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Arts & Crafts Productions

Arts & Crafts Productions is a music-focused media and artist services company that offers information as an independent record label, management firm, merchandiser, and publisher worldwide. It has earned 21 Juno Awards. Arts & Crafts has been called one of Canada's most important record labels.

Founding
Arts & Crafts (also referred to as "A&C") was launched as a music company in 2003 by friends Jeffrey Remedios & Daniel Cutler both former Virgin Records executives as well as Kevin Drew, who co-founded flagship group Broken Social Scene (BSS) with Brendan Canning. The partnership was originally intended as a vehicle for self-release and artist management of Broken Social Scene's breakthrough album You Forgot It in People, and the structure quickly formed as a platform to release albums and manage the careers of artists directly affiliated with members of Broken Social Scene. In addition to BSS albums the labels first releases were by Stars, Jason Collett, Feist, Apostle of Hustle and Valley of the Giants.

Growth
In 2005 The Most Serene Republic was the first band unrelated to Broken Social Scene to sign to Arts & Crafts and officially marked a shift of scope broader than the projects related to Broken Social Scene.

A&C began its foray into the digital music business with the launch of GalleryAC.com, a boutique web store that offered digital downloads and Arts & Crafts related merchandise, in 2005. They were one of the first labels to launch a digital download store.

In 2004, Remedios expanded the operation into Montreal basing himself out of the offices of DKD who later partnered to form Arts & Crafts International, releasing the gold selling album Set Yourself on Fire by Montreal-based group, Stars.

Arts & Crafts were among the first labels to offer a strategy for combating advance music leaks by offering Stars follow-up album In Our Bedroom After the War for sale before promotional copies were ever manufactured and distributed by issuing wide release as a digital download only 3 days following album completion.

In 2009 Rolling Stone cited Remedios as a key insider reshaping the future of the music biz.

On 5 April 2017, Caroline Distribution became the US distributor for the Arts & Crafts label in the US. The label was previously distributed by RED Distribution in the US. EMI Music Canada previously distributed the label in Canada, when, in 2013, EMI Music Canada was merged into Universal Music Canada.

Recent history
Arts & Crafts Music (also known as GalleryAC Music) controls or administers the publishing rights to much of the music released by the Arts & Crafts label.

On 14 January 2013, Arts & Crafts announced it would be holding the Field Trip Arts & Crafts Music Festival to commemorate their ten-year anniversary. Signed on to headline are Arts & Crafts labelmates Broken Social Scene, Feist, and Stars. Along with the festival celebration, Arts & Crafts released a rarities compilation titled, Arts & Crafts: 2003–2013. The compilation was released as a double album or four LPs and included selected rarities from across the Arts & Crafts catalog. A second compilation album, Arts & Crafts: X, was released in May and featured newly recorded collaborations between A&C artists.

The "Toronto Music Scene"
The 2009 release of This Book Is Broken (House of Anansi Press) documented the rise of Toronto indie bands, focusing especially on Broken Social Scene and the Arts & Crafts roster.

The Arts & Crafts Aesthetic
A design house, Arts & Crafts is well known for a consistent look and quality to all releases. Design and art are important to the company, and are taken as another medium of artistic expression that the label supports.

A&C has been nominated for five JUNO Awards for Album Artwork of the year. In 2006 for Broken Social Scene: Broken Social Scene (Louise Upperton (Director/Designer); Christopher Mills, Kevin Drew, Justin Peroff (Illustrators)), in 2009 for Constantines: Kensington Heights (Dallas Wherle, Robyn Kotyk and Alex Vs. Alex). In 2011, Kotyk, Peroff, Charles Spearin, Joe McKay, Jimmy Collins and Elisabeth Chicoine were awarded the Recording Package of the Year Juno for Broken Social Scene's Forgiveness Rock Record box set and in 2012 for Timber Timbre's Creep on Creepin' On and Feist's Metals both earned nominations in the category.

In 2014, Arts & Crafts designers Kotyk, Peroff, and Petra Cuschieri won another Recording Package of the Year Juno Award for "Arts & Crafts: 2003–2013" 4x LP compilation album.

Gold & Platinum Certifications
Broken Social Scene Broken Social Scene Stars Set Yourself On Fire

Broken Social Scene You Forgot It in People Feist Let It Die Feist The Reminder

Feist Metals

Juno Awards
The Juno Awards are presented by the Canadian Academy of Recording Arts and Sciences.

 * || Broken Social Scene, You Forgot It in People || Alternative Album of the Year || Won
 * rowspan="2"|  || Broken Social Scene, "Stars and Sons" || Video of the Year || Nominated
 * Stars, Heart || Alternative Album of the Year || Nominated
 * rowspan="4"| || Feist, "One Evening" || Video of the Year || Nominated
 * Feist, Let It Die || Alternative Album of the Year || Won
 * Feist || New Artist of the Year || Won
 * Stars, Set Yourself on Fire || Alternative Album of the Year || Nominated
 * rowspan="3"| ||rowspan="2"| Broken Social Scene, Broken Social Scene || Alternative Album of the Year || Won
 * CD/DVD Artwork Design of the Year || Nominated
 * Feist, "Inside and Out" || Single of the Year || Nominated
 * rowspan="5"| ||rowspan="2"| Feist, The Reminder || Album of the Year || Won
 * Pop Album of the Year || Won
 * Feist, "1,2,3,4" || Single of the Year || Won
 * Feist || Songwriter of the Year || Won
 * Feist || Artist of the Year || Won
 * rowspan="5"| || The Stills, Oceans Will Rise || Alternative Album of the Year || Won
 * The Stills || New Group of the Year || Won
 * Constantines, Kensington Heights || Recording Package of the Year || Nominated
 * Feist || Juno Fan Choice Award  || Nominated
 * Feist, "Honey Honey" || Video of the Year || Won
 * rowspan="5"| || Amy Millan, Masters of the Burial || Adult Alternative Album of the Year || Nominated
 * Amy Millan, Masters of the Burial || Recording Package of the Year || Nominated
 * Bell Orchestre, As Seen Through Windows || Instrumental Album of the Year || Won
 * Charles Spearin, The Happiness Project || Contemporary Jazz Album of the Year || Won
 * The Most Serene Republic, "Heavens to Purgatory" || Video of the Year || Nominated
 * rowspan="6"| || Broken Social Scene, Forgiveness Rock Record ||  Alternative Album of the Year || Nominated
 * Broken Social Scene || Group of the Year || Nominated
 * Broken Social Scene, Forgiveness Rock Record || Recording Package of the Year || Won
 * Broken Social Scene, This Movie Is Broken || Music DVD of the Year || Nominated
 * Broken Social Scene, "Forced to Love" || Video of the Year || Nominated
 * Chilly Gonzales, Ivory Tower || Electronic Album of the Year|| Nominated
 * rowspan="10"| || Dan Mangan, Oh Fortune || Alternative Album of the Year || Won
 * Dan Mangan || New Artist of the Year || Won
 * Dan Mangan || Songwriter of the Year || Nominated
 * Dan Mangan, "Rows of Houses" || Video of the Year || Nominated
 * Feist, Metals || Adult Alternative Album of the Year || Won
 * Feist || Artist of the Year || Won
 * Feist || Songwriter of the Year || Nominated
 * Feist, Look at What the Light Did Now || Music DVD of the Year || Won
 * Timber Timbre, Creep on Creepin' On || Alternative Album of the Year || Nominated
 * Timber Timbre, Creep on Creepin' On || Recording Package of the Year || Nominated
 * rowspan="2"| || Trust ||  Electronic Artist of the Year || Nominated
 * Cold Specks || Breakthrough Artist of the Year || Nominated
 * rowspan="3"| || Arts & Crafts: 2003–2013 ||  Recording Package of the Year || Won
 * Hayden, Us Alone ||  Adult Alternative Album of the Year || Nominated
 * The Darcys, Warring ||  Alternative Album of the Year || Nominated
 * rowspan="2"| || Timber Timbre, Hot Dreams || Alternative Album of the Year || Nominated
 * Timber Timbre, Hot Dreams || Recording Package of the Year || Nominated
 * rowspan="3"| || Tobias Jesso Jr.,  Goon ||  Adult Alternative Album of the Year || Nominated
 * Frazey Ford, Indian Ocean || Contemporary Roots Album of the Year || Nominated
 * Dan Mangan + Blacksmith, Club Meds || Recording Package of the Year || Nominated
 * rowspan="8"| || Andy Shauf ||  Breakthrough Artist of the Year || Nominated
 * Gord Downie || Songwriter of the Year || Won
 * Andy Shauf, The Party || Adult Alternative Album of the Year || Nominated
 * Gord Downie, Secret Path || Adult Alternative Album of the Year || Won
 * Jacques Greene, You Can't Deny || Dance Recording of the Year || Nominated
 * Andy Shauf, The Party || Recording Engineer of the Year || Nominated
 * Gord Downie, Secret Path || Recording Package of the Year || Won
 * Gord Downie, "The Stranger" || Video of the Year || Nominated
 * rowspan="6"| || Broken Social Scene ||  Breakthrough Artist of the Year || Nominated
 * Gord Downie, Introduce Yerself || Adult Alternative Album of the Year || Won
 * Gord Downie || Artist of the Year || Won
 * Timber Timbre, Sincerely, Future Pollution || Adult Alternative Album of the Year || Nominated
 * Gord Downie + Kevin Drew || Songwriter of the Year || Won
 * Kid Koala, Music To Draw To: Satellite || Electronic Album of the Year || Nominated
 * rowspan="4"| || Dan Mangan, More or Less ||  Adult Alternative Album of the Year || Nominated
 * Fucked Up, Dose Your Dreams || Alternative Album of the Year || Nominated
 * Jacques Greene, Avatar Beach || Dance Recording of the Year || Nominated
 * Said The Whale, UnAmerican || Recording Engineer of the Year || Nominated
 * Dan Mangan, "Rows of Houses" || Video of the Year || Nominated
 * Feist, Metals || Adult Alternative Album of the Year || Won
 * Feist || Artist of the Year || Won
 * Feist || Songwriter of the Year || Nominated
 * Feist, Look at What the Light Did Now || Music DVD of the Year || Won
 * Timber Timbre, Creep on Creepin' On || Alternative Album of the Year || Nominated
 * Timber Timbre, Creep on Creepin' On || Recording Package of the Year || Nominated
 * rowspan="2"| || Trust ||  Electronic Artist of the Year || Nominated
 * Cold Specks || Breakthrough Artist of the Year || Nominated
 * rowspan="3"| || Arts & Crafts: 2003–2013 ||  Recording Package of the Year || Won
 * Hayden, Us Alone ||  Adult Alternative Album of the Year || Nominated
 * The Darcys, Warring ||  Alternative Album of the Year || Nominated
 * rowspan="2"| || Timber Timbre, Hot Dreams || Alternative Album of the Year || Nominated
 * Timber Timbre, Hot Dreams || Recording Package of the Year || Nominated
 * rowspan="3"| || Tobias Jesso Jr.,  Goon ||  Adult Alternative Album of the Year || Nominated
 * Frazey Ford, Indian Ocean || Contemporary Roots Album of the Year || Nominated
 * Dan Mangan + Blacksmith, Club Meds || Recording Package of the Year || Nominated
 * rowspan="8"| || Andy Shauf ||  Breakthrough Artist of the Year || Nominated
 * Gord Downie || Songwriter of the Year || Won
 * Andy Shauf, The Party || Adult Alternative Album of the Year || Nominated
 * Gord Downie, Secret Path || Adult Alternative Album of the Year || Won
 * Jacques Greene, You Can't Deny || Dance Recording of the Year || Nominated
 * Andy Shauf, The Party || Recording Engineer of the Year || Nominated
 * Gord Downie, Secret Path || Recording Package of the Year || Won
 * Gord Downie, "The Stranger" || Video of the Year || Nominated
 * rowspan="6"| || Broken Social Scene ||  Breakthrough Artist of the Year || Nominated
 * Gord Downie, Introduce Yerself || Adult Alternative Album of the Year || Won
 * Gord Downie || Artist of the Year || Won
 * Timber Timbre, Sincerely, Future Pollution || Adult Alternative Album of the Year || Nominated
 * Gord Downie + Kevin Drew || Songwriter of the Year || Won
 * Kid Koala, Music To Draw To: Satellite || Electronic Album of the Year || Nominated
 * rowspan="4"| || Dan Mangan, More or Less ||  Adult Alternative Album of the Year || Nominated
 * Fucked Up, Dose Your Dreams || Alternative Album of the Year || Nominated
 * Jacques Greene, Avatar Beach || Dance Recording of the Year || Nominated
 * Said The Whale, UnAmerican || Recording Engineer of the Year || Nominated
 * Gord Downie || Songwriter of the Year || Won
 * Andy Shauf, The Party || Adult Alternative Album of the Year || Nominated
 * Gord Downie, Secret Path || Adult Alternative Album of the Year || Won
 * Jacques Greene, You Can't Deny || Dance Recording of the Year || Nominated
 * Andy Shauf, The Party || Recording Engineer of the Year || Nominated
 * Gord Downie, Secret Path || Recording Package of the Year || Won
 * Gord Downie, "The Stranger" || Video of the Year || Nominated
 * rowspan="6"| || Broken Social Scene ||  Breakthrough Artist of the Year || Nominated
 * Gord Downie, Introduce Yerself || Adult Alternative Album of the Year || Won
 * Gord Downie || Artist of the Year || Won
 * Timber Timbre, Sincerely, Future Pollution || Adult Alternative Album of the Year || Nominated
 * Gord Downie + Kevin Drew || Songwriter of the Year || Won
 * Kid Koala, Music To Draw To: Satellite || Electronic Album of the Year || Nominated
 * rowspan="4"| || Dan Mangan, More or Less ||  Adult Alternative Album of the Year || Nominated
 * Fucked Up, Dose Your Dreams || Alternative Album of the Year || Nominated
 * Jacques Greene, Avatar Beach || Dance Recording of the Year || Nominated
 * Said The Whale, UnAmerican || Recording Engineer of the Year || Nominated
 * Gord Downie, Introduce Yerself || Adult Alternative Album of the Year || Won
 * Gord Downie || Artist of the Year || Won
 * Timber Timbre, Sincerely, Future Pollution || Adult Alternative Album of the Year || Nominated
 * Gord Downie + Kevin Drew || Songwriter of the Year || Won
 * Kid Koala, Music To Draw To: Satellite || Electronic Album of the Year || Nominated
 * rowspan="4"| || Dan Mangan, More or Less ||  Adult Alternative Album of the Year || Nominated
 * Fucked Up, Dose Your Dreams || Alternative Album of the Year || Nominated
 * Jacques Greene, Avatar Beach || Dance Recording of the Year || Nominated
 * Said The Whale, UnAmerican || Recording Engineer of the Year || Nominated
 * rowspan="4"| || Dan Mangan, More or Less ||  Adult Alternative Album of the Year || Nominated
 * Fucked Up, Dose Your Dreams || Alternative Album of the Year || Nominated
 * Jacques Greene, Avatar Beach || Dance Recording of the Year || Nominated
 * Said The Whale, UnAmerican || Recording Engineer of the Year || Nominated
 * Jacques Greene, Avatar Beach || Dance Recording of the Year || Nominated
 * Said The Whale, UnAmerican || Recording Engineer of the Year || Nominated
 * Said The Whale, UnAmerican || Recording Engineer of the Year || Nominated
 * Said The Whale, UnAmerican || Recording Engineer of the Year || Nominated

Polaris Music Prize
The Polaris Music Prize is awarded annually to the best full-length Canadian album based on artistic merit.

 * || Broken Social Scene, Broken Social Scene || Polaris Music Prize || Nominated
 * || Feist, The Reminder || Polaris Music Prize || Nominated
 * || Stars, In Our Bedroom After the War || Polaris Music Prize || Nominated
 * || Broken Social Scene, Forgiveness Rock Record || Polaris Music Prize || Nominated
 * || Timber Timbre, Creep on Creepin' On || Polaris Music Prize || Nominated
 * || Cold Specks, I Predict a Graceful Expulsion || Polaris Music Prize || Nominated
 * || Feist, Metals || Polaris Music Prize || Won
 * || Timber Timbre, Hot Dreams || Polaris Music Prize || Nominated
 * || Tobias Jesso Jr, Goon || Polaris Music Prize || Nominated
 * || Andy Shauf, The Party || Polaris Music Prize || Nominated
 * || Gord Downie, Secret Path || Polaris Music Prize || Nominated
 * || Jean-Michel Blais, Dans ma main || Polaris Music Prize || Nominated
 * || nêhiyawak, nipiy || Polaris Music Prize || Nominated
 * || Feist, Metals || Polaris Music Prize || Won
 * || Timber Timbre, Hot Dreams || Polaris Music Prize || Nominated
 * || Tobias Jesso Jr, Goon || Polaris Music Prize || Nominated
 * || Andy Shauf, The Party || Polaris Music Prize || Nominated
 * || Gord Downie, Secret Path || Polaris Music Prize || Nominated
 * || Jean-Michel Blais, Dans ma main || Polaris Music Prize || Nominated
 * || nêhiyawak, nipiy || Polaris Music Prize || Nominated
 * || Gord Downie, Secret Path || Polaris Music Prize || Nominated
 * || Jean-Michel Blais, Dans ma main || Polaris Music Prize || Nominated
 * || nêhiyawak, nipiy || Polaris Music Prize || Nominated
 * || Jean-Michel Blais, Dans ma main || Polaris Music Prize || Nominated
 * || nêhiyawak, nipiy || Polaris Music Prize || Nominated
 * || nêhiyawak, nipiy || Polaris Music Prize || Nominated

Canadian Music Awards
The Canadian Music and Broadcast Industry Awards happen every March in Toronto as part of Canadian Music Week.

 * 2008 || Arts & Crafts || Independent Label of the Year || Won
 * 2009 || Arts & Crafts || Independent Label of the Year || Won
 * 2011 || Arts & Crafts || Independent Label of the Year || Won
 * 2012 || Arts & Crafts || Independent Label of the Year || Won
 * 2013 || Arts & Crafts || Management Company of the Year || Won
 * 2014 || Arts & Crafts || Management Company of the Year || Won
 * 2012 || Arts & Crafts || Independent Label of the Year || Won
 * 2013 || Arts & Crafts || Management Company of the Year || Won
 * 2014 || Arts & Crafts || Management Company of the Year || Won
 * 2013 || Arts & Crafts || Management Company of the Year || Won
 * 2014 || Arts & Crafts || Management Company of the Year || Won
 * 2014 || Arts & Crafts || Management Company of the Year || Won

Other ventures
In 2008 Arts & Crafts opened Arts & Crafts México and are recognized as the first independent music company to focus on the independent music market in Mexico, releasing albums by the A&C North American roster as well as being the Mexican home to a number of other successful artists such as Sonic Youth, Bright Eyes, M. Ward, Metric, and The Dears.

Artists

 * The American Analog Set
 * Aphasia
 * Apostle of Hustle
 * Astral Swans
 * BadBadNotGood (Canada only)
 * Tim Baker
 * Bam Bam (Mexico only)
 * Bell Orchestre
 * Black English (Canada only)
 * Jean-Michel Blais
 * Haley Blais
 * Bloc Party (Canada only)
 * Broken Social Scene
 * Busty and the Bass
 * Carca (Mexico only)
 * Matthew Cardinal
 * Chikita Violenta
 * Chilly Gonzales
 * Cold Specks (Canada only)
 * Jason Collett
 * Constantines
 * The Cribs (North America only)
 * The Darcys
 * The Dears (Currently Mexico only)
 * Deer Tick (Canada only)
 * Seán Devlin
 * Gord Downie and the Sadies
 * The Drums (Canada only)
 * Ellevator
 * Farao (Canada only)
 * Feist (Canada only)
 * Fleet Foxes (Mexico only)
 * Foxwarren
 * FRIGS
 * Fucked Up (Canada only)
 * Gabrielle Shonk (Canada only)
 * Girls (Mexico only)
 * Gold & Youth
 * Hayden
 * HAERTS
 * Georgia Harmer
 * Sarah Harmer
 * The Hidden Cameras
 * Charlie Houston
 * In the Valley Below (Canada only)
 * Japandroids (Canada only)
 * Tobias Jesso Jr (Canada only)
 * Kid Koala
 * Andy Kim
 * La Force
 * Leif Erikson
 * Liza Anne
 * Los Campesinos! (North America only)
 * Calvin Love
 * Lowell
 * Mia Maestro
 * Dan Mangan
 * Majical Cloudz (Canada only)
 * Memphis
 * Metric (Mexico only)
 * Amy Millan
 * Moby (Canada only)
 * The Most Serene Republic
 * nêhiyawak
 * Neon Indian (Mexico only)
 * No Joy (Canada only)
 * OMBIIGIZI
 * Overcoats
 * Pavement (Mexico only)
 * Phoenix (North America only)
 * Julian Plenti (Mexico only)
 * Ra Ra Riot (Canada only)
 * Jay Reatard (Mexico only)
 * Reuben and the Dark
 * Rey Pila
 * Lucy Rose
 * Röyksopp (Canada only)
 * Said the Whale
 * Sally Seltmann aka New Buffalo
 * Andy Shauf (Canada only)
 * Samantha Savage Smith
 * Snowblink
 * Charles Spearin
 * Stars
 * Stephen Malkmus and the Jicks
 * Still Life Still
 * The Stills
 * Tamino (Canada/US only)
 * Tei Shi
 * Timber Timbre
 * Torres
 * TR/ST
 * Tricky
 * Valley of the Giants
 * Walrus
 * M. Ward (Mexico only)
 * Washed Out
 * Win Win
 * Years
 * Yo La Tengo (Mexico only)
 * Young Galaxy
 * Zeus
 * Zulu Winter (Canada & Mexico only)

title: Arts & Crafts Productions


text:
The World Is a Ball

The World is a Ball is a 1986 album by M + M. The album was recorded in Canada and in Bath, England.

The album's only notable single was "Song in My Head". Due to the album's poor chart performance, the band retired for several years, not releasing a new album until 1992's Modern Lullaby.

Personnel

 * Martha Johnson - guitar, keyboards, vocals
 * Mark Gane - guitar, keyboards, vocals
 * Eluriel Tinker - bass
 * Yogi Horton - drums
 * Michael Sloski - drums
 * Dick Smith - percussion
 * Paul Ridout - programming
 * Tony Levin, Jerry Marotta, Shawne Jackson, Colina Phillips, Ruby Turner - background vocals

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

title: The World Is a Ball


text:
Romanization of Arabic

The romanization of Arabic is the systematic rendering of written and spoken Arabic in the Latin script. Romanized Arabic is used for various purposes, among them transcription of names and titles, cataloging Arabic language works, language education when used instead of or alongside the Arabic script, and representation of the language in scientific publications by linguists. These formal systems, which often make use of diacritics and non-standard Latin characters and are used in academic settings or for the benefit of non-speakers, contrast with informal means of written communication used by speakers such as the Latin-based Arabic chat alphabet.

Different systems and strategies have been developed to address the inherent problems of rendering various Arabic varieties in the Latin script. Examples of such problems are the symbols for Arabic phonemes that do not exist in English or other European languages; the means of representing the Arabic definite article, which is always spelled the same way in written Arabic but has numerous pronunciations in the spoken language depending on context; and the representation of short vowels (usually i u or e o, accounting for variations such as Muslim/Moslem or Mohammed/Muhammad/Mohamed).

Method
Romanization is often termed "transliteration", but this is not technically correct. Transliteration is the direct representation of foreign letters using Latin symbols, while most systems for romanizing Arabic are actually transcription systems, which represent the sound of the language, since short vowels and geminate consonants, for example, do not usually appear in Arabic writing. As an example, the above rendering munāẓaratu l-ḥurūfi l-ʻarabīyah of the مناظرة الحروف العربية is a transcription, indicating the pronunciation; an example transliteration would be mnaẓrḧ alḥrwf alʻrbyḧ.

Romanization standards and systems
Principal standards and systems are:

Early Romanization

Early Romanization of the Arabic language was standardized in the various bilingual Arabic-European dictionaries of the 17–19th centuries:
 * Pedro de Alcalá, Vocabulista, 1505. A Spanish-Arabic glossary with its own system of transcription.
 * Martín Pérez de Ayala, Doctrina Cristiana, 1556. Valencia. Prayers with an Arabic conventions and pronunciation annex.
 * Valentin Schindler, Lexicon Pentaglotton: Hebraicum, Chaldicum, Syriacum, Talmudico-Rabbinicum, et Arabicum, 1612. Arabic lemmas were printed in Hebrew characters.
 * Franciscus Raphelengius, Lexicon Arabicum, Leiden 1613. The first printed dictionary of the Arabic language in Arabic characters.
 * Jacobus Golius, Lexicon Arabico-Latinum, Leiden 1653. The dominant Arabic dictionary in Europe for almost two centuries.
 * Georg Freytag, Lexicon Arabico-Latinum, praesertim ex Djeuharii Firuzubadiique et aliorum libris confectum I–IV, Halle 1830–1837
 * Edward William Lane, Arabic–English Lexicon, 8 vols, London-Edinburgh 1863–1893. Highly influential, but incomplete (stops at Kaf)

Mixed digraphic and diacritical

 * BGN/PCGN romanization (1956).
 * UNGEGN (1972). United Nations Group of Experts on Geographical Names, or "Variant A of the Amended Beirut System". Adopted from BGN/PCGN.
 * IGN System 1973 or "Variant B of the Amended Beirut System", that conforms to the French orthography and is preferred to the Variant A in French-speaking countries as in Maghreb and Lebanon.
 * ADEGN romanization (2007) is different from UNGEGN in two ways: (1) ظ is d͟h instead of z̧; (2) the cedilla is replaced by a sub-macron (_) in all the characters with the cedilla.
 * ALA-LC (first published 1991), from the American Library Association and the Library of Congress. This romanization is close to the romanization of the Deutsche Morgenländische Gesellschaft and Hans Wehr, which is used internationally in scientific publications by Arabists.
 * IJMES, used by International Journal of Middle East Studies, very similar to ALA-LC.
 * EI, Encyclopaedia of Islam (1st ed., 1913–1938; 2nd ed., 1960–2005).

Fully diacritical

 * DMG (Deutsche Morgenländische Gesellschaft, 1935), adopted by the International Convention of Orientalist Scholars in Rome.
 * DIN 31635 (1982), developed by the German Institute for Standardization (Deutsches Institut für Normung).
 * Hans Wehr transliteration (1961, 1994), a modification to DIN 31635.
 * EALL, Encyclopedia of Arabic Language and Linguistics (edited by Kees Versteegh, Brill, 2006–2009).
 * Spanish romanization, identical to DMG/DIN with the exception of three letters: ǧ > ŷ, ḫ > j, ġ > g.
 * ISO 233 (1984), letter-to-letter; vowels are transliterated only if they are shown with diacritics, otherwise they are omitted.
 * ISO 233-2 (1993), simplified transliteration; vowels are always shown.
 * BS 4280 (1968), developed by the British Standards Institution.

ASCII-based

 * ArabTeX (since 1992) has been modelled closely after the transliteration standards ISO/R 233 and DIN 31635.
 * Buckwalter Transliteration (1990s), developed at ALPNET by Tim Buckwalter; does not require diacritics.
 * Arabic chat alphabet: an ad hoc solution for conveniently entering Arabic using a Latin keyboard.

Comparison table

 * Hans Wehr transliteration does not capitalize the first letter at the beginning of sentences nor in proper names.
 * The chat table is only a demonstration and is based on the spoken varieties which vary considerably from Literary Arabic on which the IPA table and the rest of the transliterations are based.
 * Review hamzah for its various forms.
 * Neither standard defines which code point to use for hamzah and ʻayn. Appropriate Unicode points would be modifier letter apostrophe ⟨ ʼ ⟩ and modifier letter turned comma ⟨ ʻ ⟩ (for the UNGEGN and BGN/PCGN) or modifier letter reversed comma ⟨ ʽ ⟩ (for the Wehr and Survey of Egypt System (SES)), all of which Unicode defines as letters. Often right and left single quotation marks ⟨ ’ ⟩, ⟨ ‘ ⟩ are used instead, but Unicode defines those as punctuation marks, and they can cause compatibility issues. The glottal stop (hamzah) in these romanizations is not written word-initially.
 * In Encyclopaedia of Islam digraphs are underlined, that is t͟h, d͟j, k͟h, d͟h, s͟h, g͟h. In BGN/PCGN on the contrary the sequences ـتـهـ, ـكـهـ, ـدهـ, ـسهـ may be romanized with middle dot as t·h, k·h, d·h, s·h respectively.
 * In the original German edition of his dictionary (1952) Wehr used ǧ, ḫ, ġ for j, ḵ, ḡ respectively (that is all the letters used are equal to DMG/DIN 31635). The variant presented in the table is from the English translation of the dictionary (1961).
 * BGN/PCGN allows use of underdots instead of cedilla.
 * Fāʼ and qāf are traditionally written in Northwestern Africa as ڢ and ڧـ ـڧـ ـٯ, respectively, while the latter's dot is only added initially or medially.
 * In Egypt, Sudan, and sometimes in other regions, the standard form for final-yāʼ is only ى (without dots) in handwriting and print, for both final and final . ى for the latter pronunciation, is called ألف لينة alif layyinah, 'flexible alif'.
 * The sun and moon letters and hamzat waṣl pronunciation rules apply, although it is acceptable to ignore them. The UN system and ALA-LC prefer lowercase a and hyphens: al-Baṣrah, ar-Riyāḍ; BGN/PCGN prefers uppercase A and no hyphens: Al Baṣrah, Ar Riyāḍ.
 * The EALL suggests ẓ "in proper names" (volume 4, page 517).
 * BGN/PCGN, UNGEGN, ALA-LC, and DIN 31635 use a normal $⟨g⟩$ for $⟨ج⟩$ when romanizing Egyptian names or toponyms that are expectedly pronounced with.
 * BGN/PCGN, UNGEGN, ALA-LC, and DIN 31635 use the French-based $⟨ou⟩$ for in Francophone Arabic speaking countries in names and toponyms.
 * Nunation is ignored in all romanizations in names and toponyms.

Romanization issues
Any romanization system has to make a number of decisions which are dependent on its intended field of application.

Vowels
One basic problem is that written Arabic is normally unvocalized; i.e., many of the vowels are not written out, and must be supplied by a reader familiar with the language. Hence unvocalized Arabic writing does not give a reader unfamiliar with the language sufficient information for accurate pronunciation. As a result, a pure transliteration, e.g., rendering قطر as qṭr, is meaningless to an untrained reader. For this reason, transcriptions are generally used that add vowels, e.g. qaṭar. However, unvocalized systems match exactly to written Arabic, unlike vocalized systems such as Arabic chat, which some claim detracts from one's ability to spell.

Transliteration vs. transcription
Most uses of romanization call for transcription rather than transliteration: Instead of transliterating each written letter, they try to reproduce the sound of the words according to the orthography rules of the target language: Qaṭar. This applies equally to scientific and popular applications. A pure transliteration would need to omit vowels (e.g. qṭr), making the result difficult to interpret except for a subset of trained readers fluent in Arabic. Even if vowels are added, a transliteration system would still need to distinguish between multiple ways of spelling the same sound in the Arabic script, e.g. alif vs. alif maqṣūrah ى for the sound  ā, and the six different ways (ء إ أ آ ؤ ئ) of writing the glottal stop (hamza, usually transcribed ʼ). This sort of detail is needlessly confusing, except in a very few situations (e.g., typesetting text in the Arabic script).

Most issues related to the romanization of Arabic are about transliterating vs. transcribing; others, about what should be romanized:
 * Some transliterations ignore assimilation of the definite article al- before the "sun letters", and may be easily misread by non-Arabic speakers. For instance, "the light" النور an-nūr would be more literally transliterated along the lines of alnūr. In the transcription an-nūr, a hyphen is added and the unpronounced  removed for the convenience of the uninformed non-Arabic speaker, who would otherwise pronounce an, perhaps not understanding that  in nūr is geminated. Alternatively, if the shaddah is not transliterated (since it is strictly not a letter), a strictly literal transliteration would be alnūr, which presents similar problems for the uninformed non-Arabic speaker.
 * A transliteration should render the "closed tāʼ" (tāʼ marbūṭah, ة) faithfully. Many transcriptions render the sound as a or ah and t when it denotes.
 * ISO 233 has a unique symbol, ẗ.
 * "Restricted alif" (alif maqṣūrah, ى) should be transliterated with an acute accent, á, differentiating it from regular alif ا, but it is transcribed in many schemes like alif, ā, because it stands for.
 * Nunation: what is true elsewhere is also true for nunation: transliteration renders what is seen, transcription what is heard, when in the Arabic script, it is written with diacritics, not by letters, or omitted.

A transcription may reflect the language as spoken, typically rendering names, for example, by the people of Baghdad (Baghdad Arabic), or the official standard (Literary Arabic) as spoken by a preacher in the mosque or a TV newsreader. A transcription is free to add phonological (such as vowels) or morphological (such as word boundaries) information. Transcriptions will also vary depending on the writing conventions of the target language; compare English Omar Khayyam with German Omar Chajjam, both for عمر خيام, (unvocalized ʿmr ḫyām, vocalized ʻUmar Khayyām).

A transliteration is ideally fully reversible: a machine should be able to transliterate it back into Arabic. A transliteration can be considered as flawed for any one of the following reasons:
 * A "loose" transliteration is ambiguous, rendering several Arabic phonemes with an identical transliteration, or such that digraphs for a single phoneme (such as gh rather than ġ) may be confused with two adjacent consonants—but this problem is resolved in the ALA-LC romanization system, where the prime symbol ʹ is used to separate two consonants when they do not form a digraph; for example: أَكْرَمَتْها akramatʹhā ('she honored her'), in which the t and h are two distinct consonantal sounds.
 * Symbols representing phonemes may be considered too similar (e.g., ʻ and ' or ʿ and ʾ for ع ʻayn and hamzah);
 * ASCII transliterations using capital letters to disambiguate phonemes are easy to type, but may be considered unaesthetic.

A fully accurate transcription may not be necessary for native Arabic speakers, as they would be able to pronounce names and sentences correctly anyway, but it can be very useful for those not fully familiar with spoken Arabic and who are familiar with the Roman alphabet. An accurate transliteration serves as a valuable stepping stone for learning, pronouncing correctly, and distinguishing phonemes. It is a useful tool for anyone who is familiar with the sounds of Arabic but not fully conversant in the language.

One criticism is that a fully accurate system would require special learning that most do not have to actually pronounce names correctly, and that with a lack of a universal romanization system they will not be pronounced correctly by non-native speakers anyway. The precision will be lost if special characters are not replicated and if a reader is not familiar with Arabic pronunciation.

Examples
Examples in Literary Arabic:

Arabic alphabet and nationalism
There have been many instances of national movements to convert Arabic script into Latin script or to romanize the language.

Lebanon

A Beirut newspaper, La Syrie, pushed for the change from Arabic script to Latin script in 1922. The major head of this movement was Louis Massignon, a French Orientalist, who brought his concern before the Arabic Language Academy in Damascus in 1928. Massignon's attempt at romanization failed as the Academy and the population viewed the proposal as an attempt from the Western world to take over their country. Sa'id Afghani, a member of the Academy, asserted that the movement to romanize the script was a Zionist plan to dominate Lebanon.

Egypt
After the period of colonialism in Egypt, Egyptians were looking for a way to reclaim and reemphasize Egyptian culture. As a result, some Egyptians pushed for an Egyptianization of the Arabic language in which the formal Arabic and the colloquial Arabic would be combined into one language and the Latin alphabet would be used. There was also the idea of finding a way to use hieroglyphics instead of the Latin alphabet. A scholar, Salama Musa, agreed with the idea of applying a Latin alphabet to Egyptian Arabic, as he believed that would allow Egypt to have a closer relationship with the West. He also believed that Latin script was key to the success of Egypt as it would allow for more advances in science and technology. This change in script, he believed, would solve the problems inherent with Arabic, such as a lack of written vowels and difficulties writing foreign words. Ahmad Lutfi As Sayid and Muhammad Azmi, two Egyptian intellectuals, agreed with Musa and supported the push for romanization. The idea that romanization was necessary for modernization and growth in Egypt continued with Abd Al Aziz Fahmi in 1944. He was the chairman for the Writing and Grammar Committee for the Arabic Language Academy of Cairo. He believed and desired to implement romanization in a way that allowed words and spellings to remain somewhat familiar to the Egyptian people. However, this effort failed as the Egyptian people felt a strong cultural tie to the Arabic alphabet, particularly the older generation.

title: Romanization of Arabic


text: Category:Utah Stars players

title: Category:Utah Stars players


text:
User:Falphin/My version

"Version 2"

This is a suggestion for Template standardisation/article

This is my version for the standerzation process. Under these two possiblities there are 6 template categories. The goal of this version is to standerdize template locations, template colors, and the creation of template categories. The templated version for the debate is at the bottom.

Where templates belong(Choice 1)
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Templates that belong on Article Pages:
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Two rules which rule out the above:
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Standardization
In order to standardize the templates they will be divided into 6 categories. Each category will have a specific color to identify itself. There will be a basic wording for each template set down under this proposal.

User Templates
User templates shall be styled according to the user's preference as the article will go under user space, or possibly wikipedia and talk space. These templates are only of use to users, not readers. The correct template will go under, Template:User/(template text)

Template:Welcome
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Template:Indiana

 * Regions of Indiana [[Image:Flag of Indiana.svg|30px|Flag of Indiana]]
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title: User:Falphin/My version


text: File:Surfin'SafariCover.jpg

title: File:Surfin'SafariCover.jpg


text: User talk:144.92.104.49

title: User talk:144.92.104.49


text:
Hashim ibn Abd Manaf

Hāshim ibn ʿAbd Manāf (هاشم بن عبد مناف; c. 464–497), born ʿAmr al-ʿUlā (عمرو العلا), was the great-grandfather of the Islamic prophet Muhammad and the progenitor of the ruling Banu Hashim clan of the Quraysh tribe in Mecca. At some point in his life before his father's death, 'Amr chose for himself the name Hāshim, as it was the name God used for Abraham ('Amr was a Hanif, follower of the "religion of Abraham"). The narrations from Islamic hagiographists to explain this name change are varied: A narration suggests that `Amr was called Hashim because Hashim translates as pulverizer in Arabic. As a generous man, he initiated the practice of providing crumbled bread in broth that was later adapted for the pilgrims to the Ka'aba in Mecca. Another narration claims the name derives from the Arabic root Hashm, to save the starving, because he arranged for the feeding of the people of Mecca during a seasonal famine, and he thus came to be known as "the man who fed the starved" (هشم الجياع).

Birth legend
Islamic hagiographers give an exotic narration concerning the birth of Hashim. This narration states that Hashim and 'Abd Shams were conjoined twins born with Hashim's leg attached to his twin brother's head. It says that they had struggled in their mother's womb seeking to be firstborn. Their birth was remembered for Hashim being born with one of his toes pressed into the younger twin brother's forehead. Legend says that their father, 'Abd Manaf ibn Qusai, separated his conjoined sons with a sword and that some priests believed that the blood that had flown between them signified wars between their progeny (confrontations did occur between Bani al'Abbas and Bani Ummaya ibn 'Abd Shams in the year 750 CE). The astrologers of Arabia predicted that Abd Manaf had committed a grave error when he separated both of them by means of a sword. That which he had done was not regarded by them as a good omen.

Life
Hashim was the son of Abd Manaf, who argued with his brother 'Abd ad-Dar over the inheritance. 'Abd ad-Dar was supported by their cousins Makhzum, Sahm, Jumah, their uncle Adi and their families. Abd Manaf contested his inheritance and was supported by their nephew Asad, their uncle Zuhrah ibn Kilab, their father's uncle Taym ibn Murrah, and al-Harith ibn Fihr. The effects of this conflict continued among their descendants, especially and affected the internal history of Mecca right up to Muhammad's time.

The conflict escalated under Hashim, who demanded that the rights be transferred from the clan of Abd ad-Dar to his clan. Those who supported Hashim and his brothers were the descendants of Zuhrah and Taym ibn Murrah, and all Qusay's descendants except those of the eldest line. The descendants of Makhzum and of the other remoter cousins maintained that the rights should remain in the family of Abd ad-Dar.

While assembled at the Ka'aba, Hashim and his brothers and all their allies dipped their hands in a bowl of rich perfume with nutmeg powder and swore that they would never abandon one another, rubbing their scented hands over the stone of the Ka'aba in confirmation of their pact. Hashim and his allies were thereafter known as the "Hilf al-Mutayyabun" ("Alliance of the Scented Ones"), while their rivals also swore an oath of union and organised themselves into the "Hilf al-Ahlaf" ("Alliance of the Confederates"). As neither side wanted a full-scale conflict, they reached a compromise whereby The Scented Ones retained control of the charity tax and the food and drink for pilgrims, where as the Confederates retained the keys to the Ka'aba and the running of the House of Assembly. Hashim's brothers agreed that he should have the responsibility of providing for the pilgrims. Their descendants in the clans named after them tended to keep this old alliance.

Hashim was accepted as the overall leader, with the responsibility of providing for the pilgrims in the Ka'aba precincts, with the support of his brothers 'Abd Shams and Muttalib, and his half-brother Nawfal. The only person who challenged Hashim's authority was Umayyah, the son of his brother 'Abd Shams, but he had no real support and shifted to live out his life in Syria. Makkah became the acknowledged capital of Arabia, and markets were established around the city to deal with all the business.

Legacy
Hashim was held in much honour, both at home and abroad. It was Amr who first realised the potential for his family of taking part in the lucrative trade between Syria and Egypt that passed through Arabia. Trading was the most important means of livelihood for the inhabitants of Mecca, a barren 'valley without cultivation'.

He initiated and established the two great trade caravan journeys of Quraish from Mecca, the Caravan of Winter to Yemen and the Caravan of Summer to north-west Arabia, and beyond it to Palestine and Syria, which were then under Byzantine rule as part of the Roman Empire. After obtaining privileges from the Ghassanid king of Syria, even went in person to Byzantium and procured an edict from the Byzantine Roman Caesar, exempting Quraish from duties or taxes when operating in the countries under his domain. Caesar also wrote to the King Negus of Abyssinia to admit the Quraish there for trade, and Hashim's brother 'Abd Shams had a special permit with him. Muttalib had his treaty with the Himyarites of Yemen, and their half-brother Nawfal with the Persian governments of Iraq and Iran.

He commenced by going in person to Aden in Yemen to meet the ships coming from India, purchased the stock and transported it first to Mecca and then on to Syria, Gaza or Egypt. There he bought up goods of local manufacture and brought them back to Mecca, mainly selling them at the various Arab markets and fairs. Thus, the Quraish engaged in trade in Yemen, Syria and Ankara which allowed them to flourish economically. The Quraysh were so respected and popular that they felt no fears for their caravans being robbed or harmed along the way, and the various tribes did not even attempt to charge them the usual heavy transit taxes they demanded from other caravans.

He was generous to a fault, and it was his practical compassion in one year of drought that earned him his famous nickname of Hashim, the Crusher. This was not for crushing or oppressing anyone, but because when the people were starving and emaciated he provided food at his own expense for the entire population of Mecca, personally fetching an immense stock of flour from Syria by camel-caravan, then slaughtering the camels and crushing the bread and meat to provide a soup-kitchen for his people. His descendants are still proudly called Hashemites to this day.

Death
According to Muslim tradition, Hashim died after falling ill on a journey returning from Syria, in Gaza, Palestine in 497. According to tradition, Hashim's tomb is located beneath the dome of Sayed al-Hashim Mosque in the al-Daraj neighborhood of Gaza which is named in his honor. The mosque itself was built around the 12th century.

His business passed to none of his sons, but to his brothers, the sons of Atikah bint Murrah.

Family
His father was 'Abd Manaf ibn Qusai who according to Islamic tradition is a descendant of Ibrahim (Abraham) through his son Ismail (Ishmael). His mother was ʻĀtikah bint Murrah ibn Hilāl ibn Fālij ibn Dhakwān. Hashim had two full brothers, the elder was 'Abd Shams and younger was Muttalib who would succeed him, and half-brother Nawfal whose mother was Waqida bint Amr.

He had at least five wives, four sons, and six daughters. His first three wives were his grandmother Hubba bint Hulail's niece Qaylah (or Hind) bint Amr ibn Malik of the Banu Khuza'a, Halah (Hind) bint Amr ibn Thalabah al-Khazrajiyah, and a woman from the Banu Quda'a, the people of Qusai's stepfather who had been so supportive of his cause. For his fourth wife, he married his father's widow, Waqida bint Amr (Abu Adiy) al-Maziniyyah, who was the mother of his half-brother Nawfal. His fifth wife was Salma bint Amr, a woman from Yathrib, one of the most influential women of the Banu Khazraj tribe and the daughter of 'Amr of Banu Najjar clan.

By Qaylah, he had a son Asad (Ali's maternal grandfather). By Halah, he had the son Abu Saifi, and daughter Hayyah (or Hannah). By Waqida, he had the daughters Khalidah and Da'ifa. By the woman of Banu Quda'a, he had the son Nadla (or Nadh) and daughter Ash-Shifa. By Salma bint Amr he had Shaiba/'Abd al-Muṭṭalib, the paternal grandfather of Muhammad, and a daughter Ruqayyah. There was another son Sayfayyah and another daughter Jannah.

Dynasties
The following Royal and Imperial dynasties claim descent from Hashim:

Europe Arabia Africa
 * Hummudid Dynasty (through Idris ibn Abdullah)
 * Hashemite Dynasty(through Qatadah ibn Idris)
 * Abbasid Dynasty of the Abbasid Empire (through Abbas ibn Muttalib)
 * Fatimid Dynasty of the Fatimid Dynasty including the later Agha Khans. (through Ismail ibn Jafar)
 * Rassid Dynasty of Yemen (through Ibrahim al Jamr bin Hassan al Muthanna)
 * Mutawakkilite Dynasty of Yemen (through Ibrahim al Jamr bin Hassan al Muthanna as cadets of the Rassid Dynasty)
 * Aluoite Dynasty of Morocco (through Muhammad Nafs az zakiyah bin Abdullah al Kamal )
 * Idrisid Dynasty of West Africa (through Idris ibn Abdullah)
 * Senussi Dynasty of Libya (through Idris ibn Abdullah as cadets of the Idrisid Dynasty)
 * Ishaqids:
 * Tolje'lo Dynasty of the Isaaq Sultanate (through Sheikh Ishaaq bin Ahmed)
 * Guled Dynasty of the Isaaq Sultanate (through Sheikh Ishaaq bin Ahmed)
 * Ainanshe Dynasty of the Habr Yunis Sultanate (through Sheikh Ishaaq bin Ahmed)

Indo-Persia: East Asia
 * Safavid Dynasty of Persia (through Abul Qasim Humza bin Musa al Kadhim)
 * Alid of Tabaristan (through Zayd bin Hassan al Muthana)
 * Zaydi Dynasty of Tabarstan (through Zayd ibn Ali)
 * The Agha Khans (Through Ismail ibn Jafar as cadets of the Fatimid Dynasty)
 * Sabzwari Dynasty (through Ali al Reza)
 * Najafi Dynasty of Bengal. Including the later Nawabs of Murshidabad and the Tabatabai family of Iran (through Ibrahim Tabataba ibn Ismail al Dibaj)
 * Sultans of Siak (through Ahmad al Muhajir as cadets of the Ba alawai)
 * Bendahara Dynasty of Pahang and Terengannu (through Ahmad al Muhajir as cadets of the Ba alawai)
 * Bolkiah Dynasty of Brunei (through Ahmad al Muhajir as cadets of the Ba alawai)
 * Jamal al layl dynasty of Perak and Perlis (through Ahmad al Muhajir as cadets of the Ba alawai)
 * Sultans of Pontianak (through Ahmad al Muhajir as cadets of the Ba alawai)
 * House of Temenggong of Johor (through Ahmad al Muhajir as cadets of the Bendahara Dynasty)

title: Hashim ibn Abd Manaf


text:
Then Again: A Retrospective

Then Again: A Retrospective is a 1998 compilation album by Martha and the Muffins. Although credited to the band's original name, it includes songs from both the full name and M + M phases of the band's career.

The album contains one new song, "Resurrection", one of only two new tracks released by the band between their 1992 album Modern Lullaby and their 2010 album Delicate.

title: Then Again: A Retrospective


text:
Los Angeles City Attorney

The Los Angeles City Attorney is an elected official who serves as the City of Los Angeles' government's lawyer and as a criminal prosecutor for misdemeanor offenses only. The City Attorney is elected for four years, and the City Charter requires the city attorney to be a lawyer qualified to practice in the California courts for five years preceding their election. In addition the General Counsel Division of the office provides legal counsel for the city and represents it in civil actions. The Los Angeles County District Attorney is an elected official who serves a four year term and is the criminal prosecutor for the County of Los Angeles for both felony and misdemeanor offenses.

title: Los Angeles City Attorney


text:
Talk:Cannabis cultivation

Cleanup formatting & Image placement
I think the images add a depth to the article that really gives character and helps flesh out the (rather dry) content. However, I think that their placement (seemingly without any order) detracts from the story. I haven't really got any idea of how to clean up the image placement, and I would prefer to not lose any images from the article. Would anyone like to step up and help out with the formatting? I think it could even be a FA if it got cleaned up sufficiently. The information is there, along with sources and images. Avriette 10:41, August 26, 2005 (UTC)

Propose deletion of everything without a source
Wikipedia's quality relies on citations to sources. A popular custom is that when content is added without a source then anyone can remove it without a reason.

I see lots of content here without sources and I feel that this information is unreliable and not a benefit to this article. I propose to remove it. Anyone would still find it in the article's history if they wanted to revive it somehow by matching it with sources. Any comments from anyone?  Blue Rasberry  (talk)  23:24, 30 April 2020 (UTC)

 * Late to the party but I agree, a lot of this reads like some black market growers' opinions on the right and wrong way to do things, as opposed to a neutral description of cultivation and harvesting processes. Beeblebrox (talk) 21:34, 20 September 2022 (UTC)
 * I've gone ahead and removed all the unsourced descriptions of specific growing methods. Beeblebrox (talk) 20:59, 21 September 2022 (UTC)

Hydroponics section
There are no sources provided in the hydroponics section, which may be deleted if WP:SCIRS is not fulfilled. This revert was justified because a large new addition was made by with only one source added at the end (this), and no inline attributions provided - see WP:CIT. There is a concern about possible WP:COPYVIO. No mention of 'cannabis' was made in the new edit, justifying its deletion. Rewdem has been warned about WP:MOS violations, absence of inline citing, and 3x edit warring, WP:3RR. Zefr (talk) 06:08, 30 November 2021 (UTC)
 * Rewdem did provide the references below in an incorrect format. Zefr (talk) 06:15, 30 November 2021 (UTC)

 * AlShrouf, A. (n.d.). Hydroponics, Aeroponic and Aquaponic as Compared with Conventional Farming.
 * Currey, C. J., & Mattson, N. S. (2021). Hydroponic Systems. Ball Redbook.
 * Cervantes, J. (2007). Hydroponics. In Marijuana horticulture: The indoor/outdoor medical grower's bible. essay, Van Patten.
 * Geilfus, C.-M. (2019). Hydroponic Systems in Horticulture. Controlled Environment Horticulture, 35–40. https://doi.org/10.1007/978-3-030-23197-2_4
 * Mohammed, S. B., & Sookoo, R. (2016). Nutrient film technique. Hydroponic Food Production, 181–234. https://doi.org/10.1201/b12500-14

Environmental Impact Section
I propose deleting this section in this cultivation article. It is presented in this article as being an excerpt of the separate environmental impact article, but in fact is verbatim duplication of the entirety of the separate article. Moreover, the environmental impact is not insignificant and truly merits a separate article, which merits extensive expansion.

Additionally, the enviromental impact is included at the end of this article, as an afterthought, when it is one of the primary things anyone should consider before undertaking cannabis cultivation, regardless of the legality of cannabis in any particular ecosystem, and some ecosystems are more suitable than others for growing it naturally and sustainably, i.e., outdoors, and not as a non-native plant competing with indigenous species for natural resources like water. For this reason I believe the link to the separate article on environmental impact should be presented very early on in this cultivation article, preferably in the opening summary.

The legality of growing cannabis in any given region should be based not on its psychoactive effects, but rather its environmental impact when growing outside its native range. As an example, consumption in the US could be fully legal and regulated, while cultivation could remain illegal, thus simply necessitating legal (and sustainable) importation from climates more suitable to cannabis cultivation. — Preceding unsigned comment added by Derrgill (talk • contribs) 03:59, 31 December 2022 (UTC)

 * Your edits and these comments seem to be based on your opinions. That's not how Wikipedia works. Our own thoughts and observations on article subjects are not relevant. Relevant policies are WP:OR and WP:NPOV. Beeblebrox (talk) 07:04, 31 December 2022 (UTC)
 * How would you recommend addressing the current duplication issue? The entirety of the impact article is masquerading as an "excerpt" in this article. What is a neutral, fact-based take on duplication between two Wikipedia articles, in your opinion? Derrgill (talk) 17:30, 31 December 2022 (UTC)
 * As the entire article as currently written fits inside this article without bloating it, it is already effectively merged with this article, so I'd say the answer is to redirect that article here until such time as someone makes the effort to expand it to a more developed article. Beeblebrox (talk) 17:51, 31 December 2022 (UTC)
 * So... this content was added with this edit:, which used the Excerpt template without specifying a section. This is probably due to the fact that the "sub-article" is only one section and frankly a little scattershot. However, after messing with the template coding a little I have managed to make it an actual excerpt. Redirecting is still an option but this seems like a decent solution for the moment. Beeblebrox (talk) 18:11, 31 December 2022 (UTC)

title: Talk:Cannabis cultivation


text:
List of radio stations in Louisiana

The following is a list of Federal Communications Commission–licensed radio stations in the American state of Louisiana, which can be sorted by their call signs, frequencies, cities of license, licensees, and programming formats.

Defunct

 * KANB
 * KBYO
 * KCJM-LP
 * KCRJ-LP
 * KDLA
 * KEPZ
 * KEZM
 * KJCB
 * KJEF
 * KLIC
 * KMCZ
 * KMLB (1440 AM)
 * KNEK
 * KPCP
 * KPEF
 * KWHN-FM
 * KXZZ
 * WBYU
 * WIBR
 * WJVI
 * WLRO
 * WPEF

title: List of radio stations in Louisiana


text:
Akhkhazu

Akhkhazu also known as Ahhazu, is a female demon of jaundice from the Akkadic mythology that was later adopted by Babylonian mythology. Her Sumerian name is Dimme-kur. She is also called "the seizer". She brings fever and plagues and is a member of a trio of female demons (Labasu, Labartu, Akhkhazu). Despite the fact the word "Akhkhazu" has a male gender, Akhkazu is often described as having a female nature.

title: Akhkhazu


text:
Dillinger (1945 film)

Dillinger is a 1945 gangster film telling the story of John Dillinger.

The film was directed by Max Nosseck. Dillinger was the first major film to star Lawrence Tierney. The B-movie was shot in black and white and features a smoke-bomb bank robbery edited into the film from the 1937 Fritz Lang film You Only Live Once. The film was released on DVD by Warner Bros. for the Film Noir Classic Collections 2 in 2005, even though the film generally is not regarded as being film noir. Some sequences were shot at Big Bear Lake, California.

Plot summary
A newsreel plays, summing up the gangster life of John Dillinger in detail. At the end of the newsreel, Dillinger's father walks onto the stage and speaks to the movie audience about his son's childhood back in Indiana, which he says was ordinary and not very eventful, but concedes that his son had ambitions and wanted to go his own way. The young Dillinger left his town to find his fortune in Indianapolis, but soon ran out of money. The scene fades to a restaurant, where John is on a date and finds himself humiliated by the waiter who refuses to accept a check for the meal; John excuses himself, runs into a nearby grocery store and robs it for $7.20 in cash. He makes the clerk at the store believe he has a gun in his hand under the jacket.

John is soon arrested for this felony, and he is sentenced to prison. When incarcerated, he becomes good friends with Specs Green, his cell mate. Specs is an infamous bank robber whose gang – Marco Minnelli, Doc Madison and Kirk Otto – are also in the same prison. John is impressed by Specs and his experience and intelligence, and begins to look up to him as a father figure.

Because John has a much shorter sentence, he decides he will be the gang's outside help when he is released, intending to facilitate their escape. As soon as John is free, he holds up the box office at a movie theater. Before he does, he flirts with the female clerk, Helen Rogers, with the result that she refuses to identify him in the police line-up after the robbery. Instead she goes on a date with John.

John continues his criminal spree of robberies for money to finance the escape of Specs' gang. When he has enough, he devises a plan to smuggle a barrel of firearms to the gang at their quarry job site. The plan succeeds, they add John to their gang, then start a crime wave of robberies in the American Midwest.

Specs sends John to scout for new targets because he is the only one not recognized by the witnesses at the quarry at the time of the gang's escape. John checks out the Farmer's Trust Bank, where he poses as a potential customer to get inside the office. He reports back to the gang that the security system is too sophisticated for them to bypass.

Specs still wants to hit the bank, and getting tired of John's ego and trigger-happiness, he decides to get help from outside the gang. John suggests another way to get into the bank – with gas bombs. John convinces the rest of the gang of his way, and they successfully rob the bank. Back at the hideout, John demands the leader's usual double share of the loot. After John is captured but escapes from jail, he kills Specs and takes his place as the leader of the gang. Running low on cash, they decide to rob a mail train. In the process, gang member Kirk Otto is killed.

The gang part for a few weeks to lie low, and John and Helen go on a big shopping spree. They meet with the rest of the gang at a cabin lodge owned by Kirk's surrogate parents. They stay there for a while, but when the elderly couple calls the police, Dillinger kills them. Later, they realize that the police are closing in on them, so they plan to head to the Western States and continue robbing banks. Before going, Dillinger and his girlfriend spend an evening at the Biograph movie theater in Chicago. Exiting the theater, Dillinger sees the police coming after him. In a gunfight, he is killed in an alley, his only money is $7.20 – the same as what he took in his first robbery.

Cast

 * Lawrence Tierney as John Dillinger
 * Edmund Lowe as Specs Green
 * Anne Jeffreys as Helen Rogers
 * Eduardo Cianelli as Marco Minelli
 * Marc Lawrence as Doc Madison
 * Elisha Cook Jr. as Kirk Otto
 * Ralph Lewis as Tony
 * Elsa Janssen as Mrs. Otto
 * Ludwig Stössel as Mr. Otto
 * Constance Worth as Blonde
 * Fred Aldrich as Convict (uncredited)
 * Walter Long as Mug (uncredited)

Production
Philip Yordan was an emerging writer who had been collaborating with George Beck. The King Brothers had a deal with Monogram Pictures and asked Beck to write for them but could not offer Beck's regular fee so he recommended Yordan instead. Yordan wrote Dillinger, after working on three filmed scripts for the Kings. The last of these scripts When Strangers Marry, he wrote with the help of the film's director William Castle. Castle also helped Yordan with the Dillinger script as he hoped to direct it. Yordan recalled that Castle was of great assistance on the script.

According to Hollywood Reporter, the original story for the script, 'John Dillinger, Killer', was written by William K. Howard and Robert Tasker. Yordan, who was officially the King Brothers' script editor, saw to it that he was frequently the only credited writer on their films.

According to Philip Yordan, all the major studios had agreed not to make movies that might glorify actual gangsters by name, but Monogram was not part of it. He says Louis B. Mayer asked Frank King to destroy the negative, but King refused when Mayer did not offer any compensation. Yordan says the film made $4 million of which he got a third. This is incorrect, as 20th Century Fox completed and released the film Roger Touhy, Gangster a month or so before Monogram announced the Dillinger project. The only censorship that applied was a wartime prohibition of the export and import of 'Gangster' films that could negatively affect a film's profitability. The prohibition on films depicting real-life criminals was introduced by the Hays office in August 1945 to prevent a new cycle of gangster movies building on the popularity of the Touhy and Dillinger films and Crime, Inc..

The King Brothers wanted an unknown star to play the role of Dillinger because "it would be difficult for the public to accept a familiar face in the role" and placed adverts in the trade press "WANTED FOR MURDER, JAIL BREAK, ROBBERY A Tough Guy to Play JOHN DILLINGER". A month later, after visiting the Kings' office in person, and by one account, stealing a copy of the Dillinger script he found on a desk when nobody was there on his first visit, Lawrence Tierney was confirmed in the role.

Reception
Yordan believes he should have won the Academy Award for Best Script, but that the Academy, led by Walter Wanger, deliberately overlooked it in favor of Marie Louise, "some picture made in Switzerland that nobody had ever seen".

Yordan also claims that "Dillinger was one of the early crime films of its type. Darryl Zanuck ran that picture again and again, and used it for the basis of many pictures at Fox. In other words, I had created a style."

Awards
Yordan was nominated for the Oscar for Writing Original Screenplay, earning Monogram Pictures its first Oscar nomination for a feature-length film release.

The film is recognized by American Film Institute in these lists:
 * 2003: AFI's 100 Years...100 Heroes & Villains:
 * John Dillinger – Nominated Villain

title: Dillinger (1945 film)


text:
Randy Cross

Randall Laureat Cross (born April 25, 1954) is an American football analyst and former player. He played as a guard and center in the National Football League (NFL). He played college football for the UCLA Bruins and was inducted into the College Football Hall of Fame in 2011.

Early life
Cross was born in Brooklyn, New York, and attended Crespi Carmelite High School in Encino, California. He was renowned as a high school shot put champion in the Southern California CIF from 1970 to 1972, when he was named CIF California State Meet champion in the event, defeating future world record holder Terry Albritton and future WWF wrestling star Jim Neidhart, both from Newport Harbor High School, in the process.

He heaved the 12-pound high school shot 67' 6.5", which remains the Crespi school and stadium record.

College career
At University of California, Los Angeles (UCLA), Cross was an All-America selection with the Bruins. As a senior, he helped lead his team to the 1976 Rose Bowl championship over top-ranked Ohio State. Cross began his career as a Center, but was moved to Right Guard for his junior year before playing both Guard and Center as senior on a rare rotating nine man offensive line.

On this rotating line Cross started at RG on the 1st unit and then moved to Center when the next group hit the field. He was named First-team All-America in 1975. He was also a First-team All-Conference selection in 1975 In his career, he was a starter in 28 of 34 career games including his final 23. Randy Cross (and many other UCLA linemen) also played collegiate rugby for the school. Randy was inducted into the College Football Hall of Fame in 2010.

Professional career
In 1976, Cross was selected in the second round of the NFL Draft by the San Francisco 49ers. His 13-year career, entirely with the 49ers, included three Pro Bowl selections and three Super Bowl championships (SB XVI, XIX, and XXIII). Cross's last game as a player was Super Bowl XXIII in early 1989.

He played center from 1976 to 1978 then guard from 1979 to 1986 before finishing his career at center in the 1987 and 1988 seasons. Upon his retirement after Super Bowl XXIII, Randy joined the Miller Lite All Star's cast making a series of popular commercials for the brewing giant.

Broadcasting career
From 1989 to 1993, Cross was a member of the CBS Sports team that covered the NFC playoffs and Super Bowl XXVI. In addition, he served as an analyst for CBS Radio Sports' coverage of Super Bowl XXIV, filling in for Hank Stram when the latter was stricken with laryngitis and had to leave the broadcast in the third quarter of the game.

Cross left CBS (following their loss of the NFC package to Fox) to join NBC Sports as a football analyst for NFL telecasts and a part-time analyst for Notre Dame football games. In 1998, he returned to CBS Sports as a game analyst. From 1999 to 2001, Cross served as an analyst on The NFL Today. Cross returned to the broadcast booth in 2002.

He also co-hosts shows on the Sirius NFL Radio. In 2009, he became the color analyst for US Naval Academy home games on CBS College Sports TV. He is the former lead color commentator for New England Patriots pre-season games, from 1995 to 2012, alongside Don Criqui. Randy was a co-host of the midday show "Rick and Randy" with Rick Kamla on WZGC, a CBS radio station in Atlanta, Georgia, before being released from the station.

Personal
Cross lives in Alpharetta, Georgia, with his wife, Patrice Cross. They have three grown children, daughters Kelly and Crystal and son Brendan.

Randy Cross's father, Dennis Cross (1924–1991), was an American actor, who had the lead role in the syndicated adventure series The Blue Angels (1960–61).

title: Randy Cross


text:
Los Angeles City Controller

The Los Angeles City Controller is an official in the government of the city of Los Angeles, California. The City Controller is the paymaster and chief accounting officer of the city. Along with the Mayor and the City Attorney, the City Controller is chosen by popular vote every four years.

The position began in 1878 as the Los Angeles City Auditor and in the early days included secretarial duties for the Los Angeles Common Council as part of the job. Upon the re-election of John S. Myers in 1925, when the city approved a new charter, the name of the position was changed to City Controller. In 2000, another update to the city charter added the power and responsibility of conducting "performance audits" of departmental effectiveness.

List of City Controllers

 * City Auditor (1879–1925)

 * City Controller (1925–present)

title: Los Angeles City Controller


text:
Talk:Commodore 16

Comparison to TI-99/4a
On paper, the C16 is a closer match for the TI-99/4A than the aging VIC-20

How is the C16 considered a closer match to the TI? TI-99/4a 32 hardware sprites 16 colors SN76489 PSG

C16 No hardware sprites 121 colors 2 tone generator

I admit the resolution is a closer match, but I would put the scale like so:

VIC-20 • • • C16 • • • • • • • • • • TI-99/4a

The C16 certainly had some things going for it...especially over the VIC-20. But I wouldn't call it a quantum leap. The hardware sprites of the TI and the PSG really put it in a different class above them both. — Preceding unsigned comment added by Cbmeeks (talk • contribs) 12:55, 23 May 2017 (UTC)

 * In your own line there you put the C16 closer to the TI-99 than the VIC-20. I think you're interpreting the original phrase incorrectly; I read it as, "The C16 compares to the TI-99/4A better than the VIC-20 compares to the TI-99/4A." Cjs (talk) 06:53, 22 May 2022 (UTC)

market
>>"The C16 was intended to compete with other sub-$100 computers from Timex Corporation, Mattel, and Texas Instruments (TI). Timex's and Mattel's computers were less expensive than the VIC-20, and although the VIC-20 offered better expandability,[3][4] a full-travel keyboard, and in some cases more memory, the C16 offered a chance to improve upon those advantages. The TI-99/4A was priced in-between Commodore's VIC-20 and Commodore 64, and is somewhat between them in capability, but TI was lowering its prices. On paper, the C16 is a closer match for the TI-99/4A than the aging VIC-20."<<

This is just a mess. Timex left the market before the C16 was even released, the Mattel Aquarius barely sold at all and the Adam was much much more expensive. The TI99 was a much more expensive 16 bit machine that had been around for ages and was sold miles below its cost of production. The Vic 20 had the least RAM and expansions were incompatible with each other because the memory changed.

The C16 had the same resolution as the C64 but a simpler and less idiosyncratic kernal, expandable without the memory problems of the Vic. Its main competition would have been the 16k Atari 400.101.178.163.92 (talk) 02:59, 17 October 2017 (UTC)

"Raison d'être"???
What the heck does "raison d'etre" mean? Might want to change this header. --Anonymous

 * Thanks for mentioning it; I've now put in a lk to Wiktionary's definition of the term (which means "reason for existence"). --Wernher 23:05, 11 July 2005 (UTC)

C116
Should really be given greater mention in the article. Or at least a picture would be nice. The C116 was actually the normal or original version of this computer, intended to combat the low-low-low-cost market at the time taken by ZX-81s and Spectrums. Some managerial muppet though it would never sell in America so they got the Japanese engineering department to make the C16 for the American market. They're the same exact computer just in different cases (presumably they figured the ubiquitous 'breadbin' witha proper keyboard would sell better than the sleeker new 264/+4 case with dead-flesh keys).

It's sad really, the whole TED series debacle is a cringe-inducing story. Seek100 00:03, 6 June 2006 (UTC)

Binary prefixes
Recently changes have been made to this article to use binary prefixes (KiB, MiB, kibibyte, mebibyte etc). The majority of reliable sources for this article do not use binary prefixes. If you have any thoughts/opinions then this specific topic is being discussed on the following talk page Manual of Style (dates and numbers) in the sections to do with "binary prefixes". Fnagaton 10:25, 25 April 2007 (UTC)

New photo coming soon
I hate seeing these blasted eBay photos representing some of the best computers ever made.

I uploaded some nice shots for the VIC-20. I will do the same for the C-16 soon.

cbmeeks —Preceding unsigned comment added by Cbmeeks (talk • contribs) 10:56, 10 September 2007 (UTC)

 * best computers ever made? they were cheap. cheaply designed, cheaply produced, and cheaply programmed for. don't confuse nostalgia with quality. —Preceding unsigned comment added by 69.125.110.223 (talk) 15:12, 29 April 2008 (UTC)

Wow...this was a long time ago. Anyway, of course you do realize that "best" is a relative term in the context I was using? Of COURSE I realize that these computers weren't TECHNICALLY the best computers ever made. Because what scale are we using? Best plastic? Well, that would fail against metal cases, etc. So I stand by my statement. And, since I never knew about the C16 as a child, how could I have nostalgia for it?cbmeeks 12:43, 23 May 2017 (UTC) — Preceding unsigned comment added by Cbmeeks (talk • contribs)

Added better pictures
Much better pictures. I hate seeing eBay/iPix photos of these vintage computers. They deserve better.

~cbmeeks —Preceding unsigned comment added by Cbmeeks (talk • contribs) 13:22, 11 September 2007 (UTC)

 * I remember seeing this in the Xmas 83 or 84 Service Merchandise catalog, along with the Plus/4 and TI 99/2 —Preceding unsigned comment added by 69.125.110.223 (talk) 14:37, 10 December 2007 (UTC)

Mexico
The fact that this is unreferenced, combined with assertions like (e.g.) the computer being sold by some chain from "1982" to 1992, when it wasn't even released until 1984, and (e.g.) the discontinuation of the line circa 1992-93 being caused by C= USA's demise (which was later, in 1994) makes me somewhat sceptical of the accuracy of the rest of it. Ubcule (talk) 18:37, 26 February 2011 (UTC)

Actually I had some mistakes about the article I wrote about Mexico. I just have only several flyers scans I found recently in my basement and scanned one of them to prove that Commodore actually as sold in Mexico. I did made some corrections to the article but it seems that I need cite a book or magazine, which I do not have. If you find that the material I have do not meet the criteria of Wikipedia, please remove it. It's very difficult to gather information since Aurrera Supermareket become part of Wallmart on 1993 and they removed all old history of the chain. Also my English is not perfect.

Other memory of Commodore in Mexico can be found on http://old-computers.com/museum/doc.asp?c=97&st=1 I want to know if I can still scan and post the flyers here or remove this info from the page. Which would be a shame, since no page talks about of Commodore in Mexico too. Lobocursor Comment added 04:43, 27 February 2011 (UTC).

I removed the direct references to the title "castillos de Arena" and "pancho villa", since I played them on the computers when I was kid but I cannot get a reference unless I try to gather from old newspapers the contest winners result. This will take time. Also I found that Wallmart brought Aurerra and change it to Bodega Aurrera on 1995. I did read proof the article for avoid more mistakes on dates. Any help in how to assemble the info I have will be appreciated. Lobocursor Comment added 05:11, 27 February 2011 (UTC).

 * Hi,

 * I removed the bit about Aurrera and Grupo Sigma post-1993 (again), as those bits were not pertinent to the article subject, i.e. the Commodore 16 itself.

 * Regarding the article scans- there are two classes of material that Wikipedia can use.
 * The first is "free" material (licensed under GFDL or CC licenses by the copyright holder). Anyone can use this for anything if they obey the license.
 * The second type is "fair use" material. This is *not* freely-licensed (i.e. copyright holders have *not* granted permission). However, US law still allows the use of such material for certain purposes.

 * If the supermarket has not given permission, then your scans are probably "fair use". This means that you can upload the flyers to Wikipedia itself. However, you can not upload them to Wikimedia Commons (because Commons is for completely free images and material only).

 * Please read the links about the difference between "fair use" and "free" material if this is unclear. Thanks.

 * Hope this helps, Ubcule (talk) 15:36, 27 February 2011 (UTC)

 * Hi,
 * Actually I regret to write on Wikipedia thanks Ubcule that made my life miserable. I did removed the ad as I have no permission to add it to this place in the start. Actually I didn't invent that Commodore made computers in Mexico, but I'm too tired to defend myself of people like user mentioned. If you don't like info I did posted, please just delete it or do whatever you like. I'll post the ads and local manuals in the proper commodore pages that have friendly users that really welcome the info. I had my share of Wikipedia Trolls and I had enough. Farewell. - Lobocursor

 * Commodore never was in Mexico, OKAY! Now let me get out HERE!!!! >:-( — Preceding unsigned comment added by Lobucursor (talk • contribs)

 * *Before* I reply- I had to move your comment (originally made here) so I could restore several older comments of yours which you removed. Removing comments- even if they're your own- is generally against the rules. We were having a discussion, and people need to be able to see what I was replying to. (I earlier thought you had removed *my* comment. That was my mistake- sorry). Ubcule (talk) 00:15, 28 October 2011 (UTC)

 * (Here is my reply)

 * You've some made some unpleasant (and baseless) accusations. I assume you were talking about the most recent set of edits to the article (even though they are already over 8 months old!). Perhaps you should stop and take a look at them:-

 * * Edit #1 - I moved the reference to make it clearer which part of the sentence it supported
 * * Edit #2 - The article subject is the Commodore 16. "Aurrera Supermarkets" are mentioned because they sold the C16- this is fair. However, their later history (long *after* they had stopped selling the C16) is *not* relevant to the C16 itself. Therefore I *only* removed that part. I had already explained this before.
 * * Edit #3 - I added a link. (I assume that this was okay!)

 * We had some polite disagreement earlier, as I felt you had added a *lot* of information without citations. However, I thought we had resolved this. Apart from the inclusion of too much irrelevant information about Aurrera (not related to them selling the C16) I was happy with your contribution.

 * Your image had been "fair use" but not "free". I moved it back to Wikipedia so that we could continue to use it.

 * You will see from my replies that I attempted to be polite and good-natured (even though we disagreed), but you are throwing accusations of "harrassment" and "troll" at me.

 * Ubcule (talk) 00:15, 28 October 2011 (UTC)

Units Sold?
How many of Commodore 16 were sold? Does anyone have reference(s)? Please add to the "unitssold" field of the infobox, similar to Commodore 64 and Commodore 128. Thanks. • Sbmeirow  •  Talk  • 11:31, 19 February 2019 (UTC)

A Commons file used on this page has been nominated for speedy deletion
The following Wikimedia Commons file used on this page has been nominated for speedy deletion: You can see the reason for deletion at the file description page linked above. —Community Tech bot (talk) 14:21, 22 June 2019 (UTC)
 * Commodore 16 001.jpg

Disputed content in "Video" section and elsewhere
In these edits, User:120.20.219.194 added two new sections, including the "Video" one where it is claimed that "The TED computers used the same video output as the Commodore 64." Not sure what's meant by this, but the graphics capabilities obviously *weren't* the same on the C16 and C64.

It then goes on to say "16 colours in 4 luminance levels" which to me sounds like it's saying the C16 has the same colour palette as the C64. As far as I'm aware, this is inaccurate- and contradicts what is referenced elsewhere- i.e. that the C16 has a much larger 121 colour palette.

The fact that this- and the BASIC- section were added unreferenced in these edits from anonymous User:120.20.219.194 makes me far more sceptical of the rest, and I'd have no problem removing the lot if it can't be backed up or verified by someone more familiar with the computer than myself.

Elsewhere, I note that this user also added that "[The TED chip] was essentially a "computer on a chip" - only memory and control chips were external". Since- as far as I'm aware- the CPU itself was a separate chip, this claim is somewhat excessive and misleading. (Even if the CPU is considered a mere "control chip", it's the heart of the computer).

Ubcule (talk) 20:50, 6 March 2020 (UTC)

 * I have rewritten the "computer on a chip" paragraph. (I am not the original author of it, BTW.) As you point out, the TED is obviously nothing like the SoCs that were previously referenced in that paragraph, and it's far less integrated even than the microcontrollers of the day (which included CPU, ROM, RAM and I/O), so it's fair to say that it's certainly not an SoC or similar. That said, microcontrollers of the day didn't include video or designed-in sound functionality, so this may have been an early step towards that. The confusion over "system on a chip" may have arisen from Bil Herd's comments along those lines; I've referenced and quoted him in my rewrite and explained where the reality fell short of the intention.
 * I also cleaned up the following paragraph describing some TED capabilities and comparing them with the C64. I've removed the comparison with the VIC chip/VIC-20 since I see no point in that; the VIC and VIC-II had the same number of colours.
 * I'm guessing that "used the same video output" simply means that the connectors for the cable were the same. I'll have a go at fixing this area later if nobody else gets to it first.
 * Cjs (talk) 03:20, 2 August 2021 (UTC)

Argentina
Commodore 16 was sold in Argentina by Drean, a home appliances manufacturer. The computer was sold under the name "Drean Commodore 16". It started selling in 1985 in local home appliances stores, as well as the "Drean Commodore 64". The main difference from the original USA model is the TED (Text Editing Device) chip, responsible for audio and video, that was adapted to local TV standard PAL-N. The box and the user manual were distributed in spanish, and many games were also translated into this same language and sold as cassettes branded by Drean. External devices such as the 1531 Datassette or the 1341 Joystick were also sold under the same brand. — Preceding unsigned comment added by MarianoApicella (talk • contribs) 23:34, 1 October 2020 (UTC)

title: Talk:Commodore 16


text:
Modern Lullaby

Modern Lullaby is an album by the Canadian band Martha and the Muffins, released in 1992. Although released under the band's original name, only Martha Johnson and Mark Gane remained following the original band's breakup.

No singles were released from the album, though the track "Rainbow Sign" was promoted to radio, and videos were produced for "Rainbow Sign", "Everybody Has A Place" and "Fighting the Monster". The album was a commercial disappointment.

Critical reception
The Edmonton Journal wrote: "Dusting their lean, insistent beat and Johnson's unadorned drama with sweet swirls of violin, this outfit proves that there were, and still are, poetic ways to make commercial dance music."

Personnel

 * Martha Johnson - guitar, keyboards, vocals
 * Mark Gane - guitar, keyboards, vocals
 * David Piltch - bass
 * Stuart Gordon - violin
 * Michael Sloski - percussion
 * Tim Gane - percussion

Recording

 * Recorded at The Web in Bath, England and Toronto, Canada (1988-1991)
 * Mixed at Winfield Sound, Toronto
 * Mixing Engineer - Earl Torno, assisted by Eric Apps
 * Mastered by Peter J. Moore

title: Modern Lullaby