text:
User talk:Effeminate

One more edit like this or this and you'll be blocked. Exploding Boy 23:48, July 22, 2005 (UTC)

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

title: User talk:Effeminate


text:
Wikipedia:Miscellany for deletion/User:AI/Touretzky quotes

 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 KEEP. -Splash 03:01, 31 July 2005 (UTC)

User:AI/Touretzky quotes
This is an unusual VFD because it concerns a sub-page in User space. On the above user page,, who has been very vocal recently on the article, has posted a collection of "quotes" ascribed to Touretzky. He also tried to include certain "quotes" into the article on Touretzky, which met with opposition from other editors. The nature, origin, and content of those "quotes" is extremely problematic (they are supposedly based on chat logs) and may expose the project to charges of libel (see Libel for further background). At this moment, I would not exclude the possibility that AI created this page specifically for the purpose of creating a legal liability for Wikipedia. I recommend that the page be permanently deleted. --MarkSweep 23:48, 22 July 2005 (UTC)

 * (Note MarkSweep's action, attitude and repeated attempts to enforce his opinions about Wikipedia and it's policies upon another user's unbiased perception of reality. --AI 04:38, 27 July 2005 (UTC))

 * Delete. --MarkSweep 23:48, 22 July 2005 (UTC)
 * Keep. It has been attributed. Religious Freedom Watch is a notable critic of David Touretzky. --AI 23:59, 22 July 2005 (UTC)
 * RFW is at most a secondary source, and not a particularly neutral or even credible one at that. But that is beside the point. Wikipedia is not an indiscriminate collection of information. --MarkSweep 00:02, 23 July 2005 (UTC)
 * This was only a temporary page, it does need to be VfD'd. All you had to do was show me that reference about indiscriminate collections of information and I would have deleted it. --AI 01:44, 23 July 2005 (UTC)
 * Wonderful. In that case, you'll have to insert a deletion notice like, for example, at the top of the page. An administrator will then review the request and delete it. --MarkSweep 02:06, 23 July 2005 (UTC)
 * Sorry but I will not delete this page yet, because it is part of the evidence in the arbitration. --AI 18:27, 23 July 2005 (UTC)
 * Not a worry - the arbitrators can all view deleted pages. Snowspinner 18:42, July 23, 2005 (UTC)
 * What do you mean "at most". Why do you have to qualify everything with POV descriptions? It is a secondary source. I disagree with your opinion about credibility. WP:NOR However I will still delete this page because I have no use for it. I will be bringing this information back into my user pages temporarily in the future when I have a need. --AI 18:22, 23 July 2005 (UTC)
 * Speedy keep I would have recommended bringing this up over at RfC instead of here. I don't think that VfD should be used for user space pages; those are either speedily deletable, or in questionable cases should be reviewed as a question about user conduct, which is the purview of RfC, and eventually the ArbCom.  As to the libel issue: I know Dave T.; there's no risk he'll sue Wikipedia for libel.  I recommend that this VfD be aborted as this is definitely the wrong forum.  Kelly Martin 18:30, July 23, 2005 (UTC), revised 18:32, July 23, 2005 (UTC), revised 18:49, July 23, 2005 (UTC)
 * Keep Keep the debates confined to the articles themselves and don't try to delete someone's user pages because you don't like the user. I don't see any reason to believe that there is any kind of real legal risk associated with him having them on a user page either. --malathion talk 18:31, 23 July 2005 (UTC)
 * Keep - I don't think User pages should be VfDed, I don't buy the 'it could be a liability' argument, the user has stated that the page is 'temporary', I really don't see that this is needed. -- Joolz 18:37, 23 July 2005 (UTC)
 * Keep of course - User pages are sacrosanct! — flamingspinach | (talk) 18:39:58, 2005-07-23 (UTC)
 * Speedy keep. A waste of VfD resources. --Golbez 18:44, July 23, 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.


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Talk:Solution concept

Definition
"A strictly dominated strategy is one for which there is a strategy that a player is always better off playing and so a rational player would never play such a strategy." (Under rationalizability & Iterated Dominance) Is there something wrong with this definition?
 * Yes, I think so. It's not very clear. I'm going to change it. -- nybbles 07:46, 19 July 2007 (UTC)

Backward induction and Subgame perfect?
Can someone tell me why there are two different sections for Subgame Perfect Equilibria and Backward Induction? I may be remembering wrongly, but I thought that Backward Induction was a process that identified all and only SPE in a game. Is this right? If so, why does it constitute a seperate Solution Concept? Thanks! --Kzollman 23:49, July 22, 2005 (UTC)

Subgame perfection is a generalisation of backward induction, but backward induction can only be applied in finite games of perfect information. Infinite games and games of imperfect information can have subgame perfect equilibria however. I think there is enough information in the backward induction article to merit two separate articles. Someone looking up backward induction doesn't want to trawl through the subgame perfection article trying to extract information relevant only to backward induction and both articles are too large to merge. As it is, I say keep them separate. Treborbassett 19:55, 28 July 2005 (UTC)

 * Ohh, I wasn't suggesting merging the two articles. I was just suggesting merging the two sections in this article.  This article will need to get much longer in order to be complete.  This is why I'm concerned.  There are many equilibrium concepts that are currently not in wikipedia, including Trembling hand perfect equilibrium, Correlated equilibrium, Risk dominant equilibrium, Self-confirming equilibrium... you get my point.  In addition, the section on rationalizability will need to be expanded.  I'm fine to keep the sections seperate, however.  --Kzollman 03:06, July 29, 2005 (UTC)

Yes point taken. But I think they should remain separate, since merging those sections would either involve losing important information or not gaining in terms of space. I agree this article is far from complete. Treborbassett 06:53, 29 July 2005 (UTC)

Discussion at WPGT
Hello, if you're interested in this page, there is currently a discussion about it at Wikipedia talk:WikiProject Game theory. Please chime in if you know something! --best, kevin [kzollman][talk] 19:19, 1 December 2005 (UTC)

Refinements
Equilibrium refinement redirects here, but it is not discussed on this page. We could add a subsection on 'refinements' under 'Nash equilibrium'. We should be careful to distinguish between 'solution concepts' and 'refinements'. In particular, the quantal response equilibrium page points out that QRE is not a refinement. I assume what's meant is that it is not a subset of Nash equilibrium with more robust properties; instead, it is a different equilibrium concept that makes predictions which may be quite different from Nash. Rinconsoleao (talk) 16:10, 31 May 2011 (UTC)
 * My mistake-- I didn't read the page carefully enough. I'm putting refinement in bold since this is the page where it is defined. Rinconsoleao (talk) 16:12, 31 May 2011 (UTC)

“Solution” vs. “strategy profile”
What’s the relationship between these? (Are the terms synonymous??)

The article will be much more helpful if this can be clarified (within the article or by reference to another). SquisherDa (talk) 17:16, 30 October 2018 (UTC)

Formal Definition
The article states a formal definition of a solution concept, then gives several examples of solution concepts. However, none of the examples feature a formal definition. This seems strange.

It would be more consistent for the article to feature a formal definition (or, at least, a reference to one) for each example.

That said, these definitions can be quite involved, so it might even be better to omit the formality entirely. Chisquared (talk) 07:50, 30 June 2020 (UTC)

title: Talk:Solution concept


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Emiko Raika

Emiko Raika (来家 恵美子, born January 24, 1975, in Kyoto, Japan) is a Japanese female professional boxer and mixed martial artist.

Although more Japanese women have taken up traditionally male sports such as karate, kickboxing and wrestling in recent years, many in Japan still believe that women should not box, because of the injury risk. Raika, who has suffered a broken nose and an eye socket fracture in fights, shrugs off the possibility of injuries. "When I told friends that I want to become a boxer, they were surprised and put down my decision because I am a woman," said Raika. "But I had to resist. I like boxing and I wanted to do it. In fact, I am expressing myself through boxing. I am fighting not to beat the opponent, but for myself."

Early life
Raika lived with her grandmother until she was three. After her grandmother died, she spent the next 15 years in the Karyo-en children's home in Kyoto. Raika was a good student, among the top of her high school graduating class. She studied at Ogaki Women's College and became a licensed dental hygienist, later working at a dental clinic. She quit the job after a month, because she did not like the uniform. She tried other jobs, but they did not make her happy.

"I felt as if I were not living and felt myself destroying." said Raika, "I was very weak mentally. I could choose to have an ordinary life, but I wanted more than just that - to become strong."

Boxing career
Always enjoying rough sports such as wrestling and rugby, Raika joined a local boxing gym that she found while commuting to work at a battery manufacture, and trained to compete as an amateur boxer.

Raika had three wins in three amateur fights, and was named the most outstanding woman in a local amateur tournament, where she was spotted by Toshihiro Yamaki, a Tokyo gym owner.

With a growing number of Japanese women becoming interested in boxing, a group of gym owners had organized a women's boxing association in 1999, with Yamaki as its secretary general, called the Japanese Women's Boxing Commission (JWBC).

Yamaki was impressed by Raika, and asked her to join his gym and turn professional. She now devotes full-time to boxing.

Raika won the WIBA Featherweight World title from Australian Sharon Anyos in 2001, and successfully defended the title in a 2002 rematch. After destroying an overmatched Shelby Walker in two rounds for her second title defence on May 23, 2004, Raika made her 3rd title defence against the rugged (and undefeated) brawler Melissa Fiorentino on September 18, 2004, in Kyoto, Japan. It was called the WIBA 2004 Fight of the Year, Raika again successfully defended her crown via 10-round decision in a brutal toe-to-toe slugfest.

Raika then vacated her world title at featherweight (126 pounds) to move up in weight to the super featherweight division (130 pounds).

On March 13, 2005, in Tokyo, Japan, Raika lost a 10-round decision to Chevelle Hallback for the vacant WIBA Super Featherweight World Title.

On October 1, 2005, in Tokyo, Japan, Raika won an 8-round decision over Belinda Laracuente.

On May 20, 2006, in Cholla Province, Korea, Raika moved up another 2 weight classes, to 140 pounds, where she won a 10-round unanimous decision over Won Mi Chung, for the IFBA Light Welterweight World Title.

On June 10, 2006, in Tokyo, Japan, Raika knocked out Yoko Takahashi in the 4th round with a body shot.

On December 15, 2006, in Tokyo, Japan, Raika won a 10-round unanimous decision over Terri Blair to win the vacant WIBA Lightweight World Title.

title: Emiko Raika


text:
Wikipedia:Articles for deletion/Walden MacNair

 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 already merged to Minor Dark wizards in Harry Potter CDC   (talk)  22:57, 2 August 2005 (UTC)

Walden Macnair
Minor Harry Potter character, merge to List of characters in the Harry Potter books or ome simialr list page, or simply delete DES 23:50, 22 July 2005 (UTC)
 * Note that this VFD wasn't listed properly, I am fixing it up. That being said, merge. Sasquatch′↔T↔C 02:22, July 23, 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:
181 (number)

181 (one hundred [and] eighty-one) is the natural number following 180 and preceding 182.

In mathematics
181 is prime, and a palindromic, strobogrammatic, and dihedral number in decimal. 181 is a Chen prime.

181 is a twin prime with 179, equal to the sum of five consecutive prime numbers: 29 + 31 + 37 + 41 + 43.

181 is the difference of two consecutive square numbers 912 – 902, as well as the sum of two consecutive squares: 92 + 102.

As a centered polygonal number, 181 is:

181 is also a centered (hexagram) star number, as in the game of Chinese checkers.

Specifically, 181 is the 42nd prime number and 16th full reptend prime in decimal, where multiples of its reciprocal $$\tfrac {1}{181}$$ inside a prime reciprocal magic square repeat 180 digits with a magic sum $$M$$ of 810; this value is one less than 811, the 141st prime number and 49th full reptend prime (or equivalently long prime) in decimal whose reciprocal repeats 810 digits. While the first full non-normal prime reciprocal magic square is based on $$\tfrac {1}{19}$$ with a magic constant of 81 from a $$18 \times 18$$ square, a normal $$19 \times 19$$ magic square has a magic constant $$M_{19} = 19 \times 181$$; the next such full, prime reciprocal magic square is based on multiples of the reciprocal of 383 (also palindromic).

181 is an undulating number in ternary and nonary numeral systems, while in decimal it is the 28th undulating prime.

In other fields
181 is also:
 * The atomic number of an element temporarily called Unoctunium
 * 181 Eucharis is a large K-type Main belt asteroid
 * Minuscule 181 (in the Gregory–Aland numbering), α 101 (Soden), is a Greek minuscule manuscript of the New Testament
 * Mir-181 microRNA precursor is a small non-coding RNA molecule
 * Route 181: Fragments of a Journey in Palestine-Israel, winner of the 2005 Yamagata International Documentary Film Festival

title: 181 (number)


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Arafo

Arafo is a municipality of the southeastern part of the island of Tenerife in the province of Santa Cruz de Tenerife, on the Canary Islands. The town Arafo is situated 5 km west of the coast town Candelaria and 22 km southwest of Santa Cruz de Tenerife. The TF-1 motorway passes through the eastern part of the municipality.

title: Arafo


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Talk:Hazardous material

References in popular culture
For hazmat training,packing,consulting and documentation services see www.restrictedarticles.com, thanks.___________

I edited a few things on this page.

1. I added group 6.3 (PGIII) poisons. 2. I replaced "flash powders" with "display fireworks" for explosive class 1.3. Flash powder is actually classified as a 1.1 explosive. 3. I replaced "hydrogen cyanide" with "potassium cyanide" and "mercuric chloride" for poison class 6.1. Hydrogen Cyanide is actually classified as a 2.3 compressed (poison) gas.

Class 1
why does it seem that no one knows the whole truth about explosives and even less know about the classes?

Training Materials
I have posted the beginnings of training materials for HazMat personnel on Wikiversity:School of Fire and Emergency Management. Would you folks be interested in posting information and content to it? If so, let me know on the Talk page of the site or email me.--Mfinney 19:26, 12 February 2006 (UTC)

this article appears to have been wiped out
It looks like someone decided about 10 April that most of the material in this article did not belong. Comments? Should I restore the longer version?

It seemed to me that a major part of what had been here was specific to transportation of hazardous materials and perhaps belonged in a separate article, or merged with similar material in the Dangerous Goods article. Pzavon 01:51, 19 April 2006 (UTC)

Suggested merge with dangerous goods
Please discuss at http://en.wikipedia.org/wiki/Wikipedia:Proposed_mergers#October_2006 -- 790 21:44, 1 October 2006 (UTC)

Dangerous Goods and Hazardous Material are synonymous. The term "Dangerous Goods" is used internationally and the term "Hazardous Material" or "HazMat" is used in the United States. Therefore, only one Wiki page covering Dangerous Goods / Hazardous Materials should exist. Manu 01:06, 10 January 2007 (UTC)

That seems reasonable given the current contents of the page however as I got to this from a link to "hazardous chemicals" which is not the same topic there needs to be a replacement for this page with those details Patricksears 15:45, 12 January 2007 (UTC)

Good point... When the Hazardous Material and Dangerous Goods pages are merged, the hazmat page should not be deleted but rather tagged as a stub for hazardous chemicals (not sure how this can be done, but I guess we'll learn!) Is this appropriate? Manu 22:57, 12 January 2007 (UTC)

If these two ARE in fact merged, my question is this "If they are merged together, could I bring up the website and type in Hazardous Materials and still get this? Or would I HAVE to type in Dangerous Goods?" --FJBMinor 16:39, 23 January 2007 (UTC)

 * Well I guess one or both of them should become a redirect, the article starting maybe like Dangerous Goods (BE) or Hazardous Materials (AE) are ...  -- 790 19:37, 23 January 2007 (UTC)

 * Of course the title that did not survive as an article would become a redirect. Pzavon 02:46, 24 January 2007 (UTC)

 * Will the pages be merged? E-pen 12:51, 4 May 2007 (UTC)

 * Done. Pairadox 06:57, 25 August 2007 (UTC)

title: Talk:Hazardous material


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Brian Wilson Presents Pet Sounds Live

Brian Wilson Presents Pet Sounds Live is the second live album by American musician Brian Wilson. It features a performance of the Beach Boys' 1966 album Pet Sounds, recorded by Wilson and his band at the Royal Festival Hall in London in January 2002.

Personnel

 * Brian Wilson – vocals, keyboards, arrangements
 * Jeffrey Foskett - lead vocals, harmony and backing vocals, guitar
 * Probyn Gregory – harmony and backing vocals, guitar, French horn, trumpet, Theremin, keyboards
 * Nick Walusko – harmony and backing vocals, guitar
 * Bob Lizik – bass guitar
 * Darian Sahanaja – vocals, keyboards, vibraphone
 * Scott Bennett – harmony and backing vocals, keyboards, vibraphone, percussion
 * Jim Hines – harmony and backing vocals, drums
 * Mike D'Amico - harmony and backing vocals, percussion
 * Paul von Mertens – tenor and baritone saxophones, flute, alto flute, clarinet, harmonica
 * Taylor Mills – harmony and backing vocals, percussion
 * Andy Paley – percussion, guitar

title: Brian Wilson Presents Pet Sounds Live


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Hastings River

Hastings River (Birpai: Doongang ), an open and trained intermediate wave dominated barrier estuary, is located in the Northern Tablelands and Mid North Coast districts of New South Wales, Australia.

Course and features
Hastings River rises in the Great Dividing Range, southwest of Kemps Pinnacle, in the area surrounding Oxley Wild Rivers National Park and Werrikimbe National Park and flows generally south, southeast and east, joined by seven tributaries including the Tobins, Forbes, Ellenborough, Pappinbarra and Thone rivers, before reaching its mouth, flowing into the Tasman Sea of the South Pacific Ocean, at Port Macquarie. The river descends 1040 m over its 180 km course.

The course of the river flows adjacent to the settlements Ellenborough, Long Flat, Beechwood, Wauchope and Port Macquarie. The Oxley Highway is generally aligned with the middle and lower reaches of the river. West of Port Macquarie, the Pacific Highway crosses the Hastings River.

History
The Hastings River has been inhabited by Birpai Aboriginal people for thousands of years, who knew it as Doongang.

The river was first charted by European explorers in 1818, after being sighted by John Oxley. He named the river the Hastings River for the then Governor-General of India, Francis Rawdon-Hastings, 1st Marquess of Hastings.

On 19 November 2002, two anglers found the dismembered body of murdered Sydney drug dealer, Terry Falconer. Investigations revealed that Falconer had died three days beforehand, after his corpse had been cut up and dumped in the Hastings River by Anthony Perish and his criminal gang associates.

The River flooded in March 2021 during a severe weather event affecting much of New South Wales.

Recreation, flora and fauna
The Hastings River gives its name to the Hastings River wine region and to an endangered species of mammal, the Hastings River Mouse (Pseudomys oralis).

Fishing opportunities on the Hastings River exist for freshwater bass and catfish in the upper reaches to estuarine species such as bream, flathead and luderick near the river mouth.

title: Hastings River


text:
User talk:Kvdudeman

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, please be sure to sign your name on Talk and vote pages using four tildes (~~~~) to produce your name and the current date, or three tildes (~~~) for just your name. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! --Ragib 23:51, 22 July 2005 (UTC)
 * The Five Pillars of Wikipedia
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * Merging, redirecting, and renaming pages
 * If you're ready for the complete list of Wikipedia documentation, there's also Topical index.

title: User talk:Kvdudeman


text:
User talk:444 Christopher

Please stop adding nonsense to Wikipedia. It is considered vandalism. If you want to experiment, please use the sandbox. Thank you.

Ilokano
Hi, this is your final warning. Please stop vandalizing the Ilokano page, or I will report you for vandalism. If you would like to discuss this issue in a civil manner, then please use the talk pages as using the main article page is inappropriate.

As for the content of the article itself, if there is a mistake then it'll be corrected. I am basing this on research by a native Ilokano - Carl & I are discussing this. Agyamanak --Chris 23:51, 22 July 2005 (UTC)

title: User talk:444 Christopher


text:
Modern reenactment

Modern reenactment is historical reenactment of events of the modern period, most commonly events from the 18th century to the present.

The period starts with events such as the Seven Years' War, the Napoleonic Wars, and the peak of the Royal Navy's power.

The Victorian era is included, although not as well covered in terms of events as the major battles before and after it, with the notable exception of the American Civil War, which has a large and active community of reenactors.

Depictions of 20th century events such as World War II, the Korean War, and the Vietnam War are more firmly classified as modern reenactment.

The period includes the development of firearms, from musket and cannon to automatic weapons, and vehicles.

title: Modern reenactment


text:
Theodore Streleski

Theodore Landon "Ted" Streleski (1936) was an American former graduate student in mathematics at Stanford University who murdered his former faculty advisor, Professor Karel de Leeuw, with a ball-peen hammer on August 18, 1978. Shortly after the murder, Streleski turned himself in to the authorities, claiming he felt the murder was justifiable homicide because de Leeuw had withheld departmental awards from him, demeaned Streleski in front of his peers, and refused his requests for financial support. Streleski was in his 19th year pursuing his doctorate in the mathematics department, alternating with low-paying jobs to support himself.

During his trial Streleski told the court he felt the murder was "logically and morally correct" and "a political statement" about the department's treatment of its graduate students, and he forced his court-appointed lawyer to enter a plea of "not guilty" rather than "not guilty by reason of insanity" as the lawyer had urged. Streleski was convicted of second degree murder with a sentence of eight years. He served seven years in prison at California Medical Facility.

Streleski was eligible for parole on three occasions, but turned it down as the conditions of his parole required him to stay away from Stanford campus and to get psychiatric treatment. Upon his release in 1985, he said, "I have no intention of killing again. On the other hand, I cannot predict the future."

In 1993 Streleski was turned down for a fare box repair position with the San Francisco Municipal Railway after his crime came to light.

title: Theodore Streleski


text:
Li Qinglong

Li Qinglong (born August 1962) is a Chinese pilot selected as part of the Shenzhou program.

Biography
Li Qinglong was born in Dingyuan, Anhui province, China. In 1987 he graduated from the People's Liberation Army Air Force (PLAAF) Missile College and later the PLAAF Flight College. A fighter pilot in the PLAAF, he had accumulated 1230 flight-hours.

In November 1996, Li Qinglong and Wu Jie started training at the Russian Yuri Gagarin Cosmonauts Training Center. Along with the 12 candidates selected in 1998, they formed Group 1 of the People's Liberation Army Astronaut Corps.

In January 2003 it was reported by a Hong Kong newspaper that Chen Long would make the first manned Shenzhou flight. Then in March 2003, it was reported that Li Qinglong would make the first manned flight. It was thought that "Chen Long" was a misspelling of "Qinglong", a fact confirmed by the newspaper a couple of days before the launch of Shenzhou 5, which was flown by Yang Liwei.

Li Qinglong retired from the Astronaut Corps in 2014.

title: Li Qinglong


text:
Burnin' Sky

Burnin' Sky is the fourth studio album by the English rock band Bad Company. It was released on 3 March 1977. Burnin' Sky was recorded in France at Château d'Hérouville in July and August 1976 with future Rolling Stones engineer Chris Kimsey. Its release was delayed until March 1977 so to not compete with the band's then-current album Run with the Pack.

The album peaked at No. 15 on the Billboard 200 and No. 17 in the UK Albums Chart. The album was remastered and re-released in 1994. The cover is similar to the poster for the 1969 Sam Peckinpah film The Wild Bunch. In the 2000 movie Almost Famous, the fictitious band Stillwater's first T-shirt is strikingly similar to the Burnin' Sky album cover.

Critical reception
The New York Times noted the "subtler, quieter approach," writing that "the results sounded oddly somnolent."

Track listing
All songs by Paul Rodgers unless otherwise noted.

Personnel
with:
 * Bad Company
 * Paul Rodgers – vocals, guitar, piano, accordion
 * Mick Ralphs – guitar, keyboards
 * Simon Kirke – drums
 * Boz Burrell – bass
 * Mel Collins – saxophone, flute
 * Tim Hinkley – keyboards
 * Technical
 * Chris Kimsey - engineer

title: Burnin' Sky


text: Category:Multiplicative functions

title: Category:Multiplicative functions


text:
Talk:Burnin' Sky

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

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

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 00:26, 1 June 2007 (UTC)

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

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

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 04:23, 12 February 2008 (UTC)

Huh?
In the body, there is a sentence that reads the album peaked at a "disappointing" #15 on the Billboard album chart. What's disappointing about that? Considering a #40 album is considered a hit, #15 is pretty respectable. --Cubs Fan (talk) 17:20, 13 April 2008 (UTC)

Album cover
Why they did not use the other one features a photo of the cliffs and a red sky? — Preceding unsigned comment added by 66.167.141.105 (talk) 09:52, 8 April 2016 (UTC)

title: Talk:Burnin' Sky


text:
Tatjana Patitz

Tatjana Patitz (25 May 1966 – 11 January 2023) was a German fashion model. She achieved international prominence in the 1980s and 1990s representing fashion designers on runways and in magazines such as Elle, Harper's Bazaar, and Vogue. She was one of the big five  supermodels who appeared in the 1990 music video "Freedom! '90" by George Michael, and she was associated with the editorial, advertising, and fine-art works of photographers Herb Ritts and Peter Lindbergh.

In the book Models of Influence: 50 Women Who Reset The Course of Fashion, author Nigel Barker reviewed Patitz's career during the height of the supermodel era in the 1980s and 1990s, writing that she possessed an exoticism and broad emotional range that set her apart from her peers. In her 2012 memoir, creative director of Vogue Grace Coddington regarded Patitz as one of the original supermodels and a must in photographs and on the catwalk. Harper's Bazaar wrote, "Indeed, Patitz's features almost confuse. Like Garbo or the Mona Lisa, the inexplicable gifts of line and luminescence defy definition." Vogue editor-in-chief Anna Wintour stated that Patitz had always been one of her favourite models. Patitz's work bridged the eras of the exhibitionist 1980s and the minimalist 1990s in an enduring way, as Barker concluded, "The most lasting images of her are when she was really looking like herself." Author Linda Sivertsen noted that Patitz is greatly responsible for establishing the acceptance of statuesque and curvaceous beauty in an industry of extreme thinness.

Patitz was an avid horsewoman who continued her lifelong passion for animals and the environment by campaigning for ecological causes and animal rights. Her self-described eclectic and bohemian design aesthetic for residential architecture and home design in her adoptive home state of California was recognised internationally.

Early life
Patitz was born in Hamburg, West Germany, and raised in Skanör, Sweden. Her father was German and his job as a travel journalist allowed his family to travel and live in different countries. Patitz's mother was an Estonian dancer who performed at Le Lido in Paris. Patitz's parents met at a wine tasting in a bodega in Spain where her mother was a student travelling with a modern dance company; Patitz said that her parents' romance was a case of two people falling in love and spending the rest of their lives together. Patitz learned to ride horses at the age of seven. During the summers, she found respite at her family's summer vacation home on the island of Mallorca, where she participated in horse camps. About her love of horses, Patitz said, "I have been riding since I was a small child. For me, it means freedom, connectedness, and dedication. Horses transform stress and worry for me. They are genuine and spiritual. They make me happy and relaxed, especially if I feel pressured or tense."

1980s
In 1983 at the age of 17, Patitz entered and became a finalist in the Elite Model Look (formerly known as Elite Models' "Look of the Year" contest), and based on a Polaroid, she was placed third by Elite Model Management founder John Casablancas. Patitz won a contract and moved to Paris to begin working as a model. Though not an immediate success, by 1985, Patitz worked regularly and at the end of that year, she modelled for the cover of British Vogue, her first major cover.

Also that year she began to work with photographer Peter Lindbergh with whom she cultivated a 30-year collaborative relationship which contributed to the launch of the supermodel era. In his book, 10 Women, Lindbergh wrote, "I admire Tatjana because she always stays herself. She's very soft, but at the same time she's very strong and knows how to stand up for what she thinks, and it's always very enriching to be with her. It's impossible not to admire her and over the years not to be just a little bit in love with her."

Patitz's success in Europe, which included an editorial for the 1985 September issue of French Vogue by master photographer Horst P. Horst, led her to New York City where she worked for American Vogue and such photographers as Irving Penn, Helmut Newton, Steven Meisel, Denis Piel, Sheila Metzner, and Wayne Maser. She also worked with Gilles Bensimon at Elle and Francesco Scavullo at Cosmopolitan.

The December 1985 issue of Vogue featured Irving Penn's photograph, "Colored Contact Lenses", showing Patitz wearing contact lenses over closed eyelids. The image would later be featured in the 1992 book On The Edge: Images from 100 Years of Vogue as one of the iconic photographs of the era.

In 1986, she appeared on two covers of the Italian edition of Vogue and continued to be featured in editorials in the American and British editions of Vogue. Patitz appeared in campaigns for Calvin Klein photographed by Bruce Weber, and in 1987 for Revlon's "The Most Unforgettable Women in the World" campaign photographed by Richard Avedon. Avedon also photographed Patitz for her first cover of American Vogue (May 1987), which is regarded as one of the definitive covers of the 1980s. Vogue began regularly including Patitz's name on the pages of fashion editorials as early as 1987, familiarising readers not only with her face, but also with her personality. "What immediately strikes me about her is her extraordinary kindness and her star quality," stated photographer Antoine Verglas.

When Tiffany's celebrated its 150th anniversary in 1987, Patitz appeared on the cover of their magazine's special issue with ballet dancer Mikhail Baryshnikov and she was named the model discovery of the year for her gleaming and radiant looks.

During this period, Patitz met Los Angeles-based photographer Herb Ritts, with whom she shared another significant and enduring collaboration in fashion, fine art, and commercial work, like a muse playing any role he suggested—mermaid, sprite, surfer girl, plainswoman, movie star. Ritts said of Patitz, "Her features are a bit off; she's not a typical, commercial beauty, but when I shoot her, I'm never bored. Her looks have power, strength, intensity." Patitz is the subject of Tatjana Veiled Head (Tight View), Joshua Tree 1988, one of Ritts' most celebrated works.

As Patitz's career escalated, she was credited with expanding ideals of female beauty. Patitz and a select group of individual-looking, business-minded, high-profile fashion models emerged and came to be known as the original supermodels. An image of Patitz with other models laughing on the beach was photographed by Peter Lindbergh for Vogue during this period. Titled "White Cotton Shirts", the photograph is regarded as an iconic fashion photograph and was accompanied by an article that singled out Patitz for her "astonishing presence", praising her "uncosmeticised womanliness, new and important in the 1980s."

"At just shy of six feet tall, Teutonically self-composed, and dominating any room she cared to walk into [sic], Tatjana was the biggest beast in the seething jungle; Vogue amplified the comparison by fixating on her lynx-like eyes, impossibly blue and curved around the temples like a cat's."

In another 1988 Vogue article titled "Tatjana: Million Dollar Beauty", Patitz's creative team shared their impressions of her: "In pictures, her sensitivity is what comes through; something delicate, fragile, exciting. It's a strange mixture of lazy sensuality and moments of intense emotion," said John Casablancas, president of Elite Model Management. "It's hard to get a bad picture of Tatjana. She's very photogenic, which is very rare, and she looks different in every light," added photographer Patrick Demarchelier. "While some models develop one look, she has many."

Her versatility was exemplified by her ever-changing hair color and style with each passing year – from short-haired brunette to tawny mane to long and blond. For an April 1989 editorial titled "Earthly Powers" in British Vogue, hair stylist Didier Malige cut and restyled Patitz's foot-long blonde hair into a cropped shag just above her shoulders. Considered by some industry insiders as a drastic mistake, the risk paid off. "Once I cut my hair – I cried for two months," Patitz told Esquire. "People said, 'We can't believe she cut her hair. But the move won Patitz covers of British and French editions of Vogue featuring her new look.

The pinnacle of that year came in July and August when Patitz was awarded with consecutive covers of American Vogue. Being on Vogue's cover two months in a row was a rare achievement for a model of that time and an innovation for the recently revamped Vogue under the leadership of new editor-in-chief Anna Wintour. This period was the zenith of Patitz's career, known as "the era of Tatjana" in the fashion industry – a whirlwind time when she seemed destined to walk away with the title of supermodel herself. Britain's SKY Magazine called Patitz the first German supermodel and noted that her success led the Elite agency to open a branch in Germany."

At this point, being in such demand required constant travel for Patitz, who flew 40 flights in one month alone. In an effort to live a healthier and more balanced lifestyle, Patitz began slowing down her modelling career to focus on other creative pursuits such as writing, acting, and meditation. She relocated to California and made Los Angeles her homebase. The move afforded Patitz, who had always searched for creative and spiritual growth, the time and space to develop other aspects of her life.

"I don't want to do anything for fame or money or glamour or anything like that...I think people are coming to a higher awareness in the world. Everything is polluted – the oceans, the forests ... and people are killing each other all over the place without realizing that we all belong together and have to share this place. Maybe I'm dreaming, but I'm hopeful."

1990s
In the final months of 1989, Patitz was photographed with her peers in two group portraits that would become defining images of the forthcoming supermodel era of the 1990s: Stephanie, Cindy, Christy, Tatjana, Naomi, Hollywood by Herb Ritts; and Peter Lindbergh's cover of the January 1990 issue of British Vogue. The international press began recognising supermodels as the icons of the day, noting that female ideals were no longer only dictated by fashion editors or reflective of male fantasies – but representative of where women stand now and what they aspire to.

1990 began with Patitz gracing the January covers of both American and British Vogue. She shared the British Vogue cover with Naomi Campbell, Cindy Crawford, Linda Evangelista, and Christy Turlington; the portrait of the five women is regarded as the cover that sparked the supermodel phenomenon of the 1990s, helping each woman attain global appeal. The accompanying article proclaimed that each woman – in her early 20s and already million-dollar-plus a year earners – was emphatically individual, conforming less to a formula, and united by a confidence born of maturity.

The January British Vogue cover inspired singer George Michael to cast Patitz, Crawford, Evangelista, Turlington, and Campbell in his music video for the song "Freedom! '90" which was directed by David Fincher. Michael did not appear in the video; instead, each woman would lip-synch the song in Michael's place. While Patitz and her co-stars were already the top stars in the fashion world, they won major recognition for their beauty and charisma outside of it too. The music video was programmed into heavy rotation on MTV, going on to transcend the worlds of pop culture, music, and fashion in the 1990s and remaining influential and iconic in the decades to come. The media dubbed Crawford, Campbell, Turlington, Evangelista, and Patitz "the big five."

Settled in Los Angeles, Patitz continued to manage her modelling career while studying acting. She worked with Ritts, Lindbergh, and Maser but was sought after by the industry's leading female photographers such as Peggy Sirota, Ellen Von Unwerth, Pamela Hanson, and Sheila Metzner as well as new photographers such as Mario Sorrenti and Juergen Teller. Los Angeles-based photographers Phillip Dixon and Matthew Rolston also frequently photographed Patitz for Harper's Bazaar. Rolston said of Patitz: "I look for more than beauty. There must be a memorable quality. Tatjana has it more than anyone else. She sticks in your mind. There's a depth, an emotional quality to her that's truly extraordinary. She's very dear, charming and extremely feminine. She's very open and her priorities are natural things – animals, the sea, the environment. That's what's so interesting about her. She's not what she seems."

As the decade progressed, Patitz worked in advertising campaigns and on runways for such top fashion houses as Chanel, Versace, Salvatore Ferragamo, Valentino, Karl Lagerfeld, Helmut Lang, Donna Karan, Jean Paul Gaultier, and Vivienne Westwood. Most notably, Patitz was the long-standing face of Jil Sander, representing the designer's minimalist style for a generation of fashion readers in era-defining ad campaigns photographed by Nick Knight. Patitz shared another cover with the supermodels of the era for the centennial issue of Vogue (April 1992) photographed by Patrick Demarchelier. Also in 1992, it was announced that Patitz had won an exclusive cosmetics contract with Germaine Monteil makeup and perfumes. In an interview with Harper's Bazaar, Monteil's Vice-President of Marketing Worldwide, Susan Wells noted that the cosmetics company searched for a woman with a globally recognised name and beauty who had an accessible face that women could relate to. That year, New York magazine named Patitz one of the top 10 supermodels in the world, epitomising modern beauty and grace – and changing monolithic ideals of perfection.

As of 1997 Patitz had appeared on over 200 magazine covers worldwide, including seven covers of American Vogue and thirteen covers of British Vogue. French, Italian, German, Spanish, and Australian editions of Vogue have also featured Patitz on their covers and in editorials photographed by photographers such as Max Vadukul, Sante D'Orazio, Mikael Jannson, Arthur Elgort, Hans Feurer, Walter Chin, and Javier Vallhonrat. International editions of Vogue and Elle have also profiled Patitz for her signature home design and decor style including a cover story for the April 1997 edition of Elle Decor UK.

2000s
Patitz began the new millennium continuing to work with top photographers at major fashion magazines such as the 2000 editorial in Vogue Italia titled, "Magnetic" by Paolo Roversi. In the May/June 2000 issue of V magazine, Patitz was photographed by Inez and Vinoodh in a series of portraits with fellow supermodels Christy Turlington, Stephanie Seymour, and Iman. Patitz joined Chinese supermodel and actress Qu Ying at an exhibition in Beijing for Longines, a brand Patitz would represent throughout the decade. She also returned to the cover of Harper's Bazaar for its Chinese edition.

In 2001, she was the face of the Jil Sander No. 4 fragrance campaign as well as being the cover star of the July issue of Elle UK and the September issue of Italian Elle. Peter Lindbergh, Patitz's most frequent collaborator, photographed her for the Spring/Summer 2003 Kookai campaign.

In 2004, Patitz starred in the Fall/Winter campaign for Jigsaw, photographed by Juergen Teller and Sand Copenhagen. Teller would include Patitz in his portfolio on fashion's original cover models for the September 2006 issue of W magazine. The series of portraits is notable for the inclusion of fashion icons throughout different eras and decades, including Cheryl Tiegs, Christie Brinkley, Paulina Porizkova, and Shalom Harlow. Patitz's contemporaries such as Naomi Campbell, Stephanie Seymour, Cindy Crawford, and Christy Turlington are also included.

Patitz continued to be an advocate for animal rights by filming a PSA in 2007 for Orangutan Outreach and appealing for the protection of orangutans in the rain forests of Borneo, Indonesia.

Still representing cosmetics brands and designers such as L'Oréal and Uniqlo, Patitz returned to the runway for Helmut Lang, including his Fall/Winter 2000 presentation, regarded by Vogue as one of the most unforgettable fashion shows of all time.

In July 2008, Patitz's interior design style was celebrated in the publication Livingetc for using recycled materials such as reclaimed timber and stone which she found by scouring salvage yards – from limestone kitchen floors to wooden ceiling beams and staircase. It was reported that she lived on her ranch with her five-year-old son Jonah, four horses, four dogs and two cats ("I needed nature around me").

Patitz closed out the decade by returning to the runway in 2009 for designer Jean Paul Gaultier, closing his Fall/Winter collection for Hermes during the finale.

2010s
In the 2010s, the scope of Patitz's work focused on issues relating to inclusivity, HIV awareness, LGBTQ rights, ageism, and gender equality while remaining in the pages and on the covers of Vogue, Marie Claire and Elle. Notably, Patitz's work and career were examined in articles by a new generation of distinguished writers such as Chloe Malle and Janelle Okwodu, who recognised Patitz for her enduring legacy in projecting different representations of women.

When Karl Lagerfeld staged his "Coco on the Lido" 2010 cruise collection on the boardwalk along the Venice Lido, he cast Patitz as an Edwardian mother to poetically reinvent the mystique of Coco Chanel's favourite locales. At the conclusion of the show, Lagerfeld escorted Patitz for the finale. In 2011 and now in her 40s, Patitz made industry headlines when she was chosen as the spokesmodel to front the cosmetics campaign for the global brand Shiseido. That year, Patitz was featured in Sarah Brokaw's book Fortytude, telling the author, "I believe in aging gracefully because it celebrates me as a woman...In the end – for me, as for every woman – beauty is what one emanates. It comes from feeling good about who you are with your flaws (and we all have them), and being at peace with yourself."

The following year, Vogue Paris included Patitz in a black and white portfolio with Lauren Hutton, Stephanie Seymour, and Daria Werbowy that celebrated examples of timeless elegance and beauty. Photographed by Inez and Vinoodh, the editorial was highlighted in the media by such publications as W magazine.

Numéro China featured Patitz on its cover for its February 2013 issue. The simple yet powerful headline read Woman and was accompanied by a 20-page editorial photographed by Philip Dixon. The age-defying traits of femininity, strength of character, and enterprising talent were lauded the next year in a special issue of Vogue Italia titled "Women of Today" that placed Patitz among her colleagues such as Anjelica Huston, Julia Ormond, and Karen Alexander.

In 2014, Patitz starred in an international advertising campaign with actress Jane Fonda and model Doutzen Kroes for L'Oreal Age Perfect that celebrated three generations of timeless women.

For Vogue Italia's September 2015 issue, Patitz was reunited with Peter Lindbergh for a new group editorial commissioned by editor-in-chief Franca Sozzani. Titled "In Love With..." the pictorial celebrated Lindbergh's most frequent subjects, the 1990s supermodels. As noted by writer Suzy Menkes in French Vogue, "This set of pictures ... seems more intense in the refusal to follow the tools of today's beauty trade – postproduction, a computerized smoothing, hair tidied, wrinkles removed. Refusing to bow to glossy perfection is Peter Lindbergh's trademark – the essence of the images that look into each person's unvarnished soul, however familiar or famous the sitter." A short film, titled "The Reunion", was also produced and made headlines worldwide for Lindbergh's celebration of maturing beauty. The following year, Lindbergh advanced his mission of expanding ideals of beauty and representation when he grouped Patitz with actress Andie MacDowell and models Helena Christensen, Karen Alexander, and Amber Valletta to front a campaign for cosmetics brand L'Oréal Paris, saying "It should be the responsibility of photographers today to free women and finally everyone, from the terror of youth and perfection." In an interview about the shifting norms in the advertising industry, Patitz commented, "You don't want to see the plastic-fantastic faces of some celebrities today. That's not a role model for young girls; that's not a role model for an older woman, either."

Patitz appeared on the catwalk for the last time in 2019, after being diagnosed with breast cancer. This was for Etro's fall/winter 2019 show during Milan Fashion Week. For Etro's Fall 2019/2020 collection titled "Aristoindies", Patitz appeared at the Conservatorio Giuseppe Verdi in Milan in a collection that made headlines for bringing together A-list supermodels, including Farida Khelfa and Alek Wek.

Assessment and recognition
Patitz's first show was in Paris for Azzedine Alaia in 1984, according to Elle magazine. Thereafter, Patitz appeared in many seminal fashion collections of each decade, including Helmet Lang's Fall 1994 latex and lace collection as well as Lang's March 1998 collection which was the first fashion show to ever be shown online and on the internet. As much as Patitz was associated with Azzedine Alaia and his cadre of models in the 1980s, she was also distinctly associated with Helmut Lang in the 1990s and 2000s. As one of the "Original Supermodels",  she remained in demand as of 2015 on covers and in campaigns – returning to the runway for select brands and designers, such as Etro, Jean-Paul Gaultier and Chanel. and as of 2017 did not stop working.

In 2009, Vanity Fair called Patitz a catwalk queen of the 1990s. In March 2009 Vogue declared, "Hermès flies high with the return of nineties supermodel Tatjana Patitz to the runway" and in a tribute to aviator Amelia Earhart, Patitz closed the show walking the finale with designer Jean Paul Gaultier. Patitz then starred in Chanel's 2010 Resort Collection as the picture-hatted Edwardian mother in "Death in Venice", walking the finale with designer Karl Lagerfeld. Patitz was a mainstay in Lagerfeld's fashion shows including Chanel, Chloe, Fendi, as well as his own collections.

In a 2014 edition of Musee Magazine, artist Slater Bradley told editor-in-chief Andrea Blanch that Patitz's collaboration with artist Charles Ray titled "The Most Beautiful Woman in the World, 1993 (for Parkett 37)" in which the supermodel was depicted as the girl next door, had achieved what social media would do decades later - but in 1993 - and called it extraordinary and genius.

In 2020, Marie Claire magazine celebrated Patitz as one of the top supermodels who ruled the runway in the 1990s. The same year, Patitz was recognised for her work with Vogue articles such as "Who Was Tatjana Patitz, The Most Mysterious of the Original Supers?", "'True West' Is the Fashion Fix You Need After Months of Lockdown", and Harper's Bazaar's "The 21 Top Supermodels That Dominated Fashion in the '90s" that were published during the global pandemic of 2020. The year also marked the 30th anniversary of George Michael's "Freedom! '90", regarded by Spin magazine as the 15th most iconic music video of all time and by Rolling Stone as the 11th best music video of all time.

In early 2021, the Frankfurter Allgemeine Zeitung named Patitz, Claudia Schiffer, and Nadja Auermann as the only three Germans who still hold the title of supermodel.

A 2021 article in L'Officiel about the supermodel phenomenon of the 1990s singled out Patitz for having the most beautiful face of the decade.

Acting and other appearances
In 1987, she appeared in the Duran Duran music video for "Skin Trade" which charted on Billboard's Hot 100. In 1988, she appeared in the Nick Kamen music video for "Tell Me". Patitz then starred in George Michael's "Freedom! '90" music video with Cindy Crawford, Christy Turlington, Linda Evangelista, and Naomi Campbell in 1990, regarded as one of the greatest videos of all time by Spin, Parade, and Billboard. In 2000, she appeared in the Korn music video for the song "Make Me Bad," a top 10 hit on Billboard's Mainstream Rock Songs chart.

Patitz appeared in international television commercials for Cartier, Revlon, Levis, DuPont Luxura, Pantene, Dockers, Ralph Lauren, and the Vauxhall Corsa commercial directed by Tarsem Singh and starring supermodels Campbell, Turlington, Evangelista, and Kate Moss.

Her first major film appearance was as a murder victim in Rising Sun (1993). Following this, Patitz had appearances on television series such as The Single Guy and The Larry Sanders Show. Her largest role was in the 1999 thriller Restraining Order.

Along with Michael J. Fox, she appeared in the 2011 Carl Zeiss AG calendar, photographed by Bryan Adams in New York City in the summer of 2010.

Personal life
Patitz was married to businessman Jason Randall Johnson and in 2004, gave birth to her son, Jonah Johnson, who joined his mother on many editorial shoots including "The Great Escape" for American Vogue's August 2012 issue and "Family Matters" in the December 2019 issue.

In a 2019 interview for Mercedes-AMG's 63Magazine, Patitz stated, "My son is my source of happiness in life. My friends, my animals, and nature give me balance and satisfaction – the feeling of being connected ... I would like to send an empathetic person with a big heart out into the world. Jonah should always have the self-belief to be himself and to embody and articulate his own attitude and opinions... . Having compassion and care for everything that exists. For our planet, animals, nature, and people." Patitz shared her philosophy about growing older in the beauty, fashion and entertainment industries: "I am proud of my wrinkles. I worked for each one and they belong to me. Growing older is beautiful. You become wiser and more mature. For me, giving away or changing that gift is not an option ... Beauty means being a good person and being there for others. In my opinion, beauty is not only about looks, but everything that makes up a person."

On January 11, 2023, Patitz died of metastatic breast cancer in Santa Barbara, California, at age 56.

title: Tatjana Patitz


text: User talk:69.128.154.70

title: User talk:69.128.154.70


text:
Talk:Alexander Marinesko

Older talk
The Russian version disagrees with the English version here. The Russian article says that Hitler did not call Marinesku, claims only 5300 people died, and that Marinesku was praised for the attack. The Russian article also does not talk about the controversial nature of the sinking, nor the non-military people on board. -- IlyaHaykinson 23:55, 22 July 2005 (UTC)
 * Some things are fixed. Even rus artcl says military was only about 1,300. mikka (t) 21:50, 23 July 2005 (UTC)

Old talk
I've removed: Alexander Marinescu (romanian transcription, as he was romanian ethnically) - added by anonymous user. Russian sources say he was Ukrainian, so we need a confirmation if he was Romanian ethnically. Besides, he was not called Marinescu, but Marinesko, even if it is true. Pibwl ← «  19:59, 14 October 2005 (UTC)
 * I am currently reading Crabwalk by Gunter Grass, which states that his father was Romanian (by which, I guess, is meant "from Romania", and not Moldovan, Bessarabian, etc.). The "-sco" ending is a frequent trasliteration of the "-scu" one, and it was common habit at the time for a Romanian to transliterate his or her name when using it among foreigners (see Eugene Ionesco, Helene Vacaresco etc) - his father may have opted to do so himself, or authorities might have changed it for him (Grass -or rather, Grass' first person narrator- claims the latter happened, but that is just an opinon). The issue of Ukrainian in Russian sources refers to any or all of these: his Ukrainin mother, the fact that he was born in Odessa, the hostility between Romanians and Soviets, the issue of Moldovans/Romanians. I suggest inclusion in Category:People of Romanian descent pending the creation of more definite ones (if the latter is indeed possible, given the Moldovan issue in between Romanians and cats for "Romanian Russians", "Romanian Ukrainians", "Romanian Soviet citizens"...). Dahn 18:58, 16 September 2006 (UTC)

4,500 victims of Steuben
Dampfschiff General von Steuben

Xx236 15:34, 23 March 2007 (UTC)

Disaster
This page is an absolute mess. Without additional sources on him it's REALLY hard to justify the very negative tone and allegations made by this article. If he's really as much of a shmuck as the article implies, fine, but we need sources to back it up. TallNapoleon (talk) 08:06, 4 May 2009 (UTC)

Schmuck?! The article's implications seem to be more along the lines that he was an incompetent drunken bullshitter. Either way, more proof is needed to back up this assertion. —Preceding unsigned comment added by 98.16.208.177 (talk) 17:27, 5 September 2010 (UTC)

POV mess
This is article is about a simple captain of a submarine who happened to sink a huge ship carrying mostly civilians. This should be fairly uncontroversial, this was war, he did not have any idea what he is sinking etc etc etc. There is nor reason for sentences like "supporters of Marinesco claim" and similar nonsense and wikipedia consensus is not required to retroactively approve the sinking of ships that happened during WWII. Richiez (talk) 19:39, 20 February 2011 (UTC)

This article is still a very poor example. Lots of POV words from two different points of view. I wouldn't put much trust in a single word in this article. The article classifies opinions as "far-right" or "generally accepted". Its very poorly sourced. Bad article. --IronMaidenRocks (talk) 05:41, 18 May 2013 (UTC)

Source and objectivity
Most of this article is a direct translation from the Russian language Wikipedia entry with some selective editing. The Russian language article has source documents listed but is not footnoted to indicate which sources provide what information and many are German sources. Clearly, German sources have a bias regarding the Wilhelm Gustloff. The only likely objective treatment is to provide the view from both sides of the story.Федоров (talk) 23:07, 20 February 2011 (UTC)
 * The German article about the Wilhelm Gustloff looked ok the last time I looked so there should be not much bias regarding the sinking. Do you suspect that something is likely to be incorrect about the other biographic information, like alcohol and other issues? Richiez (talk) 14:09, 21 February 2011 (UTC)
 * I see this article still lacks reliable sources so I will pretty soon trim it down to the facts which I remember as beeing completely uncontroversial. IOW last call to add sources before it will be stubbed. Richiez (talk) 11:18, 16 November 2012 (UTC)
 * please state objections to specific claims. please remember in wikipedia the policy is verifiability, not "cite every word". - Altenmann >t 03:30, 18 November 2012 (UTC)

2015 edits
Hi, I would like to copy-edit this page to address some of the current issues.

Some of the proposed changes:

(1) Reduce the level of personal details overall.

(2) Modify the sentence in the lead as follows

"...the captain of the S-13 submarine, which sank the German ship Wilhelm Gustloff, with recent research showing that over 9,000 died (almost 5000 of whom were children[1]) when the ship sank, most of whom were civilians fleeing the advance of the Red Army."

to: "...the captain of the S-13 submarine, which sank the German military transport ship Wilhelm Gustloff. By one estimate,[3] 9,400 people died, which makes it the largest loss of life in a single ship sinking in history. (Using language from MV Wilhelm Gustloff article).

(3) Sources are needed here:
 * "Because of the long inactivity, the level of battle training of the crew was low. Marinesko began to find consolation in alcohol, and he was expelled as a candidate member of the Communist Party."
 * Then Marinesko exposed his submarine to real risk by prematurely returning without any warning to his base. Soviet patrol boats attacked M-96, and a tragedy was avoided by sheer luck.
 * Although only half of the unit returned, without the machine...
 * Of the 13 units of the Type S (Stalinets), Series IX and IXbis, only this boat survived the war. (and how is this relevant in this article?)
 * After spending New Year's night 1945 in Hanko with a Swedish woman, the owner of a restaurant, Marinesko disappeared for several days. It was proposed that he be court-martialed as a deserter, and this could be fatal for him.

(4) I don't see the term "disaster" applicable in this context, as the sinking was that of legitimate military target, and, while loss of life is tragic, the "worst maritime disaster" does not apply.

From Legal-dictionary: Shipwreck (redirected from Maritime Disaster) SHIPWRECK. The loss of a vessel at sea, either by being swallowed up by the waves, by running against another vessel or thing at sea, or on the coast.

Etc

Any comments, suggestions or concerns before I proceed? I will begin by adding tags. K.e.coffman (talk) 02:22, 24 November 2015 (UTC)

title: Talk:Alexander Marinesko


text:
Wikipedia:Articles for deletion/Jesse Richards

 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 no consensus to delete -- Francs2000 | Talk 01:19, 5 August 2005 (UTC)

Jesse Richards
This is a vanity page. This person is not a notable artist, neither locally, regionally or nationally. This stub has been linked to the New Haven listing to gain notoriety and has been unjustly been listed under "notable new haveners." This stub is autobiographical, being posted by the subject of the article. This article is purely used to promote the artist and the movement of "stuckism," which deserves an article.
 * Delete nn vanity. JamesBurns 05:00, 23 July 2005 (UTC)

This is not a vanity page. Richards is a well-known artist and filmmaker both within the New Haven community, as well as within the East Village underground scene and the London art scene. His work has been shown in different galleries in the US, UK and Europe, including a UK national gallery, the Walker. He's had a film in a major film festival, the New York International Independent Film and Video Festival in 2003. All of this information can be verified easily by Googling his name. It seems to me that this James Burns has some sort of personal issue with Mr. Richards and is dealing with it in this way.
 * Keep not a vanity page. Adam Malec 11:31 26 July 2005 (UTC)
 * Keep. This guy was featured in a Stuckist show at Walker Art Gallery, Liverpool. He's a prominent Stuckist--the term comes from an insult by Tracy Emin, who told her then-boyfriend that he was still "stuck" in figurative work and painting as opposed to her more conceptual work.  The boyfriend, Billy Childish, went on to found the art movement. --Tony Sidaway Talk  20:36, 4 August 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:
Mandelbaum

Mandelbaum is a Jewish (Ashkenazic) surname from the German Mandelbaum ‘almond tree’. Notable people with the surname include:

 * Albert Mandelbaum (1925–unknown), Israeli chess player
 * Allen Mandelbaum (1926–2011), American professor of Italian literature, poet, and translator
 * David G. Mandelbaum (1911–1987), American anthropologist
 * Fredericka Mandelbaum (1825–1894), New York entrepreneur and criminal fence operator
 * Frederic Morton (born Fritz Mandelbaum) (1924–2015), Austrian writer
 * Henryk Mandelbaum (1922–2008), Holocaust survivor
 * Jacques Mandelbaum (born 1958), French journalist and film critic
 * Joel Mandelbaum (born 1932), microtonal musician
 * Ken Mandelbaum, American columnist, critic, and author
 * Kurt Mandelbaum (1904–1995), development economist
 * Michael Mandelbaum (born 1946), professor of American foreign policy
 * Samuel Mandelbaum (1884–1946), American lawyer and politician

Fictional characters

 * Izzy Mandelbaum, character on Seinfeld
 * Mandelbaum (aka Mandel), assistant district attorney for Manhattan in the Nero Wolfe books

title: Mandelbaum


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191 (number)

191 (one hundred [and] ninety-one) is the natural number following 190 and preceding 192.

In mathematics
191 is a prime number, part of a prime quadruplet of four primes: 191, 193, 197, and 199. Because doubling and adding one produces another prime number (383), 191 is a Sophie Germain prime. It is the smallest prime that is not a full reptend prime in any base from 2 to 10; in fact, the smallest base for which 191 is a full period prime is base 19.

title: 191 (number)


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Liu Wang

Liu Wang (, born 25 March 1969) is a Chinese pilot selected as part of the Shenzhou program.

Early life
He was born in a rural village in the Pingyao County, Shanxi province of China on March 25, 1969 to a family of farmers. He enrolled at the PLA Air Force Aviation University in 1988 and studied to be a fighter pilot.

Air Force career
Then, he became a fighter pilot in the People's Liberation Army Air Force. He was selected to be an astronaut in 1998.

Spaceflight career
Liu Wang was selected to be part of the crew of Shenzhou 9, the first crewed mission to the first Chinese space station, Tiangong 1. Also on the mission is Jing Haipeng, the first Chinese repeat space traveller, and the first Chinese female astronaut, Liu Yang.

title: Liu Wang


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Charlie McMahon

Charlie McMahon (born in the Blue Mountains outside Sydney, 1951) is an Australian didgeridoo player. The founder of the group Gondwanaland, McMahon was one of the first non-Aboriginal musicians to gain fame as a professional player of the instrument.

He is also the inventor of the didjeribone, a sliding didgeridoo made from two lengths of plastic tubing and played somewhat in the manner of a trombone (hence its name).

Early life
In 1955, Jedda, the first Australian feature movie filmed in colour, was released, and the McMahons, living in the Blue Mountains outside of Sydney, were just one Australian family among many who went to see it. The film was notable for being the first mainstream Australian movie to have Aboriginal actors in the lead roles and characters that acknowledged the existence of, and identification with, an indigenous culture.

Jedda, in the screenplay, is an Aboriginal girl adopted by a white station owner's wife to replace her own child who had died (coincidentally, the station owner's surname, McMann, is a variation of the Irish surname McMahon). Deliberately isolated from all contact with her birth family and relations, Jedda, is unsure of her identity until she meets Marbuck, a tribal Aboriginal man in trouble with the European system of justice. She is seduced by his intense didgeridoo playing but their elopement into the wilderness ends in tragedy when Marbuck's tribe rejects him for having broken its own laws regarding marriage. Marbuck, spurned by both the old and the new cultures, jumps off a cliff and takes Jedda with him.

The movie was also significant for its presentation of panoramic outback scenery and its mixture of documentary and fiction (curiously, the destruction of the last reel of the film in a plane crash meant the movie's dramatic climax had to be refilmed in McMahon's home environment, the Blue Mountains).

After the show young Charlie McMahon had been so absorbed by his cinema experience he tried to imitate the gut-stirring didge sound he heard in the movie by blowing into a garden hose and various hollow household objects like vacuum cleaner nozzles. He also developed an ongoing fascination with Aboriginals and their lives an unlikely interest for a four-year-old as "there weren't any black fellas living near us". He also took to running away and wandering in the scrub for comparatively long periods. Later, when he got older, he used to live off the land for a night and generally "went native" whenever he could.

During 1958, when he was 7 years old, the McMahon family relocated from the Blue Mountains to the tough outer western suburb of Blacktown near Sydney, but McMahon still managed to find ways to "go bush" regularly.

In 1967, McMahon blew off his right arm experimenting with a homemade rocket in a friend's backyard at Seven Hills, a neighbouring suburb of Blacktown. The Sydney Morning Herald newspaper report of the incident stated that the friend, Ron Carley, had some of his fingers amputated so presumably both boys were holding the cylinder at the time it exploded.

During a lengthy recuperation period getting used to his new metal arm (which, true to character, he wrapped in goanna hide) McMahon reactivated his earlier interest in didgeridoo playing, this time as therapy. At the same time he concentrated on previously neglected school work. During study breaks McMahon used to relax by going off to the sand flats of the Windsor River with his bongo playing brother Phil and some mates and the "westie tribe" would dress up in loincloths, paint their faces and have a corroboree.

With the wild side of his nature given an occasional outlet McMahon settled into study and won a university scholarship, achieving an honorary degree in Arts and Town Planning which led to him becoming, for a year, a lecturer and tutor in Town Planning at The University of Sydney. McMahon has said he became interested in studying town planning as a possible future way of correcting the all too obvious mistakes he found in the running of Blacktown. He wrote a treatise on the subject but became disillusioned when he realised the many political and vested interests trying to prevent the ideal becoming a reality.

One fateful weekend at Australia's equivalent of Woodstock, the 1973 Nimbin Aquarius Festival, McMahon found himself intrigued by the performance of The White Company an experimental Theatre Troupe featuring a number of alternative culture artists including one Peter Carolan, a 25-year-old actor with roles in Australian TV's Skippy the Bush Kangaroo, The Rovers, and stage productions such as Servant of Two Masters, and Graham Bond's Drip Dry Dreams. Carolan came from a musical family. His mother played classical piano; his father was a professional jazz musician who performed on accordion, piano, organ, and synthesiser; and his paternal grandfather, Bart Carolan, was a composer and arranger who worked for a time at the BBC. The Carolan family had immigrated to Australia from England when Peter was 18. At the time his gift for creating flowing melodies "with spine" was noticed by McMahon, Carolan was playing lap dulcimer, an instrument to which he was attracted because of its simplicity – "a primal drone, a strummed rhythm and a monophonic melody that could change mode by tuning". No direct communication between the two musicians was made at the festival but they had both noticed each other's presence.

In 1974 a three-day arts festival season by the White Company at Sydney's Arts Castle venue included a performance by McMahon. After a productive post-show dulcimer and didgeridoo improvisation session in a dome on the roof of the venue the two players realised they had many attitudes towards music in common: McMahon was attracted to music with "atmosphere" while Peter had become interested in composing music that evoked a sense of "place" after hearing Maurice Jarre's 1962 score for the film Lawrence of Arabia. The two players made a vague promise to "do something in music together sometime in the future.

In 1974, back at his day job, McMahon was growing increasingly disillusioned with what he later described as the "too much talk" atmosphere of campus academic life. During one particularly stifling lecture in a dungeon-like library basement with no windows and bare walls McMahon and his assistant interrupted their discussion of map interpretation with the impulsive act of encouraging the students to join them in painting the walls. This behaviour was seen by the University Chancellor as the ultimate act of confrontation and defiance of authority by an untameable teacher and McMahon was dismissed.

He decided to do something more practical so he bought a 40 acre property in a thickly forested valley on the south coast of New South Wales with two of his brothers and settled down to building a house the hard way by hand (and hook), all the time learning more about bush craft and living in a natural environment—skills that would come in handy for his next cycle of experience in the desert regions of Central Australia.

In early 1978, McMahon jumped on stage during a Midnight Oil performance at French's Tavern in Sydney and added his didge sounds to their song "Stand in Line." This marked the beginning of a friendship that was to last throughout both their music careers (in 1978 Midnight Oil had only played a half dozen or so gigs under that name).

After two and a half years of labouring and living on his diminishing savings he finished his bush retreat and was fortunate to be offered a job working for the Federal Department of Aboriginal Affairs in the position of a Development Coordinator in the Northern Territory, supervising outstation work grants to tribal people living hundreds of kilometres west of Alice Springs at the settlements of Kintore, Kiwirrkurra Community, Western Australia, and Papunya (the 1971 birthplace of the Australian Aboriginal dot painting revival).

An important part of McMahon's initial work program to supervise the building of a store and meeting place for the local people as the levelling of an air strip for the Royal Flying Doctor Service. He also helped construct a 400 km chain of windmills and water bores in the Great Sandy Desert area, many times driving a three-ton water truck with only a thrown right hook to stabilise the steering wheel in rough country. Because of his obvious sincerity and work for the tribal communities McMahon was sometimes invited to observe traditional ceremonies held under the resplendent starlight of nighttime Central Australia.

After 18 months he took some time off to gig with Midnight Oil, where he learned set dynamics and the art of talking to an audience from watching frontman Peter Garrett.

1980s
In 1980, encouraged by Tony Walker, an announcer from Triple J (an Australian alternative music radio station), McMahon sold his Toyota Land Cruiser work truck and embarked on a two-month exploratory holiday to the United States starting in San Francisco, then going on to Los Angeles and Fresno. Some soundtrack work beckoned in Hollywood on a 1981 horror film called Wolfen but a musician's strike delayed the recording and, returning to San Francisco, McMahon, in the same week, missed his plane flight home and had his wallet, containing all his money, stolen creating the urgent need to find some way to earn a living wage and save for the air trip back to Australia.

He found gigs on the daunting (and taunting) San Francisco punk club circuit and survived spectacularly with an improvised solo act alternating original didgeridoo compositions with stories based on memories of his desert experiences. He also involved himself musically on stage with whoever else was performing at the same venue. One such partnership resulted when McMahon was invited to join Timothy Leary's 1980 lecture tour for a few gigs. McMahon formed a band with some musicians he met in San Francisco: Mark Isham, Kurt Wortman, and Pat Cooley. They performed under the name The Yidaki Brothers and they did their own improvised acid rock take on the subjects of some of McMahon's stories. Another notable combination was with punk electronics group Indoor Life whose songs of urban frustration "buried in cement" were dominated by the sound of a trombone fed through a synthesizer.

After five months of work he found himself earning about 500 dollars a week and quickly developing a fan base but, having reached one goal, financial, it was time to aim for the next one, creative, which for McMahon meant the recording of an album which he felt could only be done in Australia, the source of his musical inspiration.

McMahon returned to Sydney and, in 1981, received his first major Australia-wide publicity when the Adelaide music paper Roadrunner published a lengthy article with the intriguing heading "This Years Thing? One Armed Didgerdu Players? It's No Joke! Says Miranda Brown."

As McMahon later stated, "I realised what I wanted to do was work with a good synth player – a very good synth player. So I mucked around with a few guys in Sydney but their range was too narrow then I remembered hearing Peter Carolan's playing ten years ago. He was playing a dulcimer in the bush and when I heard he was now playing synth I knew straight away this was the melody man to compose that key part of Gondwanaland." They worked on their first composition, "Pulse," inspired by the sound of a heartbeat.

In the following months Carolan continued to create ideal music settings for McMahon's didgeridoo and expanded on his key image ideas such as an emu running, a drought, an eagle flying, and a landscape stretching beyond the horizon. Carolan's use of simple but powerful melodies linked to intelligently emotional arrangements openly conveyed in sound those poetic moments "when time stops and the joys, and mysteries of life are felt."[19]

In 1984 McMahon and Carolan assembled a small studio band of musician friends and recorded the first Gondwanaland album under the title Terra Incognita. When released on the small independent Hot label it was a critical and popular success.

In October 1984, shortly after the debut of the first album, McMahon went "on the swag" again, only to be caught up in a sensationalist media drama when a group of nine Aboriginals, known as the Pintupi Nine, were encountered near the last of a chain of water bores he had been overseeing between Kintore and "the remotest outpost in Australia"—Kiwirrkurra. A visiting journalist hyped the incident into a biblical "finding of the lost tribe" but the people concerned were not "lost" but had instead "gone walkabout" after rejecting attempts by 1950s Woomera rocket range personnel to resettle them at Papuna. The small tribal group managed to go through their usual birth, initiation, marriage, and death rituals for decades, living off the natural resources of their desert environment before "coming in" to face the anger, and relief, of their relatives. McMahon's diary at the time noted "Tomorrow [16 Oct 1984] we will find the two men's tracks and maybe they will spend their last night free of the modern world".

In April 1985 McMahon was flown to London to perform with the London Philharmonic Orchestra on the recording of Maurice Jarre's Mad Max Beyond Thunderdome soundtrack.

When he returned a month later an advertisement was placed in a music paper "Gondwana Wana Drummer." Only one reply was received – from an energetic multi – format percussionist called Eddy Duquemin as equally at home on electric pad drums as he was on acoustic "skins'. He joined the live Gondwanaland band and McMahon decided to make the group his full time occupation. Because of his restless stage presence, Duquemin was soon given the nickname "Brolga" by McMahon—the brolga being an Australian outback bird that is renowned for its dancing; Carolan had already been dubbed "Lizard," although this was later changed to "Professor. In November 1985, Midnight Oil commenced a 26-date local tour starting in Dubbo with Gondwanaland supporting. As well as feeding them to the mosh pit, this gave the newly constituted three piece some "tour of duty" exposure [if not exactly the type of audience they were hoping to attract].

In 1986, Let the Dog Out, Gondwanaland's second album, was released. It contained a bracket of aggressive, up-tempo numbers followed by two extended compositions, the first of which, "Ephemeral Lakes," later became a regular choice for meditative ambient music compilations.

Midnight Oil's Black Fella/White Fella tour of remote Northern Territory Aboriginal settlements in July 1986 recruited McMahon with the task of "co-ordinating the tour group's camping and guiding requirements and [contributing] plenty of common sense and a touch of sanity as well" A tour book entitled Strict Rules, by Andrew McMillan, and a video: "Black Fella White Fella," were subsequently released and McMahon features in both.

In 1987, after a year of extensive live work in Sydney and an Arts Council sponsored four-week tour of the Northern Territory, the third album, self-titled Gondwanaland was released. It had taken many months to record and while the prolonged touring helped tighten the arrangements some of the groups intense live energy was diluted by the usual studio technique of making a separate recording of each member's instrumental part before a final mix. Despite this limitation the album won the Australian music industry's ARIA Award for best indigenous album of 1988. One track from this collection, the outstanding "Landmark," features a dramatic use of McMahon's re-invention of an instrument first made in the 1970s in the UK by Dr Peter Holmes, the multi-tone, slide didgeridoo called "didjeribone."

In November 1988 Gondwanaland performed during the "Tomita Sound Cloud in Sydney – Hymn To Mankind," a A$3 million, Japanese government sponsored, light and sound, opera spectacular held on Sydney Harbour as part of the Australian Bicentennial celebrations. The concert attracted an audience of over 120,000 an Australian record for a live music event.

1990s to the present
In 1991, Gondwanaland's Wide Skies was released and even long time followers of the band were surprised at the progression of Carolan's compositions. Gone were the earthy good time romps and quiet moments of reflection. Now complex panoramic chord clusters enveloped the arrangements in an almost overwhelming evocation of the sky and all that happens in and under it. This album's multi-layered textures and moods earned the band even greater critical respect.

In 1994, after the great leap forward of Wide Skies, McMahon formed a second band, Gondwana, with an emphasis on rhythm and increasingly dominant bass and experimental didge sounds. The band released three albums: Travelling, Xenophon, and Bone Man, with the last two featuring another McMahon innovation: the mouth-held use of a geologist's seismic microphone to amplify the growling subsonic didge dynamics. This approach to music gave McMahon a new audience: the trance/dance crowd. A success evidenced by the placing of a Gondwana tune in the all important opening track position on each of the two volumes of highly successful Australian trance/dance compilation series.

In 2005 McMahon experienced a bizarre case of déjà vu when he found himself, 20 years after his 1985 London Mad Max soundtrack work, in Russia with a new manager associated with a Mad Max Smash and Crash "theme park." The episode was made the subject of a quirky Foreign Correspondent report in March 2006.

In 2006 Peter Carolan released a sampler CD called Overland, collecting examples, old and new, of his various music explorations. Two of the new tracks, "Airwaves" and "Dragonflies," have a strong Gondwanaland feel to them, and even though only samples of McMahon's didgeridoo are used, Carolan's Gondwanaland composing style, abandoned when McMahon left Australia and took to touring international big city venues 12 years ago, now appeared to be reactivated and continuing where it left off, this time influenced by the McMahons recent Gondwana albums.

For over 20 years McMahon's assertive didgeridoo playing style has remained an obvious (and usually unacknowledged) influence for many well known didgeridoo players, both black and white. Currently he can be seen performing, mainly solo, on the world music festival circuit in Europe, Japan, Russia, the United States, and Australia. He has two acts: one set featuring the seismic sensor he calls The Face Bass the other is a playful exploration of the musical and experimental tone possibilities of the didjeribone. In August 2008 McMahon released a DVD storage disc library of over 800 didge samples under the title "Rhythm Organism".

On 24 April 2012 McMahon released a subdued and mellow Gondwana album called "Didge Heart". On 28 July 2012 Peter Carolan died at the age of 64 from the effects of a respiratory illness.

Unreleased early Charlie McMahon live tape compilation

 * Long Way My Country'' Journey Home; Blue Wren at Waterhole; Swooped By Eagles; Spirit Dawn [McMahon]; Trek; Campsite [McMahon / Yidaki Brothers] Recorded San Francisco US Various Venues December 1980

References Footnote
Published information on McMahon's early life is elusive. Many of the press clippings cited are obscure and could only be found as a single copy in a casually collected fan archive. Most of these fan cuttings did not record full or part origin details but these will be added when they are known. If a date is missing the year the article was written is worked out from other references in the text.

title: Charlie McMahon


text: User talk:68.4.183.245

title: User talk:68.4.183.245


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Talk:Help2Go Detective

Vote for Deletion
This article survived a Vote for Deletion. The discussion can be found here. The article's content was merged and then turned into a redirect. -Splash 23:58, 22 July 2005 (UTC)

title: Talk:Help2Go Detective


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Duchy of Magdeburg

The Duchy of Magdeburg (Herzogtum Magdeburg) was a province of the Margraviate of Brandenburg from 1680 to 1701 and a province of the German Kingdom of Prussia from 1701 to 1807. It replaced the Archbishopric of Magdeburg after its secularization by Brandenburg, giving to the Elector another influential seat to the Reichstag’s College of Princes. The duchy's capitals were Magdeburg and Halle, while Burg was another important town. Dissolved during the Napoleonic Wars in 1807, its territory was made part of the Province of Saxony in 1815.

History
The Archbishopric of Magdeburg began to be administered by secular princes, mostly Lutheran, in 1545 during the Protestant Reformation. In the 1648 Treaty of Westphalia, the archbishopric was promised to the House of Hohenzollern of the Margraviate of Brandenburg upon the death of its incumbent administrator, August, Duke of Saxe-Weissenfels. The city of Magdeburg was also required to pay homage to the prince-electors of Brandenburg. In 1666, Elector Frederick William used his developing army to install a permanent Brandenburger garrison in the city.

Brandenburg-Prussia inherited the Archbishopric of Magdeburg upon the death of August of Saxe-Weissenfels in 1680 and reorganized the secularized territory as the Duchy of Magdeburg, with the electors of Brandenburg as hereditary dukes. The Halle region (Saalkreis), an exclave of the province, was surrounded by the Principality of Anhalt, the County of Mansfeld (acquired by Prussia in 1790), and the Electorate of Saxony. Against the wishes of the duchy's Lutheran nobility, a Calvinist chancellor was appointed to govern the duchy. Through the leadership of August Hermann Francke, Halle became the center of Pietism in Brandenburg-Prussia.

When Elector Frederick III crowned himself Frederick I, King in Prussia, in 1701, the Duchy of Magdeburg became part of the new Kingdom of Prussia. King Frederick William I's 'allodification of the fiefs', or efforts to modernize feudal land ownership laws, was opposed by the duchy's Junker nobility, which feared losing their tax-exempt status. The nobles received judgements from the imperial court in Vienna protecting their rights in 1718 and 1725. Justus Henning Böhmer became chancellor of the province in 1743.

With the creation of the General Directory in 1723 by Frederick William I, the Duchy of Magdeburg, the Principality of Halberstadt, and the Margraviate of Brandenburg were administered by the second department of the General Directory. A state-capitalized agricultural credit union (Landschaft) was created in the duchy in 1780 for the exclusive use of the nobility. Control over the Magdeburg lands gave the monarchy a lucrative monopoly over the Stassfurt and Halle salt deposits.

The estates of Pomerania voluntarily raised 5,000 troops for the Prussian Army during the Seven Years' War; their initiative was duplicated by the nobility of Magdeburg and neighboring provinces.

In the War of the Fourth Coalition, Prussia was defeated by Napoleon in 1806. In the Treaty of Tilsit the following year, the Duchy of Magdeburg was dissolved. The ducal territory west of the Elbe River, including the cities of Magdeburg and Halle, were made part of the Kingdom of Westphalia, a client state of the First French Empire. The ducal territory east of the Elbe remained in a drastically reduced Kingdom of Prussia.

Prussia reacquired the Magdeburg and Halle territories during the War of the Sixth Coalition. In 1815, after the Napoleonic Wars, the territories of the Duchy of Magdeburg, the Altmark, and part of the Kingdom of Saxony were coalesced to create the new Prussian Province of Saxony.

title: Duchy of Magdeburg


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Riverdogs

The Riverdogs is a rock band, founded in Los Angeles in 1989.

Band members

 * Current members
 * Rob Lamothe - vocals, guitars, keyboards (1989–present)
 * Nick Brophy - bass, guitars, keyboards (1989–present)
 * Vivian Campbell - guitars (1989-1992, 2003–present)
 * Marc Danzeisen - drums (1990-1992, 2003–present)

 * Former members
 * Mike Baird - drums (1989-1990)
 * James Michael - keyboards, guitars, backing vocals (1989)
 * Spencer Sercombe - guitars (1989)
 * Cary Beare - bass, vocals (1992-2003)
 * Ronnie Ciago - drums (1992-2003)

Recordings
Nick Brophy played as a bass guitarist on Riverdogs and played as a guitarist on Absolutely Live and Bone, replacing Vivian Campbell as guitarist, and himself being replaced by Cary Beare on bass guitar.

Vivian Campbell is now playing in Def Leppard and Last in Line.

Rob Lamothe was a guest lead vocalist on the song "The River" on former Badlands bass guitarist Greg Chaisson's solo album It's About Time. Marc Danzeisen also guested on several songs on It's About Time as a backing vocalist and percussionist.

Rob Lamothe and Vivian Campbell have both had solo careers.

Marc Danzeisen went on to play drums with Little Caesar in 1992 and then in 1994 he recorded and toured with Gilby Clarke from Guns N' Roses. Danzeisen has become a leading studio drummer along with producing, and writing songs for commercials, TV and film.

Keyboardist Kevin Gilbert played keyboards on the song "America" from Riverdogs.

Allen DeSilva played drums on the song "America" from Riverdogs.

Riverdogs (Rob Lamothe, Vivian Campbell, Nick Brophy and Marc Danzeisen) signed to MelodicRock Records for an album to be released in the first half of 2011. The result, World Gone Mad features unreleased music from the "lost" 2003 sessions and possibly new songs. A week was spent in Los Angeles working up ideas, and re-mixing and adding new parts to the original songs. Through the latter part of 2016, the Riverdogs were working on an album, recording in Hollywood, CA. The album, California, was released on July 7, 2017.

Discography

 * Riverdogs (1990)
 * On Air (1990)
 * Absolutely Live (1992)
 * Bone (1993)
 * World Gone Mad (2011)
 * California (2017)

Singles

 * I Believe (1990)
 * Toy Soldier (1990)
 * Revolution Man (1994)

title: Riverdogs


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Talk:Password length parameter

Untitled
The contents of this article appear to come from a 1949 US govt. standard and are not very informative and in fact incorrect in the light of modern cryptographic methodology and computer security best practices. I feel this article should either be deleted or it should be pointed out that the content is merely of historical importance. Arvindn 00:00, 23 July 2005 (UTC)

I agree the articles should be merged. But, I don't agree they are "...not very informative and in fact incorrect in the light of modern cryptographic methodology and computer security best practices..."

The equation (basically) calculates the probability of a password being guessed by a brute-force attack (likely meant for comparison with an acceptable probability). Brute-force will ALWAYS be one method of attacking a password, regardless of advances in cryptography, so this equation gives a ball-park guess at a probability with a minimum of calculation...so I think the equation should stay.

Warren Stevens M.A.Sc. P.Eng.

title: Talk:Password length parameter


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193 (number)

193 (one hundred [and] ninety-three) is the natural number following 192 and preceding 194.

In mathematics
193 is the number of compositions of 14 into distinct parts. In decimal, it is the seventeenth full repetend prime, or long prime.

 * It is the only odd prime $$p$$ known for which 2 is not a primitive root of $$4p^2 + 1$$.

 * It is the thirteenth Pierpont prime, which implies that a regular 193-gon can be constructed using a compass, straightedge, and angle trisector.

 * It is part of the fourteenth pair of twin primes $$(191, 193)$$, the seventh trio of prime triplets $$(193, 197, 199)$$, and the fourth set of prime quadruplets $$(191, 193, 197, 199)$$.

Aside from itself, the friendly giant (the largest sporadic group) holds a total of 193 conjugacy classes. It also holds at least 44 maximal subgroups aside from the double cover of $$\mathbb {B}$$ (the forty-fourth prime number is 193).

193 is also the eighth numerator of convergents to Euler's number; correct to three decimal places: $$e \approx \tfrac{193}{71} \approx 2.718\;{\color{red}309\;859\;\ldots}$$ The denominator is 71, which is the largest supersingular prime that uniquely divides the order of the friendly giant.

In other fields

 * 193 is the telephonic number of the 27 Brazilian Military Firefighters Corps.
 * 193 is the number of internationally recognized nations by the United Nations Organization (UNO).

title: 193 (number)


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Pan Zhanchun

Pan Zhanchun is a Chinese pilot selected as part of the Shenzhou program. He was a fighter pilot in the People's Liberation Army Air Force and was selected to be an astronaut in 1998.

Pan Zhanchun retired from the Astronaut Corps in 2014.

title: Pan Zhanchun