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Diego Gelmírez

Diego Gelmírez or Xelmírez (Didacus Gelmirici; c. 1069 – c. 1140) was the second bishop (from 1100) and first archbishop (from 1120) of the Catholic Archdiocese of Santiago de Compostela in Galicia, modern Spain. He is a prominent figure in the history of Galicia and an important historiographer of the Iberia of his day. Diego involved himself in many quarrels, ecclesiastical and secular, which were recounted in the Historia Compostelana, which covered his episcopacy from 1100 to 1139 and serves as a sort of gesta of the bishop's life.

Background
He was probably born at Catoira, where his father, Gelmiro or Xelmirio, was the custodian of the castle. He received an education at the court of Alfonso VI, king of León, Galicia and Castile. In 1092, Raymond, count of Galicia, named him his notary and secretary and in 1093 he was the administrator of the Compostelan church. In 1094, Dalmatius was appointed the first bishop of Compostela. Dalmatius died the next year (1095),shortly after returning from the Council of Clermont in which the authority of the see of Iria Flavia was transferred to Compostela, and the people of the see requested the king nominate Diego administrator again during the vacancy.

Episcopacy
In 1099, the pope authorised a new episcopal election and Diego was elected in 1100. He was anointed the second bishop of Compostela at Easter, 1101, and was granted a pallium by Pope Paschal II the following year, despite not yet being the head of a metropolitan see. During his tenure, he was given secular rule of the city by Alfonso and he strove to make Compostela a major pilgrimage destination. He increased the prestige of his see and the volume of pilgrims on the road to Compostela.

In 1107 Pedro Fróilaz de Traba, the guardian of the heir, Alfonso Raimúndez, rebelled against Queen Urraca and her new husband, Alfonso the Battler. According to the Historia, he was opposed by a "brotherhood" (germanitas) led by the knight Arias Pérez and Diego Gelmírez, who had known each other since childhood. Diego Gelmírez had accepted the leadership of the brotherhood late in 1109 or early in 1110. In 1110 a truce between Pedro and the brotherhood was broken when the former took over the south Galician fortress of Castrelo de Miño and installed a garrison there under his wife Urraca and the young Alfonso. Arias promptly besieged it, and Pedro came to defend it. The besieged called on Diego to negotiate terms of surrender, which he did, but the brotherhood had grown suspicious of him and when a deal was struck Arias had Diego, Pedro, and Alfonso all arrested. In exchange for the castles of Oeste and Lanzada, they were all soon released and Diego went over to the separatists. In 1111, Diego crowned Alfonso Raimúndez King of Galicia in opposition to Urraca and her husband.

Late in 1113, when the royal court was in Galicia, Arias was inciting Urraca against Diego. Urraca deprived him of his secular authority at the request of the people, who agitated for communal rights, but she reinstated him in his temporal powers within a year and even exempted him from all military service to the crown and extended his charge over the whole diocese.

In 1120, Pope Callixtus II elevated Diego and his see to archiepiscopal rank and appointed him papal legate to Spain. That same year, according to the Historia, Urraca ordered the leading men (principes) of Galicia, including Arias Pérez, to do homage (hominium) to Diego Gelmírez as "their lord, their patron, their king and their prince, saving their fealty to the queen" and recognise his rule (dominio). In 1121, however, after Diego had renewed his alliance with the Pedro Fróilaz de Traba, his power appeared to threaten that of the queen. In the summer of 1121 she had Diego arrested at Castrelo in collaboration with Arias Pérez. Diego was imprisoned for a while, but the support of the people, which he had been cultivating, compelled his release. Sometime in 1121 Munio Peláez built an "adulterine" (i.e. illegal) castle on the river Iso near Compostela. The Historia Compostelana calls it a "den of robbers and bandits", and Diego managed to raze it to the ground soon after it was built.

In the spring of 1126, shortly after Urraca's death and the accession of Alfonso, Arias led a rebellion in Galicia. Diego Gelmírez and Gómez Núñez of Toroño or perhaps Gutierre Vermúdez were charged per litteras ("by letter") with putting it down. Diego besieged Arias in Lobeiro and, with siege engines, in Tabeirós, forcing him to surrender. Diego's opinion of Arias was such that he said to him: "I fear, therefore, that if such that you are you leave this world, you will lose eternal life and incur the perpetual condemnation of your soul."

title: Diego Gelmírez


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Maryvale

Maryvale may refer to:

Places

 * Maryvale, Gauteng, Johannesburg, South Africa
 * Maryvale, Queensland (Livingstone), Queensland, Australia
 * Maryvale, Queensland (Southern Downs Region), Queensland, Australia
 * Maryvale, Toronto, Ontario, Canada, a neighbourhood in the Scarborough section of Toronto
 * Maryvale, Phoenix, Arizona, United States
 * Maryvale Station, a pastoral lease in the Northern Territory, Australia
 * Maryvale, New South Wales, a location and old railway station in Dubbo Regional Council, New South Wales, Australia

Education

 * Maryvale High School (Cheektowaga, New York), United States
 * Maryvale Institute a Roman Catholic college in Birmingham, England

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

title: Maryvale


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Mayfield Park

Mayfield Park may refer to

 * Mayfield Park, Bristol, a suburb of Bristol, England
 * Mayfield Park, a suburb of Bournemouth, England
 * Mayfield Park, Edinburgh, a recreational area in Newington, Scotland (see Hibernian F.C.)
 * Mayfield Park, Gauteng, a suburb of Johannesburg, South Africa
 * Mayfield Park, Manchester, a public park in Manchester city centre, England
 * Mayfield Park, Southampton, a recreational area in the suburb of Woolston, Southampton, England
 * Mayfield Park (Austin,Texas), a historic natural area in west Austin.

title: Mayfield Park


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Festive Fifty

The Festive Fifty was originally an annual list of the year's 50 (though the exact figure varied above and below this number) best songs compiled at the end of the year and voted for by listeners to John Peel's BBC Radio 1 show. It was usually dominated by indie and rock songs which did not fully represent the diversity of music played by Peel but rather the majority opinion among his listeners. After Peel's death the tradition of the Festive Fifty was continued, first by other Radio 1 DJs and then (when Radio 1 decided to discontinue it) by the Internet radio station Dandelion Radio.

History
The first Festive Fifty was broadcast in 1976 and differed in format to later charts in that it was not restricted to songs from that year. It was topped by Led Zeppelin's "Stairway to Heaven", first released in 1971, and also contained many older songs. The following year, Peel's producer suggested that instead of taking a poll (which might simply be a retread of 1976's list), Peel should simply compile a list of his favourite songs of the year. Long thought lost, this list of the "Forgotten Fifty" (consisting of 61 songs) was finally pieced together from rare archive materials for the 2007 BBC book The Peel Sessions. The following years returned to a listener poll and listed mostly contemporary songs; "Anarchy in the UK" by the Sex Pistols topped three consecutive charts from 1978 and came second in the 1981. This marked a period of domination of the upper reaches of the chart by punk artists as the genre was embraced by Peel and his listeners, though other genres were represented further down the list, and the continuing presence in the list of "Stairway to Heaven" until 1979 showed that the older generation of Peel listeners had not completely abandoned the show.

In 1982 the shift to a strictly annual chart was made. In the early 1980s post-punk records by bands such as Joy Division and The Cocteau Twins featured heavily in the chart. In the mid and later 1980s indie bands began to gain recognition with The Smiths making many appearances, including a record eleven entries in the 1987 list, but by this time Peel was beginning to become disillusioned with his listeners' tastes, complaining that there were too many "white boys with guitars" and not enough diversity. This trend of popular music continued in the early 1990s, despite Peel's championing of emerging rave and dance acts on his show. In 1991 Peel didn't get around to compiling the Fifty until the following year, and didn't broadcast it until 1993, where he played one song from it once a week. This 1991 chart, which became known as the "Phantom Fifty", was not the only year to feature an anomaly. In 1997 Peel decided that he didn't have enough time on-air around Christmas to do a countdown, and it was only from listener pressure that he agreed to do a 'Pretty Festive 31', which was topped by Cornershop's Brimful of Asha. Despite this, the later 1990s and 2000s the list featured a more diverse range of acts, such as The Delgados and The Cuban Boys, who were favourites of Peel and his listeners.

After John Peel died in 2004, the chart for that year was played by Rob Da Bank and was topped by The Fall; Peel's favourite band and prolific session guests. Huw Stephens from Radio 1's One Music strand, the original replacement for Peel's show, joined fellow One Music presenter Rob Da Bank for the chart for 2005.

In 2006, after One Music was removed from the Radio 1 schedule, the Festive Fifty was discontinued. Peel's former production team, however, invited the internet radio station Dandelion Radio to take up the compilation and broadcast of the Festive Fifty, which they have done since 2006.

All-time charts
The Festive Fifty began as an all-time chart. (1976, 78, 79, 80 and 81 were all-time charts.) Two all-time charts have been compiled in addition to yearly charts, once in 1982 and again in 2000 (to celebrate the millennium). The 1982 chart focused heavily on punk and post-punk artists. It was topped by the Sex Pistols, with Joy Division, The Clash, New Order and Siouxsie and the Banshees all making numerous appearances. The 2000 chart was a more diverse affair. It still contained many of the same songs, three of the top five were the same, but newer bands (such as Pavement and Stereolab) had been assimilated and also older artists from a wider variety of genres made appearances (such as Nick Drake and The Beach Boys.)

Festive 50 number ones
Note 1: All-time list

title: Festive Fifty


text: Category:Transgender politicians

title: Category:Transgender politicians


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Bride of the Sea

Bride of the Sea may refer to:

Cities

 * Rio Grande, Rio Grande do Sul, Brazil
 * Jaffa, Tel Aviv, Israel
 * Venice, Italy
 * Tripoli, Libya
 * Alexandria, Egypt

Other

 * The Bride of the Sea, a 1913 film with Jeanne Eagels
 * The Bride of the Sea, a 1965 film directed by Arman
 * "The Bride of the Sea", a poem by H. P. Lovecraft
 * Bride of the Sea (Невеста моря), a 1994 book by Rafael Grugman
 * Bride of the Sea (De Bruid der Zee), a 1901 opera by Jan Blockx
 * Bride of the Sea, a British ship shipwrecked in the Bosphorus in 1856

title: Bride of the Sea


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User:Microtonal/List of Bach cantatas by liturgical function

This is a list of cantatas by Johann Sebastian Bach in order of their intended use in the Lutheran liturgical calendar. The name of each cantata is followed by its BWV number and the date of its first performance, insofar as it can be determined.

Roman numerals refer to the number of sundays after the named occasion. For example, "Advent III" is the third Sunday after Advent.

Advent
Four Sundays before Christmas through Christmas Eve.

Advent I

 * Nun komm, der Heiden Heiland, BWV 61, 2 December 1714
 * Nun komm, der Heiden Heiland, BWV 62, 3 December 1724
 * Schwingt freudig euch empor, BWV 36, c1725-30

Advent II

 * Wachet! betet! betet! wachet!, BWV 71a, 6 December 1716 (lost)

Advent III

 * Ärgre dich, o Seele, nicht, BWV 186a, 13 December 1716 (lost)

Advent IV

 * Bereitet die Wege, bereitet die Bahn!, BWV 132, 22 December 1715
 * Herz und Mund und Tat und Leben, BWV 147a, 20 December 1716 (lost)

Christmas
Christmas Day through Epiphany

Christmas (25 December)

 * Christen, ätzet diesen Tag, BWV 63, c1714-15
 * Gelobet seist du, Jesu Christ, BWV 91, 25 December 1724
 * Unser Mund sei voll Lachens, BWV 110, 25 December 1725
 * Ehre sei Gott in der Höhe, BWV 197a, 25 December ?1728 (partly lost)

Second Day of Christmas (26 December)

 * Darzu ist erschienen der Sohn Gottes, BWV 40, 26 December 1723
 * Christum wir sollen loben schon, BWV 121, 26 December 1724
 * Selig ist der Mann, BWV 57, 26 December 1725

Third Day of Christmas (27 December)

 * Sehet, welch eine Leibe, BWV 64, 27 December 1723
 * Ich freue mich in dir, BWV 133, 27 December 1724
 * Süsser Trost, mein Jesus kömmt, BWV 151, 27 December 1725

Christmas I

 * Tritt auf die Glaubensbahn, BWV 152, 30 December 1714
 * Das neugeborne Kindelein, BWV 122, 31 December 1724
 * Gottlob! nun geht das Jahr zu Ende, BWV 28, 30 December 1725

New Year's Day (1 January)

 * Singet dem Herrn ein neues Lied!, BWV 190, 1 January 1724 (partly lost)
 * Jesu, nun sei gepreiset, BWV 41, 1 January 1725
 * Herr Gott, dich loben wir, BWV 16, 1 January 1726
 * Gott, wie dein Name, so ist auch dein Ruhm, BWV 171, 1 January ?1729

New Year I

 * Schau, lieber Gott, wie meine Feind, BWV 153, 2 January 1724
 * Ach Gott, wie manches Herzeleid, BWV 58, 5 January 1727

Epiphany (6 January)

 * Sie werden aus Saba alle kommen, BWV 65, 6 January 1724
 * Liebster Immanuel, Herzog der Frommen, BWV 123, 6 January 1725

Ordinary Time
First Sunday after Epiphany through Ash Wednesday.

Epiphany I

 * Mein liebster Jesus ist verloren, BWV 154, 9 January 1724
 * Meinen Jesum laß ich nicht, BWV 124, 7 January 1725
 * Liebster Jesu, mein Verlangen, BWV 32, 13 January 1726

Epiphany II

 * Mein Gott, wie lang, ach lange, BWV 155, 19 January 1716
 * Ach Gott, wie manches Herzeleid, BWV 3, 14 January 1725
 * Meine Seufzer, meine Tränen, BWV 13, 20 January 1726
 * Ich steh mit einem Fuss im Grabe, BWV 156, ?23 January 1729

Epiphany III

 * Herr, wie du willt, so schick’s mit mir, BWV 73, 23 January 1724
 * Was mein Gott will, das g’scheh allzeit, BWV 111, 21 January 1725
 * Alles nur nach Gottes Willen, BWV 72, 27 January 1726

Epiphany IV

 * Jesus schläft, was soll ich hoffen?, BWV 81, 30 January 1724
 * Wär Gott nicht mit uns diese Zeit, BWV 14, 30 January 1735

Purification (2 February)

 * Erfreute Zeit im neuen Bunde, BWV 83, 2 February 1724
 * Mit Fried und Freud ich fahr dahin, BWV 125, 2 February 1725
 * Ich habe genug, BWV 82, 2 February 1727
 * Ich lasse dich nicht, du segnest mich denn, BWV 157, 2 February 1728 or later

Septuagesima

 * Nimm, was dein ist, und gehe hin, BWV 144, 6 February 1724
 * Ich hab in Gottes Herz und Sinn, BWV 92, 28 January 1725
 * Ich bin vergnügt mit meinem Glücke, BWV 84, 9 February 1727

Sexagesima

 * Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18, ?24 February 1715 or ?1713-14
 * Leichtgesinnte Flattergeister, BWV 181, 13 February 1724
 * Erhalt uns, Herr, bei deinem Wort, BWV 126, 4 February 1725

Quinquagesima (Estomihi)

 * Jesus nahm zu sich die Zwölfe, BWV 22, 7 February 1723
 * Du wahrer Gott und Davids Sohn, BWV 23, 7 February 1723
 * Herr Jesu Christ, wahr’ Mensch und Gott, BWV 127, 11 February 1725
 * Sehet, wir gehn hinauf gen Jerusalem, BWV 159, ?27 February 1729

Lent
Ash Wednesday through Holy Saturday.

Lent III

 * Alles, was von Gott geboren, BWV 80a, 15 March 1716 (music lost)

Annunciation/Palm Sunday

 * Himmelskönig, sei willkommen, BWV 182, 25 March 1714 (Palm Sunday)
 * Wie schön leuchtet der Morgenstern, BWV 1, 25 March 1725 (Annunciation)

Easter
The Easter Vigil through Pentecost Sunday.

Easter Sunday

 * Christ lag in Todesbanden, BWV 4, probably by 1708
 * Der Himmel lacht! die Erde jubilieret, BWV 31, 21 April 1715

Easter Monday

 * Erfreut euch, ihr Herzen, BWV 66, 10 April 1724
 * Bleib bei uns, denn es will Abend werden, BWV 6, 2 April 1725

Easter Tuesday

 * Der Friede sei mit dir, BWV 158, after 1723
 * Ein Herz, das seinen Jesum lebend weiß, BWV 134, 11 April 1724
 * Ich lebe, mein Herze, zu deinem Ergötzen, BWV 145, ?1729

Easter I (Quasimodogeniti)

 * Halt im Gedächtnis Jesum Christ, BWV 67, 16 April 1724
 * Am Abend aber desselbigen Sabbats, BWV 42, 8 April 1725

Easter II (Misericordias Domini)

 * Du Hirte Israel, höre, BWV 104, 23 April 1724
 * Ich bin ein guter Hirt, BWV 85, 15 April 1725
 * Der Herr ist mein getreuer Hirt, BWV 112, 8 April 1731

Easter III (Jubilate)

 * Weinen, Klagen, Sorgen, Zagen, BWV 12, 22 April 1714
 * Ihr werdet weinen und heulen, BWV 103, 22 April 1725
 * Wir müssen durch viel Trübsal, BWV 146, ?12 May 1726 or ?18 April 1728

Easter IV (Cantate)

 * Wo gehest du hin?, BWV 166, 7 May 1724
 * Es ist euch gut, daß ich hingehe, BWV 108, 29 April 1725

Easter V (Rogate)

 * Wahrlich, wahrlich, ich sage euch, BWV 86, 14 May 1724
 * Bisher habt ihr nichts gebeten, BWV 87, 6 May 1725

Ascension

 * Wer da gläubet und getauft wird, BWV 37, 18 May 1724
 * Auf Christi Himmelfahrt allein, BWV 128, 10 May 1725
 * Gott fähret auf mit Jauchzen, BWV 43, 30 May 1726

Ascension I (Exaudi)

 * Sie werden euch in den Bann tun, BWV 44, 21 May 1724
 * Sie werden euch in den Bann tun, BWV 183, 13 May 1725

Ordinary Time
Monday after Pentecost through the Saturday before Advent.

Pentecost (Whit Sunday)

 * Erschallet, ihr Lieder, BWV 172, 20 May 1714
 * Wer mich liebet, der wird mein Wort halten, BWV 59, 28 May 1724
 * Wer mich liebet, der wird mein Wort halten, BWV 74, 20 May 1725
 * O ewiges Feuer, O Ursprung der Liebe, BWV 34, c1746-47

Pentecost Monday (Whit Monday)

 * Erhöhtes Fleisch und Blut, BWV 173, ?29 May 1724
 * Also hat Gott die Welt geliebt, BWV 68, 21 May 1725
 * Ich liebe den Höchsten von ganzem Gemüte, BWV 174, 6 June 1729

Pentecost Tuesday (Whit Tuesday)

 * Erwünschtes Freudenlicht, BWV 184, 30 May 1724
 * Er rufet seinen Schafen mit Namen, BWV 175, 22 May 1725

Trinity Sunday

 * O heilges Geist- und Wasserbad, BWV 165, 16 June 1715
 * Es is ein trotzig, und verzagt Ding, BWV 176, 27 May 1725

Trinity I

 * Die Elenden sollen essen, BWV 75, 30 May 1723
 * O Ewigkeit, du Donnerwort, BWV 20, 11 June 1724
 * Brich dem Hungrigen dein Brot, BWV 39, 23 June 1726

Trinity II

 * Die Himmel erzählen die Ehre Gottes, BWV 76, 6 June 1723
 * Ach Gott, vom Himmel sieh darein, BWV 2, 18 June 1724

Trinity III

 * Ich hatte viel Bekümmernis, BWV 21, 17 June 1714
 * Ach Herr, mich armen Sünder, BWV 135, 25 June 1724

Trinity IV

 * Barmherziges Herze der ewigen Liebe, BWV 185, 14 July 1715
 * Ein ungefärbt Gemüte, BWV 24, 20 June 1723
 * Ich ruf zu dir, Herr Jesu Christ, BWV 177, 6 July 1732

Trinity V

 * Wer nur den lieben Gott lässt walten, BWV 93, 9 July 1724
 * Siehe, ich will viel Fischer aussenden, BWV 88, 21 July 1726

Trinity VI

 * Vergnügte Ruh’, beliebte Seelenlust, BWV 170, 28 July 1726
 * Es ist das Heil uns kommen her, BWV 9, c1732-35

Trinity VII

 * Ärgre dich, o Seele, nicht, BWV 186, 11 July 1723 (adapted from BWV 186a)
 * Was willst du dich betrüben, BWV 107, 23 July 1724
 * Es wartet alles auf dich, BWV 187, 4 August 1726

Trinity VIII

 * Erforsche mich, Gott, und erfahre mein Herz, BWV 136, 18 June 1723
 * Wo Gott der Herr nicht bei uns hält, BWV 178, 30 July 1724
 * Es ist dir gesagt, Mensch, was gut ist, BWV 45, 11 August 1726

Trinity IX

 * Herr, gehe nicht ins Gericht, BWV 105, 25 July 1723
 * Was frag ich nach der Welt, BWV 94, 6 August 1724
 * Tue Rechnung! Donnerwort, BWV 168, 29 July 1725

Trinity X

 * Schauet doch und sehet, BWV 46, 1 August 1723
 * Nimm von uns, Herr, du treuer Gott, BWV 101, 13 August 1724
 * Herr, deine Augen sehen nach dem Glauben, BWV 102, 25 August 1726

Trinity XI

 * Mein Herze schwimmt im Blut, BWV 199, 12 August 1714
 * Siehe zu, dass deine Gottesfurcht, BWV 179, 8 August 1723
 * Herr Jesu Christ, du höchstes Gut, BWV 113, 20 August 1724

Trinity XII

 * Lobe den Herrn, meine Seele, BWV 69a, 15 August 1723
 * Lobe den Herren, den mächtigen König der Ehren, BWV 137, 19 August 1725
 * Geist und Seele wird verwirret, BWV 35, 8 September 1726

Trinity XIII

 * Du sollt Gott, deinen Herren, lieben, BWV 77, 22 August 1723
 * Allein zu dir, Herr Jesu Christ, BWV 33, 3 September 1724
 * Ihr, die ihr euch von Christo nennet, BWV 164, 26 August 1725

Trinity XIV

 * Es ist nicht Gesundes an meinem Leibe, BWV 25, 29 September 1723
 * Jesu, der du meine Seele, BWV 78, 10 September 1724
 * Wer Dank opfert, der preiset mich, BWV 17, 22 September 1726

Trinity XV

 * Warum betrübst du dich, mein Herz?, BWV 138, 5 September 1723
 * Was Gott tut, das ist wohlgetan, BWV 99, 17 September 1724
 * Jauchzet Gott in allen Landen!, BWV 51, 17 September 1730

Trinity XVI

 * Komm, du süsse Todesstunde, BWV 161, 6 October 1715
 * Christus, der ist mein Leben, BWV 95, 12 September 1723
 * Liebster Gott, wenn werd ich sterben?, BWV 8, 24 September 1724
 * Wer weiss, wie nahe mir mein Ende!, BWV 27, 6 October 1726

Trinity XVII

 * Bringet dem Herrn Ehre seines Namens, BWV 148, ?19 September 1723
 * Ach, lieben Christen, seid getrost, BWV 114, 1 October 1724
 * Wer sich selbst erhöhet, BWV 47, 13 October 1726

Trinity XVIII

 * Herr Christ, der einge Gottessohn, BWV 96, 8 October 1724
 * Gott soll allein mein Herze haben, BWV 169, 20 October 1726

Trinity XIX

 * Ich elender Mensch, wer wird mich erlösen, BWV 48, 3 October 1723
 * Wo soll ich fliehen hin, BWV 5, 15 October 1724
 * Ich will den Kreuzstab gerne tragen, BWV 56, 27 October 1726

Trinity XX

 * Ach! ich sehe, jetzt, da ich zur Hochzeit gehe, BWV 162, 3 November 1715
 * Schmücke dich, o liebe Seele, BWV 180, 22 October 1724
 * Ich geh und suche mit Verlangen, BWV 49, 3 November 1726

Trinity XXI

 * Ich glaube, lieber Herr, hilf meinem Unglauben, BWV 109, 17 October 1723
 * Aus tiefer Not schrei ich zu dir, BWV 38, 29 October 1724
 * Was Gott tut, das ist wohlgetan, BWV 98, 10 November 1726
 * Ich habe meine Zuversicht, BWV 188, ?17 October 1728

Trinity XXII

 * Was soll ich aus dir machen, Ephraim?, BWV 89, 24 October 1723
 * Mache dich, mein Geist, bereit, BWV 115, 5 November 1724
 * Ich armer Mensch, ich Sündenknecht, BWV 55, 17 November 1726

Trinity XXIII

 * Nur jedem das Seine, BWV 163, 24 November 1715
 * Wohl dem, der sich auf seinen Gott, BWV 139, 12 November 1724
 * Falsche Welt, dir trau ich nicht, BWV 52, 24 November 1726

Trinity XXIV

 * O Ewigkeit, du Donnerwort, BWV 60, 7 November 1723
 * Ach wie flüchtig, ach wie nichtig, BWV 26, 19 November 1724

Trinity XXV

 * Es reisset euch ein schrecklich Ende, BWV 90, 14 November 1723
 * Du Friedefürst, Herr Jesu Christ, BWV 116, 26 November 1724

Trinity XXVI

 * Wachet! betet! betet! wachet!, BWV 70, 21 November 1723 (adapted from BWV 70a)

Trinity XXVII

 * Wachet auf, ruft uns die Stimme, BWV 140, 25 November 1731

St. John's Day (24 June)

 * Ihr Menschen, rühmet Gottes Liebe, BWV 167, 24 June 1723
 * Christ unser Herr zum Jordan kam, BWV 7, 24 June 1724
 * Freue dich, erlöste Schar, BWV 30, 24 June 1738 or later

Visitation (2 July)

 * Herz und Mund und Tat und Leben, BWV 147, 2 July 1723 (adapted from 147a)
 * Meine Seel erhebt den Herren, BWV 10, 2 July 1724

St. Michael's Day (29 September)

 * Herr Gott, dich loben alle wir, BWV 130, 29 September 1724
 * Es erhub sich ein Streit, BWV 19, 29 September 1726
 * Man singet mit Freuden vom Sieg, BWV 149, ?29 September 1728 or ?1729
 * Nun ist das Heil und die Kraft, BWV 50, year unknown (movement of incomplete or lost cantata)

Quasi-liturgical occasions

 * Gottes Zeit ist die allerbeste Zeit (Actus tragicus), BWV 106, ?1707-08 (funeral)
 * Der Herr denket an uns, BWV 196, ?1707-08 (wedding)
 * Gott ist mein König, BWV 71, 4 February 1708 (inauguration of Mühlhausen town council)
 * Preise, Jerusalem, den Herrn, BWV 119, 30 August 1723 (inauguration of Leipzig town council)
 * Höchsterwünschtes Freudenfest, BWV 194, 2 November 1723 (consecration of Störmthal church and organ, adapted from BWV 194a)
 * Gott der Herr ist Sonn und Schild, BWV 79, 31 October 1725 (Reformation Festival)
 * O ewiges Feuer, O Ursprung der Liebe, BWV 34a, 1726 (partly lost, probably for a wedding)
 * Ihr Tore zu Zion, BWV 193, 25 August 1727 (inauguration of Leipzig town council)
 * Ein feste Burg ist unser Gott, BWV 80, 1727-31 (Reformation Festival)
 * Dem Gerechten muss das Licht, BWV 195, 1727-31 (wedding)
 * Klagt, Kinder, klagt es aller Welt, BWV 244a, 24 March 1729 (music lost, funeral of Prince Leopold of Anhalt-Cöthen)
 * Gott, man lobet dich in der Stille, BWV 120, ?29 August 1729 (inauguration of Leipzig town council)
 * Herr Gott, Beherrscher aller Dinge, BWV 120a, ?1729 (adapted from BWV 120, partly lost, wedding)
 * Gott, man lobet dich in der Stille, BWV 120b, 26 June 1730 (second day of 200th anniversary of Augsburg Confession)
 * Wir danken dir, Gott, wir danken dir, BWV 29, 27 August 1731 (inauguration of Leipzig town council)
 * Gott ist unsre Zuversicht, BWV 197, 1736/37 (partly based on 197a, wedding)
 * Lobe den Herrn, meine Seele, BWV 69, 1742-48 (adapted from BWV 69a, inauguration of Leipzig town council)

Use unknown or in doubt

 * Nach dir, Herr, verlanget mich, BWV 150, ?before 1707 (use unknown)
 * Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, 1707 (use unknown)
 * Widerstehe doch der Sünde, BWV 54, 4 March or 15 July 1714 (for either Oculi or Trinity VII, respectively)
 * Gelobet sei der Herr, mein Gott, BWV 129, 16 June or 31 October 1726 (Trinity Sunday or Reformation Festival, respectively)
 * Sei Lob und Ehr dem höchsten Gut, BWV 117, c1728-31 (use unknown)
 * Nun danket alle Gott, BWV 192, 1730 (partly lost, use unknown)
 * Was Gott tut, das ist wohlgetan, BWV 100, c1732-35 (use unknown)
 * In allen meinen Taten, BWV 97, 1734 (use unknown)
 * Bekennen will ich seinen Namen, BWV 200, c1742 (fragment of lost cantata, possibly for Epiphany or Purification)
 * Tilge, Höchster, meine Sünden, BWV 1083, c1745-47 (use unknown)


text:
Temple College

Temple College is a public community college in Temple, Texas, with regional branch campuses at other locations in Central Texas.

History
Temple Junior College was founded in 1926 to serve post-secondary students in eastern Bell County, Texas. Classes were originally held in the basement of the Temple High School until 1957, when the campus moved to its present location on the city's south side. Racial segregation at the college ended that same year. A separate junior college district was created in 1955 and in 1959 it acquired its own board of regents. The name of the college was changed to Temple College in 1996.

The main campus in Temple covers about 108 acres with twenty-seven buildings. Temple College has several branch campuses:

 * East Williamson County Higher Education–Taylor (Taylor, Texas)
 * East Williamson County Higher Education–Hutto (Hutto, Texas)
 * Texas Bioscience Institute (Scott & White Memorial Hospital, Temple)

As of Fall 2016, residents within the tax-district of the cities of Temple and Hutto pay $89 per credit hour, whereas those outside the district pay $159 per credit hour.

Notable people

 * Henry T. Waskow, alumnus, US Army captain memorialized in Ernie Pyle's dispatch "The Death of Captain Waskow"
 * W. J. Adkins, the dean of Temple Junior College during the 1940s, became in 1947 the founding president of Laredo Community College in Laredo.
 * David Wesley, alumnus, retired NBA and CBA basketball and current television color analyst for the New Orleans Pelicans
 * Whurley (William Hurley), alumnus, co-founder of Chaotic Moon Studios, an open source advocate, and systems theorist
 * Boone Logan, alumnus, left-handed relief pitcher for the Colorado Rockies

Athletics

 * Baseball
 * Men's Basketball
 * Softball
 * Volleyball
 * Women's Basketball

title: Temple College


text:
Kraków Old Town

Kraków Old Town is the historic central district of Kraków, Poland. It is one of the most famous old districts in Poland today and was the centre of Poland's political life from 1038 until King Sigismund III Vasa relocated his court to Warsaw in 1596.

The entire medieval old town is among the first sites chosen for the UNESCO's original World Heritage List, inscribed as Cracow's Historic Centre. The old town is also one of Poland's official national Historic Monuments (Pomnik historii) chosen in the first round, as designated 16 September 1994, and tracked by the National Heritage Board of Poland.

The Old Town is known in Polish as Stare Miasto. It is part of the city's first administrative district which is also named "Stare Miasto", although it covers a wider area than the Old Town itself.

Medieval Kraków was surrounded by a 3 km (1.9 mi) defensive wall complete with 46 towers and seven main entrances leading through them. The fortifications around the Old Town were erected over the course of two centuries. The current architectural plan of Stare Miasto – the 13th-century merchants' town – was drawn up in 1257 after the destruction of the city during the Tatar invasions of 1241 followed by raids of 1259 and repelled in 1287. The district features the centrally located Rynek Główny, or Main Square, the largest medieval town square of any European city. There is a number of historic landmarks in its vicinity, such as St. Mary's Basilica (Kościół Mariacki), Church of St. Wojciech (St. Adalbert's), Church of St. Barbara, as well as other national treasures. At the centre of the plaza, surrounded by kamienice (row houses) and noble residences, stands the Renaissance cloth hall Sukiennice (currently housing gift shops, restaurants and merchant stalls) with the National Gallery of Art upstairs. It is flanked by the Town Hall Tower (Wieża ratuszowa).

The whole district is bisected by the Royal Road, the coronation route traversed by the Kings of Poland. The Route begins at St. Florian's Church outside the northern flank of the old city walls in the medieval suburb of Kleparz; passes the Barbican of Kraków (Barbakan) built in 1499, and enters Stare Miasto through the Florian Gate. It leads down Floriańska Street through the Main Square, and up Grodzka to Wawel, the former seat of Polish royalty overlooking the Vistula river.

In the 19th century most of the Old Town fortifications were demolished. The moat encircling the walls was filled in and turned into a green belt known as Planty Park.

History
The first mention of Kraków dates back to the second half of the ninth century. By the end of tenth century the city was incorporated into the Polish state under the rule of Piast dynasty. The episcopal bishopric was awarded to Kraków in 1000 and around that time, it became the residence of Polish kings for centuries to come. The history of the old city of Kraków revolves mainly around its Old Town District of today. Here, the regalia were stored and, back in early Middle Ages, a cathedral school was erected.

Around 700 A.D., local tribes initiated the process of forming the Vistulan State by uniting with each other. Numerous remains of a once massive earth embankment encircling Wawel Hill survived till this day. A chest with 4,200 iron axes weighing about 4 tons was found in a basement of a house at Kanoniczna 19 street. These axes were commonly known under the name of "płacidłos" which is a word derived from the Polish verb "płacić" – to pay. As it happens the axes were a main legal tender in the neighboring Great Moravian State. The value of the treasure chest is the greatest to be discovered thus far and testifies to Kraków's significant wealth and power in the region. At Wawel's foot, in the place where now Kanoniczna, Grodzka and other neighboring streets are located, remains of a Vistulan settlement called Okół were found. This settlement, the beginnings of which can be dated at least back to the early ninth century, was surrounded by an enormous oak palisade and, in the place where now the Straszewska and St. Gertrude's streets run, by one of Vistula's arms. Near Main Market Square – specifically near Church of St. Wojciech and Church of St. Mary and Bracka street - another discovery was made. Found here were the relics of craft workshops and of dwelling houses which were originally raised near Vistula. What is more, under St. Wojciech's Church parts of a wooden temple were discovered. In those days Vistula had many arms which in turn formed several little islands in Kraków's centre. Kazimierz was one of such islands. It is also possible that Okół, Wawel and the Main Market Square were islands separated from the mainland by moats or Vistula's arms. Also, many structures were found on Wawel but it is extremely difficult to establish when they were built.

The bishops residing at Wawel and the prince's court provided a strong intellectual atmosphere. Since the 14th century, Kraków was the site of royal coronations. Under Casimir III the Great the Jagiellonian University, one of Europe's oldest institutions of higher learning, was founded.

In 1386 the Polish throne was entrusted to Lithuanian prince Władysław Jagiełło, husband of Queen Jadwiga. Jagiełło founded the next Polish dynasty, the Jagiellon dynasty. Kraków instantly became the capital of a large monarchy which propelled the city's political and cultural development. Many great artists did their work in Kraków at that time.

Renaissance
The Old Town saw considerable development during the Renaissance. During this period Wawel Cathedral was rebuilt to include the architectural features of the Italian Renaissance. Bona Sforza, the second wife of Sigismund I of Poland, asked Bartolommeo Berrecci, Francisco the Florentian, Giovanni Maria Padovano, Santi Gucci and others to do this task. As a result, Kanoniczna Street became a part of the Old Town. It carries many features that are typical for that period. With the passing of the last Jagiellon king, the political life of Poland began to move to Warsaw.

Baroque
The Baroque Era emerged in the beginning of the 17th century. In Poland Sigismund III became a prominent patron of the arts. Under his direction, architect Giovanni Trevano worked in Kraków and redesigned the Church of Saints Peter and Paul in a Baroque style. During that period the Old Town was destroyed twice during a Swedish invasion. Towards the end of the 17th century, the Church of St. Anne was built as was the Church of St. Casimir the Prince, known for its catacombs.

During the first half of the 18th century, some outstanding works of art were created by fine architects including Kacper Bażanka and Franciszek Placidi. The culture of the Baroque era left a lasting mark on this part of the city. Gothic churches were converted into the spirit of the Baroque era and were fitted with new altars, sculptures, and paintings.

In 1794, the armies of Tadeusz Kościuszko rallied to defend Poland against foreign partitions. The Kościuszko Uprising ended with their defeat, and in 1795 Poland underwent its final partition, after which Kraków became a part of the Austro-Hungarian Empire. In spite of these political developments, Kraków in a sense remained important for Polish patriots. The city's many cultural monuments became national memorials and the only representation of national identity for the next century.

Foreign rule
In the 19th century, Austrian Emperor Franz I decided to liquidate the long-neglected city fortifications. The liquidation was carried out during the time of the Duchy of Warsaw. Thanks to the efforts of Professor Feliks Radwański, the northern part of the walls were saved, including the Barbican, the Florian Gate and three towers which once marked the starting point of the Royal Road along which a new monarch would parade to the place of his coronation at Wawel Cathedral. The Planty Park was created in the place of the destroyed fortifications.

During this period the Juliusz Słowacki Theatre was constructed. It is located at Holy Ghost Square. The theatre was built in place of an old hospital that was run by the Order of the Holy Ghost. The building is an example of the Polish Eclectic architectural style. In 1850 a fire spread through the city and caused substantial damages.

In 1876 prince Władysław Czartoryski gave the city some of his artistic and patriotic collections. Three years later, the National Museum in Kraków was established. Kraków became the centre of museology in Poland. Famous artists such as Jan Matejko and Stanisław Wyspiański worked in the Old Town, which was also the place where numerous political independence movements were born.

Wartime
On 6 September 1939, German forces entered Kraków. The city became the capital of the General Government. The oppression of Jews began and a concentration camp was created in Plaszow. The Old Town was plundered and many works of art were stolen. Museums, schools and theatres were closed. Professors were arrested. Jewish synagogues were devastated, despoiled of ceremonial objects and turned into storehouses for ammunition, firefighting equipment and Nazi general storage sites.

On 18 January 1945, the Soviet forces of the 2nd Ukrainian Front under the command of Marshal Ivan Konev entered Kraków and forced the German army to withdraw. Kraków emerged as a city in the newly established People's Republic of Poland.

The Old Town today
Today the Old Town attracts visitors from all over the world. The historic centre is one of 14 places in Poland that are included on the UNESCO World Heritage Sites. The architectural design of the Old Town has survived many cataclysms of the past and has retained the original form that was established in medieval times.

Throughout the year the Old Town is lively and crowded. There are many tourists, indefatigable florists, and lined up horse-drawn carriages waiting to give a ride. The place is always vibrant with life especially in and around the Main Market Square, one of the biggest squares in Europe, which came into existence when the city was given Magdeburg Rights in 1257. Tourist attractions such as the Town Hall Tower, the Sukiennice (also known as the Cloth Hall), old tenements with fine shops, and Adam Mickiewicz Monument are all located there. While near the monument, one can listen to the heynal, which is played each hour from the highest tower of St. Mary's Church.

There are many cafes, pubs and clubs, which are located in medieval basements and cellars with vaulted ceilings. The most famous places include "Wierzynek" Restaurant and Club "Pod Jaszczurami". Numerous events, concerts and exhibitions are organized there.

Obwarzanki krakowskie, or twisted ring-shaped breads, are undoubtedly a symbol of Kraków. On the Square there is a obwarzanki seller every few steps. Traditional obwarzanki are sprinkled with poppy-seeds. Today, sellers offer a whole variety of them; apart from poppy-seed, there are also sesame seed, rock salt and even pizza sprinkles. One can eat them while strolling or in a horse-drawn carriage while cruising around and glancing at yet another symbol of the old city, namely Kraków pigeons. One can also come across various buskers and mimes.

Numerous legends purport to explain the presence of numerous pigeons on the Main Square. According to one legend, Henry IV Probus, who tried to take over the Senioral Province during the period of regional disintegration of Poland, attempted to go to Rome with financial offerings in order to gain papal approval for his coronation. However, a certain enchantress turned his knights into pigeons. They pecked out some pebbles from the walls of St. Mary's Church, which then turned into gold. With these riches the prince set off to Vatican, but while on his way he lost everything and never managed to reach his destination. He returned to Kraków. None of his knights ever regained a human form.

Architectural monuments
The Old Town district of Kraków is home to about six thousand historic sites and more than two million works of art. Its rich variety of historic architecture includes Renaissance, Baroque and Gothic buildings. Kraków's palaces, churches, theatres and mansions display great variety of color, architectural details, stained glass, paintings, sculptures, and furnishings.

Museums and theatres
Many renowned points of interest in the Old Town, drawing a constant stream of visitors, include galleries as well as departments of the National Museum in Kraków such as the Sukiennice Museum, the Jan Matejko Manor, Stanisław Wyspiański Museum at 11 Szczepanska, Czartoryski Museum with Arsenal at 19 Św. Jana Street, as well as the Historical Museum of Kraków (Rynek Główny 35) with its departments: the Barbican, the House under the Cross housing History of Theatre museum, Hippolitow House, Town Hall Tower, Archdiocesan Museum and Archeological Museum. There are also: the Pharmacy Museum, Collegium Modicum at Jagiellonian University, the Old Theatre Museum and the renowned Collegium Maius Museum of the Jagiellonian University, including the Palace of Bishop Erazm Ciołek (on Kanoniczna). Two major theatres are also located there: the Old Theatre, and the most famous Juliusz Słowacki Theatre.

Churches
The extended list of Catholic churches in the Old Town include: Church of St. Andrew, Church of St. Ann, Church of St. Barbara, Church and Monastery of Franciscans, Church of St. Giles, St. John's The Baptist and St. John's The Evangelist Church, Reformatory Church of St. Casimir, Church of Our Lady of Snows, Church of St. Martin, Church of St. Mary, Church of St. Marc, St. Peter's and Paul's Church, Pijary Church, Church of St. Tomas, St. Trinity Church (Dominican Church) and Church of St. Wojciech.

Sculptures
The Old Town district has a profusion of bronze statues and marble monuments. The most pronounced is the Monument of Adam Mickiewicz situated at the Main Marketplace between the St. Mary's Church and the eastern side of Sukiennice. It was unveiled for the centenary of Adam Mickiewicz's birth. The poet is surrounded by four lower groups which symbolize: Homeland i.e. Poland (from the face of the monument), Science – an old man with a boy (from the side of Florianska Street), Poetry (from the side of the Church of St. Wojciech), and Patriotism and Valour (facing Sukiennice). The monument was designed by Teodor Rygier, cast in Rome, and ceremonially unveiled on 16 June 1898. It is a key part of the Market Square panorama and a place of meetings for many young people.

Other well-known monuments include the monument commemorating the poet Józef Bohdan Zaleski at Basztowa Street, showing harpist with a guide boy, made in 1886 by Pius Welonski; the Monument of Jagiello and Jadwiga at Planty Park, made by Tomas Oscar Sosnowski and raised in 1886 in celebration of the quincentenary of the Union between Poland and Lithuania; and the Monument of Lilia Weneda at Planty Park, erected to commemorate poet Juliusz Słowacki showing a character from the poet's drama playing a harp, made by Alfred Daun in 1884. Across from the Palace of Art stands the Monument of Artur Grottger made by Wacław Szymanowski in 1901. Monument of Piotr Skrzynecki is in front of the Vis-á-vis café on the Main Market Square. The monument of Jozef Dietl on the All Saints’ Square was made by Ksawery Dunikowski in 1938 and erected in honour of the first president of Kraków. The monument to Aleksander Fredro is featured in front of the Juliusz Słowacki Theatre, near the Planty Park. It was made by Professor Cyprian Godebski in 1900.

Along Planty – near the Collegium Novum – is the monument to astronomer Nicolaus Copernicus depicting him as an established scholar. It was made by Godebski in 1900. Grażyna Monument at Planty Park presents characters from Adam Mickiewicz's poem entitled "Grażyna" (Grażyna and Litawor). It was made by Alfred Daun in 1884. Monument of Florian Straszewski also at Planty Park is an obelisk erected in honour of co-originator of the Park and made by Edward Stehlik in 1874. The bust of comedy writer Michał Bałucki made by Tadeusz Błotnicki in 1911 is located behind the Juliusz Słowacki Theatre. The Soviet Soldiers’ Graveyard monument situated near the Barbican till 1997 was later moved to Rakowicki Cemetery. Monument to Unknown Soldiers who fell during the Kraków's liberation in 1945 was made by Karol Muszkiet and Marcin Bukowski in 1945. Sculpture entitled "Polonia" near the Church of Franciscans presents the mother, holding a baby in her arms, with a weasel and two dogs. It was made by Genowefa Nowak in 1968. Monument of Tadeusz Boy-Żeleński, a friend of Stanisław Wyspiański, stands near the exit from Poselska Street. It was made by Edward Krzak in 1980. The monument of Cardinal Adam Stefan Sapieha stands in front of the Church of St. Franciscans. It was made from August Zamoyski's 1976 design. Monument of Tadeusz Kościuszko sculptured by Leonardo Marconi and Antoni Popiel is featured at Wawel. It was cast in bronze in 1900 and erected around 1920 by the newly established Tadeusz Kościuszko Society to celebrate the return of Poland's independence. New sculpture "Eros Bendato" made by Igor Mitoraj is situated on the Main Market Square, near the Town Hall Tower.

Gathering places
Among the best-known places to visit in and around the Old Town is Wierzynek restaurant at the Main Market Square. Its name refers to townsman Mikołaj Wierzynek and a feast held by him in the 14th century. The artistic café, Jama Michalika, boasts over a hundred years of literary traditions. Here the Zielony Balonik Cabaret has come into being and the Spirit of Young Poland has arisen. At the Main Market Square, there is also the Piwnica pod Baranami cabaret, created by renowned local artists, and a students’ club Pod Jaszczurami. The club is a legend in academic cultural circles. It is a popular place of meetings for the academic environment of Kraków where visitors are always welcome.

Moreover, the Square in the city centre is a place where many famous people and many important events were and are commemorated. There are plaques dedicated to the oath of Tadeusz Kościuszko in 1794, to Prussian Homage in 1525, and to supporting the renovation of Main Market Square from 1964.

title: Kraków Old Town


text:
Talk:Lissamphibia

I suggest this page belongs in page "Amphibia"/"Amphibian". Please see the Talk:Anura page where I hope we can coordinate all things Amphibian. Stanskis 02:37, 17 July 2005 (UTC)

 * Lissamphibia is a specific subclass of Amphibia. So unless you adopt a cladistic crown group definition of a monophyletic Lissamphibia, (in which case "Lissamphibia" = "Amphibia" and all other prehistoric amphibians are cladistically defined either as "tetrapods" or "four-legged animals") the two are not synonymous.

 * so, in short:

 * it is not agreed that Lissamphibia are monophyletic
 * the stem group interpretation is just as valid as the crown group interpretation, if we use this than Amphibia is not the same as Lissamphia even assuming the latter is a monophyletic taxon
 * while the cladistic explanation is being widely (and increasingly) adopted there are still those who prefer the Linnean taxonomy

 * for all these reasons, Lissamphibia should not be merged with Amphibia M Alan Kazlev 04:23, 18 July 2005 (UTC)

Dating
"The publication of a Permian-period stem form Gerobatrachus hottoni showed the frogs and salamanders had a common ancestor more recently (ca 290 Mya) than had been thought by using the molecular clock alone."

This is not obviously correct. The existence of a stem group taxon does not place a lower bound on the age of a crown group, as stem group lineages do not automatically go extinct on the appearance of the crown group. For example, monkeys could be considered a stem group with respect to the ape crown group (or vice versa), but neither is yet extinct. (The cited National Geographic Article at Gerobatrachus hottoni is in disagreement with the above statement.)
 * You are absolutely correct. Even if Gerobatrachus hottoni were a stem-batrachian, that would say nothing about the geological age of Batrachia. Furthermore, these affinities have been disputed . I find that this page could use a lot more references. For instance, no citation is provided to any paper supporting a monophyletic origin within lepospondyls (although several were published). Similarly, there are far more molecular studies, but Sigurdsen and Green (2011), cited as such, is a morphological study, not a molecular one. I could fix all these problems; should I? Stranger forever (talk) 14:54, 8 December 2012 (UTC)
 * Anderson et al. (2008) says, not just that Gerobatrachus hottoni is a stem batrachian, but that it is "the immediate sister taxon to Batrachia". Doesn't that mean that Batrachia is about as old as Gerobatrachus? If so, the article isn't that far off the mark. Peter Brown (talk) 23:43, 9 December 2012 (UTC)
 * Hi Peter, even if Gerobatrachus hottoni were the immediate sister-group of Batrachia (which I doubt), that would imply nothing about the age of Batrachia, except that its stem is at least as old as Gerobatrachus hottoni. But that fixes no maximal age. So the text in the introduction is wrong. Gerobatrachus hottoni does not falsify any molecular dating of Lissamphibia or of Batrachia. Michel Laurin (talk) 07:48, 10 December 2012 (UTC)

 * Michel, you have added that, if Anderson et al. are correct about Gerobatrachus hottoni, then it is the oldest known lissamphibian. It is really unclear why a stem-batrachian needs to be a lissamphibian at all, especially if the subclass is polyphyletic. The real problem, which also underlies my question in the next section, is that the article provides no clear delimitation of Lissamphibia. This is not something I know and surely the general reader will fare no better. Peter Brown (talk) 18:04, 11 December 2012 (UTC)
 * Peter, Lissamphibia has been conceptualized since the early 20th century as the smallest crown group that includes all extant amphibians. Thus, a stem-batrachian has to be a lissamphibian, by definition, because the existence of Batrachia implies that gymnophionans are outside that clade (and delimit, along with Batrachia, Lissamphibia). By the way, I formalized that definition in the context of the PhyloCode (Phylonyms volume, which should be published in the first half of 2020). I hope that this clarifies.Michel Laurin (talk) 11:21, 5 January 2020 (UTC)

References

Doubts about monophyly
According to the Lissamphibia#Relationships and definition section,

 * Not all paleontologists are convinced that the lissamphibia are indeed a natural group, as the various characteristics are also shared with some Palaeozoic amphibians. . . .

Is there some reason to suppose that these Palaeozoic amphibians aren't lissamphibians? If so, what is it? If not, this clause doesn't make sense. Peter Brown (talk) 00:36, 11 December 2012 (UTC)

 * Mmm. The whole article is a muddle. There shouldn't be controversy (and refs) in the lead section; the lead should only summarize the rest of the article, not introduce new stuff; the article should plainly state alternate points of view, and cite them; it should actually describe the group, not suggest characters that possibly describe some of them. WP:TNT does spring to mind. Chiswick Chap (talk) 09:19, 12 March 2013 (UTC)

 * Many papers were published since this page was last updated (I just made a very minor update). I would like to draw you attention to recent Open Access papers, which provide major updates on various arguments, new analyses, cite additional recent papersMichel Laurin (talk) 11:09, 5 January 2020 (UTC):

 * LAURIN, M., LAPAUZE, O., and MARJANOVIĆ, D. 2019. What do ossification sequences tell us about the origin of extant amphibians? Peer Community in Paleontology doi: 10.1101/352609

 * MARJANOVIĆ, D. and LAURIN, M. 2019. Phylogeny of Paleozoic limbed vertebrates reassessed through revision and expansion of the largest published relevant data matrix. PeerJ 6 e5565. doi: 10.7717/peerj.5565

title: Talk:Lissamphibia


text:
Girl (Beatles song)

"Girl" is a song by the English rock band the Beatles from their 1965 album Rubber Soul. It was written by John Lennon and credited to Lennon–McCartney. "Girl" was the last complete song recorded for that album. "Girl" is considered to be one of the most melancholic and complex of the Beatles' earlier love songs.

Composition
The song's instrumentation has specific similarities to Greek music, as with "And I Love Her" and "Michelle". As for the inspiration of the song's lyrics, Lennon stated that the "girl" was an archetype he had been searching for and would finally find in Yoko Ono. He said “Girl” is real. There is no such thing as the girl, she was a dream, but the words are all right. It wasn't just a song, and it was about that girl – that turned out to be Yoko, in the end – the one that a lot of us were looking for." In an interview for Rolling Stone magazine in 1980, Lennon said of his song "Woman": "Reminds me of a Beatles track, but I wasn't trying to make it sound like that. I did it as I did 'Girl' many years ago. So this is the grown-up version of 'Girl'."

McCartney claimed that he contributed the lines "Was she told when she was young that pain would lead to pleasure" and "That a man must break his back to earn his day of leisure." However, in a 1970 interview with Rolling Stone, Lennon explained that he wrote these lines as a comment on Christianity, which he was "opposed to at the time". Lennon said: "I was just talking about Christianity, in that – a thing like you have to be tortured to attain heaven ... – be tortured and then it'll be alright, which seems to be a bit true but not in their concept of it. But I didn't believe in that, that you have to be tortured to attain anything, it just so happens that you were".

Recording
Author Ian MacDonald describes "Girl" as "Lennon's answer to McCartney's 'Michelle': another Euro-song, replacing his partner's suave mock-French with a decadent German two-step crossed with Mikis Theodorakis's music for Zorba the Greek". Performed by Lennon and George Harrison, the acoustic guitars on the track were played with capos, lending an extra brightness to their sound. Musicologist Walter Everett comments that one of Harrison's guitar parts has the capo positioned so high up the neck and is played by him in a manner that creates a "nasal, sitar-like 'bouzouki' sound".

Lennon's lead vocals were initially overdubbed and featured a characteristic unheard before on a Beatles song. In McCartney's description: "My main memory is that John wanted to hear the breathing, wanted it to be very intimate, so George Martin put a special compressor on the voice, then John dubbed it. … I remember John saying to the engineer (Norman Smith) when we did 'Girl,' that when he draws his breath in, he wants to hear it." Following the Beatles' request, the engineer added more treble to the vocal, which, in Everett's description, matches the sound and timbre of the brushed cymbal played by Ringo Starr. In the song's middle eight sections, McCartney and Harrison sing the word "tit" repeatedly as vocal harmony. McCartney stated that this part of the vocal arrangement was influenced by the Beach Boys. He recalled: "The Beach Boys had a song out where they'd done 'la la la' and we loved the innocence of that and wanted to copy it, but not use the same phrase."

Cancelled 1977 single release
In early 1966, "Girl" was issued as the B-side of "Michelle" in several European countries, reaching number one in Finland. It was also released as the A-side of a single in Italy, backed by "Nowhere Man", which reached number seven on the nation's Musica e Dischi singles chart.

In November 1977, Capitol Records scheduled the United States release of "Girl" backed with "You're Going to Lose That Girl" as a single (Capitol 4506) to accompany the release of Love Songs, a Beatles' compilation album that contains both of these songs. However, the single was cancelled before it was issued. Promotional copies, which featured "Girl" on both sides—one in stereo, the other mono, along with a picture sleeve, were issued. (All copies of this promotional single were pressed on black vinyl.)

Personnel
According to Ian MacDonald, except as noted:

 * John Lennon – lead vocals, acoustic guitar
 * Paul McCartney – backing vocals, bass guitar
 * George Harrison – backing vocals, lead acoustic guitar, 12-string guitar
 * Ringo Starr – drums

Cover versions

 * The English freakbeat rock band St. Louis Union's version of "Girl" reached No. 11 in the UK Singles Chart in February 1966.
 * Tiny Tim sang "Girl" with Brave Combo as the title track of his final recording, the 1996 album Girl.
 * Jim Sturgess sang "Girl" in the 2007 film musical Across the Universe.

title: Girl (Beatles song)


text:
I'm Looking Through You

"I'm Looking Through You" is a song by the English rock band the Beatles from their 1965 album Rubber Soul. It was written by Paul McCartney and credited to Lennon–McCartney. McCartney wrote the song about English actress Jane Asher, his girlfriend for much of the 1960s, and her refusal to give up her stage career and focus on his needs. The line "You don't look different, but you have changed" reflects his dissatisfaction with their relationship. The lyrics also refer to his changing emotional state: "Love has a nasty habit of disappearing overnight".

Composition
"I'm Looking Through You" is in the key of A♭ major. The song primarily features McCartney's lead vocals, which is double tracked throughout, with Lennon's harmony vocals being tracked in the third phrase of each verse. The outro switches over to single-tracking, which Alan W. Pollack opines creates a "surprising last minute sense of increased intimacy and immediacy". The primary instruments featured on the songs are the acoustic guitar, electric bass, and tambourines, along with hand claps.

Recording
During October and November 1965, the Beatles recorded three versions of "I'm Looking Through You". Take 1 was recorded on 24 October and was slower than the version released on Rubber Soul, having a tempo of 132 beats per minute. It had a significantly different rhythm and lacked the "Why, tell me why …" middle eight of the final version. Take 1 was eventually released in 1996 on the Anthology 2 compilation. Take 1 also featured an electric twelve-bar blues jam, and a pitch centre in the key of G.

The Beatles recorded the first remake of the track on 6 November, towards the end of the Rubber Soul sessions, but were again dissatisfied with the result. Take 4, the final version, was recorded on 10 November with overdubs on 11 November. This version is in the key of A♭ and features a bridge passage based on a descending major scale, extending a ninth from 6 down to 5. The same melodic structure was later used by McCartney in the verse of "Penny Lane", the chorus of "Maxwell's Silver Hammer", and in instrumental sections of "Hello, Goodbye" and "Lady Madonna".

The final released version features several faintly audible abnormalities such as incomplete hand clapping, stray guitar notes and tambourine hits; whether these mistakes went unnoticed during post-production or were intentionally left in remains uncertain. The North American stereo version of the song contains two false guitar starts, which were cut from the other mixes. Allegedly, the engineers at Capitol Records thought the false start was intentional, and left it in.

The album sleeve and other sources indicate that Ringo Starr played Hammond organ on this track. Starr plays quick two-note vamps in the choruses. Mark Lewisohn reported that Hammond organ was not listed on the session tape box.

Critical reception
In his contemporary review of Rubber Soul for the NME, Allen Evans said that "I'm Looking Through You" sounded "like earlier Beatles numbers", adding: "A quiet, rocking song about a girl who has changed after letting her boy down. Ringo on organ!" Record Mirror's reviewer recognised Starr's unfamiliar role as an example of the album's "spirit of everybody having a go at everything". The writer admired the song's rhythm, McCartney's singing, and George Harrison's "top-notch guitar-work". Nikki Wine of KRLA Beat described the track as a "really swingin' cut" and "Wonderful fun", with an "almost-bluesy sound".

Thomas Ward of AllMusic calls "I'm Looking Through You" one of the "finest" songs on Rubber Soul and one of the "minor gems of the Beatles canon". He highlights McCartney's lyrics, describing them as one of the most "mature" of the period, and praises his lead vocal.

Personnel
According to authors Jean-Michel Guesdon and Philippe Margotin except where noted:
 * Paul McCartney – double-tracked vocals, bass guitar
 * John Lennon – harmony vocal, acoustic guitar
 * George Harrison – lead guitar, tambourine
 * Ringo Starr – drums, matchbox, Hammond organ

title: I'm Looking Through You


text:
Talk:Hedy Buress

Vote for Deletion
This article survived a Vote for Deletion. It was turned into a redirect. The discussion can be found here. -Splash 02:39, 17 July 2005 (UTC)

title: Talk:Hedy Buress


text:
User talk:Ericmoritz

from django.core import template from django import templatetags

class DjangoAjaxIncludes(template.Node): def render(self,context): return "Hello, World"
 * 1) Create the template tags

def show_ajax_includes(parser,token): """   django_ajax_init    """ return DjangoAjaxIncludes

template.register_tag("django_ajax_init",show_ajax_includes)

title: User talk:Ericmoritz


text:
RMS Transylvania (1925)

RMS Transylvania was a British ocean liner. She was launched on 11 March 1925 for the Anchor Line and was the sister ship to the SS California and RMS Caledonia. She was converted into an armed merchant cruiser, pennant F56 during World War II. On 10 August 1940, HMS Transylvania was torpedoed and sunk by the German U-boat GS U-56 (1938).

Construction
Transylvania was built in Glasgow, Scotland, by the Fairfield company, Yard No. 595. She was 552 ft long and 70.2 ft wide. The liner had twin propellers with a service speed of 15.5 kn. Transylvania had three funnels but only required one; three funnels were more visually appealing and attracted more passengers than her similar-looking fleetmates which only had one funnel each.

Ocean Liner Career
Transylvania was completed on 2 September 1925 and sailed from Glasgow to New York on her maiden voyage ten days later. Transylvania could carry 279 passengers in First Class, 344 in Second Class and 800 in Third Class for a total of 1,423 people. On 28 March 1929, Transylvania ran aground in the fog at La Coeque Rocks, 10 nmi west of Cherbourg. In Cherbourg, she disembarked her passengers and then sailed to the Clyde for repairs. In 1930, there was a change in ship passenger accommodation with the increase in international tourism.

Second World War
In September 1939, the liner was requisitioned by the Royal Navy as an armed merchant cruiser and Transylvania was assigned to the 10th Cruiser Squadron and served in the Northern Patrol, which was responsible for the naval blockade against the Germans. On 10 August 1940, off Malin Head, Ireland, she was torpedoed by GS U-56 (1938). Transylvania was towed by the stern but sank before reaching land. A total of 36 people died. The wreck lies at a depth of 134 m about 30 nmi north of Tory Island.

title: RMS Transylvania (1925)


text:
In My Life

"In My Life" is a song by the English rock band the Beatles, released on their 1965 studio album, Rubber Soul. Credited to the Lennon–McCartney songwriting partnership, the song is one of only a few in which there is dispute over the primary author; John Lennon wrote the lyrics, but he and Paul McCartney later disagreed over who wrote the melody. George Martin contributed the piano solo bridge.

According to Lennon, "In My Life" was his "first real major piece of work" because it was the first time he wrote about his own life.

In 2000, Mojo named "In My Life" the best song of all time. Rolling Stone ranked it number 23 on its 2004 list of "The 500 Greatest Songs of All Time", and number 98 on the 2021 revised list, as well as fifth on its list of the Beatles' "100 Greatest Songs".

Lyrics
In a 1980 interview, Lennon referred to this song as his "first real major piece of work" because it was the first time he had written about his own life. According to Lennon, the song's origins can be traced to English journalist Kenneth Allsop's remark that Lennon should write songs about his childhood. Afterwards, Lennon wrote a song in the form of a long poem reminiscing on those years. The original lyrics were based on a bus route he used to take in Liverpool, naming various sites seen along the way, including Penny Lane and Strawberry Field.

Lennon later thought the original lyrics were "ridiculous", calling it "the most boring sort of 'What I Did on My Holidays Bus Trip' song". He reworked the words and replaced the specific memories with a generalised meditation on his past. Few lines of the original version remained in the finished song. According to Lennon's friend and biographer Peter Shotton, the lines "Some [friends] are dead and some are living/In my life I've loved them all" referred to himself and Stuart Sutcliffe (who died in 1962).

Music

Lennon's and McCartney's recollections differ regarding the music. Lennon said that McCartney's "contribution melodically was the harmony and the middle-eight." In 1977, when shown a list of songs Lennon claimed writing on for the magazine Hit Parader, "In My Life" was the only entry McCartney disputed. McCartney said he set Lennon's lyrics to music from beginning to end, taking inspiration from songs by Smokey Robinson & the Miracles. In 1976, he commented: "I liked 'In My Life'. Those were words that John wrote, and I wrote the tune to it. That was a great one."

In a 2018 study, artificial intelligence researchers at Harvard University applied bag-of-words modelling to the notes and chords of the song, and concluded that there was a 18.9% probability of McCartney having written the verse. Lennon was given an 81.1% certainty of writing the verses, while McCartney was given a 43.5% certainty of writing the middle eight. The analysts reported "a large amount of uncertainty" regarding the middle eight.

Recording
The song was recorded on 18 October 1965, and was complete except for the instrumental bridge. At that time, Lennon had not decided what instrument to use, but he subsequently asked George Martin to play a piano solo, suggesting "something Baroque-sounding". Martin wrote a Bach-influenced piece that he found he could not play at the song's tempo. On 22 October, the solo was recorded with the tape running at half speed, so when played back at normal pace the piano was twice as fast and an octave higher, solving the performance challenge and also giving the solo a unique timbre, reminiscent of a harpsichord.

Legacy
"In My Life" inspired pop music producers to use harpsichords in their arrangements. Rolling Stone magazine ranked "In My Life" number 23 on its 2004 list of "The 500 Greatest Songs of All Time", and number 98 on its 2021 list, as well as fifth on its list of the Beatles' "100 Greatest Songs". The song placed second on CBC's 50 Tracks. Mojo magazine named it the best song of all time in 2000.

Personnel
According to Walter Everett:

The Beatles
 * John Lennon – double-tracked vocal, rhythm guitar
 * Paul McCartney – harmony vocal, bass guitar
 * George Harrison – harmony vocal, lead guitar
 * Ringo Starr – drums

Additional musician
 * George Martin – piano, tambourine

title: In My Life


text:
Back to the Future Part II & III

Back to the Future Part II & III is a 1990 video game for the Nintendo Entertainment System based on the second and third films in the Back to the Future trilogy. The game was produced by Beam Software and published by Acclaim Entertainment under their LJN label.

Part II
When Doc takes Marty to the year 2015 to prevent his future son from committing a crime, old Biff takes the Gray's Sports Almanac and travels back to 1955 and gives the book to his younger self. Over the next three decades, young Biff uses the information to win money on the outcome of each sporting event he bets on, making him the richest and most powerful man in the world by 1985. To ensure that no one else gets their hands on the almanac, Biff travels through time and collects various items and puts them behind locked doors in three different periods. This action has caused a disruption in time, and now the space-time continuum is falling apart. With Hill Valley in ruins, Marty must now travel to all three periods, then find and return all the items back to their original places in order to retrieve the almanac and destroy it.

Part III
After Marty returns all items to their rightful places and burns the almanac, Marty then receives a letter from Doc via a courier that was written in 1875 (although 1885 in the film). According to the old letter, Doc has become stranded in the past and must be rescued or else this will start to threaten the future. Now, Marty must go back in time in order to rescue Doc with the aged but repaired DeLorean. Before they can return to 1985, Marty must find and return ten more items to their rightful location.

Street level
The player controls Marty and attempts to defeat enemies by jumping on or throwing projectiles at them. The player must also collect fuel for the time machine and junk food for extra lives as they progress through each timeline.

Scattered and hidden throughout each timeline are Object Rooms (containing objects which must later be returned to other locations) and alleyways used to navigate street to street within the timeline. Some alleyways appear in all three timelines while others appear in one or two but not all three. At other points the player must use the DeLorean to navigate large chasms that appear on different timelines.

Object rooms
As the player progresses through the level they obtain keys by killing certain enemies. These keys are used to unlock the various object rooms throughout each level. Within each object room the player must obtain one of the items ostensibly scattered by Biff. The rooms appear as locked doors in Part II and caves or various buildings in Part III.

To retrieve the items Biff scattered, the player must participate in a mini-game within the object room involving collecting a certain number of stop watches in 60 seconds while avoiding enemies and obstacles such as cacti, quicksand and falling pellets.

Puzzle rooms
Puzzle rooms are hidden throughout each level and found in various drainage pipes and manholes. Each puzzle room contains the scrambled name of the object that belongs there. The player must unscramble the word and select the proper item from their inventory. Correctly choosing the item that belongs within the room reveals one section of a picture puzzle. However, if the player chooses the wrong item, the item is removed from their inventory and returned to the object room in which it was previously located, forcing the player to complete the challenge within that room to re-obtain the object.

In Part III, puzzle rooms are located under rocks that the player must break open by jumping on them a few times.

Time travel
After finding the remote control to summon the DeLorean, players can time travel between 1955, 1985 and 2015. However, adequate fuel must be collected before being able to time travel using the DeLorean.

Additionally, each time the player time travels a clone of Marty is created in that year which, when touched, will instantly kill the player.

Some platforms are out of reach in certain areas which need to be accessed to progress through the level. A player can plant an acorn in 1955 and then revisit that same location in 1985 or 2015 where a full-grown tree appears, allowing the player to access the previously unattainable space.

Reception
Skyler Miller of AllGame acknowledged Back to the Future Part II & III had little to do with the source material and had nonsensical elements, it was "a decent Super Mario Bros. rip-off" with "reasonably tight" controls and "passable" graphics. GamePro, also comparing the game to Super Mario Bros., suggested its various arcade-style mini-game levels makes this cart as challenging and that they provide hours of fun.

Stan Stepanic of Gamefreaks365.com gave Back to the Future II & III positive remarks in regards to similarities with The Goonies II, but gave it a largely negative review due to the lack of a password or save feature coupled with its notorious length, although there was a code to skip to the second half of the game. Stepanic stated that it took him roughly six hours just to map it, and he spent so much time trying to finish it he actually turned it off out of boredom.

title: Back to the Future Part II & III


text:
Abe Burrows

Abe Burrows (born Abram Solman Borowitz; December 18, 1910 – May 17, 1985) was an American humorist, author, and director for radio and the stage. He won a Tony Award and was selected for two Pulitzer Prizes, only one of which was awarded.

Early years
Born Abram Solman Borowitz in New York City, Burrows graduated from New Utrecht High School in Brooklyn and later attended both City College and New York University. He began working as a runner on Wall Street while at NYU, and he also worked in an accounting firm. After he met Frank Galen in 1938, the two wrote and sold jokes to an impressionist who appeared on Rudy Vallée's radio program.

Radio
His radio career gained strength when he collaborated with Ed Gardner, the writer and star of radio's legendary Duffy's Tavern. The two created the successful series after Gardner's character, Archie, premiered on This Is New York, an earlier radio program. Burrows was made the show's head writer in 1941, and he credited his experience with inventing the Runyonesque street characters he fashioned for Guys and Dolls. "The people on that show," Burrows once said about Duffy's Tavern, "were New York mugs, nice mugs, sweet mugs, and like (Damon) Runyon's mugs they all talked like ladies and gentlemen. That's how we treated the characters in Guys and Dolls."

Burrows also wrote for Danny Kaye's short-lived mid-1940s radio comedy show, helping head writer Goodman Ace fashion material for Kaye and co-stars Eve Arden and Lionel Stander. He quit Duffy's Tavern in 1945 to work at Paramount Pictures but soon returned to radio. As a guest on Here's Morgan in 1947, Burrows performed "I'll Bet You're Sorry Now, Tokyo Rose, Sorry for What You Done."

Meanwhile, he became a popular guest on the Hollywood party circuit, performing his own satirical songs ("Darling Why Shouldn't You Look Well Fed, ‘Cause You Ate Up a Hunka My Heart?" and "The Girl with the Three Blue Eyes"). Such informal performances led to a nightclub act and regular appearances as a performer on CBS radio programs, and to his eventually hosting his own radio program on CBS Radio from 1947 to 1949, a 15-minute weekly comedy that Burrows wrote and directed as well.

As he recalled years later, his show came about while he was scripting a radio show for Joan Davis when George Jessel asked him, "When the hell are you gonna become a professional?" Burrows continued as Davis' head writer while doing his own show. Mixing comic patter ("I guess I could tell you exactly what I look like, but I think that's a lousy thing to say about a guy") with his clever comic songs, The Abe Burrows Show was popular with listeners and critics but not with its sponsor, Lambert Pharmaceutical, then the makers of Listerine mouthwash, but promoting a Listerine toothpaste on the show. Lambert, according to Burrows, complained that the show wasn't selling much of the toothpaste. "It seems that my fans were being naughty," he wrote. "While they were laughing at my jokes, they were sneering at my toothpaste."

The New York Public Library holds the Abe Burrows papers, which include complete runs of both The Abe Burrows Show (CBS, 1947–48) and Breakfast with Burrows (CBS, 1949), as well as appearances on other radio shows.

Both of Burrows' radio shows originated from KNX, CBS's Los Angeles affiliate, whose program director Ernie Martin encouraged Burrows, who had done some film work, to think about writing plays. "I told him I felt my funny stuff was okay for radio, but I didn't think people would pay theater prices to hear it," Burrows recalled.

Broadway
Burrows credited his success in the theatre to his work under the theatre legend George S. Kaufman. In the Kaufman biography by Howard Teichmann, Burrows is quoted as saying that what he said (as a director, to his cast) was what he heard Kaufman say in their collaboration on Guys and Dolls.

Eventually, Burrows wrote, doctored, or directed such shows as Make a Wish, Two on the Aisle, Three Wishes for Jamie, Say, Darling, Guys and Dolls, How to Succeed in Business Without Really Trying, Cactus Flower, Four on a Garden, Can-Can, Silk Stockings, Breakfast at Tiffany's, Good News (1974 revival), and many others. With his collaborator Frank Loesser, Burrows won a Pulitzer Prize for How to Succeed in Business Without Really Trying.

Burrows wrote and directed the first Broadway musical version of a Jane Austen novel, First Impressions, a rewriting of Pride and Prejudice. The show, which ran for 84 performances in 1959, is widely described as a flop. Burrows thought that critics panned the show because they wondered why a comedy guy was taking on "tired period drama," but the script shows some unusual choices. Burrows had his version of heroine Elizabeth Bennet decide to join forces with her marriage-hungry mother in order to snag hero Mr. Darcy.

Burrows also became a famous script doctor, enough so that the desperate remark of a producer, "Get me Abe Burrows!", remained for many years Broadway shorthand for a script that needed repair. Yet Burrows himself downplayed that role in his memoir, and discussed his fixing of Make a Wish: "I have... performed surgery on a few shows, but not as many as I'm given credit for. I've been involved in 19 theatrical productions, plus their road company offshoots. Only a few of these have been surgical patients. And I don't usually talk about them. I feel that a fellow who doctors a show should have the same ethical approach that a plastic surgeon has. It wouldn't be very nice if a plastic surgeon were walking down the street with you, and a beautiful girl approached. And you say, 'What a beautiful girl.' And the plastic surgeon says, 'She was a patient of mine. You should have seen her before I fixed her nose.' Doctoring seldom cures a show. The sickness usually starts at the moment the author puts the first sheet of paper in his typewriter. All the redirecting and recasting can never help much if the basic story is wrong."

Guys and Dolls was apparently selected as the winner for the Pulitzer Prize in Letters. However, because of Burrows' troubles with the House Un-American Activities Committee (HUAC), no Pulitzer for Letters was awarded in 1951, as the Trustees of Columbia University had the right of veto.

Burrows wrote the screenplay for The Solid Gold Cadillac in 1956 as well as produced a television series Abe Burrows' Almanac (1950) and The Big Party (1959).

In 1980, he published his memoir, Honest, Abe: Is There Really No Business Like Show Business?, in which he recalled the meat of his career. He mentored several comedy writers, including future M*A*S*H writer Larry Gelbart (who was once a Duffy's Tavern writer), Nat Hiken, Dick Martin as well as Woody Allen, who was a distant cousin of Burrows.

Television
Over three decades, Burrows appeared as a panelist on programs such as This Is Show Business, What's My Line?, To Tell the Truth, and Match Game 77, all on CBS. He also appeared on Call My Bluff on NBC. On October 27, 1952, he guest-starred on CBS's Faye Emerson's Wonderful Town when the television series visited The Bronx. He was the co-creator of the ABC television series O. K. Crackerby!

Recordings
Burrows recorded albums for Decca and Columbia.

 * The Girl with the Three Blue Eyes and other typical type songs (1947, Decca A-607), 10-inch 78rpm, reissued on 10-inch LP (1950, Decca DL 5288)
 * Abe Burrows Sings? (1950, Columbia), with orchestra under the direction of Milton DeLugg, 10-inch LP
 * Fun House! (1959, Harmony Records), various artists, includes Boulder Dam by Burrows

Personal life
He was married twice. His son, James Burrows, became an influential television director whose credits have included The Mary Tyler Moore Show and Cheers. His daughter, Laurie Burrows Grad, is the author of four cookbooks and host of her own cooking show on The Learning Channel.

Abe Burrows died from Alzheimer's disease in his native New York City.

title: Abe Burrows