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St Ebbe's Church, Oxford

St Ebbe's is a Church of England parish church in central Oxford. The church is within the conservative evangelical tradition and participates in the Anglican Reform movement. It has members from many nations, many of whom are students at Oxford University. The rector is Vaughan Roberts who is also an author and conference speaker.

History

The church stands on the site of one dedicated to St Æbbe before 1005. Most sources suggest that this was the Northumbrian St Æbbe of Coldingham, but it has been suggested that Æbbe of Oxford was a different saint. The name was first recorded in about 1005 when the church was granted to Eynsham Abbey by Ealdorman Æthelmær the Stout, when it was already recorded as the "ancient St Ebbe's".

The present church was built in 1814–16. It was restored between 1862 and 1868, and again in 1904. A Norman doorway of the 12th century has been restored and placed at the west end. The church is the parish church for the parish of St Ebbes, a portion of which was demolished to make way for the nearby Westgate Shopping Centre in the 1970s. The church underwent further restoration in 2017 under the direction of Quinlan Terry. During this restoration some internal fittings were sold as architectural antiques. The organ was transferred to St Denys, York.

In 1957, the church of Holy Trinity, Blackfriars Road, was demolished having been deemed unsafe. This was merged into the present parish. In 1961, the parish of St Peter-le-Bailey merged with St Ebbe upon the foundation of St Peter's College (formerly St Peter's Hall) and its use of the church as its college chapel.

Present day
St Ebbe's continues to be highly active, with three meetings each Sunday at 10:00, 4:30 and 6:30. There are also a range of mid-week groups and youth work.

St Ebbe's is within the Conservative Evangelical tradition of the Church of England, and it has passed resolutions to reject the ordination of women and/or female leadership. It receives alternative episcopal oversight from the Bishop of Ebbsfleet (currently Rob Munro).

The church has a ministry among the remaining part of the parish, although most of its members live outside the parish. The church is a partner church of St Ebbe's Primary School, a school within the parish.

Rectors

 * 15??-1550: Thomas Dobson
 * 1550-1553: Ralph Rudde; Principal of St Edmund Hall
 * 1553-1576: Vacant
 * 1576-1585: John Paule
 * 1589-1593: William Singleton
 * 1593-1604: John Hilliard
 * 1604-1631: Jacob Yate
 * 1631-1641: Edward Wyrley
 * 1643-1648: Hugh Boham; Chaplain of All Souls College
 * 1664-1666: Richard Tapping
 * 1690-1691: Thomas Shewring
 * 1695-1696: Josias Dockwray
 * 1696-1697: Henry Hellier
 * 1697-1707: William Baker; later the Bishop of Norwich
 * 1707-1714: John Knott
 * 1714-1719: Matthew Panting; Master of Pembroke College
 * 1719-1727: Bernard Peisley
 * 1727-1734: Thomas Hillman
 * 1736-1742: Nathaniel Bliss; later the fourth Astronomer Royal
 * 1742-1753: Thomas Camplin; Vice-Principal of St Edmund Hall and later the Archdeacon of Taunton
 * 1753-1771: Robert Ewings
 * 1771-1809: Henry Richards
 * 1808-1868: William Hambury; later Chaplain to George IV
 * 1868-1874: E.P. Hathaway
 * 1874-1877: Thomas Valpy French, later Bishop of Lahore
 * 1881: John Arkell
 * 1901-1909: P.W.G. Filleul
 * 1912-1926: John Stansfeld
 * 1947–1952: Maurice Wood, later Principal of Oak Hill College and Bishop of Norwich
 * 1952–1964: Basil Gough
 * 1964–1985: Keith Weston
 * 1986–1998: David Fletcher
 * 1998–present: Vaughan Roberts

Curates

 * 1816: John Penson
 * 1822-1824: William Wilson
 * 1825: Henry Bliss
 * 1826-1831: Henry Bulteel
 * 1831-1837: William Champneys
 * 1837-1842: H.B. Whitaker Churton
 * 1847-1860: G.T. Cameron
 * 1860-18??: S.Y.N. Griffith
 * 1934-1936: Pat Gilliat
 * 1950-1952: Edward Saunders
 * 1952-1956: Michael Farrer
 * 1955-1958: David Pytches, later Bishop of Chile, Bolivia and Peru
 * 1957-1960: Peter Dawes
 * 1958-1960: Brian Ringrose
 * 1960-1963: Patrick Harris
 * 1961-1964: James Spence
 * 1963-1966: Anthony Baker
 * 1964-1968: Gilbert Gauntlett
 * 1966-1972: Simon Starkey
 * 1968-1971: John Wesson
 * 1971-1974: Robert Hope
 * 1973-1976: Anthony Burdon
 * 1974-1976: Peter Toon
 * 1976-1980: Robert Key
 * 1980-1983: David Banting
 * 1983-1986: Kevin Scott
 * 1988-1991: Timothy Hastie-Smith, later Director of Scripture Union (England & Wales).
 * 1991-1998: Vaughan Roberts, later Rector
 * 1995-2001: David Gibb
 * 1999-2003: Anthony Jones
 * 2002–present: Pete Wilkinson
 * 2003-2008: Julian Bidgood
 * 2008-2012: Phil Jack
 * 2009–present: David Reid
 * 2010-2014: Suresh Menon
 * 2013-2018: James Fletcher
 * 2013-2017: Alistair Gibbs
 * 2017–2019: Matt Pope
 * 2017–2021: Joel Knight
 * 2021–present: Glenn Nesbitt

Non-stipendiary ministers

 * 2005-2008: Sam Allberry
 * 2012-2013: Phil Jack
 * 2015–present: James Poole
 * 2016–present: John Miller

Deacons

 * 1979-1991: Jean Ritchie
 * 1991-1993: Patricia Whelan

title: St Ebbe's Church, Oxford


text: Wikipedia:POTD/August 31, 2005

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

title: Wikipedia:POTD/August 31, 2005


text: Wikipedia:Picture of the day/August 31, 2005


text: User talk:210.50.133.10

title: User talk:210.50.133.10


text:
Orthodontic archwire

An archwire in orthodontics is a wire conforming to the alveolar or dental arch that can be used with dental braces as a source of force in correcting irregularities in the position of the teeth. An archwire can also be used to maintain existing dental positions; in this case it has a retentive purpose.

Orthodontic archwires may be fabricated from several alloys, most commonly stainless steel, nickel-titanium alloy (NiTi), and beta-titanium alloy (composed primarily of titanium and molybdenum).

Noble Metal alloy
Noble metals such as gold, platinum, iridium, silver and their alloys were used early on in the field of Orthodontics because of their good corrosion resistance. Some of the other qualities that these alloys had were high ductility, variable stiffness (with heat), high resilience and ease of soldering. Disadvantages of these alloys were: Less elasticity, less tensile strength and greater cost. Composition of both platinum and palladium raised the melting point of the alloy and made it corrosion resistant. Copper material, along with the cold-working of the material, gave the strength to the alloy. The alloy composition of the wires made of noble metals would be Gold (55%-65%), Platinum (5-10%), Palladium (5-10%), Copper (11-18%) and Nickel (1-2%). These composition were similar that of Type IV Gold casting alloys. Edward Angle first introduced the German Silver in orthodontics in 1887 when he tried replacing the noble metals in this practice. At that time, John Nutting Farrar condemned Angle for using a material which lead to discoloration in the mouth. He then in 1888, started altering the alloy composition around the German Silver. However, Angle's composition were extremely difficult to reproduce and therefore, the usage of Silver-based alloys did not get popular in orthodontics. Angle was also known to use materials such as rubber, vulcanite, piano wire and silk thread.

Stainless steel archwire
In 1929, stainless steel was introduced for the use of making appliances. This was the first material that truly replaced the usage of noble alloys in Orthodontics. Steel wire alloys, in comparison to the noble metals, were relatively cheaper. They also had better formability and can be readily used to be soldered and welded for fabrication of complex orthodontic appliances. The stainless steel alloys are of "18-8" austenitic type which contain Chromium (17-25%) and Nickel (8-25%) and Carbon (1-2%). Chromium in this stainless steel alloy forms a thin oxide layer which blocks the diffusion of oxygen into the alloy and allow for the corrosion resistance of this alloy. Angle used stainless steel in his last year practicing orthodontics. He used it as a ligature wire in his patient's mouth. At that time, Emil Herbst was the main opponent of the Stainless steel based alloys. According to him, he preferred using Noble alloys over stainless steel. By 1950, 300 series stainless steel alloy was used by the majority of orthodontists in United States, as European Orthodontists believed in using functional appliances such as Activator appliance with patient's malocclusions.

Stainless steel archwires have high stiffness, low springiness, corrosion resistant, low range and good formability. These wires are often cheaper than the other archwires and can readily be used as "working" archwires in an orthodontic treatment. Space closure after extractions is often done by placing these archwires in the mouth.

Multi-Strand Stainless Steel archwires
This type of stainless steel archwire is made up multiple 0.008 in SS wires coiled together. There are 3 types: Coaxial, Braided and or Twisted. The coaxial type of archwire includes 6 strands of 0.008 in strands which are coiled together. The braided archwire includes 8 strands and twisted archwire includes 3. These wires can provide either a round shape or rectangular shaped stainless steel wire. The properties of these wires are drastically different from the traditional stainless steel archwires. They have low stiffness and can be used for initial leveling and aligning stage in orthodontics. However, due to their lower elastic limit they can be readily deformed if acted upon by any other force such as food.

Australian archwire
Arthur J. Wilcock, along with Raymond Begg, created the "Australian archwire" in the 1940s in Australia. He was a metallurgist from Victoria, Australia. This archwire was prominently used in what is known as Begg Technique. Begg was seeking a stainless steel wire that was light, flexible stayed active for long periods of time in the mouth. The wire had high resiliency and toughness and were heat treated. The initial wire produced had dimension of 0.018in. These wires are often used in the treatment of deep bites because of their increased resistance to permanent deformation. The wire is composed of Iron (64%), Chromium (17%), Nickel (12%) and others.

Cobalt-Chromium Archwire
In the 1950s, cobalt-chromium alloy started being used in orthodontics. Rocky Mountain Orthodontics first started marketing the cobalt-chromium alloy as Elgiloy in the 1950s. It was the Elgin National Watch Company which introduced this alloy, composed of cobalt (40%), chromium (20%), iron (16%) and nickel (15%). Elgiloy offered increased resilience and strength, however, its stiffness was weak. These type of wires are still sold as alloys known as Remaloy, Forestaloy, Bioloy, Masel and Elgiloy. However, their use have decreased throughout the field of orthodontics due to the fact that no complex bends in wires are needed in today's treatment.

Elgiloy is available in four levels of resilience. Blue Elgiloy (soft), Yellow Elgiloy (ductile), Green Elgiloy (semi-resilient) and Red Elgiloy (resilient).

Nickel-titanium (Niti) Archwire
NiTi alloy was developed in 1960 by William F. Buehler who worked at the Naval Ordnance Laboratory in Silver Springs, Maryland. The name Nitinol came from Nickel (Ni), Titanium (Ti), Naval Ordinance Laboratory (nol). The first Nickel titanium (NiTi) orthodontic alloy, introduced by Andraeson. This alloy was based on the research done by Buehler. Since their introduction, the wires made out of Niti alloys have become an important part of orthodontic treatment. The composition of the wire has 55% Nickel and 45% Titanium. The first nickel-titanium orthodontic wire alloy was marketed by the Unitek Corporation who are now known as 3M Unitek. These alloys have low stiffness, superelasticity, high springback, large elastic range and were brittle. The initial niti wires did not have shape-memory effect due to the cold-working of the wire. Thus these wires were passive and were considered as an Martensitic-Stabilized alloy.

Pseudoelastic Niti archwires were commercially launched in 1986 and were known as Japanese NiTi and Chinese NiTi. Japanese Niti archwire was first produced by Furukawa Electric Co in 1978. It was first reported for usage of orthodontics by Miura et al. The Japanese alloy was marketed as Sentalloy. Heat-activated NiTi alloys became popular and commercially available in the 1990s. Chinese Niti wires were also developed in 1978 by Dr. Hua Cheng Tien at a research institute in Beijing, China. This wire was first reported in orthodontic literature by Dr. Charles Burstone. These alloys are Austentic-Active alloy and the transition from the Austenitic phase to Martensitic phase happens due to the contact of wire with a force.

Copper nickel-titanium alloy
In 1994 Ormco Corporation introduced this alloy. This alloy was developed with the help of Rohit Sachdeva and Suchio Miyasaki. Initially, it was available in three temperature transition forms: Superelastic (CuNiTi 27 °C), heat-activated (CuNiTi 35 °C) and (CuNiTi 40 °C). This alloy is composed of nickel, titanium, copper (5%) and chromium (0.2% - 0.5%). Addition of copper leads to better defined transition temperatures in this alloy.

Shape memory
Niti wires are known to have a unique property of shape memory. Niti wires can exist in two forms known as Austenitic and Martensitic. A temperature phase known as Temperature Transition Range (TTR) serves to define these earlier phase of the Niti wire. Below the TTR temperature, the crystals of Niti wires exist in the Martensitic form and above the TTR, crystals exist as the Austenitic form. The austenitic form happens at high temperatures, low stresses and martensitic phase occurs at low temperatures and high stresses. Austenitic form has body centered cubic (BCC) structure and Martensitic has distorted monoclinic, triclinic or Hexagonal structure. The wire is manufactured and fabricated at temperatures which exist above the TTR. As the wire is warmed above this temperature, it remembers its original shape and conforms to it. Therefore, this property of the wire is known as Shape-memory alloy.

Graded thermodynamic archwires possess different TTR at different segments of the archwires (frontal, premolar and molar), which corresponds respectively to frontal, premolar and molar areas of dental arch. The frontal segments possess the highest transition temperature, followed by the premolar segments. The lowest transition temperatures were reported for the molar segments.

Superelasticity
Niti wires are known to have another unique property known as Superelasticity. It is the "rubber-like" behavior present in the Niti shape memory alloy. Superelastic Niti wires have excellent springback compared to other niti wires. They can also deliver constant forces over large wire-deflection.

Beta-titanium (TMA) archwire
Pure titanium can exist in two phases: Alpha and Beta. Alpha phase represents low temperature (below 885 °C) and beta phase represents high temperature (above 885 °C). Charles J. Burstone and Dr. Goldberg developed the β-Titanium when they combined Molybdenum with pure titanium. They devised this alloy to allow these wires to produce lower biomechanical forces compared to the stainless steel and cobalt-chromium-nickel wires. They have better formability and springback than the stainless steel wires. Thus this alloy came to be known as Beta-Titanium alloy. It consists of Titanium (79%), Molybdenum (11%), Zirconium (6%) and Tin (4%). This alloy is known commercially by the name TMA or Titanium-Molybdenum alloy. This alloy does not involve nickel and can be used in patients who have allergy to nickel. TMA wires have rough surfaces and produce most friction out of all the wires used in orthodontics which was found in a study done by Kusy et al. in 1989.

Connecticut new archwire (CNA)
This type of archwire is a brand of beta titanium.

Leveling and Aligning
Wires used in this initial phase in an orthodontic treatment requires them to have low stiffness, high strength and long working range. The ideal wires to use in this phase of treatment is a Nickel-Titanium archwires. Low stiffness will allow small forces to be produced when the wire is engaged in the bracket slots of teeth. High strength would prevent any permanent deformation when the wire is engaged in teeth which are severely crowded.

There is evidence showing that multi-stranded superelastic NiTi wires can produce greater tooth movement than single-strand superelastic NiTi when used as the first archwire in a fixed (“train track”) brace. The use of multi-strand stainless steel vs superelastic NiTi does not have a noticeable difference in the pain experienced by the wearer. Currently more research is required to determine archwire material superiority in terms of alignment rate, time to alignment, pain and root resorption.

Terms used in defining wires

 * Stress - Internal distribution of load
 * Strain - Internal distortion produced by the load
 * Proportional limit - A point at which first permanent deformation is observed
 * Yield strength - At this point, an orthodontic wire will not return to its original shape
 * Ultimate tensile strength - The maximum load a wire can sustain
 * Failure point - A point at which a wire breaks
 * Modulus of elasticity - It is the ratio between stress and strain. It is measured by the slope of the elastic region. It describes the stiffness or rigidity of the material
 * Load-Deflection Rate - It is defined as for a given load/force, the amount of deflection observed is known as the load deflection rate
 * Stiffness - The slope of a stress/strain graph of an orthodontic wires is proportional to the stiffness of a wire. The higher the slope, the higher the stiffness. It is same as modulus of elasticity. Stiffness of the wire is proportional to a diameter of the wire but inversely proportional to the length or span of a wire. Stainless steel wire has higher stiffness than Beta-Titanium alloy which has higher stiffness than Nickel-Titanium alloy.
 * Range - It is a range of an orthodontic wire that will bend until permanent deformation occurs.
 * Springback - It is the ability of a wire to go through large deflections without being permanently deformed.
 * Resilience (materials science) - It represents the energy of a wire.
 * Formability - It is the amount of permanent bending a wire will go through before it breaks.
 * Ductility - It is an ability of the wire to sustain a large amount of permanent deformation without being ruptured.
 * Biocompatibility - A biocompatible wire would be resistance to corrosion and would be tolerant to the tissues of oral mucosa
 * Shape-memory alloy - It is an ability of the wire to remember its original shape after being plastically deformed
 * Twinning - It is a property of a metal that refers to a movement that divides lattice into two symmetric parts. Deformation in certain structures occurs by twinning. The niti alloys are characterized by multiple, rather than single, twinning through metal.
 * Hysteresis - Hysteris in orthodontics is associated with the Nickel-Titanium wires. It is the difference between temperature of the starting phase of a Niti wire and a finishing phase of a Niti wire. It can also be known as difference in temperature when a Niti wire goes from its Austenitic (high temperature) state to a Martensitic (low temperature) state.
 * Quenching - Rapid cooling of a material after it is annealed. It leads to material losing its strength but gaining its ductility
 * Annealing (metallurgy) - Process of heating a material which leads to material gaining strength and losing its ductility

title: Orthodontic archwire


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File:Cone beam image closeup 45 320x240.jpg

Summary
Close-up of cone beam reconstructions showing the shadow image.


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Talk:List of animal sounds

See Archive 1 for discussions about the now deleted article animal sounds in languages.

Requested move
A couple of people supported a change of name, and one other person suggested a different name. Please gain consensus prior to moving. Use WP:RM to advertise the move. --Tony Sidaway Talk 10:30, 30 August 2005 (UTC

Hares?
Do hares really squeak? I thought they were mute! At least pet rabbits are, I wouldn't know, do wild hares make noises?--Mithcoriel 20:48, 17 February 2006 (UTC)

 * According to http://www.radio.cz/en/article/72775 they make a noise when threatened. Hyacinth 08:23, 18 February 2006 (UTC)

 * our rabbit used to squeal loundly when we caught it after any of iots many escape attempts :-)Bilbo B 08:23, 8 November 2006 (UTC)

What sounds do elephants make??? I mean onomatopoeically.

 * loud ones!Bilbo B 08:23, 8 November 2006 (UTC)

yellowhammers
they really do say a little bit of bread but no cheese: http://www.birdsofbritain.co.uk/bird-guide/yellowhammer.htm

English
-I don't think the page is quite explicit enough in clarifying that this is only in reference to English. Each language has different concepts. Maybe it's obviously English, but we don't want to claim that it is universal. Kabosha 10:27, 6 December 2006 (UTC)

 * And there is the possibility that the same animal makes "different" sounds in other English-speaking countries. I'm about to add the tag. Delta Tango • Talk 03:16, 10 December 2006 (UTC)

 * I should point out that a similar article Animal sounds in foreign languages did exist but was deleted for copyright concerns. I had put it up for AfD on the grounds that it was an indescriminate list of words before it got speedied as a copyvio. I don't think we should recreate that and frankly I'm not so sure that we need a list of such words in English either. –  Anþony  talk  01:31, 27 December 2006 (UTC)

Dragon
Hi. Does anyone know the verb for a dragon's sound? Apart from things like 'roar'. Can anyone think of, you know, those gentle type of sounds dragons make, like "Kyui" or something like that. Thanks. --129.31.70.140 (talk) 23:27, 31 December 2008 (UTC)

 * The only problem is that they don't exist. — Preceding unsigned comment added by Sega31098 (talk • contribs) 04:28, 24 December 2011 (UTC)

Panda
Pandas go bleat? I thought they were unnoisy. 84.13.127.147 (talk) 08:28, 8 November 2009 (UTC)

Why is Bull separate from Cattle?
Bull, in common usage, describe male cattle. — Preceding unsigned comment added by Sega31098 (talk • contribs) 04:26, 24 December 2011 (UTC)

What to do with this article?
This article was proposed for merge with List of animal names nearly a year ago, and the discussion was closed today as not merged. There is discussion about the problems with this article here and here.

So what to do with this article? Let it sit here in its current state, or nominate it for deletion? Or will anyone volunteer to attack the problems with it? ~ Kimelea   (talk)  11:38, 21 March 2012 (UTC)

 * It's marginally encyclopedic and a vandalism magnet. Deletion could be merciful. Joja  lozzo  14:11, 21 March 2012 (UTC)

 * I think it was nominated for deletion and the nom failed. I think it has relevance, just needs cleanup and fact-checking.   Montanabw (talk) 20:50, 21 March 2012 (UTC)

 * Its last AfD was 2006... I think your edit summary said it all ;) ~ Kimelea   (talk)  20:52, 21 March 2012 (UTC)

 * I can't bring myself to nominate it for deletion. I'll watchlist it to mind vandalism, and maybe one day we'll get a hero to turn it into a respectable article. :) ~ Kimelea   (talk)  21:49, 5 April 2012 (UTC)

Lead gibberish
The article says it's a list of animal sounds but the second sentence says it lists verbs "followed by figures of speech that imitate those sounds". Sounds are nouns not verbs. This confusion is understandable since most words for sounds are both nouns and verbs but the topic is nouns (sounds), not verbs (sound-making). Also, most words for animals sounds are onomatopoeia so there is no need for the distinction between the sounds and the "figures of speech".

In addition, it's confusing as to when the "verbs" end and the onomatopoeia begins. If we think we want verbs and nouns then I propose we convert this to a table format with three columns: animal name, sounds (nouns, onomatopoeia), and sound-making (verbs when they are different from the nouns).

My preference is to keep the format we have and list only nouns without making any distinctions between onomatopoeia and non-onomatopoeia. Joja lozzo  15:02, 1 May 2012 (UTC)

But that's confusing - partcularly for non-english speakers 87.246.103.137 (talk) 16:23, 19 October 2012 (UTC)

Squirells
Any squirrells I've heard make a noise like a bird croaking 87.246.103.137 (talk) 16:22, 19 October 2012 (UTC)

- I'd call the sound they make chittering. — Preceding unsigned comment added by PointyShiny (talk • contribs) 03:17, 8 November 2021 (UTC)

Wiktionary
Mildly bold edit to hidden text : added Wiktionary entries, since we already accept pertinent Wikipedia articles. --Middle 8 (t • c | privacy • COI) 06:41, 9 July 2016 (UTC)

tigers?
I know what sound tigers make, but why is it not on here? :) — Preceding unsigned comment added by Zaeayanaep (talk • contribs) 11:38, 11 June 2020 (UTC)

Horses and Zebra
How about adding Bray to Horses and Zebra? It's about as valid as cattle lowing, in my opinion. Though I'd probably call Braying more a Donkey sound than a Horse, but since Horses aren't distinguished from Mules and Donkeys, that's where I'd put it. — Preceding unsigned comment added by PointyShiny (talk • contribs) 03:16, 8 November 2021 (UTC)

Beep beep sheep??
As lovely as it would be to say sheep go beep beep, I’ve never heard a sheep beep beep. 82.24.186.61 (talk) 10:30, 28 November 2021 (UTC)
 * Fixed, thanks. OhNo itsJamie Talk 01:35, 29 November 2021 (UTC)

Capybara sounds
I think this video could be used for the capybara sound effect, although there is some background noise, I bet somebody could change the volume up and down during the parts where the capybara is making noise, or just cut most of the video all together and only include one squeal. Either way, it's up to you guys. Lallint ⟫⟫⟫  Talk  20:42, 18 January 2022 (UTC)

 * Actually I just noticed the watermark on the top left, nevermind Lallint  ⟫⟫⟫  Talk  21:18, 18 January 2022 (UTC)

Walrus sounds
Apparently, walruses can make many different sounds. Here is a demonstration. 71.235.101.14 (talk) 05:26, 11 May 2022 (UTC)

Why do we need to cite the fact that a fly buzzes
I only found this page from a Vaazkl video but why do we need to cite the fact that a fly buzzes 24.115.255.37 (talk) 14:20, 23 June 2024 (UTC)

title: Talk:List of animal sounds


text:
Talk:Public transport in Istanbul

tables and sea
I've updated most of the systems including,

2.2 Bus system 2.3 Funiculars 2.4 Light rail (Light metro) 2.5 Metro 2.6 Bus rapid transit (BRT) 2.7 Trams

but tables are still old, and İDO sold, Şehir Hatları AŞ is founded for vapurs. So there is a needing to separate them.

--Ail Subway (talk) 19:14, 30 June 2012 (UTC)

Bias in the last sentence of the section "Bus system"
There is substantial bias throughout the "Bus System" section of this article, however, the sentence that is most problematic is as follows: It is typical of a network run by civil servants with little regard to passenger requirements. I have not corrected this issue since I am not very familiar with the Istanbul bus system; however, an admin or a local Istanbul resident should look into this issue immediately.

Michaelhun12 (talk) 03:59, 25 July 2011 (UTC)

Incorrect redirection
This article is about the "Public transport in Istanbul" and is also intented for this general purpse only. The repeated redirecting to an article "IETT" is not correct. This was discussed and explained in the past. IETT is a company, which covers some transportation activities on land but not all and not at sea. So, please refrain from modifying again.CeeGee (talk) 08:53, 22 November 2009 (UTC)
 * But the two articles duplicate each other. See Talk:IETT. --Mhockey (talk) 22:30, 21 February 2011 (UTC)
 * This is fixed, now. The IETT article contained a duplicate of this one, dating from Sept 2009. I've transferred any changes in the text there to here, and reverted it to a redirect. But an article on IETT, the company, would be a useful addition, would it not? Moonraker12 (talk) 15:49, 28 February 2011 (UTC)

New Mecidiyeköy-Mahmutbey line
Hello people, Rayturk announced a new metro line from Mecidiyeköy to Mahmutbey that also passes through Kağıthane. Can somebody update the transit map accordingly?

http://www.rayturk.net/mecidiyekoy-mahmutbey-metro-hatti-17-5-km-uzunlugunda-olacak.html

Here are the stops http://www.rayturk.net/mecidiyekoy-mahmutbey-metrosunda-15-istasyon-olacak.html http://www.rayturk.net/mecidiyekoy-mahmutbey-metrosunun-depo-sahasi-alibeykoy-de-olacak.htmlFah112778 (talk) 15:10, 25 February 2013 (UTC)

External links modified
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Working on a separate article for the IETT
I am currently working on a separate article about the IETT and if you want to help, you can right here! Eticangaaa (talk) 01:55, 14 July 2022 (UTC)

 * Looks like a great start! Do you have any intention to move iETT into mainspace? I think sourcing would be the only thing that is missing with the draft as it stands. Felix QW (talk) 13:16, 28 May 2023 (UTC)
 * Thanks, i'm planning on moving it to the mainspace as soon as i get it complete, right now i'm just translating from the Turkish Wikipedia but perhaps i'll add more original content later on. Can't really work on it currently because of school but in the next weeks ill be able to work on it Eticangaaa (talk) 13:29, 28 May 2023 (UTC)
 * it is done. IETT no longer redirects here. Eticangaaa (talk) 08:06, 27 December 2023 (UTC)

title: Talk:Public transport in Istanbul


text:
FZ:OZ

FZ:OZ (pronounced "eff-zee oh-zee"; in imitation of "Aussie") is a live album by Frank Zappa, released in 2002 as a two-CD set and is the first release on the Vaulternative Records label from the Zappa Family Trust. It contains almost all of the January 20, 1976 concert at the Hordern Pavilion in Sydney, Australia.

Overview
Only one reel-to-reel tape machine was available to record the concert, resulting in gaps in some songs as the tape needed to be changed. However, these gaps have been filled in with bootleg recordings from the same tour. As a result, there is a drop in sound quality during these sections, but the concert is preserved almost in its entirety. The songs "Honey, Don't You Want a Man Like Me?" and "Tryin' to Grow a Chin" are missing.

Much of the featured material had not been released at the time of the recording, including "Canard Toujours", which later became "Kreega Bondola", then later changed to "Let's Move to Cleveland", which was included on Does Humor Belong in Music? (1986), and several tracks that would later appear on Zoot Allures (1976). One song, "Kaiser Rolls", appears for the first time on FZ:OZ, and in two versions—the recording from the concert, which has had a missing section edited in, and a rehearsal version recorded before the start of the tour which is included at the end of disc two, entitled "Kaiser Rolls (Du Jour)". The lengthy guitar solo on "Zoot Allures" contains a section with extensive use of a "VCF" (voltage-controlled filter). This part was subsequently entitled "Ship Ahoy" when Zappa released its counterpart from Osaka (February 3, 1976) on Shut Up 'n Play Yer Guitar in 1981. However, it wasn't separated into its own track on FZ:OZ.

Track listing
All tracks written, composed and arranged by Frank Zappa.

"Zoot Allures" includes the "VCF" section known elsewhere as "Ship Ahoy".

Personnel
Guest:
 * Frank Zappa – guitar, vocals
 * Napoleon Murphy Brock – tenor saxophone, vocals
 * Andre Lewis – keyboards, vocals
 * Roy Estrada – bass guitar, vocals
 * Terry Bozzio – drums, vocals
 * Norman Gunston – harmonica on "The Torture Never Stops"

title: FZ:OZ


text: Wikipedia:Picture of the day/September 2, 2005


text: Wikipedia:POTD/September 2, 2005

title: Wikipedia:POTD/September 2, 2005


text:
Talk:Low-level document

Untitled
who will do the low level documentation?

title: Talk:Low-level document


text:
Joe's Corsage

Joe's Corsage is a compilation album featuring music recorded by Frank Zappa with The Mothers of Invention in the mid-1960s, before the recording of their debut album Freak Out! (1966). The album was compiled by archivist Joe Travers, and its title is a play on Zappa's 1979 work Joe's Garage.

Overview
A number of the recordings featured on Joe's Corsage are demo versions of songs that would later appear on Freak Out!. The first set of demos, probably recorded in 1965, feature Henry Vestine on guitar, who would later be a member of Canned Heat. Also included are covers of the Righteous Brothers' "My Babe", and Marvin Gaye's "Hitch Hike". The opening and closing tracks are excerpts from an interview with Frank Zappa circa 1967.

Track listing
All tracks by Frank Zappa, except where noted.

Personnel

 * Frank Zappa – guitar, vocals
 * Ray Collins – vocals, tambourine, harmonica (tracks 6–8)
 * Henry Vestine (tracks 2–5) – guitar
 * Roy Estrada – bass guitar
 * Jimmy Carl Black – drums

title: Joe's Corsage


text:
Anssi Kela

Anssi Kela (born 29 July 1972 in Kerava, Finland) is a Finnish singer-songwriter multi-instrumentalist who has published six albums. During his career, Kela has sold over 230,000 records in Finland. He received four Emma awards in 2002.

Anssi Kela comes from a musical family. His late father was a keyboardist and songwriter in a gospel band called Pro Fide, his mother is a cantor and brother a drummer. Kela began his musical career playing various stringed instruments, including the violin, cello and contrabass.

However he was more interested in rock music, and wanted to play bass, instead. At the age of 13, in 1985, Kela formed a gospel band Yhdeksäs hetki with his school mates. In the band he played bass and wrote the songs. After the band gave up gospel music and changed their name to Pekka ja susi. Kela started to sing in the band as well as playing bass. In 1993, the band won the contest "Finnish Rock champion" and got a record deal with BMG. Their only album in 1994 was a flop. It included one minor hit "Karhun elämää". In 1999 the band broke up to musical differences and Kela started to write material to his first solo album.

The debut, Nummela, is one of the best-selling Finnish records – it has sold over 150,000 copies (quintuple platinum). The album is named after Kela's former hometown Nummela, in Vihti. His biggest hits from that album were "Mikan faijan BMW", "Kaksi sisarta", "Puistossa" and "Nummela". The next single "Milla" was in the triple platinum version of the album. It is the best selling single to date in Finland. The second album Suuria kuvioita in 2003 included one of his biggest hits, "1972". The album sold platinum. The 3rd album Rakkaus on murhaa got a gold record in 2005. The 2009 album, Aukio, was a concept album telling a story of a miner. It debuted at number four on the Finnish album chart, but the sales were disappointing. Only the song "Aamu" was a hit. Kela ended the deal with Sony Music after the compilation album Singlet 2000 – 2010 and signed a deal with Live Nation. His self-titled album Anssi Kela was published in March 2013. On the album, he plays all the instruments himself, except one saxophone solo, and like in all of his albums he has written all the songs himself. He also produced, arranged and recorded the album. The first single "Levoton tyttö" was the most played song on the Finnish radio in 2013. The song resulted in his comeback.

Apart from music, Anssi Kela drove in the Finnish Formula 3 class in 2004–2007. He gained four victories and 13 podium positions. Also interested in literature, in 2008 Kela published his debut fiction novel, Kesä Kalevi Sorsan Kanssa (Summer with Kalevi Sorsa). He has also published a book called Matkamuistoja (Travel memories) in 2012. It tells a humorous story about his life on the road with the band.

Albums

 * 2001: Nummela
 * 2003: Suuria kuvioita
 * 2005: Rakkaus on murhaa
 * 2009: Aukio
 * 2010: Singlet 2000 – 2010
 * 2013: Anssi Kela
 * 2015: Nostalgiaa
 * 2016: Parasta aikaa
 * 2018: Ääriviivoja

Singles

 * 2000: "Mikan faijan BMW"
 * 2001: "Kaksi sisarta" / "Kaksi sisarta" (demo) / "Mikan faijan BMW" (demo)
 * 2001: "Nummela" (radio edit) (promotional single)
 * 2001: "Puistossa" / "Puistossa" (Flegmaatikot-remix)" / "Puistossa" (demo)
 * 2001: "Milla" / "Milla" (video) / "Mikan faijan BMW" (video)
 * 2003: "Suuria kuvioita"
 * 2003: "1972" (promotional single)
 * 2003: "Laulu petetyille" (radio edit) / "Laulu petetyille" (promotional single)
 * 2005: "Karhusaari" (promotional single)
 * 2005: "Jennifer Aniston" / "Insomnia" / "Kaksi sisarta" (live) / "Mikan faijan BMW" (live) / "Jennifer Aniston" (video)
 * 2005: "Älä mene pois" (promotional single)
 * 2005: "Rakkaus on murhaa" (single version) / "Rakkaus on murhaa" (album version) / "Puistossa" (live) / "Rakkaus on murhaa" (live) / "Rva Ruusunen" (live)
 * 2007: "Suomalainen"
 * 2009: "Aamu"
 * 2009: "Kaivos"
 * 2010: "Nolla"
 * 2013: "Levoton Tyttö"
 * 2013: "Miten sydämet toimii?"
 * 2013: "Maitohapoilla"
 * 2013: "Palava silta"
 * 2015: "Nostalgiaa"
 * 2015: "Tanssilattialla"
 * 2015: "Viimeinen yö"
 * 2015: "Piirrä minuun tie"
 * 2015: "Kasarin lapsi"
 * 2015: "Petri Ruusunen"
 * 2016: "Voitais välillä elää" (Elastinen feat. Anssi Kela)
 * 2016: "Musta tuntuu multa"
 * 2016: "Mä haluun viihdyttää"
 * 2016: "R-A-K-A-S"
 * 2016: "Rappiolla"
 * 2016: "Minä olen muistanut"
 * 2016: "Sininen ja valkoinen"
 * 2016: "Fiilaten ja höyläten"
 * 2016: "Hetki lyö"
 * 2017: "Rakkaus upottaa"
 * 2018: "Ilves"
 * 2018: "Jotain on poissa"
 * 2019: "Ilves" (feat. EMO Ensemble)
 * 2019: "Miljoona volttii"
 * 2020: "Hyppy sumuun"

title: Anssi Kela


text:
Lucian Blaga University of Sibiu

The Lucian Blaga University of Sibiu (Romanian: Universitatea "Lucian Blaga" din Sibiu) is a public university in Sibiu, Romania. It is named after the philosopher, poet, and playwright, Lucian Blaga. It was founded in 1990 with five schools: Letters, History and Law, Medicine, Food and Textile Processing Technology, Engineering and Sciences.

Faculties

 * Faculty of Agricultural Sciences, Food Industry and Environmental Protection
 * Faculty of Economics (International Affairs, Finance-Banking, Marketing, Management, Economic informatics, Economics, Accounting and administration, Economy trade, tourism and services)
 * Faculty of Engineering (Industrial Engineering, Mechanical Engineering, Mines, Oil and Gases, Engineering and Management, Computers and Information Technology, Electronic Engineering, Environment Engineering, Transportation Engineering, Applied Science and Engineering, Systems Engineering, Electronic Engineering and Telecommunication)
 * Faculty of Law (Law, Public Administration, Community Police)
 * Faculty of Letters and Arts (Romanian Language and Literature, Applied Modern Languages, Sciences of Communication, Theatre)
 * Faculty of Medicine (Medicine, Dental Medicine, Health Care, Dental Technique, Dental Care)
 * Social and Human Sciences (International Relations, Political Science, Security Studies, History, Heritage, Protestant Theology, Journalism, Public Relations, Sociology, Psychology)
 * Faculty of Sciences (Mathematics, Informatics, Ecology and Environment Protection, Biology, Physics, Physical Education and Sports)
 * Faculty of Theology (Pastoral Theology, Teaching Theology, Social Theology)

The University Department of Distance Learning

Faculty of Engineering
The school of engineering was established in 1976, as the Institute of Superior Education. In 1986 it was transformed into the Sub-Engineering Institute, subordinated to the Technical University of Cluj-Napoca.

In 1990, the Institute of Superior Education changes its name to "Lucian Blaga" University of Sibiu, and the Mechanical Faculty became the School of Engineering.

Honoring the technical contributions of Hermann Oberth, the famous rocket scientist born in Sibiu, the Engineering Faculty adopted his name, and now is called the "Hermann Oberth" School of Engineering.

Students have now the opportunity to choose from a wide range of technical specializations: Industrial Engineering, Economical Engineering, Environmental Engineering, Transportation Engineering, Computer Science and Computer Engineering, Textile Engineering and Transportation, Distribution and Storage of Hydrocarbures. After graduation, students have the opportunity to continue their studies with post-graduate and doctoral programs in Quality Management, Manufacturing Management, Computer Science, Human Resource Management, Natural Gas Valorification and Advanced CAD Technologies.

Faculty of Social and Human Sciences
The school of journalism was established in 1992 and accredited within three years for its high standards in education. In 2001 it was extended with new degree programs: Communication Sciences and Public Relations, as well as Philosophy. Students have the opportunity to continue their studies with post-graduate programs in Communication Sciences and Publishing, Journalism and Public Relations, Culture and Communication.

Faculty of Theology
The faculty of theology is the oldest one in Sibiu.

title: Lucian Blaga University of Sibiu


text:
Talk:Liverpool, New South Wales

Separate page for the Local Government Area
As per discussion at Talk:List of Sydney suburbs, I have created a separate page for the City of Liverpool, New South Wales, the Local Government Area. -- Ianblair23 10:36, 30 August 2005 (UTC)

About rail services at Liverpool Railway Station
I have reworded a sentence that claims that there are frequent rail services. This is only true during part of the peak periods. Also, as of 2008, there are only two rail services on the Cumberland Line to Parramatta on weekdays (there are three services in the afternoon peak for the return trip). Also, the Cumberland Line services seem to be canceled very frequently but I have not been able to find a published article that confirms this. 122.105.147.73 (talk) 11:52, 29 June 2008 (UTC)

Results in 2007 Election
There were 3 booths in Liverpool at the 07 election. Liverpool west public, Liverpool health service and Liverpool public school which is the biggest booth. At Liverpool West public it was 68.63% to Labor, Liverpool health service was 74.15% and Liverpool public was 71.35%.

So all three booths in the Liverpool suburb had very similar numbers. However if you want the exact number of votes when counting those 3 booths, which would give the number of votes in Liverpool as a whole, it is 2792 Labor and 1147 Liberal. That equals 70.88% to Labor, two party preferred. J Bar, please reply to this post--Supun47 (talk) 06:44, 24 September 2009 (UTC)

 * If we have a balanced presentation of the information then that's fine. Looks like Crico is going to have a crack at that, as he mentions below. J Bar (talk) 10:24, 27 September 2009 (UTC)

 * There's nothing wrong with including this information as long as it's balanced, well researched and referenced. There were actually five booths in Liverpool at the 07 election. There was also Marsden Road in Hughes plus the Liverpool South booth in Werriwa. Two of the booths used in Hughes were also joint booths with Werriwa so in total there were seven lots of numbers. I'll have a crack at presenting the information in table form in the next day or so. I just don't have time right now. Cheers, Crico (talk) 07:51, 27 September 2009 (UTC)

Nice work with the table --Supun47 (talk) 00:29, 29 September 2009 (UTC)

any songs about Liverpool?
List of songs about Liverpool Thanks.Civic Cat (talk) 19:27, 6 November 2009 (UTC)

Media
Liverpool is served by a full time radio station 89.3FM 2GLF which broadcasts local information, music and ethnic programming. It is one of the first FM radio stations setup in the early 80s.

Liverpool has two newspapers, the Liverpool Leader and Liverpool Champion published each Wednesday. —Preceding unsigned comment added by 203.45.50.253 (talk) 03:14, 23 June 2010 (UTC)

Cities in Sydney
I have removed from the opening paragraph "It is also acknowledged on the register of the Geographical Names Board of New South Wales as one of only four cities within the Sydney metropolitan area. " as the reference clearly shows that there are many many more Cities within the Sydney Metropolitan Area. There are four Cities within the South Western Sydney area alone, and as there are only seven entries for that area, this is probably not notable. Hydronium Hydroxide (talk) 03:17, 27 June 2015 (UTC)

title: Talk:Liverpool, New South Wales


text:
Halloween (Frank Zappa album)

Halloween is a live album by Frank Zappa, released in DVD-Audio format by Vaulternative Records in 2003. It features recordings compiled from various shows at The Palladium, New York City in late October 1978—including a Halloween show on October 31—along with some video content from the same period.

Overview
The set includes a performance of "Ancient Armaments", which appears on the album for the first time in digital form, having previously been included as the B-side to "I Don't Wanna Get Drafted" in 1980. The album cover art resembles the cover art of 1969's Hot Rats.

Track listing
All tracks by Frank Zappa, except where noted.

Personnel

 * Frank Zappa – lead guitar, vocals
 * Denny Walley – guitar, vocals
 * Tommy Mars – keyboards
 * Peter Wolf – keyboards
 * Arthur Barrow – bass guitar
 * Patrick O'Hearn – bass guitar
 * Vinnie Colaiuta – drums
 * Ed Mann – percussion
 * L. Shankar – violin (tracks 7 and 13)

title: Halloween (Frank Zappa album)


text:
Lines Bros

Lines Bros Ltd was a British toy manufacturer of the 20th century, operating under the Tri-ang Toys brand name.

Lines Bros Ltd, at its peak in 1947, was claimed by the company to be the largest toy maker in the world. Under the Tri-ang Toys brand name, Lines Bros Ltd also made children's bicycles, such as the Unity Dragster TT.

History
The brothers George and Joseph Lines made wooden toys in the Victorian era, their company being G & J Lines Ltd. George was a trained carpenter, while Joseph was more business focused. Joseph had four sons, three of whom formed Lines Bros Ltd soon after the First World War. They were William, Walter and Arthur Lines. Three Lines making a triangle - hence Tri-ang. Arthur's son, Richard Lines, was largely responsible for the Tri-ang Railways system. At the start of the Second World War, production of children's toys was deemed non-essential by the British Government. As a result, production facilities were converted to weapons manufacture, specifically the Sten Mk III submachine gun. Manufacture of toys resumed shortly after the war ended.

At their peak they had 40 companies world-wide, including the famous Hornby, Meccano and Dinky brands, but as a result of losses overseas they were in financial trouble. In 1971 Lines Bros. Ltd called in the Official Receiver. The Group was broken up and sold off. Rovex Tri-ang Ltd (which had the Hornby Railways among its portfolio) was Pocket Money Toys Ltd and then sold as Rovex Ltd, complete with its factories at Westwood and Canterbury, to Dunbee-Combex-Marx Ltd. (DCM). G & R Wrenn, a linked toy railway company, bought itself free as Wrenn Railways. The remains of the Tri-ang brand was sold off. As a result, the Tri-ang Hornby system took the name Hornby Railways from January 1972, with the Dinky and Meccano businesses being acquired by Airfix.

Wooden toys
The company kept producing toys made of wood such as dolls' houses, toy forts, a Noah's ark with wooden animals as well as a small range of wooden soldiers.

Railways
Lines Bros had its own railway system, the Rovex system, marketed as Tri-ang Railways. In 1964, Meccano Ltd, which manufactured the Hornby Dublo range, collapsed. Lines Bros. purchased the company, and in 1965 the combined model railway was marketed as Tri-ang-Hornby although the vast majority of the system was all Tri-ang 2 rail. In 1966 a controlling interest was acquired in a smaller rival, G & R Wrenn. Wrenn were then sold all the redundant, 3 rail, Hornby Dublo tooling. When, in 1971, the Lines Bros. empire was broken up, Rovex - Tri-ang was purchased by Dunbee, Combex, Marx (DCM) but without the Tri-ang brand. Because of this DCM were forced to re-brand the model railway as Hornby Railways. Railway systems:
 * Tri-ang Minic Narrow Gauge (garden) railways in 10$1⁄4$" gauge.
 * Railways systems (see above) in '00' and 'TT' gauges.

Large road vehicles
The British range of Tri-ang large scale pressed steel vehicles were produced from the early 1930s through until the mid-1970s. To the casual onlooker or collector in the world of old toys, these toys are of no great interest, are crude by modern standards and only a few different types are commonly seen.

The most common are the red-bonneted tipper lorry, the bonneted Shell tanker, breakdown lorry and the London Transport double decker bus, with a couple of cranes and a few Puff Puff railway engines.

The full selection of pressed steel vehicles including the different types of cranes and trains consisted of over 200 different types. There were actually nine different series of lorries together with a series of buses, cranes and trains. Tri-ang was one of the largest toy producers in the world and their range of toys reflected this.

The nine different ranges of pressed steel toy lorry were:'''

 * 1930–1937: Metal lorries
 * 1937–1956: Bedfords
 * 1948–1957: 200 series
 * 1955–1960: Diesel series
 * 1957–1963: 300 series
 * 1959–1966: Thames Traders
 * 1958–1967: Junior Diesels
 * 1962–1966: Regal Roadsters
 * 1966–1973: Hi-ways
 * (All years are approximations)

The pressed steel (and occasional wooden) trains and pressed steel cranes were made during the same lifespan as the lorries, although up until the mid-1950s, most trains were made of wood. The steel buses were manufactured from 1957 up until around 1970. In the Pressed Steel Lorry range there were delivery vans, petrol tankers, breakdown lorries, different types of articulated lorries, rocket launchers, car transporters, circus lorries, mobile shops, Army, RAF and emergency vehicles.

Model road vehicles
Minic Motorways was a system of HO-scale slot cars. The system aimed as far as possible for realism, and therefore the slot was as narrow as possible (about 1/8 in) with brass conductors placed vertically at each side. The vehicles picked up power via a small wheel (called a Gimbal Wheel) on their underside, which was divided into two halves by an insulating flange. At some time in the 1960s this mechanism was replaced by a pair of vertically sprung sliding pickups. These differed from that of electric racing car systems such as the same company's Scalextric, in which the electrical conductors were spaced more widely apart on each side of the guide slot, and were hence more stable. There was a small removable peg at the back of the vehicles to stabilize it when in reverse. Vehicles were controlled by a hand-held controller, which had a thumb-operated speed control plus a rotating reversing switch.

The range of vehicles was designed to be complementary to a model railway set, and for instance included a Rolls-Royce Silver Cloud, a Humber Super Snipe, an AEC Routemaster bus, a Shell petrol tanker and a towtruck. The most remarkable vehicle was a Road-Railer, an articulated lorry with a pair of pivoting rear axles, one bearing road wheels and the other rail wheels. The semi-trailer could be remotely uncoupled and then collected by a bogie wagon on the Tri-ang railway system. These could in theory be chained together to compose a train. This vehicle suffered from being underpowered. Vehicles could also be driven aboard a car-carrying wagon in the Tri-ang railway system.

The basic track sections contained two slots, though single-slot pieces also existed. They permitted quite complex road layouts, and included a crossroads, a 4-section roundabout, forks to create dual carriageway sections, right-angle junctions, single-track forks to allow lay-bys, and later a crossover from the left to the right track (with a break in the conductors). Railway compatibility was ensured by a level crossing and road/rail interchange pieces. Curves could be built with up to 5 parallel slots.

Points were manually operated, although third-party electric point solenoids could be fitted.

A range of trackside accessories such as a petrol station and a ferry allowed users to build towns around their systems.

At a late stage of the system's life, an attempt was made to update its image and enter the model racing-car market. Racing car bodies were introduced, which contained more powerful motors with worm drive, and with the improved pickups mentioned above.

The Minic Motorways system allowed the modeller to animate the roads as well as the railways in their townscapes. Some modellers used flexible track manufactured by Peco to enhance the level of realism.

Minic, like Tri-ang railways, used 12-volt direct current with a two 'rail' system, which made reversing loops impossible without an insulated section. The competing German Faller system used alternating current, and had a compatible trolleybus system.

Model pond yachts and boats
Various model boats were made by Tri-ang companies, early yachts were made of steel under the name of Tri-ang. Tri-ang also sold a range of wooden hulled yachts and clockwork motor launches. They also produced early battery powered electric motor launches. Penguin was a name that they manufactured plastic yachts and clockwork boats and some battery powered electric boats. Over the years these toys/models were manufactured under the name Rovex, Scalex and Minimodels.

Model racing cars

 * Scalextric

B Francis of Minimodels Ltd designed a range of metal model racing cars driven by clockwork in 1952 under the SCALEX brand. To this he later added an electric motor showing the product in 1957. Faced with a demand beyond his capacity to fulfill, Francis sold his company to Tri-ang in 1958. With their mass-manufacturing capability and know-how with plastic, the Rovex subsidiary of Tri-ang converted the metal cars to plastic and extended the range.

Model cars
When Meccano Ltd faced financial troubles and was acquired by Tri-ang, it also acquired the Dinky Toys range. Tri-ang's own range of model cars, Spot-on, had competed with the Dinky range but never had the success of Dinky and its designs were briefly subsumed into the Dinky range.

Model ships
Minic Limited, a Lines Bros subsidiary, produced a range of 1:1200 scale waterline ship and harbour models between 1958 and 1965 which were marketed under the Tri-ang Minic Ships brand. After a reorganisation in the mid 1960s Minic Limited became a subsidiary of Rovex Industries Ltd (later Rovex-Tri-ang Ltd) which was acquired by Dunbee Combex Marx (DCM) as Rovex Limited after Lines Bros went into receivership in 1971. Rovex Limited reintroduced a limited range of the original waterline ship and harbour models in 1976 together with four new battleships under the name "Minic Ships and Harbours by Hornby" the "Tri-ang" trademark having been acquired by Barclay Securities who purchased Tri-ang-Pedigree Ltd when Lines Bros was liquidated. The Hornby "Second Series" of Minic Ships, which were manufactured in Hong Kong, did not sell well and was discontinued in the late 1970s / early 1980s.

The Triang name and Minic trademark were acquired by Charles Shave of Hong Kong in 2003. The new company reproduced the original 1960s harbour models, together with a good range of modern merchant vessels and US Navy and Royal Navy warships. Production numbers have been low, but these new "Third Series" models have now been on sale for longer than either of the earlier sets.

Other names
There were associated companies overseas selling Tri-ang under their own brand names. e.g.: A.T.T. in the U.S.A.
 * Arrow jigsaw puzzles
 * Pennybrix,
 * Pedigree Prams and dolls,
 * Minic vehicles,
 * Minix cars,
 * Minimodels,
 * Miniville,
 * Minic waterline ships
 * Minic Motorways,
 * Sindy,
 * Arkitex construction kits (two scales),
 * Frog construction kits,
 * Wrenn Railways

World War II
In World War II, Lines Brothers was a major manufacturer of the Sten submachine gun.

title: Lines Bros


text:
Laser harp

A laser harp is an electronic musical user interface and laser lighting display. It projects several laser beams played by the musician by blocking them to produce sounds, visually reminiscent of a harp. It was popularised by Jean-Michel Jarre, and has been a high-profile feature of almost all his concerts since 1981.

Invention
French composer Bernard Szajner applied to patent the laser harp in 1981. It was granted in 1982, meaning that the French patent office had found no evidence of another inventor of the same or similar instrument before him.

However, Australian inventor Geoffrey Rose claims to have taken out a provisional patent with the United Kingdom's patent office in 1975–1976, and his invention may have been shown and used as early as 1976.

Framed style
The framed style, which is often created to look like a harp with strings, uses an array of photodiodes or photoresistors inside the upper or lower part of the frame to detect blocking of the laser beams. The framed harp built by Geoffrey Rose in 1975–1976 was an octagonal shape with a 5×5 matrix of laser beams. The lasers can be mounted on the 'neck' or upper side of the harp, shining down, or on the body, shining up. Typically, the lasers used are very low-powered 5 mW red or green lasers, which are considered safe for public interaction by the FDA. Any number of laser beams can be arranged in this type of laser harp, from as few as one or two, up to 32 or more, depending on the capacity of the MIDI controller(s) and software being used. This style can be built in any size, from a lap-sized harp to a room-sized installation, or larger. In this design, only an analog trigger is created by the breaking of the beam (and the DC circuit made by the beam shining on the optic sensor), which is sufficient to trigger any number of events (musical or otherwise) as determined by the data analyser or software in question. In the MIDI controller, this analog DC current interruption is converted to a digital signal, which is then used to trigger many possible events or actions. Some software comes equipped with full wave file editors and synthesizers, and can also trigger video and still imagery via projection units.

Unframed style
This style of laser harp is generally built using a single laser, splitting its beam into an array of beams in parallel or fan arrangement. Playing the actual sound is usually handled by connecting the laser harp to a synthesizer, sampler or computer.

This frameless design is more elaborate than the framed style, relying on reflecting the light back to a single photodiode. The fan of laser beams is actually a single beam scanned into a fan pattern. By matching the timing of the reflected beam, the instrument can determine which beam the player is blocking and sound the corresponding note. Alternative designs use multiple lasers. In these designs, each laser can be independently controlled (pulsed on and off) to

Several techniques generate more control data, such as a continuous range of values like those in typical MIDI controllers:
 * An infrared or ultrasonic rangefinder attached to the instrument that determines the position of the hand that blocks a beam
 * A laser-based rangefinder that determines the distance from the hand to the laser's starting or ending point (and possibly using this laser itself as the string)—or a variation of this that uses the intensity of the sensor signal itself
 * A camera that tracks position and motion of the laser dot on the hand, or length of the exposed beam if visible, then calculates a continuous value based upon a reference

The first of these is relatively inexpensive and straightforward to implement, and can use the same micro-controller that drives the lasers and reads the detectors.

The advantage of a dedicated sensor mechanism is that the instrument can be self-contained, as opposed to requiring a computer to control it with input from an ILDA interface and USB camera. The PC-based approach, however, offers more flexibility and can be constructed with mostly off-the-shelf hardware.

Unframed laser harps benefit from the use of higher-power lasers, as they facilitate easier detection by the sensor system. As the sensor is exposed to all ambient light, it can be swamped by stage lighting behind the artist if the sensitivity is too high. To avoid this, the system can use ambient light sensors to reject ambient light. The player may use white or light-coloured gloves to improve performance by scattering more light off the player's hands to provide the sensor with a higher signal-to-noise ratio with respect to ambient light. Furthermore, the gloves protect the player's skin from potentially hazardous laser radiation and give audiences a more visual impression of the instrument.

Unframed style, "image recognition"
The image recognition laser harp is also an unframed design, but uses a high-speed USB camera connected to a laptop computer, instead of a photodiode to detect the reflected light from the hand breaking the beam. The digital picture is analysed by the computer software to determine which beam is broken and send the appropriate MIDI signal back to the synthesizer, which is responsible for creating the sound.

Multicolour

In 2005, a free multicolour laser harp project using an ILDA interface was shared on laser discussion boards and revealed the same year at a German meeting.

In Jean-Michel Jarre concerts

Jean-Michel Jarre uses the laser harp in almost every concert, with the exception of Aero and the Oxygene 30th Anniversary Tour. He almost always uses it in the third part of Second Rendez-Vous, but has also used it for tracks like Third Rendez-Vous, Chronologie 3, Calypso 2,  Oxygene 7 and Time Machine. The characteristic sound of the laser harp in Jean-Michel Jarre's performances comes from a factory preset on the Elka Synthex synthesizer.

During Jarre's 2009 In-Doors Arena Tour, he commented on his blog that he "should make a few intentional mistakes for people to really understand that it is live". Later the same day, at a concert in Helsinki, the harp "suddenly froze in Rendez Vous 2 for unknown reasons".

In art
Laser harps have appeared in a number of designs. They have also been used in public art installations, such as those by Jen Lewin at the Lincoln Center in 2000 and at Burning Man in 2005 and 2012, as well as those created by Johnny Dwork at the Harmony Festival in 2011, at the Portland Art Museum in 2012, at The Tech Museum of Innovation in 2014, and at the Oregon Museum of Science and Industry in 2015.

title: Laser harp


text:
Talk:Art of Persia

I have changed the redirect from Persia to Persian Empire, since Persion is a disambiguation article, and some info on art can be found at the empire article. --Commander Keane 10:40, August 30, 2005 (UTC)

title: Talk:Art of Persia


text:
Questacon

Questacon – The National Science and Technology Centre is an interactive science communication facility in Canberra, Australia. It is a museum with more than 200 interactive exhibits related to science and technology.

The National Science and Technology Centre hosts the Questacon Science Circus which is a science outreach program.

History
Questacon is an interactive science centre that began as a project of the Australian National University (ANU), in spare space at the Ainslie Public School in Canberra. It opened with 15 exhibits and was staffed by volunteers and by the ANU physics lecturer Professor Mike Gore AM. It inspired him to develop Australia's first interactive science centre, based on the Exploratorium in San Francisco. The name 'Questacon' combines two words— 'quest' meaning 'to discover' and 'con' meaning 'to study'. Professor Gore went on to become the founding Director of Questacon and in 2015, he received an Australia Day honour for his service to science.

Questacon's current building was given to Australia by Japan for the 1988 Bicentenary, and was opened on 23 November 1988. The Japanese government and business contributed ¥1 billion, half of the capital cost of A$19.64 million. Questacon was formerly housed at the Ainslie Primary School.

The current director is Jo White. She commenced in the role in November 2022, having moved from the Australian Institute of Botanical Science at the Royal Botanic Gardens in Sydney. Their previous director, Professor Graham Durant AM, retired in August 2021 after holding the role for 19 years.

Galleries
As of 2023, there are 8 galleries:
 * The Foyer has a Robot, the Clockwork Universe, the Cam Wave and the Questacon Shop.
 * Fundamentals explores classic science exhibitions.
 * Awesome Earth looks at natural disasters and geology, featuring a Tesla coil and an earthquake simulator.
 * The Q Lab has a dynamic experiment space and includes the Questacon Beehive exhibit.
 * The Shed contains experimentation with ideas, tools, science, technologies, and art.
 * MiniQ is designed for children between the ages of 0 and 6. Exhibits include a water play area, a construction zone, and a quiet area.
 * Excite@Q showcases spectacular scientific phenomena including BATAK and the Freefall slide.
 * Born or Built showcases technology, AI and robots in how they influence the future.
 * The Moon Gallery has displays interactive media about the moon and is a quieter space to relax after a big day.
 * The Science Garden is a collection of outdoor exhibits. It features the NKRYPT exhibit (see more below), installed in 2013 to mark the 100th anniversary of Canberra.

Questacon has around 500,000 visitors per year. The galleries are staffed by 200 paid staff, as well as a team of about 60 volunteers.

Science theatre
The centre features several performance spaces used for presentations to the general public and student audiences by Questacon's in-house theatre troupe, the "Excited Particles". The Excited Particles also perform puppet shows for young children.

NKRYPT
NKRYPT is a sculpture installation outside the Questacon building installed in that consists of eight laser-etched stainless steel poles that each carry an encoded message. This outdoor exhibit was installed during the Centenary of Canberra in 2013. A prize was offered to the first person to solve one of the puzzles.

Questacon Technology Learning Centre
The Questacon Technology Learning Centre is located at the Royal Australian Mint's former administration building in Deakin and houses more than 80 staff members. All of the outreach programs and exhibition developers, including researchers, designers, electronics, metal, and wood shop staff are based there. There are also an exhibition area, and spaces for technology workshops and holiday programs.

Outreach programs
In addition to the exhibitions in Canberra, Questacon runs the Questacon Science Circus and Engineering is Elementary nationally and Q2U in the Canberra region. Past outreach programs run by Questacon include the Tenix Questacon Maths Squad, NRMA Roadzone, NRMA Tomorrow's Drivers, Starlab, Questacon Smart Moves, Questacon Science Play, Questacon Science Squad, and a number of programs in remote Indigenous communities.

Questacon Science Circus
The Questacon Science Circus is an outreach program of Questacon and is the most extensive science outreach program of its kind. Every year, the Science Circus engages with more than 100,000 people, travels 25,000 kilometres, runs professional development courses for 600 teachers, and visits about 30 remote Indigenous communities as well as hospitals, nursing homes and special schools.

The Questacon Science Circus is a partnership between Questacon and the Australian National University. The Science Circus won the Prime Minister's Award for Community Business Partnerships in 2006.

Fifteen or sixteen science graduates staff the Science Circus as it travels, bringing lively presentations of science to towns and schools. The Science Circus supports the teaching of science and technology by running practical and fun professional development workshops for teachers. While working for the Science Circus, each presenter also completes a Masters of Science Communication Outreach through the Centre for the Public Awareness of Science at the Australian National University. Coursework includes studies in print media, program evaluation and exhibition design.

Every year the Science Circus presenters graduate from the course and a new team are selected. The first team graduated in 1988 and there are now over 300 Science Circus graduates. Graduates have contributed to programs on Australian Broadcasting Corporation Radio, the Diffusion Science Radio Show, Cosmos Magazine and The Mr. Science Show podcast.

title: Questacon


text:
User:Encephalon/H5N1 tables

'Source'': H5N1 subtype, National Center for Biotechnology Information Taxonomy Browser, National Library of Medicine, National Institutes of Health. Accessed August 9 2005. '''

title: User:Encephalon/H5N1 tables


text: User talk:68.43.60.203

title: User talk:68.43.60.203


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Talk:Laser harp

Gloves
Lasers so powerful you have to wear gloves? I don't believe that. --Abdull 10:43, 30 August 2005 (UTC)

 * Direct exposure to a class IV laser may lead to skin damage; see laser safety and . –Mysid ( talk ) 08:42, 5 October 2005 (UTC)

 * He had to wear gloves when using his early outdoor setups, as they were powered through an Argon gas laser of several Watts. His recent setups are less powerful, but he still wears white gloves because they make detection easier, as more light bounces off and hits the sensors underneath. Playing with his bare hands is possible, and he did so during the Live In Beijing and World Arena Tour concerts. Stoney3K (talk) 00:23, 26 January 2010 (UTC)

 * The power of the laser in our harp is quite a lot lower than that used in Jarre's early harps and whilst it is possible to play ours without wearing gloves after it has been fanned out to 8 beams it is NOT possible to keep your hand in the beam for any length of time without gloves when it is still a single beam. It will readily burn through a piece of paper in a measured 2.2 seconds. The rating of our laser is >600mWatts and has actually been measured at 720 mWatts. Jarre's early harps reportedly used lasers of at least 1 watt + magnitude. It is therefore perfectly reasonable to expect it to be somewhat painful on un-protected skin if not actually injurious. A photograph on the following page shows clearly the effect that our lower powered laser had on my hand during the development stage! http://www.jarrelook.co.uk/KitLaserHarp/LaserHarp.html —Preceding unsigned comment added by 94.194.255.1 (talk) 11:03, 28 October 2010 (UTC)

It's real alright
OK, the problem is obviously "no own research", but the Laser Harp is not a fake, because I played one. There was an installation at the 1989 "Concert d'Images" exhibition at the Nouveau Forum des Halles in Paris. It consisted of a number of laser beams behind a perspex partition, in which two thick gloves were mounted, not unlike a baby incubator. On the palms, retro-reflectors were affixed. You could stick your arms into the gloves and trigger notes by sticking your hands in the beams. By moving your hands up and down, you could also do modulation.

As for "careful inspection of concert footage", that's completely useless because those videos have been edited. As an example, the Laser Harp started malfunctioning during the 1990 Paris La Défense concert. If you happen to have a live recording from the Europe 2 radio station, it can plainly be heard. After a few painful minutes of mis-triggered and double-triggered notes, the melody supposed to be played with the laser harp is replaced with a synth that sounds very, but not completely similar to the original sound (which would presumably have been the Syntex).

The whole section about "many people believe" should probably be removed, because "many people" have never seen one up close and personal, let alone played on one.

Now, whether all of the music during one of Jarre's concert is 100% live is quite another discussion, but the fact of the matter is that (a) it works and (b) it didn't work when used live during the 1990 Paris concert. SeverityOne 21:51, 16 August 2007 (UTC)

 * I've added some information about working (and malfunctioning) laser harps to the article. As a reference, here is a page with information about Jarre exhibitions, including the playable laser harp at Concert d'Images. —Preceding unsigned comment added by SeverityOne (talk • contribs) 20:42, August 29, 2007 (UTC)
 * Just one practical question: Is it really enough to put just a hand to block the beam? If so, does that mean that a stray bird may disrupt a Jean-Michel Jarre concert? —Preceding unsigned comment added by 213.137.119.42 (talk) 23:33, 8 March 2008 (UTC)
 * The harp works by detecting a reflection of the laser beam off his hand. A stray bird some few dozen feet up in the air will give a much smaller reflection than his hand, which is much nearer to the sensor. The same goes for beams reflecting off the ceiling, although that can be a problem in smaller venues. It works by figuring out the timing of the reflected beam (it is a single scanning beam) in relation to the light picked up by the sensor. Stoney3K (talk) 10:48, 26 January 2010 (UTC)

Typical framed style laser harp software functions
I doubt this is of any added value here, because it is not specific to laser harps and can be said for any MIDI controller. Stoney3K (talk) 14:00, 12 November 2010 (UTC)

 * I fully agree with Stoney3K. This chapter is not encyclopedic over Laser Harp. It is a general MIDI features.Iw2mln (talk) 14:05, 12 April 2011 (UTC)

Blogs & YouTube used as references
The "article" currently reads as a blog - interesting -, but not enciclopedia. --Technopat (talk) 10:49, 19 May 2011 (UTC)

 * Agreed. Ten years later, same problem. I tagged the article Primary sources. We need more newspaper-of-record type references, and fewer YouTube-based original research. – void  xor  23:19, 3 January 2021 (UTC)

In modern Culture
This was in the sims 3 future expansion. Has it been seen anywhere else? --Tristyn⌘ 07:37, 21 June 2014 (UTC)

Bernard Szajner / Geoffrey Rose
Hi all. This has been a bone of contention for some time, with the inventor of the laser harp oscillating between the two people above. At one point, the article had both names in it, and the background re. patents, but that was removed some time back.

Over the past few days, an anon editor, who may or may not be Geoffrey Rose, made these edits, which now have been reverted twice.

So - let's discuss. How do we handle this? - A l is o n  ❤ 16:14, 14 September 2021 (UTC)
 * "Two individuals are claiming to have created the innovative instrument, Geoffrey Rose and Bernard Szajner, which stirred debates in patent issues. Regardless of who invented the instrument, the laser harp is deemed to originated in France"
 * "The inventor of the instrument has been debated due to patent issues but the two people claiming to have invented it are Bernard Szajner and Geoffrey Rose."
 * ''"Note: We received an email from Geoffrey Rose notifying us that he invented the Laser Harp."'
 * "UPDATE: I recently received an email from Geoffrey Rose in Australia. He told me about a laser harp he built in 1976 (four years before Szajner) -I managed to find this picture of it in Google Images."

 * I too removed some uncited claims as to another inventor not too long ago. Feel free to add back or rephrase completely using your references. The Invention section is a little short as is. – void  xor  22:52, 14 September 2021 (UTC)
 * Ok. Let me have a go at this and see if I can try to encompass the above to everyone's satisfaction - A l is o n  ❤ 19:01, 15 September 2021 (UTC)
 * Looks good to me but I tweaked it a little. I like how you removed the mention of invention from the lead section, as it's disputed and not needed to introduce the reader to the subject. On the issue of linking French patents, the Cite patent template automatically generates links, as you know. I fail to see the issue with this, as its link is working for me. I can see basic metadata on the Bibliographic Data tab, and the patent itself on the Original Document tab. I just reverted you on the Bernard Szajner article before seeing that you did the same again here with an explanation of the link not working. Can you further explain what the issue is? Thanks! – void  xor  16:41, 16 September 2021 (UTC)
 * The problem is that the Cite patent template wasn't generating the right metadata in the GET header for it to be successful. It was missing &FT=D and the search was failing. Oddly enough, it is generating that today, so I can only assume someone fixed it! - A l is o n  ❤ 17:51, 16 September 2021 (UTC)
 * Tweaks look good, too. I'd like some stronger refs for the Rose stuff, but we have what we have. I'll keep digging here - A l is o n  ❤ 17:53, 16 September 2021 (UTC)
 * "Space Light: Holography and Laser Spectacular" ISBN 0710092296 - published on June 1, 1982, specifically mentioned Bernard Rose and his Laser Harp. This is about the same time as Szajner's patent was granted - A l is o n  ❤ 18:02, 16 September 2021 (UTC)
 * I'm glad you have book sources, so I penciled that one into the article. Thanks for researching Geoffrey Rose. He's supposedly Australian, so do we know for sure that he filed with the British patent office, and not the Australian one? – void  xor  23:56, 16 September 2021 (UTC)

title: Talk:Laser harp


text: Talk:Don't Give Me Names

title: Talk:Don't Give Me Names


text:
Läther

Läther (, or "Leather") is the sixty-fifth official album by Frank Zappa. It was released posthumously as a three-CD set on Rykodisc in 1996. The album's title is derived from bits of comic dialog that link the songs. Zappa also explained that the name is a joke, based on "common bastardized pronunciation of Germanic syllables by the Swiss."

Läther integrates many aspects of Zappa's musical oeuvre — heavy rock, orchestral works, and complex jazz flavored instrumentals, along with Zappa's distinctive electric guitar solos and satirical lyrics, all edited together in a seemingly random way.

The Läther album was intended for release in 1977 as a four-LP box set, but it never appeared officially in this format. A variety of bootleg recordings of this material were widely distributed. One of these was a four-LP box on the "Edison Record" label and appeared to be professionally packaged. Some may have believed this was authorized, despite the fact Zappa's name did not appear on the album.

Background
Zappa's relationship with manager Herb Cohen ended in May 1976. Zappa and Cohen were the co-owners of the DiscReet records label, which was distributed by Warner Bros. Records. After Cohen cashed one of Zappa's royalty checks from Warner and kept the money for himself, Zappa sued Cohen. Zappa was also upset with Cohen for signing acts he did not approve.

Cohen filed a lawsuit against Zappa in return, which froze the money Zappa and Cohen were expecting to receive from an out-of-court settlement with MGM/Verve over the rights to Zappa's early Mothers of Invention recordings. The MGM settlement was eventually finalized in mid 1977 after two years of negotiations. Legal issues also prevented Zappa having access to any of his previously recorded material during the trials. Zappa re-negotiated with Warner and had his contract re-assigned in October 1976. He delivered the album Zoot Allures directly to Warner that month, while bypassing DiscReet. Zappa had intended this as a double LP, but he was later forced to re-edit the release into a single LP at the insistence of Warner executives. Cohen countersued, claiming that the Warner release violated the terms of his DiscReet contract with Zappa. So the final four albums of Zappa's recording contract were then assigned back to DiscReet.

Recording sessions
Läther was assembled by Zappa in 1977 from a wide variety of recording sessions stretching back as far as eight years, but mostly between 1972 and 1976. The tracks utilize a constantly changing cast of backing musicians. Most of the songs on Läther are linked together with bits of musical sound effects (musique concrète) and comic dialog from Zappa band members, Terry Bozzio, Patrick O'Hearn, and Davey Moire. More of these same bits, or "grouts" as Zappa allegedly called them, appear on other albums such as Sheik Yerbouti.

Basic tracks for Lemme Take You to the Beach were recorded during 1969 sessions for Hot Rats. The track was finished in 1976 at the Record Plant in Los Angeles. Down in De Dew comes from November 1972 sessions in New York and Los Angeles. For The Young Sophisticate is a 1973 studio recording from Bolic Sound and is different from the later live version on Tinsel Town Rebellion.

The album's opener Re-Gyptian Strut comes from December 1974 sessions at Caribou Ranch in Colorado. Flambe' and Spider of Destiny were also recorded at the ranch with additional overdubs in 1976 at the Los Angeles Record Plant. These three are among the songs written by Zappa in 1972 for a stage musical called Hunchentoot. A full script exists, but the recordings of this project were never completed.

The most substantial work is The Adventures of Greggery Peccary, a story set to music, which lasts over 20 minutes. The piece is scored for a large orchestra and was recorded in Los Angeles between 1972 and 1974. More orchestral works come from a September 1975 session with the 37-piece Abnuceals Emuukha Electric Symphony Orchestra, which was recorded at Royce Hall with conductor Michael Zearott. Zappa said the 1975 orchestral sessions alone cost him about $200,000.

Most of the live tracks were recorded in December 1976 at the Palladium in New York City. The last recordings are live tracks including Tryin' to Grow a Chin from a February 1977 London show at the Hammersmith Odeon. This song also appeared in a different later recording on Sheik Yerbouti.

History
In April 1975 Zappa had a one-sided demo acetate disc cut at Kendun Recorders in Burbank, California. This unreleased disc contains "Revised Music for Guitar and Low-Budget Orchestra", "200 Years Old" and "Regyptian Strut". Zappa's liner notes in the June 1975 album One Size Fits All mention a planned studio follow up album which never appeared. Instead, Zappa released the (mostly) live album Bongo Fury in October 1975. Bongo Fury contained a four minute version of "200 Years Old" which was edited from the one on the April 1975 acetate.

A complete album titled Six Things was also cut as a demo acetate at Kendun in April 1976. This was an unreleased early edit of music from the Royce Hall orchestral sessions. The same year Zappa tried to negotiate release of an orchestral album with Columbia Masterworks, but the deal fell through when the label did not agree to Zappa's terms.

During the fall 1976 tour the Zappa band performed in front slide projector images, one of which said "Warner Bros. Sucks!" Zappa was upset over inadequate promotion. By late 1976 he was determined to complete his Warner contract as soon as possible. As early as December that year Zappa considered handing multiple individual albums over to Warner and had "more than four" currently in production. Contracts then stipulated that Zappa deliver four new albums to Warner for release on DiscReet. In December 1977 Zappa said: "'Between last October and December 31 of this year I was required to deliver to Warner Brothers four completed albums. I delivered all four in March of this year. According to the contract, upon receipt of the tapes, they have to pay me. They received the tapes and they did not pay me.'"

Warner was expecting to receive only one album at a time, not four. Upon delivery the label was required to pay an advance to Zappa of $60,000 per album ($240,000 total) and release the recordings in the United States within six weeks. Warner failed to honor these contractual terms. Zappa had paid in excess of $400,000 out of his own pocket to produce these tapes and in response, he filed a multi-million dollar breach of contract lawsuit.

During the long legal battle no Zappa material was released for more than a year. Most of the material on Läther would be released during 1978 and 1979 on Zappa in New York, Studio Tan, Sleep Dirt (previously titled Hot Rats III), and Orchestral Favorites. In an October 1978 radio interview, Zappa identified these four individual albums as the ones he previously delivered to Warner and added "Läther was made out of four albums. Warners has released two of them already and they have two more that they're probably gonna release."

The first of these four albums was a two-LP live jazz rock album and was produced with Zappa approved cover art. Two others were single disc jazz rock studio albums, while the last was made up of orchestral recordings. Therefore, the complete four individual album collection actually fills a total of five full-length LPs.

After having violated the contract with Zappa, Warner scheduled the release of Zappa in New York on DiscReet. A Warner Bros. Records advertisement in the June 30, 1977, issue of Rolling Stone magazine described the release of the album as "imminent".

At approximately the same time Zappa was also planning a four-LP box set titled Läther. Final editing for the album was completed at the Los Angeles Record Plant and Zappa's handwriting on the tape boxes show either EMI or Arista as the intended client. Frank's wife Gail Zappa claimed that Warner, wary of a four-LP box, had declined to release the material in this format. Both sets of recordings (five-LP and four-LP) have much of the same music, but each also has unique content. Zappa announced Läther in a mid September 1977 interview, following a concert in San Diego, where he described it as his "current album". Zappa also wanted to release sides two and four as a single album. He said "it's only the rock 'n' roll, for people who can't afford the box." The single album release never appeared.

Zappa attempted to get Läther released in the four-LP box configuration as the first release on the Zappa Records label. He briefly negotiated distribution with Capitol/EMI and then Phonogram Inc. At Phonogram the project reached the test pressing stage. Official documentation for the test pressing shows the project had a "Fixation Date" of 8/31/77 and a release scheduled for Halloween, October 31, 1977. But Warner interfered with these negotiations by claiming rights over the material. By this point Zappa had denied a music copyright license to Warner to reproduce the songs.

An article in Billboard magazine, dated October 22, 1977, described the upcoming release of Zappa in New York from Warner. The same article also stated that Phonogram would rush-release an all new four record set from Zappa with a list price of $27.92. A few uncensored full-length copies of Zappa in New York appeared but the album was quickly pulled from stores. Warner was forced to withdraw it by November due to legal action. Zappa objected to the release at this time and claimed that Warner began to manufacture the album only after they heard he had negotiated to release the recordings with a competing company.

In December 1977 Zappa appeared on the Pasadena, California, radio station KROQ-FM and played the entire test pressing of Läther. While encouraging listeners to record the broadcast Zappa also counterclaimed that Warner did not have rights to the material. The same month Zappa said his breach of contract suit against Warner Bros. was for five million dollars but he later claimed twenty million was at stake. Bootlegs of Läther soon appeared. Some came directly from the test pressing, but most were lower quality ones sourced from broadcast tapes. Until the album's official release in 1996 the bootlegs circulated widely.

Eventually, Warner issued all four individual albums starting in March 1978 and running through May of 1979. However, the label censored the 1978 version of Zappa in New York by removing the song Punky's Whips as well as other references to Punky Meadows, a member of the American glam rock band Angel. The change of album title from "Hot Rats III" to "Sleep Dirt" and editing of the material were also done in violation of Zappa's contract. Since Zappa had supplied only the tapes for the final three albums they were released without musician or songwriting credits. Also, the artwork for these albums was not approved by Zappa. Instead, Warner commissioned the designs from cartoonist Gary Panter. All four individual albums went out of print when the DiscReet/Warner distribution agreement ended in 1982.

CD issues
Zappa chose to re-issue the four previously released individual albums on CD in 1991 along with the Panter artwork and added credits. Each of them were either remixed and or altered in various ways. These albums appeared in the US on Zappa's Barking Pumpkin label.

In 1995 Rykodisc again reissued Zappa's entire catalog up to that date. None of the four albums related to Läther were altered from the original CD issues, though new analog to digital transfers were made.

One year later, Läther was released officially through Rykodisc as a three-CD album. This edition used new 1996 artwork and was released in a plastic jewel case. Gail Zappa confirmed that the stereo master tapes for the four-LP Läther box were used as the source. While Zappa's notes from the tape boxes show a slightly different track listing, the 1996 CD version of Läther is musically identical to the 1977 test pressings. The only difference is that four bonus tracks were also added. Among these is commentary from Zappa taken from his KROQ broadcast. Also, the title of the song "One More Time for the World" was changed to "The Ocean is the Ultimate Solution", the title under which the same song appears on the album Sleep Dirt.

Along with most of Zappa's material, a "mini-LP" CD edition was also released by Rykodisc in Japan, with the artwork reformatted to resemble the packaging of a vinyl album.

In December 2012 an official reissue of Läther appeared in cardboard packaging with the original intended 1977 artwork. This version omits the 1996 bonus tracks.

Release and reception
The official version of Läther was finally released with the authorization of Gail Zappa in September 1996, nearly three years after Frank's death.

It is still debated as to whether Zappa had conceived the material as a four-LP box set from the beginning, or only later when working with Phonogram around September–October 1977. In the liner notes to the 1996 release, Gail states that "As originally conceived by Frank, Läther was always a 4-record box set." Despite this claim, however, there is no evidence that Zappa ever delivered the four-LP Läther set to Warner, only the four individual albums. Zappa himself actually contradicted Gail's posthumous claims that Warner had broken up Läther into other albums. Several interviews published in 1978 and an album review from 1996 explicitly state that Zappa re-edited the four individual albums into the Läther four-LP box and then presented it to Phonogram.

In a January 1978 Zappa interview the British publication New Musical Express said: "'Since his (Warner) contract had allegedly been breached, Zappa took his copy tapes of the four albums, added some new material, subtracted some old, and prepared a four-record set called 'Läther', but pronounced 'Leather'."

Allmusic writer Richie Unterberger praised the album, but wrote that it would "appeal far more to the Zappa cultist than the general listener, though the Zappa cult – which has been craving Läther in its original format for years – is a pretty wide fan base in and of itself."

Personnel

 * Disc One, Track 1
 * Frank Zappa – percussion
 * George Duke – keyboards
 * Bruce Fowler – all brass
 * James "Bird Legs" Youman – bass
 * Ruth Underwood – percussion
 * Chester Thompson – drums

 * Disc One, Track 2; Disc Two, Track 7 & 10
 * Frank Zappa – guitar
 * Dave Parlato – bass
 * Terry Bozzio – drums
 * Emil Richards – percussion
 * Orchestra conducted by Michael Zearott

 * Disc One, Track 3 (Part One)
 * Frank Zappa – vocal
 * George Duke – keyboards

 * Disc One, Track 3 (Part Two)
 * Frank Zappa – lead guitar
 * Andre Lewis – keyboards
 * Roy Estrada – bass
 * Terry Bozzio – drums

 * Disc One, Track 4, 7 & 8; Disc Three Track 6
 * Frank Zappa – guitar, vocals
 * Ray White – guitar, vocals
 * Eddie Jobson – violin, keyboards
 * Patrick O'Hearn – bass
 * Terry Bozzio – drums, vocals

 * Disc One, Track 5
 * Frank Zappa – all guitars, bass
 * Jim Gordon – drums

 * Disc One, Track 6
 * Frank Zappa – lead guitar, vocals
 * George Duke – keyboards
 * Tom Fowler – bass
 * Ralph Humphrey – drums
 * Ricky Lancelotti – vocals

 * Disc One, Track 9; Disc Two, Track 1, 2, 3, 4, 6, 8; Disc Three, Track 2
 * Frank Zappa – lead guitar, vocals
 * Ray White – rhythm guitar, vocals
 * Eddie Jobson – violin, keyboards, vocals
 * Patrick O'Hearn – bass, vocals
 * Terry Bozzio – drums, vocals
 * Ruth Underwood – percussion, synthesizer
 * Dave Samuels – timpani, vibes
 * Randy Brecker – trumpet
 * Michael Brecker – tenor sax, flute
 * Lou Marini – alto sax, flute
 * Ronnie Cuber – baritone sax, clarinet
 * Tom Malone – trombone, trumpet, piccolo
 * Don Pardo – sophisticated narration

 * Disc One, Track 10
 * Frank Zappa – guitar, vocals
 * Davey Moire – vocals
 * Eddie Jobson – keyboards, yodeling
 * Max Bennett – bass
 * Paul Humphrey – drums
 * Don Brewer – bongos

 * Disc One, Track 11; Disc Three, Track 4
 * Frank Zappa – guitar, vocals
 * George Duke – keyboards
 * Bruce Fowler – trombone
 * Tom Fowler – bass
 * Chester Thompson – drums

 * Disc One, Track 12; Disc Three, Track 8
 * Frank Zappa – guitar
 * George Duke – keyboards
 * James "Bird Legs" Youman – bass
 * Ruth Underwood – percussion
 * Chester Thompson – drums

 * Disc Two, Track 5 & 9
 * Frank Zappa – guitar
 * George Duke – keyboards
 * Patrick O'Hearn – bass
 * Ruth Underwood – percussion
 * Chester Thompson – drums

 * Disc Three, Track 1
 * Frank Zappa – guitar, keyboards
 * Dave Parlato – bass
 * Terry Bozzio – drums

 * Disc Three, Track 3
 * Frank Zappa – guitar, synthesizer
 * Patrick O'Hearn – bass
 * Terry Bozzio – drums

 * Disc Three, Track 5
 * Frank Zappa – percussion
 * George Duke – keyboards
 * Bruce Fowler – all brass
 * James "Bird Legs" Youman – bass
 * Ruth Underwood – percussion
 * Chad Wackerman – drum overdubs

 * Production credits
 * Digital Mastering & EQ – Spencer Chrislu
 * Transfer Engineers – David Dondorf, Spencer Chrislu
 * Vaultmeisterment – Joe Travers
 * Bonus Section Assembly, Edits & Mastering – Spencer Chrislu
 * Cover Concept – Dweezil Zappa
 * Forward Motion – Gail Zappa
 * Deep-dish Descriptions – Simon Prentis
 * Cover Execution & Layout Design – Steven Jurgensmeyer

title: Läther