text:
Battle of Bicocca

The Battle of Bicocca or La Bicocca (Battaglia della Bicocca) was fought on 27 April 1522, during the Italian War of 1521–26. A combined French and Venetian force under Odet de Foix, Vicomte de Lautrec, was decisively defeated by an Imperial–Spanish and Papal army under the overall command of Prospero Colonna. Lautrec then withdrew from Lombardy, leaving the Duchy of Milan in Imperial hands.

Having been driven from Milan by an Imperial advance in late 1521, Lautrec had regrouped, attempting to strike at Colonna's lines of communication. When the Swiss mercenaries in French service did not receive their pay, however, they demanded an immediate battle, and Lautrec was forced to attack Colonna's fortified position in the park of the Arcimboldi Villa Bicocca, north of Milan. The Swiss pikemen advanced over open fields under heavy artillery fire to assault the enemy positions, but were halted at a sunken road backed by earthworks. Having suffered massive casualties from the fire of Imperial-Spanish arquebusiers, the Swiss retreated. Meanwhile, an attempt by French cavalry to flank Colonna's position proved equally ineffective. The Swiss, unwilling to fight further, marched off to their cantons a few days later, and Lautrec retreated into Venetian territory with the remnants of his army.

The battle is noted chiefly for marking the end of the Swiss dominance among the infantry of the Italian Wars, and of the Swiss method of assaults by massed columns of pikemen without support from other troops. It was also one of the first engagements in which firearms played a decisive role on the battlefield. Historian John Fortescue described it as, "...if it were necessary to fix an arbitrary date for the first really effective use of small fire-arms in the battlefield, the day of Bicocca might well be selected."

Prelude
At the start of the war in 1521, Holy Roman Emperor Charles V and Pope Leo X moved jointly against the Duchy of Milan, the principal French possession in Lombardy. A large Papal force under Federico II Gonzaga, Duke of Mantua, together with Spanish troops from Naples and some smaller Italian contingents, concentrated near Mantua. The German forces which Charles sent south to aid this venture passed through Venetian territory near Valeggio unmolested; the combined Papal, Spanish, and Imperial army then proceeded into French territory under the command of Prospero Colonna. For the next several months, Colonna fought an evasive war of maneuver against the French, besieging cities but refusing to give battle.

By the autumn of 1521, Lautrec, who was holding a line along the Adda river to Cremona, began to suffer massive losses from desertion, particularly among his Swiss mercenaries. Colonna took the opportunity this offered and, advancing close to the Alps, crossed the Adda at Vaprio; Lautrec, lacking infantry and assuming the year's campaign to be over, withdrew to Milan. Colonna, however, had no intention of stopping his advance; in late November, he launched a surprise attack on the city, overwhelming the Venetian troops defending one of the walls. Following some abortive street-fighting, Lautrec withdrew to Cremona with about 12,000 men.

By January 1522, the French had lost Alessandria, Pavia, and Como; and Francesco II Sforza, bringing further German reinforcements, had slipped past a Venetian force at Bergamo to join Colonna in Milan. Lautrec had meanwhile been reinforced by the arrival of 16,000 fresh Swiss pikemen and some further Venetian forces, as well as additional companies of French troops under the command of Thomas de Foix-Lescun and Pedro Navarro; he had also secured the services of the condottiere Giovanni de' Medici, who brought his Black Bands into the French service. The French proceeded to attack Novara and Pavia, hoping to draw Colonna into a decisive battle. Colonna, leaving Milan, fortified himself in the monastery of Certosa south of the city. Considering this position to be too strong to be easily assaulted, Lautrec attempted instead to threaten Colonna's lines of communication by sweeping around Milan to Monza, cutting the roads from the city into the Alps.

Lautrec was suddenly confronted, however, with the intransigence of the Swiss, who formed the largest contingent of the French army. The Swiss complained that they had not received any of the pay promised them since their arrival in Lombardy, and their captains, led by Albert von Stein, demanded that Lautrec attack the Imperial army immediately—else the mercenaries would abandon the French and return to their cantons. Lautrec reluctantly acquiesced and marched south towards Milan.

Dispositions
Colonna had meanwhile relocated to a formidable new position: the manor park of Bicocca, about four miles (6 km) north of Milan. The park was situated between a large expanse of marshy ground to the west and the main road into Milan to the east; along this road ran a deep wet ditch, which was crossed by a narrow stone bridge some distance south of the park. The north side of the park was bordered by a sunken road, which Colonna deepened, constructing an earthen rampart on the southern bank.

The entire length of the north side of the park was less than 600 yd, allowing Colonna to place his troops quite densely; immediately behind the rampart were four ranks of Spanish arquebusiers, commanded by Fernando d'Ávalos, and behind them were blocks of Spanish pikemen and German landsknechts under Georg Frundsberg. The Imperial artillery, placed on several platforms jutting forward from the earthworks, was able to sweep the fields north of the park as well as parts of the sunken road itself. Most of the Imperial cavalry was placed at the south end of the park, far behind the infantry; a separate force of cavalry was positioned to the south, guarding the bridge.

On the evening of 26 April, Lautrec sent a force under the Sieur de Pontdormy to reconnoiter the Imperial positions. Colonna, having observed the French presence, sent messengers to Milan to request reinforcements; Sforza arrived the next morning with 6,400 additional troops, joining the cavalry near the bridge to the south of Colonna's camp.

At dawn on 27 April, Lautrec began his attack, sending the Black Bands to push aside the Spanish pickets and clear the ground before the Imperial positions. The French advance was headed by two columns of Swiss, each comprising about 4,000 to 7,000 men, accompanied by some artillery; this party was to assault the entrenched front of the Imperial camp directly. Lescun, meanwhile, led a body of cavalry south along the Milan road, intending to flank the camp and strike at the bridge to the rear. The remainder of the French army, including the French infantry, the bulk of the heavy cavalry, and the remnants of the Swiss, formed up in a broad line some distance behind the two Swiss columns; behind this was a third line, composed of the Venetian forces under Francesco Maria della Rovere, the Duke of Urbino.

The Swiss attack
The overall command of the Swiss assault was given to Anne de Montmorency. As the Swiss columns advanced towards the park, he ordered them to pause and wait for the French artillery to bombard the Imperial defences, but the Swiss refused to obey. Perhaps the Swiss captains doubted that the artillery would have any effect on the earthworks; historian Charles Oman suggests that it is more likely they were "inspired by blind pugnacity and self-confidence". In any case, the Swiss moved rapidly towards Colonna's position, leaving the artillery behind; there was apparently some rivalry between the two columns, as one, commanded by Arnold Winkelried of Unterwalden, was composed of men from the rural cantons, while the other, under Albert von Stein, consisted of the contingents from Bern and the urban cantons. The advancing Swiss quickly came into range of the Imperial artillery; unable to take cover on the level fields, they began to take substantial casualties, and as many as a thousand Swiss may have been killed by the time the columns reached the Imperial lines.

The Swiss came to a sudden halt as the columns reached the sunken road in front of the park; the depth of the road and the height of the rampart behind it—together higher than the length of the Swiss pikes—effectively blocked their advance. Moving down into the road, the Swiss suffered massive casualties from the fire of d'Avalos's arquebusiers. Nevertheless, the Swiss made a series of desperate attempts to breach the Imperial line; some managed to reach the top of the rampart, only to be met by the landsknechts, who had come up from behind the arquebusiers. One of the Swiss captains was apparently killed by Frundsberg in single combat; and the Swiss, unable to form up atop the earthworks, were pushed back down into the sunken road.

After attempting to move forward for about half an hour, the remnants of the Swiss columns retreated back towards the main French line Their total losses numbered more than 3,000, and included Winkelried, von Stein, and twenty other captains; of the French nobles who had accompanied them, only Montmorency survived.

Denouement
Lescun, with about 400 heavy cavalry under his command, had meanwhile reached the bridge south of the park and fought his way across it and into the Imperial camp beyond. Colonna responded by detaching some cavalry under Antonio de Leyva to halt the French advance, while Sforza came up the road towards the bridge, aiming to surround Lescun. Pontdormy held off the Milanese, allowing Lescun to extricate himself from the camp; the French cavalry then retraced its path and rejoined the main body of the army.

Despite the urging of d'Avalos and several other Imperial commanders, Colonna refused to order a general attack on the French, pointing out that much of Lautrec's army—including his cavalry—was still intact. Colonna suggested that the French were already beaten, and would soon withdraw; this assessment was shared by Frundsberg. Nevertheless, some small groups of Spanish arquebusiers and light cavalry attempted to pursue the withdrawing Swiss, only to be beaten back by the Black Bands, which were covering the removal of the French artillery from the field.

Colonna's judgement proved to be accurate; the Swiss were unwilling to make another assault, and marched for home on 30 April. Lautrec, believing that his resulting weakness in infantry made a further campaign impossible, retreated to the east, crossing the Adda into Venetian territory at Trezzo. Having reached Cremona, Lautrec departed for France, leaving Lescun in command of the remnants of the French army.

Aftermath
Lautrec's departure heralded a complete collapse of the French position in northern Italy. No longer menaced by the French army, Colonna and d'Avalos marched on Genoa, capturing it after a brief siege. Lescun, learning of the loss of Genoa, arranged an agreement with Sforza by which the Castello Sforzesco in Milan, which still remained in French hands, surrendered, and the remainder of the French forces withdrew over the Alps. The Venetians, under the newly elected Doge Andrea Gritti, were no longer interested in continuing the war; in July 1523, Gritti concluded the Treaty of Worms with Charles V, removing the Republic from the fighting. The French would make two further attempts to regain Lombardy before the end of the war, but neither would be successful; the terms of the Treaty of Madrid, which Francis was forced to sign after his defeat at the Battle of Pavia, would leave Italy in Imperial hands.

Another effect of the battle was the changed attitude of the Swiss. Francesco Guicciardini wrote of the aftermath of Bicocca: "They went back to their mountains diminished in numbers, but much more diminished in audacity; for it is certain that the losses which they suffered at Bicocca so affected them that in the coming years they no longer displayed their wonted vigour." While Swiss mercenaries would continue to take part in the Italian Wars, they no longer possessed the willingness to make headlong attacks that they had at Novara in 1513 or Marignano in 1515; their performance at the Battle of Pavia in 1525 would surprise observers by its lack of initiative.

More generally, the battle made apparent the decisive role of small arms on the battlefield. Although the full capabilities of the arquebus would not be demonstrated until the Battle of the Sesia (where arquebusiers would prevail against heavy cavalry on open ground) two years later, the weapon nevertheless became a sine qua non for any army which did not wish to grant a massive advantage to its opponents. While the pikeman would continue to play a vital role in warfare, it would be equal to that of the arquebusier; together, the two types of infantry would be combined into the so-called "pike and shot" units that would endure until the development of the bayonet at the end of the seventeenth century. The offensive doctrine of the Swiss—a "push of pike" unsupported by firearms—had become obsolete, and offensive doctrines in general were increasingly replaced with defensive ones; the combination of the arquebus and effective field fortification had made frontal assaults on entrenched positions too costly to be practical, and they were not attempted again for the duration of the Italian Wars.

As a result of the battle, the word bicoca—meaning a bargain, or something acquired at little cost—entered the Spanish language.

title: Battle of Bicocca


text:
Southgate Shopping Centre

Southgate Shopping Centre is a large shopping centre in Johannesburg, South Africa. It is located in Southgate (just west of Mondeor) and is one of the ten largest shopping centres in South Africa, with over 160 commercial tenants. The centre has long served the nearby township of Soweto. It was opened in late 1990.

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

title: Southgate Shopping Centre


text:
Follow the leader (game)

Follow the leader is a children's game. Players first choose a leader or "head of the line" and the remaining players (the followers) all line up behind the leader. The leader then moves around and all the players have to mimic the leader's actions. Any players who fail to follow or mimic the leader are out of the game. When only one follower remains, that player then becomes the new leader, and the game begins anew with all players joining the line once again.

In popular culture
In 2007, Australian children's music group The Wiggles wrote a song "Follow the Leader" about the game for their album Getting Strong (Wiggle and Learn).

title: Follow the leader (game)


text:
Talk:Royal Canadian Mint

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Royal Canadian Mint. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20050308030013/http://www.canadian-numismatic.org/ to http://www.canadian-numismatic.org/

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 03:25, 4 September 2017 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 2 external links on Royal Canadian Mint. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added tag to http://www.mint.ca/store/mint/about-the-mint/our-services-1200030.
 * Added tag to http://www.montrealgazette.com/business/money/Material+change+store+loonies+toonies/5992375/story.html
 * Added archive https://web.archive.org/web/20071109223105/http://dig4coins.com/News/1-latest_news/98-the-royal-canadian-mint-issues-a-2007-line-of-collector-coins.html to http://dig4coins.com/News/1-latest_news/98-the-royal-canadian-mint-issues-a-2007-line-of-collector-coins.html
 * Added tag to http://www.canadiancoinnews.ca/previous/jun13_06.html
 * Added archive https://web.archive.org/web/20110706164937/http://www.atu279.ca/Royal-Canadian-Mint.pdf to http://www.atu279.ca/Royal-Canadian-Mint.pdf

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 11:44, 10 December 2017 (UTC)

Coins with Charles III's image
Do we have any sources, as to when the Charles III coins will be coming out & gradually replacing the Elizabeth II coins? GoodDay (talk) 21:08, 23 September 2022 (UTC)

Commemorative Collector Keepsake Collections
Hi, Wondering if we should create a page for the all of the Commemorative Collector Keepsake Collections that have been isssued?

Thoughts? Lowdes (talk) 17:37, 28 October 2022 (UTC)

title: Talk:Royal Canadian Mint


text:
Tannhäuser (opera)

Tannhäuser (full title Tannhäuser und der Sängerkrieg auf Wartburg, "Tannhäuser and the Minnesängers' Contest at Wartburg") is an 1845 opera in three acts, with music and text by Richard Wagner (WWV 70 in the catalogue of the composer's works). It is based on two German legends: Tannhäuser, the mythologized medieval German Minnesänger and poet, and the tale of the Wartburg Song Contest. The story centres on the struggle between sacred and profane love, as well as redemption through love, a theme running through most of Wagner's work.

The opera remains a staple of major opera house repertoire in the 21st century.

Composition
Wagner began composing the music during a vacation in Teplitz in the summer of 1843 and completed the full score on 13 April 1845; the opera's famous overture, often played separately as a concert piece, was written last. While composing the music for the Venusberg grotto, Wagner grew so impassioned that he made himself ill; in his autobiography, he wrote, "With much pain and toil I sketched the first outlines of my music for the Venusberg.... Meanwhile, I was very much troubled by excitability and rushes of blood to the brain. I imagined I was ill and lay for whole days in bed...." The instrumentation also shows signs of borrowing from French operatic style. The score includes parts for on-stage brass; however, rather than using French brass instruments, Wagner uses 12 German waldhorns. Wagner also makes use of the harp, another commonplace of French opera. Wagner made a number of revisions of the opera throughout his life and was still dissatisfied with its format when he died. The most significant revision was made for the opera's première in Paris in 1861.

Dresden version (1845)
The first performance was given in the Königliches Hoftheater Dresden on 19 October 1845. The composer Ferdinand Hiller, at that time a friend of Wagner, assisted in the musical preparations for the production. The part of Elisabeth was sung by Wagner's niece Johanna Wagner. Wagner had intended to premiere the opera on 13 October, Johanna's 19th birthday, but she was ill, so it was postponed by six days. Venus was sung by Wilhelmine Schröder-Devrient, and the title role of Tannhäuser by Josef Tichatschek. The performance was conducted by the composer. Tannhäuser was not the success that Rienzi had been, and Wagner almost immediately set to modifying the ending, adjusting the score through 1846 and 1847. For the first Dresden revival (1847) he clarified the representation of Venus's temptation of Tannhäuser in the final act and added vocal presentation of the pilgrim's chorus in this act (where it had previously been represented by orchestra alone). This version of the opera, as revised for publication in 1860, is generally known as the "Dresden" version. After Franz Liszt produced the opera at Weimar Court Theatre in 1849, there were further performances between 1852 and 1856 in (amongst other locations) Schwerin, Kassel, Poznań, Wiesbaden, Hanover, Munich, and Berlin.

The Dresden version was used for initial productions outside Germany, notably at Riga on 18 January 1853; at Tallinn on 10 January 1854; at Prague on 25 November 1854 at Theatre of the Estates; at New York City on 4 April 1859 at the Stadt Theatre; and in London on 6 May 1876 at the Royal Opera House, Covent Garden (when it was sung in Italian).

Paris version (1861)
Wagner substantially amended the opera for a special 1861 performance by the Paris Opéra. This had been requested by Emperor Napoleon III at the suggestion of Princess Pauline von Metternich, wife of the Austrian ambassador to France. This revision forms the basis of what is now known as the "Paris version" of Tannhäuser. The venue meant that the composer had to insert a ballet into the score, according to the traditions of the house. Wagner agreed to this condition since he believed that a success at the Opéra represented his most significant opportunity to re-establish himself following his exile from Germany. However, rather than put the ballet in its traditional place in act 2, he chose to place it in act 1, in the form of a bacchanale, where it could make dramatic sense by representing the sensual world of Venus's realm. There were further extensive changes. The text was translated into French (by Charles-Louis-Étienne Nuitter and others). Venus, a role that in the Dresden version was considered a soprano, was rewritten as for mezzo-soprano. Venus' aria "Geliebter, komm!" was transposed down by a semitone, and its latter part was completely rewritten. A solo for Walther was removed from act 2. Extra lines for Venus following Tannhäuser's "Hymn to Love" were added. The orchestral introduction to act 3 was shortened. The end of the opera was reworked to include Venus on stage, where before the audience only heard the Venus motif, in an attempt to clarify the action.

Tannhäuser's first performance in Paris was given on 13 March 1861 at the Salle Le Peletier of the Paris Opéra. The composer had been closely involved in its preparation and there had been 164 rehearsals. The costumes were designed by Alfred Albert, the sets by Charles-Antoine Cambon and Joseph Thierry (act 1, scene 1), Édouard Desplechin (act 1, scene 2 and act 3), and Joseph Nolau and Auguste Alfred Rubé (act 2).

At the first performance the opera was initially well-received, with disturbances including whistling and catcalls beginning to appear in act 2 and becoming prominent by the end of the third act. For the second performance much of the new ballet music was removed, together with some actions that had specifically provoked mockery, such as the piping of the shepherd in act 1. At this performance however the audience disturbances were increased. This was partly due to members of the wealthy and aristocratic Jockey Club, who objected to the ballet coming in act 1, since this meant they would have to be present from the beginning of the performance (disrupting their dining schedule). It was alleged that they distributed whistles to the audience. A further incentive to disruption was the unpopularity of Princess von Metternich and of her native country of Austria. At the third performance on 24 March (which Wagner did not attend) uproar caused several interruptions of up to fifteen minutes at a time. As a consequence, Wagner withdrew the opera after the third performance. This marked the end to Wagner's hopes of establishing himself in Paris.

The first performance outside France of the "Paris" version was given in Bologna on 7 November 1872 at the Teatro Comunale, (the first performance of the opera in Italy). The American and British premieres of this version were respectively in New York at the Metropolitan Opera on 30 January 1889, and at London's Royal Opera House on 15 July 1895.

Vienna version (1875)
A few further changes to Tannhäuser were made for an 1875 performance of the opera in Vienna, the last production carried out under Wagner's own supervision. These included the opera being sung in German (rather than in French, as in Paris) and linking the end of the overture to the start of the opera proper. The 1875 Vienna version is that normally used in modern productions of the "Paris" version, often with the reinstatement of Walther's act 2 solo. Wagner remained dissatisfied with the opera. Cosima Wagner noted in her diary on 23 January 1883 (three weeks before he died) "He says he still owes the world Tannhäuser."

Roles
Although the libretto and the score always use the single name Tannhäuser in stage directions involving the title character or in indicating which passages are sung by him, that name never appears in the libretto. Rather, each character who addresses Tannhäuser by name uses his given name, Heinrich (Heinrich von Ofterdingen).

The distinct character Heinrich der Schreiber sings many melodies distinct from all other named characters, and occasionally unique lyrics. However, in the libretto he finds individual mention only in the list of characters, with the ensemble numbers that include him being labelled for the Ritter (i.e., "knights", referring to the Minnesinger, who all share knightly rank). The score in the Schirmer edition labels his melody line simply "Schreiber".

Instrumentation
Tannhäuser is scored for the following instruments:

 * 3 flutes (one doubles piccolo), 2 oboes, 2 clarinets, bass clarinet, 2 bassoons
 * 4 horns, 3 trumpets, 3 trombones, bass tuba
 * timpani, bass drum, cymbals, triangle, tambourine, castanets
 * harp
 * 1st and 2nd violins, violas, violoncellos, and double basses

off-stage
 * cor anglais, 4 oboes, 6 clarinets, 4 bassoons, 12 horns, 12 trumpets, 4 trombones, snare drum, cymbals, tambourine

Background
In Eisenach, Germany, in the early 13th century, the landgraves of the Thuringian Valley ruled the area of Germany around the Wartburg. They were great patrons of the arts, particularly music and poetry, holding contests between the Minnesingers at the Wartburg. Across the valley towered the Venusberg, in whose interior, according to legend, dwelt Holda, the Goddess of Spring. In time, Holda became identified with Venus, the pagan Goddess of Love, whose grotto was the home of sirens and nymphs. It was said that the goddess would lure the Wartburg minnesinger-knights to her lair where her beauty would captivate them. The minnesinger-knight Heinrich von Ofterdingen, known as Tannhäuser, left the court of the landgrave of Thuringia a year ago after a disagreement with his fellow knights. Since then, he has been held as a willing captive through his love for Venus, in her grotto in the Venusberg.

Act 1
The Venusberg, (the Hörselberg of "Frau Holda" in Thuringia, in the vicinity of Eisenach), and a valley between the Venusberg and Wartburg

Overture

The substantial overture commences with the theme of the 'Pilgrim's Chorus' from act 3, scene 1, and also includes elements of the 'Venusberg' music from act 1, scene 1. The overture is frequently performed as a separate item in orchestral concerts, the first such performance having been given by Felix Mendelssohn conducting the Leipzig Gewandhaus Orchestra in February 1846. Wagner later gave the opinion that perhaps it would be better to cut the overture at opera performances to the Pilgrim's Chorus alone – "the remainder – in the fortunate event of its being understood – is, as a prelude to the drama, too much; in the opposite event, too little." In the original, "Dresden" version, the overture comes to a traditional concert close (the version heard in concert performances). For the "Paris" version the music leads directly into the first scene, without pausing.

Scene 1

Wagner's stage directions state: "The stage represents the interior of the Venusberg...In the distant background is a bluish lake; in it one sees the bathing figures of naiads; on its elevated banks are sirens. In the extreme left foreground lies Venus bearing the head of the half kneeling Tannhäuser in her lap. The whole cave is illuminated by rosy light. – A group of dancing nymphs appears, joined gradually by members of loving couples from the cave. – A train of Bacchantes comes from the background in wild dance... – The ever-wilder dance answers as in echo the Chorus of Sirens": "Naht euch dem Strande" (Come to the shore). In the Paris version, this orgiastic ballet is greatly extended.

Scene 2

Following the orgy of the ballet, Tannhäuser's desires are finally satiated, and he longs for freedom, spring and the sound of church bells. He takes up his harp and pays homage to the goddess in a passionate love song, "Dir töne Lob!" (Let your praises be heard), which he ends with an earnest plea to be allowed to depart, "Aus deinem Reiche, muss ich fliehn! O Königin! Göttin! Lass mich ziehn!" (From your kingdom must I flee! O Queen! O Goddess, set me free). Surprised, Venus offers him further charms, but eventually his repeated pleas arouse her fury and she curses his desire for salvation. (In the Paris version, Venus's inveighing against Tannhäuser is significantly expanded). Eventually Tannhäuser declares: "Mein Heil ruht in Maria" (My salvation rests in Mary). These words break the unholy spell. Venus and the Venusberg disappear.

Scene 3

According to Wagner's stage directions, "Tannhäuser...finds himself in a beautiful valley... To the left one sees the Hörselberg. To the right...a mountain path from the direction of the Wartburg ...; in the foreground, led to by a low promontory, an image of the Virgin Mary – From above left one hears the ringing of herder’s bells; on a high projection sits a young shepherd with pipes facing the valley". It is May. The shepherd sings an ode to the pagan goddess Holda, "Frau Holda kam aus dem Berg hervor" (Lady Holda, come forth from the hill). A hymn "Zu dir wall ich, mein Jesus Christ" (To thee I turn, my Jesus Christ) can be heard, as Pilgrims are seen approaching from the Wartburg, and the shepherd stops playing. The pilgrims pass Tannhäuser as he stands motionless, and then, praising God, ("Allmächt'ger, dir sei Preis!" (Almighty God, to you be praise!)) he sinks to his knees, overcome with gratitude. At that moment the sound of hunting-horns can be heard, drawing ever nearer.

Scene 4

The landgrave's hunting party appears. The minnesingers (Wolfram, Walther, Biterolf, Reinmar, and Heinrich) recognise Tannhäuser, still deep in prayer, and greet him ("Heinrich! Heinrich! Seh ich recht?" (Heinrich! Heinrich! Do I see right?)) cautiously, recalling past feuds. They question him about his recent whereabouts, to which he gives vague answers. The minnesingers urge Tannhäuser to rejoin them, which he declines until Wolfram mentions Elisabeth, the landgrave's niece, "Bleib bei Elisabeth!" (Stay, for Elisabeth!). Tannhäuser is visibly moved, "Elisabeth! O Macht des Himmels, rufst du den süssen Namen mir?" (Elisabeth! O might of heaven, do you cry out the sweet name to me?). The minnesingers explain to Tannhäuser how he had enchanted Elisabeth, but when he had left she withdrew from their company and lost interest in music, expressing the hope that his return will also bring her back, "Auf's Neue leuchte uns ihr Stern!" (Let her star once more shine upon us). Tannhäuser begs them to lead him to her, "Zu ihr! Zu ihr!" (To her! To her!). The rest of the hunting party gathers, blowing horns.

Act 2
The Minnesingers' Hall in the Wartburg castle

Prelude to act 2

Scene 1

Elisabeth enters, joyfully. She sings, to the hall, of how she has been beset by sadness since Tannhäuser's departure but now lives in hope that his songs will revive both of them, "Dich, teure Halle, grüss ich wieder" (Dear hall, I greet thee once again). Wolfram leads Tannhäuser into the hall.

Scene 2

Tannhäuser flings himself at Elisabeth's feet. He exclaims "O Fürstin!" (O Princess!). At first, seemingly confused, she questions him about where he has been, which he avoids answering. She then greets him joyfully ("Ich preise dieses Wunder aus meines Herzens Tiefe!" (I praise this miracle from my heart's depths!)), and they join in a duet, "Gepriesen sei die Stunde" (Praise be to this hour). Tannhäuser then leaves with Wolfram.

Scene 3

The landgrave enters, and he and Elisabeth embrace. The landgrave sings of his joy, "Dich treff ich hier in dieser Halle" (Do I find you in this hall) at her recovery and announces the upcoming song contest, at which she will preside, "dass du des Festes Fürstin seist" (that you will be the Princess of the Festival).

Scene 4 and Sängerkrieg (Song Contest)

Elisabeth and the landgrave watch the guests arrive. The guests assemble greeting the landgrave and singing "Freudig begrüssen wir die edle Halle" (With joy we greet the noble hall), take their places in a semicircle, with Elisabeth and the landgrave in the seats of honour in the foreground. The landgrave announces the contest and the theme, which shall be "Könnt ihr der Liebe Wesen mir ergründen?" (Can you explain the nature of Love?), and that the prize will be whatever the winner asks of Elisabeth. The knights place their names in a cup from which Elisabeth draws the first singer, Wolfram. Wolfram sings a song of courtly love and is applauded, but Tannhäuser chides him for his lack of passion. There is consternation, and once again Elisabeth appears confused, torn between rapture and anxiety. Biterolf accuses him of blasphemy and speaks of "Frauenehr und hohe Tugend" (women's virtue and honour). The knights draw their swords as Tannhäuser mocks Biterolf, but the landgrave intervenes to restore order. However, Tannhäuser, as if in a trance, rises to his feet and sings a song of ecstatic love to Venus, "Dir Göttin der Liebe, soll mein Lied ertönen" (To thee, Goddess of Love, should my song resound). There is general horror as it is realised he has been in the Venusberg; the women, apart from Elisabeth, flee. She appears pale and shocked, while the knights and the landgrave gather together and condemn Tannhäuser to death. Only Elisabeth, shielding him with her body, saves him, "Haltet ein!" (Stop!). She states that God's will is that a sinner shall achieve salvation through atonement. Tannhäuser collapses as all hail Elisabeth as an angel, "Ein Engel stieg aus lichtem Äther" (An angel rose out of the bright ether). He promises to seek atonement, the landgrave exiles him and orders him to join another younger band of pilgrims then assembling. All depart, crying "Nach Rom!" (To Rome!).

Act 3
''The valley of the Wartburg, in autumn. Elisabeth is kneeling, praying before the Virgin as Wolfram comes down the path and notices her''

Prelude to act 3 – "Tannhäusers Pilgerfahrt" (Tannhäuser's Pilgrimage)

Scene 1

Orchestral music describes the pilgrimage of Tannhäuser. It is evening. Wolfram muses on Elisabeth's sorrow during Tannhäuser's second absence, "Wohl wusst' ich hier sie im Gebet zu finden" (I knew well I might find her here in prayer) and her longing for the return of the pilgrims, and expresses concerns that he may not have been absolved. As he does so he hears a pilgrims' prayer in the distance, "Beglückt darf nun dich, O Heimat, ich schauen" (Joyfully may I now you, O homeland, behold). Elisabeth rises and she and Wolfram listen to the hymn, watching the pilgrims approach and pass by. She anxiously searches the procession, but in vain, realising sorrowfully Tannhäuser is not amongst them, "Er kehret nicht züruck!" (He has not returned). She again kneels with a prayer to the Virgin that appears to foretell her death, "Allmächt'ge Jungfrau! Hör mein Flehen" (Almighty Virgin, hear my plea!). On rising she sees Wolfram but motions him not to speak. He offers to escort her back to the Wartburg, but she again motions him to be still, and gestures that she is grateful for his devotion, but her path leads to heaven. She slowly makes her way up the path alone.

Scene 2

Wolfram, left alone as darkness draws on and the stars appear, begins to play and sings a hymn to the evening star that also hints at Elisabeth's approaching death, "Wie Todesahnung Dämmrung deckt die Lande...O du mein holder Abendstern" (Like a premonition of death the twilight shrouds the earth... O thou my fair evening star).

Scene 3

It is now night. Tannhäuser appears, ragged, pale and haggard, walking feebly leaning on his staff. Wolfram suddenly recognises Tannhäuser and, startled, challenges him, since he is exiled. To Wolfram's horror, Tannhäuser explains he is once again seeking the company of Venus. Wolfram tries to restrain him, at the same time expressing compassion and begging him to tell the story of his pilgrimage. Tannhäuser urges Wolfram to listen to his story, "Nun denn, hör an! Du, Wolfram, du sollst es erfahren" (Now then, listen! You, Wolfram, shall learn all that has passed). Tannhäuser sings of his penitence and suffering, all the time thinking of Elisabeth's gesture and pain, "Inbrunst im Herzen, wie kein Büsser noch" (With a flame in my heart, such as no penitent has known). He explains how he reached Rome, and the "Heiligtumes Schwelle" (Holy shrine), and witnessed thousands of pilgrims being absolved. Finally, he approaches "ihn, durch den sich Gott verkündigt" (he, through whom God speaks) and tells his story. However, rather than finding absolution, he is cursed, "bist nun ewig du verdammt!" (you are forever damned!) and is told by the pope that "Wie dieser Stab in meiner Hand, nie mehr sich schmückt mit frischem Grün, kann aus der Hölle heissem Brand, Erlösung nimmer dir erblühn!" (As this staff in my hand, no more shall bear fresh leaves, from the hot fires of hell, salvation never shall bloom for thee). Whereupon, absolutely crushed, he fled, seeking his former source of bliss.

Having completed his tale, Tannhäuser calls out to Venus to take him back, "Zu dir, Frau Venus, kehr ich wieder" (To you, Lady Venus, I return). The two men struggle as a faint image of dancing becomes apparent. As Tannhäuser repeatedly calls on Venus, she suddenly appears and welcomes him back, "Willkommen, ungetreuer Mann!" (Welcome, faithless man!). As Venus continues to beckon, "Zu mir! Zu mir!" (To me! To me!), in desperation, Wolfram suddenly remembers there is one word that can change Tannhäuser's heart and exclaims "Elisabeth!" Tannhäuser, as if frozen in time, repeats the name. As he does so, torches are seen, and a funeral hymn is heard approaching, "Der Seele Heil, die nun entflohn" (Hail, the soul that now is flown). Wolfram realises it must be Elisabeth's body that is being borne, and that in her death lies Tannhäuser's redemption, "Heinrich, du bist erlöst!" (Heinrich, you are saved). Venus cries out, "Weh! Mir verloren" (Woe! Lost to me!) and vanishes with her kingdom. As dawn breaks the procession appears bearing Elisabeth's body on a bier. Wolfram beckons to them to set it down, and as Tannhäuser bends over the body uttering, "Heilige Elisabeth, bitte für mich!" (Holy Elisabeth, pray for me!) he dies. As the growing light bathes the scene the younger pilgrims arrive bearing the pope's staff sprouting new leaves, and proclaiming a miracle, "Heil! Heil! Der Gnade Wunder Heil!" (Hail!, Hail! To this miracle of grace, Hail!). All then sing "Der Gnade Heil ist dem Büßer beschieden, er geht nun ein in der Seligen Frieden!" (The Holy Grace of God is to the penitent given, who now enters into the joy of Heaven!).

Productions
Wagner died in 1883. The first production of the opera at Wagner's Bayreuth Festspielhaus (originally constructed for the performance of his Ring Cycle), was undertaken under the supervision of Cosima Wagner in 1891, and adhered closely to the 'Vienna' version. Later performances at Bayreuth included one conducted by Richard Strauss (1894), and one where the Bacchanal was choreographed by Isadora Duncan (1904). Duncan envisaged the Bacchanal as a fantasy of Tannhäuser's fevered brain, as Wagner had written to Mathilde Wesendonck in 1860. Arturo Toscanini conducted the opera at Bayreuth in the 1930/31 season.

In the words of the Wagner scholar Thomas S. Grey, "The Bacchanal remained a defining focus of many ...productions, as a proving ground for changing conceptions of the psychosexual symbolism of the Venusberg." Productions including those of Götz Friedrich at Bayreuth (1972) and Otto Schenk at the Metropolitan Opera, New York, (1977) "routinely offer quantities of simulated copulation and post-coital langour, for which the Paris score offers ample encouragement". A Munich production (1994) included as part of Tannhäuser's fantasies "creatures out of Hieronymus Bosch crawl[ing] around the oblivious protagonist".

A production mounted in 2013 at the Deutsche Oper am Rhein, Düsseldorf, was withdrawn after angry protests and reports of distressed audience members seeking medical help. Directed by Burkhard C. Kosminski, the production incorporated characters dressed as Nazis; a realistic depiction of a death by shooting; and a setting within a Holocaust-era concentration camp. After the first night, the opera's run continued in the form of unstaged concert performances only.

Literature
Many scholars and writers on opera have advanced theories to explain the motives and behaviour of the characters, including Jungian psychoanalysis, in particular as regards Tannhäuser's apparently self-destructive behaviour. In 2014 an analysis suggested that his apparently inconsistent behaviour, when analysed by game theory, is actually consistent with a redemption strategy. Only by public disclosure can Tannhäuser force a resolution of his inner conflict.

title: Tannhäuser (opera)


text:
Troop engagements of the American Civil War, 1863

The following engagements took place in the year 1863 during the American Civil War. During the year, Union forces captured the Confederate cities of Vicksburg and Port Hudson, giving them complete control over the Mississippi River, while forcing Confederates out of the North following the Battle of Gettysburg.

History
In the Eastern theater, the Union Army of the Potomac, commanded by Major General Joseph Hooker, attacked the Confederate Army of Northern Virginia commanded by General Robert E. Lee in the Battle of Chancellorsville. Hooker planned to move most of his army around to the Confederates's rear before Lee could react and force Lee to retreat but the Union army was slowed and then stopped by a small Confederate force, which was reinforced by the rest of the Confederate army. Lee then sent a flanking column led by Thomas J. Jackson around Hooker's left, which attacked a few hours before sunset on May 2; this attack and further Confederate attacks the following day forced Hooker to retreat on May 6. During the battle, Jackson was wounded by friendly fire and died several days later. Lee reorganized his army following the campaign and launched an invasion of Union territory in June, moving through the Shenandoah Valley into Pennsylvania; Hooker was relieved of command on June 29, due to continuous disputes with the government over the garrison of Harpers Ferry, and replaced by Major General George Meade. During the Battle of Gettysburg from July 1 to July 3, Meade successfully held off Lee's attacks while inflicting heavy casualties in return. Lee was forced to retreat back to Virginia; Meade followed in close pursuit but was unable to find an opportunity to completely crush the Confederate army. In October, Lee attempted to isolate and destroy Meade during the Bristoe Campaign but failed in an attack on Union positions at the Battle of Bristoe Station on October 14. Pressed by Union authorities, Meade also tried to attack Lee's positions along the Mine Run; however, Lee was able to establish a fortified defensive line across the Union line of advance. Meade judged the Confederate position too strong to attack and retreated. In the Western Theater, simultaneous Union offensives from northern Mississippi and eastern Louisiana resulted in the sieges of Vicksburg and Port Hudson, both along the Mississippi River. Ulysses S. Grant started the Vicksburg campaign near the end of April when he crossed the Mississippi River near Bruinsburg Landing, south of Grand Gulf. He then marched inland and captured the Mississippi state capital of Jackson before turning east to Vicksburg; this isolated the Confederate garrison from Confederate supplies and reinforcements. After a six-week siege, the Confederate garrison surrendered on July 4, followed by the surrender of Port Hudson on July 9; this resulted in the complete Union control of the Mississippi River and made Grant a hero in the North. In central Tennessee, the Union Army of the Cumberland commanded by Major General William S. Rosecrans maneuvered the Confederate Army of Tennessee, commanded by General Braxton Bragg, towards Chattanooga, Tennessee during the Tullahoma Campaign from late June to early July. In early September, Rosecrans launched another offensive which resulted in the capture of Chattanooga, an important Confederate rail center; however, a few weeks later Bragg, reinforced with James Longstreet's corps from the Army of Northern Virginia, attacked Rosecrans near the Chickamauga Creek and routed much of the Union army, forcing it to retreat back to Chattanooga. Stubborn resistance from the troops of George H. Thomas prevented the Confederates from launching an immediate pursuit. Bragg settled his army into a siege of Chattanooga, almost completely cutting off all supplies to the Union army. Soon, dissension and arguments began to create tension in the Confederate army's high command; this resulted in Longstreet being sent to eastern Tennessee and a reorganization of the army in an attempt by Bragg to rid the army of his critics. Grant, promoted to command of the Military Division of the Mississippi, took command of the Union forces near the city, which was reinforced by the Army of the Tennessee and a detachment from the Army of the Potomac. During the three days from November 23 to the 26, Grant launched a series of attacks on the Confederate positions and was able to drive off Bragg's army. A rear guard action by Patrick Cleaburne at Ringgold Gap halted the Union pursuit long enough for Bragg to reach safety. A few weeks after the battle, Bragg was relieved of command by his own request. In the Trans-Mississippi Theater, only small battles and skirmishes took place. On January 1, Confederate forces led by Major General John B. Magruder recaptured the port city of Galveston, the only port city which the Confederates were able to recapture during the war. In order to cut off the Trans-Mississippi supply lines to Port Hudson, Major General Nathaniel P. Banks moved up the Bayou Teche in Louisiana during April. For the remainder of the summer, Confederate commander Major General Richard Taylor attempted to cut off Banks' supply lines to New Orleans but failed. In September, Union forces tried to invade eastern Texas to counteract the French invasion of Mexico but were defeated at Sabine Pass, losing two gunboats and 350 men while the Confederates suffered no casualties.


text:
Thomas Baker

Thomas or Tom Baker may refer to:

Politicians

 * Thomas Cheseman or Thomas Baker (c. 1488–1536 or later), Member of Parliament for Rye
 * Thomas Baker (died 1625), Member of Parliament for Arundel
 * Tom Baker (Nebraska politician) (born 1948), member of Nebraska Legislature
 * Thomas Guillaume St. Barbe Baker (1895–1966), Fascist activist and former British Army and RAF officer
 * Colonel Thomas Baker (1810–1872), founder of Bakersfield, California
 * Thomas Baker (Alaska politician) (born 1995), Alaska state representative

Sports

 * Thomas Baker (cricketer) (born 1981), English cricketer who played for Yorkshire County Cricket Club and Northamptonshire County Cricket Club
 * George Baker (footballer) (1936-2024), Wales international football player, commonly called George
 * Tom Baker (bowler) (born 1954), American bowler
 * Tom Baker (1930s pitcher) (1913–1991), Major League Baseball pitcher for the Brooklyn Dodgers and New York Giants
 * Tom Baker (1960s pitcher) (1934–1980), Major League Baseball pitcher for the Chicago Cubs
 * Tom Baker (footballer, born 1905) (1905–1975), British footballer
 * Thomas Southey Baker (1848–1902), English amateur rower and footballer

Military

 * Thomas Baker (Royal Navy officer) (1771–1845), Royal Navy admiral
 * Thomas Durand Baker (1837–1893), Quartermaster-General to the Forces
 * Thomas Baker (Medal of Honor recipient) (1916–1944), World War II Medal of Honor recipient
 * Thomas Baker (aviator) (1897–1918), Australian soldier and aviator of the First World War
 * Thomas Baker (general) (born 1935), United States Air Force general

Religion

 * Thomas Baker (missionary) (1832–1867), English Christian missionary cannibalised in Fiji
 * Sir Thomas Baker (Unitarian) (1810–1886), English Unitarian minister and mayor of Manchester
 * Thomas Nelson Baker Sr. (1860–1941), African-American minister, author and philosopher
 * Tom Baker (priest) (1920–2000), Anglican clergyman

Actors

 * Tom Baker (born 1934), played The Doctor on Doctor Who from 1974 to 1981
 * Tom Baker (American actor) (1940–1982)

Education

 * Tom Baker (professor) (born 1959), law professor at the University of Pennsylvania Law School
 * Thomas E. Baker, professor of Constitutional law and former administrative assistant to William Rehnquist
 * Thomas Baker (college president) (1871–1939), president of Carnegie Mellon University
 * Thomas Baker (entomologist), American professor at Penn State University

Others

 * Thomas Baker (antiquarian) (1656–1740), English antiquarian
 * Thomas Baker (artist) (1809–1864), English landscape painter and watercolourist
 * Thomas Baker (Peasants' Revolt leader) (died 1381), English landowner
 * Thomas Baker (musician) (c. 1820–1888), composer and producer of musical stage productions
 * Thomas Baker (mathematician) (1625?–1689), English mathematician
 * Thomas Baker (dramatist) (c. 1680–1749), English dramatist and lawyer
 * R. Tom Baker, inorganic chemist
 * Thomas Barwick Lloyd Baker (1807–1886), English educationalist, social reformer, and ornithologist

Other uses

 * Tom Baker Cancer Centre, a hospital in Canada
 * Tom Baker (24 character)
 * DC Tom Baker, a character on The Bill
 * Tom Baker, protagonist in the 2003 film Cheaper by the Dozen and its sequel
 * "Tom Baker", a song by Human League on some versions of Travelogue

title: Thomas Baker


text:
Talk:Thomas Baker

Untitled
If there are questions about the veritability of Thomas Andrew Baker's award, please message me. --Guitarist Nick 20:53 30 July 2007

title: Talk:Thomas Baker


text:
Talk:Wolf Blitzer

Straightforward my @ss
"..., and is known for his straightforward reporting style"

That's coming right out. He was (is?) a lobbyist for AIPAC! And anyone who's seen The Situation Room knows there's nothing straightforward about anything he does. So I'm taking this out ostensibly because it's NPOV, but recognizing that putting this here is inserting my POV (but it's in the talk page so whatever). —Preceding unsigned comment added by 67.184.113.238 (talk • contribs)

Cleanup
Please discuss and suggest factors which will make this article to be improved on the whole. For an example of a good article on a media personality, see larry king or mike wallace. —The preceding unsigned comment was added by FrummerThanThou (talk)

There should a full section about Blitzer's work at AIPAC
Since it helped shape his thinking. —Preceding unsigned comment added by 24.188.142.75 (talk • contribs)

I see, so should there also be a full section on his family? I'm sure his family life has shaped his thinking on parenting and marriage. IP 24.188.142.75, you're logic doesn't add up. If you want to single out a lobbying organization that you disagree with, then this isn't the place to do it. —The preceding unsigned comment was added by Monitorer (talk • contribs).

That's a bit silly, Monitorer. AIPAC is a significant player on K Street, with a public and sometimes controversial agenda. Blitzer's family is private, and you should very well know the difference. I often agree with AIPAC's policy recommendations, but I also disagree with some. This isn't the place to debate the merits of the organization; however Blitzer's association is significant and I feel it merits inclusion.

I Do Think There is Some of Blitzer that Should Be Included
Personally, I don't think he is a Class-A reporter in anyway. I do think this article should include some viable criticism of Mr. Blitzer greatly. I'll search for some, and my personal advice is maybe you people should try and find some as well; I'm not demanding, it's really just a personal suggestion of mine.

title: Talk:Wolf Blitzer


text:
Samira Ahmed

Samira Ahmed (born 15 June 1968) is a British journalist, writer and broadcaster at the BBC, where she presents Front Row on Radio 4 and Newswatch on the BBC News channel and BBC One during BBC Breakfast, and regularly presents radio documentaries. She was named British Broadcasting Press Guild audio presenter of the year in March 2020. Her recent documentaries include Disgusted, Mary Whitehouse (March 2022). She has presented Radio 3's Night Waves and Radio 4's PM, The World Tonight, Today, Sunday and has presented the Proms for BBC Four.

Ahmed's writing has appeared in several British publications including The Guardian, The Independent, The Spectator arts blog, and writes a regular column for New Humanist. She was a reporter and presenter on Channel 4 News from 2000 to 2011. She presented Sunday Morning Live, a topical discussion programme on BBC One from 2012 to 2013.

Early life
Ahmed was born in Wandsworth, south London, to Athar and Lalita (née Chatterjee, born 1939, Lucknow) Ahmed. Her mother is a TV presenter, actress, chef and writer on Indian cookery who previously worked for the Hindi service of the BBC World Service in Bush House as well as All India Radio in India. Samira attended Wimbledon High School, an independent day school for girls, and edited the school magazine.

Ahmed read English at St Edmund Hall, Oxford, which made her an honorary fellow in 2019. While an undergraduate she edited Isis and the Union magazines, both Oxford University student publications, and won the Philip Geddes Journalism Prize for her work on student newspapers. After graduation she completed a Postgraduate Diploma in Newspaper Journalism at City University, London. She recalls that Lucy Mathen, the first female Asian reporter on BBC television, who worked on John Craven's Newsround, was an inspirational figure for her, as was broadcaster Shyama Perera, who was working in Fleet Street at around the same time.

Journalism career
Ahmed became a BBC news trainee in 1990. After two years on attachments, she began to work as a network radio reporter in 1992 on such programmes as Today. Fearful her short BBC contract would not be renewed after a mishap in a difficult situation, Ahmed applied to, and was taken on by, BBC World for work as a presenter, which led to her becoming a reporter for Newsnight. She was the BBC's Los Angeles correspondent during 1996–97 and filed reports on the O. J. Simpson civil trial.

Ahmed briefly worked for Deutsche Welle in Berlin as an anchor and political correspondent, but then returned for a brief spell with BBC World and as a night shift presenter for BBC News 24 before taking maternity leave.

Ahmed joined Channel 4 News in April 2000, and became a presenter in July 2002. In June 2011, she left Channel 4, and went freelance.

In 2009, Ahmed won the "Broadcaster of the Year" category at the annual Stonewall Awards for her special report on "corrective rape" of lesbian women in South Africa. The report was made after ActionAid contacted her about their campaign against homophobic crime. She won the BBC's Celebrity Mastermind, with a specialist round on Laura Ingalls Wilder, the author of the Little House on the Prairie books, in December 2010. Again, in 2019, Ahmed won the Celebrity Mastermind Champion of Champions; she wore a Space 1999 costume.

From 2011 to 2013, she was a regular newspaper reviewer on Lorraine. From June 2012 to November 2013, she presented the third and fourth series of Sunday Morning Live on BBC One. In October 2012, Ahmed succeeded Ray Snoddy as presenter of Newswatch on the BBC News Channel.

She has been a Visiting Professor of Journalism at Kingston University and a regular contributor to The Big Issue.

In September 2019, she interviewed Margaret Atwood about the novelist's new book The Testaments at the National Theatre, which was simulcast to more than 1,000 cinemas around the world as part of National Theatre Live.

In June 2020, BBC Four aired Art of Persia, a three-part study presented by Ahmed of the history and culture of Iran. A longtime admirer of the Supermarionation works of Gerry Anderson and Sylvia Anderson, Ahmed voiced a character in the similarly produced Nebula-75. The character, Juliette Destiny, was also modelled to resemble the journalist. She reprised the role for a second episode in 2021.

In November 2021, Ahmed interviewed Paul McCartney and poet Paul Muldoon about their book The Lyrics: 1956 to the Present at the Royal Festival Hall. On 3 April 2023, Ahmed revealed her discovery of the earliest complete concert recording of the Beatles performing live in the UK on a special edition of Front Row on Radio 4. The tape was made by 15-year-old student John Bloomfield at Stowe Boarding School on 4 April 1963. She subsequently broadcast extracts on Front Row from a second Stowe tape made the same night over dinner by the tuck shop master, after his daughters contacted her about their recording.

Ahmed has championed the cultural re-assessment of morality campaigner Mary Whitehouse in 2022 after studying 30 years of her campaign diaries, and the comedy series The Goodies in 2024.

Ahmed has been awarded honorary doctorates by City, University of London, the University of East Anglia, Kingston University, and the University of Winchester.

She is a trustee of the Centre for Women’s Justice, a member of the blue plaques panel for Historic England, and sits on the advisory board for the National Science and Media Museum in Bradford.

Equal pay tribunal
Ahmed filed legal proceedings against the BBC under the Equality Act 2010 in October 2019. The London Central Employment Tribunal unanimously found in her favour on 10 January 2020. On 24 February 2020, it was announced that a settlement had been reached with the BBC, but no figure for this was made public. In a 2020 interview with The Observer she revealed that a 1975 episode of The Goodies about newsroom sexism inspired her during the tribunal process. Her tribunal case was cited by the GDST as "leading the way on equal pay for women everywhere" when she was voted GDST Alumna of the Year 2021 by one of the largest votes ever.

Personal life
Ahmed lives in London and has a son and a daughter.

title: Samira Ahmed


text:
J Ward

J Ward originally the Ararat County Gaol, was an Australian prison, of the latter a psychiatric facility to house the criminally insane, located in Ararat, Victoria, Australia.

Construction of the gaol commenced in 1859 and the facility was opened in October 1861. In 1887, it was converted for use as a maximum security psychiatric ward for the criminally insane. J Ward officially closed in January 1991, and in 1993, it was re-opened as a museum providing tours.

History
Construction of original building commenced in 1859, as a goldfields prison, based on the Pentonville concept, by the Public Works Department. They were built out of blue stone. On 10 October 1861, the gaol was opened, with a total of 21 prisoners incarcerated. The first Governor was Samuel Walker (previously the Governor of Portland Gaol). In 1864, the gaol housed 40 prisoners, and in 1867, John Gray became the gaol's second Governor, a position that he held for ten years. On 15 August 1870, the first execution was conducted at the gaol, when Andrew Vere was hanged for the murder of Amos Cheale in January 1869. The second execution at the gaol was held on 25 September 1883, when Robert Francis Burns was hanged for the murder of Michael Quinlivan. In 1877, Henry Pinniger was appointed as the gaol's third Governor. On 6 June 1884, the gaol held its third execution, with Henry Morgan being hanged for the murder of Margaret Nolan in November 1883. In 1884, George Fiddimont became the gaol's fourth Governor, he died of a heart attack at the gaol on 14 September 1886.

In the aftermath of the Victorian gold rush the gaol was no longer required and in December 1886 the gaol building was proclaimed as the 'J Ward', part of the Ararat Lunatic Asylum.

J Ward is now a museum open to the public. Tours are run every day except on public holidays at 11 am, 12 pm, 1pm & 2pm. Other notes about J Ward include the amazing art work done by prisoners on the walls outside in their open area, the way this place makes you still imagine it being operated, and the thought to detail is amazing. J ward was not only occupied by the criminally insane but also the insane who had not committed any crimes, but were eventually moved to a facility established to their needs.

Notable patients

 * Charles Fossard – admitted in 1903 at age 21 and died in custody in 1974 at age 92, he was the longest serving patient at the facility as well as the longest serving prisoner in the entire world (he was incarcerated for nearly 71 years)
 * Garry David – also known as Garry Webb, said to have served more time in prison than any other person in the history of the State of Victoria. David spent a total of 33 years in various institutions
 * Bill Wallace – admitted in 1926 at age 44 remaining in custody until his death in 1989 at age 107, he was both the oldest patient at the facility and the oldest prisoner in world history (he was incarcerated for 64 years), and a record that earned him a place in Guinness World Records
 * Mark "Chopper" Read – was transferred from Pentridge Prison in late 1978 after arranging for a fellow inmate to cut off both his ears. Read only remained in J Ward for a few months before being transferred back to Pentridge

title: J Ward


text:
User:Glerf

my name is Glerf.

hmm. I like Harry Potter, water polo, music, and California.

I intend to contribute as much of my knowledge of things of varying importance, as soon as I figure out how exactly... yes.

title: User:Glerf


text:
Cresta Shopping Centre

Cresta Shopping Centre is a shopping centre in Randburg, South Africa. It is located on the border of Northcliff and Cresta. It has gone through multiple extensions and refurbishments. The mall is owned by Pareto, a unit of the Public Investment Corporation.

The original design of the shopping centre had a model train which would run through the centre of the shopping centre stopping at various places around the inner mall to allow passengers off. The train would then come out one of the entrances and around a loop. Turning the train around inside the centre was done on a giant turntable, which became more popular to watch than the train itself. The train was removed in approximately 1992.

Cresta was built in 1977. The first refurbishment finished in 1987 for the tenth anniversary adding the section from present day Showbiz ending just past Edgars. It was during this refurbishment that the train was added with the outside fun park with castle and pirate ship with water cannons. The transformation to family shopping mall is probably the recipe for its success. In 1990 the second refurbishment was completed bridging the road and adding an ice skating rink. The ice skating rink was subsequently changed into a cinema complex. In 2002 more additions were added including a third floor near CNA, an extension and parking lot at Stuttafords where the original Checkers stood, and an extension past the cinemas including a theatre and restaurant complex.

Further remodeling and expansion was announced in 2012 and 2013.

title: Cresta Shopping Centre


text:
Uzola

The Uzola, also spelled as Usola (Узола, Усола in Russian) is a river in Nizhny Novgorod Oblast in Russia. It is a left tributary of the Volga. The length of the river is 147 km. The area of its basin is 1920 km2. The Uzola freezes up in November and stays under the ice until April.

title: Uzola


text:
Talk:Khojaly massacre

Failed verification
Quote: "Political analysts and genocide scholars say that Azerbaijan's politicization of civilian deaths at Khojaly is an example of projection or a "mirroring" tactic which is common among genocidal regimes and here "involves accusing Armenia and Armenians of committing the crimes that it has committed or is planning to commit."

The following links were provided as references to support the idea of "political analysts and genocide scholars" accusing Azerbaijan of "politicization of civilian deaths at Khojaly":

https://www.lemkininstitute.com/red-flag-alerts/red-flag-alert-for-genocide---azerbaijan---update-3

https://www.lemkininstitute.com/statements-new-page/statement-on-bbc-hardtalk-anchor-stephen-sackur-s-interview-with-artsakh-state-minister-ruben-vardanyan

and

https://evnreport.com/spotlight-karabakh/azerbaijan-s-mirror-propaganda-operation/

The problem is that none of the references has any mention of Khojaly proper, let alone its "politicization" by Azerbaijan. Hew Karlani (talk) 08:41, 25 February 2024 (UTC)
 * I double-checked the sources and indeed, there is no mention of the Khojaly massacre in them.
 * I am also removing the following sentence because Len Wicks, an Armenian-based Australian aviation engineer publishing for a news blog, is not a reliable source. The fact that Lemkin Institute, a so-called genocide prevention initiative, refers to such a source in claiming that there was no investigation of the Khojaly massacre when, in fact, there were two of them (one by Human Rights Watch and one by Memorial, both cited in the body of this article) speaks loads to the credibility of Lemkin Institute itself. Parishan (talk) 19:26, 25 February 2024 (UTC)
 * He does not say any investigation (or report, as they are called), he says there was never an "independent fact-finding mission". Neither organization used this phrase in their report, and Wicks was obviously aware of the HRW report because he mentions it. And nowhere on The Blunt Post's about page is it described as a blog, it is a news journalism magazine.
 * As for the credibility of the Lemkin Institute authors, Dr. Elisa von Joeden-Forgey (leader of the research team) is associate professor of Holocaust and genocide studies at Stockton University and first vice president of the International Association of Genocide Scholars, and Irene Victoria Massimino is Head Professor in the Department of International Education at the Universidad Nacional de Tres de Febrero, Argentina and Stockton University. There does not seem to be any reason to doubt their credibility. KhndzorUtogh (talk) 22:19, 1 March 2024 (UTC)
 * Len Wicks is not an expert on this subject. His expertise is aviation management and tourism: How can this person and those who refer to him be considered reliable sources on Khojaly massacre? And as was mentioned above, there were 2 independent investigations. Both HRW and Memorial visited the region and talked to witnesses on both sides. So the claim by Wicks that There has never been a credible, open and independent investigation in Azerbaijan about what took place near Aghdam is false. Azerbaijani government also conducted its own investigation, if Wicks refers to Azerbaijani government, and not third parties. Therefore, Lemkin and Wicks are not acceptable for use in this article.  Grand  master  10:53, 5 March 2024 (UTC)
 * Upon further review of the Lemkin source, it specifically refers to an independent investigation of the claim that Khojaly was a "genocide" (which is undue), not any investigation at all. Which is exactly what the source is attributed for, in a paragraph about the use of the word genocide and why it is incorrect. KhndzorUtogh (talk) 22:13, 7 March 2024 (UTC)
 * Any source that refers to Wicks, an aviation manager, is unreliable here. And Lemkin claims that "that there has never been an independent fact-finding mission allowed into the area and no independent scholars can verify the facts and arguments offered by Azerbaijani state authorities and state-supported researchers". That is certainly a false claim that has no place in any serious publication. I suggest to remove both the aviation specialist Wicks and Lemkin that refers to him. Grand  master  08:53, 8 March 2024 (UTC)
 * "Any source that refers to X is unreliable" What RSN discussion decided this? Should Thomas de Waal, a Russian language major, also be considered an unreliable source (and all references by him and their attributed content in this article removed) because he cites genocide deniers such as Stanford J. Shaw, Guenter Lewy, and Heath Lowry? If you read the Lemkin passage in full, those arguments it is referring to are the genocide label. We could remove the Wicks source itself, but the Lemkin source is written by research experts. KhndzorUtogh (talk) 23:15, 8 March 2024 (UTC)
 * Wicks should certainly be removed. But Lemkin is no good either. De Waal is a respected researcher on the topic, author of the best book on Karabakh conflict. Not the same thing as this little known NGO that refers to a random guy on the internet to make false claims. And it is not just about genocide claims, Lemkin makes a general claim that there was no independent investigation at all, which is clearly not true. Grand  master  08:57, 10 March 2024 (UTC)
 * He is not a researcher, he is a journalist and spokesman for a think tank, and has been repeatedly criticized for making false claims. On the other hand, Dr. Elisa von Joeden-Forgey is a true researcher. How can a university professor on genocide studies and vice president of the International Association of Genocide Scholars be "no good"? KhndzorUtogh (talk) 21:21, 13 March 2024 (UTC)
 * De Waal is a researcher for a well-known think tank. Lemkin is an little-known small NGO. Big difference. Having a PhD does not automatically make a source reliable, especially if that source makes clearly biased statements, calling Azerbaijan a "genocidal state", claims that there were no independent investigations, while there were 2 of them, and refers to an aviation manager to support this claim. Grand  master  09:13, 14 March 2024 (UTC)
 * There's a strong argument to be made that Carnegie and think tanks in general. Again, De Waal is not a researcher or any kind of qualified expert in anything; being a "fellow" at Carnegie just means he receives lots of funding to write what he does. But I am not arguing to removal De Waal from the article. Do you have any source questioning the credibility of Lemkin or the researchers? KhndzorUtogh (talk) 22:43, 20 March 2024 (UTC)
 * What does Lemkin have to do with de Waal? If you want to question de Waal, it is a subject for another discussion. Regarding Lemkin, it is too insignificant and little known for others to criticize it. But Lemkin's partisan nature is obvious, and a source that refers to an aviation manager to make claims that do not correspond to reality cannot be considered reliable. Grand  master  10:24, 22 March 2024 (UTC)
 * As I already said, De Waal cites genocide deniers. It's the same logic you are using for the Lemkin paper. There is nothing partisan about the source, it is objectively written by academic experts. KhndzorUtogh (talk) 21:14, 22 March 2024 (UTC)
 * Here is my response to @KhndzorUtogh regarding his comment on the Thomas De Waal's competence as a researcher and expert.
 * Quote: "Again, De Waal is  not a researcher or any kind of qualified expert in anything"-@KhndzorUtogh
 * I have found several links that undermine the upper-mentioned statement:
 * A major Armenian website news.am calls Thomas De Waal a "leading researcher at the Carnegie Foundation and expert on the Karabakh conflict".
 * Link:https://news.am/eng/news/740624.html
 * Another Armenian website arminfo.info calls De Waal "Senior researcher of the American expert-analytical center"
 * Link: https://arminfo.info/full_news.php?id=30106&lang=3
 * The same website characterizes De Waal as "the English researcher of the Karabakh and other post-Soviet conflicts"
 * Link: https://arminfo.info/full_news.php?id=29676&lang=3 Hew Folly (talk) 15:10, 23 March 2024 (UTC)
 * We are not discussing De Waal here, who is a reliable source. We are discussing Lemkin, a little known organization that makes false claims referring to a partisan source. I see no reason why it should be kept in this article. No valid argument has been presented, the only argument is support was WP:OTHERCONTENT, which is not acceptable. Grand  master  09:08, 24 March 2024 (UTC)
 * Dr. Elisa von Joeden-Forgey (via Lemkin) is arguably an even more reliable source. KhndzorUtogh (talk) 23:54, 5 April 2024 (UTC)
 * Just because she has a PhD does not make her reliable. We see how her organization makes inaccurate claims. Grand  master  08:13, 6 April 2024 (UTC)
 * A Google Books search of her name shows she is widely cited in a variety of different genocide subjects, and we have no source against her reliability. Do you have a source for Lemkin making inaccurate claims or is that your own original research? KhndzorUtogh (talk) 21:11, 26 April 2024 (UTC)
 * I found some inaccuarate claims made by the "Lemkin Institute for Genocide Prevention".
 * According to Lemkin Institute, those who perputrated the Khojaly massacre was committed by "individual Armenians" and their crimes were "never supported by the Armenian state".
 * Link: https://www.lemkininstitute.com/statements-new-page/statement-on-the-western-media-narrative-regarding-azerbaijan%E2%80%99s-september-13-attack-on-armenia#:~:text=there%20has%20never%20been%20genocidal%20intent%20on%20the%20part%20of%20Armenian%20statesmen%20nor%20has%20the%20Armenian%20state%20supported%20any%20crimes%20committed%20by%20individual%20Armenians%20(such%20as%20during%20the%20Gugark%20riot%20or%20the%20Khojali%20war%20crimes)
 * First, it totally distorts the historical facts of involvemnet
 * As a matter of fact:
 * Serzh Sargsyan (then head of the "NKR Defense Committee") not only was never persecuted for his crimes in Khojaly but even became President of Armenia.
 * Monte Melkonian (commanded the attack on Khojaly) was posthumously awarded the title of the National Hero of Armenia.
 * Manvel Yeghiazaryan (head of the Arabo batallion). The members of the batallion, according to Markar Melkonian, were stabbing the Khojaly residents with knives) received numerous awards.
 * Link: https://ekm.am/84.html
 * In addition, I did not find any information regarding massacres in Meşəli, Qaradağlı and other places on their website. The information of devastation of Aghdam, Fuzuli, Jabrayil and other districts is also absent. Instead, they use the map of "Artsakh" as an object of "agression" by the Azerbaijani army. The map includes not only former NKAO but also 7 districts that were populated by Azerbaijanis and later ethnically cleansed by the Armenia and/or "Artsakh administration".
 * I have not found any information on the "Lemkin Institute" website related to the number of killed and displaced Azerbaijanis during the first Karabakh war. Supposedly, they hid it because the number of displaced Azerbaijanis from what the "Lemkin Institute" considers the terriotory of "Republic of Artsakh" was several times higher than the entire ethnic Armenian population of the 1994-2020 Armenia-occupied region (former NKAO+7 adjacent districts).
 * While ignoring, whitewashing the massacres of Azerbaijani civilians of Karabakh perpetrated by state-backed military units, they zealously use the term of genocide regarding the murder of transgender persons, which is indeed usually done by individuals.
 * Hence, I would not consider the "Lemkin Institute" to be a reliable organization,  at least when the Armenia-Azerbaijan conflict os concerned.  Hew Folly (talk) 07:33, 27 April 2024 (UTC)
 * This organization tends to act as a mouthpiece for ANCA, which is a political lobby wing of the Armenian nationalist ARF party. Why would an unbiased NGO share on its website content from ANCA honoring Karabakh separatist leaders?  Grand  master  08:59, 28 April 2024 (UTC)
 * Since there appear to be no objections regarding Wick's unfitness as a source, I have removed the reference from the article. Parishan (talk) 16:15, 15 March 2024 (UTC)

Extended-confirmed-protected edit request on 26 February 2024
There are mistakes on the page. CIS doesn't have armed forces. The 366th Guards Motor Rifle Regiment was Russian troops under the direct command of the Ministry of Defense of Russian Federation. SantiniG (talk) 05:59, 26 February 2024 (UTC)
 * Red information icon with gradient background.svg Not done: please provide reliable sources that support the change you want to be made. Jamedeus (talk) 07:07, 26 February 2024 (UTC)

Statement that it was the single biggest massacre in katabakh conflict
The Shusha massacre caused the death of 500-20.000 people, calling a massacre that had a death toll of 200-highly 1000 people the single biggest massacre is a overexageration and using one news article as the only source is even worse. 2A02:3035:E07:4869:9176:34D5:1478:2186 (talk) 16:25, 9 May 2024 (UTC)

Yair Aaron was working for an Armenian University at the time of his Khojaly quote
Yair Aaron's absurd quote about Khojaly (as if every genocide should be equal to Holocaust) is dated April 1, 2016

Here is the source proving that he was a Visiting Professor at the American University of Armenia as of February 25, 2015.

And here is the source proving that he continued to be a member of the American University of Armenia by July 5, 2016

Hence, he was a member of the American University of Armenia during his khojaly quote published in Haaretz. Hew Folly (talk) 04:37, 26 June 2024 (UTC)

title: Talk:Khojaly massacre


text:
Wikipedia:Articles for deletion/Play Pen

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

The result of the debate was merge with Playpen. Sjakkalle (Check!)  08:50, 27 July 2005 (UTC)

Play Pen
Dictionary definition. See also: Onesie, High chair, Changing table, Playsuit, Baby Powder, Baby Oil, Blanket sleeper, Plastic pants, Shortalls, Rhumba panties. Please note, no value judgement is intended or implied. brenneman (t) (c) 03:42, 13 July 2005 (UTC) Why are these entries so offensive to you all? Please explain. Dave 02:23, 14 July 2005 (UTC)
 * Merge the lot of them to Baby paraphernelia. Radiant_ >|< 13:08, July 13, 2005 (UTC)
 * Well, they are good faith contributions. Right now, they're dicdefs, but they've got 5 days to expand. Merge per Radiant, for now. --Scimitar 15:19, 13 July 2005 (UTC)
 * Merge to playpen. Note that Baby Oil is a redirect to mineral oil and Baby Powder duplicates baby powder, moreover. Uncle G 16:04, 13 July 2005 (UTC)
 * Delete, dicdef. Dcarrano 16:14, July 13, 2005 (UTC)
 * Merge as per above royblumy 21:48, July 13, 2005 (UTC)
 * merge Play Pen with Playpen and the others aren't on Vfd, and obviously haven't been looked at properly. Kappa 23:57, 13 July 2005 (UTC)
 * They're not offensive. We're just finding out what might be the most comprehensive way of presenting the information. Note that 'merge' means that the text is kept, but placed somewhere else. Radiant_ >|< 12:14, July 14, 2005 (UTC)
 * Transwiki whatever there is no redirect for then delete--nixie 04:19, 14 July 2005 (UTC)
 * Merge and redirect to Playpen. JamesBurns 08:02, 14 July 2005 (UTC)
 * Merge/redirect. -Sean Curtin 06:03, July 15, 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Talk:Home Run Derby

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 13 January 2020 and 7 May 2020. Further details are available on the course page. Student editor(s): Willster777.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 23:47, 16 January 2022 (UTC)

Overview needs pruned
The overview alone has a ton of information on changes to the playoff structure over the years, etc. Yet, somehow, in this entire long article, there is no mention of how pitching is done, what are the mechanics/rules that allow so many home runs, do the players have to round the bases, who catches, is there an ump, what if there is a bad pitch, etc. I would suggest making the overview one or two paragraphs, including an clearer explanation of the basics of how this thing is conducted, an no info in the overview of changes to the format over the years. Changes to the game format should probably be in a table or bullet list, and should be moved from the overview section.

Also, a simple step that would greatly improve readability would be to move the yearly 'scorecard' tables to their own page. Maybe replace these in the main article with a simple table of location, score, individual leader, and team by year. -LaTeeDa (talk) 02:14, 9 July 2012 (UTC)

Tables
Do we really need a table for each year? I was thinking about creating a table for all-time winners (odd this page doesn't have one), at which point those other tables, which seem borderline excessive to me, will be less useful. Thoughts? – Muboshgu (talk) 05:13, 10 July 2012 (UTC)

Most single derby home runs
Should a player be listed more that once in this list? It seems to me that it makes more sense to only include the personal best for each of these players. — Preceding unsigned comment added by 73.162.44.235 (talk) 04:00, 15 July 2014 (UTC)

Trophy
Shouldn't it have a section about the trophy awarded to the champions (and the WWE belt used as an informal trophy)? 190.166.115.25 (talk) 16:04, 2 July 2015 (UTC)

Requested move 15 July 2018

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

The result of the move request was: moved as requested per the discussion below; this also reunites the article with its old talk archive. Dekimasu よ! 03:53, 23 July 2018 (UTC)

Home Run Derby (Major League Baseball) → Home Run Derby – Home Run Derby redirects here. kwan-in (talk) 14:55, 15 July 2018 (UTC)
 * Support if this is the primary topic jamacfarlane (talk) 16:05, 15 July 2018 (UTC)
 * Support, per Dave Nicholson. Randy Kryn (talk) 18:21, 15 July 2018 (UTC)
 * Support obviously. Enigmamsg 23:39, 15 July 2018 (UTC)
 * Comment This page was at the correct title until 5 years ago, when an abusive sockpuppet moved it. I really wish we'd put a stop to users moving pages without consensus. See here Enigmamsg 23:50, 16 July 2018 (UTC)
 * Support as this is a primary topic. Please stop people from moving pages without consensus from other users. DaveTheBrave  ❯❯❯  Talk  02:45, 17 July 2018 (UTC)
 * Support There shouldn't be any need to further describe the home run derby. The name in on itself should be plainly obvious to people. Dannyyankee12 let's talk 15:16, 17 July 2018 (UTC)

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

Pitching
I see that this has been raised before but can someone please explain how the pitching works. The photo shows the pitcher standing on some kind of wheeled contraption several feet in front of the mound. I'm confused.  Tigerboy1966  11:17, 6 November 2018 (UTC)

A Commons file used on this page has been nominated for deletion
The following Wikimedia Commons file used on this page has been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 16:23, 19 August 2019 (UTC)
 * MLB Home Run Derby Champion trophy 2019.jpeg

title: Talk:Home Run Derby


text:
Mass flow rate

In physics and engineering, mass flow rate is the mass of a substance which passes per unit of time. Its unit is kilogram per second in SI units, and slug per second or pound per second in US customary units. The common symbol is $$\dot{m}$$ (ṁ, pronounced "m-dot"), although sometimes μ (Greek lowercase mu) is used.

Sometimes, mass flow rate is termed mass flux or mass current, see for example Schaum's Outline of Fluid Mechanics. In this article, the (more intuitive) definition is used.

Mass flow rate is defined by the limit: $$ \dot{m} = \lim_{\Delta t \to 0} \frac{\Delta m}{ \Delta t} = \frac{dm}{dt}, $$ i.e., the flow of mass $m$ through a surface per unit time $t$.

The overdot on the $m$ is Newton's notation for a time derivative. Since mass is a scalar quantity, the mass flow rate (the time derivative of mass) is also a scalar quantity. The change in mass is the amount that flows after crossing the boundary for some time duration, not the initial amount of mass at the boundary minus the final amount at the boundary, since the change in mass flowing through the area would be zero for steady flow.

Alternative equations
Mass flow rate can also be calculated by

$$\dot m = \rho \cdot \dot V = \rho \cdot \mathbf{v} \cdot \mathbf{A} = \mathbf{j}_\text{m} \cdot \mathbf{A},$$ where $\dot V$ or Q = volume flow rate,

ρ = mass density of the fluid,

v = flow velocity of the mass elements,

A = cross-sectional vector area/surface,

jm = mass flux. The above equation is only true for a flat, plane area. In general, including cases where the area is curved, the equation becomes a surface integral: $$\dot m = \iint_A \rho \mathbf{v} \cdot d\mathbf{A} = \iint_A \mathbf{j}_\text{m} \cdot d\mathbf{A}.$$

The area required to calculate the mass flow rate is real or imaginary, flat or curved, either as a cross-sectional area or a surface, e.g. for substances passing through a filter or a membrane, the real surface is the (generally curved) surface area of the filter, macroscopically - ignoring the area spanned by the holes in the filter/membrane. The spaces would be cross-sectional areas. For liquids passing through a pipe, the area is the cross-section of the pipe, at the section considered. The vector area is a combination of the magnitude of the area through which the mass passes through, A, and a unit vector normal to the area, $$\mathbf{\hat{n}}$$. The relation is $$\mathbf{A} = A \mathbf{\hat{n}}$$.

The reason for the dot product is as follows. The only mass flowing through the cross-section is the amount normal to the area, i.e. parallel to the unit normal. This amount is
 * $$\dot m = \rho v A \cos\theta,$$

where θ is the angle between the unit normal $$\mathbf{\hat{n}}$$ and the velocity of mass elements. The amount passing through the cross-section is reduced by the factor $$\cos\theta $$, as θ increases less mass passes through. All mass which passes in tangential directions to the area, that is perpendicular to the unit normal, doesn't actually pass through the area, so the mass passing through the area is zero. This occurs when $θ = π/2$: $$\dot m = \rho v A \cos(\pi/2) = 0.$$ These results are equivalent to the equation containing the dot product. Sometimes these equations are used to define the mass flow rate.

Considering flow through porous media, a special quantity, superficial mass flow rate, can be introduced. It is related with superficial velocity, vs, with the following relationship: $$\dot m_s = v_s \cdot \rho = \dot m/A $$ The quantity can be used in particle Reynolds number or mass transfer coefficient calculation for fixed and fluidized bed systems.

Usage
In the elementary form of the continuity equation for mass, in hydrodynamics: $$ \rho_1 \mathbf{v}_1 \cdot \mathbf{A}_1 = \rho_2 \mathbf{v}_2 \cdot \mathbf{A}_2.$$

In elementary classical mechanics, mass flow rate is encountered when dealing with objects of variable mass, such as a rocket ejecting spent fuel. Often, descriptions of such objects erroneously invoke Newton's second law $F = d(mv)/dt$ by treating both the mass $m$ and the velocity $v$ as time-dependent and then applying the derivative product rule. A correct description of such an object requires the application of Newton's second law to the entire, constant-mass system consisting of both the object and its ejected mass.

Mass flow rate can be used to calculate the energy flow rate of a fluid: $$\dot{E} = \dot{m}e,$$ where $$e$$ is the unit mass energy of a system.

Energy flow rate has SI units of kilojoule per second or kilowatt.

title: Mass flow rate


text: User talk:63.19.219.129

title: User talk:63.19.219.129


text: Template:House of Burgundy-Portugal

title: Template:House of Burgundy-Portugal


text:
Maybe Tomorrow (The Jackson 5 song)

"Maybe Tomorrow" is a hit single recorded by American soul family quintet the Jackson 5, in 1971. "Maybe Tomorrow" was included on the Jackson 5's album of the same title, and was also featured on Goin' Back to Indiana. The song was released again in 2009 via a Carl Sturken and Evan Rogers' remix, with an orchestral arrangement by Rob Mounsey, from a compilation album The Remix Suite.

The song peaked at number 3 on the Billboard Hot R&B Singles chart, and at number 20 on the Billboard Hot 100.

Cash Box said of it that the "group's delightful harmonies and a teasing rhythm section put a sparkling gloss into" the song.

Personnel

 * Lead vocals by Michael Jackson
 * Background vocals by Jermaine Jackson, Marlon Jackson, Jackie Jackson, Tito Jackson
 * Instruments by Los Angeles musicians

UB40 version
English reggae band UB40 recorded a reggae-style cover version of the song in 1987. This was released as a single, peaking at #14 in the UK Singles Chart, and appeared on their compilation album The Best of UB40 – Volume One, released the same year.

Samples

 * The Jackson 5 recording was later sampled by rapper Ghostface Killah on his 1996 song "All That I Got Is You".

title: Maybe Tomorrow (The Jackson 5 song)


text: File:Dan powter album.jpg

title: File:Dan powter album.jpg


text:
Wikipedia:Articles for deletion/Dustin Tyria

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

The result of the debate was DELETE. jni 11:20, 20 July 2005 (UTC)

Dustin Tyria
non-notable, probably self-promotion, exact phrase "Dustin Tyria" produces 1 Google result Delete. Joel7687 03:46, 13 July 2005 (UTC) This is the best first draft of a vanity article I've ever read. Delete anyway. ~ WCFrancis 00:17, 14 July 2005 (UTC)
 * Delete non notable vanity. JamesBurns 08:38, 13 July 2005 (UTC)
 * Delete, vanity. Dcarrano 16:32, July 13, 2005 (UTC)
 * Delete vanity, nn. Friday 20:07, 13 July 2005 (UTC)
 * Delete per above royblumy 21:48, July 13, 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Granite Chief Wilderness

The Granite Chief Wilderness  is a 19,048 acre (77 km2) federally designated wilderness area of the Tahoe National Forest. Created by the California Wilderness Act of 1984, it is located in the Sierra Nevada mountains west of Lake Tahoe in the U.S. state of California. It is managed by the U.S. Forest Service Tahoe National Forest. Elevations range from 4800 ft to 9019 ft at the summit of Granite Chief.

Events such as the Western States Endurance Run and the equestrian Western States Trail Ride, (popularly called The Tevis Cup) cross portions of the wilderness. The Pacific Crest Trail also passes through along the east edge of the wilderness.

This region is extensively glaciated and has features such as hanging valleys, cirques and U-shaped valleys, but few lakes. Just outside the wilderness boundary there are two large recreation reservoirs, Hell Hole Reservoir to the south and French Meadows Reservoir to the west.

The Sierra Club had maintained the Bradley Hut, which was a ski hut located at the Five Lakes Basin, but in 1994 the Sierra Club was asked to remove the hut by the Forest Service as it was now inside the newly created wilderness. The hut was dismantled and relocated four miles (6 km) away. Because no mechanical equipment can be used in a wilderness, the dismantling of the Bradley Hut took until the fall of 1996 to finish.

Lakes and waterways
The principal drainages are the Middle Fork of the American River and Five Lakes Creek. The small lakes within the wilderness boundary are the Five Lakes, Mildred Lake and Little Needle Lake.

Fish such as rainbow, brook and brown trout can be seen in Whiskey, Picayune, and Bear Pen creeks as well as the largest lake of the Five Lakes group.

Flora and fauna
Rich, volcanic soils support a range of plant life, from fields of mule ears to conifer forests including whitebark pine at the highest elevations. Along the creeks grow black cottonwood, alder and aspen.

Rare plants
The three bracted onion (Allium tribracteatum) is a native perennial bulb endemic to California. The California Native Plant Society lists the three bracted onion as " rare, threatened, or endangered ... " and there are only 10 counties with either specimens obtained or a verified observation made. Near the North Forth American River is Whitney's milk vetch (Astragalus whitneyi var. lenophyllus).

Typical of the high Sierra Nevada Mountains, the wildlife includes mountain lions, black bears, and mule deer.

The Granite Chief Wilderness provides important fawning areas for mule deer, so visitors are prohibited from bringing dogs into certain areas of the wilderness from May 15 to July 15.

Recreation
Activities include day-hiking, backpacking, fishing, cross-country skiing, mountain climbing and horsepacking. The Five Lakes basin is the most heavily used area in the wilderness due to the close proximity to both Palisades Tahoe and Alpine Meadows ski areas. Two commercial outfitters offer horsepacking trips into the wilderness.

Trails
There are 37 mi of trails with eight trailheads. The most used is the Granite Chief trailhead located at Squaw Valley Ski Area parking lot. Talbot campground is located near the Talbot trailhead, four miles (6 km) north of French Meadows Reservoir and is the only trailhead with a no-fee campground.

title: Granite Chief Wilderness


text:
Alco-GE

Alco-GE was a partnership between the American Locomotive Company and General Electric that lasted from 1940 to 1953. Their main competitor was EMD.

Arrangement
Alco produced locomotive bodies and prime movers while GE supplied the electrical gear. ALCo had previously partnered with GE and Ingersoll-Rand to produce the first successful line of diesel-electric switch engines from 1924 to 1928. In forming the Alco-GE partnership, GE sought to expand the market for their electrical equipment after EMD started producing their own while ALCo gained GE's support in terms of marketing and service infrastructure, areas in which EMD had a formidable advantage.

Achievements
Notable locomotives produced by Alco-GE were the RS-1, the first road switcher locomotive, and UP 50, a prototype gas turbine-electric locomotive.

Alco-GE attained a 26% share of the market for diesel locomotives as of 1946, mainly for switching and short-haul applications, but they could not crack EMD's dominant position in mainline locomotives. Alco's development of higher powered engines for such locomotives had not been satisfactory and EMD's introduction of the GP7 road-switcher in 1949 threatened Alco-GE's position in their most advantageous market.

Dissolution
GE dissolved the partnership in 1953 to develop and build their own locomotives. Alco still received electrical gear from GE, but only as a customer and not a corporate partner. GE took over the gas turbine-electric venture in 1953 and during the early 1960s would replace Alco as EMD's strongest competitor in the North American market. Alco went out of business in 1969.

title: Alco-GE


text:
Talk:CD1

Untitled
Here's the main source for the information in the stub so far. I need to check the style for article citations before putting it on the actual page. http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?CMD=DisplayFiltered&DB=pubmed --dsws 03:47, 13 July 2005 (UTC)

Other information is from Cellular and Molecular Immunology by Abul K. Abbas and Andrew H. Lichtman.

Wiki Education assignment: Molecular Genetics
— Assignment last updated by Jellyfish829 (talk) 11:29, 13 December 2023 (UTC)

title: Talk:CD1


text: Template:Camelidae

title: Template:Camelidae


text:
User:E2mb0t~enwiki

Possibly a bot operated by User:E2m.

title: User:E2mb0t~enwiki


text:
Wikipedia:Articles for deletion/Bobbin club

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

The result of the debate was DELETE. jni 11:19, 20 July 2005 (UTC)

Bobbin club
A 6th grade club, that has made millions of dollars selling bobbins. Joyous (talk) 03:48, July 13, 2005 (UTC)
 * Delete. Haha. Not notable or encyclopedic. —Cleared as filed. 05:58, July 13, 2005 (UTC)
 * Delete -- the wub  "?/!"  12:22, 13 July 2005 (UTC)
 * Delete, hoax/unverifiable. Dcarrano 16:16, July 13, 2005 (UTC)
 * Delete Mrs. Jenkins wants this article to go awaye.  Friday 20:14, 13 July 2005 (UTC)
 * Delete per above royblumy 21:48, July 13, 2005 (UTC)
 * Delete nn kid vanity. And sounds like something from a children's book. --Etacar11 23:10, 13 July 2005 (UTC)
 * Delete - ok.--Bhadani 15:56, 18 July 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
File:Gacktmizerable.jpg

Summary
Cover of the Gackt EP Mizerable.

Fair use in Mizerable (album)
Though this image is subject to copyright, its use is covered by the U.S. fair use laws because: - Cyrus XIII 13:59, 7 June 2007 (UTC)
 * 1) It is a low resolution copy of a CD album cover.
 * 2) It cannot be used to make illegal copies of the album artwork on another CD.
 * 3) It does not limit the copyright owner's rights to sell the CD album in any way.
 * 4) It illustrates the main subject of the respective article.
 * 5) It is not replaceable with a free image.

Licensing
© 1999 Crown Records Records

title: File:Gacktmizerable.jpg