text:
Talk:James Brown (sportscaster)

Untitled
Did he ever play for the Atlanta Hawks? The Official NBA Encyclopedia has no stats for him. KSchutte 22:09, 10 July 2005 (UTC)

--He's not listed in Basketball-Reference.com http://www.basketball-reference.com/player_search.cgi?search=James+Brown

For some reason he's listed as John Brown: http://www.databasebasketball.com/players/playerpage.htm?ilkid=BROWNJO01

--Duhon

He was drafted 62 overall for the Hawks.

Why JB why!?!?!?
Why did you have to leave Fox NFL Sunday. You bastard!

$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ 64.121.72.200 16:15, 10 September 2006 (UTC)

His family was in the DC Metro area, and his mom was very sick. His family took care of her in her home, then his. Just another example of what a stand up guy he is. — Preceding unsigned comment added by 96.244.240.110 (talk) 22:41, 25 February 2023 (UTC)

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The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for speedy deletion: You can see the reason for deletion at the file description page linked above. —Community Tech bot (talk) 09:52, 13 June 2020 (UTC)
 * James+Brown+Taurus+Top+Performers+Night+2010+dwf0iMrgfCDl.jpg

You can't whistle a play dead without a penalty
Although you and your colleagues may think football, knowing football might come in handy 😉 174.213.145.88 (talk) 02:59, 16 January 2022 (UTC)

I added more info on his stellar high school experience on a national champ team
Please let me know if you need more references on this. Acham (talk) 22:44, 25 February 2023 (UTC)

Brown doesn't live in Bethesda. He lives in PG County. Please correct.
He doesn't live in Bethesda Acham (talk) 22:46, 25 February 2023 (UTC)

he feels good
i heard he was the best running back in the NFL as well as the godfather of soul 155.95.101.64 (talk) 20:51, 19 May 2023 (UTC)

title: Talk:James Brown (sportscaster)


text:
Take It Easy (Love Nothing)

"Take It Easy (Love Nothing)" is a single by Bright Eyes, released in October 2004. It, along with "Lua", took the top two spots on Billboard magazine's Hot Singles Sales chart, something that had not been accomplished by one artist since 1997. The title song appears on the 2005 album, Digital Ash in a Digital Urn.

The single is the 69th release of Saddle Creek Records.

Track listing

 * 1) "Take It Easy (Love Nothing)" (Conor Oberst) – 3:24
 * 2) "Burn Rubber" (Simon Joyner) – 2:43
 * 3) "Cremation" (Oberst) – 4:45

Personnel

 * Jason Boesel – drums, car doors, percussion (1–3)
 * Clay Leverett – car doors, percussion (2–3)
 * Mike Mogis – guitar, banjo, dobro, keyboards, bass, Wurlitzer (1–3)
 * Conor Oberst – guitar, baritone, bass, keyboards, Wurlitzer, voice (1–3)
 * Jimmy Tamborello – drum program (1)
 * Digital Audio Engine – drum programming (1–3)

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

title: Take It Easy (Love Nothing)


text:
History of the alphabet

The history of the alphabet goes back to the consonantal writing system used to write Semitic languages in the Levant during the 2nd millennium BCE. Nearly all alphabetic scripts used throughout the world today ultimately go back to this Semitic script. Its first origins can be traced back to a Proto-Sinaitic script developed in Ancient Egypt to represent the language of Semitic-speaking workers and slaves in Egypt. Unskilled in the complex hieroglyphic system used to write the Egyptian language, which required a large number of pictograms, they selected a small number of those commonly seen in their surroundings to describe the sounds, as opposed to the semantic values, of their own Canaanite language. This script was partly influenced by the older Egyptian hieratic, a cursive script related to Egyptian hieroglyphs. The Semitic alphabet became the ancestor of multiple writing systems across the Middle East, Europe, northern Africa, and Pakistan, mainly through Ancient South Arabian, Phoenician and the closely related Paleo-Hebrew alphabet, and later Aramaic (derived from the Phoenician alphabet) and the Nabatean—derived from the Aramaic alphabet and developed into the Arabic alphabet—five closely related members of the Semitic family of scripts that were in use during the early first millennium BCE.

Some modern authors distinguish between consonantal alphabets, with the term abjad coined for them in 1996, and "true alphabets" with letters for both consonants and vowels. In this narrower sense, the first true alphabet would be the Greek alphabet, which was adapted from the Phoenician alphabet. Many linguists are skeptical of the value of wholly separating the two categories. Latin, the most widely used alphabet today, in turn derives from the Etruscan and Greek alphabets, themselves derived from Phoenician.

Predecessors
Two scripts are well attested from before the end of the fourth millennium BCE: Mesopotamian cuneiform and Egyptian hieroglyphs. Hieroglyphs were employed in three ways in Ancient Egyptian texts: as logograms (ideograms) that represent a word denoting an object visually depicted by the hieroglyph, as phonographs denoting sounds, or as determinatives which provide clues to meaning without directly writing sounds. Since vowels were mostly unwritten, the hieroglyphs which indicated a single consonant could have been used as a consonantal alphabet, or abjad. This was not done when writing the Egyptian language, but seems to have been an influence on the creation of the first alphabet (used to write a Semitic language). All subsequent alphabets around the world have either descended from this first Semitic alphabet, or have been inspired by one of its descendants by stimulus diffusion, with the possible exception of the Meroitic alphabet, a 3rd-century BCE adaptation of hieroglyphs in Nubia to the south of Egypt. The Rongorongo script of Easter Island may also be an independently invented alphabet, but too little is known of it to be certain.

Semitic alphabet
The Proto-Sinaitic script of Egypt has yet to be fully deciphered. However, it may be alphabetic and probably records the Canaanite language. The oldest examples are found as graffiti in the Wadi el-Hol and date to c. 1850 BCE. The table below shows hypothetical prototypes of the Phoenician alphabet in Egyptian hieroglyphs. Several correspondences have been proposed with Proto-Sinaitic letters.

This Semitic script adapted Egyptian hieroglyphs to write consonantal values based on the first sound of the Semitic name for the object depicted by the hieroglyph, the "acrophonic principle". For example, the hieroglyph per 'house' was used to write the sound in Semitic, because  was the first sound in the Semitic word bayt 'house'. Little of this proto-Canaanite script has survived, but existing evidence suggests it retained its pictographic nature for half a millennium until it was adopted for governmental use in Canaan. The first Canaanite states to make extensive use of the alphabet were the Phoenician city-states and so later stages of the Canaanite script are called Phoenician. The Phoenician cities were maritime states at the center of a vast trade network and soon the Phoenician alphabet spread throughout the Mediterranean. Two variants of the Phoenician alphabet had major impacts on the history of writing: the Aramaic alphabet and the Greek alphabet.

Descendants of the Aramaic abjad

The Phoenician and Aramaic alphabets, like their Egyptian prototype, represented only consonants, a system called an abjad. The Aramaic alphabet, which evolved from the Phoenician in the 7th century BCE, to become the official script of the Persian Empire, appears to be the ancestor of nearly all the modern alphabets of Asia except India:
 * The Arabic alphabet descended from Aramaic via the Nabataean alphabet of what is now southern Jordan. It is the second-most widely used alphabetic writing system in the world (after the Latin script) and the most used abjad system.
 * The modern Hebrew alphabet started out as a local variant of Imperial Aramaic. The original Hebrew alphabet has been retained by the Samaritans.
 * The Syriac alphabet used after the third century CE evolved, through the Pahlavi scripts and Sogdian alphabet, into the alphabets of North Asia such as the Old Turkic alphabet (probably), the Old Uyghur alphabet, the Mongolian writing systems, and the Manchu alphabet.
 * The Georgian scripts are of uncertain provenance, but appear to be part of either the Persian-Aramaic or Greek family.

Adoption

By at least the 8th century BCE the Greeks borrowed the Phoenician alphabet and adapted it to their own language, creating in the process the first "true" alphabet, in which vowels were accorded equal status with consonants. According to Greek legends transmitted by Herodotus, the alphabet was brought from Phoenicia to Greece by Cadmus. The letters of the Greek alphabet are the same as those of the Phoenician alphabet, and both alphabets are arranged in the same order. However, whereas separate letters for vowels would have actually hindered the legibility of Egyptian, Phoenician, or Hebrew, their absence was problematic for Greek, where vowels played a much more important role. The Greeks used for vowels some of the Phoenician letters representing consonants which weren't used in Greek speech. All of the names of the letters of the Phoenician alphabet started with consonants, and these consonants were what the letters represented; this is called the acrophonic principle.

However, several Phoenician consonants were absent in Greek, and thus several letter names came to be pronounced with initial vowels. Since the start of the name of a letter was expected to be the sound of the letter (the acrophonic principle), in Greek these letters came to be used for vowels. For example, the Greeks had no glottal stop or voiced pharyngeal sounds, so the Phoenician letters ’alep and `ayin became Greek alpha and o (later renamed omicron), and stood for the vowels and  rather than the consonants  and. As this fortunate development only provided for five or six (depending on dialect) of the twelve Greek vowels, the Greeks eventually created digraphs and other modifications, such as ei, ou, and o —which became omega—or in some cases simply ignored the deficiency, as in long a, i, u.

Several varieties of the Greek alphabet developed. One, known as the Cumae alphabet, was used west of Athens and in southern Italy. The other variation, known as Eastern Greek, was used in Asia Minor. The Athenians (c. 400 BCE) adopted that latter variation and eventually the rest of the Greek-speaking world followed. After first writing right to left, the Greeks eventually chose to write from left to right, unlike the Phoenicians who wrote from right to left. Many Greek letters are similar to Phoenician, except the letter direction is reversed or changed, which can be the result of historical changes from right-to-left writing to boustrophedon, then to left-to-right writing.

Descendants
Greek is in turn the source of all the modern scripts of Europe. The alphabet of the early western Greek dialects, where the letter eta remained an, gave rise to the Old Italic alphabet which in turn developed into the Old Roman alphabet. In the eastern Greek dialects, which did not have an /h/, eta stood for a vowel, and remains a vowel in modern Greek and all other alphabets derived from the eastern variants: Glagolitic, Cyrillic, Armenian, Gothic—which used both Greek and Roman letters—and perhaps Georgian.

Although this description presents the evolution of scripts in a linear fashion, this is a simplification. For example, Georgian scripts derive from the Semitic family, but were also strongly influenced in their conception by Greek. A modified version of the Greek alphabet, using an additional half dozen demotic hieroglyphs, was used to write Coptic Egyptian. Then there is Cree syllabics (an abugida), which is a fusion of Devanagari and Pitman shorthand developed by the missionary James Evans.

Latin alphabet

A tribe known as the Latins, who became the Romans, also lived in the Italian peninsula like the Western Greeks. From the Etruscans, a tribe living in the first millennium BCE in central Italy, and the Western Greeks, the Latins adopted writing in about the seventh century. In adopting writing from these two groups, the Latins dropped four characters from the Western Greek alphabet. They also adapted the Etruscan letter F, pronounced 'w,' giving it the 'f' sound, and the Etruscan S, which had three zigzag lines, was curved to make the modern S. To represent the G sound in Greek and the K sound in Etruscan, the gamma was used. These changes produced the modern alphabet without the letters G, J, U, W, Y, and Z, as well as some other differences.

C, K, and Q in the Roman alphabet could all be used to write both the and  sounds; the Romans soon modified the letter C to make G, inserted it in seventh place, where Z had been, to maintain the gematria (the numerical sequence of the alphabet). Over the few centuries after Alexander the Great conquered the Eastern Mediterranean and other areas in the third century BCE, the Romans began to borrow Greek words, so they had to adapt their alphabet again in order to write these words. From the Eastern Greek alphabet, they borrowed Y and Z, which were added to the end of the alphabet because the only time they were used was to write Greek words.

The Anglo-Saxons began using Roman letters to write Old English as they converted to Christianity, following Augustine of Canterbury's mission to Britain in the sixth century. Because the Runic wen, which was first used to represent the sound 'w' and looked like a p that is narrow and triangular, was easy to confuse with an actual p, the 'w' sound began to be written using a double u. Because the u at the time looked like a v, the double u looked like two v's, W was placed in the alphabet after V. U developed when people began to use the rounded U when they meant the vowel u and the pointed V when the meant the consonant V. J began as a variation of I, in which a long tail was added to the final I when there were several in a row. People began to use the J for the consonant and the I for the vowel by the fifteenth century, and it was fully accepted in the mid-seventeenth century.

Letter names and order
The order of the letters of the alphabet is attested from the fourteenth century BCE in the town of Ugarit on Syria's northern coast. Tablets found there bear over one thousand cuneiform signs, but these signs are not Babylonian and there are only thirty distinct characters. About twelve of the tablets have the signs set out in alphabetic order. There are two orders found, one of which is nearly identical to the order used for Hebrew, Greek and Latin, and a second order very similar to that used for Ethiopian.

It is not known how many letters the Proto-Sinaitic alphabet had nor what their alphabetic order was. Among its descendants, the Ugaritic alphabet had 27 consonants, the South Arabian alphabets had 29, and the Phoenician alphabet 22. These scripts were arranged in two orders, an ABGDE order in Phoenician and an HMĦLQ order in the south; Ugaritic preserved both orders. Both sequences proved remarkably stable among the descendants of these scripts.

The letter names proved stable among the many descendants of Phoenician, including Samaritan, Aramaic, Syriac, Arabic, Hebrew, and Greek alphabet. However, they were largely abandoned in Tifinagh, Latin and Cyrillic. The letter sequence continued more or less intact into Latin, Armenian, Gothic, and Cyrillic, but was abandoned in Brahmi, Runic, and Arabic, although a traditional abjadi order remains or was re-introduced as an alternative in the latter.

The table is a schematic of the Proto-Sinaitic script and its descendants.

These 26 consonants account for the phonology of Northwest Semitic. Of the 29 consonant phonemes commonly reconstructed for Proto-Semitic, the voiceless fricatives ś, ṣ́, and ṯ̣ are missing. The phonemes ḏ, ṯ, ḫ, ġ disappeared in Canaanite, merging with z, š, ḥ, ʿ in Canaanite scripts, respectively. The six variant letters added in the Arabic alphabet include these (except for ś, which survives as a separate phoneme in Ge'ez ሠ):
 * ḏ → ḏāl
 * ṯ → ṯāʾ
 * ṱ → ẓāʾ
 * ġ → ġayn
 * ṣ́ → ḍād
 * ḫ → ḫāʾ

Graphically independent alphabets
One modern national alphabet that has not been graphically traced back to the Canaanite alphabet is the Maldivian script, which is unique in that, although it is clearly modeled after Arabic and perhaps other existing alphabets, it derives its letter forms from numerals. Another is the Korean Hangul, which was created independently in 1443. The Osmanya alphabet was devised for Somali in the 1920s by Osman Yusuf Kenadid, and the forms of its consonants appear to be complete innovations.

Among alphabets that are not used as national scripts today, a few are clearly independent in their letter forms. The bopomofo phonetic alphabet is graphically derived from Chinese characters. The Santali alphabet of eastern India appears to be based on traditional symbols such as "danger" and "meeting place", as well as pictographs invented by its creator. (The names of the Santali letters are related to the sound they represent through the acrophonic principle, as in the original alphabet, but it is the final consonant or vowel of the name that the letter represents: le "swelling" represents e, while en 'thresh grain' represents n.)

In early medieval Ireland, Ogham consisted of tally marks, and the monumental inscriptions of the Old Persian Empire were written in an essentially alphabetic cuneiform script whose letter forms seem to have been created for the occasion.

Alphabets in other media
Changes to a new writing medium sometimes caused a break in graphical form, or make the relationship difficult to trace. It is not immediately obvious that the cuneiform Ugaritic alphabet derives from a prototypical Semitic abjad, for example, although this appears to be the case. And while manual alphabets are a direct continuation of the local written alphabet (both the British two-handed and the French/American one-handed alphabets retain the forms of the Latin alphabet, as the Indian manual alphabet does Devanagari, and the Korean does Hangul), Braille, semaphore, maritime signal flags, and the Morse codes are essentially arbitrary geometric forms. The shapes of the English Braille and semaphore letters are not derived from the graphic forms of the letters themselves. Most modern forms of shorthand are also unrelated to the alphabet, generally transcribing sounds instead of letters.

title: History of the alphabet


text:
Jimmy Winston

James Edward Winston Langwith (20 April 1945 – 26 September 2020), known professionally as Jimmy Winston, was an English musician and actor. He was the original keyboard player with Small Faces. Winston had apparently previously worked under the stage name James Moody.

His acting credits include the 1968 stage musical Hair and the 1972 Doctor Who serial Day of the Daleks.

Small Faces
In early 1965, Winston, along with his acquaintance Steve Marriott, formed Small Faces with Ronnie Lane and Kenney Jones. While originally a guitarist, his role was soon shifted to become a keyboardist. Winston was fundamental in the band's emergence, as his parents owned the Ruskin Arms pub located in Manor Park, a place where the group would rehearse and occasionally perform. After a performance at the Cavern Club on Leicester Square, an assistant of manager Don Arden stepped up to the band and managed to secure them a contract with Decca Records. The band released their debut single "Whatcha Gonna Do About It" later that year, peaking at number 14. The success of this single would be followed by "I've Got Mine", which despite good reviews failed to chart. The group including Winston performed the song in Dateline Diamonds (1965). Shortly after this release, Winston left the group, and was promptly replaced by Ian McLagan.

A factor that has been rumoured about his termination is that during an episode of Thank Your Lucky Stars, Winston snubbed Marriott. There has been controversy whether Winston left the group himself or was fired. Lane stated in an interview that he was fired: "source:Small Faces Talk to You: The story of the Small Faces in their own words" However, Kenney Jones later said: "He [Winston] got above his station and tried to compete with Steve Marriott."

Music post-Small Faces
Soon after being kicked out of Small Faces, Winston led his own group called Jimmy Winston and His Reflections. The group was short-lived. He would later be a member of another short-lived group called Winston’s Fumbs in 1967.

Acting
Winston was also an actor. His debut film role was as a member of Small Faces in the 1965 film Dateline Diamonds, although his first role as an actor was in an episode of the 1969 series Doctor in the House, portraying “Hairy”. Winston’s film and television credits would continue until the early 1980s, during which he appeared in all of the episodes of the 1972 Doctor Who serial Day of the Daleks, featuring Jon Pertwee as the then Doctor.

Winston’s last appearance on television was when he appeared on the show BBC2 Playhouse in 1983. Winston’s next credit wouldn’t be for another twenty six years, when he was interviewed for the Small Faces documentary Small Faces: All or Nothing 1965–1968 in 2009.

Death
Winston died on 26 September 2020, at the age of 75 after suffering from mesothelioma.

Solo
"Sun In the Morning" / "Just Wanna Smile" (1976)

with Small Faces
(While he is credited as the sole keyboardist on their first two singles, Winston is also credited on some tracks on four further albums released by the band)
 * "Whatcha Gonna Do About It" / "What's A Matter Baby" (1965)
 * "I've Got Mine" / "It's Too Late" (1965)
 * Small Faces (1966)
 * From the Beginning (1967)
 * The Autumn Stone (1969)
 * The BBC Sessions (1999)

with Jimmy Winston and His Reflections
"Sorry She's Mine" / "It's Not What You Do (But the Way That You Do It)" (1966)

with Winston's Fumbs
"Real Crazy Apartment" / "Snow White" (1967)

title: Jimmy Winston


text:
User:Nobs01/here's what we know

Here's what we know:
 * The monarchy is dead and it ain't coming back.
 * The monarchy is no more and no less than the Executive department of the Ancien regime.
 * The monarchy ruled by Divine Right, i.e. based on the Mosaic Law of inherited property rights, "Thou shalt not remove the ancient landmark", (Deut. 19:14; Deut. 27:17; Job 24:2; Job 24:13; Proverbs 22:28; Proverbs 23:10. Hosea 5:10).
 * The overthrow of the Divine Right had as its predicate the removal of God from his throne first, into order to remove God's flunky, the monarch. Removing God also dispensed with inherited property rights.
 * To argue the Jacobin "right" stood for restoration of the monarch solely, with no consideration of private property, property rights, and other God given rights, is a fallacious arguement.
 * Authoritarianism and Autarky are not the same thing, though they both may descend into dictatorship.
 * Fascism may be described as a restoration of authoritarianism or autarky in the executive department (hence, dictatorship), without being predicated upon property rights.

title: User:Nobs01/here's what we know


text:
Talk:Superabundant number

Could someone please include text in this article that intelligent non-mathematician's will understand? Thank you!

Ok, I get 'n' but what the heck is 'm'? Weavehole (talk) 12:37, 3 June 2010 (UTC)weavehole

 * m is any positive integer (whole number) that is less than n. The definition says that a positive integer n is superabundant if the ratio $$\frac {\sigma(n)}{n}$$ is larger for n than for any smaller positive integer. Gandalf61 (talk) 13:02, 3 June 2010 (UTC)

title: Talk:Superabundant number


text:
Abraham Nunez

Abraham Nunez may refer to:

 * Abraham Núñez (infielder) (born 1976), debuted in 1997 with the Pittsburgh Pirates
 * Abraham Núñez (outfielder) (born 1977), debuted in 2002 with the Florida Marlins

title: Abraham Nunez


text:
Vladimir Arsenyev

Vladimir Klavdiyevich Arsenyev, (Влади́мир Кла́вдиевич Арсе́ньев; 10 September 1872 – 4 September 1930) was a Russian explorer of the Far East who recounted his travels in a series of books — "По Уссурийскому Краю" ("Along the Ussuri land") (1921) and "Дерсу Узала" ("Dersu Uzala") (1923) — telling of his military journeys to the Ussuri basin with Dersu Uzala, a native hunter, from 1902 to 1907. He was the first to describe numerous species of Siberian flora and the lifestyles of native ethnic peoples.

Early life
Arseniev was born in St. Petersburg, Russian Empire. His father, born a serf, became the chief of the Moscow District Railway. After a military education, Arseniev began his expeditions to the forests of the Far East. He lived in Vladivostok through the years of the Russian Civil War and was a Commissar for Ethnic Minorities (Komissar po delam inorodcheskim) of the independent Far Eastern Republic. After the Far Eastern Republic was absorbed by Soviet Russia in 1922 Arsenyev refused to emigrate and stayed in Vladivostok.

Work
Arseniev is most famous for authoring many books about his explorations, including some 60 works on the geography, wildlife and ethnography of the regions he traveled. Arseniev's most famous book, Dersu Uzala, is a memoir of three expeditions in the Ussurian taiga (forest) of Northern Asia along the Sea of Japan and North to Vladivostok. The book is named after Arseniev's guide, an Ussurian native of the Goldi tribe (referred to as the Nanai people today). Eventually the book was made into two films, one by Soviet director Agasi Babayan in 1961, the other by Japanese filmmaker Akira Kurosawa in 1975. Kurosawa's Dersu Uzala won that year's Oscar for Best Foreign-Language Film. The third book of Arsenyev's trilogy, In the Sikhote-Alin mountains, was published posthumously in 1937.

Arsenyev's books have been translated into multiple languages including English, German, French, Spanish, Japanese, and more. The "Dersu Uzala trilogy" was first translated in 1924 into German as a two-volume set (In der Wildnis Ostsibiriens). More recently, in 2016 an uncensored, annotated edition of 1921's Across the Ussuri Kray was translated to English.

Personal life
Arseniev died in 1930 in Vladivostok at the age of 57. His widow, Margarita Nikolaevna Arsenieva, was arrested in 1934 and again in 1937 after being accused of being a member of an underground organization of spies and saboteurs allegedly headed by her late husband. The military court hearing of the case (21 August 1938) lasted ten minutes and sentenced her to death. She was executed immediately. Arsenyev's daughter Natalya also was arrested in April 1941 and sentenced to the Gulag.

Legacy
Arsenyev's family home in Vladivostok has been made into a museum. Arsenyev, a town located in Primorsky Krai, was named after him. In 2018 Vladivostok International Airport was renamed after him.

Works

 * "По Уссурийскому краю (Дерсу Узала). Путешествие в горную область "Сихотэ-Алинь" (Po Ussuriyskomu Krayu) (Vladivostok 1921), the first book of Dersu Uzala trilogy.
 * "Дерсу Узала Из воспоминаний о путешествиях по Уссурийскому краю в 1907 г. Владивосток" (Dersu Uzala) (1923).
 * "Dersu Uzala" translated by Malcolm Burr as "Dersu the trapper." Kingston, N.Y.: McPherson & Company, 1996.
 * "В горах Сихотэ-Алиня" (In the Sikhote-Alin Mountains), the third book of the Dersu-Uzala trilogy, published posthumously in 1937
 * "Мифы, легенды, предания и сказки народов Дальнего Востока" (Mify, legendy, predaniya i skazki narodov Dal'nego Vostoka) (Myths, legends, traditions, and fables of peoples of Far East). Monograph Series, International Institute of Ethnolinguistic and Oriental Studies (IIEOS),  ; 10, ISBN 83-902273-4-7

title: Vladimir Arsenyev


text:
File:WishForWingsBookCover.JPG

Summary
A Wish for Wings That Work book cover

title: File:WishForWingsBookCover.JPG


text: File:Stignatiusschoolbadge.png

title: File:Stignatiusschoolbadge.png


text:
Rueda, Valladolid

Rueda is a village and municipality in the province of Valladolid, part of the autonomous community of Castile-Leon, Spain. It is located 30 km southwest of the provincial capital, the city of Valladolid. The population is 1.614 This locality is also the center for the wine denomination Rueda (DO).

The region produces white wines made with grape varieties like: Verdejo, Viura, Sauvignon blanc, while the authorised red varieties are Tempranillo, Cabernet Sauvignon, Merlot and Garnacha.

title: Rueda, Valladolid


text:
Sunwoo Entertainment

Sunwoo & Company, Co., Ltd. (㈜선우앤컴퍼니) is an animation studio located in Seoul, South Korea. It was established as Sunwoo Production Inc. in 1974. It began by producing animation mainly for Disney Afternoon TV series, such as Chip 'n Dale Rescue Rangers, Bonkers and Darkwing Duck, and soon expanded by providing animation services for Nickelodeon shows like Rocko's Modern Life and Invader Zim, and other series like Duckman on USA Network and Fatherhood on Nick at Nite.

Many studios have been "spun off" from Sunwoo; the first to do so was Anivision, which was established in March 1991. Anivision worked on The Simpsons, with AKOM and Rough Draft Studios, and Rugrats, replacing Wang Film Productions for its 2nd season in 1992. Grimsaem Animation Co. Ltd., Seoul, Korea, which mainly does feature-length work for Nickelodeon, was established in March 1997. In April 1998, Sunwoo Digital International was established, whose most notable work was for the Fox TV series Family Guy. In April 2000, all of these spin-off studios were merged under the banner Sunwoo Entertainment, and it has remained that way ever since.

TV series/specials that Sunwoo has worked on

 * Chip 'n Dale Rescue Rangers (1989–1990, Seasons 2 and 3 only) - Sunwoo, the company's first notable U.S. work; 12 episodes: "Battle of the Bulge", "Ghost of a Chance", "A Case of Stage Blight", "Normie's Science Project", "Shell Shocked", "Mind Your Cheese and Q's", "When You Fish Upon a Star", "Rest Home Rangers", "Gorilla My Dreams", "A Fly in the Ointment", "A Chorus Crime" and "They Shoot Dogs, Don't They"
 * TaleSpin (1990–1991) - 23 episodes.
 * Darkwing Duck (1991–1992) - 40 episodes.
 * Sri Sairam Films (1991)
 * Winnie the Pooh and Christmas Too (1991) (ink & paint/camera services)
 * Goof Troop (1992–1993) - 17 episodes.
 * The Simpsons (1991–1999) - 57 episodes (Anivision, seasons 3-10).
 * Rugrats (1992–2004) - seasons 2-9
 * Cro (1993-1994)
 * Bonkers (1993–1994) - 20 episodes.
 * Rocko's Modern Life (1993–1996, animation services only) - 38½ episodes.
 * Aladdin (1994–1995) - 21 episodes.
 * Duckman (1994–1997) - 52 episodes.
 * Gargoyles (1994–1997) - 61 episodes.
 * Beavis and Butt-Head (1995–1997) (overseas animation only)
 * Dumb and Dumber (1995-1996) - 13 episodes.
 * Timon & Pumbaa (1995-1999)
 * Jumanji (1996–1999)
 * The Mighty Ducks (1996–1997)
 * Quack Pack (1996) - 20 episodes.
 * Spin Kicker (1996)
 * 101 Dalmatians: The Animated Series (1997–1998) - 7 episodes.
 * The Angry Beavers (1997–2001)
 * Johnny Bravo (1997) - a few Season 1 episodes.
 * King of the Hill (1997–2003, overseas animation only) - 3 episodes.
 * Pepper Ann (1997–2001)
 * Recess (1997–2001)
 * Space Goofs (1997–1998) (Season 1 only)
 * Bad Dog (1998–1999)
 * Hercules (1998–1999)
 * The Wacky Adventures of Ronald McDonald (1998–2003)
 * The Wild Thornberrys (1998–2004) - only for 12 episodes.
 * Family Guy (1999–2008) - Grimsaem/Sunwoo Digital in Seasons 1-2, Sunwoo in Seasons 2-6
 * The New Woody Woodpecker Show (1999–2000) - replaced by Mercury Filmworks for Season 3.
 * Milo's Bug Quest (2000)
 * As Told By Ginger (2000–2006)
 * Baby Blues (2000–2002)
 * Buzz Lightyear of Star Command (2000–2001, animation services only)
 * The Weekenders (2000–2004)
 * Invader Zim (2001, animation services only)
 * The Mummy (2001-2003)
 * Lloyd in Space (2001–2004)
 * Space Hip Hop Duck (2002)
 * The Fairly OddParents ("Crash Nebula" episode only)
 * Teamo Supremo (2002-2004)
 * Mr. Bean: The Animated Series (2002–2004)
 * Big Bear and Nanook (2003)
 * Mini B (2003)
 * WAB/Animal Baby (2003)
 * All Grown Up! (2003–2008)
 * Lilo & Stitch: The Series (2003–2006)
 * Yakkity Yak (2003)
 * Fatherhood (2004–2005)
 * American Dragon: Jake Long (2005–2007) (season 1 only)
 * American Dad! (2005–2007) (Seasons 1 to 3 production order only)
 * Mix Master (2005)
 * Curious George (2006-2015) (few Season 1 episodes)
 * Bloody Bunny (2006)
 * Ovni (2007)
 * Metajets (2008)
 * Special Agent Oso (2009–2012)
 * Kung Fu Dino Posse (2010-2011)
 * Mix Master Final Force (2010)
 * YooHoo and Friends (2011)
 * Tales of Friendship with Winnie the Pooh (2012)
 * Sofia the First (2013–2018) - 5 episodes: "The Shy Princess", "Baileywick's Day Off", "Two to Tangu", "The Buttercups", "Tea for Too Many"
 * Xiaolin Chronicles (2013–2014) - 7 episodes: "New Monk on the Block", "A Girl Named Willow", "The Fall of the Xiaolin", "Buddy Blu-ray and the Golden Bunnies", "Tokyo Madness", "Magic Stallion and the Wild Wild West", and "Back in the Flesh Again"
 * Muppet Babies (2018–2022)

Licensed content

 * Paul's Miraculous Adventure (1976–1977) for Tatsunoko Production
 * Colorful Crayon (2008)
 * Petit Petit Muse (2008) for Seoul Movie (succeeded by Soul Creative)
 * Transformers: Cybertron (2005–2006, with Gonzo)

OVA

 * Dooly's Journey to the World (1995)
 * Mulk & Swank's Music Show (1996, Co-Produced with Film Roman & Tooniverse)
 * My Friend Kommy (1997)
 * Curious Ping & Pong (2002)
 * The Night B4 Christmas (2003)

Flash animation

 * Mouth (2000)
 * Gold Fish (2000)
 * The Dunk/Dunk Shot (2000)
 * Twig & Reek (2000)
 * Heem-Man/Power Man (2000)
 * Secret of Penis Island (2000)
 * Click Click Rap/CLICK CLICK (2000)
 * Diving Contest (2001)
 * Whiteday (2001)
 * Mini B (2001)
 * GRASMAN (2001)
 * Subway 999 (2001)
 * PUFF (2001)
 * Hamilton's Cafe (2002)
 * Bizarre Dentist (2002)
 * K-diary (2002)
 * Boom Sisters (2002)
 * The Third Eye (2002)
 * Love Plus (2002)
 * Rangkas (2002)
 * Spaace HipHop Duck (2003)
 * Taxi Squadron (2003)
 * Dashing & Rushing JJang (2003)
 * Warys Parody (2003)

Films including work by Sunwoo

 * Beavis and Butt-Head Do America (overseas production)
 * The Rugrats Movie (animation and digital production services)
 * Rugrats in Paris: The Movie (digital production services)
 * Recess: School's Out (animation production, Sunwoo Animation Co., Inc.)
 * Rugrats Go Wild (animation production)
 * The Wild Thornberrys Movie (animation production)
 * Winnie the Pooh: A Very Merry Pooh Year (ink & paint/camera services)
 * Stewie Griffin: The Untold Story
 * Inside the CIA
 * Curious George (2006)
 * Yobi, the Five Tailed Fox / Cubby the Fox Yeu Woo Bi (2007)
 * The Illusionist
 * Dreamland Cartoon Theater
 * Starland Trio (별나라 삼총사) (1979)
 * Time Machine 001 (삼총사 타임머신 001) (1980)
 * Fifteen Children Space Adventure (15소년 우주표류기) (1980)
 * 3000 Leagues in Search of Mother (엄마 찾아 삼만리) (1981)
 * The Siren (2000) (produced by Pass21 Entertainment)
 * Wild Card (2003) (produced by C&Film / Yoojin E&C)
 * Liar (2004) (produced by Sunwoo Entertainment)
 * R-Point (2004) (produced by C&Film)
 * Some (2004) (produced by C&Film)
 * The Chronicles of Riddick: Dark Fury (animated and directed by Peter Chung)
 * Van Helsing: The London Assignment (produced by Universal Cartoon Studios)

Homepage

 * Sunwoo Entertainment Homepage (in Korean)
 * Sunwoo Entertainment Another Homepage

title: Sunwoo Entertainment


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Tom Hayward

Thomas Walter Hayward (29 March 1871 – 19 July 1939) was an English first-class cricketer who played for Surrey and England between the 1890s and the outbreak of World War I. He was primarily an opening batsman, noted especially for the quality of his off-drive. Neville Cardus wrote that he "was amongst the most precisely technical and most prolific batsmen of any time in the annals of cricket." He was only the second batsman to reach the landmark of 100 first-class centuries, following WG Grace. In the 1906 English season he scored 3,518 runs, a record aggregate since surpassed only by Denis Compton and Bill Edrich in 1947.

Career
Born on 29 March 1871 in Cambridge, Hayward came from a cricketing family: his grandfather, father and uncle had all played first-class cricket. Hayward himself made his debut for Surrey in 1893 and quickly established himself as an important part of the side, being capped in 1894 and receiving the accolade of Wisden Cricketer of the Year the following season. Although primarily a batsman, Hayward took 481 wickets in first class cricket, taking 114 in the 1897 season. GL Jessop referred to him as an awkward bowler, who bowled wide of the crease and achieved unexpected nip off the wicket that seduced the unwary batsman into an injudicious stroke.

From 1895 through to his final season in 1914, Hayward never once failed to reach 1,000 first-class runs, passing 2,000 on ten occasions and twice (in 1904 and 1906) scoring over 3,000; his 1906 aggregate of 3,518 (at 66.37 with 13 hundreds) established a record which stood until surpassed by Denis Compton and Bill Edrich in 1947. In 1898 he made his highest first-class score of 315 against Lancashire. In 1899 he and Bobby Abel put on 448 for Surrey's fourth wicket against Yorkshire. This remains the highest partnership for any wicket for Surrey. In 1900 he achieved the very rare feat of scoring 1,000 runs before the end of May.

Hayward's first Test match for England came on tour with Lord Hawke's side against South Africa at Port Elizabeth in 1895/96, and in his second Test (at Johannesburg) he hit 122 as England recorded an innings victory. In all, he played 35 times for England scoring three hundreds. In his last innings, coming against Australia in 1909, he was run out for six to finish just one run short of 2,000 for his Test career. He scored 130 at Old Trafford in the fourth Test of the 1899 Ashes series, batting at number six. He came in at 47 for 4 and enabled the final total to reach 372. It was described as "one of the great Test innings" by Ralph Barker. He followed that up in the fifth Test, at The Oval, with 137, putting on 185 for the first wicket with FS Jackson. He headed the batting averages for both sides in this series, in seven innings scoring 413 runs at 68.83.

Once Jack Hobbs made his Surrey debut in 1905, he and Hayward formed an effective opening partnership for the county. The pair put on a hundred or more for the first wicket on 40 occasions. They only played together once for England, opening the innings when Hayward was recalled for what was to prove his final Test, at Lord's in 1909.

Despite a gradual decline in his athleticism in his later career, Hayward remained an effective batsman well into his forties, and in June 1913 he scored his hundredth first-class century, becoming only the second batsman (after W. G. Grace) to achieve this feat. He made his 104th and final hundred in August 1914 against Yorkshire at Lord's (where Surrey played several "home" matches after World War I had begun), but made just one in his last innings of all, against Gloucestershire back at The Oval and on grounds of age did not resume his career after the end of hostilities. Surrey won the County Championship in his final season. Hayward had the rare honour for a professional of the time of captaining the side for six matches in August when the regular captain, Cyril Wilkinson, was unavailable, in preference to the young amateurs Donald Knight and Percy Fender.

Although primarily known as a batsman, Hayward was also an effective bowler for his county in the middle of his career. In 1897 he did the "double", with 1,368 runs and 114 wickets, and in 1899 he took two hat-tricks. His best bowling of 8–89 was achieved against Warwickshire at Edgbaston in 1901.

Hayward was respected as a model professional. Of his final years with Surrey, David Lemmon wrote: "He was the senior professional in all aspects, setting down standards of behaviour which others violated at their peril. He led by bearing and by example."

He stood in one first-class match as an umpire, the 1920 game between Oxford University and Essex. He died on 19 July 1939 in Cambridge at the age of 68.

title: Tom Hayward


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Category:Buffalo Bisons (NBL) players

This category is for players on the Buffalo Bisons, a professional basketball team that played in the United States' National Basketball League during the 1937–38 season.

it:Categoria:Cestisti dei Buffalo Bisons (1937-1938)

title: Category:Buffalo Bisons (NBL) players


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Jonathan Elias

Jonathan Elias (born 1956) is an American composer best known for his film soundtracks.

Background
Elias was born in New York City in 1956. He is of Jewish-Hungarian background. Elias started playing piano at the age of six, and was composing his own music by twelve, inspired in part by Broadway musicals. He liked rock music, but also admired Béla Bartók, Igor Stravinsky, and Sergei Rachmaninoff.

He attended the Eastman School of Music with aspirations of becoming a classical composer and conductor, and then Bennington College in Vermont in 1976. While still in school, he cut his teeth doing the music for movie trailers, most notably Alien, and later scored the trailers for Blade Runner, Gandhi, and Back to the Future. Elias went on to work on numerous movie soundtracks, starting with Children of the Corn and including Tuff Turf, Parents, Chaplin, and more.

1980s
He and his brother, Scott Elias, founded the music and advertising firm Elias Music in 1981.

He met John Barry (of James Bond soundtrack fame) in the early 1980s, and began working with him on several movie soundtracks, including Jagged Edge and A View to a Kill. It was during the A View to a Kill sessions in 1985 that Elias met and became friends with the members of pop group Duran Duran (they performed the title song for the movie).

While working on the soundtrack to the film 9½ Weeks the year after that, Elias co-wrote the single "I Do What I Do" with Duran Duran's bassist John Taylor, who performed the vocals — his first solo venture. The song went to #42 on the UK Singles Chart, and to #23 on the Billboard Hot 100 in the US. Elias and Taylor also co-wrote and co-produced the melancholy piano instrumental "Jazz", released on the b-side of the single. Elias and Taylor went on to co-write an album's worth of additional unreleased material together that year, which would eventually be collected on Taylor's 1999 album Résumé.

Elias produced an album for Grace Jones and co-produced (with Daniel Abraham) Duran Duran's 1988 album Big Thing. He also returned to play Moog synthesizer on Duran Duran's 1995 album Thank You.

In 1989, Elias recruited the entire Duran Duran lineup for his first solo album, called Requiem for the Americas. The most recognizable of Duran Duran's contributions to the album was vocalist Simon Le Bon's solo track "Follow In My Footsteps", which also featured The Bangles vocalist Susanna Hoffs on backup vocals. John Taylor played bass on "The Chant Movement", with other Duran members adding their instrumental touches on various tracks. Other vocalists on the album included Grace Jones, Toni Childs, Michael Bolton, Patti Scialfa, and Jon Anderson.

1990s—2000s
Elias then worked with the band Yes on their 1991 album Union. Many band members were not speaking to each other, and the disjointed working atmosphere and the involvement of outside musicians (which allowed the piece to be finished at all) led to an uneven album which was generally unpopular with critics and fans. Elias was often blamed for the album's failure.

In 1992, Elias moved to California, and shifted his focus from movies and rock music to advertising. His firm Elias Arts has won an Emmy Award for the "Move" theme for Nike Inc., and has garnered dozens of Clio Awards and other advertising trophies for work for top-line corporations such as Ford, GM, Nissan, Audi, Infiniti, Mercedes, AT&T, NASDAQ, IBM, Apple, Sony, Levi's, and Adidas.

In 1992–1993, he composed the fanfare for the 1993 Columbia Pictures logo debuting with the 1993 film Last Action Hero, and is still used till this day.

Elias released another solo project, The Prayer Cycle, in 1999. This is a nine-part contemporary choral symphony in twelve languages (including Hebrew, Latin, Swahili and Urdu). Vocalists on this album include Alanis Morissette, Linda Ronstadt, James Taylor, Ofra Haza, Nusrat Fateh Ali Khan, Salif Keita, and Yungchen Lhamo of Tibet.

In 2004, he released American River, a work combining piano and string quartet compositions with spoken word performances by Emmylou Harris, Kris Kristofferson, Marty Stuart, Rosanne Cash and Johnny Cash (in one of his last recorded works). American River was nominated for a Grammy Award for Best New Age Album in that year.

He also collaborated with Robert Downey, Jr. on his 2004 solo album The Futurist and on the soundtrack for Downey's film The Singing Detective. , his most recent movie work has been on A Guide to Recognizing Your Saints (2006) and Pathfinder (2007), with the help of co-composers Jimmy Haun, David Wittman, Nathaniel Morgan and Tim Davies.

His most recent album is Prayer Cycle 2: Path to Zero, released in 2011. Guest vocalists this time include Sting, Salif Keita, Rahat Nusrat Fateh Ali Khan, Jonathan Davis of Korn, Jon Anderson, Trudie Styler, Angelique Kidjo, Richard Bona, Yungchen Lhamo, Dadawa, Robert Downey, Jr., Sinéad O'Connor, Serj Tankian, Alex Ebert and, via an archival recording, Jim Morrison.

Personal life
Elias married Patty Kelly, a model from Deer Park, Long Island who was working in London at age 20 when she became the lead in the iconic MTV music video "Addicted to Love" by Robert Palmer. The couple had two children, Lilli and Jack Elias (born in ~1996 and ~2001 respectively) and later divorced. In a 2013 interview, Patty explained that the two were not aware of their MTV connection, with him having done the signature guitar riff for the channel idents and her performing in this music video, until "maybe on our second or third date".

Solo albums

 * Requiem for the Americas: Songs from the Lost World (1990)
 * The Prayer Cycle (March 23, 1999 Sony Classical)
 * American River (August 24, 2004 Decca Records)
 * Prayer Cycle: Path to Zero (2011, Across the Universe Records)

As record producer (selected discography)

 * Big Thing (1988), Duran Duran
 * Gutterboy (1990), Gutterboy
 * Bulletproof Heart (1989), Grace Jones
 * Union (1991), Yes
 * The Futurist (2004), Robert Downey, Jr.

Film and television scores

 * Children of the Corn (1984)
 * Tuff Turf (1985)
 * Almost You (1985)
 * Jagged Edge (1985), synth programming only
 * Vamp (1986)
 * 9½ Weeks (1986), title song only
 * Two Moon Junction (1988)
 * Shakedown (1988)
 * Parents (1989)
 * Far From Home (1989)
 * Rude Awakening (1989)
 * Forced March (1989)
 * Chaplin (1992), title song only
 * The Heart of Justice (1992)
 * Morning Glory (1993)
 * Leprechaun 2 (1994)
 * Jailbait (1994)
 * Recon (1996)
 * The Century: America's Time (1999) (mini) TV mini-series
 * The Invisible Man (2000) TV series
 * A Guide to Recognizing Your Saints (2006)
 * Second Generation (2006) TV advertisement
 * Pathfinder (2007)
 * Fighting (2009)
 * Children of the Corn (2009) TV movie

title: Jonathan Elias


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Mokona

Mokona (もこな) is the pen name of the lead artist, colorist, and composition designer of the all-female manga-artist team Clamp. She was formerly known as Mokona Apapa (もこな あぱぱ); she dropped her last name because she claimed it sounded too "immature". Clamp has had a huge impact on the "manga explosion" according to an account in The New York Times in 2006. Their artwork has been characterized as "wispy", "fluid", and "dramatic" which has resonated with both male and female demographic readers of manga. The Tsubasa manga sold over a million copies in the United States, and television programs and DVD spinoffs based on the concept have been successful as well.

title: Mokona


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René, Duke of Alençon

René of Alençon (1454 – 1 November 1492) was a French nobleman. He succeeded his father John II of Alençon as Duke of Alençon.

Life
René was born in 1454 to the House of Valois-Alençon. He was the son of John II of Alençon and Marie of Armagnac.

In 1478, he was restored as Duke of Alençon and Count of Perche, titles which had been confiscated from his family after his father's conviction in 1474.

Family
His first wife was Marguerite, daughter of William of Harcourt, Count of Tancarville.

He married a second time on 14 May 1488 at Toul, to Margaret of Lorraine (1463 – 1 November 1521), daughter of Frederick, Count of Vaudémont and Yolande of Anjou. Margaret bore him three children:

 * 1) Charles IV of Alençon (1489–1525)
 * 2) Françoise of Alençon (c. 1490 – 14 September 1550, La Fleche), Duchess of Beaumont, married 1505 in Blois, François, Duke of Longueville (d. 1512), married 1513 Charles, Duke of Vendôme
 * 3) Anne (30 October 1492 – 18 October 1562, Casale Monferrato), Lady of la Guerche, married 31 August 1508 in Blois William IX Paleologos, Marquess of Montferrat

He also had several illegitimate children:
 * 1) Charles (d. 1545), Lord of Cany
 * 2) Marguerite, married 1485 Jacques de Boisguyon, married Henri de Bournel
 * 3) Jacqueline, married Gilles des Ormes

title: René, Duke of Alençon


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Italy at the 1896 Summer Olympics

One competitor from Italy was present at the 1896 Summer Olympics. He competed in shooting. Italy was one of four nations present that won no medals; Sweden, Chile and Bulgaria were the others. Italy's competitor, Rivabella, entered one event in the shooting program.

A second Italian was present in Athens. Carlo Airoldi had walked most of the way from Milan, but was disqualified because he had received prize money in athletics events and was therefore not an amateur.

Competitors
The following is the list of number of competitors in the Games.

Shooting
Rivabella was somewhere between 14th and 41st place, with a score less than 845.

title: Italy at the 1896 Summer Olympics


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Talk:List of political parties in Brazil

Deletion
I am following the discussion on this page for a long time, and I don't have any hope that it will become something different then a extension of the political battlefield. The proposed classification is opinative and not factual, and therefore completely out of the WP policies. Unless information stated in this article may be properly sourced, I intend to propose the article for deletion due to the lack of compliance with WP:NOR. M.Campos (talk) 13:33, 13 October 2008 (UTC)

- Sorry, I see I exagerated in my position above. Instead of proposing the article for deletion, I am chalinging whole information stated in the "Ideology" columns. I understand the unsourced content must be removed.M.Campos (talk) 13:37, 13 October 2008 (UTC)

 * The parties's ideologies put here are those discussed and included in the articles of the single parties, so I ask you not to do such changes. --Checco (talk) 14:29, 13 October 2008 (UTC)

 * Please note the agreement achieved between some contributors and the fact that the same policy breach was spread through other articles does not cancel the need to comply with WP policies.  The extension of the talk page already proves the ideology classification is oppinative in its nature.  No reliable source is stated to support the information and there are no even clear criteria to classify the parties.
 * The current state carries a major misconception of the Wikipedia nature. WP is not the place where the truth is to be established. It is the repository of concepts already generally accepted as the current state of knowledge.
 * The article breaches WP:NOR and WP:V, two out of three WP core content policies (the third is WP:NPOV, but I am not complaining on any particular bias) . If the subject is controversial, WP must limit itself to state the controversy exists. So I think I have very valid point here.
 * I still think deletion of the ideology classification is the right thing to do (and I feel authorized by WP:V to proceed with it). But as a compromise solution (what is bad but better then edit war I am not willing to enter) I propose the article to include a statement that clearly shows the ideology classification is controversial and most of parties hardly behave coherently in line with their supposed ideological alignment. That would turn the aticle less misleading. Do you think that is a workable way to set the issue?M.Campos (talk) 14:55, 14 October 2008 (UTC)
 * For me it's OK, but I would like to know the opinion of the Brazilian users who edited the article. Anyway, the intro already states that "The ideologies of the different parties should be taken with a grain of salt, as many of them are in fact loose coalitions of local and individual leaderships". --Checco (talk) 15:43, 14 October 2008 (UTC)

I agree that all such claims on ideology should be sourced. Currently, the only two references mentioned in the article are clearly partisan.Giorgioz (talk) 14:21, 6 December 2008 (UTC)

Suggestion
After taking a look at other "party list" articles, I think a better compromise would be to remove the 'ideology' columns from the table and leave the discussion of such matters to the individual pages on the parties. As far as I know, no other article intended to merely list a country's political parties includes information on ideology.Giorgioz (talk) 14:56, 6 December 2008 (UTC)
 * In fact actually the ideology columns in the party list are filled out with what was inserted, decided or discussed in the individual articles on the parties, so I don't see the problem and I would prefer to leave things as they are now. --Checco (talk) 10:51, 9 December 2008 (UTC)

Representation
The "Summary of parliamentary Parties" section is out of date, and by the nature of things this is likely to happen again quite soon even if someone take the trouble to update it. Since it does no more than duplicate information in Federal Senate and Chamber of Deputies (Brazil) I suggest this section is deleted (perhaps with a reference out to these other two pages). Bagunceiro (talk) 16:01, 8 November 2014 (UTC)

New National Renewal Alliance
The party "New National Renewal Alliance" isn´t National Renewal Alliance (this was dissolved in 1979, and is listed on table "Historical"). Party "New National Renewal Alliance" (listed on table "Non-registered"), was founded in 2012, per Movimento de Recriação da Aliança Renovadora Nacional (Recreation Movement of National Renewal Alliance), as a new party, renamed to "new", still awaiting registration. See also Partidos em estabelecimento (Parties in establishing) and Lista de partidos políticos brasileiros extintos (List of extinct Brazilian political parties) PauloMSimoes (talk) 02:12, 30 March 2017 (UTC)

Ideology column is important, actually
I think that the ideology column in the currently-registered parties is important because it gives a quick snapshot of what each party stands for. This makes it more convenient for laymen when analyzing Brazil's political situation at a glance, even if a bit of accuracy must be traded off in order to achieve this.

If someone knows how to automatically extract a pre-defined segment of one article (the party's page) and transpose it to another (the table of political parties in Brazil) it would streamline the editing process, ensuring accuracy across all documents. CorruptSnowflake (talk) 00:38, 16 March 2023 (UTC)

Move discussion in progress
There is a move discussion in progress on Talk:List of political parties in Abkhazia which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 16:19, 29 March 2024 (UTC)

South African Parliament Seats Improved
Hi,Regardless of the new parliament house of South Africa final votes calculation and occupational of the new members those who will be their first-time to experience the warmness of the seats won by those looking forward to the president seat and that was just a joke by the MKP and the aim was to reduce the number of opposition political parties voters votes against the ruling party ANC and the DA,EFF and others they did not do well this time. Amooketsi the ballot was not the cold war was just a war if the Jacob Zuma Face was not attached and the IEC was this time very wise and clever to print the face of the former president face and according me is a beautiful lies of this year 2024 general elections and thats meas the ANC is forever and there is no other way.Thats what I called Something is for things.


text:
Category:Spirits of St. Louis players

Past players for the Spirits of St. Louis, a basketball team in the American Basketball Association until the ABA–NBA merger in 1976.

title: Category:Spirits of St. Louis players


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Tsubaki Nekoi

Tsubaki Nekoi (猫井 椿), formerly Mick Nekoi (猫井 みっく), is a member of the all-female manga-creating team Clamp. She is the co-director and her duties in the team include applying screentones and correcting manga illustrations. She was also the lead artist (a role that normally falls to Mokona) on Legal Drug, The One I Love, Wish, Suki and xxxHolic. As the lead artist in xxxHolic, she is in charge of drawing the male characters while Mokona is responsible for the female characters.[xxxHolic Guidebook (November 2006)]

For Clamp's 15th Anniversary in 2004, she and the other three members of Clamp changed their names because they reportedly wished to try new monikers.

title: Tsubaki Nekoi


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New Town Hall (Prague)

The New Town Hall (Novoměstská radnice, Neustädter Rathaus) is the administrative centre of Prague's (medieval) New Town Quarter, or "Nové Město". In 1419 it was the site of the first of the three defenestrations of Prague.

title: New Town Hall (Prague)


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Talk:Arnulf of Metz

old talk
Does anyone know anything about this Mellobaude descent?

To me it looks quite dubious, especially

 * Cloderic of Cologne (477 -509) married Parricide

The thing is tht Cloderic murdered his father and hence can be surnamed "Parricida" (Father-killer). It doubt it very much, that he had married a woman of that name, even if a woman of such a name would have existed (which is more than doubtful).

Str1977 22:22, 10 July 2005 (UTC)
 * I agree. One presumes that Parricide's father would have stepped in at some point during the naming process.  When you add the unlikelihood that a woman with such an unfortunate name should marry a man who had killed his father (the irony would be a bit too great, I think), it makes the assertion unbelievable.  Unless some pretty fine substantiating evidence appears in the next few days, I think removing the list is a reasonable response. Jwrosenzweig 08:27, 12 July 2005 (UTC)

Before his consecration?
I believe he was married while bishop. That was then legal, I think. Can anybody confirm this? If so, when were the children born? Srnec 02:58, 29 November 2005 (UTC)

Indeed, he was already married, BUT his wife had become a nun before his consecration. This was legal up to the late Middle Ages. Arnulf then in turn became a priest himself. Therefor the office of bishop of Metz was offered to him because he already was a priest. The Count of Zielin (talk) 18:32, 21 July 2015 (UTC)

Two hop-picking, brewing Arnulf/Arnolds
An editor inexperienced in hagiography has decided which Arnold is the beer brewer's saint, and is determined to suppress the following Wikipedia text: "Arnulf or Arnold of Metz competes with the eleventh-century Arnold of Soissons for the identity of the Saint Arnold who is patron of hop-pickers." This neutral bit of text, supported even by the iconography of the two saints, is useful information. There's no reason to suppress it. On what basis is this being challenged: perhaps only because the Saint Arnold Brewing Company of Houston, Texas has picked one over the other and has had a link inserted into this text? --Wetman 05:45, 8 July 2007 (UTC)

 * Was it really necessary to cast such aspersions in my direction? I have made no such decision. Nor was I the editor to originally include the information about the brewery.

 * It turns out that there are several saints who are identified as patron saints of brewers. Curiously enough, I notice, Arnulf of Metz is not one of them. Perhaps Mr. Wagner's research was faulty. I simply question the use of "competes with" when used in these articles. How can two dead guys compete with one another?

 * On the other hand, while reviewing my edits to this article, I discovered that my reversion of this edit was in error (I was tired and read it wrong?) My apologies to the previous editor. — Travis talk  13:11, 8 July 2007 (UTC)

 * Please note, Gentle Reader, that Wetman's complaint
 * An editor inexperienced in hagiography has decided which Arnold is the beer brewer's saint
 * is not addressed by this neutral bit of text
 * "Arnulf or Arnold of Metz competes with the eleventh-century Arnold of Soissons for the identity of the Saint Arnold who is patron of hop-pickers."

 * For full disclosure, yes, I have been known to enjoy a St. Arnold beer on occasion, have visited the brewery, and chatted with the owner. That is what originally piqued my interest in this article and why, in my wiki-inexperience, I inserted a commercial link where it didn't belong. I quickly learned the error of my ways and have since become a patroller for inappropriate commercial links, amongst other things. See for yourself. — Travis talk  12:32, 9 July 2007 (UTC)

He is my direct paternal ancestor!
Im related to him.

I'm his direct ancestor as well, as are probably most people of French descent, just most people don't have complete records showing a direct line of descent. Camelbinky (talk) 00:25, 4 October 2008 (UTC)

 * You have to give me the ingredients for your anti-aging lotion, then. ;-)
 * This here just as a caveat: Of course rich and influential people have usually had more descendants than poor people, so we can assume quite a number of people to have descended from Arnulf and other nobs of his days. But take a look at a few of the very popular "descent from Charlemagne" genealogies and you will find that, generally, it was gaps in the records of maternal ancestry for counts and dukes of the High Middle Ages which were more or less arbitrarily filled with women of actual or alleged Carolingian descent. The largest part of commonly accepted, "traceable" lines of descent from the Carolingians are more than badly flawed by genealogical gap-filling. The Carolingians were the most popular ancestors by far, so don't believe everybody who claims to have descended from them. Trigaranus (talk) 09:52, 7 October 2008 (UTC)

 * I think also one needs to consider the fact that as one progresses further back up one's genealogy that the earlier we get the human population diminishes, thus the further we go back the more likely we are to find ourselves an ancestor "worth claiming"! Proberton (talk) 11:31, 23 October 2008 (UTC)

Why was he sainted?
What did he (or his relics do) that made him eligible to be a saint? Rmhermen (talk) 04:29, 13 November 2008 (UTC)

Arnulf became a very religious person after he had become bishop and did his job very dutiful. As you can see from the legends, he was very sorry for the things he had done before his consecration. That was also the reason why he gave up his office voluntarily and became an eremite instead. Due to his influence on the evolvement of the Carolingian Empire, his love for God and care for subjects of his diocese (and not to forget the influence of the Caroligians on the pope) he was sainted, since there was some evidence and it was a harmless way of pleasing the Carolingians. The Count of Zielin (talk) 18:39, 21 July 2015 (UTC)

When did he die?
I ask because the article opens by saying 640, but elsewhere "c. 645" and "some time between 643 and 647". And the story of the third legend places his death before July 642. I have no idea what the answer is, but the article should be internally consistent. — JLundell  talk   23:00, 15 July 2018 (UTC)

 * Seems like somebody just split the difference and landed on 645. Very weird. RakdosWitch (talk) 20:57, 2 November 2023 (UTC)

Russell Wilson
He is Russell Wilson’s great-great-great-great-great-great-great-great-great-great-great-great-great-great-great-great-great-great-great-grandfather. Broncos country, lets lose 12-9. 50.4.117.105 (talk) 02:29, 8 October 2022 (UTC)

title: Talk:Arnulf of Metz


text:
Wikipedia:Articles for deletion/Ammu-Nation

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

The result of the debate was keep and redirect to Grand Theft Auto (series). Eliot 16:31, 25 July 2005 (UTC)

Ammu-Nation
Redirect I don't see how this will ever be more than a stub. Specific details about Ammu-Nation can go in the various GTA articles. Nothing much can be said about Ammu-Nation except in the context of a particular game. Friday 22:23, 10 July 2005 (UTC)

Delete no potential to be more than a stub, should possibly be mentioned on the GTA articles. Jtkiefer 22:39, July 10, 2005 (UTC)
 * Delete, with a heavy heart. No real potential, but will definately need to be worked into the articles. -mysekurity 22:55, 10 July 2005 (UTC)
 * Delete as well. Can't see this going anywhere really as they have no history, not executive structure, no real products... Sasquatch′↔Talk↔Contributions 22:57, July 10, 2005 (UTC)
 * Keep, recurring feature in an extremely notable series of games. Kappa 23:28, 10 July 2005 (UTC)
 * Redirect to Grand Theft Auto (series). Ammu-Nation is mentioned in the Grand Theft Auto: Vice City article, and does not really need to be mentioned by name in any of the specific game articles, so long as its function is described. NatusRoma 23:30, 10 July 2005 (UTC)
 * Redirect to Grand Theft Auto (series), nothing to be said about it in its own article. Dcarrano 23:39, July 10, 2005 (UTC)
 * Comment Changed vote to redirect above, pointing this at Grand Theft Auto (series) as per above sounds good to me. Friday 00:38, 11 July 2005 (UTC)
 * Delete. Dicdef and fancruft. Kaibabsquirrel 03:29, 11 July 2005 (UTC)
 * Delete fancruft dicdef. JamesBurns 08:52, 11 July 2005 (UTC)
 * Keep notable shop.  Grue   20:05, 12 July 2005 (UTC)
 * Comment This can be turned into something that is NOT a stub, prehaps a list of where the shops are in the games, the weapons in each shop, etc etc. Mrdie
 * Comment I agree with Mrdie. Tunney 02:37, 18 July 2005 (UTC)
 * Redirect per above. We really don't need the list described by Mrdie and unless somebody's likely to put together an interesting article about the shop I can't see the merit of this stub. Flowerparty 17:34, 20 July 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
User:Warisill

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title: User:Warisill


text:
Satsuki Igarashi

Satsuki Igarashi (いがらし 寒月) is a member of the all-female manga-creating team Clamp. Her duties in the team are Nanase Ohkawa's sounding board, and the character designer of Chobits and line artist for Tsubasa: Reservoir Chronicle.

Like the other members of Clamp, she changed her name as part of the group's 15th Anniversary, however, for her it was only in the Japanese name from 五十嵐 さつき to いがらし 寒月.

According to Clamp's The One I Love, Satsuki was bullied as a child in kindergarten by a group of boys. However, there was one boy who always stood up for her, and Satsuki developed a crush on him.

title: Satsuki Igarashi


text: Category:Carolina Cougars players

title: Category:Carolina Cougars players


text:
Sweden at the 1896 Summer Olympics

One competitor from Sweden was present at the 1896 Summer Olympics. He competed in athletics and gymnastics, with 5 entries in as many events. Sweden was one of four nations present that won no medals; Italy, Chile and Bulgaria were the others.

Competitors
The following is the list of number of competitors in the Games.

Athletics
The high jump was Sjöberg's most successful event, as he took 4th in it. He took either 4th or 5th in his heat in the 100 metres, needing 2nd to advance to the final. In the long jump, he placed somewhere between 5th and 9th, jumping something less than 5.74 metres. He was again somewhere between 5th and 9th in the discus throw, with a distance less than 25.20 metres.

Track & road events

Field events

Gymnastics
Sjöberg did not place in the vaulting competition.

title: Sweden at the 1896 Summer Olympics


text: Talk:Masanobu Fukuoka

title: Talk:Masanobu Fukuoka


text: File:Out of the silent planet album cover.jpg


text:
User talk:Warisill

Welcome!

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text:
Byrds (album)

Byrds is the twelfth and final studio album by the American rock band the Byrds and was released in March 1973 on Asylum Records. It was recorded as the centerpiece of a reunion among the five original band members: Roger McGuinn, Gene Clark, David Crosby, Chris Hillman, and Michael Clarke. The last time that all five members had worked together as the Byrds was in 1966, prior to Clark's departure from the band. During the reunion, the current, latter-day lineup of the band continued to make live appearances until February 1973, with McGuinn being the only member common to both versions of the group.

Upon its release, Byrds received generally poor reviews, with many critics bemoaning a lack of sonic unity and the absence of the Byrds' signature jangly guitar sound among the album's shortcomings. Nonetheless, the album reached number 20 on the Billboard Top LPs & Tapes chart and was also moderately successful in the United Kingdom, where it reached number 31. In the U.S., Byrds was the band's highest charting album of new material since 1965's Turn! Turn! Turn!, which had also been the last Byrds' album to feature Clark as a full member. Three of the album's songs, "Full Circle", "Things Will Be Better", and "Cowgirl in the Sand", were released as singles during 1973, but none of these releases became hits.

Background
By 1972, the Byrds' guitarist and leader, Roger McGuinn, had grown dissatisfied with the current version of the group. As the only member to have remained consistent since the band's inception in 1964, McGuinn had steered the Byrds through an array of lineup changes during the late 1960s. The band's membership had finally stabilized in 1970, but by early 1972 dissension was brewing due to disagreements over band members' pay. As a result of this, Gene Parsons (the band's drummer since 1968) was fired by McGuinn in July 1972 and replaced by session musician John Guerin. The Byrds continued to tour and record sporadically throughout 1972, but no new single or album was forthcoming.

Concurrently, the four ex-members of the Byrds who, along with McGuinn, had comprised the original mid-1960s lineup of the band, were, to an extent, at loose ends: David Crosby had completed his recording and touring obligations for the Graham Nash/David Crosby album; Chris Hillman's work with the Stephen Stills-helmed band Manassas was paused while the band were on hiatus; Gene Clark's critically lauded but financially unrewarding solo career was in need of a boost; and Michael Clarke had been without a band since the break up of the Flying Burrito Brothers in 1971. Furthermore, none of the five original band members' careers—with the exception of Crosby's—had been as financially rewarding as during The Byrds' mid-1960s heyday.

Tentative discussions between the five original members of the band, regarding a possible reunion, had taken place as early as July 1971, around the time that the then current lineup of the Byrds were recording their final album, Farther Along. News of these discussions was leaked to the British music press, and in late January 1972, one week after the UK release of Farther Along, the front page of Disc and Music Echo featured the headline, "Original Byrds To Reform?" The attendant article suggested that the reunion album would be a one-off project and that the current lineup of the Byrds would continue to tour and record, with no question of disbanding.

Meanwhile, with the successful supergroup Crosby, Stills, Nash & Young on indefinite hiatus, while the individual members worked on other projects, managers David Geffen and Elliot Roberts had seen their attempts to bring a new CSNY album to the marketplace thwarted. In the absence of any new Crosby, Stills, Nash & Young product, Geffen became acutely aware that a historic reunion of the original Byrds could prove to be highly lucrative for all concerned. Thus, in mid-1972, Geffen weighed in with a substantial offer to the five original members to record a reunion album for his Asylum label.

The reunion actually took place in early October 1972, beginning with a rehearsal at McGuinn's house, where the band initially worked on one of the guitarist's new songs. Significantly, the group played none of their old material during this first rehearsal, but instead concentrated on selecting suitable songs for a new project. All five musicians were encouraged by the rehearsal and felt sure that they could recreate the magic of the Byrds' golden era. Consequently, they agreed to commence the recording of their first album together in seven years, with the last time that all five had worked together as the Byrds being early 1966, prior to Gene Clark's departure from the band.

However, the reunited group were determined that the internal conflict that tore them apart during the 1960s would not be allowed to rear its head again. It was therefore agreed that they would not be a band in the traditional sense, but rather a loose arrangement of solo artists, akin to the modus operandi of Crosby, Stills, Nash & Young. With considerable leverage from Geffen, McGuinn managed to secure permission from Columbia Records—to which he was still contracted—to record a one-off album for the Asylum label. As part of the deal, Clive Davis, the president of Columbia Records, specified that McGuinn and Crosby would be required to record a joint album together for Columbia, which was to be released in 1973. However, this planned Crosby/McGuinn album failed to materialize, due to Davis being fired from Columbia shortly after the exchange deal was struck. While the original quintet prepared to record the reunion album, the existing Columbia lineup of the Byrds, featuring McGuinn, Clarence White, Skip Battin, and John Guerin, continued to make concert appearances in the United States.

Recording
Recording sessions for the reunion album began on October 16, 1972 in room #4 of Wally Heider's Studio 3 recording facility in Los Angeles and continued until at least November 15, 1972. During these sessions, the band recorded all eleven of the songs that would appear on the finished album and at least two outtakes: the McGuinn and Jacques Levy penned "My New Woman" and the traditional folk song "Fair and Tender Ladies".

In 2009, a cache of multitrack tapes dating from the Byrds' reunion sessions and featuring a number of alternate versions and at least one outtake were discovered. The tapes include work-in-progress versions and alternate takes of the songs "Laughing", "(See the Sky) About to Rain", and "Long Live the King" (listed on the tape box under its working title of "The King Is Dead"). In addition, the tapes also contained three different versions of the traditional song "Fair and Tender Ladies". Reportedly, one of these versions of the song features Crosby singing lead vocals, while the other two feature Clark. Also included among the recordings is a track with the title "The Circle Song", but it is not known whether this refers to the Clark penned "Full Circle" or to another previously undocumented outtake—perhaps a cover of Joni Mitchell's "The Circle Game"? Although it was not included on the reunion album, the Byrds' recording of McGuinn and Levy's "My New Woman" was later released on the guitarist's 1973 solo album, Roger McGuinn.

Following completion of the album's recording sessions, Crosby reached an agreement with McGuinn to dissolve the latter-day lineup of the Byrds, who were at that time still working as a touring band. Crosby had long been vocal about his displeasure over McGuinn's decision to recruit new members following his dismissal from the band in 1967 and had publicly stated his opinion that, "there were only ever five Byrds." In the new spirit of reconciliation fostered by the reunion, and as a result of his own growing dissatisfaction with the current incarnation of the band, McGuinn acquiesced and permanently disbanded the latter-day lineup of the Byrds in February 1973.

The tracks that would make up the finished album included two from each of the four songwriters in the band, as well as a Joni Mitchell cover and two songs written by Neil Young. At the time of the album's release, much was made in the music press over the lack of any Bob Dylan songs, since the Byrds had covered Dylan's material frequently during the 1960s. This criticism prompted Crosby to contend that Young was the great songwriter of the 1970s, just as Dylan had been for the 1960s, and therefore it was entirely appropriate that the Byrds should be covering Young, rather than Dylan.

Music
The opening track on the album, Clark's "Full Circle", had initially given the album its working title, but Clark was concerned that the public might mistakenly assume that the song had been written specifically for the Byrds' reunion. As the band's biographer Johnny Rogan has remarked, the song's wheel of fortune motif certainly seemed applicable, but the song actually predated the reunion, as Clark explained during a 1979 interview: "I'd already recorded that song a couple of years earlier and it wasn't really written about anything specific. It was just an idea I had." Not only had the song been written by Clark prior to the Byrds' reunion, but by the time that Byrds was released, it had also recently been issued under the alternate title of "Full Circle Song" on Clark's Roadmaster album.

A second Clark original included on Byrds was "Changing Heart", a meditation on the pitfalls of stardom. Clark was also featured singing lead vocals on the album's pair of Neil Young covers. The decision to cover Young's "Cowgirl in the Sand" and "(See the Sky) About to Rain" was made by Clark, who had long admired the Canadian singer–songwriter, and not by Young's CSNY bandmate David Crosby, as was assumed by the press. Rogan has described "Cowgirl in the Sand" as making striking use of the band's crystal clear harmonies, while Clark's harmonica playing lends the song a distinctive country flavor, in keeping with the song's subject matter. "(See the Sky) About to Rain", on the other hand, featured mandolin playing from the band's bassist Chris Hillman and climaxed with a chiming finalé, featuring the Byrds' signature jangling Rickenbacker guitars. The Byrds' version of "(See the Sky) About to Rain" was released over a year before it appeared on Young's 1974 album On the Beach.

"Sweet Mary", co-written by McGuinn and Jacques Levy, saw the Byrds' lead guitarist reverting to a folkier style of songwriting than he had exhibited of late, with Hillman again contributing some prominent mandolin to the song. McGuinn's other songwriting contribution to Byrds was "Born to Rock 'n' Roll", a semi-serious, autobiographical contemplation of the guitarist's career as a professional musician. The song had initially been recorded by the latter-day lineup of the Byrds in July 1972 for possible release as a single, but ultimately that version had been shelved and remained unreleased at the time. McGuinn decided to make another attempt at producing a definitive recording of the song during the reunion sessions, resulting in a rendition that the guitarist himself was dissatisfied with. McGuinn would later record the song for a third time on his 1975 solo album Roger McGuinn & Band, but yet again he was unhappy with the end result, leading him pointedly to conclude in a later interview that "'Born to Rock 'n' Roll' was a dog."

Hillman contributed two songs to the album, both co-authored with ex-Manassas bandmates: "Things Will Be Better", co-written with drummer Dallas Taylor, and "Borrowing Time", co-written with percussionist Joe Lala. The former song deals with the unpredictable nature of fame and stardom, a theme that was echoed in Clark's "Full Circle" and "Changing Heart".

Crosby contributed the song "Long Live the King", a cynical commentary on the star-making mechanics of the music business, which Byrds expert Tim Connors has described as ironic, since it was precisely those same materialistic business practices that had enabled The Byrds' reunion to transpire in the first place. Crosby also chose to revisit the song "Laughing", which had already been released on his first solo album, If I Could Only Remember My Name, in 1971. Crosby's rationale for re-recording the song was that he had originally written "Laughing" during his last days as a member of the Byrds in 1967; as such, it had initially been intended for inclusion on a Byrds album. The version of "Laughing" featured on Byrds saw the return of McGuinn's raga rock style of guitar playing, which had last been utilized on the band's Fifth Dimension and Younger Than Yesterday albums. Crosby also sang the lead vocal on the album's Joni Mitchell cover, "For Free".

Release and reception
Byrds was released on March 7, 1973 in the United States (catalogue item SD 5058) and March 24, 1973 in the United Kingdom (catalogue item SYLA 8754). Although the album was issued in stereo commercially, there are mono promo copies of the LP known to exist. The album's sleeve was adorned with photographs taken by Henry Diltz, which fittingly pictured the band in the L.A. folk club The Troubadour, where McGuinn, Clark, and Crosby had first formed the nucleus of the Byrds in 1964.

The album peaked at number 20 on the Billboard Top LPs & Tapes chart, during a chart stay of seventeen weeks, making it the band's highest charting album of new material in the U.S. since 1965's Turn! Turn! Turn! album. In the UK, the album reached number 31, but only remained on the UK Albums Chart for one week. A total of four singles were taken from the album, beginning with "Full Circle" b/w "Long Live the King", which was released on April 11, 1973 and which reached number 109 on the Billboard chart. Two further singles taken from the album during 1973—"Things Will Be Better" b/w "For Free" (which was issued exclusively in the UK and Europe), and "Cowgirl in the Sand" b/w "Long Live the King"—failed to chart. Finally, a fourth single, "Full Circle" b/w "Things Will Be Better", was released in the UK in August 1975, almost two-and-a-half years after the album had first appeared, but this too failed to reach the charts.

Upon its release, the album suffered from generally poor reviews, with Jon Landau, in an April 1973 edition of Rolling Stone magazine, criticizing it as "one of the dullest albums of the year." Landau went on to note the disunity evident on the album: "It is a different band for each of the four lead singers and while they make complementary music, it is never a continuous piece, which is what the Byrds were once all about." Reviewing the album in Creem, Robert Christgau gave it a "C" and faulted Crosby for this "country-rock supersession", performed by "a bunch of stars fabricating a paper reconciliation" rather than a "a group, committed however fractiously to a coherent collective identity". In fact, the consensus of most reviewers was that there was a lack of unity throughout the album and that the band's trademark jingle-jangle guitar sound was largely absent from the record. However, there were some positive reviews of the album, with Danny Halloway enthusiastically praising it in the March 31, 1973 edition of the NME: "The Byrds have overcome the novelty of reforming and really do cut it here. The band's direction is no-nonsense, straight-ahead music. There's not any cultural preaching or sloppy outtakes as intros ... I'm glad to report that The Byrds make it on the strength of the music alone."

Post-release
The largely unenthusiastic press reaction to the album caused the individual members of the band to lose faith in the concept of an ongoing, periodic series of band reunions and ultimately, all five members returned to their own careers following the album's release. In the following years, the band themselves would echo many of the sentiments expressed by the music press, with the general consensus being that the recording of the album was rushed and ill-thought out. Clark offered his thoughts on the album during a 1977 interview: "I am disappointed in that album. Some of the harsh criticism is unjust, because, if you listen to it carefully, the album isn't that bad, but it just hasn't got the punch that it could have had if we'd taken the time." Hillman concurred with Clark, telling the Byrds' biographer Johnny Rogan, "In all honesty, we didn't have enough time on the album. They gave us one-and-a-half months to do that album, expecting guys to regroup after a five to six year absence." Hillman also cited the band's eagerness to avoid conflict as a contributing factor to the album's artistic failure: "everybody was so afraid of stepping on the other person's feet because of the tension that had gone down six years prior to that, that it became a bland album. Everybody was being too nice to each other." McGuinn blamed the reunion album's lack of success, at least partly, on the hedonism exhibited by members of the band during the recording process: "David had this incredibly strong pot. Half a joint and you couldn't do anything. We were stoned out of our minds the whole time. I don't remember much recording."

In addition, author John Einarson has suggested that none of the parties—save for perhaps Clark—seemed willing to contribute their best material to the album, instead holding back their finest songs for their own individual solo projects. This has been confirmed by Hillman, who told Einarson, "I'll be honest, I contributed my worst material because I was getting ready to do a solo record, Slipping Away, and I was saving all my good stuff and contributed this throwaway stuff that was awful. Crosby's stuff was sketchy and Roger had 'Born To Rock & Roll', which was terrible, yuck." McGuinn also supported the suggestion that some band members had held back their best material, although he added, "I don't think I was guilty of that. I gave them my best stuff at the time."

The timing of the album, between Crosby, Stills, Nash & Young reunions, the fact that it was produced by Crosby, and the presence of the individual band members' names on the album cover has led to the suggestion that the album was intended as something of a substitute for CSNY. For his part, Crosby's motivation for taking over production duties on the album may have been an attempt finally to exert dominance over the rest of the band, as he had tried to do during his earlier tenure with the Byrds. McGuinn certainly supported this viewpoint, as he revealed in a 1977 interview: "Crosby was calling the shots. It was his coup d'état. He wanted to minimize my importance in the group, and maximize his, and other people's." Both McGuinn and Hillman were actively touring between recording sessions for the album, the former with the Columbia version of the Byrds and the latter with Manassas. With only sporadic availability of two of the band's four creative parties, the brunt of assembling the album was left to the otherwise unengaged Crosby and Clark, which could account for the preponderance of Clark vocals and the CSNY-esque production on the album.

Byrds has been reissued on CD a number of times: first by Elektra Records in 1990; then again in 1998 by WEA; then in 2004 as a remastered edition on Wounded Bird Records; and again by Rhino Records in 2005 and 2008. Most recently, the album has been reissued by Raven Records in 2014, with the addition of two previously released bonus tracks, both recorded by Clark in 1971 and featuring all five members of the Byrds.

Singles

 * 1) "Full Circle" b/w "Long Live the King"    (Asylum 11016)     April 11, 1973     (US #109)
 * 2) "Things Will Be Better" b/w "For Free"    (AYM 516)     April 24, 1973
 * 3) "Cowgirl in the Sand" b/w "Long Live the King"    (Asylum 11019)     June 1973
 * 4) "Full Circle" b/w "Things Will Be Better"    (AYM 545)     August 8, 1975

Personnel
Adapted from the books So You Want to Be a Rock 'n' Roll Star: The Byrds Day-By-Day, The Byrds: Timeless Flight Revisited and the album liner notes.

The Byrds
 * Roger McGuinn – guitar, banjo, Moog synthesizer, vocals
 * Gene Clark – guitar, harmonica, tambourine, vocals
 * David Crosby – guitar, vocals
 * Chris Hillman – electric bass, guitar, mandolin, vocals
 * Michael Clarke – drums, congas, percussion

Additional personnel
 * Wilton Felder – electric bass on "Cowgirl in the Sand"
 * Johnny Barbata – drums on "Cowgirl in the Sand"
 * Dallas Taylor – congas, tambourine

title: Byrds (album)


text:
Talk:Alphabetical (album)

Fair use rationale for Image:PhoenixAlphabeticalalbumcover.jpg
Image:PhoenixAlphabeticalalbumcover.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 06:09, 6 June 2007 (UTC)

title: Talk:Alphabetical (album)