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1908 New Zealand general election

The 1908 New Zealand general election was held on Tuesday, 17 and 24 November and 1 December in the general electorates, and on Wednesday, 2 December in the Māori electorates to elect a total of 80 MPs to the 17th session of the New Zealand Parliament. A total number of 537,003 (79.8%) voters turned out to vote.

Changes to the electoral law
The Second Ballot Act 1908 provided for second or runoff ballots between the top two candidates where the top candidate did not get an absolute majority. The second ballot was held 7 days after the first ballot except in 10 large rural seats, where 14 days were allowed. In 1908, 22 second ballots were held on 24 November and 1 (Bay of Plenty) on 1 December. At the 1911 election, all 30 second ballots were held 7 days later. Two 1909 by-elections (in Rangitikei and Thames) also required second ballots.

The Second Ballot Act of 1908, which did not apply to the Maori electorates, was repealed in 1913.

Party totals
The following table gives party strengths and vote distribution.

Electorate results
The following are the results of the 1908 general election:

Key

|colspan=8 style="background-color:#FFDEAD" | General electorates

|colspan=8 style="background-color:#FFDEAD" | Māori electorates

Table footnotes:
 * }

Summary of changes

 * A boundary redistribution resulted in the abolition of seven seats:
 * Caversham, held by Thomas Sidey
 * Courtenay, held by Charles Lewis
 * Hawera, held by Charles E. Major
 * Mount Ida, held by John MacPherson
 * Newtown, held by William Barber
 * Waiapu, held by James Carroll
 * Waikouaiti, held by Thomas Mackenzie
 * At the same time, seven new seats came into being:
 * Dunedin West
 * Gisborne
 * Stratford
 * Taumarunui
 * Tauranga
 * Wellington South
 * Wellington Suburbs

title: 1908 New Zealand general election


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Darlingford

Darlingford is an unincorporated community recognized as a local urban district located 21 km west of Morden, Manitoba in the Municipality of Pembina in the Pembina Valley region of southern Manitoba, Canada.

History
Darlingford was founded by James Ephraim Law, builder of the first house in the town. The Law cairn was erected and is a tribute to the steadfast love of family and community that was inherent in the life of John Oliver and Sara Law. They instilled these same virtues in their thirteen children that they raised on this very site. John Oliver is the son of James Ephriam Law. James was said to have purchased this NW8-3-7W in 1898 but the registration did not take place until 1902.

A Manitoba Historical Plaque was erected in Darlingford by the province to commemorate Darlingford Memorial and Park's role in Manitoba's heritage.

In 1921, Darlingford and the surrounding district commemorated their military efforts and their war dead by constructing a small Gothic-inspired memorial building and park. The Darlingford Memorial Park was largely inspired by Ferris Bolton, a pioneer farmer and politician from Darlingford, whose three sons were killed in France in 1917. Maintained today by local volunteers, it remains the only free-standing memorial building in Manitoba with the sole function of commemorating the war dead. Two black marble tablets inside the structure display the names of 199 local veterans and victims of both the First World War and Second World War. The memorial was designated a Manitoba Provincial Heritage Site on March 29, 1991 by the Government of Manitoba.

As early as 1905, the Manitoba Department of Education was experimenting with consolidation to better serve local communities and students. It was thought that a bigger and better equipped school, in a centralized location, provided better education. Darlingford Consolidated School No. 1228, completed in 1910 on a design by Winnipeg architect F. R. Evans, is an example of those developments. Built of brick, the entrance tower is notably off-centre so that, as the school enrollment grew, another wing would be added on the south side of the building. That never happened at Darlingford. The building features a rare fire escape system off the second floor at the rear.

The building is now home for the Darlingford School Heritage Museum.

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

title: Darlingford


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Meduza

Meduza (Russian: Медуза, named after the Greek goddess Medusa ) is a Russian- and English-language independent news website, headquartered in Riga, Latvia. It was founded in 2014 by a group of former employees of the then-independent Lenta.ru news website. Free mobile applications for iOS, Windows Phone, and Android became the basis of the media. A semi-official motto of the portal is "Make the Kremlin sad".

History
In 2014, Galina Timchenko was fired from her job as chief editor at Lenta.ru by oligarch Alexander Mamut, a supporter of Vladimir Putin, after she had interviewed Right Sector leader Dmytro Yarosh. She launched the new webpage Meduza in October 2014. Several former journalists of Lenta.ru joined the new online site.

Timchenko told Forbes that the decision to base Meduza in Latvia was made since "right now, establishing an independent Russian language publishing house in Latvia is possible, while in Russia it is not". Moreover, Timchenko stated: "We understood that in Russia, most likely, they would not let us work."

Russian businessman and former oligarch Mikhail Khodorkovsky and telecommunications magnate Boris Zimin had been considered as passive investors, but they parted ways "for strategic and operational reasons". Timchenko said Khodorkovsky had wanted 100 percent control of Meduza, which she considered unacceptable. For financial reasons, Timchenko and her partner at Amond & Smith Ltd, Sergey Nazarkin, based Meduza in Latvia.

In February 2015, the website also launched an English-language version. In January 2016, Timchenko handed over the role of chief editor to her deputy Ivan Kolpakov.

In August 2017, Meduza started a partnership with the American news website BuzzFeed News. The partnership included publishing each other's materials, sharing experiences, and carrying out and publishing joint investigations.

On October 20, 2018, at the outlet's annual celebration, Meduza chief editor and co-founder Ivan Kolpakov reportedly groped an employee's wife, saying, "You're the only one at this party I can harass and get away with it." Kolpakov was temporarily suspended until Meduza publicly censured and reinstated him. The incident triggered a social media backlash. On November 9 Kolpakov announced his resignation saying that "it is the only way to stop the crisis engulfing the website and minimize the damage to its reputation". He was reinstated as chief editor on March 11, 2019.

In 2019, Meduza started the English podcast The Naked Pravda, which highlights how Meduza 's top reporting intersects with the wider research and expertise that exists about Russia.

In May 2022, Helsingin Sanomat started publishing individual Meduza articles translated in Finnish.

In February 2023, Timchenko's iPhone was targeted with Pegasus spyware. The attack occurred a day before a conference of exiled independent Russian media that was held in Berlin and which Timchenko attended; her phone could have been used to eavesdrop on the journalists' conversations during the conference. This attack is the first confirmed instance of Pegasus being used against a Russian journalist. It is unclear which state carried out the attack. Several employees of other independent Russian outlets, Current Time TV and Novaya Gazeta, received notifications from Apple that "state-sponsored attackers" may have attacked their phones as well.

Structure
By 2014 Meduza had a team of around 20 journalists. No Latvian journalists contribute to the project.

Since March 2015, Meduza has published a daily news called "Evening Meduza".

In September 2022, it announced the creation of English email dispatch "The Beet", aiming to amplify "local perspectives" from Central/Eastern Europe, the Caucasus and Central Asia, "without centering Moscow". Its debut article was titled 'Suing Gorbachev' and explored Soviet violence in the Baltic states under Mikhail Gorbachev.

Audience
Three months after opening, Meduza had 1.3 million monthly readers of its Internet publication. In 2017, Meduza had 7.5 million readers per month and 2 million followers on social media. In 2020, Meduza was the leading Russian site in social media links, according to Medialogia, a company that monitors and analyzes exclusivity Russian sites on media and social networks. By March 2022, Meduza's website had between 12 and 18 million monthly visitors. The majority of readers are younger than 45.

Meduza grants open source access to all their coverage of the war in Ukraine under a Creative Commons license. The articles can be reprinted in full (CC BY 4.0, does not apply to photos).

Censorship
Meduza aims to fill a market niche that exists due to "a long list of forbidden topics which Russian media do not raise for various reasons—due to direct and indirect censorship".

The day after it was launched, Meduza was blocked in Kazakhstan, probably due to an article about the city of Oskemen (Ust-Kamenogorsk).

Access to the site has also been blocked in Uzbekistan.

Meduza has installed technical measures to circumvent censorship with their mobile apps.

In June 2019, Meduza journalist Ivan Golunov was arrested by Russian police for claimed drug offences. Colleagues and friends of Golunov said they believed the charges to be fabricated, motivated by his investigations into corruption. Following a public outcry, Golunov was released, and five police officers were fired and later arrested.

On 23 April 2021, the Russian Ministry of Justice designated Meduza as a "foreign agent". In response, the European Union rejected the decision, saying this restriction "goes against Russia's international obligations and human rights commitments". Russia's actions caused financial difficulties for Meduza, as they stopped many advertisers from Russia, which were the portal's main source of income, from displaying their ads at Meduza's pages. This resulted in an international campaign to collect funds to ensure Meduza's survival through donations and buying subscriptions. Timchenko said the designation made it even harder to obtain sources that are willing to talk to the reporters – specifically without the protection of anonymity.

Meduza published an editorial condemning the 2022 Russian invasion of Ukraine on 24 February 2022; due to its coverage of the invasion, the site was blocked on the territory of Russia by Roskomnadzor among other news websites due to the "systematic dissemination of fakes". Despite the actions of Roskomnadzor, Meduza managed to maintain most of its Russian readers, but the economic sanctions imposed on Russia over its invasion of Ukraine also hit Meduza's finances, as the sanctions made it nearly impossible to send donations from Russia and 30,000 members across the Russian border were suddenly unable to donate to the website. As a result, Meduza launched a campaign seeking donations from new supporters outside of Russia. On March 11, Reporters Without Borders announced a mirror site has been set up. Russian journalist Ilya Krasilshchik, the former publisher of Meduza, was charged under the "fake news" law for denouncing the war in Ukraine.

On 26 January 2023, the Russian prosecutor-general’s office designated Meduza as an "undesirable organization" in Russia. In March 2023, Timchenko said that while "Russian propaganda has enormous financial sources" and the government can spend billions to spread disinformation, Meduza has a "little crowdfunding campaign by people of good will around the world, and some support from international organizations".

Criticism
In December 2022, the independent outlet Proekt wrote that since 2019, Meduza increased the number of exclusive articles per month from two to up to eight, especially since the start of the 2022 Russia-Ukraine War. After studying 150 articles published by Meduza journalist Andrey Pertsev since mid 2019 where at least 65 predictions were made, Proekt found out that only 10% of the predictions came true. Amongst the things that didn't come true were numerous predicted government resignations, a union between All-Russia People's Front and United Russia, nine predicted annexation dates of Ukrainian regions and Russia - also, five days before the Russian attack on Ukraine, Meduza said the attack would not happen. Out of the things that did come true, except two cases, all of the predictions appeared in other publications.

Awards

 * 2016 - Ilnur Sharafiev received the Redkollegia award for the article 18 thousand rubles per person published in Meduza.
 * 2022 - Galina Timchenko received the Committee to Protect Journalists' (CJP) Gwen Ifill Press Freedom Award as Meduza's CEO and publisher for "extraordinary and sustained achievement in the cause of press freedom".
 * 2022 - The Fritt Ord Prize for courageous, independent and fact-based journalism

title: Meduza


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Richard Skinner (American politician)

Richard Skinner (May 30, 1778 –May 23, 1833) was an American politician, attorney, and jurist who served as the ninth governor of Vermont.

Biography
Skinner was born in Litchfield, Connecticut, the son of Timothy Skinner and Susanna Marsh Skinner. Judge Roger Skinner was his brother. Richard Skinner completed preparatory studies and graduated from Litchfield Law School. He was admitted to the bar in 1800, and began a practice in Manchester, Vermont. He married Fanny Pierpont and they had four children, including prominent Illinois politician Mark Skinner. Among the prospective attorneys who learned the law in Skinner's office was Pierpoint Isham, who served as a justice of the Vermont Supreme Court from 1851 to 1856.

Career
In 1801, Skinner became the state's attorney for Bennington County, a position he held until 1813. From 1805 to 1813, Skinner was probate judge for the Manchester district.

In the 1812 elections, Skinner was elected as a Democratic-Republican to the U.S. House of Representatives for Vermont's new created 5th District. He served a single two-year term (the 13th Congress) from March 4, 1813, to March 3, 1815. Skinner lost in the 1814 election to the 14th Congress and returned to Vermont to resume the practice of law.

Skinner became a Judge on the Vermont Supreme Court in 1815 and 1816; he succeeded Asa Aldis as chief justice in 1816, but declined reappointment to the post in 1817. He was a member of the Vermont House of Representatives in 1815 and 1818, serving as Speaker in the latter year.

In 1819, Skinner briefly returned to his former position of Bennington County state's attorney. The same year, he was elected Governor of Vermont, and served from 1820 until 1823, when he became the Chief Justice on the Vermont Supreme Court. Skinner held this position until 1828, when he retired from public life.

Skinner was interested in public education and served as president of the northeastern branch of the American Educational Society and a trustee of Middlebury College.

Death
Skinner died in Manchester on May 23, 1833. He was buried at Dellwood Cemetery in Manchester.

title: Richard Skinner (American politician)


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Chimes at Midnight

Chimes at Midnight (Campanadas a medianoche, released in most of Europe as Falstaff) is a 1966 period comedy-drama film written, directed by, and starring Orson Welles. Its plot centers on William Shakespeare's recurring character Sir John Falstaff and his fatherly relationship with Prince Hal, who must choose loyalty to Falstaff or to his father, King Henry IV. The English-language film was an international co-production of Spain, France, and Switzerland.

Welles said that the core of the film's story was "betrayal of friendship". It stars Welles as Falstaff, Keith Baxter as Prince Hal, John Gielgud as Henry IV, Jeanne Moreau as Doll Tearsheet, and Margaret Rutherford as Mistress Quickly. The script contains text from five of Shakespeare's plays, primarily Henry IV, Part 1 and Henry IV, Part 2, but also Richard II, Henry V, and The Merry Wives of Windsor. Ralph Richardson's narration is taken from the works of chronicler Raphael Holinshed.

Welles had produced a Broadway stage adaptation of nine Shakespeare plays, Five Kings, in 1939. In 1960, he revived this project in Ireland as Chimes at Midnight, which was his final stage performance. Neither of these plays was successful, but Welles considered portraying Falstaff his life's ambition and turned the project into a film. To get financing, he lied to producer Emiliano Piedra that he intended to make a version of Treasure Island, and keeping the film funded during its production was a constant struggle. Welles shot Chimes at Midnight in Spain between 1964 and 1965; it premiered at the 1966 Cannes Film Festival, winning two awards there.

Initially dismissed by most film critics, Chimes at Midnight is now regarded as one of Welles's highest achievements, and Welles called it his best work. Welles felt a strong connection to the character of Falstaff and called him "Shakespeare's greatest creation". Some film scholars and Welles's collaborators have made comparisons between Falstaff and Welles, while others see a resemblance between Falstaff and Welles's father. Disputes over the ownership of Chimes at Midnight made it difficult to view the film legally until recently. It was released in the UK on DVD and Blu-ray in 2015. A new restoration by Janus Films and The Criterion Collection screened at Film Forum in New York on January 1–12, 2016. The Criterion Collection released the film on Blu-ray and DVD on August 30, 2016.

Plot
Sir John Falstaff and Justice Shallow walk through the snow, then to a warm fire inside Shallow's home in Gloucestershire, as the two reminisce. King Henry IV of England has succeeded Richard II, whom he has killed. Richard II's true heir, Edmund Mortimer, is a prisoner in Wales, and Mortimer's cousins (the Percys) Northumberland, Worcester, and Northumberland's son Henry Percy (called "Hotspur") demand that the king rescue Mortimer. He refuses, and the Percys begin to plot his overthrow.

To Henry's great dissatisfaction, his son Prince Hal spends most of his time at the Boar's Head Tavern, drinking and carousing with prostitutes, thieves, and other criminals under Falstaff's fatherly influence. Falstaff insists that he and Hal should think of themselves as gentlemen, but Hal warns Falstaff that he will one day reject both this lifestyle and Falstaff. The next morning, Hal, Falstaff, Bardolph, Peto, and Poins disguise themselves in Gadshill to prepare to rob a group of traveling pilgrims. After Falstaff, Bardolph, and Peto rob the pilgrims, Hal and Poins jump out in disguises and take the stolen treasure from Falstaff as a prank.

Back at the tavern, Falstaff begins to tell Hal and Poins with increasing exaggeration the story of how the money was stolen from him. Hal and Poins poke holes in Falstaff's tale until they reveal their prank. In celebration of the newly recovered treasure, Falstaff and Hal take turns impersonating Henry, with a cooking pot crown and vocal impressions. Falstaff's Henry chastises Hal for spending his time with common criminals, but names Falstaff as his one virtuous friend. Hal's Henry calls Falstaff a "misleader of youth".

Hal visits the king at the castle, and Henry scolds him for his criminal and unethical lifestyle. Henry warns Hal about Hotspur's growing army and its threat to his crown. Hal passionately vows to his unimpressed father that he will defend Henry and redeem his name. The King's army, including Falstaff, parades through the streets and off to war. Before the battle, Henry meets with Worcester and offers to forgive all of Hotspur's men of treason if they surrender immediately. Hal vows to kill Hotspur himself. Worcester returns to his camp and lies to Hotspur, telling him that Henry intends to execute all traitors.

The two armies meet in the Battle of Shrewsbury, but Falstaff hides in shrubs for most of the conflict. After a long, bloody fight, the king's men win the battle, after which Hotspur and Hal meet alone and duel; as Falstaff watches, Hal kills Hotspur. Henry sentences Worcester to death and takes his men prisoner. Falstaff brings Hotspur's body to Henry, claiming that he killed Hotspur; Henry does not believe him, looking disapprovingly at Hal and the ignoble company he keeps.

The narrator explains that all of Henry IV's rebellious enemies had been killed by 1408, but that Henry's health has begun to deteriorate. At the castle, Henry becomes upset when told that Hal is once again spending time with Falstaff, and collapses. Hal visits the castle and discovers that Henry is sicker than he had realized. Hal vows to Henry to be a good and noble king. Henry finally has faith in Hal and advises him on how to be a king. Henry dies and Hal tells his men that he is now King Henry V.

Falstaff, Shallow, and Silence sit in front of the fire, continuing the film's first scene. They receive news of Henry IV's death and that Hal's coronation will be held that morning. Falstaff becomes ecstatic and goes directly to the castle, thinking he will become a great and powerful nobleman under Henry V. At the coronation, Falstaff cannot contain his excitement and interrupts the ceremony, announcing himself to Hal. Hal turns his back on Falstaff and proclaims that he is now finished with his former lifestyle. As Falstaff looks up at Hal with a mixture of pride and despair, the new king banishes him. The coronation continues into the castle as Falstaff walks away, claiming he will be sent for that evening. That night, Falstaff dies at the Boar's Head Tavern, and his friends mourn him, saying he died of a broken heart. Hal goes on to become a good and noble king.

Cast

 * Orson Welles as Sir John Falstaff, a knight and father figure to Prince Hal
 * Keith Baxter as Prince Hal, the Prince of Wales and heir to the throne of England
 * John Gielgud as King Henry IV, the King of England
 * Margaret Rutherford as Mistress Quickly, hostess of the Boar's Head Tavern
 * Jeanne Moreau as Doll Tearsheet, a prostitute
 * Alan Webb as Justice Shallow, a country justice and old friend of Falstaff
 * Walter Chiari as Justice Silence, a country justice
 * Michael Aldridge as Pistol, a friend of Falstaff
 * Tony Beckley as Ned Poins, a friend of Falstaff and Hal
 * Charles Farrell as Bardolph, a friend of Falstaff and Hal
 * Patrick Bedford as Nym, a friend of Falstaff and Hal
 * José Nieto as Earl of Northumberland, an Earl in rebellion against the King, and cousin of Edmund Mortimer
 * Keith Pyott as the Lord Chief Justice
 * Fernando Rey as Earl of Worcester, Northumberland's brother, and cousin of Edmund Mortimer
 * Norman Rodway as Henry Percy, called Hotspur, Northumberland's son, and second cousin of Edmund Mortimer
 * Marina Vlady as Kate Percy, Hotspur's wife
 * Andrew Faulds as Earl of Westmorland, an Earl loyal to the King
 * Jeremy Rowe as Prince John, Henry IV's second son
 * Beatrice Welles as Falstaff's Page, a servant (also played by Bruno Yasoni after Beatrice could not finish filming)
 * Fernando Hilbeck
 * Andrés Mejuto
 * Julio Peña
 * Ralph Richardson as The Narrator (voice)
 * Ingrid Pitt as Courtesan (uncredited)

Original stage productions
Welles's inspiration for Chimes at Midnight began in 1930 when he was a student at the Todd Seminary for Boys in Woodstock, Illinois. He tried to stage a three-and-a-half-hour combination of several of Shakespeare's historical plays called The Winter of Our Discontent in which he played Richard III. School officials forced him to make cuts to the production. Chimes at Midnight originated in 1939 as a stage play called Five Kings, which Welles wrote and partially staged. It was an ambitious adaptation of several Shakespeare plays that chronicled the stories of Richard II, Henry IV, Henry V, Henry VI and Richard III. Its sources were Richard II, Henry IV, Part 1, Henry IV, Part 2, Henry V, The Merry Wives of Windsor, Henry VI, Part 1, Henry VI, Part 2, Henry VI, Part 3, and Richard III—sometimes collectively called the "War of the Roses cycle". The grouping of Henry IV, Part 1, Henry IV, Part 2 and Henry V is often called the Henriad.

Five Kings (1939)
Five Kings was announced as part of the newly revived Mercury Theatre's second season in 1938. John Houseman had secured a partnership with the prestigious Theatre Guild to produce the play for US$40,000, with an initial tour of Baltimore, Boston, Washington D.C., and Philadelphia before debuting on Broadway. Welles intended to stage only the first part of the play—which was primarily taken from Henry IV Parts 1 and 2 and Henry V—during the tour while simultaneously rehearsing Part Two and finally debuting the full production on Broadway. Houseman said the play's aim was "to combine the immediate quality of the Elizabethan with all the devices and techniques possible in the modern theatre." The cast included Welles as Falstaff, Burgess Meredith as Prince Hal, John Emery as Hotspur, Morris Ankrum as Henry IV and Robert Speaight as the Narrator. The play's music was by Aaron Copland. Welles commissioned an elaborate revolving set, but it was not completed during the five weeks allotted to rehearsals.

Welles avoided attending the rehearsals or finishing the play's final script and instead often went out drinking and socializing with co-star Meredith, with the result that only specific scenes or fragments of the play were ever rehearsed. The Baltimore performance was eventually dropped and at the first dress rehearsal in Boston, it was discovered that the play was over five and a half hours long and contained 46 scenes. Welles cut 14 scenes and shortened others, which caused the built-in timer for the revolving set to move out of synchronization. Five Kings, Part 1 premiered at the Colonial Theatre in Boston on February 27, 1939, and was a disaster. Critics were either scathing or apologetic, and only the play's battle scenes received praise. By the end of the Boston run, the Theatre Guild was on the verge of dropping the production, and canceled the D.C. engagement. Welles then edited the show to three and a half hours. The play closed after only a few performances in Philadelphia, and the Theatre Guild terminated its contract with the Mercury Theater. Photographs of the play's rehearsals show similarities to Chimes at Midnight, including the Boar's Head Tavern set and the character blocking of the "chimes at midnight" scene with Falstaff, Shallow, and Silence.

Chimes at Midnight (1960)
Welles returned to the project in 1960, with performances in Belfast and Dublin. This version, retitled Chimes at Midnight, was produced by Welles's old friend Hilton Edwards through his Dublin-based company Gate Theatre. The cast included Welles as Falstaff, Keith Baxter as Prince Hal, Hilton Edwards as the Narrator, Reginald Jarman as Henry IV, and Alexis Kanner as Hotspur. At one point, Welles and Edwards wanted Micheál Mac Liammóir to replace Jarman, but Mac Liammóir would only accept the role of Prince Hal. Hilton Edwards was officially credited as director, but Welles is usually acknowledged as the actual director and often directed rehearsals. Welles's alleged biological son Michael Lindsay-Hogg also worked on the play as an actor and as Edwards's personal assistant. Welles's opinion of Falstaff had grown since first playing the part, and his new version of the play focused more upon the relationship between Falstaff and Prince Hal than on Hal's defeat of Hotspur. Most of the scenes from Henry V used in the first version were removed. Welles intended to perform the play in Belfast, Dublin, and London before filming it in Yugoslavia.

Rehearsals for the play began in Russell Square, London, with a read-through. After a week of rehearsing, Welles left to secure further funding and Edwards directed the play, working on blocking and lighting. Welles returned a week before the premiere without having learned a line. The cast had their technical rehearsal the night before opening. which lasted until 8 a.m. the next morning. They never had a dress rehearsal or even a run-through and had never seen Welles without the book or in costume. After premiering at the Grand Opera House in Belfast on February 13, 1960, and receiving a good review from a Variety correspondent, it moved to the Gaiety Theatre in Dublin. For two nights Welles did a one-man show, starting with readings of J. M. Synge, Riders to the Sea, Moby Dick and the works of Isak Dinesen. The second half was a TV show with questions from the audience. Afterward it was revealed that the TV cameras were fake, just to attract an audience. Welles continued to adjust the play throughout its short production, and at one point moved Mistress Quickly's speech about Falstaff's death to the very beginning of the play. He finally abandoned the project in late March 1960, when his friend Laurence Olivier offered him the chance to direct him in Eugène Ionesco's play Rhinoceros on London's West End. According to Keith Baxter, Welles ended the play's run because he was bored with it, and at one point told Baxter, "This is only a rehearsal for the movie, Keith, and I'll never make it unless you play Hal in that too." Five years later, Baxter and Welles's youngest daughter, Beatrice Welles, who played Falstaff's page, were the only cast members from the play to appear in the film. Chimes at Midnight was Welles's final performance in a theatrical play.

Pre-production

In 1964, Welles met and befriended Spanish film producer Emiliano Piedra, who wanted to work with him. Piedra did not think a Shakespearean film was marketable enough and proposed that Welles make a version of Treasure Island. Welles agreed to this on condition that he simultaneously could make Chimes at Midnight, and Piedra agreed, not knowing that Welles had no intention of making Treasure Island. Although some B-roll footage of the Alicante departing from port was shot early in the production, no scenes from Treasure Island were ever shot or even scripted. Welles got away with this throughout preproduction by building sets that could be used in both films, such as Mistress Quickly's Boar's Head Tavern, which doubled as the Admiral Benbow Inn. Welles also cast each actor in both films, casting himself as Long John Silver, Baxter as Dr. Livesey, Beckley as Israel Hands and Gielgud as Squire Trelawney. Ironically, Welles played Long John Silver in the unrelated 1972 film version of Treasure Island.

Welles said that the Boar's Head Tavern was the only full set built for the film, with the others simply dressed or decorated on location. He said he designed, painted, and blow-torched the set, and designed all the film's costumes. Early in pre-production, Anthony Perkins approached Welles about playing Prince Hal, but Welles had already promised the role to Baxter. Hilton Edwards was initially cast as Justice Silence, but was replaced after he became ill. The title Chimes at Midnight derives from Henry IV, Part 2, where in response to Justice Shallow's reminiscences about their school days, Falstaff says: "We have heard the chimes at midnight, Master Shallow". Welles scholar Bridget Gellert Lyons said that the film's title, "which is given further resonance by the repeated intoning of bells throughout the film, is associated for the audience with sadness and mortality more than youthful carousal."

Filming
The film was shot in Spain from September 1964 to April 1965, with a break from late December to late February. Welles's limitations on the film included a budget of $800,000 and actors Jeanne Moreau and John Gielgud being available for five and ten days respectively, while Margaret Rutherford was available for only four weeks. Welles later joked that during one scene that included seven principal characters, none of the actors was available and stand-ins were used for over-the-shoulder shots of all seven. Filming began in Colmenar and included all of Gielgud's scenes. Welles then traveled to Cardona, where the Royal Court scenes and Marina Vlady's scenes were shot, and to Madrid's Casa de Campo Park, where the Gadshill robbery scene was filmed. Madrid was also the location of the Boar's Head Tavern set, where Welles shot Moreau's and Rutherford's scenes. The production then traveled to Pedraza for some outdoor street scenes, and then to Soria to shoot in the snow for the opening shots. After shooting some scenes with Shallow and Silence in the Basque country, Welles returned to Madrid in December to film the battle scenes in Casa de Campo Park for ten days.

The exploitation filmmaker Jesús Franco worked as an assistant director on the film. He is not listed in the credits because he and Welles fell out.

By late December, Welles had run out of money and the film was put on hold while he sought additional funding. But some small scenes were shot during the break. Welles later said he had rejected offers for funding that were conditional on filming in color. He eventually secured funding from Harry Saltzman and production officially resumed in late February, with most of Baxter's longer speeches and the Coronation scene in Madrid. Between March and April, Welles finished the film with filler shots, closeups, the final rejection scene, and most of Falstaff's speeches. According to Baxter, Welles had stage fright and delayed all his scenes until the very end of filming, except for those that included other actors. Welles was timid about shooting his love scene with Moreau, and used a double whenever possible. Other filming locations included the Chateau Calatañazor, Puerta de San Vincente, the Soria Cathedral, and the city of Ávila. Welles was harsh with his crew members and, according to actor Andrew Faulds, "he spoke in five different languages to them and was pretty offensive—very demanding. I suppose he'd worked out that if you bullied actors, you didn't get the best from them whereas, to hell with the technicians. They had to do as they were told, and pretty quick." A scene depicting the assassination of King Richard II, originally intended to open the film, was cut.

Post-production
Baxter said that the film's soundtrack was post-dubbed months after filming was completed, and that actors Fernando Rey and Marina Vlady were dubbed by different actors because of their heavy accents. Baxter also said that he, Welles and Michael Aldridge recorded voices for several characters in post-production. Mistress Quickly's speech after Falstaff's death, which was disrupted by the audible hum of a power generator, used the original version of the soundtrack because Welles liked Rutherford's performance enough to keep it. The score was by Angelo Francesco Lavagnino, who had worked with Welles on Othello; it is notable for its prominent use of actual medieval monophonic dance tunes (and some later “early music", such as several of Antony Holborne's Elizabethan consort pieces) at a time when this was uncommon. The score was recorded in an Italian studio, which paid Lavagnino for his work on the film in exchange for the rights to the music, and later released a soundtrack album in Italy and the UK. During editing, Welles showed a rough cut to the visiting head of the Cannes Film Festival, who immediately wanted to include the film in the festival, and Welles had to finish the editing more quickly than he preferred.

Cinematography
Welles originally wanted the entire film to use high-contrast cinematography, resembling engravings of the Middle Ages; only the opening title sequence uses this technique. The film's most famous sequence is the Battle of Shrewsbury; only about 180 extras were available and Welles used editing techniques to give the appearance of armies of thousands. Welles filmed all the battle scenes in long takes, but cut the shots into fragments to create the effect he wanted. It took ten days to shoot the scenes and six weeks to edit what became a six-minute sequence. In filming the sequence, Welles often used hand-held cameras, wide-angle lenses, slow motion and speed up shots, static shots, swish pans, and constant rapid movement of the characters to create a kinetic and chaotic atmosphere. Anderegg wrote, "in the end, both armies have become one huge, awkward, disintegrating war machine, a grotesque robot whose power source slowly begins to fail and finally comes to a frozen halt. Verbal rhetoric—language itself—seems, for the moment, both irrelevant and obscene."

Film critics have called the Battle of Shrewsbury sequence an anti-war statement and likened it to contemporary films like Dr. Strangelove and Culloden. Shakespearean scholar Daniel Seltzer said, "the social consciousness of the movie is as alert as Shakespeare's, and thematically pertinent in Shakespearean terms too ... the footage of the Battle of Shrewsbury itself must be some of the finest, truest, ugliest scenes of warfare ever shot and edited for a movie." Welles scholar James Naremore said, "the underlying eroticism of the chivalric code ... is exposed in all its cruel perversity." Tony Howard wrote that Welles used Shakespeare's historical plays "to denounce modern political hypocrisy and militarism."

Sound
Due to budgetary constraints, both the on-set and post-production sound was poorly recorded. Anderegg wrote that this, in combination with Welles's fast-paced camera movements and editing, makes the Shakespearean dialogue more difficult to understand. Many scenes are shot in long takes or with character's backs facing the camera, most likely for practical purposes when actors were not present, creating more sound problems. "In effect," Anderegg writes, "Welles generates a constant tension between what we see and what we hear, a tension that points to the ambiguous status of language in its relation to action." During the Battle of Shrewsbury sequence, Welles used a complex and layered soundtrack that included the sounds of swords and armor clanking, soldiers grunting and screaming, bones breaking, boots in the mud and the film's musical score to add to the scene's chaos.

Interpretation of Shakespeare
Welles's adaptation of five Shakespeare plays was not a chronological transcription. Shakespearean scholar Kenneth S. Rothwell said that Welles "goes beyond mere tinkering with Shakespeare's scenes; [he] massively reworks, transposes, revises and deletes, indeed reconstructs them." These changes included taking lines of dialogue from one play and inserting them into scenes from another. Specific changes include a scene near the end of the film in which Hal pardons an imprisoned street rabble-rouser just before his expedition to invade France; Welles slightly altered this scene from Henry V, Act 2, Scene 2. In the film this man is Falstaff, and the incident he is pardoning is Falstaff's disturbance of Hal's coronation. Although both the pardoned prisoner and Falstaff are said to drink wine, Shakespeare does not imply that the pardoned prisoner is Falstaff. In both Chimes at Midnight and in Henry V, this scene is followed by Falstaff's death. The film contains no true soliloquies, since characters are never alone and do not speak directly to the audience. Henry IV is usually shown standing or sitting with very little action involved—this, says Anderegg, makes it appear that he speaks only to himself even when others are present. Gielgud was known for his classical interpretation of Shakespeare, and his performance consists almost entirely of words, which are unable to defeat either Northumberland's rebels or Hal's wild behavior. Throughout the film, Falstaff, Hal, and Hotspur imitate Gielgud, mocking Henry IV's words.

Critical response
Chimes at Midnight premiered to a favorable audience reception at the 1966 Cannes Film Festival. But after New York Times critic Bosley Crowther's unfavorable advance review, American distributor Harry Saltzman decided to give the film little publicity and minimal distribution when it was released in the U.S. the next year. Critical reception on its first release was mostly negative; the film was not regarded as one of Welles's best until years later. Crowther criticized the film's poor audio track and called it "a confusing patchwork of scenes and characters ... designed to give major exposure to Jack Falstaff." Welles's performance, he wrote, was "a dissolute, bumbling street-corner Santa Claus." Penelope Houston called it "a film which seems to turn its back on brilliance." A Time review also criticized Welles, calling him "probably the first actor in the history of the theater to appear too fat for the role ... he takes command of scenes less with spoken English than with body English", but is "never entirely bad".

Judith Crist praised the film as "stark, simple, concentrating on word and performance, serv[ing] as a reminder of where the substance of the play lies." Pauline Kael also criticized the poor sound, but gave a favorable review overall, singling out the film's casting and calling Welles's performance "very rich, very full." She said the Battle of Shrewsbury sequence was "unlike any battle scene done on the screen before." Cahiers du Cinéma critic Serge Daney also praised both the film and Welles's ability to make great films on the subject of power. Welles was disappointed with the film's reception, complaining that "almost nobody has seen it in America, and that drives me nuts."

Legacy
Welles held Chimes at Midnight in high regard. "It's my favorite picture, yes," he told interviewer Leslie Megahey in a 1982 interview for BBC Arena:

"If I wanted to get into heaven on the basis of one movie, that's the one I would offer up. I think it's because it is to me the least flawed; let me put it that way. It is the most successful for what I tried to do. I succeeded more completely in my view with that than with anything else."

He also considered it his most personal film, along with The Magnificent Ambersons. Many critics, including Peter Bogdanovich and Jonathan Rosenbaum, also consider Chimes at Midnight Welles's finest work. Several years after its initial release, critic Vincent Canby of The New York Times wrote that Chimes at Midnight "may be the greatest Shakespearean film ever made, bar none." Joseph McBride has called it "Welles' masterpiece, the fullest, most completely realized expression of everything he had been working towards since Citizen Kane." In 2006, Roger Ebert called it "a magnificent film, clearly among Welles' greatest work".

The Battle of Shrewsbury sequence has been particularly admired, and inspired later movies, including Braveheart and Saving Private Ryan. Film critics have compared it to the Odessa Steps sequence in Battleship Potemkin and the Battle on the Ice sequence in Alexander Nevsky, both directed by Sergei Eisenstein. Kenneth Branagh's Henry V used Welles's Battle of Shrewsbury sequence as an inspiration for the Battle of Agincourt, and depicted Prince Hal's rejection of Falstaff in a way more influenced by Chimes at Midnight than by more traditional interpretations of the scene. In 1988, director Patrick Garland staged a version of Chimes at Midnight starring Simon Callow as Falstaff at the Chichester Festival Theatre. Michael Anderegg said that Chimes at Midnight's use of wide angle lenses, low-key lighting and costumes, and its focus on the relationship between Falstaff and Prince Hal influenced My Own Private Idaho—Gus Van Sant's 1991 loose adaptation of Henry IV Parts 1 and 2.

In 2011, Bonham's Auction House sold a large archive of Welles's material that had once belonged to the film's executive producer, Alessandro Tasca di Cuto. Most of the material was from Chimes at Midnight, and included Welles's original artwork, photographs, and memoranda. This collection was later donated to the University of Michigan for scholarly study.

In 2012, for the British Film Institute's Sight and Sound poll, 11 film critics and two directors voted Chimes at Midnight one of the 10 greatest films of all time, including McBride and Todd McCarthy.

In 2015, Spanish writer and director of the Film Library of Catalonia Esteve Riambau published a book about the film, The Things We've Seen: Welles and Falstaff.

Awards
At the 1966 Cannes Film Festival, Chimes at Midnight was screened in competition for the Palme d'Or and won the Technical Grand Prize (tied). Welles was nominated for a BAFTA award for Best Foreign Actor in 1968. In Spain, the film won the Citizens Writers Circle Award for Best Film in 1966.

Home media
Because of legal disputes over the rights, Chimes at Midnight has been released only twice on VHS video in the United States, and neither release is available. Harry Saltzman's widow Adriana Saltzman, the families of producers Emiliano Piedra and Angel Escolano and the estate of Orson Welles—maintained by Beatrice Welles— among others have all claimed ownership of the film. For many years the only available source was a region-free DVD from Brazil. Mr Bongo Records screened a restored version in the UK at Picturehouse Cinemas on August 1, 2011. In February 2015, the film screened at the Sedona International Film Festival. Beatrice Welles attended and announced that "a major DVD/Blu-ray label is interested in restoring and releasing Chimes at Midnight." The pristine 35mm print was discovered by Distribpix Inc., which said it was "in such great condition that it is begging for a full 4k scan restoration."

The film had a European release on DVD and Blu-ray on June 29, 2015.

2016 restoration
Janus Films released a restored version of the film on D.C.P. that premiered on January 1, 2016, at Film Forum in New York City on January 1–12, 2016, and at Cinefamily in Los Angeles. This restored version is not derived from the Distribpix print. Peter Becker, Criterion's president, said the release is the product of more than 20 years of effort: "There is no film we have waited longer for or worked harder to free up, and none we are prouder to present", he said. Criterion released this restoration on DVD and Blu-ray on August 30, 2016.

Welles's views on Sir John Falstaff
Welles considered Falstaff "Shakespeare's greatest creation" and said the role was "the most difficult part I ever played in my life." Baxter believed that making the film was Welles's life's ambition. Before the 1939 Boston premiere of Five Kings, Welles told journalists: "I will play him as a tragic figure. I hope, of course, he will be funny to the audience, just as he was funny to those around him. But his humor and wit were aroused merely by the fact that he wanted to please the prince. Falstaff, however, had the potential of greatness in him." Reviews of the 1939 play mention Welles's choice to downplay the traditional comedic elements of Falstaff in his performance. This reverence for the character increased over the years and by the time Welles made Chimes at Midnight, his focus was entirely on the relationships between Falstaff, Hal, and Henry IV. He believed the core of the story was "the betrayal of friendship." Welles called Hal's rejection of Falstaff "one of the greatest scenes ever written, so the movie is really a preparation for it. Everything prepares for it." Throughout the film, Hal repeatedly turns his back on Falstaff, foreshadowing the film's ending.

The film was not intended as a lament for Falstaff, but for the death of Merrie England. Merrie England as a conception, a myth which has been very real to the English-speaking world, and is to some extent expressed in other countries of the Medieval epoch: the age of chivalry, of simplicity, of Maytime and all that. It is more than Falstaff who is dying. It's the old England dying and betrayed. ~Orson Welles Many film theorists and Welles biographers have written about the recurrent theme of the "Lost Eden" in Welles's work and of characters who are nostalgic for an idealized past, which Welles called "the central theme in Western culture." Welles told Peter Bogdanovich that "even if the good old days never existed, the fact that we can conceive of such a world is, in fact, an affirmation of the human spirit." Film scholar Beverle Houston argued that this nostalgia made Welles's depiction of Falstaff infantile and called his performance a "[p]ower baby ... an eating, sucking, foetus-like creature." Welles also called Falstaff "the greatest conception of a good man, the most completely good man, in all of drama", and said, "the closer I thought I was getting to Falstaff the less funny he seemed to me. When I played him before in the theater, he seemed more witty than comical. And in bringing him to the screen, I found him only occasionally, and only deliberately, a clown."

Welles's personal connections to Falstaff
Baxter compared Welles to Falstaff, since they were both perpetually short of money, often lied and cheated people to get what they needed, and were always merry and fun-loving. Film scholar Jack Jorgens also compared Welles to Falstaff, writing, "to a man who directed and starred in a masterpiece and has since staggered through three decades of underfinanced, hurried, flawed films, scores of bit parts, narrations, and interviews which debased his talent, dozens of projects which died for want of persistence and financing, the story of a fat, aging jester exiled from his audience and no longer able to triumph over impossible obstacles with wit and torrential imagination might well seem tragic." When Joss Ackland played Falstaff on the stage in 1982, he said he was more inspired by Welles than by Welles's performance as Falstaff: "like Falstaff, I believe he could have achieved so much, but it was frittered away." Kenneth S. Rothwell has called Hal's rejection of Falstaff allegorical to Hollywood's rejection of Welles. Welles had become deeply depressed in the late 1950s after the disappointment of making Touch of Evil, his intended Hollywood comeback.

Welles's biographer Simon Callow has compared Falstaff to Welles's father Richard Head Welles, writing that like Falstaff, Welles's father was "a drunkard, a trickster, a braggart, a womanizer, a gentleman and a charmer—and he is rejected by the person he loves the most." Welles's father was an alcoholic and womanizer who often took a teenage Welles along when indulging in his vices. Welles observed his father much like Hal observes Falstaff, who depends on his young protégé to bail him out of trouble. The love triangle between Hal and his two father figures, Henry IV and Falstaff, is also similar to Welles's relationships with his father and the two men who became surrogate fathers to him: family friend Maurice Bernstein and Todd School for Boys headmaster Roger Hill. Both of Welles's surrogate fathers disapproved of Richard Welles's lifestyle and influence on Welles. When the younger Welles turned 15, he took Hill's advice and told his father he would not see him again until he cleaned up his act and stopped drinking; Welles's father died shortly afterward, alone and lonely, and Welles blamed himself for his father's death, saying, "I always thought I killed him."

Welles's alleged biological son Michael Lindsay-Hogg, who was born to actress Geraldine Fitzgerald, first met Welles when he was 15 and later worked on the 1960 stage play Chimes at Midnight. This was the only significant amount of time the two spent together and Lindsay-Hogg saw Welles only sporadically thereafter. Like Welles, Lindsay-Hogg had two surrogate fathers in addition to his biological father. In the late 1950s, when she was 16, Welles's daughter Christopher Welles Feder cut off all ties with Welles under pressure from her mother, who disapproved of Welles's influence on her. Welles and Feder later reconnected but their relationship never fully recovered. Welles' youngest daughter, Beatrice, who resembled her father as a young boy, appears in the film version of Chimes at Midnight.

title: Chimes at Midnight


text:
1911 New Zealand general election

The 1911 New Zealand general election was held on Thursday, 7 and 14 December in the general electorates, and on Tuesday, 19 December in the Māori electorates to elect a total of 80 MPs to the 18th session of the New Zealand Parliament. A total number of 590,042 (83.5%) voters turned out to vote. In two seats (Eastern Maori and Gisborne) there was only one candidate (not one seat, as in Wilson).

Outcome
The result was that the Liberal Party, which had won a majority of seats (50 of 80) in Parliament, lost 17 seats and its majority, winning only 33. The Reform Party gained 9 to obtain a plurality (37) of seats. Liberal Prime Minister Joseph Ward was able to retain office, but in 1912, Reform Party founder William Massey formed a new government.

Joseph Ward hoped to remain in power with the support of independents and Labour Party members. Several candidates before the election made commitments to support the Ward Government in the event of a no-confidence motion in the House of Representatives. Ward considered delaying a new session of the house, perhaps for six months until June 1912, but following some tough talking from the Governor-General John Dickson-Poynder, he set the date as 15 February. To speed up the negotiating process, Ward promised to resign as Prime Minister after the Reform Party's no-confidence motion was defeated. The end result was even at 39 all, with the Speaker casting the deciding vote in favour of the Ward Government. Joseph Ward then resigned as Prime Minister on 28 March 1912. He was succeeded by Thomas Mackenzie and his new Cabinet was sworn in. The Mackenzie Government lasted only two months and was defeated by a no-confidence motion, 41 votes to 33 on 5 July 1912.

The Second Ballot Act 1908 provided for second or runoff ballots between the top two candidates where the top candidate did not get an absolute majority. The second ballot was held seven days after the first ballot except in ten large rural seats, where fourteen days was allowed. At the 1911 election, all 30 second ballots were held seven days later. Two 1913 by-elections (Grey and Lyttelton) also required second ballots.

The Second Ballot Act did not apply to the Maori electorates, and was used only in 1908 and 1911, as it was repealed in 1913.

In 1911 were the first triennial national referendum on prohibition of alcohol. Referendums were subsequently held in conjunction with each general election (except for 1931 and 1951) until they were abolished in 1989.

Results
The following are the results of the 1911 general election:

Key

|colspan=8 style="background-color:#FFDEAD" | General electorates

|colspan=8 style="background-color:#FFDEAD" | Māori electorates

Table footnotes:
 * }

Summary of changes
A boundary redistribution resulted in the abolition of four electorates:
 * , held by Thomas Buxton
 * , held by Edward Newman
 * , held by Thomas Mackenzie
 * , held by Robert Scott
 * , held by John Luke

At the same time, four new electorates came into being:
 * , first formed through the 1911 electoral redistribution
 * , previously abolished in 1870
 * , first formed through the 1911 electoral redistribution
 * , first formed through the 1911 electoral redistribution
 * , first formed through the 1911 electoral redistribution

title: 1911 New Zealand general election


text:
Talk:National Parks of Argentina

Formosa
The Administración de Parques Nacionales says that the Formosa area is a natural reserve, not a national park. We should either fix the template and the list of national parks, or make it bigger to include the natural reserves. The difference should be explained, too. --Pablo D. Flores 21:11, 21 August 2005 (UTC)
 * Well, that would depend on How Many are them; if there are too many of them (which I think is the case), I would rather remove Formosa than have a huge table. We can always create a Natural Reserves template! :o) . Mariano 07:12, 22 August 2005 (UTC)

title: Talk:National Parks of Argentina


text:
Wikipedia:Articles for deletion/Az001

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

The result of the debate was Delete --Allen3 talk 21:17, August 28, 2005 (UTC)

Az001
Clearly not worthy. Cheese Sandwich 21:11, 21 August 2005 (UTC)
 * Delete. Original posting looks like very basic as for software, I would need a fuller description of what the software actually does before changing to keep. Alf 00:07, 22 August 2005 (UTC)
 * Delete. Almost non-sensical, no claim to notability. Fernando Rizo T/C 02:17, 22 August 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.

title: Wikipedia:Articles for deletion/Az001


text:
1914 New Zealand general election

The 1914 New Zealand general election was held on 10 December to elect a total of 80 MPs to the 19th session of the New Zealand Parliament. The Maori vote was held on 11 December. A total number of 616,043 voters were registered, of which 84.7% voters turned out to vote.

The election saw William Massey's Reform Government maintain power.

The second-ballot voting system had been repealed in 1913, and first-past-the-post voting reinstated for the 1914 election.

Soldiers serving overseas in the NZEF were given a vote by the Expeditionary Forces Voting Act, 1914. They voted for a party (Liberal, Labour or Reform) and their votes were allocated to a candidate for their electorate by a representative of their party; which sometimes required the representative to choose between rival "Liberal" or "Labour" candidates.

Party totals

 * Auckland West, Hawke's Bay, Taumarunui, Wairarapa, Waitaki and Wellington Central were won by the Liberals from Reform
 * Chalmers, Dunedin West, Motueka, and Northern Maori were won by Reform from the Liberals
 * Nelson was won by Reform from an independent.
 * Otaki was won by Reform from the Social Democrats.
 * Dunedin North was won by United Labour from Reform
 * Four electorates replaced their incumbent MP with another from the same party: Christchurch East and Temuka (Liberal), Eden and Wellington Suburbs and Country (Reform).

Results
The following are the results of the 1914 general election:

Key

|colspan=8 style="background-color:#FFDEAD" | General electorates

|colspan=8 style="background-color:#FFDEAD" | Māori electorates

 * }

title: 1914 New Zealand general election


text:
My So-Called Life (From Zero album)

My So-Called Life is the second and final album by the Chicago-based nu metal music group From Zero. The album was released on May 6, 2003 via Arista Records. Due to a lack of promotion by Arista Records, poor reviews, and general changes in mainstream music tastes, the album did not sell many copies. The album features a cover of Phil Collins' "I Don't Care Anymore".

Personnel

 * Jett – vocals, bass
 * Pete Capizzi – rhythm guitar, backing vocals
 * Joe Pettinato – lead guitar
 * Kid – drums
 * Warren Riker - producer, mixing, engineering, mastering

title: My So-Called Life (From Zero album)


text:
Wikipedia:Articles for deletion/How to become a car dealer

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

The result of the debate was Transwiki. R e  dwolf24  (talk) 23:04, 28 August 2005 (UTC)

How to become a car dealer

 * This isn't a how-to guide...and this tells me zilch. No explanation of the terms and forms and it only applies to California. - Lucky 6.9 21:13, 21 August 2005 (UTC)
 * Transwiki to Wikibooks. See http://en.wikibooks.org/wiki/How-tos_bookshelf  Samw 21:21, 21 August 2005 (UTC)
 * Ah, a good idea. Transwiki works for me. - Lucky 6.9 21:32, 21 August 2005 (UTC)
 * No use to me in over here, Transwiki sounds good. Alf 00:09, 22 August 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Duplex (building)

A duplex house plan has two living units attached to each other, either next to each other as townhouses, condominiums or above each other like apartments. By contrast, a building comprising two attached units on two distinct properties is typically considered semi-detached or twin homes but is also called a duplex in parts of the Northeastern United States, Western Canada, and Saudi Arabia.

The term "duplex" is not extended to three-unit and four-unit buildings, as they would be referred to with specific terms such as three-family (or triplex ) and fourplex (or quadplex/quadruplex) or a more general multiplex. Because of the flexibility of the term, the line between an apartment building and a duplex is somewhat blurred, with apartment buildings tending to be bigger, while duplexes are usually the size of a single-family house.

US

In dense areas like Manhattan and downtown Chicago, a duplex or duplex apartment refers to a maisonette, a single dwelling unit spread over two floors connected by an indoor staircase. Similarly, a triplex apartment refers to an apartment spread out over three floors. These properties can be quite expensive and include the most expensive property in Manhattan as of 2006 (according to Forbes magazine), a triplex atop The Pierre hotel. In this context, an apartment located on only one floor may be called a simplex.

UK
In the United Kingdom, the term duplex is sometimes used by property professionals such as architects and estate agents and refers only to a flat or apartment on two floors connected by an inner staircase though many newer apartments have open-plan designs including mezzanines. The far more commonly used term is 'maisonette' meaning two dwellings split horizontally, like flats, but each with their own separate external door, unlike flats which have a shared external door.

Australia
In Australia, a duplex is often considered a residential building containing two homes that share a common central wall. As such they are usually a mirror image of each other in layout. Also referred to as a maisonette in South Australia.

Paired home
A paired home is two homes that share a wall and have opposite side entries. The whole building is designed to look like one single larger home. Unlike a front to front duplex, the paired home helps provide more privacy for the homeowners.

Urban planning
In urban planning, the term duplex is used more specifically. Major Canadian cities sometimes use the term duplex to refer specifically to a building with one unit built above another. Edmonton defines 'Duplex Housing' as "development consisting of a building containing only two Dwellings, with one Dwelling placed over the other in whole or in part with individual and separate access to each Dwelling". Calgary defines Duplex Dwelling as "a building which contains two Dwelling Units, one located above the other, with each having a separate entrance". Toronto proposes in their new Zoning Bylaw to define 'Duplex Building' as a building that has only two dwelling units, and one dwelling unit is entirely or partially on top of the other dwelling unit. Halifax defines Duplex Dwelling as "the whole of a dwelling that is divided horizontally into two separate dwelling units, each of which has an independent entrance".

Other major cities use the term duplex, but for dwelling units. Dallas defines the term duplex as "two dwelling units located on a lot". Philadelphia defines a duplex dwelling as "a dwelling occupied as the home or residence of two (2) families, under one (1) roof, each family occupying a single unit", a definition that excludes a pair of twin (semi-detached) houses, two dwellings separated by a firewall that extends above the roofline.

Other major cities do not use the term duplex in their zoning or land-use bylaws. San Francisco and Vancouver use the term Two-family dwelling. Winnipeg uses the term Dwelling, two-family. The definitions of these terms do not specify the physical relationship between the two dwelling units in the building. In cities such as Buffalo, Detroit and Chicago, the term "two-flat" is used and defines as a "residential building that contains 2 dwelling units located on a single lot. The dwelling units must share a common wall or common floor/ceiling."

Where cities do not define the relationship of the dwelling units to one another, units may be built one on top of the other, or one beside the other. The latter arrangement is more specifically referred to as a semi-detached building.

Many cities in the United States, Canada, and Australia have seen an increased push to allow duplexes in more zoning districts or even in all residential zoning districts. Renewed interest in supporting duplexes in many areas is part of a larger push to support missing middle housing types and related affordability, sustainability, and urban design goals.

title: Duplex (building)


text:
1919 New Zealand general election

The 1919 New Zealand general election was held on Tuesday, 16 December in the Māori electorates and on Wednesday, 17 December in the general electorates to elect a total of 80 MPs to the 20th session of the New Zealand Parliament. A total number of 560,673 (80.5%) voters turned out to vote.

In 1919 women won the right to be elected to the House of Representatives. The law was changed late that year, and with only three weeks' notice, three women stood for Parliament.

They were Ellen Melville in Grey Lynn, Rosetta Baume in Parnell, and Aileen Cooke in Thames. Ellen Melville stood for the Reform Party and came second. She stood for Parliament several more times and generally polled well but never won a seat.

This is the most recent general election in which none of the major party leaders were born in New Zealand.

Results
Though Labour Party captured only eight seats it received nearly a quarter of the votes – a shock to conservative minds due to Labour being founded only three years earlier in 1916.

Electorate results

The table below shows the results of the 1919 general election:

Key

|colspan=8 style="background-color:#FFDEAD" | General electorates

|colspan=8 style="background-color:#FFDEAD" | Māori electorates

 * }

Summary of changes
A boundary redistribution resulted in the abolition of four electorates:
 * , held by Harry Holland
 * , held by Robert Scott
 * , held by William Dickie
 * , held by William Thomas Jennings
 * , held by Robert Wright

At the same time, four new electorates were created:
 * , previously abolished in 1911
 * , first created through the 1918 electoral redistribution
 * , first created through the 1918 electoral redistribution
 * , first created through the 1918 electoral redistribution
 * , previously abolished in 1911

title: 1919 New Zealand general election


text:
Wikipedia:Articles for deletion/Lao Che

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

The result of the debate was no consensus. Fernando Rizo T/C 22:42, 28 August 2005 (UTC)

Lao Che
Delete A silly article about an insignificant movie character, with uncited sources, that reads way too much into the movie 65.49.152.201 21:14, 21 August 2005 (UTC) Keep {The written quality of the article is done to a high degree of effectiveness and a quick IMDB.com search of Roy Chiao will indeed verify that the actor, who portrayed Lao Che in the film, did indeed die from complications and heart disease in China in 1999. The Temple of Doom was also indeed criticised for its perceived racial undertones, especially later during the Indian sequences of the movie. These facts are indisputable. To remove an article simply because it relates to a "minor film character" would be entirely counter-productive to the very purpose of having Wikipedia -- that is to say, inform the public and provide as much information as possible on an infinite number of topics and listings.} -65.49.152.227 21:37, 21 August 2005 (UTC)

 * Keep Compared to the articles that have been kept by Wiki, this is a bit ridiculous. Keep. --Tykell 21:40, 21 August 2005 (UTC)
 * Comment: Any chance for a consensus soon? --Tykell 22:17, 27 August 2005 (UTC)
 * Comment: How could he have survived Indiana Jones, when Indiana Jones is still alive at the end of the movie?  Zoe 23:25, August 21, 2005 (UTC)
 * Keep I have no problem with this article. Zoe - I read it as meaning the only baddy to have survived 'fighting' Indy. Alf 00:15, 22 August 2005 (UTC)
 * Delete. A minor character with one appearance in one scene in one movie -- a scene not even connected to the main plot -- with what smells like original research. --Calton | Talk 01:42, August 22, 2005 (UTC)
 * Delete per Calton -Harmil 22:10, 22 August 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.

title: Wikipedia:Articles for deletion/Lao Che


text:
User:Tekk2k

Businessman and Tech-Geek from the usa.

title: User:Tekk2k


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Bigby

Bigby may refer to:

Places

 * Bigby, Lincolnshire, one of the Thankful Villages in Lincolnshire, England

People

 * Atari Bigby, American football player
 * Larry Bigbie, American baseball player

Fictional characters

 * Ned Bigby, title character of Nickelodeon's sitcom, Ned's Declassified School Survival Guide
 * Bigby, a character in the Dungeons & Dragons role-playing game's setting of Greyhawk
 * Bigby Wolf, from the comic book series Fables

Businesses

 * Biggby Coffee, a coffee franchise business

title: Bigby


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1922 New Zealand general election

The 1922 New Zealand general election was held on Monday, 6 December in the Māori electorates, and on Tuesday, 7 December in the general electorates to elect a total of 80 MPs to the 21st session of the New Zealand Parliament. A total number of 700,111 (87.7%) voters turned out to vote. In one seat (Bay of Plenty) there was only one candidate.

1922 was the year residents of the Chatham Islands were enfranchised for the first time (included in Lyttelton and Western Māori electorates).

Result
William Massey formed a government, but with the loss in support for the Reform Party he had to negotiate for support with Independents, and with two Liberal Party members.

Liberal was in decline and disorganised. Just before the 1925 election (held on 4 November), two Liberal MPs from Christchurch who had supported Massey (along with Independents Harry Atmore and Allen Bell) were appointed to the Legislative Council. They were Leonard Isitt and George Witty who were both appointed to the Legislative Council by Gordon Coates on 28 October 1925. Both were Liberals and their retirement removed "a source of some bitterness from the Party’s ranks (Coates rewarded them with seats in the Legislative Council the day after the election)". Gordon Coates was Reform, and both of their seats went to Reform candidates in 1925.

Party totals
''*Note: For numbers of candidates see Wilson (1985) p. 295; for numbers of votes and percentage see Wilson (1985) p. 289. Electorate results given below include 38 Reform and 21 Liberal members. The figures given in the table agree with Mackie and Rose, as well as the article on New Zealand elections.''

Electorate results
The results of the 1922 election were as follows:

Key

|colspan=8 style="background-color:#FFDEAD" | General electorates

|colspan=8 style="background-color:#FFDEAD" | Māori electorates

 * }

Summary of changes
A boundary redistribution resulted in the abolition of one seat:
 * , held by John Edie

At the same time, one new seat was created:

title: 1922 New Zealand general election


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User talk:Tekk2k

Hi! I've moved your personal info to your user page. - Lucky 6.9 21:17, 21 August 2005 (UTC)

Welcome
Hello , and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. Again, welcome! Wikipedianinthehouse 21:19, August 21, 2005 (UTC)
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Tekk
Some of the people, places or things you have written about in the article Tekk may not be sufficiently well-known to merit articles of their own. The Wikipedia community welcomes newcomers, and encourages them to become Wikipedians. By starting an account or logging in, each user is entitled to a user page in which they can describe themselves, and this article's content may be incorporated into that page. However, to merit inclusion in the encyclopedia proper, a subject must be notable. We encourage you to write or improve articles on notable subjects. Wikipedianinthehouse 21:19, August 21, 2005 (UTC)

title: User talk:Tekk2k


text: Portal:Spain/box-header

title: Portal:Spain/box-header


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1925 New Zealand general election

The 1925 New Zealand general election was held 4 November (the Māori vote had taken place the previous day) to elect a total of 80 MPs to the 22nd session of the New Zealand Parliament.

The result was a landslide victory for the Reform Party. A total number of 678,877 (90.02%) voters turned out to vote. In one seat (Bay of Plenty) there was only one candidate.

In 1922, registration as an elector was made compulsory for all those eligible (except Māori).

Results
Gordon Coates continued as Prime Minister, with his Reform Party winning an outright majority of 30. Leonard Isitt and George Witty were both appointed to the Legislative Council by Gordon Coates on 28 October 1925; shortly before the election on 4 November. Both were Liberals but their retirement removed "a source of some bitterness from the Party's ranks". Gordon Coates was Reform, and both of their former seats went to Reform candidates.

After the election both Labour and Liberals held 11 seats. A tie at 4,900 votes each in (between the Labour and Reform candidates) was eventually settled in Labour's favour on 13 March 1926. After winning the 15 April in, Labour became the official opposition.

Electorate results
The election results were as follows:

Key

|colspan=8 style="background-color:#FFDEAD" | General electorates

|colspan=8 style="background-color:#FFDEAD" | Māori electorates

Table footnotes:
 * }

title: 1925 New Zealand general election


text: Portal:Spain/box-footer

title: Portal:Spain/box-footer


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Homla

Homla is a river in the municipality of Malvik in Trøndelag county, Norway. The 10 km long river begins when it flows out of the lake Foldsjøen and it ends when it empties into the Trondheimsfjord at the village of Hommelvik.

The Homla was first used by the timber industry to transport recently cut trees, but it is now just a small river with good fishing opportunities. Small-sized salmon and sea trout can be caught here.

Around the year 2000, there were plans for constructing a large dam over the river's largest waterfall, "Storfossen". Due to local opposition, these plans were eventually aborted.

title: Homla


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Ghost frog

Heleophrynidae is a family of frogs, commonly known as ghost frogs. They are thought to be the most basal group in the Neobatrachia. The family consists of two genera, Heleophryne and Hadromophryne, with seven species. Ghost frogs live in swift-moving mountain streams in South Africa. The common name of "ghost frogs" may have been coined because of their occurrence in Skeleton Gorge'''. '''

Taxonomy
The ghost frogs were formerly thought to be closely related to the Sooglossidae of the Seychelles (which are now thought to be a sister group to Ranoidea), or to the Australian Myobatrachidae, which are now thought to be a sister group to Hyloidea. In contrast, more recent taxonomic studies place them as being the most basal extant members of the Neobatrachia and having no close relatives, having diverged from the rest of the Neobatrachia during the Early Cretaceous, about 140 million years ago.

Family Heleophrynidae
 * Genus Hadromophryne Van Dijk, 2008
 * Natal ghost frog, Hadromophryne natalensis Hewitt, 1913
 * Genus Heleophryne Sclater, 1898
 * Cederberg ghost frog, Heleophryne depressa FitzSimons, 1946
 * Hewitt's ghost frog, Heleophryne hewitti Boycott, 1988
 * Eastern ghost frog, Heleophryne orientalis FitzSimons, 1946
 * Purcell's ghost frog, Heleophryne purcelli Sclater, 1898
 * Royal ghost frog, Heleophryne regis Hewitt, 1910
 * Rose's ghost frog, Heleophryne rosei Hewitt, 1925

Biology
Ghost frogs have morphological adaptations suited to surviving on the rocks around these streams. They only come out on full moons. They are medium-sized frogs, reaching a length of 6 cm, with flat bodies, enabling them to climb inside rocky crevices. They have very large toe discs in comparison to their size, which helps to cling onto rocks. With the help of the labial teeth the tadpoles contain in their mouths, the mouthparts are modified into sucking discs, to allow them to cling to substrates, and remain still while they are feeding.

EDGE endangered species
On January 21, 2008, Evolutionarily Distinct and Globally Endangered (EDGE) identified nature's most "weird, wonderful and endangered species", stating that "the EDGE amphibians are amongst the most remarkable and unusual species on the planet and yet an alarming 85% of the top 100 are receiving little or no conservation attention." Due to the very ancient origins and deep genetic divergence of Heleophrynidae, the Table Mountain ghost frog (Heleophryne rosei) was listed as #11 on the list.

title: Ghost frog


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Roger Blin

Roger Blin (Neuilly-sur-Seine, France, 22 March 1907 – Évecquemont, France, 21 January 1984) was a French actor and director. He staged world premieres of Samuel Beckett's Waiting for Godot in 1953 and Endgame in 1957.

Biography
Blin was the son of a doctor; however, despite his father's wishes, Blin forged a career in the theatre. As a teenager he was 'fascinated' by the Surrealists and their conception of revolutionary art. :35

He was initially part of the left-wing theatre collectives The Company of Five and The October Group. In 1935 Blin served as Antonin Artaud's assistant director for his production of Les Cenci (The Cenci) at the Folies-Wagrams theatre in 1935. :35 Following his work with Artaud, Blin focused on 'political street-theatre.' :46

During the war, Blin was a liaison between the Resistance and the French Army.

His extensive career as both director and actor in both film and theatre has been largely defined by his work and relationship with Artaud, Samuel Beckett and Jean Genet. In addition to being a close friend and confidant of Artaud during the latter's nine years of internment, he directed the first performances of Beckett's Waiting For Godot, Happy Days and Endgame as well as directing the initial performance of Genet's The Blacks and the controversial The Screens. Genet's key correspondences to Blin have been published by Editions Gallimard. Samuel Beckett, in a letter to George Duthuit, said that he thought Blin wasn't a great actor nor director, but he had a great love for the theater.

The 1986 Faber and Faber publication, "Samuel Beckett: The Complete Dramatic Works" carries only three dedications from Beckett: "Endgame" is dedicated to Blin, while "Come and Go" is for John Calder, and "Catastrophe" is for Václav Havel.

Partial filmography

 * Street Without a Name (1934)
 * Zouzou (1934) - Le témoin du meurtre (uncredited)
 * The Mutiny of the Elsinore (1936) - Un marin
 * Razumov: Sous les yeux d'occident (1936) - (uncredited)
 * Life Belongs to Us (1936) - Un métallo
 * Jenny (1936) - Le Malade solitaire
 * Beethoven's Great Love (1936) - de Ries
 * The Citadel of Silence (1937) - Un officier
 * La dame de pique (1937) - (uncredited)
 * The Alibi (1937) - Kretz, l'homme de main de Winckler
 * Le temps des cerises (1938) - Le fils Dupuis
 * Rasputin (1938) - Le jeune paysan (uncredited)
 * The Lafarge Case (1938) - Le journalier
 * Adrienne Lecouvreur (1938) - l'alchimiste
 * The Curtain Rises (1938) - Dominique
 * The White Slave (1939) - Maïr
 * Louise (1939) - Un rapin (uncredited)
 * The World Will Tremble (1939) - Le condamné
 * Battement de coeur (1940)
 * Volpone (1941) - Un vénitien (uncredited)
 * L'âge d'or (1942)
 * The Trump Card (1942) - Un aspirant
 * Les Visiteurs du Soir (1942) - Le montreur de monstres
 * Captain Fracasse (1943) - Fagotin / Fagottino
 * Goodbye Leonard (1943) - Le chef bohémien
 * Le Corbeau (1943) - François
 * Love Story (1943) - L'homme du théâtre (uncredited)
 * Colonel Chabert (1943) - Un Clerc
 * First on the Rope (1944) - Paul Moury
 * La vie de bohème (1945)
 * The Last Judgment (1945)
 * The Ideal Couple (1946) - Le somnambule
 * Passionnelle (1947) - Julien
 * Wicked City (1949) - Emilio
 * Histoires extraordinaires (1949) - Guillaume
 * Orpheus (1950) - The Poet
 * Vagabonds imaginaires (1950) - Le récitant (segment 'Les amours jaunes') (voice)
 * The Convict (1951) - Un bagnard
 * Adventures of Captain Fabian (1951) - Philippe
 * The King and the Mockingbird (1952) - L'aveugle (voice)
 * Piédalu Works Miracles (1952)
 * Le Chevalier de la nuit (1953) - Le domestique
 * Your Turn, Callaghan (1955) - Wladimir
 * The Hunchback of Notre Dame (1956) - Mathias Hungadi
 * Les Tripes au soleil (1959) - Slim
 * Paris Blues (1961) - Fausto the Moor (uncredited)
 * A Taste for Women (1964) - Larsen
 * Marie Soleil (1964) - Karl / Boss
 * Les ruses du diable (Neuf portraits d'une jeune fille) (1966) - Monsieur de Beaurepaire
 * Le Dimanche de la vie (1967) - Jean Sans-Tête
 * La loi du survivant (1967) - Pao
 * Trop petit mon ami (1970) - Boris
 * Traîté du rossignol (1971) - Lars Larsen
 * Dada au coeur (1974) - Max
 * L'important c'est d'aimer (1975) - Servais's father
 * Aloïse (1975) - Le professeur de chant
 * Lily, aime-moi (1975) - Lily's father
 * Il faut vivre dangereusement (1975) - Murdoc
 * Nevermore, Forever (1976) - Daniel
 * The Old Country Where Rimbaud Died (1977) - Le père de Jeanne
 * Solveig et le violon turc (1977)
 * The Adolescent (1979) - Romain
 * Five and the Skin (1982) - Récitant (voice)

title: Roger Blin


text:
1928 New Zealand general election

The 1928 New Zealand general election was held on 13 and 14 November in the Māori and European electorates, respectively, to elect 80 MPs to the 23rd session of the New Zealand Parliament.

1928 was the year postal voting was introduced for certain specified groups (e.g. invalids) who could not get to a polling booth on election day.

The election
The 1928 election was held on Tuesday, 13 November in the Māori electorates, and on Wednesday, 14 November in the general electorates to elect a total of 80 MPs to the 23rd session of Parliament. A total of 844,633 electors were registered on the European roll, of which 743,691 (88.05%) turned out to vote. All 80 electorates were contested. 47 and 29 electorates were in the North Island and South Island, respectively, plus the 4 Māori electorates.

In 1927, a faction of the decaying Liberal Party formed a new organisation, which was eventually named the United Party. In 1928, to the considerable surprise of most observers and many members of the party itself, United won a considerable victory, taking Auckland East and Grey Lynn from Labour. The United Government came to power with Labour support. Labour, forming the official opposition since 1926, were thus replaced by Reform. Six Independents were elected (most with allegiances to the main parties. Four of these backed United, one supported Reform and one favoured neither.

The electorate went to Harold Rushworth of the Country Party after a recount of the votes, but the election was declared void January 1929. Rushworth won the resulting by-election. This marked the Country Party's first entry into Parliament, where it would retain a presence until 1938.

Result by party
The table below shows the result of the 1928 election.

1 Includes two who won as Independent Reform

2 previously contested as

Initial composition of the 23rd Parliament
The United Party was organised in the House of Representatives, prior to the dissolution of the 22nd Parliament.

The Auckland Star reported on 18 September 1928, that:

"...the United Party were assembled yesterday in Wellington when Sir Joseph Ward accepted the leadership of the party. It had previously been decided, by unanimous resolution, that the party should go to the polls as 'The United Party'..."

The Evening Post newspaper reported on the same day that:

"The Rt. Hon. Sir Joseph Ward took his seat as Leader of the United Party in the House of Representatives this afternoon, Mr G.W. Forbes, who has led the Nationalist Party up to the present, relinquishing his former place in favour of Sir Joseph. From now until the end of the session the Nationalist Party ceases to exist under that name."

Key

|colspan=8 style="background-color:#FFDEAD" | General electorates

| Hauraki | colspan=2 style="text-align:center; background-color:#ececec;" | New electorate | style="background-color:;" | | style="text-align:center;background-color:;" | Arthur Hall | style="text-align:right;" | 891 | style="background-color:;" | | style="text-align:center;" | Ebenezer Allan

|colspan=8 style="background-color:#FFDEAD" | Māori electorates

 * }

title: 1928 New Zealand general election


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Hertford loop line

The Hertford loop line (also known colloquially as the Hertford Loop) is a branch of the East Coast Main Line, part of the Northern City Line commuter route to London for Hertford and other Hertfordshire towns and an occasional diversion route for the main line. The line is part of the Network Rail Strategic Route 8, SRS 08.03 and is classified as a London and South East Commuter line.

History
The line was opened in three stages between 1871 and 1924. The first section called the Enfield Branch Railway was developed by the London and York Railway and went from Wood Green to Enfield. In 1898, a plan was approved to extend the line north to Hertford and Stevenage, in order to relieve congestion on the main line without having to widen the Welwyn Viaduct. Work started in 1905 and Cuffley was reached on 4 April 1910. The construction of two major viaducts and the Ponsbourne Tunnel (at 2684 yd, the longest in the eastern counties of England and the last to be built by traditional methods), combined with World War I shortages of men and materials, delayed the opening of the route to Stevenage until 4 March 1918. Then it was single track and for goods services only. The line finally opened to passengers on 2 June 1924 when a new station at Hertford North was opened. The line was electrified in 1977.

The line was also used frequently during the Second World War as the Welwyn/Digswell Viaduct was at high risk from bombs.

Route and settlements served
The Hertford Line leaves the East Coast Main Line at Langley Junction, just south of Stevenage.

 * Watton-at-Stone, serving the village of Watton-at-Stone
 * Hertford North, serving the town of Hertford
 * Bayford, serving the villages of Bayford and Brickendon
 * Cuffley, serving the villages of Cuffley, Northaw and Goffs Oak
 * Crews Hill, serving the village of Crews Hill
 * Gordon Hill, serving Gordon Hill and Forty Hill, also close to Chase Farm Hospital.
 * Enfield Chase, serving Enfield Town
 * Grange Park, serving Grange Park
 * Winchmore Hill, serving Winchmore Hill
 * Palmers Green, serving Palmers Green
 * Bowes Park, serving Bowes Park, Bounds Green and Wood Green

It rejoins the East Coast Main Line at Wood Green South Junction, north of Alexandra Palace.

Operations
Great Northern operates suburban services along the Hertford Line between London King's Cross or Moorgate, and Stevenage, Watton-at-Stone or Hertford North. Occasionally, London North Eastern Railway, Hull Trains, Grand Central, Lumo, Thameslink and other faster Great Northern services operate non-stop along the route when diverted off the main section of the East Coast Main Line, due to incidents or planned engineering work. There is a reversing siding to the north of Bowes Park which is occasionally used to reverse London North Eastern Railway trains heading for Bounds Green Depot. There are also bay platforms at Hertford North, Stevenage, and Gordon Hill, the latter acting as a terminus during peak hours and night only.

Infrastructure
The line is about 24 mi long, is double track throughout and is electrified at 25 kV AC using overhead line equipment. It has a loading gauge of W9 and a maximum line speed of 75 mph.

Grade-separated junctions connect each end of the northbound track with the main line. All stations are long enough to accept two three-car (20m) EMUs. Not all stations are long enough for newly introduced 6-car EMUs, but their walk-through design allows for access.

Tunnels and viaducts
Major civil engineering structures on the Hertford Line include the following.

ERTMS trials on the Hertford loop line
Network Rail used Beacon Rail owned Class 313 unit 313121 as a test vehicle for ERTMS on the Hertford Line. The plan involved resignalling a 5+1/2 mi section of the double track route to allow existing passenger and freight services to work bi-directionally over the up Hertford loop line, freeing the down line for ERTMS tests and evaluation.

title: Hertford loop line


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X/Open XA

For transaction processing in computing, the X/Open XA standard (short for "eXtended Architecture") is a specification released in 1991 by X/Open (which later merged with The Open Group) for distributed transaction processing (DTP).

Goals
The goal of XA is to guarantee atomicity in "global transactions" that are executed across heterogeneous components. A transaction is a unit of work such as transferring money from one person to another. Distributed transactions update multiple data stores (such as databases, application servers, message queues, transactional caches, etc.) To guarantee integrity, XA uses a two-phase commit (2PC) to ensure that all of a transaction's changes either take effect (commit) or do not (roll back), i.e., atomically.

Architecture
Specifically, XA describes the interface between a global transaction manager and a specific application. An application that wants to use XA engages an XA transaction manager using a library or separate service. The transaction manager tracks the participants in the transaction (i.e. the various data stores to which the application writes), and works with them to carry out the two-phase commit. In other words, the XA transaction manager is separate from an application's interactions with servers. XA maintains a log of its decisions to commit or roll back, which it can use to recover in case of a system outage.

Many software vendors support XA (meaning the software can participate in XA transactions), including a variety of relational databases and message brokers.

Advantages and disadvantages
Since XA uses two-phase commit, the advantages and disadvantages of that protocol generally apply to XA. The main advantage is that XA (using 2PC) allows an atomic transaction across multiple heterogeneous technologies (e.g. a single transaction could encompass multiple databases from different vendors as well as an email server and a message broker), whereas traditional database transactions are limited to a single database.

The main disadvantage is that 2PC is a blocking protocol: the other servers need to wait for the transaction manager to issue a decision about whether to commit or abort each transaction. If the transaction manager goes offline while transactions are waiting for its final decision, they will be stuck and hold their database locks until the transaction manager comes online again and issues its decision. This extended holding of locks may be disruptive to other applications that are using the same databases.

Moreover, if the transaction manager crashes and its record of decisions cannot be recovered (e.g. due to a bug in how the decisions were logged, or due to data corruption on the server), manual intervention may be necessary. Many XA implementations provide an "escape hatch" for transactions to independently decide whether to commit or abort (without waiting to hear from the transaction manager), but this risks violating the atomicity guarantee and is therefore reserved for emergencies.

Specification
The XA specification describes what a resource manager must do to support transactional access. Resource managers that follow this specification are said to be XA-compliant.

The XA specification was based on an interface used in the Tuxedo system developed in the 1980s, but adopted by several systems since then.

title: X/Open XA