text:
Talk:Blackface/Lott

Untitled
Some notes from
 * Lott, Eric. Love and Theft: Blackface Minstrelsy and the American Working Class. New York: Oxford University Press, 1993. ISBN 0195078322.

I've been drawing on this book for articles on various individual performers, etc. These notes all have potential for use in blackface, minstrel show, or elsewhere, but I'm not sure exactly what to do with them. Please, feel free to draw on this. If you incorporate a passage into an article, please strike through like this and leave a note about where it landed, so we don't end up using the same material twice. I will probably still be adding to this: I have a lot more handwritten notes I'm going through. -- Jmabel | Talk 04:12, August 22, 2005 (UTC)
 * I've read over the list, and I think much of this should probably go to minstrel show. I lack the time to do the merging right now, but I've taken the liberty of moving the paragraphs I think should be merged with that article to their own section. Good job, Jmabel! BrianSmithson 00:11, 23 August 2005 (UTC)

Merged into Minstrel show
The struck-through passages were merged 9 Sept 2005. -- Jmabel | Talk 04:47, September 9, 2005 (UTC)

Even prior to the great popularity of blackface minstrelsy beginning in the 1830s, there were at least some whites interested in black song and dance performed by black performers. In New York City, in the early 19th century, black slaves on their days off Shingle danced for spare change. The New Orleans Picayune wrote of singing street vendor Old Corn Meal, that he would bring "a fortune to any man who would start on a professional tour with him." (Lott, 1993, 41-43) There had been several attempts at legitimate black stage performance, the most ambitious probably having been New York's African Grove theater, founded and operated by free blacks in 1821, with a repertoire drawing heavily on Shakespeare; it was harrassed out of existence by authorities unwilling to tolerate its mostly black audiences behaving in the same boisterous manner typical of all New York audiences of the time. (Lott, 1993, 44)
 * Probably should become one of the first few paragraphs of the "History" section.

Lott states that in the antebellum period, blackface minstrelsy was mainly a northern phenomenon, and was banned in several southern cities. (Lott, 1993, 38)

Lott argues that, overwhelmingly, and despite the elements of ridicule contained in blackface performance, mid-19th century white audiences by and large believed the songs and dances of minstrelsy to be "authenticaly black". (Lott, 1993, 39) Insofar as the minstrel performers had authentic contact with black culture, they had "…visited not plantations but racially integrated theaters, taverns, neighborhoods, and waterfronts—and then attempted to recreate plantation scenes." It was, of course, "to their professional advantage" to claim more serious "fieldwork." (Lott, 1993, 41, 94) The dancing was "more enjoyed than mocked" (Lott, 1993, 115), though Fanny Kemble, who had traveled in the South, described it as "faint, feeble, impotent—in a word, pale Northern reproductions of that ineffable black conception. (Lott, 1993, 116)
 * ''Either part of "History", or a new section, perhaps called "Reception".

In fact the texts of the minstrel show mixed black lore with "southwestern humor (itself often an interracial creation); black banjo techniques and rhythms interrupting folk dance music of the British Isles… the vigorous earth-slapping footwork of black dances warring with the Irish lineaments of blackface jigs and reels." The instruments were also a mix: African banjo and European fiddle. In short, the music and dance were a mix of black and white elements; the lyrics and dialogue were generally a racist, satiric, and of largely white origin. (Lott, 1993, 94) "What was on display in minstrelsy was less black culture than a structured set of white responses to it…", a "racial ventriloquism." (Lott, 1993, 101, 103)
 * Part of the "Music" section, which should perhaps be retitled "Music and dance".

The river cities of the Appalachians and West figured significantly in the origin of blackface minstrelsy. T.D. Rice first performed in the West. Dan Emmett got his musical education there. Stephen Foster was from Pittsburgh, and was still living there when he started writing songs; his first exposure to African-American music came from a house servant who sang religious songs. (Lott, 1993, 47)
 * "History" section.

Lott: "That the minstrel show took up… [slavery and race] at all is perhaps more significant than that it did so in an objectionable way." (Lott, 1993, 90)

To be merged with blackface
"From the beginning", writes Lott, "there seems to have been a general forgetting of the fact of white impersonation." J.K. Kennard in 1845 wrote resentfully in Knickerbocker that negro slaves are becoming "our national poets". A generation later, Bayard Taylor would say almost the same thing, but embrace it as a positive thing. Both men seemed equally forgetful that this was, by and large, writing and performance by white people. (Lott, 1993, 98-100)

Blacks had little chance to contest the meaning of blackface in its heyday: Lott cites Robert Toll as remarking that blacks in blackface, far from providing an immediate corrective to minstrel types lent them credibility. (Lott, 1993, 104)

Lott sees in some blackface performers the first phase of American bohemianism's infatuation with black culture. He singles out Ben Cotton proudly talking about mingling with blacks on Mississippi riverboats and performing music with them, and points out that Frank Brower of Dan Emmett's Virginia Minstrels learned his dancing directly from black men. (Lott, 1993, 50)

Another point of origin was the fact that Irish Americans of the time often had close contact with black culture. Blackface was heavily Irish American: Stephen Foster, Dan Emmett, Dan Bryant, Joel Walker Sweeney, and George Christy, just to name a few prominent figures. Sometimes black "coded" for Irish, as when Irish songs of exile were transposed into songs about black slaves being sold, or Irish comic types from the British stage were recast as black. There are some particularly clear examples: in the early 1850s "Sad to Leave Our Tater Land" and "Ireland and Virginia" were both blackface Irish nationalist songs. (Lott, 1993, 95) Lott argues that for new Irish immigrants, attendance at blackface performances was part of their Americanization, "simultaneous [cultural] appropriation and ridicule". (Lott, 1993, 96)
 * Though some of this should be mentioned in minstrel show as well.

Blackface did not neatly line up with a particular politics, though the tendency ran toward the (pro-slavery) Democrats. Henry Wood of Christy's Minstrels was brother of congressman and New York City mayor and southern sympathizer Fernando Wood. Stephen Foster supported U.S. president James Buchanan, who wished to expand slavery into Kansas, and who was his relative by marriage. But there are also pro-Henry Clay blackface songs. (Lott, 1993, 50) Walt Whitman had mixed feelings about blackface, but was most a fan precisely at the time he was involved in the Free Soil Party in the late 1840s: at that time he compared it to opera, much as Mark Twain would when he looked back at that era. (Lott, 1993, 75)

More material, 6 Sept 2005
Lott argues that while early blackface often involved class identification of white workers with blacks, the minstrel show was another matter. Arising at the same time that "workingmen's nativist, pro-Southern, and temperance groups began to form", this "spectacle of vulgarity… did not merely confirm an already existent racism" but (following a pattern that had been pioneered by Rice) helped to create a new one, uniting workers and "class superiors" against a common black enemy, symbolized especially by the character of the black dandy. (Lott, 1993, 137-138) In this same period, the class-conscious but racially inclusive rhetoric of "wage slavery" was largely supplanted by a racist rhetoric of "white slavery" that suggested that the abuses against northern factory workers were a graver ill than the treatment of black slaves, or by a less class-conscious rhetoric of "productive" vs. "unproductive" elements of society. (Lott, 1993, 155)

The vulgarity was no accident: it was part and parcel of the aesthetic of the form. The Spirit of the Times wrote (October 9, 1847) of the Ethiopian Serenaders that they were "entirely too elegant" and that the "excellence" of their singing "is an objection to it." (Lott, 1993, 153).

Some of the racism (and misogyny) in minstrelsy was rather vicious. There were "comic" songs in which black were "roasted, fished for, smoked like tobacco, peeled like potatoes, planted in the soil, or dried up and hung as advertisements", and there were multiple songs in which a black man accidentally put out a black woman's eyes. (Lott, 1993, 150-152) All of the "wench" roles played by men (most famously Barney Williams and George Christy) in drag, this at a time when American theater outside of minstrelsy was filled with actresses. (Lott, 1993, 160) The humor often turned on the male characters' desire for a woman who would be perceived by the audience as unattractive. (Lott, 1993, 166)

Lott suggests that among the appeals of the minstrel show were the pleasure of the grotesque and that its infantilization of blacks allowed (by proxy, and without full identification) childish fun and other "low" pleasures in an industrializing world where workers were increasingly expected to abandon these pleasures. (Lott, 1993, 143-148) Meanwhile, the more respectable could view the vulgar audience itself as a spectacle. (Lott, 1993, 158)

I've added most everything to minstrel show, and I've struck through what's been used. BrianSmithson 03:36, 9 September 2005 (UTC)

title: Talk:Blackface/Lott


text:
Talk:Acrobatic Tenement

Line-up for this album
The line-up for this album was written as: "Cedric (Bixler), Omar (Rodriguez), Jim (Ward), Ryan, Adam"... What are Ryan and Adam's last names? Without them this text looks very silly. I can't find the information anywhere though, and I haven't got the CD liner notes. —Tarnas 05:33, 22 August 2005 (UTC)

 * Unfortunately the cd liner notes list the names only as "Ryan  Omar   Adam   Cedric   Jim".  Ryan's full name is Ryan Sawyer (from a google cache of a Buddyhead interview) but I can't find any mention of Adam.--Brendanfox 07:10, 23 August 2005 (UTC)

Label listing
The label listing in the info box, "Flipside", leads to not a label by the same name, but to a zine. TheJonyMyster (talk) 09:25, 19 January 2020 (UTC)
 * They are essentially the same company. Read the article.  Rob van  vee  12:24, 19 January 2020 (UTC)

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

title: Talk:Acrobatic Tenement


text: Talk:Adiemus II: Cantata Mundi

title: Talk:Adiemus II: Cantata Mundi


text: Talk:Adiemus III: Dances of Time

title: Talk:Adiemus III: Dances of Time


text:
Critters (franchise)

The Critters franchise, includes American science fiction comedy-horror installments consisting of five feature films, and one television series. The original film was released in 1986 and received "two thumbs up" from Siskel and Ebert.

Although widely believed to have been made to cash in on the success of the similarly themed Gremlins,  director Stephen Herek had refuted this in interviews, pointing out that the first Critters script was written by Domonic Muir long before Gremlins went into production, and subsequently underwent rewrites to reduce the similarities between the two films.

The series is about a group of malevolent carnivorous extraterrestrials called Krites (better known as Critters, the term the franchise is associated with) that have the power to roll into balls similar to hedgehogs and form into a giant sphere that can roll across a landscape. The individual Krites resemble small animals that are furry and spiky with large mouths filled with rows of sharp teeth. Throughout the franchise, they eat anything in sight, including human beings. The spikes on their backs can be launched as projectiles that render the victim unconscious. Krites come in black, brown, and navy blue. In the first film, they were also able to grow to a much larger size, but this ability was dropped in later installments.

The storyline for the first two films involves alien bounty hunters who hunt the Krites in a small American town. The setting for the third movie is a city, and the fourth film takes place on a space station.

The Krites exist solely to eat and breed; the main human characters in the films endeavor to survive and defeat them. The creature effects work was done by The Chiodo Brothers, who later went on to make Killer Klowns from Outer Space. Terrence Mann appears in all four films as an interstellar bounty hunter named Ug, as does Don Keith Opper as Charlie, an alcoholic who rises to the occasion when called upon to defend humankind. Leonardo DiCaprio appeared in Critters 3, and Dee Wallace-Stone and Billy Zane both appeared in the first installment. Scott Grimes starred in the first two films as Bradley Brown.

Television
Critters: A New Binge was shot in Canada in mid-2018. Filming wrapped in Vancouver. Serving as a reboot, the series shows the creatures, pursued by intergalactic bounty hunters, returning to Earth on a secret mission. The series premiered on Shudder on March 21, 2019.

Main cast and characters
The following is a list of cast and characters that appear in the Critters series.

The Critters
The central focus of the series is upon a group of malevolent carnivorous extraterrestrials called Krites, which are known as Critters. They have the ability to roll into balls similar to hedgehogs and form into a sphere that can roll across the landscape.

Organization
In the first film, the largest Krite took leadership over the others. This is carried over into the second film where, though later turning out to be Ug in disguise, the largest Krite was seen as the leader once more, being able to persuade the immense pack of smaller Krites to continue on to Polar Ice Burger instead of attacking the humans that were following behind them. Although the concept of the biggest Krites being the leader was dropped in Critters 3, the Krite whose face was burned by bleach is shown leading the group throughout most of the film and is the last Krite to be killed. Because the fourth film only has two main Krite characters, it is difficult to determine if a lead Krite is being suggested, although one Krite (the one who had the top of its headshot bald by Charlie when it was a hatchling) is shown as ordering around the other Critters.

Appearance
Krites have been described as porcupines, rats, badgers, opossums, hedgehogs, rabid cats, Tasmanian devils, and a slew of other similar creatures.

The appearances of the Krites vary from film to film. In the first film, they appear to be much smaller than in later installments (save for the lead Krite) and not as furry. Their stomachs are fully revealed, whereas, in the sequels, they are covered completely by fur. Their fur appears more slicked back instead of wild or spiky like in the sequels, and their teeth appear more needle-like than in future installments. In one scene in the original film, a Krite's eyes appear to be orange instead of the bleeding red seen throughout the rest of the film, but this look is never repeated.

In the second film, the Krites appear larger than in the first film, have larger teeth, with fur (thicker and more haphazard than their predecessors) covering their entire bodies except for their arms and legs. Also, their poisonous darts are much bigger.

In the third and fourth films, the Krites look about the same in every aspect, although their eyes appear duller in the latter film.

In the reboot, the Krites have an appearance similar to their design from the first film. Their hair is a lot messier, their teeth got smaller, and their stomachs became hairless again. Some of them also have bald heads.

Reproduction
Not much is mentioned regarding the reproduction habits of the Krites, as no information is shown in the films or given in interviews by the creators. They are portrayed with a need to eat before laying eggs, but how they produce eggs in the first place is never revealed. No mating rituals are shown or discussed in the films.

In Critters 4, Charlie tells Fran that it takes six months for Krite eggs to incubate. This is contradicted in the previous installment, when the eggs from the beginning of the film hatch in what appears to be a span of just a few hours, and in the second film, where eggs laid in the first film appear to have remained dormant for two years before they were found. How many eggs a Krite can produce at one time is not revealed.

It may be that temperature has an effect on Krite eggs, seeing as the eggs in Critters 2 and Critters 3 seemingly hatch in response to close proximity to heat (a heater and the underside of a truck, respectively). This also appears to be a factor in Critters 4 and Critters 2 in which the eggs lie dormant when cryogenically frozen or left in a cold drafty barn and hatch almost immediately when exposed to a warmer temperature. Extremely cold temperatures also seem to have a detrimental effect on eggs, as hairless hatchling Krites are shown in Critters 4 when the eggs are laid in a cold incubator.

Diet
Krites are exclusively carnivorous. The idea that is eating more and more increases the Krite's size, eventually leading to a Krite becoming the alpha or dominant in its group, is suggested only in the first film and may be a sign of Krite maturity, as the Krites in the first film are much older than the Krites in the subsequent films.

Hunting habits
Krites are normally seen to hunt and attack in groups. Rarely has a Krite been shown to attack on its own outside of the few occasions in the first and fourth films. Charlie explains in the fourth film that Krites generally go for a victim's face and neck, although the films show them attacking the chest and gut area of a victim more often than not. Once a victim is caught, usually one Krite initiates the attack, and the others quickly follow in one swift barrage.

Krites' only weapons are the natural weapons built into their bodies. One such mechanism is the ability to shoot a poisonous barb like a projectile at a victim. The barb injects a type of poison into the victim's bloodstream, causing the victim to fall asleep or unconscious for an unspecified amount of time. It is shown that removing the barb awakens the victim. It is not revealed whether these barbs affect other Krites. The fourth film is the only film in which the Krites do not utilize their poison barbs. The size and thickness of the barbs vary from film to film.

Another mechanism is their rather large mouth filled with rows of sharp teeth. A Krite's bite is shown to be extremely effective and difficult to extricate. In most cases, a victim is forced to beat on the Krite's snout-like that of a great white shark or crocodile, or stab the Krite with sharp objects enough that it releases its hold.

The second film introduces the giant Critter ball—an enormous sphere of Krites all latched onto each other to move as one single unit. Not much is revealed about this mechanism, except that it enables the herd to survive a factory explosion and being rammed by a pickup truck, but not the direct impact of a bounty hunter space ship. It is only used in the second film.

The Krites in the third film are shown launching themselves straight up into the air, as seen when one of the Krites launches itself up a laundry chute in an attempt to attack Rosalie. A variation is shown at the end of the film, when a Krite tucks itself into a ball and revvs up as a means of attack.

While never shown to be used, Krites also have three sharp claws on their hands and feet.

Intelligence
Throughout the series, Krites are shown to have varying degrees of learning and intelligence. In the first film, the Krites escape from a seemingly highly advanced prison asteroid where they are to be executed by hijacking a spaceship. Although the Krites fall for the trap set for them at Polar Ice Burger in the second film (which could perhaps be attributed to a disguised Ug persuading them to go), they are shown forming into a giant sphere and saving themselves from impending destruction, although this action could be viewed as being based on instinct. In the third film, the Krites formulate a successful plan to infiltrate a room where humans have locked themselves by moving through the ventilation system. In the same film, once the humans moved up to the attic and blockaded the door, the Krites opted to move up the elevator shaft to get to them. Critters 4 shows the Krites being able to easily use a space station's core control computer and change the navigation course from an unknown planet to Earth. The film also shows them being able to use the growth accelerator in one of the labs to genetically enhance their offspring.

title: Critters (franchise)


text: Talk:Adiemus IV: The Eternal Knot

title: Talk:Adiemus IV: The Eternal Knot


text:
User talk:72.41.48.2

You have been blocked for 24 hours for continuation of a pointless edit war. If you wish to make useful contributions, you are welcome to come back after the block expires. JeremyA (talk) 03:54, 22 August 2005 (UTC)

Blocked again
You have been blocked again for your refusal to be part of the solution to the edit war at Genseiryu, preferring instead to continue the edit war. JeremyA (talk) 13:46, 24 August 2005 (UTC)

title: User talk:72.41.48.2


text:
Talk:Adios Amigos (Ramones album)

R.A.M.O.N.E.S.
"Some versions of the album feature the bonus track "R.A.M.O.N.E.S." originally done by Motörhead as a tribute to the Ramones..." The booklet information of ''Hey Ho! Let's Go: The Anthology'' says the song "R.A.M.O.N.E.S." was included on the Japanese edition of Adios Amigos.(MrDeBeuker 00:16, 29 January 2006 (UTC))
 * why was this album called in spanish!! —Preceding unsigned comment added by 81.38.151.121 (talk) 10:59, 25 March 2007 (UTC)

Requested move 13 March 2021

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

The result of the move request was: moved. (non-admin closure) – Lord Bolingbroke (talk) 14:04, 20 March 2021 (UTC)

¡Adios Amigos! → Adios Amigos (Ramones album) – A book/magazine search shows no trace of the exclamation marks in WP:RS https://www.google.co.uk/search?tbo=p&tbm=bks&q=ramones+%22adios+amigos%22&num=10. In ictu oculi (talk) 13:29, 13 March 2021 (UTC)
 * Support per nomination. ¡Adios Amigos! was created as Adios Amigos in July 2005 and was unilaterally moved on March 23, 2006 to ¡Adios Amigos! with the edit summary, "This is the official title", although there is no confirmation of this assertion, official or unofficial. As a point for additional consideration, there may be a WP:SMALLDIFFS argument for streamlining of the header to simply Adios Amigos (album), analogous to the potential argument for also streamlining Adios Amigo (Marty Robbins album) → Adios Amigo (album). —Roman Spinner (talk • contribs) 20:41, 13 March 2021 (UTC)
 * Thanks but given that the titles are so similar and the Ramones album doesn't have the name on the CD cover, don't support that change to RM. In ictu oculi (talk) 23:35, 13 March 2021 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.
 * Support move to Adios Amigos (Ramones album). Some sources use the pair of exclamation points, but not enough to say that the media is universally taking that route. Exclamation points are used by AllMusic, and Magnet magazine. Another magazine, New Noise, uses two in the article body but just one in the headline. Many other sources trim away the exclamation points entirely. Wikipedia tends to favor the elimination of stylistic quirks, unless very widely supported in sources, which is not the case here, and thus we move the article. Binksternet (talk) 03:01, 14 March 2021 (UTC)

Link change
In the background section of the article, it had the name “Johnny”. I know that this was referring to Johnny Ramone; however, it linked to the Johnny name page, and Johnny Ramone doesn’t appear in that article. So, to make it easier for readers interested in reading his Wikipedia article, I changed the link to “Johnny Ramone.” KevinML (talk) 10:24, 2 November 2021 (UTC)

title: Talk:Adios Amigos (Ramones album)


text:
K. Dock Yip

Kew Dock Yip (葉求鐸; pinyin: Yè Qiúduó; 1906–2001) was community leader in Toronto's First Chinatown, the first Canadian lawyer of Chinese descent, and played a critical role in helping repeal the Canadian Chinese Exclusion Act in 1947. He is the third youngest son of Yip Sang, a prominent Chinese merchant and paymaster of CP Railway, in Vancouver in the 1900s.

Early years
Yip was born in Vancouver in 1906, the 17th of 19 sons, and one of 23 children born to prominent Canadian businessman Yip Wang Sang's four wives. In 1931, Yip graduated with a Bachelor of Science in Pharmacy from the University of Michigan. After completing his pharmacological studies, Yip returned to Vancouver where he became Secretary for the Chinese Consulate; it was during this period that Yip decided to pursue a career in law.

Yip, along with some of his brothers, were members of the Chinese Students Soccer Team in 1933, when they became the B.C. Mainland Cup Soccer Champions. The team is believed to be the only soccer team composed of Chinese players outside of China in that era, a time when Chinese people in B.C. faced heavy racism. In 2011, they were inducted into the B.C. Sports Hall of Fame.

In 1941 Yip earned his Bachelor of Arts from the University of British Columbia. Driven by the fact that British Columbia did not allow individuals of Chinese origin to practice law, Yip moved to Toronto with his future wife Victoria Chow upon the completed his studies at UBC.

In 1942 Yip joined the Canadian Army, becoming an army reservist with The Queen's Own Rifles of Canada.

Law practice in Toronto
After three attempts to gain admittance into Osgoode Hall Law School, he was admitted and graduated in 1945 with his Bachelor of Laws. Later that year, he became the first lawyer of East Asian descent called to the bar in Canada. Yip, working closely with civil liberties and human rights lawyer and law school friend Irving Himel and other activists from across the country, was an important player in convincing the Government of Canada to, in 1947, repeal the Chinese Immigration Act of 1923, commonly known as the Chinese Exclusion Act, thereby allowing immigration of Chinese people into Canada. He remained focused on this issue, through 1958 to 1966 fighting to have Canada's immigration policies reformed to reduce the barriers Chinese immigrants faced trying to enter Canada. From his work, Yip became an important community leader in Toronto's Chinatown.

After achieving victory in his legal fight for Chinese-Canadian rights, Yip returned to his legal career serving Toronto's Chinese community. He maintained a private legal practice in Chinatown where he flourished, due to his fluency in three Chinese languages, the fact he was the only Chinese-speaking attorney in Toronto at the time, and because he was a man who "gave personal care and attention to his clients". Yip was highly respected by other lawyers, recognized as a person of integrity and role model; he was also fondly remembered as a man with an encyclopedic knowledge, as comfortable discussing classical literature as he was debating intricacies of law. In addition to his 47 years assisting Chinese residents with their legal needs, four decades of that spent working out of store-front offices in Chinatown, Yip served two terms as a Toronto Board of Education trustee for Ward 6 in the 1970s.

In 1985, he played the role of tong leader, Milton Bin, in the movie Year of the Dragon starring Mickey Rourke. Then in 1991 he appeared in a Cyndi Lauper rock video. Yip continued to practice law until retiring in 1992.

In 1994, at the age of 87, Yip received special recognition from Ryerson University as the oldest student in their continuing education program, studying Shakespearean English by correspondence. In 1998 he was awarded the Law Society Medal by the Law Society of Upper Canada for outstanding service to the legal profession.

Personal life
In 1942, Yip married Victoria Chow, his childhood sweetheart. They had three children and five grandchildren.

Yip's sister, Susanne Yip Gimling, was principal of the Kwangtung Provincial Girls’ Middle School in Guangzhou, China during the 1930s.

Awards

 * Law Society of Upper Canada Medal 1998

title: K. Dock Yip


text:
High Line

The High Line is a 1.45 mi elevated linear park, greenway, and rail trail created on a former New York Central Railroad spur on the west side of Manhattan in New York City. The High Line's design is a collaboration between James Corner Field Operations, Diller Scofidio + Renfro, and Piet Oudolf. The abandoned spur has been redesigned as a "living system" drawing from multiple disciplines which include landscape architecture, urban design, and ecology. The High Line was inspired by the 4.7 km long Coulée verte (tree-lined walkway), a similar project in Paris completed in 1993.

The park is built on an abandoned, southern viaduct section of the New York Central Railroad's West Side Line. Originating in the Meatpacking District, the park runs from Gansevoort Street – three blocks below 14th Street – through Chelsea to the northern edge of the West Side Yard on 34th Street near the Javits Center. The West Side Line formerly extended south to a railroad terminal at Spring Street, just north of Canal Street, and north to 35th Street at the site of the Javits Center. Due to a decline in rail traffic along the rest of the viaduct, it was effectively abandoned in 1980 when the construction of the Javits Center required the demolition of the viaduct's northernmost portion. The southern portion of the viaduct was demolished in segments during the late 20th century.

A nonprofit organization called Friends of the High Line was formed in 1999 by Joshua David and Robert Hammond, advocating its preservation and reuse as public open space, an elevated park or greenway. Celebrity New Yorkers joined in on fundraising and support for the concept. The administration of Mayor Michael Bloomberg announced plans for a High Line park in 2003. Repurposing the railway into an urban park began in 2006 and opened in phases during 2009, 2011, and 2014. The Spur, an extension of the High Line that originally connected with the Morgan General Mail Facility at Tenth Avenue and 30th Street, opened in 2019. The Moynihan Connector, extending east from the Spur to Moynihan Train Hall, opened in 2023.

Since opening in June 2009, the High Line has become an icon of American contemporary landscape architecture. The High Line's success has inspired cities throughout the United States to redevelop obsolete infrastructure as public space. The park became a tourist attraction and spurred real estate development in adjacent neighborhoods, increasing real-estate values and prices along the route. By September 2014, the park had nearly five million visitors annually, and by 2019, it had eight million visitors per year.

Description
The park extends for 1.45 mi from Gansevoort Street to 34th Street. At 30th Street the elevated tracks turn west around the Hudson Yards Redevelopment Project to the Jacob K. Javits Convention Center on 34th Street, As of 2014, it was expected that could be integrated with the Hudson Yards development and the Hudson Park and Boulevard. When the Hudson Yards Redevelopment Project's Western Rail Yard is finished in 2018 it will be elevated above the High Line Park, so an exit along the viaduct over the West Side Yard will lead to the Western Rail Yard. The 34th Street entrance is at grade, with wheelchair access.

The park is open daily from 7:00 a.m. to 8:00 p.m. in winter, until 10:00 p.m. in spring/summer/fall (except for the Interim Walkway west of 11th Avenue, which is open until dusk). It can be reached through eleven entrances, five of which are accessible to people with disabilities. The wheelchair-accessible entrances, each with stairs and an elevator, are at Gansevoort, 14th, 16th, 23rd, and 30th Streets. Additional staircase-only entrances are located at 18th, 20th, 26th, and 28th Streets, and 11th Avenue. Street-level access is available at 34th Street via the Interim Walkway, which runs from 30th Street and 11th Avenue to 34th Street west of 11th Avenue.

Route
At the Gansevoort Street end (which runs north–south), the stub over Gansevoort Street is named the Tiffany and Co. Foundation Overlook and was dedicated in July 2012; the foundation was a major supporter of the park. The route then passes under The Standard, High Line hotel and through a passage at 14th Street. At 14th Street, the High Line splits into two sides at different elevations; the Diller-Von Furstenberg Water Feature (opened in 2010) is on the lower side, and a sundeck is on the upper side.

The route passes through the west edge of the Chelsea Market, a food hall, at 15th Street. A spur, connecting the viaduct to the National Biscuit Company building and closed to the public, splits off at 16th Street. The railroad tracks on the spur are left in situ but the trackbeds are planted with greenery. The Tenth Avenue Square, an amphitheater on the viaduct, is at 17th Street where the High Line crosses over Tenth Avenue from southeast to northwest. At the 23rd Street Lawn, visitors can rest. Between 25th and 26th Streets a ramp takes visitors above the viaduct, with a scenic overlook facing east at 26th Street. The Philip Falcone and Lisa Maria Falcone Flyover, named after two major donors to the park, was based on plans for a Phase 1 flyover which was never built. Additionally, there was a second separate gravel pathway that separated from the main pathway at around 25th Street that ran on the viaduct below the ramp. The gravel pathway rejoined the main pathway at around 27th Street. The gravel pathway was initially open to the public at the time Phase 2 was completed but was subsequently closed. However, the pathway remains in view of the main pathway.

The park then curves west to Phase 3 and merges into the Tenth Avenue Spur, which stretches over 30th Street to Tenth Avenue. The Tenth Avenue Spur is composed of three parts: the Coach Passage, with 60 ft ceilings; the High Line's largest planted garden; and a plaza with temporary art exhibitions that get replaced every 18 months. Phase 3 has another ramp taking visitors above the viaduct at 11th Avenue and a play area with rail ties and the Pershing Beams (modified, silicone-covered beams and stanchions coming out of the structure), a gathering space with benches, and a set of three railroad tracks where one can walk between the rails. The play area also has a seesaw-like bench and a "chime bench", with keys which make sounds when tapped. The Interim Walkway, from 11th Avenue and 30th Street to 34th Street divides the viaduct into two sides: a gravel walkway and an undeveloped section with rail tracks. The temporary walkway closed for renovation when the Tenth Avenue Spur was completed. The High Line turns north to a point just east of Twelfth Avenue. At 34th Street it curves east and descends, ending at street level midway between 12th and 11th Avenues.

The High Line Moynihan Connector, a walkway from the Tenth Avenue Spur to Moynihan Train Hall at Ninth Avenue, opened in June 2023. The 1,200 ft spur runs east along 30th Street for one block to Dyer Avenue. The span above 30th Street uses a V-shaped structure called the Woodlands Bridge, which contains a 5 ft planting bed. The walkway then turns north to 31st Street across the Timber Bridge, a span shaped like a Warren truss. It terminates at a public space within Manhattan West that ends at the west side of Ninth Avenue, directly across from Moynihan Train Hall.

Attractions

The park's attractions include naturalized plantings, inspired by plants which grew on the disused tracks, and views of the city and the Hudson River. The pebble-dash concrete walkways swell and constrict, swing from side to side, and divide into concrete tines which meld the hardscape with plantings embedded in railroad-gravel mulch. "By opening the paving, we allow the plants to bleed through," said landscape architect James Corner, "almost as if the plants were colonizing the paved areas. There's a sort of blending or bleeding or suturing between the hard paving, the surface for people to stroll on, and the planting ... " Stretches of track and ties recall the High Line's former use, and portions of track are re-used for rolling lounges positioned for river views. The 120-species plant palette, curated by Dutch landscape architect Piet Oudolf, includes sturdy meadow plants (such as clump-forming grasses, liatris, and coneflowers) and scattered stands of sumac and smokebush and is not limited to native plants. At the Gansevoort Street end, a grove of mixed species of birch provides shade by late afternoon. Ipê timber for the built-in benches came from a managed forest certified by the Forest Stewardship Council to ensure sustainability and the conservation of biological diversity, water resources, and fragile ecosystems. According to James Corner Field Operations, the High Line's design "is characterized by an intimate choreography of movement."

The High Line also has cultural attractions as part of a long-term plan for the park to host temporary installations and performances. Creative Time, Friends of the High Line, and the New York City Department of Parks and Recreation commissioned The River That Flows Both Ways by Spencer Finch as the inaugural art installation. The work is integrated into the window bays of the former Nabisco factory loading dock as a series of 700 purple and gray glass panes. Each color is calibrated to match the center pixel of 700 digital pictures (one taken every minute) of the Hudson River, making up an extended portrait of the river. Creative Time worked with Finch to realize his site-specific concept after he saw the rusted, disused mullions of the old factory, with metal-and-glass specialists Jaroff Design helping to prepare and reinstall.

Artwork
A mid-2010 sound installation by Stephen Vitiello was composed from bells heard throughout New York. Lauren Ross, former director of the alternative art space White Columns, was the High Line's first curator. During the construction of the second phase (between 20th and 30th Streets) several artworks were installed, including Sarah Sze's Still Life with Landscape (Model for a Habitat): a steel-and-wood sculpture near 20th and 21st Streets built as a house for fauna such as birds and butterflies. Kim Beck's Space Available was installed on the roofs of three buildings visible from the southern end. Three 20 by sculptures, resembling the armature of empty billboards and constructed like theater backdrops, looks three-dimensional from a distance. Also installed during the second phase of construction was Julianne Swartz's Digital Empathy, a work utilizing audio messages at restrooms, elevators, and water fountains. Maine artist Charlie Hewitt's sculpture Urban Rattle was permanently installed in 2013.

In 2012 and 2013, the Ghanaian born Nigerian artist El Anatsui's large scale sculpture "Broken Bridge ll" (at the time his largest work to date) fashioned from recycled pressed tin and broken mirrors was positioned on a wall on the west side of the street between 21st and 22nd streets, facing and sidelining the High Line. In 2016 Tony Matelli's controversial sculpture "Sleepwalker" was exhibited upon the High Line. Max Hooper Schneider's aquarium was displayed on the linear park in 2017. The next year, the High Line hosted the British sculptor Phyllida Barlow's first public commission, "Prop".

Rail line

In 1847, the City of New York authorized the construction of railroad tracks along Tenth and Eleventh Avenues on Manhattan's West Side. The street-level tracks were used by the New York Central Railroad's freight trains, which shipped commodities such as coal, dairy products, and beef. For safety the railroad hired "West Side cowboys", men who rode horses and waved flags in front of the trains. However, so many accidents occurred between freight trains and other traffic that the nickname "Death Avenue" was given to Tenth and Eleventh Avenues. In 1910, one organization estimated that there had been 548 deaths and 1,574 injuries over the years along Eleventh Avenue.

Public debate about the hazard began during the early 1900s. In 1929 the city, the state, and New York Central agreed on the West Side Improvement Project, conceived by New York City park commissioner Robert Moses. The 13 mi project eliminated 105 street-level railroad crossings, added 32 acre to Riverside Park, and included construction of the West Side Elevated Highway. The plans also included the construction of the St.  John's Freight Terminal at Spring Street, which was completed in 1936 and replaced the street-level St. John's Park Terminal in present-day Tribeca. The West Side Improvement cost more than $150 million, worth about $ billion in dollars. The last stretch of street-level track was removed from Eleventh Avenue in 1941.

The first train on the High Line viaduct, part of New York Central's West Side Line, ran along the structure in 1933. The elevated structure was dedicated on June 29, 1934, and was the first part of the West Side Improvement Project to be completed. The High Line, which originally ran from 35th Street to St. John's Freight Terminal, was designed to go through the center of blocks rather than over an avenue. As a result, the viaduct's construction necessitated the demolition of 640 buildings. It connected directly to factories and warehouses, allowing trains to load and unload inside buildings. Milk, meat, produce, and raw and manufactured goods could be transported and unloaded without disturbing street traffic. This reduced the load on the Bell Laboratories Building (which has housed the Westbeth Artists Community since 1970) and the former Nabisco plant in Chelsea Market, which were served from protected sidings in the buildings.

The line also passed under the Western Electric complex at Washington Street. Although the section still existed, it is not connected to the developed park.

Abandonment

The growth of interstate trucking during the 1950s led to a drop in rail traffic throughout the U.S. St. John's Freight Terminal was abandoned in 1960, and the southernmost section of the line was demolished in the following decade due to low use. The West Village Apartments were then built on part of the former segment's right of way. The demolished section began at Bank Street and ran down Washington Street to Spring Street (just north of Canal Street).

By 1978, the High Line viaduct was used to deliver just two carloads of cargo per week. The viaduct was shut down in 1980, when owner Conrail had to disconnect the viaduct from the rest of the national rail system for a year. The closure was necessitated as a result of the construction of Javits Center at 34th Street, which required that the curve at 35th Street be rebuilt. The last train on the viaduct was a three-car consist carrying frozen turkeys. During the time the viaduct was disconnected, two large customers along the route moved to New Jersey. The curve to the viaduct from 35th Street was demolished during the construction of Javits Center and was replaced by the current curve at 34th Street. The tracks leading to the High Line were reconnected in 1981, but as there were no more customers along the route, the curve at 34th Street was never completed, and the viaduct did not see any further usage. At this point, Conrail still owned the right of way and the tracks.

During the mid-1980s, a group of property owners with land under the line lobbied for the demolition of the entire structure. Peter Obletz, a Chelsea resident, activist, and railroad enthusiast, challenged the demolition efforts in court and tried to re-establish rail service on the line. Obletz offered to buy the viaduct for $10 in order to run a small amount of freight trains on the line, and Conrail accepted, mainly because demolition would have cost $5 million. However, this offer was also disputed in court. By 1988, the Metropolitan Transportation Authority was negotiating with Conrail for the possibility for using the line's right of way to construct a light rail route. These negotiations did not proceed further, and by the end of the 1980s, it was expected that the High Line would be demolished.

As part of the construction of the Empire Connection to Penn Station, which opened in spring 1991, the West Side Line tracks north of 35th Street were routed to the new Empire Connection tunnel to Penn Station. A small section of the High Line in the West Village, from Bank to Gansevoort Streets, was taken apart in 1991 despite objections by preservationists. The remaining riveted-steel elevated structure was unused and in disrepair during the 1990s, but it remained structurally sound. Around this time, it became known to urban explorers and local residents for the tough, drought-tolerant wild grasses, shrubs (such as sumac) and rugged trees which had sprung up in the gravel along the abandoned railway. The administration of mayor Rudy Giuliani planned to demolish the structure. The Interstate Commerce Commission approved plans to demolish the structure in 1992, but demolition was delayed due to disputes between various city government agencies and the railroad companies. Ownership of the viaduct ultimately passed to CSX Transportation in 1999.

Repurposing proposal
A nonprofit organization called Friends of the High Line was formed in October 1999 by Joshua David and Robert Hammond. They advocated its preservation and reuse as public open space, an elevated park or greenway similar to the Promenade Plantée in Paris. The concept also drew inspiration from Landschaftspark Duisburg-Nord, Germany — a precedent for urban and industrial repurposing in modern landscaping. The organization was initially a small community group advocating the High Line's preservation and transformation when the structure was threatened with demolition during Rudy Giuliani's second term as mayor. In 2000, CSX Transportation gave photographer Joel Sternfeld permission to photograph it for a year. Sternfeld's photographs of its meadow-like natural beauty, discussed in an episode of the documentary series Great Museums, were used at public meetings when the subject of saving the High Line was discussed. Mary Boone's art gallery, as well as Martha Stewart and Edward Norton, hosted fundraising benefits for the High Line in 2001 and 2002 respectively. Fashion designer Diane von Fürstenberg (who had moved her New York City headquarters to the Meatpacking District in 1997) and her husband, Barry Diller, also organized fundraising events in her studio.

In 2003, Friends of the High Line sponsored a design competition that attracted more than 720 participants from 38 countries. Proposals included a sculpture garden, an elongated swimming pool, and a linear amusement park/campground. In July 2003, Edward Norton and Robert Caro hosted a benefit event at Grand Central Terminal, where the submissions for the design contest were exhibited. The same month, a bipartisan group of city officials began petitioning the federal Surface Transportation Board to hand over title to the viaduct for park use. In anticipation of this handover, the administration of Mayor Michael Bloomberg announced plans for a High Line park that September. The following year, the New York City government committed $50 million to establish the proposed park. Mayor Bloomberg and City Council speakers Gifford Miller and Christine C. Quinn were among the major supporters. Fundraising for the park raised a total of over $150 million. The Surface Transportation Board issued a certificate of interim trail use on June 13, 2005, allowing the city to remove most of the line from the national rail system. Ownership officially passed from CSX to the city that November.

Reconstruction and design
On April 10, 2006, Mayor Bloomberg presided over a ceremony to mark the beginning of construction. The park was designed by James Corner's New York-based landscape architecture firm Field Operations and architects Diller Scofidio + Renfro, with garden design by Piet Oudolf of the Netherlands, lighting design from L'Observatoire International, and engineering design by Buro Happold and Robert Silman Associates. New York City Department of City Planning director and city planning commission chair Amanda Burden contributed to the project's development. Major supporters included Philip Falcone, Diane von Fürstenberg, Barry Diller, and von Fürstenberg's children Alexander and Tatiana von Fürstenberg. Hotel developer Andre Balazs, owner of the Chateau Marmont in Los Angeles, built the 337-room Standard Hotel straddling the High Line at West 13th Street.

The southernmost section, from Gansevoort Street to 20th Street, opened as a city park on June 8, 2009. The section includes five stairways and elevators at 14th Street and 16th Street. Around the same time, construction of the second section began. A ribbon-cutting ceremony was held on June 7, 2011, to open the second section (from 20th Street to 30th Street), with Mayor Michael Bloomberg, New York City Council speaker Christine Quinn, Manhattan Borough President Scott Stringer and Congressman Jerrold Nadler in attendance. CSX Transportation, owner of the northernmost section from 30th to 34th Streets, agreed in principle to donate the section to the city in 2011; the Related Companies, which owns development rights for the West Side Rail Yards, agreed not to tear down the spur crossing 10th Avenue. Construction on the final section was started in September 2012.

A ribbon-cutting ceremony for the High Line's third phase was held on September 20, 2014, followed the next day by the opening of its third section and a procession down the park. The third phase, costing $76 million, was divided into two parts. The first part (costing $75 million) is from the end of phase 2 of the line to its terminus at 34th Street, west of 11th Avenue. The second part, a spur above Tenth Avenue and 30th Street, has room to install artworks curated by the public art program. The spur was scheduled to open by 2018, but was then delayed to April 2019, and later to June 2019. It opened on June 4, 2019, with the installation of a plinth as its initial artwork. It contains entrances to 10 Hudson Yards, built above the spur.

Subsequent developments
The High Line closed temporarily in early 2020 during the COVID-19 pandemic in New York City; while most parks remained open during the pandemic, the High Line is a linear park with few means to spread out for social distancing measures. The High Line reopened on July 16, 2020, with limited capacity: the section between Gansevoort and 23rd streets were only open to visitors with timed-entry passes, and were only able to walk northbound from Gansevoort Street, with the other access points being for egress only.

During the pandemic, a team of 60 people hosted a Zoom call twice a week to plan an extension of the High Line. On January 11, 2021, Governor Andrew Cuomo announced proposals to extend the High Line east to Moynihan Train Hall and north to Hudson River Park. The 1,200 ft Moynihan Connector was planned to cost $60 million and run east to Ninth Avenue. A second spur would diverge from the Phase 3 walkway at 34th Street, running north to the Javits Center and then turning west to cross the West Side Highway to Hudson River Park. When the spurs were announced, neither of the projects had been funded. As of September 2021, the Moynihan Connector was funded and was projected to be completed in early 2023 at a cost of $50 million. A groundbreaking for the Moynihan Connector occurred on February 24, 2022, although major construction did not begin until later the same year. The Moynihan Connector opened on June 22, 2023.

Landscape design and maintenance
The High Line was designed by Piet Oudolf using natural landscaping techniques that mimic the way plants grow in nature. The "New York Times" called the High Line "one of the best-known naturalistic gardens anywhere" during the park's 15th anniversary in 2024. The park uses sustainable landscaping and organic lawn management techniques to maintain the 1.45 mile long publicly accessible space. Native fauna documented in the park include 33 native bee species, butterflies including painted ladies, and migratory birds including warblers..

Friends of the High Line
The line is maintained by Friends of the High Line, which was founded by Joshua David and Robert Hammond. The organization is credited with saving the structure by rallying public support for the park and convincing Mayor Michael Bloomberg's administration in 2002 to support the project by filing a request with the Surface Transportation Board to create a public trail on the site. Friends of the High Line played a role in the line's visual aesthetic, holding a competition in conjunction with the city of New York in 2004 to determine the design team which would lead the project. Since the park's opening in 2009, Friends of the High Line has had an agreement with the New York City Department of Parks and Recreation to serve as its primary steward. The organization is responsible for the daily operation and maintenance of the park, with an annual budget of over $5 million. It has an annual operating budget of $11.5 million, in addition to capital construction and management and fundraising expenses.

Friends of the High Line has raised more than $150 million in public and private funds toward the construction of the first two sections of the park. Unlike the first two phases, to which the city significantly contributed, Friends of the High Line was responsible for raising funds for phase three (an estimated $35 million). The organization raises over 90 percent of the High Line's annual operating budget from private donations. When the city donated $5 million to the High Line in 2012, there was criticism that most city parks had received less funding that year, especially since Friends of the High Line had raised an extra $85 million that year.

The organization has an office on Washington Street, near the park's southern end. It has 80 full-time, year-round employees and about 150 full-time summer employees. Friends of the High Line has been run by president and co-founder Josh David after executive director Jenny Gersten stepped down in 2014. Co-founder Robert Hammond served as executive director until he stepped down in February 2013. Friends of the High Line has a 38-member board of directors consisting of many New York City businesspeople and philanthropists, including Amanda Burden of Bloomberg Associates, Jane Lauder of Estée Lauder Companies, Jon Stryker of the Arcus Foundation and Darren Walker of the Ford Foundation.

Impact
Since its opening, the High Line has become one of the most popular visitors attractions in New York City. By September 2014, the park had nearly five million visitors annually, and in 2019, it had eight million visitors per year. Most of these visits came from tourists; a 2019 study found that tourists made up four-fifths of the High Line's total visitor count. Residents quoted in The New York Times stated that the park has become a "tourist-clogged catwalk" since it opened, and one critic called it a "tourist-clogged cattle chute".

Gentrification and development
The recycling of the rail line into an urban park and tourist attraction has revitalized Chelsea, which was "gritty" and in generally poor condition during the late twentieth century. It has also spurred real-estate development in the neighborhoods along the line. According to mayor Bloomberg, by 2009 more than 30 projects were planned or under construction nearby, and by 2016 more than 11 projects were under construction. It has also helped raise the value of properties directly adjacent to the High Line by an average of 10 percent over properties a few blocks away. At least 20 properties abutting the High Line have sold for at least $10 million since the park's opening in 2009, with an apartment in a building directly adjacent to the park selling for an average of $6 million. Apartments located near Phase 1 of the High Line are, on average, more than twice as costly as those between Seventh and Eighth Avenues (two blocks east). In August 2016, the park continued to increase real-estate values along it in an example of the halo effect.

Residents who have bought apartments next to the High Line adapted to its presence in various ways, but most responses were positive. However, many established businesses in west Chelsea have closed due to loss of their neighborhood customer base or rent increases. Chelsea has significant minority communities, many of whom live in two large public housing developments. In a 2017 interview, Friends of the High Line co-founder Robert Hammond said that he "failed" the community; the High Line did not fulfill its original purpose of serving the surrounding neighborhood, which had become demographically divided around the park.

Due to the High Line's popularity, several museums were proposed or built along its path. The Dia Art Foundation considered (but rejected) a proposal to build a museum at the Gansevoort Street terminus. On that site, the Whitney Museum has built a new home for its collection of American art. The building, designed by Renzo Piano, opened on May 1, 2015.

Crime
Crime has been low in the park. Shortly after the second section opened in 2011, The New York Times reported that there had been no reports of major crimes (such as assault or robbery) since the first phase opened two years earlier. Parks Enforcement Patrols have written summonses for infractions of park rules such as walking dogs or riding bicycles on the walkway at a lower rate than in Central Park. Park advocates attributed this to the visibility of the High Line from surrounding buildings, a feature of urban life espoused by author Jane Jacobs nearly fifty years before. According to Joshua David, "Empty parks are dangerous ... Busy parks are much less so. You're virtually never alone on the High Line." In a review of the Highliner restaurant – which has now reverted to its previous name, the Empire Diner – Ariel Levy wrote in The New Yorker that... "The new Chelsea that is emerging on weekends as visitors flood the elevated park ... [is] touristy, overpriced, and shiny."

Projects in other cities
The High Line's success in New York City has encouraged leaders in other cities such as Chicago mayor Rahm Emanuel, who sees it as "a symbol and catalyst" for gentrifying neighborhoods. Several cities nationwide have plans to renovate railroad infrastructure into parkland, including Philadelphia's Rail Park, Atlanta's Belt Line, and Chicago's Bloomingdale Trail. The High Line has helped pioneer the creation of elevated parks worldwide. In Queens, the Queensway (a proposed aerial rail trail) is being considered for reactivation along the right-of-way of the Long Island Rail Road's former Rockaway Beach Branch. Other cities around the world have planned elevated rails-to-trails parks in what has been called the "High Line effect". An organization called the High Line Network was created in 2018 to coordinate 19 similar projects across the United States. A proposed conversion of the Tokyo Expressway in Tokyo was also inspired by the High Line.

According to some estimates, it costs substantially less to redevelop an abandoned urban rail line into a linear park than to demolish it. Landscape architect James Corner (who led the High Line's design team) noted that "The High Line is not easily replicable in other cities," however, observing that building a "cool park" requires a "framework" of neighborhoods around it to succeed.

In 2016, Friends of the High Line launched the High Line Network to support similar infrastructure re-use projects being developed in other cities. , there are 19 projects in the network, including River LA, the Atlanta Beltline, Crissy Field, Dequindre Cut, the Lowline, Klyde Warren Park, the Bentway, Bergen Arches, Destination Crenshaw and the Trinity River Project.

Popular culture
The line has been depicted in a variety of media before its redevelopment. The 1979 film Manhattan includes a shot of the High Line as director and star Woody Allen speaks the first line: "Chapter One. He adored New York City." Director Zbigniew Rybczyński shot the music video for Art of Noise's single, "Close (to the Edit)" on the line in 1984.

In 2001 (two years after the formation of the Friends of the High Line), photographer Joel Sternfeld documented the High Line's flora and dilapidation in his book, Walking the High Line. The book also contains essays by writer Adam Gopnik and historian John R. Stilgoe. Sternfeld's work was regularly discussed and exhibited during the 2000s as the rehabilitation project developed. Alan Weisman's 2007 book, The World Without Us, cites the High Line as an example of the reappearance of the wild in an abandoned area. Kinetics & One Love's 2009 song, "The High Line", uses the line (before its conversion to a park) as an example of nature's reclamation of man-made structures.

A number of films and television programs have utilized the High Line since the park opened. In 2011, the television series Louie used it as a setting for one of the title character's dates. Other works with scenes on the High Line since its conversion include The Simpsons 2012 episode "Moonshine River" and the 2012 film, What Maisie Knew.

Neighborhoods, developments, and places nearby

 * Meatpacking District, Manhattan
 * Chelsea, Manhattan
 * Whitney Museum
 * Hell's Kitchen, Manhattan
 * Hudson Yards Redevelopment Project
 * 15 Hudson Yards
 * The Shed (Hudson Yards)
 * West Side Rail Yard

title: High Line


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Yep, theses songs have words. The genre is punk/hardcore music with rap singers. Drums/bass/guitars, but no sample, or mix, as I remember. —Preceding unsigned comment added by 81.53.230.42 (talk) 17:28, 1 September 2007 (UTC)

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Toninho Horta as composer of track 6 "Brazilian Rhyme, aka Beijo"
There is no reliable evidence that track 6, "Brazilian Rhyme, aka Beijo" is written by Toninho Horta. Toninho Horta's discography on allmusic.com does not list any composition titled "Beijo". Amazon.com's listing for All'n'All, while identifying it as "aka Beijo", does not list the composer.

It is a fact that All'n'All for many years labeled both tracks 6 and 10 as "Brazilian Rhyme" by M. Nascimento, and this is considered erroneous as "Beijo" is not identified as any Nascimento composition either.

This listing on allmusic https://www.allmusic.com/album/the-eternal-dance-mw0000168850 credits it to Maurice White.

Paul Richter (talk) 10:03, 6 December 2017 (UTC)

The musicians playing on the record
Please separate the actual band members from additional musicians. Now they are mixed up and need some knowledge beforehand to pick them up or alternatively searching and confirming from other places.Korina (talk) 22:01, 13 October 2018 (UTC)

title: Talk:All 'n All


text:
User talk:70.86.96.58

You have been blocked for 24 hours for continuation of a pointless edit war. If you wish to make useful contributions, you are welcome to come back after the block expires. JeremyA (talk) 03:56, 22 August 2005 (UTC)

title: User talk:70.86.96.58


text:
Talk:All About Chemistry

Fair use rationale for Image:All About Chemistry Blue.jpg
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Fair use rationale for Image:All About Chemistry Orange.jpg
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title: Talk:All About Chemistry


text:
Metropolitan Transportation Authority Police Department

The Metropolitan Transportation Authority Police Department (MTAPD) is a division of the Metropolitan Transportation Authority in New York state. MTA police officers are fully empowered under the New York State Public Authorities Law and are commissioned in the state of Connecticut. Their geographic area of employment extends to all counties in New York served by the Metropolitan Transportation Authority, giving officers the ability to exercise full police authority within the counties of Dutchess, Putnam, Orange, Rockland, Westchester, Nassau, Suffolk, and in New York City.

The MTA Police Department is the primary railroad police agency in New York State and Connecticut. The New York City subways are patrolled by the NYPD Transit Bureau under contract since 1994.

Since 2019, the MTA Police has officers conducting daily subway patrols in New York City in an effort to assist the NYPD in addressing quality of life issues, like homelessness, that affect commuters.

History
The department was formed on January 1, 1998, with the consolidation of the Long Island Rail Road Police Department and the Metro-North Railroad Police Department. Since 9/11, the department has expanded in size and has ramped up dramatically its counter-terrorism capabilities, adding canine teams and emergency services officers. There is one lieutenant, four sergeants, and 44 police officers who are assigned to the K-9 Unit and serve as handlers with their canine partners. The department has one of the best trained K-9 units in the United States. At a national competition in 2013, two MTA Police dogs took third and fourth place in explosives detection.

Currently, training for new recruits is conducted at the New York City Police Academy. After successfully completing the academy curriculum, officers are further trained in Connecticut law and law enforcement procedures.

Staten Island
On June 1, 2005, the Staten Island Rapid Transit Police Department, with 25 officers, was merged into the MTA Police Department. The Staten Island Rapid Transit Police Department was responsible for policing the Staten Island Rapid Transit System in the borough of Staten Island in New York City. This was the final step in consolidating MTA agency law enforcement, and increased the total workforce of the department to 716, including civilians.

New York City Subway
On September 12, 2019, the MTA announced the addition of 500 MTAPD officers to patrol the New York City Subway, nearly doubling the 783 officers previously employed by the MTAPD. This came shortly after Governor Andrew Cuomo directed the MTA to solve the issue of homelessness in the subway system.

After criticism of multiple high-profile arrests, multiple MTA board members expressed concerns over the added police presence, citing the high cost of personnel, estimated at $249 million over four years.

Accreditation
On the 3 March 2016 the MTAPD attained accreditation status from the New York State Department of Criminal Justice Services Accreditation Council.

Structure

On June 29, 2022, former Yonkers Police Department Commissioner John Mueller was appointed as the sixth Chief of Police.

The structure of the MTA Police is made up of the following senior officers:

 * 1) Chief of Police ("4-star" rank) - head of the MTAPD
 * 2) Chief of Operations, Administration ("3-star" rank) - second in command and in charge of operations
 * 3) Assistant Chief of Special Services ("2-star" rank) - third in command and in charge of special services

Below them rank the rest of the department (see rank structure below) of approximately 1000 police officers.

Officers serve across the transit system and in various departments (see below).

Ranks of Department
The following is a list of all of the ranks of the MTA Police Department:

Rank insignia for Sergeant and Detective Sergeant (when in uniform) is worn on the upper sleeves of the shirt and jacket while rank insignia for Lieutenant through Chief of Department is worn on the collars of the shirt and the shoulders of the jacket.

Power and authority

MTAPD officers are New York State police officers according to New York State Criminal Procedure Law, §1.20(34- meaning they have police powers in all of New York State.

Officers are also commissioned officers in Connecticut, as MTAPD works in Connecticut (see above section).

Uniforms and equipment

Despite being a state (or inter-state) law enforcement agency, MTAPD officers wear similar uniform to NYPD personnel.

This includes:

 * dark blue shirt with metal badge and collar pins
 * dark blue trousers
 * tie
 * jacket and coat
 * eight-point blue peaked cap, with cap-badge
 * duty belt
 * bullet-resistant vest
 * equipment vest
 * boots

The ESU and Hybrid Threat Unit wears a less formal version without metal badges and pins, and with writing on their shirts and jackets, with no "shield".

A variety of vests, gloves and other appropriate gear for the season/duty can be worn, such as traffic vests.

MTAPD officers are all armed with a pistol and also carry:

 * Taser
 * Expandable baton
 * OC spray
 * Handcuffs
 * Radio that is linked with central dispatch and other officers
 * notebooks and pens.

All officers wear a police badge (known in New York as a "shield") on their left chest, in regular and ceremonial uniform. The colour and style changes with rank.

Districts
There are currently 11 police districts within the MTA Police Department:

Specialized units

The department has the following specialized units (details):

 * Canine (K-9) Unit - provides special police dog support
 * Computer Crimes Unit
 * Emergency Services Unit - police officers, with special equipment, who are trained for a variety of serious emergencies. Similar to the units of the Port Authority Police and New York City Police.
 * Detective Division - investigates serious crimes to do with MTA
 * Highway Unit also known as "Highway Patrol" - patrols and protects the MTA bridges, highways, tunnels and other roads.
 * Homeless Assistance Unit
 * Interagency Counterterrorism Task Force - works with other New York state and city agencies.
 * Discovery Unit
 * Executive Protection Unit
 * Hybrid Threat Unit
 * Fare Evasion Task Force
 * Body Worn Camera Unit
 * Communications Unit
 * Emergency Operations
 * Internal Affairs Bureau
 * Technology & System Development
 * Right of Way Task Force
 * Training Unit
 * Applicant Investigations

Patrolman's Benevolent Association
The MTAPD has a Patrolman's Benevolent Association, which is a union for the MTA Police officers, from the ranks of "Officer" to "Lieutenant" inclusive.

The MTA website states:

"The primary purpose of the MTA PBA is to serve as a representative for the welfare of union members and to be the sole collective bargaining agent for all Police Officers, Detectives, Sergeants, and Lieutenants."

Social media
The MTAPD has a Twitter account, that it uses to disseminate useful information for users of the MTA.


text:
Bishop-fish

The sea bishop or bishop-fish was a type of sea monster reported in the 16th century. According to legend, it was taken to the King of Poland, who wished to keep it. It was also shown to a group of Catholic bishops, to whom the bishop-fish gestured, appealing to be released. They granted its wish, at which point it made the sign of the cross and disappeared into the sea.

Another was supposedly captured in the ocean near Germany in 1531. It refused to eat and died after three days. It was described and pictured in the fourth volume of Conrad Gesner's famous ''Historiae animalium, published in 1551 – 58 and 1587.

Cryptozoologist Bernard Heuvelmans believed the report was based on the discovery of a large mutilated Grimaldi scaled squid.

title: Bishop-fish


text:
Talk:All Fall Down (Against All Authority album)

Fair use rationale for Image:Against All Authority - All Fall Down.jpg
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BetacommandBot (talk) 04:16, 12 February 2008 (UTC)

Fair use rationale for Image:Against All Authority - All Fall Down.jpg
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text:
James Baring, 6th Baron Revelstoke

James Cecil Baring, 6th Baron Revelstoke (16 August 1938 – 7 February 2012) was a British peer.

Early life
He was the second son of Rupert Baring, 4th Baron Revelstoke, and the former Hon. Flora Fermor-Hesketh (a daughter of the 1st Baron Hesketh). His great-grandfather was financier Edward Charles Baring, 1st Baron Revelstoke of Membland (1828–1897). His half-sisters, by a later marriage of his mother to Lt.-Cdr. Derek Lawson, are Arabella Ann Spurrier (née Lawson), born 14 August 1946, and Caroline Flora Turner (née Lawson), born 23 September 1953.

He was educated at Eton College, Eton, Berkshire.

Career
From 1957 until 1959, Baring served in the National Service in the RAF, thereafter moving to London, where he lived until 1970. He summered on Lambay Island, located in the Irish Sea.

While in London, he bought the Regent Sound Studios located in London’s Tin Pan Alley and served as manager for the studio. At the studio, The Rolling Stones recorded their first album, the self-titled The Rolling Stones album, as well as The Beatles who recorded some tracks, including a song for their Sgt. Pepper's Lonely Hearts Club Band album. The Who, Tom Jones, and Roger Whittaker all recorded in the studio.

The studio was also used by those working in London’s West End theatre district, preparing songs for musical productions. Galt MacDermot, who composed the music for Hair, spent considerable time arranging the music for the production at the studio.

He succeeded his brother, John Baring, 5th Baron Revelstoke, born 2 December 1934, in 2003.

Personal life
In 1968, he married Aneta Laline Dennis Fisher. They had two sons:

 * Alexander Rupert Baring, born 9 April 1970, currently the 7th Baron Revelstoke.
 * Thomas James Baring, born 4 December 1971.

In 1983, after his divorce from Aneta, he married Sarah Stubbs in 1983. Before their divorce, they had two daughters:

 * Flora Aksinia Baring, born 17 July 1983, who worked at Hamish Dewar in London
 * Miranda Louise Baring, born 1 May 1987, who studied the keyboard and vocals at the London School of Contemporary Music

He died aged 73 on 7 February 2012 and was succeeded by his son Alexander Rupert Baring.

title: James Baring, 6th Baron Revelstoke


text:
Talk:All I Really Want to Do (album)

GA?
CherScholar.com and Homepages.ihug.com.au don't seem like reliable sources, at all. Hekerui (talk) 22:23, 11 August 2009 (UTC)

Chronology
This article has its chronology all mixed up and is therefore factually erroneous. It claims that the album was "Cher's first solo first solo project since the release of her two unsuccessful 1964 singles, "Ringo, I Love You" and "Dream Baby", released under the pseudonyms Bonnie Jo Mason and Cherylin respectively," and that "After the success of Sonny & Cher's "I Got You Babe" single, Bono decided to promote his wife as a solo act." In point of fact, Cher's recording of the song "All I Really Want to Do" was released in May of 1965, while "I Got You Babe" was not released until July of 1965. — Preceding unsigned comment added by 98.116.222.226 (talk) 20:31, 27 June 2015 (UTC)

External links modified
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title: Talk:All I Really Want to Do (album)


text:
Talk:All I Want (Tim McGraw album)

Fair use rationale for Image:Timalliwant.jpg
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title: Talk:All I Want (Tim McGraw album)


text:
Talk:All Pigs Must Die (album)

Fair use rationale for Image:Deathinjune allpigsmustdie.jpg
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BetacommandBot 03:07, 26 October 2007 (UTC)

title: Talk:All Pigs Must Die (album)


text:
User:Hearth

Yes.

title: User:Hearth


text:
Talk:All Request Live

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BetacommandBot (talk) 06:27, 21 January 2008 (UTC)

title: Talk:All Request Live


text:
Talk:All Rise (Blue album)

External links modified
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title: Talk:All Rise (Blue album)


text:
Talk:All Roads to Fault

Fair use rationale for Image:YcnimAllRoads.jpg
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BetacommandBot (talk) 03:20, 12 February 2008 (UTC)
 * ✅ Done.  tomasz.  22:52, 12 February 2008 (UTC)

title: Talk:All Roads to Fault


text: User talk:81.197.67.42

title: User talk:81.197.67.42


text:
Talk:All the Joy in the World

Fair use rationale for Image:All the Joy in the World.jpg
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BetacommandBot (talk) 05:36, 2 January 2008 (UTC)

title: Talk:All the Joy in the World


text:
Talk:All the Young Dudes (album)

Assessment comment
Substituted at 07:22, 29 April 2016 (UTC)

 * Article now meets C criteria. SilkTork (talk) 17:52, 11 September 2021 (UTC)

title: Talk:All the Young Dudes (album)