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Fincantieri

Fincantieri S.p.A. is an Italian shipbuilding company based in Trieste, Italy. Already the largest shipbuilder in Europe, after the acquisition of Vard in 2013, Fincantieri group doubled in size to become the fourth largest in the world (2014). The company builds both commercial and military vessels.

The company is listed on the Borsa Italiana (Milan Stock Exchange) and is a component of FTSE Italia Mid Cap Index.

Overview
Fincantieri designs and builds merchant vessels, passenger ships, offshore, and naval vessels, and is also active in the conversion and ship repair sectors. The company also owned Grandi Motori Trieste, which constructed marine diesel engines, but this was sold to Wärtsilä in 1999.

Founded in 1959 as Società Finanziaria Cantieri Navali – Fincantieri S.p.A. as a State financial holding company, part of IRI, the company became a separate entity in 1984.

Fincantieri employs a staff of about 10,000 workers at eight shipyards, two design centres, one research centre and two production sites for mechanical components. Another 10,000 people contribute to its supply chains.

The shipyards of Monfalcone (Gorizia), Marghera (Venice), Sestri Ponente (Genoa), Ancona, Castellammare di Stabia (Naples) and Palermo report to the Merchant Ships Business Unit while the shipyards of Riva Trigoso (Genoa) and Muggiano (La Spezia) report to the Naval Vessel Business Unit.

Fincantieri successfully completed the acquisition of Manitowoc Marine Group from its parent company The Manitowoc Company, Inc. on 1 January 2009, which consisted of two shipyards in Wisconsin, including Marinette Marine, which built the first Freedom-class littoral combat ship. Fincantieri also purchased from Manitowoc Marine Group a topside repair yard in Ohio and one production plant in Wisconsin, making it one of the leading mid-sized shipbuilders in the United States for commercial and government customers, including the U.S. Navy and U.S. Coast Guard.

Already the largest shipbuilder in Europe, after the acquisition of Vard, formerly part of STX Europe, the Fincantieri group doubled in size to become the fourth largest in the world.

In March 2015, Fincantieri won its biggest ever independent order from Carnival Corporation & plc in a 4 billion euro deal commissioning the company to build five new cruise ships.

On 2 February 2018, Fincantieri announced an agreement for 50 percent of STX France valued at 59.7 million euro.

In March 2018, Fincantieri established Fincantieri Services USA – a subsidiary based in Miami, Florida, USA.

The European leader in Naval Defence
In 2024, as part of a framework for strengthening European Defence, including Naval Defence, Fincantieri took over from Leonardo, the naval armaments sector of Wass (Whitehead Alenia sistemi subaquei), to complete the acquisition Fincantieri made a grouping of 10 to 1 of the shares and carried out a capital increase with the issue of new shares worth 400 million euros. The capital increase operation is successfully completed on 11 July 2024.

In June 2024, the construction of the 4th new generation submarine of the Italian Navy was confirmed, for a total order value of 500 million euros.

On July 1, 2024, Fincantieri's share price gains +10.8%. On July 11, 2024, the stock closes the trading day, completing the capital increase at a price of €4,898 +1.43% and Fincantieri has a market cap of $1.16 Billion. On July 17, 2024, Fincantieri's share price at €5,164 gains +6,54%. On July 18, 2024, Fincantieri share closed the trading day at a price of €5.388 with a gain of +4.34% and Fincantieri has a market cap of $1.28 Billion. Furthermore, Fincantieri announced a partnership with Hera, for the optimized management of industrial waste produced on construction sites. This will allow Fincantieri to achieve ESG objectives within its shipyards. On July 19, 2024, Fincantieri shares closed further up at a price of €5.468 with a gain of +1.49% consolidating a trend of strengthen of the market capital.

Ships built at Fincantieri (selection)

 * 1967 – ITALIAN CRUISER Vittorio Veneto, a cruiser, for the Italian Navy
 * 1983 – ITALIAN AIRCRAFT CARRIER Giuseppe Garibaldi, an aircraft carrier, for the Italian Navy
 * 1990 – Pacific Jewel (69,845 GT) for P&O Cruises Australia
 * 1991 – Pacific Dawn  (70,285 GT) for P&O Cruises Australia
 * 1993 – MS Statendam (55,451 GT) for Holland America Line
 * 1993 – MS Maasdam (55,575 GT) for Holland America Line
 * 1994 – MS Ryndam (55,819 GT) for Holland America Line
 * 1995 – Sun Princess (77,499 GT) for Princess Cruises
 * 1995 – Carnival Destiny (101,353 GT) for Carnival Cruise Lines
 * 1996 – MS Veendam (57,092 GT) for Holland America Line
 * 1996 – Dawn Princess (77,499 GT) for Princess Cruises
 * 1997 – MS Rotterdam (61,849 GT) for Holland America Line
 * 1998 – Sea Princess (77,499 GT) for Princess Cruises
 * 1998 – Disney Magic (83,000 GT) for Disney Cruise Line
 * 1999 – MS Volendam (60,906 GT) for Holland America Line
 * 1999 – Carnival Triumph (101,509 GT) for Carnival Cruise Lines
 * 1999 – Disney Wonder (83,000 GT) for Disney Cruise Line
 * 2000 – MS Zaandam (61,396 GT) for Holland America Line
 * 2000 – MS Amsterdam (62,735 GT) for Holland America Line
 * 2000 – MV Oceana (77,499 GT) for P&O Cruises
 * 2000 – Carnival Victory (101,509 GT) for Carnival Cruise Lines
 * 2001 – MS Zuiderdam (81,769 GT) for Holland America Line
 * 2002 – Carnival Conquest (110,000 GT) for Carnival Cruise Lines
 * 2002 – MS Oosterdam (82,000 GT) for Holland America Line
 * 2003 – RV Petrel (3,371 GT) for Uksnoy & Co A/S
 * 2003 – Carnival Glory (110,000 GT) for Carnival Cruise Lines
 * 2003 – Costa Fortuna (102,587 GT) for Costa Crociere
 * 2003 – Costa Magica (102,587 GT) for Costa Crociere
 * 2004 – MS Westerdam (81,811 GT) for Holland America Line
 * 2004 – Carnival Valor (110,000 GT) for Carnival Cruise Lines
 * 2004 – ITALIAN AIRCRAFT CARRIER Cavour, an aircraft carrier, for the Italian Navy
 * 2005 – ITALIAN DESTROYER Andrea Doria, a destroyer, for the Italian Navy
 * 2005 – Costa Concordia (114,137 GT) for Costa Crociere
 * 2005 – Carnival Liberty (110,000 GT) for Carnival Cruise Lines
 * 2006 – MS Noordam (82,500 GT) for Holland America Line
 * 2006 – Costa Serena (114,147 GT) for Costa Crociere
 * 2006 – Carnival Splendor (110,000 GT) for Carnival Cruise Lines
 * 2007 – ITALIAN DESTROYER Caio Duilio, a destroyer, for the Italian Navy
 * 2007 – MS Eurodam (86,700 GT) for Holland America Line
 * 2007 – MS Queen Victoria (90,000 GT) for Cunard Line
 * 2007 – Carnival Freedom (110,000 GT) for Carnival Cruise Lines
 * 2007 – MV Ventura (116,017 GT) for P&O Cruises
 * 2008 – Ruby Princess (113,000 GT) for Princess Cruises
 * 2008 – Costa Luminosa (92,700 GT) for Costa Crociere
 * 2008 – Costa Pacifica (114,500 GT) for Costa Crociere
 * 2009 – Carnival Dream (130,000 GT) for Carnival Cruise Lines
 * 2009 – MS Nieuw Amsterdam (2009) (86,700 GT) for Holland America Line
 * 2009 – Costa Deliziosa (92,700 GT) for Costa Crociere
 * 2009 – MS Azura (115,055 GT) for P&O Cruises
 * 2010 – MS Queen Elizabeth (90,901 GT) for Cunard Line
 * 2010 – Costa Favolosa (114,500 GT) for Costa Crociere
 * 2010 – Carnival Magic (130,000 GT) for Carnival Cruise Lines
 * 2011 – Costa Fascinosa (114,500 GT) for Costa Crociere
 * 2012 – Carnival Breeze (130,000 GT) for Carnival Cruise Lines
 * 2013 – MS Royal Princess (143,700 GT) for Princess Cruises
 * 2014 – MS Regal Princess (143,700 GT) for Princess Cruises
 * 2014 – Costa Diadema (132,500 GT) for Costa Crociere
 * 2014 – F.-A.-Gauthier (16,000 GT) for Société des traversiers du Québec
 * 2015 – MV Britannia (145,000 GT) for P&O Cruises
 * 2015 – Le Lyrial (10,944 GT) for Compagnie du Ponant
 * 2015 – MV Viking Star (47,800 GT) for Viking Ocean Cruises
 * 2016 – MV Seabourn Encore (40,350 GT) for Seabourn
 * 2016 – Seven Seas Explorer for Regent Seven Seas Cruises
 * 2016 – MV Viking Sea (47,800 GT) for Viking Ocean Cruises
 * 2016 – MS Koningsdam (99,500 GT) for Holland America Line
 * 2016 – Carnival Vista (135,500 GT) for Carnival Cruise Lines
 * 2017 – MV Viking Sky (47,800 GT) for Viking Ocean Cruises
 * 2017 – Silver Muse (40,700 GT) for Silversea Cruises
 * 2017 – Majestic Princess (143,700 GT) for Princess Cruises
 * 2017 – MSC Seaside (153,516 GT) for MSC Cruises
 * 2017 – MV Viking Sun (47,800 GT) for Viking Ocean Cruises
 * 2018 – MV Seabourn Ovation (40,350 GT) for Seabourn
 * 2018 – MS Nieuw Statendam (99,500 GT) for Holland America Line
 * 2018 – Carnival Horizon (135,500 GT) for Carnival Cruise Lines
 * 2018 – MSC Seaview (153,516 GT) for MSC Cruises
 * 2018 – MV Viking Orion (47,800 GT) for Viking Ocean Cruises
 * 2019 – Sky Princess (143,700 GT) for Princess Cruises
 * 2019 – Costa Venezia (135,500 GT) for Costa Crociere
 * 2019 – MV Viking Jupiter (47,800 GT) for Viking Ocean Cruises
 * 2019 – Carnival Panorama (133,500 GT) for Carnival Cruise Line
 * 2020 – Costa Firenze (135,500 GT) for Costa Crociere
 * 2020 – Enchanted Princess (143.700 GT) for Princess Cruises
 * 2020 – Seven Seas Splendor for Regent Seven Seas Cruises
 * 2020 – Scarlet Lady (110,000 GT) for Virgin Voyages
 * 2021 – MV Viking Venus (47,800 GT) for Viking Ocean Cruises
 * 2021 – MSC Seashore (169,380 GT) for MSC Cruises
 * 2021 – Valiant Lady (110,000 GT) for Virgin Voyages
 * 2021 – Rotterdam (99,500 GT) for Holland America Line
 * 2022 – MV Mark W. Barker (26,000 GT) Interlake Steamship Company
 * 2022 – Discovery Princess (143,700 GT) for Princess Cruises
 * 2022 – MV Viking Mars (47,800 GT) for Viking Ocean Cruises
 * 2022 – Resilient Lady (110,000 GT) for Virgin Voyages
 * 2022 – MS Queen Anne (113,300 GT) for Cunard Line
 * 2022 – MSC Seascape (169,380 GT) for MSC Cruises
 * 2022 – Norwegian Prima I (140,000 GT) for Norwegian Cruise Line
 * 2022 – MV Viking Neptune(47,800 GT) for Viking Ocean Cruises
 * 2023 – Norwegian Viva (140,000 GT) for Norwegian Cruise Line
 * 2023 – Explora I (64,000 GT) for Explora Journeys
 * 2023 – MS Sun Princess (2023) I (175,000 GT) for Princess Cruises
 * 2024 – Brilliant Lady (110,000 GT) for Virgin Voyages
 * 2024 – Explora 2 (64,000 GT) for Explora Journeys
 * 2024 – Project Leonardo III (140,000 GT) for Norwegian Cruise Line
 * 2025 – Explora 3 (64,000 GT) for Explora Journeys
 * 2025 – Sphere-class cruise ship II (175,000 GT) for Princess Cruises
 * 2025 – Project Leonardo IV (140,000 GT) for Norwegian Cruise Line
 * 2026 – Explora 4 (64,000 GT) for Explora Journeys
 * 2026 – Project Leonardo V (140,000 GT) for Norwegian Cruise Line
 * 2027 – Project Leonardo VI (140,000 GT) for Norwegian Cruise Line

Cruise and ferry

 * 🇮🇹 Monfalcone shipyards (located at Monfalcone, Gorizia)
 * 🇮🇹 Marghera shipyards (located at Marghera, Venice)
 * 🇮🇹 Ancona shipyards (located at Ancona)
 * 🇮🇹 Sestri Ponente shipyards (located at Genova)
 * 🇳🇴 VARD Søviknes Shipyard

Military ships

 * 🇮🇹 Muggiano shipyards (located at La Spezia)
 * 🇮🇹 Riva Trigoso shipyards (located at Sestri Levante, Genova)
 * 🇮🇹 Castellammare di Stabia shipyards (located at Castellammare di Stabia, Napoli)
 * 🇺🇸 Marinette Marine (located at Marinette, Wisconsin)

Offshore and specialty vessels

 * 🇳🇴 VARD Brattvåg shipyard
 * 🇳🇴 VARD Langsten shipyards
 * 🇷🇴 VARD Brăila shipyards
 * 🇷🇴 VARD Tulcea shipyards
 * 🇧🇷 VARD Promar shipyard
 * VARD Vũng Tàu shipyard

Service

 * 🇮🇹 Palermo shipyards (located at Palermo)
 * 🇮🇹 Trieste shipyards (located at Trieste)
 * 🇺🇸 Sturgeon Bay shipyard (located at Wisconsin)

title: Fincantieri


text:
User:SoM/Triad

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

title: User:SoM/Triad


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Whittle

Whittle may refer to:

Crafts

 * Whittling, the carving of wood with a knife

People

 * Whittle (name), a surname, and a list of people with the name

Places

 * Whittle, Kentucky
 * Whittle, Derbyshire, a hamlet near Glossop, Derbyshire, United Kingdom
 * Whittle-le-Woods, a village in Lancashire

Companies

 * Whittle Shortline US toy company
 * Whittles, a bus company in England

TV shows

 * Whittle (game show) short-lived UK gameshow from 1997

Aviation

 * Gloster Whittle the first British jet aircraft
 * Whittle Unit jet engine
 * Whittle W1 jet engine
 * Whittle W2 jet engine

title: Whittle


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Blood volume

Blood volume (volemia) is the volume of blood (blood cells and plasma) in the circulatory system of any individual.

Humans
A typical adult has a blood volume of approximately 5 liters, with females and males having approximately the same blood percentage by weight (approx 7 to 8%) Blood volume is regulated by the kidneys.

Blood volume (BV) can be calculated given the hematocrit (HC; the fraction of blood that is red blood cells) and plasma volume (PV), with the hematocrit being regulated via the blood oxygen content regulator:
 * $$BV = \frac{PV}{1-HC}$$

Blood volume measurement may be used in people with congestive heart failure, chronic hypertension, kidney failure and critical care.

The use of relative blood volume changes during dialysis is of questionable utility.

Total Blood Volume can be measured manually via the Dual Isotope or Dual Tracer Technique, a classic technique, available since the 1950s. This technique requires double labeling of the blood; that is 2 injections and 2 standards (51Cr-RBC for tagging red blood cells and I-HAS for tagging plasma volume) as well as withdrawing and re-infusing patients with their own blood for blood volume analysis results. This method may take up to 6 hours for accurate results. The blood volume is 70 ml/kg body weight in adult males, 65 ml/kg in adult females and 70-75 ml/kg in children (1 year old and over).

Semi-automated system
Blood volume may also be measured semi-automatically. The BVA-100, a product of Daxor Corporation, is an FDA-cleared diagnostic used at leading medical centers in the United States which consists of an automated well counter interfaced with a computer. It is able to report with 98% accuracy within 60 minutes the Total Blood Volume (TBV), Plasma Volume (PV) and Red Cell Volume (RCV) using the indicator dilution principle, microhematocrit centrifugation and the Ideal Height and Weight Method. The indicator, or tracer, is an I-131 albumin injection. An equal amount of the tracer is injected into a known and unknown volume. Clinically, the unknown volume is the patient's blood volume, with the tracer having been injected into the patient's blood stream and tagged to the blood plasma. Once the tracer is injected a technician takes five blood samples which undergo microhematocrit centrifugation to extrapolate true blood volume at time 0. The concentration of the I-131 in the blood is determined from the blood radioactivity against the standard, which has a known I-131 dilution in a known volume. The unknown volume is inversely proportional to the concentration of the indicator in the known volume; the larger the unknown volume, the lower the tracer concentration, thus the unknown volume can be calculated. The microhematocrit data along with the I-131 indicator data provide a normalized hematocrit number, more accurate than hematocrit or peripheral hematocrit measurements. Measurements are taken 5 times at 6-minute intervals so that the BVA-100 can calculate the albumin transudation time to understand the flux of liquid through capillary membranes.

Blood volumes have also been measured in humans using the non-radioactive, carbon monoxide (CO) rebreathing technique for more than 100 years. With this technique, a small volume of pure CO gas is inhaled and rebreathed for a few minutes. During rebreathing, CO binds to hemoglobin present in red blood cells. Based on the increase in blood CO after the rebreathing period, the volume of blood can be determined through the dilution principle (i.e. similar as the case for radioactive tracer methods). Although CO gas in large volumes is toxic to humans, the volume used to access blood volumes corresponds to what would be inhaled when smoking one cigarette. While researchers typically use custom-made rebreathing circuits, the Detalo Performance from Detalo Health has fully automated the procedure and made the measurement available to a larger group of users.

Other animals
The table at right shows circulating blood volumes, given as volume per kilogram, for healthy adults and some animals. However, it can be 15% less in obese and old animals.

title: Blood volume


text:
On Top of Old Smoky

"On Top of Old Smoky" (often spelled "Smokey") is a traditional folk song of the United States. As recorded by The Weavers, the song reached the pop music charts in 1951. It is catalogued as Roud Folk Song Index No. 414.

History as folk song
It is unclear when, where and by whom the song was first sung. In historical times folk songs were the informal property of the communities that sang them, passed down through generations. They were published only when a curious person took the trouble to visit singers and document their songs, an activity that in America began only around the turn of the 20th century. For this reason it is unlikely that an originator of "On Top of Old Smoky" could ever be identified.

One of the earliest versions of "On Top of Old Smoky" to be recorded in fieldwork was written down by the English folklorist Cecil Sharp, who during the First World War made three summer field trips to the Appalachian Mountains seeking folk songs, accompanied and assisted by Maud Karpeles. Sharp and Karpeles found to their delight that the Appalachians, then geographically isolated, were a strong preserve of traditional music and that many of the people they met were naturally gifted singers who knew a great number of songs. They were also intrigued to find that many of the songs the people sang to them were versions of songs Sharp had earlier collected from people in rural England, suggesting that the ancestors of the Appalachian residents had brought them over from the old country.

In one version the first verse is the following;

On top of Old Smoky, All covered with snow, I lost my true lover For courtin' too slow.

The version of "On Top of Old Smoky" that Sharp and Karpeles collected was sung to them on 29 July 1916 by Miss Memory Shelton in Alleghany, Madison County, North Carolina. Miss Shelton was part of a family several of whose members sang for Sharp. Memory Shelton's version differs in notes, rhythm, and wording from the version most people know today, but only modestly so; for instance the words of the first verse are as follows:

where sparking is a now-rare word that means courting. She also avoided the extreme prolongation of the syllables of Smoky and lover that are customary today, instead assigning just one musical beat to Smo- and lov- and two to -key and -er. The version Miss Shelton sang has twelve verses. It was published twice; first in the preliminary volume of folk songs prepared by Sharp and Karpeles after their first summer of fieldwork (Sharp and Karpeles 1917), then in 1932 after Sharp's death, in the much larger compendium of Appalachian folk songs that Karpeles edited from the full notes of their three summers' fieldwork.

American field workers were also active in the Appalachians. A (tuneless) text for "On Top of Old Smoky", similar to what Memory Shelton sang, was published by E. C. Perrow in 1915, slightly before Sharp's fieldwork. In the following decades, still further variants of "On Top of Old Smoky" were recorded by fieldworkers in North Carolina and Tennessee.

Alternative tunes and words
The Appalachian tradition characteristically spawned multiple variants of the same song. In the extreme case, the same basic set of words could be sung to more than one tune, or the same tune could adopt a completely different set of words. The now-standard tune of "On Top of Old Smoky" competed with a completely different tune, which Sharp and Karpeles encountered when they returned to the Appalachians for further fieldwork in 1917, and versions of this tune were also found by later fieldworkers.

The tune of "On Top of Old Smoky" familiar to most people today was also paired with a completely different set of words in a folk song called "The Little Mohee", about a frontiersman who falls in love with an Indian maiden (or, in some versions, a sailor who falls in love with a South Seas maiden). This tune was collected by the American fieldworkers Loraine Wyman and Howard Brockway in Pine Mountain, Kentucky from a singer named Mary Ann Bagley, and published by them in 1916, hence a year before the Sharp/Karpeles version mentioned above.

Because the versions gathered in fieldwork vary so much, there is no particular version of "On Top of Old Smoky" that can lay claim to being the "authentic" or "original" version. The version that Sharp and Karpeles collected from Memory Shelton can be read online (see Sharp and Karpeles (1917), in References below), and the version by Pete Seeger that greatly popularized the song in modern times (see below) is also online.

Location of "Old Smoky"
Old Smoky is plausibly a high mountain somewhere in the southern Appalachians, since so many versions recorded by fieldworkers were collected there. Possibilities include Clingmans Dome, named "Smoky Dome" by local Scotch-Irish inhabitants, but exactly which mountain it is may be lost to antiquity.

Emergence of the song in popular music

Cecil Sharp collected Appalachian folk songs just before the time when that music came to be "discovered" by the outside world and sold as a commercial product by the nascent recording industry, a development which would ultimately create the modern genre of country music. The first to make a commercial recording of "On Top of Old Smoky" was George Reneau, "The Blind Musician of the Smoky Mountains", who worked as a busker in Knoxville, Tennessee, just west of the Appalachians. In 1925, Reneau made the trip to New York City to record the song, and others, for Vocalion (Vo 15366). His version of "On Top of Old Smoky" used the alternative tune noted above.

In the 1940s through the mid 1960s, the United States experienced a folk music revival, of which Pete Seeger was a leading figure. His music, some of it drawn from scholarly sources like Sharp, was popular, and was disseminated widely in commercial recordings. Seeger modified a version of "On Top of Old Smoky" that he had learned in the Appalachians, writing new words and banjo music. He said that he thought that "certain verses go back to Elizabethan times." The sheet music for the song credited Seeger for "new words and music arrangement".

The Weavers, a folk-singing group that Seeger had co-founded, recorded a very popular version of the song, using Seeger's arrangement, on 21 February 1951. It was released by Decca Records as catalog number 27515, reaching No. 2 on the Billboard chart and No. 1 on the Cash Box chart, and selling over a million copies.

The enormous popularity of those recordings (and others following in their wake - see below) led to the curious situation of the song re-attaining folk status. It is one of the few songs that most Americans know from childhood, and many are unaware of the mid-century recordings that promulgated it so widely.

Other versions
A number of artists released their versions following the success of the Weavers' recording. A version by Percy Faith & His Orchestra with Burl Ives on vocals reached No. 10 on the Billboard chart in 1951. It became one of Burl Ives' signature songs. Vaughn Monroe & His Orchestra also had success with the song, reaching No. 8 on the chart in June 1951.

Following its reintroduction to America by the Weavers, the song became a standard item of popular music, sung by Bing Crosby, Perry Como, Gene Autry, as well as (in a brief excerpt) Elvis Presley.

The country music singer Kenny Rogers sometimes used the first part of "On Top of Old Smoky" as a joke in concert. He played the opening bars of "Lucille", one of his big hits, and told the crowd something along the lines of "None of you know what song this is". When the audience replied with "Yes, we do", Rogers then began to sing "On Top of Old Smoky."

A great many versions followed in the ensuing decades. The following list is ordered chronologically.

In 1951, Swedish revue group Flickery Flies with Brita Borg recorded a Swedish version. This was during a time of collaboration with showbiz impresario and songwriter Povel Ramel who in a revue paraphrased it as "Högt uppe på berget, jag har till en vän, förlorat en femma, jag lär nog aldrig se den utigen" (High up on the mountain, I have to a friend, lost a 5 kronor bill, I doubt I'll see it again).

Dave Van Ronk included the song on his album The Mayor of McDougal Street: Rarities 1957–1969. This version sounds much more Celtic in nature, with more vocal ornamentation and a looser rhythmic structure.

Television host Jack Narz recorded the song for his album Sing the Folk Hits With Jack Narz in 1959.

In The Many Loves of Dobie Gillis episode #3.13 "Blue-Tail Fly" (ca. 1961), Dobie, Zelda and Maynard use the tune and change the lyrics to "The Name's Dobie Gillis" to use as Dobie's campaign song for his student council election bid.

Bing Crosby included the song in a medley on his album 101 Gang Songs (1961).

Harry Belafonte recorded a version on his 1962 album The Midnight Special. On the sleeves notes it states 'He wrote and tried out OLD SMOKEY during his 1961 summer tour'.

Alvin and the Chipmunks covered the song for their 1962 album The Chipmunk Songbook.

In Germany, the tune of the song was used as the chorus to singer Manuela's hit single "Ich geh' noch zur Schule" in 1963. The recording had nothing to do with the traditional heritage of the original song: "Ich geh' noch zur Schule" (meaning "I Still Go to School") tells the story of a teenage girl denying the tempting offers of a talent scout, claiming she wants to finish school first, but she might agree to a recording contract the following year after her final exams.

Little Eva, singer of "The Loco-Motion", recorded a version called "Old Smokey Locomotion" (1963), with lyrics describing how the residents of Old Smokey caught on to The Locomotion.

In 1964 during Beatlemania, Al Fisher & Lou Marks had "Paul George John and Ringo (All The Way to the Bank)" sung to the "Old Smoky" tune (Swan LP-514).

On the 1975 Sesame Street album Bert & Ernie Sing-Along, Grover sings a version of the song, but changes the lyrics to something about him losing his clothes, lunch, various other belongings, but eventually finds his way home and finds his mother with all the stuff he sang about losing.

In 1978, "On Top of Old Smokey" was released by Swedish pop group ABBA (with lead vocals by Frida) as part of a medley that also included "Pick a Bale of Cotton" and "Midnight Special". The medley featured as the B-side to the group's single "Summer Night City".

Bruce Springsteen performed the song in Portland, Oregon a few months after the 1980 eruption of Mount St. Helens as a tribute during The River Tour.

In a 1990 episode of the American television series Twin Peaks, "Big Ed" Hurley (Everett McGill) sings the song to his hospitalized wife Nadine (Wendy Robie).

Fans of the English football side Notts County FC have sung the song during games to the words "I had a wheelbarrow, the wheel fell off".

In 1991, Swedish comedy group(s) Galenskaparna och After Shave performed a variant in their "Grisen i Säcken" revue.

Alternative country band The Gourds gangstered the lyrics to "On Top of Old Smoky" in the song "I'm troubled" on their 1998 release Gogitchyershinebox.

Parodies
The Mexican trio in the Goofy short For Whom the Bulls Toil made in 1953, attempted to sing "On Top of Old Popocatépetl".

The hit song from 1963 "On Top of Spaghetti" by Tom Glazer begins with the quatrain

This version too seems to have entered modern folklore, and it widely is known to children; one source writes of the original "On Top of Old Smoky" "if you can listen to it and not think about spaghetti, sneezing and meatballs, more power to you." The Dutch version, with as first line "een bord met spaghetti" ("a plate with spaghetti") by Rijk de Gooijer came out in 1963 as well. American musician Little Richard recorded a version of "On Top of Spaghetti" for his 1992 children's album Shake It All About.

In his medley "Schticks of One and Half a Dozen of the Other" (1963), Allan Sherman sings a modified version: "On top of Old Smokey, all covered with hair/Of course I'm referring to Smokey the Bear."

Use in classical music
In 1953, Ernő Dohnányi used the tune (and also two other traditional American folktunes) in his final composition American Rhapsody.

title: On Top of Old Smoky


text:
Maugris

Maugris or Maugis was one of the heroes of the chansons de geste and romances of chivalry and the Matter of France that tell of the legendary court of King Charlemagne. Maugis was cousin to Renaud de Montauban and his brothers, son of Beuves of Aygremont and brother to Vivien de Monbranc. He was brought up by Oriande the fairy, and became a great enchanter. He won the magical horse Bayard and the sword Froberge which he later gave to Renaud.

French texts
The oldest extant version of the story of Maugris was the anonymous Old French chanson de geste Quatre Fils Aymon dating from the late 12th century. It tells the tale of the four sons of Duke Aymon (Renaud de Montauban, Guichard, Allard and Richardet), their magical horse Bayard, and their adventures and revolt against the emperor Charlemagne.

From the 13th century on, other texts concerning Maugris were created; together with the original, these are grouped as the "Renaud de Montauban cycle". These poems are: Maugis d'Aigremont (story of the youth of Maugis), Mort de Maugis (story of the death of Maugis), Vivien de Monbranc (story of the brother of Maugis), Bueve d'Aigremont (story of the father of Maugis, Bueve d'Aigremont, brother to Girart de Roussillon and Doon de Nanteuil).

Italian texts
Along with Renaud (as Rinaldo), Maugris, as Malagi or Malagigi, is an important character in Italian Renaissance epics, including Morgante by Luigi Pulci, Orlando Innamorato by Matteo Maria Boiardo and Orlando Furioso by Ludovico Ariosto.

title: Maugris


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Sixmilecross

Sixmilecross is a townland and small village in County Tyrone, Northern Ireland.

The original Irish name for Sixmilecross is Na Corracha Mora, this refers to marshy ground, probably the ground that runs along the Glusha river at the back of the village. It is situated in the historic barony of Omagh East and the civil parish of Termonmaguirk. The village has a wide, tree lined main street and a population of 282 in the 2001 Census.

Sixmilecross is in the Fermanagh and Omagh District Council area about 9 mi south-east of Omagh.

History
The Slut Art O'Neill's of Tyrone had some connection with the area because the hill above the village was known as Tulach Uí Neill, meaning "O'Neill's Hill". It lies above the Presbyterian Church in the village and is still known as Tullyneil. Tullyneil hill is said to be the geographical centre of Ulster.

Sixmilecross is believed to have been established in 1634. St Michael's Church of Ireland has a stained glass window commemorating the Dunlap family, one of whom, John Dunlap printed the United States Declaration of Independence. The Portadown, Dungannon and Omagh Junction Railway (PD&O) opened Sixmilecross railway station in September 1861 and the Ulster Transport Authority closed the station and the PD&O line in February 1965.

People

 * Willie Anderson (rugby coach), was born here.
 * Mic Christopher, singer-songwriter, has maternal roots here; his mother, Vaun (née Heaney), comes from Sixmilecross.
 * W.F. Marshall, poet who contributed to midwest Tyrone cultural heritage.

2011 Census
On Census Day April 2011 the resident population of Sixmilecross Ward was 2,374.
 * 26.07% were under 16 years old and 10.57% were aged 65 and over;
 * 51.68% of the population were male and 48.32% were female;
 * 77.51% were from a Catholic community background;
 * 21.52% were from a 'Protestant and Other Christian (including Christian related)' community background;
 * 33 years was the average age of the population;
 * 20.12% had some knowledge of Irish, 3.90% had some knowledge of Ulster-Scots and 1.73% did not have English as their first Language

Links

 * Omagh District Council

title: Sixmilecross


text: File:Marcy Playground - Marcy Playground album cover.gif


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Wikipedia:Articles for deletion/Irregular Slinky

 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 deleted already. Woohookitty 10:06, 4 September 2005 (UTC)

Irregular Slinky
Vanity Robert Harrison Talk 18:46, 26 August 2005 (UTC)
 * Delete. Vanity. Only 30 hits on Google. Completely fails WP:MUSIC. --Blackcap | talk 18:49, August 26, 2005 (UTC)
 * Delete; nn band vanity. Jaxl | talk 20:29, 26 August 2005 (UTC)
 * Delete. Vanity. *drew 01:42, 28 August 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


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Emanuel Litvinoff

Emanuel Litvinoff (5 May 1915 – 24 September 2011) was a British writer and well-known figure in Anglo-Jewish literature, known for novels, short stories, poetry, plays and human rights campaigning.

Early years
Litvinoff's early years in what he frequently described as the Jewish ghetto in the East End of London made him very conscious of his Jewish identity, a subject he explored throughout his literary career. Litvinoff was born to Russian Jewish parents who emigrated from Odessa to Whitechapel, London, in 1915. His father was repatriated to Russia to fight for the czar and never returned: he is thought to have been killed in the Russian Revolution. Litvinoff was the second of nine children. One of his brothers was the historian Barnet Litvinoff and his half-brother was David Litvinoff who was born to his mother's second husband Solomon Levy.

Litvinoff left school at 14 and, after working in a number of unskilled factory jobs, found himself homeless within a year. Drifting between Soho and Fitzrovia during the Depression of the 1930s, he wrote hallucinatory materials, since destroyed, and used his wits to survive.

Initially a conscientious objector, Litvinoff volunteered for military service in January 1940 on discovering the extent of the persecution suffered by Jews in Europe. He was commissioned into the Pioneer Corps in August 1942. Serving in Northern Ireland, West Africa and the Middle East, he rose through the ranks quickly, being promoted to major by the age of 27.

Poems
Litvinoff became known as a war poet during his time in the Army. The anthology Poems from the Forces, published by Routledge in 1941, included some of his poems, as did the BBC radio feature of the same title. Conscripts: A Symphonic Declaration appeared in the same year, and his first collection, The Untried Soldier, followed in 1942. A Crown for Cain, published in 1948, included his poems from West Africa and Egypt. Over the years, he contributed poems to many anthologies and periodicals, including The Terrible Rain: War Poets 1939–1945 and Stand, a magazine edited by Jon Silkin. Litvinoff was a friend and mentor to many younger poets. His poems were collected in Notes for a Survivor (1973).

To T. S. Eliot
Litvinoff was one of the first to raise publicly the implications of T. S. Eliot's negative references to Jews in a number of his poems, in his own poem "To T. S. Eliot". Litvinoff, an admirer of Eliot, was appalled to find Eliot republishing lines he had written in the 1920s about "money in furs" and the "protozoic slime" of Bleistein's "lustreless, protrusive eye" only a few years after the Holocaust, in his Selected Poems of 1948. When Litvinoff got up to announce the poem at a poetry reading for the Institute of Contemporary Arts in 1951 the event's host, Sir Herbert Read, declared, "Oh Good, Tom's just come in," referring to Eliot. Despite feeling "nervous", Litvinoff decided that "the poem was entitled to be read" and proceeded to recite it to the packed but silent room:

So shall I say it is not eminence chills but the snigger from behind the covers of history, the sly words and the cold heart and footprints made with blood upon a continent? Let your words tread lightly on this earth of Europe lest my people’s bones protest.

In the pandemonium after Litvinoff read the poem Eliot reportedly stated, "It's a good poem, it's a very good poem."

Struma
Litvinoff is also known for his poem "Struma", written after the Struma disaster. Volunteering for military service in January 1940, Litvinoff saw his membership of the British Army as a straightforward matter of combating Nazi evil, but the sinking of the Struma in February 1942 complicated this. An old schooner with an unreliable second-hand engine, the Struma had left Romania in December 1941 crowded with nearly 800 Jewish refugees escaping the Nazis. After engine failure on the Black Sea she was towed into Istanbul harbour. Her passengers hoped to travel overland to Palestine, but Turkey forbade them to disembark unless Britain allowed them to settle in Palestine. British authorities rejected the refugees' request, and after weeks of deadlock Turkish authorities towed the Struma back into the Black Sea and set her adrift. The next day, 24 February 1942, she exploded and sank, leaving an estimated 791 dead and only one survivor. It emerged years later that the Struma had been torpedoed by a Soviet submarine. This was unknown at the time, and Litvinoff believed that the British were responsible. The disaster "blurred the frontiers of evil" in a way that left him reluctant to describe himself as "English" or to seek the kind of assimilation achieved by other Jewish writers in Britain.

The poem contains the lines:

Today my khaki is a badge of shame, Its duty meaningless; my name Is Moses and I summon plague to Pharaoh. Today my mantle is Sorrow and O My crown is Thorn. I sit darkly with the years And centuries of years, bowed by my heritage of tears.

Novels
After the war Litvinoff briefly worked as a ghostwriter for Louis Golding, writing most or all of The Bareknuckle Breed and To the Quayside, before going on to write his own novels. Litvinoff's novels explore the issue of Jewish identity across decades and in a variety of geographical contexts; Britain, Germany, the Soviet Union and Israel.

The Lost Europeans
Ten years after the war Litvinoff went to live in Berlin. He described it as "a strangely exhilarating experience, like being under fire". The Lost Europeans (1960) was Litvinoff's first novel and was born out of this experience. Set in post-war Berlin, it follows the return of two Jews to Berlin after the Holocaust. One returns for both symbolic and material restitution, the other for revenge on the man who betrayed him.

The Man Next Door
The Man Next Door (1968), described by The New York Times as "the British answer to Portnoy's Complaint", tackles British suburban anti-Semitism. Set in the fictional Home Counties town of Maidenford, it features a despondent middle-aged vacuum cleaner salesman who sees his new neighbours, wealthy self-made Jews, as the root of his problems and wages an escalating campaign of hatred against them.

Journey Through A Small Planet
Litvinoff's best-known work is probably Journey Through a Small Planet (1972), in which he chronicled his working-class Jewish childhood and early adult years in the East End, a small cluster of streets that was right next to the City of London, but had more in common with the cities of Kiev, Kharkov and Odessa. Litvinoff describes the overcrowded tenements of Brick Lane and Whitechapel, the smells of pickled herring and onion bread, the rattle of sewing machines, and chatter in Yiddish. He also relates stories of his parents, who fled from Russia in 1914, his experiences at school and a brief flirtation with Communism.

The Faces of Terror Trilogy
The trilogy Faces of Terror follows a pair of young revolutionaries from the streets of the East End and their political passage over the years to Stalinist Russia. The first novel, A Death Out of Season (1973), is set around the Siege of Sidney Street and the fermenting anarchism of East London. The novel describes youth seduced by revolution through the characters Peter the Painter and Lydia Alexandrova, a young aristocrat who rebels against her class. Blood on the Snow (1975), the sequel, finds Lydia and Peter now committed Bolsheviks, in the chaos of famine and civil war in the aftermath of the Russian Revolution. The final instalment of the trilogy, The Face of Terror (1978), is set under the regime of Stalin, where revolution has turned into repression, and the ideals of freedom that Peter and Lydia once had have crumbled under the weight of guilt and disillusion.

Falls the Shadow
Falls the Shadow (1983) was a controversial novel, written because Litvinoff had become concerned at how he considered Israel to be invoking the memory of the Holocaust to justify its own outrages. Its narrative concerns an apparently distinguished and benign Israeli citizen who is assassinated in the street, then found to have been a concentration camp officer who had escaped using the identity of one of his victims.

Plays
During the 1960s and 1970s Litvinoff wrote plays prolifically for television, in particular Armchair Theatre. His play The World in a Room tackled the subject of interracial marriage.

Campaign for Soviet Jewry

Although he was a successful poet, novelist and screenwriter, the majority of Litvinoff's career was spent spearheading a worldwide campaign for the liberation of Soviet Jewry. In the 1950s, on a visit to Russia with his first wife, Cherry Marshall, and her fashion show, Litvinoff became aware of the plight of persecuted Soviet Jews, and started a worldwide campaign against this persecution. One of his methods was editing the newsletter Jews in Eastern Europe and also lobbying eminent figures of the twentieth century such as Bertrand Russell, Jean-Paul Sartre, and others to join the campaign. Due to Litvinoff's efforts, prominent Jewish groups in the United States became aware of the issue, and the well-being of Soviet Jews became cause for a worldwide campaign, eventually leading to the mass migration of Jews from the Soviet Union to Israel and the United States. For this he has been described by Meir Rosenne, a former Israeli ambassador to the United States, as "one of the greatest unsung heroes of the twentieth century... who won in the fight against an evil empire" and that "thousands and thousands of Russian Jews owe him their freedom".

Personal life
In 1942, he met Cherry Marshall at a Catterick Camp dance and they married at a register office a few months later. They had three children together but divorced in 1970.

He had one child by his second wife, Mary McClory.

title: Emanuel Litvinoff


text:
User talk:Turbodiesel~enwiki

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title: User talk:Turbodiesel~enwiki


text:
Graphplan

Graphplan is an algorithm for automated planning developed by Avrim Blum and Merrick Furst in 1995. Graphplan takes as input a planning problem expressed in STRIPS and produces, if one is possible, a sequence of operations for reaching a goal state.

The name graphplan is due to the use of a novel planning graph, to reduce the amount of search needed to find the solution from straightforward exploration of the state space graph.

In the state space graph:
 * the nodes are possible states,
 * and the edges indicate reachability through a certain action.

On the contrary, in Graphplan's planning graph: the first level contains true atomic facts identifying the initial state.
 * the nodes are actions and atomic facts, arranged into alternate levels,
 * and the edges are of two kinds:
 * from an atomic fact to the actions for which it is a condition,
 * from an action to the atomic facts it makes true or false.

Lists of incompatible facts that cannot be true at the same time and incompatible actions that cannot be executed together are also maintained.

The algorithm then iteratively extends the planning graph, proving that there are no solutions of length l-1 before looking for plans of length l by backward chaining: supposing the goals are true, Graphplan looks for the actions and previous states from which the goals can be reached, pruning as many of them as possible thanks to incompatibility information.

A closely related approach to planning is the Planning as Satisfiability (Satplan). Both reduce the automated planning problem to search for plans of different fixed horizon lengths.

title: Graphplan


text:
Talk:White tie

Misc.
(April 1, 2011: the following comment incorrectly appeared at the top of this page and was not placed in any context so I moved it here and made up a heading Peter Marshall (talk) 17:58, 1 April 2011 (UTC) )

Yes, thanks for the edit on Evening dress - Used in many different settings in Sweden, specifically academic and weddings

I had understood the use of white tie for grooms at weddings, etc, with lits of photos seen but no definitive sorce. Also seen reference to the belief that white tie actually first developed in Sweden/Scandinavia in use at weddings, but again no definitive sorce.Glenlarson 18:48, 26 August 2005 (UTC)

Consolidation of Wikipedia formal wear terminology
ironically due to the cultural marxism of the 60s dumbing everything down & destroying established precedent we now have a more restrictive, elitizing, of the white tie - when in fact not a one has referred to any time tested ettiquette series or authorities - in short a white tie can be worn anytime the event is deemed formal (meaning at a minimum black tie must be worn to be formal which can always be upgraded to white tie) as opposed to business wear (suits) or casual - also women do not have to wear a ball gown w/ a white tie, another post 60s revsionism probably done by another characterless empty ego making a name for oneself - refer to emily post - also the diplomatic, royal court world is not the origin of ettiquette that dear friends resides w/ time tested honorable upper class culture - in other words whatever the established aristocracy is out of which by the way the sovereign comes from - stop defering to idiotic formal events that have a purpose ie political/work related when in fact true formal events need not serve a work related purpose - to link the two is utterly lumpen hoi poloi illiterati petite bourgoise A significant drawback of a “public” or “open” encyclopedia like Wikipedia is that there is no editor to ensure consistency among related articles. The articles regarding formal wear are a case in point with different authors using different terms to mean the same thing and vice versa. I propose that all formal wear terminology be consolidated in a single location and that related articles use this terminology consistently. The most logical place to establish this terminology would be the page describing dress codes (Social aspects of clothing) but it has (rightly) been tagged for a number of deficiencies. Therefore the next obvious choice seems to the Formal wear page.

I have taken the liberty of beginning to establish universal terminology on the aforementioned page. I have subsequently made corresponding changes in this page, including placing a request to rename the page. Details for this change of terminology can be found on the Formal wear page. Should anyone have any objections to the new terminology – or to the selection of the Formal wear page as the location for establishing this technology – please make your edits on the Formal wear page before making them here so that the consolidation will be enhanced rather than sidetracked. Peter Marshall 02:31, 28 November 2005 (UTC)
 * I agree with your general idea and would suggest that women's formalwear be included in the general project. I did something similar for evening gown and added women's styles to the formal wear page.  The women's pages still need cleanup.  I can't add to the "suppport" or "oppose" below.  Since there seems to be some hot debate below, could someone perhaps do some genuine research and add some references to make their cases (something besides "I 'Googled' it)? Quill 20:34, 30 November 2005 (UTC)

Requested move
This article is about "white tie" which is not the same thing as "evening dress"
 * Add *Support or *Oppose followed by an optional one sentence explanation, then sign your vote with ~

Discussion

 * This request is a result of an attempt to consolidate formal wear terminology throughout Wikipedia. Please see the discussion page for Formal wear for my entry entitled "Consolidation of Wikipedia formal wear terms" for more information. Peter Marshall 02:47, 28 November 2005 (UTC)

 * Oppose In Evening dress is used to refer to white tie in British English, Hiberno-English, etc. FearÉIREANN 19:17, 28 November 2005 (UTC)

 * Oppose I think there's room to add consistency among these articles, but the problem IMHO is that the originals were written from a UK POV and have been subsequently edited by a number of US writers (myself included).  I think there is possibly room for an "evening dress" article on the UK practice referring to a "white tie" article on US practice. PKM 03:02, 29 November 2005 (UTC)

 * Support The terms White Tie and Evening dress do not equate to the same thing at all, and should not be considered so as the term Evening Dress is not used to exclusively refer to white tie in British English or any other form of English. --Bob 22:33, 29 November 2005 (UTC)
 * Completely incorrect. Evening Dress always means White Tie, never Black Tie. That is simply called Black Tie. I have never ever received an invitation that used Evening Dress meaning Black Tie, nor have I have come across it. (I checked with a government protocol office which issues tens of thousands of invitations and they said, categorically "absolutely not. Evening dress is White Tie and tails.") On the (rare) occasions where I have been invited to an "Evening Dress" event, it always meant White Tie. Again, a dress hire shop when asked said that Evening Dress always means White Tie. Similarly in Britain, Palace invitations that stipulate "Evening Dress" means White Tie, never Black Tie. Ambassadors, for example, when presenting Letters of Credence always wear "evening dress" meaning White Tie. Black Tie is never used for such ceremonials. FearÉIREANN 22:54, 29 November 2005 (UTC)
 * You, dear sir, are completely incorrect. I have attended a few events in my time and recieved invitations from many people, including palace and ambassador invitations, and they do not always imply white tie. One has to be discerning as to what one will wear to an event. Indeed, evening wear means black tie for all but the most formal of occasions, therefore, this page is either improperly labeled or is badly written as it does not explain black tie attire. Also, as an afterthought, the page describes Formal evening dress not just evening dress. Therefore the page itself does not explain the title. --Bob 23:10, 29 November 2005 (UTC)
 * Somebody wanted references, so here is one: Lucire, the glbal fashion magazine. Full evening dress is White tie, evening dress may mean black tie. --Bob 21:24, 30 November 2005 (UTC)

 * Support I started this article, and yes, I did it from a UK perspective. "Evening dress" in the UK has always meant white tie and tails. An invitation would never read "evening dress" unless it was expected at the very least that those who possessed such dress would wear it. However, I appreciate that times change, and to non-UK readers evening dress may imply black tie. Guidance from the Secretary of the Central Chancery of Orders of Knighthood reproduced on the Debretts website reads: At all times when “Evening Dress—Decorations” is prescribed, those not in possession of Full Evening Dress may wear a Dinner Jacket with Decorations. Therefore, while white tie is still clearly expected, black tie may in some circumstances now be excusable. Andrew Yong 11:35, 2 December 2005 (UTC)

 * Update Thanks everyone for your input! As I suspected, it comes down to a question of English - do we use American or British terminology?  Can I suggest the following compromise?   1) This page is renamed  "White Tie", 2)  a new "Evening Dress" page is created to explain the levels of evening dress and the connection to white tie & black tie, and 3) the new Evening Dress page links to the "white tie" and black tie articles where readers can go for further information.  Does that seem logical? Andrew, if there is consensus would you want to do the honours of writing the new Evening Dress article? I will update the Formal Wear reference to evening dress based on the clarification provide in this discussion. Peter Marshall 22:26, 2 December 2005 (UTC)
 * Not quite there; your proposal still suggests that US usage is "correct". Perhaps this will work if "Evening Dress" clearly lays out the difference in terminology and the new "White tie" article states something like "known as Full Evening Dress in the UK" or whatever the correct term is.  Also, we're going to cause confusion with "Formal Wear" and "Evening Dress" unless we decide which article is the main one describing all the variations considered formal wear.  The other articles should state, This article describes X, for an overview of formal wear see XY  Quill

Result
User:Ugen64 moved the page. WhiteNight T 17:42, 29 December 2005 (UTC)

Formality status in Sweden
Just an addition to the above, I don't know if this should be in the article or not. In Sweden, where white-tie is relatively common, as the article notes, it is considered the most formal dress. However, it isn't the only such dress. Traditional attire (Folkdräkt) is considered on-par with white-tie, and is accepted as a substitute on most occasions requiring white-tie. The same goes for full military dress uniform. --BluePlatypus 20:15, 2 February 2006 (UTC)

Evening dress=Morning dress??
When, exactly, is "evening dress" used as a synonym for "morning dress"? That seems like a bizarre claim to make. My understanding was that "evening dress" is used for either black tie or white tie. john k 14:41, 15 December 2006 (UTC)
 * Never, not even in this article. It doesn't say "synonymous", it says "equivalent". What's equivalent isn't the dress, it's the formality of the occasion. The time of day determines the dress, the occasion determines the formality. 68.122.2.212 02:42, 5 May 2007 (UTC)

Photograph
We need a better photograph. The man on the right isn't following the rules of white tie: he is wearing a fold-down collar, rather than a wing collar; his trousers appear to have only one strip of braid (and he obviously isn't wearing braces/suspenders). No wonder Prince Philip is looking at him in disgust... —Preceding unsigned comment added by 138.251.192.96 (talk) 12:20, August 30, 2007 (UTC)

 * And his waistcoat extends below the bottom of the tailcoat front... —Preceding unsigned comment added by 138.251.192.96 (talk) 10:04, 9 November 2007 (UTC)

 * A hi-res photo of President Ford wearing white tie is available courtesy the Ford Presidential Library; although it is also in the public domain, it's not a full-body shot as is the current photo. Perhaps a well-dressed editor would be willing to pose for a few candid shots? drseudo (t) 09:00, 29 December 2008 (UTC)

 * Found a better one of President Kennedy and stuck it in. WP:BOLD and all that. drseudo (t) 09:17, 29 December 2008 (UTC)

Female guidelines
My impression is that this article only covers male clothing, but it doesn't explicitly state that. What are the female guidelines for white-tie dress? Thanks, -- Creidieki 00:52, 6 May 2007 (UTC) I would like to second this request. I have been mortified and/or unable to attend events where "white tie" has been specified from not knowing what it meant for a woman. Although I did consider wearing a white tie (and only that). Rachel Pearce (talk) 11:10, 27 November 2007 (UTC)
 * Backpack with evening wear? There was stated: "Women wear a full-length evening dress, with the option of jewellery, a tiara, a pashmina, coat or wrap, and backpack." Just in case I deleted backpack; if that has some other meaning, suitable for evening wear, I beg your pardon - and some explanation on the evening wear backpack. Guessed it was some joke...BirgittaMTh (talk) 17:08, 30 July 2017 (UTC)
 * It's really a male dress code. Women have a lot more freedom, at least theoretically. They're just expected to turn up in a below the knee posh frock and heels. These aren't events to go to in your leggings and trainers. --Ef80 (talk) 18:01, 24 June 2022 (UTC)

White tie at university graduations?
I've removed "graduation ceremonies at some universities" from the list of occasions: although a white bow tie forms part of academic dress at many universities, academic dress is not "White Tie". Rather, the white tie is worn with a dark lounge suit. —Preceding unsigned comment added by KarenSutherland (talk • contribs) 19:46, 16 January 2008 (UTC)

A Change?
I think we may have just seen a permanent change in Men's dress codes tonight. At the Inaugural Balls, President Obama upstaged his wife by daringly wearing a white-tie with his dinner jacket. Inaugural Balls are typically white-tie and Obama's decision to wear a tuxedo (a bad one, sadly) instead was reported as a signal of frugality in the economic crisis. But then he wore a white-tie with it! This may be a situation like the creation of the dinner jacket by the Edward VII (while Prince of Wales) or the adoption of the soft collar and authorization of midnight blue by his son the Duke of Windsor (when he, in turn, was Prince of Wales). In each case - as in most changes to the male dress code through the years - they used their status at the very apex of the social pyramid as license to change the rules. I wonder if we have not just seem the same thing from the new phenomenon/President - the final banishing of the tailcoat and the adoption of the dinner jacket for white-tie. TheCormac (talk) 03:36, 21 January 2009 (UTC)
 * And about time. I'm tired of seeing concert pianists flip their coat tails over the piano bench. After Obama, they won't have to. S  B Harris 04:51, 21 January 2009 (UTC)
 * Maybe, but the point was made to me this morning by formal wear expert Peter Marshall that, since the event was announced as black-tie rather than white, Obama was really challenging the black-tie ensemble rather than the white-tie outfit. (Which he would have done, presumably, by holding the events white-tie and then arriving in a dinner jacket while the others were in tails.) TheCormac (talk) 18:37, 21 January 2009 (UTC)
 * Isn't considerably too much being read into this? If Obama wears everything black tie except for the tie, which is white, he is still in "black tie". Plenty of people at black tie events actually wear red bow ties, or blue bow ties, or whatever else they feel like. This may be less usual at a presidential event, but it's hardly revolutionary. Westmorlandia (talk) 17:36, 21 October 2010 (UTC)
 * Also, the two Princes of Wales mentioned above were style arbiters and leaders of fashion. Barack Obama is not. Opera hat (talk) 18:09, 21 October 2010 (UTC)

Picture
Is there a better picture of white tie attire than George W. Bush making an ass of himself by having his shirt hanging from under his coat? My cat's breath smells like catfood (talk) 01:28, 25 May 2009 (UTC)

Presidential Inaugurals?
The article says that White Tie is seen at Presidential Inaugural Balls. But the last time White Tie was worn at an inaugural ball was 30 years ago. In theory it could be revived by any new President, but I wonder if an event that has been black tie for that many years really should be cited in as a White Tie event in this article. It seems to me more akin to the Academy Awards, which are mentioned in the article as having once been White Tie, but now being Black Tie. —Preceding unsigned comment added by 96.224.13.116 (talk) 00:41, 19 March 2010 (UTC)

President Obama has worn a white tie with a tuxedo at both of his Inaugural balls. joprocter — Preceding unsigned comment added by joprocter (talk • contribs) 13:20, 22 January 2013 (UTC)

The difference in seasons
What's the difference between a white tie outfit worn in the winter as opposed to a white tie outfit worn in the summer? Are there any extra accessories added on in the winter or is it just the weight of the fabric? GVnayR (talk) 14:06, 5 April 2010 (UTC)

Origin of the dress
This article contains no information on the origin of 'white tie' dress. This is why I came to the page and I would really appreciate it if someone could add this information. Tibetologist (talk) 09:19, 20 July 2010 (UTC)

The correct length of the waistcoat
In the section "Men's Clothes", it states "White low-cut waistcoat (usually cotton marcella (US: piqué), matching the bow tie and shirt, which should not extend below the front of the tailcoat." This is not precisely true. Evening dress ("white tie") can be traced directly back to just after the turn of the 19th century when wearing a cutaway frock coat over a waistcoat was popularized (albeit the double-breasted coat being held closed with buttons). It was always worn with an inch or more of the hem of the waistcoat extending below the front of the coat's cutaway. By about 1870, what we now think of as "white tie" was formally fixed, with the waistcoat still appearing below the bottom of the front of the coat, and it remained that way until at least 1910. It began to disappear in the US soon thereafter, mostly because it was believed to give a more flattering silhouette; Fred Astaire and other performers wore them this way in films, where lengthening the silhouette was essential. The rest of the world followed suit -- to a degree. However, it is still common amongst the European aristocracy to have the points of the waistcoat hem extend 1/2" to 3/4" below the points of the coat. Given that full evening dress is the oldest and most conservative costume still worn by men, it is not inappropriate to wear it as it was worn a century or more ago. I think that the statement should be modified to reflect this divergence of opinions. Bricology (talk) 11:21, 16 January 2011 (UTC) I should add that the following paragraph states "Since the waistcoat must not extend below the coat front, it must be high..." Again, no source is given for these "musts". That is because there simply is no unquestioned authority on the subject. For every presumed authority one might cite in support of having the bottom of the waistcoat covered, I can provide a dissenting opinion. So, who is the arbiter of these matters? I would say that since "white tie" is a British invention, adopted elsewhere, and since it is the most traditional and conservative of Western men's costume, the British view should dominate. And not necessarily the view of say, fashion pundits or designers, who may or may not have a vested interest (so to speak) in promoting their own opinions. Nor, I think, should the examples of fashion icons who have a history of subverting costume rules (such as the Duke of Windsor) be definitive. No, I would say that questions regarding traditional, conservative costume should be informed by those who (a) have learned to wear it from masters of protocol (or other royal household staff) rather than from a book, and (b) who wear it most often to appropriate functions; i.e., European hereditary nobility. I have dozens of photos of such nobles as the Duke of Edinburgh, the Duke of Kent, the Duke of Cornwall, King Carl XVI Gustav of Sweden, Prince Henrik of Denmark and many others wearing full evening dress, with the hems of their waistcoats extending below the fronts of their tailcoats. Is Wikipedia (or rather, an editor's unsourced assertion) going to tell them that they're "wrongly dressed"? I would hope not. While I am not advocating the exposed style replacing the concealed style, I am saying that it is in error to declare a visible waistcoat hem to be "wrong". There is not one correct form. There are two, and the entry should reflect this. The concealed style is simply a more recent iteration of it, promoted primarily in America, and hardly constitutes an international "must". I'll give it a week or two for others to weigh in before I remove the "musts". Bricology (talk) 08:19, 17 January 2011 (UTC)

I would support this move. I think it is wise to not allow any one source be the absolute arbitrator on these matters. Personally, given that the term "morning dress" was applied to that which well-to-do business would wear on a day-to-day basis, one would imagine that the term would evolve and be applied to the clothes which fulfil the same role today (i.e. a standard business lounge suit could be regarded as morning dress). |||| — Preceding unsigned comment added by Salsatron (talk • contribs) 13:35, 16 February 2011 (UTC)

As part of my article clean-up I added references for the "concealed" argument. Others can add references for the "unconcealed" argument and readers can decide for themselves which references are most relevant. Sound fair? Peter Marshall (talk) 17:23, 1 April 2011 (UTC)

Major Changes to / clean-up of article
The article had clearly collected a lot of disparate and redundant/repetitive info over time as people added a sentence here or there. I tried my best to streamline it.

Summary/Intro
 * this section is supposed to give a top-line overview of the topic e.g. what it is, where, when and why it's worn; therefore I removed all sorts of redundant and arcane info (e.g. use of white tie in pre-revolutionary Iran, details of semi-formal daywear)
 * qualified the summary of where it's worn to make it clear that it is highly ceremonial and extremely formal (previously it was implying it was worn regularly to the opera and banquets which is hardly the case)
 * changed definition of evening to 6 PM or dark (was 5 PM or dark) and provided reference
 * removed vague comment on origin of the tailcoat as it's discussed in detail in the Wikipedia "Tailcoat" article

Elements
 * used "dress coat" as the primary term for the tailcoat for consistency with the rest of this article and with the Wikipedia "Tailcoat" articles
 * added option of midnight blue for coat and trousers

Appropriate Occasions Peter Marshall (talk) 17:23, 1 April 2011 (UTC)
 * clearly grouped this section by geographic region
 * changed reference to white tie being worn at US presidential inaugural balls to note that this no longer happens (as mentioned elsewhere in this Discussion forum) - it has not been worn since Reagan's first election in 1981
 * removed biased and unnecessary comment about tailcoat being a cliche for performers of classical music

Dress code terminology: Formal vs Semi-formal
I think the "formal" / "semi-formal" terminology should either be used in context or avoided altogether as there is no universal consensus of their meanings. Back in the 1930s white tie was commonly considered "formal" and black tie "semi-formal" but ever since WW2 different people have been interpreting the terms in different ways. (For proof see Emily Post Etiquette 1955 edition where she specifically addresses this confusion and allows for two sets of interpretations.) In fact, very few members of the public use the 1930s definition any more. If the average person is invited to a "formal" dinner he is most certainly not going to expect to wear white tie. For many communities (at least in North America), "formal" can mean no more than a suit and tie. (I'm amazed at how many university-educated, worldly professionals I have talked to who have never even heard of the concept of white tie.) Therefore, it would avoid ambiguity to say that in this day and age white tie is the "most formal" dress code and black tie is the "second most formal". (If I knew how to edit the "Western Dress Codes" side bar to reflect this, I would!) Peter Marshall (talk) 17:52, 1 April 2011 (UTC)

Photograph of controversial figure in white tie with black waistcoat
Might the photograph and caption of 'Mustafa Kemal Atatürk' [sic'] be removed as soon as possible? The image of a perpetrator of what we now define as war crimes and crimes against humanity (Smyrna, 1922, for example) surely isn't appropriate for a fashion page. Moreover, to refer to Mustafa Kemal as 'Atatürk, Founder of Modern Turkey', with that honorific and capitalization, as opposed to a more neutral 'first president of the Turkish Republic', is tendentious in this context. I would heartily recommend replacing the photograph with an image of a less controversial person.R.dulgarian (talk) 16:46, 5 July 2011 (UTC)

Clergy Clarification
This paragraph doesn't seem to include different forms of clergy and isn't clear on which clergy it does talk about. Is the author talking about Catholic clergy? Orthodox? I feel like I need to edit to make this more clear but am only like 70% sure this section refrences Catholic clergy. I know my Rabbi wears the same formal clothing everyone else is wearing, with an appropriate kippah. Does anybody have info on what clergy of other faiths do? — Preceding unsigned comment added by Caffeinated42 (talk • contribs) 05:03, 6 June 2014 (UTC)

Waiters?
At least in Europe, the standard for waiters in high-rank restaurants (and cafés) is or was tailcoat with black vest and black tie. Now is that "black tie" or "white tie"? -- — Preceding unsigned comment added by MegA (talk • contribs) 13:49, 18 February 2015 (UTC)

 * As far as I understand, it is the waiter's uniform. As no gentleman ever wears a black tie with a tailcoat, it really does not fall into either category. On the other hand, a white tie with a black waistcoat was, at least in historical Finnish and, I suppose, imperial German and Russian etiquette, the civilian equivalent of service uniform. Thus, it is still worn thus in the Finnish academic celebrations that are held during the day, and it may be worn in the night if no women (or, actually, no women without a doctoral degree) are present. --MPorciusCato (talk) 19:12, 30 September 2015 (UTC)

Overhaul
I have just rewritten much of this article. A substantial amount of the pre-existing material was unsourced or poorly sourced and often overly detailed. There was also a lot of repetition (eg two bullet-point descriptions of the dress code, plus a lengthy OR-ish breakdown of each element) and an awful lot of lists where prose would do just fine. I hope I haven't offended anyone with these changes. Sections like "national dress" probably need to be elsewhere as this article is about white tie, although I have mentioned that it is appropriate for national dress to be worn at many white tie events nowadays; the description of the Scottish dress is, as the article says, not a description of white tie, so it probably ought to be in an article called something like "Scottish evening dress" or "Scottish formal wear". Regards, —Noswall59 (talk) 18:31, 30 September 2015 (UTC)
 * It's actually called Highland dress. With the white jabot, it may be worn as black-tie or white-tie. With the black tie, of course, it may only be worn as black-tie. Khamba Tendal (talk) 18:44, 2 July 2019 (UTC)

No mention of sash?
In the gallery pics, about 50% of of the photos feature men wearing sashes, but there's no mention of this in the article, and the lede doesn't mention it as an acceptable accessory? 128.189.160.99 (talk) 00:31, 28 November 2023 (UTC)

 * Those are part of a Diplomatic uniform - the people in those photos are diplomats or heads of state attending events in an official capacity. MrOllie (talk) 00:35, 28 November 2023 (UTC)

title: Talk:White tie