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Helen Cruickshank

Helen Burness Cruickshank (15 May 1886 – 2 March 1975) was a Scottish poet and suffragette and a focal point of the Scottish Renaissance. Scottish writers associated with the movement met at her home in Corstorphine.

Early life and education
Helen Burness Cruickshank (Nell) was born in Hillside, Montrose, Angus, in one of the staff houses, as her father, George Cruickshank, was a hospital attendant at Sunnyside. Helen was the youngest of three to her father, George (1845-1924), and mother, Sarah Wood (1850-1940), a domestic servant whose father, Colin Gibb Wood, had been Master Plumber, of Montrose.

Helen was educated at the Hillside village school from the age of four, before attending Montrose Academy at the age of ten with her two older brothers. Every year the family summer holiday was spent in cabins in Glenesk, where George taught his children about nature. Helen developed a love of climbing and walking that stayed with her throughout her life, and she made many long trips to the Highlands. The annual family holidays were an inspiration within Cruickshank's poetry, with references to the landscapes and people of Angus appearing in her poetry.

Although Helen achieved awards in every subject at school, her father could not afford to send her to university as her Rector had advised, and Helen left school at the age of fifteen, sitting exams for the Civil Service. Cruickshank's first job was at the Post Office Savings Bank in London from 1903 to 1912. During her time in London she gained an interest in politics and women's suffrage. This interest was sparked by her awareness of the unfair conditions and restricted wages that she saw women had to face in the workplace. Helen joined the Women's Social and Political Union and campaigned for the cause by attending marches, selling Votes for Women in the streets and chalking the pavements.

Edinburgh

In 1912, Helen was offered a position in Edinburgh for the health insurance part of the government body which she accepted. It was during her move to Edinburgh that she began to write poetry, and it was also around this time that she first fell in love, the heartbreak of the affair spurring her to write. After World War I, Cruickshank began to gain some success in having her poetry published. Reading the magazines and newspapers which were publishing her poems exposed her to other contemporary poetry, and she began to become familiar with the works of Alexander Gray, William Soutar and Marion Angus, and they also became familiar with her work. C.M. Grieve was looking for contributions for a new anthology, Northern Numbers, to which Helen submitted poems, and their correspondence developed into a long-lasting friendship.

Helen began to rent a studio flat in 1921 and liked being a part of the bohemian lifestyle, being so close to the bookshops, and the Pentland Hills were a source of enjoyment for her. However, this freedom did not last as Helen's father died in 1924. It was assumed that Helen, the only daughter, would take over the care of her mother which meant she also had to give up her option to marry, as women that worked in the Civil Service could not continue to work after they were married. Helen gave up her studio flat and bought a semi-detached house on Corstorphine Hill.

Dinnieduff
Helen and her mother moved in to the semi-detached house, Dinnieduff, which became an unofficial meeting place for those involved with Scottish literature at that time. In 1927, Christopher Murray Grieve (Hugh MacDiarmid) became a regular guest at Dinnieduff. He would come to Edinburgh once a month to do business with the Scottish Centre of the PEN Club. With Helen being a founding member and Honorary Secretary, she would eventually take over Hugh's leading role in the PEN Club. Meetings of the PEN Club were often held in Dinnieduff, and Helen often held an open house during the 1920s and 1930s, where those involved in Scottish literature at that time would visit and stay. Notable visitors included the novelist James Leslie Mitchell (Lewis Grassic Gibbon). Her last act for the PEN Club was to raise funds for the International PEN Congress which took place in Scotland in 1934.

Work
During World War I, Helen did weekend and holiday work on farms and in canteens. A summer job in the berry fields near Blairgowrie led to the publication of her first poem, "The Song of the Raspberry Picker", in 1917. Encouraged by this success, she began to write more, experimenting with different forms of verse, but sending only a small proportion of her work to editors. She contributed poems, mainly in her native Angus Scots, to Country Life, the Glasgow Herald and the Scots Magazine. She also published topical and satirical verse under various pseudonyms.

Cruickshank's first collection, Up the Noran Water (1934), published by Methuen, was mostly written in Scots with a few poems being written in English. Helen as a proud Scottish nationalist became a founding member of the Saltire Society in 1936. However, Helen's writing had to be put aside as her work-load became heavier due to World War II. Helen worked on a scheme to evacuate children abroad, and also volunteered for fire-watching duties at night, in addition to her own job and caring for her mother. Helen's mother died in 1940.

After the war, Helen took on the role of an Executive Officer for the Department of Health in Edinburgh, a role she held until her retirement, on medical grounds due to duodenal ulcers, in 1944. After her health had recovered sufficiently, Helen began to entertain once more at Dinnieduff. She was an enthusiastic follower of the Edinburgh International Film Festival since its beginnings in 1947.

Helen's later works include Sea Buckthorn (1954), The Ponnage Pool (1968), Collected Poems (1971) and More Collected Poems (1978). She wrote poetry until the end of her life with her last unfinished poem being about a woman who cannot stop for death as she has too much to do.

Later life and celebration
The BBC commissioned a programme in celebration of her 80th birthday, in 1966, and in 1969 her friends commissioned a bust by Vincent Butler, which is on display at the Scottish National Portrait Gallery. She was awarded an honorary MA by Edinburgh University in 1971. Helen lived in Dinnieduff for over fifty years, living alone after her mother's death in 1940, and even though her health deteriorated she did not leave her home until it was completely necessary to do so when she was 88. Helen moved to Queensberry Lodge on the Canongate in November 1974 and died there on 2 March 1975. She had planned her own cremation, and this was carried out at Warriston in Edinburgh.

Helen's friends laid a plaque at the front door in 1986. Cruickshank recorded her long life and aspects of her times in her autobiography, Octobiography (1987), which was published posthumously. Helen Cruickshank is commemorated in Makars' Court, outside The Writers' Museum, Lawnmarket, Edinburgh. Selections for Makars' Court are made by the Writers' Museum, the Saltire Society and the Scottish Poetry Library.

title: Helen Cruickshank


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KF Elbasani

Klubi i Futbollit Elbasani was an Albanian professional football club based in the city of Elbasan, that last competed in the Kategoria e Dytë, the third tier of football in the country.

History
The club was formed in 1929 as Klubi i Futbollit Urani Elbasan, the result of the fusion between two clubs, Afërdita Elbasan and Përparimi Elbasan. Urani translates to uranium in Albanian, and the club was named this due to the city's association with the metal. The club changed its name to KS Skampa Elbasan briefly before 1930. They first participated in a nationally recognised competition in the first top flight football league in Albania, the 1930 Kategoria e Parë, where the club finished in 5th place, second from bottom, with a record of 3 wins, 1 draw and 6 losses. The following season they again finished in penultimate place, this time in 7 team league format. In the 1932 champion, they finished bottom of the league, gaining no points after 8 straight losses, which meant that Elbasani were relegated for the first time.

The club changed its name to Bashkimi Elbasanas in 1933, when they were playing in the second division, which they won and earned promotion back to the top flight, winning their first trophy in the process. In their first season back in the Kategoria e Parë, they once again finished second form bottom with 2 wins, 2 draws and 8 losses. No competition was held during 1935 and when the league restarted in 1936 Bashkimi finished once again second from bottom, with 3 wins, 2 draws and 9 losses, but the team below them Ismail Qemali Vlorë played 2 fewer games and finished on the same points tally. The 1937 championship proved to be more successful as the club finished in 5th place out of 10 teams, with a record of 7 wins, 3 draws and 8 losses.

The league officially restarted following World War II in 1945, where Bashkimi finished 3rd in Group B of the new league format, out of 6 teams. The following season they finished 2nd in Group B, just one point behind runners-up Flamurtari Vlorë. For the 1947 season, the league changed to a single 9 team competition, where Bashkimi finished in 8th place. The following season the league returned to the 2 group format, where the club again finished second by one point to Flamurtari Vlorë. The club changed names again to KS Elbasani in 1949 and KF Puna Elbasan in 1950.

Labinoti Elbasan
Between 1958 and 1991, the club was forcibly named KS Labinoti Elbasan, after a nearby village which had been the center of the first nationwide conference of the Party of Labour of Albania during World War II. In 1984, they won their first and only league title, featuring players like Roland Agalliu, Vladimir Tafani and Muharrem Dosti.

The club's first participation in a European competition came in 1984, where they met Danish side Lyngby Boldklub in the first round of the Champions League qualification stage. The first leg was played at the Ruzhdi Bizhuta Stadium and KF Elbasani were beaten 3–0 at home, and along with another 3–0 loss in Denmark the aggregate result was 6–0 to Lyngby Boldklub.

KF Elbasani
Following the fall of communism, the club changed its name again to KF Elbasani, which they have not changed ever since. During the 2005–06 season, the team of Elbasani dominated the Albanian Superliga and won the second title in their history, finishing the competition with 11 points more than their rivals in SK Tirana.

In 2006–07, 1st qualifying round for the Champions League they were eliminated by FK Ekranas from Lithuania (1–3 aggregate). On 24 December 2006, coach Luan Deliu was fired and replaced by Edmond Gezdari. The team now is seized by the Directorate of Taxes in Elbasan.

Stadium

The club plays its home games at the Elbasan Arena, which was originally built in 1967 and named the Labinot Stadium after the club's name at the time, which was Labinot Elbasan. The stadium was previously called Ruzhdi Bizhuta, after one of the club's most famous players. In January 2014 it was announced that the stadium would take over from the Qemal Stafa Stadium as the home of the Albania national team until Qemal Stafa is reconstructed. Prime minister Edi Rama visited the stadium on 28 January 2014 and he confirmed that work on the stadium would begin shortly, in order for Albania to be able to play their home games in the country as no other stadiums met the minimum requirements for Euro 2016 qualifiers. Works on the stadium began in February, and they were completed in time for Albania's opening qualifying fixture against Denmark in October 2014. The overall reconstruction costs amounted to €5.5 million, which included works being completed on everything from the parking lot to the installation of new floodlights, and the stadium now has an official seated capacity of 12,800.

Honours

 * Kategoria Superiore
 * Winners (2): 1983–84, 2005–06
 * Kategoria e Parë (Tier 2)
 * Winners (4): 1933, 1958, 2001–02, 2013–14
 * Runners-up (1): 2009–10
 * Albanian Cup
 * Winners (2): 1975, 1992
 * Albanian Supercup
 * Winners (1): 1992

European competitions record

 * 1QR = 1st Qualifying Round
 * 1R = 1st Round

Historical list of coaches

 * 🇦🇱 Sabri Peqini (1957–1960)
 * 🇦🇱 Frederik Jorgaqi (1983–1985)
 * 🇦🇱 Dashamir Stringa (1990–1995)
 * 🇦🇱 Astrit Sejdini (1996–1999)
 * 🇦🇱 Luan Deliu (2000)
 * 🇦🇱 Petrit Haxhiu (2001–2003)
 * 🇦🇱 Artan Bushati (2004–2005)
 * 🇦🇱 Ilir Daja (2005–2006)
 * 🇦🇱 Luan Deliu (Jul 2006 – 27 Dec 2006)
 * 🇦🇱 Edmond Gëzdari (27 Dec 2006 –7 Apr 2007)
 * 🇦🇱 Ilirjan File (7 Apr 2007 – Jun 2007)
 * 🇦🇱 Krenar Alimehmeti (2007–2008)
 * 🇦🇱 Mirel Josa (24 Aug 2008 – 6 Feb 2009)
 * 🇦🇱 Faruk Sejdini (6 Feb 2009 – 6 Apr 2009)
 * 🇦🇱 Ramadan Shehu (6 Apr 2009 – 22 May 2009)
 * 🇦🇱 Bujar Gogunja (22 May 2009 – Jun 2009)
 * 🇦🇱 Muharrem Dosti (Jul 2009 – 19 Dec 2009)
 * 🇦🇱 Krenar Alimehmeti (19 Dec 2009 – 24 December 2010)
 * 🇷🇸 Esad Karišik (27 December 2010 – 23 February 2011)
 * 🇦🇱 Ilirjan File (28 February 2011 – 9 Sep 2014)
 * 🇦🇱 Edmond Mustafaraj (Sep 2014)
 * 🇦🇱 Muharrem Dosti (Sep 2014 – May 2017)
 * 🇦🇱 Eriol Merxha (Jul 2017 – Sep 2018)
 * 🇦🇱 Elvis Kotorri (Sep 2018 – Mar 2019)
 * 🇦🇱 Marsid Dushku (Mar 2019 – May 2019)
 * 🇦🇱 Shkëlqim Lleshanaku (Aug 2019 –)

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

title: KF Elbasani


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Sechuran fox

The Sechuran fox (Lycalopex sechurae), also called the Peruvian desert fox or the Sechuran zorro, is a small South American species of canid closely related to other South American "false" foxes or zorro. It gets its name for being found in the Sechura Desert in northwestern Peru.

It is one of ten extant species of canid endemic to South America. This fox inhabits a narrow region west of the Andes Mountains running along the coastline of Peru and southern Ecuador. More specifically, in dry areas such as savannah-like deserts, cliff-sides, along the western side of the Andes mountains, and beaches. The Sechuran Fox is known by the common names Sechura desert fox and Peruvian desert fox. The etymology of its scientific name comes from the Greek "lycos" meaning "wolf," and "alopex" meaning "fox". Before it was classified under Lycalopex, the Sechuran fox was classed under the Dusicyon genus established by Oldfield Thomas in 1914, and was later moved to the Pseudalopex (meaning "false fox") genus by A. Langguth in 1975.

The Sechuran fox is one of the many canid species that evolved from the ancestral canid(s) in the Miocene era. Through the rapid radiation of South American canids, the Sechuran fox has evolved some traits that have possibly lent themselves to the species' survival, and which aid in distinguishing them from other members of this genus. While there is not currently a thorough understanding of this species' evolution, some recent studies have produced notable contributions to this endeavor.

A total population estimate is not currently specified by the International Union for the Conservation of Nature (IUCN), but one 2022 study estimates it to be around 5,000. The main threats to this species currently are anthropogenic; largely habitat destruction through deforestation, and hunting (though to a smaller extent).

Description
The Sechuran fox is small for a canid, weighing 2.6 to 4.2 kg, with a head-and-body length of 50 to 78 cm and a tail of 27 to 34 cm. Its fur is gray agouti over most of the body, fading to white or cream coloured on the underparts. There are reddish-brown markings on the backs of the ears, around the eyes, and on the legs. The muzzle is dark grey, and a grey band runs across the chest. Its tail is tipped with black. It has small teeth, adapted to feed on insects and dry plants, with fox-like canine teeth.

The species has 74 chromosomes.

Distribution and habitat
First identified in the Sechura desert, the fox inhabits arid environments in southwestern Ecuador and western Peru, at elevations from sea level to at least 1000 m, and possibly much higher. Within this region it has been reported from the western foothills of the Andes down to the coast, inhabiting deserts, dry forests, and beaches. There are no recognised subspecies.

Evolution
While more studies are required to understand the complete lineage of this species, it has been proposed that the most recent ancestor of the Lycalopex genus was Dusicyon australis (or the Falkland Islands wolf) which went extinct in 1876.

Several fossils of Sechuran foxes are known from the late Pleistocene of Ecuador and Peru, close to the modern range. Genetic analysis suggests that the closest living relative of the Sechuran fox is Darwin's fox, which is native to Chile.

Timeline
The arrival of the first canid ancestor to South America, and the subsequent divergence into the ten extant canid species (including the Sechuran fox), is an example of remarkably rapid radiation. Details of this recent diversification are not well understood, perhaps the biggest unknown being how many invasive ancestor canid species migrated into South America. However, it is accepted that this occurred during the Great American Biotic Interchange in the Miocene era, via the Panamanian land bridge.

Multiple studies  have supported that South American canids (of which the Lycalopex genus makes up over half of these species) are monophyletic, sharing one common ancestor 3.5 million to 4 million years ago. The Sechuran fox was the second out of the six Lycalopex species to diverge from its sister taxon approximately 1.3 million years after the first canid species arrived. The ancestor to the Lycalopex genus is believed to be the Falkland Islands wolf (Dusicyon australis) around 1.4-0.81 million years ago. It is theorized that the main ancestral lineage that migrated from North America split into two, one migrating out east of the Andes, and one going west of the Andes. It is suggested that an ancestral Lycalopex lineage, possibly migrated to the west-Andean region about 1 million years ago, likely during the rise of arid, savannah-like habitats (the sort of habitats that the extant L. sechurae occupies today).

The Pleistocene era was a significant time in the history of this rapid species divergence. It has been suggested in multiple studies that during this period, and into the early Holocene era, there was considerable contraction and expansion of glaciers that resulted in significant shifts in climate of and around the Andes mountains, which was and is still a key driver of speciation. This climate change is believed to have altered habitable areas of some species.

Genetics
The Sechuran fox's relation to Dusicyon australis has been suggested by a study from Perini et al. (2009). While they were not the first to suspect D. australis as the sister taxa, through their analyses they claim to support this relationship with 87% Bayesian Posterior Probability. The Sechuran fox also appears to have experienced very little gene flow as compared to the other five Lycalopex species. Being only the second species of its genus to diverge from the common ancestor/sister taxa, the Sechuran fox has a high degree of genetic isolation from the other Lycalopex species, as well as a relatively distinct mitochondrial DNA phylogeny.

Additionally, the Sechuran fox's genome exhibits a substantially low degree of autosomal heterozygosity, or genetic variability, especially in contrast with many other South American canids both within and outside of its genus. There is a proposed correlation between low heterozygosity and small population size, which can similarly be seen in Lycalopex fulvipes (or Darwin's fox), which also inhabits a very narrow region west of the Andes, except it includes an island population.

Adaptive characteristics
Within the Lycalopex genus, the Sechuran fox is not strikingly distinct from the other species, though morphological differences are still present. It is the smallest out of all the Lycalopex species and lacks red fur on its body, contrasting with other species in this genus. Certain dental features may be important to note when examining possible adaptations, for example, molar sizes seen in fossils of L. sechurae are longer than the molars seen in more recent specimens.

The versatility of this species has possibly lent itself to its survival. For example, when ecological conditions allow, it is omnivorous, but is capable of surviving on a completely vegetarian diet. It has been suggested that vegetarianism may have influenced the aforementioned decrease in molar size.

It is also thought that the Sechuran fox may have an ability to survive without water for lengthy periods, as suggested by the sparse water availability in its usual habitats. Among mammals, this is not a common ability. A specific duration they can survive without water has not been featured in the literature as of yet, as this requires more studies to confirm.

Behavior and diet
The Sechuran fox is nocturnal, and spends the daylight hours in a den dug into the ground. It is generally solitary, although occasionally seen travelling in pairs. Pups are born in October and November, although little else is known of its reproductive behavior.

The fox is an opportunistic feeder, and its diet varies widely depending on the season and local habitat. It has been found to feed on seed pods, especially those of the shrub Prosopis juliflora and of caper bushes, as well as the fruit of Cordia and mito plants, and is capable of surviving on an entirely herbivorous diet when necessary. More commonly, however, it also eats insects, rodents, bird eggs, and carrion as a part of its diet. It can probably survive for long periods of time without drinking, subsisting on the water in its food. Sechuran fox can disperse as many plant species as other more specialized dispensers, such as phyllostomid bat and white-tailed deer.

Sechuran foxes are common in Ecuador. They have been known to prey on local livestock, such as chickens, and are hunted both to reduce such attacks and so that their body parts can be used in local handicrafts, folk medicine, or magical rituals.

The animal is considered at Low Risk in Ecuador, and hunting is not permitted in Peru without a licence. The species is listed as Near Threatened by the IUCN.

title: Sechuran fox


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Hans Kohlhase

Hans Kohlhase (c. 1500 – 1540), according to early modern German accounts, was a merchant whose grievance against a Saxon nobleman developed into a full-blown feud against the state of Saxony, thus infringing the Eternal Peace of 1495. The campaign culminated in Kohlhase's execution in March 1540.

Background
In October 1532, according to the story, Kohlhase was proceeding from his hometown of Cölln to the fair at Leipzig, when he was attacked and his horses were taken from him by the servants of a  Saxon nobleman, one Günter von Zaschwitz. In consequence of the delay the merchant suffered some loss of business at the fair and on his return he refused to pay the rather large sum which Zaschwitz demanded as a condition of returning the horses. In return Kohlhase asked for a substantial amount of money as compensation for his loss, and failing to secure this he invoked the aid of his sovereign, the Elector of Brandenburg Joachim I Nestor. Finding however that it was impossible to recover his horses, he paid Zaschwitz the sum required for them, but reserved to himself the right to take further action.

Revenge campaign
Unable to obtain redress in the courts of law, Kohlhase in a feud letter threw down a challenge to his aggressor and to the whole of Saxony. Acts of lawlessness were attributed to him, and after an attempt to settle the feud had failed, the elector of Saxony, John Frederick I, set a price upon the head of the angry merchant.

Kohlhase now sought revenge in earnest. Gathering around him a band of criminals and desperados, he spread terror throughout the whole of Saxony; travellers were robbed, villages were burned, and towns were plundered. For some time, the authorities were powerless to stop these outrages, but in March 1540, Kohlhase and his principal associate, Georg Nagelschmidt, were seized, and on March 22, they were broken on the wheel in Berlin.

Reception
Heinrich von Kleist's novel, Michael Kohlhaas, is loosely based on Kohlhase's life. The novel was made into three films: Michael Kohlhaas – der Rebell in 1969, The Jack Bull in 1999 and Age of Uprising: The Legend of Michael Kohlhaas in 2013. Further, it was the inspiration for the character Coalhouse Walker, Jr. in E. L. Doctorow's novel Ragtime.

title: Hans Kohlhase


text:
Åraksbø

Åraksbø is a village in Bygland municipality in Agder county, Norway. The village is located on the eastern shore of the Åraksfjorden, about 5 km north of the village of Sandnes and about 6 km southeast of the village of Ose. The population (2001) of the Åraksbø area was 89.

The lake Hovatn and its hydroelectric power plant are located about 5 km to the northeast, just north of the village of Litveit. Sandnes Church has been located in this village since 1935, prior to that time, it was located in the village of Sandnes, a few kilometers to the south.

title: Åraksbø


text:
Wikipedia:Articles for deletion/The bonez

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

The result of the debate was delete. Sjakkalle (Check!)  09:58, 21 July 2005 (UTC)

The bonez
Delete. It's a group of children from a primary- secondary school who like to make puns about erections. Even Shane. FreplySpang (talk) 23:29, 10 July 2005 (UTC)

 * KEEP   This is the truth. (23:28, 10 July 2005 212.2.177.134) These votes were made by.
 * KEEP    Were in secondary school
 * KEEP    I'l vote as much as I like.
 * KEEPYour so Cool,not a song written or recorded by Carly Simon,but it suits you in your mothers basement you U.S. computer geek. —unsigned vote by
 * Delete Unencyclopedic- Also don't vote more than once. Derktar 23:33, July 10, 2005 (UTC).
 * Delete; not encyclopedic. Jaxl 23:44, 10 July 2005 (UTC)
 * Delete nn, vanity -Harmil 23:45, 10 July 2005 (UTC)
 * Delete - Thatdog 23:48, 10 July 2005 (UTC)
 * Keep I am from Dublin and it is a well used colloqial expression, it deserves to stay. Also they're clearly in secondary school, idiot! previous unsigned vote by.
 * Keep  Wiki-Hell, you're king of the parent's basements nerds aren't youunsigned vote by

 * Delete You're So Vain. Sasquatch′↔Talk↔Contributions 00:07, July 11, 2005 (UTC)
 * Person attacks tend not to be appreciated. As in stop them. Sasquatch.—′↔Talk↔Contributions 00:08, July 11, 2005 (UTC)
 * Delete. Saddens me greatly to have to send pre-teens to Wiki-Hell without supper. But, the raging sockpuppets have sealed their fate. -- BD2412 talk 00:22, July 11, 2005 (UTC)
 * Delete. Vanity and not notable. Probably should have been speedied, these 'keep' objections are not signed. DarthVader 00:55, 11 July 2005 (UTC)
 * Delete; also, spank. —tregoweth 00:58, July 11, 2005 (UTC)
 * speedy as it is vanity, nn, and just plain sickening. BD2412 is right. Off to wiki-hell with you! The keep votes don't mean jack, so they can be discounted. I'm saying speedy, as well as a ban for these unfortunate youngsters. -mysekurity 01:14, 11 July 2005 (UTC)
 * Delete. Most likely the same person who has been vandalizing Wikipedia the past few days: 82.42.84.82, 83.70.29.12, 83.71.69.213, 212.2.172.137, 212.144.219.142, 213.202.167.112 —Tokek 02:10, 11 July 2005 (UTC)
 * Delete (unsigned vote by Chaolin)
 * Delete nn kid vanity. --Etacar11 02:57, 11 July 2005 (UTC)
 * Delete non notable self promotion. JamesBurns 09:00, 11 July 2005 (UTC)

 * Delete. Also note the following was added after article put on VfD: "some examples of the bonez are mark coughlan eoin o sullivan who and also the homosexual ronan walsh is retarded. They are generally called this because they are arseholes except shane." This is not in the current version at this moment. --WCFrancis 23:24, 11 July 2005 (UTC)

 * Comment A well known colloqial expression in the Stillorgan region but possibly NN. Tunney 01:08, 17 July 2005 (UTC)
 * KEEP I must admitt,this article made me physicaly sick when I read it first.'Patent Nonsense'I thought to myself.But the more I read it,the more I come to see what an ingenious phrase it is.I must say that Irish people truelly are kings on earth.Signed,The Irish Republican Army.
 * 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: Template:Districts and cadastral areas of Prague


text:
Matorral

Matorral is a Spanish word, along with tomillares, for shrubland, thicket or bushes. It is used in naming and describing a Mediterranean climate ecosystem in Southern Europe.

Mediterranean region
Matorral originally referred to the Matorral shrublands and woodlands in the Mediterranean climate regions of Spain and other Mediterranean Basin countries. These scrub shrublands and woodlands are a plant community and a distinct habitat. Other common general names for this Mediterranean region shrubland habitat ecosystem are: in France as Maquis and Garrigue; in Italy as Macchia Mediterranea; in Greece as Phrygana; in Portugal as Mato; and in Israel as Batha. Now the term is used more broadly to include similar bio-assemblages where ever they occur.

In Portugal, the term mato or matagal is used to refer to the scrublands, or heaths, that formed on the Cambrian and Silurian schists in the north and central parts of Portugal.

Mediterranean Matorral shrublands are often part of a mosaic landscape, interspersed with forests, woodlands, grassland, and scrublands.

The Americas
The term matorral followed Spanish colonization of the Americas, and is used to refer to both Mediterranean (climate) woodlands and scrub, and xeric shrublands ecosystems in Mexico, Chile, and elsewhere.

There are Chilean Matorral areas in central Chile, including portions of La Campana National Park.

The Central Mexican matorral, Meseta Central matorral, Tamaulipan matorral, and Tehuacán Valley matorral are xeric shrubland ecoregions of Mexico.

The Portuguese term mato was imported to colonial eastern South America, where it was used to refer to the great scrublands, savannas, and flooded grasslands region called the Mato Grosso, in present-day western Brazil.

Popular usage
The regional Mexican band Los Tigres Del Norte used the term matorrales, the plural form of matorral, in their now-famous song "Pacas De A Kilo," an example of the infamous narco-corridos or drug ballads.

title: Matorral


text: File:Bestofporterdolly.jpg

title: File:Bestofporterdolly.jpg


text:
KZSU

KZSU (KZ Stanford University) is a freeform FM radio station broadcasting from the campus of Stanford University in Stanford, California, United States.

KZSU broadcasts in stereo at 90.1 MHz FM with an effective radiated power of 500 watts. The station is owned by the trustees of Stanford University and is governed by a board of directors appointed by the university's president. Operations are managed by a general manager selected each year from the student body.

Broadcasting history
KZSU began broadcasting on January 6, 1947, using the informal call letters KSU. Originally an AM carrier-current station, it relied on cables strung throughout Stanford's network of steam tunnels to carry its 590 kHz (later 880 kHz) signal. The first broadcast was a musical comedy revue starring Doodles Weaver. At first, the station broadcast only in the evenings. In the 1940s and 1950s, KZSU was a commercial station broadcasting popular and classical music, local cultural events, talk shows, and radio plays.

The station was shut down for two years following a raid by the Federal Communications Commission (FCC) in August 1958, which resulted from rising interference with the signal of radio station KGO-AM at 810 kHz. Broadcasting resumed in the fall of 1960. Renamed KZSU at the behest of the FCC, the station received a noncommercial FM license in 1964, moved its transmitter from the center of campus to the nearby foothills in 1970, and upgraded its transmitter power from 10 to 500 watts in 1978. The AM carrier gradually died in the early 1980s.

KZSU's all-volunteer staff is currently made up of locals as well as Stanford students and staff.

While the height above average terrain (HAAT) of its 500-watt transmitting antenna is minus 3 meters (-10 feet), owing to proximity to mountains, its height above mean sea level (AMSL) is 155 m (509 ft.), giving it a vantage over the flat regions visible from the transmitter site. These include all of Stanford and Palo Alto, and much of the Peninsula and South Bay. KZSU says that its signal extends as far north as the San Francisco International Airport and south as San Jose.

KZSU has also broadcast live on the internet since 1995.

Programming
KZSU's programming includes the following:
 * The "Stanford Sadie" show, which ran from 1947 to 1961, was a notoriously racy satirical program based loosely on the Tokyo Rose and Axis Sally broadcasts of World War II. Sadie, whose mission was to distract male students from studying, was portrayed by approximately two dozen women over the years.
 * KZSU broadcast tapes of live shows recorded at a nearby coffeehouse called Top of the Tangent in the early 1960s. One of the bands caught on tape was Mother McCree's Uptown Jug Champions, which later became the Grateful Dead. The recording, unearthed in 1997, has since been released on CD.
 * "Mystery Playhouse," a series of classic and original radio dramas hosted by Dr. Morgan, produced over 200 episodes between 1986 and 1991. Dr. Morgan died in 1993, and the show is used for syndication and an informal tape-trading network.
 * "The Drum," formerly hosted by DJ Kevvy Kev (Kevin Montague), was the world's longest-running hip-hop radio show until it went off air in the summer of 2011. It aired under this name since the late 1970s, but evolved from an earlier program called "Rhythms" that began airing some years earlier. John Graham hosted "The Drum" until 1981.  Jonathan Brown (aka Johnny Afro) was host from 1981-1989. The last host, Kevvy Kev, was involved since 1984. Other Drum co-hosts from the period of 1984-1989 were DJ Easy Lou, Dj Rockmaster Marski, Rich D, & KutMasta Kurt.
 * "What Would Your Mother Say?", hosted by Susan Morris and produced by Sarah Buer, was an edgy talk show discussing life issues relevant to young people. Each week, a panel of four college students, Morris, and a mother met face-to-face interviewed a guest expert (an author, psychologist or pundit), on these subjects.
 * "Wednesday Night Live" is a weekly showcase of local band talent which has run since the late 1980s. Bands which have performed live in KZSU's "Outer A" studio include Green Day and Primus.
 * "Punker Than Puke" was a punk-oriented weekly program hosted by DJ Linus Up (Brent) and Johnny Gram in the early 1990s. Known for unscripted interviews with unscheduled Punk rock celebrities, surprise guests presented by the show included Jerry Only, Ian MacKaye, Chrissie Hynde, and San Francisco Area native Punk Rock musicians.
 * On September 6, 2004, KZSU held a "short song marathon," consisting entirely of songs running one minute or less, with the goal of playing 1,000 songs in 1,000 minutes. A team of 18 disc jockeys succeeded played 1,104 songs in that span. Number 1,000 was “The Young Lady Who Married a Mule Driver,” by James Downer.
 * In 2007, KZSU celebrated its 60th anniversary with a 60-hour music marathon, running from January 4–6, 2007. KZSU alumni joined current DJs for a retrospective focusing on one year per hour, beginning with the music of 1947 and moving forward through 2006. Special programming also included a lecture on the history of the station, archived airchecks from previous years, and an interview with one of the station's founders.

Current programming at KZSU consists primarily of music, with an emphasis on independent new releases. KZSU's music library contained nearly 80,000 CDs and a similar number of vinyl discs as of December 2005.

The station is also notable for its commitment to Stanford athletics. In recent years KZSU has carried live coverage of eight Stanford team sports throughout the year (football, men's and women's basketball and soccer, baseball, women's volleyball and softball). KZSU also produces news and talk shows, and simulcasts meetings of the Palo Alto City Council, and services from Stanford Memorial Church.

 * sometime in 1990 they invited Green Day to their studios where they played some of their songs including "Disappearing Boy"

title: KZSU


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Talk:At the Movies (1986 TV program)

Ed Grimley Parody?
I remember Martin Short once had an Ed Grimley special (I think it was on HBO?) that featured a parody of Siskel & Ebert and if Memory serves one of them threatened to shoot Ed Grimley with a gun with an Ed Grimley silencer. I can only recall once seeing this and if my memory was more specific I'd add it to the list of Pop Culture references. If someone has more specific info (like the special on tape?), or at least a better memory, could they please ad it to the list? —Preceding unsigned comment added by 4.254.118.227 (talk • contribs) 03:00, 9 June 2006 (UTC)

 * It was SCTV. --Dhartung | Talk 07:03, 9 June 2006 (UTC)

 * The above user is trying to reference a cable special entitled "Martin Short Goes Hollywood" and I see that they have done so correctly, but for some reason, Wikipedia formatting is incorrectly abbreviating it as "SCTV" which was a different show the character Ed Grimley appeared in. —Preceding unsigned comment added by Minaker (talk • contribs) 19:36, 29 July 2006 (UTC)

Formatting
TMC1982, care to explain here why you think the Ebert & Roeper article should deviate from Wikipedia standards? It is also normal Wikipedia practice, and a courtesy to other editors, to explain your edits and to build consensus. An edit war is really counterproductive toward that goal. --Dhartung | Talk 09:19, 16 August 2006 (UTC)

 * I still feel the article now has too many sections. The manual of style recommends that sections only be broken out for two paragraphs of text. For all practical purposes the show has two important eras, the Siskel era and the Roeper era, so I think we should refactor the history to reflect that. Also, the "200x in film" links are probably excessive (WikiProject Music recommends against using too many "200x in music" links, and against piped links). --Dhartung | Talk 06:52, 20 August 2006 (UTC)

 * I agree. I've taken a shot at simplifying the formatting of the article with fewer subheadings. If we don't like it, we can revert. Bryan H Bell 17:38, 25 October 2007 (UTC)

 * Thinking about the text of the subheadings for the Broadcast history section, alternate text occurred to me. What do you think of this?
 * *Ebert with Siskel >  Early years: Siskel and Ebert
 * *Ebert with guests >  Transition: after Siskel's death
 * *Ebert with Roeper >  Middle years: Ebert and Roeper
 * *Roeper with guests > Recent years: Ebert on medical leave
 * Bryan H Bell 21:21, 25 October 2007 (UTC)

The same editor, TMC1982, just made edits similar to the ones mentioned by Dhartung above. The edits introduced a large number of subsections that break up the flow of the article. The editor provided no edit summaries explaining the reasoning for the changes. I've therefore reverted those edits. Let's discuss any major section reformatting here before making further changes of this kind. --Bryan H Bell (talk) 22:48, 10 April 2008 (UTC)

Number of cameras
When they film their program, how many cameras are there on the set? One camera for each of them, so the editor can catch surprising looks that they give each other - as if loud exclamations aren't enough? 198.177.27.30 04:55, 12 October 2006 (UTC)

Editing time
How long, on the average, does it take for Ebert & Roeper to edit their carefully worded dialogs, and slap them together in a half hour format? Now that Roeper is having lots of guest hosts, does Ebert still have a chance to comment on the way the program is edited, and put together? 198.177.27.30 04:55, 12 October 2006 (UTC)

Length of show
Has there ever been an hourlong program of Ebert & Roeper? 198.177.27.30 04:55, 12 October 2006 (UTC)

Fair use rationale for Image:Ebertroeper hdr pic-gray.jpg
Image:Ebertroeper hdr pic-gray.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 02:42, 3 June 2007 (UTC)

Pop culture
Most of the "SUBJECT in popular culture" lists are being deleted as irrelevant fancruft. I would suggest that we do the same here, but don't want to do so without warning folks that such is my plan. Reactions? It's pretty appallingly trivial junk, in my arrogant opinion, and needs to be killed. -- Orange Mike 02:03, 6 August 2007 (UTC)

Fair use rationale for Image:AtTheMovies.jpg
Image:AtTheMovies.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 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 01:51, 26 October 2007 (UTC)

 * I've updated the fair use rationale for this image using the non-free use rationale template, but I don't know the image's source. I've left a message on the talk page of the editor who uploaded this image, Scarecroe, requesting that they fill in the source information. Bryan H Bell 02:27, 26 October 2007 (UTC)

 * Scarecroe has updated the source of the image and removed the disputed banner. Bryan H Bell 15:49, 26 October 2007 (UTC)

WikiProject class rating
This article was automatically assessed because at least one WikiProject had rated the article as start, and the rating on other projects was brought up to start class. BetacommandBot 14:23, 9 November 2007 (UTC)

Ebert & Roeper Thumbs Summary
I've reverted AnmaFinotera's deletion of one of the items in the External links section (Ebert & Roeper Thumbs Summary) because I feel that the link in question falls within WP:EL (#3). The link is to a list that I maintain showing in summary form the "thumbs up/thumbs down" votes for each movie reviewed on the show for the past 3 years. I think that Wikipedia users find this information valuable and I regularly receive e-mail from users confirming such. The information is not available in summary form anywhere else. I maintain the list for no purpose other than providing a useful resource to fellow viewers of the program. The list contains no solicitations. Bryan H Bell 01:43, 13 November 2007 (UTC)

 * Your revert has been reverted. As you own the site, your addition of the link and its revertion violates the WP:COI guideline. You should not add links to your own site on Wikipedia, but post ot the talk page and let neutral editors review the site and determine if it should be included. Otherwise, it gives the appearance that you are spamming your site, even if that is not your intention. AnmaFinotera 01:49, 13 November 2007 (UTC)

 * Ah, fair enough. Anybody care to take a look at the site and if they think the link is a worthwhile resource, add it back onto this article? Thanks. Bryan H Bell 02:02, 13 November 2007 (UTC)

Siskel & Ebert Holiday Video Gift Guide and Incomplete Show Archive
I recall that Siskel & Ebert for a limited time had yearly Holiday Video Gift Guide specials in which they reviewed video equipment among other things. One time in particular I recall was Ebert reviewing one of the earliest digital cameras available for consumers and turning the camera sideways for shooting in page orientation (the default was landscape orientation), and in the review Siskel commented that that would require turning your TV sideways for viewing. I couldn't find much about those specials on-line, even on the IMDB or YouTube and was wondering if those specials could warrant a mention. Info I found on-line was extremely sparse and I suspect those specials weren't separate from the series but part of it, and hence likely part of the show's on-line video archive? (I have yet to look and it might take awhile to search.)

Also I recall Roeper saying when the video archive was unveiled that the earliest episodes have been lost. Having not browsed the archive for the really old stuff, does that mean the very early episodes are spotty or rare, or does it just cut off before a certain date? A mention of how complete or incomplete the archive is (and why?) seems appropriate. —Preceding unsigned comment added by 4.254.118.126 (talk) 14:43, 31 December 2007 (UTC)

Friends?!?
Hey guys, i dont know, from this video, i wouldnt say they would be big friends..unless it was just a fight..

http://www.thatvideosite.com/video/1302

Zlatko (talk) 15:00, 15 May 2008 (UTC)

 * Thanks for the suggestion. There's also a similar video here. I've seen these videos before and after watching them in full again it isn't clear to me whether their comments are bickering or banter. There's a fair amount of laughter and affectionate contact between them in addition to the insults and abrasive behavior. Regardless, I've added this evidence to the article so that readers can judge for themselves. --Bryan H Bell (talk) 00:53, 16 May 2008 (UTC)

Name change
Shouldn't this article be called Siskel & Ebert & the Movies? Clarityfiend (talk) 03:23, 22 July 2008 (UTC)

 * This is the current name of the program. - JasonAQuest (talk) 11:41, 22 July 2008 (UTC)
 * Yes, but the original name is much better known. Clarityfiend (talk) 16:35, 22 July 2008 (UTC)
 * I'm not so sure. I'd guess it's best known as just "Siskel & Ebert", but as time passes fewer people will remember previous hosts. Unless we have some way of determining which title is "best known", I think the current title (with all the appropriate redirects) is the safest choice. - JasonAQuest (talk) 02:37, 23 July 2008 (UTC)

Well, now that Ben Lyons and Ben Mankewicz are replacing Roger Ebert and Richard Roeper, let's hope that At the Movies with Ebert & Roeper would be renamed either At the Movies with Lyons and Mankewicz, At the Movies with the Two Bens, The Two Bens at the Movies or just plain At the Movies.Don-Don (talk) 23:48, 24 July 2008 (UTC)

More apt would be to rename this new show: SKIP IT! —Preceding unsigned comment added by 76.126.90.117 (talk) 02:15, 15 September 2008 (UTC)

Roger Ebert presents At the Movies...
Should we start an article for the new program that Ebert announced for PBS? GameGuy95 (talk) 04:19, 3 October 2010 (UTC)

I'd say go for it, once it premieres officially. Rebel shadow 00:03, 11 October 2010 (UTC) —Preceding unsigned comment added by Rebel shadow (talk • contribs)

Okay, I'm just asking since I have a user page for it underway. GameGuy95 (talk) 12:55, 30 October 2010 (UTC)

Edit request on 23 January 2013
"Rent It" [yellow] has been used to indicate a weekly positive verdict, suggesting that the viewer wait until the movie is available on home video.

Change "weekly" to "weakly".

"...indicate a weakly-positive..."

69.251.222.124 (talk) 18:40, 23 January 2013 (UTC)

Done Sperril (talk) 20:07, 23 January 2013 (UTC)

External links modified
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Reference
This show is sometimes still carried by certain television stations in new format still called 'Siskel & Ebert.' — Preceding unsigned comment added by 23.117.16.22 (talk) 13:47, 10 September 2016 (UTC)

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Please respect the encyclopedia
...and stop adding content without sources. This article is a wholesale example of WP:VERIFY and WP:OR violations. It would take an undergraduate dissertation's effort to research and set this article to a verifiable, proper bit of content. 2601:246:C700:9B0:7573:9C20:A653:9660 (talk) 05:02, 5 December 2019 (UTC)

title: Talk:At the Movies (1986 TV program)


text:
Koltsevaya line

The Koltsevaya line (Кольцева́я ли́ния, Ring line, ) (Line 5) is a line of the Moscow Metro. The line was built in 1950–1954 as a circle route orbiting central Moscow, and became crucial to the transfer patterns of passengers. The stations of the line were built at the height of Stalinist architecture, and include Komsomolskaya, Novoslobodskaya and Kiyevskaya.

History
In the initial plans of the Metro's development, there was no provision for the Circle line. Instead it was planned for complete cross-city routes ("diameters") to cross the city centre with interchange stations at their intersections. However, after the opening of the second stage in 1938, it was clear from the excessive loads on those junctions, that this plan would be insufficient to deal with the growing number of passengers as the system expanded. An urban legend suggests that Joseph Stalin himself suggested the line when he placed a coffee cup on the original development map (with no ring) and then lifting it and leaving a circular stain around the centre of the city and said "It's your main fault, it should be built". It is thought this is the reason for the line's brown colour on all metro maps.

In principle, the alignment of the ring was also debated, whether to use the Garden Ring avenue that encircles the centre or a wider circumference. In the end, it was decided to partially align the southern path along the Sadovoye Koltso, and let the northern part deviate to connect most of Moscow's rail terminals. This solved a major logistical problem, because, due to the layout of Russia's railroads, it would be impossible to travel from a region on one side of Moscow to another without having to make a manual transfer from one terminal to another.

Construction began shortly after the end of the war. The first stage was opened in 1950 from Park Kultury to Kurskaya. In 1952, a second segment completed the northern deviation up to Belorusskaya and in 1954, the circumference was linked.

The construction of the ring allowed for massive changes in the passenger flow patterns around Moscow and allowed a systematic development platform for many future lines. A total of seven radial lines began at the ring, four of which later linked up in the centre to become diameters.

Stations
The Koltsevaya line, unlike other lines of Moscow Metro, does not service any stations that belong to that line exclusively; rather, all its stations are transfer stations, linking to other lines, as shown below:

Rolling stock
The line is serviced by the Krasnaya Presnya depot (No.4) and was the first one to adopt the 81-717/714 model trains in 1978. But replacement of those models by the 81–740.4/81-741.4, which started operating in revenue service on the line since early 2010, was completed by 1 December 2011. Four 81-717/714 trains from the Krasnaya Presnya depot in 2011—2018 were in service on Filevskaya line. In 2020, brand new trains entered service and by June 2021, they completely replaced the 81-740.4/741.4 on the line.

Subway car types used on the line over the years:

Recent developments and future plans
Today the line is one of busiest, and the ever-rising passenger flows during rush hours are noticeably felt as most of the stations are over half a century old. In 1998, a second entrance was opened at Belorusskaya and there are plans to equip Park Kultury and Komsomolskaya with similar ones.

Many restoration works are carried out to improve the old line, recently Novoslobodskaya had major restoration work carried out, including replacement of lighting and retouching on the stained glass masterpieces by Pavel Korin. The vestibule of Taganskaya was closed in 2005 to replace old escalators and upgrade with new turnstiles and also cosmetically renovate it, this was re-opened in 2006, and shortly afterwards Dobryninskaya followed suit for a similar upgrade.

Despite the fact that when opened, there were six stations left for future transfer provisions, this turned out to be too small for the growing system. Metro planned two additional stations on the line Suvorovskaya, which connect to the Lyublinsko-Dmitrovskaya line and Rossiyskaya, which would connect to the Kalininsko-Solntsevskaya line. Some preliminary work had been performed on Suvorovskaya. In 2017, Metro terminated plans for both stations. A manager for the system indicated that the stations were unlikely to be completed as they were too technically complex, too long, and too costly to compete. Consequently, Vasiliev stated that the station was unlikely to be built. On August 19, 2019, works on Suvorovskaya station construction site resumed.

title: Koltsevaya line


text:
Gobrecht dollar

The Gobrecht dollar, minted from 1836 to 1839, was the first silver dollar struck for circulation by the United States Mint after production of that denomination had been halted in 1806 (the last previous silver dollars were struck in 1804 but dated 1803). The coin was struck in small numbers to determine whether the reintroduced silver dollar would be well received by the public.

In 1835, Director of the United States Mint Samuel Moore resigned his post, and Robert M. Patterson assumed the position. Shortly after, Patterson began an attempt to redesign the nation's coinage. After Mint Chief Engraver William Kneass suffered a stroke later that year, Christian Gobrecht was hired as an engraver. On August 1, Patterson wrote a letter to Philadelphia artist Thomas Sully laying out his plans for the dollar coin. He also asked Titian Peale to create a design for the coin. Sully created an obverse design depicting a seated representation of Liberty and Peale a reverse depicting a soaring bald eagle, which were adapted into coin designs by Gobrecht. After the designs were created and trials struck, production of the working dies began in September 1836.

After a small quantity was struck for circulation, the Mint received complaints regarding the prominent placement of Gobrecht's name on the dollar, and the design was modified to place his name in a less conspicuous position. In January 1837, the legal standard for the percentage of precious metal in silver coins was changed from 89.2% to 90%, and the Gobrecht dollars struck afterwards reflect this change. In total, 1,900 Gobrecht dollars were struck during the official production run. Production of the Seated Liberty dollar, which utilized the same obverse design as the Gobrecht dollar, began in 1840. In the 1850s, Mint officials controversially re-struck the coins without authorization.

1804 dollar

The first silver dollars struck by the United States Mint were minted in 1794. In 1804, the Mint unofficially ended production of silver dollars because many of the coins produced since that denomination had first been struck in 1794 were exported for their silver content to Eastern Asia, especially Canton (modern day Guangzhou). In 1806, then Secretary of State James Madison issued an order officially halting mintage of the coins. In 1831, Mint Director Samuel Moore noticed a reversal; a large shipment of Spanish dollars had recently been shipped from Canton to the United States. Later that year, President Andrew Jackson, at Moore's request, lifted the prohibition.

No further action was taken until the summer of 1834, when officials suggested that proof coin sets be prepared as gifts for Asian dignitaries. After examining Mint records, personnel incorrectly concluded that the last Draped Bust dollars minted were dated 1804, so they chose that date for the coins. It is unknown why the current date was not used, but numismatic historian R.W. Julian suggests the coins were predated to prevent coin collectors from becoming angered when they would be unable to obtain the newly dated coins, which were struck in very small numbers. It is unknown precisely how many 1804 dollars were struck, though eight are known to be extant.

Design

Later, in 1835, Mint officials began preparations for a series of silver dollars which, unlike the 1804 dollar, were intended to enter circulation in order to determine whether the denomination would be well received by the public. In June 1835, Moore resigned his post as director, and was replaced by Robert M. Patterson. Shortly thereafter, Director Patterson approached two well-known Philadelphia artists, Titian Peale and Thomas Sully, to create a design that would be used to overhaul most of the American coins then in production. Mint Chief Engraver Kneass prepared a sketch based on Patterson's conception, but soon suffered a stroke, leaving him partially incapacitated. Following Kneass' stroke, government officials approved Patterson's urgent request that Philadelphia medallist Christian Gobrecht be hired immediately to fulfill the duties of engraver; Director Moore requested the same prior to his resignation, but no action was taken immediately.

In a letter dated August 1, 1835, Patterson proposed that Sully create a Seated Liberty figure for the obverse, suggesting that the "figure be in a sitting posture—sitting, for example, on a rock." Patterson also suggested that the seated figure should hold in her right hand a pileus atop a liberty pole to be "emblematic of Liberty". Numismatic historian Don Taxay notes the similarity between Patterson's Seated Liberty concept and designs already in use on British copper coinage: "Liberty thus emerged as a refurbished Britannia, her trident replaced by a staff and pileus." In the same letter, Patterson also informed Sully of his vision for the reverse, which Peale would execute: "I propose an Eagle flying, and rising in flight, amidst a constellation, irregularly dispersed, of 24 stars [representing the number of states then forming the Union], and carrying in its claws a scroll with the words E PLURIBUS UNUM". Patterson preferred a soaring eagle because he believed that the heraldic eagle commonly used on American coins, which he dismissed as a "mere creature of imagination", was unappealing as a design. According to a common story, the flying eagle seen on the Gobrecht dollar was modeled after Peter, the Mint's pet eagle, who was taxidermied after his death by becoming caught in a coining press and remains on display at the Mint to this day.

In September 1835, Thomas Sully received from Patterson a set of British coins and medals to help guide him while creating the Seated Liberty design. Sully sent Patterson three rough sketches near the beginning of October, and those were given to Gobrecht, who in turn set about making a copper engraving of the design. Gobrecht completed the engraving on October 14, and Patterson presented prints created from it to several government officials in an effort to gain their approval. President Jackson, Treasury Secretary Levi Woodbury, and the rest of the cabinet all approved of the design. On October 17, while Jackson and his cabinet were reviewing the design, Woodbury wrote Patterson giving permission to proceed with creating dies for the new coins based on the prints. In January 1836, die trials were conducted in soft metal. These pieces were then circulated among the public for suggestions. Patterson then authorized production of a steel obverse die; the reverse could not yet be created because Peale had yet to complete his design to Patterson's satisfaction. While Peale continued his work, Gobrecht began work on a design for a gold dollar, which occupied much of his time at the Mint. On April 9, Patterson wrote a letter to the Treasury secretary in which he included several of Peale's drawings; Patterson viewed one of the designs as the best created to date. Despite the director's approval of the design, he instructed Peale to continue until Patterson was satisfied. This was evidently achieved, because Patterson had Gobrecht to begin work on a reverse die in June. In August, Patterson sent a uniface striking of the reverse die to President Jackson, who approved designs for both sides of the coin

Production
In September 1836, Chief Coiner Adam Eckfeldt began sinking the working dies that would be used to strike the coins. However, before production could begin, Patterson ordered that Gobrecht's name be added to the dollar. His name appeared as "C. GOBRECHT F", short for "Christian Gobrecht Fecit", meaning "Christian Gobrecht made it". The Gobrecht dollar was first struck in December 1836. Several pieces were produced and distributed throughout Philadelphia. Despite a positive reception for the overall design, many criticized the prominent display of Gobrecht's name on the coin. Gobrecht requested that his name be removed entirely from the face of the coin; instead, the engraver was instructed to change its size and placement at the behest of Patterson.

When the full-scale production began, the reverse eagle was surrounded by 26 stars rather than 24 as Patterson had originally requested of Sully, as the states of Arkansas and Michigan had been admitted to the Union since Patterson's letter was penned in 1835. Some of the Gobrecht dollars produced were struck with 'medal alignment', meaning that the obverse and reverse images both face upward when the coin is rotated around its vertical axis. For the 1837 production (which kept the 1836 date), Patterson ordered that the coins be struck in coin alignment, the opposite of medal alignment, and the practice with current US coins (the two faces both are upright when the coin is rotated about its horizontal axis). An act of January 18, 1837, officially changed the legal standard for silver coins from 89.2% to 90% silver. Numismatic historian Walter Breen asserts that those pieces struck before the passage of this act are technically patterns (or coins created to test their design, composition or other points), as they were not authorized by Congress. In total, 1,000 pieces dated 1836 were struck in 89.2% silver and 600 in 90% silver. Gobrecht dollars struck prior to passage of the act weighed 26.96 g, while those struck later weighed 26.73 g.

Persistent public demand for the new coins prompted Woodbury to contact Patterson, requesting more silver dollars. In 1838, the design was modified to remove the stars from the reverse. Throughout the production run, a number of different Gobrecht dollar patterns, which differed from the general issues, were struck. A small number were struck bearing the date of 1838 that did not bear Gobrecht's initials in any form. In total, 300 dollars of this type dated 1839 were struck for circulation, all in medal alignment. Patterson's trial issue had evidently been a success, as full-scale production of the Seated Liberty dollar began in 1840. The Seated Liberty dollar utilized an obverse design based on that of the Gobrecht dollar, though the reverse was altered from a soaring to a heraldic eagle.

Restrikes

Following an increase in coin collecting among the public in the mid-nineteenth century, there arose considerable demand for older American coins. Mint Director James Ross Snowden began selling restrikes of Gobrecht dollars and trading them for rare medals (especially those depicting or relating to former President George Washington), which were then added to the Mint's coin collection, then known as a coin cabinet. The money generated from selling the restrikes went toward purchasing new items for the coin cabinet. The restrikes created under Snowden's tenure were likely struck in 1859 and 1860, but the practice was largely halted after the eruption of a public scandal; other Mint employees were creating and selling restrikes of early American coins for their own profit. All Gobrecht dollar restrikes, when tilted on their axis, depict the reverse eagle flying level, rather than upward as it is depicted on the coins struck during the official production run. It is unknown precisely why the orientation of the eagle was altered, though it is believed by many numismatists that Snowden did this intentionally to make restrikes distinguishable from originals. Numismatic historian Walter Breen suggests that Snowden simply used the alignment because that was the same used on the Flying Eagle cent, which began production in 1856. Mint Engraver James B. Longacre, its designer, had borrowed Gobrecht and Peale's eagle reverse for the one-cent coin's obverse.

title: Gobrecht dollar


text:
Slide It In

Slide It In is the sixth studio album by English rock band Whitesnake. Originally released on 30 January 1984 in Europe, by Liberty/EMI, it was remixed for the American market, later issued on 16 April 1984 in North America by Geffen. In Japan, it was issued a "European" Mix release date on 23 March 1984, and an "American" remix on 21 December 1984 by CBS/Sony. Widely regarded as a moderate success, it helped the American market to open up for the band's sound and breakthrough throughout the later 1980s. Historically, it was the final Whitesnake recording to use the band's original "snake" logo.

Two different editions of the album exist, each with its own unique qualities. The original "European" mix was criticized as "flat" sounding, while the "American" remixed version compromises a more modern approach, giving Whitesnake the "voice" that it wanted. The remix ultimately marked a change in the band's sound, closer to the American glam metal rock scene.

The album peaked at number 9, marking their fourth Top 10 appearance in the UK. In the US, it peaked at number 40 at Billboard 200. In 1988, the album re-entered the US charts due to the success of the self-titled Whitesnake album (1987), and would be eventually certified double platinum, among the album with the most weeks spent on the Billboard 200 chart. The album has sold more than six million copies worldwide.

The album spawned four singles in the UK to promote the album: "Guilty of Love", "Give Me More Time", "Standing in the Shadow", and "Love Ain't No Stranger". In the United States, "Love Ain't No Stranger" and "Slow an' Easy" (used for a promo) were considered to be the band's best-known songs, ultimately becoming a hit in rock radio, and also promoted further recognition with music videos receiving substantial MTV airplay.

Throughout the promotional tour, the line-up for the band dealt with changes, with guitarist, Micky Moody, who had been in the group since its formation, leaving after the recording of the album, eventually replaced by John Sykes, who was knowingly famous for Thin Lizzy and Tygers of Pan Tang. Guitarist Mel Galley was also dismissed after an injury that impacted his nerves, while Coverdale's longtime friend and bandmate, Jon Lord was forced to drop out from the tour to rejoin Deep Purple reformed 'Mark II' line-up that would eventually release Perfect Strangers (1984).

The album was well-received by critics and accolades in North America. In 2010, Martin Popoff listed it as #241 in The Top 500 Heavy Metal Albums of All Time.

Background
In 1982, Whitesnake released their fifth studio album, Saints & Sinners, which proved to be difficult as tensions between band members persisted, including a major change to their management supported by the lack of financial payouts despite being a top icon in the UK. David Coverdale had temporarily put the band on hold and made permanent changes to their management personnel at that time before the record was released. New members of the band were introduced to the supporting Saints & Sinners tour as a result, with Micky Moody and Jon Lord returning. Geffen Records A&R executive, John Kalodner who had been a longtime fan of the band, convinced the label's founder, David Geffen to sign the group.

Being reminiscent of the band's future, Coverdale set his sights on the United States by signing to a major record label with Geffen, distributing Whitesnake's upcoming releases in North America. The band has also signed with Sony (known as CBS/Sony at that time) for future distributions in Japan.

Writing and recording
After the supporting tour, the band rehearsed for their next upcoming album at Lord's house in Oxfordshire. Coverdale had written most of the lyrics, alongside Mel Galley, who recently joined the group. Moody only had writing contributions to "Slow an' Easy".

Recordings of Slide It In began in 1983 at Musicland Studios in Munich, Germany with producer Eddie Kramer, who had been suggested to David Coverdale by John Kalodner. In the studio, the album featured drummer Cozy Powell, bassist Colin Hodgkinson, keyboardist Jon Lord, guitarist Mel Galley, and with guitarist Micky Moody returning to the band, all of whom had performed on the previous supporting Saints & Sinners tour. However, while recording, Moody's relationship with the band became strained over time, stating in a 1997 interview: "'(…) I realised that as soon as we started rehearsing and playing that it wasn't the same band, it never felt right. Mel Galley is very talented, a good singer, a great guitar player, but that band just didn't work out. Powell was a great drummer, I always had a lot of respect for him, but he just didn't have any feel for the old Whitesnake sound. Cozy Powell brought with him a bass player called Colin Hodgkinson. Me and David knew Colin in the North East back in the sixties. He was a great legendary bass player, worked with the jazz/blues styles, but he never struck me as the bass player for Whitesnake. It was more the heavy metal attitude, probably because of Cozy's influence. He was a more heavy drummer than Ian Paice. There were flames and explosions going on, not really my cup of tea. It seems to me now that maybe Cozy wanted the band to be much more heavier and flasher.'"

Originally, the album was slated to be released in October following to the Monsters of Rock festival show, however, failed to meet the deadline. Internally, the band was not satisfied with Kramer's style and production, particularly the mixing of the record. Kramer only had contributions to the Guilty of Love/Gambler single before he was eventually let go from his duties. As a result, the band had rehired Martin Birch, who had produced the band's albums in the past, to finish the record. A new release date was scheduled to be in mid-November with the upcoming supporting tour for the album in December. Yet, both of these dates were delayed until early 1984 due to personnel changes and troubled production.

John Sykes introduction and line-up
According to Coverdale, John Kalodner had convinced him that in order for the band to achieve their full potential, they needed a "guitar hero" that could match Coverdale as a frontman. Candidates were looked to Michael Schenker and Adrian Vandenberg. Schenker claims he turned down the offer to join Whitesnake, while Coverdale insists he decided to pass on Schenker. Vandenberg reluctantly declined the offer to join as well, due to the success he was having with his own band at the time. According to Coverdale, Vandenberg told him that it was the most difficult decision of his life, but agreed to maintain contact with each other. Vandenberg was however approached for the second time and agreed to join Whitesnake in 1987.

Coverdale then approached Thin Lizzy guitarist John Sykes, whom he had met when Whitesnake and Thin Lizzy played some of the same festivals in Europe. Sykes was initially reluctant to join, wanting instead to continue working with Thin Lizzy frontman Phil Lynott, but after several more offers and Lynott's blessing, he accepted. Sykes recalled on the moment he had been offered and accepted on that premise: "'I had a phone call, and it was Coverdale or his people or something. They called me up and asked me if I wanted to join, and I said, “No, I don’t. I’m not interested. I’m staying with Phil.” They called up again and said, “Just come over.” I think it was Munich we went to then? They were recording the 1984 'Slide It In' album or something. I thought I’d go over and take a look. I think they called me two or three times. I went over and met David and Mel Galley, who was a really nice guy. I hung out with them for a couple of days and jammed on a couple of songs. When I came back to London, they rang out for me, offered me the job, and I said: “No, I don’t want to do it.” Then they basically said, “How much money would it take for you to do it?”, so I threw a number out there that I thought I would never get, and they said, “Okay”, and gave me the money.'"

Around that time, Moody had completed the upcoming record with Birch as the band finished up a European tour in late 1983. According to Moody, Coverdale's personality had changed compared to when they got to know each other in 1976.

Moody finally decided to leave Whitesnake when Coverdale embarrassed him in front of Sykes who were touring alongside Whitesnake. "'Then one night we were in Germany and we did kind of a mini festival with Thin Lizzy and John Sykes was on guitar. Back at the hotel we were all sitting around and David was really talking a lot to John Sykes. I was sitting there quietly and David just turned around to me, pointing his fingers and said, 'Don't you ever turn your back on the audience again'. I went, 'Pardon?' He said, 'That's really unprofessional', in front of John Sykes to make me look small and I thought to myself, 'That's it'. I nearly said to him, 'Get him in the band', cause even I knew by then he wanted somebody like John Sykes, cause he looked good and he was a good guitar player. I decided to leave after finishing the end of the tour. The last gig was in Brussels in Belgium in October 83.'"

Apparently, this did not seem to be a major problem to Coverdale, as, according to Moody, "After the gig, I said to the tour manager, 'I want to have a meeting in my room with all the band: I have something to say'. The other band members arrived and I said, 'Where is David?'. The tour manager came and told me, 'David is entertaining people in his suite, and he won't come down.'"

Soon after Moody's departure, John Sykes was announced to the press as the new Whitesnake guitarist. At the same time it was in the news that Hodgkinson had been fired, as Coverdale felt that his style did not suit Whitesnake's new sound. As a result of Hodgkinson's departure, Neil Murray was asked to rejoin Whitesnake, simply explaining the decision by simply stating: "I'd missed his playing". Lord informed Coverdale of his intentions to leave the group, but Coverdale convinced him to stay until the next supporting album tour was over.

Release and promotion
Slide It In was released on 30 January 1984 by Liberty/EMI in Europe, and 23 March 1984 by CBS/Sony in Japan. It was remixed and later released on 16 April 1984 in North America by Geffen. The album debuted at number nine on the UK charts and number twenty-four on the Japanese Oricon albums chart. The American remix of the album first debuted at number 193 at US Billboard 200 on 16 May 1984, but eventually peaked at number forty on 25 August 1984. The album ran for a consecutive 42 weeks between 1984-1985, only to re-chart on 23 May 1987, likely resurging in sales due to the success of the 1987 album. That later added up to 85 weeks in the end, the most weeks any Whitesnake album spent on the chart, with their follow-up "most-successful" album only to be charting for 76 weeks. In total, Slide It In charted in only ten countries, with one in Hungary in the 2019 reissue. Amongst the reissue, the album recharted in the UK at number sixty-four, alongside being placed on the top of the 'Rock & Metal Albums' chart in their native.

The album was a commercial outbreak in sales, selling over 6 million copies worldwide as of present. In the United States, it was certified gold on 15 April 1986, then platinum on 10 November 1987. It was eventually certified double-platinum on 24 July 1992 as its last updated certification by the RIAA, selling over 2,000,000 copies. For digital sales, the album has sold 3,000 digital albums and 167,000 digital tracks as of 2011 according to the Nielsen SoundScan figures. According to Coverdale, the album sold over four million copies in the United States alone to this date, only half the certified units sold (8 million) on their follow-up album. The album was certified platinum in Canada, selling over 100,000 copies by March 1988. It also earned gold certifications in Japan and Sweden.

"Guilty of Love" was the first single from the album released in 1 August 1983, charting at number thirty-one in the UK. Following that came "Give Me More Time", released in 3 January 1984, peaked at number twenty-nine, also managing to chart at number twenty-seven at Ireland. The promotional single, "Slow an' Easy" provided a commercial breakthrough in the American market, charting at number seventeen in the US Mainstream Rock charts, becoming the band's first top 40 mainstream rock song in the US. "Love Ain't No Stranger" debuted at number forty-four in the UK, but notably debuted at number thirty-three on US Mainstream Rock Airplay, the second US top 40 rock hit there.

Release problems and remix
When the UK release of Slide It In came out, it was a chart success, but was heavily criticized for the "double-entendre drenched lyrics and titles for which Whitesnake were already infamous" and for the album mix, which was deemed "resoundingly flat".

As a result, Geffen Records refused to release the album in the United States unless a new remix was commenced, due to the bad reviews about the production in the UK press. Coverdale then flew to Los Angeles to meet up about the change. Coverdale was first against the idea, but reluctantly agreed with the record label on one condition:
 * 1) John Sykes and Neil Murray will re-record the guitar and bass parts, respectively.

Sykes and Murray flew to Los Angeles to replace the tracks on 19 January, with the help of famous producer Keith Olsen remixed the album at Goodnight Los Angeles studios, further delaying its American debut until 16 April. Slide It In had its sound revamped, having a bigger and at the time a more modern sound approach.

While Cozy Powell's drum tracks are virtually not re-recorded but instead increased its clarity into the mix, Sykes' guitar stems were served as a top layer recorded by Galley and Moody, and would also created some different guitar solos compared to the European version. Bassist Neil Murray, who returned to the band, completely replaced the bass tracks made by Hodgkinson. Bill Cuomo added additional keyboard parts to the record.

In Olsen's mixing, the American remix noticeably added and removed redundancy in instrumental and vocal parts, predominantly the echo on Coverdale's vocal and backing parts, of the record compared to the European version. Coverdale stated that the only subtle difference in the remix was that it gives "the voice" in that record "a lot better." The remix also has the tracks in a completely different order. Both the European and American mixes were recorded and mixed on analog tapes, therefore were the very last Whitesnake albums to be recorded on analog.

Touring
Originally, the original album tour was slated for December, but was moved to February. Rehearsals for the album tour started on 2 February, later to be finished on the 15th. The European tour began in Dublin on 17 February with the Coverdale / Sykes / Galley / Murray / Lord / Powell line-up (with Sykes' first appearance and Murray's first since re-joining the group). The band however ran into trouble during a tour stop in Germany, where Mel Galley broke his arm leaping on top of a parked car. He sustained nerve damage, leaving him unable to play guitar. He continued as a Whitesnake member for a time but was forced to leave not long after, changing the line-up as a five-piece. Galley's last appearance with the band was at Manchester on 5 April 1984. It was not long until a week later that the Deep Purple reunion was imminent, and Jon Lord played his last Whitesnake concert on 16 April at Grand Hotel in Stockholm, Sweden which was filmed for the "Måndagsbörsen" Swedish TV show. The show itself appeared in a 2014 video album "Live in '84: Back to the Bone" (later re-released in the 35th anniversary reissue). Lord's departure now left Whitesnake as a four-piece, not counting the off-stage keyboard player Richard Bailey, who was brought into the band.

The band toured extensively in the continuous United States all cross the country, along with the US version of the album rapidly gained airplay there. As a result, it helped the American market to open itself for Whitesnake, which the band further supported opening for Quiet Riot and Dio. The band had toured in Japan for a spot at the Super Rock '84 festival that included Bon Jovi and Scorpions. The supporting tour would extend throughout to mid-January 1985, where they played the first musical festival installment of Rock in Rio at Rio de Janeiro, Brazil to replace Def Leppard. It was the very last appearance for the four-piece lineup as drummer Cozy Powell left after the tour due to a relationship strained with Coverdale caused by a lack of financial payout disputes, while Sykes and Murray would be later dismissed during Whitesnake 1987 recording sessions a year later.

Reissues
In 30 June 2009, the album was re-issued as a two-disc digipack to commemorate its 25th anniversary. On the first disc, the CD contains the entire US mix of the album and 8 of the original UK mixes digitally remastered. The UK mixes of "Hungry for Love" or "Love Ain't No Stranger" are not included, but the acoustic version of "Love Ain't No Stranger" is featured (taken from Starkers in Tokyo). A DVD containing promo videos and live performances is also included. Another version of the 25th reissue was released by Rhino in 2017.

A deluxe remaster version was released on 8 March 2019 in a number of configurations: CD, 2CD, 2LP, and a super deluxe 6 CD+DVD box. The 6CD/DVD collection features remastered versions of the UK and US versions of Whitesnake's sixth studio album, a 35th-anniversary remix, along with previously unreleased live and studio recordings, music videos, live footage, and an interview with vocalist David Coverdale, preciously released on the Japanese American mix on the album. The reissue also came separately as a double CD edition and 2LP formats featuring the remastered versions of the UK and US mixes along with bonus tracks, while a new CD/2LP contained the 35th-anniversary remix by Christopher Collier, featuring yet a different track listing.

Title and artwork
The title of the album (or song) was a "tongue-in-cheek" comment that was involved in a play with people's relationships whereas a woman continues to be in an argument repeatedly while David Coverdale is responding to de-escalate the situation by being "anatomically conversant." He also stated that the title is actually "not about bananas" (a vulgar pseudonym for the word "penis," which was actually taken from the inspiration of the band's name). In a 2009 Metro interview, Coverdale remarked that people "popped their cherry" (a slang for losing their virginity or a misconception to have sex) to the album as it was intended for "pole dancing."

The album's front cover is a photo of a model with the snake wrapping around her shoulder eventually descending to her cleavage shot by Jurgen Barron Reisch, who also shot for the front cover of well-known pop/R&B artist Prince's 1979 eponymous album. When asked about the story of the album's cover art, Coverdale stated that there were two models sent in to be photographed for the upcoming album, with a seventeen-year-old female model named Franzeska on the front cover who passed out caused by a movement from the "python that draped around her shoulders [...] between her substantial glow." The original photo was cropped between the model's nose because "her eyes were rolling up" as a result of her fainting. For the back cover of the album, another unnamed model was brought in with the same situation that involved a snake's head around her neck with a similar dress that covered from her shoulder to the opposite hip.

Personnel
Credits are adapted from the album's liner notes.

title: Slide It In


text:
Family tree of Uthman

 * This is a sub-article to Uthman

ʿUthmān ibn ʿAffān (Arabic: عثمان بن عفان) (c. 576 – June 17, 656) was the third Caliph of the Ummah, and is regarded by the Muslims as one of the Four Righteously Guided Caliphs. He reigned from 644 until 656. He was the companion of Islamic prophet Muhammad.

title: Family tree of Uthman


text:
Alex Sadkin

Alex Sadkin (April 9, 1949 –July 25, 1987) was an American record producer, engineer, mixer and mastering engineer.

Early life
Sadkin grew up in Fort Lauderdale, Florida, and played saxophone in Sunrise Junior High School and Fort Lauderdale High School. Sadkin attended the University of Miami in Coral Gables for his first year of college as a biology major. He attended Florida State University in Tallahassee where he played bass guitar with childhood friends Lyle LaBarbera (rhythm guitar) and Jim Hendee (drums), and singer Phil Turk. He eventually received his Bachelor of Science degree in geology in 1971. He got his start in the music industry as a saxophonist for the Las Olas Brass in Fort Lauderdale.

Career
After graduation, Sadkin worked with Jim Hendee at a sea turtle farm called Mariculture, Ltd. on Grand Cayman Island, where they both lived on Seven Mile Beach, a few miles from the town of Hell. During their six months of living and scuba diving there, they got their first taste of playing reggae at several clubs around the island.

When Sadkin returned to South Florida he began his recording career. He was first trained as a mastering engineer but eventually moved into recording studio work as a "tape-op" (Assistant Engineer) at Criteria Studios in Miami, Florida. He got his first big break after impressing Neil Young with his mixing ability, and he eventually became head engineer at Compass Point Studio in Nassau, Bahamas. He worked alongside Island Records boss Chris Blackwell on many of the label's projects, most famously with Bob Marley and the Wailers' Survival album in 1979.

A full member of the Compass Point All Stars from day one, he began producing artists for Island Records (Grace Jones, Marianne Faithfull, Robert Palmer, Joe Cocker), while doing mixing work for other labels (Talking Heads). Among the other artists he produced in the 1980s are James Brown, the J. Geils Band, Thompson Twins, Classix Nouveaux, Foreigner, Duran Duran, Simply Red, Arcadia, Robbie Nevil and Paul Haig.

Sadkin produced the first two of the Thompson Twins' (as a trio) albums, Quick Step & Side Kick (1983) and Into the Gap (1984) as well as the original UK single release of "Lay Your Hands on Me", in late 1984. However, the band parted company with him as the producer for their next album and opted to produce Here's to Future Days by themselves in Paris; right before its release after the collapse of the singer Tom Bailey, the release was postponed. The postponement caused them to rethink the project and producer Nile Rodgers was subsequently called in to rework the album with them along with Sadkin's production of the single "Lay Your Hands on Me" and released in 1985.

Sadkin was a mentor to engineer and producer Phil Thornalley, who would go on to work with The Cure, Bryan Adams, and Natalie Imbruglia. He had a special gift of being able to sense and analyze an artist's inner creative abilities and talents, even if the artist could not. Composer-keyboardist Wally Badarou had this to say about Sadkin: "His dedication to maintaining genuine 'mixes in progress' from the word go, was a great lesson. I made it a system for my subsequent production from then on."

Death
Sadkin died in a motor accident in Nassau on July 16th, 1987 at the age of 38, shortly after completing production work on Boom Crash Opera's eponymous 1987 album, and just before he was due to begin working with Ziggy Marley. The songs "Do You Believe in Shame?" by Duran Duran, "Too Soon" by Robbie Nevil, and Grace Jones' "Well Well Well" are all dedicated to his memory. Joe Cocker's album Unchain My Heart (1987) is dedicated to the memory of Alex Sadkin, the quote from the album cover stating 'A Man who lived for music, and a good friend'.

Selected production credits

 * Stephen Stills – Illegal Stills (1976) — mixing
 * Bob Marley and the Wailers - Rastaman Vibration (1976) — mixing
 * Stills-Young-Band – Long May You Run (1976) — mixing
 * Third World – Journey to Addis (1978)
 * Bob Marley and the Wailers – Survival (1979)
 * Grace Jones – Warm Leatherette (1980)
 * Robert Palmer – Clues (1980) — mixing
 * Grace Jones – Nightclubbing (1981)
 * Grace Jones – Living My Life (1982)
 * Joe Cocker – Sheffield Steel (1982)
 * Thompson Twins – Quick Step & Side Kick (1983)
 * Paul Haig (ex-Josef K) – Rhythm of Life (1983)
 * Talking Heads – Speaking in Tongues (1983) — mixing credit
 * Duran Duran – Is There Something I Should Know? (1983) — mixing credit
 * Duran Duran – Seven and the Ragged Tiger (1983)
 * Classix Nouveaux - Secret (1983)
 * Thompson Twins – Into the Gap (1984)
 * Thompson Twins – "Lay Your Hands on Me" (1984) — original single production, later retooled by Nile Rodgers (1985)
 * Foreigner – Agent Provocateur (1984)
 * Arcadia – So Red the Rose (1985)
 * Robbie Nevil – Robbie Nevil (1986)
 * Boom Crash Opera – Boom Crash Opera (1987)
 * Simply Red – Men and Women (1987)

title: Alex Sadkin