text:
Another Day in Paradise

"Another Day in Paradise" is a song written and recorded by English drummer and singer Phil Collins. Produced by Collins along with Hugh Padgham, it was released as the first single from his number-one album ...But Seriously (1989). As with his song for Genesis, "Man on the Corner", the track has as its subject the problem of homelessness and paradise; as such, the song was a substantial departure from the dance-pop music of his previous album, No Jacket Required (1985).

Collins sings the song from a third-person perspective, as he observes a man crossing the street to ignore a homeless woman, and he implores listeners not to turn a blind eye to homelessness because, by drawing a religious allusion, "it's just another day for you and me in paradise". Collins also appeals directly to God by singing: "Oh Lord, is there nothing more anybody can do? Oh Lord, there must be something you can say."

The song was Collins' seventh and final Billboard Hot 100 No. 1 single, the last No. 1 single of the 1980s and the first No. 1 single of the 1990s. It was a worldwide success, eventually becoming one of the most successful songs of his solo career. It won Collins and Padgham the Grammy Award for Record of the Year at the 1991 awards ceremony, while it was also nominated for Song of the Year, Best Pop Vocal Performance, Male and Best Music Video, Short Form. "Another Day in Paradise" also won an award for British Single at the 1990 Brit Awards. Despite the awards gained following its release, the song also generated controversy over its subject matter and has received a largely unfavourable reaction from music critics.

The live performance of the song at the 1991 Grammy Awards by Collins and David Crosby, who provided backing vocals on the track, was released on the 1994 album Grammy's Greatest Moments Volume I. In 2009, Collins' version was listed 86th on Billboard's Greatest Songs of All Time. "Another Day in Paradise" has since been covered by several artists, including Brandy and her brother Ray J, Jam Tronik, Axxis, Novecento, Brad Arnold and Hank Marvin.

Chart performance
The song was another hit for Collins. On 23 December 1989, it became his seventh No. 1 single in the U.S. The song was also the final No. 1 song of the 1980s in the U.S., and remained at No. 1 for four weeks, which classifies the song as a hit from the 1990s as well. This song is notable for keeping Janet Jackson's "Rhythm Nation" from reaching No. 1. It also saw out the 1980s and saw in the 1990s at the top of the German singles chart. The song had already reached No. 2 in the UK in November of that year. The single version is slightly different from the album version in that it uses a shorter intro.

Music video
The song's music video was directed by Jim Yukich and produced by Paul Flattery of FYI. The video, shot entirely in black and white, features Collins singing in a dark background, interspersed with images of the homeless, the refugees and the poverty of children in the streets. The music video also features many messages about the homeless, to convey the full message of the song. Collins' part was shot in less than an hour in New York.

Reception
"Another Day in Paradise" provoked controversy upon release and was widely criticised. Some critics found the wealthy Collins unqualified to sing about the poor, while others accused him of profiteering from homelessness. Collins responded, "When I drive down the street, I see the same things everyone else sees. It's a misconception that if you have a lot of money you're somehow out of touch with reality." Billboard gave a positive review, calling it a "poignant" track whose "subject matter is complemented nicely by a subdued, ethereal musical context".

Singer-songwriter and political activist Billy Bragg gave a 2000 interview in which he negatively compared Collins to the Clash, stating, "Phil Collins might write a song about the homeless, but if he doesn't have the action to go with it he's just exploiting that for a subject." In 2003, Andrew Collins described the song as a "bland redress" for the subject of homelessness in the New Statesman. In 2007, Blender remarked that Collins "wrote the worst song ever about homelessness", while Caroline Sullivan of The Guardian called it "a song that addressed the issue of homelessness with the same insight as Sporty Spice's 'If That Were Me'". Writing for the BBC in 2010, David Sheppard described the song's lyrics as "cringe-worthy" and gave it as an example of Collins "painting the bull's-eye on his own forehead" when it came to his negative status with music critics.

It was reported that Collins left the UK for Switzerland in 1997, in response to the election of a Labour government; Collins had actually left previously to be with his future wife Orianne Cevey. In 2013, MSN's Hugh Wilson said this relocation led to further accusations of hypocrisy, since Collins "bemoaned the plight of the homeless in the song 'Another Day in Paradise' " then "lugged his estimated £130 million fortune to Switzerland where the tax regime is far less punishing for the super wealthy".

In a 2016 article for The Guardian, Michael Hann wrote, "Collins has been unfairly criticised for many things, but 'Another Day in Paradise' is not one of them. Criticism of that is manifestly fair." Hann argued that the song patronizes the general public, who "almost certainly encounter poverty more often than [Collins]", and chided Collins for "[equating] his material wealth with his listener's by pointing out that both 'you and me' are in paradise". On the other hand, Jamie Wales of Gigwise described the track as a "classic", and said of the hypocrisy allegations levelled at Collins, "The truth is Phil collected money for homeless charities from fans who attended his concerts and then donated double the total takings out of his own money."

Formats and track listings
12" single
 * 1) "Another Day in Paradise" (album version) – 5:22
 * 2) "Another Day in Paradise" (radio edit) – 4:40

CD maxi single
 * 1) "Another Day in Paradise" – 5:15
 * 2) "Saturday Night and Sunday Morning" – 1:25
 * 3) "Heat on the Street" – 3:59

7" single
 * 1) "Another Day in Paradise" – 4:48
 * 2) "Heat on the Street" – 3:59

3" CD single
 * 1) "Another Day in Paradise" 5:19
 * 2) "Saturday Night and Sunday Morning" 1:26
 * 3) "Heat on the Street" 4:00

Virgin - VSCD1233 (Martin H)

Personnel

 * Phil Collins – vocals, keyboards, drums, Roland TR-808 drum machine
 * David Crosby – backing vocals
 * Dominic Miller – electric guitar, classical guitar
 * Leland Sklar – bass

Jam Tronik version
Less than six months after the release of the original Phil Collins version, a cover version by German dance act Jam Tronik was released as their debut single. In the United Kingdom, the song first charted in March 1990, reaching a peak of number 19 on the UK Singles Chart in the first week of April. It also charted in Germany and Belgium. Sampled in this version is the drum loop from the 1988 Raze song "Break 4 Love". The B-side, "Get on the Raze", also samples "Break 4 Love".

Brandy and Ray J version
In 2001, siblings Brandy and Ray J covered the song for the Phil Collins tribute album Urban Renewal. Produced by Guy Roche and released as the album's lead single in March 2001, the cover version became a top-10 success in Australia and across Europe, receiving gold certifications in Australia (35,000), France (250,000), Germany (250,000), and Switzerland (20,000). In 2002, this version of the song was included on the European edition of Brandy's Full Moon album.

Critical reception
In their review, Music Week felt that the "US siblings are likely to score a hit with this infectiously familiar track."

Music video
The music video follows a homeless woman wandering the streets being chastised by various people, including a waitress, a businessman, and a police officer. The video is intercut with scenes of Brandy and Ray J singing on a fire escape and along alleyways, while also following the woman and taking photographs of each incident with a camera. The homeless woman then walks into a luxurious shoe boutique, and the receptionist calls the police to escort her out. When she is dropped back to her makeshift shelter in an alleyway, one of the policemen comes across a series of Polaroids depicting all of the previous characters, including himself, in the homeless woman's place. At the end of the video, Brandy and Ray J come to pick up the homeless woman and walk off with her into the distance.

Track listings
CD maxi single CD single
 * 1) "Another Day in Paradise" (R&B-Version) – 4:32
 * 2) "Another Day in Paradise" (Stargate Mix) – 4:19
 * 3) "Another Day in Paradise" (Stargate Classic Club) – 4:22
 * 4) "Another Day in Paradise" (Knee Deep Remix) – 6:28
 * 5) "Another Day in Paradise" (Black Legend VS. J-Reverse Club Mix) – 7:54
 * 1) "Another Day in Paradise" (R&B-Version) – 4:32
 * 2) "Another Day in Paradise" (Stargate Mix) – 4:19

The Remixes – 12-inch maxi
 * 1) "Another Day in Paradise" (Knee Deep Remix) – 6:28
 * 2) "Another Day in Paradise" (Black Legend vs. J-Reverse Club Mix) – 7:54

Credits and personnel

 * Arrangement – Guy Roche
 * Engineering – Dushyant Bhakta, Doarian Cheah
 * Engineering assistance – Michael Huff, Ron Ben-Simon
 * Mixing – Brad Gilderman
 * Production – Guy Roche
 * Songwriting – Phil Collins

Notable covers

 * In 2016, the song was covered by Casa & Nova. Their cover was nominated by The Hollywood Music in Media Awards (HMMA) in the category EDM (Electronic Dance Music).
 * In 2020, DJ Jack Smith (https://jacksmithdj.com/) released a cover of the song featuring Georgian vocalist Sevda B.

title: Another Day in Paradise


text:
User:Scienceman~enwiki

About me

 * I have Asperger's Syndrome.
 * My Aspergers-related interests are military aviation, dogs, weapons, and medicine.
 * I am a Democrat.
 * My favorite food is the omnipotent French fry.
 * I am somewhat short.
 * I have 4 siblings.

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

title: User:Scienceman~enwiki


text:
Talk:Sistan and Baluchestan province

This article was stub, until Amir88 copied wholesale and pasted it onto the stub.

All that is going to have to rolled back. Zora 08:18, 26 July 2005 (UTC)

 * I reverted to the stub version. Since Elam wasn't deleted and the history still contains the copyvio text, this should be fine here as well, right? SouthernComfort 15:56, 26 July 2005 (UTC)

شهر سوخته
آیا کسی از دوستان می‌تواند مطالبی پیرامون شهر سوخته و آن انیمیشن بر روی سفال بیافزاید؟ - Alijsh 19:50, 3 January 2007 (UTC)

 * Google's automatic translater translates this from Persian to English as: "Burnt City / Can anyone what's around town and burned it on a clay animation add?". Anthony Appleyard (talk) 07:12, 16 December 2010 (UTC)

 * کدام شهر سوخته؟ Muhafiz-e-Pakistan (talk) 13:39, 21 September 2022 (UTC)
 * @Alijsh Muhafiz-e-Pakistan (talk) 13:40, 21 September 2022 (UTC)

Zahedan and the Narouei tribe
The second sentence of the lead reads: "It is in the southeast of the country, bordering Pakistan and Afghanistan and its capital is Zahedan the Narouei tribe ." Who are the Narouei tribe? I read the article on Zahedan, but it doesn't mention the Narouei. Should the end of that sentence read, "...and its capital is Zahedan, of the Narouei tribe."? --Smoggyrob | Talk 05:59, 1 November 2010 (UTC)

Move?

 * The following discussion is an archived discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

The result of the move request was: page not moved per lack of discussion below. It may be that the proposed title is a good one, but with so little discussion in 3 weeks, I'm closing this as "no move", and anyone wishing to answer those opposing the move may do so anytime, possibly leading to a page move. We'll stick with the status quo for now. - GTBacchus(talk) 09:12, 1 January 2011 (UTC)

Sistan and Baluchestan Province → Sistan and Baluchestan — Unnecessary disambiguation. There are no other articles titled Sistan and Baluchestan. Per naming guidelines, we should only disambiguate where necessary. Skinsmoke (talk) 14:13, 15 December 2010 (UTC)

 * Moved to "Contested requests". I don't think this is uncontroversial - every other province of Iran has XXX Province as its title and I think that's a matter of style rather than simply for disambiguation. It would be better to list it as a standard RM request if you feel strongly that it should be moved. — Amakuru (talk) 22:14, 15 December 2010 (UTC)
 * Oppose, it's helpful to have consistent names for these provinces. Re Amakuru's statement — there's only one Iranian province that doesn't have "Province" at the end of its title, and that one ends with "province".  Nyttend (talk) 00:38, 26 December 2010 (UTC)
 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

Baloch and Urdu script should be added
Baloch and Urdu script should be added as the Balochistan region is also part of Pakistan. — Preceding unsigned comment added by 99.226.242.202 (talk) 04:42, 9 April 2013 (UTC)

 * But Urdu is not spoken in Iranian Baluchistan, yes they were Shalwar Qameez and eat biryani, but few know Urdu. Are you talking about the Nastaliq script? Muhafiz-e-Pakistan (talk) 13:41, 21 September 2022 (UTC)

Move discussion in progress
There is a move discussion in progress on Talk:Alborz Province which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 04:50, 25 January 2022 (UTC)

title: Talk:Sistan and Baluchestan province


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Jombang Regency

Jombang Regency (Kabupaten Jombang; ꦏꦧꦸꦥꦠꦺꦤ꧀ꦗꦺꦴꦩ꧀ꦧꦁ) is a regency of East Java, Indonesia, situated to the southwest of Surabaya. The capital of the regency is the town of Jombang. The regency has an area of 1,159.50 km2 and a population of 1,202,407 at the 2010 census and 1,318,062 at the 2020 census; the official estimate as of mid-2023 was 1,370,510 (comprising 690,361males and 680,149 females). It became a regency in 1910. It was the birthplace of Abdurrahman Wahid, the 4th president of Indonesia.

Administrative districts
The regency is divided administratively into twenty-one districts (kecamatan), tabulated below with their areas and population totals from the 2010 census and the 2020 census, together with the official estimates as of mid-2023. The table also includes the locations of the district administrative centres, the number of administrative villages in each district (comprising 302 rural desa and 4 urban kelurahan - the latter all in Jombang (town) District), and its postal codes.

Note: (a) comprising 4 urban kelurahan (Jombatan, Jelakombo, Kaliwungu and Kepanjen) and 16 desa.

The five last-mentioned districts in the table constitute the folded limestone hilly region in the north, separated from the rest of the regency by the Brantas River. The rest of the regency to the south of the river is more low-lying and constitutes good agricultural land, although the south-east corner (Ngoro, Mojowarno, Bareng and Wonosalam Districts) is more mountainous.

title: Jombang Regency


text:
Talk:Paranormal television

restored article
Ok, so we have restored my article; I had deleted it because I thought it might be better as a category, but now it serves as both. I hope someone will see fit to expand it: I shall try and expand to discuss the ethics and legal implications specific to different nations and cultures and media theory etc etc as seems relevant to an emclyclopaedia entry...

Description: OPENLY fictional as opposed to what? Covertly fictional? You may as well just call them liars. — Preceding unsigned comment added by 124.170.77.232 (talk) 06:43, 26 August 2011 (UTC)

1st paranormal documentary show
The first paranormal documentary show wasn't "Sightings". "In Search of..." with Leonard Nemoy predated "Sightings" by almost twenty years. Not to say that's the first, but it was aired in the 70's.

Clean Up
The list of shows' air dates needs cleaned up, For example the show entitled Encounters: The Hidden Truth started 1994 not 1991, and lasted to 1996. —Preceding unsigned comment added by 70.143.45.220 (talk) 18:09, 7 April 2010 (UTC)

I removed "The X-Files" and CW's "Supernatural", as they don't seem to fit the category of actual paranormal investigation or even docudrama. Neither show is purported to be factual. Bookbrad (talk) 16:00, 12 June 2010 (UTC)

It seems Supernatural was readded, and I have the same complaint, that scripted fiction shows should not be on a list of paranormal investigation or docudrama shows. Others I see in the list that are scripted fiction: "Kolchak: The Night Stalker", "One Step Beyond", "Medium", and "Ghostwatch". Floracalifornia (talk) 06:28, 26 January 2011 (UTC)Floracalifornia

En dashes
All the hyphens (-) used for the air-date ranges must be replaced with un-spaced en dashes (–) per WP:ENDASH, such as in 2005–07. serioushat 19:45, 5 January 2011 (UTC)

"notable"
Are all the shows under "Examples of notable programs" really notable? Shows that don't even have a wikipedia article and shows where no airdate or channel is mentioned imho don't seem to be notable. Shouldn't it be transformed into a "List of paranormal televesion series"? Further series: Paranormal Borderline (faked; mentioned in Jonathan Frakes), Miracles and Other Wonders (mentioned in Robert Tralins) and Beyond Belief: Fact or Fiction (partly fiction, partly not). -91.63.255.42 (talk) 00:46, 26 August 2013 (UTC)

I agree it should be changed into "List of paranormal television series", and once this change is made y'all should add "The Other Side" which is a paranormal investigation show on the APTN network in Canada — Preceding unsigned comment added by B23Rich (talk • contribs) 01:09, 5 June 2014 (UTC)

Galileo Mystery
Does de:Galileo Mystery count as "paranormal television series"? -IP, 17:52, 26 July 2014 (UTC)
 * Yes, I added it to the program table. AspenSavannah (talk) 22:40, 22 April 2018 (UTC)

Paranormal TV show list
Sharon A. Hill kept a list of paranormal TV shows. Many are not listed on the WP page. Also, she included a category (ghosts, cryptozoology) for the shows. I think this would enhance the page. AspenSavannah (talk) 21:27, 8 April 2018 (UTC)

 * Editing list here: User:AspenSavannah/sandboxListEdit AspenSavannah (talk) 05:10, 12 April 2018 (UTC)

 * Should pseudo-documentary be a category or eliminated from the list? Examples Mermaids: The New Evidence and Megalodon: The Monster Shark Lives AspenSavannah (talk) 18:47, 12 April 2018 (UTC)

 * In October of 2021 or 2022 the Travel Channel did a limited series in October called "Conjuring Ke$sha" where Ke$ha and other performers or celebrities visited haunted places

Reformatted
I reformatted the table of series.

AspenSavannah (talk) 20:19, 17 April 2018 (UTC)
 * Added series using Sharon A. Hill's list
 * Added category column with Sharon A. Hill's list
 * Added format column - format from series WP article
 * Removed fictional series
 * Removed non-English series without any details

Edit history for reformatting is here: AspenSavannah (talk) 20:26, 17 April 2018 (UTC)

title: Talk:Paranormal television


text:
Talk:Ernst Tugendhat

Untitled
This article has been kept following this VFD debate. Sjakkalle (Check!)  08:20, 26 July 2005 (UTC)

From Heidelberg, he first went to Starnberg, and then to the FU Berlin (1980 bis 1992), and only in 1992 to Chile (as far as I know) - whatever: the biography here is not consistent with the German version. Plehn 15:51, 7 February 2006 (UTC)

Contribution
It would be good if someone could add a section on his contribution to philosophy. modify 04:44, 23 July 2007 (UTC)

This is also missing from the german article. the french wikipedia article Ernst Tugendhat has a link to a useful short bio and some philosophical remarks by Rainer Rochlitz, who was the french translator of E. T. this link is further linked to a Roy essay on Husserl and Tugendhat (all in french of course). One or two T. essays are online for free: a Münster lecture on ethics, some interviews, all in german, also some spanish things.--Radh (talk) 20:43, 25 October 2008 (UTC)

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title: Talk:Ernst Tugendhat


text:
Scorpion King

Scorpion King may refer to:

Pharaohs

 * Scorpion I
 * Scorpion II, also known as King Scorpion

Films

 * The Scorpion King (1992 film), a Hong Kong film
 * The Scorpion King (film series), a spin-off of The Mummy film series:
 * The Scorpion King, a 2002 film
 * The Scorpion King 2: Rise of a Warrior, a 2008 film
 * The Scorpion King 3: Battle for Redemption, a 2012 film
 * The Scorpion King 4: Quest for Power, a 2015 film
 * The Scorpion King: Book of Souls, a 2018 film

Video games

 * The Scorpion King: Sword of Osiris, a 2002 video game
 * The Scorpion King: Rise of the Akkadian, a 2002 video game

Other uses

 * Mathayus (The Scorpion King), a fictional character in the film series The Scorpion King
 * Scorpion Kings, a South African electronic dance music duo of DJ Maphorisa and Kabza de Small
 * Scorpion Kings (also known as Scorpion Kings EP), a 2019 EP

title: Scorpion King


text:
User talk:NJGreen

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, please be sure to sign your name on Talk and vote pages using four tildes (~~~~) to produce your name and the current date, or three tildes (~~~) for just your name. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! --OpenToppedBus - My Talk 08:22, July 26, 2005 (UTC)
 * The Five Pillars of Wikipedia
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 * Picture tutorial
 * How to write a great article
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 * Manual of Style
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 * If you're ready for the complete list of Wikipedia documentation, there's also Topical index.

Image Tagging for Image:Anthonygatto.jpg
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This is an automated notice by OrphanBot. For assistance on the image use policy, see Media copyright questions. 12:53, 10 May 2006 (UTC)

Commons:Image:Two jugglers passing clubs.jpg
Hello! You uploaded this image originally to the English Wikipedia as Clubpassing.jpg. I then copied it to Wikimedia Commons to be used in the Finnish Wikipedia. Unfortunaly, I now see the file has no source. It may have been my mistake not to copy that information from your original image description, and the file has been deleted from this Wikipedia. Can you confirm that the image is public domain? --Hautala 14:19, 7 September 2006 (UTC)

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AfD nomination of Juggling world records
Juggling world records, an article you created, has been nominated for deletion. We appreciate your contributions. However, an editor does not feel that Juggling world records satisfies Wikipedia's criteria for inclusion and has explained why in the nomination space (see also "What Wikipedia is not" and the Wikipedia deletion policy). Your opinions on the matter are welcome; please participate in the discussion by adding your comments at Articles for deletion/Juggling world records and please be sure to sign your comments with four tildes ( ~ ). You are free to edit the content of Juggling world records during the discussion but should not remove the articles for deletion template from the top of the article; such removal will not end the deletion discussion. Thank you. Oli Filth 20:00, 27 August 2007 (UTC)

title: User talk:NJGreen


text:
File:Kings Quest Tandy.png

Opening scene from the 1984 Tandy CGA release of King's Quest.

Fair use rationale
This image is used in the article King's Quest I: Quest for the Crown and consists of a screenshot of the eponymous game, illustrating its general graphical appearance. The image is used in an informative way in the respective article and used to document the game as a whole. Though its resolution has not been reduced with respect to the original (this would hardly be possible, considering how low it is in the first place), it represents a minuscule fraction of the game's artwork and would not interfere with the publisher's ability to turn profit—even if this game were anything other than a historical curiosity.

Furthermore, no version of the game is any longer available for sale from the publisher or anywhere else (it can only be found on abandonware sites, where it is widely distributed, seemingly without legal menace from the publisher). This is not expected to change in the future. It is therefore certain that the publisher cannot derive any profit from the game, whether at the present or any time in the future, except incidentally by capitalizing on its celebrity.

The image is not replaceable by a free image (except by waiting for another 45 years or so), since it is meant to illustrate the artwork of a game that is, itself, non-free.

Under this rationale this image could be primarily used in the article describing the game in question, and secondarily in any other article regarding the publisher or the historical context of the game in question.

title: File:Kings Quest Tandy.png


text:
User:Phorque

My hobby: deleting px values on thumbnails that don't need them.

title: User:Phorque


text:
Adam Frans van der Meulen

Adam Frans van der Meulen or Adam-François van der Meulen (11 January 1632 – 15 October 1690) was a Flemish painter and draughtsman who was particularly known for his scenes of military campaigns and conquests. Van der Meulen also painted portraits, hunting scenes, paintings of chateaux and landscapes. He created designs for prints and cartoons for tapestries.

He worked in the service of the French king Louis XIV of France for whom he painted his victories, his new possessions and portraits. He was instrumental in building the propagandistic image of the French king as the 'Sun King'. His battle scenes had an important influence on the development on the genre of military painting in France.

Life
Adam Frans van der Meulen was born in Brussels where he was baptized on 11 January 1632. He was the eldest of the seven children of Pieter van der Meulen and his second wife Maria van Steenwegen. His father was a respected notary. He was registered on 5 March 1651 at the Brussels Guild of Saint Luke as the pupil of Peter Snayers. Snayers was a painter from Antwerp who had moved to Brussels to work for the court. He specialized in pictures of battles, attacks on convoys and civilians and hunting scenes. Van der Meulen became a master of the Guild of Saint Luke in Brussels on 5 March 1651.

Van der Meulen's earliest works dealt with the same subject matter as those of his master Snayers, in particular cavalry skirmishes. He was also known for depicting courtly retinues mounted on their horses. His reputation for this type of scene as well as his skill in the painting of horses reached France. This led to the artist being called to Paris where he entered into the service of Louis XIV on 1 April 1664. Jean-Baptiste Colbert, the powerful surintendant des Bâtiments, Arts et Manufactures (Superintendent of Buildings, Arts and Manufactures) and later minister of finance, is believed to have been behind the royal appointment of van der Meulen. Colbert had been charged with immortalizing the military successes of Louis XIV. To achieve this propagandistic purpose, he had come up with the idea to create a series of tapestries that would show the heroic deeds of the king.

The court painter (Premier peintre du roi) Charles Le Brun had been put in charge of the Gobelins Manufactory, the royal tapestry works newly created in 1663, and was officially appointed its director on 8 March 1663. To realize Colbert's project of a series of tapestries on the king's military campaigns, Le Brun sought to surround himself with a team of painters who would be capable of translating his ideas into tapestries and van der Meulen was recruited to assist Le Brun in this project. Van der Meulen's varied skills were particularly appreciated for this purpose. Van der Meulen's reputation as a skilled painter of horses has been cited as one of the reasons why he was solicited to work in France.

Van der Meulen was involved in the design of multiple tapestry series. He first worked on the series of The History of the King for which he created the scenes of the military conquests. As the design work involved a lot of work, van der Meulen invited other Flemish artists to assist him with his designs. The landscape artist Adriaen Frans Boudewijns entered in 1666 into a 3-year contract to work in the service of Adam Frans van der Meulen. When van der Meulen worked on the design of 12 Gobelins representing the months for King Louis XIV, van der Meulen executed the smaller figures and part of the landscapes while the remainder of the landscapes was completed by Boudewijns and Abraham Genoels, another Flemish painter active in Paris. While in Paris, Boudewijns also engraved many of van der Meulen's compositions. Boudewijns married the sister of van der Meulen called Barbe or Barbara on 12 January 1670. From 1668 van der Meulen worked on the series of tapestries called the 'Maisons royales' ('Royal Residences') depicting the various palaces of the king.

Van der Meulen's career in France took off rapidly. His annual wages at the Gobelins Manufactory were regularly increased and he was in 1666 one of its best-paid artists. He accompanied Louis XIV during his campaign through Flanders during the War of Devolution. He made drawings of various cities including Turnhout, Kortrijk, Oudenaarde, Aalst and Lille. His paintings representing the campaigns of Flanders in 1667 so delighted the King that from that date van der Meulen was ordered to accompany him on all his expeditions. He accompanied le Grand Condé during his campaign through Bourgogne-Franche-Comté.

He obtained in 1669 the royal privilege to have his works engraved. He was appointed peintre ordinaire du Roy (ordinary painter to the king) in 1673. In the same year he was received into the Académie royale de peinture et de sculpture (Royal Academy of Painting and Sculpture) without having to submit a reception piece as was usually the case. He attained the grade of councilor in the Academy in 1681 and that of principal councilor in 1688.

Van der Meulen made a total of nine trips to document King Louis XIV's military campaigns. He enjoyed all kinds of facilities at his job: he had his own coach, took his meals with the officers, and had an assistant called Jean Paul who helped him with the drawings. This assistant artist has remained unidentified and was referred to by van der Meulen as 'mon homme' ('my man') without further specification. Van der Meulen followed in 1673 Louis XIV during the Franco-Dutch War, accompanied by Jean Paul. The two artist made drawings of about 32 cities that were conquered by the French during the campaign. Later he also made drawings of Blois, Amboise and Chambord in France. He further worked in Maastricht in 1674 and in Flanders between April 1676 and 1677. In the wake of further campaigns in Flanders by generals le Grand Condé and Henri de la Tour d'Auvergne, Vicomte de Turenne he visited along with Le Brun and André Le Nôtre in 1677 Cambrai, Valenciennes, Saint-Omer, Mont Cassel and Cassel.

In 1679 he was commissioned to picture the new French territories, which were allocated after the Peace of Nijmegen. During this trip he met the Flemish landscape painter Cornelis Huysmans near Dinant. He tried to convince Huysmans to join him in Paris as a designer at the Gobelins Manufactory but Huysmans declined. Later that year he was in Dinant and in the years 1681 and 1682 he was in Strasbourg where he drew the newly acquired French possessions of Strasbourg and Lorraine.

Van der Meulen had married Catharine Huseweel before he moved to France. The couple had several children. One son, Louis who was born on 20 March 1669 was baptized on 27 March 1669 in the chapel of the Tuileries by the archbishop of Nazianze and coadjutor of Reims and had King Louis XIV as godfather and Anne Marie Louise d'Orléans, Duchess of Montpensier as godmother. His first wife died in January 1677. On 22 March 1679 he signed a marriage contract with Catherine Lobry, daughter of a captain of the guard of Count Bassigni. She died already on 4 October 1680. He married 20-year-old Marie de Bye, a cousin of Charles Le Brun on 12 January 1681. The couple had many children of whom one was born posthumously.

He painted the designs for the decorations of the Ambassadors Staircase, the grand staircase of the King's apartment at Versailles (four trompe l'oeil tapestries representing the taking of various towns, 1677). From 1679 he worked on the large-scale paintings of The King's Conquests (Les conquêtes du Roi) intended for the decoration of the Royal Pavilion of Marly on which he worked until his death in 1690. Marly was a new pleasure residence built for the King as an architectural fantasy, with twelve little pavilions and elegant Royal Pavilion laid out on a square plan. The four apartments of the pavilion were separated by vestibules with as only decoration two marble tables with above them two large paintings of The King's Conquests by van der Meulen. Van der Meulen was commissioned by Anne Marie Louise d'Orléans, Duchess of Montpensier to create smaller replicas of his paintings of conquests to decorate the Château de Choisy (1680-1688), and then by Louvois to decorate the Château de Meudon.

He died in Paris in 1690. After his death, seals were affixed to his apartment and studio, as had been the case at the time of Le Brun's death a short time before, since Louis XIV asserted his royal privilege. As van der Meulen was an ordinary painter to the King, and resided at the Manufacture des Gobelins, the sovereign ordered a number of works to be seized, which he thought proper to be returned to him.

His pupils and workshop assistants included Saveur Lecomte, Mathieu Dufresnet, Dominicus Nollet, Gérard Jean Baptiste Scotin (II), Nicolas de Largillière, Jan van Huchtenburg, Jean-Baptiste Martin and François Duchatel.

Work
Van der Meulen was one of the foremost battle painters of his time. He is also known for his many topographical drawings, which he made as preparations for his battle pieces. He painted equestrian portraits and painted and drew many animal studies. His works always retained their Flemish character in terms of color, although his style was modified by that of the French school.

The most important portion of van der Meulen's work is made up of battle scenes. His early works in this genre were close in style to those of his master Pieter Snayers. These early works from the 1650s depicted scenes of fighting horsemen. Like Snayers he frequently represented a village under attack. These works relish in the depiction of the whirling melee of horsemen and horses itself, as if in distant response to Leonardo's Battle of Anghiari.

After moving to France and becoming the official war artist of Louis XIV during the multiple military French campaigns in Europe of the late 17th century, van der Meulen developed a new approach to his depictions of battles. He excluded the horror and morbid rawness of the events. Rather than concentrate on the heat of the action from close up, he used the compositional device of a crowded elevated foreground behind which there is a plunging wide panoramic landscape. The characters whom the artist aims to give the key role in the scene are placed on a mound in the foreground, often mounted on horseback to give them more dignity. On a second plane is typically depicted the supposed movement of the troops and in a third and last plane the profile of the city being attacked. The action is depicted in receding planes accentuated by the folds of the terrain, the alternation of zones of shadow and light and the gradual fading of the light, which marks a view towards a city in the distance. The use of the same compositional scheme gives an impression of unity to many of his paintings as only the profile of the city is different. The uniformity of these compositions can be explained by their use for political purposes. Nevertheless, the paintings of the artist were always praised for their beauty and their use for the decoration of the Royal Pavilion of Marly, for the vestibules as well as for the rooms, shows the fully decorative virtue of his animated and varied landscapes.

The features of his style are clearly visible in the large cycle of paintings of Les conquêtes du Roi made for the Royal Pavilion of Marly. One of the most popular compositions in this series was the one depicting The crossing of the Rhine on 12 June 1672. Many versions of this composition exist, made with different levels of involvement of his workshop (the Louvre, Musée des Beaux-Arts de Caen, Musée des Beaux-Arts de Dijon, Rijksmuseum, Philadelphia Museum of Art, Palace of Versailles, private collections). The event depicted is the crossing of the Rhine by the French troops during the Franco-Dutch War. The crossing did not involve any military engagement with the Dutch troops and solely involved the French troops wading through the Rhine when the water was low. Nevertheless, this event was described in contemporary French propaganda as a feat equal to those of Alexander the Great and Emperor Constantine the Great. Many writers and visual artists eulogized the French king for this exploit. The various depictions misrepresent, however, the actual history of the event. Louis XIV was in fact not present at the crossing of the Rhine as he was at the time staying with his brother Philippe I, Duke of Orléans in the monastery in Elterberg. Van der Meulen's paintings of the crossing of the Rhine, which show Louis XIV in the foreground commanding the action are thus a conscious misrepresentation of history for propaganda purposes.

In the version in the Louvre van der Meulen has placed Louis XIV at the heart of the event, in the immediate vicinity of danger, thus emphasizing the king's courage and power. The king eclipses the other personages: his brother Philippe I, Duke of Orléans and le Grand Condé who had planned the maneuver, are placed behind the sovereign. A similar propagandistic purpose was present in the prints that were made after van der Meulen's designs. The inscriptions underneath the prints made after The King's Conquests were written by Claude-François Ménestrier, a French heraldist and Jesuit who was an attendant of the royal court. These inscriptions invariably highlight the direct involvement of the French king in the glorious events being depicted and thus go beyond a simple description of the events. It is clear that the contemporary perception was that these works were made to preserve the memory of the king's military feats for posterity. The engraved portrait of van der Meulen created by Pieter van Schuppen after a painting by Nicolas de Largillière confirms this. Underneath the portrait of the painter appears the following inscription, which does not mention van der Meulen, but rather speaks of the King as a painter: 'C'est de Louis Le Grand le Peintre incomparable, Qui de ses plus beaux faits a peint la verité, Et qui sans le secours des couleurs de la fable, Le Fait Voir ce qu'il est a la Posterité.' ('It is of Louis the Great, the incomparable painter, who has painted the truth with his beautiful deeds and without the aid of the colours of fables, shows what he is to posterity').

The various versions depict the King in the company of different personages although they are placed in the same place in the composition. It is possible that these variations were made at the behest of the patron for whom a particular version was created. The cycle of paintings made for the Royal Pavilion at Marly were very successful. They led to a fashion for decorating palaces and public buildings with paintings representing military scenes.

The process in which the large compositions were created has been studied by art historians. It is known that van der Meulen was present at some of the military actions that he depicted. He also visited the locations of the actions afterwards and spent much time making topographical sketches of the landscapes and cities that were depicted in his battle scenes. He often relied on other artists to assist with these sketches. He even used prints by other artists as a basis for his compositions as in the case of his painting of the siege of Utrecht. The views of Utrecht in the painting are very similar to prints of Utrecht by the Dutch painter Herman Saftleven. Van der Meulen integrated these views and profiles into his vast compositions. They were also used for the design of tapestries as well as for prints. Research has shown that a number of prints depicting Louis XIV's conquests were made before the paintings depicting the same scenes were made. In other words, some of the prints were the basis for the later paintings rather than the other way around.

Van der Meulen also painted several studies of horses. His studies of horses constituted a directory that the painter could use in his compositions as well as serve as models for his apprentices. The Dutch engraver Jan van Huchtenburg engraved a series of his sketches of horses killed in combat. Van der Meulen enjoyed a reputation for his skill at painting horses.

Van der Meulen was granted a royal patent to have his original designs engraved and published. He put together a team of painters-printmakers to engrave his designs. Many of these printmakers came from Flanders and the Dutch Republic such as Adriaen Frans Boudewijns, Abraham Genoels, Jan van Huchtenburg and Romeyn de Hooghe. The French engraver Robert Bonnart trained with van der Meulen and sold prints on his behalf. Van der Meulen arranged for many of his drawings and paintings representing landscapes and scenes of the military life to be engraved. These were intended for a clientele of private clients. He and later his widow sold the prints from their lodgings at the Gobelin Manufacture. Later he hired publishers and merchants to distribute his prints. He arranged in 1670 for 13 large-scale plates representing sieges, the taking of towns and royal castles to be executed for the King's Cabinet. These were acquired by the Crown, which used them to make prints that were published by the Royal Printing Office for collectors in 1679. The painter succeeded in selling to the king in 1685 prints taken from new plates, and then arranged for the sale to the public of a second edition of prints which represented the series of The King's Conquests he had made for Marly.

title: Adam Frans van der Meulen


text:
ProHD

ProHD is a name used by JVC for its MPEG-2-based professional camcorders. ProHD is not a video recording format, but rather "an approach for delivering affordable HD products" and a common name for "bandwidth efficient professional HD models".

Originally ProHD lineup consisted of shoulder mount HDV 720p camcorders and offered 24-frame/s progressive video recording and LPCM audio recording/playback. It is a common misconception that JVC developed ProHD as a proprietary extension to HDV. JVC has stressed that 24-frame/s video and LPCM audio have always been part of the HDV format, but at the time they were initially offered no other HDV camcorder had them. The company went to great lengths to promote the format as an appropriate solution for professional high definition video production.

In 2009 JVC expanded the ProHD lineup with tapeless camcorders that record MPEG-2 video either in QuickTime or in XDCAM EX format.

title: ProHD


text: User talk:211.30.46.117

title: User talk:211.30.46.117


text:
List of superhero debuts

A superhero (also known as a "super hero" or "super-hero") is a fictional character "of unprecedented physical prowess dedicated to acts of derring-do in the public interest." Since the debut of Superman in 1938 by Jerry Siegel and Joe Shuster, stories of superheroes — ranging from brief episodic adventures to continuing years-long sagas — have dominated American comic books and crossed over into other media. A female superhero is sometimes called a "superheroine."

By most definitions, characters need not have actual superhuman powers to be deemed superheroes, although sometimes terms such as "costumed crimefighters" are used to refer to those without such powers who have many other common traits of superheroes.

For a list of comic book supervillain debuts, see List of comic book supervillain debuts.

Newspaper comics
Despite its short run, it is seen as the earliest superhero fiction comic.

Play
Often cited as perhaps the earliest superhero akin to those to become popularized through American comic books.

title: List of superhero debuts


text:
Thomas Diafoirus

Thomas Diafoirus is a doctor from the play Le Malade imaginaire by Molière (1673). He proposes to marry the title-character's older daughter Angélique; Molière portrays Diafoirus as a pedantic man who loves to use elaborate scientific terminology, but is not overly concerned with his patients' actual health. The characters of Thomas Diafoirus and his father "monsieur Diafoirus", also a doctor in the play, partly derive from the dottore character in the Italian Commedia dell'arte, but according to most scholars are very much dramatic devices for voicing Molière's critique of the medical culture of his time.

title: Thomas Diafoirus


text:
Amin, Amin, ya Rabaljalil

"Amin, Amin, ya Rabiljalil" (Jawi: امين امين يا رب الجليل, ) is the anthem of Perlis, Malaysia. The lyrics are written in an admixture of Malay and Arabic.

History
In 1930, Syed Hamzah ibni al-Marhum Syed Safi Jamalullail, the fifth Raja of Perlis, and at the time serving as Vice President of the Perlis State Council, composed the tune to Amin, Amin, ya Rabiljalil. Jamalullail then asked R. G. Iles, the State Engineer, to transcribe and harmonise it, since he was not proficient at reading or writing music.

Subsequently, the tune was orchestrated by Captain Edgar Lenthall, bandmaster for the Central Band of the Royal Malay Regiment. It would be adopted as state anthem of Perlis in 1935.

title: Amin, Amin, ya Rabaljalil


text:
User:JGoodman

Hiyas, everyone. Here's some basic info about me.

Birthdate: March 1, 1980 Hometown: North Augusta, South Carolina Interests/Hobbies: Science, video games, anime & manga, The Transformers, professional wrestling, firearms, politics Political affiliation/ideology: Independent but I tend to favor Democrats. I'm probably best described as a pro-gun liberal with some libertarian leanings. Religion: Nominally a Deist

title: User:JGoodman


text:
Thomas Dalziel

Thomas Bolton Gilchrist Septimus Dalziel (1823–1906) was an English engraver known chiefly for his illustrations of the work of Charles Dickens.

Biography
Thomas Dalziel was the youngest of The Brothers Dalziel, a prolific wood-engraving business in Victorian London, founded in 1839 by George Dalziel.

Thomas produced many illustrations for books published by the family firm. Many of his designs are considered by Philip Allingham (Faculty of Education, Lakehead University, Thunder Bay, Ontario) to be workmanlike rather than anything more inspired, although he considers Thomas Dalziel's illustrations for Bunyan's Pilgrim's Progress and The Arabian Nights to be above average.

In common with many of his siblings, he is buried on the western side of Highgate Cemetery.

title: Thomas Dalziel


text:
User:Kannan84

My Name is Saravanan Born in Malaysia on october 5th 1984. like to write.

title: User:Kannan84


text:
User:Piano man

Hi there fellows! Welcome to Piano man's page!

I dig wikipedia; I really love the communal 'organism'/information equilibrium concept of wikis, and especially of wikipedia.

I'm a South African, (who else would speak Afrikaans?! ;)).

Music
I'm very into music, both playing and listening; my current favourite bands are:
 * Pink Floyd
 * Oasis
 * David Bowie
 * Counting Crows
 * Coldplay
 * Red Hot Chilli Peppers

Programming
I absolutely love computer programming, with experience in:
 * Java
 * Python
 * HTML
 * JavaScript
 * Visual Basic .NET
 * C#
 * SQL

Languages
I love languages, in general. I hope to learn more in future. And linguistics intrigues me.

Karate
I'm a 2nd kyu in Shotokan karate, with JKA of South Africa. It's wicked.

Wikipedia

 * Mishnaic Hebrew language edit and fix up inaccuracies
 * Fix up Yeshivish, some ridiculousness and some inaccuracies
 * Expand the article on the Eric Python IDE
 * Brush up Shotokan

Wikipedia

 * My Sandbox
 * How to edit a page in Wikipedia
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 * Translators available

External

 * Morfix English-Hebrew dictionary
 * Ubuntu Linux

This page should be nicely formatted as I learn more about wiki editing, etc.

title: User:Piano man


text:
Talk:Tule fog

Formation details could be expanded
Schoenherr's A Natural History of California has more information about the formation of tule fog. It notes (p. 42) that the tule fog is a temperature inversion layer. It is formed when cold mountain air flows downslope into the valley during the night, pooling in the low areas until it fills the valley to the "brim" formed by the Coast Ranges and the Sierra Nevada. This occurs because most areas in the Great Central Valley have little or no air drainage below the level of mountain passes. Because of the density of the cold air in the winter, winds are not able to dislodge the fog and the high pressure of the warmer air above the mountaintops presses down on the cold air trapped in the valley, resulting in a dense, immobile fog that can last for days undisturbed. During the summer, the sun is warmer and better able to burn off the fog.

''Edit needed above. The warmer air capping the inversion is not high pressure. By definition, warmer air is lower pressure. The wiki page for Inversions says as much. Perhaps I'm oversimplifying but I think this begs for clarification. 204.214.63.59 (talk) 17:26, 29 January 2010 (UTC)''

Besides traffic problems, another big problem associated with the tule fog is that the density of air at the inversion layer traps pollutants below it, leading to poor air quality and the formation of photochemical smog. This is particularly concerning because the source of the pollutants includes not only exhaust gases, but a host of other chemical compounds sprayed as fertilizers and pesticides by the Valley's argicultural industries. This pollution is a major contributor to the large number of "bad air days" and the high incidences of asthma and other respiratory illnesses in Central Valley communities such as Bakersfield. Mike Dillon 16:04, September 4, 2005 (UTC)

 * The reference info for Schoenherr's book is: A Natural History of California, pp. 42, 518, 522. Allan A. Schoenherr. Berkeley, California: University of California Press, 1995. ISBN 0-520-06922-6 (paperback). Mike Dillon 16:07, September 4, 2005 (UTC)

Tule fog or Tule Fog?
To me, Tule Fog is a proper noun—that is, it is a specific type of fog called the Tule Fog (and not a fog called Tule)—and so it should be fully capitalized. This is the same as, for example, Caspian Sea and not Caspian sea. Blank Verse  ∅  16:27, 4 September 2005 (UTC)
 * I think it should be "tule fog". I'm partially going off of Schoenherr (who never capitalizes it) and partially off of the Google results for "tule fog" (which are a mix tending toward lowercase). For me, it is more akin to "sedge marsh" than "Capsian Sea": "tule fog" is a fog associated with "tule marshes". I guess I could see it being like "London Fog", though. The word "tule" definitely should not be capitalized on its own, since unlike "Caspian", it isn't a proper name, but the name of a plant. Mike Dillon 19:07, September 4, 2005 (UTC)
 * Either Tule fog or tule fog. I know a plant isn't a proper noun. And I'm sorry about fixing the spacing. Lately, I've been cutting open spaces here on wiki. Look at the USD article. --fpo 19:31, September 4, 2005 (UTC)

Requested copyright examination
I have put in a request Requested copyright examinations. I had a question about this image ]. The website allows any educational use, but "not for any direct or indirect commercial purpose or advantage." To me this reads very similar to the policy at the Smithsonian Institute, and we allow use of their images.

The image itself is from United States National Weather Service Geostationary Operational Environmental Satellite, but has been modified with some labels. The other choice would be to take one of the unmodified GOES images from the same website and add my own labels.

BTW: The webpage that it is from (—which I've added to the Tule Fog External links) will tell you more than you'd ever want to know about Tule Fog. Blank Verse  ∅  10:28, 5 September 2005 (UTC)

Photo
That photo is a terrible example of tule fog. Visibility in that picture is too good to allow wikipedia users to get a real feel for how thick tule fog can be. I've got better ones taken here in Hanford, CA. Just don't know how to get it to you guys.

Agreed, the area between SR99, SR198, and SR43 usually has the thickest fog during fall and winter months. I remembered driving from Fresno to Hanford on SR43 one January morning and the visibility was probably 100ft or lower. This area was once the former Tulare Lake, the lowest point on the Southern San Joaquin Valley. No wonder the fog is so thick in this area. —Preceding unsigned comment added by 99.68.111.126 (talk) 18:52, 18 January 2011 (UTC)

Smell?
Just wondering, does the fog smell elsewhere like it does between Sacramento and Stockton? Dgary 16:49, 18 April 2007 (UTC)

I have lived here (Exeter/Fresno) all my life and have never noticed a smell. —Preceding unsigned comment added by 76.236.42.146 (talk) 00:08, 9 January 2010 (UTC)

Yes, the bovine fragrance stretches all the way down to at least Merced. The dairies between Merced and Stockton are the source of that choking, hideous quality of the Tule fog. In Merced, at least, "Tule Fog" is pronounced similarly to an expletive. —Preceding unsigned comment added by 128.170.62.95 (talk) 18:07, 18 January 2010 (UTC)

The damp, churned soil of dairies does help produce thick tule fog, and tends to carry the smell of the cows with it, but any damp ground can produce fog, so it's not a particularly unique feature. Sχeptomaniacχαιρετε 23:02, 19 January 2011 (UTC)

Origin of the name
I believe the name, Tule Fog, comes from the Tule river. The Tule river itself comes from the vegetation that is described here. Also, I believe the formation details need to be thought through since, having grown up on the banks of the Tule river (quit literally), I know that the fog forms from the river outward. Not sure why, but I've seen it happen too many times to doubt my own memory. 21 December 2008 —Preceding unsigned comment added by 71.175.156.252 (talk) 02:55, 22 December 2008 (UTC)

California's rainy season?
In my experience, California's rainy season is winter and spring, not fall and winter. But I haven't ever lived in the Central Valley; maybe it's different there. If it is, shouldn't it say the Central Valley's rainy season rather than California's rainy season? --Trovatore (talk) 03:28, 23 January 2009 (UTC)

File:Tule Fog California - 2005.jpg to appear as POTD
Hello! This is a note to let the editors of this article know that File:Tule Fog California - 2005.jpg will be appearing as picture of the day on March 30, 2015. You can view and edit the POTD blurb at Template:POTD/2015-03-30. If this article needs any attention or maintenance, it would be preferable if that could be done before its appearance on the Main Page. Thanks! — Crisco 1492 (talk) 01:23, 10 March 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Tule fog. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive http://web.archive.org/web/20071106121000/http://abclocal.go.com:80/kfsn/story?section=local&id=5740330 to http://abclocal.go.com/kfsn/story?section=local&id=5740330

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Wiki Education assignment: California Natural History
— Assignment last updated by Rostheboat04 (talk) 06:10, 4 October 2022 (UTC)

title: Talk:Tule fog


text:
The Best of Motörhead (video)

Best of Motörhead is a 2002 compilation DVD featuring the British heavy metal band Motörhead, filmed while they were under contract to Bronze Records in 1978 to 1984. The video was originally released in 1986 as Deaf Not Blind, although with a slightly different programme. The performances are filmed in a live concert setting, although the band mime to studio recordings from the albums.

Credits

 * Lemmy (Ian Kilmister) – bass, vocals
 * Fast Eddie Clarke – guitar, vocals
 * Philthy Animal Taylor – drums
 * Brian Robertson – guitar
 * Phil Campbell – guitar
 * Würzel (Michael Burston) – guitar
 * Pete Gill – drums

Deaf Not Blind

 * Tracks 1-9: 1980: Lemmy; Eddie Clarke; Phil Taylor
 * Track 10: Promotional video: Lemmy; Eddie Clarke; Phil Taylor
 * Tracks 11-13: 1983: Lemmy; Brian Robertson; Phil Taylor
 * Track 14: Promotional video: Lemmy; Wurzel; Phil Campbell; Pete Gill

title: The Best of Motörhead (video)


text:
Template talk:Urban rail transit in China

Series
This is NOT a series of anything...why should it put at the top of the page? Frankly, this template gives me an odd sense of deja vu...does it look like the template of geography of Hong Kong? The logo does not look good... -- Jerry Crimson Mann 08:38, 26 July 2005 (UTC)
 * Transportation in mainland China is an article on mainland China.. and I won't agree with the coverage of this template to cover Hong Kong and Macao. Transport policies within the two special administrative regions are not the business of the Central People's Government in Beijing. And in fact this template is redundant because category:metros in Asia already served part of the purpose of this template. — Instantnood 08:49, July 26, 2005 (UTC)

 * If HK is included in this template, I think Taiwan must be included. — User:mmlcs36 19:11, July 27, 2005 (UTC)

 * As this template does not provide important info to any of the articles in which it is included - it is just a collection of links - the template should be placed as a footer in each article, not at the top.

Re  - The scope of this template is ambiguous and controversial, and is not a series of anything. More important is that this template can readily be up-merged to the category. — Instantnood 14:59, 8 July 2006 (UTC)
 * I think the template is perfectly legit, however, it should really be reformatted as a footer. It is not an article series, but there are numerous footers linking similar groups of articles. Circeus 21:46, 8 July 2006 (UTC)

 * How should the scope be defined, in your opinion? True that footers exist for some similar groups of articles, yet in some cases categories are preferred. — Instantnood 23:17, 10 July 2006 (UTC)

This template should be "Rapid transit in People's Republic of China" rather than "Rapid transit in China." The term China can be controversial. The long discussion at the China page shows exactly that, and linking to China certainly doesn't help. It is for the same reason that we have articles such as Transport in the People's Republic of China and Rapid transit in the People's Republic of China, rather than Transport in China and Rapid transit in China. And because this is a template of Rapid transit in People's Republic of China, the non-PRC systems are removed. Antonius (talk) 05:50, 23 February 2008 (UTC)

Please do not put systems of different municipalities in brackets.
I saw what user:MetroDreams did and I second his move. Before there used to be two ways of using brackets, one is to put systems within one municipality in brackets; the other is to put systems within two or more adjacent municipalities into brackets. This is confusing and not necessary--people who are not familiar with Chinese geography will deem Guangfo as one city instead of two by inferring from the usage of brackets in other cities like Shanghai or Beijing which is with multiple systems but under only one municipality.Howchou (talk) 03:56, 10 April 2012 (UTC)

Separate LRT MRT and commuter rail
The template is getting too messy we should separate the "MRT&LRT" into a separate LRT/tram section. Also possibly a commuter rail section as shanghai metro line 22 is opening soon and I think Guangzhou–Zhuhai ICL and Chengdu–Dujiangyan ICL are very commuter/regional rail like. Steve chiu (talk) 16:08, 12 June 2012 (UTC)

China or PRC?
So long as China equals PRC in English Wikipedia, I think calling this template "Rapid transit in China" is more preferable than "PRC."

Even though this template was renamed to "PRC," Hong Kong and Macau will be included anyway. Any move to remove both will be undone.--Howchou (talk) 08:47, 8 January 2013 (UTC)

Confusing name
According to Wikipedia itself, "rapid transit" means "a passenger transport system in an urban area with a high capacity and frequency, and grade separation from other traffic," which generally equals "metro" or "subway." Whereas this article included systems other than metro, such as commuter rail and tram, which are not typically rapid transit. I suggest that we either move this page to "Urban rail transit in China" since the term urban rail transit includes all these systems, or delete those systems other than metro from this article. --Howchou (talk) 17:42, 18 February 2013 (UTC)
 * sounds like a good idea. Frietjes (talk) 18:04, 18 February 2013 (UTC)

All six regions separated or not?
The edit I made on 11:26, 25 Dec 2015 UTC+8 categorised the metro systems in China in 4 groups, in which items from the Northeast & North and Northwest & Southwest regions are combined due to smaller number of items in said regions. While User:Jiangyu911 stated in 16:21 UTC+8 edit that all these items should be grouped in terms of regions of China or simply stacked altogether, I argue that it is not necessary to do so, since this whole categorisation stuff is used for better readability, thus it is no need to create so many groups when 4 groups is clarified enough for indexing and browsing purpose. Best regards. --SilAshkenazi (talk) 02:16, 26 December 2015 (UTC)

 * @User:JoeenNc I think first, the number of metro system in China is still not so huge, so no necessary to divide into 4 or 6 category at all, look at the Template:Underground rapid transit in the European Union, there are more than 40 items,and are still not divided into regions. Second, if you insist to divide into regions, it should be 6, not 4. Of course the number in N, NE, NW and SW is NOW relatively smaller, but in the future the number can expand a lot.I can argue the 6 regions of China is more accepted than 4 or less, after all it is the well accepted geographical regions, is it not better readable for readers to know if Chengdu Metro is in SW or NW. Third, if you still insist, i advice let make it West China instead of NW and SW. Jiangyu911 (talk) 07:46, 26 December 2015 (UTC)

 * @User:Jiangyu911, well let's talk through your argument one by one: 1. Your example of the EU template is really not convincing, its poor readability is exactly the reason why we should group them; 2. I agree that the number of metro systems might grow bigger in the said four regions, but don't forget the number grows in the other two regions too, and most likely even faster, since the bigger population and more populous cities, thus we should group them into 4 groups instead of 6, before the situation actually happened, as for the Chengdu case, it's exactly the reason why we shouldn't divide the west into SW and NW, because many people simply can't tell which region a city falls into; 3. I don't see the reason why we should not, it is totally okay for me to merge NW and SW into West China. — Preceding unsigned comment added by JoeenNc (talk • contribs) 03:05, 27 December 2015 (UTC)

Huai'nan is planned the monorail,not Metro or Lightmetro
So I edit it,and Haikou is planning now.章彦博 (talk) 04:45, 21 October 2019 (UTC)


text:
Template talk:User he

נדמה לי שכדאי להגיד: משתמש/ת זה/ו ...

מה אתם חושבים?
 * Done. Tigermighty (talk) 18:26, 18 July 2008 (UTC)

title: Template talk:User he


text:
Scream Team

Scream Team (stylised as ScreamTeam) is a paranormal reality TV series, produced by Making Time,  which was broadcast on Living TV in 2002.

Premise
A reality TV show in which six young people travelled around the UK in a large Silver campervan, investigating ghosts, folklore and supernatural locations. They were selected from over eight hundred hopefuls at auditions in the summer of 2001 in London. The team consisted of believers and sceptics of the paranormal.

Scream Team was described by its creators as a cross between The Blair Witch Project and Scooby-Doo.

It's often repeated on British satellite and cable television channels Ftn and Living TV.

An introductory episode titled Meet the Team was broadcast on 13 September 2002.

Cast

 * Phil Whyman (went on to become a paranormal investigator on Living TV's Most Haunted)
 * Becky Kitter
 * Sheyla Shehovich
 * Amy Jones
 * Dan Ainsworth
 * Sam Witcher

title: Scream Team


text:
James Thin

James Thin Ltd was a British bookshop chain, founded by James Thin in 1848. It operated for 154 years, during which time it was run by five generations of the Thin family. Starting from a single shop in Edinburgh, it grew to a national concern with 35 branches throughout Scotland and England. In 2002, following a period of rapid expansion, it went into voluntary administration, after which most of its shops were purchased by other companies in the book trade.

Origins
The company was founded in 1848 by James Thin (1824–1915). For most its existence the firm traded under Thin's own name, only becoming James Thin Ltd. in the 1970s. Thin had previously worked for 12 years for James McIntosh, a bookseller at 5 North College Street, having joined the firm as an apprentice at the age of eleven.

On 3 April 1848, Thin opened his own shop, at 14 Infirmary Street, having taken over the assets of a Mr Rickard, a bookseller who was in financial difficulties. Thin was 24 at the time. Trade was slow at first, but improved over the next few years. Most of its sales were in the academic market, thanks in part to the shop's location close to Edinburgh University.

In 1853, Thin took a lease on two rooms above a neighbouring shop, at 54 South Bridge. The only access to these rooms was by a staircase from the street. Although the rooms were in the same corner block as the Infirmary Street premises, there was no communication between them apart from a speaking tube. Two years later Thin took over an adjacent shop at 55 South Bridge, at which point he gave up the rooms at 54. An opening was built into the back wall of 55 to give access to the Infirmary Street premises.

Trade continued to improve and Thin was soon advertising the business as "the largest retail bookselling establishment in Edinburgh". In 1854, he issued his first catalogue of second-hand books. In 1864, the shop was extended into 15 Infirmary Street, a former tavern.

Later years
James Thin worked in the business for most of the rest of his life. He was the first of five generations of the Thin family to run the firm. Other prominent family members involved in the business included: When Jimmy Thin joined the firm in 1949, the business occupied sprawling premises on several floors of the South Bridge / Infirmary Street block. Over the next few years, these separate units were consolidated into a single shop, using 55 South Bridge as its main address. This was to remain the flagship shop and head office for the rest of the firm's existence.
 * James Hay Thin (1853–1943). The founder's eldest son. He joined the business in the 1870s and became senior partner in 1880. He was also a director of two publishing houses, Oliver and Boyd and Gurney & Jackson.  During his tenure, the firm concentrated on academic and theological books, and on antiquarian and second-hand volumes. The shop further expanded into various rooms and flats in the South Bridge building.
 * James Ainslie Thin (1882–1972). James Hay Thin's eldest son. He joined the firm shortly before World War 1, spent two years in a German POW camp, returned to the business after the war and remained until the 1950s.
 * Thomas Thin. James Hay Thin's younger son who also worked in the business.
 * James Thin (1923–1997), known as Jimmy Thin. J. Ainslie Thin's son. He worked in the firm from 1949 to 1990, during which time he built up the mail order side of the business.
 * David Thin (1933-2023), known as Ainslie Thin. Jimmy Thin's cousin. He joined the firm in 1958 and went on to become chairman and managing director, overseeing a period of considerable expansion.
 * Jackie Thin. Ainslie Thin's eldest daughter. A qualified chartered accountant, she served as finance director and then managing director.
 * Hilary Thin. Another of Ainslie Thin's daughters. She was in charge of the chain's Scottish region.
 * Jamie Thin. Ainslie Thin's son. With an MSc in computing, he ran the firm's computer systems.

During the second half of the 20th century, the business underwent rapid expansion. It opened new shops and bought existing shops throughout Scotland and England. By 1990, it had grown to a chain of 34 stores, stretching from Inverness to Portsmouth, with an annual turnover of £34 million. In 1994, it purchased the Volume One chain in England for £4 million.

The firm also had interests in publishing. Between 1900 and 1962, it was joint owner (with James Grant, Booksellers) of Oliver and Boyd, a large Edinburgh-based publisher of school books, theological books and literary works. Thin's share of that business was sold in 1962 to pay death duties. In 1970, Jimmy and Ainslie Thin established the Mercat Press imprint, specialising in books with a Scottish interest. It later took over the titles of Aberdeen University Press when that company became insolvent. By 2007, Mercat Press had over 200 titles in its list, these being predominantly works on architecture and heritage as well as guides books and general fiction, the latter category including the novels of crime writer Gillian Galbraith.

Technology
James Thin Ltd was a pioneer in technology and automation. In the mid 1960s, it implemented a computerised stock control system which it claimed was the first of its kind for a UK bookshop. In the 1980s, Ainslie Thin developed a version of the system in dBASE III to run on personal computers within 26 of the shops. In 1998, the company started selling books on line, making it what at the time was described as "the biggest on-line bookseller in the world". It was also the first bookseller to use the Whitaker TeleOrdering system

Decline and administration
James Thin Ltd.'s annual turnover remained at about £35 million throughout the 1990s, but then declined rapidly. For the year to 31 January 2001, the firm reported a pre-tax loss of £116,000 on sales of £26.8 million. In January 2002, it went into voluntary administration, with debts of £5 million. Jackie Thin, the managing director, blamed the collapse on increased competition, falling turnover and the cost of closing loss-making shops. According to press comments, the rapid expansion into England and in particular the acquisition of Volume One were major factors in the chain's failure.

PricewaterhouseCoopers was appointed as administrator to run the chain and realise its assets. It immediately made 60 staff redundant at the head office and in 28 of the branches. It then announced that it expected to sell the entire business, having received ten approaches from prospective buyers.

In March 2002, Ottakar's purchased eight of the company's general bookstores for £1.64 million, with no redundancies expected. These shops had a combined annual turnover of £10.1 million. Ottakar's was itself taken over by Waterstones in 2006.

In April 2002, Blackwell UK announced the purchase of Thin's twelve academic bookshops for "in excess of" £2 million, with all of the 102 staff retaining their jobs. The purchase included branches at St Andrews University, the University of Edinburgh, Heriot-Watt University, and Napier University as well as the South Bridge shop and stores at six other sites. Between them, these branches had an annual turnover of £7 million. Blackwell's also announced a £1.5 million refurbishment for the South Bridge shop.

Thin's publishing arm, Mercat Press, continued to trade as an independent entity following a management buy-out. In 2007, it was taken over by Birlinn, which continues to use the Mercat imprint.

title: James Thin


text:
Talk:James Thin

Inverness
James Thin were once the largest and most scholarly bookshop in Inverness. They were taken over by Ottakers which then became Waterstones. The defunct Borders took over as the largest bookshop in Inverness until its recent liquidation. The largest bookshop in Inverness is now Leakeys, a second-hand book emporium.

Location of Flagship Store
I have a James Thin bookmark. It lists 53-59 South Bridge not Infirmary Street as its flagship location. I know they meet but not sure if the later should be used to describe the location. — Preceding unsigned comment added by 174.114.1.184 (talk) 12:19, 4 January 2017 (UTC)

External links modified
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Two separate articles here?
I would like to do some work on improving this article, and in particular raising it above "stub" status. But before doing so, I would appreciate the views of other interested editors.

It seems to me that the article covers two distinct subjects:

 * James Thin, the business; and
 * James Thin, the man who founded the business.

Although most of the material is about the business, this is interspersed with some biographical details about the man. The lead is particularly confusing, as it refers to James Thin as a bookseller and stationer - clearly relating to the man - but also as a publishing company.

So, should we split this into two separate articles? A lot of information has been published about James Thin the man, so there should be no difficulty in finding references. I haven't yet looked for published information about the company (the existing references are not particularly useful), but would expect to find something.

Any views? Mike Marchmont (talk) 10:02, 23 January 2023 (UTC)

Two separate articles - Done
Following my previous comment (see above), I have now expanded this article, with the focus on the book-selling company, which existed from 1848 to 2002. I have added substantial new material, with citations. I have also now published a separate article on James Thin the person, who lived from 1824 to 1915, and who was notable for more than being a bookseller.Mike Marchmont (talk) 15:02, 20 February 2023 (UTC)

title: Talk:James Thin


text:
Talk:Tule fog/to do

 * A list of some of the larger chain-reaction accidents in the Central Valley that were a result of the Tule Fog would be a good way of showing how dangerous the fog is.

title: Talk:Tule fog/to do


text:
Musa Bigiev

Musa Jarullah Bigiev (sometimes known as Luther of Islam) (born c. 1870 in Novocherkassk, Russian Empire – 28 October 1949 in Cairo, Egypt) was a Tatar Hanafi Maturidi  scholar, theologian philosopher, publicist and one of the leaders of the Jadid movement. After receiving his education in Kazan, Bukhara, Istanbul and Cairo, he became a political activist for the Ittifaq, the political organisation of the Muslims of Russia. He also taught in Orenburg, wrote journalistic texts and translated classic works into Tatar. After emigrating from the Soviet Union, he travelled Europe and the Middle and Far East while writing and publishing.

Naming variations
In modern Tatar, Bigievs name is written as Бигиев Муса Җарулла, Bigiev Musa Carulla, or Муса Ярулла улы Бигиев, Musa Jarulla ulı Bigiev. He had various names in Arabic; for example, Musa Jarullah ibn Fatima at-Turkistani al-Qazani at-Tatari ar-Rostofdoni ar-Rusi (موسى جار الله ابن فاطمة التركستاني القازانى التاتارى الروستوفدونى الروسى), ibn Fatima at-Turkistani ar-Rostofdoni ar-Rusi (موسى جار الله، ابن فاطمة، التركستاني الروستوفدوني الروسي), ibn Fatima ar-Rusi (ابن فاطمة الروسي), ibn Fatima at-Turkistani al-Qazani ar-Rusi (موسى بن جار الله التركستاني القازاني الروسي), at-Turkistani al-Qazani ar-Rusi (موسى بن جار الله التركستاني القازاني الروسي), or Musa Effendi Jarullah ar-Rusi (موسى أفندي جار الله الروسي).

There is no standardized English transliteration of Bigievs name; versions include Bigi or Bigeev. His pen name his also variously given as Musa Jarullah, which is the name most contemporary Muslims knew him under, or as Musa Carullah, which is the name mostly used in modern Turkish literature.

Early life and education
Both the date and the place of Musa Bigievs birth are disputed. Opinions for the date include 1870, 1875 or 1873. The place is either the village of Mishar or the city of Novocherkassk. He was born into a middle-class family as the younger of two brothers. After his father was appointed as Akhoond, the family moved to Rostov-on-Don. After the father's early death in 1881, Bigiev's mother, Fatima Hanim Bigiyeva, provided for the education of him and his elder brother Muhammad Zahir Bigiev.

Bigiev spent most of his youth studying at madrasas in Kazan, Bukhara, Samarkand, Mecca, Medina, Cairo (where he attended the Dar al-Ifta al-Misriyyah and was educated by Shayk Muhammad Bakhit al-Muti'i), Damascus, Istanbul and Uttar Pradesh in India, where he studied Sanskrit and the Mahabharata. While he attended many famous universities, he preferred studying on his own while benefitting from the mentorship of different scholars.

In 1904, he returned to Russia, where he married Asma Aliye Khanim, daughter of a merchant and madrasah teacher from Chistopol. Afterwards, he moved to St. Petersburg and attended lectures at the Law faculty of St. Petersburg Imperial University as an auditor, in order to be able to compare Islamic and Western legal systems. He also became good friends with Abdurreshid Ibrahim, the editor of the newspaper Ülfät, in which he published several times.

Political activist
During the Revolution of 1905, Bigiev became actively involved in the founding of the Muslim political organization, and later party, Ittifaq al-Muslimin, starting with the first Congress of the Muslims of Russia, which was held in Nizhny Novgorod in August. He also participated in the second and third congresses of 1905 and 1906, where he was elected as a member of the central committee of the parliamentary group in the Duma. Bigiev was responsible for providing the protocols of the Ittifaq meetings.

After the end of the Revolution, he also worked in publishing (in 1908 editing and publishing his deceased brother's book "A trip to Mesopotamia") and from 1910 onwards as a teacher at the Husayniya madrasah in Orenburg. He also held lectures at the city's philanthropic association (Orenburg Jäm'iyät-i Khayriyäsi) and became secretary of the fourth Muslim congress in 1914. In 1915, he published Islahat Asaslare ("The Fundamentals of Reform"), a catalogue of social and political change among the Muslims of Russia between 1904 and 1915.

After his publications in Rizaeddin bin Fakhreddins journal Shura drew immense criticism from the local Ulama, he left Orenburg.

Under the Soviets
Bigiev welcomed the February Revolution, claiming that "slavery is gone, and will never come back". Even after the takeover by the Soviets, he saw the new regime as a potential ally against what he perceived to be the primary enemy of the Muslims of the world – the British Empire. During the course of the Russian Civil War, Bigiev toured the Volga region together with Abdul Hafiz Mohamed Barakatullah in order to mobilize the Muslim population for military service against the British. He also held close contact with other anti-British Indian activists and arranged for them to live in the Soviet Union.

In 1920, Bigiev could be found in Ufa, where he presented a program for social reform with the title of "Appeal to the Islamic Nations" to the members of the Muslim religious administration; this included the allegiance of the Russian Muslims to the caliphate above the Soviet State. The program formed the basis for his book Islam Milletlerine ("To Muslim Nations"; or Islamning Elifbasi, "The Alphabet of Islam", as response to Nikolai Bukharins "Alphabet of Communism") of which 5,000 copies were printed in Berlin in 1923. Following this publication, he was arrested in Moscow while on his way from Petrograd to a conference in India. The Soviets had begun to suppress all forms of religious expression, including "Pan-Turkists" and "Pan-Islamists".

His arrest provoked a storm of indignation; for example, the Tatars of Finland requested the assistance of the Turkish government, which at that time was on friendly terms with the new Soviet regime. The leading newspapers of Istanbul and Ankara published telegrams with pleas to set Bigiev free again. The campaign finally succeeded; Bigiev was freed on the condition that he was to live in Moscow under state surveillance for two years.

Several years later, in May 1926, Bigiev was included in delegations of Soviet Muslims to the Pan-Islamic Congresses in Mecca and Cairo. On the return trip, he attended several sessions of the Turkish parliament and met the Turkish prime minister İsmet İnönü. After his return, he was also elected by the Leningrad Tatars to become their delegate at a congress of Muslim clergy in Ufa.

He returned to Leningrad again in 1927. The political climate had worsened harshly; Bigiev witnessed the League of Militant Atheists and was personally forbidden to leave the country. He was also out of work; he continuously applied to the scholar Ignaty Krachkovsky as a teacher of Arabic, Persian and Turkic languages at Leningrad University, and in 1929 even applied to the government of Afghanistan for a job. His wife and four of his children were temporarily arrested. In 1930, after he, his family and other clergymen where deprived of food coupons, he finally decided to secretly leave the country.

Exile
He first crossed the border into Chinese Turkestan, where he tried to settle down in Kashgar; however, the Chinese government prohibited him from doing so. He then travelled on horseback to Afghanistan, where its ruler Nadir Shah provided him with an international passport. This allowed him to go to India, where he met some of his friends he had made in earlier years.

However, he did not stay in India for long, instead starting a period of worldwide travelling. In 1931, he held a speech at the World Islamic Congress in Jerusalem, where he praised Finland for its friendly attitude towards Muslim émigrés from Russia. He also visited Ankara, Berlin (where he founded an Islamic publishing house), Finland and Iran and Iraq, where he studied Shia Islam. He resumed his tour in 1937, again visiting India, more specifically Bombay and Benares. He was then invited by Abdurreshid Ibrahim to Japan; the two travelled together to China, Java, Sumatra and Singapore.

After the outbreak of World War II in 1939, Bigiev tried to reach Afghanistan again, but was arrested by British authorities in Peshawar without any charge. The ruler of Bhopal, Hamidullah Khan, petitioned for his release, but Bigiev was kept under house arrest until 1945. In these years, he wrote ten of his major works.

After his release, Bigiev suffered from illness which forced him to undergo several surgeries. In 1948, he travelled to Turkey and from there to Cairo, where he died on 28. October 1949. He was buried at the Royal Cemetery of the Khedives of Egypt.

Legacy
While Bigiev left "a deep imprint on the history of the reformed madrasas and the Muslim press of Russia in the 1910s", his work and even his name are largely forgotten today. This can mostly be attributed to the Soviet Union under Stalin, where his name was purged from documents and bibliographies and the study of his works forbidden.

Rediscovery
He was officially rehabilitated by the High Court of the Russian Federation in February 1997. Still, only a small amount of research on his life and work has taken place and the amount of literature available in English is very limited.

However, a movement towards rediscovery seems to be taking place; one of Kazans streets is now named after Bigiev. In 2007, as a part of the project Ijma' – Concord, the Kunstkamera (Peter the Great Museum of Anthropology and Ethnography) of the Russian Academy of Sciences sponsored the documentary The manuscript and the Fate about Bigievs life, with a script written by the Orientalist Jefim A. Rezvan. A year later, in 2008, the documentary And the moon has split, directed by B. Baishev, was awarded a special prize "for the contribution to Islamic Enlightenment" at the fourth Golden Minbar International Film Festival.

Bigievs Quran translation was reprinted in 2010 from copies saved by descendants. For the 140th anniversary of his birth, a number of activities were held in the Penza Oblast of Russia; on June 23, a plaque was dedicated in the city of Kikino, one of Bigievs supposed birth places, and a maktab and a garden near the mosque of the town were renamed in Bigievs honor.

Family
Bigievs wife Asma died in Ufa in 1979; of their eight children, two died young.

His son-in-law Abdurahman Tagirovich Tagirdzhanov became a professor of Orientalism at Leningrad State University, while his cousin Abrashit Museevich Bigiev (1917–2010) became professor for Metallurgy at Magnitogorsk State Technical University.

Today, descendants of Bigiev live in Russia (in Ufa, Moscow and St. Petersburg) and in Ukraine (Dnepropetrovsk).

Views
While he was one of the leading members of Jadidism, Bigievs provocative nature led to opposition not only from the Kadimists (nearly all issues of the Qadimist journal Din vä Ma'ishät include one or more articles written directly against him), but also from fellow reformers.

In his 97-page essay Rahmet-i Ilahiye Burhanlari ("The storms of God's clemency"), published in Orenburg in 1910, Bigiev argued that God would also include unbelievers in his mercy and forgiveness. This elicited criticism from many Ulama, including Ismail Gaspirali.

The influence of Bigiev was felt beyond the Russian Empire, for example in Istanbul, where the scholar Mustafa Sabri Efendi criticized Bigiev for his "dangerous and heretical" (küfriyati muhtevi) ideas and was responsible for the ban of three of his works in the Ottoman Empire. However, Sabri defended Bigievs qualification to discuss theological matters. Sabri coined the epithet "Luther of Islam" for Bigiev.

Bigiev has also been described as one of "the most notorious Sunnite polemicists against Shiism in the 20th century", along with such figures as Muhibb-ud-Deen Al-Khatib and Ehsan Elahi Zaheer. This is the result of him penning several well-known anti-Shia books, including Al-Washi'ah fi naqd 'aqa'id al-shi'ah. In these works, Bigiev claims that during his travels in Iraq and Iran he had not met even one Shia individual who knew the Quran to a satisfactory level.

Works (selection)
Bigiev wrote extensively; for example, he published 64 books and more than 120 essays and articles on theology. Included here are some of his most notable works.

 * Translations of the Quran and Hafez' Diwan into Tatar
 * Tarihu'l Qur'an ve'l-Masahif ("A history of the Quran and the Quranic texts") – Published after Bigiev discovered editorial changes by Mullahs in a Quran edition
 * 1913: Rahmet-i Ilahiye Burhanlari ("The storms of God's clemency")
 * 1913: Insannarning Aqidah Ilahiyatlarena Ber Nazar ("A Glimpse of the People's Belief in God")
 * 1913: Ozin Konnarda Ruza. Itjihad Kitabi ("Fasting during Long Days. A Book of Itjihad")
 * Sherhu'l Luzumiyat ("Commentaries on Al-Luzumiyat") – Critical commentary on the work of Al-Maʿarri
 * Büyük mevzularda ufak fikirler ("Small thoughts on big issues") – Critique of the work of the Ulama Ziyauddin Kamali, shows Bigievs high opinion of mysticism and Sufism
 * Qavaid-i Fiqhiyyä ("The principles of Islamic jurisprudence")
 * 1915: Islahat Asaslare ("The Fundamentals of Reform")

Literature

 * Ahmet Kanlidere: Reform within Islam. The Tajdid and Jadid Movement among the Kazan Tatars (1809–1917), Istanbul 1997; p. 52-56.
 * Ahmet Kanlidere: Rusya Türklinderinden Musa Carullah Bigi (1875–1949), Istanbul 1988.
 * Azade-Ayşe Rorlich: The Volga Tatars, Stanford 1986; p. 59-61.
 * Charles Kurzman: Modernist Islam, 1840–1940. A Sourcebook, New York 2002, p. 254.
 * Elmira Akhmetova: Musa Jerullah Bigiev (1875–1949). Political Thought of a Tatar Muslim Scholar, Intellectual Discourse (2008, Vol.1), p. 49-71.
 * Aydar Khairetdinov: The Last Tatar Theologian. The Life and Heritage of Musa Jarullah Bigiev, 1999.
 * Dimitri Spikav and Nayla Tabbara: Christianity and Islam in the Context of Contemporary Culture. Perspectives of Interfaith Dialogue from Russia and the Middle East, St. Petersburg / Beirut 2009; p. 45-47.

title: Musa Bigiev


text:
Parallel terraced scan

The parallel terraced scan is a multi-agent based search technique that is basic to cognitive architectures, such as Copycat, Letter-string, the Examiner, Tabletop, and others. It was developed by John Rehling and Douglas Hofstadter at the Center for Research on Concepts and Cognition at Indiana University, Bloomington.

The parallel terraced scan builds on the concepts of the workspace, coderack, conceptual memory, and temperature. According to Hofstadter the parallel and random nature of the processing captures aspects of human cognition.

title: Parallel terraced scan


text: Category:Roman usurpers

title: Category:Roman usurpers