text:
Talk:Wilhelm Fliess

Untitled
Can we please determine once and for all whether it's "Fleiss" or "Fliess"? And post the proof here so that we don't have more changes? -- Antaeus Feldspar 00:27, 20 July 2005 (UTC)

(what about the birth certificate)

Robert Fliess
As far as I remember somewhere here I've read that according to Robert Fliess's writings the ambulatory psychotic has been his mother Ida, states Esterson. (do I remember right?)
 *
 *
 * Austerlitz -- 88.72.24.23 (talk) 09:52, 15 August 2008 (UTC)

No, it has been here:. Quote:"Oddly enough (and in contrast to Masson's central theme) Fliess's analyses revealed 'the inhuman, psychotic parent who in analysis emerges with such tragic frequency from repression most often [is] the patient's mother' (ibid.: 222, emphasis added)."

Esterson says that according to Robert Fliess "most often" the psychotic parent has been the patient's mother; obviously he has not mentioned his own mother.
 * Austerlitz -- 88.75.81.158 (talk) 08:35, 16 August 2008 (UTC)

I read in Jeffrey Masson's The Assault on Truth that Fliess sexually molested his son Robert, is this true and should it be included in the article?--99.172.134.250 (talk) 15:45, 6 June 2011 (UTC)

Reference # 9
Can someone fix reference #9? I don't know how to.Maurice Magnus (talk) 12:53, 25 April 2021 (UTC) Never mind; I took care of it.Maurice Magnus (talk) 11:34, 27 April 2021 (UTC)

title: Talk:Wilhelm Fliess


text:
S.D. Aucas

Sociedad Deportiva Aucas, also known as "Papá Aucas", is a football club based in Quito, Ecuador. They play in the top tier of Ecuadorian football and have spent the majority of their history in the top-flight Serie A. The team is amongst the most popular in the city because of its long history in the Serie A. The team also has a major rivalry in L.D.U. Quito, which they contest one of the most prestigious derbies in all of Ecuador, and the most prestigious in Quito.

Overview
The team is named after the Auca tribe, who are also called Huaorani. The club originally belonged to Royal Dutch Shell, which had been operating oil fields in the east of Ecuador where the Aucas live. The club's main uniforms colours, yellow and red, were taken from the colours used by Shell to market their products and services. The alternate uniform is grey, except for the commercial advertisements and numbers and names of players, which are red.

Players who have played for Aucas include Argentinian and nationalised Ecuadorian forward Ariel Graziani, forward Nicolás Asencio, forward Agustin Delgado, forward Édison Maldonado, Ecuador international defender Giovanny Espinoza, and the 1990 FIFA World Cup Colombian goalkeeper René Higuita.

Aucas won their first Serie A title in 2022 under the tenure of Venezuelan manager César Farías by winning the competition's second stage without losing a single game and then beating Barcelona in the finals. This win also qualified them to the 2023 Copa Libertadores, the first time they competed in the continental tournament.

Honours
National
 * Serie A: 2022
 * Serie B: 1974 E2, 1991 E2, 2014
 * Segunda Categoría: 1986 E2, 2012

Regional
 * Campeonato Amateur del Fútbol de Pichincha: 1945, 1946, 1947, 1948, 1949, 1951
 * Campeonato Professional Interandino: 1959, 1962

Performance in CONMEBOL competitions

 * Copa Libertadores: 2 appearances
 * 2023: Group Stage
 * 2024: First Qualifying Stage

 * Copa Sudamericana: 5 appearances
 * 2002: First Round
 * 2004: Second Round
 * 2016: First Round
 * 2020: First Round
 * 2021: Group Stage

Current squad
As of 20 July, 2024.

World Cup players
The following players were chosen to represent their country at the FIFA World Cup while contracted to Aucas.

 * 🇪🇨 Giovanny Espinoza (2002)
 * 🇪🇨 Damián Enrique Lanza (2006)
 * 🇪🇨 Hernán Galíndez (2022)

Managers

 * 🇪🇨 Ernesto Guerra (1975, 1986–87, 1989)
 * 🇪🇨 Carlos Cuvi (1995)
 * 🇪🇨 Polo Carrera (1995)
 * 🇨🇴 Leonel Montoya (1996)
 * 🇪🇨 Alfredo Encalada (1994, 1996)
 * 🇪🇨 Homero Mistral Valencia (1995, 1996–1997)
 * Juan Ramón Silva (1998–99)
 * 🇧🇴 Ramiro Blacut (1999–00)
 * Gerardo Pelusso (2001–02)
 * 🇦🇷 Salvador Raguza (2002)
 * Adan Machado (2002)
 * 🇪🇨 Carlos Sevilla (2003)
 * 🇨🇴 Luis Fernando Suárez (2003–04)
 * 🇨🇴 Javier Álvarez Arteaga (2004–05)
 * 🇷🇸 Dragan Miranović (2005–2006)
 * Diego Aguirre (2006)
 * 🇪🇨 Fausto Carrera (2006)
 * 🇦🇷 Juan Amador Sánchez (2006–07)
 * Fernando Rodriguez Riolfo (2007)
 * Carlos Berrueta (2007)
 * 🇦🇷 Miguel Ángel Zahzú (2008)
 * 🇪🇨 Carlos Calderón (2008)
 * 🇧🇴 Marco Etcheverry (2009)
 * 🇪🇨 Polo Carrera (2009)
 * 🇪🇨 Alfredo Encalada (2011–12)
 * 🇦🇷 Julio Asad (2012–13)
 * Juan Ramón Silva (2014)
 * 🇦🇷 Carlos Ischia (2015–16)
 * Tabare Silva (2016)
 * 🇨🇴 Armando Osma (2009, 2016–2017)
 * 🇦🇷 Darío Tempesta (2017, 2020–2021)
 * 🇦🇷 Luis Soler (2018)
 * Eduardo Favaro (2019)
 * 🇦🇷 Gabriel Schurrer (2019)
 * 🇦🇷 Hector Bidoglio (2021)
 * 🇻🇪 César Farías (2022–23)
 * 🇨🇴 Santiago Escobar (2023)
 * 🇲🇽 Gerardo Espinoza (2024)

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

title: S.D. Aucas


text:
Charles Gioe

Charles Joye "Cherry Nose" Gioe (February 6, 1904 – August 18, 1954) was a lieutenant in the Chicago Outfit criminal organization and a partner in the Hollywood extortion scandals of the 1940s.

Biography
Charles Joey Gioe was born on February 6, 1904. He became a high-ranking lieutenant for the Chicago Outfit, specializing in extortion and blackmail, under Frank Nitti after Al Capone's 1931 tax evasion conviction. In 1936, Gioe went to Des Moines, Iowa to expand syndicate operations. He eventually returned to Chicago, leaving underboss Louis "Cock-Eyed Louie" Fratto in control of the Des Moines operations. During the mid-1930s, Gioe, Paul "The Waiter" Ricca and Louis "Little New York" Campagna, began financially supporting extortion operations by Willie Morris Bioff and George Brown against Hollywood movie studios. In exchange for annual payoffs to the Outfit, the mob-controlled projectionist unions would refrain from labor strikes and disruptions.

In the late 1930s, the extortion racket was busted by law enforcement. On March 18, 1943 Gioe, Ricca, and Campagna were indicted for extortion; Bioff and Browne agreed to testify against them. On December 31, 1943, Gioe was convicted of extortion and sentenced to ten years in prison. Gioe was later paroled (along with the other syndicate members) in 1947, despite protests from Senator Estes Kefauver. Upon his release, Gioe became second to Ricca and Campagna as the top Chicago syndicate leader.

On August 18, 1954, Charles Gioe was shot to death by mafia soldiers controlled by Joseph "Joey" Glimco after he accidentally interfered in a dispute Glimco was having with a contractor building a Howard Johnson's restaurant.

title: Charles Gioe


text:
Talk:Stephan Kinsella/Archive 1

Some material in this article has been copied from. Notwithstanding the copyright notice at, the copyright owner, Stephan Kinsella, has removed a "possible copyright violation" notice and edited the material. By doing so, he has released the information under the GFDL. Please do not remove this note. -Willmcw 04:00, Apr 10, 2005 (UTC)

Is this article a copyright violation of ? The copyright page on that site specifically bans editing the material, which would not conform to Wikipedia requirements. . Cheers, -Willmcw 22:34, Mar 28, 2005 (UTC)

Copyright Permission
I am the subject of this entry and the copyright owner. Wikipedia has my permission to post material from my site in this entry. There is no copyright problem. Stephan Kinsella

 * Thanks for amending your copyright notice and giving permission. The necessary GFDL license for all material copied into Wikipedia is here:, and a general discussion can be found here: . In general, all material in Wikipedia must be available for all commercial and non-commecial use, without further notification. The amended copyright notice seems to limit that ability. Please clarify. Also, if you are the user:DickClarkMises please be aware that there are apparent copyright violations in several images that you uploaded. Finally, please do not revert any copyright violation notices until the matters have been resolved. The notice includes detailed instructions. Thanks -Willmcw 20:02, Apr 8, 2005 (UTC)

THis is ridiculous
Willow, who are you? Are you an official of Wikipedia? If not, stop messing with this. This is ridiculous. There is no copyright problem here. Why are you meddling?

 * Hi. Copyright issues are not ridiculous. As a patent lawyer undoubtedly versed in (so-called) intellectual property issues I am sure you understand. Wikipedia is perhaps a unique attempt at creating an encyclopedia whose contents are freely copyable. I am an editor like yourself. If you'd like to engage in a discussion of copyright issues as they apply to Wikipedia, please follow the links I've provided above. I should also mention that Wikipedia is not meant as a venue for self-promotion, so please keep your materials NPOV. Finally, please sign your talk page posts by adding four tildes (~) at the end. Thanks, -Willmcw 21:19, Apr 8, 2005 (UTC)

 * Further, please do not remove the copyvio notice until the matter has been resolved. Wikipedia is relatively free-form, but we do have our normal procedures. Please respect them. Cheers, -Willmcw 21:23, Apr 8, 2005 (UTC)

idiot
I didn't post the original entry. Someone else did. When I found out about it, I edited it to correct some things. It is neutral and not self-promotional.

I am the copyright owner. I have granted consent, not that any was needed. Moreover my website now has a GNU license. This is absolutely reidiculously. Leave the entry alone please. Stop meddling and mind your own business.

 * Thank you for clarifying the origins of this article. I had (incorrectly) presumed that you were user:DickClarkMises, who originally posted the material with this note:
 * '' (dump of auto-bio from stephankinsella.com)
 * At the time, the website had a copyright notice which was clearly not compatible with GFDL. The current copright statement still appears to be incompatible:
 * Permission is hereby granted to copy, download, display, post or transmit the documents, articles, and other information on this web site authored by Stephan Kinsella, for personal, informational, non-commercial use only, provided that: (1) you do not modify the materials; (2) you retain all copyright and other proprietary notices contained in the materials; and (3) you include a proper citation to the material (where available) and, where feasible, reference the URL for this site, www.StephanKinsella.com. Notwithstanding the foregoing, unpublished or draft articles or material (i.e., those appearing without publication information or otherwise designated as being in draft or unpublished form) may not be published in any publication without obtaining my written consent (email me (Stephan -at- KinsellaLaw.com) for any such requests). Notwithstanding the foregoing, Wikipedia has permission to use information from this site authored by N. Stephan Kinsella in Wikipedia entries.
 * For wikipedia purposes, the text must be fully modifiable, that no special coopyright info needs to be attached, and that the originating website need not be referenced. Can you clarify, please? It would help if you obtained a username of your own and signed your entries in talk pages. Once again, please do not remove the copyviolation notice until this matter has been resolved. And finally, Wikipedia has a firm policy against personal attacks. no personal attacks. Thanks for your contributions to Wikipedia. -Willmcw 22:15, Apr 8, 2005 (UTC)

signature
happy now? 216.216.209.2 22:05, 8 Apr 2005 (UTC)

Wiki nerd
Willow, you moron. If Wiki has a policy against personal attacks it must also have a policy against idiots like you meddling in a stupid way with others' entries. So I would be happy to have Wiki look into this and ban me from commenting on the stupid discussion page if they would also put an end to your ridiculous meddling.

I have taken down the bio page and the copyright page. It seems if I had never had them up, you would have not had anything to whine about. I am the owner of my site and the material on it. I am the copyright holder. I am an IP attorney. The material that is posted on Wiki from my site does not violate copyright for several reasons. First, the material is just factual. Second, it would clearly qualify for fair use. Third, I have given my consent. Fourth, I had permission posted on my site sufficient to show grant a license, not that one was needed. You are just a bumbling idiot trying to force people to join in this stupid GNU thing. Mind your own business, you Wiki Nerd. Nskinsella 19:47, 9 Apr 2005 (UTC)

 * Please refrain from personal attacks. Regarding your points: first, factual data can be copyrighted. Second, fair use is a grey area. Third and fourth, thanks for your permission, but does that permoission allow for unlimited editing and copying? I'm sorry if you don't like the Gnu license that we use here, but it is what we use here. I saw on your website a license which prevented editing and required further permission for any use. All articles on Wikipedia need to be freely edited and copied. Finally, once again, please do not remove the copyright violation notice until the the administrators can resolve the issue. They usually do so within two weeks. In the meantime, you can help write the replacement article at Stephan Kinsella/Temp. You might first want to read our guidelines on autobiography. I see that your birthyear is missing, which fact would help complete the article. Since you are not user:DickClarkMises, let me ask you if he got your permission to put your photograph into the public domain? See Image:Stephankinsella.jpg. Cheers, -Willmcw 23:29, Apr 9, 2005 (UTC)

"This page is now listed on Wikipedia:Copyright problems. Please do not edit this page for the moment. If there was permission to use this material under the terms of our license or if you are the copyright holder of the text that was submitted, please indicate so on this page's talk page and under the article's listing on Wikipedia:Copyright problems."

"It should be noted that the posting of copyrighted material that does not have the express permission from the copyright holder is possibly in violation of applicable law and of our policy. Those with a history of violations may be temporarily suspended from editing pages. Regardless, even if this is in fact an infringement of copyright, we still welcome any original contributions."

I AM THE COPYRIGHT HOLDER. WIKIPEDIA HAS PERMISSION TO PUBLISH MY PIECE AND TO USE IT ANY WAY THEY SEE FIT. THERE IS NO COPYRIGHT VIOLATION AT ALL. YOU HAVE THE EXPRESS PERMISSION OF THE COPYRIGHT HOLDER, NAMELY ME.

Willow
Willow:

You are very annoying and maddening. Your meddlesomeness is contrary to the spirit of this project. Let's make something clear.

1. If DickClarkMises had simply posted what he did, without linking to my site, you never would have had the excuse to make a stink. So you are essentially trying to penalize me for having a copyright notice on my site--which has nothing to do with Wikipedia--that you don't like.

2. Wikipedia's terms don't permit printing copyrighted material if it is without the owner's consent. I have clearly given consent.

3. Moreover, to cater to your annoying requests, I did indeed modify my copyright page to reprint verbatim the GNU license you pointed me at, but then you ignored it and kept repeating what my previous page had said. You could have simply pasted the exact language that would have satisfied you that I could have put on my copyright page, but no, you had to point me to some stupid discussion list. This is getting ridiculous. Wikipedia is not designed to for people to run around acting like annoying little gadflies. So I have now taken down both my bio and copyright page, on my site, since that is what seemed to give you an excuse to meddle. Now, pretend my website bio and copyright pages do not exist, since they don't.

4. You ask if Dick whoever got my permission to put my image in the public domain. You are using "public domain" in a layman's way. My image was and is on my website, so it is already public. Are you saying Wiki is "more" "public" (domain?) than my site? They are both on the web.

5. In short, your actions are completely unjustified and meddlesome. You appear to be trying to interfere in something that is none of your business whatsoever, and to use your ability to keep rewriting this entry to blackmail me into changing my private website's copyright policy to some GNU license. This is outrageous and unjustified.

6. Please butt out and mind your own business. Please stop abusing your naked power to revise this entry to act a the gadfly and GNU vigilante advocate.

7. Finally, my past pages are STILL PUBLICLY AVAILABLE ON WIKIPEDIA. All one has to do is click on the history tab. It is absurd to claim that a given entry has a copyright problem, and then to leave it up on the history page. If it is truly a copyright infringement, Wiki ought to take it down even from the history pages--the history pages are just as published as the main entry page is. So please stop these games OR CLEARLY and COHERENTLY state your problem.

Nskinsella 03:55, 10 Apr 2005 (UTC)

 * Thanks for your patience. I discussed this with another member of the community and the feeling is that by removing the copyright notice and editing the article you released the information under the GFDL, regardless of the license on your website, and that the photo is also included in that release. Now that the matter has been resolved it is safe to leave the copyright violation notice off the page and to go back to editing it. Cheers, -Willmcw 04:00, Apr 10, 2005 (UTC)

Apology? No.
Someone on Wiki (?) wrote me:

 * Hi Ns, you were abusive to User:Willmcw, he was just trying to look out for your copyrighted page, considering that User:DickClarkMises's edits were a copyright violation. And you're identity wasn't clear, editing under two different anonymous ip's (24.175.17.57 and 216.216.209.2). Remember, not all of us are lawyers. You should apologise.

 * Also, you broke the Wikipedia:Three-revert rule, for which you can be banned for 24 hours. Please don't do this again or I will block you.--Duk 04:45, 10 Apr 2005 (UTC)

I was not abusive, and Willow was not just trying to look out for my copyrighted page; and DickClarkMises's edits were NOT a copyright violation. I will not apologize. I think Willow is a meddling gadfly. If this gets me banned: so be it. I will say this: I admit it is possible that Willow is indeed well-intentioned but utterly confused, but that is not the impression I get. I ge the impression he is a persnickety gadfly who is trying his best to leverage his ability to mess with entries to force people to revise their own private web sites' copyright page to employ GNU.

Willow called the bio a vanity bio. It is not. I did not post it. Someone else did. I only modified it to make corrections after I was made aware of it.

Claiming the post was a copright violation just because my own website had a comment RESTATING FEDERAL LAW means that ANY material taken from ANY site, in the US at least, is in the same position as is my own material. Moreover, after I explicitly stated, as the copyright owner, that there was no problem, it is ridiculous to claim any remaining basis for this.

I do not blame you people for not being attorneys. I blame you for thinking that you know enough about copyright law to take action based on the assumption that you do.

As for the alleged Three-revert rule: "Don't revert any page more than three times within a period of 24 hours. (This doesn't apply to self-reverts or correction of simple vandalism.)"

Well, first, Willow was guilty of reverting as many times as I did. Moroever, I do view what he did as vandalism.

This has been my first experience with Wikipedia and it has been a terrible one, primarily because of Willow's outrageous behavior and the rules that allow it.

 * It appears that user:Duk may have been wrong about the number of reverts which occured within a 24-hour period, the fourth reverts by both of us appear to have been done at least a few minutes beyond that time. I called your autobiography a "vanity bio" because it appeared likely that you had posted it yourself. It remains an autobiography, but given time and the involvement of other editors it will grow into a regular biography. Regarding the presence of copyrighted material in the history log of an article, one of the reasons why there is a process for clearing copyright violations is to allow the history logs to be purged. Your interpretation of the meaning of "public domain" is rather different than what we use here (rightly or wrongly). We do not assume that all photographs on websites are in the public domain, unless they are more than 80 years old or produced by the federal government. And we'd assume that taking an entire webpage of material, factual or not, appears to go beyond common interpretations of "fair use". I am not at all interested in having you change your personal copyright statement - my interest is in making sure that Wikipedia is not liable for any copyright violations. As you have edited the copyright problems page, you can see that the open editing process unfortunately encourages editors to "steal" material often, resulting in the need to patrol new entries, especially when an editor plainly states that he is copying it from another website. Finally, while I do not expect an apology, this is a collaborative process that depends on its editors acting in a civil fashion. no personal attacks is a policy, not just a guideline. Cheers, -Willmcw 03:52, Apr 11, 2005 (UTC) (AKA "Willow")

No clue

 * I called your autobiography a "vanity bio" because it appeared likely that you had posted it yourself.

You were wrong, and this was insulting.

 * It remains an autobiography, but given time and the involvement of other editors it will grow into a regular biography.

Okay.

 * Regarding the presence of copyrighted material in the history log of an article, one of the reasons why there is a process for clearing copyright violations is to allow the history logs to be purged. Your interpretation of the meaning of "public domain" is rather different than what we use here (rightly or wrongly). We do not assume that all photographs on websites are in the public domain, unless they are more than 80 years old or produced by the federal government. And we'd assume that taking an entire webpage of material, factual or not, appears to go beyond common interpretations of "fair use". I am not at all interested in having you change your personal copyright statement - my interest is in making sure that Wikipedia is not liable for any copyright violations.

Yes, you insisted several times that I change my copyright page. On my own site. Notice that if I simply HAD NO COPYRIGHT PAGE you would have had no grounds for raising a fuss. So you were penalizing me for having a non-GNU copyright page.

Nonetheless, once I posted myself and ratified this and gave explicit permission, it totally obviated your concern. Yet you continued to harass me and stubbornly kept putting up your silly copyright concerns, even when it was manifestly clear there was no basis for this. I don't regard that as civil.

However, to the extent you have fought off nutball Larouchies, I guess you're a good guy, in that respect at least.

I don't know who this alleged "duk" character is, or you, but you act as if you are officials of Wikipedia or something, and have refused to clarify whether or not you are officials of Wikipedia. I therefore assume you are NOT. Thus, you have no more standing to threaten or ban me than I, you.

 * I don't know why you find it insulting that I should have assumed that you were the one who posted your autobiography. It appears that it was a colleague of yours, without your permission or knowledge, if I understand you correctly. Given the circumstances, it appeared likely that he was you. Now that you have appeared and declared a separate identity, I freely admit that I was wrong. If you care, please re-read what I wrote above, and you will see that I never insisted that you change your page. You were asserting that the license on your page allowed for copying and editing of your material, and I was disagreeing. Fixing a copyright violation is not harassment, it is part of editing. If you'd only had a copyright symbol on the bottom of your page (instead of a special copyright notice) then the issue would have been simpler, but the same concern would have been present. Regarding our status here, several messages ago I stated "I am an editor like yourself," which I intended to clarify my status. Yes, you have just as much standing to threaten or ban me as vice versa. Cheers, -Willmcw 19:03, Apr 11, 2005 (UTC)

Clueless about Copyright
Willow had posted this on the page, which I have deleted: "(NB: Although Kinsella concludes in this paper that "[Intellectual property], at least in the form of patent and copyright, cannot be justified," the paper itself is copyrighted by its publisher.."

Presumably Willow means to show some kind of hypocrisy here. Even if it was, it is out of place in the entry. And even if his comment was accurate, it does not show hypocrisy--simply because one argues that copyright law is unjust does not imply one should not use the system so long as it exists. I might call for roads to be privatized yet still drive on them. To do otherwise would be to commit suicide. Saying that an advocate of road privatization is hypocritical for using roads would be tantamount to the position that once a system is in place that many people are forced to use in order to survive, no one may ever criticize it. This would be a terrible blow to freedom of expression. Moreover: the paper is not "copyrighted" by its publisher. This is yet again further know-nothing legal commentary from a layman. In fact, one cannot "copyright" something; it is not a verb. Whether or not one registers a copyright in a work, or marks it with the copyright notice, original authored works do have a copyright in them automatically by virtue of federal law. Whether or not someone marks "copyright" on a published paper does not change the fact that the author does have a copyright in it. Just like you have the "right" under federal law to obtain, say, Medicaid under certain circumstances, whether or not you want this right, whether or not you agree to it, whether or not you use it, whether or not you promote the fact that you do indeed have this legal right. Therefore, by stamping an article "copyright" all this is, is a statement of pre-existing fact, a fact about a state of affairs that the author or publisher did nothing to cause.

 * Yes, the federal law has been changed so that the copyrighting occurs automatically. And the use of copyrights marks re-inforces that copyright. However, copyright holders may release their work into the public domain, or under broad licenses, such as GFDL, as we are doing by contributing to this project. So maintaining the copyright is a choice. If you genuinely believe that copyrights cannot be justified, there are easy mechanisms available to you to release your writing out of that unjustified system, mechanisms that have not been used. So, getting back to the point at hand, how can we re-word it for better accuracy? "(NB: Although Kinsella concludes in this paper that "[Intellectual property], at least in the form of patent and copyright, cannot be justified," the paper itself is under copyright.)" That's true, right? Cheers, -Willmcw 20:25, Apr 20, 2005 (UTC)

 * Willow, you are showing yourself to be biased by your continual obsessing over this. Who the hell are you and what the eff is it your business whether I "genuinely" believe anything, and what does it have to do with a wiki entry? You GNU monomaniacs have no principles--are you pro-IP? anti-IP? pro-property? anti-property? all you know is you want info to be free. Yet your entire little GNU project rests on copyright. The GNU dudes don't "uncopyright" their works at all; they retain their copyright and use it to force others to accept certain terms. And you permit, and don't permit, certain uses, just like any other copyright holder.

 * Had my article failed to have the copyright notice, would you still be whining that my work is "copyrighted"? Do I have some moral duty to figure out how to force publishers of my work to adopt my own pet views about IP law? To "re-word" it for accuracy, I suppose you could say, "It is interesting to note that this author opposes copyright yet he lives under a tyrannical state which has laws he did not choose that give him a copyright in his own work, and there is not clear evidence showing he has taken the heroic step needed to release his copyright into the public domain." That would be more accurate, but boring and irrelevant.

 * Posting a copyright notice is like posting a "no trespassing" notice. To assert that private property does not exist, or is unjustified, and then to post a "no trespassing" sign is contradictory. True, the property would still be private without the sign, but posting the sign reinforces the claim of ownership and the implicit determination to prosecute violators. How's this: "It is interesting to note that this author opposes copyright yet does not release his copyright into the public domain." That seems succinct and acurate. -Willmcw 21:25, Apr 20, 2005 (UTC)

title: Talk:Stephan Kinsella/Archive 1


text:
Sullivan's Pond

Sullivan's Pond is an artificial lake and recreation area located in Dartmouth in Halifax Regional Municipality. It formed part of the Shubenacadie Canal.

Shubenacadie Canal
The pond is located 1/2 km northeast of Halifax Harbour at Dartmouth Cove as part of the Shubenacadie Canal system. It is the first water body in the canal system when heading from the harbour to the Bay of Fundy and was constructed as a holding pond for southbound vessels wishing to transit the remaining distance to the harbour. With an elevation several dozen metres (about 50 ft) higher than the harbour to the south, the pond was linked to the ocean by small inclined marine railway which was used to haul boats to and from Dartmouth Cove. A lock lifted boats from the pond into Lake Banook to the north.

After the Shubenacadie Canal was abandoned due to unsustainable competition from the Nova Scotia Railway in the 1860s, Sullivan's Pond fell into disrepair and homes began to surround the pond. The area around Dartmouth Cove south of the pond became industrialized with construction of the Starr Manufacturing ice skate factory and the establishment of a shipyard. Although the pond was uphill and mostly insulated from being polluted by these developments, a general air of neglect surrounded the water body for many decades.

Redevelopment
During the 20th century, the City of Dartmouth, also known by its nickname "The City of Lakes", undertook to restore or clean up the various lakes used in the Shubenacadie Canal system. Today, Sullivan's Pond is part of a park which runs along the southern shores of Lake Banook, providing habitat for water fowl.

Since the 1950s, Dartmouth saw numerous residential developments, including several subdivisions in the area surrounding Lake Banook and Sullivan's Pond. To reestablish public access to the water, the city developed a plan to gradually recover lands adjacent to the lake by purchasing properties as they became available, which resulted in the current park area.

Today, the pond features a small island with a totem pole which was a gift to the city from the province of British Columbia for hosting the 1969 Canada Summer Games. There is also an open-air concert pavilion located near the pond constructed for the city by the Rotary Club of Dartmouth, and the cenotaph is located near the pond. In December 2006, a new fountain became operational. In 2018, city staff planted a cold-hardy palm tree in the park.

title: Sullivan's Pond


text:
Bill Hicke

William Lawrence Hicke (March 31, 1938 – July 18, 2005) was a Canadian professional ice hockey right winger. A native of Regina, Saskatchewan, Hicke played 14 seasons in the National Hockey League (NHL) for the Montreal Canadiens, New York Rangers, Oakland Seals/California Golden Seals and Pittsburgh Penguins, winning the Stanley Cup with Montreal in 1959 and 1960. Hicke's younger brother is Ernie Hicke.

Playing career
Hicke played junior hockey with the Regina Pats in the Saskatchewan Junior Hockey League (SJHL) from 1954 to 1958, Memorial Cup runners-up for three of those years. He joined the Montreal Canadiens from 1958 to 1965, including stints for Montreal's American Hockey League (AHL) affiliate the Rochester Americans during the 1958–59 and 1959-60 seasons, and the Cleveland Barons during 1964-65. Traded to the New York Rangers in 1964, he had stints with the Minnesota Rangers in 1965-66 and the Baltimore Clippers in 1966-67, but remained a Rangers product until being drafted by the Oakland Seals in the 1967 NHL Expansion Draft. Hicke played for the Seals until a 1971 trade to the Pittsburgh Penguins. In November 1971 Hicke was traded to the Detroit Red Wings but never played for the parent club, instead joining their affiliates the Tidewater Wings and Fort Worth Wings from 1971 to 1972. Hicke then played a single season for the World Hockey Association (WHA) Alberta Oilers in 1972-73 before retiring as a player.

Coaching career
From 1993 to 1994, Hicke coached and managed the Regina Pats. In 2005, he was awarded the WHL's Governor Award. Hicke died in his native Regina, Saskatchewan, at the age of 67, after a lengthy battle with cancer.

Awards and achievements

 * 1959 Dudley "Red" Garrett Memorial Award winner (Rochester) (AHL)
 * 1959 John B. Sollenberger Trophy winner (Rochester)
 * 1959 Les Cunningham Award winner (Rochester)
 * 1959 Stanley Cup Championship  (Montreal) (NHL)
 * 1960 Stanley Cup Championship  (Montreal)
 * 1959 NHL All-Star (Montreal)
 * 1960 NHL All-Star (Montreal)
 * 1969 NHL All-Star (Oakland)
 * 1995 Saskatchewan Sports Hall of Fame inductee

title: Bill Hicke


text:
William E. Blackstone

William Eugene Blackstone (October 6, 1841 – November 7, 1935) was an American evangelist and Christian Zionist. He was the author of the Blackstone Memorial (1891), a petition which called upon the United States to actively return the Holy Land to the Jewish people. Blackstone was influenced by Dwight Lyman Moody, James H. Brookes, and John Nelson Darby.

Life and work
Blackstone was born in Adams, New York and became an Evangelical Christian when he was 11 during revival meetings at a local Methodist church. He enlisted for military service during the American Civil War but was not accepted due to "frailness of body". Instead he joined the United States Christian Commission (similar to the modern Red Cross) and was stationed much of the time at General Ulysses S. Grant's headquarters as coordinator of medical services for injured combatants.

On June 5, 1866, Blackstone married Sarah Lee Smith, daughter of Philander Smith, and settled in Oak Park, Illinois in 1870, where he very successfully engaged in the "business of building and property investments". Blackstone, in a single night of personal spiritual struggle, decided to dedicate his life to God. Renouncing material pursuits, he proclaimed for the balance of his long life, in his preaching as well as in his writing, the premillennial return and rapture of the Christian Church. As he ministered across the United States, Blackstone spoke with increasing fervor in support of Jewish restorationism.

He initially focused on the restoration of the Jews to the Holy Land as a prelude to their conversion to Christianity, out of a pious wish to hasten the return of Jesus Christ; but he increasingly became concerned with the Russian government-instigated pogroms in Eastern Europe and believed that it was necessary to create a Jewish homeland in Palestine. He was, furthermore, persuaded that neither the European nations nor the United States would accept as many Jews as needed to escape from Europe.

Blackstone and his daughter traveled to the Holy Land in 1888. He returned convinced that a return of the Jewish people to their historic homeland was the only possible solution to the persecution that the Jews suffered elsewhere. On November 24–25, 1890, Blackstone organized the Conference on the Past, Present, and Future of Israel at the First Methodist Episcopal Church in Chicago, where participants included leaders of both Orthodox Jewish and Protestant Christian communities, albeit not leaders of the Jewish Reform movement.

The conference issued a call urging the great powers, including the Ottoman Empire, to give Palestine to the Zionists. Resolutions of sympathy for the oppressed Jews living in the Russian Empire were passed, but Blackstone was convinced that such resolutions – even though passed by prominent men – were insufficient. He advocated strongly for the voluntary resettlement of the Jewish people, suffering under virulent anti-Semitism, in Palestine.

A year later in 1891, Blackstone led a petition drive that was approved by the conference. It was later known as the Blackstone Memorial, which was signed by 413 prominent Protestant Christian and a few Orthodox Jewish leaders in the United States. Blackstone personally gathered the signatures of men such as John D. Rockefeller, J.P. Morgan, Cyrus McCormick, senators, congressmen, religious leaders of all denominations, newspaper editors, the Chief Justice of the U.S. Supreme Court, and others for the Blackstone Memorial. He presented the Memorial to U.S. President William Henry Harrison in March 1891, calling for the American support of a Jewish state in Palestine, at the time an area controlled by the Ottoman Empire. His petition presaged and paralleled the later ideas of Theodor Herzl, founder of the modern Zionist movement, whose establishment of a Jewish state was outlined in his pamphlet Der Judenstaat (1896).

The Blackstone Memorial read, in part:
 * Why shall not the powers which under the treaty of Berlin, in 1878, gave Bulgaria to the Bulgarians and Servia to the Servians, now give Palestine back to the Jews? […] These provinces, as well as Romania, Montenegro, and Greece, were wrested from the Turks and given to their natural owners. Does not Israel as rightfully belong to the Jews?

Also in 1891, Blackstone stated that, the general "law of dereliction" did not apply to the Jews in regard to Palestine:
 * for they never abandoned the land. They made no treaty; they did not even surrender. They simply succumbed, after the most desperate conflict, to the overwhelming power of the Romans.

Learning of the rise of the modern Zionist movement, led by Theodor Herzl, Blackstone became an outspoken and ardent Christian supporter of Zionism. When Herzlian Zionists considered the offer by the British government of an interim Jewish state in "Uganda" (actually parts of British East Africa), he campaigned against it. He sent to Herzl a personal Bible outlined with the specific biblical prophecies transmitted through the Old Testament referring to the restoration of Jews to the Holy Land. In 1904, Blackstone began preaching that the world has already been evangelized, citing Acts, Mark , and Colossians. As one of the most popular evangelists in the United States, he traveled extensively continuing to spread the gospel until his death 31 years later.

Supreme Court Justice Louis D. Brandeis rediscovered the Blackstone Memorial in 1916 during the period of his raucous, at times anti-Semitic, Congressional appointment hearings. Brandeis, as head of the American Zionist movement, utilizing the intercession of Nathan Straus who first brought Brandeis's attention to the potential significance of the Blackstone Memorial of 1891, sought out and formed an alliance with Blackstone. Nathan Straus wrote to Blackstone on May 16, 1916, on behalf of Brandeis: “Mr. Brandeis is perfectly infatuated with the work that you have done along the lines of Zionism. It would have done your heart good to have heard him assert what a valuable contribution to the cause your document is. In fact he agrees with me that you are the Father of Zionism, as your work antedates Herzl".

Brandeis requested that Blackstone reissue a modern Blackstone Memorial to U.S. President Woodrow Wilson. Brandeis understood the fundamentals of power politics and grassroots American Christian and American political support. Brandeis understood the support that Blackstone would raise for the Memorial would enable President Wilson to accept and endorse American Zionism and the later British Balfour Declaration, which set the course for the establishment of the State of Israel. Though 75 years of age, Reverend Blackstone energetically undertook the strenuous project. Of particular note, Blackstone secured the endorsement of his Memorial to President Wilson from the Presbyterian Church in the United States, since the latter was a religiously observant Presbyterian. The Memorial, though presented to President Wilson only privately, was very effective in garnering his support and in turn reassuring the British of American support for the Balfour Declaration. The Blackstone Memorial of 1916, unlike the Memorial of 1891, was never publicly presented.

Blackstone remained committed to Jewish restorationism and Christian Zionism for the balance of his long life. As a believing Evangelical Christian, he witnessed the seeming fulfillment of biblical prophecy as the Jewish state came back to life after 1,900 years. Blackstone died on November 7, 1935, thirteen years before Israel was founded in 1948. He was buried in a modest grave at the Forest Lawn Cemetery in Glendale, California.

title: William E. Blackstone


text: User talk:70.115.232.60

title: User talk:70.115.232.60


text:
User talk:Aunk

talk:Gary Null
Please be aware that talk pages are for discussing improvements to the article. They are not for adding one's opinion. See wp:talk page guidelines. I removed your edit to talk:Gary Null per wp:NOTFORUM Thank you Jim1138 (talk) 09:26, 3 June 2017 (UTC)

Cultural health moved to draftspace
An article you recently created, Cultural health, does not have enough sources and citations as written to remain published. It needs more citations from reliable, independent sources. (?) Information that can't be referenced should be removed (verifiability is of central importance on Wikipedia). I've moved your draft to draftspace (with a prefix of " " before the article title) where you can incubate the article with minimal disruption. When you feel the article meets Wikipedia's general notability guideline and thus is ready for mainspace, please click on the "Submit your draft for review!" button at the top of the page. TheBirdsShedTears (talk) 07:43, 2 August 2020 (UTC)

Your draft article, Draft:Cultural health

Hello, Aunk. It has been over six months since you last edited the Articles for Creation submission or Draft page you started, "Cultural health".

In accordance with our policy that Wikipedia is not for the indefinite hosting of material deemed unsuitable for the encyclopedia mainspace, the draft has been nominated for deletion. If you plan on working on it further, or editing it to address the issues raised if it was declined, simply and remove the, , or  code.

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Thank you for your submission to Wikipedia! UnitedStatesian (talk) 20:16, 2 February 2021 (UTC)

title: User talk:Aunk


text:
User:MyNameIsNotBob/physicshistory

The journey is the movement from one place to another, whether it is a physical movement, which may be a physical journey where someone walks or drives from one place to another. Not every journey is the same however and it may involve different opportunities, destinations and reasons for undergoing the journeys such as catalysts. The journey may also be an exploration of ones self, feelings and past in what is known as an inner journey.

title: User:MyNameIsNotBob/physicshistory


text:
Tom Bell (actor)

Thomas George Bell (2 August 1933 – 4 October 2006) was an English actor on stage, film and television. He often played "menacing or seedy roles, perhaps most memorably playing sexist Detective Sergeant Bill Otley, antagonist to Helen Mirren's DCI Jane Tennison in Prime Suspect.

Early life
Bell was born on 2 August 1933, in Liverpool, Lancashire. His family was large, and he had little contact with his father, a merchant seaman. Evacuated as a child during the Second World War, he lived with three different families in Morecambe, Lancashire. In 1948, at age 15, Bell began to act in school plays. His younger brother Keith also became an actor.

On leaving school he trained under Esme Church at the Bradford Civic Theatre; fellow pupils included Billie Whitelaw and Robert Stephens. He later worked in repertory in Liverpool and Dublin.

Career
Michael Coveney described Bell as a "naturally gifted and unusually reserved leading actor", with a "quiet, mesmeric brand of acting". On television he had the role of Albert Stokes in Harold Pinter's first success in the medium, A Night Out (1960), while in the same year his first film appearance came in Joseph Losey's The Criminal. He continued to appear in the British New Wave films of the early 60s including The Kitchen (1961) and The L-Shaped Room (1962) with Leslie Caron. At an awards ceremony for the latter, he drunkenly interrupted a speech by Prince Philip, yelling "Tell us a funny story", to the obvious embarrassment of table companions Richard Attenborough and Bryan Forbes. While the Duke of Edinburgh apparently took the heckle in good humour, retorting "If you want a funny story, I suggest you engage a professional comic", the incident added to Bell's reputation as a hellraiser, and "did little to further [his] career". His other notable films of the decade included H.M.S. Defiant (1962), A Prize of Arms (1962), Ballad in Blue (1965), He Who Rides a Tiger (1965), and The Long Day's Dying (1968), followed by All the Right Noises in 1971.

In 1978, Bell received a BAFTA nomination for his portrayal of convicted armed robber Frank Ross in the crime-drama Out. Produced by Thames TV, this critically-acclaimed six-part 'mini-series' drew an audience of 10 million viewers per episode. That same year he portrayed Adolf Eichmann in the Emmy-winning tv-series Holocaust.

Declared bankrupt in 1982 for Inland Revenue debts of over £20,000, Bell bounced back with a later career renaissance, appearing in several British films including Wish You Were Here, Peter Greenaway's Prospero's Books, Swing and the 1990 film The Krays, where he played the part of Jack "The Hat" McVitie, one of the Kray twins' murder victims. In 1991, he played the dour owner of a run-down seaside waxworks museum in the Thames TV sitcom Hope It Rains, written by John Esmonde and Bob Larbey and directed by John Howard Davies. It ran for two series comprising thirteen episodes.

Although he tended to eschew live performance, Bell's few stage appearances included a role in the 1979 UK première of Bent, Martin Sherman's play about homosexuality, staged at the Royal Court Theatre. He played the character Horst, opposite Ian McKellen's Max. The play's examination of homosexual love, set in a Nazi death camp, was shocking for many theatregoers at the time and uncovered a previously little-examined area of Nazi brutality.

In the ITV series Prime Suspect, Bell played Detective Sergeant Bill Otley opposite Helen Mirren in the first (1991), third (1993) and final series (2006), the latter being one of his last on-screen appearances. His gripping portrayal of the toxic character secured Bell's second BAFTA nomination, in 1993.

Personal life
Bell was married to the actress Lois Daine from 1960 to 1976. They had one son, Aran, who is also an actor.

His partner from 1976 until his death was the costume designer Frances Tempest, with whom he had a step-daughter, Nellie, and a daughter, Polly.

Death
Bell had enjoyed working with TV director Danny Hiller, and agreed to appear in his first feature film Love Me Still at the suggestion of their mutual friend, showbiz accountant Jose Goumal. While clearly ill, Bell soldiered on and completed filming only a few days before the end of his life. He died in hospital in Brighton on 4 October 2006, aged 73, following a short illness. A few days later, "the poignantly timed broadcast of Prime Suspect - The Final Act" aired, "in which a visibly frail Otley died on screen".

Film

 * The Criminal (1960) – Flynn
 * Payroll (1961) – Blackie
 * The Kitchen (1961) – Paul
 * Echo of Barbara (1961) – Ben
 * H.M.S. Defiant (1962) – Evans
 * A Prize of Arms (1962) – Fenner
 * The L-Shaped Room (1962) – Toby
 * Sands of Beersheba (1964) – Dan
 * Ballad in Blue (1965) – Steve Collins
 * He Who Rides a Tiger (1965) – Peter Rayston
 * The Violent Enemy (1968) – Sean Rogan
 * The Long Day's Dying (1968) – Tom Cooper
 * In Enemy Country (1968) – Ian
 * Lock Up Your Daughters! (1969) – Shaftoe
 * All the Right Noises (1971) – Len Lewin
 * Quest for Love (1971) – Colin Trafford
 * The Spy's Wife (1972) – Tom Tyler
 * Straight on Till Morning (1972) – Jimmy Lindsay
 * Royal Flash (1975) – De Gautet
 * The Sailor's Return (1978) – William Targett
 * Summer Lightning (1984) – Mr Clark
 * The Innocent (1985) – Frank Dobson
 * The Magic Toyshop (1987) – Uncle Philip
 * Wish You Were Here (1987) – Eric
 * Resurrected (1989) – Mr. Deakin
 * The Krays (1990) – Jack 'The Hat' McVitie
 * Prospero's Books (1991) – Antonio
 * Let Him Have It (1991) – Fairfax
 * Angels (1992) – Michael
 * Sensatsiya (1993) – American Scientist
 * Seconds Out (1993) – Jack
 * Feast of July (1995) – Ben Wainwright
 * Preaching to the Perverted (1997) – Henry Harding MP
 * Swept from the Sea (1997) – Isaac Foster
 * The Boxer (1997) – Joe MaGuire's father (uncredited)
 * Swing (1999) – Sid Luxford
 * Tube Tales (1999) – Old Gent (segment "Horny")
 * The Last Minute (2001) – Grimshanks
 * Lava (2001) – Eric
 * My Kingdom (2001) – Quick
 * Long Time Dead (2002) – Becker
 * Oh Marbella! (2003) – Ronnie, Ackerman
 * Devil's Gate (2003) – Jake
 * Dead Man's Cards (2005) – Billy The Cowboy
 * Friends and Enemies (2006)
 * Love Me Still (2008) – Lenny Ronson

Television (selected)

 * 1958: Armchair Theatre: "No Trams to Lime Street"
 * 1960: Armchair Theatre: A Night Out
 * 1967: The Virginian Series 6 Episode 5 – Cpl. Johnny Moon
 * 1970: Play for Today: Angels Are So Few
 * 1972: Hedda Gabler (Play of the Month, BBC) – Eilert Lovborg
 * 1974: The Protectors – Shadbolt
 * 1978
 * Holocaust (US mini-series) – Adolf Eichmann
 * Out (UK series) – Frank Ross
 * 1981: Sons and Lovers – Walter Morel
 * 1983: Reilly, Ace of Spies – Felix Dzerzhinsky
 * 1988: The Rainbow - Old Tom Brangwen
 * 1990: Chancer – Mr. Love, Derek's father
 * 1991: Prime Suspect (series 1) – D.S. Bill Otley
 * 1991–92: Hope It Rains (UK sitcom series) – Harry Nash
 * 1993:
 * Prime Suspect (series 3) – D.S. Bill Otley
 * The Young Indiana Jones Chronicles: "Young Indiana Jones and the Phantom Train of Doom" – Paul Emil von Lettow-Vorbeck
 * 1999 Dalziel and Pascoe ("Recalled to Life")
 * 2006
 * Ancient Rome: The Rise and Fall of an Empire: "Revolution" – Publius Cornelius Scipio Nasica Serapio
 * Blue Murder – Vinny McAteer (broadcast 3 November 2006 on ITV)
 * Prime Suspect: The Final Act (series 7) – D.S. Bill Otley

title: Tom Bell (actor)


text: User talk:70.21.67.40

title: User talk:70.21.67.40


text:
Treasurer, Insurance Commissioner, and Fire Marshal of Florida

The Treasurer/Insurance Commissioner/Fire Marshal (commonly referred to as State Treasurer) is a former statewide constitutional officer of Florida. The office was abolished following the Florida Cabinet reforms of 1998 which took effect in 2003.

A statewide office, with a seat in the Cabinet, the official handled the duties of the State Treasurer, Commissioner of Insurance, and Fire Marshal. These duties included payroll, pensions, tax collection, state finances, insurance regulation, and the investigation of fires. The most visible responsibility of the officeholder was as Insurance Commissioner.

Following the Cabinet reform, the office was merged with that of the state Comptroller to create the new office of Chief Financial Officer of Florida, which oversees the Florida Department of Financial Services. The new department contains many of the functions of the previous offices, but has less direct control over insurance regulation than the previous office did. This was done to lessen the control of one person over financial services regulation in the state.

Tom Gallagher was the last Treasurer/Insurance Commissioner/Fire Marshal and the first CFO. Other persons who held the office included U.S. Senator Bill Nelson and William D. Gunter, Jr.

Officeholders
Territorial Era (1821–1845)

 * Charles H Austin, Sr. - 1833–1835 (died 1837)
 * Thomas Hall Austin - ? 1838–1840 - ?
 * Henry Livingston Rutgers - 4-Feb-1843–Statehood (see Senate Journal of 4-Feb-1843)


text:
Es ist das Heil uns kommen her, BWV 9

Johann Sebastian Bach composed the church cantata Es ist das Heil uns kommen her (It is our salvation come here to us), BWV9 in Leipzig for the sixth Sunday after Trinity and first performed it on 1 August 1734. It is a chorale cantata, based on the hymn "Es ist das Heil uns kommen her" by Paul Speratus. Bach composed the cantata to fill a gap in his chorale cantata cycle written for performances in Leipzig from 1724.

The cantata is structured in seven movements, framed as the earlier chorale cantatas by a chorale fantasia and a chorale four-part setting, of the first and the twelfth stanza in the original words by the reformer Speratus, published in the First Lutheran hymnal. The theme is salvation from sin by God's grace alone. An anonymous librettist paraphrased the content of ten inner stanzas to alternating recitatives and arias. Bach scored the cantata for a chamber ensemble of four vocal parts, flauto traverso, oboe d'amore, strings and continuo. He gave all three recitatives to the bass, like a sermon interrupted in reflection by a tenor aria with solo violin and a duet of soprano and alto with the wind instruments.

History and words
Bach composed the cantata for the Sixth Sunday after Trinity in 1734. It filled a gap in his second annual cycle of chorale cantatas written for performance in Leipzig. In 1724, when he composed the cycle, he had an engagement in Köthen that Sunday, and therefore left the text for later completion. The cantata is based on a hymn "Es ist das Heil uns kommen her" by Paul Speratus, which was published in 1524 in the Achtliederbuch, the first Lutheran hymnal. The theme of the chorale is the Lutheran creed of salvation from sin by God's grace alone (justification by faith), summarized in the first stanza: "Deeds can never help, ... faith beholds Jesus Christ, ... He has become the Intercessor".

The prescribed readings for the Sunday are from the Epistle to the Romans, "By Christ's death we are dead for sin", and from the Gospel of Matthew a passage from the Sermon on the Mount about better justice than the justice of merely observing laws and rules. The hymn in 14 stanzas matches the topic of the gospel. An unknown poet transformed the first 12 stanzas of the chorale to seven cantata movements. Dropping the last two stanzas, the librettist retains the first stanza as the first movement, and the 12th as the last movement. He rephrased stanzas 2–4 to a recitative (2), stanzas 5–7 to a recitative (4), stanzas 9–11 to a third recitative (6). Ideas from stanza 8 were made an aria (5), and movement 3 is not derived directly from the chorale, but intensifies the conclusion of the first recitative. The three recitatives can be considered a sermon, according to Julian Mincham, who comments: "All three speak of God's Laws; their bestowal, their fulfillment (or lack of it) and our attitudes towards them", and who summarizes: "The three recitatives were clearly planned as a cognate group and encapsulate the fundamental Lutheran creed. The two intervening arias, and finally the chorale, reflect upon and extend their statements." The Bach scholar Christoph Wolff assumes that the text was already written for Bach's 1724 cycle of chorale cantatas by the same librettist.

Bach had used selected stanzas of the hymn before, in 1716 stanza 12 to conclude Mein Gott, wie lang, ach lange? BWV 155, in 1723 both stanza 12 and 11 to conclude the two parts of Ärgre dich, o Seele, nicht, BWV 186, and in 1724 stanza 11 to conclude Wahrlich, wahrlich, ich sage euch, BWV 86.

Structure and scoring
Bach structured the cantata in seven movements, framing by a chorale fantasia and a closing chorale a sequence of alternating recitatives and arias. He scored it for a chamber music ensemble of four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir SATB, flauto traverso (Ft), oboe d'amore (Oa), two violins (Vl), one of them solo (Vs), viola (Va), and basso continuo (Bc). The autograph title page reads: "Dominica 6. post Trinitatis / Es ist das Heil uns kommen her / a / 4 Voci / 1 Traversa / 1 Hautb: d'Amour / 2 Violini / Viola / e / Continuo / di / Joh:Sebast:Bach".

In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown.

1
The opening chorus, "Es ist das Heil uns kommen her" (It is our salvation come here to us), is a chorale fantasia, the vocal part embedded in a concerto of the instruments. The cantus firmus of the chorale melody is in the soprano in unadorned long notes, while the lower voices engage in imitation. The scoring with the obbligato instruments flute and oboe d'amore in contrast to the strings is unusual; sometimes the first violin also takes part in the concerto.

2
"Gott gab uns ein Gesetz" (God gave us the Law), is the first of three recitatives which are sung by the bass as the vox Christi (voice of Christ), almost like one sermon, which is only deepened by the two arias in between. The recitatives are secco with the exception of the final line of movement 4, "... und fest um Jesu Arme schlingt" (... embrace the arms of Jesus), which is rendered arioso, in "an enlightening major key, a tender vocal phrase and the late semi-quaver continuo line".

3
The tenor aria depicts the "sinking" of "Wir waren schon zu tief gesunken" (We were already too deeply sunk) in downward motifs and an irregular rhythm of syncopes, observed by Dürr as an image of "a giddy descent into the abyss of sin".

4
The bass continues the "sermon", "Doch mußte das Gesetz erfüllet werden" (Yet the Law must be fulfilled).

5
The duet "Herr, du siehst statt guter Werke" (Lord, you see, instead of good works) is set for five parts of equal weight, the soprano and alto voices, flute, oboe d'amore and continuo, in intricate canonic counterpoint in da capo form.

6
The bass concludes the "sermon", "Wenn wir die Sünd aus dem Gesetz erkennen" (When we recognize our sin against the Law).

7
The closing chorale, "Ob sichs anließ, als wollt er nicht" (Although it appears that He does not will it), is set for four parts. While Bach's closing chorales are often in simple homophony, the lower voices are set here in unusual polyphony.

Recordings
The listing is taken from the selection on the Bach Cantatas Website. Recordings have traditionally been made by large symphonic groups, but increasingly in historically informed performances (HIP) by boys' choirs, chorales (Kantorei, choir dedicated to mostly church music), chamber choirs or groups with one voice per part (OVPP), and matching instrumental ensembles playing on Baroque period instruments. HIP and OVPPensembles are marked by green background.

title: Es ist das Heil uns kommen her, BWV 9


text:
Category:Valley of the Queens

Articles relating to the Valley of the Queens, a site in Egypt, where the wives of pharaohs were buried in ancient times.

title: Category:Valley of the Queens


text:
Battle of Ceresole

The Battle of Ceresole (also Cérisoles) took place on 14 April 1544, during the Italian War of 1542–1546, outside the village of Ceresole d'Alba in the Piedmont region of Italy. A French army, commanded by François de Bourbon, Count of Enghien, defeated the combined forces of the Holy Roman Empire and Spain, commanded by Alfonso d'Avalos d'Aquino, Marquis del Vasto. Despite having inflicted substantial casualties on the Imperial troops, the French subsequently failed to exploit their victory by taking Milan.

Enghien and d'Avalos had arranged their armies along two parallel ridges; because of the topography of the battlefield, many of the individual actions of the battle were uncoordinated. The battle opened with several hours of skirmishing between opposing bands of arquebusiers and an ineffectual artillery exchange, after which d'Avalos ordered a general advance. In the center, Imperial landsknechts clashed with French and Swiss infantry, with both sides suffering terrific casualties. In the southern part of the battlefield, Italian infantry in Imperial service were harried by French cavalry attacks and withdrew after learning that the Imperial troops of the center had been defeated. In the north, meanwhile, the French infantry line crumbled, and Enghien led a series of ineffectual and costly cavalry charges against Spanish and German infantry before the latter were forced to surrender by the arrival of the victorious Swiss and French infantry from the center.

Ceresole was one of the few pitched battles during the latter half of the Italian Wars. Known among military historians chiefly for the "great slaughter" that occurred when columns of intermingled arquebusiers and pikemen met in the center, it also demonstrates the continuing role of traditional heavy cavalry on a battlefield largely dominated by the emerging pike and shot infantry.

Prelude
The opening of the war in northern Italy had been marked by the fall of Nice to a combined Franco-Ottoman fleet in August 1543; meanwhile, Imperial-Spanish forces had advanced from Lombardy towards Turin, which had been left in French hands at the end of the previous war in 1538. By the winter of 1543–1544, a stalemate had developed in the Piedmont between the French, under the Sieur de Boutières, and the Imperial army, under d'Avalos. The French position, centered on Turin, reached outward to a series of fortified towns: Pinerolo, Carmagnola, Savigliano, Susa, Moncalieri, Villanova, Chivasso, and a number of others; d'Avalos, meanwhile, controlled a group of fortresses on the periphery of the French territory: Mondovì, Asti, Casale Monferrato, Vercelli, and Ivrea. The two armies occupied themselves primarily with attacking each other's outlying strongholds. Boutières seized San Germano Vercellese, near Vercelli, and laid siege to Ivrea; d'Avalos, meanwhile, captured Carignano, only fifteen miles south of Turin, and proceeded to garrison and fortify it.

As the two armies returned to winter quarters, Francis I of France replaced Boutières with François de Bourbon, Count of Enghien, a prince with no experience commanding an army. Francis also sent additional troops to the Piedmont, including several hundred heavy cavalry, some companies of French infantry from Dauphiné and Languedoc, and a force of quasi-Swiss from Gruyères. In January 1544, Enghien laid siege to Carignano, which was defended by Imperial troops under the command of Pirro Colonna. The French were of the opinion that d'Avalos would be forced to attempt a relief of the besieged city, at which point he could be forced into a battle; but as such pitched battles were viewed as very risky undertakings, Enghien sent Blaise de Lasseran-Massencôme, seigneur de Montluc, to Paris to ask Francis for permission to fight one. Montluc apparently convinced Francis to give his assent—contingent on the agreement of Enghien's captains—over the objections of the Comte de St. Pol, who complained that a defeat would leave France exposed to an invasion by d'Avalos's troops at a time when Charles V and Henry VIII of England were expected to attack Picardy. Montluc, returning to Italy, brought with him nearly a hundred volunteers from among the young noblemen of the court, including Gaspard de Coligny.

D'Avalos, having waited for the arrival of a large body of landsknechts dispatched by Holy Roman Emperor Charles V, set off from Asti towards Carignano. His total force included 12,500–18,000 infantry, of which perhaps 4,000 were arquebusiers or musketeers; he was only able to gather about 800–1,000 cavalry, of which less than 200 were gendarmes. D'Avalos recognized the relative weakness of his cavalry, but considered it to be compensated by the experience of his infantry and the large number of arquebusiers in its ranks.

Enghien, having learned of the Imperial advance, left a blocking force at Carignano and assembled the remainder of his army at Carmagnola, blocking d'Avalos's route to the besieged city. The French cavalry, shadowing d'Avalos's movements, discovered that the Imperial forces were headed directly for the French position; on 10 April, d'Avalos occupied the village of Ceresole d'Alba, about five miles (8 km) southeast of the French. Enghien's officers urged him to attack immediately, but he was determined to fight on ground of his own choosing; on the morning of 14 April, the French marched from Carmagnola to a position some three miles (5 km) to the southeast and awaited d'Avalos's arrival. Enghien and Montluc felt that the open ground would give the French cavalry a significant tactical advantage. By this point, the French army consisted of around 11,000–13,000 infantry, 600 light cavalry, and 900–1,250 heavy cavalry; Enghien and d'Avalos each had about twenty pieces of artillery. The battle came at a fortunate time for Enghien, as his Swiss troops were—as they had before the Battle of Bicocca—threatening to march home if they were not paid; the news of the impending battle restored some calm to their ranks.

Dispositions

Enghien's troops were positioned along the crest of a ridge that was higher in the center than on either side, preventing the wings of the French army from seeing each other. The French army was divided into the traditional "battle", "vanward", and "rearward" corps, corresponding to the center and right and left wings of the French line. On the far right of the French position was a body of light cavalry, consisting of three companies under Des Thermes, Bernadino, and Mauré, with a total strength of around 450–500 men. To their left was the French infantry under De Tais, numbering around 4,000, and, farther to the left, a squadron of 80 gendarmes under Boutières, who was nominally the commander of the entire French right wing. The center of the French line was formed by thirteen companies of veteran Swiss, numbering about 4,000, under the joint command of William Frülich of Soleure and a captain named St. Julian. To their left was Enghien himself with three companies of heavy cavalry, a company of light horse, and the volunteers from Paris—in total, around 450 troopers. The left wing was composed of two columns of infantry, consisting of 3,000 of the recruits from Gruyères and 2,000 Italians, all under the command of Sieur Descroz. On the extreme left of the line were about 400 mounted archers deployed as light cavalry; they were commanded by Dampierre, who was also given command of the entire French left wing.

The Imperial line formed up on a similar ridge facing the French position. On the far left, facing Des Thermes, were 300 Florentine light cavalry under Rodolfo Baglioni; flanking them to the right were 6,000 Italian infantry under Ferrante Sanseverino, Prince of Salerno. In the center were the 7,000 landsknechte under the command of Eriprando Madruzzo. To their right was d'Avalos himself, together with the small force of about 200 heavy cavalry under Carlo Gonzaga. The Imperial right wing was composed of around 5,000 German and Spanish infantry under Ramón de Cardona; they were flanked, on the far right, by 300 Italian light cavalry under Philip de Lannoy, Prince of Sulmona.

Initial moves
As d'Avalos's troops, marching from Ceresole, began to arrive on the battlefield, both armies attempted to conceal their numbers and position from the other; Enghien had ordered the Swiss to lie on the ground behind the crest of the ridge, while only the left wing of the Imperial army was initially visible to the French. D'Avalos sent out parties of arquebusiers in an attempt to locate the French flanks; Enghien, in turn, detached about 800 arquebusiers under Montluc to delay the Imperial advance. The skirmishing between the arquebusiers continued for almost four hours; Martin Du Bellay, observing the engagement, described it as "a pretty sight for anyone who was in a safe place and unemployed, for they played off on each other all the ruses and stratagems of petty war." As the extent of each army's position was revealed, Enghien and d'Avalos both brought up their artillery. The ensuing cannonade continued for several hours, but had little effect because of the distance and the considerable cover available to the troops on both sides.

The skirmishing finally came to an end when it seemed that Imperial cavalry would attack the French arquebusiers in the flank; Montluc then requested assistance from Des Thermes, who advanced with his entire force of light cavalry. D'Avalos, observing the French movement, ordered a general advance along the entire Imperial line. At the southern end of the battlefield, the French light cavalry drove Baglioni's Florentines back into Sanseverino's advancing infantry, and then proceeded to charge directly into the infantry column. The Italian formation held, and Des Thermes himself was wounded and captured; but by the time Sanseverino had dealt with the resulting disorder and was ready to advance again, the fight in the center had already been decided.

"A wholesale slaughter"
The French infantry—mostly Gascons—had meanwhile started down the slope towards Sanseverino. Montluc, noting that the disorder of the Italians had forced them to a standstill, suggested that De Tais attack Madruzzo's advancing column of landsknechte instead; this advice was accepted, and the French formation turned left in an attempt to strike the landsknechte in the flank. Madruzzo responded by splitting his column into two separate portions, one of which moved to intercept the French while the other continued up the slope towards the Swiss waiting at the crest.

The pike and shot infantry had by this time adopted a system in which arquebusiers and pikemen were intermingled in combined units; both the French and the Imperial infantry contained men with firearms interspersed in the larger columns of pikemen. This combination of pikes and small arms made close-quarters fighting extremely bloody. The mixed infantry was normally placed in separate clusters, with the arquebusiers on the flanks of a central column of pikemen; at Ceresole, however, the French infantry had been arranged with the first rank of pikemen followed immediately by a rank of arquebusiers, who were ordered to hold their fire until the two columns met. Montluc, who claimed to have devised the scheme, wrote that: "In this way we should kill all their captains in the front rank. But we found that they were as ingenious as ourselves, for behind their first line of pikes they had put pistoleers. Neither side fired till we were touching—and then there was a wholesale slaughter: every shot told: the whole front rank on each side went down."

The Swiss, seeing the French engage one of the two columns of landsknechte, finally descended to meet the other, which had been slowly moving up the hillside. Both masses of infantry remained locked in a push of pike until the squadron of heavy cavalry under Boutières charged into the landsknechts' flank, shattering their formation and driving them down the slope. The Imperial heavy cavalry, which had been on the landsknechts' right, and which had been ordered by d'Avalos to attack the Swiss, recoiled from the pikes and fled to the rear, leaving Carlo Gonzaga to be taken prisoner.

The Swiss and Gascon infantry proceeded to slaughter the remaining landsknechte—whose tight order precluded a rapid retreat—as they attempted to withdraw from the battlefield. The road to Ceresole was littered with corpses; the Swiss, in particular, showed no mercy, as they wished to avenge the mistreatment of the Swiss garrison of Mondovì the previous November. Most of the landsknechts' officers were killed; and while contemporary accounts probably exaggerate the numbers of the dead, it is clear that the German infantry had ceased to exist as a fighting force. Seeing this, Sanseverino decided that the battle was lost and marched away to Asti with the bulk of the Italian infantry and the remnants of Baglioni's Florentine cavalry; the French light cavalry, meanwhile, joined in the pursuit of the landsknechts.

Engagements in the north
On the northern end of the battlefield, events had unfolded quite differently. Dampierre's cavalry routed Lannoy's company of light horse; the Italians and the contingent from Gruyères, meanwhile, broke and fled—leaving their officers to be killed—without offering any real resistance to the advancing Imperial infantry. As Cardona's infantry moved past the original French line, Enghien descended on it with the entire body of heavy cavalry under his command; the subsequent engagement took place on the reverse slope of the ridge, out of sight of the rest of the battlefield.

On the first charge, Enghien's cavalry penetrated a corner of the Imperial formation, pushing through to the rear and losing some of the volunteers from Paris. As Cardona's ranks closed again, the French cavalry turned and made a second charge under heavy arquebus fire; this was far more costly, and again failed to break the Imperial column. Enghien, now joined by Dampierre's light cavalry, made a third charge, which again failed to achieve a decisive result; fewer than a hundred of the French gendarmes remained afterwards. Enghien believed the battle to be lost—according to Montluc, he intended to stab himself, "which ancient Romans might do, but not good Christians"—when St. Julian, the Swiss commander, arrived from the center of the battlefield and reported that the Imperial forces there had been routed.

The news of the landsknechts' defeat reached Cardona's troops at about the same time that it had reached Enghien; the Imperial column turned and retreated back towards its original position. Enghien followed closely with the remainder of his cavalry; he was soon reinforced by a company of Italian mounted arquebusiers, which had been stationed at Racconigi and had started towards the battlefield after hearing the initial artillery exchange. These arquebusiers, dismounting to fire and then remounting, were able to harass the Imperial column sufficiently to slow its retreat. Meanwhile, the French and Swiss infantry of the center, having reached Ceresole, had turned about and returned to the battlefield; Montluc, who was with them, writes: "When we heard at Ceresole that M. d'Enghien wanted us, both the Swiss and we Gascons turned toward him—I never saw two battalions form up so quick—we got into rank again actually as we ran along, side by side. The enemy was going off at quick march, firing salvos of arquebuses, and keeping off our horse, when we saw them. And when they descried us only 400 paces away, and our cavalry making ready to charge, they threw down their pikes and surrendered to the horsemen. You might see fifteen or twenty of them round a man-at-arms, pressing about him and asking for quarter, for fear of us of the infantry, who were wanting to cut all their throats." Perhaps as many as half of the Imperial infantry were killed as they were attempting to surrender; the remainder, about 3,150 men, were taken prisoner. A few, including the Baron of Seisneck, who had commanded the German infantry contingents, managed to escape.

Aftermath
The casualties of the battle were unusually high, even by the standards of the time, and are estimated at 28 percent of the total number of troops engaged. The smallest numbers given for the Imperial dead in contemporary accounts are between 5,000 and 6,000, although some French sources give figures as high as 12,000. A large number of officers were killed, particularly among the landsknechts; many of those who survived were taken prisoner, including Ramón de Cardona, Carlo Gonzaga, and Eriprando Madruzzo. The French casualties were smaller, but numbered at least 1,500 to 2,000 killed. These included many of the officers of the Gascon and Gruyères infantry contingents, as well as a large portion of the gendarmerie that had followed Enghien. The only French prisoner of note was Des Thermes, who had been carried along with Sanseverino's retreating Italians.

Despite the collapse of the Imperial army, the battle proved to be of little strategic significance. At the insistence of Francis I, the French army resumed the siege of Carignano, where Colonna held out for several weeks. Soon after the city's surrender, Enghien was forced to send twenty-three companies of Italian and Gascon infantry—and nearly half his heavy cavalry—to Picardy, which had been invaded by Charles V. Left without a real army, Enghien was unable to capture Milan. D'Avalos, meanwhile, routed a fresh force of Italian infantry under Pietro Strozzi and the Count of Pitigliano at the Battle of Serravalle. The end of the war saw a return to the status quo in northern Italy.

Historiography
A number of detailed contemporary accounts of the battle have survived. Among the French chronicles are the narratives of Martin Du Bellay and Blaise de Montluc, both of whom were present at the scene. The Sieur de Tavannes, who accompanied Enghien, also makes some mention of the events in his memoirs. The most extensive account from the Imperial side is that of Paolo Giovio. Despite a number of inconsistencies with other accounts, it provides, according to historian Charles Oman, "valuable notes on points neglected by all the French narrators".

The interest of modern military historians in the battle has centered primarily on the role of small arms and the resulting carnage among the infantry in the center. The arrangement of pikemen and arquebusiers used was regarded as too costly, and was not tried again; in subsequent battles, arquebuses were used primarily for skirmishing and from the flanks of larger formations of pikemen. Ceresole is also of interest as a demonstration of the continuing role of traditional heavy cavalry on the battlefield. Despite the failure of Enghien's charges—the French, according to Bert Hall, held to their belief in "the effectiveness of unaided heavy cavalry to break disciplined formations"—a small body of gendarmes had been sufficient, in the center, to rout infantry columns that were already engaged with other infantry. Beyond this tactical utility, another reason for cavalry's continued importance is evident from the final episode of the battle: the French gendarmes were the only troops who could reasonably be expected to accept an opponent's surrender, as the Swiss and French infantry had no inclination towards taking prisoners. The cavalry was, according to Hall, "almost intuitively expected to heed these entreaties without question".

title: Battle of Ceresole


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Felix of Nola

Felix of Nola (died c. 260) was a Christian presbyter at Nola near Naples in Italy. He sold off his possessions to give to the poor, but was arrested and tortured for his Christian faith during the persecution of Roman Emperor Decius ((r. 249 – 251)). He was believed to have died a martyr's death during the persecution of Decius or Valerian (c. 253) but is now listed in the General Roman Calendar as a Confessor of the Faith who survived his tortures.

Life
Felix was the elder son of Hermias, a Syrian centurion who had retired to Nola, Italy. After his father's death, Felix sold off most of his property and possessions, gave the proceeds to the poor, and pursued a clerical vocation. Felix was ordained by and worked with Saint Maximus of Nola.

When bishop Maximus fled to the mountains to escape the persecution of the Roman emperor Decius, Felix was arrested and beaten for his faith instead. He escaped prison, according to legend, being freed by an angel so that he could help bishop Maximus. Felix found Maximus alone, ill, and helpless and hid him from soldiers in a vacant building. When the two were safely inside, a spider quickly spun a web over the door, fooling the imperial forces into thinking it was long abandoned, and they left without finding the Christians. A subsequent attempt to arrest Felix followed, which he avoided by hiding in a ruined building where again spider web was spun across the entrance, convinced the soldiers the building was abandoned. The two managed to hide from authorities until the persecution ended with the death of Emperor Decius in 251.

After Maximus's death, the people wanted Felix to be the next bishop of Nola, but he declined, favouring Quintus, a "senior" priest who had seven days more experience than Felix. Felix himself continued as a priest. He also continued to farm his remaining land and gave most of the proceeds to people even poorer than himself.

Legend assigns to Felix a martyr's death either in the year 255 under Emperor Valerian (253–260) or, in another version, in the general persecution instigated by the Emperor Decius (249-251). According to Butler, Felix died in a good old age on the fourteenth of January.

Much of the little information about Felix comes from the letters and poetry of Paulinus of Nola. When peace was finally obtained, he returned home and, in poverty, lived a withdrawn life until old age, an unconquered confessor of the faith.

Five churches have been built at (or near) the place where he was first interred, which was without the precincts of the city of Nola. His precious remains are kept in the cathedral; but certain portions are at Rome, Benevento, and some other places. In time a new church in Nola was dedicated in the name of St Felix. People travelled from far away to see his burial place. His relics lie in Nola Cathedral. He is the patron saint of lost animals and spiders.

title: Felix of Nola


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Annapolis Brass Quintet

The Annapolis Brass Quintet (ABQ) was a brass quintet founded by trumpet player David Cran and trombone player Robert Posten in 1971 as America's only full-time performing brass ensemble. During the course of its 22-year career, it played concerts in all fifty states and throughout Europe, the Orient, the Middle East, Central America and Canada.

Members
The original members of the quintet were trumpeters Cran and Haldon "Butch" Johnson, trombonists Posten and John Driver, and horn player Rick Rightnour. Through 1993, 14 different musicians played as regular members, including future social scientist Arthur C. Brooks. At that time, the quintet disbanded, and played again only for a single concert in December 2000 in Annapolis, Maryland to honor the late jazz guitar legend Charlie Byrd. The final roster in 1993 and at the reunion concert were Cran, Posten, trumpeter Robert Suggs, trombonist Wayne Wells, and horn player Sharon Tiebert, the only female member in the Quintet's history.

Notable performances
The Quintet is notable for its 1979 founding of the International Brass Quintet Festival in Baltimore, Maryland, which became recognized as a major forum for brass chamber music. A major highlight of the 1989 festival was the combined appearance of both the East Berlin and West Berlin Brass Quintets with the ABQ two months before the Berlin Wall toppled, a historic collaboration both musically and politically. The festival presented over 200 free public concerts and conducted workshops and seminars for students and professional brass players.

In 1985, the ABQ first performed with the Charlie Byrd Trio as Byrd and Brass. This unique and critically acclaimed blending of Latin, jazz and classical styles, with one of the world's premier jazz guitarists and his trio, led to a long collaboration including over 50 concerts throughout the United States, Christmas concerts in Annapolis, and two recordings, Byrd and Brass and Christmas with Byrd and Brass.

The Quintet made a strong commitment to expanding the repertoire for the medium and has a list of over seventy-five world premieres to its credit. Among the composers who have written works for the ensemble are Douglas Allanbrook, Michael Brown, Bruce Clausen, George Heussenstamm, Warren Kellerhouse, Jiri Laburda, Robert Hall Lewis, Allen Molineux, Lawrence Moss, Jiri Pauer, Karl Pilss, Walter Ross, Jerzy Sapieyevski, Elam Sprenkle, Robert Starer, George Walker and Robert Washburn. Of special interest are four compositions for quintet and orchestra composed for the ABQ and performed with the Baltimore Symphony, the Bavarian Radio Orchestra, the Stuttgart Philharmonic, the Wichita Symphony and the Dublin Radio Orchestra.

Awards and recognition
United States Senator Barbara Mikulski congratulated the Annapolis Brass Quintet for the national record on the floor of the United States Senate on April 27, 1993, on the occasion of their final concert on April 25, and in recognition of the "contributions that the Annapolis Brass Quintet has made to brass chamber music. During its 22-year history, it has entertained people around the world and has positively influenced the development of its genre. Its members have achieved a truly high standard of artistic excellence and, together, represent what is best in American music."

Discography

 * Annapolis Brass Quintet (Crystal S-202)
 * Quintessence (Crystal S-206)
 * Annapolis Sounds (Richardson RRS-3)
 * Encounter (Crystal S-207)
 * The Spirit of Christmas Brassed (Richardson RRS-5)
 * Music of Lawrence Moss: Symphonies (Orion ORS 79362)
 * Invitation to the Sideshow (Crystal S-213)
 * Music of Lawrence Moss: Flight (AmCam Recordings ACR 10301)
 * The Age of Masques and Revels (Antigua DG91.5)
 * Synthesis (Crystal S-219)
 * New Music for Brass Quintet (Crystal S-235)
 * Byrd and Brass (Concord Jazz, Inc.)
 * Brass and Pipes (CRS)
 * Christmas with Byrd and Brass (Antigua DG91.6)
 * Reflections in Brass (Antigua 92)

title: Annapolis Brass Quintet


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User:WearyDeary

Setting the record straight.

title: User:WearyDeary


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User talk:WearyDeary

Good lord, is that the time?

title: User talk:WearyDeary


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List of television films produced for UPN

During the late 1990s, United Paramount Network produced a number of television films branded "Blockbuster Shockwave Cinema," in conjunction with sponsor (and sister company) Blockbuster Video. Almost all were science fiction films, and likewise, their after-airing availability on home video was exclusive to Blockbuster stores. From UPN's inception until 2000, the network also offered a hosted movie series called the UPN Movie Trailer to their stations. The show featured mostly older Hollywood action and comedy films, often those made by Paramount Pictures. Movie Trailer was discontinued in 2000 to give stations that opted for them room for a second weekend run of Star Trek: Enterprise and America's Next Top Model (and later, Veronica Mars). There were also three Paramount-branded blocks on the company's owned-and-operated stations ("O&Os") only: Paramount Teleplex as the main brand for movies at any given timeslot, Paramount Prime Movie for primetime features, and the Paramount Late Movie on late nights.

This is a brief list of television films produced for UPN, an American broadcast television network:


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Starlight Bowl

Starlight Bowl may refer to:
 * Starlight Bowl (Burbank), in Burbank, California
 * Starlight Bowl (San Diego), in San Diego, California

title: Starlight Bowl


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User talk:DRRN76

Image:ZoeSaldana.jpg
Thank you for uploading Image:ZoeSaldana.jpg. Its copyright status is unclear, so it may have to be deleted. Please leave a note on the image page about the source of the image. See Image copyright tags for a list of copyright tags that you can use. Thank you.

Korg 00:36, 20 July 2005 (UTC)

title: User talk:DRRN76


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George Smythe, 7th Viscount Strangford

George Smythe, 7th Viscount Strangford (16 April 1818 – 23 November 1857), styled The Honourable George Smythe until 1855, was a British Conservative politician, best known for his association with Benjamin Disraeli and the Young England movement. He served briefly as Under-Secretary of State for Foreign Affairs in 1846 under Sir Robert Peel.

Background and education
Smythe was born in Stockholm, Sweden, the son of Percy Smythe, 6th Viscount Strangford, by Ellen Burke, daughter of Sir Thomas Burke. He attended Tonbridge School and Eton College, and was later admitted to St John's College, Cambridge.

Political career
Smythe's father had been Disraeli's friend during the 1830s, and had sponsored the latter for the Carlton Club (along with Lord Chandos). The younger Smythe believed in the sort of romantic Toryism espoused by Lord John Manners. Both of them were heavily influenced by Frederick Faber, an apostle of John Henry Newman, leader of the Oxford Movement. Disraeli and Smythe had known each other through the latter's father since an early age, but it was in the House of Commons that the two became close. Smythe sat as a Member of Parliament for Canterbury from 1841 until 1852, when he was defeated. Along with Disraeli, Manners, and Alexander Baillie-Cochrane, they comprised "Young England", a sect of the Conservative Party which, in espousing a romantic Toryism, was often at odds with the moderate, business-like administration of then-Prime Minister Sir Robert Peel.

Young England finally splintered over the Maynooth Grant. In 1845 Peel proposed to increase the annual subsidy granted to the Catholic seminary at Maynooth, in Ireland. Smythe, possibly under pressure from his father, supported Peel, as did Lord John Manners. Disraeli, then in open rebellion against Peel, opposed the grant. Lord Blake, Disraeli's biographer, noted that Disraeli's speech was "essentially ad hominem" and that Disraeli had a "poor case." In January 1846 Smythe accepted minor office in Peel's government as Under-Secretary of State for Foreign Affairs. Nevertheless, Smythe and Disraeli apparently remained close friends until the former's death. The title character in Disraeli's novel Coningsby was modelled after Smythe, and Smythe wrote to Disraeli in 1852 that "you were of old the Cid and Captain of my boyish fanaticism."

Like his father, Smythe had literary tastes. In 1844 he wrote Historic Fancies, a collection of poems and essays, and his novel Angelo Pisani was published posthumously, with a memoir of the author in 1875.

Smythe's career was shattered later in 1846 when he was caught in a summerhouse with the 21-year-old Lady Dorothy Walpole the daughter of Horatio Walpole, 3rd Earl of Orford. Newspaper gossip alleged that he got her pregnant, and then refused to marry her. Lady Dorothy was hastily married off to an elderly cousin. In the nineteenth century, social and political ruin often went hand-in-hand. At his last electoral appearance in 1852, Smythe fought a duel with his fellow MP, Colonel Romilly (the last such encounter in England), and lost the election in a landslide.

Personal life
Smythe succeeded to his father's peerage in 1855 and died on 27 November 1857 at the relatively young age of 39 at Bradgate House, Groby, Leicestershire. His title passed to his younger brother, Percy Smythe, 8th Viscount Strangford.

title: George Smythe, 7th Viscount Strangford


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Disc galaxy

A disc galaxy (or disk galaxy) is a galaxy characterized by a galactic disc. This is a flattened circular volume of stars that are mainly orbiting the galactic core in the same plane. These galaxies may or may not include a central non-disc-like region (a galactic bulge). They will typically have an orbiting mass of gas and dust in the same plane as the stars. Interactions with other nearby galaxies can perturb and stretch the galactic disk.

Disc galaxy types include:
 * Spiral galaxies:
 * Unbarred spiral galaxies: (types S, SA)
 * Barred spiral galaxies: (type SB)
 * Intermediate spiral galaxies: (type SAB)
 * Lenticular galaxies: (types E8, S0, SA0, SB0, SAB0)

Galaxies that are not disc types include:
 * Elliptical galaxies: (type dE)
 * Irregular galaxies: (type dI)

title: Disc galaxy


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User:Molle~enwiki

I'm a 21 year old civil engineering student from Stuttgart, Germany. See my main profile page: de:Benutzer:Molle

de:Benutzer:Molle

title: User:Molle~enwiki


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Takk

Takk may refer to:

 * Takk..., a 2005 album by Icelandic band Sigur Rós
 * Tank, Pakistan, a city in the Khyber Pakhtunkhwa Province
 * Takk, a 2002 poetry collection by Gunnar Wærness
 * Takkarist McKinley (born 1995), American football player

title: Takk


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You Can't Do That on Stage Anymore, Vol. 5

You Can't Do That on Stage Anymore, Vol. 5 is a double compact disc collection of live recordings (except for "German Lunch" and "My Guitar" which are studio recordings) by Frank Zappa. Disc one comprises performances by the original Mothers of Invention, spanning the period from 1965 to 1969. "My Guitar" had been previously released as a single in 1969. Disc two comprises performances from the summer 1982 tour of Europe. It was released in 1992 (see 1992 in music) under the label Rykodisc. The last track on this collection ends with Zappa's anger at some audience members tossing cigarettes on stage; after a warning to stop was not obeyed, the disc ends with Zappa stating, "Houselights! The concert's over!"

Personnel

 * Frank Zappa – conductor, guitar, lyricist, remixing, producer, main performer, liner notes, vocals
 * Dick Kunc – vocals, voices, engineer
 * Kanzus J. Kanzus – vocals, voices
 * Dick Barber – vocals, voices, sound effects
 * Lowell George – guitar, vocals
 * Ray White – guitar, vocals
 * Steve Vai – guitar
 * Elliot Ingber – guitar
 * Tommy Mars – keyboards, vocals
 * Don Preston – electronics, keyboards
 * Roy Estrada – bass guitar, vocals
 * Scott Thunes – bass guitar
 * Billy Mundi – drums
 * Art Tripp – drums
 * Chad Wackerman – drums
 * Jimmy Carl Black – drums, vocals, voices
 * Ed Mann – percussion
 * Ray Collins – tambourine
 * Ian Underwood – clarinet, alto saxophone, electric piano, piano
 * Bobby Martin – saxophone, vocals, keyboards
 * Bunk Gardner – tenor saxophone, trumpet
 * Motorhead Sherwood – baritone saxophone, vocals
 * Noel Redding – dancer
 * John Judnich – engineer
 * Bob Stone – remixing


text:
Talk:You Can't Do That on Stage Anymore, Vol. 5

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