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Missouri Route 740

Missouri Route 740, better known as Stadium Boulevard, is a short highway located completely within the city of Columbia, Missouri, United States. Its western terminus is at Interstate 70/U.S. Route 40 (I-70/US 40), and its eastern terminus is at Maguire Boulevard in southeast Columbia, just east of U.S. Route 63 (US 63).

Route description
Route 740 begins at an interchange with I-70/US 40 in Columbia, where the road continues north as Route E. From this interchange, the route heads south on Stadium Boulevard, a six-lane divided arterial. The road runs through business areas, passing to the east of the Columbia Mall. Route 740 intersects Route TT and becomes a four-lane undivided road that passes near wooded residential neighborhoods, turning to the east. The route heads onto the University of Missouri campus and intersects Route 163 (known locally as Providence Road) before passing to the north of Faurot Field. The road continues through the university campus and comes to an intersection with the southern terminus of Route 763. Route 740 heads east through wooded areas with some development as a four-lane divided highway. The route then comes to an interchange with US 63. Shortly after intersecting US 63, Route 740 dead-ends at Maguire Boulevard. However, future plans do call for the extension of Route 740 northeast past US 63, returning to I-70; once this is complete, it will intersect at exit 131 (Saint Charles Road) on I-70, about three miles east of the interstate's US 63 junction.

title: Missouri Route 740


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Talk:Good Question

Vote for Deletion
This article survived a Vote for Deletion. The discussion can be found here. -Splash 01:24, 14 July 2005 (UTC)

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

title: Talk:Good Question


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Big Ones

Big Ones is a compilation album by American rock band Aerosmith, released on November 1, 1994 by Geffen Records. Big Ones features 12 hits from the band's three consecutive multi-platinum albums, Permanent Vacation (1987), Pump (1989), and Get a Grip (1993), as well as the hit "Deuces Are Wild" from the compilation The Beavis and Butt-Head Experience (1993), and two new songs, "Blind Man" and "Walk on Water", which were recorded during a break in the band's Get a Grip Tour. These songs were also included on the band's 2001 compilation album, Young Lust: The Aerosmith Anthology. Big Ones is the band's second best-selling compilation album, reaching #6 on the Billboard charts, and selling four million copies in the United States alone. The album quickly became a worldwide hit reaching the Top 10 in nine countries before the end of the year.

History
In March 1987, Aerosmith began working at Little Mountain Sound Studios in Vancouver, British Columbia, Canada for the album that became Permanent Vacation. The recordings were completed in May, the album was released in August, and reached #11 on the Billboard 200. The album released several singles including "Dude (Looks Like a Lady)" (#4 on the Mainstream Rock Charts, #14 on the Billboard Hot 100), "Rag Doll" (#12 Mainstream Rock Charts, #17 Hot 100), and "Angel" (#2 Mainstream Rock, #3 Hot 100).

Then in April 1989, the band went back to Little Mountain Sound Studios to record songs for their next studio album, Pump. The recordings were completed in June 1989, the album was released in September, and reached #5 on the Billboard 200. Several other singles were released from Pump including "Janie's Got a Gun" (#2 Mainstream Rock, #4 Hot 100), "Love in an Elevator" (#1 Mainstream Rock, #5 Hot 100), "The Other Side" (#1 Mainstream Rock, #22 Hot 100) and "What It Takes" (#1 Mainstream Rock, #9 Hot 100). In May a song was recorded during the sessions for Pump called "Deuces Are Wild", however it was not released on the album and was not released until the 1993 compilation album, The Beavis and Butt-head Experience.

In January 1992, the band began recording at A&M Studios in Los Angeles, California. The recordings at A&M ended in February and in September the band began recording again at Little Mountain Sound Studios. The recordings at Little Mountain ended in November, and Aerosmith's next studio album, Get a Grip was released in April 1993 and went to #1 on the Billboard 200. The singles released from Get a Grip included "Amazing" (#3 Mainstream Rock, #9 Top 40 Mainstream, #24 Hot 100), "Cryin'" (#1 Mainstream Rock, #11 Top 40 Mainstream, #12 Hot 100), "Eat the Rich" (#5 Mainstream Rock), "Livin' on the Edge" (#1 Mainstream Rock, #18 Hot 100, #19 Top 40 Mainstream), and "Crazy" (#7 Mainstream Rock, #7 Top 40 Mainstream, #17 Hot 100).

In April 1994 the band went to The Power Station in New York City, New York and started recording the songs "Walk on Water" and "Blind Man". The group then completed the songs in June at Capri Digital Studios, Capri, Italy. "Blind Man" reached #3 on the Mainstream Rock Charts, #23 on the Top 40 Mainstream, and #48 on the Hot 100 in 1994. "Walk on Water" reached #16 on the Mainstream Rock Charts in 1995.

No songs on Big Ones were included from Aerosmith's first Geffen release, Done With Mirrors (1985), despite the hit "Let the Music Do the Talking" reaching #18 on the Mainstream Rock Charts.

Reception
For his review of Big Ones for AllMusic, Stephen Thomas Erlewine gave the album a high rating because he felt that the album captured the "comeback" of Aerosmith. However, he felt that the songs did not match the "rawness" of the band's earlier material, and seemed a little too "mainstream", with rampant over-production and too many power ballads. Robert Christgau did not think the album included enough songs from the album Get a Grip, and did not like that it excluded "My Fist, Your Face." However, he did like the two new tracks, "Walk on Water" and "Blind Man." Tom Sinclair thought well of the album in his review for Entertainment Weekly because it showed that they could mix hard rock and funk-based blues, and that they were more than just the American version of The Rolling Stones. He'd have given the album a higher rating had it not included the song "Angel".

Track listing
NB: "Love in an Elevator," "Janie's Got a Gun," and "The Other Side" are presented without their original lead-ins as heard on Pump ("Going Down," "Water Song," and "Dulcimer Stomp," respectively).

Personnel
''Per liner notes

 * Aerosmith
 * Steven Tyler – lead vocals, keyboards, harmonica
 * Tom Hamilton – bass, backing vocals on "Love in an Elevator"
 * Joey Kramer – drums
 * Joe Perry – lead and rhythm guitar, backing vocals, pedal steel guitar
 * Brad Whitford – rhythm and lead guitar, acoustic guitar

 * Additional musicians
 * Jim Vallance – organ on "Rag Doll"
 * Drew Arnott – mellotron on "Angel"
 * Tom Keenlyside – saxophone, tenor saxophone, clarinet, horn arrangement
 * Ian Putz – baritone saxophone
 * Bob Rogers – trombone
 * Henry Christian – trumpet
 * Bruce Fairbairn – trumpet, background vocals on "Love in an Elevator"
 * Bob Dowd – background vocals on "Love in an Elevator"
 * John Webster – keyboards
 * Richard Supa – keyboards on "Amazing"
 * Don Henley – background vocals on "Amazing"
 * Desmond Child – keyboards on "Crazy"
 * Paul Baron – trumpet
 * Mapuhi T. Tekurio – Polynesian log drums on "Eat the Rich"
 * Melvin Liufau – Polynesian log drums on "Eat the Rich"
 * Wesey Mamea – Polynesian log drums on "Eat the Rich"
 * Liainaiala Tagaloa – Polynesian log drums on "Eat the Rich"
 * Sandy Kanaeholo – Polynesian log drums on "Eat the Rich"
 * Aladd Alatina Teofilo Jr. – Polynesian log drums on "Eat the Rich"

 * Production
 * Bruce Fairbairn – producer
 * Michael Beinhorn – producer on "Walk on Water" and "Blind Man"
 * Mike Fraser – engineer, mixing
 * Bob Rock – engineer on tracks from Permanent Vacation
 * Ken Lomas – assistant engineer, second engineer
 * Karl Heilbron - assistant engineer. Deuces are Wild mix.
 * Brendan O'Brien – mixing on Get a Grip tracks and "Deuces Are Wild".
 * Tim Collins – management
 * John Kalodner – artists and repertoire
 * George Marino – mastering
 * David J. Donnelly – mastering supervision
 * Gibran Evans – design
 * FPG International – photography
 * Steve Gardner – photography
 * Norman Seeff – photography

title: Big Ones


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Christ lag in Todes Banden, BWV 4

Christ lag in Todes Banden (also spelled Todesbanden; "Christ lay in death's bonds" or "Christ lay in the snares of death"), BWV4, is a cantata for Easter by German composer Johann Sebastian Bach, one of his earliest church cantatas. It is agreed to be an early work partly for stylistic reasons and partly because there is evidence that it was probably written for a performance in 1707. Bach went on to complete many other works in the same genre, contributing complete cantata cycles for all occasions of the liturgical year. John Eliot Gardiner described it as Bach's "first-known attempt at painting narrative in music".

Christ lag in Todes Banden is a chorale cantata, a style in which both text and music are based on a hymn. In this instance, the source was Martin Luther's hymn of the same name, the main hymn for Easter in the Lutheran church. The composition is based on the seven stanzas of the hymn and its tune, which was derived from Medieval models. Bach used the unchanged words of a stanza of the chorale in each of the seven vocal movements, in the format of chorale variations per omnes versus (for all stanzas), and he used its tune as a cantus firmus. After an opening sinfonia, the variations are arranged symmetrically: chorus–duet–solo–chorus–solo–duet–chorus, with the focus on the central fourth stanza about the battle between Life and Death. All movements are in E minor, and Bach achieves variety and intensifies the meaning of the text through many musical forms and techniques.

Christ lag in Todes Banden is Bach's first cantata for Easter – in fact, his only extant original composition for the first day of the feast – and his earliest surviving chorale cantata. It was related to his application for a post at a Lutheran church at Mühlhausen. He later twice performed it as Thomaskantor in Leipzig, beginning in 1724 when he first celebrated Easter there. Only this second version survives. It is scored for four vocal parts and a Baroque instrumental ensemble with two components, an instrumental "choir" of cornetto and three trombones doubling the choral voices (only in the 2nd Leipzig performance in 1725 were these used), and a string section of two violins, two violas, and continuo. While this scoring reflects the resources at Bach's disposal (the cornetto and brass players would have been available because of the city band tradition in Leipzig), it was old-fashioned and exemplifies a 17th-century Choralkonzert (chorale concerto) style; the lost scoring of the earlier performances was perhaps similar.

Gardiner calls Bach's setting of Luther's hymn "a bold, innovative piece of musical drama", and observes "his total identification with the spirit and letter of Luther's fiery, dramatic hymn".

Background
Bach is believed to have written Christ lag in Todes Banden in 1707. He was a professional organist aged 22, employed from 1703 in Arnstadt as the organist of the New Church (which replaced the burned Bonifatiuskirche, and is today known as the Bach Church). At age 18, he had inspected the new organ built by Johann Friedrich Wender, was invited to play one Sunday, and was hired. The organ was built on the third tier of a theatre-like church. Bach's duties as a church musician involved some responsibility for choral music, but the exact year he began composing cantatas is unknown. Christ lag in Todes Banden is one of a small group of cantatas that survive from his early years. According to the musicologist Martin Geck, many details of the score reflect "organistic practice".

In Arnstadt, the Kantor (church musician) Heindorff was responsible for church music in the Upper Church and the New Church where Bach was the organist. He typically conducted music in the Upper Church and would appoint a choir prefect for vocal music in the New Church. Musicologist Christoph Wolff notes that "subjecting his works to the questionable leadership of a prefect" was not what Bach would have done. Therefore, most cantatas of the period are not for Sunday occasions, but restricted to special occasions such as weddings and funerals. Christ lag in Todes Banden is the only exception, but was most likely composed not for Arnstadt but for an application to a more important post at the church of Divi Blasii in Mühlhausen.

Bach's early cantatas
Bach's early cantatas are Choralkonzerte (chorale concertos) in the style of the 17th century, different from the recitative and aria cantata format associated with Neumeister that Bach started to use for church cantatas in 1714. Wolff points out the relation of Bach's early cantatas to works by Dieterich Buxtehude, with whom Bach had studied in Lübeck. Christ lag in Todes Banden shows similarities to a composition of Johann Pachelbel based on the same Easter chorale. Although there is no evidence that Bach and Pachelbel met, Bach grew up in Thuringia while Pachelbel was based in the same region, and Bach's elder brother and teacher Johann Christoph Bach studied with Pachelbel in Erfurt. Another of Pachelbel's works appears to be referenced in the early Bach cantata, Nach dir, Herr, verlanget mich, BWV 150, and there has been recent speculation that Bach wanted to pay tribute to Pachelbel after his death in 1706.

The texts for Bach's early cantatas were drawn mostly from Biblical passages and hymns. Features characteristic of his later cantatas, such as recitatives and arias on contemporary poetry, were not yet present, although Bach may have heard them in oratorios by Buxtehude, or even earlier. Instead, these early cantatas include 17th-century elements such as motets and chorale concertos. They often begin with an instrumental sinfonia or sonata (sonatina). The following table lists the seven extant works composed by Bach until 1708, when he moved on to the Weimar court.

Bach uses the limited types of instruments at his disposal for unusual combinations, such as two recorders and two viole da gamba in the funeral cantata Gottes Zeit ist die allerbeste Zeit, also known as Actus Tragicus. He uses instruments of the continuo group as independent parts, such as a cello in Nach dir, Herr, verlanget mich and a bassoon in Der Herr denket an uns. The cantata for the inauguration of a town council is richly scored for trumpets, woodwinds and strings. Wolff notes: "The overall degree of mastery by which these early pieces compare favourably with the best church compositions from the first decade of the eighteenth century ... proves that the young Bach did not confine himself to playing organ and clavier, but, animated by his Buxtehude visit, devoted considerable time and effort to vocal composition. The very few such early works that exist, each a masterpiece in its own right, must constitute a remnant only ... of a larger body of similar compositions."

The Bach scholar Richard D. P. Jones notes in The Creative Development of Johann Sebastian Bach: "His remarkable flair for text illustration is evident even in the early cantatas, particularly the two finest of them, the Actus tragicus, BWV 106, and Christ lag in Todes Banden, BWV 4. We already sense a powerful mind behind the notes in the motivic unity of the early cantatas, in the use of reprise to bind their mosaic forms together ..."

Readings and chorale
The prescribed readings for the feast day were from the First letter to the Corinthians ("Christ is our Easter lamb" – ) and from the Gospel of Mark (the Resurrection of Jesus – ).

The reformer Martin Luther wrote several hymns in German to be used in church services. His hymn "Christ lag in Todes Banden" was based on the Latin hymn "Victimae Paschali Laudes", and first published in 1524. It became a main Easter hymn in German Lutheranism. The hymn stresses the struggle between Life and Death. The third stanza refers to the "sting of death", as mentioned in 1 Corinthians 15. The fifth stanza relates to the "Osterlamm", the Paschal Lamb. The sacrificial "blood" ("Its blood marks our doors") refers to the marking of the doors before the exodus from Egypt. The final stanza recalls the tradition of baking and eating Easter Bread, with the "old leaven" alluding again to the exodus, in contrast to the "Word of Grace", concluding "Christ would ... alone nourish the soul." In contrast to most chorale cantatas that Bach composed later in Leipzig, the text of the chorale is retained unchanged, which he did again only in late chorale cantatas.

Performances

Christ lag in Todes Banden survives in a version from the 1720s when Bach held the position of Thomaskantor (director of church music) in Leipzig. There is documentary evidence suggesting that this Easter Sunday cantata was premiered in 1707. It is known that Bach performed a cantata of his own composition at Easter in 1707 as a part of his application for the post of organist of Divi Blasii in Mühlhausen, and this may have been Christ lag in Todes Banden. By this time, Bach was already demonstrating ingenuity in keyboard music, as known from the early works in the Neumeister Collection. Christ lag in Todes Banden is a significant milestone in his vocal music. It was completed seven years before his sequence of Weimar cantatas, begun in 1714 with Himmelskönig, sei willkommen, BWV 182, and 17 years before he started a complete annual cycle of chorale cantatas in Leipzig in the middle of 1724 with O Ewigkeit, du Donnerwort, BWV 20.

Bach would have been attracted to Mühlhausen for its status as a free imperial city and the tradition of vocal music in its churches. Wolff notes that Bach possibly sent two other cantata scores with his application, and once he knew the date of the audition may have composed Christ lag in Todes Banden in addition. A month after Easter, on 24 May 1707, an agreement was reached to hire Bach, who seems to have been the only candidate considered seriously.

Bach performed the cantata again while Thomaskantor in Leipzig, notably at his first Easter there on 9 April 1724. He also performed it the following year on 1 April 1725, in his second cycle of Leipzig cantatas, a cycle of chorale cantatas based on Lutheran hymns. It followed in the cycle some forty newly composed cantatas. This early work fits the cycle in the sense that it is based on a chorale, but its style is different from the others.

Structure and scoring
Bach structured the cantata in eight movements: an instrumental sinfonia and seven vocal movements corresponding to the stanzas of the hymn. The duration is given as 22 minutes.

The title of the original parts of the first Leipzig performance is (in Johann Christoph Altnickol's handwriting): "Feria Paschatos / Christ lag in Todes Banden / a.4. Voc: / Cornetto / 3 Trombon. / 2 Violini / 2 Viole / con / Continuo / Di Sign. Joh.Seb.Bach", In this late version, Bach scored the work for four vocal parts (soprano (S), alto (A), tenor (T), and bass (B)), and a Baroque instrumental ensemble consisting of strings, brass and continuo. The brass parts, a choir of cornetto (Ct) and three trombones (Tb) playing colla parte with the voices at times, may have been added in the 1720s. They may also possibly represent the original scoring, in the style of the 17th-century polychoral tradition.

The scoring of the cantata Christ lag in Todes Banden has been described as "archaic" and its style "medieval":
 * The string section consists of two violin parts (Vl) and two viola parts (Va); this indicates an older practice as for instance found in 17th-century church cantatas by Bach's ancestors (see Altbachisches Archiv), and in Jesus Christus ist um unsrer Missetat willen verwundet, a Passion setting from the early 18th century (or older) which Bach had performed a few years after composing the cantata Christ lag in Todes Banden. In the first half of the 18th century the standard for a string section soon evolved to two violin parts, one viola part and continuo.
 * The cornett used in the cantata was an instrument that belonged to an earlier age: by the second quarter of the 18th century it had almost entirely disappeared from Bach's compositions.
 * The brass instruments were only used for the 1 April 1725 version of the work. The other performances (24 April 1707, 8 April 1708, and 9 April 1724) were performed without brass instruments (i.e., Cornetto and three Trombones).
 * The first version (1707 and 1708) concluded with the words of Verse 7 of the Chorale, but the music was that of Movement 2 (Verse 1 of the Chorale). In 1724 and 1725, Bach changed this out to the now-used 4-part Chorale setting.
 * There is relatively little distinction between choral sections of the cantata and sections for vocal soloists; one editor commented that the "whole cantata may be sung as chorus". This compares to the clearer demarcation between choral movements and movements for vocal soloists in Bach's later works. However, the number of voices the composer intended per part remains somewhat contentious, and recordings of the work differ considerably in the configurations deployed.
 * The harmony is often modal, instead of the modern tonal system.

In the following table of the movements, the scoring and keys follow the Neue Bach-Ausgabe. The keys and time signatures are taken from the book on all cantatas by the Bach scholar Alfred Dürr, using the symbol for common time (4/4) and alla breve (2/2). The continuo, played throughout, is not shown.

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Hymn tune
Luther's hymn is based on the 12th-century Easter hymn "Christ ist erstanden" (Christ is risen), which relies both in text and melody on the sequence for Easter, Victimae paschali laudes. A new version was published by Luther in 1524 and adapted by Johann Walter in his Wittenberg hymnal for choir, Eyn geystlich Gesangk Buchleyn (1524). A slightly modified version appeared in 1533 in a hymnal by Kluge. This chorale tune would have been familiar to Bach's congregations. Bach composed other arrangements during his career, including the two chorale preludes BWV 625 and BWV 718, and the "Fantasia super Christ lag in Todes Banden", BWV 695. Bach's organ works and the version in the cantata (see below) use the passing notes and regular rhythmic patterns of the 1533 version.

Movements
Unlike in Bach's later cantatas, all movements are in the same key. The cantata begins with an instrumental sinfonia. The seven stanzas are treated in seven movements as chorale variations per omnes versus (for all stanzas), with the melody always present as a cantus firmus. All stanzas end on the word Halleluja.

The symmetrical sequence of the seven stanzas is a feature more often found in Bach's mature compositions: chorus – duet – solo – chorus – solo – duet – chorus. The musicologist Carol Traupman-Carr notes the variety of treatment of the seven stanzas, while retaining the same key and melody:
 * 1) Polyphonic chorale fantasia
 * 2) Duet, with "walking bass" in continuo
 * 3) Trio sonata
 * 4) Polyphonic and imitative, woven around chorale melody
 * 5) Homophonic with elaborate continuo line
 * 6) Duet, using trio sonata texture with extensive imitation
 * 7) Four-part chorale setting (Leipzig version)

John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage in 2000, calls Bach's setting of Luther's hymn "a bold, innovative piece of musical drama", observing that Bach was "drawing on medieval musical roots (the hymn tune derives from the eleventh-century plainsong Victimae paschali laudes)", and noting Bach's "total identification with the spirit and letter of Luther's fiery, dramatic hymn". Bach could follow "Luther's ideal in which music brings the text to life".

Sinfonia
The cantata begins with an instrumental sinfonia a work in the style of an overture to a contemporary Venetian opera, with chordal passages and occasional polyphony. It introduces the first line of the melody. The mood is sombre, recalling the "Death's bonds" of the first line of the hymn: Christ's death on the cross and burial.

Versus 1
The opening stanza, "Christ lag in Todes Banden" (Christ lay in death's bonds) is treated as a chorale fantasia. Without instrumental opening, the movement starts with the chorale tune sung by the soprano in very long notes, with all other parts entering soon after the soprano begins each choral statement. The alto line is derived from the chorale tune, while the viola parts principally reinforce the alto and tenor voices. The violin parts are independent and, as Traupman-Carr notes, "further activate the texture with a virtually continuous exchange of sixteenth-note snippets". The figure in the violins known as suspiratio (sigh) reflects "Christ's suffering in the grip of death".

The final Halleluja is faster, giving up the fantasia format for a four-part fugue in motet style, with all instruments doubling the voices. The style of the movement recalls the 16th-century stile antico, although the style is still unmistakably Bach's.

Versus 2
The second stanza, "Den Tod niemand zwingen kunnt" (No one could defeat death), is set as a soprano and alto duet, over an ostinato continuo. It deals with "humanity helpless and paralysed as it awaits God's judgement against sin". Bach has the music almost freeze on the first words "den Tod" (death), and the word "gefangen" (imprisoned) is marked by a sharp dissonance between the soprano and alto. In the Halleluja, the voices imitate each other in long notes in fast succession, creating a sequence of suspensions.

Versus 3
The third stanza, "Jesus Christus, Gottes Sohn" (Jesus Christ, God's Son), is a trio of the tenor, two obbligato violins and continuo. The tenor sings the chorale melody almost unchanged. The violins illustrate first how Christ slashes at the enemy. The music stops completely on the word "nichts" (nothing). The violins then present in four notes the outline of the cross, and finally the tenor sings a joyful "Halleluja" to a virtuoso violin accompaniment.

Versus 4
"Es war ein wunderlicher Krieg, da Tod und Leben rungen" (It was a strange battle, that death and life waged), is the center of the symmetrical structure. It is sung by the four voices, accompanied only by the continuo. The alto sings the cantus firmus, transposed by a fifth to B-Dorian, while the other voices follow each other in a fugal stretto with entries just a beat apart until they fall away one by one. In the final Halleluja in all four voices, the bass descends nearly two octaves.

Versus 5
Stanza five, "Hier ist das rechte Osterlamm" (Here is the true Easter-lamb), is sung by the bass alone, accompanied at first by a descending chromatic line in the continuo which has been compared to the Crucifixus of the Mass in B minor, but changing to "a dance-like passage of continuous eighth notes" when the voice enters. For every line of the stanza, the bass sings a chorale tune, then repeats the words in counterpoint to the part of the tune repeated in the strings, sometimes transposed. Taruskin describes this: "With its antiphonal exchanges between the singer and the massed strings ... this setting sounds like a parody of a passacaglia-style Venetian opera aria, vintage 1640". The bass sings the final victorious Hallelujas, spanning two octaves.

Versus 6
"So feiern wir das hohe Fest" (So we celebrate the high festival), is a duet for soprano and tenor accompanied only by the ostinato continuo. The chorale is shared by the voices, with the soprano singing it in E minor, the tenor in B minor. The movement is a dance of joy: the word "Wonne" (joy) is rendered in figuration that Gardiner finds reminiscent of Purcell. Bach incorporates the solemn rhythms of the French overture into this verse, reflecting the presence of the word "feiern" (celebrate) in the text. It may be the first time that Bach used these rhythms.

Versus 7
Bach's original setting of the final stanza, "Wir essen und leben wohl" (We eat and live well), is lost; it may have been a repeat of the opening chorus. In Leipzig, he supplied a simple four-part setting.

Manuscripts and publication
Bach's original score is lost. A set of autograph parts has survived and is kept in the Bach-Archiv Leipzig. The parts were copied from the autograph score by six scribes, four of them known by name, including the composer.

A manuscript score by Franz Hauser, dating from c. 1820–1839, is held by the Staatsbibliothek zu Berlin – Preußischer Kulturbesitz. It bears a comment on page 178: "Nach den auf der Thomasschule befindlichen / Original / : Autograph: / Stimmen in Partitur gebracht. / Lp. d 16. Oct. 33. / fHauser" (After the original autograph parts in the Thomasschule, rendered in a score, Leipzig, 16 October 1833).

The cantata was first published in 1851 as No. 4 in the first volume of the Bach-Gesellschaft Ausgabe (BGA), edited by Moritz Hauptmann. Half a century later a vocal score of the cantata appeared in Novello's Original Octavo Edition, under the title Christ Lay in Death's Dark Prison. The piano reduction was by John E. West, and the translation of the cantata's text by Paul England. In 1905 this vocal score was republished in the United States by H. W. Gray. Henry S. Drinker's translation Christ lay by death enshrouded appeared in a score edited by Arnold Schering and published by Eulenburg in 1932. In 1967 Schering's score edition was republished by W. W. Norton with an extended introduction and bibliography by Gerhard Herz. Breitkopf & Härtel, the publisher of the BGA, produced various editions of the cantata separately, for instance in 1968 a vocal score with Arno Schönstedt's piano reduction and Charles Sanford Terry's translation (Christ lay in Death's grim prison).

The New Bach Edition (Neue Bach-Ausgabe, NBA) published the score in 1985, edited by Alfred Dürr, with the critical commentary published the next year. In 1995 Carus produced a revised edition of Hänssler's 1981 Christ lag in Todes Banden, edited by Reinhold Kubik. Both the Hänssler and the Carus edition contained Jean Lunn's Christ lay in death's cold prison translation. Carus followed the NBA's ... in Todes Banden spelling for the German title. In 2007 Carus republished their score edition with an introduction by Hans-Joachim Schulze. Bach Digital published high-resolution facsimile images of the autograph manuscript parts and of Hauser's score. Also in the 21st century, Serenissima Music published a vocal score of Christ lag in Todes Banden compatible with Kalmus' performance material based on the BGA.

Recordings and performances
Bach's cantatas fell into obscurity after his death and, in the context of their revival, Christ lag in Todes Banden stands out as being recorded early and having been recorded often; as of 2016, the Bach Cantatas Website lists 77 different complete recordings, the earliest dating from 1931. The first recording was a Catalan version arranged by Francesc Pujol with Lluís Millet conducting the Orfeó Català: this 1931 performance was released on three 78 rpm discs by the label "La Voz de su Amo" (His Master's Voice) in 1932. The cantata was recorded twice under the direction of Nadia Boulanger, a 1937 version recorded in Paris and a 1938 version recorded in Boston.

There are several recordings from the decades immediately after the war. Robert Shaw recorded the cantata in 1946 and again in 1959. Günther Ramin conducted the Thomanerchor in 1950, the anniversary of Bach's death. The same year, Fritz Lehmann conducted the choir of the Musikhochschule Frankfurt with soloists Helmut Krebs and Dietrich Fischer-Dieskau. Karl Richter and his Münchener Bach-Chor first recorded it in 1958.

Nikolaus Harnoncourt recorded Christ lag in Todes Banden in 1971 in a historically informed performance with original instruments and male singers (the upper two parts are sung by boys and the countertenor Paul Esswood). This was at the start of the first project to record all Bach's sacred cantatas, "J. S. Bach – Das Kantatenwerk" on Teldec. Christ lag in Todes Banden has since been included in the other "complete sets", conducted by Rilling, Gardiner, Koopman, Leusink, and Suzuki (details of these recordings are given in the discography article).

Music from the cantata was performed as early as 1914 at the Proms (at that time held in the Queen's Hall), although the complete work was not heard in this concert series until 1978, when it was given at St Augustine's church, Kilburn.

Transcriptions
In 1926 Walter Rummel published a piano arrangement of the cantata's fourth movement, "Jesus Christus, Gottes Sohn". George Copeland recorded this transcription in 1938 (re-issued on CD 2001), and Jonathan Plowright recorded it in 2005.

After he had recorded his orchestration of the chorale prelude Christ lag in Todesbanden, BWV 718, in 1931, Leopold Stokowski recorded his arrangement for symphonic orchestra of BWV 4's fourth movement in 1937. As Chorale from the Easter cantata Christ lag in Todesbanden the arrangement's score was published by Broude Brothers in 1951. Later the arrangement was also recorded by José Serebrier and Robert Pikler.

Cited sources
General sources

Editions in English

Editions

Books

Online sources

title: Christ lag in Todes Banden, BWV 4


text:
Hergé's Adventures of Tintin

Hergé's Adventures of Tintin (Les Aventures de Tintin, d'après Hergé) is the first animated television series based on Hergé's popular comic book series, The Adventures of Tintin. The series was produced by Belvision Studios and first aired in 1957. After two books were adapted in black and white, eight books were then adapted in colour, each serialised into a set of five-minute episodes, with 103 episodes produced (twelve in black and white and ninety-one in colour).

Background: Creation of Belvision and the first two adventures
Raymond Leblanc, editor of the Tintin magazine viewed the emergence of television as a promising medium for his paper characters. He then decides to create the Belvision Studios. On 15 October 1954, Raymond Leblanc created the Belvision Studios. It was specified that the purpose of the company was to produce filmed programs. The key player of the company was Karel Van Milleghem, editor of Kuifje (the Dutch-speaking version of the Tintin magazine).

The first real animations were carried out by Belvision from 1955 to 1958 for Belgian Television, with basic means. First, there were several animation adaptations of Flemish artist Willy Vandersteen's comics Suske en Wiske which Karel Van Milleghem liked.

In 1956, Belvision secured rights to adapt stories from The Adventures of Tintin from Hergé and signed a contract with the French Radio-Television, for two stories of Tintin cartoons. This was a series of animations produced in 1957 by Belvision for the French Radio-Television (RTF because there was only one channel in France at that time). They were made in 16 mm black and white film, from the books King Ottokar's Sceptre and The Broken Ear.

This black and white animated series can therefore be considered as the very first adaptation of Tintin's adventures in cartoons. Hergé, who had just completed the publication of The Calculus Affair and who was immersed in The Red Sea Sharks project, did not intend to be mobilized by this parallel project for two years. This is why he asked his collaborator Bob De Moor to follow him closely. De Moor would ensure and supervise the layout of the characters and the sets.

King Ottokar’s Sceptre had 8 episodes of thirteen minutes, while The Broken Ear had 7 episodes. They were broadcast on RTF. ‘King Ottokar’s Sceptre’ aired from 28 November 1957 to 15 January 1958 on each Thursday. ‘The Broken Ear’ aired from 4 July 1959 to 15 August 1959 on each Saturday. In these two series, everything is done in semi-animation mode with a majority of still images and a few rare character movements. Only the episodes of The Broken Ear have a little more animation. Hergé finally got more involved than expected in the scripts and the drawings. Some of the boxes of the comics had undergone some small alterations as well as totally new images, notably in The Broken Ear. Likewise, the script has sometimes been changed. For example, at the beginning of ‘King Ottokar's Sceptre’ (episode 1), in the Syldavian restaurant "Klow", Tintin does not ask to go to the toilet but asks to phone. These visual and oral changes were deemed necessary to make the whole thing more captivating for viewers.

The French version starred Georges Poujouly as Tintin and Jean Clarieux as Captain Haddock. In the US dub, Larry Harmon and Dallas McKennon both voiced Tintin, with Paul Frees as Captain Haddock. In the BBC’s UK dub of the series, Gerald Campion usually voiced Tintin, with the exception of The Broken Ear, where Peter Hawkins voiced all the characters.

On the advice of R.T.F., the production was entrusted to Anne-Marie Ullmann, who was prohibited from retouching the drawings provided by Studios Hergé. This refusal resulted in laborious animation and frozen characters. The result disappointed RTF, which terminated its association with Belvision, along with Van Milleghem.

Hiatus and new adventures
Leblanc then hired Ray Goossens, a professional from cartoon advertising, recommended to him by Van Milleghem.

Under the leadership of Goossens, Belvision renounced 16 mm in black and white, and equipped itself for 35 mm in color. They went from semi-animation to “full animation” by using the system of layers with pins and the tracing of images on cels.

In 1960, Raymond Leblanc managed to involve Télé-Hachette, the subsidiary of the French publisher, in his film projects on Tintin. The goal is to produce five useful minutes per week. This is how Belvision attracted from 20 to 120 people in a few weeks.

Hergé participates more in the development process, and supervises a lot of meetings between his collaborators (Bob De Moor and Jacques Martin) and those of Belvision.

Hergé’s Adventures of Tintin, which was directed by Ray Goossens and produced by Belvision and Télé-Hachette between 1959 and 1964, can be considered as the first real cartoon adaptation of the Adventures of Tintin.

It brings together 8 stories of Tintin.

 * Destination Moon
 * Explorers on the Moon
 * The Crab with the Golden Claws
 * The Secret of the Unicorn
 * Red Rackham's Treasure
 * The Shooting Star
 * The Black Island
 * The Calculus Affair

“Hergé’s Adventures of Tintin” were the opening words to each episode. Each adventure was divided into small episodes of about 5 minutes preceded by a summary and followed by the announcement of the following episode. Each one ended with a teaser that encouraged the viewer not to miss the next episode.

The Calculus Case
Several liberties were taken in the adaptation and the script quality was sometimes poor. After 89 five-minute episodes, Télé-Hachette was dissatisfied with the result and decided, in 1963, not to renew the contract with Belvision. Nevertheless, Raymond Leblanc decides to produce a new adaptation despite everything, alone with Belvision. It was The Calculus Affair, on a screenplay by Greg and Bernard Fredisch, in thirteen five-minute episodes. Not coproduced by Télé-Hachette, The Calculus Affair has always had a special status and is considered a feature film (like Tintin and the Temple of the Sun or Tintin and the Lake of Sharks). After being released on VHS in the 1980s, it was released on DVD in France on 14 May 2008, in a remastered edition, in the Tintin animated feature set at Citel Vidéo. ‘The Calculus Affair’ DVD was reissued in 2011 in the 23rd volume of the Tintin collection by Hachette editions.

Changes from the books
Most stories in the television series varied widely from the original books, thus changing whole plots.

Objective Moon
Unlike in the comic where two other saboteurs are parachuted and shoot Tintin, Colonel Boris Jorgen (nameless in the adaptation) is the only enemy to break into the base. Additionally, while examining the experimental rocket, Jorgen is attacked by Snowy and pushes him into the rocket before launching take-off. Tintin and his companions build a second rocket and go to the Moon not to explore it but to save Snowy, locked in the small rocket and having only a few days of oxygen in front of him. The lunar rocket is called “XM2 Rocket” whereas it is simply called “Lunar Rocket” in the comic. Captain Haddock's whiskey is replaced by coffee and flies into space, not out of drunkenness, but because he takes off his shoes which hurt him (when the lack of pressure should seriously affect his feet). The Thom(p)sons do not have the hair or the beard that grows although a scene from 'Land of Black Gold' has been adapted. The characters faced a meteor shower on the Moon, and found themselves trapped in a cave from which they escape using dynamite. Instead of a moon tank, Professor Calculus has a sort of transparent-roofed flying mini-ship named ‘the moon mobile’. The rocket, while returning to Earth, smashes into rocks and falls to the side, causing a fire (creating a death-hazard). Tintin never knew Jorgen, whereas in the comic, they met in King Ottokar’s Sceptre when he is the colonel in the service of his majesty. Jorgen and Frank Wolff remain alive and are brought back to Earth prisoners, unlike the comic where Jorgen is accidentally killed by Wolff who subsequently commits suicide by jumping into space. The heroes thank Wolff for saving their lives as Jorgen attempted to take them down. Jorgen talks about Wolff in this version while in the comic, he talks to him. Jorgen is dressed in a brown aviator jacket, sweater, pants and black shoes while in the comic he has the aviator jacket in the same colour, but wears a yellow turtleneck sweater, grey pants and brown shoes. It makes reference to other earlier stories through Tintin reminiscing. It makes mention of Tintin in the Congo, Land of Black Gold and The Red Sea Sharks. The first season has 22 episodes and there are 4 minutes long when you break it in to chapters from 1:27:14 from movie formant.

The Crab with the Golden Claws
The story begins in a port where Tintin sees men throwing a body into the sea. It is there that he decides to investigate. In this version, the crab cans are used to conceal diamonds and not opium. First mate Allan, to be the master on board, drugs Captain Haddock, not with whiskey, but with drugs. Tintin already knows Captain Haddock, although this is his first appearance in the comic strip. After their plane crash, Tintin and Haddock, who wander in the desert, are captured by a looter named "Ahmed the Terrible". After their escape, Ahmed tracks them down but dies falling off a cliff. The pilot of the plane also pursues Tintin and Haddock in the desert before being shot down by Ahmed. Bunji Kuraki was absent and the Karaboudjan was renamed not ‘Djebel Amilah’ but ‘Tangiers’. In this version, Allan is arrested in Captain Haddock's boat and Allan’s entire men die when Tintin throws a bomb at them accidentally (only Allan survives) while in the comic they are all arrested.

The Secret of the Unicorn
At the beginning, bandits try to steal the boat bought by Tintin, but give up because of the presence of a police officer. While chasing a mouse, Snowy breaks the boat, and a parchment appears. While Tintin walks through it, the light in his home goes out, and then he gets knocked out. The bandits finally leave with the boat. While walking, Tintin sees the boat in a store window. The seller tells him that he has owned it for a long time, and that he cannot sell it. Tintin buys it from him, but a man steals the package. The Thom(p)sons intervene and return the package to Tintin. On returning home, Tintin discovers another parchment in the boat, and decides to go to Captain Haddock. The Bird brothers kidnap Tintin after having knocked him out during the night before sequestering him at their home in the cellar. In the comic, in the cellar, one of the Bird brothers has a weapon while, in the series, the Bird brothers have two weapons. Tintin and his friends chased Max Bird by car. They fight in a pumpkin farmer’s truck and pursued him by a plane. After this pursuit, they succeed in gathering the three parchments and set out in search of Red Rackham's treasure. Barnaby and Ivan Ivanovitch Sakharine are completely missing from the storyline. Marlinspike Hall and Aristides Silk have been renamed ‘Hudson Manor’ and ‘Herbert Knill’ respectively.

Red Rackham's Treasure
In this version, Max Bird escapes from prison with the help of an accomplice. He participates in the search for the treasure, while he no longer appears after his escape in the comics. Professor Calculus already knows Tintin, even though this is his first appearance in the comic strip. During the trip, Max Bird's accomplice succeeds in stealing the plans that lead to the treasure. Although he is not hard of hearing in this series, Professor Calculus has the time of this episode some hearing problems following the explosion of a failed device. Upon arrival on the island, Tintin and his friends are attacked by the natives. They continue their research and discover a fetish of Sir Francis Haddock. Thompson and Thomson, who transport it, are kidnapped by the natives, who bear a strong resemblance to the Arumbayas from The Broken Ear. These natives then tried to behead them, as an offering to the fetish, which they consider to be an idol. Captain Haddock hides behind his ancestor's fetish and imitates him, saying he does not want this gift. The natives bow and kneel. Tintin takes the opportunity to free the detectives. On the island, Max Bird and his accomplice are on the verge of suppressing Tintin and his friends, but miss their target. It is the fetish which is touched, in the nose. Snowy, hidden behind the two bandits, attacks them. Max Bird's accomplice is caught and questioned. During the excavations in the wreck of The Unicorn, Tintin is attacked by Max Bird, who tries to cut his rope and his air inlet tube. An octopus attacks him, Tintin saves him and it is for Bird the end of the adventure. Haddock had an encounter with shark rather than Tintin. Tintin and his friends return to the island, discover a cross planted by Sir Francis Haddock and think that it indicates the location of the treasure. Their research is in vain. But new worries await them: the natives capture them. They were however abandoned when the natives noticed that a volcano was erupting (similar to Flight 714 to Sydney). They are freed by the Thom(p)sons who, as carriers, were not tied up. The island sinks and everyone is saved in time. Tintin and Captain Haddock discover the treasure in the Hudson Manor (Marlinspike Hall). Max Bird tries to escape with it, but runs into Professor Calculus. Tintin takes the opportunity to disarm him. A fight ensues where Calculus intervenes, knocking out Bird Brother with a painting.

Star of Mystery
Professor Phostle is replaced with Professor Calculus. In line with this change, the phostlite is renamed "calculite". Professor Philippulus is Calculus' assistant, and he predicts the end of the world, but his predictions are wrong. Calculus accompanies Tintin on the meteorite, and the Peary captain and a crewman chase Tintin and Calculus on the meteorite, but are chased off by the giant spider. Captain Chester and Professor Cantonneau has been removed from the storyline, and Thomson and Thompson accompany them on the voyage, whereas in the book they only appeared in one panel. The expedition ship is the Sirius, not the Aurora. The bomb that is placed before departure is contained in a briefcase (and no longer a simple stick of dynamite). The bomber is arrested along with Philippulus. Two sequences have been added: the Sirius is attacked by a submarine which bombards them with torpedoes and a saboteur has managed to board the Sirius to place a bomb there. Professor Calculus parachutes with Snowy while Tintin lands in disaster. Tintin is imprisoned for a moment with Snowy in rocks. They are released by a growing tree. Their plane is destroyed, but later the Captain comes to rescue them with another plane.

Black Island
Captain Haddock plays a leading role and Professor Calculus almost makes a cameo, while they were absent in the original comic book. Puschov accuses Tintin of robbing him, but in an airport. Tintin and Haddock hide in post office bags to get to Sussex, but Haddock gets in the wrong bag, and they are separated. Tintin later finds Haddock in England examining the plane. Dr. Müller is older and white-haired, and has a goatee. Ranko does not break his arm in this version, and even aids Tintin, Haddock and Snowy. Tintin keeps his usual outfit throughout the episode while in the comic he wears a Scottish kilt. In the comic strip, Counterfeiter Ring has five members, the leader is Puschov. In the series, they are 4 and it is Müller who is the boss, the man with the boots is replaced by a gigantic man and the mustache has disappeared.

The Calculus Case
This adaptation is loosely based on the book. Jolyon Wagg and his family was entirely removed. Also being absent in this series were Nestor, Arturo Benedetto Giovanni Giuseppe Pietro Archangelo Alfredo Cartoffoli da Milano, Irma, Igor Wagner, Cutts the butcher and Krônik and Klûmsi. Calculus' ultrasound weapon is called "Silly the Silent" (or "No-Sound Nellie" in the US English version). Thomson and Thompson's roles have been expanded, and Haddock is captured with Calculus in "Darkol Prison". This series also saw Tintin's first meeting with Bianca Castafiore whilst in the original book it was their third meeting, which had been started in King Ottokar's Sceptre. Thomson and Thompson's roles have been expanded and they accompany Tintin. Tintin is the person who meets Castafiore in the Music Show, whereas it is Captain Haddock in the original book. Alfredo Topolino and Colonel Sponsz have been renamed "Professor Bretzel" and "Colonel Brutel".

More generally, Tintin's home is located in New York, resulting to be American instead of Belgian (Perhaps, for one of those reasons, "Tintin in America" is not adapted), Captain Haddock does not have a penchant for whiskey (and prefers drinking coffee instead), Professor Calculus does not have hearing problems and wears a yellow trench coat instead of green trench coat, Thomson and Thompson are brothers and their moustaches are identical, and Snowy has a red collar in some episodes.

Stories not adapted
Some of the Tintin books were not included in the animated series. The stories are Tintin in the Land of the Soviets, Tintin in the Congo (although only one scene was adapted), Tintin in America, Cigars of the Pharaoh, The Blue Lotus, The Seven Crystal Balls, Prisoners of the Sun, Land of Black Gold (although only one scene was adapted), The Red Sea Sharks (although only one scene was adapted), Tintin in Tibet and The Castafiore Emerald. Reasons for not adapting stories such as Flight 714 to Sydney, Tintin and the Picaros and Tintin and Alph-Art are that they were not written at that time.

Broadcasts and releases

 * This series was broadcast in the UK from 1962 by the BBC. (Note: colour television had yet to appear in England and therefore, the series aired in black-and-white)
 * This series has aired in repeats on non-network syndication in the United States from 1963 to 1971. Several video releases were made, in both English and French. To date, no DVD set has been released, though The Calculus Case was released on DVD as a full-length film.
 * The series was directed by Ray Goossens and written by comic artist Greg, who later became the editor of Tintin magazine.
 * The first two black-and-white episodes were produced at a time where junking took place. Due to poor reviews, it is rather not unlikely that they are lost episodes. Only screenshots are available.

English

 * Larry Harmon as Tintin, Professor Calculus (Objective Moon and The Crab With the Golden Claws)
 * Dallas McKennon as Tintin, Professor Calculus, Other characters (The Secret of Unicorn until Black Island)
 * Paul Frees as Captain Haddock, Thomson and Thompson, Other characters, Narrator (all episodes)
 * Lee Payant as Tintin, Professor Calculus, Other characters (The Calculus Case)
 * Gerald Campion as Tintin (King Ottokar's Sceptre)
 * Peter Hawkins as Narrator (The Broken Ear)

French

 * Georges Poujouly as Tintin
 * Jean Clarieux as Captain Haddock
 * Robert Vattier as Professor Calculus
 * Hubert Deschamps as Thomson and Thompson
 * René Arrieu as Other characters

Episodes
Season 1: Objective Moon (22 episodes)
 * 1) Espionage
 * 2) Space Pirates
 * 3) The Big Departure
 * 4) Attention... Meteor!
 * 5) Drifting
 * 6) Man in Orbit
 * 7) Lunar Landing
 * 8) Explorers on the Moon
 * 9) Mystery on the Moon
 * 10) Lost
 * 11) Sabotage
 * 12) Moon Sickness
 * 13) Trapped
 * 14) Operation Rescue
 * 15) Buried
 * 16) Prisoners
 * 17) Explosion
 * 18) Dramatic turn of Events
 * 19) Destination Earth
 * 20) More Control
 * 21) Freefall
 * 22) Crash Landing

Season 2: The Crab with the Golden Claws (17 episodes)
 * 1) Suspicions
 * 2) Mystery at Sea
 * 3) Mutiny on the Karaboudjan
 * 4) Escape
 * 5) Adrift at Sea
 * 6) Attack from the Air
 * 7) Crack-Up
 * 8) Thirst
 * 9) Raiders in the Desert
 * 10) Prisoners
 * 11) Desert Dilemma
 * 12) Duel in the Desert
 * 13) Mystery in Morocco
 * 14) Blind Alley
 * 15) Mystery Underground
 * 16) Return of the Karaboudjan
 * 17) Homeward Bound

Season 3: The Secret of the Unicorn (10 episodes)
 * 1) Model Mystery
 * 2) Pirate Attack
 * 3) Battle of Red Rackham
 * 4) Kidnap
 * 5) Trapped
 * 6) Ambushed
 * 7) Battle of Hudson Manor
 * 8) The Crash
 * 9) Captured
 * 10) Duel on the Highway

Season 4: Red Rackham's Treasure (17 episodes)
 * 1) Red Rackham's Treasure
 * 2) Killer Shark
 * 3) Jail Break
 * 4) Stowaway
 * 5) Shipwreck
 * 6) Jungle Jitters
 * 7) Head Hunters
 * 8) Gunfire
 * 9) Operation Rescue
 * 10) Shark Bait
 * 11) Duel in the Deep
 * 12) Demon of the Deep
 * 13) The Eagle's Cross
 * 14) Savage Surprise
 * 15) Vanishing Island
 * 16) Red Rackham's Riddle
 * 17) Treasure Chest

Season 5: Star of Mystery (11 episodes)
 * 1) Star of Mystery
 * 2) Star in the Night
 * 3) Doomsday
 * 4) Bombs Away
 * 5) Man Overboard
 * 6) Torpedoed
 * 7) Time Bomb
 * 8) Crash Landing
 * 9) Web of the Spider
 * 10) Marauding Monster
 * 11) Operation Rescue

Season 6: Black Island (12 episodes)
 * 1) Black Island
 * 2) Miscarriage of Justice
 * 3) Escape
 * 4) Intrigue
 * 5) Mad Men
 * 6) Trapped
 * 7) Murderous Müller
 * 8) Inferno
 * 9) The Ghost of Black Island
 * 10) Fright in the Night
 * 11) The Beast of Black Island
 * 12) The Battle of Black Island

Season 7: The Calculus Case (13 episodes)
 * 1) Frightening Lightning
 * 2) Z Rays
 * 3) Kidnapped
 * 4) Midnight Fright
 * 5) Steel Shark
 * 6) Tracked
 * 7) Operation Opera
 * 8) Bordurian Bullets
 * 9) Dead End
 * 10) Doomed
 * 11) The Big Blast
 * 12) Surprise in the Skies
 * 13) Tank Attack

title: Hergé's Adventures of Tintin


text:
Missouri Route 763

Route 763 is a highway in Boone County, Missouri, United States. Its southern terminus is at Route 740 in the city of the Columbia. Between Route 740 and Business Loop Interstate 70 (BL I-70), it is known as College Avenue. It is briefly concurrent with BL I-70 for 2/10 mi before turning onto Rangeline Road. This section between Business Loop 70 and US 63 is an old alignment of U.S. Route 63 (US 63).

Route description
Route 763 begins at an intersection with Route 740 in Columbia, heading north on South College Avenue, a five-lane road with a center left-turn lane. The road passes through the University of Missouri campus, passing to the west of Sanborn Field. Past the university, the route intersects Broadway Street and becomes North College Avenue, passing homes and coming to an intersection with Paris Road, providing access to Route B, which officially begins past its junction with BL I-70. Route 763 passes more residences with some businesses and crosses a railroad line before coming to an intersection with BL I-70. At this point, Route 763 turns west to form a concurrency with BL I-70. on a four-lane divided highway before turning north onto four-lane undivided Rangeline Street. The road passes commercial establishments before becoming a divided highway and reaching an diverging diamond interchange with I-70/US 40. Past this interchange, the route becomes undivided again and passes more businesses. Farther north, Route 763 becomes a divided highway and continues through areas of fields and businesses with some homes. The route reaches a roundabout where it intersects Route VV and Prathersville Road, the latter providing access to the southbound direction of US 63. Northbound motorists on US 63 must use Prathersville Road to access Route 763. Route 763 becomes a two-lane undivided road and merges into the northbound direction of US 63 at an interchange. Route 763 receives traffic from the southbound direction of US 63.

title: Missouri Route 763


text:
User talk:Bombcar

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! Samw 01:28, 14 July 2005 (UTC)
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Spelling
Thank you for fixing the spelling errors on Boulevard, California. User:David Jordan

title: User talk:Bombcar


text:
Wikipedia talk:Manual of Style/Dates and numbers/Archive 21

Dual measurements in articles
Several attempts have been made to add metric units Pan Am Flight 103 but they were repeatedly removed. They were removed even if the original data source is metric. They were removed even if put in parentheses after the non-metric units. The examples below illustrate some of the events in the edit history.

User Dan100 discussed the issue with those opposed to metric units. He managed to get agreement from those opposed to metric units that the total prohibition of metric units in the article would be reduced to a partial prohibition. If there are good reasons to remove metric units, then it would be useful to know which units can be removed and under what circumstances. I am not too worried if this is a squabble confined to one particular article, but the argument appeared to be about principles that apply to all Wikipedia articles.

Can we have a discussion on the benefits and circumstances of prohibiting metric units in Wikipedia articles? Bobblewik (talk) 4 July 2005 14:33 (UTC)

Example 1: Metric height/weight values for McKee

 * 00:47, 28 Feb 2005 SlimVirgin 6' 5", 270-lb Non-metric only
 * 18:58, 12 Mar 2005 Bobblewik -> 6 ft 5 in (1.96 m), 270 lb (122 kg) Dual
 * 04:20, 3 Jun 2005 SlimVirgin -> 6 ft 5 ins, 270-lb Non-metric only
 * 14:40, 9 Jun 2005 Bobblewik -> 6 ft 5 in (1.96 m), 270 lb (122 kg) Dual
 * 03:19, 12 Jun 2005 SlimVirgin -> 6 ft 5 ins, 270-lb Non-metric only
 * 09:31, 12 Jun 2005 Gene Nygaard -> 6 ft 5 in, 270-lb (1.96 m, 120 kg) Dual
 * 09:40, 12 Jun 2005 SlimVirgin -> 6 ft 5 ins, 270-lb Non-metric only
 * 01:03, 13 Jun 2005 Grace Note -> 6-ft 5-in, 270-lb Non-metric only

Example 2: Metric estimates of explosive weight

 * 07:23, 21 Nov 2003 WhisperToMe 312 gram Metric only
 * 06:38, 10 Nov 2004 SlimVirgin -> between 10 and 14 ounces Non-metric only
 * 19:57, 11 Nov 2004 AlanBarrett -> 10-14 ounces (280g to 400 g) Dual
 * 18:02, 6 Jan 2005 SlimVirgin -> 10-14 ozs. (280g to 400 g) Dual
 * 07:30, 1 Feb 2005 Telso -> 10-14 oz. (280g to 400 g) Dual
 * 00:47, 28 Feb 2005 SlimVirgin -> around 14 oz. Non-metric only
 * 00:47, 28 Feb 2005 SlimVirgin 450 grams Second instance of weight value. Metric only (source: UK official DERA data). Article now has mismatching values: metric only and non-metric only
 * 18:58, 12 Mar 2005 Bobblewik around 14 oz.-> 450 grams (16 oz) Dual. Both values consistent with UK official value
 * 22:24, 24 May 2005 SlimVirgin 450 grams (16 oz) -> 10-16 ounces One of two instances. Non-metric only. Mismatch between instances re-introduced
 * 06:47, 3 Jun 2005 SlimVirgin 450 grams -> 14 ozs. One of two instances. Non-metric only
 * 07:13, 3 Jun 2005 SlimVirgin 14 ozs. -> 450 grams Self revert. Metric value reappears
 * 07:25, 3 Jun 2005 SlimVirgin  450 grams -> 14 ozs. Non-metric only
 * 14:40, 9 Jun 2005 Bobblewik 10-16 ozs and 14 ozs. -> 450 g (16 oz) Made consistent with UK official value. Dual. Two values in article now match
 * 03:19, 12 Jun 2005 SlimVirgin 450 g (16 oz) -> 10-16 ozs (first value), 450 g (16 oz) -> about 14 ozs. (second value) Article now has two different weight values. Non-metric only
 * 08:46, 12 Jun 2005 SlimVirgin 10-16 ozs -> 12-16 ozs (first value) Revision of value
 * 09:31, 12 Jun 2005 Gene Nygaard -> 12–16 oz (0.3–0.5 kg) (first value), -> about 400 g (14 oz) (second value) Dual.
 * 09:40, 12 Jun 2005 SlimVirgin -> 12-16 ozs (first value), about 14 ozs. (second value). Non-metric only
 * 17:29, 12 Jun 2005 Gene Nygaard -> about 400 g (14 oz) (second value). Dual
 * 19:08, 12 Jun 2005 SlimVirgin -> between 12 and 16 ounces (second value). Non-metric only
 * Addition:

 * 01:03, 13 Jun 2005 Grace Note -> between 12 and 16 oz (second value). Non-metric only

Example 3: Metric container size

 * 00:47, 28 Feb 2005 SlimVirgin 5' x 5' x 5'
 * 18:58, 12 Mar 2005 Bobblewik -> 5 by 5 by 5 ft (1.5 by 1.5 by 1.5 m) Dual
 * 05:49, 3 Jun 2005 SlimVirgin -> 5ft³. Non-metric only
 * 14:40, 9 Jun 2005 Bobblewik -> 4.2 cubic metre (148 ft³) Dual (source: actual AVE container size)
 * 09:06, 12 Jun 2005 SlimVirgin -> 5ft³. Non-metric only
 * 09:36, 12 Jun 2005 Gene Nygaard -> 5 ft³ (140 L). Dual
 * 09:40, 12 Jun 2005 SlimVirgin -> 5ft³. Non-metric only
 * 17:22, 12 Jun 2005 Gene Nygaard -> 125 ft³ (3.5 m³). Dual
 * 17:40, 12 Jun 2005 Bobblewik -> 4.2 cubic metre (148 ft³) Dual
 * 07:03, 13 Jun 2005 Grace Note -> 148 cubic ftNon-metric only

Example 4: Metric wind speed

 * 03:02, 1 Mar 2005 SlimVirgin 100 miles per hour Non-metric only
 * 18:58, 12 Mar 2005 Bobblewik -> 100 miles per hour (160 km/h) Dual
 * 22:24, 24 May 2005 SlimVirgin -> 100 miles per hour Non-metric only
 * 14:40, 9 Jun 2005 Bobblewik -> 90 knots (170 km/h) Dual (source: UK official accident investigation data)
 * 03:19, 12 Jun 2005 SlimVirgin -> 100 mph Non-metric only
 * 09:31, 12 Jun 2005 Gene Nygaard -> 100 miles per hour (160 km/h) Dual
 * 09:40, 12 Jun 2005 SlimVirgin -> 100 mph Non-metric only
 * 17:54, 12 Jun 2005 Bobblewik ->  up to 100 knots (190 km/h) Dual (source: UK official accident investigation data)
 * 18:40, 12 Jun 2005 Mel Etitis -> up to 100 s Non-metric only
 * 19:08, 12 Jun 2005 SlimVirgin -> of 100 s Non-metric only

Example 5: Metric length of debris spread

 * 01:53, 5 Nov 2004 Slimv 180 miles Non-metric only
 * 23:25, 8 Nov 2004 SlimVirgin 130 kms Metric only
 * 22:52, 11 Nov 2004 SlimVirgin 88-mile (142-km) Dual
 * 00:47, 28 Feb 2005 SlimVirgin -> 88-mile Non-metric only
 * 18:58, 12 Mar 2005 Bobblewik 88-mile -> 88 mile (142 km) Dual
 * 22:24, 24 May 2005 SlimVirgin -> 88-mile Non-metric only
 * 14:40, 9 Jun 2005 Bobblewik 88-mile -> 88 mile (142 km) Dual

 * 03:19, 12 Jun 2005 SlimVirgin -> 88-mile Non-metric only
 * 09:31, 12 Jun 2005 Gene Nygaard -> 88-statute-mile (142 km) Dual
 * 09:40, 12 Jun 2005 SlimVirgin -> 88-mile Non-metric only
 * 18:09, 12 Jun 2005 Bobblewik -> 130 km Metric only (source: UK official accident investigation data)
 * 18:34, 12 Jun 2005 SlimVirgin -> 88-mile Non-metric only
 * 18:40, 12 Jun 2005 Mel Etitis -> 81 miles Non-metric only
 * 19:08, 12 Jun 2005 SlimVirgin -> 88-mile Non-metric only

Example 6: Metric fragment size

 * 22:52, 11 Nov 2004 SlimVirgin 0.4 inch (10 millimeter) Dual
 * 07:25, 3 Jun 2005 SlimVirgin 0.4 inch Non-metric only
 * 14:40, 9 Jun 2005 Bobblewik -> 0.4 inch (10 mm) Dual
 * 03:19, 12 Jun 2005 SlimVirgin -> 0.4 inch Non-metric only
 * 09:37, 12 Jun 2005 Gene Nygaard -> 10 millimeter (0.4 inch) Dual
 * 09:40, 12 Jun 2005 SlimVirgin -> 0.4 inch Non-metric only

Example 7: Metric temperature

 * 08:46, 12 Jun 2005 SlimVirgin minus 50 F Non-metric only
 * 09:31, 12 Jun 2005 Gene Nygaard -> minus 50 °F (−45 °C) Dual
 * 09:40, 12 Jun 2005 SlimVirgin -> minus 50 °F Non-metric only
 * 17:27, 12 Jun 2005 Gene Nygaard -> 50 °F (−45 °C) Dual
 * 07:03, 13 Jun 2005 Grace Note -> minus 50 °F Non-metric only

Example 8: Distance of explosive from container
Added by Gene Nygaard 4 July 2005 19:25 (UTC). Should this one be treated differently?

 * 00:47, 28 Feb 2005 SlimVirgin 200 millimeters Metric only
 * 06:47, 3 Jun 2005 SlimVirgin 200 mms Metric only
 * 14:40, 9 Jun 2005 Bobblewik 200 mm Metric only
 * 03:19, 12 Jun 2005 SlimVirgin 200 mms Metric only
 * 09:31, 12 Jun 2005 Gene Nygaard 200 mm Metric only

Example 9: "Miles" to an air traffic controller
Added by Gene Nygaard 4 July 2005 20:48 (UTC)

 * 08:46, 12 Jun 2005 SlimVirgin a mile of airspace Non-metric only
 * 09:31, 12 Jun 2005 Gene Nygaard a nautical mile of airspace Non-metric only
 * 09:40, 12 Jun 2005 SlimVirgin a mile of airspace Non-metric only
 * 23:48, 12 Jun 2005 SlimVirgin one mile of airspace Non-metric only

Comments
I see no reason that both systems can't be used. Maurreen 4 July 2005 15:02 (UTC)

 * I find the argument absurd. I would go so far as to say that we should require both systems. The argument that it disturbs the "flow" of the text is ridiculous. It doesn't matter how easily I can read the text if I cannot understand the meaning of it because I don't use the particular measurement system. Rmhermen July 4, 2005 15:28 (UTC)

Many if not most people who learn English as a second language are not familiar with Imperial units. They may have some rough ideas of miles, feet, or pounds. Ounces, degrees Fahrenheit, or ft³, however, tend to be completely foreign concepts. These readers need SI units to understand the content, and I can't see why each of them should have to convert them individually. Being confronted with unfamiliar units disturbs the reading flow a lot more than having both units in the text. I find prohibiting converted units completely unacceptable. (The argument cuts both ways, of course, but in the case at hand it's metric units that are being pushed out.) Rl 4 July 2005 15:41 (UTC)

 * Is there any ground for the claim that people who learn English as a second language are ignorant of non-metric measurements? I find it highly dubious; whether they read literature or newspapers, watch Hollywood films or television news, they'll come across such measurements all the time.  Besides, there are dictionaries aren't there?  Wikipedia is full of articles that use only one or the other system; in this case, a couple of very insistent (and aggressive, to say the least) editors, including Bobblewik, tried to force a number of changes on the article, this being just one of them (Rl was briefly involved in the argument). I can see no good reason for insisting that articles use both systems. Mel Etitis  ( Μελ Ετητης ) 4 July 2005 16:36 (UTC)

 * The provision of dual units is important. Outside the USA, there is a large number of English speakers who are not acquainted with the Imperial units or though they may be aware of them do not use them and do not therefore conceive them in space. The UK government is pushing for universal access to the Internet for school-age children, they will have been brough up on the metric units and their acquaintnace with the Avoirdupoid system will be through their parents. Bi lingual Europeans accustomed to the metric using the english wiki because their own language version is absent will equally be discomfitted. The provision of dual values breaks the flow of the reading less than getting a calculator or dictionary and converting the values mid stream. Any block of text that cannot handle the metric with the "Imperial" in brackets or alongside is fundamentally flawed. The same goes the other way. We should not complain if the metric is accompanied by the Imperial. GraemeLeggett 4 July 2005 16:48 (UTC)
 * Ditto this, Maurreen, Rmhermen and Rl. Let's worry about Bobblewik's other "pushing" elsewhere.  Tomer TALK  July 4, 2005 17:32 (UTC)

 * Bobblewik and one other editor reduced the PA 103 talk page to a toxic wasteland with this nonsense, which tends to happen when single-issue editors turn up on pages they don't otherwise contribute to with demands for conformity to whatever it is they're trying to push. The fact is that most non-metric units are understood by most people in most countries: feet and miles, for example. As much as people like Bobblewik think the UK is metric, it isn't in practise: most people I know do use and think in terms of feet, miles, and pounds. It's the same in Canada, and so far as I know, also in Australia and New Zealand. Bobblewik has gone around changing measurements like "a 200-acre estate" to "an estate of 200 acres (800,000 sq metres)", reverting for months on end if necessary to push his version across, while making no other contributions to the encyclopedia. It's bad writing, inconsiderate editing, and totally unnecessary. The MoS is not policy; it's a guideline, and even as a guideline, it makes clear that metric units do not have to be added to non-science articles. Bobblewik is trying to introduce a policy by stealth here. Some consideration has to be made to the quality of writing in articles, given that we want people to read them. Where you have a sentence (as some in PA 103 did) containing several measurements, and each measurement is doubled up, the sentence becomes practically unreadable. SlimVirgin (talk) July 4, 2005 18:15 (UTC)

 * One final, important, point: Bobblewik is trying to turn the conversation on its head. No one on the PA 103 page suggested prohibiting metric units - quite the reverse. We said that it was up to the editors on the page how the issue was dealt with, as it ought to be, and this is consistent with the language of the MoS. It is Bobblewik who is trying to take it out of the hands of the people who are actually writing the articles. SlimVirgin (talk) July 4, 2005 18:21 (UTC)

 * I've changed the headers to remove the word "prohibition" because this is just another attempt to be manipulative. No one has suggested prohibiting doubling up if the editors on the page want it. There is no policy for or against the provision of metric units where imperial is used, or the provision of imperial where metric is used. SlimVirgin (talk) July 4, 2005 18:28 (UTC)

 * Bobblewik is an editor of that particular article. I am an editor of that particular article.  Dan100 is an editor of that particular article.  It was the owner who decided that there would be no dual units in this article, and who with the help of others also tried to maintain a fiction that the tons used in that article are not metric tons.  Gene Nygaard 4 July 2005 18:36 (UTC)

 * Hello Gene, what a nice surprise to see you here. ;-) Dan100 suggested a compromise, which I'm sure would have been accepted by everyone (and still is likely to be: I'm certainly happy with it), except that you kept harping on about what the word "ton" means. Anyway, we only just managed to stop it at PA 103 and I'm not going to start it up here again. I can only repeat that the MoS is not policy, and even if it were, it would not support Bobblewik's attempt to force people to include metric units in every single article. SlimVirgin (talk)  July 4, 2005 19:15 (UTC)

 * Owner of the article? No-one owns the article, nor has anyone asserted ownership of it. Jayjg (talk)  5 July 2005 19:20 (UTC)
 * You and I each accepted different versions of what Dan100 proposed as compromises, both of which would have included some dual measurements. Gene Nygaard 4 July 2005 20:29 (UTC)

 * It is my opinion that SI units are always in order. This is not only the International System of Units, but equally importantly, it is an interdisciplinary system of units.  There is no reason why anyone should have to learn a whole new system of measurements to understand the jargon of any particular field, or an article dealing with any particular country—and especially not when reading about an international incident involving people from around thirty countries, as in the Pan Am Flight 103.

 * Widespread use in a particular location, or in a particular field of activity, can serve as good justification for including those units, but not for excluding SI units. Gene Nygaard 4 July 2005 18:30 (UTC)

 * I prefer the term metric to SI, the two are not interchangeable, some days cm are preferable to metres, the latter being the SI unit.GraemeLeggett 4 July 2005 18:43 (UTC)

 * Sure, the SI is only a subset of the "metric system". But your example is wrong; centimeters certainly are SI (though 9.45×1014 cm is not SI).  Any time non-SI metric units (such as calories, kilograms-force, curies, rads, and the like), dual measurements including SI equivalents or measurements in only SI units are appropriate; it doesn't matter whether your original Fred Flintstone units are English, or Russian, or obsolete metric, or whatever, the SI values are always appropriate.  Gene Nygaard 4 July 2005 20:28 (UTC)

It is quite obvious that those trying to prohibit the addition of metric units vastly overestimate the knowledge of imperial units by people who learned English as a second language. I offer to conduct an informal survey among such people if you care for a small sample of empirical data. I can tell you right now, though, that feet, pounds, and miles are among the very few imperial units that most people will have some rough idea of. You may be lucky with yards and inches. You won't have such luck for degrees Fahrenheit, ounces, quarts, gallons, or acres, not to mention exotic ones like furlongs or stones.

Also, you are ignoring that precision matters. A rough knowledge may help you estimate a number, but you are still lost if you want some precision: For room temperatures, one or two degrees do matter. For the top speed of a car, 10% make a difference. And most people do care whether someone is 5' 5" or 5' 7".

Also, I'm afraid I find the exposure argument somewhat disingenuous given that at least the same portion of the population in English speaking countries have been exposed to metric units, so the same argument could very well be made to convert everything to metric units.

I changed the header back to what it was because it describes the case quite clearly: Some editors prohibited the use of metric units in what they apparently consider "their article". Rl 4 July 2005 18:57 (UTC)

 * Please don't use headers to make personal attacks, which is what I see this as. No one tried to "prohibit" anything. The editors on the page did not support Bobblewik. These included Jayjg, Mel Etitis, El C, Grace Note, Felonious Monk, Dan100, and myself. Dan100 suggested a compromise, which fitted with the point you made, RI, that those units not understood by many people (e.g. ounces) would be doubled up. This was accepted; end of story. This is how disputes are normally worked out. People seek compromise, not a rigid adherence to their own POV. SlimVirgin (talk) July 4, 2005 19:23 (UTC)

 * I appreciate the comment about conversions making the article difficult to read - however, an informal survey in my Canadian household shows that none of 3 (all college-educated) were sure whether a km or a mile was bigger. One was born before the conversion (& so quite familiar with miles), 2 born after conversion (& the only familiarity with miles was on dual speedometer on autos - but they still were unsure -- & even incorrect) --JimWae 2005 July 4 19:26 (UTC)

 * Sorry, Jim. An edit conflict or glitch led to the Comment section being trebled, and in deleting two of them, I deleted your comment too. SlimVirgin (talk) July 4, 2005 19:40 (UTC)

 * Jim, what would hang on the members of your household not knowing whether a mile was larger than a km if they were reading, as an example, the PA 103 article? It isn't a science article, whereby people would want to know very precise measurements. Also, in aviation, certain measurement units are standard throughout the world. Altitude is measured in feet, for example, and this was the convention I used, because the pilot (American ) and air traffic controller (Scottish) had used it. Perhaps, as an experiment, you could ask those members of your household to read PA 103 (or maybe just the intro, as it's quite long), and to say honestly whether the lack of metric conversion detracted from their reading experience; and if it did, whether there were any particular measurements that caused a problem, and if so, which ones. SlimVirgin (talk) July 4, 2005 19:46 (UTC)

 * I saw what had happened; no biggie, Slim. I agree dual measurements in the lead section could be especially distracting. The younger ones in my family would have trouble with ounces (they'd probably think of a juice box), probably 90% of people have no idea how fast a knot is (I almost wrote "what size"), similarly with square miles. Someone suggested minimizing numbers in the entire lead. 845 sq mi is larger than the 5 boroughs of NYC (are dimensions given later?). The volume of the explosives (likely of greater interest in terms of security) would have been about the size of a pen, maybe? I'd move the crater photo up - I keep thinking this is the one that fell in the water (local BC guy was found not guilty of that) - clarifies event was (almost?) entirely over land - existing top photo, at first glance, does not preclude being after recovery from water. I have no intention of getting involved in editing this - I have no background knowledge in it anyway, so I will just leave some suggestions --JimWae 2005 July 5 07:37 (UTC)

 * Your claim that "in aviation, certain measurement units are standard throughout the world" is patently false. There is almost nothing in aviation that is not done in different units in some parts of the world.  Some places, for example, do measure altitude in meters.  The international standard in aviation weather reports for wind speed is meters per second, but many countries use knots, and some use kilometers per hour.

 * However, this does illustrate quite well another of the reasons why including dual measurments when English units are used is of great value:
 * It is ludicrous to expect someone with only a fleeting familiarity, at best, with "miles" to understand in which cases a "mile" is going to mean 1.61 km, and in which cases a "mile" is going to mean 1.85 km.
 * That's especially true when SlimVirgin, who thinks she does know miles, doesn't know this.
 * Just WTF do you suppose "mile" means to an air traffic controller? What was the "mile" used by air traffic controller Alan Topp?  You don't really know beans about what is "standard" in the aviation field, do you ?  See  which I have added above.  Gene Nygaard 4 July 2005 20:48 (UTC)

I think that the Pan Am Flight 103 article would be better with metric conversions. Part of the problem may be that the opening paragraph contains a number of measurements so any attempt to provide metric conversions breaks up the opening a little. So perhaps a rewrite that moved the measurements into the body of the article as well as adding the conversions would prove acceptable to all sides? It's certainly not worth edit warring over. Gdr 4 July 2005 20:00 (UTC)

 * SlimVirgin made some comment up some while back that in New Zealand (and Australia, Canada and UK), while we are taught metric we are practically imperial; well I assure everyone that New Zealand, or at least myself and the people around me, is completely metric and imperial units are almost never used. Through general knowledge, some people will know some things - a mile is about 1.6 km, an inch about 2.5 cm.  If I encountered imperial units in an article, this would mean having to convert them to metric, even if I can do the conversion in my head.  Altitude measurements that I hear a generally in metres.  I don't know about those around me, but I have no idea how much an ounce is.
 * My personal opinion as someone who just found out that such a debate existed is that, in this particular case, both types should be stated: imperial because the article is primarily about something American (I assume) and metric because that's what the rest of the world uses.
 * (btw, I haven't actually read the article in question - or skimmed it for that matter - so if some comments are irrelevant, just ignore them. I assume the debate is over imperial vs. both stated in the article.)  Neonumbers 5 July 2005 08:15 (UTC)

This is the MoS guideline
I'd say that before Bobblewik and Gene succeed in turning this into another trolling episode, we should decide what the point of this discussion is. The MoS is clear: there is no requirement to double up. The status of the MoS is also clear: it is a guideline, not a policy, so even if it did recommend doubling up, it would still not be a requirement.

Therefore, what exactly is to be achieved by having this discussion? SlimVirgin (talk) July 4, 2005 19:30 (UTC)
 * Good grief!.  This is that "MoS guideline" you claim to be clear.  This is the talk page for that guideline.  This is where what that guideline is, and exactly what it means, is supposed to be discussed.  Gene Nygaard 4 July 2005 19:38 (UTC)
 * Don't start your aggression again here, please. That was the point of my question. (a) Is Bobblewik aiming to change what the MoS says, and if so, to what? and (b) Does he realize the MoS isn't policy, so that, if he does succeed in changing it, doubling up will still not be required?
 * And also (c) as a matter of interest, does Bobblewik go around adding imperial conversions to metric ones where he finds only the latter? SlimVirgin (talk) July 4, 2005 19:50 (UTC)
 * No, but he won't stop anyone from doing so. Which is all we ask in return.
 * This discussion is not about whether we have to use metric or dual units, but whether those who are not familiar with imperial units have some right to add them where they consider them useful. The point of this discussion is to find out whether native users of imperial units can prohibit the use of metric units in "their articles" because they think imperial units are good enough for everyone. You can claim to be offended all you want, fact is that you want to remove information that many other people find useful or important. Rl 4 July 2005 20:03 (UTC)
 * Then we're in agreement. The MoS says that metric conversions may be added, but don't have to be, which is what you seem to be saying too. It will be up to the editors on the page. No one prohibits the addition of conversions, just as no one can prohibit another editor from removing those conversions, which is why I keep saying that prohibit is the wrong word. Like most content issues, it is up to the editors on the page to reach consensus and compromise. SlimVirgin (talk) July 4, 2005 20:08 (UTC)
 * Yes and no. I mostly agree with what you said, but the problem I am seeing (and today's discussion was a perfect demonstration) is that editors who are not aware of the problems posed by imperial units to people who are not familiar with them agree among themselves that metric units are unnecessary and that they should be removed. The vast majority of non-native speakers, however, are highly unlikely to take part in our discussions, and they depend on our considering their needs as well. Rl 4 July 2005 20:30 (UTC)
 * The point of an encyclopedia is to supply information to the reader. If an editor adds correct, relevant, NPOV information to an article, the preceding editors should not delete it, just because they do not like it. This goes for any information, including conversions to other units. Let's stop senseless revert wars. &−Woodstone July 4, 2005 20:43 (UTC)
 * Editing encompasses other issues as well; style issues, whether the information is trivial, etc. Jayjg (talk) 5 July 2005 19:17 (UTC)
 * Seen the vehement discussions above, we can safely say that converted units are not trivial information. If only one unit is given either way, a large proportion of the readership will be hampered in reading. This would override any considerations of perhaps some loss in stylish conciseness. −Woodstone July 5, 2005 19:34 (UTC)

"we can safely say that converted units are not trivial information" -- Can we? In one case, an editor wants us to specify which kind of ton a country's leader was using when he gave a round figure for an amount of explosive. It's clear to anyone who gives it a moment's thought that it doesn't matter which kind of ton he meant because he was not giving an accurate account. It's rather like insisting that if a person says "you're a million miles from the truth", we must make it clear that they meant the ordinary, everyday miles and not nautical miles (and I wouldn't put it past the editor in question to make such a demand, if he thought he could upset someone by doing so). This ignores the serious question that research into which unit a person means by what they say is not permitted in Wikipedia: we just repeat what they are reported to have said. If a newspaper were to report Mr Blair, say, as saying that he and Mr Brown were "kilometres apart", we are not entitled to correct the source to "miles apart" just because we know Mr Blair is British and does not use kilometres. -- Grace Note, 6 July, about 2.15 AEST (UTC+10)
 * Can you say straw man arguments? Should any of the problems you just made up ever occur, let me know and I will be sure to help out. In the vast majority of disputes I have seen, the information contained in converted units was non-trivial. Rl 6 July 2005 07:53 (UTC)
 * The fact that this is merely a guideline does not give an editor reason to act against it or revert changes made to suit it. We call it a guideline because, unlike neutrality, editors that do not follow should not be reprimanded - they should not have to know every detail of this before they write an article.  If something doesn't follow, someone else comes to change it, and no-one will revert such a change because changes to conform to style are almost always for the better.
 * And even if the style doesn't mandate the use of both units (which, in my opinion, it should where measurements are numeric), the same goes for any edit that poses no harm: do not revert. The addition of metric units would break the flow of the sentence unless we're not talking about a specific measurement (e.g. "they were miles apart").  The addition of them shouldn't be reverted, because it doesn't change things for the worse.  Neonumbers 7 July 2005 10:52 (UTC)


text:
User talk:GrantW

Thanks for experimenting with Wikipedia. Your test worked, and has been removed. Please use Sandbox for any other tests you want to do, since testing in articles will be removed quickly. Please see the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks, --JYolkowski // talk 01:30, 14 July 2005 (UTC)

Image Tagging Image:Cchslogo1.jpg
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title: User talk:GrantW


text:
Carbine Williams

Carbine Williams is a 1952 American drama film directed by Richard Thorpe and starring James Stewart, Jean Hagen and Wendell Corey. The film follows the life of its namesake, David Marshall Williams, who invented the operating principle for the M1 Carbine while in a North Carolina prison. The M1 Carbine was used extensively by the U.S. military during World War II, the Korean War, and the Vietnam War.

Originally filmed in black-and-white, it is also shown in a computer-colorized version.

Plot
The film follows the life of David Marshall Williams, who was a member of the Winchester team that invented the semi-automatic M1 Carbine used in World War II. Williams was found distilling illegal moonshine, and was held responsible for the death of a sheriff's deputy during a raid on his still. He was sentenced to thirty years' hard labor. He cycled through the prison system until a firm but compassionate warden, H.T. Peoples, allowed him to work in a prison tool shop. There, he invented the gas system for his famous rifle. Williams was released from prison in 1929 and worked with Winchester Firearms on development of the M1 Carbine.

Cast

 * James Stewart as David Marshall 'Marsh' Williams
 * Jean Hagen as Maggie Williams
 * Wendell Corey as Capt. H. T. Peoples
 * Carl Benton Reid as Claude Williams
 * Paul Stewart as 'Dutch' Kruger
 * Otto Hulett as Mobley
 * Rhys Williams as Redwick Karson
 * Herbert Heyes as Lionel Daniels
 * James Arness as Leon Williams
 * Porter Hall as Sam Markley
 * Fay Roope as District Attorney
 * Ralph Dumke as Andrew White
 * Leif Erickson as Feder
 * Henry Corden as Bill Stockton
 * Frank Richards as Truex
 * Howard Petrie as Sheriff
 * Stuart Randall as Tom Vennar
 * Dan Riss as Jesse Rimmer

Reception
According to MGM records the film earned $1,787,000 in the US and Canada and $802,000 elsewhere, resulting in a profit of $575,000.

Comic book adaptation

 * Fawcett Movie Comic #19 (October 1952)

title: Carbine Williams


text:
Wikipedia:Articles for deletion/Chi Therapies

 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. Sjakkalle (Check!)  09:21, 27 July 2005 (UTC)

Chi Therapies
As far as I can see, the subject of this page was created by the owner of Chi Herbal in order to promote that company. I think this term is marketing mumbo jumbo and this article should be deleted. I would be happy to be proven wrong, but this article needs to stop sounding like an ad in any event. Lupin 01:30, 14 July 2005 (UTC)

 * Delete. Article created to attract business. Also spiritual harmonizing of chi is not a commonly accepted theory.--jonasaurus 02:50, 14 July 2005 (UTC)
 * Delete per above royblumy 06:27, July 14, 2005 (UTC)
 * Delete self promotion. JamesBurns 09:42, 14 July 2005 (UTC)
 * Delete and send spammer to Wiki-Hell!!!!. Jamyskis Whisper, Contribs 12:58, 14 July 2005 (UTC)
 * Delete. Commercial exploitation of Chi is not a commonly accepted theory.  Commercial exploitation of Wikipedia is not a commonly accepted theory.  Barno 15:17, 14 July 2005 (UTC)
 * Delete. Spam, truly weird POV. If there were any useful information, I would vote redirect to Chi. siafu 22:44, 14 July 2005 (UTC)
 * Delete, 'nuff said. --DrTorstenHenning 14:42, 25 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.


text:
Talk:Rally Sweden

Comment
Apologies if I am doing this wrong (very new), but did a bit of research about conflicting facts and all and think I am supposed to put this info here...

I think you are linking to the wrong Ingvar CARLSSON - that Ingvar was a politician, and born in 1934, whereas the rally driver Ingvar was born in 1947 (according to http://www.rallybase.nl/index.php?type=profile&driverid=2846)

Hope this helps

Leon

LeonPolak 01:31, 14 July 2005 (UTC)

title: Talk:Rally Sweden


text:
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title: User:Redwolf24/Fairuse


text:
Missouri Route 759

Route 759 is a short state highway in the city of St. Joseph, in Buchanan County, Missouri. The route runs for about 2.126 mi under the monikers of Stockyards Expressway and South Second Street beginning at an intersection with West Florence Road. The southern terminus of Route 759 is at an at-grade intersection with Southwest Lower Lake Road in the stockyards section of the city. Paralleling two railroad lines, Interstate 229 (I-229) and the nearby Missouri River, Route 759 eventually weaves for more dense parts of the city, intersecting with U.S. Route 36 (US 36) before merging northbound into I-229 and US 59.

Route description
Route 759 begins at an intersection with Southwest Lower Lake Road and Packers Avenue in the stockyards section of St. Joseph. The route heads to the northeast as a divided arterial boulevard known as the Stockyards Expressway, paralleling two large rail yards through a large industrial portion of the city. After the intersection with West Florence Road, Route 759 changes monikers from Stockyards Expressway to South Second Street. At that point, the route makes a gradual bend to the north along with the nearby Missouri River, becoming Stockyards Expressway once again as it parallels I-229 and US 59. The route then enters an interchange with US 36, which crosses the Missouri River nearby. After the interchange, Route 759 becomes a highway ramp and merges into I-229 northbound and its parent US 59. The designation of Route 759 terminates at the merge near downtown Saint Joseph.

title: Missouri Route 759