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Perry Mehrling

Perry G. Mehrling (born August 14, 1959) is professor of economics at Pardee School of Global Studies at Boston University. He was professor of economics at Barnard College in New York City for 30 years. He specializes in the study of financial theory within the history of economics.

Life
Perry Gandhi Mehrling received an A.B (magna cum laude), a Ph.D. from Harvard University and an M.Sc. from the London School of Economics. Mehrling was valedictorian of the class of 1977 at Boston Latin School. He was a professor in the Economics Department at Barnard College/Columbia University for 30 years until 2017 and is the Director of Educational Programs at the Institute for New Economic Thinking, a global not-for-profit organization dedicated to changing the way economics is currently taught. He teaches the hugely popular "Economics of Money and Banking" MOOC on the Coursera website.

Publications
Mehrling is the author of Money and Empire: Charles P. Kindleberger and the Dollar System (2022), The Money Interest and the Public Interest: American Monetary Thought, 1920-1970, published in 1998, as well as a 2005 biography of Fischer Black, Fischer Black and the Revolutionary Idea of Finance. In the wake of the 2008-2009 Financial Crisis, there was significant interest in his book
 * The New Lombard Street. How the Fed Became a Dealer of Last Resort. Princeton University Press, Princeton, NJ 2011, Linen: ISBN 978-0-691-14398-9, e-book: ISBN 978-1-4008-3626-0

He wrote his thesis under Meghnad Desai and Douglas Gale at the London School of Economics. It was published by the University of Chicago's Journal of Political Economy. It synthesized differential game-theoretic models of capitalism, due to Kelvin Lancaster and Richard M. Goodwin. Gale's general equilibrium handbooks on monetary economics acknowledge Merhling's assistance.

Money View
Perry Mehrling's brainchild, the Money View, is a monetary-financial school of thought that links the (usually separate) intellectual realms of economics and finance. It offers an integrated approach for conceptualizing money, finance and (shadow) banking, which it sees as the fundamental infrastructure of capitalism. Other than most economic theories, it denotes analytical importance to the notion of liquidity as well as to the centrality of profit-seeking dealers as market makers. The Money View has first been developed, formulated and put forward by Mehrling and is now - despite still being an academic minority view - popularized by scholars, central bankers and market practitioners around the world.

Description
The speciality of the Money View is its ability to adequately synthesize current features of our integrated monetary and financial system, which Mehrling describes as 'money market funding of capital market lending ', a.k.a. shadow banking, by paying attention to both the money market and the capital market.

The Money View includes elements of theories and insights by H.P. Minsky, Charles Kindleberger, Marcia Stigum, to name just a few.

Central institutions
Money, as a means of payment, to facilitate (final) settlement. Credit, as a promise to pay (money). Finance, to facilitate valuation of promises to pay. Banking, as a means of allocation of credit.

Hierarchy of Money
Inspired by Minsky's Hierarchy of Money, the Money View recognizes the de facto inequality of economic agents or entire countries in their capacity to issue something called money. A privileged few at the top of the hierarchy may issue money while the rest can only issue mere promises to pay money, i.e. credit (further down the hierarchy). The US dollar is at the top of the international hierarchy of money.

Politics
The Money View is inherently political. Its political dimensions are manifold and include the following:

 * a direct application of the values advocated by the Enlightenment as a philosophical movement (which, inter alia, would avoid the simplifying assumptions on the nature of human beings that often prevail in economics, such as the homo economicus)
 * ideas centered on reason as the primary source of knowledge
 * a recognition of the "difficulty of money"
 * an open rejection of equilibrium accounts of the economy (and therefore of mainstream economic thought & teaching)
 * a refutation of the quantity theory of money
 * critical thinking about the monetary-financial system (as opposed to proficient manipulation of formal models)
 * an emphasis on liquidity as compared to solvency

Epistemology
The Money View relies on comparatively few assumptions and uses reason as the primary source of knowledge. Generally, its analytical framework is based on viewing every monetary entity in terms of their stylized balance sheet, which serves as basic tools for asset-liability management, i.e. to measure sources and uses of funding.

The Money View has been categorized by Zoltan Pozsar as 'monetary reality' (in contrast to monetary theory) because of its reliance on balance sheets and T-accounts.

title: Perry Mehrling


text:
User talk:Eapender

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title: User talk:Eapender


text:
User talk:Listowy

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If you have any questions, feel free to ask me on my talk page. Thanks and happy editing, Alf 14:51, 28 August 2005 (UTC).

 * ... Thank You for some tips - I will do my best:). Best wishes, Listowy.

Zapraszam

 * Polish Wikipedians' notice board--Witkacy 00:55, 29 August 2005 (UTC)

Witaj Witkacy !
Musze przyznac, ze znalazlem pod podanym adresem interesujace projekty, mozliwe, ze uda mi sie cos wniesc do tego wspolnego dziela. Niedawno postanowilem sie zarejstrowac i od tego czasu pracuje nad kat. "Polska nauka i technologia", ktorej jeszcze kilka dni temu wcale nie bylo. Na razie to drobne fragmenty. Obecnie mysle nad dodaniem do tego folderu informacji nt "Polskiego programu sztucznego serca". Czas pokaze. Pozdrawiam

 * Czesc Listowy, fajnie ze sie zabrales za ta tematyke - co do strony Poland.gov.pl material z niej moze byc uzywany, zerknij na . Pozdrawiam--Witkacy 13:12, 29 August 2005 (UTC)

Cześć
Pisząc artykuły w nazwach własnych używaj polskich liter (jak to jest np. w Poznań) robiąc jednocześnie redirecty takie jak Poznan. Pozdrawiam Radomil talk 22:21, 13 September 2005 (UTC)

Template:Cipher Bureau
Nice to hear from you. Couple of questions:
 * 1. Was the Biuro Szyfrów Russian-cryptology section actually designated, analogously to the German section, as B.S.-3?
 * 2. Do you know of substantial sources on the Russian-cryptology section?  I'd be interested in reading them and perhaps summarizing them for Wiki.
 * 3. Did you see MattCrypto's suggestion on the Template:Cipher Bureau discussion page?  logologist 03:01, 1 October 2005 (UTC)

 * 1.BS1 – cipher section, BS2 – radio intelligence section, BS3 – Russian section, BS4 – German section. In France, rest of the BS that manage to cross the border was designate as ‘’Section Z’’
 * 2. Maybe this one would be helpful: dr.Grzegorz Nowik ZANIM ZŁAMANO ENIGMĘ. POLSKI RADIOWYWIAD PODCZAS WOJNY Z BOLSZEWICKĄ ROSJĄ 1918-1920.
 * 3. I have just read his suggestion. However, so far, I don't have any information about periods of employment in sections.

 * What do you think about that?

SUB ART ( connected with BS4)

SUB ART ( connected with BS3)

MAIN ART

Best wishes, Listowy 20:19, 1 October 2005 (UTC)

 * I've added Sections 1 and 2 to Template:Cipher Bureau.
 * Was Section 1 responsible for maintaining Polish ciphers and codes?
 * yes
 * Was Section 2 responsible for radio monitoring (supervised by Ciężki)?
 * correct
 * Were there a total of 4 sections?
 * Were the four "sections" actually called that in Polish (sekcja)?
 * Some sources say ‘’sekcje’’, some ‘’referaty’’, but according to all : 4 sections
 * Where did you find the information about the Cipher Bureau's structure?
 * i.e. Link they use sekcje '
 * When and by whom was Nowik's book published? logologist 02:28, 2 October 2005 (UTC)
 * ' ZANIM ZŁAMANO ENIGMĘ...'' Oficyna Wydawnicza RYTM,2005 ’’’ Link

Listowy 07:42, 3 October 2005 (UTC)

Rejewski diagrams
Could you get diagrams of the cryptological bomb and Zygalski sheets for the Cipher Bureau article from Marian Rejewski's papers? logologist 06:32, 2 October 2005 (UTC)

 * [[Image:Zygalski sheet diagram.jpg]] Listowy 07:29, 5 October 2005 (UTC)

Pałac Saski
Thanks for the above information. Rejewski's "bomb" and "sheets" diagrams appeared in Kozaczuk's book on Enigma.

Do you by any chance know of a way to restore the illustration to Pałac Saski that Lupo has just deleted? logologist 09:10, 3 October 2005 (UTC)

 * I couldn't restore that image, but I uploaded new one. May it be? Listowy 16:14, 3 October 2005 (UTC)

 * Jak najbardziej. Dziękuję!  logologist 02:04, 4 October 2005 (UTC)

Thanks
for the "perforated sheet" illustration — apparently the first on the Wikipedia. It should help people get a concrete feel for the thing.

As for the (constructive) suggestion of placing individuals' employment periods in Template:Cipher Bureau, I think we may count ourselves lucky that any of the personnel survived the war — at least, to 1974 — and left us as much information as we do have. It is often forgotten that the Poles were overrun and had to destroy files. (In some cases when they failed to do so, people died as a result.) logologist 08:42, 5 October 2005 (UTC)

"Bomb" illustration
Have you by any chance had an opportunity to try to track down the bomba kryptologiczna diagram in Marian Rejewski's papers? It would be well to place a copy in the "Bomba (cryptography)" article.

Best regards. logologist 03:10, 8 October 2005 (UTC)

 * Image:‘Cryptologic bomb’ machine - drawing from M.Rejewski’s papers.jpg Listowy 20:20, 8 October 2005 (UTC)

 * Many thanks for the diagrams of the 3 Polish cryptologic devices. I had long been hoping they could be obtained for Wiki.  They make a world of difference.  Thanks!  logologist 23:46, 8 October 2005 (UTC)

 * You’re welcome. I have also found an illustration of Lacida-Polish cipher machine, so I thought that it would be good idea to add it to the Lacida article. It also needs a description, like you have done with previous diagrams. Best wishes, 08:45, 10 October 2005 Listowy(UTC)

 * Thanks from me, too — cheers! I don't suppose you could put copyright and source information on those images, though? — Matt Crypto 18:29, 11 October 2005 (UTC)

 * All these diagrams, direct connect with Enigma, are reproduction of Rejewski's pictures. Therefore I'm not sure which tag should be used: PD-Poland or Fair-Use ... Any suggestion:)? Listowy 09:07, 13 October 2005 (UTC)

Could you please email me at Logologist — "E-mail this user"? Thanks. logologist 22:29, 11 October 2005 (UTC)
 * Linking your email with Wikipedia "enables others to contact you through your user or user-talk page without the need of revealing your identity" (see "Preferences" at top of your "User" page). logologist 21:19, 12 October 2005 (UTC)
 * Sorry for delay:). E-mail sent. Listowy 09:07, 13 October 2005 (UTC)

tank:template
I've rv'ed your additional fields. If you think they should go in then please add the relevant data to each of the articles that uses the template first. There's about 160 of them. GraemeLeggett 20:11, 16 October 2005 (UTC)

 * No problem. In my opinion it is important data, but maybe not essential in the info box, so it can be mentioned in plain text. Best wishes, Listowy 12:13, 22 October 2005 (UTC)

 * For speed i suggest where the gun has an autoloader try putting it in the infobox armament line eg "155 mm gun wth autoloader" then follow that up by statng the roles under  crew  eg "3 (driver gunner commander)" GraemeLeggett 22 October 2005 (UTC)

Perforated sheets
Importing the Cryptologic bomb diagram into the Cipher Bureau article was an excellent idea. If it will fit, why not also add the Perforated sheet illustration? logologist 07:15, 23 October 2005 (UTC)
 * In the Cipher Bureau article, could the Cyclometer and Zygalski's "perforated sheet" illustrations be interchanged? (The cyclometer was invented first, about 1934, well before Zygalski's perforated sheets, invented in late 1938.)  Also, the perforated-sheet caption should probably read Zygalski's "perforated sheet", in the singular, though linked to "Perforated sheets," in the plural.  Regards, logologist 14:40, 27 October 2005 (UTC)

Photo
Thanks for the wonderful photo of the three cryptologists. It makes their tragedy so much more tangible.

I wanted to add a caption but didn't succeed. Could you try placing it (I would suggest, in all three men's articles)? I propose: "From left:  Jan Graliński, Jerzy Różycki, Piotr Smoleński.  All three Polish cryptologists would perish in the 1942 Lamoricière disaster." logologist 15:51, 18 November 2005 (UTC)

 * Now it should be OK. I have also added that image to all articles. Listowy 19:57, 18 November 2005 (UTC)

PC Bruno and Cadix

 * What do you think of Matt Crypto's suggestion either to split the "PC Bruno" article into separate "PC Bruno" and "Cadix" articles, or to rename the present article "PC Bruno and Cadix"?
 * Would it be feasible to blow up the Cadix-staff photo about 4 times, to make the individual faces visible without having to enlarge for each viewing?
 * Regards, logologist 20:09, 19 December 2005 (UTC)

 * In my opinion: Unless that article is not very long, we shouldn’t split it. I think that renaming it is a better idea. Check your e-mail, please, you should find my proposition of this image. Best wishes, Listowy 09:34, 20 December 2005 (UTC)

Blow-up
Thanks for inserting the beautiful Cadix-photo blow-up into the "PC Bruno" article. It's now possible to make out each individual. It makes them more than just abstract names! logologist|Talk 22:43, 30 December 2005 (UTC)

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Image Tagging Image:PZL-37 Los.jpg
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ANX
Hi there, just wondered what the "ANX" was that you added to the cipher bureau box? (It's presumably not the "Automotive Network Exchange"!) — Matt Crypto 18:00, 13 June 2006 (UTC)

 * Hi! Of course you are right. The "ANX" was one of the most effective key recovering method. Almost all German messages started from the letters AN followed by X. English TOx (‘x’ as a separator). I have changed that redirection, because we don't have an appropriate article. Best wishes, Listowy 17:40, 14 June 2006 (UTC)

Not minor
Please don't mark all of your edits as minor, most of them are not. See: Help:Minor edit.-- Piotr Konieczny aka Prokonsul Piotrus talk 17:08, 25 July 2006 (UTC)

 * I will try to follow these tips. However sometimes is really hard to estimate whether it is or not:). Best wishes, Listowy 10:15, 27 July 2006 (UTC)

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Image:Second World War europe.PNG
This image needs to be corrected. There were no Axis powers before 1940. See Tripartite Pact for details. Mieciu K 11:57, 27 May 2007 (UTC)
 * Please check current version. Is there still any way to make this image better?:) Listowy 12:29, 28 May 2007 (UTC)
 * Much better, but still the Political status of the Czech protectorate and Slovakia should be explained in the "legend" right now they are simply called Germany which is a big simplification. Mieciu K 21:51, 29 May 2007 (UTC)
 * There was another complaint about the fact that the Ukrainian and Belarussian republics are in a different colour than the rest of the USSR, while these soviet republics had some degree of autonomy most people neither know or are interested in this fact. Instead most people get the impression that this map shows the "occupation" of Belarussia and Ukraine. The entire USSR should be in one colour. Mieciu K 17:10, 11 June 2007 (UTC)

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Biuro Szyfrów
With some effort, this could be a WP:GA indeed.--Piotr Konieczny aka Prokonsul Piotrus 17:20, 7 October 2007 (UTC)

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Biuro Szyfrów
As one of the primary editors of this article I wanted to let you know that someone submitted the Biuro Szyfrów article for GA. I reviewed the article, placed it on hold and left some comments on the talk page. Please let me know if you have any questions. --Kumioko (talk) 02:50, 3 April 2010 (UTC) The illustration, "File:Gwido Langer Gustave Bertrand Kenneth McFarlan.jpg," which appears in several articles, including "Biuro Szyfrów," may be at risk due to a "deprecated tag." Could the tag be replaced? Nihil novi (talk) 02:18, 5 April 2010 (UTC)

File source problem with File:Warszawa - defilada.jpg
Thank you for uploading File:Warszawa - defilada.jpg. I noticed that the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you did not create this file yourself, you will need to specify the owner of the copyright. If you obtained it from a website, please add a link to the website from which it was taken, together with a brief restatement of that website's terms of use of its content. However, if the copyright holder is a party unaffiliated from the website's publisher, that copyright should also be acknowledged.

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{Autotranslate|1=File:GROM.jpg|base=Image source/heading}
{Autotranslate|1=File:GROM.jpg|base=Image source}Herr Kriss ( talk ) 23:59, 28 June 2010 (UTC)

File source problem with File:Dworzec.jpg
Thank you for uploading File:Dworzec.jpg. I noticed that the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you did not create this file yourself, you will need to specify the owner of the copyright. If you obtained it from a website, please add a link to the website from which it was taken, together with a brief restatement of that website's terms of use of its content. However, if the copyright holder is a party unaffiliated from the website's publisher, that copyright should also be acknowledged.

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Biuro Szyfrów - references need improvement
This article, which you've contributed to, needs more references if it is to maintain its GA status. See Talk:Biuro_Szyfrów. --Piotr Konieczny aka Prokonsul Piotrus| talk to me 22:40, 3 June 2012 (UTC)

File:Mjr Maksymilian Ciężki.jpg needs authorship information
Dear uploader:

The media file you uploaded as File:Mjr Maksymilian Ciężki.jpg appears to be missing information as to its authorship (and or source), or if you did provide such information, it is confusing for others trying to make use of the image.

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File source problem with File:Gralinski, Rozycki and Smolenski.jpg
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File source problem with File:Mjr Maksymilian Ciężki.jpg
Thank you for uploading File:Mjr Maksymilian Ciężki.jpg. I noticed that the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you did not create this file yourself, you will need to specify the owner of the copyright. If you obtained it from a website, please add a link to the page from which it was taken, together with a brief restatement of the website's terms of use of its content. If the original copyright holder is a party unaffiliated with the website, that author should also be credited. Please add this information by editing the image description page.

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Proposed deletion of EP09 Simulator

The article EP09 Simulator has been proposed for deletion  because of the following concern:
 * This topic clearly fails WP:GNG - no references, no indication of notability.

While all constructive contributions to Wikipedia are appreciated, content or articles may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the notice, but please explain why in your edit summary or on the article's talk page.

Please consider improving the article to address the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. In particular, the speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. Piotr Konieczny aka Prokonsul Piotrus| reply here 11:11, 17 October 2013 (UTC)

File source problem with File:Gwido Langer Gustave Bertrand Kenneth McFarlan.jpg
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ArbCom elections are now open!
MediaWiki message delivery (talk) 13:09, 23 November 2015 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:33, 23 November 2015 (UTC)

title: User talk:Listowy


text:
File:Alleanza Democratica.png

Logo of the Italian party Democratic Alliance.

title: File:Alleanza Democratica.png


text:
Talk:Win, Lose and Kaboom

Huh?
The Intergalatic showdown can't a reference to Xiaolin Showdown, the series began a while after the movie. 24.63.3.115 22:31, 29 December 2006 (UTC)

title: Talk:Win, Lose and Kaboom


text:
Talk:Turkish Croatia

Recent activities
, it's the same "cursory mention" you yourself argued about a month ago in a discussion on TP: Duchy of St. Sava - something we find in those sources sometimes used in a desperate attempt to give credence to the existence of an article and/or its title or statement. It's when the term is mentioned in passing, without any footnote(s), without explaining its historicity, significance, without describing its territorial scope, etc., in this case in a paper in which there is no such a research on the subject and topic of the author's training and expertise, but is mentioned in a short passage in a text that is a polemical work aimed at debating more recent topics, such as politics and the war in Bosnia in the 1990s. Furthermore, the included part of the prose (two sentences) is really closely paraphrased (almost copy / pasted) from the paper and inserted by TBanned Mikola, interrupting the narrative integrity of the passage. Between the two of us for a better understanding of the broader context, it is practically a political treatise by Mladen Ančić in defense of the Herceg-Bosna enterprise and the motivation of its war-criminal masterminds. It is significant that the source was introduced by applying its outlandish anachronism by the author (who is otherwise a trained medievalist), normative for most Balkan polemical ideological-political claptrap. And although no one should comment, let alone try to deprive the author of his right to use the phrase "Turkish Croatia", it's still at the very least degutant for a trained historian to apply the name (under scare-quotes!) invented in 1699, at the office desk of Austrian-Croatian-Venetian military commission, for the description of history that took place nearly two centuries earlier, at a time when the name did not yet existed, not even as a trope that it is, so no one then used it for the area (not that anyone used it anyway in any capacity). In 2001, Ančić wrote about the beginning of the 16th century in this section of the paper and used an expression from the 18th century extremely uncritically, a term that was never accepted in (academic) mainstream geography, geographical history, or historical geography. As an average medievalist, Ančić is quite solid, however, just like our TBanned editor Mikola, he used this term anachronistically, for reasons known to him but which can still be identified, without any footnotes and descriptive explanations in polemical text, published in the academic magazine from the Croatian University of Mostar (hardly "npov" output and environment). While it would be sensible on your part, purely from a position of preserving credibility, to remove that paragraph, I certainly intend to "PROD" these few articles that are the result of some editor's arbitrary interpretation and creation of an RS-free articles as soon as I find time over the weekend, including Morlachia, Duchy of St Sava, category Turkish Herzegovina (!?). Sorry for the longer read.-- ౪ Santa ౪ 99°  15:49, 8 October 2021 (UTC)

 * OK, that's not a cursory explanation :) --Joy [shallot] (talk) 19:03, 8 October 2021 (UTC)
 * Well, yours is not usual Balkan scope response :-)))-- ౪ Santa ౪ 99°  08:05, 9 October 2021 (UTC)

 * I had a look at the source, and rephrased the mention to clarify the context. In doing so, I found another sourcing issue. There's probably some more work to be done here to make sure WP:UNDUE is not trampled over, but at least we can find secondary sources that specifically refer to the history of the use of these terms as such. --Joy [shallot] (talk) 08:34, 9 October 2021 (UTC)
 * Joy, it is not my intention to discourage you, but I think, I am convinced, that you will only waste your time trying to find some presentable sources. I myself wasted a lot of time over a few months at the time I was writing the current version of the article, all I found to be valuable, that’s what you see in the references.-- ౪ Santa ౪ 99°  19:06, 10 October 2021 (UTC)

title: Talk:Turkish Croatia


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Talk:Elastic wave

Linear elasticity article
The linear elasticity article has significant coverage on waves. Perhaps the articles should be merged, or content moved here? GeoGreg 05:09, 9 August 2006 (UTC)

title: Talk:Elastic wave


text:
Lump (song)

"Lump" is a song by alternative rock band the Presidents of the United States of America. It was released in August 1995 by Columbia Records and included on their self-titled debut album (1995). The song reached number one on the US Billboard Modern Rock Tracks chart same year. Composer Chris Ballew said that the lyrics combined his own history of having a benign tumor in the head with a vision he had of a woman in a swamp, while employing the word "lump" because Ballew was fond of it. The musical part was described by Ballew as him "trying to write a Buzzcocks song". Ballew considers it his favorite composition. The music video for the song was directed by Roman Coppola. "Lump" has been covered or remade by several artists, including the Johnstones and "Weird Al" Yankovic.

Musical style
Musically, Lump is a grunge, pop-punk,  alternative rock, post-grunge, and pop rock song.

Critical reception
Andrew Mueller from Melody Maker said, "'Lump' is a frantically grinning, gurning, hyperactive lurch that evokes nothing more than visions of retribution involving a plank with a nail through one end." Pan-European magazine Music & Media wrote, "Taken from the band's debut album, 'Lump' clocks in at just over two minutes. And it's so cool you could play it twice in place of those dismal four-minute rock operas churned out by other US-rockers. Full points to Chris Ballew's tongue-in cheek vocals–one of the best things to happen to alternative rock this year." Mark Beaumont from NME remarked "the hook-smattered stoopidity" of tunes like 'Lump'. He also named it Single of the Week, praising it as "pure, perfect, dumbass hedonistic pop." David Sinclair from The Times commented, "An intriguing amalgamation of Nirvana-influenced riffs and Weezer-ish harmony vocals, it is a post-grunge formula served up with lashings of oddball humour in place of the usual angst: Lump sat alone in a boggy marsh/Totally motionless except for her heart/Mud flowed up into Lump's pyjamas/She totally confused all the passing piranhas."

Music video
The accompanying music video for "Lump", directed by American filmmaker Roman Coppola, takes place in a "boggy marsh" (as the lyrics state). The video shows the band singing in a swamp as well as on the stern of a large barge in Elliott Bay interspersed with a silhouette scene of the band performing.

Another video was also made for the song. This version, commonly referred to as "Lump 2", was considered too disturbing and dark to be aired on MTV (reflecting the band's grunge and post-grunge origins). It features the band performing on a dark stage while various people lip sync the lines "She's lump!" during the chorus. This version can be found on "Ten Year Super Bonus Special Anniversary Edition" of the Presidents of the United States of America's debut album, and on their YouTube channel.

In 2023, both versions were re-uploaded to YouTube in high-definition, as well as the other videos from the debut album.

Track listings and formats

 * European maxi-single
 * 1) "Lump"  – 2:12
 * 2) "Carolyn's Bootie"  – 2:15
 * 3) "Candy Cigarette"  – 2:00

 * Australian CD single
 * 1) "Lump"  – 2:12
 * 2) "Carolyn's Bootie"  – 2:15
 * 3) "Candy Cigarette"  – 2:00
 * 4) "Twig in the Wind"  – 2:54

 * UK 7-inch vinyl and cassette
 * 1) "Lump"  – 2:12
 * 2) "Wake Up"  – 2:37

 * European CD single and Dutch 12-inch vinyl
 * 1) "Lump"  – 2:12
 * 2) "Carolyn's Bootie"  – 2:15

Credits and personnel
Credits and personnel are adapted from the "Lump" US promo CD liner notes.
 * Chris Ballew – producer, vocals, two-string basitar
 * Dave Dederer – producer, three-string guitbass, vocals
 * Jason Finn – drums, vocals
 * Conrad Uno – producer, recording at Egg Studios
 * Mark Guenther – sound engineer
 * David Kahne – mixing
 * Steve Culp – mixing engineer
 * Wally Traugott – mastering at Capitol Studios/Tower Mastering

Parodies and covers

 * "Weird Al" Yankovic released a parody version of the song known as "Gump", a joking tribute to Forrest Gump. Notably, the last line of this parody, "and that's all I have to say about that" would later be used by the Presidents of the United States of America in their subsequent live performances of the song. Yankovic would later return the favor by covering "Peaches" on The Unfortunate Return of the Ridiculously Self-Indulgent, Ill-Advised Vanity Tour with a special appearance by Ballew.
 * Comedian Brian Posehn recorded a skit for his 2020 comedy metal album Grandpa Metal called "My Phone Call with Weird Al", featuring Yankovic, which references both "Lump" and "Gump", in which Posehn is trying to get Yankovic's permission to record a parody called "Trump" about president of the United States of America Donald Trump, and Yankovic unsuccessfully tries to inform Posehn that "Gump" is a parody of the Presidents of the United States of America song "Lump".
 * ApologetiX also recorded a parody entitled "Plump", describing King Eglon and his rule over Israel.
 * Canadian ska punk band the Johnstones covered "Lump" on their 2008 EP SEX.
 * The Blackout also covered "Lump" and it features on the end of the group's album, Hope, released in 2011.

title: Lump (song)


text:
File:Carnac the Magnificent.jpg

Summary
Johnny Carson as Carnac the Magnificent; taken from the January 24, 2005 broadcast of The Tonight Show.

Demonstrates fair use for the Carnac the Magnificent sketch: illustrates the character in question, which only appeared on the copyrighted television program (not replaceable); picture is in standard definition. Taken from an episode of The Tonight Show Starring Johnny Carson, date unknown.

title: File:Carnac the Magnificent.jpg


text:
Category:Hundreds in Delaware

This category contains a listing of all articles and subcategories that have articles relating to the hundreds of Delaware.

title: Category:Hundreds in Delaware


text:
MS Viking Cinderella

MS Viking Cinderella is a cruiseferry built in 1989 at Wärtsilä Marine Perno Shipyard in Turku, Finland, as MS Cinderella for SF Line, one of the owners of the Viking Line consortium. She's currently used on the Helsinki to Stockholm route.

History
The Cinderella was planned in the later half of the 1980s as the new flagship for SF Line. Her interior layout was based on that of MS Mariella but with more space and additional facilities. SF Line originally planned the Cinderella to take over the Mariella's place in Helsinki–Stockholm traffic (the Mariella would have been placed on a new route from Helsinki to Norrköping). The plan was never realised however, and when completed the Cinderella was placed as a third ship on the Helsinki–Stockholm route, with departures from Helsinki on Monday, Wednesday and Friday (at 19:30 instead of the normal 18:00), with a 25-hour (later 24-hour) cruise from Helsinki on Sundays. The one-day cruises proved very popular and after a few years they were made also on Fridays and Saturdays. In 1993, after the other Viking Line partner Rederi AB Slite went bankrupt, the Cinderella took over MS Olympia's place on the Helsinki–Stockholm route, sailing in tandem with the Mariella. At this time her passenger capacity was upgraded to 2,700, but it was soon lowered back to 2500. In autumn 1994 she swapped routes with MS Isabella, returning to making 24 (later 20) hour cruises from Helsinki to Tallinn. In summers 1995 and 1996 Cinderella sailed on the Turku–Mariehamn–Stockholm route, freeing MS Rosella for the seasonal Naantali–Mariehamn–Kapellskär route. In summers 2002 and 2003 Cinderella made cruises from Helsinki to Riga in addition to the normal 20 hour Tallinn cruises. Viking Line decided to withdraw Cinderella from the Helsinki–Tallinn route after the end of the 2003 summer seasons, due to increased competition from Tallink's newer MS Romantika and the fact that tax-free sales on the route would end in 2004 when Estonia joined the EU. Cinderella was extensively rebuilt in Naantali, and emerged as the all-white Swedish-flagged Viking Cinderella for the Stockholm–Mariehamn 22-hour cruise market. The name change was dictated by necessity as a ship called Cinderella already existed in the Swedish ship registry. In 2003 the Viking Cinderella was declared the most environmentally friendly ship of her size in the world by the Swedish maritime authorities. From 2004 onwards Viking Cinderella made cruises to Riga (via Mariehamn in order to sell tax-free goods) during the summer season in addition to the 22-hour cruises. Viking Cinderella was the ship used in Sweden's Kanal 5 reality show Färjan. Negotiations are underway to restore the Stockholm-Mariehamn-Riga route in 2024. MS Viking Cinderella is the only ship left in the Viking Line fleet to sail under Swedish flag after MS Rosella and MS Viking XPRS were reflagged to Finland and Estonia in January 2014.

After the joint purchase of MS Birka Stockholm with Rederi AB Gotland, Viking Line announced that Viking Cinderella will be replaced on the Stockholm–Mariehamn cruise service in early 2024. From March 2024, she has instead been employed on the Helsinki to Stockholm route. As a part of this move, the Viking Cinderella was reflagged to the Finnish flag.

title: MS Viking Cinderella


text:
Boris Anrep

Boris Vasilyevich Anrep (Борис Васильевич Анреп; 27 September 1883 – 7 June 1969) was a Russian artist, active in Britain, who devoted himself to the art of mosaic.

In Britain, he is known for his monumental mosaics at the National Gallery, London, Westminster Cathedral and the Bank of England. Being close to the Bloomsbury Group, he was a noticeable figure in London social and intellectual life from 1912 up to the mid-1960s. In Ireland, he is known for his mosaics at Christ the King Cathedral, Mullingar. In Russia, he is associated with the Silver Age of Russian Poetry as the addressee of many beautiful poems by Anna Akhmatova, including her Tale of the Black Ring. Anrep was also friendly with Nikolai Gumilev, an outstanding poet and Akhmatova's husband, and Nikolay Nedobrovo, a talented critic, two prominent figures of the 1910s in Saint Petersburg.

Life and works
The Anrep family, originally from Westphalia, belonged to Swedish and Russian nobility and numbered a few renowned army officers in the 16th to 19th centuries.

Early years
Anrep was born in 1883 in Saint Petersburg. His father, Vassily von Anrep, professor of forensic medicine, occupied high positions in the ministries of education and of interior and was elected in 1907 to the Russian parliament, the Duma. From 1899 to 1901 Boris went to school in Kharkov, where he first met Nikolay Nedobrovo, and spent the summer of 1899 in Great Missenden, Buckinghamshire, learning English. From 1902 Anrep studied in Imperial School of Jurisprudence in St. Petersburg and graduated in 1905. The same year he met Yunia Khitrovo, whom he married three years later.

After Nedobrovo introduced him to the painter Dmitri Stelletsky, Anrep began to be interested in art. In 1908 Boris abandoned his law studies in St. Petersburg University, left for Paris to study art and enrolled at the Académie Julian (classes of J.-P. Laurens). He attended also Académie de La Palette and Académie de la Grande Chaumière. This was followed by a year at the Edinburgh College of Art in 1910–1911 (classes of F. Morley Fletcher).

While in France Anrep had become friends with the painters Henry Lamb and Augustus John, and soon he was acquainted with English artists and intellectuals, among them Lytton Strachey, Maynard Keynes, Roger Fry, and Virginia Woolf. He also fell in love with Helen Maitland, a close friend of A. John's wife Dorelia. They lived together from 1911, had two children, and married in 1918. However, the marriage was unhappy, and Helen left him to become the lifelong companion of the artist and critic Roger Fry.

In 1912, Anrep worked with the art critic Clive Bell on Roger Fry's second Post-Impressionist exhibition. He was in charge of the Russian section and presented pictures by Natalia Goncharova, Mikhail Larionov, and Nicholas Roerich.

Anna Akhmatova and Boris Anrep
Anrep wrote poetry in Russian and in English, influenced by English romantics, Percy Bysshe Shelley and William Blake. His narrative poem Fiza was read in 1913 in author's absence in St. Petersburg and gave its name to the Society of Poets, which included Anna Akhmatova, her husband Nikolay Gumilyov, and Osip Mandelstam and became the centre of Acmeism, a new trend in Russian poetry.

At the outbreak of World War I in 1914 Anrep went to serve as an officer in the Russian army and fought in Galicia till 1916. Before joining the ranks, he visited Nedobrovo in Tsarskoe Selo and was introduced to Akhmatova, who lived nearby. They met continually during Anrep's short vacations in St. Petersburg. He described their relationship as a warm friendship, but for Akhmatova it was intensely important and inspired over 30 poems, which trace the passage of their affair from her early hopes and dreams to her bitter disappointment at their parting.

In April 1917 Anrep was called back to London as Military Secretary to the Russian Government Committee and never returned to Russia. The same year, Akhmatova used a line from Fiza as an epigraph to her book White Flock. For many years, they did not communicate. Their last meeting occurred in Paris in 1965, when Akhmatova returned home after receiving the honorary degree from Oxford University, shortly before her death.

Early commissions in England
Having travelled to Italy with Stelletsky in 1904 and been enthralled by the Byzantine mosaics in Ravenna, Anrep settled on the idea of making mosaics himself.

His first success was the hall of artist Ethel Sands' house in Chelsea, London: a dark turquoise blue floor with Byzantine characters (1917) and the walls, with portraits of Lytton Strachey, his companion Dora Carrington, and Virginia Woolf in male costume (1920).

Another commission was the vestibule in 35, Upper Brook St Mayfair for Sir William Jowitt, showing Various Moments in the Life of a Lady of Fashion (1922). Lesley Jowitt was shown telephoning in bed, in her bath, and at a nightclub.

The mosaics Christus Militans and The Vision of St.John were made for the chapel at the Royal Military Academy Sandhurst (1921). Eight panels, illustrating "The Proverbs of Hell" from The Marriage of Heaven and Hell by William Blake, decorated the octagonal room at the Tate Gallery (1923).

Saint Sophia Cathedral
In 1926 the trustees of Saint Sophia, Bayswater commissioned Anrep to execute a major set of mosaics in the sanctuary of the Greek Orthodox Cathedral. He settled on a scheme depicting the incarnation of Christ and the mystery and celebration of the Eucharist. His design takes full use of its Byzantine domes. The prothesis apse vault contains a semi-circular Nativity on its ceiling, using an individual composition. The diaconal apse depicts the Hospitality of Abraham from the Old Testament. At the summit of the vault are trios of angels celebrating the chalice of the Eucharist. The figures are simplified with rigid folds in Byzantine style. Gold tesserae sparkle between blocks of colour. The mosaic is harmonious with the structure, designed by Barry in the 1880s.

Anrep was invited back to decorate further sections of the cathedral between 1932 and 1956. This includes full length figures of the Major Prophets and busts of the Minor Prophets. In the west arch he depicted Saint Nicholas and Saint Christopher with the Christ Child, both protectors of the seafarers and travellers of the congregation, a community that was closely associated with shipping and trading.

Commissions in Mullingar, Ireland
Boris Anrep also realised two attractive mosaics of Saint Anne and Saint Patrick within the Cathedral of Christ the King Mullingar. The cathedral was realised from 1933 to 1939 by Byrne and sons, decorative work was subcontracted to Oppenheimer Ltd, Old Trafford, Manchester. Note carefully the unconventional spelling of Saint Anne in the mosaic; it is spelt Anna. Additionally, the saint's image bears an uncanny resemblance to that of the poet Anna Akhmatova in her mid-20s.

National Gallery mosaics (1928–1952)
Anrep created four colourful mosaics, which decorate the imposing staircase built by Sir John Taylor in 1887 for the entrance hall of the National Gallery. The mosaics were paid for by private patrons, mainly the industrialist Samuel Courtauld and Anrep's friend Maud Russell, wife of the banker Gilbert Russell. Anrep described the subjects as a philosophical cycle.

The Labours of Life in the west vestibule (1928) illustrates Man's constructive and creative nature. It includes working with electric drill (Engineering), filming a zebra (Exploring), washing a pig (Farming) and studying the diplodocus in the Natural History Museum (Science). Other pictures are Sacred Love (a family), Art, Astronomy, Letters, Mining, Commerce (a Covent Garden porter), Music (a shell and a flute), and Theatre (a contortionist).

The Pleasures of Life in the east vestibule (1929) shows Man's recreations. The subjects are Contemplation, Conversation, Football, Hunting, Cricket. Girls are depicted riding a motorcycle (Speed), wriggling in a hammock (Rest), jiving charleston (Dance), swimming (Sea-Horse). Christmas Pudding and Mud Pie are childish, while Profane Love shows a man with two girls.

The Awakening of the Muses on the half-way landing (1933) links the themes of the first two mosaics. At the crowing of the cock Bacchus, patron of pleasures, and Apollo, who inspires the labours, awaken the Muses. Here the figures are portraits of the artist's contemporaries. Apollo is Sir Osbert Sitwell, Bacchus is Clive Bell. Polyhymnia is represented as Diana Mitford, Clio as Virginia Woolf. Melpomene is Greta Garbo, and Terpsichore is prima ballerina Lydia Lopokova, Lady Keynes. Euterpe as Lady Christabel Aberconway. Urania as Maria Volkova. Calliope as Anna Akhmatova. Erato as Mary Hutchinson. Thalia as Lady Lesley Jowitt.

Modern Virtues in the north vestibule (1952) is a record of the intellectual life of the 1930s and 1940s. Compromise is presented by the American actress Loretta Young, wearing a Phrygian cap as well as a crown; Curiosity is Lord Rutherford with a splitting atom; Sir Winston Churchill defies a beast in a shape of swastika (Defiance). The ballerina Margot Fonteyn listens to the writer and musician Hon. Edward Sackville-West playing the harpsichord (Delectation); Lady Diana Cooper as Britannia crowns Punch (Humour); the poet T. S. Eliot features in Leisure, Bertrand Russell illustrates Lucidity. The astronomer Fred Hoyle, Augustus John and the poet Edith Sitwell and are portrayed respectively in Pursuit, Wonder and Sixth Sense (named after the poem by Gumilyov). Compassion is a portrait of Akhmatova surrounded by the horrors of war. She is looking towards another panel which depicts Anrep's gravestone, linking together his art and her poetry.

Mosaics

 * 1912 Three mosaic panels made at the Ebel Factory, Paris.
 * 1914 Westminster Cathedral crypt. Ceiling of Tomb for Archbishop.
 * 1914 The Vale, Chelsea. Hall, floor with Byzantine figures at a party. Deep turquoise background, strong figures.
 * 1918 The Vale, Chelsea. E.Sands. Walls. V.Woolf with her head in the stars, coming down steps. L.Strachey looking out of the cottage window.  D.Carrington looking up at him from lower window. Tree and parrot in cage, cryptic poem in Russian.  Sketched in the plaster with mosaic.
 * 1919 Mallord Street, Chelsea. Fireplace in vestibule for A.John.  Mistresses, Wives and Children.  Now in Victoria and Albert Museum.
 * 1920 Westminster Cathedral. Blessed Oliver Plunkett.
 * 1921 Royal Military College, Sandhurst. Apse of the chapel.  St John with keys, sword and stars.
 * 1923 Tate Gallery. Octagonal floor of the Blake Room. Blake proverbs from 'The Marriage of Heaven and Hell': eight plaques.
 * 1923 Chapel Keir House. General Stirling.  Ceiling.
 * 1923 Upper Brook St. London. William and Lesley Jowitt, Floor of hall.  Various moments in the life of a Modern Lady of Fashion.  Now in Birmingham Art Gallery.  Lady J, telephoning in bed, in her bath, at nightclub, etc.
 * 1925 Hamspray House, Wiltshire. Mantelpiece with Carrington lying prone across the top as a hermaphrodite.  For L.Strachey.  Now in Brighton Museum storage?
 * 1924–28 St Sophia, Greek Orthodox Church, Moscow Rd. Ceiling and walls.  Prophets.
 * 1928 West vestibule. East vestibule 1929.  The Labours of Life and The Pleasures of Life.
 * 1930? Mosaic of Lovers. Jeanne Reynal.  Given to Igor Anrep.
 * 1931 Gazebo, Biddesden House, Wiltshire. Bryan Guinness.  Floor, walls and domed ceiling. Floral designs and 3 Muses in alcoves.
 * 1931 Bank of England. Floors.  Coins of the Realm.
 * 1932 Greek Cathedral, Moscow Rd. Ceilings and walls.
 * 1933 National Gallery. Half landing Awakening of the Muses.  Clive Bell as Bacchus, Greta Garbo, Lopokova, R. Partridge as Apollo.
 * 1933 Mantelpiece for Hamspray. R. and F. Partridge.  Shells.  Whereabouts now unknown.
 * 1937–42-57 Bank of England, Threadneedle St. Hall, passages.
 * 1945 The Sacred Heart for Mrs Stirling. Left to Ampleforth by her in 1972.
 * 1946 Wall of Mottisfont Abbey. Romsey. Maud Russell Angel of Mottisfont.
 * 1948 Mullingar Cathedral, Ireland. St Patrick lighting the fire at Slane, St Patrick's chapel.
 * 1950 Greek Cathedral.
 * 1952 National Gallery. North vestibule, 'Modern Virtues' Akhmatova, Fonteyn, Rutherford, Eliot, Russel, E. Sitwell and A. John, Churchill etc., figure as virtues.
 * 1953 Hendon Vale Cemetery. Tomb for Greek shipowner, Mr Kulukundis.
 * 1954 Mullingar Cathedral, Ireland. St Anne's chapel.
 * 1954 Notre Dame de France, Leicester Sq. Madonna leaning over Child in Manger.  Altar panel later plastered up for design by Cocteau.
 * 1956–57 Bank of England. Annex in New Change, Queen Elizabeth II.
 * 1956–63 Westminster Cathedral. Chapel of the Blessed Sacrament.  Walls and ceiling.
 * 1962 Halkin St, London. Fireplace.  Black cat for Mrs Partridge.
 * 1965 Table with four panels: ballet shoes, heart being dissected, writing paper and stethoscope.

Writings

 * The Book of Anrep (lost), Foreword to The Book of Anrep
 * Escape from Paris
 * About the Black Ring
 * Foreword to Russian section of Post-Impressionist catalogue
 * Articles in Apollon
 * Poems

Illustrations and paintings

 * 1906 Maroussia Volkova (charcoal on paper)
 * 1934–35 Mrs Gilbert Russell, Sitting in Bed (oil)
 * 1944, Nude and Ruins (gouache on board)
 * Design for mosaic (multiple) See: Prints & Drawings Study Room at the V&A
 * Cartoon for mosaic (multiple) See: Prints & Drawings Study Room at the V&A
 * Foreword to the Book of Anrep (water colour)
 * Helen Anrep (drawing)
 * Music Teacher (drawing) Tate Gallery
 * The Lady and the Tree (gouache)
 * Study for National Gallery mosaic "Rest" (drawing)
 * Head of Girl (drawing)
 * Head of Man (drawing)
 * Cartoons for mosaics (Victoria and Albert Museum)
 * Green Man (oil)

title: Boris Anrep


text:
User talk:Zapresic

Welcome to Wikipedia!
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Zapresic
The text on this page was unfortuatly a straight rip off of another site, so I've removed it. I've tried to keep the images. The problem is that the images aren't "tagged". They need the source clearly listed, and either evidence that they are licenced for us to use, or in the public domain. If you took these pictures yourself please say when you upload. Thanks Zeimusu | Talk page 16:38, 2005 August 28 (UTC)

Image Tagging Image:Zapresicmala.gif
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title: User talk:Zapresic


text:
Battle of Lacolle Mills (1812)

The Battle of Lacolle River was fought on November 20, 1812, during the War of 1812. In this relatively light skirmish, a very small garrison of Canadian militia, with the assistance of Kahnawake Mohawk warriors, defended the Lacolle Mills Blockhouse on the Montreal road bridge over the Lacolle River at the village of Lacolle, Quebec against a disorganized American attack.

Canadian regulars and militia were under the command of Charles de Salaberry who had positioned his severely outnumbered forces together with his native allies as best he could to attempt to block any advance toward Montreal.

The American invasion force totalling about 2,000 regulars and 3,000 militia was assembled and led by Major General Henry Dearborn. However, a delay of several months after the American declaration of war meant that the advance would only begin with the onset of winter. Moreover, since about half of the American militia refused to advance into Lower Canada, Dearborn was hamstrung from the outset from utilizing all of his forces. Nevertheless, his forces still far outnumbered the Crown allies on the other side of the border and American Colonel Zebulon Pike crossed the border into Lower Canada with an advance party of about 650 regulars and a party of Aboriginal warriors. These were to be followed by additional American forces. The advance party were initially met by only a small force of 25 Canadian militiamen, from the 1st Battalion Select Embodied Militia, and 15 Aboriginal warriors. Clearly outnumbered, the Crown forces withdrew, allowing the Americans to advance on the guardhouse and several buildings. In the dark, Pike's forces became engaged with a second group of New York militia, both sides mistaking each other for the enemy. The result was a fierce firefight between two groups of American forces at the guardhouse. In the aftermath of this confusion, and amidst war cries from reinforcing Crown-allied Mohawk warriors, the shaken American forces retreated to Champlain and then from Lower Canada completely.

The American effort directed at Montreal in 1812 suffered from poor preparation and coordination. However, the logistical challenges involved in advancing a large force toward Montreal at the start of the winter were significant. After the attack, de Salaberry evacuated the Lacolle area and destroyed farms and houses which the Americans had evidently planned to use, since they lacked tents for shelter against the winter elements. Faced with a significant logistical challenge and in the face of setbacks, Dearborn abandoned his perfunctory plans and the demoralized American forces would not attempt this assault again until 1814 in the Second Battle of Lacolle Mills.

title: Battle of Lacolle Mills (1812)


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