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Wikipedia:Articles for deletion/Macedonian Muslims

 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 keep. freestylefrappe 00:45, July 30, 2005 (UTC)

Macedonian Muslims
This page has essentially the same info as Albanians in the Republic of Macedonia. Delete freestylefrappe 01:13, July 20, 2005 (UTC)

 * Merge and redirect. --malathion talk 03:38, 20 July 2005 (UTC)
 * Strong keep. Freestylefrappe appears to be confused about the status of the Macedonian Muslims - they are a Slav Muslim minority comparable to the Bosniaks, not Albanians (who are an entirely different ethnic group). I've made this clear in the article. -- ChrisO 07:07, 20 July 2005 (UTC)
 * Keep per ChrisO. Sjakkalle (Check!)  07:54, 20 July 2005 (UTC)
 * Merge with Republic of Macedonia. JamesBurns 09:03, 20 July 2005 (UTC)
 * This would be inappropriate and inconsistent with other articles elsewhere on Wikipedia – the article on the Republic of Macedonia is about a geographical entity, not an ethnic group. For instance, the article on Croatia is quite separate from the article on the Croat people. -- ChrisO 10:48, 20 July 2005 (UTC)
 * The Republic of Macedonia article has an entry on muslims, it's not just a geographical entity. JamesBurns 07:48, 21 July 2005 (UTC)
 * Actually that's just a brief demographic overview of the country's population. It's not an ethnographic article about any particular ethnic group. -- ChrisO 10:04, 21 July 2005 (UTC)
 * Very strong keep (The title should possibly be edited however) The basis for the deletion vote is invalid, this article has nothing to do with Macedonian Albanian Muslims. The article is about the community of Slavs whose ancestors converted to Islam. They are ethnically unrelated to Albanians and by the way not all Albanians in Macedonia or Albania are Muslims. There is no reason to delete this information about a unique community in Macedonia, what I would suggest to avoid confusion and for the sake of clarification is that the article title be altered.. instead of simply Macedonian Muslims, I would change the title to Slavic Macedonian Muslims or Macedonian Muslims (LOCAL NAME) with one of the indigenous names for the group in parentheses. --Haraald 10:39, 20 July 2005 (UTC)
 * Keep. Distinct group of people. Capitalistroadster 11:11, 20 July 2005 (UTC)
 * No they are not a distinct group of people. Macedonian Muslims are unique from other Macedonians in their religion. However, the percentage of Slavic Macedonians who arent Christian is extremely small. Even if the end decision is to keep, this page should be renamed Slavic Macedonian Muslims as Macedonian Muslims would imply all citizens of either the region or the Republic. This is what lead to my initial confusion and assumption that only Albanians were being addressed on this page. freestylefrappe 19:16, July 20, 2005 (UTC)

 * Merge with Macedonian Slavs, assuming the info in the article is correct. Dcarrano 12:21, July 20, 2005 (UTC)
 * Keep and rename, possibly to Muslims in Macedonia or islam in Macedonia --Irishpunktom\talk 20:24, July 20, 2005 (UTC)
 * Keep and rename, to Slavic Macedonian Muslims or Ethnically Macedonian Muslims or the like. - Mustafaa 23:35, 20 July 2005 (UTC)
 * Keep per ChrisO, not opposed to whatever renaming. Xoloz 02:47, 21 July 2005 (UTC)
 * Keep Revolución 05:33, 21 July 2005 (UTC)
 * Keep looks as if nominator did not read article properly, article could do with improvement e.g. number of people in this community but basically sound, tend to favour keeping existing title. PatGallacher 00:53, 2005 July 24 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


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User talk:Spinn

All Hail Lord Squidi
What Sean Howard really needs is an agent, a publicist, and a lawyer. His problem is that he tries to be all three in addition to being an artist. He takes personal offense when someone mentions him on the web and feels responsible for everything that is said about him. He has to protect his art personally from people who want to make avatars which resemble his work, and he has to handle everything about his image himself. Some cases you settle out of court, some you ignore, and some battles are worth losing. This is why celebrities have managers.

And the sad thing is the more he messes with the article the more he stirs things up. If he's just leave things be instead of trying to threaten wikipedia to delete the article by claiming some clause of a privacy act or fighting over wording changes, this whole thing would die down. Some battles aren't worth figthing no matter how stubborn you are. --BigCow 02:39, 2 September 2005 (UTC)

 * What he really needs is some prozac. And I only say that, mm, like 20% jokingly. I mean, just read him...he gets unreasonably angry, he contradicts himself, he has a serious disconnect between his actions and how people react to him. He tries to convince people of his point of view, but he insults them while he does it. And he can't comprehend the problem with that. I mean, not even from the civility point of view...you don't try to sell someone a car while you're punching them in the gut. --Spinn 04:50, September 2, 2005 (UTC)

 * Looks like the article is nearing its end. A few lessons I've learned from this:

 * You can't beat the internet. You can't control what people say or think about you, and you can't beat a whole web of people who might want to use your characters as Avatars. You either adapt and learn to deal with that, or you spend all your time fighting a losing battle.

 * You're only popular because of your fans. I'm not sure Squidi has any fans at this point, he's attacked the community of people who started their own forums after he shut his down, he's gotten mad at people on his blog who don't use the same definition of pixel art vs sprite comics as he does, and he's picked on the people who support him the most and care about his comic the most.

 * Any publicity is good publicity, if you use it right. Trying to be the guy who makes a landmark case over derivative pixel artwork and being defensive about it and refusing to let go rather than using it as an opportunity to introduce people to your comic... not such a good idea.

 * Working on the Sean Howard article was one of the first things I did when I came to Wikipedia, guess it's time to move on to bigger and better things.--BigCow 17:51, 9 August 2006 (UTC)

 * Heh, yeah. Ah well, some drama can be fun for a little while, anyway.

 * I actually have a fair amount I can say about Squidi, fans, etc., but eh. No use going over all of it again. Really, it basically normalizes down to: the guy's just a blockheaded bastard. --Spinn 18:23, 9 August 2006 (UTC)

re Spinnwebe deletion
Yeah, really. I think it's nuts deleting stuff like that, even if it is maybe marginal, because Wikipedia is WP:NOT paper. But there's so much cruft put in that people get a little edgy and pull the trigger too easily sometimes. Herostratus 03:07, 21 February 2006 (UTC)

SpinnWebe has been nominated for AFD again
As a heads-up, SpinnWebe has been nominated for AFD a second time at Articles for deletion/SpinnWebe. I strongly encourage you to participate in the discussion. SchuminWeb (Talk) 03:02, 23 February 2006 (UTC)

Please check your facts!!
Per your contributions at SpinnWebe, you stated in an edit that "[Galcik] changed the name of the site to "SpinnWebe" in April 1995."

However this Usenet post archived by Google Groups clearly shows that the site was known as "SpinnWebe" as early as February 21, 1995, and that Galcik was clearly promoting the site in Usenet newsgroups as such.

You may want to research this topic further to make sure you have all of the facts correct before making any further contributions. KWH 08:55, 23 February 2006 (UTC)

 * Ah, well crap, you're right. I was going by the comp.infosystems.www.announce post. I will be more mindful to doublecheck my SpinnWebe primary sources in the future. --Spinn 12:57, 23 February 2006 (UTC)

Whoo hey Wiki drama (SpinnWebe AfD)
Wow, thanks for the research, KWH...though really, now that he's gotten his pound of flesh I don't think all that was necessary. But I think even the main DFC article cinches it because it says "SpinnWebe...uses Keane's cartoons".

I didn't even remember I was in the Washington Post for the Nipple Server. Huh. Did you LexisNexis this, or something? --Spinn 04:28, 24 February 2006 (UTC)

 * Cheers, good times... though Scribs probably deserves it (sorry). I used some database at the library called America's Newspapers, LexisNexis probably would have done better/found more.

 * I think that some of these individuals are getting some emotional payoff which I can't understand from banging out these pithy "Delete - nn, terminate it" messages on AFD. It's like they're earning notches in the handle of their battleaxe. I think this is something that needs to be reformed. There's a problem with a lot of crap articles being created, but to me these people should stop being so know-it-all vigilante... hypothetically if the article says the website was created back in 1995 when you happened to be 9 years old, maybe you should just recuse yourself from this decision and let someone else with more subject matter expertise say whether it's notable.

 * I think it stands to reason that if there's some encyclopedic article on a theory in Quantum Electrodynamics with equations you don't understand, you shouldn't tear in and say "Delete I googled this and only got 723 results, nn neologism-PLONK". But if you're a qualified physicist and you know it's dreck, then you should be able to say Delete with authority, and why you know it's non-encyclopedic.

 * There's also a serious problem I see in that I really don't think Wikipedia is giving proper weight to the early history of the Web. People who read the world wide web and history of the Internet articles don't gain an actual perspective of 'being there' whatsoever. If we looked at it as a matter of generations, the generation of sites which are popular now are "getting served" - they get an article recording their details since they happened to be popular now, when lots of people are writing articles on Wikipedia. The previous generation is like a blind spot.

 * Also, I've got something to say about this bit at WP:WEB - "The content itself has been the subject of multiple non-trivial published works whose source is independent of the site itself." - how much writing was there about website content in the early Web era? It was "Hey, here's the link... it's a great site, it's got "foo" if you click on the foo link, and the "bar" page is very good too... here's a tiny screenshot." Nobody was deconstructing the medium back then, so pretty much any media mention is going to consist of a brief review and link.

 * So that's my rant. KWH 06:02, 24 February 2006 (UTC)

 * Yeah, for the most part you're preaching to the choir. But for your last paragraph, I think...well, if something's significant in history, there will be some writings that make their way to us in the future, usually. Not always, but having a historical footprint will generate some sort of documentation, typically.

 * As for Scribs...yeah, I know. If I knew then what I know now, I wouldn't have bothered to suggest the page should be created. In researching the defense for the SW entry I've learned more about Wikipedia inclusion standards. Still, it just royally pissed me off the highly obvious way JD presented it on a completely different AfD page. It was so obviously being offered as a deal, you know? I read it and actually said out loud to my monitor, "okay fine, I'll burn the other article to keep the one I want." And predictably, within hours, the Scribs AfD went up, and JD's edits to the SW AfD stopped. --Spinn 06:20, 24 February 2006 (UTC)

 * A deal? I offered no 'deal'. The reason I stopped writting in the SW afd was because it is already a huge afd by any standards and it shouldn't be a talk page. With regards to KHW's 'citations' for one thing they are not verifiable. All KHW seems to say is 'Spinnwebe was quoted here....here...and here...". Which means little if there is no actual link to the print publication (as there was with Wired article). Second, in the Wired article again SW is only put in the context of DFC and as a matter of fact in those unverified articles that KHW brings up he always says they are in context with DFC. The fact that DFC was somewhat popular in the mid 90s doesn't warrant an article for SW, it warrants an article for DFC with possibly a mention of SW. SW is more than just that parody comic and if the other parts of the site can't stand on their own then why should Spinnwebe have an article? We have had several similar problems with people from web forums thinking that they deserve an article, several use the tactics of getting a bunch of people to vote yes from their site to influence afd votes and I've seen many of them win to keep articles that way. With regards to Concerned, well maybe I did pull the trigger to fast considering the alexa rating, but look at it from my point of view. I see an article, written by the same group of people that immediately come to the defense of certain related articles put up for afd. I go to their forum and their they are talking about creating an article of it, which leads me to think 'vanity'. I use search engine searches and can only find stuff about it on the notmydesk.com website and on the comic's own website. The article itself has no references outside of the webcomic's own website. What do you expect me to think? Honestly? And if I am wrong about the notability for any article, well then fine correct me on it and I'd change my vote as I always do with these types of problems. We aren't children here that have to keep these kinds of silly 'internet grudges'.--Jersey Devil 21:35, 24 February 2006 (UTC)

 * I expect you to do some research, and not engage in ad hominem judgments: you just said you saw an article associated with the same people, and therefore made assumptions. That forum link you posted, they're not even talking about creating it: corey didn't say he created the article, he said he was linking it. How can a short thread of people saying "neat" "cool" be logically interpreted as people talking about creating it? Did you even consider a sanity check on whether Corey on the forum (with msn address "Danielconnery1" one click away from the post) is the same as User:Bjelleklang (with msn addess "chafsahl")? If you don't accept they are different people, and it was one person using two "personalities" to try to trick future editors, isn't that assuming bad faith in about the most paranoid way?
 * And really, so what if fans entered the article anyway? What research did you do to determine Concerned's notability? Since I can pretty definitively tell you there is plenty of backup there, determine how your research fell short.
 * Please, please, please do the research before you continue dropping AfDs across Wikipedia. For some of my friends this is the first exposure they've had to its inner workings, and they've come away frustrated, deciding that Wikipedia isn't worth the electrons it's printed on. I show them the issue, show them the backup research, and show them your refusal to accept the information presented, and they're left shaking their heads wondering why anyone cares about WP at all. This Concerned AfD is a blatant example of your jumping the gun. Please accept it as a learning experience on the need for proper research. --Spinn 21:50, 24 February 2006 (UTC)

 * Other notes:
 * You keep saying SW is only referenced in terms of the DFC: even if I accepted that logic (which I don't), you keep ignoring further, non-DFC proof. If you can't accept the New Yorker article, then you're saying no print evidence can be accepted. This is just clearly wrong. Information accessible via the Web is not the sum total of human knowledge. You can only not accept it if you think people are lying about it. Are you not seeing all the times people say Assume good faith?
 * I can't accept your "silly interet grudges" admonition when you use "I see an article by the same people I just argued with" as part of your rationale for your AfD. --Spinn 22:04, 24 February 2006 (UTC)

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

title: User talk:Spinn


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Landon Parvin

Landon Parvin (born 1948) is a Republican speech writer who has written for several U.S. politicians, including Presidents Ronald Reagan, George H. W. Bush, George W. Bush, and California Governor Arnold Schwarzenegger.

In 1982, while working for Ronald Reagan, Parvin also wrote for Reagan's wife Nancy. Nancy was being criticized in the press for her opulence. Parvin wrote a comedic song for her to the tune of "Second Hand Rose".

Parvin left the White House temporarily in 1985 to become executive assistant to the U.S. Ambassador to the U.K.

Parvin is responsible for writing a notorious joke for President George W. Bush's appearance at a press dinner that had Bush looking for the missing Iraqi weapons of mass destruction in various places, including underneath a desk table, while saying "Those weapons of mass destruction gotta be somewhere." Despite being reasonably well received at the time, it was judged by some to be insensitive to the families of the American soldiers whose family members in the service were in great danger overseas, and resulted in Bush receiving yet more criticism from a hostile press.

Interviewed in September 2004 about the Bush presidential campaign, he described his role in the campaign, "The purpose is for him to be better liked when he sits down than when he first stood up. That is what humor can do.".

title: Landon Parvin


text: User talk:81.134.124.16

title: User talk:81.134.124.16


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User:Daghall

Markus Daghall. Born 20th of August, 1982 in Stockholm, Sweden.

title: User:Daghall


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Rainband

A rainband is a cloud and precipitation structure associated with an area of rainfall which is significantly elongated. Rainbands in tropical cyclones can be either stratiform or convective and are curved in shape. They consist of showers and thunderstorms, and along with the eyewall and the eye, they make up a tropical cyclone. The extent of rainbands around a tropical cyclone can help determine the cyclone's intensity.

Rainbands spawned near and ahead of cold fronts can be squall lines which are able to produce tornadoes. Rainbands associated with cold fronts can be warped by mountain barriers perpendicular to the front's orientation due to the formation of a low-level barrier jet. Bands of thunderstorms can form with sea breeze and land breeze boundaries, if enough moisture is present. If sea breeze rainbands become active enough just ahead of a cold front, they can mask the location of the cold front itself. Banding within the comma head precipitation pattern of an extratropical cyclone can yield significant amounts of rain or snow. Behind extratropical cyclones, rainbands can form downwind of relative warm bodies of water such as the Great Lakes. If the atmosphere is cold enough, these rainbands can yield heavy snow.

Extratropical cyclones

Rainbands in advance of warm occluded fronts and warm fronts are associated with weak upward motion, and tend to be wide and stratiform in nature. In an atmosphere with rich low level moisture and vertical wind shear, narrow, convective rainbands known as squall lines form generally in the cyclone's warm sector, ahead of strong cold fronts associated with extratropical cyclones. Wider rain bands can occur behind cold fronts, which tend to have more stratiform, and less convective, precipitation. Within the cold sector north to northwest of a cyclone center, in colder cyclones, small scale, or mesoscale, bands of heavy snow can occur within a cyclone's comma head precipitation pattern with a width of 20 mi to 50 mi. These bands in the comma head are associated with areas of frontogensis, or zones of strengthening temperature contrast. Southwest of extratropical cyclones, curved flow bringing cold air across the relatively warm Great Lakes can lead to narrow lake-effect snow bands which bring significant localized snowfall.

Narrow cold-frontal rainband
A narrow cold-frontal rainband (NCFR) is a characteristic of particularly sharp cold frontal boundaries. These can usually be seen very easily on satellite photos. NCFRs are typically accompanied by strong gusty winds and brief but intense rainfall. Convection may or may not occur depending on the stability of the air mass being lifted by the front. Such fronts usually are also marked by a sharp wind shift and temperature drop.

Tropical cyclones
Rainbands exist in the periphery of tropical cyclones, which point towards the cyclone's center of low pressure. Rainbands within tropical cyclones require ample moisture and a low level pool of cooler air. Bands located 80 km to 150 km from a cyclone's center migrate outward. They are capable of producing heavy rains and squalls of wind, as well as tornadoes, particularly in the storm's right-front quadrant.

Some rainbands move closer to the center, forming a secondary, or outer, eyewall within intense hurricanes. Spiral rainbands are such a basic structure to a tropical cyclone that in most tropical cyclone basins, use of the satellite-based Dvorak technique is the primary method used to determine a tropical cyclone's maximum sustained winds. Within this method, the extent of spiral banding and difference in temperature between the eye and eyewall is used to assign a maximum sustained wind and a central pressure. Central pressure values for their centers of low pressure derived from this technique are approximate.

Different programs have been studying these rainbands, including the Hurricane Rainband and Intensity Change Experiment.

Forced by geography
Convective rainbands can form parallel to terrain on its windward side, due to lee waves triggered by hills just upstream of the cloud's formation. Their spacing is normally 5 km to 10 km apart. When bands of precipitation near frontal zones approach steep topography, a low-level barrier jet stream forms parallel to and just prior to the mountain ridge, which slows down the frontal rainband just prior to the mountain barrier. If enough moisture is present, sea breeze and land breeze fronts can form convective rainbands. Sea breeze front thunderstorm lines can become strong enough to mask the location of an approaching cold front by evening. The edge of ocean currents can lead to the development of thunderstorm bands due to heat differential at this interface. Downwind of islands, bands of showers and thunderstorms can develop due to low level wind convergence downwind of the island edges. Offshore California, this has been noted in the wake of cold fronts.

title: Rainband


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Antilegomena

Antilegomena (from Greek ἀντιλεγόμενα) are written texts whose authenticity or value is disputed. Eusebius in his Church History (c. 325) used the term for those Christian scriptures that were "disputed", literally "spoken against", in Early Christianity before the closure of the New Testament canon.

The antilegomena were widely read in the Early Church and included the Epistle of James, the Epistle of Jude, 2 Peter, 2 and 3 John, the Book of Revelation, the Gospel of the Hebrews, the Epistle to the Hebrews, the Apocalypse of Peter, the Acts of Paul, the Shepherd of Hermas, the Epistle of Barnabas and the Didache. There was disagreement in the Early Church on whether or not the respective texts deserved canonical status.

Eusebius
The first major church historian, Eusebius, who wrote his Church History c. AD 325, applied the Greek term "antilegomena" to the disputed writings of the Early Church: "Among the disputed writings [των αντιλεγομένων], which are nevertheless recognized by many, are extant the so-called epistle of James and that of Jude, also the second epistle of Peter, and those that are called the second and third of John, whether they belong to the evangelist or to another person of the same name. Among the rejected writings must be reckoned also the Acts of Paul, and the so-called Shepherd, and the Apocalypse of Peter, and in addition to these the extant epistle of Barnabas, and the so-called Teachings of the Apostles; and besides, as I said, the Apocalypse of John, if it seem proper, which some, as I said, reject, but which others class with the accepted books. And among these some have placed also the Gospel according to the Hebrews, with which those of the Hebrews that have accepted Christ are especially delighted. And all these may be reckoned among the disputed books [των αντιλεγομένων]."

It is a matter of categorical discussion whether Eusebius divides his books into three groups—homologoumena (from Greek ὁμολεγούμενα, "accepted"), antilegomena, and 'heretical'—or into four by adding a notha ("spurious") group.

The Epistle to the Hebrews had earlier been listed: "It is not indeed right to overlook the fact that some have rejected the Epistle to the Hebrews, saying that it is disputed [αντιλέγεσθαι] by the Church of Rome, on the ground that it was not written by Paul."

Codex Sinaiticus, a 4th-century text and possibly one of the Fifty Bibles of Constantine, includes the Shepherd of Hermas and the Epistle of Barnabas. The original Peshitta (NT portion is c. 5th century) excluded 2 and 3 John, 2 Peter, Jude, and Revelation. Some modern editions, such as the Lee Peshitta of 1823, include them.

Reformation
During the Reformation, Luther brought up the issue of the antilegomena. Though he included the Letter to the Hebrews, the letters of James and Jude, and Revelation in his Bible translation, he put them into a separate grouping and questioned their legitimacy. Hence, these books are sometimes termed "Luther's Antilegomena" Current Lutheran usage expands this questioning to also include 2 Peter, 2 John, and 3 John. - a terminology remains in use today.

F. C. Baur used the term in his classification of the Pauline Epistles, classing Romans, 1–2 Corinthians and Galatians as homologoumena; Ephesians, Philippians, Colossians, 1–2 Thessalonians and Philemon as antilegomena; and the Pastoral Epistles as "notha" (spurious writings).

Hebrew Bible
The term is sometimes applied also to certain books in the Hebrew Bible.

title: Antilegomena


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Sylvia McNair

Sylvia McNair (born June 23, 1956) is an American opera singer and classical recitalist who has also achieved notable success in the Broadway and cabaret genres. McNair, a soprano, has made several critically acclaimed recordings and has won two Grammy Awards.

Early life and musical training
Sylvia McNair was born in Mansfield, Ohio, the daughter of George and Marilou McNair. She attended and graduated from Lexington High School, just south of Mansfield. As a youth, she studied violin. She originally enrolled in the undergraduate music program at Wheaton College in Illinois as a violin major, but was encouraged by a violin instructor there to study voice as well. She commenced vocal studies at Wheaton with Margarita Evans, and finding herself more suited to singing, discontinued violin as her major. She earned a Bachelor of Music degree in 1978 from Wheaton and subsequently a Master of Music with Distinction in 1983 from Indiana University School of Music (now the Jacobs School of Music), where she studied voice with Virginia MacWatters, John Wustman, and Virginia Zeani.

Career
McNair made her professional concert debut in 1980 with the Indianapolis Symphony Orchestra. Her operatic debut, in 1982, was as Sandrina in Haydn's L'infedeltà delusa with the Mostly Mozart Festival. She appeared regularly at the Vienna State Opera, the Salzburg Festival, Royal Opera House at Covent Garden, the Santa Fe Opera, the San Francisco Opera, and at the Metropolitan Opera, and has soloed with many major European and American orchestras.

Since the late 1990s, McNair has changed the focus of her singing career to Broadway and jazz styles. In these genres she has achieved considerable critical acclaim and commercial success.

From 2006 to 2017, McNair was part of the voice faculty of the Jacobs School of Music at Indiana University, her alma mater. She taught English diction (IPA), opera workshop, and has taught private lessons to a few female singers and a tenor.

From 2012 to 2017, McNair has served as a judge and mentor for the Songbook Academy, a summer intensive for high school students operated by the Great American Songbook Foundation and founded by Michael Feinstein.

She has also written many children books about countries and the U.S.A.

Critical commentary
"Her phrasing is exemplary. Her modulations are inspired. Her time is enviable. . . . I could get used to this kind of ecstasy." —Rex Reed, 2005

Personal
McNair married conductor Hal France in 1986. The couple are now divorced.

She was diagnosed with breast cancer in 2006. Her treatments have included mastectomy, chemotherapy and radiation therapy.

In December 2017, McNair came forward as one of several women accusing famed conductor Charles Dutoit of sexual assault. McNair said that Dutoit "tried to have his way" with her after a March 1985 rehearsal with the Minnesota Orchestra.

Recorded repertoire
Sylvia McNair has made over 70 recordings, including many complete operas (including Ilia in Mozart's Idomeneo, re di Creta, Poppea in Monteverdi's L'incoronazione di Poppea, both under the direction of Sir John Eliot Gardiner with the English Baroque Soloists for the ARCHIV label), and Samuel Barber's Knoxville: Summer of 1915. She has also recorded a number of recitals, ranging from "Mozart arias" with Sir Neville Marriner and the Academy of St Martin-in-the-Fields to CDs with André Previn of music by Jerome Kern and Harold Arlen (Sure Thing and Come Rain or Come Shine). The Previn collaboration also yielded a CD of Andre's works called From Ordinary Things, including: Four Songs and Two Remembrances with lyrics by Toni Morrison, Vocalise with cellist Yo Yo Ma, and well as the Cello Sonata, again with Yo Yo Ma and the composer at the piano throughout.

Awards and honors
McNair's awards and honors include the following:
 * National Metropolitan Opera Auditions, first place, 1982
 * Marian Anderson Award, 1990
 * Grammy Awards, 1993 and 1996
 * Honorary Doctor of Music degrees from Westminster Choir College, 1997, and Indiana University, 1998
 * Governor's Award for Outstanding Achievement in Arts and Entertainment from Ohio Governor Bob Taft, 1999
 * Command recital performances for Justice Sandra Day O'Connor, Hillary Clinton, Pope John Paul II

Discography
Solo albums

 * Mozart: Exsultate Jubilate - Handel, Mozart / Mcnair, Gardiner (Philips, 1993)
 * Love's Sweet Surrender (Philips, 1998)
 * Rêveries (Philips, 2007)
 * Sylvia Mcnair - The Echoing Air (Philips, 2008)
 * Peace (2011)
 * Romance: A Collection Of Latin Love Songs (Lumusic, 2012)
 * Subject to Change! (Harbinger, 2016)

Appears on

 * Mozart Great Mass in C minor (Decca, 1987)
 * Mozart: Il Re Pastore (Philips, 1991)
 * Beethoven: The Symphonies (Philips, 1993)
 * Christmas in Leipzig (Dorian Recordings, 1988)
 * Brahms: Symphonies Nos. 1-4, Overtures, Ein deutsches Requiem (Warner Classics)
 * Berlioz: Béatrice et Bénédict (Erato, 1991)
 * Orff: Carmina Burana (Rca, 1992)
 * Handel: Messiah (Philips, 1992)
 * Music of Samuel Barber (Telarc Digital, 1992)
 * Rachmaninoff: Symphony No. 2 - Vocalise (Telarc Digital, 1992)
 * Mahler: Symphony No. 4 (Decca, 1993)
 * Handel: Semele (Deutsche Grammophon, 1993)
 * Gluck: Orfeo ed Euridice (Vienna Version, 1762 - Sung in Italian) (Decca, 1993)
 * Rossini: Il Viaggio a Reims (Sony Classical, 1993)
 * Mahler: Symphony No. 2 (Decca, 1994)
 * Fauré: Requiem (Philips, 1995)
 * Purcell: The Fairy Queen (Teldec, 1995)
 * Monteverdi: L'Incoronazione di Poppea (Complete) (Archiv Produktion, 1996)
 * Britten: A Midsummer Night's Dream, Op. 64 (Philips, 1996)
 * Stravinsky: The Rake's Progress (Philips, 1997)
 * Ravel: Shéhérazade (Philips, 1998)
 * The Faces of Love - The Songs of Jake Heggie (RCA, 1999)
 * Tonight - Hits from the Musicals (Philips, 2000)
 * The Land Where the Good Songs Go (Harbinger, 2001)
 * Grieg: Peer Gynt - Incidental Music (EMI Classics, 2005)
 * Haydn: The Creation (Archiv Produktion, 2007)
 * Fauré: Requiem; Pavane (Decca, 2008)
 * Mozart: Requiem (Decca, 2011)
 * Mozart: Le Nozze di Figaro (Deutsche Grammophon, 2011)

With André Previn
 * Sure Thing: The Jerome Kern Songbook (Philips, 1994)
 * Come Rain or Shine: The Harold Arlen Songbook (Philips, 1996)
 * From Ordinary Things; Cello Sonata, Four Songs, Two Remembrances, Vocalise (Sony Masterworks, 1997)

title: Sylvia McNair


text:
User:BL Lacertae

BL Lacertae is:
 * distant, loud and moving fast
 * highly variable
 * in a class of her own
 * And if you don't believe me, have a look here!

BL  kiss the lizard  23:58, 7 November 2005 (UTC)

Im back! Hope you all missed me :)

title: User:BL Lacertae


text:
Talk:Lily of the Valley

Etymology
hello, if possible, i want to know the ethymology of the word "lily of the valley" for add to the French wikipedia. Thx. --Somnambule 01:17, 20 July 2005 (UTC)

May lily on judges' desks?
I've just been to a screening of the 1960 film The Trials of Oscar Wilde. In the staging of all three trials, a nosegay of lily was to be seen on the judge's desk.

Is it a British custom? If yes, what about it? What are its origin and meaning and is it still in use?

If anybody has the answers to these questions, are they worth adding to the main article? THX.

S.Camus 13:38, 27 November 2005 (UTC)

Breaking Bad
Include the reference please. — Preceding unsigned comment added by 24.246.62.6 (talk) 01:12, 11 October 2011 (UTC)

— Preceding unsigned comment added by 124.168.239.219 (talk) 08:10, 13 October 2011 (UTC)

Move
I moved the article from Convallaria to Lily of the Valley. Convallaria is the name of the genus that Lily of the Valley is in, and there is another member of the genus whose name is not mentioned at all in the article. Therefore, it seemed inappropriate to have the article named after the genus. I went with Lily of the Valley rather than the genus and species because it is much more common on Google, and Lily of the Valley seems to be by far the most common of the common names.

If you disagree with the move, please follow the instructions at Requested moves for requesting that the article be moved. You can also post a message on my talk page (this talk page is not on my watchlist, so you will need to use my talk page for me to notice). However, it might be a few days before I come back to Wikipedia again. -- Kjkolb 07:35, 5 March 2007 (UTC)

Needs to be cleaned up of the "happy faces"

Symbols of Fraternities and Sororities?
Is it really necessary encyclopedic information to mention that the flower is the symbol of various assorted frats and sororities? Just seems like self-promotion to me; just a list of them who want their name in there, but don't really add to the article. Doesn't even mention why they're used as the symbol, just mentions the list of em. Any other opinions? --99.38.251.60 (talk) 01:53, 29 April 2010 (UTC)

"Sperm Attractant"?
"The odor of lily of the valley, specifically the ligand bourgeonal, attracts mammal sperm in a dramatic manner." I'm sure there is sound science behind this statement, but the literary effect is to create an image of thousands of sperms swimming through the air towards this plant. Maybe a "science person" can do a better translation to laymen's language.Jonny Quick (talk) 06:06, 13 August 2013 (UTC)

title: Talk:Lily of the Valley


text: Template:First Nations in New Brunswick

title: Template:First Nations in New Brunswick


text:
LDO

LDO may refer to:

 * Limited duty officer
 * Low-dropout regulator
 * London Designer Outlet, a shopping centre in London

title: LDO


text: User talk:221.2.235.13

title: User talk:221.2.235.13


text:
Ariel Gade

Ariel Gade (born c. 1996) is an American former child actress from San Jose, California. She made her first acting appearance on an episode of television's Strong Medicine, and followed this with a performance in the Barry Levinson film Envy (2004).

Career
Gade's second film role was as Ceci in Dark Water (2005). She acquired the role of Rose on Shaun Cassidy’s Invasion in 2005. Gade made a guest appearance on The Tonight Show with Jay Leno in July 2005. She retired her acting career in 2011, in order to focus on school and family.

title: Ariel Gade


text:
User:Spinn

Please. I have enough difficulty keeping my own web site updated; think I'm gonna have time to do this thing?

Note that I used Spinn2 while I was unable to retrieve my password for this account.

title: User:Spinn


text:
Municipal Stadium (Hagerstown)

Municipal Stadium was a stadium in Hagerstown, Maryland, United States. It was primarily used for baseball and was built in 1930 in a short time period of six weeks and had a capacity of 4,600 people. The ballpark was demolished in Spring 2022.

History
From 1915 to 1929, Hagerstown's minor league team played at Willow Lane Park, where Bester Elementary School is now located. When the city made the decision to build the school, the need for a new stadium was urgent. The Field and Athletic Association was created to find land and build a stadium. The organization struck a deal with the city, leasing a tract of land for 99 years at $1 per year. Municipal Stadium was quickly built on the land in a mere six weeks, just in time for the first home game on May 8, 1930. Since then, the stadium has undergone two major renovations.

Hagerstown's Municipal Stadium hosted several games featuring Negro league teams during the first decade and a half of its existence. Among the Negro league teams that played in Hagerstown were the Indianapolis Clowns, Homestead Grays and the Pittsburgh Crawfords.

From 1941 to 1949, the Hagerstown Owls played in the Class B Interstate League and called Hagerstown's Municipal Stadium home. In 1950, the Hagerstown entry in the Class B Interstate League was sold and was renamed the Hagerstown Braves. The Hagerstown Braves remained in existence from the 1950 season through the 1953 season. The Braves won one championship with the Interstate League in 1952.

A major renovation took place in 1981, when Minor League Baseball returned to Hagerstown after a 26-year absence from the city. About $546,000 was put into the stadium overhaul, which included the installation of a public address system, stadium lights, underground electricity, and new seats and bleachers. In 1995, $500,000 worth of improvements to the stadium were made, such as the installation of new seats, and upgrading the VIP section to include cup holders. The Sunset Grille and bar area was also added at this time.

In 1990, sitting president, George H. W. Bush enjoyed a Hagerstown Suns game at Municipal Stadium. Although he later visited the Frederick Keys for two games at their stadium, the visit to the Suns game was the first presidential visit for a minor league baseball team.

In 2005, a movement arose to rename an adjacent street to honor Willie Mays, who played his first game at the park as a minor league rookie. The proposal, however, was shot down due to protests by various American war veterans groups who wanted to keep the original road name of Memorial Boulevard.

The playing surface was renovated following the 2010 season. In addition, seating improvements and the installation of a state-of-the-art video board enhanced the fans experience in 2011. In April 2014, Hagerstown and the Suns agreed to a two-season lease extension on Municipal Stadium for 2015 and 2016 which could be voided by mutual agreement.

Municipal Stadium was one of the three oldest Minor League baseball stadiums in the country when the Hagerstown Suns were disbanded in 2020.

Prior to the 2021 season, the semi-professional Hagerstown Braves (not to be confused with the former minor league team of the same name that played at Municipal Stadium in the early 1950s) announced they would return to play their 2021 season at Municipal Stadium.

Demolition
On March 24, 2022, the Hagerstown City Council voted 5–0 to proceed with the demolition of Municipal Stadium. As part of the demolition effort, more than 60 bidders attended an auction of stadium seats.

Hagerstown Suns Hall of Fame
On the underside of the first-base stands was the Hagerstown Suns Hall of Fame. For each member, there was a commemorative plaque.

 * Grady Little, manager for the Suns' only league championship in 1981. Inducted April 13, 2009.
 * Matt Cain 35, pitcher for the Suns who later threw a perfect game for the San Francisco Giants. Inducted April 13, 2009.
 * Mike Mussina 21, pitcher for the Suns who was later inducted into the Baltimore Orioles Hall of Fame. Inducted April 13, 2009.
 * Vernon Wells 24, South Atlantic League All Star in 1998, three-time major league all-star, second all time in Toronto Blue Jays hits, home runs, doubles, runs, runs batted in, and total bases. Inducted April 13, 2009.
 * Bryce Harper 34, youngest position player ever selected to play in a major league all-star game. Inducted August 4, 2012.
 * Carol Gehr, Rawlings 2008 Woman Executive of the Year for all of Major and Minor League Baseball. Inducted August 27, 2010.
 * Michael Young 3, Suns career leader in games played in a single season and seven-time major league all-star. Inducted April 8, 2010.
 * Brady Anderson 9, outfielder who is one of only three major league players to hit 50 home runs and steal 50 bases in a season and a member of the Baltimore Orioles Hall of Fame. Inducted April 8, 2010.
 * Jim Palmer 22, Baltimore Orioles Major League Baseball Hall of Fame pitcher who spent a week with the Hagerstown Suns on a rehabilitation assignment in 1983 also honored with a separate historical plaque. Inducted April 8, 2010.
 * Brian Wilson 38, pitcher whose only three professional starts were in Hagerstown; holder of San Francisco Giants record for saves in a single season. Inducted August 6, 2011.
 * Boof Bonser, South Atlantic League Pitcher of the Year and End of Season All Star for 2001. He still holds the records for Suns pitching wins (16, tied) and strikeouts per nine innings pitched (12). Inducted May 14, 2016.
 * Charles Robert "Bob" Miller, general manager of the Suns from 1982 to 1994. Inducted July 14, 2017.
 * Paul "Ears" McNeal, catcher for the 1955 Hagerstown Packets; coach for the Suns from 1981 to 1988. Inducted August 11, 2017.

Municipal Stadium Wall of Fame
The right field wall at Municipal Stadium honored five individuals.
 * 24: Honoring Willie Mays, who played his first professional game for the Trenton Giants in 1950.
 * 42: Honoring Jackie Robinson, the first African-American to play Major League Baseball in the modern era. His number has been retired throughout all professional baseball.
 * 50: Honoring John Henry Moss, president of the South Atlantic League for 50 years. The number 50 has been retired throughout the South Atlantic League. A separate plaque is on display at Municipal Stadium.
 * Adenhart: Honoring Nick Adenhart, a major league player from Washington County, Maryland, where Hagerstown is located, who died on April 9, 2009, in a car accident.
 * MRA: Mitchell Ronald Akers, a Hagerstown Suns employee who died in an accident at Municipal Stadium on April 11, 2012.

Other Important Dates at Municipal Stadium
There were other important dates at Municipal Stadium.
 * May 8, 1930: The Hagerstown Hubs hosted the first professional baseball game at Municipal Stadium. The Hubs defeated the Frederick Warriors 14–6 before a crowd of 1,400 fans.
 * August 12, 1930: The first night game was played at Municipal Stadium pitting Hagerstown against Frederick. The American Daylight Company installed the lights in five days for a cost of $8,000 ($ in 2014 dollars). A standing-room-only crowd estimated between 2,500 and 3,000 saw the Hubs defeat the Warriors 9–6.
 * June 19, 1931: The Hubs defeated the Clarksburg Generals by a score of 7–2. After playing some road games, the Hubs debuted as the Parkers on June 28 in Parkersburg, West Virginia, leaving Municipal Stadium bereft of a professional baseball team.
 * May 2, 1941: After a decade absence, professional baseball returned to Hagerstown and Municipal Stadium when the Hagerstown Owls played their opening home game against the Harrisburg Senators. The Owls defeated the Senators by a 9–6 score with over 2,000 fans in attendance.
 * September 3, 1949: In the first game of a doubleheader, the York White Roses defeated the Hagerstown Owls by a 3–2 score in a 23-inning Inter-State League contest. The game was completed in 4 hours and 25 minutes before a crowd of 560 fans. The second game was postponed.
 * February 1, 1950: The Hagerstown Field Athletic Association, the group which originally constructed Municipal Stadium, transferred ownership of the facility to the City of Hagerstown. The facility, previously just known as the Stadium would henceforth be referred to as Municipal Stadium.
 * June 24, 1950: Willie Mays played his first professional game at Hagerstown's Municipal Stadium. On that historic day, the Trenton Giants played against the Hagerstown Braves of the Class-B Interstate League.
 * September 21, 1952: Before a crowd of 1,606, the Braves won the Interstate League championship as pitcher Bob Giggie tossed a five-hit shutout against the Lancaster Red Roses, winning 4–0. The Braves won the championship series, 4 games to 2.
 * April 21, 1954: A new upgraded lighting system is installed. The band from Woodland Way Junior High School gave a concert to mark the occasion.
 * September 12, 1955: The Hagerstown Packets played the last two home games of the 1955 season, splitting a doubleheader with the Lancaster Red Roses. The Packets won the first game by a 5–1 score, while the Red Roses won the second game by a score of 6–2. It would be the last professional baseball game at Municipal Stadium for over a quarter century.
 * April 29, 1961: Fire destroyed the old wooden grandstand of Municipal Stadium. The flames razed the 900-seat grandstand, as well as the dressing room, refreshment stand, press box and offices located beneath the grandstand. A contributing factor to the blaze was the fact that the nearest fire hydrants were 750 feet away. Charles William Redmond, Jr. confessed to setting fire to the stadium when he was arrested for burglary and arson of radio station WHAG in Hagerstown on August 14, 1962.
 * April 10, 1981: After a hiatus of over two decades, professional baseball returned to Municipal Stadium with the debut of the Hagerstown Suns. The game was attended by 2,643 fans. The installation of new lights was incomplete, forcing the game to be played in the afternoon. Dane Anthony pitched a complete game in a 6–2 victory for the Suns over the Peninsula Pilots.
 * June 28, 1983: Municipal Stadium hosted the Class A Carolina League All-Star Game, in which the South Division defeated the North Division, 5–2, before a crowd of 1,043. This is the only time Municipal Stadium hosted a minor league All-Star Game.
 * August 10, 1983: In a Hagerstown Suns game against the Durham Bulls with an attendance of 6,192, rehabilitation start for Jim Palmer.
 * April 15, 1985: The Hagerstown Suns played their parent club Baltimore Orioles in an exhibition game.
 * July 16, 1988: The 1988 USA baseball team played an exhibition game at Municipal Stadium. Team USA played Team Taiwan (Chinese-Taipei) in the contest, giving Hagerstown fans the opportunity to see both teams before the Olympics began. The USA team won the game by a 10–2 score and would go on to win the Gold Medal at the Olympics.
 * May 3, 2003: Clay Hensley threw the only perfect game in Hagerstown Suns history and the only perfect game at Municipal Stadium. Hensley accomplished the feat against the Kannapolis Intimidators in the second game of a doubleheader, winning 2–0. No balls were hit out of the infield.
 * June 19, 2005: Pitcher Gaby Hernandez's 115-pitch no-hitter in a 1–0 win over the West Virginia Power on June 19 set up a one-game playoff between the Suns and Lexington Legends on June 25 for the South Atlantic League Northern Division first-half crown. In the one-game playoff on June 26, the Suns defeated the Legends, 9–4, with Hernandez again taking the mound and the win.
 * April 15, 2011: In the 2011 Season Home Opener attended by 6,107, which marked the debut of Bryce Harper, the Suns lost to the Lakewood BlueClaws 8-4.
 * July 22, 2011: A light pole fell onto the baseball field at Municipal Stadium during a storm, causing the cancellation of the Hagerstown Suns' game against the Augusta GreenJackets. The pole fell between the end of the bleachers and the picnic area on the third-base side of the field. The pole crushed a section of chain-link fence and came to rest on the playing field just behind third base. There were no injuries. The Hagerstown Light Department made repairs. The Suns were able to play the next day.
 * August 7, 2011: In a Hagerstown Suns game against the Greensboro Grasshoppers with an attendance of 6,758, Stephen Strasburg's rehabilitation starts.
 * September 13, 2014: The fifth and deciding game of the South Atlantic League championship series was played. The Southern Division Asheville Tourists defeated the Northern Division Hagerstown Suns by a 4–1 score, winning the series three games to two.
 * June 1–4, 2017: Tim Tebow and the visiting Columbia Fireflies come to Hagerstown for a four-game series, drawing 6,217 fans for the opener Thursday night, 5,894 on Friday night, and 6,351 on Saturday. The fourth game, on Sunday afternoon, had a comparatively small 4,116 fans, about 500 short of a sellout, bringing the total attendance for the weekend up to 22,578. This was the highest attendance for a four-game series in the history of Municipal Stadium.
 * September 2, 2019: The Hagerstown Suns were defeated by the Lakewood BlueClaws by a 10–5 score in the final game of the 2019 season. This game marked the last time affiliated minor league baseball was played in Municipal Stadium.
 *  August 10, 2021: The semi-professional Hagerstown Braves defeated the Shippensburg Stars 9–2 in game four of the best-of-five series to claim the South Penn Baseball League championship in just the second season of league play for both teams.

Other events
Besides professional baseball, Municipal Stadium hosted numerous other events.

 * Hagerstown High School Hubs football
 * Semi-professional football (Hagerstown Merchants)
 * Carnivals
 * Turtle Derby
 * Professional wrestling
 * Amateur baseball
 * Model aircraft competitions
 * Youth football
 * Professional boxing
 * Drum and bugle corps competition
 * Youth baseball
 * Hagerstown Junior/Community College baseball
 * Music concerts
 * Dog Show
 * Women's professional softball
 * Club soccer

title: Municipal Stadium (Hagerstown)


text:
Jimmy Korderas

Demetrius Korderas (born March 19, 1962), better known by his referee name, Jimmy Korderas, is a Canadian professional wrestling referee, commentator and television personality. He is best known for his 22-year tenure in WWE from 1987–2009.

Early career
Korderas began working as a professional wrestling referee in 1985 at Maple Leaf Gardens. At first, he was hired as a driver by his friend Elio Zarlenga. At the time, Zarlenga was second in command only to Jack Tunney, and suggested making Korderas a referee. His first match was between Special Delivery Jones and Red Demon.

World Wrestling Federation/Entertainment (1987–2009)
On May 23, 1999, Korderas was the referee at Over the Edge for the match between "Blue Blazer" Owen Hart and The Godfather. He was in the ring when Hart fell 75 feet from a harness tethered above the ring and died. According to reports, Hart yelled to Korderas to move because Hart did not want to land on Korderas, but Hart's foot still made contact with Korderas' shoulder.

During a kayfabe strike by the WWF referees in late 1999, Korderas was the only regular referee who did not join the strike, which led to him being attacked by the striking refs at Unforgiven in 1999.

In 2006, the WWE pulled Korderas off the road briefly due to health issues, but he returned to work shortly thereafter. In November 2008, referees, and thus Korderas, were made no longer exclusive to particular WWE television shows, or brands. On January 9, 2009, Korderas was released from WWE.

Ring of Honor (2012)
On May 12, 2012, Korderas refereed a match at Ring of Honor's Internet Pay-Per View entitled Border Wars. Jimmy was heralded by fans chanting "Thank you, Jimmy" when he entered the ring.

Personal life
After leaving WWE, Korderas began spending more time with his wife and family, as well as taking classes in broadcasting. After meeting Arda Ocal, then of Sportsnet 360, Ocal brought him on as an analyst on "Right After Wrestling" on SIRIUS Radio, and also secured him a spot on the Aftermath Television Program, which Korderas appeared on until the show's cancellation in 2021.

Korderas published a book on his life and career, called "The Three Count - my life in stripes as a WWE referee" The foreword was written by Adam Copeland (Edge) and was released on April 1, 2013 by ECW Press.

Awards and accomplishments

 * Canadian Pro-Wrestling Hall of Fame
 * Class of 2021
 * New England Pro Wrestling Hall of Fame
 * Class of 2015

title: Jimmy Korderas


text:
Talk:Allan Jenkins (journalist)

Untitled
See earlier discussion at Talk:Allan Jenkins/delete

The brevity of the article
Good heavens, can't we do better than this? If Mr. Jenkins deserves an article, we could at least post some of his work experience, university, etc.? I can't find anything on the web but the garbage that other sites have lifted from us (sadly...I hope they all update soon). If we can't get much more than this, I don't see how we really have an article at all. Anyone have access to better info? Jwrosenzweig 07:07, 20 July 2005 (UTC)

There is an informational web page on the Guardian website giving his education, but it is not notable (he has a journalism degree) and his work history, again, not notable, he has worked as an editor at smaller journals. Fred Bauder 12:39, July 20, 2005 (UTC)

An article about a person who is not a public figure and who has engaged in no notable behavior has this characteristic. Unlike the typical English aristocrat without distinguishing characteristics, it makes no sense to discuss his lineage and progeny. Fred Bauder 12:39, July 20, 2005 (UTC)

title: Talk:Allan Jenkins (journalist)


text:
Talk:Kelly Rowland

External links modified
Hello fellow Wikipedians,

I have just modified 2 external links on Kelly Rowland. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20150306162259/http://www.mundourbano.tv/david-guetta-what-i-did-for-love-ft-emeli-sande/ to http://www.mundourbano.tv/david-guetta-what-i-did-for-love-ft-emeli-sande/
 * Added archive https://web.archive.org/web/20111016142859/http://dancemusic.about.com/od/grammyawardsgrammys/a/Dance_and_electronica_Grammy_Nominees_and_Winners_2009_A.htm to http://dancemusic.about.com/od/grammyawardsgrammys/a/Dance_and_electronica_Grammy_Nominees_and_Winners_2009_A.htm

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

Cheers.— InternetArchiveBot  (Report bug) 05:05, 8 December 2017 (UTC)

"Second lead singer" title
Although it has been widely noted that Beyonce was the lead singer of Destiny's Child, Kelly was never referred to or known by the media and general public as the group's "second lead singer". That's like saying Michelle was known as the "third lead singer" which she wasn't. Put simply, Kelly rose to fame as another member of Destiny's Child and that's how it should be mentioned in the lead section. Who agrees? Lightsout (talk) 20:03, 20 December 2017 (UTC)

Occupations Appearing in the Infobox and in the Lead Paragraph
I have tried to make an informed epuration among her occupations in the introduction paragraph and the infobox. The Wikipedia Manual of Style describes the best practices, and I have applied them to benefit clarity. Indeed, what makes Rowland particularly notable, is her career as a singer and songwriter and the introduction paragraph needs to highlight this, instead of diluting it in a long enumeration of endeavors she has ever made.

Here are the occupations I have taken out of the list and the reasoning behind my choices.

 * Dancer: Rowland is unquestionably a very skilled dancer. I am also aware that she was a dance master on a short-lived Australian TV show. That said, Rowland never had a career as a dancer per se. She is a singer who dances to complement her musical performance. In that regard, the majority of mainstream pop and RnB singers give similar performances. I believe her dancing is inherent to her work as a singer and not a distinct occupation. I want to stress this has nothing to do with her dancing aptitudes, nor with denying she is a great dancer. All I’m saying is that she didn’t become notable as a dancer. If we look at the big picture, within the industry, she is not among the singers who were defined by dance: Janet Jackson, Usher, Madonna, Britney Spears, or Chris Brown, to name a few. This might seem subjective, but in fact, it is not. It’s easy to find articles aimed at the impact these singers had on dance, but Rowland’s dancing didn’t generate such discourse.
 * Fashion Designer: The first reason why I think we should also remove “Fashion designer” from her occupations is that the page itself barely mentions it. The introduction and the infobox allude to her work in fashion design, yet it appears only in one other place, in the section on modeling and testimonials. I cannot say that I know a lot about her ventures in fashion, but the sourcing for these incursions in fashion design is anemic. I believe these so-called design endeavors are, in reality, commercial endorsements. We see fashion brands using the name of a celebrity all the time. Celebrities contribute to the design process by visiting the designers when the project starts to share some ideas, and come back at the end, to pick what design to send in production. She might have been more involved than that too, but at the moment, there is nothing on the page that allows us to present her somehow as a notable fashion designer.
 * Model: Kelly Rowland never made a living as a model, nor is she a notable fashion model. She has posed for magazines countless times and often walked down runways, but she didn’t have a career in modeling. Acting as the Egeria of a fashion brand or becoming a spokesperson for it isn’t the same as modeling, since these celebrities are hired based on a preexistent notability. Once more, I’d argue that here work in modeling stems from her notability as a singer.
 * Television presenter: I removed it because I had a hard time understanding why we’d have to present her as both: a Television presenter and a TV personality. Also, I couldn’t find in the article a single example of her involvement as a Television presenter; indeed, I believe that “TV personality” encompasses all the work she has ever done on TV.
 * Author: True, she wrote a book, but she is not notable for her writings. Plus, let’s not forget that as of now, if we count all the books she wrote, the total is 1 book. If we’d present her as an author, we’d be going against this recommendation of the Wikipedia Manual of Style (MOS:ROLEBIO):

Hopefully, I was able to express my position clearly, and some people will agree with me. But I also expect some won’t, so I want to make clear that I am here in good faith, and I would be more than happy to hear what you have to say. A leX  Me tz ∆°°˚TALK  13:21, 27 August 2020 (UTC)

Wikipedia:WikiProject Songs has an RFC
Wikipedia:WikiProject Songs has an RFC for the use of radio station/networks' playlists being cited in articles. A discussion is taking place. If you would like to participate in the discussion, you are invited to add your comments on the discussion page. Thank you. Heartfox (talk) 00:09, 29 April 2021 (UTC)

title: Talk:Kelly Rowland


text:
Talk:Jimmy Korderas

WikiProject class rating
This article was automatically assessed because at least one article was rated and this bot brought all the other ratings up to at least that level. BetacommandBot 17:11, 27 August 2007 (UTC)

title: Talk:Jimmy Korderas


text:
L. P. Frans Stadium

L.P. Frans Stadium is a stadium in Hickory, North Carolina. It is primarily used for baseball, and is the home field of the Hickory Crawdads Minor League Baseball team of the South Atlantic League. It was built in 1993 and has a fixed seating capacity of roughly 4,000.

Location
L.P. Frans Stadium is located 3 mi from I-40 in Winkler Park. It was built on land donated by Elmer Winkler in 1993 and named after the local Pepsi-Cola bottler who partially funded the stadium's construction.

Improvements
Improvements made to the stadium after the 2013 season brought a brand new VIP section, a picnic pavilion, and three outdoor party patios. A completely renovated Crawdads Cafe, suites, and concourse were also a part of the improvements. Following the 2017 season, another round of renovations was announced. The renovations included a new HD video board, a new playing surface, renovated dugouts, replacing the outfield walls, and removing the support poles holding up the protective netting to improve sightlines.

title: L. P. Frans Stadium


text:
URL (disambiguation)

A URL is a uniform resource locator for a Web resource.

URL may also refer to:

 * .url, file extension for Internet shortcut files
 * URL redirection
 * Ultimate Rap League, a battle rap group from New York City
 * Unrestricted line officer, in the US Navy
 * Upper reference limit
 * Upper rostral length, of a cephalopod beak
 * Urali language (ISO 639-3: url)
 * University Ramon Llull, university in Barcelona
 * Url, an ankylosaurus in the 2000 Disney animated film Dinosaur
 * URL: Usapang Real Love, Philippine TV series

title: URL (disambiguation)


text:
Classic Park

Classic Auto Group Park is a stadium in Eastlake, Ohio, in the suburbs of Cleveland. It is primarily used for baseball, and is the home field of the Lake County Captains minor league baseball team. It was built in 2003 at a cost of $22 million under the name Eastlake Park and holds 7,273 people.

Although not immediately apparent to non-locals, the stadium bears a corporate name. The naming rights were purchased by Classic Automotive Group, a large Cleveland-area chain of auto dealerships.

Financing
In order to construct Classic Park, Eastlake, Ohio assumed $1 million in debt. This debt necessitated cuts in public services, including the laying off of five police officers and a reduction in the scope of police services.

Features
The field was voted as the Best Playing Surface in the South Atlantic League in 2003, 2004 and 2007. Other features include a 4,000-square foot indoor batting facility with two full-sized batting cages. The main clubhouse building is located beyond the right-field corner and houses both the Captains and visiting teams. Each clubhouse features offices for the manager and coaching staff, a training room, and laundry facilities. The Captains' dugout is on the 1st base side, while the visitor dugout is on the 3rd base side.

The ballpark and playing field are available for rent to area businesses and baseball leagues. Many organizations play games at the stadium during the year and the team operates a fundraising program enabling teams to play games there and make money for their organization at the same time.

The stadium features two large party tents which can accommodate up to 500 guests in each one. In addition, there are two private Party Decks located on the suite level which can hold up to 60 people in each one. The park also features 20 party suites which can be rented for the season, half-season, quarter-season or on a game-by-game basis. The suite level also features a full-service bar and an oversized private party suite called The Officer's Club.

title: Classic Park


text:
AEI Legal Center for the Public Interest

AEI Legal Center for the Public Interest (LCPI) was formed when the National Legal Center for the Public Interest (NLCPI) was merged into the conservative think tank American Enterprise Institute (AEI) in September 2007. Its stated mission is to "foster knowledge about law and the administration of justice, especially with respect to individual rights, free enterprise, property ownership, limited government, and a fair and efficient judiciary. It has pursued its educational and intellectual missions through a publishing program, conferences, and the annual Gauer Distinguished Lecture in Law and Public Policy."

History
The NLCPI was founded in 1975 with funding by J. Simon Fluor and interests controlled by Richard Mellon Scaife.

Publications included white papers, legal monographs, judicial and legislative watch reports, and the Public Interest Law Review. NLCPI also sponsored a legal intern program, in which interns performed research and assisted in drafting legal briefs.

Its longtime president was Ernest Hueter, who served in that capacity for 25 years, retiring in 2004.

Fred Fielding was the most recent chairman of the foundation. Other prominent members included Theodore Olson, Judge Kenneth Starr, Supreme Court Chief Justice John Roberts, Robert H. Bork, and Bruce Fein. Much of its funding came from corporate and conservative foundations, including the Carthage Foundation, the Sarah Scaife Foundation, the John M. Olin Foundation, the Lynde and Harry Bradley Foundation, the Alcoa Foundation and ExxonMobil. The Center has also been associated with several prominent Democrats, including Cliff Sloan, Walter Dellinger, Seth Waxman, Griffin Bell, and Robert Strauss.

NLPCI publications frequently supported tort reform, the corporate interest, and were critical of the "impossibilities" of the Americans With Disabilities Act. NLPCI also ran a "Federal judge identification program" that sought "to identify those who believe that the appropriate role of the judiciary is to interpret the law, not make it."

According to a 1990 column by David Margolick, the national legal affairs editor at The New York Times, "This is a group that has taken the famous dictum of Charles E. Wilson one step further. It is no longer only what's good for General Motors that is good for America, but what's good for Dow Chemical, Amway, Shell Oil, 3M and others represented on the legal center's board of directors."

Merger with AEI
In September 2007, the NLC was merged into the conservative American Enterprise Institute to become the AEI Legal Center for the Public Interest, directed by AEI resident fellow Ted Frank. AEI's existing legal and constitutional studies program, Federalism Project, and Liability Project were subsumed into the AEI Legal Center.


text: User talk:24.86.0.214

title: User talk:24.86.0.214


text:
Meine Seel erhebt den Herren, BWV 10

In 1724 Johann Sebastian Bach composed the church cantata Meine Seel erhebt den Herren, BWV10, as part of his second cantata cycle. Taken from Martin Luther's German translation of the Magnificat canticle ("Meine Seele erhebt den Herren"), the title translates as "My soul magnifies the Lord". Also known as Bach's German Magnificat, the work follows his chorale cantata format.

Bach composed Meine Seel erhebt den Herren for the Feast of the Visitation (2 July), which commemorates Mary's visit to Elizabeth as narrated in the Gospel of Luke, 1st chapter, verses 39 to 56. In that narrative the words of the Magnificat, Luke 1:46–55, are spoken by Mary. Traditionally, Luther's translation of the biblical text is sung to a German variant of the tonus peregrinus or ninth psalm tone, concluding with a doxology, translated from the Gloria Patri, on the same tune. Bach based his BWV 10 cantata on Luther's German Magnificat and its traditional setting, working text and melody into the composition as he had done with Lutheran hymns in other chorale cantatas.

By early July 1724 Bach was more than a month into his second year as Thomaskantor in Leipzig. BWV 10 is the fifth of 40 chorale cantatas he started that year. The outer movements of the cantata are set for mixed choir and an orchestra consisting of trumpet, two oboes, strings and continuo. Luther's translation of Luke 1:46–48 is the text of the first movement. The canticle's doxology is the text of the last movement. The five middle movements are a succession of arias and recitatives, with, between the fourth and sixth movement, a duet for alto and tenor. Soprano and bass each have one aria, and the two recitatives are sung by the tenor. The text of the arias and recitatives is paraphrased and expanded from Luke 1:49–53 and 55. The text of the duet is Luther's translation of Luke 1:54. The melody associated with Luther's German Magnificat appears in movements 1, 5 and 7.

The music of two of the cantata's movements was published in the 18th century: an organ transcription of the duet was published around 1748 as one of the Schübler Chorales, and the closing chorale was included in C. P. E. Bach's 1780s collection of his father's four-part chorales. The entire cantata was published in the first volume of the 19th-century first complete edition of Bach's works. In 20th- and 21st-century concert and recording practice the cantata is often combined with other German-language cantatas, but also several times with settings of the Latin Magnificat, by Bach and other composers.

Background
Late May 1723 Bach took office as Thomaskantor (Kantor at St. Thomas) and director musices (music director) in Leipzig. He remained in that office until his death in 1750. From the first Sunday after Trinity in 1723, that year falling on 30 May, to Trinity Sunday of the next year he presented a series of church cantatas known as his first cantata cycle. The cantatas of that cycle were often based on music he had composed before his Leipzig period. From the first Sunday after Trinity in 1724, that year falling on 11 June, he started his second cantata cycle with forty chorale cantatas composed to new librettos. Each of these librettos was based on the text of a known chorale, usually a Lutheran hymn, the tune of which was adopted by Bach in his setting.

The first weeks of the post Trinitatem (after Trinity) season included the Feast of John the Baptist (24 June) and the Feast of the Visitation (2 July). In Bach's time Protestant Leipzig observed three Marian feasts requiring figural music. In the context of the liturgical year Visitation was the third of such occasions, after Purification, falling in the period of the Sundays after Epiphany, and Annunciation, falling around Easter. Several traditions regarding these Marian feasts, such as the selection of readings for the church services, were continued from the period before Leipzig had adopted Lutheranism. Cantatas with a text in the native language had, since the early 18th century, become the dominant genre of figural music in Reformed German regions. Practices rooted in older traditions included the occasional performance of a Latin Magnificat on occasions such as Marian Feasts or Christmas.

Meine Seel erhebt den Herren, BWV 10, for Visitation, is the fifth chorale cantata Bach presented in 1724. Its text is based on Luther's German translation of the Magnificat. The singing tune associated with that version of the Magnificat, a German variant of the tonus peregrinus, appears in Bach's composition.

Readings, text and tune
The prescribed readings for the feast day were from the Book of Isaiah, the prophecy of the Messiah, and from the Gospel of Luke the narration of Mary's visit to Elizabeth, which includes her song of praise, the Magnificat. This gospel reading is a biblical episode that is often represented in art, especially in music where it has become a traditional part of Vesper services. In Bach's time, the German Magnificat was regularly sung in Leipzig in vespers in a four-part setting of the ninth psalm tone (tonus peregrinus) by Johann Hermann Schein. Different from the other chorale cantatas of the cycle, the base for text and music is not a chorale, but the German Magnificat. It is a canticle, a biblical song in prose concluded by the traditional doxology. The text is based on Luther's translation of the biblical song to German in the Luther Bible, and on the doxology.

In the format of the chorale cantata cycle, an unknown librettist retained some parts of Luther's wording, while he paraphrased other passages for recitatives and arias. He used the original verses 46–48 for the first movement, verse 54 for the fifth movement, and the doxology for the seventh movement. He paraphrased verse 49 for the second movement, verses 50–51 for the third, verses 52–53 for the fourth, and verse 55 for the sixth movement, the latter expanded by a reference to the birth of Jesus.

Bach's music is based on the traditional ninth psalm tone which was familiar to the Leipzig congregation.

Magnificats and Visitation cantatas in Bach's Leipzig
One of Bach's predecessors as director musices of the Neukirche in Leipzig was Melchior Hoffmann. Around 1707 he composed a German Magnificat in A minor based on Luther's German translation of the Magnificat. The portfolio of performance parts of this composition was updated until well into Bach's time in Leipzig. The work, known as Kleines Magnificat (Little Magnificat), was for some time attributed to Bach, but later listed as spurious in the BWV catalogue (BWV Anh. 21 / Anh. III 168‑>). BWV 189, a Visitation cantata on a libretto that paraphrases the text of the Magnificat canticle, also seems rather to have been composed by Hoffmann than by Bach, to whom this work used to be attributed.

Johann Kuhnau, Bach's predecessor as Thomaskantor, composed a Latin Magnificat in two versions: one version with only the Latin text of the Magnificat for Marian feasts such as Visitation, and another version expanded with four German and Latin laudes relating to Christmas. When Bach presented his Latin Magnificat in 1723 (E-flat major version, BWV 243a) it had the same expandable format: without laudes for Visitation, and with four laudes, on the same text as Kuhnau's, for Christmas. Another composition presented by Bach at that year's feast of the Visitation was Herz und Mund und Tat und Leben, BWV 147, an expanded version of an Advent cantata composed before his Leipzig period (BWV 147a).

A repeat performance of BWV 243a may have accompanied the first performance of BWV 10 on 2 July 1724. The libretto of the cantata performed in Leipzig at the feast of the Visitation of 1725 survives. Maria Aurora von Königsmarck is the possible author of this Magnificat paraphrase. Around a decade before the libretto was reprinted in Leipzig it had already been set by Reinhard Keiser and Johann Mattheson. It is not known whether Bach set the libretto, neither which setting of the libretto was used for the 1725 Visitation feast in Leipzig. A year later Bach performed Der Herr wird ein Neues im Lande, JLB 13, a Visitation cantata by his second cousin Johann Ludwig Bach. Picander's libretto for the Visitation cantata of 1728 may have been set as part of Bach's fourth cantata cycle: the libretto, surviving without music, starts with a dictum quoted from Luther's German translation of Luke 1:46–47.

Around 1733 Bach transposed his Latin Magnificat to D major (BWV 243). Besides transposing, he also applied a few modifications: for instance in the movement that has Luke 1:54 as text he replaced the trumpet as performer of the cantus firmus by two oboes. Around a decade later Bach prepared two Latin Magnificats by other composers for performance (BWV 1082, BWV Anh. 30). Probably around the same time Bach performed BWV 10 again.

Several characteristics of the Magnificats and Visitation cantatas of the first half of the 18th century are combined in Bach's German Magnificat: it uses text of Luther's translation of the Magnificat, like BWV Anh. 21 and Picander's 1728 libretto, and it uses text paraphrased from the Magnificat like BWV 189 and the 1725 Visitation cantata. Like the Meiningen libretto used for JLB 13 the cantata not only starts with a dictum but also has a second dictum, directly quoted from Luther's translation of the New Testament, near the middle of the cantata (movement 4, "Meine Seele erhebt den Herrn", in Johann Ludwig's cantata, and movement 5, "Er denket der Barmherzigkeit" in BWV 10). This characteristic sets BWV 10 apart from Bach's other chorale cantatas, which as a rule contained quotes from Lutheran hymns, not from biblical prose.

Some musical similarities between BWV 10 and Bach's Latin Magnificat have been described. Philipp Spitta sees a similar musical treatment at the end of the respective movements based on the Luke 1:51 text, which are the central "Fecit potentiam" movement of the Latin Magnificat and the third "Des Höchsten Güt und Treu" movement of BWV 10. The movements with respectively the German and Latin text of Luke 1:54 present the tonus peregrinus melody associated with Luther's German Magnificat as a cantus firmus played by wind instruments. The "Suscepit Israel" movement of the BWV 243a version of the Latin Magnificat has that cantus firmus performed by a trumpet. In the later BWV 243 version of the same movement the trumpet has been replaced by two oboes. In the corresponding movement of BWV 10 ("Er denket der Barmherzigkeit") the cantus firmus is performed by the trumpet and the two oboes. Masaaki Suzuki assumes that this should be interpreted as trumpet for the original 1724 version, replaced by two oboes in the 1740s revival version, the same modification that occurred to the related movement of the Latin Magnificat.

Place of BWV 10 in Bach's chorale cantata cycle
Bach followed a specific structure for most of the cantatas of his chorale cantata cycle, especially the 40 he presented consecutively from the first Sunday after Trinity of 1724 to Palm Sunday of 1725. In this chorale cantata format he retained the original text and melody of the chorale on which the cantata was based in the outer stanzas, typically treating the first as a chorale fantasia and the last as a four-part chorale setting, while the inner stanzas were reworded by a librettist as the basis for recitatives and arias, usually with music independent of the chorale tune.

19th-century Bach scholars were largely unaware of the composition history of the chorale cantatas, and how Bach conceived the cycle of these cantatas:
 * When Alfred Dörffel listed Bach's chorale cantatas as a cycle in 1878 he ranged Meine Seel erhebt den Herren between the cantata for the sixth Sunday after Trinity (BWV 9) and the one for the seventh Sunday after Trinity (BWV 107).
 * Spitta described Bach's chorale cantatas rather as a group than as a cycle, and thought that most of them, including BWV 10, were not composed before the mid-1730s.

Details about the history, organisation and coherence of the cycle were only elucidated in the second half of the 20th century, by scholars such as Alfred Dürr. According to this research the chronology of the first six chorale cantatas Bach presented in 1724 is updated as follows (K numbers of the first edition of the chronological Zwang catalogue are given between brackets):
 * 1) 11 June, Trinity I: O Ewigkeit, du Donnerwort, BWV 20 (K 74)
 * 2) 18 June, Trinity II: Ach Gott, vom Himmel sieh darein, BWV 2 (K 75)
 * 3) 24 June, St. John's Day: Christ unser Herr zum Jordan kam, BWV 7 (K 76)
 * 4) 25 June, Trinity III: Ach Herr, mich armen Sünder, BWV 135 (K 77)
 * 5) 2 July, Visitation (in 1724 coinciding with Trinity IV): Meine Seel erhebt den Herren, BWV 10 (K 78)
 * 6) 9 July, Trinity V: Wer nur den lieben Gott läßt walten, BWV 93 (K 79)

The strong coherence between the first four cantatas of this series, as belonging to the same set, has been described for instance by Christoph Wolff. The first of these cantatas begins with a chorale fantasia in the form of a French overture, with the soprano singing the cantus firmus of the chorale. The opening movement of the cantata for the next Sunday is in motet style, with the cantus firmus sung by the alto. For the next occasion, St. John's Day, Bach wrote a cantata with an opening movement in the style of an Italian violin concerto, in which the cantus firmus was given to the tenor. The next day followed a cantata opening with a movement in vocal and instrumental counterpoint with the cantus firmus sung by the bass. Conductor John Eliot Gardiner writes about these first four cantatas of the chorale cantata cycle: "Together they make a fascinating and contrasted portfolio of choral[e] fantasia openings."

Libretto publications in Bach's Leipzig more than once grouped the first four cantatas after Trinity, or started a new publication with the cantata for the fifth occasion after Trinity. In 1724 that fifth occasion was Visitation, for which Bach composed Meine Seel erhebt den Herren. It is not a typical second cycle chorale cantata in the sense that it was based on a prose text (lacking the metre of a hymn text) and a Gregorian chant melody (lacking a musical metre). Further, the unmodified canticle text and chant melody not only appeared in the outer movements but also in one of the middle movements (the duet, No. 5). The text of the final movement was a generic doxology which could be appended to any religious chant, while other chorale cantatas commonly ended with a text that only appeared in the hymn from which it was quoted. BWV 125, Bach's chorale cantata for Purification based on the Canticle of Simeon (Luke 2:29–32), does not have these exceptions to the second cycle format: it is based on Luther's versified paraphrase of the canticle and its metrical hymn melody. Nonetheless, Dürr writes about BWV 10 (here rendered in Richard D. P. Jones' translation): "if ever a work deserved the description 'chorale cantata' it is this, for it is based on a genuine (Gregorian) chorale melody".

In 1724 the feast of the Visitation fell on the fourth Sunday after Trinity, thus the next cantata Bach composed was a chorale cantata for the fifth Sunday after Trinity. Bach did apparently not compose a cantata for the sixt Sunday after Trinity in 1724 while absent from Leipzig. Bach's second year in Leipzig passed without composing a chorale cantata specifically for the fourth Sunday after Trinity. He composed one for this occasion in 1732, Ich ruf zu dir, Herr Jesu Christ, BWV 177, one of the later additions to the chorale cantata cycle. Also for Trinity VI Bach composed a chorale cantata at a later date (BWV 9).

Structure and scoring
Bach structured the cantata in seven movements. The first and last are set for four-part choir, and are based on the chant melody. They frame recitatives, arias and a duet of the soloists: (soprano (S), alto (A), tenor (T) and bass (B). The orchestra of typical baroque instruments is listed on the folder containing the original parts as follows: "Festo Visitationis | Mariae | Meine Seel erhebt den Herren. | â | 4. Voc: | Tromba. | 2. Hautbois. | 2. Violini. | Viola | e | Continuo | di Sigl. | J. S. Bach." The "tromba" or trumpet is only used to highlight the cantus firmus and may have been a tromba da tirarsi, a slide trumpet. Alfred Dürr gives the duration of the piece as 23 minutes.

In the following table of the movements, the column "text" links to the World English Bible, adding "Luther" for the movements kept in his translation, and "anon." for paraphrased and expanded versions of the unknown librettist.

1
The opening chorale fantasia is marked vivace (lively). Bach begins the movement with an instrumental introduction that is unrelated to the psalm tone. It is a trio of the violins and the continuo, with the oboes doubling the violin, and the viola filling the harmony. The main motif stands for joy and is set in "rhythmical propulsion".

The chorus enters after 12 measures with "" (My soul magnifies the Lord). The cantus firmus is in the soprano, doubled by a trumpet, whereas the lower voices add free polyphony on motifs from the introduction. Bach treats the second verse similarly, but with the third verse, "" (for he has looked at the humble state of his handmaid), the cantus firmus appears in the alto. Certain words, such as "freuet" (rejoice) and "selig preisen" (call me blessed) are adorned with melismas. The movement is concluded by a vocal setting without cantus firmus embedded in the music of the introduction, framing the movement.

2
The soprano aria "" (Lord, you who are strong and mighty) is a concerto of the voice and the oboes, accompanied by the strings. It is the first soprano aria in the chorale cantata cycle.

3
The recitative "" (The goodness and love of the Highest) ends on an arioso. Spitta compares the end of this movement with the end of the 7th movement of Bach's Latin Magnificat: textually both movements treat the same part of the Magnificat (the end of Luke 1:51), and, although the other movement is set for five-part chorus and tutti orchestra, he considers the closure of this recitative of the German Magnificat cantata "equally picturesque".

4
The following aria "" (The mighty God casts from their thrones) is set for bass and continuo. A descending bass line in the continuo over two octaves illustrates the fall, which the voice also suggests in descending phrases. The second aspect of the text, the exaltation of the humble, is shown by rising figures, and the final emptiness ("bloß und leer", bare and empty) by pauses.

5
In the fifth movement, "" (He remembers his mercy), the text returns to the original German Magnificat, and the music to the psalm tone. It is played by oboes and trumpet as the cantus firmus, while alto and tenor sing in imitation. Klaus Hofmann interprets the bass line of "emphatic downward semitone intervals" as "sighs of divine mercy".

6
The recitative for tenor, "" (What God, in times past, to our forefathers), referring to God's promise, begins secco.

7
In the final movement, the two verses of the doxology are set on the psalm tone for four parts, with all instruments playing colla parte. Wind instruments and violin I join the soprano part. The setting is mostly in homophony, but turns to polyphony for the final "von Ewigkeit zu Ewigkeit" (for ever and ever).

Manuscripts and editions
Both Bach's autograph score and the parts used for the cantata's first performance survive. The score, previously owned by Wilhelm Friedemann Bach, Philipp Spitta and Paul Wittgenstein, among others, came in the possession of the Library of Congress in 1948. The original parts remained in Leipzig, where they were entrusted to the Bach Archive in the 20th century.

BWV 648 is a chorale prelude for organ transcribed from the cantata's fifth movement. It was first published around 1748 as fourth of the Schübler Chorales. The music of the cantata's closing movement is included in the Dietel collection, a 1730s manuscript containing 149 of Bach's four-part chorales. C. P. E. Bach published the same music of BWV 10 as No. 357 in Part IV of his 1780s collected edition of four-part chorales by his father.

The entire cantata was published in 1851 in the first volume of the Bach-Gesellschaft Ausgabe (BGA), edited by Moritz Hauptmann. The New Bach Edition (Neue Bach-Ausgabe, NBA) published the score in 1995, edited by Uwe Wolf, with the critical commentary published the same year.

The cantata was also published with a singable English version of the text:
 * My soul doth magnify the Lord – English version by E. H. Thorne and G. W. Daisley
 * Magnify the Lord, my soul – critical edition by Christoph Großpietsch, published by Carus.
 * Now my soul exalts the Lord – based on the NBA edition for the score.

Concert performances and recordings
Karl Richter programmed BWV 10 along Bruckner's 150th Psalm at his first concert in Ottobeuren in 1957. In the 1960s, Paul Steinitz's and Fritz Werner's recordings of the cantata were released on LPs which also featured another German cantata by Bach. On Richter's 1978 LP release BWV 10 was also combined with other German Bach cantatas. Karl Münchinger's 1968 recording and Hans-Joachim Rotzsch's 1978 recording of BWV 10 were issued on LPs which included their respective performances of Bach's Latin Magnificat. Also Michael Gielen's concert at the 1991 combined Bach's German and Latin Magnificat. Teldec's, Hänssler's, Koopman's, Brilliant Classics' and Suzuki's complete Bach cantata recordings include a recording of BWV 10.

Roland Büchner's 2000 recording, with the Regensburger Domspatzen, combined Bach's German Magnificat with the 1723 Christmas version of his Latin Magnificat (BWV 243a). Gardiner's Bach Cantata Pilgrimage featured BWV 10 in a concert recorded in 2000. Ton Koopman's concert at the 2003 Leipzig Bach Festival combined BWV 10 with the Christmas versions of Bach's and Kuhnau's Magnificat, thus allowing to compare similar works of two consecutive Thomaskantors. Sigiswald Kuijken recorded BWV 10 for his Cantatas for the Complete Liturgical Year series in 2007. The same year, a concert at the Indiana University combined Bach's Meine Seel erhebt den Herren cantata with a 2005 Magnificat by Sven-David Sandström.

Gustav Leonhardt, Pieter-Jan Leusink and Ton Koopman used period instruments for their complete Bach cantata recordings. Also Musica Florea, the orchestra on Büchner's recording, performs on historic instruments.

title: Meine Seel erhebt den Herren, BWV 10


text:
ShoreTown Ballpark

ShoreTown Ballpark is a stadium in Lakewood, New Jersey. It is primarily used for baseball and is the home field of the Jersey Shore BlueClaws South Atlantic League baseball team, affiliated with the Philadelphia Phillies Major League Baseball team. It is also used for outdoor concerts, featuring touring musical artists such as Bob Dylan. It was built in 2001 and has 6,588 fixed seats with extended additional space on grass berms and at picnic tables around the 360-degree concourse.

History
The stadium opened as GPU Energy Park, named for the former General Public Utilities, Inc. After GPU merged into FirstEnergy Corporation in 2001, the stadium took the new corporate name in 2002.

The team attendance record is 13,003, set on August 26, 2002. FirstEnergy Park had 13 crowds over 9,000 and 81 crowds over 8,000 in its first eight years of play.

The stadium was featured in Baseball America's 2009 Great Parks calendar. It was the second time that the home of the BlueClaws was highlighted in the calendar.

FirstEnergy Park has hosted the South Atlantic League All-Star Game twice, in 2002 and in 2013. The 2002 attendance of 8,571 was a record for the South Atlantic League All-Star Game.

In 2022, the BlueClaws changed the stadium's name from FirstEnergy Park to ShoreTown Ballpark.

Features
The ballpark features two general admission, grass seating areas, one in left field and another in right, 16 luxury suites, two party decks, the Monmouth Medical Center Champions Club, two picnic areas, and a full video board, with a 1,587 square foot high-definition display.

The stadium also features the nine-hole Manasquan Bank Mini Golf Course which opened in 2018. Open during all home games, the course features holes named after former BlueClaws players.

In centerfield, FirstEnergy Park also includes the Toyota World of Lakewood Boardwalk area. This space features many traditional boardwalk games such as a Ring Toss, Goblet Toss, Balloon Darts, and Cat Rack.

In 2022, the BlueClaws announced the addition of a new hospitality space for patrons to enjoy during games at the stadium - The Blue Wave Bar.

title: ShoreTown Ballpark


text:
Kaiki

Kaiki may refer to:
 * Kaiki Nobuhide, sumo wrestler
 * Caïque,(Greek: Kaiki, Turkish:kayık) is a wooden fishing boat usually found among the waters of the Ionian or Aegean Seas.
 * Kaiki (Ryukyu), a politician and diplomat of Ryukyu Kingdom.
 * Kaiki (footballer) (born 2003), Brazilian footballer

title: Kaiki


text:
Islamic marriage contract

An Islamic marriage contract is considered an integral part of an Islamic marriage, and outlines the rights and responsibilities of the husband and wife  or other parties involved in marriage proceedings under Sharia. Whether it is considered a formal, binding contract depends on the jurisdiction. Islamic faith marriage contracts are not valid in English law, nor American Law. Because of this, some Islamic Marriage Officiants will only officiate a marriage after the couple had been legally married in court.

Witnessing
In Sunni Islam, a marriage contract must have at least two witnesses. Proper witnessing is critical to the validation of the marriage, also acting as a protection against suspicions of adulterous relationships.

In Shia Islam, witnesses to a marriage are not necessary. It is also believed that temporary marriage, or Nikah Mut'ah (a type of contract which had more relaxed requirements) was prohibited in Sunni Islam, the necessity of witnessing was introduced by Sunni caliphs, specifically Umar, to ensure that no couples engaged in secret union.

Authorization
Marriages are usually not held in mosques, (depending on the country and culture of both where the marriage happens and the parties involved) because typically men and women are separated during the ceremony and reception. In Sunni Islam, there is no official clergy, so any Muslim who understands the Islamic tradition can be the official for the wedding. However, if a Muslim wedding is held in a mosque, then a marriage officiant, known as qadi, qazi or madhun (مأذون), may preside over the wedding.

Contract
The rights of women proceeding the Advent of Islam as changed drastically to where they stand in society in the twenty first century. Prior to the Advent of Islam, men were allowed to marry or divorce whenever they pleased leading to a number of problems within the society.

The Quran states that you should love your husband or wife, however, divorce is not forbidden. Men remain more able to divorce women than women are to divorce men, as husbands can unilaterally divorce wives, while the only unilateral route wives can take is through taking a case to court for annulment. The lifestyles men and women go through following a divorce are very different, women must participate in a period of abstinence and remain single for a period of time. This period of abstinence and being single allows for the father, if the wife was pregnant before the divorce, to know if the unborn child belongs to them or not.

Type and content
Among the stipulations that can be included in the marriage contract include giving up, or demanding, certain responsibilities. The contract may also be used to regulate the couple's physical relationship, if needed.

The marriage contract can also specify where the couple will live, whether or not the first wife will allow the husband to take a second wife without her consent. The wife has the right to initiate divorce, it is called khula. She either gives back the dowry (mahr) or does not, depending on the reason for divorce. The man has the right to divorce. The marriage contract somewhat resembles the marriage settlements once negotiated for upper-class Western brides, but can extend to non-financial matters usually ignored by marriage settlements or pre-nuptial agreements.

Purposes
One important purpose of the contract is to make sexual intercourse legal. This is supported by various Hadiths and quotations:

Sahih Bukhari, Book 62, #81:
 * Narrated 'Uqba: The Prophet (peace and blessings of Allah be upon him) said: "The stipulations [in the marriage contract] most entitled to be abided by are those with which you are given the right to enjoy the (women's) private parts."

Al-Mughni (by Ibn Qudaamah), Kitab al Nikah:
 * ... the Prophet (peace and blessings of Allah be upon him) [said]: "The most deserving of conditions to be fulfilled are those by means of which sexual intercourse becomes permissible for you."

Cited in (Al Aqad, 2014) the common problem of translation of marriage contracts is due to the varieties of word synonyms in the legal Arabic system which have no equivalence in the English system in terms of marriage contracts, such as: مهر, شبكه, صداق - Mahr, Shabkah, Sadaq- (dowry), whereas, all of these examples attributed and affected by the culture and tradition of the Arabic language.

Interfaith marriage
Interfaith marriage has been a growing concept in the past few years however according to the Quran, Muslim women should only marry Muslim men and without doing so can lead to problems within and outside of the families. Though Muslim men are technically permitted to wed Muslim, Christian, Jewish (and according to a minority view Zoroastrian women]], AKA the Ahl-al-Kitab (People of the Book), it is heavily discouraged to the point that some scholars (mainly of the Hanbali School of Fiqh) have ruled that this permission applies only in Dar-ul-Islam (a community where Islam is dominant and Islamic values are present). Even in these marriages, there are several restrictions (such as the children being brought up Muslim), and often makes such a marriage impractical.

One main problem with interfaith marriage as seen in the Islamic community is the fear that one might abandon their faith or their children will not grow up in it. Another issue that can arise is the conflict directly between the two married individuals if their religious traditions get in the way of the other, leading to a debate of which religion should be the more prominent one in the relationship.

title: Islamic marriage contract