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Michael Hussey

Michael Edward Killeen Hussey (born 27 May 1975) is an Australian cricket coach, commentator and former international cricketer, who played all forms of the game. Hussey is also widely known by his nickname 'Mr Cricket'. Hussey was a relative latecomer to both the Australian one-day international and Test teams, debuting at 28 and 30 years of age in the respective formats, with 15,313 first-class runs before making his Test debut. With his time representing Australia, Hussey won multiple ICC titles with the team: the 2007 Cricket World Cup, the 2006 ICC Champions Trophy, and the 2009 ICC Champions Trophy.

However, he had a highly successful international career, being the top-ranked ODI batsman in the world in 2006. He played first-class cricket as vice-captain of the Western Warriors in Australia and played for three counties in England, as well as the Indian Premier League for the Chennai Super Kings. Michael Hussey announced his retirement from international cricket on 29 December 2012. He continued to play for Big Bash side Sydney Thunder after this date before announcing his retirement from all forms of cricket after the completion of the 2015–16 season.

Domestic career
Hussey initially played for his native Western Australian Warriors, and his career total of 6471 runs ranks eighth in the list of that state's run-makers in the Sheffield Shield. He then moved to England, where in July 2001 he scored an unbeaten 329 (a Northamptonshire club record) at Wantage Road in his side's 633 for six declared on the way to a 10-wicket victory. He later captained Northamptonshire. In August 2003 he surpassed his own Northamptonshire record, when he scored 331 not out against Somerset at Taunton.

When Hussey was playing for Australia A, the Australian reserve team, Allan Border once jokingly suggested he get match practice by staying in the nets for a full six hours; surprisingly, Hussey went on to do just that.

Indian Premier League
Hussey played for the Indian Premier League teams Chennai Super Kings and Mumbai Indians. He became the second batsman to score a century in the competition, after New Zealand's Brendon McCullum, making a score of 116 not out for Chennai against Kings XI Punjab in 2008.

Hussey won the tournament with Chennai in 2010. In 2011 he was the fifth-highest run-scorer in the competition, scoring 492 runs with a highest score of 81 not out, and in 2013 was the highest run-scorer with 733 runs, equalling the most runs by a batsman in an IPL season. He played for Mumbai in 2014 but returned to Chennai the following season.

In January 2018 he was appointed as Chennai's batting coach.

International career
Hussey earned a Cricket Australia contract in 2004–05 after excelling in the ING Cup. Statistically, Hussey's international career was very successful, with his career batting average in Tests being 51.52 and in ODIs 48.15. He was a very occasional medium pace bowler, bowling only 98 overs in his Test career, 23 of them in 2008. He was brought into the attack usually to give the pace bowlers a rest, although he was once brought on in India to stop Ricky Ponting getting a one-match ban for a slow over rate. On 28 December 2008, Day 3 of the Boxing Day Test, he got his first Test wicket, Paul Harris caught by Mitchell Johnson. He ended with figures of 1/22. He took two wickets in One Day Internationals.

One-day internationals
Hussey debuted for the Australian One-day team against India on 1 February 2004 at his home WACA ground in Perth. In this match Hussey made 17 not out helping Australia win the match by five wickets.

In the third Super Series match on 9 October 2005, Hussey became the first person to hit the roof of the Telstra Dome (the ICC World XI's Makhaya Ntini was the bowler in this case). On 6 February 2006, he tied with Adam Gilchrist, Andrew Symonds and Brett Lee on 22 votes for the Australian One-Day Player of the Year at the annual Allan Border Medal presentation. However, Symonds was ruled ineligible after an alcohol-related indiscretion, and after Lee and Gilchrist were eliminated on countback, Hussey was named the outright winner. Hussey had also come second overall in the Allan Border medal his first year in international cricket. On 3 November 2006, Hussey became the ICC's ODI Player of the Year at the annual ICC Awards in Mumbai. He was also named in its World ODI XI in 2006 and as 12th man in 2007.

On 18 September 2006, owing to Australia's rotation policy, and in Ricky Ponting's absence, Hussey captained Australia for the first time in the DLF Cup second round match against West Indies at Kuala Lumpur. Australia lost the game by three wickets, but Hussey and Brad Haddin put together a sixth-wicket partnership of 165, an ODI record for that wicket at the time.

In the 2007 Commonwealth Bank Triangular Series, Australia were in trouble while chasing a target against England, and in a later match New Zealand. Both times Hussey guided the Australians to victory, and on both occasions was the only recognised batsman at the crease at the end of the match.

Hussey led Australia in the Chappell–Hadlee Trophy after selectors rested captain Ricky Ponting and vice-captain Adam Gilchrist. The first match against New Zealand saw a 10-wicket loss, the first time Australia had lost by this margin in their One Day International history, although Hussey top scored with 42 off 96 balls. Hussey's record as captain was further marred when Australia lost the top place in the ODI rankings to South Africa for the first time since they were introduced in 2002 after losing to New Zealand two days later. Hussey top-scored for Australia with an aggressive 105 off 84 before another loss in the final match left him with a captaincy record of four losses from four matches.

In early 2007, Hussey had a major slump in form with an average of only eight in over 10 innings, which scarcely improved in the World Cup where he gained an average of 17.4 with 87 runs. However, this was also due to a lack of opportunities to bat because of Australia's top-order dominance.

In the fourth ODI in the Commonwealth Bank Series played at the MCG on 10 February 2008 against India, Australia's top order and middle order collapsed, which saw Hussey come in at 5/72 with the side in deep trouble. He made a 53-run partnership for the seventh wicket with Brett Lee (which was the highest partnership of the innings) until Lee fell to Pathan. Hussey batted through the rest of the innings, making an unbeaten 65 off 88 being the only Australian to really contribute to the poor total of 159.

In the first ODI of the 2008 Bangladesh ODI series, Hussey top-scored with 85 and received the man-of-the-match award. This coincided with his rise to second in the Reliance Mobile ICC ODI player rankings.

After initially being left out, Michael Hussey was named in the Australian 2011 World Cup squad as the replacement of Doug Bollinger after recovering from hamstring injury that needed surgery.

On 19 February 2012, Michael Hussey became the 13th batsman to score 5000 runs for Australia in ODI cricket, when he scored 59 runs against India at the Gabba.

Tests
Hussey made his Test debut at the Gabba in Brisbane on 3 November 2005, as a replacement for fellow Western Australian batsman Justin Langer in the Australia vs. West Indies series. In the first innings Hussey managed only one run, caught by Denesh Ramdin off the bowling of Daren Powell. In the second innings Hussey turned in an unimpressive 29. In the following Test, at Bellerive Oval, he scored 137 and 31 not out and was named man of the match. In the third Test at Adelaide Oval, Hussey was moved down the order to number five to accommodate the return of Langer. He made 133 not out in the first innings and 30 not out in the second, bringing his Test average to 120.

On being moved down the order, Hussey proved invaluable to the Australian team, often building impressive partnerships with the tail-end batsmen, the most impressive being a 107-run 10th-wicket partnership with Glenn McGrath in the second Test of South Africa's 2005–06 tour of Australia, where Hussey would make 122. Hussey continued his remarkable batting with tail-enders against Bangladesh in their Spring 2006 2-Test series when he and Jason Gillespie (as a nightwatchman) put together a 320-run partnership, with Hussey making a then career-best 182.

On 18 April 2006 Hussey set a record as the fastest player in terms of time to reach 1,000 Test runs. He reached the milestone in just 166 days. Hussey was also the fastest player to reach the top 10 of the LG ICC cricket ratings.

In the second Test of the 2006–07 Ashes, known affectionately as "Amazing Adelaide" due to Australia's improbable victory, Hussey made 91 before he was bowled (playing on) by Matthew Hoggard. In the second innings Australia was chasing 168 off 35 overs for victory for a chance to go 2–0 up in the series. After the fall of two early wickets, Ponting and Hussey, who was promoted to No. 4 instead of Damien Martyn, formed a steady partnership to guide Australia to victory. Ponting fell on 49 but the battle was well over. Hussey scored the winning runs and made 61 not out from 66 balls. His partner, Michael Clarke, scored 21 not out.

On 16 December Hussey scored 103 runs off 156 balls—his fifth Test century—on the third day of the third match of the series at the WACA Ground in Perth, his home ground. He maintained an exceptional average of 105.25 in the 2006–07 Ashes series, which Australia won 5–0. On 6 January 2007 after Australia's 5–0 Ashes whitewash, Justin Langer anointed Hussey to be the next leader of the team's victory song Under the Southern Cross I Stand.

In the First Test against Sri Lanka at the Gabba, Hussey scored his sixth Test century with a score of 133 runs off 249 balls. He was also part of a record-breaking fourth-wicket partnership with Clarke. Their 245-run partnership is the third-highest partnership for Australia against Sri Lanka in Test matches. In the following match of the Warne-Muralidaran Trophy, Hussey scored his seventh Test century with a score of 132 and following it up in the second innings with 34 not out.

On 6 January 2008, in the Second Test of the Border-Gavaskar Trophy at the SCG, Hussey scored his eighth Test century, against India. This was the first time he scored more than 50 runs at that ground. He ended up not out on 145, before Ponting declared. This would be Australia's 16th successive Test victory, as the Australians won in controversial circumstances. However, in the first innings of the next Test he scored his first Test duck.

Hussey registered his ninth Test hundred in the First Test of the 2008 Border-Gavaskar Trophy at M. Chinnaswamy Stadium in Bangalore.

Hussey claimed his first Test wicket against South Africa on the third day of the 2008 Boxing Day Test at the MCG, when Paul Harris skied a ball over Mitchell Johnson's head and the latter ran back and took a running catch as the ball fell down past his shoulder.

Hussey played in all five Tests of the 2009 Ashes Series in England, scoring 276 runs in 8 innings with a series average of 34.5. He scored two half centuries, one at Lord's in the Second Test, which England won, and one in the Third Test at Edgbaston, which ended in a draw. He scored his tenth Test century in Australia's second innings in the Fifth and final Test at The Oval, where he scored 121, potentially saving his Test career after a long run without a century. He also took five catches through the series.

In the summer of 2009/10 Hussey scored his eleventh Test century. Australia were playing Pakistan and were losing badly when Hussey proved his abilities in batting with the tail end, scoring an unbeaten 134 at the SCG. This innings with Peter Siddle, who scored 38, potentially saved the match as Australia went from a terrible position to a reasonable one and ended up winning the match with Hussey named man of the match for his heroic effort.

In the first Test of the Frank Worrell Trophy against the West Indies in 2009 at the Gabba, Hussey took his second Test wicket after Dwayne Bravo hooked a short ball straight to deep backward square leg which was caught comfortably by Ben Hilfenhaus.

Prior to the 2010/11 Ashes series, Hussey was experiencing poor form in the lead-up to the series with speculation that he could be dropped. He retained his Test position after registering a second innings century against Victoria in the Sheffield Shield on 20 November, a few days prior to the First Ashes Test. In the First Test, Hussey scored a magnificent 195, his highest Test score, in a partnership of 307 with Brad Haddin, the highest partnership ever at the Gabba, later broken by Alastair Cook and Jonathan Trott in the next innings; the Test ended in a draw. In the Second Test, he scored 93 in the first innings following up with a 52 in the next. The next match, at the WACA Ground, he helped Australia to a 267 run win scoring 61 and 116.

In the 2011 Test tour of Sri Lanka, Hussey scored 95 & 15 in the First Test which earned him the Man of the Match honour. In the second Test he made 142 and took two wickets, including a vital one in Kumar Sangakkara, and took a spectacular one-handed full length diving catch in the gully and also being rewarded with the Man of the Match honour. In the third Test, he made 118 in the 1st innings.

In the first Test Match of 2012, Hussey scored an unbeaten 150 not out to help the Aussies to 659/4(dec). He was involved in a 344 run partnership with Michael Clarke, who managed to score an unbeaten 329 not out. He was praised for his efforts and he once again cemented himself in the team after being under some serious pressure from critics and selectors.

Hussey started the 2012/13 Australian summer well with a century against South Africa in the first Test at the Gabba. A partnership with Michael Clarke proved to be vital, as the pair put on more than 200 runs during the fourth and fifth days. This feat was repeated in the 2nd Test at the Adelaide Oval with another century (103), and a 272 run partnership with Clarke.

Hussey registered his 19th and final Test hundred in the First Test of the 2012-13 Warne-Muralidaran Trophy at the Bellerive Oval in Hobart, an elegant 115 runs. He played his final Test at the Sydney Cricket Ground, the last of Australia's three match series against Sri Lanka. In the first innings he was run out by Michael Clarke for 25, while in the second he guided Australia to victory with 27 not out.

Twenty20 Internationals
Hussey was part of Australia's 2007 ICC World Twenty20 squad which was knocked out in the semi-finals. He played in all of Australia's matches, scoring 65 runs with a best of 37 before injuring a hamstring, which prevented his participation in Australia's tour of India that followed.

In May 2010, he scored 60 runs off 24 balls in the semi-final of the ICC World Twenty20 to help defeat Pakistan and secure a place for Australia in the final. It is considered to be one of the most stunning run chases in Twenty20 cricket.

Retirement
Hussey announced his retirement from international cricket after the 2012 Boxing Day Test in Melbourne. His last Test appearance was the New Year's fixture against Sri Lanka at the SCG in January 2013. He planned to play out the rest of the Australian summer in limited overs cricket but was surprisingly dropped with Australian selectors who were planning for the 2015 World Cup and gave Phillip Hughes and Usman Khawaja an opportunity at ODI level. Hussey explained that his motivation for his retirement was to spend more time with his family. He delayed his announcement until before the Sydney Test, fearing that he would be dropped before the Australian summer season was over.

Career best performances
Hussey scored 19 Test centuries and three ODI centuries.

International centuries
Hussey scored 22 centuries in international cricket, 19 in Test matches and three in ODIs.

His first Test century came in his second match scoring 137 against the West Indies at the Bellerive Oval in 2005. His highest Test score of 195 came against England at The Gabba in Brisbane during the 2010–11 Ashes series.

Personal life
Hussey was born at Mount Lawley, a suburb of Perth. He attended Whitford Catholic Primary School in his early years and later Prendiville Catholic College in the northern suburbs of Perth. After finishing school he won a scholarship to the Australian Cricket Academy, where his contemporaries included Brett Lee and Jason Gillespie.

His father is a former athletics coach and his younger brother, David, was also a professional cricketer who played for Victoria and Australia. Prior to his entry into first-class cricket, Hussey studied to become a science teacher. He is married and has four children.

"Mr Cricket"
Hussey has the nickname Mr Cricket, due to his encyclopaedic knowledge of his sport. He has repeatedly stated that he dislikes the nickname finding it "a bit embarrassing".

Underneath the Southern Cross
Underneath the Southern Cross is Hussey's autobiography. It was published on 1 October 2013 by Hardie Grant Books.

Post-retirement
After retiring from all levels of cricket Hussey worked as a batting consultant for Australia for the 2016 ICC World Twenty20. He was also a cricket commentator in the Indian Premier League (IPL) for the 2016 season. Hussey joined the Fox Sports commentary team from the 2018-19 cricket season.

Several years after his retirement from the Big Bash League, Hussey was appointed the role of Director of Cricket for the Sydney Thunder. He was also appointed as the Batting Coach of Chennai Super Kings (CSK) for 2018 Season of Indian Premier League (IPL)

Away from cricket, Hussey showed his support for Cancer Council WA by being their 2016 Ambassador.

He served as batting coach in the Senior Men's England Cricket team, and currently is the coach of the Welsh Fire Men's team replacing World Cup winning coach Gary Kirsten in the 2023 season.

Hussey was inducted to the Australian Cricket Hall of Fame during the 2023 Boxing Day Test.

title: Michael Hussey


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File:Sabbath Reunion.jpg

Cover to the Live Album "Reunion" by Black Sabbath

Fair use rationale for

 * It is believed that the use of this image on the English-language Wikipedia to illustrate an article on the audio recording in question falls under the "Non-profit educational" clause of the Fair Use doctrine currently upheld by United States law. (17 U.S.C. § 107)
 * The image is irreplaceable; a free analogue is impossible to produce as the original will be covered by copyright for the foreseeable future
 * Owing to the limited web-resolution of the image, only a small portion of a copyrighted work is used
 * For the same reasons, the portion of the copyrighted work used is of inherently lower quality than the original, reducing the risk of competitiveness and therefore the effects of this copy on the market for or value of versions held by the owner of the copyright

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

title: File:Sabbath Reunion.jpg


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Phosphate binder

Phosphate binders are medications used to reduce the absorption of dietary phosphate; they are taken along with meals and snacks. They are frequently used in people with chronic kidney failure (CKF), who are less able to excrete phosphate, resulting in an elevated serum phosphate.

Mechanism of action
These agents work by binding to phosphate in the GI tract, thereby making it unavailable to the body for absorption. Hence, these drugs are usually taken with meals to bind any phosphate that may be present in the ingested food. Phosphate binders may be simple molecular entities (such as magnesium, aluminium, calcium, or lanthanum salts) that react with phosphate and form an insoluble compound.

Calcium carbonate

Calcium-based phosphate binders, such as calcium carbonate, directly decrease phosphate levels by creating insoluble calcium–phosphate complexes which gets eliminated in the feces.

Lanthanum carbonate

Non-calcium-based phosphate binders, including lanthanum carbonate, form insoluble complexes with phosphates in food, thereby reducing the amount of phosphate in the body.

Sevelamer carbonate

Sevelamer is an insoluble polymeric amine, which is protonated once in the intestines and this allows it to bind dietary phosphate. Phosphates are eliminated along with sevelamer, leading to a decrease in the body's phosphate levels.

Medical use
For people with chronic kidney failure, controlling serum phosphate is important because it is associated with bone pathology and regulated together with serum calcium by the parathyroid hormone (PTH).

Adverse effects
Calcium carbonate

 * GI effects (nausea, vomiting, constipation)
 * Risk of cardiovascular calcification
 * Risk of hypercalcemia

Lanthanum carbonate

 * GI obstruction
 * Bile duct obstruction
 * Hepatic impairment
 * No hypercalcemia risk

Sevelamer carbonate

 * GI effects (nausea, vomiting, constipation, flatulence)
 * No hypercalcemia risk

Choice of agent
There have been limited trials comparing phosphate binders to placebo in the treatment of hyperphosphatemia in people with chronic kidney disease. When compared with people receiving calcium-based binders, people taking sevelamer have a reduced all-cause mortality.

Types

 * Calcium acetate/magnesium carbonate

Common Phosphate Binders

 * Lanthanum - medlineplus.org
 * Sevelamer - medlineplus.org
 * Sevelamer - Renvela.com
 * Sevelamer - Renvela.com

title: Phosphate binder


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Talk:Sonic Advance 3

I'm just gonna tidy this up and make it look like the rest of the pages. Thank God someone else has finally noticed Sonic Advance 3! I love this game.

Gameplay clean-up
I've brought Sonic Advance 3 more in line with all the other Sonic titles now but the gameplay section could benefit from some further cleaning. It's too long and seems straight out of the manual. --Steerpike 17:18, 12 November 2005 (UTC)

Chao Garden purpose in Sonic Advance 3?
What purpose does the Chao Garden in Sonic Advance 3 serve? The Sonic Advance 3 article says, "but includes Chao Gardens that serve a different purpose." I know the Chao Garden in Sonic Advance 3 isn't meant for raising Chao but again, I don't know the actual purpose of the Chao Garden in that game. --Tikal-chan 11:42, 24 September 2006 (UTC)

 * The Chao Garden is nothing more than a place for the rescued Chao from the stages to go. It serves no purpose whatsoever. Maetch 18:54, 21 November 2006 (UTC)

Deem Bistrow Credit
Um are you sure he voiced Eggman in this game? The voice doesn't sound like him AT ALL.

 * It's him, all right. He is credited at the end credits. Maetch 18:55, 21 November 2006 (UTC)

Intact Music
In the Sound Test there two Intact Musics. Who knows what are they? 200.55.103.252 15:36, 1 May 2007 (UTC) Intact Musics are versions of music in the game that were not used, and were remade. They sounded good so they were kept as intact music. I don't know about Music 1, but Music 2 is a shortened "happy" version of the Final Boss Battle. They decided not to use it and made a new version of that music, but kept the old. —Preceding unsigned comment added by 75.201.57.99 (talk) 22:52, 16 December 2010 (UTC)

Unhelpful edits
Please consider using a unique user name when making changes. See WP:WCAA. Thanks. Geraldshields11 (talk) 20:37, 18 August 2012 (UTC)

Sentence in debate
"Eggman tears the Earth apart when an experiment using Chaos Control (a power that allows the user to control time and space) goes awry"

I feel the need to bring this sentence into debate. That earth shattering seems pretty clearly to be no accident considering the whole opening is (generally) focused on Eggman/Robotnik setting up using the Emeralds (and come on, the Emeralds have unlimited power, shattering the earth intentionally isn't out of their scope of capability). Do we have anything reputable that backs the sentence that the Earth Shattering was an accident and not was in his plan? MM (I did the who in the whatnow?)  (I did it!) 00:02, 9 May 2014 (UTC)

✅ MM (I did the who in the whatnow?)  (I did it!) 00:42, 8 June 2014 (UTC)
 * That's fine; I haven't even gone through the Gameplay or Plot sections. I hope to have this article at GAN by the end of tomorrow, though, so I will be. Tezero (talk) 02:45, 8 June 2014 (UTC)

Possible sources
Here are a few unused leads I found when I was gearing up to review the GAN Won't be needing them anymore czar  ♔   09:29, 18 June 2014 (UTC)
 * http://www.retrogamer.net/retro_games00/sonic-advance-3/
 * http://www.officialnintendomagazine.co.uk/17169/features/your-best-sonic-games/
 * http://www.ign.com/articles/games/sonic-advance-3/gba-595663
 * I've already scoured IGN's library for what might not be redundant, but I'll check out the other two. Thanks. Tezero (talk) 13:15, 18 June 2014 (UTC)

Sound Creators
Though we know Kobayashi and Tokoi composed music for the game and Ohtani did no music, can we be sure the others (Kumatani, Maeda, Setsumaru) didn't compose anything? I don't remember seeing the game released on soundtrack. Sega Retro credits all tracks not composed by Kobayashi to Tokoi, but that's not a reliable source (one member confirms speculation as facts). DrDevilFX (talk) 17:04, 6 March 2016 (UTC)
 * They could have, but Kobayashi and Tokoi are the only ones actually known to have written music. ~ Dissident93  (talk)  23:48, 6 March 2016 (UTC)

title: Talk:Sonic Advance 3


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Alonso

Alonso is a Spanish name of Germanic origin that is a Castilian variant of Adalfuns. The original Visigothic name Alfonso suffered the phonetic change of the phoneme /f/ into the mute /h/ in the Early Middle Ages (around 9th Century), what eventually suppressed the sound /f/ from the name, deriving in the modern form Alonso. Due to the demographic particularities of the Iberian peninsula during the Middle Ages, this phonetic change was not uniform across the territory and the original form Alfonso also survived in different areas. Therefore, today both forms of the name coexist in Spanish speaking countries.

Geographical distribution
As of 2014, 36.6% of all known bearers of the surname Alonso were residents of Spain (frequency 1:222), 26.1% of Mexico (1:832), 8.3% of Cuba (1:242), 7.0% of Argentina (1:1,061), 4.8% of Brazil (1:7,502), 4.5% of the United States (1:14,083), 2.5% of Colombia (1:3,318), 1.7% of Paraguay (1:736), 1.3% of France (1:9,082) and 1.1% of Uruguay (1:549).

In Spain, the frequency of the surname was higher than average (1:222) in the following regions:
 * 1. Asturias (1:69)
 * 2. Castile and León (1:73)
 * 3. Cantabria (1:96)
 * 4. Galicia (1:125)
 * 5. Basque Country (1:145)
 * 6. La Rioja (1:149)
 * 7. Canary Islands (1:159)
 * 8. Community of Madrid (1:171)

First name

 * Alonso (footballer) (Alonso Ferreira de Matos) (born 1980), Brazilian footballer
 * Alonso Álvarez de Pineda (1494–1520), Spanish explorer and cartographer
 * Alonso de Ercilla (1533–1594), Spanish soldier and poet
 * Alonso de Ojeda (1466-1515), Spanish explorer, governor and conquistador
 * Alonso de Solís, Spanish explorer and governor of Florida in 1576
 * Alonso del Castillo Maldonado, Spanish explorer of the 16th century
 * Alonso Fernández Álvarez (born 1982), Costa Rican male model
 * Alonso Fernández de Lugo (1450s–1525), Spanish conquistador
 * Alonso López (disambiguation), several people
 * Alonso Manrique de Lara (1476–1538), Spanish cardinal
 * Alonso Mudarra (1510–1580), Spanish composer and vihuelist
 * Alonso Pérez ( 1881–1914), Spanish painter
 * Alonso Solís (born 1978), Costa Rican footballer
 * Alonzo Wilcox (1810–1878), American politician
 * Martín Alonso Pinzón (1441–1493), Spanish navigator
 * Alonso Quixano, the fictitious hero of Don Quixote
 * Alonso, King of Naples, fictitious character in Shakespeare's The Tempest

Surname

 * Alejandro Alonso (musician) (1952–2022), Latin-American musician
 * Alejandro Alonso (footballer) (born 1982), Argentine football player
 * Alfredo Alonso, Cuban media executive
 * Alicia Alonso (1920–2019), Cuban ballerina and choreographer
 * América Alonso (1936–2022), Venezuelan actress
 * LaSirena69 (Antonella Alonso) (born 1990), Venezuelan pornographic actress
 * Armando Alonso (born 1984), Costa Rican footballer
 * Axel Alonso, American comic book creator best known as the former Editor-in-Chief at Marvel Comics
 * Braulio Alonso (1916–2010), American educator
 * Carlos Alonso (born 1971), Canadian Musician
 * Clara Alonso (model) (born 1987), Spanish model
 * Constanza Alonso (born 1986), Argentine politician
 * Dámaso Alonso (1898–1990), Spanish poet, philologist and literary critic
 * Daniella Alonso (born 1978), American actress
 * Diego Alonso (born 1975), Uruguayan footballer
 * Edu Alonso (born 1974), Spanish footballer
 * Ernesto Alonso (1917–2007), Mexican film director and producer
 * Fernando Alonso (born 1981), Spanish racing driver
 * Fernando Alonso (dancer) (1914–2013), Cuban ballet dancer
 * Francisco Alonso (1887–1948), Spanish composer
 * Iván Alonso (born 1979), Uruguayan footballer
 * Jessica Alonso Bernardo (born 1983), Spanish handball player
 * José Alonso (hurdler) (born 1957), Spanish hurdler
 * José Alonso (actor) (born 1947), Mexican actor
 * José Alonso (trade unionist) (1917–1970), Argentine trade-unionist
 * José María Alonso (1890–1979), Spanish tennis player
 * José Antonio Alonso (1960–2017), Spanish Socialist Workers' Party (PSOE) politician
 * José Ángel (footballer, born March 1989) (José Ángel Alonso) (born 1989), Spanish footballer
 * Juan Alonso (footballer, born 1927) (1927–1994), Spanish footballer
 * Julián Alonso (born 1977), Spanish tennis player
 * Júnior Alonso (born 1993), Paraguayan football player
 * Kiko Alonso (born 1990), American football linebacker
 * Laura Alonso (soprano), Spanish operatic soprano
 * Laura Alonso (politician), Argentine politician
 * Laz Alonso (born 1974), American actor
 * Lisandro Alonso (born 1975), Argentine filmmaker
 * Lula (footballer, born 1922) (Luís Alonso Pérez) (1922–1972), Brazilian football manager
 * Manuel A. Alonso Pacheco (1822–1889), Puerto Rican writer
 * Marquitos (footballer, born 1933) (Marcos Alonso Imaz) (1933–2012), Spanish footballer
 * Marcos Alonso (footballer, born 1959) (Marcos Alonso Peña) (1959–2023), Spanish footballer
 * Marcos Alonso (footballer, born 1990) (Marcos Alonso Mendoza) (born 1990), Spanish footballer
 * María Conchita Alonso (born 1957), Cuban singer and actress
 * María Rosa Alonso (1909–2011), Spanish professor, philologist, essayist
 * Periko Alonso (Miguel Ángel Alonso), Spanish former football midfielder and manager
 * Mikel Alonso (born 1980), Spanish footballer
 * Mónica Alonso (born 1998), Spanish rhythmic gymnast
 * Noel Alonso (born 1987), Spanish footballer
 * Norberto Alonso (born 1953), Argentine footballer
 * Osvaldo Alonso (born 1985), Cuban footballer
 * Pete Alonso (born 1994), American baseball player
 * Pichi Alonso (born 1954), Spanish footballer
 * Rafael Salazar Alonso (1895–1936), Spanish politician, lawyer, and newspaper mogul, served as mayor of Madrid
 * Tomás N. Alonso (1881–1962), Filipino writer
 * Victoria Alonso (born 1965), Argentine film producer
 * William Alonso (1933–1999), Argentine-American economist
 * Xabi Alonso (born 1981), Spanish footballer
 * Yonder Alonso (born 1987), Cuban baseball player
 * Yonder Alonso (born 1987), Cuban baseball player

title: Alonso


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Stellar engine

Stellar engines are a class of hypothetical megastructures which use the resources of a star to generate available work (or, in other words, to generate energy). For instance, they can use the energy of the star to produce mechanical, electrical or chemical work or they can use the impulse of the light emitted by the star to produce thrust, able to control the motion of a star system. The concept has been introduced by Bădescu and Cathcart. The variants which produce thrust may accelerate a star and anything orbiting it in a given direction. The creation of such a system would make its builders a type-II civilization on the Kardashev scale.

Classes
Three classes of stellar engines have been defined.

Class A (Shkadov thruster)
One of the simplest examples of a stellar engine is the Shkadov thruster (named after Dr. Leonid Shkadov, who first proposed it), or a class-A stellar engine. Such an engine is a stellar propulsion system, consisting of an enormous mirror/light sail—actually a massive type of solar statite large enough to classify as a megastructure—which would balance gravitational attraction towards and radiation pressure away from the star. Since the radiation pressure of the star would now be asymmetrical, i.e. more radiation being emitted in one direction as compared to another, the "excess" radiation pressure acts as net thrust, accelerating the star in the direction of the hovering statite. Such thrust and acceleration would be very slight, but such a system could be stable for millennia. Any planetary system attached to the star would be "dragged" along by its parent star. For a star such as the Sun, with luminosity 3.85 W and mass 1.99 kg, the total thrust produced by reflecting half of the solar output would be 1.28 N. After a period of one million years this would yield an imparted speed of 20 m/s, with a displacement from the original position of 0.03 light-years. After one billion years, the speed would be 20 km/s and the displacement 34,000 light-years, a little over a third of the estimated width of the Milky Way galaxy.

Class B
A class-B stellar engine consists of two concentric spheres around a star. The inner sphere (which may be assimilated with a Dyson shell) receives energy from the star and becomes hotter than the outer sphere. The difference of temperature between the two spheres drives thermal engines able to provide mechanical work.

Unlike the Shkadov thruster, a class-B stellar engine is not propulsive.

Class C
A class-C stellar engine, such as the Badescu–Cathcart engine, combines the two other classes, employing both the propulsive aspects of the Shkadov thruster and the energy generating aspects of a class-B engine. A higher temperature Dyson shell partially covered by a mirror combined with an outer sphere at a lower temperature would be one incarnation of such a system. The non-spherical mirror ensures conversion of light impulse into effective thrust   (like a class-A stellar engine) while the difference of temperature may be used to convert star energy into mechanical work (like a class-B stellar engine). Notice that such system suffers from the same stabilization problems as a non-propulsive shell, as would be a Dyson swarm with a large statite mirror (see image above). A Dyson bubble variant is already a Shkadov thruster (provided that the arrangement of statite components is asymmetrical); adding energy extraction capability to the components seems an almost trivial extension.

Caplan thruster
Astronomer Matthew E. Caplan of Illinois State University has proposed a type of stellar engine that uses concentrated stellar energy (repurposing the mirror statites from class A) to excite certain regions of the outer surface of the star and create beams of solar wind for collection by a multi-Bussard ramjet assembly. The ramjets would produce directed plasma to stabilize its orbit and jets of oxygen-14 to push the star. Using rudimentary calculations that assume maximum efficiency, Caplan estimates that the Bussard engine would use 1012 kg of solar material per second to produce a maximum acceleration of 10−9 m/s2, yielding a velocity of 200 km/s after 5 million years and a distance of 10 parsecs over 1 million years. While theoretically the Bussard engine would work for 100 million years, given the mass loss rate of the Sun, Caplan deems 10 million years to be sufficient for a stellar collision avoidance. His proposal was commissioned by the German educational YouTube channel Kurzgesagt.

Svoronos Star Tug
Alexander A. Svoronos of Yale University proposed the 'Star Tug', a concept that combines aspects of the Shkadov thruster and Caplan engine to produce an even more powerful and efficient mechanism for controlling a star's movement. Essentially, it replaces the giant parabolic mirror of the Shkadov thruster with an engine powered by mass lifted from the star, similar to the Caplan engine. However, instead of pushing a star from behind with a beam of thrust, as the Caplan engine does, it pulls the star from the front via its gravitational link to it, same as the Shkadov thruster. As a result, it only needs to produce a single beam of thrust (toward but narrowly missing the star), whereas the Caplan engine must produce two beams of thrust (one to push the star from behind and negate the force of gravity between the engine and the star, and one to propel the system as a whole forward). The result is that the Svoronos Star Tug is a much more efficient engine capable of significantly higher accelerations and max velocities. The Svoronos Star Tug can, in principle (assuming perfect efficiency), accelerate the Sun to ~27% the speed of light (after burning enough of the Sun's mass to transition it to a brown dwarf).

title: Stellar engine


text:
Wikipedia:Articles for deletion/Sponge X & Y

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

The result of the debate was DELETE. Postdlf 07:08, 23 July 2005 (UTC)

Sponge X & Y, Oliver Viveier, and Matthew Viveier

 * Completing nomination, no vote here. Nabla 14:52:05, 2005-07-13 (UTC)

The band seems harmless, but Googling only results in 21 hits. Its only two members are the (assumedly related) Matthew Viveier and Oliver Viveier, both of which seem non-notable. Seems like more bandcruft; Delete. jglc | t | c 13:27, 12 July 2005 (UTC)
 * Comment: articles' creator blanked them. jglc | t | c 23:18, 12 July 2005 (UTC)

Agreed- I am experimenting and assumed I would have the ability to delete my own articles. Sorry about that! — Preceding unsigned comment added by 192.91.191.29 (talk • contribs) 14:23, 12 July 2005
 * Speedy delete, by creator request and no notability established. Nabla 14:52:05, 2005-07-13 (UTC)
 * Speedy delete as test --nixie 04:24, 14 July 2005 (UTC)
 * Delete non notable band. JamesBurns 08:19, 14 July 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


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The Triffids

The Triffids were an Australian alternative rock and pop band, formed in Perth in Western Australia in May 1978 with David McComb as singer-songwriter, guitarist, bass guitarist and keyboardist. Australian Rock Database entries: They achieved some success in Australia, but greater success in the UK and Scandinavia in the 1980s before disbanding in 1989. Their best-known songs include "Wide Open Road" (February 1986) and "Bury Me Deep in Love" (October 1987). SBS television featured their 1986 album, Born Sandy Devotional, on the Great Australian Albums series in 2007, and in 2010 it ranked 5th in the book The 100 Best Australian Albums by Toby Creswell, Craig Mathieson and John O'Donnell.
 * The Triffids:
 * The Blackeyed Susans:
 * Four Hours Sleep:
 * John Kennedy
 * Lawson Square Infirmary:
 * Graham Lee:
 * David McComb:

According to music historian Ian McFarlane, "The Triffids remain one of Australia's best-loved, post-punk groups ... McComb ... infused his melancholy songs with stark yet beautiful and uniquely Australian imagery. Few songwriters managed to capture the feeling of isolation and fatalistic sense of despair of the Australian countryside."

Formation and early years (1976–1981)
In 1976 in Perth, high school students David McComb on acoustic and bass guitars and vocals and Alan "Alsy" MacDonald on drums and vocals, formed Dalsy as a multimedia project, making music, books and photographs. They wrote and performed songs with Phil Kakulas on guitars and vocals (all three later in the Blackeyed Susans), then soon became Blök Musik and Logic (for a day). In May 1978, they became the Triffids, taking their name from the post-apocalyptic novel by John Wyndham, The Day of the Triffids. They were soon joined by Andrew McGowan on guitar and Julian Douglas-Smith on piano. When Byron Sinclair joined on bass guitar in September, McComb switched to rhythm guitar. The Triffids began partly in response to the punk rock movement. Writing in his diary as a teenager, McComb traced the band's emergence in Perth:

"On the night of 27 November 1976, a tape was made by Alsy MacDonald, playing a single toy drum, and Dave McComb playing acoustic guitar. The multimedia group 'Dalsy' had come into being. Dalsy went on to make several remarkable tapes (mainly of original material): The Loft Tapes, Rock 'n' Roll Accountancy, Live at Ding Dongs, Bored Kids, Domestic Cosmos, People Are Strange Dalsy Are Stranger, Steve's and the seminal punk work, Pale Horse Have a Fit ... Dalsy did paintings, sculptures and poetry, and wrote a book named 'Lunch'. They were tinny and quirky, obsessive and manic, versatile and productive. They were also immensely unpopular ... The members of Dalsy grew to hate their audience. They still do, and this hate is an integral part of their music. Dalsy split up towards the end of 1977 ... They launched into 1978 as Blok Musik, with their famous Blok Musik tape ... In April, they played at the Leederville Town Hall Punk Fest, alongside Perth's punk rock contingent but, as usual, no one danced. After that they went home and metamorphosised into Logic. Within a day they changed their minds, and metamorphosised into the Triffids."

Between 1978 and 1981, McComb wrote over 100 original songs and the Triffids had recorded and independently released six cassette tapes, simply called, 1st (1978), 2nd (1978), 3rd (1979), 4th (1979), Tape 5 (1980) and Sixth (1981) (see List of The Triffids Cassettes). By 1979, Kakulas and Sinclair had left and were replaced by David's older brother, Robert McComb on violin and guitar, and Will Akers on bass guitar, and in 1980 Margaret Gillard joined on keyboards. At year's end, the band won a song competition run by the Western Australian Institute of Technology (now Curtin University) Student Guild's radio show on 6NR (now Curtin FM), and in July 1981 they released their first single, "Stand Up", on the Shake Some Action label. MacDonald had briefly left the band for two months, and the single was recorded with Mark Peters as drummer.

Early recordings (1982–1984)
Gillard and Akers left in February 1982 and were replaced by Jill Yates on keyboards and a returning Sinclair. April saw the release of Reverie, a four-track EP on Resonant Records. Around this time, due to the small population/market in Perth, the band started the long journey driving from Perth to Sydney, then Melbourne (and back again) to play shows, do some recording and to live for large periods of time, often in quite squalid conditions. By mid-year Sinclair had left again, and Martyn P. Casey joined the band on bass guitar in September 1982. For $150 a night, The Triffids' services as a support act were procured by The Reels, The Sunnyboys, The Church, Hunters & Collectors or Uncanny X-Men.

As a four-piece — Casey, David and Robert McComb and MacDonald — they signed to Mushroom Records' White Label in Melbourne and released a single, "Spanish Blue", in October 1982 and the Bad Timing and Other Stories EP in March 1983. By then, back in Sydney again, Jill Birt had joined on piano, organ and vocals. Soon after the release of Bad Timing and Other Stories, Mushroom Records let the band go. They signed with new Australian independent label Hot Records, which brought the independent scene some much needed cohesion. The Triffids were one of the bands leading Hot's drive into overseas markets, which partly led to the label's demise. The Triffids' debut album, Treeless Plain, released in November 1983, was critically acclaimed — described as a "magnificent, muscular piece of work that pounds out simple powerful rock songs — one of the best indie rock albums of its day" — but no singles were released from it. All tracks for Treeless Plain were recorded over twelve midnight-to-dawn sessions at Emerald City Studios, Sydney, in August and September 1983 with The Triffids producing. Their next single, "Beautiful Waste", appeared in February 1984 and was followed by the Raining Pleasure 12" EP in July—the title track, "Raining Pleasure", featured Birt on lead vocals and was cowritten by David McComb with Sydney musician James Paterson (JFK & the Cuban Crisis). Another track, "St. James Infirmary", is a traditional blues folksong, with their version preferred by Australian rock music journalist Toby Creswell in his book, 1001 Songs.

The Triffids, without Birt, recorded Lawson Square Infirmary at the Sydney Opera House, where they worked with Paterson on vocals, guitar, mandolin and piano; Graham Lee (John Kennedy's Love Gone Wrong and in Eric Bogle's backing band) on vocals, dobro and pedal steel guitar; and Daubney Carshott (a.k.a. Martyn Casey) on bass guitar. The six-track country music-style EP was issued by Hot Records in October under the band name, Lawson Square Infirmary. Lee recalled:

"I taught primary school, travelled and ended up in Sydney, where I met the Triffids and first sat behind a pedal steel (in that order actually) [...] I met Dave [McComb] through James Paterson, who played in a band in Sydney called JFK and the Cuban Crisis. My initial impressions of Dave were: slightly eccentric, driven, something of a perfectionist, very intelligent."

By mid-1984, The Triffids had spent so much time travelling the 3972 km between Perth in the west and Sydney on the east coast of Australia — David McComb estimated that they made this trip between 12 and 16 times — that they decided to travel that little bit further and headed to Europe.

UK and Europe (1984–1989)
In late August 1984, the band relocated to London, where Treeless Plain and Raining Pleasure had been issued by Rough Trade Records to critical acclaim. With little savings and five return plane tickets due to expire by Christmas, they gave themselves three months to make inroads in the UK. For their London debut they supported Rough Trade labelmates The Monochrome Set. Success was confirmed when they graced the January 1985 cover of the influential UK magazine NME, which predicted it would be 'The Year of The Triffids'.

In November 1984, they recorded Field of Glass, a three track 12" EP. Performed mostly live in BBC Studio 5 in London, it was released in February 1985. The title track, "Field of Glass", was not released on CD as the master tape could not be found—it was eventually discovered under David McComb's bed. In early 1985, the band acquired their final permanent member, Lee, who had performed on the mini-album Lawson Square Infirmary. Together the six-piece—Birt, Casey, Lee, MacDonald, David & Robert McComb—recorded a 12" EP You Don’t Miss Your Water. The A-side is a countrified version of William Bell's "You Don't Miss Your Water", which was released in August by Hot Records, but by then they were already back in London.

During 1985, the Triffids toured Europe, they were praised by the European press and played stadiums supporting Echo & the Bunnymen. A grass roots following developed as they toured western European countries, finding pockets of popularity in the Netherlands, Greece, Scandinavia, Ireland and Belgium. The band toured as part of the Summer Eurofestival circuit, performing at Glastonbury, Pinkpop, Waterpop, Seinäjoki, Roskilde (40,000), T&W Belgium (35,000) and den Haag's Parkpop (pushing 100,000).

Unable to raise a major record deal and with low finances, Born Sandy Devotional was recorded in London in August 1985 with Gil Norton producing (who has also worked with Echo & the Bunnymen), and was released in March 1986. According to Ian McFarlane, Australian rock music historian, "[It] was full of some of the most lonely, spacious songs ever written, and it remains one of the best Australian albums of the 1980s." In 2007, the album was featured by SBS Television on the Great Australian Albums series. The band issued two versions of the "Wide Open Road" single—both a 7" and a 12" version. Born Sandy Devotional reached # 27 on the UK albums chart, and "Wide Open Road" peaked at No. 26 on the UK singles charts but only reached No. 64 on the Australian Kent Music Report Singles Chart. Creswell stated that "Wide Open Road" was "an angry song that finds the cost of freedom is aloneness" in his book, 1001 Songs. In May 2001, the Australasian Performing Right Association (APRA), as part of its 75th Anniversary celebrations, named it one of their Top 30 Australian songs of all time.

Their critical success in the UK boosted their profile back in Australia where they recorded In the Pines in early 1986, while awaiting the release of Born Sandy Devotional, which eventuated in March. In The Pines was recorded at the McCombs' family property in Ravensthorpe, 600 km south east of Perth, in a shearing shed on basic eight-track equipment. It was issued in January 1987 and took The Triffids deeper into folk and country music, with a lo-fi sensibility reminiscent of Bob Dylan's Basement Tapes. The band backed Scottish musician Bill Drummond for his 1986 solo album The Man. The Triffids toured UK later in the year.

From 26 December 1986 to 26 January 1987, the Triffids were on the bill of the Australian Made tour, which was the largest touring festival of Australian music talent attempted to that point. Jimmy Barnes and INXS headlined, and the rest of the line-up featured Mental As Anything, Divinyls, Models, the Saints, and I'm Talking. A concert film, Australian Made: The Movie, was directed by Richard Lowenstein and released later that year. The lead singer of INXS, Michael Hutchence, had insisted on the Triffids being part of the bill. 1987 also saw the release of three tracks recorded for John Peel on 5 May 1985, The Peel Sessions.

The Triffids were courted by several UK major record labels, based on the success of Born Sandy Devotional, eventually signing a three-record contract with Island Records in the UK in November 1986. Between April and August 1987, the band worked again with Norton, to record Calenture, their Island Records debut. The album, released in February 1988, saw them explore themes of insanity, deception and rootlessness—the title refers to a fever suffered by sailors during long hot voyages. The Triffids were nomadic, travelling back and forth from Australia to England to record the 'difficult' album—initial recordings with US producer Craig Leon were abandoned—and obviously related to the disoriented sailors. It provided the singles "Bury Me Deep in Love" in October 1987 and "Trick of the Light" in January 1988.

After Born Sandy Devotional, they graduated to the festival circuit and played alongside Iggy Pop, the Ramones, the Fall, Anthrax and Echo & the Bunnymen. By 1988, their fame was such that NME invited them to contribute a cover version of the Beatles' song "Good Morning Good Morning" to a tribute album, Sgt. Pepper Knew My Father, alongside songs by Billy Bragg and Wet Wet Wet.

The Triffids wanted to record the next album in Australia, but after the Calenture experience Island wanted to keep the band nearby. The Black Swan was recorded between September and October 1988 in Somerset, UK, and produced and engineered by Stephen Street. It was well received by critics, but was not a commercial success, which disappointed band members. That, together with being tired from the constant travelling and touring, led to The Triffids being dissolved. The group travelled to the US in 1989 for a pair of New York dates before taking a much-needed vacation – one which turned permanent:

"We didn't know they were final performances. Dave wanted to do a solo album and we were due to get back together after that. Much to his chagrin his solo album took longer than expected and he kept writing songs that sounded like Triffids songs. Domesticity snuck up on most of us, poor health snuck up on Dave, a planned '94 reunion tour was put on hold, and the Triffids faded into the mist. – Graham Lee"

The band's last Australian shows were towards the end of 1989, with the final at the Australian National University in Canberra on 14 August 1989. 1990 saw the release of the live album, Stockholm, which completed their contractual obligations with Island.

Breakup and aftermath
Following the breakup of the band, Alsy MacDonald, Jill Birt and Robert McComb took "proper jobs" as a lawyer (currently with the Equal Opportunity Commission), architect and teacher respectively, with MacDonald and Birt marrying (Robert McComb currently teaches at Melbourne High School). David McComb and Lee continued to be involved with The Blackeyed Susans, a group David McComb formed as a side band during an earlier Triffids' summer tour of Australia. Martyn Casey briefly joined the Blackeyed Susans and then became a permanent member of Nick Cave and the Bad Seeds in April 1990.

In 1990, David McComb moved back to London with the aim of pursuing his solo career. Since sustaining crushed vertebrae in the UK in 1986 McComb had suffered chronic and severe back pain that plagued him till his death. In 1992, after no success, he returned to Australia to make some solo recordings for Mushroom Records (featuring both Casey and Lee), releasing just one solo album, Love of Will, in 1994. He also worked with many other musicians on various projects, including assembling a band, the Red Ponies, to tour Europe. In June 1993 three former members of The Triffids: David McComb, Robert McComb and Lee; as well as Charlie Owen and Chris Wilson guested on Acuff's Rose's debut studio album, Never Comin' Down. Another project, costar, was formed when David moved to Melbourne, but due to his ill health they only played sporadically around Melbourne, although recordings had begun and a single was ready for a limited release.

Following the Red Ponies tour David McComb suffered substance abuse-related health problems, which ultimately resulted in him undergoing a heart transplant in 1996. Despite the exacerbation of his back problem from the transplant procedure he embarked on a university course and his prolific output of songs continued. He recorded 7 demos at the studio of Julian Wu, a long time supporter with old friends Martin Casey, Mick Harvey, Warren Ellis, Kiernan Box and Stuart Solar on drums. Forming 'costar' with Graham Lee, Kiernan Box on piano, Stuart Soler on drums Will Akers on bass and Matt Habbin on saxophone. Ill health limited live performances but writing, arranging and other literary projects continued at a furious pace. Following a car accident in Melbourne, he was admitted to St Vincent's hospital. Three days later he died at home, on 2 February 1999, a few days short of his 37th birthday.

In February 2000, after the State Coroner of Victoria published his findings, The West Australian newspaper wrote: "[Coroner] Johnstone said McComb's mental and physical condition had deteriorated after his (car) accident but his death was due to heroin toxicity and mild acute rejection of his 1996 heart transplant."

2006 onwards
The Triffids back catalogue began being reissued in 2006. Graham Lee has taken on the role of guardian of David McComb's musical legacy. The Domino label in the UK is handling the reissues in Europe, while Liberation Music deals with Australia and New Zealand. An extended version of fan favourite Born Sandy Devotional came first, with staggered release dates in Europe, Australasia and North America between June and July 2006. A joint release of In the Pines and Calenture followed in February 2007. In the Pines was given a full remix by Bruce Callaway, the original engineer, who had been looking after the master tapes for 20 years. The album was also extended with a number of tracks that were recorded during the sessions for In The Pines but held over for inclusion on Calenture because, in David McComb's words, "we have to keep something good for later." (In The Pines was essentially a low-budget 'holiday' album, recorded while the band was still looking for a deal with one of the major labels.) Calenture was extended with B-sides from the same period, and with a second disc of demo recordings for the album. A re-release of the last Triffids album The Black Swan with an extra disc of rarities and demos have, so far, ended the reissue programme. In 2010 the best-of album Come Ride With Me... Wide Open Road was released. A limited edition of this, called Come Ride With Me... Wide Open Road – The Deluxe Edition, contained nine discs of bonus material, including early demos, tracks previously available on cassette only and full-length live recordings. Later stages of the re-issue programme is said to include further rarities, extended liner notes, remastering, a DVD and a live album. There is, currently, a selection of free downloads available on the official site, overseen by Lee.

David McComb was posthumously inducted into the WAM (West Australian Music Industry Association) Hall of Fame as a composer on 21 February 2006.

In June 2006, in conjunction with the re-issue of Born Sandy Devotional, the band re-formed to play three live performances, two concerts in Hasselt, Belgium, and one in Amsterdam, the Netherlands, with guest vocalists (including Mark Snarski (The Jackson Code) and Belgian Harald Vanherf (The Hoodoo Club / Wicona Airbag) replacing David McComb. A huge collection of band memorabilia was also displayed, along with the airing of a Triffids concert film and question-and-answer sessions with the band members. According to Lee the experience was, "more than I could have hoped for – a true celebration of the music, and an intensity from band and audience that I’ve rarely felt." The five remaining members of The Triffids gave a series of performances on 17–20 January 2008, as part of the 2008 Sydney Festival celebrating the music and the memory of David McComb. The band were joined on stage by a number of Australian musicians including Mark and Rob Snarski (The Blackeyed Susans), Toby Martin (Youth Group), Steve Kilbey (The Church), Mick Harvey (Nick Cave and the Bad Seeds), J.P. Shilo, Chris Abrahams (The Necks) and Melanie Oxley. Youth Group in fact opened these shows with 4 covers of Early Triffids classics and rarities in praise of band's earlier years. A feature-length documentary of these shows, It's Raining Pleasure, was to be released in early 2009.

In May 2008, Liberation Music continued with the reissuing of The Triffids' back catalogue, with the release of The Black Swan, which includes five songs which had previously been left off the album at the time of its initial release, together with an encore. The album had originally been envisaged by David McComb as a double album. The re-released album also included a bonus disc of demos and unreleased material. Also released was Treeless Plain which was re-mixed by the original sound engineer, Nick Mansbridge. The last of the re-releases was a collection of songs from various EPs, Raining Pleasure, Lawson Square Infirmary and Field of Glass, under the title Beautiful Waste and Other Songs (Mini-Masterpieces 1983–1985). The compilation album also includes the title song, "Beautiful Waste", together with "Dear Miss Lonelyhearts" and "Native Bride".

The Triffids repeated their 2008 Sydney performances, 'A Secret in the Shape of a Song', at the Arts Centre Melbourne on 29 January 2009 and at the Perth International Arts Festival on 20–22 February 2009. The shows included guest appearances by Mick Harvey (Nick Cave and the Bad Seeds), J.P. Shilo, Melanie Oxley, Mark and Rob Snarski (The Blackeyed Susans), Steve Kilbey (The Church), Alex Archer and Brendon Humphries (The Kill Devil Hills), Ricky Maymi (The Brian Jonestown Massacre), and Toby Martin (Youth Group) on stage with the remaining members of the band. After the Perth performances video artists VJzoo showed a selection of David McComb's personal photographs live on screen to a soundtrack compiled from his mixtape collection. 'The Triffids and Friends' is a loose collective of some of the aforementioned musicians with remaining Triffids members. Youth Group once again reprised their renditions of early Triffids songs at these shows. Performances by the band along with The Church and Ed Keupper were scheduled for late 2011 in Perth.

ARIA Awards
The ARIA Music Awards is an annual awards ceremony that recognises excellence, innovation, and achievement across all genres of Australian music. They commenced in 1987. In 2008, The Triffids were inducted into the ARIA Hall of Fame. Upon the announcement Graham Lee commented that David McComb would find the accolade ironic, given that the band were hardly superstars in their home country, but would have appreciated the belated recognition.

 * 2008 || The Triffids || ARIA Hall of Fame || inductee
 * 2008 || The Triffids || ARIA Hall of Fame || inductee

West Australian Music Industry Awards
The West Australian Music Industry Awards are annual awards celebrating achievements for Western Australian music. They commenced in 1985.

 * 2016 || The Triffids || Hall of Fame || inductee
 * 2016 || The Triffids || Hall of Fame || inductee

Legacy
One of the most critically acclaimed bands from Greece, Raining Pleasure, took their name from the song "Raining Pleasure" by The Triffids. Melbourne-based acoustic rock group The Paradise Motel are frequently likened to the work of The Triffids whose work they have covered.

In 2009, Australian scholars Chris Coughran and Niall Lucy's rock biography on The Triffids, Vagabond Holes: David McComb and the Triffids, was published by Fremantle Press, and includes contributions by Mick Harvey, Nick Cave, John Kinsella, DBC Pierre and Judith Lucy. Bleddyn Butcher's biography of David McComb, Save What You Can: The Day of The Triffids, was published by Treadwater Press, Sydney, in November 2011. In December 2020, The Triffids were listed at number 43 in Rolling Stone Australia's "50 Greatest Australian Artists of All Time" issue.

Members

 * Will Akers – bass (1980–1982)
 * Jill Birt – keyboards, vocals (1983–1989)
 * Martyn Casey – bass (1982–1989)
 * Simon Cromack – percussion (1982–1983)
 * Margaret Gillard – keyboards (1979–1982)
 * Phil Kakulas – guitar, vocals (1978–1979)
 * Graham Lee – guitar, pedal steel, lap-steel, vocals (1985–1989)
 * Allan MacDonald – drums, percussion, vocals (1978–1980, 1982–1989)
 * David McComb – vocals, guitar, piano, bass (1978–1989; died 1999)
 * Robert McComb – violins, guitar, keyboards, percussion, vocals (1979–1989)
 * Mark Peters – drums (1980–1981)
 * Byron Sinclair – bass (1978–1979, 1982)
 * Jill Yates – keyboards (1982)

Discography
Studio albums
 * Treeless Plain (1983)
 * Born Sandy Devotional (1986)
 * In the Pines (1986)
 * Calenture (1987)
 * The Black Swan (1989)

title: The Triffids


text:
Juban

Juban may refer to:

 * Juban (Upper Yafa), a sheikhdom and dependency of Upper Yafa
 * Juban, Albania, a settlement in Shkodër County
 * Juban, Iran, a village in Gilan Province, Iran
 * Juban, Sorsogon, a municipality in the Philippines
 * Juban District, Dhale Governorate, Yemen
 * Jewban or Juban, a Jewish Cuban
 * Azabu-Jūban, in Minato, Tokyo, Japan
 * An undergarment worn underneath a kimono

title: Juban


text:
Dove Campaign for Real Beauty

The Dove Campaign for Real Beauty is a worldwide marketing campaign launched by Unilever in 2004 aiming to build self confidence in women and young children. Dove's partners in the campaign included Ogilvy, Edelman Public Relations, and Harbinger Communications (in Canada) along with other consultants. Part of the overall project was the Evolution campaign.

Campaign
In 2004, Dove and Ogilvy organized a photography exhibit titled "Beyond Compare: Women Photographers on Real Beauty". The show featured work from 67 female photographers which led to the Real Beauty campaign. The Dove Real Beauty campaign was conceived in 2004 during a three-year creative strategic research effort, conducted in partnership with three universities, led by Joah Santos. The creative was conceived by Ogilvy Düsseldorf and London.

The study resulted in a new consumer-centric versus product-centric advertising strategy, which Joah Santos referred to as P.O.V. - Purpose | Objective | Vision. The plan abandoned Unilever's traditional brand essence ladder in favor of a POV strategy "To make women feel comfortable in their own skin and to create a world where beauty is a source of confidence rather than anxiety." The original advertising research indicated that only 4% of women consider themselves beautiful.

The first stage of the campaign centered on a series of billboard advertisements, initially put up in Germany and United Kingdom, and later worldwide. The spots showcased photographs of regular women (in place of professional models), taken by noted portrait photographer Rankin. The ads invited passersby to vote on whether a particular model was, for example, "Fat or Fab" or "Wrinkled or Wonderful", with the results of the votes dynamically updated and displayed on the billboard itself. Accompanying the billboard advertisements was the publication of the "Dove Report", a corporate study in which Unilever intended to "[create] a new definition of beauty [which] will free women from self-doubt and encourage them to embrace their real beauty."

According to Ad Age, the campaign successfully increased sales of Dove soap from $2 billion to $4 billion in three years.

The series received significant media coverage from talk shows, women's magazines, and mainstream news broadcasts and publications, generating media exposure that Unilever has estimated to be worth more than 30 times the paid-for media space. Following this success, the campaign expanded into other media with a series of television spots (Flip Your Wigs and the Pro-Age series, among others) and print advertisements ("Tested on Real Curves"), culminating in the 2006 Little Girls global campaign, which featured regional versions of the same advertisement in both print and screen, for which Unilever purchased a 30-second spot in the commercial break during Super Bowl XL at an estimated cost of $2.5 million.

In 2006, Ogilvy sought to extend the campaign further by creating viral videos. The first video, Daughters, consisted of filmed interviews about how mothers and daughters related to modern perceptions of beauty and the beauty industry. Dove's Self-Esteem Fund released statistics to support the idea that young women and girls are likelier to have distorted views of beauty. During the production of Daughters, a series of short films entitled "Beauty Crackdown" was pitched to Unilever as an "activation idea".

Art director Tim Piper proposed to create Evolution with the budget left over from Daughters (C$135,000). It was designed to get viewers to find the campaign website to watch Daughters and to participate in mother-daughter workshops. After Evolution, Ogilvy produced Onslaught and Amy. Onslaught is a video about the influence that the beauty industry can have on young girls.

In April 2013, a video titled Dove Real Beauty Sketches was released as part of the campaign, created by Hugo Veiga. It went viral, attracting strong reactions from the public and media. In the video, several women describe themselves to a forensic sketch artist who cannot see his subjects. The same women are then described by strangers whom they met the previous day. The sketches are compared, with the stranger's image invariably being both more flattering and more accurate. The differences create strong reactions when shown to the women.

In October 2013, Free Being Me, a collaboration between Dove and the World Association of Girl Guides and Girl Scouts was launched, with the aim of increasing "self-esteem and body confidence" in girls.

In 2017, Dove and Ogilvy London created limited-edition versions of body wash bottles meant to look like different body shapes and sizes. Dove produced 6,800 bottles of the six different designs and sent them to 15 different countries.

Reaction
The Dove Campaign was one of the first campaigns considered as going "viral", a relatively new phenomenon in 2004. Ad Age ranked the campaign number 1 in a list of the top ad campaigns of the 21st century.

Individual ads caused different reactions, both positive and negative. Evolution won two Cannes Lions Grand Prix awards. Katy Young at The Daily Telegraph called Real Beauty Sketches "one campaign that will make you think, and hopefully, feel more beautiful."

Tanzina Vega at The New York Times interviewed an advertising exec who liked the message that "Many women undervalue themselves and also the way they look". Others criticized the ad's message as self-contradictory. Vega interviewed a 24-year-old viewer who said, "at the heart of it all is that beauty is still what defines women. It is a little hypocritical".

Women in the target audience expressed mixed responses. Kate Fridkis at Psychology Today approved of the overall message, but noted that the models were mostly white, thin, and young. Fridkis also criticized Dove for patronizing women about their physical insecurities while being part of an industry that encourages women to find self-worth in their appearances. Erin Keane at Salon argued that Dove was "peddling the same old beauty standards as empowerment".

Critics believe that the campaign focuses too greatly on the physical aspect of beauty instead of other forms of self-worth. Ann Friedman of The Cut argued, "These ads still uphold the notion that, when it comes to evaluating ourselves and other women, beauty is paramount. The goal shouldn't be to get women to focus on how we are all gorgeous in our own way. It should be to get women to do for ourselves what we wish the broader culture would do: judge each other based on intelligence and wit and ethical sensibility, not just our faces and bodies."

Others expressed concerns that while Dove portrays their models as unedited and "real", the images have actually been photoshopped to smooth the appearance of the women's skin, hide wrinkles and blemishes, fix stray hairs, etc. Photo retoucher Pascal Dangin of Box Studios told The New Yorker he edited the photos, saying "Do you know how much retouching was on that?"

Nina Bahadur at HuffPost interviewed a Dove spokesperson who said Dove seeks to bring more awareness of beauty standards to women of different ages and cultural backgrounds.

Critics and defenders have both pointed out that one ad campaign seeking to redefine beauty is unlikely to solve a widespread social problem of women and girls feeling physical insecurities. Dr. Carolyn Coker Ross at Psych Central estimated 80 percent of American women feel dissatisfied with their bodies. The National Association of Anorexia Nervosa and Associated Disorders cited a 1991 study estimating 81 percent of 10-year-old girls were afraid of becoming "fat".

The campaign has been criticized on the grounds that Unilever also produces Fair and Lovely, a skin-lightening product marketed at dark-skinned women in several countries. Unilever brand Lynx's advertising campaign contradicted the sentiment of the Campaign for Real Beauty. Moreover, Unilever owns Axe hygiene products, which are marketed to men using overtly sexualized women, and SlimFast diet bars. Will Burns at Forbes called such criticism "irrelevant", arguing that consumers would not be able to recognize that these brands shared a parent company.

title: Dove Campaign for Real Beauty


text:
Quarterly Review

The Quarterly Review was a literary and political periodical founded in March 1809 by London publishing house John Murray. It ceased publication in 1967. It was referred to as The London Quarterly Review, as reprinted by Leonard Scott, for an American edition.

Early years
Initially, the Quarterly was set up primarily to counter the influence on public opinion of the Edinburgh Review. Its first editor, William Gifford, was appointed by George Canning, at the time Foreign Secretary, later Prime Minister.

Early contributors included Secretaries of the Admiralty John Wilson Croker and Sir John Barrow, Poet Laureate Robert Southey, poet-novelist Sir Walter Scott, Italian exile Ugo Foscolo, Gothic novelist Charles Robert Maturin, and the essayist Charles Lamb.

Under Gifford, the journal took the Canningite liberal-conservative position on matters of domestic and foreign policy, if only inconsistently. It opposed major political reforms, but it supported the gradual abolition of slavery, moderate law reform, humanitarian treatment of criminals and the insane, and the liberalizing of trade. In a series of articles in its pages, Southey advocated a progressive philosophy of social reform. Because two of his key writers, Scott and Southey, were opposed to Catholic emancipation, Gifford did not permit the journal to take a clear position on that issue.

Reflecting divisions in the Conservative party itself, under its third editor, John Gibson Lockhart, the Quarterly became less consistent in its political philosophy. While Croker continued to represent the Canningites and Peelites, the party's liberal wing, it also found a place for the more extremely conservative views of Lords Eldon and Wellington.

During its early years, reviews of new works were sometimes remarkably long. That of Henry Koster's Travels in Brazil (1816) ran to forty-three pages.

Controversial reviews
Typical of early nineteenth-century journals, reviewing in the Quarterly was highly politicized and on occasion excessively dismissive. Writers and publishers known for their Unitarian or radical views were among the early journal's main targets. Prominent victims of scathing reviews included Irish novelist Lady Morgan (Sydney Owenson), English poet and essayist Walter Savage Landor, as well as English novelist Mary Wollstonecraft Shelley and her husband Percy Bysshe Shelley.

In an 1817 article, John Wilson Croker attacked John Keats in a review of Endymion for his association with Leigh Hunt and the so-called Cockney School of poetry. Shelley blamed Croker's article for bringing about the death of the seriously ill poet, 'snuffed out', in Byron's ironic phrase, 'by an article'.

In 1816, Sir Walter Scott reviewed his own, but anonymously published, Tales of My Landlord, partly to deflect suspicion that he was the author; he proved one of the book's harshest critics. Scott was also the author of a favourable review of Jane Austen's Emma.

Nineteenth-century editors

 * William Gifford (February 1809 – December 1824. Vol. 1, Number 1 – Vol. 31, Number 61)
 * John Taylor Coleridge (March 1825 – December 1825. Vol. 31, Number 62 – Vol. 33, Number 65)
 * John Gibson Lockhart (March 1826 – June 1853. Vol. 33, Number 66 – Vol. 93, Number 185)
 * Whitwell Elwin (September 1853 – July 1860. Vol. 93, Number 186 – Vol. 108, Number 215)
 * William Macpherson (October 1860 – January 1867. Vol. 108, Number 216 – Vol. 122, Number 243)
 * William Smith (April 1867 – July 1893, Vol. 122, Number 244 – Vol. 177, Number 353)
 * John Murray IV (October 1893 – January 1894. Vol. 177, Number 354 – Vol. 178, Number 355)
 * Rowland Edmund Prothero (April 1894 – January 1899. Vol. 178, Number 356 – Vol. 189, Number 377)
 * George Walter Prothero (April 1899 – October 1900. Vol. 189, Number 378 – Vol. 192, Number 384)

title: Quarterly Review


text:
Cäğfär Taríxı

The Cäğfär Taríxı (Tatar Cyrillic: Җәгъфәр тарихы, pronounced ; Russian: Джагфар Тарихы, in English generally Djagfar Tarikhy, via the Russian transliteration of the Volga Tatar name; Tatar language for History of Cäğfär) is a Russian language partial translation of a supposed 17th-century Volga Tatar compilation of early historical material on the Bulgars, Khazars, Magyars and other Eurasian nomads. Most scholars view the work as a fabrication,  while others view the work as authentic  —  a unique ancient source containing a lot of completely unknown information about the history of the peoples of Eastern Europe from the I millennium AD to the XVI century.

History
According to its publisher, Fargat Nurutdinov, the Cäğfär Taríxı was written in its present form in Bashkortostan, by Baxşi İman, secretary of Cäğfär, the leader of a Tatar liberation movement that supposedly flourished there at the time. Nurutdinov states that the original, written in "Bulgar Turkic" (here equated with the language of the Volga Tatars), in the Arabic script, was translated into Russian in the late 1930s by his uncle I.M.-K.-Nigmatullin, who did this in order to save it from an NKVD campaign of confiscation and destruction of old Bulgar documents written in the Arabic script. The manuscript containing the Bulgar text was destroyed by NKVD agents. Nigmatullin himself was killed in World War II, and the translation was preserved by his mother, who eventually passed it over to her grandson, Nurutdinov, in 1976. He managed to copy parts of the translation, but the original translation and some of the copies were stolen from his father's country house in the 1980s by unknown perpetrators. Finally, Nurutdinov published the remaining text.

Contents
The text refers to numerous persons and historical events unattested in other sources; for example, it makes references to mid 7th century Khazar rulers named Khalga and Kaban, who do not appear in the account of al-Tabari, in the Schechter Letter, in the Khazar Correspondence, or any other extant document. It also associates the Bulgars with what Nurutdinov interprets as references to Troy, Sumer and America.

title: Cäğfär Taríxı


text:
Lazi

Lazi may refer to :

 * the Laz(i) people, which gave its name to Lazica region (Ancient Colchis) in present Georgia
 * Lazi, Siquijor, municipality in the Philippines
 * Lazi County, county in Tibet
 * Lazi, Croatia, a village near Čabar
 * Lazi Krapinski, a village near Krapina, Croatia
 * Lázi, village in Hungary
 * Lazi, Berane Municipality, a village in Montenegro

title: Lazi


text:
User talk:Skud

The Poppykettle Papers
Thank you for your contribution to The Poppykettle Papers. However, I am unable to find any documentation of these keys that you wrote about in the history of the You Yangs. Could you please cite a reference in the article for this historical tidbit? It can be an on- or off-line source; I just want to be sure that we document it. Thanks! -Harmil 13:31, 12 July 2005 (UTC)

Working on it. I emailed my dad, from whom I got the story originally -- we used to drive around the area a bit when I was a kid, and he was full of that kind of trivia. I have no idea of the source of it, and it's probably folklore, but it's *definitely* what the Poppykettle keys were all about. --Skud

Found it! I was off by a bit, geographically:

1847. A set of keys were found at Limeburners Bay, Corio, near Geelong in Victoria, by Lt. Governer LaTrobe. These keys were found embedded in the ground. The way they were buried, and their general appearance suggested that they had been there for about 3 centuries.

From here: http://member.melbpc.org.au/~acal/stories/mahogany.html

Having found that, I managed to get google to disclose this page, with further info: http://www.lib.monash.edu.au/exhibitions/history/xaustcat.html ... see item 81 on that page.

I will update The Poppykettle Papers to reflect this, rather than the You Yangs.

-- Skud

 * Nice work! I formatted your Geelong Keys article a bit, but great research.

 * By the way, are you aware of a good source for a definition of "limeburner"? It is a term that is used in a number of articles throughout Wikipedia, but I can't find a definition for it anywhere. -Harmil 15:44, 12 July 2005 (UTC)

Uh, http://dictionary.reference.com/search?r=2&q=Lime%20burner ? -- Skud

Nice work on those articles you posted on the notice board - this is an area that's been all too often overlooked by most of us. I'll keep an eye on what you're doing to see if there's anything I can add, and if I can help at all, just let me know. Ambi 03:09, 18 July 2005 (UTC)

 * Thanks! I've started thinking about putting together a Colonial Australia page talking about life in the colony, and have put some thoughts on it at User:Skud/AustHistoryTodo if you're interested in taking a look.  --Skud 05:12, 18 July 2005 (UTC)

Category soring
Hi Skud. Just letting you know that I have sorted the Australian Wikipedians and Queer wikipedians categories on your user-page so that your username appears alphabetically under "S". I hope you don't mind. Also, I'd like to thank you for your great work on Australian history articles. I was suprised that there wasn't already coverage in some areas and that the Lady Nelson did not have an entry (prior to you writing one). Thanks, --Cyberjunkie | Talk 06:21, 18 July 2005 (UTC)

Welcome to the greatest source of online crack in the world
Wikipedia is my favourite MMORPG ever. I'll bet you used to have this stuff called "free time" - David Gerard 16:15, 18 July 2005 (UTC)

Hello, stranger!
Welcome to Wikipedia! I'm surprised it took you this long to swing by here and get hooked. You needed another time sink, right?

I thought of you when I saw the Gay cruising grounds in Britain VFD, so I'm not surprised you showed up there on your own shortly thereafter. — mendel ☎ 19:12, July 19, 2005 (UTC)
 * Hi! Yeah, I made a few small edits here and there in the past, but it wasn't til I took a week off from my other timesinks that I threw any real time into stuff here.  It's rather odd how crappy and gappy the Australian history stuff is in places.  Ah well, soon fix that ;)  --Skud 23:36, 19 July 2005 (UTC)

Portugese discovery of Australia
Thanks for your editing of this article - a great improvement! Regards--AYArktos 00:35, 21 July 2005 (UTC)

C. J. Dennis
No problems - Auburn has a notice about it being his birthplace (I pass through on the way to the Clare Valley), and I found the Laura bit when I was writing a stub about Laura, so added it - there's apparently a statue of him there. Unfortunately, I tend to be better at writing stubs or wikifying or copyediting other people's long articles than I am at writing long articles of my own. If I happen to be passing through Laura some time, I'll try to snap a photo of the statue for both articles :-) I also managed to fix two broken links. --ScottDavis 05:37, 25 July 2005 (UTC)

Sorry if I was overly harsh - I toned down my comments a tad. Ambi 10:06, 25 July 2005 (UTC)

Hi from Wm
Hey Skud - thanks for saying hello. I have just got back from the show at the Vanguard, Ed Kuepper and quite late home for me. I'm not sure about where best to put your gang clothing history. There is an article on Crime in Sydney but its seems to me to be a particularly poor one and possibly in need of a lot of work. Probably good in the spirit of Wiki be bold to put your info in anywhere where you feel it might be relevant and we can move it around and develop it in the usual wiki fashion. Maybe we need another article with an overview of that gang culture of that time? I might be a bit scarce over the next few days but back again and mildly active after that. Cheers. --Wm 15:55, 26 July 2005 (UTC)

Portuguese Discovery of Australia
Greetings, my name is √αzzρεr, an Australian History enthusiast. After noticing your past support for stopping the deletion of the Portuguese Discovery of Australia article, I have come asking for your support once more in the recreation of the article as per my speedily deleted edit of few days ago.

Feel free to observe and contribute to:
 * My argument for re-creation at Deletion review (near bottom of page)
 * The article's talk page at Talk:Portuguese Discovery of Australia

sincerely, √αzzρεr 06:03, 6 April 2006 (UTC)

June 2007
Welcome to Wikipedia and thank you for your contributions. An article you recently created, Warlpiri Media Association, may not conform to some of Wikipedia's guidelines for new articles, so it will shortly be removed (if it hasn't been already). Please use the sandbox for any tests you may want to do and please read our introduction page to learn more about contributing. Thank you. Thewinchester (talk) 16:55, 3 June 2007 (UTC)

Invite
Kaldari (talk) 23:40, 4 November 2010 (UTC)

Geodata
Skud,

Thanks for your comments at WP:COORD about potentially bogus geodata in Wikipedia. We could definitely use your help!

I run User:The Anomebot2, which does a lot of geocoding work, mostly derived from cross-correlating Wikipedia metadata and article contents with public-domain data. Although I missed the original notice, I would very much like to be able to access this data so I can cross-check it and make corrections if necessary. Can you make it publically available under a suitable licence? I'm happy to accept data in practically any format. -- The Anome (talk) 12:15, 9 November 2010 (UTC)

Google and Wikipedia:Bot requests
There are two pending Wikipedia:Bot requests for Geo coordinates that need Google's assistance. Please contribute your thoughts there. -- Uzma Gamal (talk) 14:49, 4 February 2011 (UTC)

WikiProject Women's History
WikiProject Women's History needs members' input on implementing auto-assessment. You'll find the discussion at Wikipedia talk:WikiProject Women's History. Best wishes, Voceditenore (talk) 10:49, 5 March 2011 (UTC)

Members' input needed at WikiProject Women's History
Hello. I'm writing to you as your name is listed on the members page for WikiProject Women's History. In recent discussions at the project, most notably here, several members have indicated that the scope of the project may need to be more clearly defined and communicated. I have set up a workshop page for this, but it obviously needs as wide a participation as possible to achieve genuine consensus and to allow the project to move forward. You'll find the workshop here.

If you no longer consider yourself an active member of the project, it would help if you could indicate this on the members' page. This will allow us to better gauge how much people-power we actually have. Best wishes, Voceditenore (talk) 18:30, 24 May 2011 (UTC)

Women's History Project – Final call for comments on the Scope draft
Our workshop on revising and clarifying the scope of our project has produced a draft outlining our project's scope and criteria for article inclusion. Please join us at Wikipedia talk:WikiProject Women's History/Scope workshop to discuss this document. There's a separate section beneath it for final comments, which will remain open through Tuesday, June 14th. As Cynwolfe says "with good participation, we should be able to revise our project page soon, clearing up the issues we've been dealing with and preparing us to go on to the fun stuff." Best wishes, Voceditenore (talk) 12:43, 10 June 2011 (UTC)

Save Aussie Music Project
Happy to help out where possible - have entered some information on your site which might be useful. Dan arndt (talk) 09:32, 12 July 2011 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:52, 23 November 2015 (UTC)

Fair Use in Australia discussion
As an Australian Wikipedian, your opinion is sought on a proposal to advocate for the introduction of Fair Use into Australian copyright law. The discussion is taking place at the Australian Wikipedians' notice board, please read the proposal and comment there. MediaWiki message delivery MediaWiki message delivery (talk) 11:08, 2 March 2017 (UTC)

This message has been automatically sent to all users in Category:Australian Wikipedians. If you do not wish to receive further messages like this, please either remove your user page from this category, or add yourself to Category:Opted-out of message delivery

Survey about History on Wikipedia (If you reside in the United States)
I am Petros Apostolopoulos, a Ph.D. candidate in Public History at North Carolina State University. My Ph.D. project examines how historical knowledge is produced on Wikipedia. You must be 18 years of age or older, reside in the United States to participate in this study. If you are interested in participating in my research study by offering your own experience of writing about history on Wikipedia, you can click on this link https://ncsu.qualtrics.com/jfe/form/SV_9z4wmR1cIp0qBH8. There are minimal risks involved in this research.

If you have any questions, please let me know. Petros Apostolopoulos, paposto@ncsu.edu Apolo1991 (talk) 17:30, 15 December 2021 (UTC)

Category:Australian convict women has been nominated for renaming
Category:Australian convict women has been nominated for renaming. A discussion is taking place to decide whether this proposal complies with the categorization guidelines. If you would like to participate in the discussion, you are invited to add your comments at the category's entry on the categories for discussion page. Thank you. Mason (talk) 21:17, 27 September 2023 (UTC)

title: User talk:Skud


text:
Augustin-Alexandre Dumont

Augustin-Alexandre Dumont, known as Auguste Dumont (4 August 1801, Paris – 28 January 1884, Paris) was a French sculptor.

Biography
Auguste Dumont was one of a long line of famous sculptors, the great-grandson of Pierre Dumont, son of Jacques-Edme Dumont and brother to the pianist and composer Louise Farrenc. In 1818, he started studies at the École des Beaux-Arts in Paris, where he was a pupil of Pierre Cartellier. In 1823, he was awarded the Prix de Rome for his sculptures, and went to study at the French Academy in Rome.

In 1830, he returned to France. In 1853 he became a teacher at the École des Beaux-Arts. A disease kept him from working after 1875.

Works

 * Infant Bacchus Nurtured by the Nymph Leucothea (1830; Semur-en-Auxois, Musée Municipal)
 * Statue of Nicolas Poussin for the Salle Ordinaire des Séances in the Palais de l'Institut de France, Paris (1835)
 * Statue of Maréchal Thomas Bugeaud de la Piconnerie (~1850; version, Versailles)

title: Augustin-Alexandre Dumont


text:
Wikipedia talk:Articles for deletion/Lingnan Primary School Old Student Association

Keepandstrong--- This article is a history of a special school club. This is encyclopedic, since it is a brief introduction of an association.And the association is very special. Moreover, Thois aarticle has been modified. Thus, I strongly believe that this article is worth staying in here. Thanks


text:
User:Mpatel/sandbox

Created

 * User:Mpatel/sandbox/Millennium Prize Problems

Rewritten

 * User:Mpatel/sandbox/Clay Mathematics Institute

 * User:Mpatel/sandbox/Lorentz transformation

 * User:Mpatel/sandbox/Salat

Processing

 * User:Mpatel/sandbox/Derivations of the Lorentz transformations

 * User:Mpatel/sandbox/Electromagnetic field

 * User:Mpatel/sandbox/Electromagnetic stress-energy tensor

 * User:Mpatel/sandbox/History of mathematical notation

 * User:Mpatel/sandbox/Schrödinger equation

 * User:Mpatel/sandbox/Spacetime

 * User:Mpatel/sandbox/String theory

 * User:Mpatel/sandbox/History of string theory

In the pipeline

 * User:Mpatel/sandbox/Field (physics).

 * User:Mpatel/sandbox/General relativity.

 * User:Mpatel/sandbox/Principle of general covariance.

 * User:Mpatel/sandbox/Symmetry groups in one dimension.

 * User:Mpatel/sandbox/Symmetry in physics.

 * User:Mpatel/sandbox/Template:Exact Solutions in General Relativity.

 * User:Mpatel/sandbox/WikiProject Islam/Mosques task force

 * User:Mpatel/sandbox/List of writings by Isaac Newton

title: User:Mpatel/sandbox


text:
N18 road (Ireland)

The N18 road is a national primary road in Ireland, connecting the cities of Limerick and Galway. Ennis and Gort are two major towns on the route, and Shannon Airport is reached via the connecting N19. The west coast route continues on to Sligo as the N17. The section from Limerick to the N19 junction forms part of European route E20, and the entire route is part of the proposed Atlantic Corridor. The section of motorway from Shannon to Claregalway is designated the M18 motorway. The tolled Limerick Tunnel forms part of the route.

N18 Limerick to Shannon
As of 27 July 2010, the N18 commences at the Rosbrien interchange, a major interchange south of Limerick city, where it joins the M7 motorway to Dublin and M20 motorway towards Cork and Tralee. The dual carriageway continues north, intersecting with the N69 road, before crossing under the River Shannon using the Limerick Tunnel, this section of the route forms phase II of the Limerick Southern Ring Road and is tolled between junctions 2-4. North of the River Shannon the N18 continues as dual-carriageway bypassing Cratloe, Sixmilebridge and Bunratty. The road passed alongside Bunratty Castle before the completion of the neighbouring dual-carriageway section in the late 1980s/early 1990s. The other nearby junctions were also converted to fly-overs in the 1990s. The road continues north with junctions at Hurler's Cross and Shannon Town, there is a fly-over connecting Shannon Airport via the N19 dual-carriageway.

M18 Shannon to Gort
The N18 continues north of the N19 junction where motorway regulations are enforced and the N18 route is designated as the M18 bypassing the towns of Newmarket-on-Fergus, Ennis and Gort. The motorway currently ends at Gort where the route continues as a single carriageway through County Galway. The dual-carriageway between Shannon and Ennis (including the Ennis bypass) was included in the second tranche of motorway redesignations and gained motorway status on 28 August 2009.

M18 Gort to Claregalway
The Gort to Tuam (M18/M17) scheme consists of 53.2 km of motorway and 4.2 km of Type 2 dual-carriageway. DirectRoute (Tuam) Ltd., a consortium consisting of Marguerite Fund, InfraRed Capital Partners, Sisk Group, Lagan Construction Group, Roadbridge and Strabag began construction of the scheme in 2015 and was officially opened on 27 September 2017.

It completed the existing M18 motorway, bypassing the towns of Kilcolgan and Oranmore. The route then continues north to the M6 Dublin–Galway motorway, forming interchange junction 19 on the M6. It then continues northwards bypassing Claregalway. The M18 had terminated at a temporary junction near Gort. In addition, a new section of the N17 was constructed as motorway. This motorway begins at a new junction with the M6 near Athenry, and ends with a dual-carriageway bypass of Tuam, which was also constructed as part of the scheme but was not designated a motorway. The N17 then continues into County Mayo towards Sligo.

History
Major improvements to the N18 route were made in the 2000s and 2010s. Originally the route was a narrow single carriageway route that ran through all the main towns and villages between Limerick and Claregalway where the route terminates. The first improvements involved the dualling of the Limerick, Bunratty and Shannon route. The Newmarket-on-Fergus bypass opened in December 2002 and the Ennis bypass opened in 2007. Both were redesignated as motorway in August 2009. The Limerick Tunnel and phase II of the Limerick Southern Ring Road opened in July 2010 forming a continuous motorway dual-carriageway from the N/M18 to the M7 and M20 outside Limerick. On 12 November 2010 the €207 million Gort to Crusheen (M18) bypass was opened. The remaining single carriageway sections from Gort to Claregalway have been upgraded to motorway standard and were officially opened on 27 September 2017.

title: N18 road (Ireland)


text:
Mellows Bridge

Mellows Bridge (Droichead Uí Mhaoilíosa ) is a road bridge spanning the River Liffey, in Dublin, Ireland and joining Queen Street and Arran Quay to the south quays.

Arran bridge
In 1683, a stone bridge called Arran Bridge or Arons Bridge was built in a location between the upstream Bloody Bridge (now Rory O'More Bridge) and the downstream Bridge of Dublin (now Father Mathew Bridge). Construction was funded by landowner William Ellis, and Dublin Corporation. It was named after Richard Butler, 1st Earl of Arran, second son of James Butler, 1st Duke of Ormond. From a drawing made by Francis Place in 1699, it appears to have been a four-span stone arched bridge.

It was also known as Bridewell Bridge due to its proximity to the Smithfield Bridewell, and as Ellis's Bridge because of its association with Sir William and Sir John Ellis.

This structure stood for 80 years, but was swept away by a flood in 1763. The collapse was described by George Semple as being an unlucky accident when a raft of timber was swiftly carried downstream in a flood where it got lodged across the middle arch. The water flow increased under the raft at this point, and since the piers of the bridge were built on top of the river bed, "This raft of timber obstructing the current of the surface, in like manner increased the power of it at the bottom and within the space of a few hours totally demolished the bridge."

Queens bridge
Designed by Charles Vallancey, a military engineer, a replacement bridge on the same site was built between 1764 and 1768 as a three elliptical arch stone bridge with a total span of 42 m, and named Queens Bridge after Charlotte of Mecklenburg, queen consort of George III.

Queen Maeve Bridge
The bridge was renamed for the legendary Queen Maeve at a meeting of the Municipal Council on 2 January 1922.

Liam Mellows bridge
It was renamed again in 1942 to its current name, after Lieutenant General Liam Mellows Irish Republican army who was executed during the Irish Civil War.

Being 250 years old, Mellows Bridge remains the oldest of all Dublin city bridges still in use, although the parapets were replaced with cast iron balustrades and stone copings between 1816 and 1818.

Nomenclature
As with other bridges on the Liffey in Dublin, and chiefly due to the many name changes, Mellows Bridge is known locally by several names, including: Queen's Bridge, Queen's Street Bridge, Queen Maeve Bridge, and Mellowes Bridge (with an "e").

title: Mellows Bridge