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Tibetan culture

Tibet developed a distinct culture due to its geographic and climatic conditions. While influenced by neighboring cultures from China, India, and Nepal, the Himalayan region's remoteness and inaccessibility have preserved distinct local influences, and stimulated the development of its distinct culture.

Tibetan Buddhism has exerted a particularly strong influence on Tibetan culture since its introduction in the seventh century. Buddhist missionaries who came mainly from India, Nepal and China introduced arts and customs from India and China. Art, literature, and music all contain elements of the prevailing Buddhist beliefs, and Buddhism itself has adopted a unique form in Tibet, influenced by the Bön tradition and other local beliefs.

Several works on astronomy, astrology and medicine were translated from Sanskrit and Classical Chinese. The general appliances of civilization have come from China, among many things and skill imported were the making of butter, cheese, barley-beer, pottery, watermills and the national beverage, butter tea.

Tibet's specific geographic and climatic conditions have encouraged reliance on pastoralism, as well as the development of a different cuisine from surrounding regions, which fits the needs of the human body in these high altitudes.

Tibetan language
The Tibetan language is spoken in a variety of dialects in all parts of the Tibetan-inhabited area which covers half a million square miles. Some of these dialects are tonal like the Chinese language, while others remain atonal. Historically Tibet was divided into three cultural provinces called U-Tsang, Kham and Amdo. Each one of these three provinces has developed its own distinct dialect of Tibetan. Most widely spoken is the Lhasa dialect, also called Standard Tibetan, which is spoken in Central Tibet and also in Exile by most Tibetans. In Kham the Khams Tibetan dialect is spoken and in Amdo the Amdo Tibetan dialect. The Tibetan dialects are subject to the Tibetic languages which are part of the Tibeto-Burman languages. Modern Tibetan derives from Classical Tibetan, which is the written norm, and from Old Tibetan. The official language of Bhutan, Dzongkha, is also closely related to Tibetan.

Visual arts
Tibetan art is deeply religious in nature, a form of religious art. It spreads over a wide range of paintings, frescos, statues, ritual objects, coins, ornaments and furniture.

Rugs

Tibetan rug making is an ancient art and craft in the tradition of Tibetan people. These rugs are primarily made from Tibetan highland sheep's virgin wool. The Tibetan uses rugs for almost any domestic use from flooring to wall hanging to horse saddles. Traditionally the best rugs are from Gyantse, a city which is known for its rugs.

The process of making Tibetan rugs is unique in the sense that almost everything is done by hand. But with the introduction of modern technology, a few aspects of the rug making processes have been taken over by machine primarily because of cost, the disappearance of knowledge etc. Moreover, some new finishing touches are also made possible by machine.

Tibetan rugs are big business in not only Tibet, but also Nepal, where Tibetan immigrants brought with them their knowledge of rug making. Currently in Nepal the rug business is one of the largest industries in the country and there are many rug exporters.

Painting
Thangkas, a syncrestistic art of Chinese hanging scrolls with Nepalese and Kashmiri painting, first survive from the eleventh century. Rectangular and intricately painted on cotton or linen, they are usually traditional compositions depicting deities, famous monks, and other religious, astrological, and theological subjects, and sometimes mandalas. To ensure that the image will not fade, the painting is framed in colorful silk brocades, and stored rolled up. The word thangka means "something to roll" and refers to the fact that thangkas can easily be rolled up for transportation.

Besides thangkas, Tibetan Buddhist wall paintings can be found on temple walls as frescos and furniture and many other items have ornamental painting.

Literature
There is a rich ancient tradition of lay Tibetan literature which includes epics, poetry, short stories, dance scripts and mime, plays and so on which has expanded into a huge body of work - some of which has been translated into Western languages. Tibetan literature has a historical span of over 1300 years. Perhaps the best known category of Tibetan literature outside of Tibet are the epic stories - particularly the famous Epic of King Gesar.

Architecture
Tibetan architecture contains Chinese and Indian influences, and reflects a deeply Buddhist approach. The prayer wheel, along with two deer or dragons, can be seen on nearly every gompa in Tibet. The design of stupas (chörtens) can vary, from roundish walls in Kham to squarish, four-sided walls in Ladakh.

The most unusual feature of Tibetan architecture is that many of the houses and monasteries are built on elevated, sunny sites facing the south, and are often made of a mixture of rocks, wood, cement and earth. Little fuel is available for heat or lighting, so flat roofs are built to conserve heat, and multiple windows are constructed to let in sunlight. Walls are usually sloped inwards at 10 degrees as a precaution against frequent earthquakes in the mountainous area.

World Heritage Site
Standing at 117 meters in height and 360 meters in width, the Potala Palace, designated as a World Heritage Site in 1994 and extended to include the Norbulingka area in 2001, is considered a most important example of Tibetan architecture. Formerly the residence of the Dalai Lamas, it contains over a thousand rooms within thirteen stories, and houses portraits of the past Dalai Lamas and statues of the Buddha. It is divided into the outer White Palace, which serves as the administrative quarters, and the inner Red Quarters, which houses the assembly hall of the Lamas, chapels, 10,000 shrines and a vast library of Buddhist scriptures.

Traditions and Traditional architecture
Tibetans have a unique culture, and diversity only otherwise seen in ethnicity groups regions such as Xinjiang. Traditional Kham architecture is seen in most dwellings in Kangding. Kham houses tend to be spacious and fit in well with their environment. Their floors and ceilings are wooden, as houses are throughout in Kangding. [This article is dated. Modern Kangding city is now rebuilt, eliminating the earlier fire-prone wooden architecture]. Horizontal timber beams support the roof and these in turn are supported by wooden columns. Although the area has been heavily logged, wood is imported and used abundantly for housing. The Garzê Tibetan Autonomous Prefecture of Kham, surrounded by forests, is known for its beautiful wooden houses built in a range of styles and lavishly decorated with wooden ornamentation. The interiors of houses are usually paneled with wood and the cabinetry is ornately decorated. Although various materials are used in the well-built houses, it is the skilful carpentry that is striking. This skill is passed down from father to son and there appear to be plenty of carpenters. However a threat to traditional Tibetan carpentry is the growing use of concrete structures. Some consider the increased use of concrete as a deliberate infiltration of the Chinese influence into Tibet. In Gaba Township, where there are few Han Chinese, almost all the structures are traditional.

Architecture and monastic architecture
The events that took place in Tibet in the twentieth century exacted a heavy toll on Tibetan monastic architecture.

Under the 13th Dalai Lama, the Tengyeling monastery was demolished in 1914 for seeking to come to terms with the Chinese. Under Regent Taktra, the Sera monastery was bombarded with howitzers and ransacked by the Tibetan army in 1947 for siding with former regent Reting.

It is important to see that Sera monastery was by no means destroyed but only looted partially. The major destruction happened during the Cultural Revolution. China's Cultural Revolution resulted in the deterioration or loss of Buddhist monasteries, both by intentional destruction and through lack of protection and maintenance.

Starting in the 1980s, Tibetans have begun to restore those monasteries that survived. This has become an international effort. Experts are teaching the Tibetans how to restore the building and save the remaining monasteries on the eastern plateau.

Monasteries such as the Kumbum Monastery continue to be affected by Chinese politics. Simbiling Monastery was completely flattened in 1967, although it has to some degree been restored.

Tashi Lhunpo Monastery shows the influence of Mongol architecture. Tradruk Temple is one of the oldest in Tibet, said to have been first built in the 7th century during the reign of Songtsen Gampo of the Tibetan Empire (605?-650). Jokhang was also originally built under Songsten Gampo. Jokhang Temple is the most splendid surviving building of the Tubo period in Tibet and also the earliest civil structural building in Tibet. It integrated the architectural styles of Tibet, Tang dynasty of China, Nepal, and India, and has become a model of Tibetan religious architecture for thousands of years. Tsurphu Monastery was founded by Düsum Khyenpa, 1st Karmapa Lama (1110–1193) in 1159, after he visited the site and laid the foundation for an establishment of a seat there by making offerings to the local protectors, dharmapalas and genius loci. In 1189 he revisited the site and founded his main seat there. The monastery grew to hold 1000 monks. Tsozong Gongba Monastery is a small shrine built around the fourteenth century Palcho Monastery was founded in 1418 and known for its kumbum which has 108 chapels on its four floors. Chokorgyel Monastery, founded in 1509 the 2nd Dalai Lama once housed 500 monks but was completely destroyed during the Cultural Revolution.

Ramoche Temple is an important temple in Lhasa. The original building complex was strongly influenced by Tang dynasty architectural style as it was first built by Han Chinese architects in the middle of the 7th century. Princess Wencheng took charge of this project and ordered the temple be erected facing east to show her homesickness.

See List of Tibetan monasteries.

Clothing

Tibetans tend to be conservative in their dress, and though some have taken to wearing Western clothes, traditional styles still abound. Women wear dark-colored wrap dresses over a blouse, and a colorfully striped, woven wool apron, called pangden signals that she is married. Men and women both wear long sleeves even in summer months.

In his 1955 book, Tibetan Marches, André Migot describes Tibetan clothing as follows:

"Except for the lamas and for certain laymen who shave their heads, the Tibetans wear their hair either long or in a braid wound around their heads and embellished with a complicated pattern of lesser braids which make the whole thing look like some sort of crown. They often wear a huge conical felt hat, whose shape varies according to the district they come from; sometimes its peak supports a kind of mortarboard from which dangles a thick woolen fringe. In order to prevent their hats being blown away, they attach them to their heads with the long braid I have just described, and which has to be unwound for the purpose. In their left ear they wear a heavy silver ring decorated with a huge ornament of either coral or turquoise.

Their costume is not elaborate. It normally consists only of a chuba, a long capacious robe with wide, elongated sleeves which hang almost to the ground. This is caught up at the waist by a woolen girdle, so that its skirts reach only to the knees and its upper folds form an enormous circular pocket round its wearer's chest. This is called the ampa, and in it are stowed a wide range of implements — an eating bowl, a bag of tsampa, and many other small necessities. Many chubas are made of wool, either the plain gray wool they spin in Sikang or the splendid, warm, soft stuff from Lhasa, dyed a rich dark red. The nomads, on the other hand, generally wear a sheepskin chuba, hand-sewn and crudely tanned in butter, with the fleece on the inside. The town-dwelling Tibetans, prosperous merchants for the most part, supplement this garment with cotton or woolen drawers and a cotton or silk undershirt with long sleeves, but the nomads normally wear nothing at all underneath it, though in winter they sometimes put on sheepskin drawers. The Tibetans hardly ever do their chubas up over their chests. The right shoulder and arm are almost always left free, and when they are on the march or at work the whole top part of the robe is allowed to slip down so that it is supported only by the belt. This leaves them naked above the waist and clad in a very odd-looking sort of skirt below it. They hardly feel the cold at all and in the depth of winter, heedless of frost or snow or wind, they trudge imperturbably along with their bosoms bared to the icy blast. Their feet, too, are bare inside their great high boots. These have soft soles of raw, untanned leather; the loose-fitting leg of the boot, which may be red or black or green, has a sort of woolen garter around the top of it which is fastened to the leg above the knee with another, very brightly colored strip of woolen material."

A chab chab is a piece of jewellery which wealthy Tibetan ladies attached to their clothes beneath the right shoulder.

Cuisine

The Cuisine of Tibet is quite distinct from that of its neighbours. Tibetan crops must be able to grow at high altitudes, although a few areas in Tibet are low enough to grow such crops as rice, oranges, lemon and bananas. The most important crop in Tibet is barley. Flour milled from roasted barley, called tsampa, is the staple food of Tibet. It is eaten mostly mixed with the national beverage, the butter tea. Butter tea perfectly fits the needs of the human body in these high altitudes as it contains butter (protein and fat), milk (protein, fat and calcium), salt and tea. Tibetan cuisine contains a wide variety of dishes. The most famous are Momos (Tibetan dumplings). Balep is Tibetan bread eaten for breakfast and lunch. There many other types of balep bread and fried pies. Thukpa is noodle soup. It consists of noodles of various shapes, vegetables, and meat in broth. Tibetan cuisine is traditionally served with bamboo chopsticks, in contrast to other Himalayan cuisines which are eaten by hand. Small soup bowls are also used by Tibetans, and the rich are known to have used bowls of gold and silver. Since only a few crops grow at such high altitudes, many features of Tibetan cuisine are imported, such as tea, rice and others. Meat dishes are likely to be yak, goat, or mutton, often dried, or cooked into a spicy stew with potatoes. Tibetans would never eat dogs and fish only in special cases as dogs are regarded as domestic animals and also guard dogs, and fishes are one of the Eight Auspicious Symbols of Buddhism.

Mustard seed is cultivated in Tibet, and therefore features strongly in its cuisine. Yak yogurt, butter and cheese are frequently eaten, and well-prepared yogurt is considered something of a prestige item.

In larger Tibetan towns and cities many restaurants nowadays serve Sichuan-style Chinese food. Western imports and fusion dishes, such as fried yak and chips, are also popular. Nevertheless, many small restaurants serving traditional Tibetan dishes persist in both cities and the countryside.

Jasmine tea and yak butter tea are drunk. Alcoholic beverages include:
 * Chang, a beer usually made from barley
 * Raksi, a rice wine

Tibetan family life
Tibetans traditionally venerate their elders within their families.

Polyandry and polygyny
Tibetans used to practice polyandry widely. In his memoirs about his life in Tibet in the 1940s, Austrian writer Heinrich Harrer reports encountering nomads practising polyandry: "We were astonished to find polyandry practised among the nomads." "When several brothers share the same wife, the eldest is always the master in the household and the others have rights only when he is away or amusing himself elsewhere."

Harrer also mentions the practice of polygyny in one particular case: a man marrying "several daughters of a house in which there is no son and heir." "The arrangement prevents the family fortune from being dispersed."

Calendar

The Tibetan calendar is the lunisolar calendar, that is, the Tibetan year is composed of either 12 or 13 lunar months, each beginning and ending with a new moon. A thirteenth month is added approximately every three years, so that an average Tibetan year is equal to the solar year. The name of the months are ༼ མཆུ་ཟླ་བ།༽  January, ༼ དབོ་ཟླ་བ།༽ February, ༼ ནག་པ་ཟླ་བ།༽་ March, ༼ ས་ག་ཟླ་བ།་༽  April, ༼ སྣྲོན་ཟླ་བ།༽ May, ༼ ཆུ་སྟོད་ཟླ་བ།༽ June, ༼ གྲོ་བཞིན་ཟླ་བ།༽ July, ༼ ཁྲུམས་སྟདོ།༽ August, ༼ དབྱུ་གུ་ཟླ་བ།༽ September, ༼ སྨིན་དྲུག་ཟླ་བ།༽ October, ༼ གོ་ཟླ་བ།༽ November and ༼ རྒྱལ་ཟླ་བ།༽ December.
 * -, but the fourth month which is called the saka dawa, celebrating the birth and enlightenment of Buddha.

The Tibetan New Year celebration is Losar.

Each year is associated with an animal and an element. The animals alternate in the following order: The elements alternate in the following order: Each element is associated with two consecutive years, first in its male aspect, then in its female aspect. For example, a male Earth-Dragon year is followed by a female Earth-Snake year, then by a male Iron-Horse year. The sex may be omitted, as it can be inferred from the animal.

The element-animal designations recur in cycles of 60 years, starting with a (female) Fire-Rabbit year. These big cycles are numbered. The first cycle started in 1027. Therefore, 2005 roughly corresponds to the (female) Wood-Rooster year of the 17th cycle, and 2008 corresponds to a (male) Earth-Rat year of the same cycle.

Days of the week

The days of the week are named for celestial bodies.

Nyima "Sun", Dawa "Moon" and Lhakpa "Mercury" are common personal names for people born on Sunday, Monday or Wednesday respectively.

Tibetan eras

 * Rab byung: The first year of the first 60-year cycle is equivalent to AD 1027.
 * Rab lo: The total number of years since 1027 are counted.
 * Tibetan Era (used on Tibetan banknotes): The first year of this era is equivalent to AD 255.
 * rgyal lo or bod rgyal lo: The first year of this era is equivalent to 127 BC.

Traditional gifts

A gift traditionally given at the time of a new birth is that of an ibex figurine, as described below by August Hermann Francke. "Our Christian evangelist at Khalatse had become a father a few weeks before, and the people of the village had made presents of "flour-ibex" to him and his wife. He gave me one of those figures, which are made of flour and butter, and told me that it was a custom in Tibet and Ladakh, to make presents of "flour-ibex" on the occasion of the birth of a child. This is quite interesting information. I had often wondered why there were so many rock carvings of ibex at places connected with the pre-Buddhist religion of Ladakh. Now it appears probable that they are thank offerings after the birth of children. As I have tried to show in my previous article, people used to go to the pre-Buddhist places of worship, in particular, to pray to be blessed with children."

Music
The music of Tibet reflects the cultural heritage of the trans-Himalayan region, centered in Tibet but also known wherever ethnic Tibetan groups are found in India, Bhutan, Nepal and further abroad. The religious music of Tibet reflects the profound influence of Tibetan Buddhism on the culture.

Chanting
Tibetan music often involves chanting in Tibetan or Sanskrit as an integral part of the religion. These chants are complex, often recitations of sacred texts or in celebration of various festivals. Yang chanting, performed without metrical timing, is accompanied by resonant drums and low, sustained syllables. Other styles include those unique to the various schools of Tibetan Buddhism, such as the classical music of the popular Gelug school and the romantic music of the Nyingma, Sakya and Kagyu schools.

Secular Tibetan music has been promoted by organizations like the 14th Dalai Lama's Tibetan Institute of Performing Arts. This organization specialized in the lhamo, an operatic style, before branching out into other styles, including dance music like toeshey and nangma. Nangma is especially popular in the karaoke bars of the urban center of Tibet, Lhasa. Another form of popular music is the classical gar style, which is performed at rituals and ceremonies. Lu are a type of songs that feature glottal vibrations and high pitches which are typically sung by nomads. There are also epic bards who sing of Tibet's national hero, Gesar.

Modern and popular
Tibetans are well represented in Chinese popular culture. Tibetan singers are particularly known for their strong vocal abilities, which many attribute to the high altitudes of the Tibetan Plateau. Tseten Dolma (才旦卓玛) rose to fame in the 1960s for her music-and-dance suite "The Earth is Red". Kelsang Metok (格桑梅朵) is a popular singer who combines traditional Tibetan songs with elements of Chinese and Western pop. Purba Rgyal (Pubajia or 蒲巴甲) was the 2006 winner of Haonaner, the Chinese version of American Idol. In 2006, he starred in Sherwood Hu's Prince of the Himalayas, an adaptation of Shakespeare's Hamlet, set in ancient Tibet and featuring an all-Tibetan cast.

Tibetan music has influenced certain styles of Western music, such as new-age. Philip Glass, Henry Eichheim and other composers are known for Tibetan elements in their music. The first Western fusion with Tibetan music was Tibetan Bells in 1971. The soundtrack to Kundun, by Glass, has also popularized Tibetan music in the West.

Foreign styles of popular music have also had a major impact within Tibet. Indian ghazal and filmi are very popular, as is rock and roll, an American style which has produced Tibetan performers like Rangzen Shonu. Since the relaxation of some laws in the 1980s, Tibetan pop, popularized by the likes of Yadong, Jampa Tsering, 3-member group AJIA, 4-member group Gao Yuan Hong, 5-member group Gao Yuan Feng, and Dechen Shak-Dagsay are well-known, as are the sometimes politicized lyrics of nangma. Gaoyuan Hong in particular has introduced elements of Tibetan language rapping into their singles.

Drama
The Tibetan folk opera known as (Ache) Lhamo "(sister) goddess", is a combination of dances, chants and songs. The repertoire is drawn from Buddhist stories and Tibetan history. Lhamo was founded in the fourteenth century by the Thang Tong Gyalpo, a lama and important historical civil engineer. Gyalpo and seven recruited girls organized the first performance to raise funds for building bridges that would facilitate transportation in Tibet. The tradition continued, and lhamo is held on various festive occasions such as the Linka and Shoton festivals.

The performance is usually a drama, held on a barren stage, that combines dances, chants and songs. Colorful masks are sometimes worn to identify a character, with red symbolizing a king and yellow indicating deities and lamas.

The performance starts with a stage purification and blessings. A narrator then sings a summary of the story, and the performance begins. Another ritual blessing is conducted at the end of the play.

Cham dance
The cham dance is a lively masked and costumed dance associated with some sects of Tibetan Buddhism and Buddhist festivals.

Festivals
Tibetan festivals such as Losar, Shoton, the Bathing Festival and many more are deeply rooted in indigenous religion, and also contain foreign influences. Tibetan festivals are a high source of entertainment and can include many sports such as yak racing. Tibetans consider festivals as an integral part of their life and almost everyone participates in the festivities.

Representation on social media
Since 2010, thousands of ethnic Tibetans worldwide have called on Unicode Consortium and social media platforms like Facebook, Twitter and Instagram to approve and also release the Tibetan flag emoji. The main purpose of this is to help evoke their sense of belonging to regional and cultural Tibet via online means and also to further spread the Tibetan culture and representation across borders.

However, as of August 2019, despite the efforts of members of the Emoji Subcommittee and Unicode's negotiating body (and Unicode's official admission that the flag proposal is strong), the decision-making process of approval and eventual release of the Tibetan flag emoji by Unicode has been and remained stalled. This is probably due to strong opposition by millions of mainland Chinese citizens, mainland Chinese members of Unicode Consortium and the Chinese government's willingness to place economic sanctions against the company if Unicode ‘unilaterally’ releases the Tibetan flag emoji (unless China returns to a state of democracy and is willing to support the rights and freedoms of Tibetans in Tibet Autonomous Region).

Nonetheless, Tibetans across the globe have been pushing on. In light of the ongoing 2019–20 Hong Kong protests that have been taking place since June 2019 and subsequent mainland Chinese interference in major social media platforms, Tibetans have called or are calling for Unicode to extend the timeline for at least one more year, to ensure the elimination of mainland Chinese influence in operations conducted by social media platforms and Unicode before prioritising on the eventual acceptance and release of the Tibetan flag emoji to the public. The flag emoji may only be released in Emoji 13.0, 14.0 or later, depending on the socio-political circumstances.

title: Tibetan culture


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Talk:Catch (baseball)

Meaning of catch in phrases
Hi all,

this 'catch' refers to catching a ball in a game of baseballball. Does anyone know of the meaning of catch if we say " get this catch off me "?
 * I live in the U.S. and I've never heard that expression. --Locarno 14:05, 13 July 2005 (UTC)
 * Well, probably it doesnt mean anything...

What about the meaning of 'whats the catch' as in there may be an adittion or requirement of.
 * I've added this to Catch: The caveat or hidden obligation in a bargain or deal, usually more significant than initially revealed. Locarno  —The preceding  signed but undated.

This article needs to be cleaned up; then split. Anthony Rupert 03:01, 19 December 2006 (UTC)

Definition according to MLB
In Major League Baseball the definition for a catch is:

A CATCH is the act of a fielder in getting secure possession in his hand or glove of a ball in flight and firmly holding it; providing he does not use his cap, protector, pocket or any other part of his uniform in getting possession. It is not a catch, however, if simultaneously or immediately following his contact with the ball, he collides with a player, or with a wall, or if he falls down, and as a result of such collision or falling, drops the ball. It is not a catch if a fielder touches a fly ball which then hits a member of the offensive team or an umpire and then is caught by another defensive player. If the fielder has made the catch and drops the ball while in the act of making a throw following the catch, the ball shall be adjudged to have been caught. In establishing the validity of the catch, the fielder shall hold the ball long enough to prove that he has complete control of the ball and that his release of the ball is voluntary and intentional. Rule 2.00 (Catch)

''Comment: A catch is legal if the ball is finally held by any fielder, even though juggled, or held by another fielder before it touches the ground. Runners may leave their bases the instant the first fielder touches the ball. A fielder may reach over a fence, railing, rope or other line of demarcation to make a catch. He may jump on top of a railing, or canvas that may be in foul ground. No interference should be allowed when a fielder reaches over a fence, railing, rope or into a stand to catch a ball. He does so at his own risk. If a fielder, attempting a catch at the edge of the dugout, is “held up” and kept from an apparent fall by a player or players of either team and the catch is made, it shall be allowed.''

From: http://www.mlb.com/NASApp/mlb/mlb/official_info/official_rules/definition_terms_2.jsp

Just thought I should add this incase anyone wanted to elaborate anything I added --Borgarde 08:08, 4 January 2007 (UTC)

Fair use rationale for Image:Endycatch.jpg
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BetacommandBot (talk) 21:12, 13 February 2008 (UTC)

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

title: Talk:Catch (baseball)


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Wikipedia:WikiProject Tea/Guidelines

WikiProject Tea Article Guidelines are applicable to article on specific types of tea such as Da Hong Pao or Bai Hao Yinzhen.

Choosing a name
An important question is choosing a name for your article, this can be problematic, and you have to ask the question How much detail to go into?. For example, the Darjeeling tea article refers to the Black tea made in Darjeeling and provides a disambiguation for the other types, describing it all in one article would have been problematic. Hence for teas that have a placename this is an option.

Avoiding problems

 * Always add tea to the back of a name like Yunnan tea rather than Yunnan and in other cases, this is because many names are either placenames or names in Chinese that can have diverse meanings (i.e. Yinzhen and Bai Hao Yinzhen tea).
 * Spelling in Chinese dialects, not yet available. This will concern the English phonetic of which Chinese dialect. Please see the Wikipedia talk:WikiProject Tea/Guidelines.
 * Use a common name of a tea but do not translate from Chinese if this is not the accepted name again to avoid problems. For example Gunpowder is an accepted name for a tea that has a Chinese phonetic name, but Yinzhen does not need to be translated to Silver Needle as it is an accepted name.

Formatting the article
You can use the Template:Tea new type article if you wish, but it is important to always (as with all Wikipedia articles) to cite your sources in a References section.

Avoiding problems

 * Readability is greatly enhanced if the technical other names are moved to the infobox, this has been a problem with some pages.
 * The taste of the tea is very much a personal experience, you should add it to an article knowing that it must be edited by other people to be refined to a generally accepeted form.

title: Wikipedia:WikiProject Tea/Guidelines


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Matthew G. Martínez

Matthew Gilbert "Marty" Martínez (February 14, 1929 – October 15, 2011) was an American politician who served as the U.S. representative from CA's 30th congressional district from 1982 to 1993 and CA's 31st congressional district from 1993 to 2001, both as a member of the Democratic Party and the Republican Party. Martínez switched parties to become a Republican after being defeated in a 2000 primary.

Early life
Martínez's family moved to Los Angeles when he was young, and he attended public schools in Los Angeles. In 1949 he graduated from Roosevelt High School. From 1947 to 1950 he served in the U.S. Marine Corps, achieving the rank of private first class. In 1956 he received a certificate of competence from the Los Angeles Trade-Technical College.

For the next fifteen years he owned and operated a custom furniture upholstery company and worked as a building contractor.

Political career
He began his political career in 1971 when he became a member of the Monterey Park Planning Commission, and served until 1974 when he was elected to the Monterey Park City Council. He served until 1980, including two terms as mayor in 1974 and 1980.

State assembly
In 1980, Martínez defeated incumbent Jack R. Fenton in the Democratic primary election in California's 59th State Assembly district. He was elected to the California State Assembly with no major-party opponent.

Congress
In 1982 George E. Danielson left the U.S. House of Representatives to take the bench. Martínez won the special election to succeed him, and was reelected nine times by varying margins.

In his first term in Congress he was assigned to the Education and Labor Committee. In the 99th Congress (1985–87) he chaired the Subcommittee on Employment Opportunities. In 1991, he became the Chairman of the Human Resources Subcommittee. In 1992, Martínez was named to the Foreign Affairs Committee, and served on the Subcommittee on International Security, International Organizations and Human Rights.

Defeat
In 2000, Martínez was defeated in the Democratic primary by liberal State Senator Hilda Solis 62% to 29%. She charged that he was out of touch with his district when he voted to ban partial-birth abortion and opposed gun control. (He was both Roman Catholic and a member of the National Rifle Association of America.) While he had been a reliably Democratic vote on most issues throughout his congressional career, after his primary loss Martínez began to vote overwhelmingly with Republicans. On July 27, 2000, Martínez switched to the Republican Party, arguing that the Democrats had abandoned him. There was no Republican candidate on the ballot in the district for the 2000 election, and Martínez declined to attempt a write-in candidacy, though he remained critical of Solis and promised to stay active in the Republican party. His term in Congress ended on January 3, 2001, at the end of the 106th Congress.

Family
Martínez was married to Elvira Yorba Martinez, with whom he had five children: Matthew Adrian, Michael Gilbert, Diane, Susan, and Carol Ann. His daughter, Diane Martínez, served in the State Assembly from 1992 to 1998.

Death
On October 15, 2011, Martínez died at his home in Fredericksburg, Virginia. He had suffered from congestive heart failure.

Memberships

 * San Gabriel Valley YMCA board of directors
 * Hispanic American Democrats
 * National Association of Latino Elected and Appointed Officials
 * Communications Workers of America
 * Veterans of Foreign Wars
 * American Legion
 * Latin Business Association
 * Monterey Park Chamber of Commerce
 * Navy League (director)
 * Rotary International

title: Matthew G. Martínez


text:
Pinhook, Lawrence County, Indiana

Pinhook is a small unincorporated farming community in Guthrie Township, Lawrence County, Indiana. It consists of two churches (Pinhook Church of Christ and Pinhook Christian Church), a cemetery, and several small farms and homesteads.

Two legends describe how Pinhook got its unique name. One states that because the roads leading to it are quite curvy, they reminded people of hooked pins. The other states that the local general store, around 1900, had lost its liquor license, and in order to keep serving alcohol hooked pins around drink glasses. The proprietor would then sell these "Pin-Hooked" glasses, and throw in a drink for good measure.

title: Pinhook, Lawrence County, Indiana


text:
Talk:Desiderata

Redundant external links
Moved out of the main article, as they all seem to be just copies of the text, and we only need one of that. Feel free to re-add with sufficient explanation of what extra value they add. (Links are insufficient, see Wikipedia is not a web directory) JesseW 05:43, 13 July 2005 (UTC)
 * Desiderata - read it online here
 * Desiderata by Max Ehrmann from "Geometry Step by Step from the Land of the Incas"
 * http://marilee.us/desiderata.html (with many links)

Hoax?
Hoax seems rather strong for what was pretty certainly just a misunderstanding. Our own definition says it's a deliberate attempt to trick. Since we have no way of knowing what the intent of the person who originally distributed it that way, probably the word "misattribution" is better. The word "hoax" is both biased and original research. --Dhartung | Talk 05:53, 12 August 2006 (UTC)

The?
The writer(s) of the current version use 'The Desiderata', some of the time. While this tallies with the title of the published work, surely the 'the' is not usually applied? At the very least we should be consistent. —The preceding unsigned comment was added by 202.64.168.196 (talk • contribs).
 * True enough. Most of them just disappear after rewording. --Dhartung | Talk 06:42, 22 August 2006 (UTC)

Possible copyright violation
The page contained (among other things) the full text of the poem. Now in its place there is the following notice:

 * DESIDERATA is copyrighted material, and can not be reproduced or sold without permision. Any violation is the basis for legal action. Books containing DESIDERATA are published by Crown Publishers, N.Y.C. and can be obtained from Tim Tiley Ltd., Bristol. The author was Max Ehrmann. Other permissions must be obtained from the owner of the copyright -- Robert L. Bell, 427 South Shore Drive, Sarasota, Florida, USA 34234.

Regardless of the US copyright status, since the author died in 1945, the text should be copyright in all countries that use the "year of death + 70" rule

 * I added this clarification, but I have since come to the conclusion that the work is not in copyright in the United States based on the 1976 court decision and the recognition by the Registrar of Copyrights that it was precedential.
 * The copyright was in its second term as of the Copyright Act of 1976, extending its termination to 2002, and as of the Sonny Bono Copyright Extension Act, to 2022.
 * If there are non-US jurisdictions where the copyright holds, we should document those (I know the work has been translated). Certainly Bell is currently publishing the poem in the US in various Desiderata: Subtitle forms but with ancillary material surrounding it. This isn't an argument for or against including the text of the poem, but I personally don't think that it's an issue. --Dhartung | Talk 13:44, 9 October 2006 (UTC)

Supposedly, there was a court decision regarding the supposed copyright, which dismissed it and put the poen into public domain. I don't have access to these, but see "Bell v. Combined Registry Co., 536 F.2d 164 (7th Cir., 1976)". If someone with legal expertise could examine this, we could figure out the issue once and for all. Through the persistent claims of it being from 1692, I believe that any copyright, were it to exist, is practicably unenforcable. —Preceding unsigned comment added by 66.31.55.175 (talk) 23:29, 11 October 2008 (UTC)

Translation of Desiderata
Wikipedia page on Max Ehrmann states "Desiderata" is Latin for: "something desired as essential" instead of "desired things". Which one is correct? —The preceding unsigned comment was added by 203.6.164.50 (talk) 14:44, 20 December 2006 (UTC).
 * The "essential" is Ehrmann's gloss. The simpler meaning is correct, to my knowledge, but there isn't much practical difference between them. wiktionary --Dhartung | Talk 07:47, 25 February 2007 (UTC)

Not just the text of the Desiderata
Interpretation of the Desiderata with the principles of manifesting. Desiderata in Life I recommend it under the External Links

Myjosweet (talk) 21:52, 25 July 2008 (UTC)

Real Origin of the Poem is still clouded despite of copyright
I have come across old copies of that Poem in spanish and the Author is listed as anonymous. But there is little information available on which language the Poem was written in. However the fact that the copyright was done establish current ownership

Jfmart (talk) 05:35, 17 September 2008 (UTC)

My great grandfather Robert Bell owns this poem. I have no idea why it's not listed on the page. Our family has had much trouble with people publishing it as 'Anonymous' and handing it out. —Preceding unsigned comment added by 76.118.146.38 (talk) 02:03, 16 January 2009 (UTC)

Even so, it's a beautiful poem. What's wrong with sharing a little beauty in the world?--Groccoli (talk) 17:22, 29 July 2010 (UTC)

I heartily agree with the very good comment of "Groccoli"!! He hit it in the nail! That's how the goodness of the heart feels!! Magri 16:15, 29 October 2010 —Preceding unsigned comment added by 69.67.167.200 (talk)

desiderata
this is just a rip off from the old testament book ecclesiastes the writer as just reworded and updated the script —Preceding unsigned comment added by 93.96.141.72 (talk) 00:08, 15 April 2009 (UTC)

Can anyone say more about this? Jaimalalatetre (talk) 21:41, 13 November 2011 (UTC)

 * "Therefore be at peace with God, whatever you conceive Him to be.": The capitals in "God" and "Him" make it look like it's from the Bible but "whatever ..." is for people who believe in various other gods. This was written when Americans were getting into Eastern religions. From the Theosophical Society 1875 to The Waste Land 1922 etc. QuentinUK (talk) 07:52, 23 June 2015 (UTC)

Unclear

 * "The text, largely unknown in the author's lifetime public first for its usage in a church hymnal which dated it, mistakenly, to the 17th century, then for its being found on the bedside table of Adlai Stevenson upon his death in 1965, and then Les Crane's spoken-word recording in 1971 and 1972."

I'm not completely sure what this should be, but it doesn't seem to be grammatical English. 71.170.112.233 (talk) 05:36, 17 February 2011 (UTC)

Yeah, I found this syntax mystifying myself. Is it missing a "became" there before "public"? Bryce (talk) 05:57, 19 February 2011 (UTC)

I think you're right Bryce. My take is that this sentence is trying to say that the book was not known during the authors lifetime, but became popular because of three usages: first in a church hymnal which mistakenly dated it to the 17th century, then when it was found on the bedside table of the American statesman Adlai Stevenson when he died in 1965, and third because of Les Crane's spoken-word recording in 1971 and 1972. Jaimalalatetre (talk) 21:45, 13 November 2011 (UTC)

Typos in popular versions
The next-to-top Google result for Desiderata after the Wikipedia article has two major typos, as well as punctuation differences. "Neither be critical about love" for "Neither be cynical about love" and "Be careful" for "Be cheerful." The webpage it is on has been online since 1996, and the typos on it have apparently propagated not only to other websites, but even to books. --Larrybob (talk) 20:49, 7 October 2015 (UTC)

Wikipedia version uses "vexatious" but many of the 3rd party versions I have seen use "vexations." Is this discrepancy intended? (never mind the irony of the next line warning against comparisons to others). --Psifer (talk) 13:58, 17 June 2016 (UTC)

Disintegrata
No mention of the Klingon parody? 2001:56A:F414:D300:4417:E13A:6EBF:5E34 (talk) 07:11, 15 March 2018 (UTC)

Justify
My attempt to justify the poem in the article on both the right and left, that was reverted, was to make it as faithful as possible to the earliest published version in 1948, a photocopy of which is two-thirds down www.desiderata.com. This includes requiring each line to begin and end with the same words as those in the photocopy, as poems are usually required to do. Readability was not a consideration – faithfulness to the original was. The 1948 published version has two words that are split at the end of a line, thus are hyphenated, with-out and trick-ery. I suspect this was an artifact of the publisher to which the author could not object because he was already dead. Nevertheless, it is what it is. — Joe Kress (talk) 19:57, 25 July 2019 (UTC)

Deteriorata
I'm not certain if well-known parodies belong in the "Significan usages..." section, but not not knowing where else to put it, and feeling that Deteriorata deserved a mention, I added it there. 107.77.227.111 (talk) 21:22, 21 April 2020 (UTC)Barefoot Mike

 * Deteriorata is a notable parody, and at a minimum should be included as a see-also link. AnonMoos (talk) 23:17, 21 April 2020 (UTC)

Not Max Ehrman
please stop attributing this piece to Max Ehrman. Desiderata dates much farther back. How much farther, none know for sure, but at least to the 15th Century, and probably much earlier. 68.59.55.124 (talk) 14:01, 16 November 2023 (UTC)

 * Do you have a source for that (remarkable) claim? Eddie891 Talk Work 14:02, 16 November 2023 (UTC)

title: Talk:Desiderata


text:
Talk:Rectovaginal fistula

Ambiguity reference to childbirth/delivery: Does the fistula appear in the newborn post-delivery or in the mother?
There are multiple references to the condition being related to childbirth, but written in way that leaves it ambiguous which party develops the fistula. Techguy95 (talk) —Preceding undated comment added 01:18, 17 April 2013 (UTC)

title: Talk:Rectovaginal fistula


text:
Talk:Head On (Toronto album)

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title: Talk:Head On (Toronto album)


text:
The Albion Band

The Albion Band, also known as The Albion Country Band, The Albion Dance Band, and The Albion Christmas Band, is a British folk rock band, originally brought together and led by musician Ashley Hutchings. An important grouping in the genre, it has contained or been associated with a large proportion of major English folk performers in its long and fluid history.

The one constant in the band's history has been the band leader Ashley Hutchings, founding member of two other English folk rock groupings Fairport Convention and Steeleye Span, and it has been the home for most of the projects of his long career, though in the 2011 incarnation of the band he has handed over the reins to his son Blair Dunlop. This version continued until 2014.

Hutchings continues to perform in a separate Christmas-themed incarnation (occasionally featuring Dunlop) The Albion Christmas Band that was first established in 2005.

Origins
Initially Hutchings formed the band in April 1971 to accompany his then wife the singer Shirley Collins on her No Roses album. Dave Mattacks, Richard Thompson and Simon Nicol (from Fairport Convention), Lal and Mike Waterson (of The Watersons) and Maddy Prior, were among twenty five credited backing musicians. On a short tour, core members were joined by Richard Thompson and his then wife Linda Thompson. Several members contributed with Hutchings to the project Morris On (1972), including John Kirkpatrick, Richard Thompson and Dave Mattacks, and cumbersomely all their names appeared on the album cover.

First album (1973)
Hutchings was keen to make a permanent band from these musicians and the first attempt included Royston Wood, Steve Ashley, Sue Draheim, Simon Nicol and Dave Mattacks in the line-up, but the group failed to gel and he recruited a second band, turning to Martin Carthy, John Kirkpatrick, Sue Harris, Roger Swallow and Simon Nicol. The band remained fragile and split in August 1973, but an album was released retrospectively under the title Battle of the Field, on Island Records in 1976. Other material recorded by this line-up eventually appeared on the later BBC Sessions CD (1998).

The Albion Dance Band
From 1974 to 1975, Hutchings abandoned the Albion name and focused on forming the Etchingham Steam Band with his wife Shirley Collins. However, in 1976 he pulled together a new Albion Band, this time with the aim of playing traditional dance music. It had a huge and unstable membership that included Simon Nicol, Graeme Taylor from Gryphon, the early musicians Phil Pickett and John Sothcott, fiddle player Ric Sanders, plus John Tams, one of folk music's most distinctive and highly regarded vocalists. The immediate result was a lively traditional based album The Prospect Before Us under the name The Albion Dance Band. In 1978 they shortened the name to The Albion Band (which has remained the basis of the group's identity since) and released, under Tams' direction, what is usually considered the finest album in the long history of the band Rise Up Like the Sun (1978).

Shows
The band took part in a 1977 TV show Here We Come A-Wassailing and in 1978–9 collaborated with playwright Keith Dewhurst for a stage adaptation of British author Flora Thompson's Lark Rise to Candleford, tracks from which were released as an album in 1980. In fact, while one line up of the band was working on the latter project at the National Theatre, Hutchings took a different line up on the road for a UK tour in the early summer of 1979. That version of The Albion Band featured Melanie Harrold on acoustic guitar and vocals, Barry Dransfield on fiddle, dulcimer and vocals, Ashley Hutchings on bass, Dave Mattacks on drums, Martin Simpson on guitar and banjo, and two electric guitarists, Andy Roberts and Doug Morter. The Albion Band was probably at the height of its mainstream profile at this point, with the single "Poor Old Horse" (a track from Rise Up Like the Sun) being selected as a "Record of the Week" on BBC Radio 1 and the band getting its own BBC Arena documentary that explored their work. While Hutchings was more interested in pursuing theatrical possibilities, many members of the band wanted to be a touring and recording band and, despite critical acclaim, this line-up split. Tams, Taylor and Gregory went on to form the nucleus of Home Service. Live material from this period has been released in Songs from the Shows (1997 and 1999) and The Guvnor, Vols 1-4 (1996–2004).

Reformation and stability (1980–1990)
Hutchings reformed the band around the nucleus of the remaining ex-Fairporters Nicol and Mattacks. He added three members of Cock and Bull (Dave Whetstone, Jean-Pierre Rasle and John Maxwell) and for the first time on record, opted for a lead female vocalist in Cathy Lesurf of the Oyster Band, whose tones characterize most recordings from this era. An album from this relatively stable period was Light Shining (1983), on which most of the tracks were original material. However, the reputation of the album has since been marred by accusations that Hutchings plagiarized one of its songs, "Wolfe," from "Northwest Passage" by Canadian folksinger Stan Rogers.

Shuffle Off (1983) followed, after which Nicol and Mattacks left to reform Fairport Convention. Phil Beer on guitar/fiddle/vocals, Doug Morter on guitar/vocals and Trevor Foster on drums joined the band, and Under the Rose (1984), A Christmas Present From The Albion Band (1985) and The Wild Side of Town (1987) followed, the last of which was based on a five-part BBC television series presented by Chris Baines. The line-up then shifted with Martin Bell joining on violin before the release of Stella Maris in (1987). Martin Bell and Cathy Lesurf then left and the group were joined by Simon Care and John Shepherd. This was the most stable lineup in the band's history in terms of albums, producing three: I Got New Shoes (1988), Give Me a Saddle and I'll Trade you a Car (1989) and 1990 in the year of that name.

Acoustic period (1990–97)
In 1990 they were joined by singer-songwriter and instrumentalist Julie Matthews, but although they toured they produced no albums before her departure in 1993. Some sessions from this line-up surfaced as Captured in 1995. Trevor Foster and Phil Beer left and were temporarily replaced by virtuoso acoustic guitarist Keith Hinchliffe shifting the emphasis away from electric instruments. In 1993 Hutchings decided to follow this trend turning the band into a small four piece unit comprising himself, Julie Matthews' replacement Chris While, original member Simon Nicol, and Ashley Reed on violin. This allowed them to play small folk club, pub and college venues and gave the Band a whole new direction, now drawing on contemporary songwriters like Beth Nielsen Chapman and Steve Knightley as well as the internal songwriting talent of While and Hutchings. The first studio album of this period Acousticity (1993) had a more lively and contemporary feel, aided by Reed's energetic playing.

In 1995 Reed left and Matthews returned to the band to add her vocal, instrumental and songwriting talents. The resulting album, Albion Heart (1995), is usually considered the best of this later period and marked the beginning of While and Matthews' long and productive partnership. It was also unusual for the lack of traditional folk instruments and the four were soon joined by violinist and mandolin player Chris Leslie for the last recording of this era Demi Paradise (1996), before Leslie left for Fairport Convention and While and Matthews for solo and joint projects. Live performances of this era have been released as Acousticity on Tour (2004) and Albion Heart on Tour (2004).

Multi-generational phase (1997–2002)
The last phase of the full band would be based around a return to a more traditional rock format and the incorporation of two generations of musicians. Hutchings called in experienced guitarist and writer Ken Nicol and added newcomers Joe Broughton on fiddle and Neil Marshall on drums. Female vocals were supplied by Kellie While and Gillie Nicholls, who were guests on the first studio album of this era, Happy Accident (1998). Gillie Nicolls was a full member of the band for the second outing Before Us Stands Yesterday (1999), but was then replaced by Kellie While for the recording of The Christmas Album later that year and for Road Movies (2001), their last studio project. Ken Nicol left to be replaced by Pete Zorn, but it was becoming increasingly hard to find venues of a suitable size and in 2002 it was decided to suspend the band.

Their 1999 album Ridgeriders also saw them reunite with former members of the band.

Albion Christmas
While Hutchings continued to pursue other projects he revived the Albion Band in an acoustic format for seasonal tours in 2005, allowing them to play smaller venues which could usually be easily filled. The line-up is based around Simon Nicol, Kellie While and multi-instrumentalist Simon Care. The results have been three further seasonal albums: An Albion Christmas (2005), Winter Songs (2006), and Snow on Snow (2008). A fourth album Traditional (2009) is a compilation of tracks from the preceding three which excludes spoken word recordings.

The Albion Band reborn
In July 2011, Hutchings announced that the Albion Band would be forming again, and for the first time he himself would not be a member. Instead he passed the baton to his son – the guitarist and singer Blair Dunlop. This new line-up also features a number of other current folk performers from a range of backgrounds reflecting earlier versions of the Albion Band. These members include Folk Award nominee Katriona Gilmore (Tiny Tin Lady, Gilmore/Roberts) on fiddle and vocals, vocalist, concertina player and guitarist Gavin Davenport (Crucible, Glorystrokes, Hekety), drummer Tom Wright (Eliza Carthy projects/Glorystrokes), and Tim Yates (Blackbeard's Tea Party/The QP) on bass - only the second bass player in the band's history, and lead guitarist and relative newcomer Benjamin Trott. This line-up released an own label EP Fighting Room in 2011 and their first studio album Vice of the People in 2012.

On 10 January 2014, Dunlop announced the friendly dissolution of the band "in the current incarnation", to allow its members to pursue individual projects. In his letter, he stated that they will undoubtedly work together in the future.

While the primary Albion Band is no longer active, the Albion Christmas Band (still featuring Ashley Hutchings, Simon Nicol, Simon Care and Kellie While, with occasional appearances by Blair Dunlop) continues to release new albums, and mounts annual UK tours in November and December.

Band members
Past members include:

 * Steve Ashley - vocals, guitar, harmonica, whistle, (1972)
 * Francis Baines - hurdy-gurdy (1971)
 * Phil Beer - vocals, guitar, mandolin, violin (1984–1991)
 * Martin Bell - vocals, violin, synthesizer (1986–1987)
 * Dave Bland - concertina (1971)
 * Joe Broughton - violin (1997–2002)
 * Pete Bullock - piano, synthesizer, saxophone, clarinet (1977–1981)
 * Bill Caddick - vocals, triangle (1979–1981, died 2018)
 * Simon Care - concertina, melodeon (1988–1992)
 * Martin Carthy - vocals, guitar (1973, 1978–1980)
 * Alan Cave - bassoon (1971)
 * Dolly Collins - piano (1971; died 1995)
 * Shirley Collins - vocals (1971, 1976–1977, 1978–1980)
 * Lol Coxhill - saxophone (1971; died 2012)
 * Trevor Crozier - Jew's harp (1971)
 * Sue Draheim - violin (1972; died 2013)
 * Barry Dransfield - violin, dulcimer, vocals (1971, 1979)
 * Howard Evans - trumpet (1978–1981; died 2006)
 * Trevor Foster - drums (1983–1991)
 * Michael Gregory - drums (1976–1981)
 * Tony Hall - melodeon (1971)
 * Sue Harris - oboe, hammered dulcimer, vocals (1973)
 * Melanie Harrold - flute organ, guitar, vocals (1979)
 * Keith Hinchcliffe - guitar (1992)
 * Eric Hine - keyboards (1987)
 * Ashley Hutchings - bass guitar, vocals (1971–2002)
 * Nic Jones - violin (1971)
 * John Kirkpatrick - vocals, concertina, melodeon, accordion (1971, 1973, 1979–1980)
 * Chris Leslie - vocals, violin (1995–1996)
 * Cathy Lesurf - vocals (1982–1988)
 * Alan Lumsden - ophicleide (1971)
 * Neil Marshall - drums (1998–2002)
 * Dave Mattacks - drums, keyboards (1971–1972, 1976–1978, 1979, 1983)
 * Julie Matthews - vocals, keyboards, guitar (1991–1992, 1995–1997)
 * John Maxwell - vocals, drums, percussion (1982–1983; died 2001)
 * Steve Migden - French horn (1971)
 * Doug Morter - guitar, vocals (1979–1980, 1983–1985)
 * Gillie Nicholls - vocals, guitar (1998–1999)
 * Ken Nicol - vocals, guitar (1998–2002)
 * Simon Nicol - vocals, guitar (1971–1978, 1982–1983, 1993–1996)
 * Philip Pickett - recorder, shawms, crumhorn, bagpipes (1976–1979)
 * Roger Powell - drums (1971)
 * Maddy Prior - vocals (1971)
 * Brian Protheroe - keyboards, vocals (1979–1981)
 * Jean-Pierre Rasle - recorder, crumhorn, bagpipes (1982–1983)
 * Ashley Reed - violin, vocals (1993–1994)
 * Tim Renwick - guitar (1971)
 * Andy Roberts - electric guitar, vocals (1979)
 * John Rodd - concertina (1976–1977)
 * Colin Ross - northumbrian small pipes (1971; died 2019)
 * Ric Sanders - violin (1977–1979)
 * Steve Saunders - trombone (1979–1980)
 * John Shepherd - keyboards (1988–1990)
 * Martin Simpson - banjo, guitar, vocals (1979-1980)
 * John Sothcott - vielle, crumhorn, citole (1976–1977)
 * Roger Swallow - drums (1972–1973)
 * John Tams - vocals, melodeon (1976–1981)
 * Graeme Taylor - guitar (1976–1981)
 * Linda Thompson - vocals (1972)
 * Richard Thompson - guitar (1971, 1972)
 * Eddie Upton - vocals, caller (1976–1977)
 * John Watcham - concertina (1972, with the Albion Morris Men)
 * Lal Waterson - vocals (1971; died 1998)
 * Mike Waterson - vocals (1971; died 2011)
 * Dave Whetstone - vocals, concertina, melodeon, guitar (1982–1984)
 * Chris While - vocals, guitar (1993–1997)
 * Kellie While - vocals, guitar (1999–2002)
 * Ian Whiteman - piano (1971)
 * Royston Wood - vocals, concertina, percussion (1971, 1972; died 1990)
 * Pete Zorn - saxophone, vocals (2002; died 2016)

Singles

 * "Hopping Down in Kent" b/w "Merry Sherwood Rangers" (Harvest HAR 5113, 3 Sep 1976)
 * "The Postman's Knock" b/w "La Sexte Estampie Real" (Harvest HAR 5128, 1977)
 * "Poor Old Horse" b/w "Ragged Heroes" (Harvest HAR 5156, 1978)
 * "Pain and Paradise" b/w "Lay Me Low" (Harvest HAR 5175, 1979)
 * "Wings" (1998)

Albums

 * As the Albion Country Band
 * No Roses (Pegasus PEG-7, 1971) with Shirley Collins
 * Battle of the Field (Island Records HELP 25, 1976)

 * As the Albion Dance Band
 * The Prospect Before Us (Harvest SHSP 4059, 1977)
 * Shuffle Off (Spindrift Records SPIN 103, 1983)
 * I Got New Shoes (Making Waves SPIN 132, 1987)
 * Dancing Days Are Here Again (Talking Elephant, 2007)
 * Rockin' Barn Dance (Talking Elephant, 2009)

 * As the Albion Band
 * Rise Up Like the Sun (Harvest SHSP 4092, 1978)
 * Lark Rise to Candleford (Charisma CDS 4020, 1980) (credited to Keith Dewhurst & The Albion Band; "Various Artists" on the record label)
 * Light Shining (Albino ALB 001, 1983)
 * Under The Rose (Spindrift Records SPIN 110, 1984)
 * A Christmas Present from the Albion Band (Fun/Tracer, 1985)
 * Stella Maris (Making Waves SPIN 130, 1987)
 * The Wild Side of Town (Celtic Music CM 042, 1987) - with Chris Baines
 * Give Me A Saddle, I'll Trade You A Car (Topic 12TS454, 1989)
 * 1990 (Topic 12TS457, 1990)
 * Songs from the Shows, v. 1 (Albino, 1990)
 * Songs from the Shows, v. 2 (Albino, 1991)
 * Live in Concert (BBC, 1993)
 * Acousticity (HTD/Transatlantic, 1993)
 * Captured (HTD, 1995)
 * Albion Heart (Making Waves, 1995)
 * Demi Paradise (HTD, 1996)
 * Live At The Cambridge Folk Festival (BBC/Strange Fruit, 1996)
 * The Acoustic Years: 1993-1997 (Castle, 1997)
 * Songs From The Shows (Road Goes On Forever, 1997)
 * Happy Accident (HTD/Transatlantic, 1998)
 * The BBC Sessions (BBC/Strange Fruit, 1998)
 * Along The Pilgrim's Way (Mooncrest, 1998)
 * The Best of 89/90 (HTD 1998)
 * Albion Sunrise—HTD Recordings: 1994-1999 (HTD, 1999)
 * Albion Heart (HTD 1999)
 * Before Us Stands Yesterday (HTD, 1999)
 * Christmas Album (HTD, 1999)
 * The HTD Years (HTD, 2000)
 * Road Movies (Topic, 2001)
 * An Evening with The Albion Band (Talking Elephant, 2002)
 * No Surrender (Snapper Music, 2003)
 * Acousticity on Tour (Talking Elephant, 2004)
 * Albion Heart on Tour (Talking Elephant, 2004)
 * Albion Sunrise - HTD Recordings: 1994-1999 (HTD, 2004)
 * The Albion Band Live in Concert (Talking Elephant, 2007)
 * Vintage Albion Band (Talking Elephant, 2007)
 * Natural and Wild (Talking Elephant, 2009)
 * Vintage II On The Road 1972-1980 (Talking Elephant, 2010)
 * Another Christmas Present (Talking Elephant, 2010)
 * Fighting Room (own label, 2011)
 * Vice of the People (Powered Flight Music, 2012)

 * As the Albion Christmas Band (Ashley Hutchings, Simon Nicol, Simon Care, Kellie While)
 * An Albion Christmas (Talking Elephant, 2003)
 * Winter Songs (Talking Elephant, 2006)
 * Snow On Snow (Talking Elephant, 2008)
 * Traditional (Talking Elephant, 2009) compilation of tracks from the previous three albums, excluding spoken word recordings
 * A Sound In The Frosty Air (Rooksmere Records, 2011)
 * One For The Road (Rooksmere Records, 2014)
 * Magic Touch (Talking Elephant, 2016)
 * All Are Safely Gathered In (Talking Elephant, 2022)

 * Other names
 * Yuletracks (1986)
 * Ridgeriders (1999) the album's band name includes the list of the performers separately, as well as saying with The Albion Band and Julie Matthews

 * Contributing artist
 * Steve Ashley - Stroll On (Gull Records, 1974) - performing on Lord Bateman
 * The Rough Guide to English Roots Music (World Music Network 1998)

DVDs

 * In Search of English Folk Song (1997 BBC film directed by Ken Russell) featuring Fairport Convention, Donovan, Osibisa, Eliza Carthy, The Albion Band, Waterson–Carthy and Edward II. Reissued on DVD in 2008, but for Region 1 only

title: The Albion Band


text:
Talk:Professional wrestling holds

Reverse chin lock
How about the reverse chin lock? I mean the move where the victim is sitting and the attacking wrestler kneels down and puts then in a chin lock from behind. It's a pretty common move, but not specifically documented here. Maxwell7985 (talk) 20:48, 23 April 2008 (UTC)

STF-U is STS??
The fact is, Cena does the STS version a few times, mainly during no DQ matches. If you've watched his recent STF-Us, he does the Facelock version. http://www.wwe.com/superstars/raw/johncena/stfuphotos/. Images, 4, 5, 6, 7, 8, 9 are facelock. The rest is sleeper holds. It is a facelock much like Benoit's Crippler Crossface. He has also done the sleeper version. But you don't call his Crossface a sleeperhold.
 * Rear naked choke - that isn't a facelock. Notice how Benoit's crossface goes around the face covering the nose and mouth, as seen at Crossface.jpg, while Cena's goes around the neck. Image 6 isn't applied correctly as evidenced by image 7 which shows that it's around the neck and not around the mouth while 8 and 9 you can't see where he's holding Edge because of his hair and Edge facing downwarss, which I might add would be impossible if it was a facelock as facelocks pull back on the head. It's a sleeper hold. --- Lid 01:41, 2 July 2006 (UTC)

Cena's STFU is sold as a facelock. He puts his arms around their necks, but he puts pressure on their jaws and pulls them back much like a crossface, as evident from Cena's recent matches, and as in the pictures mentioned above. Image 7 clearly shows that it was on the jaw area. On the images 8 & 9, it is a facelock, as clearly shown by the way he positioned his arms. The one he did on Angle and Masters are truly chokeholds. In which then we can safely say, it's an STS.

 * It can't be a facelock if it doesn't go around the face or pull back on the face, at best right now from your description it sounds like a Stepover Toehold Rear Chinlock when he uses the clasped hand read naked choke. --- Lid 01:59, 2 July 2006 (UTC)

 * I'm checking out the images, especially the ones pointed out, and the only thing I see that might be a facelock is 9, but only because Edges hair is in the way, and judging from 8 it's probably not. -- Bdve 02:19, 2 July 2006 (UTC)

http://www.wwe.com/content/media/video/tvshows/raw/200605/052906/r052906nitrocena?section=%2Fsuperstars%2Fraw%2Fjohncena%2Frawvideos%2F Watch the 0:40 mark. Facelock. http://www.wwe.com/content/media/video/tvshows/raw/200604/2514414/r041006handicap?section=%2Fsuperstars%2Fraw%2Fjohncena%2Fcenavstriplehvids%2F Watch the 2:25 mark. Facelock. And these are from his recent matches. Even from the pictures I have mentioned, there are none that would come across as a Rear naked choke, except 8 & 9, my mistake. -- CWar 03:05, 2 July 2006 (UTC)
 * Those are both sleeper versions. His arm is around the neck. this is a facelock. Arm around the face.
 * That was me, as is this. -- Bdve 03:18, 2 July 2006 (UTC)

His arms weren't even on the neck. It was the head, and he pulled it up like the Crossface. I guess you can say it's a chinlock. But it's definately not a sleeper. -- CWar 04:42, 3 July 2006 (UTC)
 * Have you seen a sleeper during a restling match? 9/10 they aren't around the neck either because if it is it can be a legitimite bloodchoke. --- Lid 06:26, 3 July 2006 (UTC)

Yes, in most wrestling matches, sleeper holds aren't directly applied to the neck, mostly jaw area. But it is given the impression as such because the victim tucks their necks in, so that it looks like he is being choked. Whereas in STF-U's case, especially in the videos and the above mentioned images, the victim's necks are clearly exposed while Cena pulls away at their jaw areas. I am not saying that STF-U isn't a STS. He has done the STS version a couple of times. But there is no way to say that the version he has been doing since about No Way Out is still a STS. -- CWar 06:42, 3 July 2006 (UTC)

Regardless of whether or not John Cena uses a form of the STS or the STF, it is not relevant to the discussion of the move. Thus, it has no business being in the encyclopedia article since it does not describe the move, its origin, or its place of first fame. Please do not continue putting it in the encyclopedia entry.

I've got a solution so everyone will be happy. How about we say it's an STF or an STS ? (Like in CM Punk's Anaconda Vice, which is either an Anaconda Vice or an Arm Triangle Choke. Kickurass00 21:11, 3 January 2007 (UTC)
 * It's not relevant to this article«»bd(talk stalk) 00:52, 4 January 2007 (UTC)

Muta Lock?
I was under the impression that the "Muta Lock" is properly called an "Inverted STF." Because that's pretty much what it is. --Pathogen 08:30, 12 May 2006 (UTC)
 * In Japan it is called the "Prison Hold." "Inverted STF doesn't work because the move does not involve a stepover toehold, but rather a Reverse Indian Deathlock.

Texas Cloverleaf
The picture used doesn't accurately depict a Cloverleaf.
 * Yeah it is. It's not the best picture of one possible, but it's a Texas Cloverleaf.Bdve 06:25, 22 July 2006 (UTC)
 * It doesn't look like a cloverleaf. The wrestler seems to be hooking the wrong leg.83.233.58.40 15:28, 16 July 2007 (UTC)

Inside Cradle & School Boy Pin
I think the different types of pins (including Sunset Flip) need a better spot than just under Misc. considering how frequently they're used and how many there are. And I don't see the very basic Inside Cradle on any wrestling move article. Maybe someone categorized it under a different name, but that seems unlikely. I'm going to add it to Misc. and I may add the School Boy roll up also. If they're already added, you can delete mine and please direct me to where they are. User:Caleson August 1, 2006
 * Pinfall (professional wrestling)Bdve 23:38, 1 August 2006 (UTC)

Surfboard
Rob Van Dam i have a picture of surfboard his chair dropkick to a person seated on the bottom turnbuckle and am very sure it doesn't fit with corner to corner dropkick so where should it go??

TOC to the right?
Should we move the Table of Contents on this page (and other lists like this) over to the right like it is on Pinfall (professional wrestling)? -- bd (talk to me) 03:58, 20 September 2006 (UTC)

 * That should only be used for pages with a low image count and/or a short length. This one is neither and think it should keep the TOC at it's position. –– Lid(Talk) 04:21, 20 September 2006 (UTC)

 * Good call on the images, which I didn't even consider. -- bd (talk to me) 04:23, 20 September 2006 (UTC)

Belly to Back Wristlock/Barely Legal
I just added this tonight under Arm locks:

Belly to Back Wristlock

From behind a seated opponent, the attacker pulls upward the opponent's elbow while pushing his palm back into the attacker’s chest. This causes pressure on the opponent’s wrist and potential stretching of the triceps and teres major muscles. The hold was frequently used by Barry Darsow under the name Breaker 1-9 and later as Barely Legal.

I originally had it under the general Arm locks but now put it specifically under Wristlocks. Would this actually constitute as a wristlock, and if not, what should the generic name be? The attacker doesn't actually hold the wrist; he presses it against his own chest while forcing the victim's elbow back. Thanks. Cale 01:26, 15 November 2006 (UTC)

Wrist Clutch needs to be added.
Wrist Clutch needs to be added in Transition holds

Inverted or Reverse
I was wondering the difference between an inverted move and a reverse move. For example, the indian death lock has 2 modifications on this page. The inverted and reverse indian death locks. However, the reverse indian death lock says it's a modification of an inverted indian death lock. So wouldn't the proper name be a reverse, inverted indian death lock? Thank you.
 * In truth there is no difference. Names of move variations generally depend on the commentator calling them.«»bd(talk stalk) 21:13, 27 February 2007 (UTC)

Although commentators of varying intelligence get these wrong, technically speaking a "Reverse" variation is one in which the motion of the maneuver is the opposite of normal, i.e. Russian Leg Sweep = sweep backwards, Jeff Jarrett's Stroke = sweep forward, so it's a Reverse Russian Lg Sweep. "Inverted" means the motion is performed the same way but the opponent is in the reverse position, i.e. DDT = Falling Front Facelock, Sting's Scorpion Deathdrop = Inverted DDT because the opponent is bent backwards and face-up instead. —Preceding unsigned comment added by Enigmatic2k3 (talk • contribs) 05:54, 21 December 2007 (UTC)

WP:OR
Sources need to be added. At the moment this is original research. ŞůṜīΣĻ ¹98¹ Speak 23:15, 8 June 2007 (UTC)

Airplane Spin
I don't recall seeing it being a fireman's carry as often as I've seen it being used with the opponent in a crucifix position.

 * Different move, the crucifix version is a throw, the spinning crucifix toss. –– Lid(Talk) 12:49, 13 June 2007 (UTC)

Cattle Mutilation
While I love Danielson, Poison Sawada JULIE was doing the sit-down version of the Cattle Mutilation for years before Danielson was even in training, I believe it would be a good idea to mention him, as well as the sitting variation as well. -- Spunk —Preceding unsigned comment added by 69.252.199.133 (talk) 01:53, 5 January 2008 (UTC)

Six Seconds Magic
How do some people called the Six Seconds Magic properly or techically? jlog3000 (talk) 14:41, 14 February 2008 (UTC)

It looks like a flying arm bar, but if you need to describe it you would have to state that the opponent remains standing ThePurple🤔netalk 12:21, 23 March 2018 (UTC)

Cobra Clutch
The cobra clutch is much similar to the sleeper hold, but more like a tazzmision, but you pull the free arm. The most recent cobra clutch that WWE has brought is a move on Smackdown vs Raw 2008

Without wanting to delete, does this actually make sense to anyone? Вlaz zeee   ♦  16:46, 5 April 2008 (UTC)

 * I don't think anyone will object if this is deleted; I just saw there already is a Cobra Clutch section! -- Вlaz zeee   ♦  21:09, 5 April 2008 (UTC)

Airplane spin
Numerous articles link to this one for the hold "Airplane spin." However, that hold is not present on this page. Is it even a hold? Said move is not present on any of the pro wrestling move pages. I've never seen it performed. Could someone who knows more about it add it to the appropriate page? Gavyn Sykes (talk) 18:06, 12 May 2008 (UTC)

It is an obsolete move, seldom seen in contemporary pro wrestling. A standing fireman's carry where the opponent is suspended on across the shoulders of the practitioner. The worker then "spins" in place. It's hey-day was in the 1950s when it was seen as a "flashy" maneuver for the TV fans. It is a move designed to disorientate rather than to submit. I also wonder if its absence has more to do with the fact that's it more of a "move" than a "hold." —Preceding unsigned comment added by 75.80.60.230 (talk) 19:12, 7 February 2009 (UTC)

Missing hold
There's a missing hold that, as far as I know, is usually just called a "leg grapevine" or something similar. It starts with a spinning toe hold, like a figure four, but the attacking wrestler just drops down and does a lock on the one leg. Surely experienced fans know what I'm talking about. It should be added. Maxwell7985 (talk) 05:32, 5 January 2009 (UTC)
 * It should only be added when there is a source that proves its existence and describes the move. Nikki  ♥  311  06:35, 5 January 2009 (UTC)

How about Kurt Angle adding grapevine while performing ankle lock. Isn't that a proof of it's existence? —Preceding unsigned comment added by Azihade (talk • contribs) 08:07, 25 February 2009 (UTC)

Reverse figure four leglock??
from reading the descrition of the Reverse figure four leglock it's basically the same as the regular figure four, except "Spinning toehold" is replaced with "turning 90 degrees", which is technically what a spinning toe hold does. What's the difference here? I think the Reverse figure four leglock is not described right, I've read that the "Reverse Figure Four" is a term used for the Sharpshooter. MPJ-DK (talk) 12:08, 23 February 2009 (UTC)

Indian Deathlock confused for Inverted Indian Deathlock
This is really bugging me as I can't find any proof that those observing this page will accept, but you have the move descriptions for the Indian Deathlock and the Inverted Indian Deathlock reversed!

Quoted from the Indian Deathlock article: "A standing version can also be applied which sees a standing wrestler place one of his legs between the legs of a face-down opponent and then bends one leg behind the leg of the wrestler, placing it on top of the knee pit of the opponents other leg. The wrestler then picks up the straight leg of the opponent, bends it backwards to lock the other leg in the knee pit and places the foot in front of the shin of the standing leg in the knee pit, thus locking the leg. Inverted Indian deathlock With the opponent on his back, the wrestler standing beside him, sits with his leg over and between the opponent's legs (often using a legdrop to the knee). Then places the opponents far leg in the knee-pit of the near leg, finishing the submission by putting the opponents ankle on top of his own ankle and rolling both onto their bellies and pushing back with the wrestlers ankle."

Definition of Inverted Indian Deathlock quoted from cow wrestling (http://www.cow-wrestling.com/cow-blog/data/0087.html): "Grab both feet of a facedown opponent, cross his left ankle into the crook of his right knee, and then bend the right leg at the knee to apply pressure (using either your hand or your right knee). "

Supporting definition from the Big Book of Wrestling Holds (http://deathvalleydriver.com/bbbowm/part2.htm): "The victim is face down on the mat, the attacker crosses of the victim's ankles into the crook of the victim's other knee. The attacker uses the back of their leg to apply pressure to the victim's leg that is up and puts their leg in between the victim's entangled legs. Then the attacker can stand and apply pressure, or may fall backwards applying pressure to the victim's legs."

Definition of Indian Deathlock from cow wrestling (http://www.cow-wrestling.com/cow-blog/data/0117.html): "Grab both feet of a fallen opponent, and cross them beneath each other (as if sitting "Indian style"). Place your shins on his knees, and lean forward to apply pressure. "

Supporting definition from the BBOWH: "The victim is on their back. The attacker has the victim's legs crossed as if the victim was sitting "indian style". The attacker places his knee on the shins of the victim's crossed legs and applies pressure to the victim's knees. "

Anywho: Indian Deathlock = British Figure Four and the opponent is face up. Inverted Indian Deathlock is when the opponent is face down. I'm editing the pro wrestling wikia (http://prowrestling.wikia.com/wiki/Wrestling_holds) and I suggest anyone to go there for a more complete move list.ChristianColde (talk) 01:38, 23 April 2009 (UTC)

Anaconda Vice?
I think that the description of the Anaconda Vice could be done a bit better. Read the very first sentence. The Anaconda Vice is NOT a move from Judo or BJJ, only similar to an arm triangle. For some reason, the next sentence says that it in fact IS an arm triangle. What is the difference?

Well, the Anaconda vice wraps the opponents hand back towards the mat, and the hands grab their wrist, from the images I've seen of CM Punk. This is not a legit armlock, and it only is possible to cut off the blood from one side of the neck, while also leaving the windpipe open.

The BJJ version has their arm draped over their face, an arm threaded underneath the arm, behind the head, and grabbing the bicep, and then the other arm grabbing either their head or your own, for extra tightness. Completely different move. --Outi-Di (talk) 07:34, 9 October 2009 (UTC)

The "beard grip" ?
The "beard grip" was shown for the first time at Sydney Stadium on September 11 [1933], when "Whiskers" Blake met Tom Lurich in a wrestling match. In this picture Lurich has a firm grip on his opponent's beard. The Courier-Mail, Saturday 16 September 1933. --Jaanusele (talk) 18:46, 23 November 2009 (UTC)

Tilt-a-Whirl
Can we please stop whoever keeps trying to change 'Tilt-a-whirl' to 'Tilt-the-world'? The move has never been called a 'tilt-the-world', and the move is named after the 'Tilt-a-whirl' ride. 'Tilt-the-world' has no basis in it's name, and it's only one person who keeps changing it back. 96.225.104.235 (talk) 22:03, 8 March 2010 (UTC)
 * I have tried to contact the person on their talk page, but they so far have refused to reply. Nikki  ♥  311   02:15, 9 March 2010 (UTC)
 * Seriously, can we do something about this? The same user seems to be intent on keeping it as the wrong term, with no sourcing, and refuses to give any real reason for his edits.  It's getting ridiculous and there seems to be no way to stop him from changing it back almost immediately to keep his errant term.  96.225.104.235 (talk) 17:46, 15 March 2010 (UTC)
 * I put a level 3 warning on user's talk page regarding changing other people's talk comments. There's a WP:ANI administrator's notice board. There's also the WP:VAND with instuctions on how to place your own warnings. A user usually needs to go past a final warning (level 4) before being blocked. The most powerful one-time template is Template:Uw-vandalism4im but only use this for blatant vandalism. Stillwaterising (talk) 17:38, 21 March 2010 (UTC)

Chris Benoit hold; what was it?
In the Chris Benoit - Sid Vicious match from WCW Souled Out 2000, there is a move which Benoit performs, described as follows: Sid is on his stomach. Benoit is standing, facing Sid's feet. Benoit crosses Sid's legs at the ankle, with Sid's right foot forward. Benoit places his right foot between where he has crossed Sid's feet, locking Sid's feet in place. Benoit then arches backward, with hands locked and reaches under Sid's jaw, and stretches forward, in a bow-and-arrow type hold. Was this a one-off hold on Benoit's part, or was this a regular move? And if it was a regular move, did it have a name??

If my description confuses you, I have the footage of the match in question, culled from the Chris Benoit "Hard Knocks" WWE DVD, which I can send to whoever for reference. —Preceding unsigned comment added by Blozier2006 (talk • contribs) 03:09, 13 August 2010 (UTC)

That move sounds familiar. IIRC, Triple H did almost exactly the same move to Benoit during one of their PPV matches(face-down, ankles crossed, rear-bridging chin-lock). —Preceding unsigned comment added by 218.186.9.252 (talk) 15:47, 28 September 2010 (UTC)

Actually, after reading through the description of the STF, it sounds almost exactly like an inverted STF(ie, the attacking wrestler is lying face-up rather than face-down on the opponent). —Preceding unsigned comment added by 218.186.9.252 (talk) 15:57, 28 September 2010 (UTC)

Chicken wing
Did someone remove the "Chicken Wing" section? I could have sworn there was such a section(and looking at various wrestlers' pages suggests that there was in fact such a section at some time in the past). —Preceding unsigned comment added by 218.186.9.252 (talk) 15:45, 28 September 2010 (UTC)

Front Chancery
"The wrestler faces the opponent while both are in same position (prone or standing). The wrestler then places his/her forearm under the opponent's chin and his/her armpit on top of the chin. The wrestler may also underhook the opponent's arm with his/her free arm."

Can this be changed, as it makes absolutely no sense whatsoever. —Preceding unsigned comment added by 85.158.139.227 (talk) 23:15, 27 October 2010 (UTC)

Cross armbar
Currently, the section describes a belly-down armbar where the other wrestler is lying "prone".--Razionale (talk) 12:40, 18 June 2011 (UTC)

"Cross armbar

The wrestler sits on either side of an opponent who is lying prone on the mat, with the wrestler's legs scissoring one of the opponent's arms. The wrestler then grabs hold of the wrist of that arm, pulling it upwards, causing hyper-extension of the shoulder and elbow."

But from the name "cross armbar", you'd think of something like this.--Razionale (talk) 14:44, 22 June 2011 (UTC)

Lotus Lock
I've seen this move described as a Full Nelson applied with legs. Is there any way we can insert that into the description without it reading too clunky? See here: http://www.gifsoup.com/view6/2595743/lotus-lock-o.gif compared to http://members.fortunecity.com/furnacehot/holds/image7.jpg — Preceding unsigned comment added by 218.186.18.235 (talk) 14:51, 27 October 2011 (UTC)

The STFU listed at Redirects for discussion
An editor has asked for a discussion to address the redirect The STFU. Please participate in the redirect discussion if you have not already done so. 70.51.203.69 (talk) 02:37, 22 June 2015 (UTC)

Natalya picture description
Any way to add in that she's illegally using the ropes for leverage? 180.129.62.248 (talk) 05:48, 3 October 2015 (UTC)

Nature of pro wrestling
Should it be explained that there is a popular perception that the whole of this "Manitoban Death Grip" business is a set of phony moves in a fake sport? 213.205.198.136 (talk) 14:03, 23 October 2015 (UTC)
 * Well apart from all the legitimate submission holds described, its otherwise rather redundant as everyone already knows pro wrestling a work as noted by this very site. 86.6.128.205 (talk) 10:26, 1 August 2016 (UTC)

Viewing on mobile
When viewing this page on mobile, some pictures with captions seem to be in the wrong place, for instance the picture of Mr Kennedy performing a fireman's carry appears in the electric chair section. This only seems to happen on mobile, since I looked at the article on my laptop and it looked fine. Is there any way to place the images that can prevent this? — Preceding unsigned comment added by ThePurpleOne73 (talk • contribs) 17:32, 12 February 2018 (UTC)

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title: Talk:Professional wrestling holds


text:
Wikipedia:WikiProject Tea/Type Guidelines

WikiProject Tea Type Guidelines are intended for articles such as Black Tea so that a standard way of presenting teas belonging to a class can be reached.

Listing teas
In the Black tea article a categorized list is used because the tea is so different depending on the growing region and they only share some common charectaristics. Alphabetical categorisation is used for the major blocks i.e. China comes higher than India and Sri Lanka.

In other articles the following is used to list the teas

Chinese White teas

 * Bai Hao Yinzhen: from Fujian Province, China
 * Bai Mu Dan: from Fujian Province, China
 * Shou Mei: from Fujian Province, China


text:
Wikipedia:Featured article candidates/Vampire lifestyle/archive1

Vampire Lifestyle
I am listing this article here because it appears to be complete, and has references and considerable collaboration which has made it quite good (in my opinion). Therefore I have listed it on peer review and am now nominating it for featured status. I guess this counts as a self-nomination. I think it would be good because it is on a very non-conventional topic, as well. I realise that there are no images, but there are truly no appropriate ones (we tried). Falcon 05:48, July 13, 2005 (UTC)
 * Object. This article looks like it was written by a practitioner of the vampire lifestyle, and is too POV to be a FA. Whig 06:28, 13 July 2005 (UTC)
 * object 1) cite your sources in a References section. 2) There are no images. 3) The writing seems a little repetitive to me, especially in the lead section. 4) I'd like to see more discussion on the origins of this subculture; can it be traced to a specific person or group? How far back do we have references mentioning such a lifestyle? slambo 11:05, July 13, 2005 (UTC)
 * Object. slambo above acurately summarizes the problems with this article. Phil s 16:57, 13 July 2005 (UTC)
 * Send to Peer Review due to the above comments. Zscout370 (Sound Off) 18:30, 13 July 2005 (UTC)
 * Comment: Although I don't object to this being sent back to peer review, I would question why nobody made these comments there when it was up there. Thank you all for the input, though.  Falcon 16:24, 17 July 2005 (UTC)
 * object per above. --Briangotts 02:58, 14 July 2005 (UTC)
 * Object per slambo and Whig. - Jersyko   talk  01:22, July 15, 2005 (UTC)
 * Object per all above. I have a history of trying to improve the page in question. The nominator (and a like minded individual) blocked my efforts with highly POV actions and personal attacks. I finally had to remove it from my watchlist to avoid seeing how awful it was and the continuous nonsense Falcon pulled. The idea that it would be a featured article is absolutely absurd. Now that there are additional editors pointing out how much the article needs to be improved, perhaps it finally will get done. DreamGuy 23:49, July 19, 2005 (UTC)

"Some self-styled vampires claim that, in order to replenish their vampiric energy, they will sometimes feed on the blood of other humans, but some will also feed on other things such as themselves, animals, plants and the elements" --- No, It is looked down upon HEAVILY to "feed" from onesself.