-up the group released in July, chillingly evoked the exhilaration and fear of Europe in the throes of the new world disorder.

During the Zooropa ’93 tour, U2’s frequent live-satellite transmissions from Sarajevo — in which residents of the besieged city spoke uncensored to stunned stadium crowds — triggered a heated media debate abroad about the ethics of mixing up rock & roll special effects with heart-ravaging disasters."

the question i have for other fans: is it wrong to explicitly state that zooropa and the zoo tv tour were a provocative way of addressing the manifestations of fascism? to me it seems obvious, but the main contributor of this page seems to oppose that. 50.99.255.205 (talk)
 * What I am objecting to is the way you are adding the info and the lack of reliable sources you are using. The Macnas article does not mention U2's inspirations or ideas behind the tour, just the members of the Macnas troupe using their pre-show performance to mock fascism. You are trying to connect dots without a reference explicitly stating what you have written. Also, you added info to the Conception section as the first sentence claiming that anti-fascism was the inspiration for the tour... which it most certainly was not. Disparate TV programming, morning zoo radio, bootlegs of U2's concerts - these were the ideas behind the tour. Anti-fascism was a theme that was largely incorporated for the 1993 shows. Furthermore, the Three Chords and the Truth website is not a reliable source, so whatever you are trying to source from there cannot be used without identifying another, more reliable source. Lastly, the article already touches on the topic of anti-fascism - the info on the 1993 introductory video in the Show Overview section discusses U2's growing concern with radical nationalism. Y2Kcrazyjoker4 (talk • contributions) 18:44, 21 January 2021 (UTC)

 * don't you think it's fair to change "radical nationalism" to "fascism"? it seems kind of obtuse to avoid a more apt term. i didn't find the word and this was a large reason for my hunt. lastly, i find this zoo world order article to be handy. if you're going to be so touchy about your page, incorporate it somewhere because it was hard to find and it's a quality support for the anti fascist theme. i didn't know it came on in 1993, but i won't argue with that. boy you must be older than bono.nevermind, i see it has been sourced. you're very touchy over U2 articles, by the way . you undid my solid rewording of the zooropa (song) lede without basis. saying it wasn't an improvement. the english was terrible and you simply reverted and reworked it to your liking. you cannot be so controlling over U2 articles on this website. 50.99.255.205 (talk) — Preceding undated comment added 23:38, 21 January 2021 (UTC)

October 2021: -> Pixies section
The U2 fan who looks like a wp:single-purpose account needs to behave themselves. These facts are sourced. Woovee (talk) 17:08, 24 October 2021 (UTC)

 * All your edits are not well written and do not match the Featured Article quality of the rest of the article. Furthermore, all of these claims in the article are just that - claims. There's also no context given in your edits for why any of these occurrences are worth mentioning: are they uncommon in the music industry? Are they actually poor treatment of a support act? For all those reasons, I see no reason not to revert. Y2Kcrazyjoker4 (talk • contributions) 20:00, 24 October 2021 (UTC)
 * This is a case of SPA. I won't argue with a profile like yours.
 * For the record, U2 were vocal about the Pixies in many interviews. There is a gap between their pretending liking for the band and the attitude they had during the tour. Spin explains this. Pixies already had a high profile back in 1992, the fact that their name was not mentioned on their dressing room, hurt them : the journalist also found it inappropriate and mentioned it. Why are these claims more worthwhile to be mentioned than saying a trivial thing such as this journalist was Kim Deal's boyfriend to discredit his work?
 * You are doing positive bias with this article as you are a fan and people like you are a plague on wikipedia. These claims will have to be mentioned in the article one ay wor another.  Woovee (talk) 22:05, 24 October 2021 (UTC)

 * Maybe these claims would be worth mentioning if they could be corroborated or if the article prose could be written more eloquently. But as it stands, it's poorly written and not contextualized at all, and you've shown no interest in trying to copyedit it to make it encyclopedic. Also, calling me a single purpose account user is laughable. Apparently, you've not bothered to look at my previous contributions whatsoever. Y2Kcrazyjoker4 (talk • contributions) 22:37, 24 October 2021 (UTC)

 * Also, these claims were disputed by none other than the Pixies' Black Francis. From Bill Flanagan's book U2 at the End of the World: "After some saber-rattling U2 decided to let the Pixies finish the tour, but Pixies leader Charles Thompson was furious with Deal about the whole thing. He said that U2 had treated the Pixies great and he couldn't imagine what Deal thought she had to complain about." Basically, it would be WP:UNDUE to repeat these specific claims, which amount to tabloid fodder. Y2Kcrazyjoker4 (talk • contributions) 00:23, 25 October 2021 (UTC)
 * It is ironic that you take for granted all the claims from a U2 biography that looks like a hagiography. Had you mentioned a quote of Black Francis saying U2 were great with them, it would have been fine. Instead, you pick up a sentence from a U2 hagiography "He said that U2 had treated the Pixies great and he couldn't imagine what Deal thought she had to complain about". this is peanuts. Putting on a pedestal a hagiography about your favourite band while putting down the article of an established music magazine such as Spin is wrong. And keep it quiet, with undue, your way of doing things is undue. I will include all the quotes from the Spin article, criticizing U2 because an encyclopedia is neutral. I don't need to build a consensus, the onus is on you. I have a reliable source and you piss on it. Woovee (talk) 01:53, 25 October 2021 (UTC)

Who are you to judge a book you've never even read? It's clear from all your recent edit warring and topics about you on administrator noticeboards that you do need to build consensus. One article published in Spin and subsequently disputed by a fellow member of the Pixies does not make it gospel. I also find your inclusion of a sentence that U2 never met the Pixies completely laughable - as if not meeting an opening act is somehow mistreatment (if it was even true). Y2Kcrazyjoker4 (talk • contributions) 02:11, 25 October 2021 (UTC)

 * Still waiting from a quote of Black Francis saying that "U2 had treated the Pixies great and he couldn't imagine what Deal thought she had to complain about" ? Do you have such quote of Pixies' singer in store, and if so from which interview ? Still waiting an answer from your part explaining why you included a gossip saying that this journalist was Kim Deal's boyfriend. Who are you to flood wiki with articles to the glory of U2, are you paid by their record company ? You also didn't even mention that the band hired an extra musician on that tour for sequencers and keyboards parts, whereas it is mentioned in Spin. "I also find your inclusion of a sentence that U2 never met the Pixies completely laughable", you keep on discrediting the work of Spin magazine because they deigned to criticize a little bit your idols. Woovee (talk) 03:49, 25 October 2021 (UTC)
 * It's clear you haven't read the entirety of the Zoo TV Tour article because I in fact do mention someone handled sequencers and keyboards: "Des Broadberry managed the keyboards, sequencers, samples, and MIDI equipment." How this is at all relevant to what we've been discussing, I have no earthly idea. Why do I need a direct quote from Black Francis about the Spin article? Bill Flanagan is a credible music journalist and reported Francis's response himself. Also, are you serious that you don't know why it is significant to mention that Jim Greer's girlfriend was the Pixies bassist Kim Deal? BECAUSE IT'S A CONFLICT OF INTEREST! Reporting on a rock tour while traveling with your girlfriend, but failing to disclose that girlfriend is a member of one of the tour's opening acts is one of the most blatant examples of conflict of interest I've ever heard of and severely eats into the credibility of Greer's claims. Of course his article is going to be written with a bias towards his girlfriend/the Pixies. That fact that you can't understand why this fact is relevant tells me everything about why you are not qualified enough to weigh in on this topic without bias. The fact is, I am mentioning both Greer's article and the response to it, so I want to present multiple sides of the story (albeit, without undue weight). In contrast, all you want to do is mention Greer's claims, which further reinforces you are the one who is biased. Finally, your unfounded, bad-faith claims that I can't include a sentence remotely critical of U2 is farcical. Go see here, or here. Y2Kcrazyjoker4 (talk • contributions) 04:33, 25 October 2021 (UTC)

No such thing as a "Drunk driving accident"
@User:AidenTEM Sir, "drunk driving accident" is itself "load language". It is not even remotely impartial. It is the direct opposite. I removed the impartial, loaded language and replaced it with a neutral term. You restored the bias. Bohemian Baltimore (talk) 01:42, 13 April 2023 (UTC)

 * It's a matter of semantics. Accident doesn't point the finger at anyone. Sure, that may change in court later, but Wikipedia is not a courtroom. We do not need to use any loaded or biased language, and changing the word from 'accident' to 'crash', especially across multiple articles, comes off as changing the language to an assumption of guilt, especially when paired with your edit summary of 'drunk driving is no accident' in response to my revert. AidenTEM (talk) 01:52, 13 April 2023 (UTC)
 * I'd also like to apologize for my report, this was completely the wrong scenario for that measure and I accept my failure to fully read the documentation before doing so - I have removed the report and apologize again. AidenTEM (talk) 01:57, 13 April 2023 (UTC)
 * @User:AidenTEM I appreciate your apology. I will pause my edits on this matter until further agreement can be come to. I disagree that the matter is merely semantic. The main article is "Traffic collision", and you can see in the first section there's a paragraph discussing the problems with referring to all collisions/crashes/incidents as "accidents". The POV issue here (it was my intent to remove a POV, rather than insert one) is that calling every collision or incident an "accident" does in fact take the stance that the driver wasn't at fault, it points the finger away. And why should the finger be pointed...to or away? I don't see how terms like incident, crash, or collision are assigning guilt. Would you prefer to use collision over crash? That's fine with me. In the specific case of drunk driving, a crime, it seemed especially obvious to me that those are the results of choices made. A person doesn't accidentally drink to the point of drunkenness and then accidentally get behind the wheel of a car. Thanks again. Bohemian Baltimore (talk) 02:11, 13 April 2023 (UTC)

title: Talk:Zoo TV Tour


text:
Wikipedia:Articles for deletion/Lucs

 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 -- Francs2000 | Talk 02:23, 4 August 2005 (UTC)

Lucs
Delete. Wikipedia is not a slang guide, as official policy in WP:WIN states. drini ☎ 21:18, 20 July 2005 (UTC)
 * Delete as a totally non-notable neologism. How's that for alliteration, hmm? - Lucky 6.9 22:37, 20 July 2005 (UTC)
 * Delucs. Neologism. -- BD2412 talk 03:21, July 21, 2005 (UTC)
 * Delete neologism. JamesBurns 08:29, 21 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.

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

title: Wikipedia:Articles for deletion/Lucs


text:
Surrealist music

Surrealist music is music which uses unexpected juxtapositions and other surrealist techniques. Discussing Theodor W. Adorno, Max Paddison defines surrealist music as that which "juxtaposes its historically devalued fragments in a montage-like manner which enables them to yield up new meanings within a new aesthetic unity", though Lloyd Whitesell says this is Paddison's gloss of the term. Anne LeBaron cites automatism, including improvisation, and collage as the primary techniques of musical surrealism. According to Whitesell, Paddison quotes Adorno's 1930 essay "Reaktion und Fortschritt" as saying "Insofar as surrealist composing makes use of devalued means, it uses these as devalued means, and wins its form from the 'scandal' produced when the dead suddenly spring up among the living."

Early surrealist music
In the 1920s several composers were influenced by surrealism, or by individuals in the surrealist movement. The two composers most associated with surrealism during this period were Erik Satie, who wrote the score for the ballet Parade, causing Guillaume Apollinaire to coin the term surrealism, and George Antheil who wrote that, "The Surrealist movement had, from the very beginning, been my friend. In one of its manifestos it had been declared that all music was unbearable—excepting, possibly, mine—a beautiful and appreciated condescension." Early surrealist music was also linked to film; according to Hannah Lewis: "perhaps one of the most famous early film scores was Satie's music for René Clair's film Entr'acte. Shown between the acts of Satie's ballet Relâche performed by the Ballets suédois in 1924, the film, featuring a scenario by Dadaist artist Francis Picabia, was an important precursor to surrealist cinema. The film, too, featured unusual juxtapositions and dream logic, and some have considered the film, and by extension Satie's score, to be surrealist.'"

Adorno cites as the most consequent surrealist compositions those works by Kurt Weill, such as The Threepenny Opera and Rise and Fall of the City of Mahagonny, along with works by others drawn from the middle-period music of Igor Stravinsky—most particularly that of L'Histoire du soldat—and defines this surrealism as a hybrid form between the "modern" music of Arnold Schoenberg and his school, and the "objectivist" neoclassicism/folklorism of the later Stravinsky. This surrealism, like objectivism, recognizes alienation but is more socially alert. It thereby denies itself the positivist notions of objectivism, which are recognised as illusion. Its content deals instead with "permitting social flaws to manifest themselves by means of flawed invoice, which defines itself as illusory with no attempts at camouflage through attempts at an aesthetic totality", thereby destroying aesthetic formal immanence and transcending into the literary realm. This surrealism is further differentiated from a fourth type of music, the so-called Gebrauchsmusik of Paul Hindemith and Hanns Eisler, which attempts to break through alienation from within itself, even at the expense of its immanent form.

The early works of musique concrète by Pierre Schaeffer have a surrealist character owing to the unexpected juxtaposition of sound objects, such as the sounds of Balinese priests chanting, a barge on the River Seine, Sacha Guitry's singing and coughing, and rattling saucepans in Étude aux casseroles (1948). The composer Olivier Messiaen referred to the "surrealist anxiety" of Schaeffer's early work in contrast to the "asceticism" of the later Etude aux allures of 1958. After the first concert of musique concrète (Concert de bruits, 5 October 1948) Schaeffer received a letter from one member of the audience (identified only as G. M.) describing it as "the music heard, by themselves alone, by Poe and Lautréamont, and Raymond Roussel. The concert of noises represents not only the first concert of surrealist music, but also contains, in my view, a musical revolution." Schaeffer himself argued that musique concrète, in its initial phase, tended either towards atonality or surrealism, or both, rather than, as it subsequently became, the starting point of a more general musical procedure.

title: Surrealist music


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Bentong

Bentong (Jawi: ﺑﻨﺘﻮڠ), the seat of Bentong District, is a town located in western Pahang, Malaysia, at the border with the state of Selangor in the west and the state of Negeri Sembilan in the south.

Government
Bentong Municipal Council (Majlis Perbandaran Bentong) is the local authority for the whole of Bentong District including Bentong town. From 5 May 1955 until 30 June 1981, Bentong town was governed by the Bentong Town Council (Majlis Bandaran Bentong). On 1 July 1981, the Bentong Town Council was merged with 5 local councils of Karak, Sungai Dua, Telemong, Manchis and Bukit Tinggi and 8 village councils of Kampung Shafie, Kampung Simpang Pelangai, Sungai Gapoi New Village, Kampung Jambu Rias, Kampung Benus, Genting Sempah, Kampung Janda Baik and Sungai Penjuring New Village to form the Bentong District Council (Majlis Daerah Bentong).

The administrative area of Bentong District Council at the time of establishment was 106.18 km2, consisting 80.26 km2 operational area and 25.92 km2 control area. It was then increased to 1105.19 km2 on 1 January 2001 consisting new operational area of 867.69 km2 and control area of 237.5 km2. Bentong District Council was upgraded to the present-day Municipal Council on 16 July 2005.

Bentong is currently represented in the Dewan Rakyat by Young Syefura Othman from DAP. Bentong has four seats in Pahang State Legislative Assembly. Bilut, Ketari, Sabai and Pelangai. Both Bilut and Ketari are held by Pakatan Harapan while Sabai and Pelangai are held by Barisan Nasional.

Weather
Bentong average temperature is on 26.8 °C while 2419 mm rainfall every month.

title: Bentong


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File:WWFSmackDownPlaystation.jpg

The cover art for the North American version of WWF SmackDown!

Source:  Video Game Museum

title: File:WWFSmackDownPlaystation.jpg


text:
Talk:Bruce McGivern

These are characters from the video game Resident evil. Please present them as such.

cleanup
I have cleaned up some of the grammatical errors on the page however as the errors also effect the facts of the article it will need to be checked by someone with a better knowledge of this article's content.(IRMacGuyver (talk) 09:01, 18 January 2008 (UTC))

Notability
He's not really notable enough to warrant a stand-alone article, should merge and redirect to Resident Evil: Dead Aim until someone can convince me otherwise. Jonny2x4 (talk) 02:52, 5 February 2008 (UTC) Well there wasn't anything to the article anyways, murged it easy...  Doktor  Wilhelm   03:40, 5 February 2008 (UTC)
 * If you ant to remove content, place up some merge tags, justs removing the whole article without discussion isn't really very nice! And yes I believe is should be merged, I just don't agree with the way it's being done!

title: Talk:Bruce McGivern


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Richard de la Pole

Richard de la Pole (died 24 February 1525) was a pretender to the English crown. Commonly nicknamed "White Rose", he was the last Yorkist claimant to actively and openly seek the crown of England. He lived in exile after many of his relatives were executed, becoming allied with Louis XII of France in the War of the League of Cambrai. Louis saw him as a more favourable ally and prospect for an English king than Henry VIII.

During 1514, the stage was set for a Yorkist reclaiming of England under Richard. He was in Brittany with 12,000 mercenaries set for the invasion, leading his army to St. Malo; however, France and England made peace just as they were about to embark and it was thus called off. Later, with Francis I as king, Richard struck up an alliance in 1523 and planned a Yorkist invasion of England once again. However, this never came to fruition, as Richard died fighting alongside Francis I at the Battle of Pavia two years later.

Family
He was the seventh and youngest son of John de la Pole, 2nd Duke of Suffolk and his wife Elizabeth of York. His mother was the second of the three surviving daughters of Richard Plantagenet, 3rd Duke of York and Cecily Neville. She was a younger sister to Edward IV of England, as well as Edmund, Earl of Rutland and Anne of York, Duchess of Exeter, and an older sister to Margaret of York, George Plantagenet, 1st Duke of Clarence and Richard III of England.

His paternal grandparents were William de la Pole, 1st Duke of Suffolk and Alice Chaucer. Suffolk was an important English soldier and commander in the Hundred Years' War, and later Lord Chamberlain of England. He also appears prominently in William Shakespeare's Henry VI, Part 1 and Henry VI, Part 2.

Alice Chaucer was a daughter of Thomas Chaucer and Maud Burghersh. Thomas was the Speaker of the English House of Commons on three occasions, Chief Butler of England for almost thirty years, attended fifteen parliaments and was Speaker of the House five times, a feat not surpassed until the 18th century.

Thomas was a son of Geoffrey Chaucer and his wife Philippa (de) Roet. Geoffrey was an English author, poet, philosopher, bureaucrat (courtier) and diplomat. He is sometimes called the father of English literature. Although he wrote many works, he is best remembered for his unfinished frame narrative The Canterbury Tales. He is also credited by some scholars with being the first author to demonstrate the artistic legitimacy of the vernacular English language, rather than French or Latin.

Yorkist heir
His eldest brother John de la Pole, 1st Earl of Lincoln (c. 1464 – 1487), may have been named heir to the throne by his maternal uncle, Richard III of England, who gave him a pension and the reversion of the estates of Lady Margaret Beaufort. However, on the accession of Henry VII following the Battle of Bosworth Field in 1485, Lincoln took the oath of allegiance instead of claiming the throne for himself.

In 1487, Lincoln joined the rebellion of Lambert Simnel and was killed at the Battle of Stoke Field, Nottinghamshire. The second brother, Edmund (c. 1471 – 1513), succeeded his father while still in his minority. His estates suffered under the attainder of his brother, and he was compelled to pay large sums to Henry VII for the recovery of part of the forfeited lands, and also to exchange his title of duke for that of earl. In 1501 he sought out Maximilian I, Holy Roman Emperor, in Tyrol and received from him a promise of substantial assistance in case of an attempt on the English crown.

In consequence of these treasonable proceedings Henry VII seized Edmund's brother William, with four other Yorkist noblemen. Two of them, Sir James Tyrrell and Sir John Wyndham, were executed; William de la Pole was imprisoned; and Edmund de la Pole, 3rd Duke of Suffolk, was outlawed. Then in July 1502 Henry VII concluded a treaty with Maximilian by which the Emperor bound himself not to countenance English rebels. Presently Suffolk fell into the hands of Philip I of Castile, who imprisoned him at Namur and in 1506 surrendered him to Henry VII, on condition that his life was spared. He remained a prisoner until 1513, when he was beheaded by Henry VIII at the time his brother Richard took up arms with the French king.

Richard de la Pole joined Edmund abroad in 1504, and remained at Aix-la-Chapelle as surety for his elder brother's debts. The creditors threatened to surrender him to Henry VII but, more fortunate than his brother, he found a safe refuge at Buda with King Ladislaus II of Bohemia and Hungary.

He was excluded from the general pardon proclaimed at the accession of Henry VIII, and when Louis XII of France went to war with the Kingdom of England in 1512, he recognised Edmund's pretensions to the English crown and gave Richard a command in the French army. In 1513, after the execution of Edmund, he assumed the title of Earl of Suffolk. In 1514 he was given 12,000 German mercenaries, ostensibly for the defence of Brittany, but really for an invasion of England. These he led to St. Malo, but the conclusion of peace with England prevented their embarcation. Richard was required to leave France, and he established himself at Metz, in Lorraine, and built a palace at La Haute Pierre, near St. Simphorien.

While at Metz, he was visited by Pierre Alamire, the German-Netherlandish composer and music copyist, who was a spy for Henry VIII. However, Richard employed Alamire as a counter-spy against Henry, and Alamire, on being suspected of unreliability by Cardinal Thomas Wolsey and Henry VIII, never returned to England.

Richard de la Pole had numerous interviews with King Francis I of France, and in 1523 he was permitted, in concert with John Stewart, 2nd Duke of Albany, the Scottish regent, to arrange an invasion of England, which was never carried out.

He was with Francis I at the Battle of Pavia on 24 February 1525, where he was killed and was buried in the basilica San Pietro in Ciel d'Oro. In a picture of the battle, preserved at the Ashmolean Museum at Oxford, his lifeless body is represented in the thick of the combat with the inscription Le Duc de Susfoc dit Blance Rose (The Duke of Suffolk, known as White Rose).

Children
Richard de la Pole was never known to have married, but he is known to have had a daughter by a mistress. It has been suggested that she may have been Marie of Sicily.
 * Marguerite de la Pole who was lady of honour to Marguerite of Angoulême, Queen of Navarre. On 21 May 1539, Marguerite de la Pole signed a marriage contract to Sibeud de Tivoley, seigneur de Brenieu, in the presence of the Queen and her kinsman Gabriel, Marquis of Saluzzo. Tivoley was esquire ordinaire of Queen Eleanore of Austria. Tivoley was still living in 1547, but died before 1568.

Marguerite and her husband had three sons and five daughters:
 * Jean, Seigneur of Brenieu in Vivarais.
 * Pierre, became a priest and Canon of Saint Denis.
 * Claude, who also became a priest and Canon of Évry.
 * Catherine, wife of Gilbert de Colomb.
 * Eleanore, wife of Jean de Secondat de Montesquieu, seigneur of Roques. The political philosopher Charles-Louis de Secondat, Baron de La Brède et de Montesquieu was one of her descendants.
 * Marguerite, wife of Claude d'Orgeoise, seigneur of Montferrier.
 * Louise, wife of Jean de Montchenu.
 * Sebastienne, wife of Andre Berenger du Gua.

Marguerite de la Pole's will was dated 1599.

title: Richard de la Pole


text:
Wikipedia:Articles for deletion/Rory smith

 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. Sjakkalle (Check!)  11:17, 29 July 2005 (UTC)

Rory smith
vanity, poor writing skills, and evidence of mental deficiency Bayyoc 21:20, 20 July 2005 (UTC)
 * speedy delete under the new CSD =). Sasquatch′↔Talk↔Contributions 21:21, July 20, 2005 (UTC)
 * Speedy. Binadot 22:10, 20 July 2005 (UTC)
 * Speedy nonsense. -- Etacar11   01:19, 21 July 2005 (UTC)
 * Speedy and BJAODN. Thorns Among Our Leaves 02:48, 21 July 2005 (UTC)
 * Delete nonsense vanity. JamesBurns 08:30, 21 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:
WWF SmackDown! (video game)

WWF SmackDown!, known in Japan as Exciting Pro Wrestling (エキサイティングプロレス), is a professional wrestling video game developed by Yuke's and released for the PlayStation by THQ. It is based on the World Wrestling Federation (WWF) and is named after the company's weekly SmackDown! television program. Originally released on 2 March 2000, the game received a direct sequel released several months later, entitled WWF SmackDown! 2: Know Your Role.

The first WWF game on the PlayStation to be published by THQ, SmackDown! marked the start of a long running series of WWE video games from THQ, then continued by 2K Sports and rebranded as WWE 2K. The game was also re-released under the Greatest Hits budget range.

Gameplay
The game's main story mode contains three main parts, first with the Pre-Season (for created wrestlers), but after ten in-game years of playing the Pre-Season, players are allowed to skip it. By playing and advancing in the season modes players gain rewards such as unlockables or attires, but instead of unlocking new characters, players unlock new body parts to put on new creations, to play as that "unlocked" character. Once players build a creation, they must fight in a Pre-Season year to build their skills and make their alliances. The story mode contains no voice-overs, instead the characters meet each other backstage with mouths that move to no voice and on-screen cutscene text. The game also lacks play-by-play color commentary.

WWF SmackDown! has many match types including Single, Tag Team, Hardcore, Steel Cage and many more. The game features the late 1999 WWF roster following SmackDown!'s premiere, including the then-newcomers The Dudley Boyz.

Development
Yuke's, the developer of SmackDown! had previously created the Toukon Retsuden series of wrestling games in Japan for New Japan Pro-Wrestling. Despite this, the game engine used in SmackDown! is not based on contemporary Toukon Retsuden titles, but rather The Pro Wrestling, a title developed by Yuke's as part of D3 Publisher's Simple series and released several months in Japan beforehand.

Reception
WWF SmackDown! received favorable reviews according to video game review aggregator GameRankings. Daniel Erickson of NextGen was positive to the controls, graphics, and game modes such as Season and Referee mode, but criticized its "shallow" arcade-like quality and create-a-wrestler mode. In Japan, however, Famitsu gave it a score of 27 out of 40.

Lamchop of GamePro called SmackDown better than Acclaim's WWF Attitude in terms of graphics and "speedier" gameplay, but thought that Attitude has its full commentary and character voices than the former. In another review, The D-Pad Destroyer praised the Season mode and called the title "one of the best wrestling games in the history".

The game was a bestseller in the UK upon release, and again three months later. It also received a "Platinum" sales award from the Entertainment and Leisure Software Publishers Association (ELSPA), indicating sales of at least 300,000 units in the UK.

title: WWF SmackDown! (video game)


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GASB 34

GASB 34 is a financial accounting standard issued by the Governmental Accounting Standards Board in the United States

GASB 34 provides a comprehensive framework for financial reporting with the objective of making annual reports easier to understand and more useful to the people who rely upon the financial condition contained therein. The most significant aspect of Statement 34 was that for the first time general infrastructure assets (such as roads, bridges and dams) were to be reported together with related depreciation or preservation costs.

In June 1999, GASB Statement 34 (or GASB 34) was published. The GASB Chairman characterized the statement as "the most significant change to occur in the history of government financial reporting."

For the valuation of infrastructure assets, the Statement authorized both a standard depreciation approach and a modified approach that relied upon asset management analysis and systems as acceptable methods. That action also authorized a combination of the two if, in the judgment of the agency, depreciation was appropriate for some asset classes while the modified approach was appropriate for others.

title: GASB 34


text:
The Crazies (1973 film)

The Crazies (also known as Code Name: Trixie) is a 1973 American science fiction horror film written and directed by George A. Romero. It stars Lane Carroll, Will McMillan, and Harold Wayne Jones as residents of a small American town that accidentally become afflicted by a military biological weapon. Filmed in Evans City in Western Pennsylvania, The Crazies was a box office failure upon release, but has since become a cult film. A remake of the film was released in 2010.

Plot
In Evans City, Pennsylvania, a man kills his wife and burns down his farmhouse. Firefighters David and Clank — both Vietnam War veterans — are called to the scene. David's pregnant girlfriend, a nurse named Judy, is called to the office of Dr. Brookmyre, where the two children of the arsonist are being treated for burns.

Heavily armed U.S. troops led by Major Ryder take over Dr. Brookmyre's office. Days earlier, an Army plane carrying a bioweapon had crash-landed near the town, infecting the water supply with a virus code-named "Trixie" which is highly contagious and causes victims to either die or become hysterical and homicidally insane.

Government officials send Colonel Peckem and Dr. Watts, who worked on the creation of the virus, to Evans City to contain the virus and work towards a cure. Martial law is declared in Evans City and a quarantine is placed on the town. Army soldiers forcibly move the townspeople into a high school, rousting many from their homes, and shoot anyone attempting to escape. Bombers armed with nuclear weapons are dispatched to destroy the town if necessary.

David, Judy, Clank, teenager Kathy Fulton and her father Artie, try to find a way to escape the town. After spending the night hiding in a country club, the group attempts to escape through the nearby woods, eluding soldiers both on the ground and in an overhead helicopter. They overpower several soldiers in a house. One of the soldiers discloses what he knows about the virus to David, but when one of the soldiers reaches for his gun, Clank opens fire and kills the soldiers. David tells Judy about what he knows about the virus and that Kathy, Artie, and probably Clank are infected.

After Clank beats him for attempting to have sex with Kathy, Artie hangs himself. Kathy wanders outside and is killed by soldiers. Realizing he is infected, Clank kills several soldiers to give David and Judy time to escape. He is then shot and killed. The next night, Judy, now visibly infected, is killed by armed civilians. Angry and frightened, David surrenders to the military. After being taken into custody, David eventually realizes that he is immune to the virus, but he keeps the knowledge to himself.

Dr. Watts develops a potential cure for the virus but when he tries to take samples to Peckem and Ryder, he is killed and the samples are destroyed in a stampede of infected townspeople breaking free from quarantine. Depressed and distraught by his experiences in Evans City, Colonel Peckem is ordered to relocate to Louisville, where symptoms of the virus have been reported.

Cast

 * Lane Carroll as Judy
 * Will McMillan as David
 * Harold Wayne Jones as Clank
 * Lloyd Hollar as Colonel Peckem
 * Lynn Lowry as Kathy
 * Richard Liberty as Artie
 * Richard France as Dr. Watts
 * Harry Spillman as Major Ryder
 * Will Disney as Dr. Brookmyre
 * Edith Bell as Lab Technician
 * Leland Starnes as Shelby
 * Bill Thunhurst as Brubaker
 * A.C. McDonald as General Bowen
 * Robert J. McCully as Hawks
 * Robert Karlowsky as Sheriff Cooper
 * Ned Schmidtke as Sergeant Tragesser
 * Tony Scott as Deputy Shade
 * Roy Cheverie as Army Doctor
 * Jack Zaharia as Priest
 * Bill Hinzman as Man in Infirmary & Crazie shooting at the doctor's office

Production
According to Romero, this project began life with Paul McCollough, who authored a screenplay entitled The Mad People. The script dealt with a military bioweapon that was accidentally released into a small town, with the military subsequently trying to cover up the incident and the townspeople revolting. Romero revealed that the military subplot was only featured in the first act of the script, and the rest of the film focused on the survivors and their attempts to cope with what was happening. The director called McCollough's script "very existential and heady".

The screenplay was read by Lee Hessel, a producer who owned Cambist Films and with whom Romero had previously worked on There's Always Vanilla. Hessel expressed interest in it and offered to finance it as Romero's next film, but only if the director would be willing to rewrite McCollough's screenplay to focus on what Hessel considered the most interesting ingredient of the story, namely the military takeover of the town, which occurred in the first 10 to 20 pages. Romero agreed and rewrote the script, and he was given a budget of approximately $270,000.

The film was shot in and around Evans City and Zelienople, both small towns in Pennsylvania about 30 miles north of Pittsburgh. The school featured in the movie is the local high school and the lockers are still the same blue they are in the movie. Romero has spoken of how the majority of people in the towns were very cooperative and happy to help with the production.

The closing credits song, "Heaven Help Us", performed by Beverly Bremers, was the first recorded song written by Melissa Manchester with lyricist Carole Bayer Sager.

Box office
The film did not have a wide release, instead playing in a limited number of theaters before opening in a different market. Romero later claimed he felt that the major reason The Crazies failed at the box office was due to poor distribution. He stated that Hessel made a true attempt to adequately market the film, including releasing it under a variety of titles in different parts of the country, but that it never managed to catch the public's eye.

Critical reception
On the review aggregator website Rotten Tomatoes, The Crazies holds an approval rating of 70% based on 27 reviews. The website's critical consensus reads, "The Crazies isn't top-shelf Romero, but its blend of genre thrills and social subtext should still be enough to satisfy discerning horror fans." On Metacritic, it has a weighted average score of 63 out of 100, based on 6 critic reviews, indicating "generally favorable reviews".

Home video
On February 23, 2010, the film was released on Blu-ray by Blue Underground, the same company who first issued a DVD release on April 29, 2003. It was later re-released with a new 4K restoration by Arrow Video as part of a boxset entitled George A. Romero: Between Night and Dawn. It was later released separately on March 13, 2018.

title: The Crazies (1973 film)


text:
Chestatee River

The Chestatee River (variant spellings Chestatie, Chestetee, Chostatee, Chosteta, Chestotee; none in modern use) is a 32.76 mi river in the Appalachian Mountains of northern Georgia, USA.

The word "Chestatee" is a Cherokee word meaning roughly "pine torch place" or "place of lights", because they would use bonfires along the riverbanks to light their torches. They would then use these torches for hunting deer and other wild game in the forest. The Chestatee Regional Library System takes its name from the river, as do Chestatee High School and Middle School in Gainesville. In a nod to the origins of the name, CHS strives to be "a place of light" to their students.

Course
It begins at the confluence of Dicks Creek and Frogtown Creek (near the junction of U.S. 19 and U.S. 129) in northeastern Lumpkin County, flowing down by the county seat and former Georgia Gold Rush town of Dahlonega, and then under the northern terminus of the Georgia 400 expressway from Atlanta. It originally continued past the southern corner of the county, forming the entire eastern border of southern Dawson County with northwestern Hall County, and the far northern part of Forsyth's border with Hall. The river was used as a defining line in the Cherokee Treaty of Washington 1819 and the eastern border of the Hickory Log District of the Cherokee Nation before removal

It is a major tributary of the Chattahoochee River, into which it ended at a point now under the waters of Lake Lanier, since Buford Dam was finished in 1956. The northwestern arm of the lake, which flooded the lower 18 mi of the river, is called Chestatee Bay, which destroyed the town of Chestatee (called Atsunsta Ti Yi by the native Cherokee people) when it was submerged. The county boundaries still follow the original thalwegs of the river, with the lake coming as far up the river as Lumpkin's southernmost tip. At this point, the river forms an extremely small portion of the Lumpkin/Hall county line for about 1 mi.

Watershed and sub-watershed details
The Chestatee River basin area consists of three HUC-10 watersheds, namely 0313000105, 0313000106, and 0313000107, and 14 sub-watersheds, listed below.

HUC-10 0313000105

HUC-10 0313000106

HUC-10 0313000107

Hydrology
There is one stream gauge (NWS location identifier DGAG) along the river, installed in 1907 at State Route 52 near Dahlonega. It is at latitude 34°31'41"N, longitude 83°56'23"W, at 1128.6 ft above mean sea level. The watershed area above this point is 153 sqmi. The National Weather Service has set a flood stage for this gauge of 19 ft. The highest level ever recorded was in 1967, at 25.17 ft on August 23. This is about ten times its average height or depth.

title: Chestatee River


text:
United States Eventing Association

The United States Eventing Association (USEA) is the organization responsible for organizing, promoting and adjudicating equestrian eventing in the United States. Formerly known as the United States Combined Training Association, the USEA is a 501(c)(3) non-profit organization.

The association has approximately 13,000 members and organizes around 250 competitions annually, which garner almost 44,000 entries. The USEA works in association with the United States Equestrian Team Foundation and United States Equestrian Federation.

History
The USEA was founded as the United States Combined Training Association in 1959, as the governing body for the sport of combined training, more commonly known as eventing, in the United States of America. In 2001 the organization's name was changed to the United States Eventing Association. It was formed to promote the sport of eventing throughout the country, from the beginner novice to the advanced level. It set rules to protect the safety of the competitors, both human and equine, and those requiring the humane treatment of the horses. The USEA is also responsible for organizing clinics and educational opportunities, registering events that met their qualifications, and assisting in training opportunities for the best competitors in the country.

Areas
The USEA is broken down into 10 different regions called Areas. Each Area has its own governing body that is elected by the registered rides and constituents of the area. These governing bodies help to set the show schedules, run the local Adult and Young Rider Programs, and host annual meetings.

Area I • Connecticut, Maine, Massachusetts, New Hampshire, New York, Rhode Island, and Vermont

Area II • New Jersey, Pennsylvania, Maryland, Delaware, Virginia, and North Carolina

Area III • Tennessee, South Carolina, Mississippi, Alabama, Georgia, and Florida

Area IV • Illinois, Iowa, Kansas, Missouri, Minnesota, Nebraska, North Dakota, and Wisconsin

Area V • Arkansas, Louisiana, Oklahoma, and Texas

Area VI • California and Hawaii

Area VII • Oregon, Washington, Idaho, Montana, and Alaska

Area VIII • Indiana, Kentucky, Michigan, Ohio, and West Virginia

Area IX • Colorado, Wyoming, Utah, and South Dakota

Area X • Arizona, New Mexico, and Nevada

Young Rider Program
The USEA encourages riders under 25 years of age to participate in the Young Rider Program. The program seeks to promote a love of the spot as well as true horsemanship and a strong set of values as the riders grow into mature adults. The program is divided into the above areas and each area is run by volunteers. Camps, clinics, and seminars are offered to help train the next generation of the sport.

USEA'S Eventing Hall of Fame
Induction into the United States Eventing Association's Eventing Hall of Fame is the highest honor awarded within the sport of eventing in the United States. Those inducted into the USEA's Eventing Hall of Fame have truly made a difference in the sport of eventing. Inductees have included past Association presidents, volunteers, riders, founding fathers, course designers, officials, organizers, horses, horse owners, and coaches.

Criticism
The USEA has been criticized for a lack of transparency following the deaths in 2019 and 2020 of several riders who were either competing at recognized events or cross country schooling horses for competitions. In other countries, formal inquiries into the deaths of eventing riders have been released to the general public, as in the case of Australian young riders Olivia Inglis and Caitlyn Fischer. In contrast, no formal investigative document pertaining to the deaths of Katharine Morel, or Jeffie Chapin, or Philippa Humphreys has been released on the USEA website as of January 2021.

The USEA, the FEI, and other governing bodies maintain databases of fall related data, but these databases are not released to the membership or general public. The USEA has its database analyzed by the EquiRatings Company. The statistics related to individual horses are unavailable to prospective buyers of a horse wishing to access the horse's safety record as are the ratings of professional riders whom amateurs may hire for instruction: "At this time, only USEA Online Services accounts associated with a horse can view the ERQI. You will need to add yourself as a rider or owner to the horse’s record to make this available to you."

The USEA website as of 2021 includes a link to the FEI Eventing Risk Management Report covering 2008–2019, but does not include yearly reports of the US data alone. In contrast, in the UK, the British Eventing governing body has maintained a safety database since 2001: "In 2001, British Eventing began a database of fall data. The database system was created and is analyzed annually by Transport Research Laboratory (TRL) at Wokingham. TRL has been around for over 70 years and is known for its expertise in motor vehicle safety in which similar database approaches are useful. TRL works on projects ranging from helmets for race car drivers to seat belts for passenger vehicles. The British database holds data including fence, fall, and medical/injury details. Annually, TRL releases a report of the data before the next eventing season begins."

Criticisms of the dangers of the sport in 2020 and 2019 echo concerns from the previous decade over 10 riders were killed competing worldwide between 2007 and 2008.

title: United States Eventing Association


text:
Michigan Law Review

The Michigan Law Review is an American law review and the flagship law journal of the University of Michigan Law School.

History
The Michigan Law Review was established in 1902, after Gustavus Ohlinger, a student in the Law Department (now the Law School) of the University of Michigan, approached the dean with a proposal for a law journal. The Michigan Law Review was originally intended as a forum in which the faculty of the Law Department could publish its legal scholarship. The faculty resolution creating the Michigan Law Review required every faculty member to submit two articles per year to the new journal.

From its inception until 1940, the Michigan Law Review's student members worked under the direction of faculty members who served as editor-in-chief. The first of these was Floyd Mechem, the last Paul Kauper. In 1940, the first student editor-in-chief was selected. During the years that followed, student editors were given increasing responsibility and autonomy; today, the Michigan Law Review is run with no faculty supervision. The current editor-in-chief is Carter E. Brace. Day-to-day production operations are overseen by the current managing editor, Robert N. Brewer, executive production editor, Margaret R. Larin, and executive development editor, James W. Fitts III. Seven of each volume's eight issues ordinarily are composed of two major parts: "Articles" by legal scholars and practitioners and "Notes" written by the student editors. One issue in each volume is devoted to book reviews. Occasionally special issues are devoted to symposia or colloquia.

Rankings
In 2016, PrawfsBlawg ranked the Michigan Law Review as the sixth best law journal by weighing its Google Scholar Metrics law journal ranking, US News Peer Reputation Ranking, US News Overall Ranking, and the W&L Combined Ranking. Based on data from 2009 through 2016, Washington and Lee University School of Law ranked the Michigan Law Review as the seventh best law journal. According to Google Scholar Metrics, the Michigan Law Review was the seventh best law journal in 2015 and the sixth best law journal in 2014.

According to Washington and Lee University School of Law's Law Library, the Michigan Law Review is the seventh most cited law journal in academic works, being cited in journals 3888 times between 2009 and 2016, and the sixth most cited law journal by courts, being cited in 128 cases between 2009 and 2016. As of 2012, the Michigan Law Review has published 4 of the 100 most cited law journal articles of all time—the fifth highest of any law journal. Of the 95 articles that constitute the 5 most cited law journal articles from each year between 1991 and 2009, 9 of them were published by the Michigan Law Review—the 5th most of any law journal.

Notable alumni

 * Steven G. Bradbury, former head of the Office of Legal Counsel
 * David W. Belin, assistant counsel to the Warren Commission
 * Francis X. Beytagh, former dean, Ohio State University Moritz College of Law
 * Charles Blakey Blackmar, former Chief Justice, Supreme Court of Missouri
 * Michael T. Cahill, Dean of Brooklyn Law School
 * Ann Coulter, conservative commentator, author, and syndicated columnist
 * George E. Cryer, former mayor of Los Angeles
 * David M. Ebel, judge, United States Court of Appeals for the Tenth Circuit
 * Harry T. Edwards, former Chief Judge, United States Court of Appeals for the District of Columbia Circuit
 * Heidi Li Feldman, law professor
 * Jeffrey L. Fisher, Supreme Court litigator
 * Heather K. Gerken, dean, Yale Law School
 * Ronald Gould, judge, United States Court of Appeals for the Ninth Circuit
 * Robert Jerry, dean of the University of Florida Levin College of Law
 * Alex Joel, first Civil Liberties Protection Officer for the Office of the Director of National Intelligence
 * Sally Katzen, former administrator of OIRA
 * W. Wallace Kent, former judge, United States Court of Appeals for the Sixth Circuit
 * Bob Kimball, former president and CEO of RealNetworks
 * Dave Kopel, conservative pundit and blogger
 * Leah Litman, University of Michigan Law School law professor and co-host of the podcast Strict Scrutiny
 * Jeffrey P. Minear, counselor to Supreme Court Chief Justice John Roberts.
 * Ronald L. Olson, "name partner" in the Los Angeles office of the law firm of Munger, Tolles & Olson LLP
 * Doug Pappas, baseball writer and researcher who was considered the foremost expert on the business of baseball
 * John Porter, former United States Representative from Illinois
 * Daniel Tarullo, member of the Board of Governors of the Federal Reserve System
 * David Westin, President of ABC News
 * James D. Zirin, lawyer, writer and cable TV talk show host

Parody
The Michigan Raw Review, a parody of the Michigan Law Review, was published annually by the Barristers Society, a self-styled honorary at the University of Michigan Law School. The Raw Review used the same cover, layout, and typeface, but contained content totally dissimilar, leaning to the "insulting and semi-pornographic".

title: Michigan Law Review


text:
Dalarna University College

Dalarna University (Högskolan Dalarna) is a public university (högskola) located in Falun and Borlänge, in Dalarna County, Sweden.

Dalarna University is one of Sweden’s more recent institutions of higher education, established in 1977. It is situated in Dalarna, 200 kilometres north-west of the capital Stockholm.

Background
In 2023, the university had 13,936 students, with 10,096 of them studying via distance education to some extent. The campuses are located in Falun, the administrative capital of the province, and in the neighbouring town of Borlänge.

Dalarna University is deemed qualified by the Swedish National Agency for Higher Education to award Phd degrees in Microdata Analysis, Health and Welfare with Focus on Evidence-Based Practice, Educational Work and most recent Resource-Efficient Built Environments.

Research in Complex Systems and Microdata Analysis at Borlänge campus is carried out in collaboration with business and industry, and increases the competitiveness for trade, IT, transport and tourism in the region. Research in this subject area accounts for some 35 million SEK at the university. The field has some 50 employed researchers and teachers at the Borlänge campus and on top of that a further 30 doctoral students who are able to complete their education at Dalarna University.

Locus student accommodation
The student accommodation area Locus is located in Tjärna Ängar, a district in Borlänge designated by Swedish police as a vulnerable area, a socially deprived area with a higher crime rate. This makes life insecure for in particular female students who avoid walking alone at night due to persistent harassment. Therefore, the student union recommends relocating the campus to Falun.

Organisation
Dalarna University was organised into five schools that conduct our research and deliver education in close collaboration with external business and industry, the public sector and society at large.
 * School of Teacher Education
 * School of Language, Literatures and Learning
 * School of Culture and Society
 * School of Information and Engineering
 * School of Health and Welfare

title: Dalarna University College


text:
July 27 (Eastern Orthodox liturgics)

July 26 - Eastern Orthodox Church calendar - July 28

All fixed commemorations below are celebrated on August 9 by Old Calendar.

For July 27th, Orthodox Churches on the Old Calendar commemorate the Saints listed on July 14.

Saints

 * Holy Great-martyr and Healer Panteleimon (305)
 * The blind man healed by St. Panteleimon and beheaded for Christ (4th century)
 * The Holy 153 Martyrs of Thrace, by drowning.
 * Saint Symeon Stylites (the Younger) of Sicily (6th century)
 * Venerable Anthousa the Confessor, Abbess of Mantineus Convent,  and her 90 monastic sisters (759)
 * Righteous Manuel, monk.
 * Holy Equal-to-the-Apostles Clement of Ochrid, Archbishop of Ochrid (916), Angelarius, Gorazd (Horasdus), Nahum, and Sabbas (9th-10th centuries), of Ochrid, disciples of Saints Cyril and Methodius.    (see also: May 11 and July 17)

Pre-Schism Western saints

 * Martyrs Maurus, Pantaleimon and Sergius, under Trajan (c. 117)
 * Saint Ecclesius, Bishop of Ravenna in Italy from 521 till 532
 * Saint Etherius, Bishop of Auxerre in France (573)
 * Martyrs Aurelius, his wife Sabigotha (Natalia), Felix and his wife Liliosa, and Hieromartyr George the Sabbaïte, Hierodeacon, at Córdoba (852)

Post-Schism Orthodox saints

 * Blessed Nicholas Kochanov, Fool-for-Christ of Novgorod (1392)
 * Saint Ioasaph of Moscow, Metropolitan of Moscow (1555)
 * New Martyr Christodoulos of Cassandra, at Thessaloniki (1777)

New martyrs and confessors

 * New Hieromartyr Ambrose (Gudko), Bishop of Sarapul (1918)
 * New Hieromartyrs Platon Gornykh and Panteleimon Bogoyavlensky, Priests (1918)
 * New Hieromartyr John Solovyev, Priest (1941)

Other commemorations

 * Glorification (1970) of St. Herman of Alaska (1836)
 * Repose of Abbess Pulcheria of Viatka, Abbess of Nativity Convent (1890)
 * Icon of the Most Holy Theotokos of Magadan (1989)

title: July 27 (Eastern Orthodox liturgics)


text:
Dora Gabe

Dora Petrova Gabe (born Isidora Petrova Peysakh, 16 August 1888 – 16 November 1983) was а Bulgarian Jewish poet, writer and translator. She published poetry for adults and children as well as travel books, short stories and essays. In her later years, she also did extensive work in translation.

Biography
Dora Gabe was the daughter of Peter Gabe, an immigrant from Russia, who became the first Jew to be elected to the Bulgarian National Assembly. When he was barred from taking office, he turned to journalism and became a well known public figure in Bulgaria. Dora attended high school in Varna, and then pursued a degree in Natural Sciences at Sofia University (1904). Later, she studied French Philology in Geneva and Grenoble (1905–1906). She taught French in Dobrich (1907).

In 1925, the Ministry of Education in Bulgaria assigned Dora Gabe to edit the series "Библиотека за най-малките" ("Library for the youngest"). She also served as editor of the children's magazine "Window" (1939–1941).

Dora Gabe was one of the founders of the Bulgarian-Polish Committee (1922) and the Bulgarian PEN Club (1927). She served as a longtime president for the latter. She was counselor for cultural affairs at the Bulgarian Embassy in Warsaw (1947–1950), and a representative of Bulgaria in the International Congress of PEN clubs. In 1968, she was awarded the title "Honorary citizen of the city of Tolbuhin".

She is widely regarded as one of the most successful Bulgarian poets and is beloved by Bulgarians not only for her work but for her deep respect for all arts and her charitable spirit.

Literary career
In 1900 in Shumen, she published one of her first poems called "Spring" in the literary journal "Youth". Soon after, she published a series of poems in the magazines "Thought", "Democratic Review" and "New Society" in 1905–1906. This marked the start of her literary career. In the 1920s-30s, she published poetry for adults and children, travelogues, stories, essayistic fiction, impressions, theater reviews, articles on issues of foreign and Bulgarian literature, biographical sketches of poets and writers in magazines such as "Contemporary Thought " Zlatorog, "Polish-Bulgarian review", "Democratic Review," "Falling Leaves", "Dobrudjanski review", "Art and Criticism", "Slovo", "Age", "Journal of Women", "Free Speech," "Dawn," "Women's Voice", "thought", "Contemporary", "Journal of newspapers", "Dnevnik", "Fireworks". She contributed to various in children's periodicals such as "Firefly", "Children's joy," "Children's World", "Drugarche", "Children's Life", "Iveta", "Nightingale ","Merry band", "Window" and others. After 1944, she was widely published in the most popular Bulgarian newspapers and journals, as well as in the children's magazine "Nightingale", "Squad" "Children, art, books," and others. "Violets", Gabe's first lyrical poetry book, demonstrates Secession sentimentalism and a deep understanding of symbolism.

Her works have been translated in Argentina, Austria, Great Britain, Vietnam, Germany, Greece, Canada, Cuba, Lebanon, Peru, Poland, Romania, Russia, Slovakia, Ukraine, France, Czech Republic.

Translation
From 1917 to the end of her life, Dora Gabe actively engaged in translation. She translated the works of Adam Mickiewicz, Maria Konopnicka, Stanisław Wyspiański, Kazimierz Przerwa-Tetmajer, Juliusz Słowacki, Władysław Reymont, Jan Kasprowicz, Henryk Sienkiewicz, B. Leader, Adolf Dygasiński, L. Staffan, A. Slonimsky, Julian Tuwim, K. Alberti, I. Volker, F. Fletch, Vítězslav Nezval, Karel Čapek, G. Jian, Y. Seifert, A. Slutsk, V. Bronevski, C. Imber, Samuil Marshak, E. Kamberos, R. Bumi-Papa, M. Lundemis, Yiannis Ritsos and many others. She was fluent in Polish, Czech, Russian, French, and Greek. Her most renowned translation works include:
 * The series of anthologies "Polish poets" (1921)
 * "Anthems" by Ian Kasprovich (1924)
 * "Angel" by J. Słowacki (1925)

Works in English

Honors and awards

 * 27 August 1927 - Golden Cross for Merit (Poland)
 * 20 April 1929 - an honorary diploma from the Peace Council
 * 30 December 1946 - order "9th of September 1944", III degree
 * 1 October 1963 - award of the Coalition of Bulgarian Writers for her poem "Homeland"
 * 21 May 1966 - honored with the title "Marked agent of culture" in the area of poetry
 * 28 August 1968 - honored with the order "George Dimitrov" for the occasion of her 80th birthday
 * 23 May 1969 - honored with the title "Gifted agent of culture"
 * 16 June 1972 - honorary diploma from the Central Union of Professional Unions for the traditional epic story "Mother Parashkeva"
 * 9 July 1978 - honored with the title "Laureate of Dimitrov's Award" for the poem collections "Wait Sun", "Depths", and "The Thickened Silence"
 * 25 August 1978 - honored with the title "Hero of the socialist effort" for the occasion of her 90th birthday
 * 25 December 1978 - honored with the honorable sign of Sofia, I degree
 * June 1979 - special award from the Union of Bulgarian Composers for her lyrical poem "Headstrong"
 * April 1979 - marked with the award "Petko Rachov Slaveikov" for her literary and artistic contribution to children's and young people's literature

title: Dora Gabe


text:
Blair Garner

Blair Garner is an American radio personality best known for his work in country radio. Garner spent over two decades as a nationally syndicated overnight disc jockey, first hosting After Midnite for Premiere Networks and then The Blair Garner Show for Nash FM; in-between, he hosted the morning drive time program America's Morning Show, also for Nash FM.

As a radio host and DJ, he won the Academy of Country Music's On-Air Personality of the Year award in 2004 and 2006. Garner has also been nominated for the prestigious Marconi Award and for Nationally Syndicated Air Personality by Billboard Magazine. Over his career, Garner has worked at stations across the country, including Dallas, Washington, D.C., Houston, New York City and Los Angeles. He has also used the names "Skye Walker" (in New York) and "Blair Michaels" (in Los Angeles).

The radio shows
Garner's programs focus on country music hits, along with recent music news and chat about pop culture. In addition, Garner is recognized as one of Nashville's best interviewers. Country music's top stars, including Garth Brooks, Taylor Swift, Tim McGraw, Blake Shelton, and Reba McEntire have made it a point to appear on Blair's show to promote their projects. Garner has also interviewed stars outside of Nashville, including Pharrell Williams, Pete Buttigieg, Zendaya, Pete Wentz, Kevin Costner, Gwyneth Paltrow, Lionel Richie, Henry Winkler, Joan Rivers, Kathie Lee Gifford, and WWE and UFC stars such as Stone Cold Steve Austin, John Cena and Brock Lesnar.

From 1993 to 2013, Garner hosted a show he created called After Midnite. The show amassed an affiliate base of over 300 American and Canadian cities. After three years of ownership, he sold the program to Premiere Networks. As of 2021, Premiere continues to use the name for its overnight country show, hosted by Cody Alan from 2013 to 2021, then Granger Smith from 2022 onward.

In 2009, Garner moved the show from Los Angeles to Nashville where he hosted the show until 2013, when he left to helm "America's Morning Show" for Cumulus Media. That show launched initially in New York City on WNSH (New York City's Nash FM affiliate).

Cumulus Media (whose syndication company Westwood One competes with Premiere) then took the morning show, into national syndication.

In 2016, Garner's stepped away from the grueling demands of morning drive, and elected to return to his former overnight time slot with "The Blair Garner Show". Garner made the move after his young daughter complained of his work interfering with their family life.

In 2019, Cumulus Media blocked Garner from airing an interview with 2020 Democratic Party candidate Pete Buttigieg. Buttigieg is the first major party presidential candidate in a same-sex marriage. While Garner has discussed the challenges of his coming out to a country radio audience, he said that was not part of his interview with Buttigieg. Garner instead put the interview on SoundCloud.

In July 2020, Westwood One announced that Garner's show was being cancelled, as part of a much-larger programming restructure. The show was last broadcast on August 9, 2020. Once that news broke, Garner was then free to announce what he and his husband had been working on for two years behind the scenes—The Mulehouse. The Mulehouse is slated for an April 2021 opening, and is heralded to be the first-of-its-kind music/concert venue designed for worldwide live-streaming events.

Awards
Garner has nine Billboard Broadcast awards, three Academy of Country Music’s “On-Air Personality of the Year” Awards in the national category (2004, 2006 and 2010). He's received four CMA nominations, a nomination for the prestigious Marconi Award, and is a member of both the National Radio Hall of Fame and the Country Radio Hall of Fame.

title: Blair Garner