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Talk:Post-punk

Whole Article Needs to Be Re-written with Actual Facts
This is ridiculous. This article is completely made up. There was never a "post-punk" movement. There certainly was a progression between simple punk rock and artists expressing themselves, but no one ever called themselves post punk. This is simply a descriptive term that someone made up into a movement.

 * I agree, Mr. or Ms. or non-binary Anonymous. I always thought it was silly.  I bought an album years ago where the record store had a label on it saying it was "post-punk industrial hip-hop" or some such nonsense.  However, it is a term that is and has been out there, so if some feel that it's a real form of music then they are free to make that argument I suppose.  Also, they seem to believe it's a real thing, so... RRskaReb  talk 05:17, 15 September 2019 (UTC)

 * If you think post-punk is a made-up term, I have bad news for you about how other genre labels are created. Locust Valley (talk) 08:34, 26 February 2024 (UTC)

A rock music movement?
I have to question the opening line that asserts this was a rock music movement. Simon Reynolds asserts that the movement was created by acts that disagreed with Punk Rock's back to basics style. John Lydon and others used to assert that they were post rock and criticized "rockists". The movement as it broadened did encompass rock and that early criticism was heard less and less often as time wore on. But I do think the opening line should be reexamined.Edkollin (talk) 15:31, 16 November 2009 (UTC)

Dubious claim that New Romanticism is a directive of Post Punk in infobox
The two genres were complete opposite reaction to punk. New Romantic was dress up and synthpop. Post Punk was antipop and with the exception of the goths dressed down. And the goths played music was downbeat New Romanticism was positive. Edkollin (talk) 22:12, 7 October 2010 (UTC)
 * Since in three weeks no arguments have been made for this I am deleting it. Edkollin (talk) 20:18, 1 November 2010 (UTC)

Just noticed this. I'd just like to say that the connection probably was made through mostly earlier New Romantic-labeled acts; e.g Japan, Adam & the Ants, Classix Nouveaux, early Ultravox, Gary Numan/Tubeway Army, John Foxx, early Human League, Soft Cell, The Associates, B-Movie, China Crisis and Visage--who were "darker" and very post-punk affiliated. In fact I'm not sure I would simplify all of New Romanticism as upbeat synthpop behind a heading of high fashion. That may have became the case by 1984 or 85 or so when NRs and synthpop music went more commercialized. The earlier years of New Romanticism, however, consisted of more avant-garde musical touches, images and lyrics that were far more somber, occasional political themes, often cerebral or surreal lyrics, or even somewhat punky energy (Adam & the Ants, early U-Vox and TW Army). Plus, some of the acts early on retained plenty of guitar-orientation. Even Duran Duran on their debut album was on the post-punk side, dark at times with plenty of guitar/bass alongside the keyboards (they've even come to be praised for their bass work over the years). Another point is that New Romantics weren't just glamorous fashionistas but some acts like Gary Numan lended instead toward a more dark image inspired by dystopian sci-fi. Both of these NR themes however, did derive from the singular source of New Romantic godfather David Bowie (who influenced post-punk and Goth as well). Even later on as NRism became more superficial and Pop, the songs were not always that upbeat (well, they could sound upbeat but not actually have the most happy lyricals-e.g. Take On Me, Poison Arrow, Do You Really Want to Hurt Me). Theburning25 (talk) 10:23, 8 September 2011 (UTC)

 * The police
 * the police
 * The police 2A01:CB01:1021:4E82:0:52:115F:4401 (talk) 04:20, 19 March 2023 (UTC)

Roots
I believe that the names of the Berlin Trilogy albums by David Bowie and the The Idiot by Iggy Pop should be mentioned as a major influence on post-punk as it really was the case especially in the latter case.--Milosppf (talk) 14:43, 8 August 2011 (UTC)

 * It's difficult to effectively source such an assertion. If you could find maybe a couple of references to noted post punk artists mentioning the albums in interviews it would certainly help. Wwwhatsup (talk) 17:57, 8 August 2011 (UTC)

 * If you check The Idiot Wikipedia article in the legacy and covers sections you might find quite a few remarks on the album and an abundance of cover versions of the songs from the album by post-punk acts.--Milosppf (talk) 13:46, 11 October 2011 (UTC)

Deletion of New Music section
That section was merged in from another article. It was the incorrect thing to do on several fronts. The very reliable sources described New Music both as a separate entity and important part of 1980s music scene. Another words it was easily notable enough for its own Wikipedia article and never should have been deleted for whatever purpose. The reliable sources never said new music was post punk music. It said a lot of it came from post punk. That is not the same as being a sub genre or part of post punk music. The reliable sources also were clear that plenty of New Music came from areas that were not post punk. New Music was a pop music post punk was anti that.

While the merging of the articles was the incorrect thing to do as a lot of it did come from post punk it so it should have a place in this article

The New Music material has been deleted in this article and as many links as I can remember changed to the reconstituted New Music Article. I will add to the See also section of this article the reconstituted New Music article. I will wait to see if an attempt is made to merge the newly reconstituted New Music article into this article without notice or consensus. If no new merger attempts are made I will add new music as a sub section that will look similar to the post punk revival sub section. Edkollin (talk) 22:52, 27 September 2011 (UTC)

Dark
I have found post punk to have a rather dark sound. Does anyone else notice this? AmericanLeMans (talk) 22:38, 21 December 2011 (UTC)

Most of the "dark" music (punk-emanated) of the early 80s did fall into the post-punk genre, but post-punk certainly doesn't have to sound dark as a matter of requirement. I present Gang of Four, Talking Heads, Josef K, The Fall, Wire and The Feelies as proof of this. Theburning25 (talk) 05:13, 18 September 2012 (UTC)

Diverse Characteristics
I'm actually a little surprised their isn't a characteristics section for this article. Surely because post-punk is both a eclectic and diverse sound it would be important to try and highlight aesthetics within in? Jonjonjohny (talk) 21:42, 1 May 2012 (UTC)

 * Agreed. At the time, in terms of  genre, it was more literally constrained/defined by  genus (approach, ethos, production, etc.), than by resulting style(s).  Subsequently, some revivers/followers/fans have (variously) cherry-picked post-punk to create their, more stylistically constrained, conception of 'post-punk'.  Styles (and influences) of the post-punk genus are not adequately described – nor, perhaps, is the evolution of retrospective post-punk boundaries/definitions.  – Ian, DjScrawl (talk) 09:34, 26 October 2013 (UTC)

 * Post-punk has a diversity assertion, pitched at 1982 (where its been tagged with an unelaborated 'why?'). This would be an early point where an analysis might be made (from genre of relevant prior albums) – however, a few years later would be more representative (as some of the earlier 'derivative forms' remained incubated/fluid within the post-punk scene for several more years).  – Ian, DjScrawl (talk) 09:34, 26 October 2013 (UTC)

Industrial music
This has to stop. There is only one INCOMPLETE reference in the article. I assume it belongs to the book The Sex Revolts: Gender, Rebellion, and Rock 'n' Roll? The book doesn't even explain why Reynolds calls Industrial music a 'post-punk' genre. It looks more like the arbitrary assumption of the author. No primary sources, no footnotes... nothing. — Preceding unsigned comment added by 94.134.16.144 (talk) 10:33, 7 May 2014 (UTC)
 * It never stops. Even a partial reference is an improvement over most music edits. The editor is always right is assumption with music articles. — Preceding unsigned comment added by 74.90.53.33 (talk) 05:44, 8 May 2014 (UTC)

There are some new references. But again... None of these sources seem to explain why Industrial music is considered a "Post-punk genre". Mick Middles took it obviously from Reynolds. And Reynolds is copying his own mistakes from book to book? Aren't there any other publications? He seems to be the only author who calls Industrial bands 'Post-punk'. And that cannot be the mainstay of this article. — Preceding unsigned comment added by 94.134.29.90 (talk) 08:02, 8 May 2014 (UTC)

oxford comma
Because there is a lot of information fit into a compact lead and several sequential clauses, it seems like a helpful idea to include commas to clarify these differing clauses and ensure a clearer communication of the content. Do you have a compelling reason for removing them? The WP:COMMA guideline doesn't favor either, but simply instructs us to use whichever is more clear while remaining consistent. User:K999 (talk) 22:26, 7 May 2016 (UTC)

 * I'm a journalist and publicist, so I use AP Stylebook, not MLA. AP is the standard across the internet for journalism. In my personal view, it's better, and Oxford commas are archaic and pretentious, but that's not relevant. What is relevant is that WP:COMMA does indeed favor consistency, and on Wikipedia, is is generally considered that if there are competing styles that are both valid, you stick with what the article began with. Your use of Oxfords renders the dozens of other usages in the article inconsistent, so you should therefore respect the article's prior style and keep it consistent. If newspapers and news sites can manage phrasing and clauses without Oxfords, i think it's reasonable to assume you can as well.Greg Fasolino (talk) 22:41, 7 May 2016 (UTC)

Hey User:Greg Fasolino, question about the removal of multipled wikipedia links in the article: is that a wikipedia guideline—only one link per thing per page—or just a case-by-case decision? I assumed subjects in the body of the article that may only have been mentioned briefly in the lead warranted another link in a more informational context. I'm thinking specifically about those discussed in the body without links, due to their being mentioned in the lead—that seemed a bit lacking to me. Just wondering. Perhaps it'd be better to remove the specifics from the lead? etc. User:K999 (talk) 18:37, 23 May 2016 (UTC)

 * Generally speaking, they should be used sparingly and mostly that means once per article. Many editors here don't count the lead in that. I do but I recognize others do not, so if you want to add back a second link for the items in the lead, I will not revert it. They definitely should not be linked twice in the body, though (as a number of these I culled down were). Greg Fasolino (talk) 20:00, 23 May 2016 (UTC)

Predating punk
This new edit was problematic: "The early post-punk vanguard included groups such as Siouxsie and the Banshees, Public Image Ltd, Joy Division, Talking Heads, and Gang of Four, as well as groups that predated the punk movement, such as Pere Ubu and Throbbing Gristle." This statement does not make much factual sense, as Pere Ubu began in 1975 and TG in 1976. Compare to the "vanguard" bands listed, and there is really no difference, as two of them formed the same time as Ubu and TG: Banshees are 1976, Talking Heads are 1975. If you want to correctly cite bands that formed way earlier than punk, and were included within post-punk, you would instead need to look at say, Suicide (1970), Television (1973) or the Residents (1974).Greg Fasolino (talk) 18:02, 15 March 2017 (UTC)

I think the sentence should be junked considering the number of bands who could potentially be listed. Whoever constitutes the "post-punk vanguard" depends entirely on who you ask. It's not meaningful to cite specific artists if nobody can even form a consensus on who belongs and who doesn't.--Ilovetopaint (talk) 21:05, 15 March 2017 (UTC)

I disagree. The bands listed there (though I would definitely re-add Wire) were the first to be given the post-punk label and were always considered the initial bands that began the genre. The issue isnt with the "vanguard" part; it only gets more contentious when referring to the "groups that predated the punk movement" part.Greg Fasolino (talk) 21:57, 15 March 2017 (UTC)

 * But there were dozens of post-punk bands that achieved a sizable following in 1975–79, not just these 11. I'm sure the list can be doubled or tripled if I searched through enough sources. What about This Heat, Adam and the Ants, Echo & the Bunnymen, the Feelies, the Monochrome Set, the Raincoats ... ? All formed between 1976–78 and all have been called "post-punk".--Ilovetopaint (talk) 02:30, 16 March 2017 (UTC)

It's time to stop mixing with chronology and respect wp:lead. What matters is the first time a band gave a major concert and played a radio session and was recognized as post-punk by the press. I agree with Greg Fasolino and I would also withdraw this sentence "Despite the term's chronological prefix, some of its groups predated punk rock" as it is not useful in the lead.Woovee (talk) 15:45, 18 March 2017 (UTC)

 * I really doubt that all members of the music press gathered one day in 1978 and said "from now on we shall call Joy Division 'post-punk'!" It's more like somebody began prescribing a name ("post-punk") for a style of punk rock some bands had been pursuing for a while. We shouldn't be deciding who is in the "post-punk vanguard" without sources that actually talks about who populates that club. Google "most important post-punk bands" and try to find an authoritative source. --Ilovetopaint (talk) 04:59, 21 March 2017 (UTC)
 * If sources are included in the lead which is rather unusual, then a quote from Heylin is required for chronology. Woovee (talk) 20:16, 22 March 2017 (UTC)

2017
, could you stop using a tool on this article: you're invited to check out each edit made by other users before reverting all their contributions. Woovee (talk) 02:42, 18 October 2017 (UTC)

The following books do not specifically cover post-punk and are more biographies/hagiographies of bands. Therefore, they are relevant at the articles about those artists.
 * Cateforis, Theo (2011). Are We Not New Wave: Modern Pop at the Turn of the 1980s. University of Michigan Press. ISBN 978-0-472-03470-3.
 * Gittins, Ian (2004). Talking Heads: Once in a Lifetime : the Stories Behind Every Song. Hal Leonard. ISBN 978-0-634-08033-3.
 * Lester, Paul (2009). Gang of Four: Damaged Gods. Omnibus Press. ISBN 978-0-85712-020-5.
 * Kootnikoff, David (2010). U2: A Musical Biography. ABC-CLIO. ISBN 978-0-313-36523-2.
 * Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe. Plexus. ISBN 978-0-85965-431-9.

The following book is not mentioned as a source, it doesn't cover post-punk as a genre. Its presence is not necessary either at this article.
 * Reynolds, Simon (1996). The Sex Revolts: Gender, Rebellion, and Rock 'n' Roll. Harvard University Press. ISBN 978-0674802735.

Woovee (talk) 02:55, 18 October 2017 (UTC)

 * Ummm what? Just because it doesn't have "post punk" in the title doesn't mean it isn't appropriate for this article. That's not how WP:BIASED works. You need to cite specific issues with the claims they suggest. And if Cateforis' book is a "hagiography" of new wave, then doesn't the same principle apply to every book about post-punk? If we can't use books about post-punk, and we can't use books that mention post-punk, then what can we use? Just articles about Siouxsie and the Banshees from the prestigious louderthanwar.com? --Ilovetopaint (talk) 02:34, 29 October 2017 (UTC)

Some sort of help is needed with the second paragraph of the lead
Someone, in March 2019, placed a copy edit tag in the second paragraph of the lead, with the reason: "integrating the information from the footnote's sources into the article's body (see earlier revisions)". This is not a job for a copy editor. It's a job for someone who is familiar with the topic and is willing to understand the meaning of this suggestion and then perform the necessary research to implement it. I have remove the copy edit template from the article, since the prose reads fine, and I am placing its content here. – Jonesey95 (talk) 18:36, 12 May 2019 (UTC)

The B-52s
They were conspicuously absent in the list of “vanguard” bands. I take it that is because they were not in a particular book. Well I added them and provided 3 sources documenting that their first 2 albums were important early post punk recordings. Someone is edit warring over it. The last time they were removed (s)he actually left the 3 sources, but removed the band! Keithramone33 (talk) 00:28, 23 August 2019 (UTC)
 * I don't know if they were relevant or if they are "post-punk enough". However, I think they should be kept in the article unless someone with more (verifiable) knowledge than me can explain why they should be removed here in the talk page. BernardoSulzbach (talk) 01:49, 23 August 2019 (UTC)

David Bowie and Iggy Pop
I'm surprised to see practically no mention of both David Bowie's Low and Iggy Pop's The Idiot. Based on further research I've done (which is now present in both of those articles), both of these records are considered very influential on the post-punk genre. Bowie and Pop's biographers have noted its influence on bands like Joy Division (AllMusic even states it). Hell, Joy Division literally named themselves after a Low track, tried their best to imitate Low's drum sound on  An Ideal for Living, and Ian Curtis hanged himself with The Idiot playing on his turntable. Point is, both of these records need to be mentioned in the article. Even Siouxsie Sioux acknowledged the influence of The Idiot on the Banshees at one point. – zmbro (talk) 19:58, 6 May 2021 (UTC)

 * I do agree that these albums should be mentioned, the page for the Idiot even mentions its influence on industrial and post-punk, I think a couple sources could be found to get that album added. Not too sure about Low but I don't doubt that it influenced post-punk too. Brian Eno are David Bowie are already mentioned on the article so that might not be needed. Aradicus77 (talk) 10:38, 28 April 2023 (UTC)

"Credit for the first post-punk record is disputed"
The article totally forgets Alternative TV, which made the first British true post punk Album, The Image Has Cracked. Considering some of the context on the album, it can be considered a seminal transitional record. Released May 1978. 212.97.250.73 (talk) 21:11, 23 September 2021 (UTC)

Ideas from art and politics, including critical theory?!
How in the world does critical theory play a role in the pseudo genre of “post-punk”? 108.56.193.206 (talk) 15:19, 11 July 2022 (UTC)

Post punk revival
I believe the recent resurgence of the movement should be mentioned in the lead. 2603:6010:11F0:3C0:F03E:AC3:C90F:6199 (talk) 17:31, 11 February 2023 (UTC)

Krautrock and Sparks
I've added a forerunners section that mentions the influence the glam rock band Sparks had on the genre, as well as krautrock and the works of Brian Eno, David Bowie and the Red Krayola. Aradicus77 (talk) 21:45, 27 April 2023 (UTC)

"Post-punk metal" listed at Redirects for discussion
The redirect [//en.wikipedia.org/w/index.php?title=Post-punk_metal&redirect=no Post-punk metal] has been listed at redirects for discussion to determine whether its use and function meets the redirect guidelines. Readers of this page are welcome to comment on this redirect at  until a consensus is reached. FMSky (talk) 13:52, 31 March 2024 (UTC)

title: Talk:Post-punk


text: Template:User ku-2

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

title: Template:User ku-2


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Norm O'Neill

Norman Clifford Louis O'Neill (19 February 1937 – 3 March 2008) was a cricketer who played for New South Wales and Australia. A right-handed batsman known for his back foot strokeplay, O'Neill made his state debut aged 18, before progressing to Test selection aged 21 in late 1958. Early in his career, O'Neill was one of the foremost batsmen in the Australian team, scoring three Test centuries and topping the run-scoring aggregates on a 1959–60 tour of the Indian subcontinent which helped Australia win its last Test and series on Pakistani soil for 39 years, as well as another series in India. His career peaked in 1960–61 when he scored 181 in the Tied Test against the West Indies, and at the end of the series, had a career average of 58.25.

O'Neill's performances on the 1961 tour of England saw him named as one of the Wisden Cricketers of the Year. Thereafter his form was less formidable, characterised by nervousness and fidgeting at the start of his innings. Persistent knee problems, as well as a controversial media attack on the legality of West Indian bowler Charlie Griffith, saw him dropped from the Australian team after 1965. O'Neill also bowled occasional leg spin and was regarded as one of the finest fielders of his era. He later became a cricket commentator and his son Mark O'Neill also played cricket at state level.

He was inducted into the Australian Hall of Fame by the CA in 2018.

Early years
The son of a builder, O'Neill was born in Carlton, a suburb of Sydney, New South Wales. He had no cricketing associations on his father's side of the family, but his maternal uncle, Ron Campion, played for the Glebe club in Sydney Grade Cricket. Campion trained for cricket near the O'Neill family home, at Bexley Oval. O'Neill accompanied his uncle to cricket from the age of seven and was given batting practice at the end of each session. At Bexley Primary school, O'Neill was denied a chance to play cricket as the school did not field a team. Moving on to Kogarah Intermediate High School, O'Neill played cricket in defiance of a teacher who recommended that he take up athletics. As a teenager, O'Neill idolised Keith Miller after his uncle took him to the Sydney Cricket Ground: O'Neill saw Miller play that day and was impressed with the way he hit the ball off the back foot.

Under his uncle's guidance, O'Neill joined the St George Cricket Club, in the Sydney Grade competition. He steadily moved up through the grades and broke into the first grade side at the age of 16. Sensing his potential, the club's selectors informed him that regardless of form, he would play the full season, which allowed him to be uninhibited in his batting. He made 108 in seven innings. The next season, he was out 12 times leg before wicket in 15 innings, and run out in the other three. O'Neill attributed his failures to over-aggressiveness and resolved to improve his patience. In the second match of the new season, the 17-year-old O'Neill made his first century. With all five state selectors onlooking, he made 28 in the next match and was called into the state squad.

Shield debut
O'Neill made his debut for New South Wales at the age of 18 against South Australia during the 1955–56 season. His lack of contribution was highlighted against the backdrop of his team's crushing innings victory: O'Neill failed to score a run or take a wicket. New South Wales bowled first and had South Australia at 6/49 when Miller introduced O'Neill's occasional leg spin, presumably to ease the debutant's nerves by bringing him into the game. The home team struck 18 from three overs. O'Neill was listed to bat in the lower middle order but after the top order had made a big start, Miller brought O'Neill up. He came in against the second new ball and was clean bowled. O'Neill was dropped and did not play another match for the season, but had gained invaluable experience.

O'Neill steadily rose in the 1956–57 season. At the start of the season, with many players still on international duty during the closing stages of the tour to England and the subsequent stopover in the Indian subcontinent, O'Neill was recalled and made 60 and 63 not out against Queensland at the start of the season. This saw him retain his place when the Test players returned. After making a pair of single-figures scored, he made a sequence of three 60s against South Australia, Victoria and Western Australia, He was rewarded with selection in the one-off match between Ray Lindwall's XI and Neil Harvey's XI, which doubled as a national selection trial, before making his first ton (127) against South Australia. He ended the season with 567 runs at 43.61, and earned selection for a non-Test tour of New Zealand under Ian Craig, in a team composed mainly of young players. He made 102 not out in the only "Test" match that he played, helping to set up a ten-wicket win. heading the tour averages with 218 runs at 72.66. Despite this, he was overlooked for the 1957–58 Test tour of South Africa. It was regarded as one of the most controversial decisions of the decade.

O'Neill responded during the 1957–58 Sheffield Shield season weakened by the absence of the Test players, aggregating 1,005 runs at 83.75 and taking 26 wickets at 20.42 with his leg spinners, thus topping the national bowling and batting averages. Prior to the season, he had never taken a first-class wicket. In the opening match of the summer, he took 3/74 against Queensland. He then took a total of 5/51 scored 33 and 48 not out in a six-wicket win over Western Australia before taking 3/52 and adding two fifties in the return match. He then broke through for his first century of the season, scoring 114 and taking 3/44 in a ten-wicket win over South Australia. However, he reached more productive levels in the second half of the season.

This comprised 175 against Victoria, 74 and 48 against Queensland, 125 and 23* against South Australia and 233 against Victoria. His 233 was made in little over four hours and featured 38 fours. It was the first time that a New South Welshman (let alone a twenty-year-old) had scored 1,000 in a Shield season. Bradman and Bill Ponsford were the only others before him. He added 12 wickets in the final four matches, including 2/50 and 4/40 in the match against Queensland. O'Neill's performances played a large part in his state's fifth consecutive title.

These performances led former Test leg spinner Bill O'Reilly to compare him to Bradman and former Test opening batsman Jack Fingleton to lament his non-selection for the South African tour and its reflection on the plight of Australian cricket.

At the time, his employers refused to make allowances for him to play sport, forcing him to begin work at six in the morning. As a result, he considered moving to South Australia, where a grocery magnate offered him employment and financial incentives. However, he stayed after state officials intervened, with Sir Ronald Irish, the Australian chairman of Rothmans, providing him with a job in Sydney. At the time, O'Neill had another offer. Having represented his state in baseball and been nominated in the All-Australian team in 1957, he was approached by the New York Yankees, having had experience at a pitcher and short stop. O'Neill was offered a fee more than 25 times that for a single Test match, as well as travel costs and accommodation, to trial with the Yankees. He agreed, but Irish dissuaded him less than a week before his scheduled departure.

Test debut
Identified as a future Test prospect, he was selected in a Western Australia Combined XI for a match against the touring England cricket team at the start of the 1958–59 season in Perth. Prior to the match, O'Neill was hounded by the media. The tourists decided to test him with short-pitched bowling, especially Fred Trueman. O'Neill decided to abstain from hooking, while attacking the spin of Jim Laker with a series of sweep shots. After four and a half hours of uncharacteristic restraint, he compiled 104 with an emphasis on off side play. He took a total of 2/67, removing Fred Trueman and Arthur Milton.

He scored 85 against Western Australia and then made 84 not out for New South Wales against England. He was selected for an Australian XI, which played the tourists in a dress rehearsal before the Tests. He made one and two as Australia were crushed by 345 runs.

Nevertheless, O'Neill was selected to make his debut in the five-Test series against England, playing in all of the matches. The First Test in Brisbane was a low scoring match described by Australian captain Richie Benaud as producing "some of the slowest and worst cricket imaginable", O'Neill made 34 in Australia's first innings of 186 to help secure a lead of 52. He then top-scored with an unbeaten 71 in the second innings, guiding Australia to an eight-wicket victory. O'Neill scored 71 of the last 89 runs scored while he was at the crease, refusing to be dried up by the England's usage of leg theory. It enlivened a match plagued by time-wasting, and best remembered for a depressingly slow innings by England's Trevor Bailey, who scored 68 from 426 balls in seven and a half hours. England captain Peter May described O'Neill's innings as "sparkling" and said that it made "everything which had gone before look even more wretched". Retired English player Ian Peebles, writing in the Sunday Times, said "Although O'Neill is in the very early stages of his career, it is already something of an occasion when he comes to the wicket, and one can sense the expectancy of the crowd and the heightened tension of the opposition". Wisden opined that O'Neill had "saved a game that had been tortuous for days". For his part, O'Neill said that the dour play was "unbelievable" and that he was "just about falling to sleep" in the field.

He struck 77 in the rain-affected drawn Third Test at the Sydney Cricket Ground and followed this with 56 in the Fourth Test in Adelaide. Despite making a duck in the Fifth Test, he ended the series as the second highest runscorer with 282 at 56.40 as Australia took the series 4–0. He bowled two overs without success. Outside the Tests, O'Neill scored 155 and 128 against Victoria and Western Australia respectively as New South Wales completed their sixth successive Sheffield Shield win.

Career peak

The following season O'Neill was Australia's leading batsman during the 1959–60 tour to Pakistan and India, where he was a part of the last Australian team to win a Test on Pakistani soil for 39 years. After a quiet match in the First Test eight-wicket win in Dacca in East Pakistan (now Bangladesh), in which he scored two and 26 not out, O'Neill played a key role in the victory in the Second Test in Lahore that was to Australia's last in Pakistan until 1998. O'Neill made his maiden Test century of 134 in the first innings to give Australia a 245-run lead. He then took his maiden Test wicket in Pakistan's second innings, that of Shujauddin. This left Australia chasing a target of 122 in the last two hours on the final day. The chase was on schedule with O'Neill partnering Neil Harvey when the Pakistanis began wasting time to prevent an Australian victory. This was implemented by swapping fielders very slowly when the left and right-handed combination of Harvey and O'Neill took a single, and overs began taking seven minutes instead of three. To counter this, Harvey deliberately backed away when a ball was aimed at the stumps and threw away his wicket by letting himself be bowled for 37. This allowed Benaud to come in and bat with O'Neill so that the two right-handed batsmen would give no opportunity to waste time by switching the field. Benaud then threatened Pakistani captain Imtiaz Ahmed with a formal complaint over the time-wasting, and proceedings returned to their normal pace. Australia made the target with a few minutes to spare, with O'Neill on 43. O'Neill failed to make double figures in the final Test, which was drawn, but ended the series with 218 runs at 72.66. In another tour match, against the President's XI, O'Neill scored an unbeaten 52 in a low-scoring match as Australia stumbled to their target of 116 with only three wickets in hand.

O'Neill's performances in Pakistan was such that the parents in one cricket-following Karachi family named their new son Anil for its resemblance to O'Neill. Anil Dalpat went on to become the first Hindu to represent Pakistan, playing nine Tests in the 1980s as a wicketkeeper.

On the five-Test Indian series which followed, O'Neill started slowly, aggregating 60 runs in the first two Tests, which were shared 1–1. He returned to form with a leg-side dominated 163 in a high-scoring draw in the Third Test at Brabourne Stadium in Bombay. After scoring 40 in an innings victory in the Fourth Test in Madras, Australia needed a draw in the Fifth Test in Calcutta with four players injured or ill, while Benaud had a dislocated spinning finger. O'Neill scored 113 in the first innings to help a depleted team take a 137-run first innings lead and prevent India from squaring the series. He was Australia's leading scorer in the Tests, with 376 runs at 62.66. He also made his highest first-class score of 284, against an Indian President's XI in Ahmedabad. He was the top scorer for the whole subcontinental Test tour, with 594 runs in eight matches at 66.00.

He returned to Australia and played in one match for New South Wales at the end of the 1959–60 season, scoring 175 as his state defeated Western Australia and won a seventh Shield in a row. Prior to the following Australian summer, O'Neill was part of an International Cavaliers team that toured South Africa. He scored 133 runs at 21.83.

In the lead-up to the 1960–61 home Tests series against the West Indies, O'Neill scored 156 not to set up an innings win for his state over the tourists. He then struck 181 in the first innings of the opening match at Brisbane, his highest Test score. The innings prompted teammate Bob Simpson to say "if God gave me an hour to watch someone I'd seen, I'd request to see Norman O'Neill. He had the style." Australia took a first innings lead and O'Neill made 26 in the second innings as Australia collapsed towards a likely defeat before recovering; the match ended in the first Tied Test in history. This was the peak of O'Neill's career. Having played 14 Tests, he was averaging 67.68 with the bat.

He then struck 114 as his state defeated the tourists by an innings, and he made 40 and a duck as the Australians took the series lead in the Second Test. He made 70 and 71 in the Third Test loss in Sydney, one of the few players able to combat Lance Gibbs effectively, top-scoring in the first innings and second top-scoring in the second innings. He then made 65 in the second innings in the Fourth Test at Adelaide, where Australia held on by one wicket for a draw. He contributed 48 in the second innings of the Fifth Test as Australia appeared headed for a series victory. However, a late collapse ensued, and Australia scraped home by two wickets to take the series 2–1. O'Neill ended the series with 522 runs at 52.20. O'Neill gained attention during the summer for frequently losing his wicket by impulsively sweeping. This was attributed to the dominance of his bottom hand, which saw his bat swinging across the line of flight of the ball. Despite the criticism, he was at the peak of his international career, having made 1398 runs at 58.35 in his first 18 Tests.

Wisden Cricketer of the Year
O'Neill was selected for the tour of England in 1961, and he warmed up by scoring centuries in consecutive matches against Tasmania for the Australian squad. During the English summer, O'Neill scored 1981 runs at 60.03, narrowly missing becoming only the fourth post-war player after Don Bradman, Neil Harvey and Bill Lawry to make 2,000 runs in an Ashes tour.

In the third match against Yorkshire, which was O'Neill's second for the tour, he scored an unbeaten 100 marked by his cover driving. He followed this with a 74 against Lancashire before a 124 two matches later against Glamorgan, which was described by Wisden as the best of the season. He scored 73 against Gloucestershire and made 122 on his first appearance at Lord's, against the Marylebone Cricket Club, in what was effectively a dress rehearsal for the Tests. Australia went on to win by 63 runs. In the next match against Sussex, O'Neill was carried from the ground after suffering a knee injury, and after failing to bat in either innings, it appeared he would be sidelined for a substantial period.

However, he recovered to be selected for the First Test at Edgbaston, just five days later. He made 82 as Australia scored 9/516 declared and took a 321-run first innings lead, but England could not be dismissed in the second innings and salvaged a draw. He continued his form with an unbeaten 104 against Kent between the Tests.

The "Battle of the Ridge" in the Second Test at Lord's—the home of cricket—was an unhappy one for O'Neill. On an erratic pitch with a visible ridge that caused uneven bounce, O'Neill made one and a duck as an Australia scraped home by five wickets in a low-scoring match.

He returned to the county matches and scored 162 against Lancashire, before scoring 27 and 19 as England squared the series in the Third Test at Headingley. O'Neill then scored 142 against Northamptonshire, but the hosts were able to tie the scores when stumps were drawn with four wickets in hand.

After rectifying a technical fault, O'Neill made 67 in the second innings of the Fourth Test at Old Trafford with the series tied at 1–1, helping Australia take a narrow victory to retain the Ashes. Heading into the final Test, O'Neill had a consistent run, scoring three fifties in four innings. He made his first century against England in the Fifth Test at The Oval with 117 as Australia drew the match to take the series. He did so after being given a "lucky coin" by a spectator and being dropped at second slip when he was on 19. He scored 324 runs at 40.50 in the Tests and was subsequently named as one of the five Wisden Cricketers of the Year for 1962. Following the Tests, O'Neill added four half-centuries in five innings in a consistent run towards the close of the tour. He left English soil with 138 against Minor Counties, in a non-first-class match. In all first-class matches, he made seven centuries, and his run aggregate was second only to Lawry, who made 2,019 runs.

International decline
After this tour, his form began to decline, as he became prone to uncertain and fidgety starts to his innings, which earned him the nickname "Nervous Norm". A persistent knee injury increasingly troubled him and was to end his career. The 1961–62 Australian team was purely domestic with no touring Test team, and New South Wales completed their ninth Sheffield Shield title in a row, O'Neill had a poor season, scoring only 377 runs at 25.13, passing fifty only twice.

The 1962–63 home Ashes series was Australia's first Test matches in 18 months. After an unproductive season last year, O'Neill started the new summer with 15 and 2/30 for a Western Australia Combined XI against Ted Dexter's Englishmen. His victims with the ball were Dexter and batsman Tom Graveney. He then made his first century in over a year, scoring 131 against Western Australia for his state. O'Neill completed his preparation for the Tests by helping New South Wales to defeat Dexter's men by an innings. He scored 143 and took 2/36, removing Graveney and leading batsman Colin Cowdrey.

O'Neill made 56 in the First Test drawn at Brisbane but failed to pass 20 in the next two matches, which were shared by the two teams. After his wife made him a pair of "lucky lemon socks", he scored 100 in the first innings of the drawn Fourth Test in Adelaide, which turned out to be his last Test century with fifteen Tests before the end of his career. With Alan Davidson injured during the match, O'Neill was required to bowl substantially, conceding 49 runs in what was his most expensive performance to date. He scored 73 in the Fifth Test in Sydney to finish the series with 310 runs at 34.44, substantially below his career average of 53.8 prior to the series. He also took two wickets, one in each of the Third and Fifth Tests, removing Fred Titmus and Dexter respectively. Outside the Tests, O'Neill struggled and passed 25 once in eight other non-Test innings. This was a 93 against arch-rivals Victoria, which was not enough to prevent defeat. Victoria went on to win the Sheffield Shield and end New South Wales' nine-year winning streak.

At the end of the season, he embarked on a tour with the International Cavaliers, which toured Africa, mostly playing against provincial teams. He played in seven matches and had a productive series, scoring 541 runs at 41.54 including a century and four fifties. He also bowled more frequently than usual taking seven wickets at 53.29.

The following season in 1963–64, O'Neill started poorly, passing 12 only once in his first six innings. However, he was retained for the team for the First Test against South Africa in Brisbane, where he scored 82 and 19 not out in a drawn match. He continued his resurgence with 36 and 61 not out the following fixture against Victoria, but was injured during the second innings and forced to retire hurt. This meant that he missed the Second Test, which Australia won by eight wickets. O'Neill returned and scored half centuries in each of the next two Tests. He also took two wickets to end the series with 285 runs at 40.71 and three wickets at 32.33. He added a further two half-centuries in the remaining Shield matches.

O'Neill retained his place for the 1964 tour to England, and scored a century against Western Australia for the touring squad before departing for the northern hemisphere. After failing to pass 16 in his first two outings, he struck form against Glamorgan, scoring 65 and an unbeaten 109. He then added 151 and 17 not out, leading the way as the Australians defeated the MCC by nine wickets in a dress rehearsal for the Tests. However, O'Neill scored 98 in the first four innings of the opening two Tests and was forced out of the Third Test with a knee injury, the only non-draw of the series, which Australia won. Nevertheless, he passed 50 in each of the four tour matches during this period, including a 134 against Yorkshire and 90 against Northamptonshire.

O'Neill returned for the final two Tests and ended the series with only 156 runs at 31.20 in five Tests without passing fifty and going wicketless. He added another century against Kent and two further fifties in the closing stages of the English summer.

His 1964–65 tour of the subcontinent on the way back to Australia was even worse, a far cry from his leading role in the previous tour to the subcontinent. After making 40 and 0 in the First Test win in Madras, he was unable to bat either innings in the Second Test in Bombay after being hospitalised due to persistent vomiting, injury as Australia ceded their series lead. He missed the remainder of the series, the Third Test in Calcutta and a one-off Test in Pakistan. Upon his return home, he has a shortened domestic season before Australia left for the West Indies. In five domestic matches, he scored 357 runs at 59.50, including a 133 not against South Australia.

O'Neill started the 1964–65 tour of the West Indies strongly, scoring a century in the first match against Jamaica. He was often injured during the tour, but was at his most productive with the bat since the last series against the Caribbean team four years earlier. He made many starts, passing 20 in six of his seven Test innings, but was unable to convert them into big scores. In the First Test, O'Neill was struck on the hand by Wes Hall and was sent to hospital for X-rays after a break was suspected. During the Second Test, it was the turn of Charlie Griffith to send O'Neill to hospital, after hitting him on the forearm and causing a large bruise. His 51 and 74* in the Fourth Test at Bridgetown, Barbados, the last Test of his career, was the only time he passed 50 for the series. He ended with 266 runs at 44.33, missing the Fifth Test due to a broken hand. He managed a healthy return with the ball, taking nine of his 17 Test wickets in the series with an average of 25.55. This included his Test best of 4/41 with his leg-spin in the Second Test in Port of Spain, Trinidad. In this match, he cleaned up the hosts' tail in the first innings, removing Jackie Hendriks, Wes Hall, Charlie Griffith and Lance Gibbs.

At the end of the tour, O'Neill garnered controversy by writing outspoken newspaper columns accusing opposition pace spearhead Charlie Griffith of chucking. He was one of several Australians who took exception to Griffith's bowling action, and he put his name to a series of feature articles in Sydney's Daily Mirror. These labelled Griffith as "an obvious chucker", saying the hosts had been "wrong to play" him. O'Neill stated that "If he is allowed to continue throwing, he could kill someone". O'Neill also expressed his desire to not have to face bowling that he deemed to be illegal. When the Daily Mirror syndicated the columns, London's Daily Mail ignored an embargo and printed the pieces while the Australians were on their homeward flight, putting O'Neill in breach of his tour contract, which forbade players from commenting in the media during tours.

The West Indies lodged an official complaint with Australia, and the Australian Cricket Board replied that it deplored the published comments, although noting that as O'Neill's touring contract had expired at the end of the tour, the point was moot. Nevertheless, the ACB changed its stance on players' writing, so that they could no longer comment on a tour until three months after its conclusion. The event is often perceived to have been a factor in O'Neill's eventual departure from the national scene.

Outside the Tests, O'Neill performed strongly in three matches against regional teams, scoring centuries in each of them. He scored 125, 125, and 101 in his only three innings, against Jamaica, Trinidad and Tobago and Barbados.

Retirement
The following season, O'Neill was overlooked for selection in all five Tests against the touring England team. Returning to New South Wales, he scored 473 runs at 39.42, including two centuries.

O'Neill was omitted from the squad that toured South Africa in 1966–67, ending his Test career. He continued his Shield career while his former teammates were on the other side of the Indian Ocean, compiling 741 runs at 74.10 in a strong season. He started the season with 117 against Western Australia, before scoring a pair of 78s in the return match, helping his team to a tense 13-run win. He then scored 128 and 22 not out against Victoria and finished his season with 160 and 80 against South Australia, scoring a majority of his team's first innings score.

As a result, he was selected for an Australian Second XI to tour New Zealand. He scored 69 runs at 17.25 in two international matches and made his last first-class century, scoring 101 and 58 not out against Auckland.

O'Neill retired upon his return to Australia due to a knee injury. He left a reputation as a highly entertaining batsman who did not manage to fulfil his early promise. "A disappointment he was, perhaps, but his cricket will be recalled when those of lesser gifts are forgotten", opined the writer EW Swanton.

In 61 matches for New South Wales, he scored 5419 runs at 52.61. He compiled 3879 runs at 61.57 for St George in grade competition before transferring to Sutherland in the 1965–66 club. He scored 168 on his new club's first day in the competition.

A cigarette salesman by trade, he became a commentator in retirement. He married Gwen Wallace, a track and field athlete who won relay gold for Australia at the 1954 British Empire and Commonwealth Games. They had two sons and a daughter. Their eldest child Mark O'Neill represented New South Wales and Western Australia in the 1980s. O'Neill also co-owned a racehorse with Richie Benaud, Barry Jarman and Ray Steele, named Pall Mallan, and it won a race in 1961.

On 3 March 2008, O'Neill died in Erina, New South Wales, due to the effects of throat cancer. He was 71.

Style
Standing six feet tall, O'Neill was compared to Don Bradman upon his entry into Test cricket. At his best, he was a dynamic stroke maker who was a crowd favourite because of his ability to score at a high pace, in particular with his power off the back foot. He was noted for his nimble footwork, which he used to negate spin bowling; however, this slowed in his later career as he put on weight. O'Neill particularly liked to sweep the slower bowlers. He often put too much emphasis on his right hand, allowing a large space between his hands on the bat handle, and then turning his right shoulder too square towards the bowler. The renowned English batsman and captain Wally Hammond said that O'Neill was the best all-round batsman he had seen since World War II. O'Neill's tall build, strength and good looks also drew comparison to his boyhood idol Keith Miller. Despite the comparisons to Bradman, O'Neill was much taller and broader, and was often impetuous whereas Bradman was known for his patience and lack of rashness. O'Neill was also criticised for hitting across the line early in his innings.

O'Neill was highly regarded for his style and entertainment values. Teammate Alan Davidson said "once set he was the most exhilarating player you'd ever want to see—he was dynamite. He'd play attacking shots off balls other people would only think of defending. He had wonderful skill and technique. His shots off the back foot down the ground off fast bowlers—you can't really describe how good they were." His captain for Australia and New South Wales, Richie Benaud said that he was "one of the greatest entertainers we've had in Australian cricket". O'Neill's style led the British writer EW Swanton to say "the art of batting, he reminded us, was not dead, merely inexplicably dormant". Wisden opined that "A high innings by O'Neill is a thing of masterful beauty. His stroking is delectable, immense in its power."

Later in his career, O'Neill became a nervous and superstitious batsman, particular at the start of an innings. He wrote "batting is a lonely business" in his 1964 autobiography Ins and Outs, opining that he sometimes found first-class cricket to be "depressing and lonely".

He was regarded as an excellent fieldsman at cover, with a powerful and accurate throw, described by Wisden as a "dream throw" honed from a junior career as a baseballer. He was named as utility player in the 1957 All Australian baseball team, and his ability was such that he was approached by Major League Baseball scouts. Before the retirement of Neil Harvey, he and O'Neill fielded in tandem in the covers and the pair were regarded as the finest fielding combination of the time.

title: Norm O'Neill


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title: Template:User ku-3


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Hans Bøchmann Melchior

Hans Bøchmann Melchior (14 May 1773 – 11 September 1831) was a Danish Naturalist.

He was the author of Den danske Stats og Norges Pattedyr (The mammals of the Danish state and Norway), published posthumously in 1834.

title: Hans Bøchmann Melchior


text:
Illiam Dhone

Illiam Dhone or Illiam Dhône (literally meaning 'Brown William' in English; 14 April 1608 – 2 January 1663), also known as William Christian, was a Manx politician and depending on viewpoint, patriot, rebel or traitor. He was a son of Ewan Christian, a deemster. In Manx, Illiam Dhone literally translates to Brown William—an epithet he received due to his dark hair—and in English he was called Brown-haired William. Dhone was a significant figure in the Isle of Man during the English Civil War and the Manx Rebellion of 1651. He was executed for high treason in 1663. In the centuries after his death he has become a "martyr and folk-hero, a symbol of the Island's cherished freedoms and traditional rights".

Early years and family
Little is known about Dhone's early years. He was the third surviving son and youngest heir of Ewan Christian and his wife Katherine Harrison of Bankfield, Eastholme. Dhone was most likely born at the family property in Derbyhaven at Ronaldsway in the parish of Malew in the south-east of the Island. The Derbyhaven farmhouse known as Ronaldsway House was demolished in the 1940s to accommodate the development of Ronaldsway Airport.

Ewan Christian was an important political figure in the Isle of Man, holding the offices of deputy-governor of Peel Castle and deemster, a position he held for 51 years. He was also a noted opponent of the Lord of Mann James Stanley, 7th Earl of Derby. Their dispute concerned the old feudal system of property ownership, the tenure of the straw, which the Earl wished to abolish. This system gave the tenants perpetual ownership and the right to pass their property to their children without the consent of the Lord of Mann. Stanley wanted to reform the system and make it a lease over three generations. Ewan Christian opposed the reform, but Stanley threatened to lease the Christians' property at Ronaldsway to John Corrin, a descendant of a previous claimant to the estate. Ewan Christian eventually conceded and bequeathed his estate in 1643 to his third son, William.

Edward Christian, a distant cousin of Dhone's and the Governor of the Isle of Man, was imprisoned for plotting against the Stanley family in 1643. He was imprisoned for eight years until James Stanley was executed in 1651, but in 1659 he was once again imprisoned for treason in Peel Castle, where he died years later.

Manx rebellion of 1651
In 1648 Stanley appointed Dhone as Receiver General, despite his previous difficulties with Dhone's father. In 1651 Stanley went to England to fight for Charles II against the Parliamentarians. Dhone was left in command of the island militia, and Stanley's wife Charlotte Stanley, Countess of Derby, who was now residing at Castle Rushen on the island, was left under his guardianship, highlighting the trust Stanley placed in Dhone.

Stanley was taken prisoner at the Battle of Worcester in September 1651. In a letter to his wife in October, Stanley instructed her to broker his release by negotiating with the victorious Parliamentarians for the surrender of the Island. Ultimately she was unsuccessful, and her husband was executed on 15 October. Dhone and the Manx militia suspected that the Countess may have been attempting to negotiate with Parliamentarians for control of the Island. Fearing that the terms of the surrender would leave the Island at a great disadvantage, Dhone negotiated independently with the Parliamentarians, agreeing that they would not resist their invasion fleet on the condition that the "ancient rights and laws" that Stanley had attempted to reform were restored.

The Countess' attempt to barter freedom for her husband in return for the surrender of the Isle of Man led to a revolt headed by Dhone, the Manx Rebellion of 1651. This revolt was partly as a consequence of this step and partly due to discontent caused by the same agrarian reforms introduced by Stanley that Dhone's father has previously opposed, as well as the burden on the Manx people due to the free quarterage of soldiers stationed on the island. 800 men were assembled at Dhone's property in Ronaldsway. The militia were successful in their attempts to take the smaller forts, but failed to take the two largest castles at Peel and Castletown. When the parliamentary fleet under Colonel Robert Duckenfield landed in the Isle of Man in late October 1651, the Manx militia cooperated.

Fearing that her soldiers could not be trusted, the Countess of Derby was compelled to surrender the two castles, Castle Rushen and Peel Castle. Dhone remained Receiver General. He then was appointed Governor of the Isle of Man in 1656: the highest point of his career.

Imprisonment and trial

Dhone's position as both Governor and Receiver General of the Isle of Man gave him unequalled control of the Island's finances. Two years later, in 1658, Dhone was charged by James Chaloner, the new Governor of the Island, of misappropriating funds that were reserved for the support of the grammar schools and for the augmentation of the salary of poorer clergy on the Island. Facing imprisonment, Dhone and his eldest son George fled to England. Dhone's estates were confiscated and his brother Deemster John Christian was imprisoned for helping him to escape the Island. Dhone was eventually arrested in London in 1660. After serving a year of imprisonment he returned to Mann, hoping that his offence against the Earl of Derby would be condoned under the Act of Indemnity of 1661; but, anxious to punish his conduct, Charles Stanley, 8th Earl of Derby ordered his arrest. At his trial, Dhone refused to plead, and the House of Keys declared that his life and property were at the mercy of the Lord of Mann. The Deemsters then passed sentence, and Dhone was executed by shooting at Hango Hill (near what is now Janet's Corner, Castletown), on 2 January 1663 on charges of high treason. The execution was botched and he died of his injuries.

Aftermath and legacy
This arbitrary act angered King Charles II and his advisers. The deemsters and others were punished, and some reparation was made to the Dhone family. Dhone is chiefly celebrated through the Manx ballad Baase Illiam Dhône, which has been translated into English by John Crellin in 1774 (and separately by George Borrow), and through the references to him in Sir Walter Scott's Peveril of the Peak.

An annual commemoration is held by Mec Vannin and the Manx branch of the Celtic League at the spot of his execution.

Dhone is a controversial figure in Manx history: some view him as a traitor, while others view him as a patriotic martyr who stood up for the rights of the Manx people.

The headquarters of the Office of Human Resources of the Isle of Man Government is known as Illiam Dhone House.

In January 2006 a monument created by Bryan Kneale dedicated to Dhone was erected at Malew Church, where Dhone is buried.

title: Illiam Dhone


text:
Bids for the 2004 Summer Olympics

Five cities made the shortlist with their bids to host the 2004 Summer Olympics (formally known as Games of the XXVIII Olympiad), which were awarded to Athens, on September 5, 1997. The other shortlisted cities were Rome, Cape Town, Stockholm and Buenos Aires.

Final selection
In the first round of voting, Buenos Aires and Cape Town tied with the lowest number of votes. Round two was therefore a tie-breaker round between the two cities, with Buenos Aires being eliminated. Stockholm was the next city to be eliminated followed by Cape Town. The final round saw Athens receive enough votes to defeat Rome and win the right to host the 2004 Summer Olympics.

Official voting results
Athens was the leader in all rounds of voting, except in Round 2, which was a tie-breaker due to a first round tie between Cape Town and Buenos Aires. Cape Town won that round over Buenos Aires, before losing out in the 4th round.

Applicant cities

 * 🇧🇷 Rio de Janeiro, Brazil
 * 🇵🇷 San Juan, Puerto Rico
 * 🇹🇷 Istanbul, Turkey
 * 🇫🇷 Lille, France
 * 🇷🇺 Saint Petersburg, Russia
 * 🇪🇸 Seville, Spain

title: Bids for the 2004 Summer Olympics


text:
Boris Starling

Boris Starling (born 1969) is a British novelist, screenwriter and newspaper columnist.

Career
Starling has written seven crime novels.

His first book, Messiah, was published in 1999. Notable for its fast pace and high levels of gore, Messiah was a commercial and critical success, reaching both The New York Times and the official UK bestseller lists. It was subsequently adapted for television by the BBC, with Starling taking a cameo role as a murder victim's corpse.

There have been four television sequels broadcast. Messiah I-IV starred Ken Stott in the lead role as DCI Redfern Metcalfe. For Messiah V, Marc Warren took over as DCI Joseph Walker, heading up an entirely new cast. Messiah V was broadcast on BBC1 in January 2008. Starling is listed as series creator of the franchise.

His second book, also a New York Times bestseller, and winner of the W. H. Smith 'Thumping Good Read' Award, was Storm. Set in Aberdeen, Storm begins with a ferry disaster, and follows the subsequent week in the life of Kate Beauchamp, one of the detectives from Messiah, as she tries to find a serial killer while her estranged father heads up the investigation into the ferry sinking.

Starling changed tack substantially with his third novel. Vodka is a sprawling, epic story of Russia immediately after the end of the Soviet Union, and runs several storylines in tandem: the efforts of an American banker, Alice Liddell, to effect the first privatisation in Russian history; the battle between Slav and Chechen gangs for control of Moscow's vodka market; and the hunt for a serial killer who is killing children and draining their blood.

Another shift in period and location came with the publication of Starling's fourth novel, Visibility. Visibility is set in the winter of 1952, when the Great Smog (sometime called the Great Fog) has rolled into London, shutting down most transportation routes and sickening the populace with its noxious haze. Assigned to investigate a suspicious drowning, detective Herbert Smith discovers that the victim, a young biochemist and son of a highly placed government official, had in the hours before his death claimed to be in possession of a discovery that could change the world. Visibility gained good reviews. The Guardian's Maxim Jakubowski called it "mystery at its best", while in the New Statesman Adam LeBor said: "Visibility is an intelligent and thought-provoking book, one that asks lingering questions about the very nature of loyalty and love."

Starling has also written a series of thrillers featuring Franco Patrese, a Pittsburgh homicide detective who later joins the FBI. The first book was published in the UK as 'Soul Murder' and in the US as 'Thou Shalt Kill.' The Pittsburgh Tribune-Review said that the book 'captures the essentials of Pittsburgh better than most natives could... This is a well-imagined thriller, a nice addition to the crowded police-procedural genre, with vivid characters and nimble-but-fitting plot twists.'

The sequel, released as 'City Of Sins' in the UK in October 2011 and as 'City Of The Dead' in the US in April 2012, is set in New Orleans around the time of Hurricane Katrina.

A third novel, 'White Death', was released in December 2012.

Starling has also written:

 * 'Unconquerable: The Invictus Spirit' about the men and women who compete in the Invictus Games.
 * the popular 'Haynes Explains' series of tongue-in-cheek mini-manuals. The first four (BABIES, TEENAGERS, MARRIAGE and PENSIONERS) were published in September 2016, and a further eight (BRITISH, AMERICANS, GERMANS, FRENCH, CHRISTMAS, PETS, HOME and FOOTBALL) are published in September 2017.
 * THE KID, an animated sci-fi reimagining of Charlie Chaplin's THE KID, which is being produced by the French company Superprod and the Luxembourg-based Bidibul.

Personal life
Starling is the great-grandson of the English physiologist Ernest Starling. He was educated at Trinity College, Cambridge, graduating from Cambridge with a first in History.

He began his career as a journalist for several Fleet Street newspapers before working for Control Risks, a firm which assesses the risks to companies of terrorism and political upheaval, and provides services ranging from confidential investigations to kidnap resolution.

In 1996, he appeared on the BBC quiz show Mastermind, where he reached the semi-finals. His specialist topics were comics creator Hergé and his creation Tintin, and The Life and Novels of Dick Francis, who was present at the recording.

He lives in Dorset with his wife, an interior designer, and their children.

His sister Belinda was also an author; her novel The Journal of Dora Damage was published posthumously in the UK and US in late 2007. She died aged 34 in August 2006 of complications following bile duct surgery.

As Boris Starling

 * 1999 Messiah
 * 2000 Storm
 * 2004 Vodka
 * 2006 Visibility
 * 2014 The Stay-Behind Cave (eBook only)
 * 2017 Unconquerable: The Invictus Spirit
 * 2021 The Law of the Heart

As Daniel Blake

 * 2010 Soul Murder (published as Thou Shalt Kill in the US)
 * 2011 City Of Sins
 * 2012 White Death

title: Boris Starling


text:
Talk:United Nations/Archive 1

Old talk
-- There is no mention that the United Nations tends towards following/advocating socialist policies.

There is no mention that the United Nations tends towards establishing judical/legal orginizations superior to and able to punish individual country governments.

Add them, then. I don't mean to be glib, but I just put the text there because it was available and unencumbered by IP laws. I am by no means an expert on the subject. --KQ

I disagree at least on the first point that it should be added. That the United Nations follow/advocate socialist policies is a matter of interpretation/opinion, not of fact, in my opinion. -- Andre Engels

I"ve added a lot to this page from http://www.state.gov/p/io/rls/fs/2001/index.cfm?docid=4842 but left out a longish section on the U.S. role in U.N. business because it's written from a blatantly smug U.S. point of view. I'll paste it below for anyone who cares to add it, if anyone does. It can probably be rewritten from something closer to NPOV. --KQ

-- I disagree with the way every political article seems to have some tagged-on bit at the end about why or how evil old America is in some way responsible for screwing up everything. Can't we just have a fair, NPOV article explaining how an organization functions without always having to give the United States a trial in the process? user:J.J.
 * The U.S., as the world's leading political, economic, and military power, has an especially strong interest in cooperating with the multilateral system. The U.S. can pursue many of its interests more effectively and with less risk through the UN than it can by acting alone. Examples include: containing the spread of weapons of mass destruction; enforcing sanctions on pariah states such as Iraq; protecting the environment (ozone depletion, acid rain, climate change, deforestation); and combating international crime, drug trafficking, and terrorism.
 * Engagement in the UN pays significant dividends to Americans in the form of a safer, more prosperous world. The UN offers a unique forum for advancing U.S. foreign policy objectives. As a permanent member of the UN Security Council, the U.S. plays a leading role in the UN's efforts to maintain international peace, promote democracy, and defend human rights. UN peacekeeping gives the U.S. a way to protect American interests in circumstances where either acting alone or doing nothing is unacceptable. UN mediation and preventive diplomacy efforts can provide an internationally acceptable setting in which nations can move away from rigid negotiating positions and begin to seek solutions to their problems.
 * The multilateral system also provides a powerful platform for advancing U.S. values and ideals in such areas as human rights, free trade, labor standards, and public health. UN programs also try to meet humanitarian needs for those disadvantaged by circumstances beyond their control. Private charitable agencies rely on the multiple capacities of the UN system to develop the infrastructure and political climate required for the success of such programs. UN activities such as UNICEF, the UN High Commissioner for Refugees, and the World Food Program have made a remarkable impact on the lives of those most at risk around the globe: children, women, and refugees.
 * UN programs serve U.S. objectives by promoting free-market reform in the developing world. Those countries purchase more than one-third of the goods and services exported by our nation. Supporting economic development gives the U.S. more prosperous trading partners that are better able to import U.S. goods and less likely to "export" their own people to U.S. shores. To reduce global poverty, the UN attempts to help developing nations meet basic human needs (clean water, food, shelter, and health care) and other development goals.
 * In today's interdependent world, there is a clear need for multilateral bodies to set regulatory standards and arbitrate differences among countries in areas such as food product safety, air safety, telecommunications, and copyrights. For example, the World Health Organization and the Food and Agriculture Organization have set food product safety and quality standards worldwide through a jointly sponsored trade standardization program called "Codex Alimentarius." There are many direct benefits to our participation in the multilateral system. For example, a large part of U.S. financial contributions to the UN is returned to U.S. companies through sales of equipment, supplies, and consulting services.
 * The U.S. cannot rely solely on bilateral relations to advance U.S. foreign policy objectives but must take advantage of our participation in the UN in order to influence other governments' opinions and policies. Moreover, every dollar that we contribute to UN activities is matched by $3 to $10 given by others. This advances our interests while spreading the cost among other nations.
 * It is important that the UN operate efficiently and effectively. The U.S. seeks a UN that both gets back to basics and is ready to meet the challenges of the 21st century. U.S. efforts include:
 * Program Oversight --Following up on creation of the Office of Internal Oversight Services at UN headquarters, the U.S. is working to expand the inspector general concept to the UN's major specialized agencies;
 * Reducing Bureaucracies--Important progress has been made in streamlining the UN personnel system and holding the line on budgets;
 * Improving Management --The U.S. applauds the initiatives of Secretary General Annan in consolidating programs and implementing a more transparent and consultative approach to management;
 * Security Council Reform --The U.S. supports permanent seats on the Security Council for Japan and Germany and a modest further enlargement of the Council to include permanent seats for developing nations from Asia, Africa, and Latin America;
 * Improving Responsiveness--The U.S. seeks a UN able to respond to humanitarian crises more rapidly and effectively;
 * Scale of Assessments--The U.S. has worked for a revision of the scale of assessments to make it better reflect current global circumstances.
 * The U.S. has welcomed the further initiative undertaken by Secretary General Annan in July 1997 in putting forward specific reform proposals for member state consideration. These proposals closely parallel recommendations that the U.S. has made, and the U.S. is working for the adoption of most of them as early as possible.
 * U.S. Representation
 * The U.S. Permanent Mission to the UN in New York is headed by the U.S. Representative to the UN, with the rank of Ambassador Extraordinary and Plenipotentiary. The mission serves as the channel of communication for the U.S. Government with the UN organs, agencies, and commissions at the UN headquarters and with the other permanent missions accredited to the UN and the non-member observer missions. The U.S. mission has a professional staff made up largely of career Foreign Service officers, including specialists in political, economic, social, financial, legal, and military issues.
 * The U.S. also maintains missions to international organizations in Geneva, Rome, Vienna, Nairobi, Montreal, London, and Paris. These missions report to the Department of State and receive guidance on questions of policy from the President, through the Secretary of State. Relations with the UN and its family of agencies are coordinated by the Assistant Secretary of State for International Organization Affairs.
 * The U.S. Mission to the United Nations is located at 799 United Nations Plaza, New York, NY 10017 (tel. 212-415-4000).

Unfortunately once you step outside the United States you discover that there are many people who want to point out the errors of the United States, is it notNPOV to discuss these errors? Most encyclopedias want to be so general that they don't ruffle anyone's feathers, the beauty of Wikipedia IMHO is that an article can bring forth the limitations of particular partial points of view. Of course such a thing is much more difficult in practice than in theory as who decides what an NPOV is, however it is an interesting type of mediation process. Perhaps we will discover some facts here? Alex756 01:46 May 3, 2003 (UTC)

To perceive 'giving the United States a trial' as being an underlying purpose of this article is rather unfortunate, because too many citizens of the United States seem to have a martyr complex with their country. As an American myself, I see nothing in the article that attempts to 'blame America for screwing up everything'. While I personally feel that the United States has a track record of apathy about world problems, while concentrating overmuch on business interests, this is hardly a POV I a see reflected in the article. --- Could somebody please add something about structure and history of UN peacekeeping efforts? (I am not qualified to do so.) It seems to me that this has been one of the UN's more visible activities.

I have had a go at fixing some of this article's more obvious deficiencies. It suffers from having been copied directly from the US State Department website. I have tried to rewrite the bits I know something about in NPOV-speak, but someone else will have to tackle the UN Agencies and Peacekeeping sections. There would be a good case for moving the "Reforming the UN" section to the end. Other opinions? Dr Adam Carr 10:32, 23 Sep 2003 (UTC)

Rewrote the Taiwan section. First of all, it is not clear that the ROC government on Taiwan now claims authority over Mainland China or has done so since 1991. Second, the argument that an declaration of independence by Taiwan would help its entry into the UN needed to be NPOV'ized.

Roadrunner

I removed the statement that the only internationally recognized states not in the UN are the ROC and Vatican. What is the criteria for determining whether a state is "internationally recognized" and "sovereign"? Take a look at List_of_countries and you will see some exceptions. Perhaps those exceptions should be removed from that list. --Jiang 20:11, 23 Sep 2003 (UTC)

 * What about some reference to the members of the Unrepresented Nations and Peoples Organisation, many of which are not represented at the UN? Alex756 07:47, 25 Sep 2003 (UTC)

The Lions were not the only group that help to build the UN. What about the CFR?

JLE

OK, the entire "reformation of the UN" section is bullshit, in the sense that its basically interpretation and "independent research", which is specifically prohibited by Wikipedia. I'm not just complaining about framing discussion in how it adversely affects the united states of america, but additionally hypothetical crap like "what the UN would have to do for blah blah blah to happen. It's not NPOV, and is basically new research. Poor and somewhat biased research at that.

--Alan D

This bathroom stall partition graffiti is strangely applicable to "Human Rights and the UN": "You don't know anything about the 410... Roll through any turf and see if you can say this sh*t." -Anonymous, regarding the following:"San Francisco: Sucka Free, but not Faggot [sic, meaning homosexual male] free."

That's right, roll through any turf and see if you can say this, it don't make a difference whether the turf is Aceh, Papua, Tibet, Algeria, Somalia, Guantanamo Bay, southeastside Turkey with the Kurds, or Iraq. The CPA (Coalition Provisional "Authority") in Iraq is so cowardly that the black market is a location right next to the cop shop, and the city is dissapearing right under their noses 'cause even the bricks are looted. If anyone wants sources, just go to google.com, amnesty.org, hell, for the Indonesia thing even the catalogue for weapons fas.org.

The United Nations is just that: the united nations. Just about every recognized nation-state is in there, just about every nation-state vigorously disregards human rights. Dead Mao's China, Vietnam protester airstriking France, Yemen

As desirable it is to ["rewrite history"], and deny my comments, seeing as they were deleted as vandalism, it would be more ethical to just apologize. There is now one offensive comment on each side of this debate.

The United Nations does not support human rights.

Oh. they weren't deleted.

The summary of my last edit stated that I was removing something that was true, but POV and written badly. After rereading it, I've realised that part of it actually wasn't true. So it's still gone. --Caliper 20:08, 14 May 2004 (UTC)

title: Talk:United Nations/Archive 1


text:
Earthsea (miniseries)

Legend of Earthsea (later shortened to Earthsea) is a two-part television fantasy miniseries produced for the Sci-Fi Channel and aired in 2004. It is an adaptation of the Earthsea novels by Ursula K. Le Guin. The teleplay was written by Gavin Scott, and the series was directed by Robert Lieberman. Legend of Earthsea is an American-Canadian co-production that was filmed on location in Vancouver, British Columbia.

Combining the plots of the first two Earthsea novels, A Wizard of Earthsea and The Tombs of Atuan, the story follows Ged (Shawn Ashmore), a powerful but reckless mage-in-training, and Tenar (Kristin Kreuk), a young priestess, who are drawn together in a battle against an ancient race of demons known as the Nameless Ones. The cast also features Danny Glover, Isabella Rossellini, Sebastian Roché and Chris Gauthier.

Legends of Earthsea aired over two consecutive nights in December 2004. It received generally negative reviews from both critics and fans of the original novels, and it was heavily criticized for its numerous deviations from them. Even so, it won seven Leo Awards and was nominated for a Primetime Emmy Award for Outstanding Special Visual Effects. Le Guin stated that she had been cut out of the creative process for Legends of Earthsea and that she did not approve of the miniseries.

Plot
In the land of Earthsea, a young wizard named Ged has visions about a girl and doors opening. Meanwhile, King Tygath wants to rule the land and release the Nameless Ones, demons from whom he hopes to learn the secret of immortality. He sends men to attack Ged's village, in search of the wizard of prophecy (Ged). Ged learns his first spell from an elderly woman. When the invasion comes, Ged uses a mist spell and lures the invaders over a cliff, saving the village. However, Ged also falls off the cliff.

Tygath tries to convince High Priestess Thar to release the Nameless Ones, but she refuses. She is poisoned by Rosa, her attendant who has been tricked by the king's lover, Kossil, every time she has tea.

A magus named Ogion arrives at Ged's village and revives Ged. He tells Ged his true name and takes him for training, but Ged is too impatient; he is sent to the magic school on Roke. There he meets the bully, Jasper, and befriends a student named Vetch. Ged shapeshifts into a hawk to show off. Jasper then challenges him to raise a spirit from the dead, leading him to accidentally release a Nameless One. The demon attacks Ged before being driven away by the Archmagus, who tells him that this Nameless One will hunt Ged down and try to possess him, using Ged's power for further destruction. Ged must go somewhere in hiding until he can find its true name and destroy it.

With the help of Jasper, King Tygath takes control of the magic school. He throws a knife at the Archmagus, apparently killing him and making Jasper the new Archmagus.

With the help of Ogion, Ged confronts the Gebbeth and attempts to drown him using a rock, however, it escapes with Ged's likeness and voice. Ged's impersonator becomes a murderer, and Vetch, a magus himself, chases Ged until he realizes Ged is not possessed by the Gebbeth and they decide to hunt it together.

They are attacked by the dragon, Orm Embar, but Ged uses the dragon's true name to bind him and ask three questions. He wastes his first question, but with his second, he learns the Gebbeth's location. The dragon tells him where to find the two pieces of the Amulet of Peace, which when reunited would save Earthsea, but Ged could have asked the true name of the demon.

Meanwhile, Thar appoints a successor, Tenar, and tells her the incantation to release the Nameless Ones. Kossil strangles Rosa and frames Tenar, leading to her imprisonment.

Ged and Vetch return to Roke for help in decoding the dragon's riddle. The Archmagus survived Tygath's attack and made the real Jasper into a village fool as punishment. He sends Ged and Vetch to unseal the Nameless Tombs on Atuan, but Ged is captured and brought before Thar, who mistakes him for an evil wizard.

In the labyrinth, Ged is locked in the cell next to Tenar. They break free and recognize each other from their visions. Thar realizes her mistake right before her death. Kossil tries to force Tenar to reveal the incantation and fails, so Tygath kills Kossil and follows Tenar to the gate of the Nameless Ones.

Vetch finds the tomb first and is taken by the Gebbeth. Ged encounters Tygath in the labyrinth and fights him but then escapes into the tomb. He encounters the Gebbeth and realizes its true name is his own, because it is the darkness in himself. The demon is absorbed into Ged, making him whole again and strengthening him to strike Tygath in the tomb. Tygath threatens Tenar to release the Nameless Ones, but she refuses, remaining true to her faith. Ged then requests Tenar to go ahead and release them. He tells her to look into his eyes, in trust. She recites the incantation, releasing the Nameless Ones. The Nameless Ones, then, take Tygath into the sky before flying off. Ged reveals part of the key is the second half of the amulet. The Amulet of Peace is made whole, dispelling the Nameless Ones with a bright light and restoring peace to Earthsea. Ged is seen victorious with Tenar and they kiss.

Production
The series was produced by Hallmark Entertainment in association with Bender-Brown Productions. It was adapted by Gavin Scott (The Mists of Avalon) from the Earthsea novels for executive producers Robert Halmi, Sr. (Merlin, Gulliver's Travels, Animal Farm), Lawrence Bender (Kill Bill, Pulp Fiction) and Kevin Kelly Brown (Roswell).

The series was filmed in Vancouver, British Columbia, Canada.

Critical reception
Reviewing the miniseries, the book  The Ultimate Encyclopedia of Fantasy claimed that Legend of Earthsea "totally missed the point" of Le Guin's novels, "ripping out all the subtlety, nuance and beauty of the books and inserting boring cliches, painful stereotypes and a very unwelcome 'epic' war in their place". The Moria website's review of "Legend of Earthsea" states "Earthsea feels exactly like tv filler. In the books, Ursula Le Guin expended a great deal of time creating a world with a depth and culture, but nothing of this survives in the mini-series". The review added that Legend of Earthsea was "shabbily and indifferently directed", and that the dialogue was "dreadfully clunky and often excruciatingly bad".

Author's response
Le Guin, author of the novels on which the miniseries is based, was not involved in the development of the material or the making of the production. She has written a number of responses to the handling of this adaptation of her works, including "A Whitewashed Earthsea" and "Frankenstein's Earthsea." She noted that when she sold the rights to Earthsea, her contract gave her "the standard status of 'consultant'—which means whatever the producers want it to mean, almost always little or nothing". Le Guin has accused the Sci-Fi Channel of having "wrecked" her books and of having removed the "crucial element" of race from them. She asserted that when she reviewed the script for the miniseries, she "realized the producers had no understanding of what the books are about and no interest in finding out. All they intended was to use the name Earthsea, and some of the scenes from the books, in a generic McMagic movie with a meaningless plot based on sex and violence".

title: Earthsea (miniseries)


text:
Naval Reactors

Naval Reactors (NR), which administers the Naval Nuclear Propulsion Program, is an umbrella term for the U.S. government office that has comprehensive responsibility for the safe and reliable operation of the United States Navy's nuclear reactors "from womb to tomb." A single entity, it has authority and reporting responsibilities within both the Naval Sea Systems Command (SEA 08) and the National Nuclear Security Administration (NA-30). Moreover, the Director of Naval Reactors also serves as a special assistant to the Chief of Naval Operations for Naval Nuclear Propulsion (Code N00N).

Naval Reactors is headed by a Navy four-star admiral. The director serves for a nominal eight-year term of office, the longest standard assignment in the U.S. military. The program was originally created under Executive Order 12344 by the President Ronald Reagan, on February 1, 1982. The director was concurrently assigned as the deputy administrator for Naval Reactors for the National Nuclear Security Administration via   on October 19, 1984 in order to assist them in the research, design, development, health, and safety matters pertaining to naval nuclear propulsion plants via. Executive Order 12344 was made a permanent federal program via of October 5, 1999.

History
In June 1946, the Chief of Naval Operations, Fleet Adm. Chester W. Nimitz decided to send five officers (including then Captain Hyman Rickover) and three civilians to Oak Ridge, Tennessee, to study the potential of using nuclear energy to power ships. The Navy group organized themselves under then Captain Rickover and embraced Philip Abelson's concept of a nuclear-powered submarine. The consensus of the group was that the technical difficulties could be overcome, and nuclear power could be used as a means for propelling Navy ships.

On January 1, 1947, Congress established the Atomic Energy Commission and assigning it responsibilities for nuclear reactor plant development. Later that month, Chief of Naval Operations, Fleet Adm. Chester W. Nimitz, approved a program for the design and development of nuclear power plants in submarines.

As of 1947, there was only limited experience with nuclear reactors. The United States had three reactors for producing nuclear material for atomic weapons, and five small research reactors. There was no readily available knowledge on operating a reactor that would produce power in a usable form. Developing a power reactor would require new corrosion resistant metals which could sustain prolonged periods of intense radiation, thick shielding to protect personnel from radiation, and new components which would operate safely and reliably.

These problems were even more difficult for submarine application since the reactor and its associated steam plant had to fit within the confines of the comparatively small hull, and be able to withstand extreme battle shock incident to the operation of combatant ships. The propulsion plant had to be operated and maintained at sea by Naval officers and enlisted men who, although specially trained, were not physicists or scientists. Although application of nuclear power to submarines was a major challenge, it was generally recognized that success would transform submarine warfare. Submerged operation of submarines of the World War II era was limited by battery power and was measured in hours to a few days. Because nuclear fission produced heat without consuming oxygen, a true submarine was possible, one which could remain submerged and steam at sustained high speed for long periods.

Captain (later Admiral) Hyman G. Rickover quickly became the principle early advocate of nuclear marine propulsion. In February 1949 he received an assignment to the Division of Reactor Development, United States Atomic Energy Commission and then assumed control of the Navy's effort as Director of the Naval Reactors Branch in the Bureau of Ships.

Progress was made quickly with countless technological and engineering questions being raised, assessed, and resolved. The whole program was a prime example of what would now be called concurrent engineering with the prototype being prepared as the design progressed and construction of the first nuclear powered submarine (SSN 571 Nautilus) progressing close behind. The results were an astoundingly successful and a testament to Rickover's style of management and getting complex engineering done. The results achieved from 1949 - 1955 speak for themselves:

 * August 1950 - S1W Prototype construction started
 * June 1952 - President Truman lays Nautilus keel
 * March 1953 - Prototype initial critical reactor operation
 * June 1953 - Prototype full power operation
 * January 1954 - Nautilus launched by Mamie Eisenhower
 * September 1954 - Nautilus commissioned
 * December 1954 - Nautilus initial critical operation
 * January 1955 - Nautilus "Underway on nuclear power"
 * May 1955 - Nautilus submerged 1,100 nm transit from New London CT to San Juan Puerto Rico in 90 hours

Within seven years of its inception, the organization had moved from almost nothing to put into operation the nation's first power reactor in an astounding engineering achievement. The following four years would see three more nuclear submarines and two reactor plant prototypes operating and another seven ships and two prototypes being built. To date, more reactors have been built and safely operated by the NR program than any other US program.

The office was originally a joint activity of the U.S. Atomic Energy Commission (AEC) and the U.S. Navy's Bureau of Ships. When the AEC was abolished, Naval Reactors became a joint effort of the Navy and the Energy Research and Development Administration, which partly replaced the AEC. In 1977, ERDA was combined with the Federal Energy Administration to form the U.S. Department of Energy. On the Navy side of the organization, the Bureau of Ships has transitioned since the 1950s to become the Naval Sea Systems Command (NAVSEA), within which NR is Code 08, usually abbreviated NAVSEA 08 or SEA 08.

Admiral Rickover parlayed an impressive personal publicity effort and intensive links with the United States Congress into an unprecedented tenure as head of Naval Reactors whereby he could not be relieved by conventional military procedures. He was promoted, partially as a result of Congressional involvement, until he reached the rank of full Admiral and held the position for over 30 years from 1949 to February 1, 1982 (when he was retired).

The history of nuclear propulsion and Rickover's influence and involvement is substantial. Due to the importance and impact of nuclear power, the AEC commissioned the creation of two related historical records to capture important facts of both naval nuclear propulsion and the Shippingport commercial reactor. Both of these official documents necessarily contain a good deal of information on Rickover's choices, methods and technical philosophy in the development of practical nuclear power, but are not biographies. While Rickover cooperated to provide real-time access to facilities, people and records, according to the authors he did not edit; Rickover was in-fact deceased before the second document was completed. These are: (1) Nuclear Navy, 1946-1962 by AEC staff historians Richard G. Hewlett and Francis Duncan, and (2) Rickover and the Nuclear Navy: The Discipline of Technology by Francis Duncan. The AEC makes both of these documents directly available to the public in digital form.

Management and personnel principles
Many books (including those referenced below) and articles have been written about core NR management principles such as attention to detail and adherence to rigidly-defined standards and specifications, as well as the organization's unique (for government) personnel practices. NR staff and alumni (including Admiral Rickover himself) have often been called by Congress, the President and other government agencies to provide expert opinion and management support to other important government programs, most notably the large scale reviews following the destruction of the Space Shuttles Columbia and Challenger. NR alumni have also founded or led numerous corporate and industrial organizations, for example MPR Associates, Inc., founded by three of Admiral Rickover's leading technical managers in NR's early days.

Program elements

 * Research, development, and support laboratories
 * Nuclear Component Procurement Organization
 * Nuclear power schools and Naval Reactors training facilities.
 * Naval Nuclear Propulsion Program Headquarters and field offices
 * Naval support facilities and tenders
 * Shipyards that build, overhaul and service the propulsion plants of naval nuclear-powered vessels

List of directors
The Director of Naval Reactors also concurrently serves as a Deputy Administrator of the National Nuclear Security Administration.

title: Naval Reactors


text:
Andy Prieboy

Andy Prieboy (born April 17, 1955 ) is an American musician, songwriter, and author. He was lead singer of the band Wall of Voodoo from 1983 to 1988. Later, he produced solo albums, musicals, and a novel.

Life and career
Prieboy was born in Los Angeles and raised in East Chicago, Indiana. Early in his career, he was in the San Francisco art band Eye Protection, which had one track on the compilation Rising Stars of San Francisco: "Take Her Where The Boys Are". They also recorded a 7-inch single called "Elroy Jetson" with a b-side of "Go Go Girl" on Eleph Records.

In 1983, he replaced Stan Ridgway as lead vocalist of Wall of Voodoo. Seven Days in Sammystown was the first Wall of Voodoo album to feature Prieboy, which was followed by Happy Planet, and finally The Ugly Americans in Australia (a live album recorded to fulfill their recording obligations to IRS Records).

His first Wall of Voodoo single "Far Side of Crazy" is featured in the film Head Office. His demo for the song "Man Talk", which would finally appear on the album ...Upon My Wicked Son, was featured in the early Brad Pitt film Cutting Class as well as other unreleased Wall of Voodoo demos. These same demos appeared in the film C.H.U.D. II: Bud the C.H.U.D.. He also appears in the film Blood and Concrete along with a few of his original songs (in that movie, Jennifer Beals sings his song, "One Girl in a Million").

After leaving Wall of Voodoo, Prieboy signed with MCA Music Publishing as a songwriter and went to work on new material for his first solo record ...Upon My Wicked Son, which featured the song "Tomorrow Wendy," about a woman dying of AIDS. The song featured a duet with Johnette Napolitano, whose band Concrete Blonde also recorded the song and released it on their album Bloodletting the same year. The music video was directed by Thomas Mignone. MTV initially rejected the song's lyrical content and tone but Prieboy and Mignone decided to feature the decaying cities of Hammond and Gary in Indiana as the "Wendy" character and the video received Buzz Bin status at MTV. The song was also covered by the industrial project System Syn in early 2000s. Linda Ronstadt and Emmylou Harris covered his song "Loving the Highway Man" from the same album. Prieboy then released an EP called Montezuma Was a Man of Faith which featured a country rendition of "Whole Lotta Love" by Led Zeppelin, featuring an uncredited Johnette Napolitano from Concrete Blonde. Prieboy's second solo album was entitled Sins of Our Fathers.

In the mid- to late '90s, Prieboy played shows at the Los Angeles club Largo with Rita D'Albert where they worked on an ongoing musical, White Trash Wins Lotto; a Gilbert and Sullivan-esque treatment of the rise and fall of an Axl Rose-like character. It was also performed at the Roxy Theatre on the Sunset Strip for three sold out weekend-long engagements as well as two sold out weekends at New York City's PS 122. Prieboy and crew also performed a medley from White Trash on the Conan O'Brien show.

Prieboy is also the co-author with Merrill Markoe of the novel The Psycho Ex Game, based on his song "Psycho Ex". Markoe and Prieboy have lived together since 2004.

He released several songs via his website for online purchase. In 2012 Prieboy released the four-song downloadable EP Every Lady Gets A Song, featuring accompaniment by former Dils bassist Tony Kinman and Devo drummer David Kendrick.

On December 20, 2016, he released his lost album Virtue Triumphs. The album was left unfinished and abandoned in 1992; it was meant to be the follow-up to his first solo work, ...Upon My Wicked Son. A corporate regime change ultimately swept him out, and the album stayed behind. This was his first body of work that was not beholden to Wall of Voodoo.

title: Andy Prieboy