text:
User:IByte/Bot

I run a little bot to help me with my edits. Any comments should be placed on my talk page.

Original announcement
This announcement was originally posted to Wikipedia talk:Bots: User interface helper under development I am currently developing a tool to help me with my manual edits (especially RC/New Pages patrol), i.e. I visit a page and tell it manually what to do with it. Planned features are: adding (categorised) stub tags, if this works I'll probably add VfD nomination (I think the current process is a bit tedious to do manually), of course with user-supplied reasoning texts. I would like to emphasise the fact that this tool is not planned to have any spidering or other autonomous/high-volume features and will not create any new pages (other than VfD discussions once this feature is added). It is therefore believed that the tool does not have the problems as listed under WP:Inherent bot drawbacks. This is therefore not a request for a bot flag (as I think it shouldn't have one; they're still low-volume user-initiated edits), but a general check for concern. Similarly, like Humanbot, I doubt the desirability of a separate user account. The bot will be tested on the Sandbox during development (providing manual reverts if the bot malfunctions). It is being developed using PHP/cURL. Your thoughts? --IByte 22:49, 12 July 2005 (UTC)

Currently implemented features
Previously ran on my laptop, still needs to be converted for my Apache server with an older PHP version.
 * Fetching/saving a Wikipedia page
 * Add/replace stub tag
 * Nominate a page for Votes for Deletion (should be changed to WP:AFD)

Technical data

 * Developed with: PHP/cURL
 * User-Agent: Wikinquisitor/1.1 by IByte

title: User:IByte/Bot


text:
OVV quasar

An optically violent variable quasar (often abbreviated as OVV quasar) is a type of highly variable quasar. It is a subtype of blazar that consists of a few rare, bright radio galaxies, whose visible light output can change by 50% in a day. OVV quasars have essentially become unified with highly polarized quasars (HPQ), core-dominated quasars (CDQ), and flat-spectrum radio quasars (FSRQ). Different terms are used but the term FSRQ is gaining popularity effectively making the other terms archaic.

At visible wavelengths, they are similar in appearance to BL Lac objects but generally have stronger broad emission lines.

Examples

 * 3C 279
 * S5 0014+81

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

title: OVV quasar


text: Category:OVV quasars

title: Category:OVV quasars


text:
User:Mpe

I don't contribute much, but I enjoy filling in some gaps in the Wikipedia namespace, see contributions.

Contact info

 * [mailto:berend.van.berkum+wikipedia@gmail.com]
 * located in the low lands

Testing
I am testing Wiki capabilities.

But I want to rearrange it and look at the generated revision history.

This text is ordered in sequence.

As I suspected, the generator seems to work on a line basis. Meaning that in particular rearrangement cause text to be lost and reinserted as if new, while in fact it is not. IMHO, this certainly undermines the concept of 'revision' or edition. Though granted, not only the front-end would need to go beyond simple block-based text editing, the server also would need to go into non-trivial storage mechanisms.

title: User:Mpe


text: User talk:69.148.223.34

title: User talk:69.148.223.34


text:
User talk:Secretlondon/

Just wanted to thank you for putting togeather a list of the needed London photos. I've been looking for something like that for a while. --CGP 17:55, July 16, 2005 (UTC)

title: User talk:Secretlondon/


text:
Ned O'Keeffe

Ned O'Keeffe (born 1 August 1942) is an Irish former Fianna Fáil politician who served as a Minister of State from 1997 to 2001. He served as a Teachta Dála (TD) for the Cork East constituency from 1982 to 2011. He was a Senator from May 1982 to November 1982, after being nominated by the Taoiseach.

Early life
O'Keeffe was born in Ballindangan, Mitchelstown, County Cork, in 1942. He was educated at Darra College, Clonakilty, where he received a diploma in Social and Rural Science. O'Keeffe was a pig farmer before becoming involved in politics.

Political career
Prior to electoral politics, O'Keeffe served as chairman of the County Cork Irish Farmers' Association executive.

In 1982, he was nominated by the Taoiseach, Charles Haughey, to the 16th Seanad. He was first elected to the Dáil at the November 1982 general election for Cork East. He retained his seat at each general election until his retirement in 2011. He was also a member of Cork County Council for the local electoral area of Mallow from 1985 to 1997.

O'Keeffe served in a number of frontbench positions. He was Fianna Fáil Spokesperson on Industry from 1982 until 1987. While Fianna Fáil was in government between 1987 and 1994, O'Keeffe remained on the backbenches.

Following an incident with RTÉ political correspondent Una Claffey in the Dáil bar in 1991, O'Keeffe apologised and said he had no option to resign but was persuaded to stay in order to prevent the government losing its majority.

When Bertie Ahern became party leader in 1994, O'Keeffe was appointed deputy Spokesperson on Enterprise and Employment, with responsibility for Commerce, Science, Technology and Small Business. After the 1997 general election, he was appointed as Minister of State at the Department of Agriculture and Food with responsibility for Food. He resigned as a minister of state in February 2001 after it emerged that he had voted on a Dáil motion without declaring that he had a beneficial interest in the subject matter.

On 28 November 2007, O'Keeffe resigned the Fianna Fáil party whip as he refused to support a motion of confidence in the Minister for Health and Children Mary Harney. On 26 February 2008, he was re-admitted to the Fianna Fáil parliamentary party.

He was an unsuccessful candidate at the 2009 European Parliament election for the South constituency. In the pre-election debate on Today FM he voiced his support for the use of nuclear power and an incinerator in Cork Harbour. He retired from politics at the 2011 general election.

Arrest
He was arrested on 27 April 2012, by members of the Garda Bureau of Fraud Investigation (GBFI) on suspicion of using a false invoice to claim for mobile phone expenses while he was a member of the Oireachtas. He was held for a number of hours at Cobh Garda station under section 26 of the Criminal Justice (Theft and Fraud Offences) Act 2001.

On the 1 December 2014, O'Keeffe was found guilty of fraudulently claiming in excess of €3,700 in mobile phone usage expenses. He was fined €3,500 and given a 7-month suspended jail sentence for his crime.

Family
O'Keeffe's son, Kevin, was a member of Cork County Council and was an unsuccessful candidate at the 2011 general election. Both Kevin and his other son, Ciarán, a solicitor based in Mitchelstown, sought to be added to the Fianna Fáil party ticket for Cork East in 2015. However, Ciarán later withdrew his attempt. News that they were going head to head surprised party supporters in the constituency and it was seen in some quarters as being a potentially divisive battle which could have undermined the party. Kevin O’Keeffe was elected to Dáil Éireann in the 2016 general election.

His wife, Anna O'Keeffe, died in 2017.

title: Ned O'Keeffe


text:
Tabara

Tabara may refer to:

Places

 * Tabăra (disambiguation), three places in Romania and Moldova
 * Tábara, a town in Spain
 * Tabara, Togo
 * Tabara, Estonia, village in Estonia

People with the surname

 * Enrique Tábara, Latin American painter
 * Michal Tabara, Czech tennis player
 * Naoya Tabara (田原 直哉), Japanese artistic gymnast and freestyle skier

title: Tabara


text:
Talk:Ralph H. Baer

Badly written
This article is quite badly written. Nolan Bushnell's name is spelled wrong, the sentence structure is very sloppy, and the factual accuracy is pretty dubious. Baer deserves a great deal of credit for the development of the home video game industry, but he is not the "inventor of video games." If any single person deserves that title it is Stephen R. Russell, who wrote Space War at MIT in 1961.68.14.90.253 17:59, 16 July 2005 (UTC)

 * Some anonymous poster recently put in a lot of badly written piffle, that I'm glad to see you have removed. As with most inventions, there is some controversy about who deserves how much credit for what when it comes to video games. The current wording seems pretty good. - DavidWBrooks 19:42, 16 July 2005 (UTC)

 * The television channel G4 recently ran an episode of their show "Icons" featuring Baer. It seems that a couple of people have used the very basic and somewhat one-sided historical account from that show as gospel.68.14.90.253 23:57, 18 July 2005 (UTC)

 * What about William Higginbotham? Drumpler 09:56, 11 March 2007 (UTC)

 * What about him? This is an entry on Ralph Baer.  Likewise regarding both Russell and Higginbotham, the court ruled that neither invented video games since it was defined in the court as an electronic device producing a signal through an ordinary television (video) aparatus.  Higginbotham's used a vector driven oscilliscope and Russell's a vector monitor on a mini-computer.  In the case of Russell, his wasn't even the first game written in a computer environment.  --Marty Goldberg 10:29, 11 March 2007 (UTC)

 * I feel personally that this whole "who-invented-the-first-video-game" debate to be missing the point. The reason I brought up Higginbotham is because you have those in some camp who credit him for making the first game and then you have others (including Baer himself and rather childishly, I might add) claiming Baer made it. Then there's Russel . . . how come all these Wikipedia articles say that they ALL made the first video game when they ALL made them at different times and on different media? The articles themselves are lacking complete neutrality. Personally, I'm in the "Higginbotham" camp because he was the first one (that I know of) who decided that one could manipulate a pixel on a display for competitive purposes, but I think what needs to be done is to stop attributing any of them and state that they are claims and to make another page (maybe First Video Game?) where this debate can be hammered out. But this is just my idea. Drumpler 13:16, 12 March 2007 (UTC)

 * It says "He invented the home console for video games" not that he invented the first video game, which seems reasonable. - DavidWBrooks 14:32, 12 March 2007 (UTC)

 * Actually the courts decided it long ago, so I'm not sure there's much of a debate. All parties claiming the innovation were presented as evidence by companies in the various suits across the 70's and 80's (even Higginbotham himself was called to testify) and all were dismissed.  And your statement on Higginbotham "manipulating pixels" shows the exact problem with the argument of the "higginbotham camp".  He didn't manipulate any pixels, an oscilliscope uses a vector display system not raster (i.e. a TV) - there are no pixels to manipulate.  Again a fact the courts found important when defining the word "video" and "video game" which has to do with manifulation of a television signal.  The confusion now is that the term "video game" later went on to be applied as a general term in the popular vernacular for any computerized/electronic game.  --Marty Goldberg 15:18, 12 March 2007 (UTC)

 * Point noted. However, if it interests anyone, I still made a stub at first video game. The debate lies in the fact that you've got several sources crediting different figures as the first creator of the video game (inspite of court rulings -- I was to understand that there was a settlement? Correct me if I'm wrong). I think this new article has the potential to present all sides of the issue and being fairly unbiased if carried out correctly. Drumpler 15:41, 12 March 2007 (UTC)

 * Several companies (since there were various suits over a long time span) chose to settle out of court (such as Atari) after procceedings had started. Others were forced to pay royalties after Magnavox's/Sanders/Ralph's position were upheld by the court.  --Marty Goldberg 15:45, 12 March 2007 (UTC)
 * No william Higinbotham was th fist human to creat video games Darkpanda5000 (talk) 14:59, 14 March 2024 (UTC)

Citations needed
It would be nice to see some citation for what he invented (the Bush thing doesn't do that) and to back up the claim of what he is best known for (or simply drop that assertion and say what he has done, with citation, of course). Dicklyon 20:56, 17 April 2007 (UTC)

 * The "Bush thing" actually does back up that specific statement, as he is recieving an award specifically for that. As far as patents, inventions, etc. his site, which is cited in this article, contains a full listing of patents, products, etc.  He is best known in the industry, for his pioneering patents and work on the Odyssey and parallel developed protos.  Hence the inclusion of his material in the Smithsonian, etc. etc.  --Marty Goldberg 21:10, 17 April 2007 (UTC)

 * Sounds good; plenty of refs to choose from. How about adding some?  Dicklyon 00:21, 18 April 2007 (UTC)

 * I went ahead and found and added 3 refs, and marked other facts that are begging for refs. Dicklyon 05:01, 18 April 2007 (UTC)

 * Added refs (though I think it may be getting over referenced and may need some rewriting so its not so choppy). I have to tell you that I've never seen someone add citation requests and then answer some of them themselves.  Wouldn't it have been easier just to put in the refs for those to begin with if you were going to provide them anyways?  Its almost like watching someone have a conversation with themselves, heh.  --Marty Goldberg 05:28, 18 April 2007 (UTC)

 * I don't think that Baer's own page meets the criteria of WP:V, and is not really a suitable reference. It's OK as an external link on his own bio article, but if wikipedia generally repeats info from pages by its subject without verifiability, that's not very useful, and is counter to official policy as I understand it.  Not that I don't trust his pages, but it shouldn't be hard to find verifiable reliable sources to use instead.

 * I think it's strange that you've never seen anyone do this. I started answering myself because you seemed to be resisting.  But I probably won't be doing them all.  Please help.  Note that the request for citation doesn't mean I'm dubious, just that I'm wondering where this info comes from that I was previously not aware of.  Having refs make the article much stronger and more useful to people who want to know more. Dicklyon 05:32, 18 April 2007 (UTC)

 * Actually, it does meet WP:v under Biographies_of_living_persons and is a perfect reference for the two citations its referenced for. Where WP:v would not be met is if it was discussing a controversial topic (that could be considered POV), and there's nothing controversial in the two topics being requested for citation.  You asked for a citation for the partnering statement, and Ralph states on the front page of his site "My current associate is Bob Pelovitz of Acsiom, LLC. Bob and I have partnered to invent and market toy and game ideas since 1983 and continue to do so today."  You also asked for a reference on the light gun, that is documented on the inventions and products page and is also listed on the patents page where all his patents are listed (such as patent 3,559,221 Recording CRT Light Gun & Method).  The entire design process was also detailed in his book (which I highly recommend picking up if you get the chance - he covers the entire design process of all his protos and products, including reproductions of original notes, blueprints. etc.  Also covers all his testimony in the patent defense cases during the '70's, '80's, and '90's).

 * And no, I haven't seen people do this. Normally if people want to contribute a citation, they just contribute it.  Not take the time to edit in a request for a citation, and then come back and answer their own request in the same breath.  And I'm not resisting adding citations, I'm all for having Ralph well documented - he's a friend/associate of mine.  What my thoughts have been were that you weren't taking the time to actually read the materials referenced or linked to, which was surprising to me considering your own esteemed background.  Such as when you claimed that vector displays were not covered in the vector graphics article in your video game console revert.  There's a difference between an article needing references for unverifiable material and someone simply not reading through the references and material given, causing over-citation (which Wikipedia does not want either).  As it stands now, out of the 11 sentences in the Inventions section, eight of them are tagged with reference numbers now and the whole section looks like chopped lettuce and very fragmented.  I'll probably have to give it a rewrite as I mentioned.  --Marty Goldberg 07:09, 18 April 2007 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Ralph H. Baer. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20140224000716/http://theinstitute.ieee.org/people/achievements/recipients-of-the-2014-medals-and-awards to http://theinstitute.ieee.org/people/achievements/recipients-of-the-2014-medals-and-awards

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 02:48, 27 November 2017 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 3 external links on Ralph H. Baer. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20140714150850/http://www.nashuatelegraph.com/news/697050-196/n.h.-brain-behind-gps-in-hall-of.html to http://www.nashuatelegraph.com/news/697050-196/n.h.-brain-behind-gps-in-hall-of.html
 * Added archive https://web.archive.org/web/20091205093846/http://www.americanheritage.com/people/articles/web/20091012-Ralph-Baer-Video-Game-Console-Pong-Odyssey-Atari-History-Xbox-Nintendo-Magnavox-Playstation.shtml to http://www.americanheritage.com/people/articles/web/20091012-Ralph-Baer-Video-Game-Console-Pong-Odyssey-Atari-History-Xbox-Nintendo-Magnavox-Playstation.shtml
 * Added archive https://web.archive.org/web/20070929095428/http://www.patentstorm.us/inventors/Ralph_H__Baer-904685.html to http://www.patentstorm.us/inventors/Ralph_H__Baer-904685.html

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 16:24, 9 December 2017 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 00:10, 4 July 2021 (UTC)
 * 2021 American Innovation One Dollar Coin New Hampshire Proof Reverse.jpg

Memory stones at Baer Square
The memorial was funded through a Kickstarter fundraising campaign. On the floor in front of the Ralph Baer statue are stones with individual inscriptions. Donors of a certain amount were allowed to choose the text for their stone. One, translating to the ASCII codes for the word Muir, the name of its donor, Kelley Muir.

Sources:
 * Reference to the Kickstarter campaign for the memorial funding https ://www.kickstarter.com/projects/baerbench/baer-bench-for-the-father-of-the-video-game
 * Reference to a comment from Kelley Muir on reddit, where she discloses the funding of the stone https://www.reddit.com/r/ManchesterNH/comments/u643nm/comment/i5afmcq/?utm_source=share&utm_medium=web2x&context=3

Images:

ThSt71 (talk) 16:11, 18 April 2022 (UTC)

title: Talk:Ralph H. Baer


text:
Theatre Guild

The Theatre Guild is a theatrical society founded in New York City in 1918 by Lawrence Langner, Philip Moeller, Helen Westley and Theresa Helburn. Langner's wife, Armina Marshall, then served as a co-director. It evolved out of the work of the Washington Square Players.

History
Its original purpose was to produce non-commercial works by American and foreign playwrights. It differed from other theaters at the time in that its board of directors shared the responsibility of choosing plays, management, and production. The Theatre Guild contributed greatly to the success of Broadway from the 1920s throughout the 1970s.

The Guild has produced a total of 228 plays on Broadway, including 18 by George Bernard Shaw and seven by Eugene O'Neill. Other major playwrights introduced to theatre-going Americans include Robert E. Sherwood, Maxwell Anderson, Sidney Howard, William Saroyan, and Philip Barry. In the field of musical theatre, the Guild has promoted works by Richard Rodgers, teamed with both Lorenz Hart and Oscar Hammerstein II, George and Ira Gershwin, Jule Styne, and Meredith Willson, all of which have become classics. Warren Caro served as the organization's executive director from 1946 through 1967. Under President John F. Kennedy, the Guild was engaged to assemble a U.S. theatre company, headed by Helen Hayes, to tour the capitals of Europe and South America with works by Tennessee Williams, Thornton Wilder, and William Gibson.

In 1968, the Guild became involved in the travel field by taking 25 of its subscribers to European capitals to see plays. In 1975, it instituted its Theatre At Sea program with a 17-day cruise aboard the Rotterdam with Hayes and Cyril Ritchard. Since then they have hosted more than thirty cruises, each with seven or eight performers. Among them have been Alan Arkin, Zoe Caldwell, Anne Jackson, Cherry Jones, Richard Kiley, Eartha Kitt, Patricia Neal, Lynn Redgrave, Gena Rowlands, Jean Stapleton, Eli Wallach, and Lee Roy Reams, who served as the program's resident director.

The last Broadway play produced by The Theatre Guild was State Fair in 1996.

Notable productions

 * 1920: Heartbreak House
 * 1921: Liliom
 * 1922: R.U.R. (Rossum's Universal Robots)
 * 1922: He Who Gets Slapped
 * 1923: Saint Joan
 * 1925: Processional
 * 1927: Porgy
 * 1928: Strange Interlude
 * 1931: Mourning Becomes Electra
 * 1933: Ah, Wilderness!
 * 1935: Porgy and Bess
 * 1936: The Masque of Kings; Idiot's Delight
 * 1939: The Philadelphia Story; The Time of Your Life
 * 1943: Oklahoma!
 * 1943: Othello
 * 1944: Jacobowsky and the Colonel
 * 1945: Carousel
 * 1946: The Iceman Cometh
 * 1947: The Winslow Boy
 * 1950: Come Back, Little Sheba
 * 1953: Picnic; The Trip to Bountiful
 * 1955: The Matchmaker
 * 1956: Bells Are Ringing
 * 1958: Sunrise at Campobello
 * 1960: The Unsinkable Molly Brown
 * 1965: The Royal Hunt of the Sun
 * 1974: Absurd Person Singular

title: Theatre Guild


text:
Ipratropium bromide/salbutamol

Ipratropium bromide/salbutamol, sold under the brand name Combivent among others, is a combination medication used to treat chronic obstructive pulmonary disease (COPD). It contains ipratropium (an anticholinergic) and salbutamol (albuterol, a β2-adrenergic agonist).

Common side effects include sore throat, muscle cramps, and nausea. Other side effects may include bronchospasm, allergic reactions, and upper respiratory tract infections. Safety in pregnancy is unclear.

The combination was approved for medical use in the United States in 1996. It is available as a generic medication. In 2021, it was the 151st most commonly prescribed medication in the United States, with more than 3million prescriptions.

Medical uses
Ipratropium bromide/salbutamol can be used for the treatment of COPD and asthma.

Society and culture
Since Combivent contains a chlorofluorocarbon-based propellant, its use was discontinued in 2013 in the United States and other countries. This is because chlorofluorocarbons are attributed to depletion of the ozone layer.

title: Ipratropium bromide/salbutamol


text:
Arts district

An arts district or cultural district is a demarcated urban area, usually on the periphery of a city centre, intended to create a 'critical mass' of places of cultural consumption - such as art galleries, theatres, art cinemas, music venues, and public squares for performances. Such an area is usually encouraged by public policy-making and planning, but sometimes occurs spontaneously. It is associated with allied service-industry jobs like cafes, printers, fashion outlets, restaurants, and a variety of 'discreet services' (see the back-page small-ads of almost any cultural events-listings magazine).

Such artistic districts can sometimes spontaneously occur in deprived areas where housing and artistic spaces are at enhanced economic level of affordability, due to a perceived low quality of housing or location. A classic example of this is the famous Kreuzberg area in Berlin which from the 1960s became home to artists and squatters and people seeking an alternative lifestyle. Another example is the Shoreditch area in London, which had a large number of old commercial spaces which artists could use. Rather than town planners deciding that a particular area should have theatres and galleries, these spontaneous artists centres are driven by affordability of space and a concentration of mutual interests.

There may also be some artists' studios located in nearby back-streets. But, as Richard Florida has found from his research, cultural production facilities are often better sited some miles away from cultural consumption facilities - except in some very tolerant cities and in countries where a boisterous alcohol-based nightlife scene does not lead to aggressive and anti-social behaviour.

In the UK the term sometimes used is "Cultural quarter" or "Arts quarter".

According to Americans for the Arts
Americans for the Arts defines the following types of cultural districts:
 * Cultural Compounds: "the oldest districts, primarily established in cities prior to the 1930s. They were built in areas somewhat removed from the city's central business district and have large, open green spaces between buildings. They often comprise major museums, large performing halls, theaters and auditoriums, colleges, libraries, planetariums and zoos". Example - Americans for the Arts gives Forest Park (St. Louis) as an example.
 * Major Cultural Institution Focus Districts: "anchored by one or two major cultural institutions, such as a large performing arts center, which then attracts smaller arts organizations around it. These districts are located close to central business districts, near convention centers or other large tourism sites". Americans for the Arts gives the Pittsburgh Cultural District as an example.
 * Downtown Area Focus Districts: "encompass the entire downtown area of a city. Designation is often tied to a tourism focus and common in small cities with walkable downtowns". Example - Americans for the Arts gives the Cumberland, Maryland, Arts and Entertainment District as an example.
 * Cultural Production Focus Districts: "comprisedprimarily of [sic] community centers, artist studios, and educational arts centers and media facilities and often exist in areas with affordable housing and commercial space. These districts create a cultural hub and enhance city livability for residents of a neighborhood rather than attracting tourists". Example - Americans for the Arts gives the Warehouse Arts District, Tucson as an example.
 * Arts and Entertainment Focus Districts: "include more popular culture and commercial attractions and include more modest size buildings with a bohemian feel. They include small theatres, movie houses, private galleries, restaurants, and other entertainment venues." Americans for the Arts gives The District (Nashville) as an example.
 * Naturally Occurring Focus Districts: "usually are rooted in community based cultures and identities building on asset-based strategies. They are holistic and are highly diverse and led by local empowered leadership. Generally they are neighborhood-based and artist-driven". Americans for the Arts gives St. George, Staten Island as an example.

According to Steiner and Butler
Steiner and Butler outline five types of arts districts commonly found in the United States.

 * 1) Cultural compounds - tend to be the oldest art districts often established in cities before the 1930s.  These tend to be well-known art districts engrained into the mentality and culture of a community or nation.
 * 2) Major Cultural Institutions - large institutions that serve as anchors for an arts district such as large concert halls, playhouses, libraries, or museums.
 * 3) Arts and entertainment centers - focus primarily on smaller, popular attractions such as small theaters, private galleries, restaurants, and other entertainment that often has a more bohemian feel than larger more established districts.
 * 4) Downtown Arts Districts - occasionally art districts encompass an entire downtown and especially when tourism and walk-ability is the focus of downtown.
 * 5) Cultural Production Districts - cultural production districts are characterized by production spaces such as specialized studios, arts centers, and media facilities.  These areas are often tied to affordable studio housing for artists and prioritize the cultural life of the neighborhood.

Theories of cultural districts
The creation of a cultural district implies collaboration between the arts and the local community. Cultural districts may be seen by local authorities as a way to revitalize the “brownfields” of the urban core: areas of abandoned buildings that encourage businesses and residents to leave the cities.

The developing theory of cultural districts increasingly conceives them as development models for local systems, where the term ‘district’ refers to supra-urban area. At supra-urban or regional level the complexity of a cultural district is even more marked than at urban level, due to potential interdependencies among a greater multitude of actors. A useful approach towards a deeper understanding can be to conceive cultural districts as complex adaptive systems. Indeed, complexity is definitely not a management fad and fashion, a mere metaphor or methodology, but a deeper perception of reality. Organizations are classically seen as purpose-driven entities with a structural form, exhibiting a certain degree of order and determinism. Such a linear top-down approach to analysis and design, however, exhibits many limitations when used for organizational settings characterized by a complex web of interdependencies. The view of a cultural district as a complex adaptive system suggests new ideas and approaches for policy-makers, designers and managers. It also opens up debate on issues of organizational design and change.

All cultural districts are unique, reflecting their cities’ unique environment, including history of land use, urban growth and cultural development. There is no standard model. Most cultural districts are built to take advantage of other city attractions such as historic features, convention spaces and parks and other natural amenities.

Structural considerations within or near the district, community leadership and social forces all influence the development of a cultural district and the type of district that results. Factors influencing the siting of cultural districts include: perceived need for urban revitalization, existing investment, property value and preexisting cultural facilities.

Unlike a cultural center or a shopping mall, a cultural district comprises a large number of property owners, both public and private, who control the various properties involved, hence a structural complexity. The effectiveness of the coordinating agency in guiding the direction of the cultural district varies according to its size, budget, mandated functions and degree of authority, resulting in widespread variation in the coordinated cultural programming and administration services offered by cultural districts. The coordinated agency appointed for the district must work carefully to ensure inclusiveness of concerns and to balance potentially conflicting interests.

Cultural districts offer two major types of services: one targets the arts community, providing marketing /promotion, box office services and property management; the other targets the district's business and property owners, offering urban design and development services or administrative support.

The excitement and attraction of a cultural district is a high mixture of interesting things to do, places to see, and places to visit (both cultural and noncultural), across the day and evening.

Some artist-activists are promoting the concept of a "Naturally Occurring Cultural District," or NOCD, patterned after the demographic concept of a naturally occurring retirement community. A NOCD "supports existing neighborhood cultural assets rather than imposing arts institutions somewhere new," according to Tamara Greenfield, co-director of NOCD-New York. Co-director Caron Atlas explained: "If a cultural district has emerged 'naturally,' then it grows from, builds on and validates existing community assets rather than importing assets from outside a community." Indeed, different conceptions of cultural districts include self-organization and emergence in different degrees (e.g. Lazzeretti, 2003; Le Blanc, 2010; Sacco et al., 2013; Stern & Seifert, 2007). Many authors argue that districtualization is essentially spontaneous and that the conditions for formation can be recognized and sustained, not created from the top. If the conception of a cultural district as a complex adaptive system were accepted, the design process would be conceived as something more flexible, dynamic and in evolution. Complexity theory and complex adaptive systems should move understanding of supra-urban cultural districts towards a more holistic and bottom-up approach rather than a linear top-down approach to analysis and design. This does not suggest inhibiting any attempt at prediction or planning. The use of qualitative analysis and rough estimations or agent-based modelling can represent a fertile ground for both future research, policy-making and managerial implications.

List
Notable arts districts in the United States (alphabetical by city):

 * Midtown, Atlanta, Georgia
 * North Village Arts District, Columbia, Missouri
 * Short North, Columbus, Ohio
 * Arts District, Dallas, Texas
 * Art District on Santa Fe, Denver, Colorado
 * Cultural Center Historic District, Detroit, Michigan
 * Miller Beach Arts and Creative District, Gary, Indiana
 * Indianapolis Cultural Districts
 * Crossroads Arts District, Kansas City, Missouri
 * Downtown Arts District, Las Vegas, Nevada
 * East Village, Long Beach, California
 * Arts District, Downtown Los Angeles, California
 * Noho Arts District, North Hollywood, Los Angeles, California
 * Arts & Entertainment District, Miami, Florida
 * Wynwood Art District, Miami, Florida
 * East Fourth street Cultural District, Manhattan, New York City, led by Fourth Arts Block
 * Uptown Oakland, California
 * Paseo Arts District, Oklahoma City, Oklahoma
 * Cultural District, Pittsburgh
 * Arts District, Portland, Maine
 * Pearl District, Portland, Oregon
 * Arts District, Richmond, Virginia
 * Ray Street Arts District in North Park, San Diego, California
 * Village of the Arts, Bradenton/Sarasota, Florida
 * Northeast Minneapolis Arts District, Minneapolis, Minnesota

Art districts in London include:
 * Shoreditch
 * Broadway Market

title: Arts district


text: User talk:130.85.234.174

title: User talk:130.85.234.174


text:
Prélude à l'après-midi d'un faune

Prélude à l'après-midi d'un faune (L. 86), known in English as Prelude to the Afternoon of a Faun, is a symphonic poem for orchestra by Claude Debussy, approximately 10 minutes in duration. It was composed in 1894 and first performed in Paris on 22 December 1894, conducted by Gustave Doret. The flute solo was played by Georges Barrère.

The composition was inspired by the poem L'après-midi d'un faune by Stéphane Mallarmé. It is one of Debussy's most famous works and is considered a turning point in the history of Western art music, as well as a masterpiece of Impressionist composition. Pierre Boulez considered the score to be the beginning of modern music, observing that "the flute of the faun brought new breath to the art of music."

Debussy's work later provided the basis for the ballet Afternoon of a Faun choreographed by Vaslav Nijinsky and a later version by Jerome Robbins.

Background
About his composition Debussy wrote:"The music of this prelude is a very free illustration of Mallarmé's beautiful poem. By no means does it claim to be a synthesis of it. Rather there is a succession of scenes through which pass the desires and dreams of the faun in the heat of the afternoon. Then, tired of pursuing the timorous flight of nymphs and naiads, he succumbs to intoxicating sleep, in which he can finally realize his dreams of possession in universal Nature."

Paul Valéry reported that Mallarmé himself was unhappy with his poem being used as the basis for music: He believed that his own music was sufficient, and that even with the best intentions in the world, it was a veritable crime as far as poetry was concerned to juxtapose poetry and music, even if it were the finest music there is. However, after attending the premiere performance at Debussy's invitation, Mallarmé wrote to Debussy: "I have just come out of the concert, deeply moved. The marvel! Your illustration of the Afternoon of a Faun, which presents no dissonance with my text, but goes much further, really, into nostalgia and into light, with finesse, with sensuality, with richness. I shake your hand admiringly, Debussy. Yours, Mallarmé."

Composition
The work is scored for three flutes, two oboes, cor anglais, two clarinets in A and B♭, two bassoons, four horns, two harps, two crotales and strings.

Although it is tempting to call this piece a tone poem, there is very little musical literalism in the piece; instead, the slow and mediated melody and layered orchestration as a whole evoke the eroticism of Mallarmé's poem. "[This prelude] was [Debussy's] musical response to the poem of Stephane Mallarmé (1842–1898), in which a faun playing his pan-pipes alone in the woods becomes aroused by passing nymphs and naiads, pursues them unsuccessfully, then wearily abandons himself to a sleep filled with visions. Though called a 'prelude,' the work is nevertheless complete – an evocation of the feelings of the poem as a whole."Debussy had intended to compose a second and third movement, an Interlude and Paraphrase finale, respectively, but he decided to concentrate all of his musical ideas into one movement.

The Prélude at first listening seems improvisational and almost free-form; however, closer observation will demonstrate that the piece consists of a complex organization of musical cells, motifs carefully developed and traded between members of the orchestra. A close analysis of the piece reveals a high amount of consciousness of composition on Debussy's part.

The main musical themes are introduced by woodwinds, with delicate but harmonically advanced accompaniment of muted horns, strings and harp. Recurring tools in Debussy's compositional arsenal make appearances in this piece: extended whole-tone scale runs, harmonic fluidity without lengthy modulations between central keys, and tritones in both melody and harmony. The opening flute solo consists of a chromatic descent to a tritone below the original pitch and then subsequent ascent. The development of the slow main theme transitions smoothly between, , and. Debussy uses sophisticated voicings and orchestration, allowing the main melodic cell to move from solo flute to oboe, back to solo flute, then to two unison flutes (yielding a completely different atmosphere to the melody), then to clarinet, and so on. Even the accompaniment explores alternate voicings: the flute duo's crescendo during their melodic cells accompany legato strings with violas carrying the soprano part over alto violins (the tone of a viola in its upper register being especially pronounced).

 * Main theme
 * Ambiguous chord progression
 * Theme
 * Theme – similar to the main theme in chromaticism and contour. Uses a whole-tone scale in m. 32.
 * Theme – similar contour to the main theme.
 * Secondary theme
 * Theme – new melodic idea created by combining fragments of two previous melodies.
 * Theme – related to main theme.
 * Final chromatic harmonization of the main theme
 * Secondary theme
 * Theme – new melodic idea created by combining fragments of two previous melodies.
 * Theme – related to main theme.
 * Final chromatic harmonization of the main theme
 * Theme – related to main theme.
 * Final chromatic harmonization of the main theme
 * Final chromatic harmonization of the main theme
 * Final chromatic harmonization of the main theme

The composition totals 110 bars. If one counts the incomplete lines of verse as one, Mallarmé's text likewise adds up to 110 lines. The second section in D-flat starts at bar 55, exactly halfway through the work.

Ballet versions
In 1912, the piece was made into a short ballet, with costumes and sets by painter Léon Bakst, which was choreographed and performed by the renowned dancer Vaslav Nijinsky. It proved to be highly controversial because of the dancers' non-traditional movements and because of a moment in which the faun appears to masturbate.

In 1958, another ballet by Jerome Robbins was made, which has been frequently performed by many companies.

Literature
In Thomas Mann's The Magic Mountain it is implied that protagonist Hans Castorp listened to Debussy's piece on a gramophone. In the book, the Prélude is one of his favorite recordings, and leads him to daydream about a faun playing pipes in an oneiric landscape.

Transcription
Claude Debussy himself transcribed the piece for performance on two pianos in 1895.

Other transcriptions include: the arrangement of Maurice Ravel for piano four hands, the flute and piano version of Gustave Samazeuilh, the arrangement for Pierrot ensemble (flute, clarinet, violin, cello and piano) by Tim Mulleman, a transcription for flute, clarinet and piano by Michael Webster, and an arrangement for the instruments of Ravel's Introduction and Allegro (flute, clarinet, harp and string quartet) with an additional double bass, by Graeme Steele Johnson. The Russian pianist Vyacheslav Gryaznov also transcribed it for solo piano. Linos Piano Trio arranged the piece for piano trio and included it on their 2021 album "Stolen Music".

Benno Sachs, a pupil of Arnold Schoenberg, reorchestrated the work for a chamber ensemble which included a piano and a harmonium, for Schoenberg's Society for Private Musical Performances, which took place on 27 October 1920.

title: Prélude à l'après-midi d'un faune


text:
File:Screamtracker 321.png

Screamtracker 3.21 by the Future Crew, a once popular tracking software for the IBM PC (MS-DOS).

title: File:Screamtracker 321.png


text:
Central Atlantic magmatic province

The Central Atlantic magmatic province (CAMP) is the Earth's largest continental large igneous province, covering an area of roughly 11 million km2. It is composed mainly of basalt that formed before Pangaea broke up in the Mesozoic Era, near the end of the Triassic and the beginning of the Jurassic periods. The subsequent breakup of Pangaea created the Atlantic Ocean, but the massive igneous upwelling provided a legacy of basaltic dikes, sills, and lavas now spread over a vast area around the present central North Atlantic Ocean, including large deposits in northwest Africa, southwest Europe, as well as northeast South America and southeast North America (found as continental tholeiitic basalts in subaerial flows and intrusive bodies). The name and CAMP acronym were proposed by Andrea Marzoli (Marzoli et al. 1999) and adopted at a symposium held at the 1999 Spring Meeting of the American Geophysical Union.

The CAMP volcanic eruptions occurred about 201 million years ago and split into four pulses lasting for over ~600,000 years. The resulting large igneous province is, in area covered, the most extensive on Earth. The volume of magma flow of between two and six million cubic kilometres makes it one of the most voluminous as well.

This geologic event is associated with the Triassic–Jurassic extinction event.

Connected magma flows
Although some connections among these basalts had long been recognized, in 1988 they were linked as constituting a single major flood basalt province. The basaltic sills of similar age (near 200 Ma, or earliest Jurassic) and composition (intermediate-Ti quartz tholeiite) which occur across the vast Amazon River basin of Brazil were linked to the province in 1999. Remnants of CAMP have been identified on four continents (Africa, Europe, North America and South America) and consist of tholeiitic basalts formed during the opening of the Atlantic Ocean basin during the breakup of the Pangean supercontinent.

Geographical extent
The province has been described as extending within Pangaea from present-day central Brazil northeastward about 5000 km across western Africa, Iberia, and northwestern France, and from the interior of western Africa westward for 2500 km through eastern and southern North America. If not the largest province by volume, the CAMP certainly encompasses the greatest area known, roughly 11000000 km2, of any continental large igneous province.

Nearly all CAMP rocks are tholeiitic in composition, with widely separated areas where basalt flows are preserved, as well as large groups of diabase (dolerite) sills or sheets, small lopoliths, and dikes throughout the province. Dikes occur in very large individual swarms with particular compositions and orientations. CAMP activity is apparently related to the rifting and breakup of Pangaea during the Late Triassic through Early Jurassic periods, and the enormous province size, varieties of basalt, and brief time span of CAMP magmatism invite speculation about mantle processes that could produce such a magmatic event as well as rift a supercontinent.

Connection with the Triassic-Jurassic boundary and the associated mass extinction event
In 2013 the CAMP's connection to the end-Triassic extinction, with major extinctions that enabled dinosaur domination of land, became more firmly established. Until 2013, the uncertainties in the geochronologic dates had been too coarse to confirm that the volcanic eruptions were correlated with major climate changes. The work by Blackburn et al. demonstrated a tight synchroneity between the earliest volcanism and extinction of large populations using zircon uranium-lead (U-Pb) dating. They further demonstrated that the magmatic eruptions as well as the accompanying atmospheric changes were split into four pulses lasting for over ~600,000 years.

Before that integration, two hypotheses were in debate. One hypothesis was based especially on studies on Triassic-Jurassic basins from Morocco where CAMP lava flows are outcropping, whereas the other was based on end-Triassic extinction data from eastern North American basins and lava flows showing an extremely large turnover in fossil pollen, spores (sporomorphs), and vertebrates, respectively.

Morocco
The thickest lava flow sequences of the African CAMP are in Morocco, where there are basaltic lava piles more than 300 metres thick. The most-studied area is Central High Atlas, where the best preserved and most complete basaltic lava piles are exposed. According to geochemical, petrographic and isotopic data four distinct tholeiitic basaltic units were recognized and can be placed throughout the Central High Atlas: Lower, Intermediate, Upper and Recurrent basalts.

The Lower and Intermediate units are constituted by basaltic andesites, whereas the Upper and Recurrent units have basaltic composition. From Lower to Recurrent unit, we observe:
 * a progressive decrease of eruption rate (the Lower and the Intermediate units represent over 80% of preserved lava volume);
 * a trend going from intersertal to porphyritic texture;
 * a progressive depletion of incompatible element contents in the basalts, possibly linked to a progressive depletion of their mantle source.

Isotopic analyses
Ages were determined by 40Ar/39Ar analysis on plagioclase. These data show indistinguishable ages (199.5±0.5 Ma) from Lower to Upper lava flows, from central to northern Morocco. Therefore, CAMP was an intense, short magmatic event. Basalts of the Recurrent unit are slightly younger (mean age: 197±1 Ma) and represent a late event. Consistently, the Upper and Recurrent basalts are separated by a sedimentary layer that locally reaches a thickness of circa 80 m.

Magnetostratigraphy
According to magnetostratigraphic data, the Moroccan CAMP events were divided into five groups, differing in paleomagnetic orientations (declination and inclination). Each group is composed by a smaller number of lava flows (i.e., a lower volume) than the preceding one. These data suggest that they were created by five short magma pulses and eruption events, each one possibly <400 (?) years long. All lava flow sequences are characterized by normal polarity, except for a brief paleomagnetic reversal yielded by one lava flow and by a localized interlayered limestone in two distinct section of the High Atlas CAMP.

Palynological analyses
Palynological data from sedimentary layers samples at the base of four lava flow sequences constrain the onset of the CAMP, since there is no evidence of depositional hiatus or tectonic deformation at the bottom of the lava flow piles. The palynological assemblage observed in these basal layers is typical of Late Triassic age, similar to that of the uppermost Triassic sedimentary rocks of eastern North America. Samples from interlayered limestone in lava flows provided unreliable palynological data. One limestone bed from the top to the central High Atlas upper basalts yielded a Late Triassic palynological assemblage. However, the observed sporomorphs in this sample are rare and poorly preserved.

Conclusions
All of these data indicate that the basaltic lava flows of the Central Atlantic magmatic province in Morocco were erupted at c. 200 Ma and spanned the Tr-J boundary. Thus, it is very possible that there is a connection between this magmatic event and the Tr-J boundary climatic and biotic crisis that led to the mass-extinction.

Eastern North America
The North American portion of the CAMP lava flows crop out in various sections in the basins of Newark, Culpeper, Hartford, Deerfield, i.e. the Newark Supergroup in New England (USA), and in the Fundy Basin in Nova Scotia (Canada). The CAMP is here constituted by rare olivine- and common quartz-normative basalts showing a great lateral extension and a maximum thickness up to 1 km. The basaltic flows occur on top of continental fluvial and lacustrine sedimentary units of Triassic age. 40Ar/39Ar data (on plagioclase) indicate for these basaltic units an absolute age of 198–200 Ma bringing this magmatic event undoubtedly close to the Triassic-Jurassic (Tr-J) boundary. Thus it is necessary to determine whether it straddles the boundary or not: if not, then the CAMP could not be a cause of the Late Triassic extinction event. For example, according to there are palynological, geochemical, and magnetostratigraphic evidences that the CAMP postdates the Tr-J boundary.

Magnetostratigraphy
In the Newark Basin, a magnetic reversal (E23r) is observed just below the oldest basalts and more or less in the same position as a palynologic turnover, interpreted as the Tr-J boundary. In Morocco, two reversals have been detected in two lava flow sequences. Two distinct correlations between the Moroccan and the Newark magnetostratigraphy have been proposed. suggest that the Tr-J boundary is located above the lower reverse polarity level which is positioned more or less at the base of the Intermediate basalt unit of Morocco. These two levels can be correlated with chron E23r of the Newark Basin, therefore the North American CAMP Basalts postdate the Tr–J boundary whereas part of the Moroccan CAMP was erupted within the Triassic. Contrarily, propose that these two levels could be earliest Jurassic intervals of reverse polarity not sampled in the Newark Basin Sequence (many more lava flows are present in the Moroccan Succession than in the Newark Basin), but observed in Early Jurassic sedimentary sequences of the Paris Basin of France. Reverse polarity intervals in America could be present within North Mountain (Fundy basin, Nova Scotia) which are poorly sampled even if previous magnetostratigraphy analysis in this sequence showed only normal polarity, or in the Scots Bay Member of the Fundy basin which have never been sampled. There is only one outcrop in the CAMP of America where reverse polarity is observable: a CAMP–related (about 200 Ma) dike in North Carolina. suggest that reverse polarity intervals in this dike could be of post Triassic age and correlated with the same events in Morocco.

Palynological analyses
The Tr-J boundary is not officially defined, but most workers recognise it in continental strata by the last appearance of index taxa such as Ovalipollis ovalis, Vallasporites ignatii and Patinasporites densus or, in marine sections, by the first appearance of the ammonite Psiloceras planorbis. In the Newark basin the palynological turnover event (hence the Tr-J boundary mass extinction) occurs below the oldest CAMP lava flows. The same can be said for the Fundy, Hartford and Deerfield Basins. In the investigated Moroccan CAMP sections (Central High Atlas Basin), sedimentary layers sampled immediately below the oldest basaltic lava flows, apparently contain Triassic taxa (e.g., P. densus), and were thus defined as Triassic in age as at least the lowest lava flows. Still, a different interpretation is suggested by : the sampled sedimentary strata are quite deformed and this can mean that some sedimentary units could be lacking (eroded or structurally omitted). With respect to the Triassic pollens found in some sedimentary units above the Upper Unit basalts, they could have been reworked, so they don’t represent a completely reliable constraint.

Geochemical analyses
CAMP lava flows of North America can be geochemically separated in three units: the older ones are classified as high titanium quartz normative (HTQ) basalts (TiO2 = 1.0-1.3 wt%); these are followed by lava flows classified as low titanium quartz normative (LTQ) basalts (TiO2 = ca. 0.8-1.3 wt%); and then by the youngest lava flow unit classified as high titanium iron quartz normative (HTIQ) basalts (TiO2 = 1.4-1.6 wt%). According to, geochemical analyses based upon titanium, magnesium and silicon contents show a certain correlation between the lower North American lava flows and the Lower Unit of the Moroccan CAMP, thus reinforcing the conclusion that the Moroccan basalts postdate the Tr-J boundary. Therefore, according to these data, CAMP basalts should not be included among the direct causes of the Tr-J mass extinction.

title: Central Atlantic magmatic province


text:
Victims of the Future

Victims of the Future is the fourth solo studio album by Northern Irish guitarist Gary Moore, released on 30 January 1984. It was the first album to feature former UFO guitarist/ keyboardist Neil Carter and bassist Bob Daisley. It was also the last to feature bassist Neil Murray, who rejoined Whitesnake, and drummer Ian Paice, who rejoined the reformed Deep Purple in 1984.

Background
Continuing Moore's path in the hard rock genre, Victims of the Future is a collection of straight-out rock n' roll anthems (such as "Teenage Idol" and "Hold On to Love"), a mournful love ballad ("Empty Rooms", which was later re-recorded by Moore for his 1985 album Run for Cover), a cover of the Yardbirds' "Shapes of Things", and two darker songs, featuring social and political commentary: "Victims of the Future" and "Murder in the Skies", the latter a protest against the Soviet Union's shooting down of Korean Air Lines Flight 007.

The album was released in North America with a different cover and altered content. The guitar solo intro to "Murder in the Skies" was removed, and "Devil in Her Heart", a single B-side, was added. "All I Want", omitted from the LP, was included as a bonus track on the cassette version.

Moore later dismissed Victims of the Future as "just one of my feeble attempts at heavy rock".

Personnel

 * Gary Moore – guitar, vocals
 * Neil Carter – keyboards, vocals
 * Neil Murray – bass guitar on tracks 1, 3, 7, 8
 * Mo Foster – bass guitar on tracks 4 and 6
 * Bob Daisley – bass guitar on tracks 2 and 5
 * Ian Paice – drums on tracks 1, 3, 4, 8
 * Bobby "Prime Time" Chouinard – drums on tracks 2, 5, 6, 7
 * Noddy Holder – additional backing vocals on "Shapes of Things"

 * Production
 * Jeff Glixman – producer, engineer
 * Steve Trevell – assistant engineer
 * Nigel Mills – basic tracks recording engineer
 * Dave Meegen – basic tracks recording assistant engineer
 * Ian Cooper – mastering
 * Martyn Atkins - artwork
 * Part Rock management - management

title: Victims of the Future


text:
Pamela Britton

Pamela Britton (born Armilda Jane Owens; March 19, 1923 – June 17, 1974) was an American actress, best known for appearing as Lorelei Brown in the television series My Favorite Martian (1963–1966) and for her female lead in the film noir classic D.O.A. (1950). Throughout her acting career, Britton appeared often on Broadway and in several Hollywood and television films.

Early career
Britton's mother was Ethel Waite (known as Ethel Waite Owen and Ethel Owen), a stage, radio, and early television actress who played Ralph Kramden's mother-in-law in the Honeymooners TV show of the 1950s. She had two sisters: Virginia, who was an actress for RKO Radio Pictures; and Mary, a social worker. Armilda attended Holy Angels Academy and the State Teacher's Normal School in her home town of Milwaukee.

By the age of nine she was doing summer stock, and Hollywood came calling at age ten. Her mother rejected the advances, saying she wanted her to be an actress, not a child star. Owens started auditioning for roles at the age of 15, using the name "Gloria Jane Owen". She found that as soon as people knew who her mother was, they expected her to be as accomplished an actress. She used a pseudonym to audition, choosing Pamela (from a British book) and Britton (to emphasize the source).

Theatre work
Courtesy of MGM, Britton helped entertain the troops in November 1944 at Camp Roberts, California, starring in The New Moon along with Joseph Sullivan. After a stint touring with bandleader Don McGuire, Britton's big break came when she was cast as "Gertie" and also understudied Celeste Holm (in the role of "Ado Annie") in the original Broadway production of Oklahoma! She played Meg Brockie in the Broadway production of Brigadoon (1947). When Oklahoma! went on tour, she took over Holm's role as Ado Annie.

Hollywood
Britton's first role in a major production was as Frank Sinatra's girlfriend in Anchors Aweigh. Afterward, however, came a forgettable part in A Letter for Evie in 1946. She went on hiatus to play the comic role of Meg Brockie in the original 1947 production of Brigadoon on Broadway. She returned to the big screen opposite Clark Gable in Key to the City (1950), and then went on to make her most significant film appearance in the classic D.O.A., also in 1950. She made her third film of the year in the Red Skelton vehicle, Watch the Birdie (1951). About 19 years passed before she returned to the big screen.

Britton portrayed the title role of the TV version of the Chic Young newspaper comic strip Blondie (1957), opposite Arthur Lake as her husband, Dagwood Bumstead. She reprised her role in Brigadoon in 1954, appeared in Annie Get Your Gun at the Santa Barbara Bowl, and then returned to Broadway to replace an ailing Janis Paige in Guys and Dolls.

My Favorite Martian
What is perhaps her signature role began in 1963 and lasted until 1966 when she appeared as the nosy and ditzy landlady, Mrs. Lorelei Brown, in My Favorite Martian. After the series ended, Britton appeared in the movies, If It's Tuesday, This Must Be Belgium and Suppose They Gave a War and Nobody Came.

Personal life and death
Britton was married on April 8, 1943, in Texas, to Captain Arthur Steel after they met on a blind date arranged by one of her sisters. After the wedding, he was posted to Italy on active service while Britton remained working at home. They had a daughter, Katherine Lee (born September 8, 1946). After the war, Steel worked as an advertising executive and went on to manage the Gene Autry hotels (Steel and Autry were first cousins). As their daughter grew up, Britton worked mainly in West Coast theater. After performing on tour with Don Knotts in The Mind with the Dirty Man, Britton was admitted to Northwest Community Hospital in Arlington Heights, Illinois, where she died of brain cancer on June 17, 1974, aged 51.

title: Pamela Britton


text:
Ngee Ann

Ngee Ann (義安) is a former Teochew term for Chaozhou, China, and may refer to the following places in Singapore:

 * Ngee Ann City, a shopping and commercial centre located on Orchard Road
 * Ngee Ann Polytechnic, an institution of higher learning
 * Ngee Ann Secondary School, a secondary school in Tampines
 * Ngee Ann Primary School, a primary school in Marine Parade, an urban planning area and residential estate
 * Ngee Ann Kongsi, a charity foundation

title: Ngee Ann


text:
Soccer Saturday

Gillette Labs Soccer Saturday is a weekly television programme broadcast on Sky Sports in the United Kingdom and Ireland during the football season.

The programme updates viewers on the progress of association football games in the United Kingdom on Saturday afternoons and is presented by Simon Thomas. Previously, it was most notably fronted by Jeff Stelling from 1994 until 2023. The programme is sponsored by Gillette Labs.

History
Soccer Saturday grew out of Sports Saturday, which started in August 1992 and was hosted by Paul Dempsey and Sue Barker. Sports Saturday was similar in format to the BBC's Grandstand programme featuring a variety of sports and as with Grandstand, the programme finished with news of the day's football in a segment called Scorelines. Jeff Stelling joined the programme in 1994 and became its sole presenter a year later.

From the start of the 1998/99 season, it became a football-only programme and accordingly the name of the programme changed to Soccer Saturday.

Prior to May 2010, portions of the programme were simulcast on Sky Sports 1 as well as Sky Sports News. The portions simulcast were between 12:00 and 12:30, and 15:00 and 17:15, although this differed depending on the matches being covered on Sky Sports 1. From the start of the 2010–11 season these simulcasts were dropped and for the next three seasons the programme was exclusive to Sky Sports News. The Sky Sports 1 simulcast returned for the 2013–14 season as part of Sky Sports 1's new all-day Saturday football service. For the 2014–15 season the programme moved from Sky Sports 1 to Sky Sports 5 but reverted to Sky Sports 1 for the 2016–17 season.

Format
Soccer Saturday is broadcast from 12:00 on Sky Sports News and usually airs for six hours. The programme begins with the host and six regular in-studio pundits previewing the weekend's matches, reviewing recent results and debating current issues in football. During Jeff Stelling's tenure as presenter the show was also famous for the rapport between himself and the pundits. There was much banter between the pundits and Stelling, who, in a good humoured manner, often pointed out the other's mistakes and incorrect predictions. Stelling exuberantly celebrated goals scored by his favourite team (Hartlepool United). Viewers are kept updated on the progress of early kick-offs by reporters at the games and by graphics below and to the right of the director's cut. These graphics also includes latest team news and league standings.

From 15:00 to 17:15, Soccer Saturday provides running coverage of the 3 pm league matches, of which none is televised in the UK and one is televised in Ireland. The graphics display a vidiprinter and cycle through current scores in the English and Scottish leagues, with Simon Thomas providing commentary on the events as they unfold. Significant events at the most high-profile games – almost always in the Premier League – are described by the studio panel who each watch a game on a monitor. Other games deemed important are reported on by correspondents at the grounds connected to the studio by a video link, ISDN or telephone. Where a video link is used, it shows the reporter facing the pitch so that the stand is in the background, in line with the FA blackout which prohibits broadcasting live football during those hours. This portion of the show is also aired on Sky Showcase.

After the 3 pm games finish, the classified football results are read by Alan Lambourn and this is followed by a run-through of the updated league tables. A commercial break then follows and this is when the vidiprinter is removed from the screen. For the final 45 minutes of the programme the studio pundits discuss the games they have been watching, and post-match interviews with players and managers are shown.

The regular format occasionally changes, for example during international windows when no Premier League or Championship matches are played, the show is shortened to 14:00 and 17:30, and League 1 and 2 fixtures are then covered by the studio pundits as opposed to the usual Premier League ones. Julian Warren presents Soccer Saturday during the international break.

Soccer Special
A programme with the same format is also broadcast when there are a number of midweek games, such as on UEFA Champions League nights, in which case it is known as Soccer Special. Since 2011, Soccer Special has been hosted by Julian Warren. Between 2008 and 2011, Ed Chamberlin presented the programme. He had previously shared presenting the programme with Ian Payne during the previous season. Soccer Special was hosted by Stelling until he began presenting Monday Night Football at the start of the 2005–06 season. The midweek Soccer Specials are often simulcast on Sky Sports 1. From the 2015–2016 season, Stelling started presenting Soccer Special again as Sky lost the rights to Champions League coverage to BT Sport.

The Soccer Special name is also used when a full afternoon programme of football is played on a day other than Saturday, which usually only occurs on Boxing Day, New Year's Day (unless that falls on either Friday or Sunday) and Easter Monday as well as the last day of the Championship and the last day of the Premier League season as both are normally played on a Sunday. On these occasions the programme was usually presented by Stelling and followed the normal Soccer Saturday format. One notable difference is that unlike the normal Soccer Saturday broadcasts, the goals that are being scored can be shown live on television as there is no blackout on those days.

Sports Saturday/Sunday
For a few years during the summer, the show was replaced with Sports Saturday, which is more akin to the show's original format, concentrating on sports other than football due to the absence of competitive football during the summer. This again was presented by Ed Chamberlin. The programme did not return in 2009 or 2010, but was revived in July 2011, although it was presented by regular Sky Sports News presenters.

However, in August 2010, Sky announced the launch of Sports Sunday. This programme, which aired Sundays from 13:00–18:00, was similar to the old Sports Saturday format, was initially presented by Ed Chamberlain but after his promotion in early 2011 to additional football presenting duties on Sky Sports, the programme started to be presented by other presenters from the Sky Sports News roster.

From 2021, Sports Sunday began to show the vidiprinter on screen throughout the programme, which by now was on air from 12:00–18:00, on which the latest British and European scores are displayed. The scores shown also include the Women's Super League and the Women's Championship.

Presenters and reporters
Rodney Marsh was a regular pundit, known for his outspoken views, until being sacked by Sky Sports in early 2005 after a joke referencing the 2004 Indian Ocean tsunami. George Best was also a regular until leaving in 2004 to fight alcohol problems. In August 2020, regular studio pundits Matt Le Tissier, Phil Thompson and Charlie Nicholas were controversially sacked from the programme. Other former studio analysts include Frank McLintock, Alan Brazil, Alan Mullery, Clive Allen, and Gordon McQueen.
 * Presenter: Simon Thomas
 * Relief/Soccer Special Presenter: Julian Warren and Nick Powell
 * Lead Studio Pundit: Paul Merson
 * Additional Studio Pundits: Alan McInally, Michael Dawson, Matt Murray, Jamie Mackie, Lee Hendrie, Clinton Morrison, Kris Boyd, Sue Smith and Mike Dean
 * Reporters: Bianca Westwood, David Craig, Guy Havord, Dickie Davis, Rob Palmer, Johnny Phillips, Neil Mellor, Peter Smith, Peter Stevenson, Stuart Jarrold, Simon Watts, Tony Colliver, Jonathan Beales, Rob McCaffrey, Steve Jackson, Mike Jones, Russ Taylor, Mark Benstead, Mark McAdam, Frank Gilfeather, Andy Walker, Stuart Lovell, Davie Donaldson, Dave Bracegirdle, John Temple, Jaydee Dyer, Courtney Sweetman-Kirk, Abigail Davies, Des Hinks, Katie Shanahan, Lynsey Hooper and Jessica Creighton
 * Former Reporters: John Gwynne, Bob Hall, Chris Kamara
 * Former Presenters: Paul Dempsey, Jeff Stelling

On 30 October 2021, Stelling announced his intention to leave Soccer Saturday at the end of the 2021–22 season. However, on 28 March 2022, Sky Sports announced that Stelling would be staying until at least the end of the 2022–23 season. He then confirmed on 29 April 2023 that he would be leaving the show and the organisation. Stelling was succeeded by Simon Thomas.

In April 2022, it was announced that Chris Kamara would leave Soccer Saturday at the end of the 2021–22 season after working on the programme for 24 years.

Current presenters
* Denotes relief presenter

Previous presenters
* Denotes relief presenter

Current analysts
* Denotes relief presenter

Previous analysts
List includes both full time regular analysts, guests and reliefs.

In popular culture
In the Apple TV+ series Ted Lasso, character Roy Kent serves as a pundit on the show alongside Stelling and Kamara.

title: Soccer Saturday


text:
Talk:White buffalo

NOTE TO ADMINISTRATORS Spirit Mountain Ranch Vandalism, Commercial Advertisement and POV
Someone (most likely these people from Spirit Mountain Ranch) have been vandalizing Ma-hi-ya-sqa and placing advertising, WP:POV WP:V and other content which fails and is not in compliance with factual writing. Please monitor this article and **BLOCK** these people from putting advertising banners and disrepecting Native beliefs. Being born an "Albino" is not a birth defect any more than being born a Negro or Indian is a "birth defect". These people are simply using Wikipedia for adverstisement and reverting edits, posting POV, and vandalizing other pages about other White Buffulo considered sacred. Please monitor this article. 67.177.11.129 06:19, 26 January 2006 (UTC

A "native" speaks on behalf of the White Buffalo of Spirit Mountain Ranch...

The 'people at the Spirit Mountain Ranch" don't vandalize web sites. In fact the "people at the ranch" are very respectful and do believe in native american culture. Albino babies tend to live for not more than a few days, all albino babies from all the animal nations. some do live beyond the first few days but it is rare. look up albino in the dictionary...then make your judgment on whether or not it is a "defect" or anomaly. The White Buffalo at Spirit Mountain ranch are also considered sacred by many in this world, as well as Elders from many nations. Wallace Black Elk visited these very same white buffalo and a had a vision afterward. I see nothing wrong with informing people that there are white Buffalo in this world. what you may see as advertisement is simply information to me. If there is non-factual writing then, maybe instead of getting upset, asking about or investigate the "actual truth". then let us know your findings. I have been to the ranch and been a part of sacred native ceremonies and prayer there. I see no ignorance from the spirit mountain ranch about the white buffalo the significance to the native culture. Miigwech, Redhawk Woman —Preceding unsigned comment added by 75.60.90.152 (talk) 03:35, 16 July 2008 (UTC)

There is no such thing as "native american culture". There are many cultures which arise from the many nations (ie. Lakota) and groups of nations (ie. Lakota, Dakota, Nakota, etc.) which hold different beliefs. Despite superficial similarities, any attempt to generalize them to a culture in the singular is disrespectful, and indicative of the mindset of those who wish to profit (even if only in the spiritual sense) from aggregating such belief systems into something they can dance to despite the fact that the drums they hear are imaginary. Where are you when time comes to participate in "sacred native ceremonies and prayer"? Paying your entrance fee and getting your spiritual ticket punched. Where are you when there is a need for someone to cut firewood for a grandmother living in a truck-back camper sitting out on the Oglala grassland in mid-winter? No where to be found. She froze to death. True spirituality is rooted in life. Yours wasn't big enough to reach that far, because your life does not include doing such daily living tasks for those in need (other than a possibly spiritually bankrupt self). I hope you feel bad, because this means you have enough spirit in you to serve to correct your deficiencies. Try not be yourself before trying to be one of anything. Drmcclainphd (talk) 23:48, 24 May 2012 (UTC) drmcclainphd

Of course there are many cultures which arise from the many nations. There is no need for the attack on me. I was not attempting to generalize anyone or nation, it is your perception and twisted words that did so. I do not profit from any such thing you mentioned above, I walk the in the way of my people, I always come in a good way, and I have never paid for any ceremony, in fact i get very upset at those who do charge for ceremony. When it comes time to participate in ceremony Iam where Iam supposed to be, ceremony is not just something I do it is my way of life, I treat all with honor and respect, just like my elders taught me. Iam not on the Olgala grassland because there are elders and young ones right where I live who need caring for, I do chop wood, tend fire, feed our hungry and pray for us all, not just once in a while either. I also do not judge others and I follow the sacred teachings... My family too know hardship and challenges, to assume you know me at all tells me alot. I send you respect and love to relieve the pain you carry, — Preceding unsigned comment added by 68.189.12.215 (talk) 06:33, 16 July 2012 (UTC)

"I was just writing to inform you"
Good call on the move, I wasn't sure what to do with that. Jordanmills 13:27, 16 August 2005 (UTC)

rewrite
I think the first paragraph had the description backwards; I think a non-albino white buffalo is born white and turns brown later; that's what the description of the buffalo named Miracle further down in the article says. I've done a substantial rewrite, putting the known white buffalo into chronological order (with the spirit mountain herd lumped together).

I don't know if the spirit mountain bison are albinos; they claim they are not beefalo; is there some condition besides albinism that could cause a buffalo to be born white and stay white throughout its life? I also don't know the cause of the coloration for the Tupelo and Buffalo Crossing (Kentucky) critters. Akb4 07:35, 12 July 2006 (UTC)

See a male white buffalo at Royal Gorge Bridge
The small zoo at Royal Gorge Bridge just outside of Cañon City, Colorado has a male white buffalo (not an albino). I'm a bit confused by some of the claims about the rarity of the "white buffalo". I spoke to a native American (First American) at his shop in Manitou Springs, CO and he explained to me that it is the female that is extremely rare while the male white buffalo is not that uncommon. Anyone care to explain the genetics involved in this phenomenon? (only facts please)

It sounds to me like an X-linked recessive variation. Such a chromosome variation, if they do not compromise the health of the creature, would be much more common in males than in females. This is because males have one X chromosome while females have two. So if a male has the variation on his X chromosome it would be expressed. However a female would have to have it on both of her X chromosomes, from both parents, in order for it to be expressed. If the probability of a gene carrying this trait is p, then the probability of a male with this trait is p while the probability of a female with this trait would be p-squared.

An easily studied example of this is color blindness in humans. This is carried on the X chromosome, so colorblind people are much more likely to be male than female. On the other hand, the calico color pattern is also carried on the X chromosome but it's associated with various systemic weaknesses in the creature. So male calico cats are extremely rare because they usually die in utero or shortly after birth. — Preceding unsigned comment added by 64.130.95.103 (talk) 02:09, 28 October 2011 (UTC)

Additional White Buffalo
I just added another white buffalo to the list. I cited the source in the body of the edit, but I will also try to add it into the "external links". By the way, I looked at the gallery of white buffalo on the "Spirit Mountain" web page. The picture with the good frontal view clearly shows a black snout. That one is not albino. claimman75 haha theres alot to here cause theres —Preceding unsigned comment added by 66.242.75.194 (talk) 19:51, 9 May 2009 (UTC)

Miracle Moon DNA ref
I am leery about the ref I added to Miracle Moon's DNA. If it is deemed non-reputable or a POV article I understand. 71.234.215.133 (talk) 00:43, 23 July 2011 (UTC)

Africa
I'm pretty sure the "buffalo" talked about in that source a water buffalo, not a bison. I'm removing it 173.183.181.214 (talk) 21:20, 27 July 2011 (UTC)

Additions to "Miracle" section
I added the second half of the material on the Heider's calf Miracle. This is encyclopedic content and is verifiable. However, the source and verification defy the stated definitions in the page on verifiability as there is no "published" to refer to. It is verifiable by inquiring with the source, which would be the most appropriate manner. I sat at Chief Joseph Chasing Horse's kitchen table, and he told me these things. I was there showing him satellite pictures that gave evidence that the Black Hills region was an astrobleme. I was doing so in part because he had been asked by NASA Chairman Michael Griffith to write a book on the Lakota creation myths, which held that Paha Sapa (the Black Hills area) was created when a piece of the sky fell down and touched the Earth with fire, and so preserve and support myth with convergent evidence. Chief Joe refused to write such a book, not because of any conflict between belief and science (he admires both) but because written word is not the Lakota way. He offered instead to produce a series of recordings of the mythology as spoken word, with an attending booklet containing the iconic imagery typically used to accompany long standing spoken word collections such as this. The source does not hold to "published" as necessary for information to be considered valid, and is sometimes even inappropriate. The chairman of NASA agreed. If this is not acceptable to Wiki***, feel free to remove it, because the lack of cultural egalitarianism would be equally unacceptable. And heaven forbid someone should actually be expected to use a telephone and call Chief Joe (in Rapid City SD) to verify, because that would take two minutes instead of many times that verifying a print quote, and they might end up actually talking with someone. Drmcclainphd (talk) 00:31, 25 May 2012 (UTC) drmcclainphd
 * That wouldn't be acceptable, see WP:VERIFY. Dougweller (talk) 12:37, 15 March 2013 (UTC)

Requested move 2 March 2015

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: Not moved  — Amakuru (talk) 11:09, 10 March 2015 (UTC)

White buffalo → White bison – White African buffaloes: http://www.wildlifeextra.com/go/news/leucistic-buffalo.html White water buffaloes: http://www.gingernomads.com/2012/05/09/excellent-nong-khiaw-northern-laos/ These being true white buffaloes. Editor abcdef (talk) 10:09, 2 March 2015 (UTC)

 * Comment are you proposing to turn this pagename into a disambiguation page? -- 70.51.200.101 (talk) 02:46, 3 March 2015 (UTC)
 * Oppose. In the English-speaking world "white buffalo" overwhelmingly commonly means what this article describes. -- Necrothesp (talk) 15:17, 4 March 2015 (UTC)
 * Oppose. I agree with Necrothesp. Darrah (talk) 15:05, 5 March 2015 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

Bison vs. Buffalo
Bison are an American mammal. Buffalo are African and Asian mammals with no genetic link to Bison. Why not change the title of the page to White Bison and use the slang name as the redirection link?

(Also shouldn't all the proper nouns be capitalized? i.e. American Bison) PSGer (talk) 21:16, 24 March 2015 (UTC)

 * Re-visiting a previous closed discussion. See the comments there. Darrah (talk) 05:04, 25 March 2015 (UTC)

New White Buffalo to add
Hello! I just saw that a new white bison calf has been born at the African Safari Wildlife Park in Port Clinton, Ohio. They have shared a picture (and boy is it cute!), but I'm not finding information on the gender nor the date of birth. As I don't know how to edit Wikipedia articles, I thought I should bring it to someone's attention. Their website (africansafariwildlifepark.com) is not saying anything, yet they posted it to their facebook page: https://www.facebook.com/africansafariwildlifepark/ — Preceding unsigned comment added by 216.255.0.27 (talk) 22:15, 18 May 2016 (UTC)

title: Talk:White buffalo


text:
Afternoon of a Faun

L'après-midi d'un faune (or The Afternoon of a Faun) may refer to:

 * L'après-midi d'un faune (poem) by Stéphane Mallarmé, published in 1876
 * Prélude à l'après-midi d'un faune (Prelude to the Afternoon of a Faun), 1894 composition by Claude Debussy, inspired by Mallarmé's poem
 * Afternoon of a Faun (Nijinsky), 1912 ballet by Vaslav Nijinsky, which uses Debussy's music and was also inspired by Mallarmé
 * L'Après-Midi d'un Faune, 1919 poem by William Faulkner, his first published work (William Faulkner bibliography)
 * Afternoon of a Faun (Robbins), 1953 ballet by Jerome Robbins to Debussy's music
 * Afternoon of a Faun (Rushton), 2006 ballet by Tim Rushton to Debussy's music created for Johan Kobborg
 * Afternoon of a Faun: Tanaquil Le Clercq, 2013 American documentary by Nancy Buirski
 * Afternoon of a Faun, a 2019 novel by James Lasdun

title: Afternoon of a Faun


text: Talk:Afternoon of a Faun

title: Talk:Afternoon of a Faun


title: User:AlexB2


text:
Haughton Green

Haughton Green is a large village in Tameside, Greater Manchester, England. It formed part of the ancient township of Haughton, Lancashire, along with Haughton Dale, Higher Haughton, Lower Haughton, Haughton Hall and Haughton itself.

History
Originally, farming was the main occupation but the discovery of rich deposits of coal brought mining to the area. The soil was not particularly productive and farmers in both Haughton and Denton supplemented their incomes by making felt hats and this industry ultimately dominated the area and made Denton famous for this industry rather than the more usual industries of cotton spinning and weaving.

The Church of St Mary the Virgin was dedicated in March 1876. It was funded and specified by James Walton, father of Frederick Walton the inventor of Linoleum. James owned the Haughton Dale Mill, which despite its name was not a cotton mill, instead providing wire for James' successful carding business. The church has an oak frame with plaster-and-cement walls between. The architects were Medland and Henry Taylor, and the building has a nave with four bays and a south aisle of three bays. A red-brick, octagonal bell tower stands to the side of the main building.

Haughton adopted the Local Government Act, establishing the Haughton Local Board, in 1877 (neighbouring Denton had adopted the Act in 1857). In 1884, the Denton and Haughton Local Boards amalgamated into a single local authority, the Denton and Haughton Local Board. In 1894 this became the Denton Urban District Council, with Haughton being struck out of the formal title by Order of the Lancashire County Council, although the former township still remained as ecclesiastical parishes (Haughton, St Mary the Virgin and Haughton, St Anne). On 1 April 1974, Denton, became part of the Tameside Metropolitan Borough in the metropolitan county of Greater Manchester, England.

Today
Haughton Green is mainly a residential area that has around 3,000 households. Many of the shops and services are located on the main road of the old village, Haughton Green Road, which includes a post office and many other shops.

Haughton Green was mainly a rural area, with most of its built up areas along the main roads and in the original village. It was only at the end of the 19th century and early 20th century that it became more built up and became more so when the Manchester (Beswick) overspill estate was located here in the late fifties behind existing housing on Two Trees Lane. There was also building of new middle class housing in and around the original village at the same time. This increased the size of the village significantly as housing here now extended down into the valley and next to wooded areas.

The village now forms part of the Denton South Ward on Tameside Council and the three local councillors are George Newton, Jack Naylor and Claire Reid. Andrew Gwynne is the Member of Parliament for Haughton Green, which is a part of the Denton and Reddish Parliamentary Constituency. Other nearby overspill council estates are Hattersley and Gamesley.

Education
Haughton Green is served by three primary schools:

 * Manor Green Primary Academy (previously known as Manor Green Primary and Nursery School)
 * St. John Fisher R.C. Primary School
 * Corrie Primary and Nursery School

Two Trees High School was the local secondary school, but has since closed.

title: Haughton Green


text:
User:Dragonfiend

I stopped lurking and became a wikipedian in July 2005. My interests include cats, comics, cosmetics, gardening, movies and Harry Potter. I mostly edit webcomics articles.

Some articles I've created

 * Amy Kim Ganter
 * Art Comics Daily
 * Dicebox
 * The Dinette Set
 * Drew Weing
 * Gene Yang
 * Lea Hernandez
 * Metaphrog
 * Nick Bertozzi
 * Nowhere Girl
 * Raina Telgemeier
 * Shooting War
 * Svetlana Chmakova
 * Tom Hart (comics)
 * When I Am King

Some articles I am or have been working on

 * Achewood
 * A Lesson Is Learned But The Damage Is Irreversible
 * Amy Unbounded
 * Ask Shagg
 * Elizabeth Arden
 * Devin Grayson
 * The Dreamland Chronicles
 * Fetus-X
 * Friends of Lulu
 * Get Your War On
 * Girlamatic
 * Jill Thompson
 * Joe Zabel
 * Keenspot
 * Leisure Town
 * List of webcomics
 * Mark Fiore
 * Megatokyo
 * Narbonic
 * Penny Arcade (webcomic)
 * Sam Henderson
 * Scary Go Round
 * Serializer
 * Sinfest
 * Sluggy Freelance
 * Supernatural Law
 * Van Von Hunter
 * Webcomic

Some articles considered for deletion that I've helped improve

 * The Adventures of Tintin: Breaking Free
 * Animal Crackers (1937 comic strip)
 * Arcana Jayne
 * Ctrl+Alt+Del
 * Diana Albers
 * The Dreamland Chronicles
 * Evening Crazies
 * Meng & Ecker
 * The Trek Life
 * What The--?!

Some things

 * Verifiability: "Articles should rely on credible, third-party sources with a reputation for fact-checking and accuracy. ... The burden of evidence lies with the editors who have made an edit or wish an edit to remain. Editors should therefore provide references. If an article topic has no reputable, reliable, third-party sources, Wikipedia should not have an article on that topic."
 * What Wikipedia is not: "Wikipedia is not an indiscriminate collection of information ... That something is 100% true does not mean it is suitable for inclusion in an encyclopedia. ... Wikipedia articles should not exist only to describe the nature, appearance or services a website offers, but should describe the site in an encyclopedic manner, offering detail on a website's achievements, impact or historical significance ... Wikipedia articles should not act solely as a summary of the plot of a work of fiction, but should offer comprehensive, summarised plots in conjunction with sourced analysis, offering detail on a work's achievements, impact or historical significance ..."
 * Jimbo Wales: "I consider WP:V to be so central to Wikipedia that if there were ever a significant majority of contributors who wanted to do away with it, we would have an internal war on our hands that would make the userbox wars look simple by comparison. The important thing to remember here is that merely existing and typing in a web form does not make one a Wikipedian.  The community is defined by the goal of the community, and people... no matter how numerous or vocal... who do not accept that goal are not a part of the Wikipedia community.."
 * Jimbo Wales: "I really want to encourage a much stronger culture which says: it is better to have no information, than to have information like this, with no sources. Any editor who removes such things, and refuses to allow it back without an actual and appropriate source, should be the recipient of a barnstar."
 * Vanispamcruftisement will be sent to WP:AFD.
 * Articles for deletion/Nick Nunziata is an interesting example of the standards applied to websites that don't have comics on them.

title: User:Dragonfiend


text:
Margaret of Austria, Queen of Spain

Margaret of Austria (25 December 1584 – 3 October 1611) was Queen of Spain and Portugal by her marriage to King Philip III & II.

Life
Margaret was the daughter of Archduke Charles II of Austria and Maria Anna of Bavaria and thus the paternal granddaughter of the Holy Roman Emperor Ferdinand I. Her elder brother was the Archduke Ferdinand, who was elected emperor in 1619. Two of her sisters, Anna and Constance, through their subsequent marriages to King Sigismund III Vasa, became Queens of Poland.

Queen of Spain

Margaret married Philip III of Spain, her first-cousin, once-removed, on 18 April 1599.

She became a very influential figure at her husband's court. Philip had an "affectionate, close relationship" with Margaret, and paid her additional attention after they had a son in 1605.

Margaret was also a great patron of the arts. She was considered by contemporaries to be a very pious Catholic and "astute and very skillful" in her political dealings.

Alongside the Empress Maria, widow of Holy Roman Emperor Maximilian II, and the latter's daughter Archduchess Margaret, who lived as a nun in Madrid, Queen Margaret formed a circle of women wielding considerable influence over the king. They emphasised Spain's status as a Catholic power acting in the interest of Catholic Europe and also highlighted the unity of the House of Habsburg. They were successful, for example, in convincing Philip to provide financial support to Ferdinand II, Holy Roman Emperor.

The pro-Austrian camp at the Spanish court was opposed by the Duke of Lerma, the King's chief minister, who argued that Spain should pursue her own course of action independently of religious or dynastic ties. Queen Margaret was "melancholic" and unhappy about the influence of the Duke, whom she considered corrupt, over her husband, and continually fought him for influence over the King. In this conflict, she was supported by her favourite Mariana de San José, prioress of the Monasteria la Encarnación, her husband's confessor Father Luis de Aliaga, and her daughter Maria Anna's confessor, the Franciscan friar Juan de Santa María - who was felt by contemporaries to have an excessive influence over the King at the end of his life. The Duke of Lerma was eventually removed from power in 1618, though only after Margaret's death.

Margaret died while giving birth to her youngest child, Alfonso. Her husband never remarried and died ten years later.

Issue
Margaret and Philip had eight children:
 * Anna Maria Mauricia (22 September 1601 – 20 January 1666), queen of France
 * Maria (1 February 1603 -1 March 1603)
 * Philip (8 April 1605 – 17 September 1665), king of Spain
 * Maria Anna (18 August 1606 – 13 May 1646), empress of the Holy Roman Empire
 * Charles (14 September 1607 – 30 July 1632)
 * Ferdinand (16 May 1609 – 9 November 1641), a cardinal
 * Margaret (24 May 1610 – 11 March 1617)
 * Alphonse Maurice (22 September 1611 – 16 September 1612)

Depiction in media
Margaret of Austria is portrayed by Elena Rivera in the Spanish TV show El Ministerio del Tiempo.

Actress Viveca Lindfors portrayed Margaret in the 1948 Hollywood movie Adventures of Don Juan.

title: Margaret of Austria, Queen of Spain


text:
UP Diksiyonaryong Filipino

The UP Diksiyonaryong Filipino (UPDF; "UP Filipino Dictionary") is a series of monolingual Filipino dictionaries. The dictionaries were created by the Sentro ng Wikang Filipino of the University of the Philippines, with Virgilio S. Almario, National Artist for Literature and a professor at the University of the Philippines Diliman, as editor-in-chief.

The first edition of the UPDF was released in 2001, while the second edition was released on July 29, 2010, coinciding with the centennial of the University of the Philippines. A third edition is scheduled for release in 2015, and new editions of the UPDF will be released every five years thereafter. The second edition contains over 200,000 entries.

In planning since 1996, the UPDF has been likened to a Filipino version of the Oxford English Dictionary. An online version also exists for the benefit of overseas Filipinos.

title: UP Diksiyonaryong Filipino