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Peace Cup

The Peace Cup was an invitational pre-season friendly football tournament for club teams which was held every two years by the Sunmoon Peace Football Foundation. It was usually contested by eight clubs from several continents, though 12 teams participated in 2009. The first three competitions were held in South Korea, and the 2009 Peace Cup was held in Madrid and Andalusia, Spain. Previous winners are PSV, Tottenham Hotspur, Lyon, Aston Villa, and Hamburger SV, who were the final champions.

The tournament was originally organised and held in South Korea and contested in 2003, 2005, and 2007 between eight clubs from various countries, including the Seongnam Ilhwa Chunma, which is owned by the organizing company.

A corresponding event featuring women's national teams, the Peace Queen Cup, began in 2006.

History and format
Since 2003, the Peace Cup is being held every two years, the Sunmoon Peace Football Foundation invites football clubs from various nations. South Korea's Seongnam Ilhwa Chunma participates in every tournament as both the club and foundation are sponsored by the same organization, the Unification Church. From 2003 to 2007, the Peace Cup was played between eight clubs, divided into two groups of four teams. The winner of each group qualified for the final, which was played in a single match. 2009 Peace Cup Andalucia was held in Spain, and 12 teams participated in the competition. The fifth competition took place again in South Korea in July 2012, and four teams which had South Korean players entered. In October 2012, it was announced that the Peace Cup will no longer be held, following the death of Unification Church founder Sun Myung Moon.

Prize
From 2003 to 2007, the prize money of the tournament was approximately €2 million for the winning team, and €500,000 for the runners-up.

Awards
The "Golden Ball" is awarded to the player on the basis of a vote taken among the media accredited to each Peace Cup tournament. There are also "Silver Ball" and "Bronze Ball" for the second and third best players respectively.

Controversy
The original name of the competition was to be Sunmoon Peace Cup, named after Sun Myung Moon, the founder of the Sunmoon Peace Football Foundation. However, after being criticized that it was too religious, the organization changed its name to World Peace King Cup and started preparation for its first tournament. Before the inauguration of the cup, the Asian Football Confederation warned that the term "world" can only be used by competitions organized by FIFA, and "king" can be used by competitions held by a kingdom.

title: Peace Cup


text:
Wikipedia talk:Requests for comment/Tlotz

Noitall: I've given evidence of how Tlotz has violated the personal attack policy. Please list the exact policies which I've violated, with diffs. Thanks. Rhobite 22:02, July 16, 2005 (UTC)

 * This RfC needs evidence that two users have tried, but failed, to resolve the same dispute, and currently it doesn't have that. Does that evidence exist? If not, the RfC is not properly certified. SlimVirgin (talk) 23:48, July 19, 2005 (UTC)

 * In fact, I have deleted it because the single diff that Rhobite gives as evidence of trying to resolve the dispute was timed just two hours before the RfC was posted, which didn't even given Tlotz time to respond. This was a regular content dispute, not grounds for an RfC. SlimVirgin (talk) 23:56, July 19, 2005 (UTC)
 * Really, insulting other people's home state, calling them "you liberals" and insulting their age is a content dispute according to you? Rhobite 02:02, July 20, 2005 (UTC)

 * Yes, he was a POV warrior. But he was brand new and you had no right to take advantage of him.  You made no attempt at all to help him and immediately came to this page. And, ahhh, if "you liberals" and "old man" can become the basis for an RfC, then SlimVirgin and the other Admins are really going to have their work cut out for them.  Give me a break.  --Noitall 02:13, July 20, 2005 (UTC)

RFC deletion
This page does not meet the criteria for an RfC. Within 48 hours, at least two people need to show that they tried to resolve a dispute with this user and have failed. 1 editor simply talking on the talk page with a brand new user does not meet the criteria. According to Wiki policy, this page must be deleted. --Noitall 23:19, July 19, 2005 (UTC)

 * I, JamesMLane, and Shem all attempted to discuss the issue with Tlotz. He responded with personal attacks. Since Tlotz appears to be gone I don't want to spend more of my time discussing this. But in case he returns, this RFC should stay. Rhobite 02:01, July 20, 2005 (UTC)

 * Rhobite, it wasn't properly certified. You have to provide diffs showing two users tried to resolve the dispute (not have it, resolve it), and you have to do it within 48 hours, not whenever the others feel like posting. The rules are clear that this should be deleted. SlimVirgin (talk) 02:15, July 20, 2005 (UTC)

 * You could have read Talk:Republican Party (United States) and seen for yourself that multiple users tried to resolve this issue. Or you could have asked me, Shem, or JamesMLane to provide additional evidence in the RFC. Nope, that wasn't good enough for you, you just unilaterally deleted an RFC with 4 certifications. Rhobite 02:55, July 20, 2005 (UTC)

 * You whiney crybabies (does that deserve an RfC?) did not try to state any problem edit, state any solutions, or try to attempt to resolve any problem with this new User. He was barely able to log on once or twice before you started an RfC. --Noitall 03:01, July 20, 2005 (UTC)

 * You may not agree with the personal attack policy, but it's there for a reason. I think this discussion is becoming a little hypothetical. Let's not discuss Tlotz's conduct any more unless he returns. Agreed? Rhobite 03:05, July 20, 2005 (UTC)

 * This is an absurd farce. The rules say you have to provide the diffs within 48 hours. You didn't do it. You want someone else to spoonfeed things to you, and now everyone's time has to be wasted helping you nail some new user who's disappeared anyway. This is exactly the kind of nonsense that's making good editors leave. SlimVirgin (talk) 03:11, July 20, 2005 (UTC)

 * Here's the stupid diff, are you happy now? I'm sorry that I left a minute detail out of the RFC, I wasn't aware that Wikipedia had become a complete bureaucracy already. I suppose you have some sort of form for me to fill out now. Rhobite 03:57, July 20, 2005 (UTC)

 * Thank you. Or you had to do is supply it within 48 hours, together with evidence showing the attempt had failed (i.e. that the disputed behavior had continued, which you still haven't shown). I take your point about the bureaucracy aspect, but an RfC isn't something you should start lightly, and if you have to, you should do it properly. This was a new user. He'd only been editing for one day! That's taking the notion of Wikipedia qua bureaucracy much further than I have. You should let this drop, Rhobite. SlimVirgin (talk) 04:07, July 20, 2005 (UTC)

 * Because an RfC should not be done so lightly or to intimidate, as it was in this case, if anything, it should be more bureaucratic. It should require some work and effort to get it right.  I know that I am ready to let it drop.  --Noitall 04:33, July 20, 2005 (UTC)

 * I'm not quite ready to let it drop. I wouldn't want anyone to think that silence in the face of Noitall's charges amounted to an admission from us "whiney crybabies" that those charges were true.  The diff cited by Rhobite rebuts the charge that we didn't try to resolve the problem.  This diff, by which Shem began the whole talk page thread, rebuts the charge that we didn't state any problem edit.  Other rebuttals could be cited if there were any reason to do so.

 * OK, now I'm ready to let it drop. JamesMLane 04:49, 20 July 2005 (UTC)

 * One day? One problem edit? Ok, it's dropped. --Noitall 04:53, July 20, 2005 (UTC)

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


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2005 World Games

The 2005 World Games (Weltspiele 2005), the seventh World Games, were an international multi-sport event held in Duisburg, Germany from 14 July 2005 until 24 July 2005. Three other cities, namely Bottrop, Mülheim an der Ruhr, and Oberhausen, also held some of the competition events. More than 3,000 athletes competed in 31 official sports and 6 invitational sports.

Official sports
The 2005 World Games programme featured 31 official sports, and 6 invitational sports. The numbers in parentheses indicate the number of medal events, which were contested in each sports discipline.

 * Casting_pictogram.svg Casting (6)
 * Billiards_pictogram.svg Cue sports (4)
 * Archery_pictogram.svg Field archery (6)
 * Weightlifting_pictogram.svg Powerlifting (6)
 * Casting_pictogram.svg Casting (6)
 * Billiards_pictogram.svg Cue sports (4)
 * Archery_pictogram.svg Field archery (6)
 * Weightlifting_pictogram.svg Powerlifting (6)
 * Casting_pictogram.svg Casting (6)
 * Billiards_pictogram.svg Cue sports (4)
 * Archery_pictogram.svg Field archery (6)
 * Weightlifting_pictogram.svg Powerlifting (6)
 * Weightlifting_pictogram.svg Powerlifting (6)
 * Weightlifting_pictogram.svg Powerlifting (6)
 * Weightlifting_pictogram.svg Powerlifting (6)
 * Weightlifting_pictogram.svg Powerlifting (6)
 * Weightlifting_pictogram.svg Powerlifting (6)
 * Weightlifting_pictogram.svg Powerlifting (6)
 * Weightlifting_pictogram.svg Powerlifting (6)
 * Weightlifting_pictogram.svg Powerlifting (6)
 * Weightlifting_pictogram.svg Powerlifting (6)
 * Weightlifting_pictogram.svg Powerlifting (6)
 * Weightlifting_pictogram.svg Powerlifting (6)

Invitational sports
Aikido was also one of the invitational sports, but it was deemed a demonstration sport; no medal events were held.

 * [[Image:Motorcycle icon.svg|21px]]
 * [[Image:Motorcycle icon.svg|21px]]
 * [[Image:Motorcycle icon.svg|21px]]
 * [[Image:Motorcycle icon.svg|21px]]
 * [[Image:Motorcycle icon.svg|21px]]

Official sports
The medal tally during the seventh World Games is as follows. Russia won the most gold medals and tied with Germany in overall medals won in this edition's official sports. There was a tie for second place in one sport climbing event (two silver and no bronze medals awarded). Two bronze medals were awarded in each of the two squash events.

title: 2005 World Games


text: Category:Ivor Cutler albums

title: Category:Ivor Cutler albums


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Felip Pedrell

Felip Pedrell Sabaté (Spanish: Felipe) (19 February 1841 – 19 August 1922) was a Catalan composer, guitarist and musicologist.

Life
Pedrell was born in Tortosa (Catalonia), and sang as a boy soprano at Tortosa Cathedral from age 9, where he also received most of his musical education from its chapel master Joan Nin i Serra (1804–1867). On 29 September 1867 he married Carmen Domingo, with whom he had one daughter, also named Carmen.

In 1873 he went to Barcelona where he co-directed a zarzuela troupe and studied the guitar with José Brocá. As a guitarist, he became deeply influenced by Francisco Tárrega and dedicated several of his compositions to him (Impromptu, Floriada). By this time he had already written over 100 compositions, most of which salon music for piano, some songs, and works for the stage such as the opera L'último Abenzeraggio (first version: 1868), which was performed at the Teatro del Liceo in 1874. Between 1876 and 1880, Pedrell lived mainly in Italy and France: in Rome he discovered his musicological interest, and in Paris he worked mainly in composition, writing his song-cycle Orientales (words by Victor Hugo) and the symphonic poem Excelsior (1880).

In February 1880, he settled in Barcelona as a music teacher and composer, where he made the acquaintance of Isaac Albéniz and Enrique Granados who became his first pupils. Other notable pupils included the composers Rosa García Ascot, Manuel de Falla, and Joan Lamote de Grignon. After another performance of L'último Abenzeraggio in 1889, Pedrell seriously considered the founding of an "escuela nacional de música" (national school of music), combining elements of Spanish traditional music with the classical art music of his time. The first result was the opera Els Pirineus (1891), underlining his concept theoretically with the publication Por nuestra música (To Our Music; 1891), which made many composers and guitarists of his time aware of Spanish folklore. Influences were visible in Roberto Gerhard's eight Pedrell-derived folk-tunes (Cancionero de Pedrell), and Manuel de Falla's "Pedrelliana" – the last of his four Homenajes ("homages") (1939).

Between 1891 and 1904, Pedrell lived in Madrid, where he became a member of the Real Academia de Bellas Artes de San Fernando in 1895 and had a professorship in musical aesthetics and music history at the Real Conservatorio. In 1894, the first volume of his Hispaniae schola musica sacra appeared, a series of edited scores of renaissance and baroque church music from Spain. As a musicologist, Pedrell worked particularly in the early music field and edited Victoria's opera omnia and the requiem of Joan Brudieu. This and other of his writings fostered a keen interest in the early music of Spain. He returned to Barcelona in 1904, when his opera Els Pirineus was eventually performed.

When his daughter died in 1912, Pedrell fully withdrew from public life. His last pupils, the musicologist Higinio Anglès and the composer Roberto Gerhard, assisted Pedrell in his last publications and compositions. He died in Barcelona and was buried in the Sant Gervasi Cemetery. The composer Carlos Pedrell (1878–1941) is his nephew. The personal papers of Felip Pedrell are preserved in the Biblioteca de Catalunya.

Among his main direct disciples are Isaac Albéniz, Enrique Granados, Cristòfor Taltabull, Pedro Blanco, Joaquín Turina and Manuel de Falla.

Works
Operas
 * L'último Abenzeraggio (in Italian; Spanish title: El último abencerraje) (libretto: J. B. Altés), opera in 4 acts (1868, revised 1874 and 1889)
 * Quasimodo (libretto: J. Barrer, after Victor Hugo), opera in 4 acts (1875)
 * Els Pirineus (libretto: Victor Balaguer), opera in a prologise and 3 acts (1891)
 * La Celestina (libretto: Pedrell, after Fernando de Rojas), opera in 4 acts (1902)
 * El comte Arnau (libretto: Joan Maragall), "festival lirich popular" (1904)
 * five other operas and eight zarzuelas

Instrumental works
 * Nocturnos-trío (1873)
 * La veu de les muntanyes (1877), symphonic poem
 * Excelsior (1880), symphonic poem
 * many works for piano and guitar

Songs for voice and piano
 * Noches de España (1871)
 * Orientales (Victor Hugo) (1876)
 * Consolations (Théophile Gautier) (1876)
 * La primavera (F. Matheu) (1880)
 * Canciones arabescas (1906)

Choral music
 * 56 sacred songs in Latin
 * 27 works in colloquial Spanish or Catalan
 * 18 works for chorus and orchestra

title: Felip Pedrell


text: Template:Dallas Mavericks roster

title: Template:Dallas Mavericks roster


text:
Wikipedia talk:Requests for comment/Classicjupiter2

I haven't yet concluded that my efforts at resolution have succeeded or failed. -->>sparkit| TALK << 22:04, July 16, 2005 (UTC)

With today's insertion of the disputed wording, I conclude that my efforts at resolution have failed. -->>sparkit| TALK << 00:05, July 17, 2005 (UTC)


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Eames Lounge Chair

The Eames Lounge Chair and Ottoman is a lounge chair and ottoman manufactured and sold by American furniture company Herman Miller. Introduced in 1956, the Eames Lounge Chair was designed by Charles and Ray Eames and is made of molded plywood and leather. It was the first chair the Eameses designed for the high-end market. The Eames Lounge Chair and Ottoman are part of the permanent collection of New York's Museum of Modern Art.

Design
Designers Charles and Ray Eames sought to develop furniture that could be mass-produced and affordable, with the exception of the Eames Lounge Chair. The chair was inspired by the traditional English club chair. Though the Eames Lounge Chair later came to be considered an icon of modern design, when it was first made, Ray Eames remarked in a letter to Charles that the chair looked "comfortable and un-designy". Charles's vision was for a chair with "the warm, receptive look of a well-used first baseman's mitt." The chair is composed of three curved plywood shells covered with veneer: the headrest, the backrest and the seat. The layers are glued together and shaped under heat and pressure. The shells and the seat cushions are essentially of the same shape, and composed of two curved forms interlocking to form a solid mass. The chair back and headrest are identical in proportion, as are the seat and the ottoman. They are officially titled Eames Lounge (670) and Ottoman (671). The chair was introduced in 1956 after years of development.

The Eames Chair has changed in various ways over time. Beginning in 1956 and running through the very early 1990s, the shells were made up of five thin layers of plywood which were covered by a veneer of Brazilian rosewood. The use of Brazilian rosewood was discontinued in the early 1990s, and current production since then consists of seven layers of plywood covered by finishing veneers of cherry, walnut, palisander rosewood (a sustainably grown wood with similar grain patterns to the original Brazilian versions), and other finishes. Small changes include the sets of spacers between the aluminum spines and the wood panels, originally of rubber, later hard plastic washers, and the number of screws securing the armrests, originally three, changed to two in second-series models, while the "domes of silence" (glides/feet) on the chair base originally had thinner screws attaching them to the aluminum base than those on later chairs, and the zipper around the cushions, either brown or black on early models, was later black only. Further, early ottomans had removable rubber slide-on feet with metal glides. Labels to denote authenticity have changed over the decades, with the very first model from 1956 having a silver/white circular medallion containing the phrases "designed by Charles Eames" and "Herman Miller Zeeland Mich" changing to black oblong (1970s and 1980s), silver oblong (1990s and 2000s), and curved embossed (2000s–present).

Sales and market
The Eames Lounge Chair first appeared on Arlene Francis' daytime program Home in 1956. After the debut, Herman Miller launched an advertising campaign that highlighted the versatility of the chair. Print ads depicted the 670 in a Victorian parlor, occupied by a grandmother shelling peas on the front porch of an American Gothic-style house in the middle of a sunny field of hay.

Since its introduction, the chair has been in continuous production by MillerKnoll in the United States. Later, Vitra (in cooperation with the German furniture company Fritz Becker KG) began producing the chair for the European market. Production was licensed in the United Kingdom for 10 years to Hille International LTD from 1957.

The Eames Chair has been cited as one of the most counterfeited and copied pieces of furniture. Immediately following its release, other furniture companies began to copy its design, some being direct copies and others merely being influenced by its design. The former Plycraft Company issued dozens of chairs that were direct copies or in its style. Later, Chinese and European companies began making direct copies. However, Herman Miller and Vitra remain the only two companies to produce these chairs with the Eames name attached. In 1962, the Eameses took out full-page newspaper advertisements warning consumers about counterfeits.

In 2006, to commemorate the 50th anniversary of the chair, Miller released models using a sustainable palisander rosewood veneer. In 2008 both Herman Miller & Vitra developed a tall (known as XL in Europe) version offering a higher and wider sizing.

On display

 * A 1956 rosewood Eames Lounge Chair and ottoman are in the permanent collection of the Museum of Modern Art in New York City. The set was a gift of the Herman Miller Company, donated in 1960.
 * A rosewood Eames Lounge Chair and ottoman are on display at the Henry Ford Museum in Dearborn, Michigan.
 * A walnut or rosewood Eames Lounge Chair and ottoman are on display and in the permanent collection of the Museum of Fine Arts Boston.

title: Eames Lounge Chair


text:
Large red damselfly

The large red damselfly (Pyrrhosoma nymphula) is a species of damselflies belonging to the family Coenagrionidae. It is native to the western Palearctic.

Distribution
This species is a mainly European damselfly, with some populations in Northern Africa and Western Asia.

Habitat
These damselflies inhabit small ponds, lakes and dikes, and occasionally slow-moving rivers. They tend to avoid fast flowing water.

Description
Pyrrhosoma nymphula can reach a body length of 33 - 36 mm. These large and robust damselflies show black legs and wing spots in both sexes.

Mature males have red eyes and a black thorax with red shoulder stripes in mature specimen, but yellow stripes in immature. In fact ante-humeral stripes change to red with age. Abdomen is red with black small rings and bronze-black bands towards the apex (segments 7-9). Wings are hyaline, with a blackish pterostigma. Mature females occur in three colour forms (typical, fulvipes and melanotum), from mostly black to mostly red, but all have yellow bands around the abdominal segments. Some intermediate forms also exist.

The form typica has more black on its abdominal segments than the form fulvipes, particularly on segment 6. Immatures have lighter eyes and have yellow stripes on the thorax, not red. In the form melanotum females show the upper surface of the abdomen almost entirely black.

These damselflies can easily be confused with small red damselflies, but the latter has orange legs, while the large red damselfly has black legs. In Greece and Albania a closely related species occurs, the Greek red damsel (Pyrrhosoma elisabethae). They look very much the same, the females only having a slightly different pronotum with deep folds in the hind margin. The males differ in their lower appendages, which are longer than the upper ones, while the black hook on the lower appendages is half as long as in the large red damselfly. The appendages of the large red damselfly can be seen in the gallery below.

Biology and behaviour
The great red damselfly is often the first damselfly to emerge, usually in April or May. Adults can be found until September, according to locality.

Immature adults mature in about two weeks. Mating occurs in vegetation. The female during the laying of eggs is accompanied by the male, she immerses into the water only the abdomen. Eggs hatch in two-three weeks. Development of larvae takes two years. Larvae feed on aquatic insect larvae, protozoa, rotifers or small crustaceans.

title: Large red damselfly


text:
Mut'ah of Hajj

The "mut'ah of Hajj" ("hajj al-tamattu", meaning "joy of Hajj") is the relaxation of the ihram ("sacred state") between the Umrah and Hajj, including its dress code and various prohibitions.

History
When arranging a pilgrimage, the participant is asked to declare their objective before the outset of the journey. If the pilgrimage begins with only the intention of it being a minor one and the pilgrim decides after starting it that it will be a major one, they need to go a certain distance away from Mecca, and then start a new pilgrimage, intending to do the greater one.

Muhammad decreed that Umrah and Hajj can be combined, i.e.: starting a pilgrimage with the intention of participating in both events.

Overview
There exist two forms of pilgrimage, the "minor pilgrimage "(Arabic Umrah) and the "major pilgrimage" (Arabic Hajj). The major one contains more rules, and is obligatory upon all Muslims (if they can afford it financially, but if they can not afford it financially it is not obligatory) to perform once per life. While doing a pilgrimage, whether minor or major, the Muslim needs to adhere to some very strict dress codes that also includes some other rules (Arabic: Ihram).

In pre-Islamic Arabia, if one would go to the minor pilgrimage a short period before the major one would commence, he was forbidden to go out of the dress code if he intended to follow it up with a Major pilgrimage.

This rule was abrogated by Muhammad, who said it was permissible to leave the state of Ihram if one intended to attend Hajj. and this relaxation became known as "joy" (Arabic: Mut'ah) or more distinctly, the "joy of pilgrimage", Mut'ah of Hajj or in Arabic: Hajj al-Tamattu.

External sources

 * https://web.archive.org/web/20050405010046/http://www.islam-pure.de/imam/fatwas/manasik02.htm
 * https://quranx.com/Hadith/Bukhari/USC-MSA/Volume-2/Book-26/Hadith-635
 * https://quranx.com/Hadith/Muslim/USC-MSA/Book-7/Hadith-2803.

title: Mut'ah of Hajj


text:
Hatton, London

Hatton including Hatton Cross is a small settlement and locality in the London boroughs of Hillingdon and Hounslow, on the south-eastern edge of London Heathrow Airport and straddling the A30 road. Prior to 1965 it was in the county of Middlesex.

The area was for many decades a notorious place for highway robberies and its surviving old inn, The Green Man has a hiding-hole behind the chimney. A nearby road is named Dick Turpin Way accordingly. Aside from the heyday of such problems in the 17th and 18th century the area had attractive rural houses with gardens, one having been built by Edward III and visited by Richard II, another centuries later having been the home of Sir Frederick Pollock, 1st Baronet through to his grandson, first cousin of the first Viscount Hanworth resident at much larger Hanworth Park.

It remains technically a hamlet or neighbourhood of Bedfont from which it is separated by a field and local sports facilities. It is flanked to the north and north-west by major roads, depots, warehouses, hotels and parking areas associated with London Heathrow Airport which take up the north of the locality, leading to the consolidation of that area into Hillingdon since 1994. It is joined, south, by Bedfont and North Feltham and to the east by the River Crane, over which is Hounslow West. The settled part is the interior and one side of a triangle south of the dualled A30. Further south a line of houses continues which faces Hounslow Urban Farm and is then engulfed by naming into the North Feltham Trading Estate such as Feltham Ambulance Station beside the farm. The current naming has eaten into what was once squarely Hatton, just as Heathrow has from the opposite direction.

Etymology
Hatton's name comes from Anglo-Saxon Hǣþtūn = "heath farmstead"; until 1819 its cultivated area and small residential gardens were surrounded by heath.

Neighbouring towns and villages
It is bordered by North Feltham to the south, Bedfont to the west and south-west and Heathrow Airport to the north. The A30 road has formed the borough boundary with Hillingdon since 1994. Before then the end of a north-east projection, which remains as does the rest of Hatton in the ecclesiastical parish of Bedfont, were kept with the rest of Hatton and its mother village, Bedfont, in Hounslow's Borough. North-west is Cranford. The south-east is technically Hatton but branded North Feltham (Trading Estate) as are all surrounding streets.

Effects of London Heathrow Airport
Hatton has a varied collection of industrial buildings providing ancillary services to Heathrow Airport. The east of Hatton is noisy due to aircraft frequently landing or taking off and at Myrtle Avenue there is a well-cut green for spotting of aeroplanes.

Amenities and economy
This has pub-restaurant "The Green Man", owned by the Punch Taverns. Adjoining the Green Man is a field where horses, geese, cows and other livestock live: Hounslow Urban Farm next to Hatton Cemetery. It states itself to be the largest "urban" farm in London. Apart from the remaining kernel of Hounslow Heath, the Borough is highly built up or in public parks, having modest average garden size. A few "rural" farms are in London, mainly in the lowest population density part: Bromley – in the North Downs.
 * Hatton Green

Hatton has a small café by the green on Faggs Road and a convenience store and newsagents within Hatton Cross station. Barclays Bank with car park is in the highly road-dominated zone north of the Cross. A petrol station with Subway food outlet faces the south-west of the Cross and The Atrium, a large hotel facing a restricted-access lane also faces the Cross. In what was once squarely but is today the debatable south of Hatton a 24-hour Tesco supermarket and petrol station adjoining the urban farm. Hatton no longer has a place of worship; its Baptist Chapel/Anglican Mission Room was converted for office use in 2000. What little housing exists is mainly semi-detached or maisonettes built between the 1930s and the 1950s. Several older properties remain in Green Man Lane, including the old Manor house (now the headquarters of a car leasing company) and two other 18th century dwellings. The 17th century blacksmith's yard and buildings have been converted into a family home.
 * Hatton Cross (the Cross)

Air France-KLM's head office for United Kingdom and Ireland operations, which includes facilities for both, is at Plesman House in Hatton Cross. Its inauguration was on 6 July 2006, having moved from Hammersmith. The Plesman House, outside of Terminal 4 of Heathrow Airport, has the UK commercial team, sales team, and support team.

East of Hatton is a large lake, which used to be a sand and gravel quarry. It is over 500 metres long, but divided by a new road, The Causeway.

History
In 1086 Roger de Montgomery, Earl of Arundel, held 1$1/2$ hides in Hatton, which in the reign of King Edward the Confessor had been held by two sokemen, vassals of Albert of Lorraine. This land belonged to the earl's manor of Colham, in which it probably became merged. A second entry in the Domesday Survey relates to a still smaller estate in Hatton, which was held by Walter Fitz Other, and which had been held formerly by two vassals of Azor. It is probable that this land became merged in the Windsor Manor of East Bedfont, and was possibly granted to Hounslow Priory with the rest of that property. The priory certainly held land in Hatton in 1382, and in 1599 it was granted, as land formerly belonging to Hounslow, to Sir Michael Stanhope, and from that time descended with the manor of East Bedfont.

Edward III of England seems to have built a house at Hatton, which was known as Hatton Grange. Richard II held this of the priory of Hounslow at a yearly rent of 50s (£$2 1/2$).

In 1911, the hamlet of Hatton lay in the level country to the east of Staines upon Thames 2 miles to the northeast of East Bedfont. Its street formed a convergence of byways radiating from the south toward the Staines Road from the other side towards the parallel Bath Road, and for this reason it is said to have been a favourite haunt (ground) of highwaymen. It was always buffered, east, by the gorse, dry grass, brambles and silver birches of Hounslow Heath, and both main roads were easily accessible from the old inn, The Green Man where the hiding-hole behind the chimney is evident.

Two fairs, held respectively about 7 May at Bedford and 14 June at Hatton, were abolished by the Home Secretary on the representation (petitioning) of the Justices of the Peace (local magistrates) in April 1881. It does not appear how long it had been the custom to hold them.

There was in 1911 a Baptist chapel in Hatton, and a licensed mission room of the Church of England.

In 2008, British Airways Flight 38 crashed just short of the south runway upon landing after passing over Hatton's Myrtle Avenue and the A30 at Heathrow's southern perimeter.

North of the Great South West Road (built 1900s)

As London Heathrow Airport has grown, its eastern estates including car parks and a hotel on the Bath Road occupy a large minority of Hatton's land — all of Hatton north of the A30 road (Great South-West Road). Other than this – Staines Road of Roman origin traditionally marking the south border – the local main street ran NNW to Harlington Corner. It thus united the A4 road Bath Road with the Staines (Silchester & Lands End) Road) before they joined in Hounslow. See A437. Features along were, from north to south: These buildings were demolished in or before 1949. Hatton Road survives as a north end stump (Hatton Road North), then is airside: where remnant traces are surface tarmac and wide cropmark on grass east of the north runway, unnamed gaps between aircraft-maintenance/service buildings, the south part of Eastchurch Road, and a southern stump.
 * The Limes: a large house, east side. Built around 1840.
 * The Cedars: a large house, east side. An old photograph shows a big pond in front of it and cedars round it; it faced north. Charles Dickens was a friend of the resident family, that of Mary Ann Cooper (née Mitton), and sometimes visited. She was the inspiration for his character Little Dorrit. Built around 1840. Now car parks in line with the north runway.
 * Hatton Road Farm: west of Hatton Road, roughly in an equilateral triangle with The Cedars and Hatton Gore.
 * Hatton Gore: a large house, east side, its site is part of the truck depot west of the perimeter road's Enfield Road Roundabout. It had a large garden and was not square to the road. It incorporated much york stone of an old guise of the Bank of England. The famous plant collecter Frank Kingdon-Ward moved to Hatton Gore in 1923. He built its garden's grand rockery looking like a bend in a river ravine in the Himalayas. He sold the house due to a loss that he made running a plant nursery business. Built around 1840.
 * The Common: a farm, west side
 * The Dog and Partridge: pub, west side
 * The Cyclist's Rest: east side, a snack shop; it used to be a beerhouse The Magpies
 * Various smaller houses and cottages were between these houses.

South of the Great South West Road

 * Temple Hatton, a country house in grounds east of Hatton Farm in the bend of Fagg's Road. Sir Frederick Pollock, 3rd Baronet owned and occupied it followed by his widow. In 1899 it was sold to a Roman Catholic order and became an orphanage called St. Anthony's Home. In 1958 it was sold due to increasing aircraft noise. Its site is now occupied by airport-related premises (St. Anthony's Way and St. Teresa's Road).
 * Steam Farm, so named because it was the first in the area to have a steam-powered plough. The sites of it and Hatton House and other buildings in the island between Fagg's Road and Dick Turpin Way and Great South West Road are now occupied by a Gate Gourmet works.
 * Hatton Farm: had several buildings and a Mission Hall, between Great South West Road and Fagg's Road and the northwest edge of what used to be Temple Hatton. The current Google Earth view (as at April 2012) shows waste ground, the Mission Hall, and one derelict farm building with gaps in its roof.

Transport
The nearest London Underground station is Hatton Cross. The area is served by a number of London Buses routes, connecting Hatton to the airport, Hounslow, Northolt, Southall, Richmond and Staines.

Free parking is possible in Hatton Lane, but the roads around Hatton are either red routes (stopping not allowed), double yellow lines, or residents' parking (other parking banned Monday to Friday 8:30 to 17:30). A few credit card-paid spaces are near the Green Man which has its own patrons' parking spaces.

For more than a century, until the 1840s' laying of major railways, stagecoaches increasingly passed locally. The changing of horses locally waned into the early twentieth century. They used the nearby-divergent road two miles north (i.e. between London and all places due west (e.g. Bristol)). They used the highway of Hatton for all places WSW such as Dorset, Devon and Cornwall.

Hatton has a depot of Ashford Luxury Coaches, whose "Windsorian" branded coaches have been used to transport members of the British Royal Family.

title: Hatton, London


text:
Sgt. Pepper's Lonely Hearts Club Band (song)

"Sgt. Pepper's Lonely Hearts Club Band" is a song written by Paul McCartney, credited to Lennon–McCartney, released in 1967 on the album of the same name by the Beatles. The song appears twice on the album: as the opening track (segueing into "With a Little Help from My Friends"), and as "Sgt. Pepper's Lonely Hearts Club Band (Reprise)", the penultimate track (segueing into "A Day in the Life"). As the title song, the lyrics introduce the fictional band that performs on the album.

Since its original album release, "Sgt. Pepper's Lonely Hearts Club Band" has also been released on various Beatles singles and compilation albums. The song has also been performed by several other artists, including Jimi Hendrix, U2, and a comic interpretation by Bill Cosby, using the opening to John Philip Sousa's Washington Post March as the instrumental bridge.

Authorship and recording
In November 1966, on the flight back to England after a holiday in Kenya, McCartney conceived an idea in which an entire album would be role-played, with each of the Beatles assuming an alter-ego in the "Lonely Hearts Club Band", which would then perform a concert in front of an audience. The inspiration is said to have come when roadie Mal Evans innocently asked McCartney what the letters "S" and "P" stood for on the pots on their in-flight meal trays, and McCartney explained it was for salt and pepper. This then led to the Sgt. Pepper's Lonely Hearts Club Band concept, as well as the song.

The group's road manager, Neil Aspinall, suggested the idea of Sgt. Pepper being the compère, as well as the reprise at the end of the album. According to his diaries, Evans may have also contributed to the song. John Lennon attributed the idea for Sgt. Pepper to McCartney, although the song is officially credited to Lennon–McCartney. The Beatles recorded the track in Abbey Road's studio 2, with George Martin producing, and Geoff Emerick engineering. Work on the song started on 1 February 1967, and after three further sessions the recording was completed on 6 March 1967.

Song structure
On the Sgt. Pepper's Lonely Hearts Club Band album, the song opens to the sound of a chattering audience, and an orchestra tuning up, which was taken from the 10 February orchestra session for "A Day in the Life". The crowd sounds edited into the song were recorded in the early 1960s by Martin, during a live recording of the stage show Beyond the Fringe. The band is then introduced by name. The song's structure is:

 * 1) Introduction (instrumental)
 * 2) Verse
 * 3) Bridge (instrumental)
 * 4) Refrain
 * 5) Bridge
 * 6) Verse
 * 7) Instrumental bridge and transition into "With a Little Help from My Friends".

The song is in G major, with a meter. A horn quartet was used to fill out the instrumental sections.

Reprise
"Sgt. Pepper's Lonely Hearts Club Band (Reprise)" is a modified repeat of the opening song at a faster tempo and with heavier instrumentation. The track opens with McCartney's count-in; between 2 and 3, Lennon jokingly interjects "Bye!" Ringo Starr starts the song proper by playing the drum part unaccompanied for four bars, at the end of which a brief bass glissando from McCartney cues the full ensemble of two distorted electric guitars (played by George Harrison and Lennon), bass, drums and overdubbed percussion. In addition, McCartney overdubbed a Hammond organ part onto the track.

While the first version of the song had stayed largely in the key of G major (except for transient modulation to F and perhaps C in the bridges), the reprise starts in F and features a modulation, to G. The mono and stereo mixes of the song differ slightly: the former has a fractionally different transition from the previous song, and includes crowd noise and laughter in the opening bars that are absent from the stereo mix.

The idea for a reprise was Aspinall's, who thought that, as there was a "welcome song", there should also be a "goodbye song". The song contains broadly the same melody as the opening version, but with different lyrics and omitting the "It's wonderful to be here" section. At 1:18, it is one of the Beatles' shorter songs (the shortest is "Her Majesty" at 0:23). The reprise was recorded on 1 April 1967, two months after the version that opens the album. At the end of the track, Martin's applause sample segues into the final track of the album, "A Day in the Life". A run-through of the reprise is included on the outtakes album Anthology 2 (1996).

In 2006, the reprise was re-released on the album Love, which was a theatrical production by Cirque du Soleil. The updated version is a remix featuring samples of other Beatles' songs and fades out before the cross-fade into "A Day in the Life".

Releases
It was originally released in the UK on 26 May 1967, and in the US on 2 June 1967 on the Sgt. Pepper's Lonely Hearts Club Band LP.

When the Beatles' recording contract with EMI expired in 1976, EMI were free to re-release music from the Beatles' catalogue, and in 1978 issued "Sgt. Pepper's Lonely Hearts Club Band"/"With a Little Help from My Friends" as the A-side of a single, with "A Day in the Life" as the B-side. The single was released on Capitol in the US on 14 August (closely following the release there of the Sgt. Pepper's Lonely Hearts Club Band film), reaching number 71 on 30 September 1978 where it stayed for two weeks. The single was issued on Parlophone in the UK in September.

The original recording of the song is included on the Beatles compilation albums 1967–1970 (1973) and Yellow Submarine Songtrack (1999).

The notebook used by McCartney containing the lyrics for "Sgt. Pepper's Lonely Hearts Club Band" and other songs was put up for sale in 1998.

Live performances
"Sgt. Pepper's Lonely Hearts Club Band" was never performed live by the Beatles. It was performed by three of the former band members (McCartney, Harrison and Starr) plus Eric Clapton on 19 May 1979, at Clapton's wedding party.

Paul McCartney played the song live on the 1989–90 Paul McCartney World Tour. On subsequent tours he would play the reprise version and use that as a segue into "The End". When the performance is released, it usually is listed as "Sgt. Pepper's/The End", shortening the name of the song. When McCartney performs it, he usually adds the count-in after the drum part begins, as opposed to McCartney's count-in preceding the drum opening.

McCartney and U2 played the song at the start of the Live 8 concert in London's Hyde Park on 2 July 2005. The song, starting with "It was twenty years ago, today", was chosen among others to commemorate that Live 8 took place approximately twenty years after Live Aid. The single was released for charity on iTunes, hitting number 48 on the Billboard Hot 100 and number 1 on the UK Downloads chart, setting a world record for the fastest-selling online song of all time.

On 4 April 2009, McCartney performed the song during a benefit concert at New York's Radio City Music Hall and segued it into "With a Little Help From My Friends", sung by Starr.

On 9 February 2014, during a tribute show commemorating the Beatles' first appearance on The Ed Sullivan Show, 50 years earlier, McCartney again sang "Sgt. Pepper's Lonely Hearts Club Band" and Starr sang "With a Little Help from My Friends".

Personnel
According to Ian MacDonald, Mark Lewisohn and Olivier Julien, the line-up on the two Beatles recordings was as follows:

Full version
 * Paul McCartney – lead vocal; lead, rhythm and bass guitars
 * John Lennon – harmony vocal
 * George Harrison – harmony vocal, lead/rhythm guitar
 * Ringo Starr – drums
 * George Martin – organ
 * Neill Sanders – French horn
 * James W. Buck – French horn
 * Tony Randell – French horn
 * John Burden – French horn

Reprise
 * Paul McCartney – lead vocal, bass, Hammond organ
 * John Lennon – lead vocal, rhythm guitar
 * George Harrison – lead vocal, lead guitar
 * Ringo Starr – lead vocal, drums, tambourine, maracas

Cover versions
In 1967, Jimi Hendrix played the song live at the Saville Theatre in Shaftesbury Avenue, which was leased by Brian Epstein, only three days after it had been released on record, with McCartney and Harrison in the audience. Another live version by Hendrix recorded at the Isle of Wight Festival was included on a posthumous live album, Blue Wild Angel: Live at the Isle of Wight.

In 1988, hair metal band Zinatra played the song at an arena tour in Europe where they opened for then-former Van Halen frontman David Lee Roth. Zinatra also covered part of the song under the title "Peppermania" on the band's 2004 version of their self-titled debut album.

In 2007, Bryan Adams and Stereophonics recorded the album's two versions of the song for It Was 40 Years Ago Today, a television film with contemporary acts recording the album's songs using the same studio, technicians and recording techniques as the original.

In 2009, Cheap Trick released a live album and DVD called Sgt. Pepper Live, which is a live performance of the entire original album, including the title song and reprise.

In 2011, Robbie Williams performed the song on Take That's Progress tour, replacing "Sgt Pepper's Lonely Hearts Club Band" with "Robbie Williams and the Take That Band", and "Mr Martin told the Band to play" – a reference to Take That's manager in the 1990s, Nigel Martin-Smith.

In 2013, the song was performed by Ryder Lynn (Blake Jenner), Marley Rose (Melissa Benoist), Jake Puckerman (Jacob Artist), and Wade "Unique" Adams (Alex Newell) in the Glee episode "Tina in the Sky with Diamonds".

The Flaming Lips recorded the song on their track-for-track tribute album With a Little Help from My Fwends, released on 27 October 2014.

Glim Spanky recorded a cover of the song for Hello Goodbye, a 2016 tribute album to the Beatles.


text:
Talk:Revelation of the Daleks

Scene in video but included as a deleted scene on DVD
In the video release there is the scene of Peri coming to the DJ's body after being exterminated by a Dalek, however this scene is not included in the main feature on the DVD but instead included as a Deleted Scene. Why is that?--The Shadow Treasurer 02:15, 9 August 2006 (UTC)

 * It was an extra scene discovered at the end of one of the master tapes by a member of the Doctor Who Restoration Team. They did an edit to readd the scene and it was included on the VHS release. The DVD goes back to the programme almost as transmitted - the scene where the Doctor and Peri speak over the DJ's tannoy (it's the junction of episodes 3 & 4 for those who've seen the four part version) contained music that couldn't be cleared for released so it was digitally removed and replaced for the VHS and DVD releases. Timrollpickering 00:30, 28 October 2006 (UTC)

Novelisation
Due to royalties disputes with Terry Nation, this story was never novelized by Eric Saward and published by Target Books.

I'm not sure this has always been the case. In 1993 it was announced that an agreement between all parties had been reached and that Saward would be novelising the stories for Virgin Books (the inheritors of Target). But they never materialised and no further news ever appeared in Doctor Who Magazine to my knowledge.

Several years back posters on [news:rec.arts.drwho news:rec.arts.drwho] claimed that Saward had turned in some pages for a rather old fashioned Target style novelisation, which was not what Virgin had been looking for. Apparently two other authors were commissioned, then things fell into the hands of lawyers...

Given the last bit especially I'm reluctant to start changing the note without verifiable sources - does anyone know of any? Timrollpickering 22:07, 16 July 2005 (UTC)

 * Unfortunately, I don't... although the pedant in me hastens to point out that it should be "Due to royalty disputes" in that note. Perhaps "Due to various legal problems..."? --khaosworks 00:45, July 17, 2005 (UTC)

 * It was Gareth Roberts and Paul Leonard who were commissioned to novelise Revelation and Resurrection respectively in the mid-1990s. Not sure exactly why they fell through as they presumably knew what they were getting into with Nation getting a chunk of their royalties. I believe they both started work, but ended up writing a Missing Adventure each instead for the slots and money they had originally been ear-marked for. Angmering 18:51, 15 August 2005 (UTC)

 * I have slightly re-worded this to make it flow better, but also to remove the reference to Target Books - after all it was never novelised for any publisher, not just Target Books. This looks like a remnant from a template showing a serial that was novelised for Target Books. DavidFarmbrough 12:36 18th August 2005 (BST)

Location
The notes refer to "a snowy wilderness in Southampton" I don't think this is quite right as the two locations were Queen Elizabeth Park in Hampshire and the IBM HQ. Any ideas? DavidFarmbrough 12:40 (BST) 18 August 2005

Fair use rationale for Image:Revdaleks1.jpg
Image:Revdaleks1.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 07:44, 6 June 2007 (UTC)

Picture captioned "Davros and one of his new Daleks."
That's not actually Davros pictured there, but, an animatronic decoy (which gets destroyed late in the story). —The preceding unsigned comment was added by Special:Contributions/ (talk)

Planned appearance
Wasn't Laurence Olivier supposed to appear in this story? Might be worth mentioning in the Production section.--Tuzapicabit (talk) 22:11, 6 August 2008 (UTC)

The Loved One & Soylent Green
Made a serious edit about The Loved One & Soylent Green. Before the edit it says that the story was loosely based on the film The Loved One. Eric Saward based the story on the novel The Loved One not the subsequent film that was eventually made. Soylent Green being an influence came from the info text on the DVD, Saward however has said in the commentary that he did not see Soylent Green when he wrote Revelation of the Daleks and I therefore adjusted the article accordingly to fit the fact about Soylent Green to this story. The Shadow Treasurer (talk) 22:14, 14 November 2010 (UTC)

Four part version shown in UK in 1995
as part of the BBC 2 repeat season - can't remember which cliffhanger got used for part 3 or if any of the music was cut.78.25.212.99 (talk) 05:13, 31 October 2015 (UTC)

title: Talk:Revelation of the Daleks


text:
Fixing a Hole

"Fixing a Hole" is a song by the English rock band the Beatles from their 1967 album Sgt. Pepper's Lonely Hearts Club Band. It was written by Paul McCartney and credited to Lennon–McCartney.

Writing
In a 1968 interview, McCartney said that the song was "about the hole in the road where the rain gets in, a good old analogy – the hole in your make-up which lets the rain in and stops your mind from going where it will." He went on to say that the following lines were about fans who hung around outside his home day and night, and whose actions he found off-putting: "See the people standing there / Who disagree, and never win / And wonder why they don't get in my door."

Some fans assumed the song was about heroin due to the drug slang "fixing a hole," but McCartney later said that the song was an "ode to pot". In his 1997 biography Many Years from Now, McCartney stated that "mending was my meaning. Wanting to be free enough to let my mind wander, let myself be artistic, let myself not sneer at avant-garde things."

In his 2021 book The Lyrics, McCartney revealed that the most important influence for the song was a "little blue hole" he saw while under the influence of LSD. According to McCartney, "the most important influence here was not even the metaphysical idea of a hole… but this absolutely physical phenomenon – something that first appeared after I took acid. I still see it occasionally, and I know exactly what it is. I know exactly what size it is".

Recording
The first of two recording sessions for "Fixing a Hole" was at Regent Sound Studios in London on 9 February 1967, in three takes. Regent Sound was used because all three studios at EMI's Abbey Road Studios were unavailable that night, so it was the first time that the Beatles used a British studio other than Abbey Road for an EMI recording. Also present at the session was a man who had arrived at McCartney's house in St John's Wood, shortly before McCartney was due to depart for the studio, and introduced himself as Jesus Christ. McCartney later recalled: "There were a lot of casualties about then. We used to get a lot of people who were maybe insecure or going through emotional breakdowns or whatever. So I said, 'I've got to go to a session but if you promise to be very quiet and just sit in a corner, you can come.' So he did, he came to the session and he did sit very quietly and I never saw him after that."

The lead vocal was recorded at the same time as the rhythm track, a change from the Beatles' post-1964 approach of overdubbing the vocal. Overdubs were added to this recording on 21 February 1967 at EMI Studios. Producer George Martin played the prominent harpsichord part throughout because McCartney felt it important that he perform the bass part.

Musical structure
The song alternates between the key of F minor (in the verses) and F major (in the bridges) in basically 4/4 time. The composition is structured as follows: intro, verse, verse, bridge, verse, verse (guitar solo), bridge, verse, and outro (fadeout).

The recording opens with a harpsichord playing a descending chromatic line (resembling "Michelle") in a staccato-like pattern in 4/4 time. Ringo Starr's hi-hat in the final measure of this introduction introduces a swing beat that stays for the remainder of the song. The first eight-measure verse begins with McCartney singing "I'm fixing a hole where the rain gets in". The word "fixing" here is sung to a piano F major chord but on "hole" to a C augmented chord (which includes a G♯/A♭ note that is a III (3rd) note in the thus predicted F minor scale) pivoting towards the Fm pentatonic minor scale on the more negative mood of "rain gets in". The Fm key melody in the verse is tinged both by blues flat 7th, and Dorian mode raised 6th notes. The harpsichord repeats the descending chromatic line in the F minor key in swing beat. In the second half of the verse, McCartney's bass begins a syncopated three-note pattern that leaves the downbeat empty, meanwhile his vocal is dropping to F an octave below (on "stops my mind"), climbing back to C ("from wandering") then sailing free of the song's established octave to a high falsetto A flat on "where it will go". George Harrison enters in the seventh and eighth measure with a syncopated distorted Stratocaster with gain, treble and bass all turned up high, providing a distinctive countermelody, double-tracked phrase descending from McCartney's high A♭ vocal note through what author Jonathan Gould terms a "series of biting inversions on the tonic chord". Harrison later plays an eight-bar solo that culminates in a two-octave descent. McCartney, Lennon and Harrison sing backing vocals over the bridge.

The song's shift between minor (verse) and major (bridge) is also seen in "Norwegian Wood (This Bird Has Flown)" (verse E, chorus Em); "Michelle" (verse F, chorus Fm); "While My Guitar Gently Weeps" (bridge A, verse Am), "I Me Mine" (chorus A, verse Am), "The Fool on the Hill" (verse D, chorus Dm) and "Penny Lane" (verse [bars 1–3] B, verse [bars 4–8] Bm).

Personnel

 * Paul McCartney – double-tracked lead vocals, bass guitar
 * John Lennon – backing vocals
 * George Harrison – backing vocals, double-tracked lead guitar, maracas
 * Ringo Starr – drums
 * George Martin – harpsichord

Personnel per Guitar World. Other sources say McCartney played harpischord, with Lennon covering his bass guitar part.

title: Fixing a Hole


text:
Talk:Brian Robertson (guitarist)

Infobox audio sample
I upgraded the box to the Guitarist Project box which contains a field for an audio sample showing off the guitarists signature solo or style. Which audio sample shows Robbo's solo style the best. I have a couple of nominees in mind but it should be a concensus before being added in. 156.34.142.110 12:59, 2 April 2007 (UTC)

3 suggestions: 1. Undoubtedly his solo on his signature song: Still in Love with you (the first one, I think Scott played the last one). 2. He played an unusual and distinctive section on Don't Believe a Word too - this is highlighted on the Still In Love With the Blues VHS video (now freely viewable on youtube too - hooray!). 3. Anything where he uses his wah-pedal as an extension of the instrument - that always makes the hairs on my neck stand up - just fabulous. The Fighting album (& perhaps Johnny the Fox album) have several candidates.

Actually, Don't Believe a Word could cover 2 & 3 above, e.g. http://www.youtube.com/watch?v=byuyURC0Mmo

BTW Robbo is my favourite guitarist of all time. He may not be as rich as EC, as famous as Jimi or as stunt-astic as Steve Vai - but man, when he plays it is so sweet, melodic, tasteful and...well, just perfect. To my ears anyway, he is the best. And Scott Gorham's playing complements him perfectly. — Preceding unsigned comment added by 135.196.5.146 (talk) 12:52, 7 June 2011 (UTC)
 * I think it's a good idea, though I'm not tech-savvy enough to do it myself. I'd agree with "Don't Believe a Word", or "Still in Love with You" from Live and Dangerous - you're right, it's the first solo. Other songs that spring to mind are "Ballad of a Hard Man", "Killer Without a Cause", "Warriors", or maybe "Johnny" from Johnny the Fox. Might even be okay to have another sample elsewhere in the article. Bretonbanquet (talk) 19:36, 7 June 2011 (UTC)

I like your thinking - Ballad of a Hardman, and Freedom Song, are classics that are too often overlooked (anything and everything of the Fighting album really, sigh). — Preceding unsigned comment added by 135.196.5.146 (talk) 13:42, 23 December 2011 (UTC)

broken external links
the first 3 links in this section are broken 68.1.29.64 (talk) 07:26, 24 March 2009 (UTC)

I've fixed several links - a labour of love ;) — Preceding unsigned comment added by 135.196.5.146 (talk) 12:53, 7 June 2011 (UTC)

currently lives in...
I believe he currently lives in Brentwood in Essex - he ceratianly has been seen around town. —Preceding unsigned comment added by 86.168.59.96 (talk) 18:39, 12 October 2009 (UTC)
 * Question: I don't think adding such facts to biography articles is a great idea, unless the person's home is a place of interest, either of notability or a permanent residence, like a mansion somewhere that is never likely to change. (Leahtwosaints (talk) 15:06, 28 March 2010 (UTC)

I believe Robbo has been there for some considerable time (I was first told Brentwood 6-8 years ago) and so probably considers it his home. I can understand a reluctance to include too much detail for security & privacy reasons. It's nice to know he is still around and roughly where that might be - especially as he apparently plays in the area sometimes. Still can't send him a Christmas card though :. — Preceding unsigned comment added by 135.196.5.146 (talk) 12:58, 7 June 2011 (UTC)

External links modified
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External links modified
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need a much better photo
There should be a photo of him circa 1974-1977 when he as at his peak and how he is best remembered. Current photos are absolutely AWFUL. 104.169.18.4 (talk) 21:53, 22 February 2018 (UTC)

Requested move 6 June 2018

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

The result of the move request was: pages moved as requested per the discussion below. Dekimasu よ! 16:08, 13 June 2018 (UTC)

– No WP:PRIMARYTOPIC, with the Second World War military commander, Brian Robertson, 1st Baron Robertson of Oakridge, rather than the guitarist, appearing to be the most notable. Since a point may be raised regarding Brian James (guitarist) whose birth name was Brian Robertson, it should be noted that his WP:COMMONNAME was Brian James. However, if a consensus develops for the expanded qualifier, Brian Robertson (Scottish guitarist) or for Brian James (English guitarist), such alternatives would be also acceptable as part of this nomination. Roman Spinner (talk • contribs) 08:19, 6 June 2018 (UTC)
 * Brian Robertson → Brian Robertson (guitarist)
 * Brian Robertson (disambiguation) → Brian Robertson
 * Support per nom. No clear primary topic here. -- Necrothesp (talk) 12:32, 6 June 2018 (UTC)

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

title: Talk:Brian Robertson (guitarist)


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Mercury Marine

Mercury Marine is a marine engine division of Brunswick Corporation headquartered in Fond du Lac, Wisconsin. The main product line is outboard engines. It also produces the MerCruiser line of sterndrives and inboard engines. As well as an all new lineup of electric outboard motors utilizing 48V lithium-ion modular and portable designed batteries. Implementing an industry-first transverse flux motor technology, yielding high torque with optimum efficiency. Some manufacturing is in Fond du Lac, while 40-60 HP engines are made in China. Smaller engines are Tohatsus that have been rebadged.

Founding
The Kiekhaefer Mercury company began in 1939 when engineer Carl Kiekhaefer purchased a small outboard motor company in Cedarburg, Wisconsin. Kiekhaefer's original intention for the Kiekhaefer Corporation was to make magnetic separators for the dairy industry. The purchase included 300 defective outboard motors. Kiekhaefer and a small staff of employees rebuilt the motors and sold them to Montgomery Ward, a mail-order company. The motors were much improved, so the buyer purchased more. Kiekhaefer designed motors that withstood the elements better than his competition and called the motor Mercury (taking advantage of the "Mercury" Motor Car popularity at the time) whilst adopting the logo of the Roman god Mercury.

Kiekhaefer took more than 16,000 orders at the 1940 New York Boat Show.

World War II
World War II changed the corporate climate, and Kiekhaefer sought a government contract to design two-man air-cooled chainsaws. Army engineers had been unable to design a lightweight motor. Kiekhaefer designed a new lightweight chainsaw in 2 months. The Kiekhaefer powered chainsaw was able to cut through a 24 in green log in 17 seconds, while it took the nearest competitor 52 seconds. Mercury was awarded the contract, and was the world's largest chainsaw manufacturer by the end of the war.

Post-war 1940s
Kiekhaefer Mercury foresaw that the average American's interest in boating would increase after the war. Kiekhaefer introduced a 19.8 cubic inch, 10 horsepower (hp), two-cylinder alternate firing design engine at the 1947 New York Boat Show called the "Lightning" or KE-7. This engine, also called the "Super 10", actually developed around 14 horsepower. Its designation was updated to KF-7 for 1949. For 1951 the engine block, though still displacing 19.8 cubic inches, was updated a great deal, and given the name "Hurricane". The 1951 kg-7 "Super 10" featured this engine, which developed around 16 horsepower. For 1952, this model was updated with a "forward, neutral, reverse" gearset, and a twist grip throttle. It was renamed "Cruiser" at this point, and no longer called "Super 10". This engine later became the heart of the "Mark 25", of the mid to late fifties. Initially rated at 16 horsepower, this engine was soon beefed up to 20. There was also an "H" version, which produced more power but carried no rating. "H" version Mercurys were mostly used for racing.

In 1949, the company also introduced its first large outboard, the approximately 40 cubic inch, 4 cylinder in line, "Thunderbolt". This engine was rated at 25 horsepower, but actually put out around 28. There was soon an "H" version designed for high rpm use. This version put out nearly 40 horsepower, while being rated at "25+". The Thunderbolt engine benefited from upgrades and updates, eventually becoming the Mark 40, Mark 50, and Mark 55 engines of the mid and late fifties. All of these were rated quite accurately at 40 horsepower. The Mark 55H (high speed) developed more, but carried no rating.

Due to a rather large gap between the Mark 25 (20 hp) and the Mark 55 (40 hp), Mercury brought out the 4 in line, approximately 30 cubic inch "Mark 30" (30 horsepower) engine for 1956, and produced versions of its "TurboFour" engine for several years. It, too, was available as an "H" version, producing much extra horsepower for racing and sporting use.

Why these Mark engines (and other Mark engines) carried number names which were not horsepower ratings, not displacement numbers, and not consistent from one motor to another, is a real mystery. Why was the 20 hp Mercury a Mark 25, and the 40 hp Mercury a Mark 55, while the 30 hp job was the Mark 30? No one really knows.

Of course, there were also smaller Mercs during both the K era and the Mark era, such as the "Super 5" and later, such engines as the "Mark 6" and the "Mark 10".

1950s
In 1957 Kiekhaefer started testing at a Florida lake he called "Lake X" to keep the location secret. Later that year the Kiekhaefer Mercury company designed a new inline 6-cylinder, 60 cubic inch, 60 hp engine named "Mark 75". Like its 2- and 4-cylinder brethren, the Mark 75 featured internal reed valves. The reed valve blocks served as intermediate main bearings. Because the valves occupied space already necessary for the main bearings instead of mounting to an extension of the crankcase, crankcase volume was minimized, resulting in a higher crankcase compression ratio, and more power in proportion to displacement than the competition.

Mercury's first 6-cylinder engines featured "direct reversing". Instead of a lower unit with forward, neutral and reverse gears, its lower units were more compact, with only drive and driven gears, and no submerged shift mechanism required. Reverse was selected by turning off the engine and restarting it in opposite rotation, and neutral by simply switching off. Mark 75s, like many of their smaller brethren, were available in an "H" (high speed) version. Many of these large H engines sported open headers for competition and produced 90 horsepower from 60 cubic inches. Two totally stock Mark 75s set a world endurance record on Lake X, running 50,000 miles at an average of 30.3 mph, while being re-fueled on the fly. The boats were stopped only for driver changes and standard maintenance. After the record-setting run was completed, the motors were torn down and inspected for wear. They were found to be well within factory tolerances.

For 1958, an enlarged version of this engine was introduced. The new "Mark 78" had 70 horsepower with 66 cubic inches of displacement. No "H" version was offered. Also in 1958, a stock Mark 75H set a new world speed record for outboard motors, of 107 mph.

NASCAR racing

Kiekhaefer decided to promote his company by owning a NASCAR and AAA team. The team dominated NASCAR Grand National (at one point winning 16 straight races), even though it only competed in 1955 and 1956. The team won the 1955 and 1956 NASCAR championships with drivers Tim Flock and Buck Baker. One of Kiekhaefer's innovations was using dry paper air filters, which are still standard in automobiles today.

1960s
When Kiekhaefer Mercury's top-of-the-line, 80 horsepower (74 cubic inch) model "Merc 800" was introduced for 1960, direct reversing as standard equipment was optionally replaced by full forward, neutral and reverse gear shifting, as on Mercury's 2- and 4-cylinder models, and "thru-hub" exhaust was introduced. Previously, as with other outboard brands and Mercury's smaller models, exhaust exited from a chute at the rear of the cavitation plate above the propeller. Thru-hub exhaust was claimed to be more efficient by omitting the added drag of an exhaust chute, and using the low-pressure area necessarily created by the gear housing and propeller moving through the water to assist in exhaust evacuation. Over the next several years, thru-hub exhaust became a standard feature of all Mercury models, and later was adopted near industry-wide for both outboards and stern-drives.

With Mercury Marine outboards typically having smaller displacement per horsepower and better fuel economy than the competition's motors, an ad ran in publications showing a Mercury-powered boat pulling an elephant on a large ski-like platform. The caption simply read "Mercury, pulls an elephant. Runs on peanuts."

In 1961 the company merged with the Brunswick Corporation.

The company introduced the MerCruiser stern-drive line at the 1961 Chicago Boat Show. The line would later take over 80 percent of the world market.

For 1962, the Merc 1000 became the new top of the line in line 6, offering 100 hp. It was somewhat of a sensation. It also introduced the new "Phanton Black" paint scheme which soon spread to the entire line and became famous.

In 1966, 6-cylinder Mercury models featured the introduction of electronic ignition, another first that eventually became an industry standard.

Carl Kiekhaefer resigned as President of Kiekhaefer Mercury in 1970, and the name was changed to Mercury Marine in 1972. During this time, Mercury produced snowmobiles, like many other companies in the late 1960s. The first ones incorporated a 250 cc two-man chainsaw engine.

1970s
In 1971, they came out with the Rocket and Lightning models of snowmobiles. These sleds combined aluminum tunnels with Canadian Curtiss Wright (CCW) engines. The Rocket was a 340, and the Lightning a 400 with electric start. By 1972, Mercury started production of the Hurricane, a more modern snowmobile with optional slide rail suspension (as opposed to bogie wheel). In 1974 Mercury introduced the Sno-Twister 400cc snowmobile designed primarily for racing. It featured a Kohler free-air engine and succeeded in dominating the 400cc class.

In 1975 Mercury introduced 340cc and 440cc versions of the Sno-Twister and both were dominant at the track. 1976 saw a change in the Sno-Twister, this time 250cc, 340cc, and 440cc versions were all introduced. These were radical for their time and were the result of Mercury Sno Pro sleds developed and raced the previous year. These 1976 sleds were featured water-cooled Kohler engines. The chassis were small, lightweight, very low profile, with curved handlebars and seat cushions that were designed for left turns (oval tracks).

In 1975 and 1976 Mercury also produced the Trail Twister snowmobiles which were available in 340cc and 440cc which were fan-cooled. These were some of the fastest lake racers around in their day. This started off a new era in snowmobile construction for the whole industry and the sled's basic format set up what is seen today in modern snowmobiles.

Present day

At present, Mercury product brands include Mercury, Mercury Racing, MerCruiser, and Mariner outboards (sold outside the U.S.). Outboard sizes range from 2.5 hp to 600 hp. MerCruiser sterndrives and inboards range from 135 to 430 hp and Mercury Racing outboards produce up to 450 hp and sterndrives to 1750 hp. Subsidiaries include Mercury Precision Parts and Accessories as well as Mercury propellers and Mercury Jet Drives. Mercury outboards 30 hp and below are manufactured by Tohatsu in Japan.

Mercury has recently developed a processor-enhanced line of outboards called the "Verado" outboard engine. The "Verado" system integrates the outboard into an entire system, including "fly-by-wire" steering and advanced diagnostics. Verado engines are available in 250 hp and 300 hp (V8), 350 hp and 400 hp (V10, introduced in 2022), and 600 hp (V12) as of early 2021.

In 2007 Mercury Marine began selling its Zeus drive system. Developed by Mercury and its joint venture company Cummins MerCruiser Diesel (CMD), the Zeus drive is a dual-engine pod drive system. Some of the most notable benefits from this class design for boaters will be enhanced helm control. While underway an automated trim control feature simplifies operation. Also, Zeus includes Skyhook Electronic Anchor which will keep a vessel in a fixed location within a tight range. The system might be called all weather as it will maintain location in strong currents and winds.

Mercury’s brand portfolio includes Mercury and Mariner, Mercury MerCruiser sterndrives and inboard engines, MotorGuide trolling motors, Mercury and Teignbridge propellers, Mercury inflatable boats, Mercury SmartCraft electronics, and Mercury and Quicksilver parts and oils. MotoTron electronic controls was also a part of Mercury Marine, but as of October 2008 Brunswick Corp. sold MotoTron and its intellectual properties to Woodward Governor of Fort Collins, Colorado.

SeaCore is a brand of sterndrive marine propulsion systems manufactured in the United States by MerCruiser. The SeaCore engine design utilizes materials, technologies, and systems, created specifically for Mercury Marine, to prevent galvanic corrosion within its engine, transom and drive. SeaCore propulsion includes models generating between 220 and 425 hp. SeaCore is designed for a wide variety of vessels operated in or moored on saltwater.

Mercury Marine also provides various training programs through its training arm called Mercury University.

title: Mercury Marine


text: User talk:82.234.130.142

title: User talk:82.234.130.142


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Yamaha IT250H

The Yamaha IT250H was an enduro motorcycle made by Yamaha starting in 1981. It has an air-cooled single cylinder two-stroke engine with six speed gearbox. Front suspension is 32 mm telescopic forks, with rubber boots. Rear suspension is monoshock and aluminium swingarm. Brakes are single acting, half width drums at both ends. The IT was made for enduro use, although it was used with success for trail riding and motocross.

title: Yamaha IT250H


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She's Leaving Home

"She's Leaving Home" is a song by the English rock band the Beatles, written by Paul McCartney and John Lennon, and released on their 1967 album Sgt. Pepper's Lonely Hearts Club Band. Paul McCartney wrote and sang the verse and John Lennon wrote the chorus, which they sang together. Neither George Harrison nor Ringo Starr were involved in the recording. The song's instrumental background was performed entirely by a small string orchestra arranged by Mike Leander, and is one of only a handful of Beatles recordings in which none of the members played a musical instrument.

Background
Paul McCartney said of the song in his Playboy magazine interview in December 1984:

"I wrote that. My kind of ballad from that period. My daughter likes that one. One of my daughters likes that. Still works. The other thing I remember is that George Martin was offended that I used another arranger. He was busy and I was itching to get on with it; I was inspired. I think George had a lot of difficulty forgiving me for that. It hurt him; I didn't mean to."

McCartney was inspired by a story on the front page of the Daily Mail, about a girl named Melanie Coe. Although McCartney invented most of the content in the song, Coe, who was 17 at the time, has said that most of it was accurate. In actuality, Coe left with her boyfriend, a croupier. She did not "meet a man from the motor trade", although her boyfriend previously had been in that trade. She left in the afternoon while her parents were at work, while the girl in the song leaves early in the morning as her parents sleep. Coe was found ten days later because she had let slip where her boyfriend worked. When she returned home, she was pregnant and had an abortion.

Coincidentally, Coe had actually met McCartney three years earlier, in 1963 when he chose her as the prize winner in a dancing contest on ITV's Ready Steady Go! An update on Coe appeared in The Guardian in December 2008, and she was interviewed about the song on the BBC programme The One Show on 24 November 2010. In May 2017, Rolling Stone magazine carried an interview with Coe to commemorate the 50th anniversary of the album's release.

Recording
"She's Leaving Home" was recorded during the sessions for the Beatles' Sgt. Pepper's Lonely Hearts Club Band. The day before McCartney wanted to work on the song's score, he learned that George Martin, who usually handled the Beatles' string arrangements, was not available. McCartney contacted Mike Leander, who did it in Martin's place. This was the first time a Beatles song was not arranged by Martin. Martin, though hurt by this, produced the song and conducted the string section in a session on 17 March 1967 that generated six takes. The melody is composed in a modal scale, typical of English traditional music. The harp was played by Sheila Bromberg, the first female musician to appear on a Beatles record. Three days later, McCartney's lead vocal and Lennon's backing vocal were recorded, with the two singing together on each of two vocal tracks, their voices overlapping to match the narrative.

The stereo version of the song, finalised on 17 April 1967, runs at a slower speed than the mono mix, completed on 20 March 1967, and consequently is a semitone lower in pitch. A 2007 Mojo magazine article revealed that the final mono mix was sped up to make McCartney sound younger. The subsequent stereo mix was not sped up, remaining in the original tempo and key. In 2017, for the 50th anniversary edition of Sgt. Pepper's Lonely Hearts Club Band, Giles Martin and Sam Okell remixed the stereo version of the song to match the adjusted speed of the mono version. The six-disc version of the anniversary edition also included the previously unreleased first mono mix of "She's Leaving Home", which contains a brief cello phrase at the end of the first two choruses that was removed from the released mixes of the song.

Critical reception
In April 1967, McCartney visited Brian Wilson of the Beach Boys in Los Angeles, where McCartney played "She's Leaving Home" on the piano for Wilson and his wife. Wilson recalled: "We both just cried. It was beautiful." As the credited composers of "She's Leaving Home", Lennon and McCartney received the 1967 Ivor Novello award for Best Song Musically and Lyrically.

Composer Ned Rorem once described "She's Leaving Home" as "equal to any song that Schubert ever wrote". In one of the few non-laudatory contemporary reviews of Sgt. Pepper, Richard Goldstein, writing in The New York Times, cited the song as an example of the album's reliance on production over quality songwriting. Goldstein said: She's Leaving Home' preserves all the orchestrated grandeur of 'Eleanor Rigby', but its framework is emaciated ... Where 'Eleanor Rigby' compressed tragedy into poignant detail, 'She's Leaving Home' is uninspired narrative, and nothing more." Author Ian MacDonald considered "She's Leaving Home" to be one of the two best songs on the album, along with "A Day in the Life". In his comments on Sgt. Pepper and its legacy, musicologist Allan Moore highlights these contrasting views as two music critics judging the work from "opposing criteria", with Goldstein opining during the dawn of the counterculture of the 1960s, whereas MacDonald, writing in the 1990s, is "intensely aware of [the movement's] failings".

In 2018, the music staff of Time Out London ranked "She's Leaving Home" at number 10 on their list of the best Beatles songs.

Personnel
According to Ian MacDonald:

The Beatles
 * Paul McCartney – double-tracked vocal, backing vocal
 * John Lennon – double-tracked vocal, backing vocal

Additional musicians and production
 * Mike Leander – string arrangement
 * George Martin – conductor, producer
 * Erich Gruenberg – violin
 * Derek Jacobs – violin
 * Trevor Williams – violin
 * José Luis García – violin
 * John Underwood – viola
 * Stephen Shingles – viola
 * Dennis Vigay – cello
 * Alan Dalziel – cello
 * Gordon Pearce – double bass
 * Sheila Bromberg – harp

Billy Bragg version
A version of the song by Billy Bragg with Cara Tivey reached number one on the UK Singles Chart in 1988, as part of a double-A side with "With a Little Help from My Friends" by Wet Wet Wet. Both tracks were taken from the charity fundraising album Sgt. Pepper Knew My Father.

title: She's Leaving Home


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Talk:Alexander Rutskoy/Archive 1

I added the cleanup tag. The article's structure, style and grammar isn't very pretty. PeepP 22:10, July 16, 2005 (UTC)

Just an assumption: the office of Vice President of Russia, was abolished after Rutskoy's tenure, to avoid future ambitious veeps? Mightberight/wrong 21:19, 12 November 2005 (UTC).
 * So it was. The office of Vifce President was abolished and in case needed, the incumbent prime minister was to become acting president. Such a case occured somewhere in the late 1990s, when Yeltsin had certain heart treatment (surgery), and Viktor Chernomyrdin, Russian premier of the time, held the position of the 'acting president' for a day or two (see source ) Constanz 14:31, 16 December 2005 (UTC)

title: Talk:Alexander Rutskoy/Archive 1


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Ignaz von Seyfried

Ignaz Xaver Ritter von Seyfried (15 August 1776 – 27 August 1841) was an Austrian musician, conductor and composer. He was born and died in Vienna. According to a statement in his handwritten memoirs he was a pupil of both Wolfgang Amadeus Mozart and Johann Georg Albrechtsberger. He edited Albrechtsberger's complete written works after his death, published by Tobias Haslinger. His own pupils included Franz von Suppé, Heinrich Wilhelm Ernst, Antonio Casimir Cartellieri, Joseph Fischhof and Eduard Marxsen who would later teach Brahms.

As conductor
In his youth Seyfried served as the assistant conductor for Emanuel Schikaneder's opera troupe at the Theater auf der Wieden in Vienna, becoming musical director in 1797 and serving (in its new building, the Theater an der Wien) until 1826. His memoirs offer accounts of the first production, under Schikaneder's auspices, of Mozart's The Magic Flute, as well as a curious anecdote concerning the composer's death a few weeks later; see Death of Mozart.

In 1805, Seyfried conducted the première of the original version of Beethoven's Fidelio. Seyfried's memoirs also include some striking tales about Beethoven, and the information he provides on Beethoven in the appendix to Studien im Generalbasse are "of great biographical value", containing "everything [that] is known about the circumstances of the adored master and (are) authentic fact". Also see Piano Concerto No. 3 (Beethoven) and Choral Fantasy (Beethoven).

As composer
Seyfried composed a large amount of music from 1797 to the end of his life, including overtures and incidental music for stage plays and Singspiele, operas, ballets and melodramas; numerous sacred works – 10 masses including one for double choir, motets, requiems, psalms, hymns and oratorios; as well as two symphonies, cantatas, overtures and chamber music. Other works include concertantes for clarinet and oboe; a Konzertstück and concertante for waldhorn, and 10 serenades for four waldhorns. A list of his works in a biography dating from 1836 fills five pages.

Of his musical works, the Grove Dictionary says: "his versatility won him a unique place in Vienna's musical life; however, almost none of his music is marked by real originality or distinction."

As arranger
He made arrangements of Beethoven's Three Equals for four trombones, WoO 30, for four-part men's chorus, performed at Beethoven's funeral; re-scored Michael Haydn's Deutsche Messe, for men's voices only; and arranged over twenty operas by others for various wind band combinations.

He also made two "Grandes Fantaisies" for orchestra, based on material from Mozart: one in C minor, built from Mozart's Fantasia K. 475 and the Piano Sonata K. 457, and the other in F minor, built from Mozart's Piano Quartet K. 478 and "Ein Orgel Stück für eine Uhr" K. 608.

title: Ignaz von Seyfried