text:
Tornado (robot)

Tornado was a competitor on the UK TV series Robot Wars, noteworthy as the champion of the sixth series. It was built by Andrew Marchant, Bryan Moss and David Gamble, from Sawtry, near Huntingdon.

Construction
Andrew Marchant had originally planned to build a caterpillar tracked combat robot called Plague in 1999. After relocating to Huntingdon, Cambridgeshire, Marchant met fellow Robot Wars enthusiast Dave Gamble. They formed a team and, inspired by Robot Wars series two semi-finalist King Buxton, revised Marchant's design to employ go-kart wheels in a four-wheel drive formation. This redesigned robot was named Tornado, as Gamble is a storm chaser. Bryan Moss joined the team in late 1999 to provide pneumatics assistance for the robot's weapon system. Work began on Tornado's steel chassis in February 2000 and the first iteration of the robot was completed at the end of July 2000, two days before the qualifying rounds for the fourth series of Robot Wars. The robot's initial design was a red box-shaped chassis covered in 6 mm polycarbonate armour, with drive wheels protruding from the top and bottom of the chassis so that Tornado would remain drivable if inverted. Its primary weapon was a piercing spike propelled by a pneumatic ram which, alongside additional static spikes attached to the chassis, was designed to puncture opponents' armour.

From the fifth series of Robot Wars onwards, the weight limit for heavyweight competitors was increased to 100 kg. In response, Tornado's chassis was increased in length to 0.85 m, and tapered so that Tornado's rear wheels would remain in contact with the ground even if its front end was raised by an opponent. Its weapons system was also revised for series five: the pneumatic spike was replaced with an electrically powered 7 kg spinning disc. From Robot Wars series six, Tornado retained the spinning disc but it was now mounted in a removable framework. This allowed it to be interchanged with the weapon best suited for each opponent.

The robot
The robot was a basic box-shaped robot with a red frame and clear polycarbonate armor. The robot only had a pneumatic spike in Series 4, but was given a vertical spinning disc in Series 5. In Series 6, it had interchangeable weaponry - the disc, a wedge, a static spike, and a rectangular frame with horizontal blade (intended for use against Razer).

Rather than its weaponry, however, Tornado mainly relied on its speed and strength to push competitors into the pit or slam them into the arena walls. It featured 24V motors being run at 36V to give it high pushing power - its top speed was only 10 mph, but it had very good acceleration. Tornado was also invertible, allowing it to continue running even when flipped.

According to the team's website, it transpired that Tornado was inspired by King B Powerworks, a robot which competed in series 2 and 3 as King Buxton.

Round 1 vs. Kater Killer vs. Gemini
Tornado focused on ramming Kater Killer, and also rammed the House Robot Shunt. After being attacked by both Gemini and Tornado, Kater Killer became immobilised. Tornado drove into the pit at the end, but it had already qualified with Gemini.

Round 2 vs. Berserk 2
Tornado rammed Berserk 2 into the arena wall repeatedly, until it was immobilised.

Round 3 vs. Gemini
Tornado was flipped by Gemini, but was hardly affected since it was invertible. It rammed one half of the clusterbot onto an arena spike, immobilising it - the rules stated that if one half of a clusterbot was immobilised, the whole robot would be considered immobilised, so Gemini lost the fight, even though Tornado lost its drive chain at the end. This victory sent Tornado into the semifinals.

Round 4 vs. Wheely Big Cheese
Tornado rammed Wheely Big Cheese in the wheel, but was also flipped a couple of times. Tornado then pushed Wheely Big Cheese into a CPZ, and one of WBC's wheels broke. However, Tornado started smoking towards the end. The fight went to the judges, who declared Tornado the winner.

Round 5 vs. Chaos 2
This battle was fought three times, but only the last one was seen on TV. The first was stopped when the arena was accidentally damaged. In the second, both robots were immobilised at the same time: Chaos 2 by Shunt, Tornado by losing its drive chain. In the third, Chaos 2 successfully flipped Tornado out of the arena, winning the fight. Chaos 2 went on to win Series 4.

Tornado won the award for Best Newcomer in Series 4.

Robot Wars Extreme 1
This was a series of shows with different events that Tornado participated in.

Vengeance
This was the opening battle of Extreme - Tornado against Stinger, who had apparently claimed that Tornado was just a boring box on wheels. Tornado won the fight on a judges decision by shoving Stinger around. The 'grudge' was very obviously faked, as it had been fought to entertain viewers when filming was delayed. Tornado slammed and flipped Stinger over and over. Then Killalot grabbed Stinger, and planned to drop out of the arena, but Sir Killalot reversed before it let go. Tornado won the Judges over.

Mayhem
Tornado competed in a three robot melee with King B Powerworks and The Steel Avenger. After some shoving, it suddenly became immobilised and was out after all its hard work. It was then put on the floor flipper. The Steel Avenger won the melee and went through to a six robot annihilator.

All Stars
In this 16 robot tournament featuring the most successful robots in Robot Wars, Tornado beat 3 Stegs 2 Heaven on a judges decision in the first round. In the quarter-finals, it beat Pussycat, ramming it around so much it caused one of Pussycat's wheels to fall off. In the semifinals, it rammed Chaos 2 around the arena - despite getting flipped against the wall at one point, it won the judges decision. In the final against Razer, Tornado was quickly clawed by Razer, and was eventually immobilised by the damage it sustained - Razer won the All Stars Tournament.

Challenge Belt
Tornado challenged the original holder of the Challenge Belt, Behemoth - proving the more powerful and maneuverable machine, it won a judges decision, and took the Challenge Belt for itself. Tornado then beat two challengers, Comengetorix and Wild Thing. With three victories, it was allowed to keep the first Belt forever, and so was given another one to fight for. It then beat two more challengers, Chaos 2 and Pussycat, and as there were no more challengers they were given the second belt without beating a third opponent.

Second World championship
Tornado represented England in the Second World Championship. In the first round, it was in a melee with Philliper (Belgium), Panzer Mk2 (USA) and Yeborobo (South Africa). Yeborobo never moved, and Tornado was flipped about by Panzer Mk2, but then Philliper flipped Panzer Mk2, who was unable to right itself. Being more dominant over Philliper, Tornado won the judges decision and went into the next round, where it met the reigning world champion Razer. Razer beat Tornado again, clawing it and lowering it into the pit. Simon Scott quoted on the Razer DVD "that his heart nearly came out in that battle"! Razer went on to win the final against DrillZilla, and retain its title as World Champion.

Series 5
In Series 5 Tornado had a small spinning drum (since the weight limit was increased from 80 kg to 100 kg).

Round 1 vs. Gravedigger
Both robots quickly on to the attack, with Gravedigger landing a couple of hits with its axe. But Tornado soon took control, and the ramming against the wall was too much for Gravedigger, who became immobilised.

Round 2 vs. Diotoir
Tornado shoved Diotoir around the arena for some time, but then Diotoir started shoving back, and successfully pushed Tornado into the pit. Diotoir then lost the heat final against Spawn Again who went on to the Series Semi-finals, only to lose to the eventual champion Razer.

Round 1 vs. Edge Hog vs. Terror Bull vs. Inshredable
This fight started off with Tornado giving out some powerful slams - it pushed Inshredable around the arena a bit, then combined with Edgehog to push Inshredable into Matilda's CPZ. Edgehog became immobile soon afterward. Tornado continued shoving Inshredable around, then shoved Terror Bull into the pit - Tornado and Inshredable qualified. Inshreadable was in no shape to fight again, as proved in its fight against Anarchy.

Round 2 vs. Thor
Tornado pushed Thor around the arena and into the House Robots, causing one of Thor's side panels to come off. Tornado won on a judges' decision.

Round 3 vs. Anarchy
Tornado replaced their spinning disc with a static spike for this battle. They pushed the walker Anarchy around, but were also flipped a few times. Tornado again won the judges' decision, and was through to the semifinals.

Round 4 vs. Hypno-Disc
Tornado fitted a low wedge for this battle. They simply shoved Hypnodisc around, leaving Hypnodisc unable to get its spinning disc up to speed and use it effectively. Tornado won the judges' decision.

Round 5 vs. Dominator 2
Tornado slammed Dominator 2 twice with its scoop, Dominator 2 axed it and made a nice hole though. However, Tornado pushed Dominator 2 into the side of Matilda in a CPZ, but Matilda couldn't turn her flywheel into Dominator 2, and Tornado backed straight into Matilda's flywheel, and went soaring above the pit and landed at the side of it, where it ran away, but Dominator 2 tried to chase it, but did a backwards-nose-dive into the pit. Tornado had made it to the Grand final for the very first time.

Round 6 vs. Firestorm 4
Tornado pushed Firestorm around the arena for a bit. Firestorm was having trouble getting under Tornado because their scoop was so low to the ground. Eventually they pushed Tornado into Shunt and Tornado got axed by the House Robot. Firestorm wedged Tornado into the wall. Tornado's wheels started smoking as they then pushed Firestorm back. Firestorm then got under Tornado again and pushed them around for a bit. Tornado was beginning to falter as they pressed the Pit Button. Tornado then got under Firestorm and slammed them into Shunt. After axing Firestorm, Shunt axed Tornado, nearly hitting the receiver. Firestorm flipped Tornado over. Tornado's scoop was now upside down and ineffective, until Firestorm flipped them again. Tornado then got under Firestorm and slammed them into the Pit Button. Just before time ran, Tornado pushed Firestorm down the pit, qualifying for the grand final.

Round 7 vs. Razer
For the battle against Razer, Tornado was fitted with a large metal frame with a lawnmower blade attached. Created specially for this fight, should it have occurred, this frame made it impossible for Razer to reach the inner parts of Tornado.

The round begun with Tornado ramming Razer several times, although rather ineffectively. Tornado's lawnmower blade stopped spinning at one point. Razer was able to grab onto the cage, but to no avail, as its moving power was outmatched by Tornado's.

Razer was slammed and became stuck behind the disc button, and Tornado rammed it many more times. Refbot eventually freed Razer. Tornado pushed Razer to the CPZ's of both Dead Metal and Shunt. The pit button was pushed and Razer managed to get a grip on Tornado's cage, lift it up and drag it into the pit, but Tornado's frame was too big for it to even fit all the way. Cease was called.

After a 45-minute wait, the judges finally ruled in favour of Tornado owing to the fact that Razer did not release itself from the robot upon its placement on the pit. Therefore it was deemed that Tornado did nothing wrong and subsequently became the new UK Champion.

All Stars
In the first round, Tornado was in a three-robot melee with Dantomkia and Terrorhurtz. Terrorhurtz was eliminated via pit, allowing Dantomkia and Tornado to qualify. Tornado was then beaten in the second round by Bigger Brother via pit, while Dantomkia lost to the heat winners Firestorm 4, who were beaten by reigning and eventual All Star champions Razer.

Challenge Belt
Eight robots (Barbarous 2, Dantomkia, Hypno-Disc, Iron Awe 2, Sir Chromalot, SMIDSY, Terrorhurtz and Vader) competed against each other for the right to challenge Tornado for the Challenge Belt, which Tornado had continued to hold since the first series of Extreme. Terrorhurtz won, and went against Tornado. Tornado quickly pitted Terrorhurtz, and was allowed to keep the second Challenge Belt forever.

European championship
Qualifying as UK champion, Tornado faced the Razer-esque Snake Bite from Switzerland but did not use the anti-crusher frame. After constantly shoving it around the arena, Tornado eventually pitted its foe to face World Champions and arch foe Razer. Although the UK champions did use the spinning blade and framework, Razer now had a new hook extension, specially designed to grapple Tornado's frame and lift it up. The World Champion's tactic worked but, suddenly, their motors burned out in an attempt to pit Tornado and the judges went for Razer.

However, the Razer team conceded defeat as they believed their robot to be immobilised. Tornado therefore faced the Belgian Phillipper 2 in the final, who had taken a lot of damage in their previous fight. Tornado, equipped with their disc, shredded through Philliper 2's armour and eventually pitted it to claim the European title.

Round 1 vs. Saw Point 2 vs. Ewe 2 vs. Devastator
Tornado pushed Devastator straight into Mr. Psycho in the CPZ, and when it escaped, chased them to the top of the arena, and pushed them towards Matilda. Devastator got stuck in another CPZ with both House Robots whilst Tornado went after Saw Point. Ewe 2 hit the Pit Release button, and after a few attempts, pushed Saw Point in. Then Ewe 2 and Tornado teamed up to push Devastator in on top of Saw Point.

Round 2 vs. Leveler 2
Leveler 2 was patched up after the first round, and only really got one flip in on Tornado. Tornado remained in control, and Leveler 2 eventually drove into the pit.

Round 3 vs. Tetanus Booster
Tornado pushed Tetanus Booster all around the arena, but they put up a good fight, fighting back with their spinning drum weapon, actually breaking the electronic lifter so it couldn't lift, so Tornado could only ram with it. Tornado hit the Pit Release button fairly early on, but Tetanus Booster kept managing to escape the pit at the last moment when Tornado pushed them towards it. Tornado then let the House Robots do the work, and pushed them into Sir Killalot, then chasing them when they escaped into Cassius Chrome. When Tetanus Booster escaped this time, Tornado got in underneath and finally pitted it, qualifying for the semifinals again.

Round 4 vs. Raging Knightmare
Tornado (with their spinning disc) got underneath Raging Knightmare and slammed them against the wall in the CPZ. Raging Knightmare tried to use the flipper to self-right, but Tornado kept pounding on them until Shunt came in and axed Tornado. Raging Knightmare proceeded to flip Shunt. As Dead Metal came to Shunt's aid, Tornado slammed Raging Knightmare into another CPZ wall and started pounding on them and ramming them hard. Raging Knightmare was stuck upside-down. Tornado pressed the Pit Button and pushed Raging Knightmare down the Pit.

Round 5 vs. Gravity
Armed with a scoop and spinning chain, Tornado pushed Gravity into the guardrail, and then into Sir Killalot. Tornado then continued pushing Gravity around the arena until Gravity got behind Tornado and flipped them. Gravity chased Tornado, but now both Gravity's tires were flat. Tornado pushed Gravity onto the flame pit. Gravity flipped Tornado again. Tornado recovered and pressed the Pit Button and shoved Gravity into the opening pit. Tornado was into the finals once again.

Round 6 vs. Storm 2
Throughout Tornado's opponent's run in the war, Jonathan Pearce described it as "similar in many ways to Tornado, Could even be stronger". Storm 2 proved to be faster and a little more powerful than Tornado. Twice Storm 2 rammed Tornado so hard that it bounced off the arena wall and flew across the floor. Storm 2 got underneath Tornado and used their lifter to flip them upside down, rendering their scoop useless. Tornado lost any real kind of offence with their push from then on. Refbot then hit the Pit Release button, and just as he did, Storm 2 pushed Tornado onto the pit, but they just managed to drive off in time. It went to the judges, who declared Storm 2 the winner. Storm 2 went on to come second place in the grand final against Typhoon 2 on a judge's decision.

3rd Place Playoff vs. X-Terminator
X-Terminator was in poor shape before the battle, having sustained major damage in the previous fight against Typhoon 2. Tornado pushed X-Terminator into Matilda in the CPZ, and her disc knocked them onto their front, so their disc, spinning at full speed, carried them across the floor and into the wall. Tornado then pushed X-Terminator into the bottom-right CPZ. X-Terminator's disc clipped Sir Killalot's arm, and the House Robot began leaking fluid onto the floor. X-Terminator was then immobilised in the CPZ, and Tornado hit the Pit Release button, but they couldn't then push X-Terminator towards the pit: the CPZ was soaked with fluid from Killalot, leaving Tornado with wet tyres and little traction. Having won the playoff, Tornado finished third in Series 7.

Third World championship
Qualifying as European champion, Tornado faced the German Ansgar 3 and fellow UK representatives Storm 2. Both UK robots teamed up to pit Ansgar then Tornado pushed Storm 2 into Dead Metal. Storm 2 escaped and slammed Tornado into the side wall a few times, flipping them upside down in the process. The judges ruled in favour of Storm 2, again who later became the new World Champion.

Toys
In the past, Tornado has had a minibot, pullback, and remote controlled toy. The minibot and RCT had the flywheel and perfect painting. The RCT also had a removable rear panel, where a button is enclosed. If the button is hit twice, the robot is immobilised. It represents the safety link. The pullback had interchangeable Scoop or Disc. Tornado was the only competitor to have an R/C toy based on it. Tornado was going to have a DVD, but was turned down, as was Firestorm, since the series was coming to an end.

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

title: Tornado (robot)


text:
Wikipedia:Articles for deletion/Besfort Kosova

 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 to delete the article. --Canderson7 17:00, September 5, 2005 (UTC)

Besfort Kosova.
pure nn vanity Groeck 14:54, 27 August 2005 (UTC)
 * Delete unverified - only google hits are wikipedia - both of them. --WCFrancis 22:56, 27 August 2005 (UTC)
 * Delete until he invents more inventions.   Paul Klenk 23:23, 27 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: File:Public Law 88-6.png

title: File:Public Law 88-6.png


text:
Talk:Ty Conklin

Biography assessment rating comment
WikiProject Biography Summer 2007 Assessment Drive

The article may be improved by following the WikiProject Biography 11 easy steps to producing at least a B article. -- Yamara 17:59, 29 June 2007 (UTC) So was he born in Alaska or Arizona? the article states both as his birth state in different parts of the article.

Deletion Suggestion
Any fault of Conklin's is completely impossible to prove and should not be included as part of this article. It is counter to Wikipedia's purpose to make any judgments upon or within the information.

I deleted the part where it sais many people believe he cost them the cup. Thats an incredibly stupid thing to have here. Why not also mention the team blew a 3 goal lead? you can't single handedly blame conklin for it. --Akaces23 23:48, 20 June 2006 (UTC)

News Flash
This just in; according to CBC.ca's NHL bios, TY Conklin has been waived and assigned to rgw AHL's Syracuse team. For Proof, go to CBC.ca.ohyeh 13:35, 27 October 2006 (UTC)

News references
I think that the references to Conklin's playoff performance need not be updated when the links expire- it is pretty much public record, and I doubt substantiation will be a problem. --Scimitar 16:59, 5 December 2006 (UTC)

Too Opinionated?
I was reading this paragraph:
 * "Following the lockout, Conklin entered the new season as Edmonton's probable starting goaltender, backed up by Jussi Markkanen. Given the prevalent idea that either goaltender could assume the starting job, local media began using the nickname "Conkkanen" (which likely originated on internet message boards) to describe Edmonton's starting goaltender. However, during the 2005–2006 season, both goaltenders proved to be ineffective, forcing the Oilers' General Manager Kevin Lowe to acquire Dwayne Roloson from the Minnesota Wild."

I think it's unfair to say that the goalies were ineffective. They got Roli for the playoffs. Markkanen and Conklin were doing well, but I don't think they saw any reason to keep Morrison... -Britishenglish 01:51, 6 December 2006 (UTC)

Formatting
Uh, any ideas for how to resolve the page text/"edit" links/medal box conflict we've currently got? It doesn't look very nice. ConkblockCity (talk) 20:36, 21 August 2008 (UTC)

 * There may be a technical solution but expanding the lead would help while improving the article (it pushes down the table of contents) Moving the medal record farther down would also help.-Wafulz (talk) 21:45, 21 August 2008 (UTC)

 * Aren't leads supposed to be short? ConkblockCity (talk) 22:18, 21 August 2008 (UTC)

 * They're supposed to summarize the rest of the article, which usually means being two to four paragraphs long. See WP:LEAD.-Wafulz (talk) 03:37, 22 August 2008 (UTC)

 * Is it a B article yet? I don't think it's a Start anymore.  All that's really missing now is Awards/Records, right?   ConkblockCity (talk) 03:59, 22 August 2008 (UTC)
 * I would say its probably a C article at the worst so I will change it to that for now. -Djsasso (talk) 13:50, 22 August 2008 (UTC)
 * Gee (or should I say, "C"), thanks. ;) //And despite the fact that C is for Conklin, and despite the fact that they gave him the "C" at New Hampshire, I remain resolved to push for a B. //   ConkblockCity (talk) 14:54, 22 August 2008 (UTC)
 * Of course keep on going. Basically what it is missing in my mind to be a B article is his life pre-edmonton. And it needs more references for anything that can possibly be questioned. -Djsasso (talk) 19:17, 22 August 2008 (UTC)

Jimmy Howard
Howard is expected to compete with Conklin, not the other way around. Holland said as much, but he also gave Conklin a one-way contract that will basically make it impossible for them to send him to the minors this year, whereas Howard can come and go freely. The info about the competition is on Jimmy's page, OK? Considering Jimmy's not even on the roster or the website at the moment, and Conklin is, I feel it's least speculative and simplest to let the facts speak for themselves. ConkblockCity (talk) 01:37, 23 August 2008 (UTC)

 * Wikipedia is not a crystal ball, so for now we should leave out what he is "expected" to do.-Wafulz (talk) 14:53, 23 August 2008 (UTC)

 * thank you.....! how nice it is not to be the one on the speculative end for once. ConkblockCity (talk) 16:27, 23 August 2008 (UTC)

How many million people in Edmonton are still cursing him, again?
Um, I'm wondering whether or not to preface "Despite having played one game between March and June..." with an illustration of the Oilers' 2006 playoffs:

"As the team proceeded to make an unexpected and unprecedented run as an eighth seed to reach Edmonton's first Stanley Cup Final in sixteen years, Roloson would play every minute in the 2006 Stanley Cup Playoffs, with Conklin and Markkanen alternating games as the backup."

Just to show how sidelined he was and the unfortunate magnitude of the stage where he took the blame for losing what would not have been a tied game, had the Oilers not blown a three-goal lead.

Thoughts? –ConkblockCity (talk) 01:14, 21 September 2008 (UTC)
 * I think that's reasonable. Also, not that this has anything to do with improving the article, but I'm an Oilers fan who was a big Conklin backer for a long time (back when he an Markkanen were fighting for the privilege of backing up Tommy Salo, I was always in Conklin's corner), but even I lost faith during 2005-2006; he was just wretched.  I'm not cursing his name, though, because he was always a classy guy who owned up to his shortcomings in the media.  I'm actually really pleased that he's gotten his game back. Sarcasticidealist (talk) 01:37, 21 September 2008 (UTC)

 * Of course it has to do with improving the article! You think I would be spending all this time if I weren't an eternally grateful Pens fan who adores him kinda stupid? :D The fact that the guy just seems to ride the vicissitudes of fate just makes it more interesting.  (And yeah, I know how beleaguered his reputation was even before the debacle, that's why they put him on waivers, and I put the waivers in the article – but him and Jussi having the worst SV% in the league didn't help anything (and to think, he came thisclose to the Crozier this year.....Damn you, Dan Ellis!! XD)).  The only reason he was THERE to get kicked in the teeth by Youtube infamy was that no one else wanted him!  But the guy's a battler; over and over and over people mention his 'fierce competitiveness', and he's willing to work, and he just has some strange deal with destiny and history repeating itself....  But the only person who thought Ty Conklin could play in the NHL again this season was Ty Conklin.  Every NHL goalie's life's a drama, but I think his name is secretly "Equanimity". ;) –ConkblockCity (talk) 02:54, 21 September 2008 (UTC)
 * Sorry, I should have been clearer: *your* comments had to do with improving the article. The views *I* expressed on Conklin didn't, and therefore I theoretically shouldn't have made them.  Oh well. Sarcasticidealist (talk) 15:30, 21 September 2008 (UTC)
 * I know what you meant. *smile*  But if his exploits weren't worthy of widespread remembrance and opinion, he wouldn't have an article to improve, would he? Oh, well.  (Darn, I guess I *won't* quote you, then. )  But regarding WP:MOS, even FA Brodeur has a line or two where he's referred to as "Martin", and I think it just looks much better in this instance. ConkblockCity (talk) 18:59, 21 September 2008 (UTC)
 * PS: Um, I think it's a B now? Maybe?  Where does GA come in? –ConkblockCity (talk) 02:58, 21 September 2008 (UTC)
 * I think it's probably borderline B right now, but it's still quite a ways from GA status. The biggest problem at this point is that there's still tons of uncited material in there (The "Edmonton Oilers" section, for example, contains only two references).  The "Personal" section is a good example of what the article should look like, citation-wise.  Besides that, some of the prose could use a little cleaning up and the style of the footnotes needs to be tweaked a little. Sarcasticidealist (talk) 15:30, 21 September 2008 (UTC)
 * Who assesses it for B, then? ConkblockCity (talk) 18:59, 21 September 2008 (UTC)
 * The assessment for articles below the GA-level is pretty anarchic - anybody can do it, including people who have been involved in editing the article (I think some Wikiprojects might have specific processes you have to go through, but I'm not aware of any). For that reason, quality designations below GA don't really mean anything. Sarcasticidealist (talk) 22:57, 21 September 2008 (UTC)

"I'm going straight to hell."
In the same vein, out of curiosity: "Perhaps the most cuttingly accurate assessment of the {emotional and cultural} impact on Conklin's reputation was given by two popular parody videos created with tabletop hockey figures and distributed on the Internet as part of the Knob Hockey series..." Hilarious and pretty widely-seen, but can they be cited? 'Cause I'd love to quote "Ryan Smyth".... --ConkblockCity (talk) 23:35, 21 September 2008 (UTC)
 * If need be, I'd say the videos can be used as sources to support the content of the videos. However, I think that whether you can find a reliable source elsewhere is a good measure of whether the information is worth including.  To put it another way, the knob hockey videos prove that the knob hockey Ty Conklin said "I'm going straight to hell".  But they don't show that that fact is worth including; I suspect there's some mainstream coverage of it out there, no? Sarcasticidealist (talk) 23:54, 21 September 2008 (UTC)

title: Talk:Ty Conklin


text:
Kunjarani Devi

Nameirakpam Kunjarani Devi (born 1 March 1966) is an Indian weightlifter. She is among the most decorated Indian sportswoman in weightlifting.

Background
Devi was born on 1 March 1968 at Kairang Mayai Leikai in Imphal, to a Hindu Meitei family. She started taking interest in sports while still in Imphal's Sindam Sinshang Resident High School in 1978. By the time she finished her graduation from Maharaja Bodha Chandra College in Imphal, weightlifting had become her first choice.

She joined the Central Reserve Police Force. She also went on to make waves in the Police Championships and captained the Indian Police team from 1996 to 1998.

Sporting history
Beginning 1985, she started winning medals, mostly gold, in the National Weightlifting Championships in 44-kilogram, 46-kilogram and 48-kilogram, the latter her final weight category. She created two new national records in Trivandrum in 1987. Changing her weight category to 46-kilogram she claimed a gold in Pune in 1994 but was relegated to silver when she tried to compete in the 48-kilogram class four years later in Manipur.

Her first World Women's Weightlifting Championship was the Manchester edition in 1989 and the reward of three silver medals buoyed her spirits considerably. Since then she has taken part in seven successive World Championships and with the exception of the Melbourne edition in 1993, she has won medals at every one of those competitions. However, she however could not get to the top spot, having always to be content with silver medals.

A bronze medal was the most she managed in the Asian Games at Beijing in 1990 and Hiroshima in 1994, and she failed to secure any medal in the 1998 edition of the Asian Games at Bangkok.

Kunjarani has had better luck in the Asian Weightlifting Championships to which she has been a regular visitor. Starting with one silver and two bronze medals in the 1989 edition in Shanghai, she progressed to three silver medals in the 44-kilogram class in the 1991 edition in Indonesia. She retained her second spot in the next one in Thailand in 1992 and China in 1993. Her best performance came in the 1995 competition in South Korea where she won two gold and one bronze in the 46-kilogram category. In 1996 she settled for two silver and one bronze in the championship held in Japan.

Recognition
She was a recipient of the Arjuna Award in 1990 and shared the Rajiv Gandhi Khel Ratna award with Leander Paes for the year 1996–1997. In the same year she also won the K.K. Birla sports award. The Government of India awarded her the civilian honour of Padma Shri in 2011.

She has more than fifty international medals to her credit. She also won a gold medal at the 2006 Commonwealth Games held in Melbourne for 48 kg women's weightlifting with a Games record with an overall lift of 166 kg which included 72 kg in snatch and 94 kg in the clean and jerk.

Current status
N.Kunjarani Devi holds the rank of a "Commandant" and nodal officer of Central sports team in the Central Reserve Police Force (CRPF). She was a member of the committee which was to recommend the Rajiv Gandhi Khel Ratna Award and Arjuna Award for the year 2014. She also was the coach of the Indian women's weightlifting team in Commonwealth Games 2014 in Glasgow.

Extra links

 * Profile on Athens-website
 * Bio on Ministry of Sports webpage
 * Brief Introduction to N Kunjarani Devi

title: Kunjarani Devi


text:
UKChartsPlus

UKChartsPlus is an independent weekly newsletter about the UK music charts. It was first published in September 2001 as ChartsPlus in order to authoritatively record the official music chart information in the UK, as compiled by the Official Charts Company. It began after Hit Music, a sister publication of Music Week, ceased publication in May 2001. The new newsletter was established totally independent of Music Week, licensing the chart data directly from Official Charts Company and other chart providers.

History
Initially, the newsletter covered: It also included a New Entries Spotlight on all new top 200 singles, and a Year to Date collection of all the current year's Top 200 albums and singles.
 * The UK Singles Chart up to number 200
 * The UK Albums Chart up to number 200
 * The Compilation Album Chart up to number 50

Since then, it has expanded to include the BPI silver, gold or platinum sales awards, predictions of the success of forthcoming releases, Budget Albums Top 50, Airplay Top 100, and Downloads Top 40. The Welsh Singles and Albums Top 75s and the Scottish Singles and Albums Top 75s are published in reference to the main UK Top 200 listings. It also published genre specific charts, for Indie, Dance, Rock and R&B.

Some of these charts are exclusive to ChartsPlus and it is the only site that publish the UK Singles Chart and UK Albums Chart positions below 75, as is the case for the Compilation Album Chart for positions below 40.

In October 2008, publisher Musiqware Ltd. (formerly IQware Ltd.) ceased production of ChartsPlus: the last issue published was number 371 (4 October 2008). In December 2008, ChartsPlus was relaunched by new publisher UKChartsPlus; the first issue under new ownership was number 383 (27 December 2008). Issues 372-382 were issued retrospectively between January and March 2009.

2010 relaunch
With issue no. 463 (10 July 2010) the publication was relaunched under the new title "UKChartsPlus", featuring a new cover (with hyperlinked index), several new charts, and some expanded charts, and a new colour scheme. It now also features a singles index and an albums index showing each entry's chart positions across all charts featured in UKChartsPlus.

The range of charts (chart provider, in parentheses, Official Charts Company unless otherwise stated):
 * Top 200 Singles (reduced to only Top 100 Singles as of issue 829, dated 15 July 2017, after OCC stopped compiling positions 101-200 because of a new rule whereby no more than three tracks from one album can feature on the singles chart in the same week).
 * Top 200 Artist Albums
 * Top 200 Download Songs
 * Top 100 Audio Streaming Songs (from issue no. 672, 12 July 2014)
 * Top 100 Download Albums
 * Top 50 Compilation Albums
 * Top 50 Budget Albums
 * Top 40 Vinyl Albums
 * Top 40 Dance Singles & Albums
 * Top 50 R&B Singles & Albums
 * Top 40 Rock/Metal Singles & Albums
 * Top 50 Indie Singles & Albums
 * Top 20 Indie Breakers Singles & Albums
 * Top 100 Year So Far Singles & Albums
 * Top 75 Scottish Singles & Albums (with reference to main chart)
 * Top 75 Welsh Singles & Albums (with reference to main chart)
 * UK Radio Airplay Top 100 (NMC), from July 2013: UK Radio Airplay Top 200 (Radio Monitor)
 * UK TV Airplay Top 40 (NMC), from July 2013: UK TV Airplay Top 40 (Radio Monitor)
 * The Big Top 40 (Global Radio)

Other features:
 * New Entries Spotlight: Singles (Top 200)
 * New Entries Spotlight: Albums (Top 100)
 * UKChartsPlus Singles Index
 * UKChartsPlus Albums Index
 * BPI Sales Awards (BPI)
 * NMC Airplay Awards (NMC), from July 2013: UKChartsPlus Airplay Awards (based on Radio Monitor data)

Occasional additions:
 * Michael Jackson Performance Chart
 * Beatles Performance Chart
 * Football Songs Chart (based on OCC data)
 * Christmas Songs Chart (based on OCC data)
 * Lonnie's Random Observations

Subscriptions and back issues
As of February 2011, there are two subscription services available, the full and the express versions (downloads: only Top 50, Year So Far: only Top 75s, no UK TV Airplay Top 40, The Big Top 40, Indie Breakers, Vinyl Top 40, Index). Back issues are available, separately, or in quarterly or annual batches.

title: UKChartsPlus


text:
The Tracks of My Tears

"The Tracks of My Tears" is a song written by Smokey Robinson, Pete Moore, and Marv Tarplin. It is a multiple award-winning 1965 hit R&B song originally recorded by their group, The Miracles, on Motown's Tamla label. The Miracles' million-selling original version has been inducted into The Grammy Hall of Fame, has been ranked by the Recording Industry Association of America and The National Endowment for the Arts at No. 127 in its list of the "Songs of the Century" – the 365 Greatest Songs of the 20th Century, and has been selected by Rolling Stone as No. 50 on its list of "The 500 Greatest Songs of All Time", among many other awards. In 2021, Rolling Stone ranked the Miracles' original recording of "The Tracks of My Tears" as "The Greatest Motown Song of All Time".

Background
"The Tracks of My Tears" was written by Miracles members Smokey Robinson (lead vocalist), Pete Moore (bass vocalist), and Marv Tarplin (guitarist).

In the five-LP publication The Motown Story, by Motown Records, Robinson explained the origin of this song in these words: "'Tracks of My Tears' was actually started by Marv Tarplin, who is a young cat who plays guitar for our act. So he had this musical thing [sings melody], you know, and we worked around with it, and worked around, and it became 'Tracks of My Tears'." Tarplin's guitar licks at the song's intro are among the most famous in pop music history.

"The Tracks of My Tears" was a No. 2 hit on the Billboard R&B chart, and it reached No. 16 on the Billboard Hot 100. On initial release in the UK in 1965 it did not chart, but like several other Motown singles reissued there in 1969, it became a Top Ten hit in the summer, reaching No. 9, credited to "Smokey Robinson and the Miracles". This song is considered to be among the finest recordings of The Miracles, and it sold over one million records within two years, making it The Miracles' fourth million-selling record. Billboard described the song as a "first rate teen ballad with pulsating dance beat." Cash Box described it as "a slow-shufflin’ pop-r&b tearjerker about a gal who has several regrets about losing her guy."

The Miracles can be seen performing "The Tracks of My Tears" on their 2006 Motown DVD release, The Miracles' Definitive Performances.

Awards and accolades
"The Tracks of My Tears" is the Miracles' most honored and most covered song. It has been ranked at, or near the top of many "best of" lists in the music industry over the last 50 years, and has won numerous industry awards and accolades. The Miracles' original recording of "The Tracks of My Tears" ranked at No. 50 on Rolling Stone's The 500 Greatest Songs of All Time in 2004; the track was also a 2007 inductee into the Grammy Hall of Fame. On May 14, 2008, the track was preserved by the United States Library of Congress as an "culturally, historically, and aesthetically significance" to the National Recording Registry. The song "The Tracks of My Tears" was also awarded "The Award of Merit" from The American Society of Composers, Authors, and Publishers (ASCAP) for Miracles members/composers Pete Moore, Marv Tarplin, and Smokey Robinson.

Ranked by the RIAA and the National Endowment for the Arts at No. 127 in its list of the Songs of the Century - the 365 Greatest Songs of the 20th Century - "The Tracks of My Tears" was also chosen as one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Additionally, the song ranked at No. 5 on the "Top 10 Best Songs of All Time" by a panel of 20 top industry songwriters and producers including Hal David, Paul McCartney, Brian Wilson, Jerry Leiber, and others as reported to Britain's Mojo music magazine. In 2021, Rolling Stone ranked The Miracles' original recording of "The Tracks of My Tears" as "The Greatest Motown Song of All Time."

The Miracles

 * Smokey Robinson – lead vocals, co-writer
 * Marv Tarplin – guitar, co-writer
 * Claudette Rogers Robinson – background vocals
 * Pete Moore – background vocals, vocal arranger, co-writer
 * Ronnie White – background vocals
 * Bobby Rogers – background vocals
 * Other instrumentation by the Funk Brothers and the Detroit Symphony Orchestra

Background
In 1975, Linda Ronstadt recorded a cover version of "The Tracks of My Tears" for her studio album Prisoner in Disguise that became a pop Top 40 hit in the US. The single was produced by Peter Asher and issued on Asylum Records as that album's second single. Ronstadt's version of the song was a success peaking at No. 25 on the Billboard Hot 100 chart, reaching No. 11 on the Billboard C&W chart in tandem with its B-side: the Emmylou Harris duet "The Sweetest Gift", and No. 42 in 1976 on the UK Singles Chart.

Ronstadt later scored another of her biggest hits with her 1978 single "Ooh Baby Baby" which was a remake of the Miracles' hit single release precedent to "The Tracks of My Tears". Ronstadt and Smokey Robinson performed both "The Tracks of My Tears" and "Ooh Baby Baby" on the Motown 25: Yesterday, Today, Forever special broadcast on May 16, 1983.

Other versions

 * In 1967, "The Tracks of My Tears" was covered by Johnny Rivers. His version of the song reached No. 10 on the Billboard Hot 100 chart, and No. 8 in Canada.
 * Aretha Franklin recorded the song for her Soul '69 album from which it was issued as a single although as the B-side. Franklin's version of "The Weight" became the favored track with "Tracks of My Tears" peaking at No. 76 Pop and No. 21 R&B.
 * Bryan Ferry included the song on his These Foolish Things (album) covers album in 1973.
 * Shirley covered the song in 1977, reaching No. 20 in Australia.
 * A 1982 version by Colin Blunstone reached No. 60 in the UK Singles Chart.
 * English pop duo Go West covered the song as "Tracks of My Tears" and released it as a single on September 20, 1993. Their version reached No. 16 on the UK Singles Chart, No. 38 on the Icelandic Singles Chart, and No. 82 on the Canadian RPM 100 Hit Tracks chart.
 * Dolly Parton covered "Tracks of My Tears", which was part of her 2008 comeback album Backwoods Barbie.

title: The Tracks of My Tears


text:
The Silhouettes

The Silhouettes were an American doo wop/R&B group, whose single "Get a Job" was a number 1 hit on the Billboard R&B singles chart and pop singles chart in 1958. The doo-wop revival group Sha Na Na derived their name from the song's lyrics, later going on to perform "Get a Job" in the 1978 movie Grease, and the nickname "Xanana" of former East Timorese President and Prime Minister Xanana Gusmão is in return derived from the name of the band "Sha Na Na", though with the spelling changed to "Xanana" to conform with the spelling rules of both Portuguese and Tetum, both of East Timor's official languages. "Get a Job" is included in the soundtracks of the films American Graffiti, Trading Places, and Stand by Me. The Silhouettes performed in the 1986 movie Joey.

Career
The Silhouettes were formed in Philadelphia, Pennsylvania, United States, in 1956, at first using the name The Thunderbirds. Their classic hit "Get a Job" – originally the B-side to "I Am Lonely" – was issued by their manager, Kae Williams, on his own Junior Records label before being sold to the nationally distributed Ember label in late 1957. It reached number 1 on both the R&B and pop charts in US and the group performed it on television's American Bandstand. The song sold more than one million copies and was awarded a gold record.

The lyrics of "Get a Job" are notable for the depiction of a household in tension because of unemployment, despite the man's desperate attempts to find work, all delivered in a relentlessly upbeat style. A second release, "Heading for the Poorhouse", continued the economic theme. It was one of the few songs to allude to inflation, the trip to the poorhouse being because "all our money turned brown." This single and all their subsequent singles sold poorly and the group never entered the national charts again, making them a classic example of "one-hit wonders."

The Silhouettes toured with Sam Cooke, Jackie Wilson, Clyde McPhatter, and others. They disbanded in 1968, but the four original members reformed the group in the 1980s and continued to work until 1993.

Group members

 * Richard "Rick" Lewis, tenor (September 2, 1933 – April 19, 2005)
 * Bill Horton, lead (December 25, 1929 – January 23, 1995)
 * Earl T. Beal, baritone (July 18, 1924, Donora, Pennsylvania – March 22, 2001)
 * Raymond Edwards, bass (September 22, 1922, Virginia – March 4, 1997)
 * John "Bootsie" Wilson, lead (July 18, 1940 – September 21, 2009)

title: The Silhouettes


text:
Spanish Alarm

The Spanish Alarm was a period from 1739 to 1748 in North America during the War of Jenkins' Ear between Britain and Spain. During this period, the Spanish Crown directed colonial forces to attack port towns in the British colonies of North Carolina, South Carolina. and Georgia. Due to an inability to garrison these colonies with an adequate military presence, the British Crown encouraged them to raise militia to defend themselves against Spanish attacks.

Background
Following the War of Spanish Succession, Britain and Spain found themselves in a struggle for the balance of power which spilled over into their colonies in the Americas. Tensions occurred between Britain and Spain over a number of issues, including British colonists harvesting lumber on the Mosquito Coast (in violation of prior Anglo-Spanish treaties), Spanish coast guard vessels using harsh methods to inspect British merchantmen in Spanish waters, and British merchants smuggling contraband into Spanish colonies, ensuring that "Hostilities between the rival settlements in Georgia and Florida were inevitable".

The Spanish Alarm
The British colonies of South Carolina and Georgia, after sending petitions (including some drafted by founder of Georgia James Oglethorpe and the Georgia Trustees) to the British Crown, received military support from the British Army. However, the British Crown's comparative neglect of the Southern Colonies and long deliberation over the decision distressed the Georgia Trustees. In February 1737, Sir Robert Walpole wrote to Oglethorpe:

"that he could form about 300 men capable of bearing arms in Georgia, that South Carolina had money but no men, that North Carolina had men but no money; that Pennsylvania had both, and Virginia only money. That New England had men but no money, and New York had money and few men."

The same year, the Royal Navy and British Army began to be dispatched to South Carolina and Georgia. Upon the outbreak of the War of Jenkins' Ear, the British colony of North Carolina raised four companies of one hundred soldiers each to join other colonial troops in the unsuccessful British siege of Cartagena de Indies in 1741. In addition, the British colonies raised local militia units to defend their coastal towns and ports from Spanish raids. Spanish attacks along the eastern seaboard were intended to disrupt shipping and raid port towns. These raids were continuous from 1741 to 1748 - the Spanish attacked Beaufort Town and Brunswick Town in 1747.

In 1739, news had spread among the Thirteen Colonies that war had broken out between the British and the Spanish, and Carolinian colonists met the news with satisfaction. The mercantile community in the colony looked forward to an opportunity to curtail Spanish influence.

"The time had arrived, South Carolinians believed, to remove once and for all a galling Spanish influence which had incited rebellion among slaves, to establish firm provincial boundaries and secure the Indian trade by pushing back the frontier with Spanish Florida, and to realize profits from afar which had objectives as much commercial as political."

When the war had finally ended, however, South Carolinians were relieved; the war had not brought in much of the way of benefits. "No sooner had the war begun than did Charleston merchants begin to consider methods by which they could gain from it". The Carolinian and Georgian colonists hoped to benefit from the Spanish Alarm, but as the raids continued, merchants in the Southern Colonies realized their negative effects. Many colonists started to lose their enthusiasm, especially during the 1740s. The court, "during nine years of actual warfare, recorded only twenty-one enemy ships which were captured by Charleston privateers and condemned as prizes of war". The book Georgia Journeys stated that "the Spanish Alarm...was of great damage to the colony in regarding cultivation".

Aftermath
The two nations settled some of their differences in the Treaty of Aix-la-Chapelle in 1748. This effectively halted the Spanish raids into British American colonies.

title: Spanish Alarm


text:
The Pothunters

The Pothunters is a novel by P. G. Wodehouse published on 18 September 1902 by Adam & Charles Black. It was Wodehouse's first published novel, and the first of several school stories, this one set at the fictional public school of St. Austin's. It was originally published as a serial in the British magazine Public School Magazine from January to March 1902. An American edition was issued from imported sheets.

The novel follows the lives of several of the schoolboys as they study, take part in their school sports (particularly boxing and running), and enjoy tea in their studies. After two of the school's silver sports trophies ('pots' in contemporary slang) are stolen in a burglary, the boys, their masters, and the police join in the hunt for the 'pots'.

Several characters in the novel also appear in stories about St. Austin's published in the short story collection Tales of St. Austin's (1903).

Plot
Tony Graham, of the Sixth form at St Austin's, narrowly defeats his cousin Allen Thomson, of Rugby, in boxing at the inter-school sports at Aldershot. Tony returns to St Austin's with Welch, another athlete. Tony's fag Robinson excitedly tells them that a window pane was removed from the Pavilion, where the school sports trophies are temporarily being kept. Robinson thinks the trophies have been stolen. Tony later sees Jim Thomson, Allen's brother who attends St Austin's. Jim bet two pounds on Allen at Aldershot, with Allen betting against himself to hedge another bet. Jim now needs two pounds to pay Allen. Jim's father will pay Jim a pound for every race he wins at St Austin's. He has already won the half-mile and hopes to win the mile. Thanks to Robinson, news quickly spreads about the burglary. Only two trophies (for the quarter-mile and hundred-yard races) and a valueless flask were taken. Jim tells Tony that on the night of the burglary, he broke into the Pavilion because he had left notes there which he needed to study for an examination. At the time, he heard someone jump out through a different window. Jim now realizes he interrupted a burglary. He worries about what will happen if it is discovered that he was in the Pavilion at the time of the burglary.

Dallas and Vaughan share a study with Plunkett, the patronizing head of their House. They tell MacArthur, a day-boy, how much they dislike Plunkett. Welch shares a study with Charteris, who runs an unofficial school magazine, The Glow Worm. His identity as its editor is only known to the magazine's contributors: Welch, Tony, Jim, and Jackson. Charteris jokingly suggests that Welch, who is likely to win the missing trophies, stole them, but Welch says he does not compete solely for trophies (see pothunter). Jackson says that two pounds were stolen from a blazer in the Pavilion. Another student, Barrett, trespasses on the land of Sir Alfred Venner to collect bird eggs. He discovers the stolen trophies in a poacher's hideout in a hollow tree. A groundskeeper chases Barrett away and comes across Plunkett, who also trespassed. Barrett runs into Roberts, a detective investigating the burglary. Barrett does not want to get caught trespassing and does not mention seeing the trophies.

A schoolmaster, Mr Thompson, takes an interest in investigating the burglary. Roberts tells Thompson that the culprit was not a professional, since the window pane was not cut neatly. Furthermore, only someone connected with the school could have known the trophies were being kept there temporarily. Thompson later opens a letter addressed to "J. Thomson", mistaking the name as his own. The letter is from Allen telling Jim that he needs two pounds right away. After Jim is narrowly defeated in the mile race, Charteris proposes publishing a special issue of The Glow Worm about the burglary and sports to earn the money Jim needs. The Headmaster and Mr Thompson accuse Jim of the burglary, though Jim denies it. After Sir Alfred complains about Plunkett smoking a pipe on his land, the Headmaster has Plunkett removed from the school, delighting Dallas and Vaughan.

Jim goes with MacArthur to MacArthur's family's house nearby. Roberts tells the Headmaster that he has found the burglar. After a man named Stokes, who was drunk, bumped into Roberts and dropped nearly two pounds, Roberts showed a photograph of him to Biffen, the school ground-man. Biffen identified him as someone who worked on the school grounds. Stokes confessed that he took the trophies and hoped to sell them. He is a poacher and kept them in his hiding place. Roberts advises the Headmaster to ask Sir Alfred to search the hideout, and discourages him from prosecuting Stokes, since Stokes is now scared off crime. That night, Jim is not in his House. The Headmaster fears Jim ran away as a result of being accused of the burglary, and has Mr Merevale and other housemasters send their prefects to search for him. Charteris and Tony learn from Biffen that Jim went to MacArthur's home. They find and rescue Jim, who fell in a quarry on his way back. Barrett decides to admit that he saw the trophies, but changes his mind when he sees they have been returned and awarded to Welch. Charteris and his friends stay up late to finish the special issue of The Glow Worm. It sells well, earning Jim his pound, though Jim forgot to write anything for the issue.

Characters
Students at St Austin's:
 * Tony Graham, a prefect in Merevale's House at St Austin's and cousin of Jim and Allen Thomson
 * Jim Thomson, the brother of Allen Thomson and a prefect in Merevale's House
 * J. George Welch, a student who shares a study with Charteris in Merevale's
 * Charteris, a prefect in Merevale's nicknamed "the Alderman" who edits the unofficial monthly school magazine, The Glow Worm
 * Barrett, a collector of bird eggs who shares a study with Reade in Philpott's House
 * Plunkett, the unpopular head of Ward's House who shares a study with Vaughan and Dallas, and whom they jokingly call "the Mutual Friend"
 * Robert MacArthur, a day-boy nicknamed "the Babe"
 * Jackson, a contributor to The Glow Worm in Dawson's House
 * Reginald Robinson, Tony Graham's fag in Merevale's House

St Austin's staff and other characters:
 * Biffen, the ground-man at St Austin's
 * Mr John Thompson, the master of the Sixth form
 * Mr Merevale, a housemaster at St Austin's, coaches the House rugby and cricket
 * The Rev. Herbert Perceval, M.A., the headmaster of St. Austin's College
 * Sir Alfred Venner, M.P., the owner of Badgwick Hall and nearby land
 * Detective Inspector Roberts, a detective from Scotland Yard
 * Stokes, an odd-job worker, farmhand, and poacher

Publication history
The story was originally published as a serial in Public School Magazine, with illustrations by R. Noel Pocock. The serial commenced in January 1902 and the second part appeared in the February 1902 issue, but when the magazine ceased publication in March that year, the remainder of the plot was summarised at the end of the third part of the serial, in the form of a letter from one of the characters, Jim Thomson, to his brother Allen. Jim's statements in the letter are not entirely consistent with the ending of the novel. For instance, he claims he wrote nearly all of the special issue for The Glow Worm.

The American edition of the novel was issued by Macmillan, New York, from imported sheets, in September 1902. Macmillan reissued the novel again from imported sheets in 1924.

The Pothunters is dedicated to Joan, Effie and Ernestine Bowes-Lyon, first cousins to Queen Elizabeth the Queen Mother.

The novel was collected in The Pothunters and Other School Stories, published by Penguin Books in 1986. The book also included A Prefect's Uncle and Tales of St. Austin's.

Annotations
The advance of technology has made part of the story opaque to the modern reader. "On Sunday we jellygraph it", writes Wodehouse without explanation. Jellygraph was a method of making a limited number of copies, about 20 to 80, from a master copy written with a special type of pencil containing jellygraph pigment. These special pencils are referred to in the story: "How many jelly machine things can you raise?" The master copy—on paper—was placed face down in a pan whose bottom was covered in a special gelatin, to which the pigment was transferred as a mirror image. The copies were then made one at a time by placing blank sheets of paper onto the gelatin after the master copy was removed. Although a reasonably simple, if slow, method, the copy produced had text (and figures) in a pale coloured ink that was hard to read.

In chapter 11, one of the characters quotes a Latin phrase (attributing it to Thucydides):

 * Conscia mens recti, nec si sinit esse dolorem sed revocare gradum.

This is a joke: Thucydides wrote in Greek, not Latin (as Wodehouse would have expected the reader to know) and the quoted phrase is in fact a mixture of lines from Ovid and Virgil.

Disambiguation

 * There is also a short story "The Pot-Hunters" (1907) by Rex Beach. A copy exists in The Internet Archive: Rex Beach's The Pot-Hunters

title: The Pothunters


text:
User talk:DarkSprout

Welcome
Hello, , and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. If you are stuck, and looking for help, please come to the Wikipedia Boot Camp, where experienced Wikipedians can answer any queries you have! Or, you can just type   on your user page, and someone will show up shortly to answer your questions. 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! Karmafist 14:59, 27 August 2005 (UTC)
 * The Five Pillars of Wikipedia
 * How to edit a page
 * Editing tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style

Image Tagged as Fair Use
Greetings. Thank you for uploading Image:UncutQueenCover500.jpg. This image has been tagged as fair use. Please add a detailed rationale for each use, as described on Image_description_page as well as the source of the work and copyright information. Regards, Dethomas 20:23, 8 February 2006 (UTC)

Image Tagging for Image:Boff_Whalley.jpg
Thanks for uploading Image:Boff_Whalley.jpg. The image page currently doesn't specify who created the image, so the copyright status is therefore unclear. If you have not created the image yourself then you need to indicate why we have the right to use the image on Wikipedia (see copyright tagging below). If you have not created the image yourself then you should also specify where you found it, i.e., in most cases link to the website where you got it, and the terms of use for content from that page.

If the image also doesn't have a copyright tag then you must also add one. If you created/took the picture then you can use GFDL to release it under the GFDL. If you believe the image qualifies under Wikipedia's fair use guidelines, please read fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use. If you want the image to be deleted, tag it as db-unksource.

If you have uploaded other images, please check that you have specified their source and copyright tagged them, too. You can find a list of image pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion.

This is an automated notice by OrphanBot. If you have any concerns, contact the bot's owner: Carnildo. 06:12, 4 March 2006 (UTC)

Image Tagging Image:Jane Horrocks.jpg
Thanks for uploading Image:Jane Horrocks.jpg. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this media yourself then there needs to be an arguement why we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then it needs to be specified where it was found, i.e., in most cases link to the website where it was taken from, and the terms of use for content from that page.

If the media also doesn't have a copyright tag then one should be added. If you created/took the picture, audio, or video then the GFDL-self tag can be used to release it under the GFDL. If you believe the media qualifies as fair use, consider reading fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other media, consider checking that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thank you. Shyam ( T / C ) 16:58, 17 March 2006 (UTC)

Image Tagging for Image:Paul_Whitehouse.jpg
Thanks for uploading Image:Paul_Whitehouse.jpg. The image has been identified as not specifying the source and creator of the image, which is required by Wikipedia's policy on images. If you don't indicate the source and creator of the image on the image's description page, it may be deleted some time in the next seven days. If you have uploaded other images, please verify that you have provided source information for them as well.

For more information on using images, see the following pages:
 * Image use policy
 * Image copyright tags

This is an automated notice by OrphanBot. For assistance on the image use policy, see User talk:Carnildo/images. 20:13, 20 March 2006 (UTC)

Fair use rationale for Image:All about eve.jpg
Thanks for uploading or contributing to Image:All about eve.jpg. I notice the image page specifies that the image is being used under fair use but there is not a suitable explanation or rationale as to why each specific use in Wikipedia constitutes fair use. Please go to the image description page and edit it to include a fair use rationale.

If you have uploaded other fair use media, consider checking that you have specified the fair use rationale on those pages too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any non-free media lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you. J Milburn 14:06, 21 October 2007 (UTC)

Disputed fair use rationale for Image:UncutQueenCover500.jpg
Thanks for uploading Image:UncutQueenCover500.jpg. However, there is a concern that the rationale you have provided for using this image under "fair use" may be invalid. Please read the instructions at Non-free content carefully, then go to the image description page and clarify why you think the image qualifies for fair use. Using one of the templates at Fair use rationale guideline is an easy way to ensure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our criteria for speedy deletion. If you have any questions please ask them at the media copyright questions page. Thank you.BetacommandBot (talk) 02:39, 12 February 2008 (UTC)

Orphaned non-free image File:Beetlejuice film poster.jpg
Thanks for uploading File:Beetlejuice film poster.jpg. The image description page currently specifies that the image is non-free and may only be used on Wikipedia under a claim of fair use. However, the image is currently not used in any articles on Wikipedia. If the image was previously in an article, please go to the article and see why it was removed. You may add it back if you think that that will be useful. However, please note that images for which a replacement could be created are not acceptable for use on Wikipedia (see our policy for non-free media).

Note that any non-free images not used in any articles will be deleted after seven days, as described in section F5 of the criteria for speedy deletion. Thank you. --B-bot (talk) 17:04, 8 April 2018 (UTC)

title: User talk:DarkSprout


text:
User talk:Kylepounds

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! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! feydey
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

Please see what Wikipedia is about (and not about)and consider Your Kyle Pounds entry. Best wishes, feydey 15:00, 27 August 2005 (UTC)

Your user page
Some of the people, places or things you have written about in the article Kyle Pounds may not be sufficiently well-known to merit articles of their own. The Wikipedia community welcomes newcomers, and encourages them to become Wikipedians. On Wikipedia, 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. As a result, this has been moved to your user page. Regards,  howch e  ng   {chat} 00:01, 11 January 2006 (UTC)

Sikelgaita's height
Your edit on Sikelgaita 21 December 2023 added a claim that Robert Guiscard wrote that she stood six Anglo-Saxon feet tall, which converts to 6'7.2" today. Would you kindly provide a source? I have been unable to verify it. Voy178 (talk) 09:38, 27 March 2024 (UTC)

title: User talk:Kylepounds


text:
User:RyanFreisling/Political Quiz

63%     Postmodernist      63%      Materialist      63%      Existentialist      56%      Idealist      50%      Romanticist      44%      Modernist      38%      Fundamentalist      31%

title: User:RyanFreisling/Political Quiz


text:
Sardul Singh Kavishar

Sardul Singh Kavishar (1886–1963) was an Indian newspaper editor, and a major figure in the Indian independence movement. Born in Amritsar, he was the second president of the All India Forward Bloc.

Education
Educated in Lahore, Kavishar began his public career in 1913, when he launched the English-language newspaper Sikh Review. An early article in the Sikh Review criticized the demolition of an external city wall during the construction of New Delhi, as the wall had been part of a historic Sikh gurdwara. This led to widespread Sikh agitation until the outbreak of the First World War, at which point that particular issue was considered to be of lessened priority. After the war Kavishar renewed his calls for action, with the result that he was expelled from Delhi. He moved to Lahore and began another newspaper, the New Herald. In 1919, he was arrested and imprisoned for writing against the Rowlatt Act. He was also the founding member of Central Sikh League.

Call to rebuild
In 1921, he issued a public call for 100 Sikh volunteers to rebuild the gurdwara's demolished wall, at the cost of their lives if need be. 700 volunteers (including Kavishar himself) turned out. However, before they could leave Lahore for Delhi, word arrived that the Delhi city government had rebuilt the wall. The next month, he was arrested, charged with sedition, and imprisoned for four years for having written about a massacre of Sikh reformists.

Congress
In 1933, he became acting president of the Congress after his predecessor was arrested for participating in civil disobedience. In 1935, he openly opposed the Congress's participation in the Government of India Act, and in 1937 chose to resign his membership in the party after they accepted office in the provinces where they had earned a majority.

Subhas Chandra Bose
In 1939, he joined Subhas Chandra Bose's All India Forward Bloc faction; when Bose left India in 1941, Kavishar became the Bloc's president. As a result, he was arrested, and imprisoned for four years.

Split
When the All India Forward Bloc split in 1948, soon after it had been reorganized, Sardul Singh Kavishar sided with the anti-Marxist group led by R.S. Ruiker. At its conference, Kavishar was elected president of Forward Bloc (Ruiker). Soon thereafter, as Ruiker's party dwindled, Kavishar retired from active politics.

title: Sardul Singh Kavishar


text:
Michael Ruetz

Michael Ruetz (born 4 April 1940 in Berlin, Germany) works as artist and author. He is a German photographer.

Early life and education
Ruetz was born in 1940 in Berlin, Germany. His ancestors were from Riga, where they worked as printers, journalists and publishers. After attending school in Bremen, Ruetz studied Sinology, with Japanology and Journalism as subsidiary subjects, in Freiburg, Munich and Berlin. Until 1969 he worked on a dissertation on the novel Nieh-Hai Hua by Tseng-P’u (1905). In 1975, Ruetz graduated as external student from the Folkwang Hochschule Essen.

Career
Ruetz was a member of the Stern editorial in Hamburg from 1969 to 1973. Since then he has been self-employed and works as a freelance author and photographer. Since 1981, Ruetz is a contract author for publishers Little, Brown & Co./New York Graphic Society, Boston, Massachusetts. In 1982, he became professor of Communication Design at the Braunschweig University of Art and taught Photography until 2005. Ruetz lived in Italy, Australia and the U.S. for 12 years. Michael Ruetz is the sole heir of German photographer Heinz Hajek-Halke's artistic work and managed his estate from 1983 until 2020. He organised major retrospectives of Heinz Hajek-Halke in Centre Pompidou, Paris 2002, at Kunstbibliothek, Staatliche Museen zu Berlin in 2007, at Versicherungskammer Kulturstiftung in Munich 2008 and at Akademie der Künste, Berlin in 2012. Ruetz is a member of the Deutsche Gesellschaft für Photographie (DGPh), the Gesellschaft Deutscher Lichtbildner (GDL)/Deutsche Foto Akademie and the Academy of Arts, Berlin. In May 2002 he was appointed member of the Ordre des Arts et Lettres by French Minister of the Arts, Jean-Jacques Aillagon.

Works
Ruetz first became known through his photographs of the student protest movement in West Germany. His portraits of the APO (extra-parliamentary opposition), now part of German photographic history, were immediately bought up by major newspapers and magazines in Germany and abroad, including Time, Life, Der Spiegel and Stern. In 1968, Ruetz covered the invasion of Czechoslovakia by Soviet troops (Prague Spring) and reported for Stern on the military dictatorship in Greece, as on the World Festival of Youth and Students 1973 and the International Workers' Day 1974 in East Berlin. He later accompanied François Mitterrand on his election campaign, visited Chile after the victory of Salvador Allende and reported on the war in Guinea-Bissau and on many other international events. After spending several years in America and Australia, Ruetz began to concentrate increasingly on cultural-historical and documentary projects, such as the exploration of the "visual world" of such figures as Johann Wolfgang von Goethe and Theodor Fontane creating series like In Goethe's Footsteps, With Goethe in Switzerland, Me Too in Arcadia/Goethe's Italian Journeys, Fontane's Walks Through Mark Brandenburg. An extensive study of the phenomena of European Necropoles followed. His works since the 1980s deal with the capability of visualizing time and transience. Projects like Second Sight, Timescape and The Perennial Eye, assembled under the main title Eye on Time, document the change of the world's surface during time. In contrast to the individual picture pairs of the Second Sight project, Timescape comprises photographic sequences made over many years. The project is still ongoing and currently consists of more than 300 series of different objects. The photographs already give a clear indication of how much the people, the places, the squares, the apartments, and even nature are in a state of change. What does not change, however, is the geographical vantage point of each photographic series.

Awards

 * Kodak Photobook Prize for Auf Goethes Spuren (In Goethe's Footsteps), Necropolis, APO/Berlin 1966–1969 and Land der Griechen (Land of the Greeks).
 * 1979 Schönstes Buch der Schweiz for Mit Goethe in der Schweiz (With Goethe in Switzerland)
 * 1969 German Design Prize
 * 1979 Otto Steinert Prize
 * 1981 Villa Massimo Prize
 * 2002 Ordre des Arts et Lettres

Solo exhibitions (selected)

 * 1969 Berlin, Galerie Mikro
 * 1974 Hamburg, Kunsthalle, The World of Caspar David Friedrich
 * 1975 Hanover, Galerie Spectrum
 * 1975 Lissabon, German Institute
 * 1976 Berlin, Bielefeld, Göttingen, Hamburg, Copenhagen and Munich, Necropolis
 * 1977 Berlin, Landesbildstelle, Pictures from Germany 1968–1975
 * 1979 Zurich, Helmhaus, In Goethe's Footsteps
 * 1980 Düsseldorf, Goethe-Museum, In Goethe's Footsteps
 * 1981 Houston/Texas, Benteler Galleries
 * 1987 Carmel/California, Photography West Gallery
 * 1989–1995 Kiel, Harburg, Rendsburg, Itzehoe, Buxtehude, Lüneburg, Flensburg, Neumünster, Ahrensburg, Preetz, Rostock and Schwerin, Me too in Arcadia
 * 1992 Potsdam, Kulturhaus, Theodor Fontane
 * 1995 Berlin, Deutsches Historisches Museum, Eye on Time
 * 1996 Berlin, Willy Brandt Haus
 * 1996 Hamburg, Museum für Kunst und Gewerbe, Eye on Time
 * 1998 Berlin, Galerie Eva Poll, A Library for the Eye
 * 1998 Berlin, Willy Brandt Haus, Reviewing an Era
 * 1999 Greimharting, A Library for the Eye
 * 1999 Palermo, Goethe-Institut, Goethe in Arcadia, Et me in Italia
 * 2001 Kunsthaus Lempertz, Berlin, Cologne and Bruxelles, WindEye
 * 2001 Cologne, Galerie Priska Pasquer, Timescape, a Palimpsest and The Sixties in vintage prints
 * 2001 Kunsthalle Erfurt, WindEye, Timescape – 2 Picture Cycles
 * 2005 Academy of Arts, Berlin, Eye on Time
 * 2007 Berlin, Willy-Brandt-Haus, Eye on Eternity
 * 2008 Berlin, Academy of Arts, 1968. Die Unbequeme Zeit. Exhibition information
 * 2008 Barcelona, Goethe Institut Barcelona, 1968. Die Unbequeme Zeit. Exhibition information
 * 2008 Berlin, Deutsches Historisches Museum, Eye on Time. Exhibition information
 * 2009–2010 Helsinki, Goethe Institut Helsinki, 1968. Die Unbequeme Zeit
 * 2010 Madrid, Goethe Institut Madrid, 1968. Die Unbequeme Zeit
 * 2010 Tbilissi, Goethe Institut Tbilissi, 1968. Die Unbequeme Zeit
 * 2010 Berlin, Eye on Life – Die unbequeme Zeit, Johanna Breede, Berlin. Exhibition information
 * 2011 Potsdam, Kunstraum Potsdam, Sichtbare Zeit II. Exhibition information
 * 2014 Berlin, Willy-Brandt-Haus, Portugal im Jahre Null
 * 2015 Berlin, Galerie Pankow, Facing Time. Exhibition information
 * 2017 Boston, Goethe Institut Boston, Die Unbequeme Zeit . Exhibition information

Group exhibitions (selected)

 * 1968 Prague
 * 1972 Kassel, Documenta V
 * 1973, 1979 Essen, Folkwang Museum
 * 1974, 1978 London, Institute of Contemporary Arts
 * 1975 Essen, Haus Industrieform
 * 1976 London, The Photographers' Gallery
 * 1976 Vienna, Congress Amnesty International
 * 1977, 1980 Munich Stadtmuseum/Fotomuseum
 * 1979 Cologne, Galerie der DGPh
 * 1980, 1981 Hamburg, Kunsthaus/Kunstverein and PPS-Galerie
 * 1980, 1982 Washington, D.C., Sander Gallery
 * 1980 Baltimore, Maryland, The Maryland Institute
 * 1980 Berlin, Künstlerhaus Bethanien
 * 1980 Munich, Stadtmuseum/Fotomuseum
 * 1980 Kassel, Fotoforum
 * 1980 Wolfsburg, Kunstverein
 * 1981 Houston, Texas, Benteler Galleries und Rice University
 * 1982 Cologne, Benteler Galleries
 * 1982 New York, Photographic Art Dealers Convention
 * 1983 Hanover, Galerie Spectrum
 * 1985 Düsseldorf, Kunsthalle
 * 1985 Zurich, Kunsthaus
 * 1985 Rome, Deutsche Akademie/Villa Massimo
 * 1987 Darmstadt, Kunsthalle
 * 1995 Hanover, Kunstverein and Sprengel Museum
 * 1997 Bonn, Kunsthalle der Bundesrepublik Deutschland
 * 1998 Berlin, Haus am Waldsee, Die Römische Spur
 * 1998 Düsseldorf, Galerie Zimmer
 * 1998 Erfurt, Galerie Am Fischmarkt
 * 1998 Hamburg, Stern, Seeing the World
 * 1999 Berlin, Deutsches Historisches Museum, Bonn, Kunstmuseum and Galerie der Stadt Stuttgart, Seeing the World
 * 2000 Paris, Paris Photo, Galerie Priska Pasquer, The Perennial Eye
 * 2001 Berlin, Galerie Brusberg/Der Spiegel, The Sixties
 * 2001 Paris, Paris Photo, Galerie Priska Pasquer, Timescape
 * 2002 Berlin, Willy Brandt Haus, Willy Brandt
 * 2002 Berlin, Galerie Brusberg/Willy Brandt Haus, The Sixties
 * 2002 Leipzig, The Sixties
 * 2002 Paris, Paris Photo, Galerie Priska Pasquer, Massimo Passacaglia
 * 2003 Bonn, Friedrich-Ebert-Stiftung
 * 2003 Osnabrück, Kunsthalle Dominikanerkirche,
 * 2003 Halle, Galerie Kommode
 * 2003 Karlsruhe
 * 2003 Eisenach, Stadtschloss
 * 2003 Göttingen, Künstlerhaus
 * 2003 Lübeck, Kunsthaus
 * 2003 Prague, City Gallery and Berlin, Deutsches Historisches Museum, Von Körpern und anderen Dingen. Contemporary German Photography
 * 2003 Paris, Paris Photo, Galerie Priska Pasquer, Eye on Eternity
 * 2004 Moscow and Bochum, Von Körpern und anderen Dingen. Contemporary German Photography
 * 2013 Berlin, Willy-Brandt-Haus, Puro Pueblo. Chile 1971–73. Exhibition information
 * 2013 Berlin, Johanna Breede, Frauen / Women. Exhibition information
 * 2014 Berlin, Johanna Breede, Men / Männer. Exhibition information
 * 2015 Berlin, Johanna Breede, The Window – Das Fenster. Exhibition information
 * 2016 Berlin, Academy of Arts, DEMO:POLIS. Exhibition information
 * 2016 Berlin, Johanna Breede, Vis-à-Vis. Exhibition information
 * 2017 Berlin, Johanna Breede, Favorite Images / Lieblingsbilder. Exhibition information
 * 2018 Murnau, Kunststiftung Petra Benteler, Im Blauen Land. Exhibition information
 * 2021 Köln, Van der Grinten Galerie, Im Dialog mit Joseph Beuys. Exhibition information

title: Michael Ruetz


text:
Descent into the Depths of the Earth

Descent Into the Depths of the Earth is an adventure module for the Dungeons & Dragons (D&D) fantasy roleplaying game coded D1–2. It was written by Gary Gygax, and combines two previously published modules from 1978, the original Descent into the Depths of the Earth and Shrine of the Kuo-Toa. A sequel to the first two modules, Vault of the Drow, was also published in 1978. All of these D-series modules were produced for use with the 1st edition Advanced Dungeons & Dragons (AD&D) rules.

The D-series itself is part of a larger overall campaign of adventures set in the World of Greyhawk campaign setting. The overall campaign begins with the three modules in the Against the Giants series, continues through the D-series, and concludes with module Q1 Queen of the Demonweb Pits. The latter segments of the campaign, including the D-series and module Q1, are set in a vast network of caverns and tunnels called the Underdark.

Plot summary
The plot of the original modules Descent Into the Depths of the Earth and Shrine of the Kuo-Toa places a party of player characters (PCs) on the trail of the drow priestess Eclavdra through the Underdark, a vast subterranean network of interconnected caverns and tunnels, battling various creatures on their journey.

In the last module in the preceding G-series, Hall of the Fire Giant King, the PCs were supposed to have discovered that the drow had instigated the alliance between the races of giants and their attacks on neighboring humans. The drow that survived the party's incursion have fled into tunnels leading deep into the earth. The characters will have reached the bottom of the dungeon beneath the cave-castle of King Snurre. In D1 Descent Into the Depths of the Earth, the PCs seek the home of the drow by traveling through an underground world of caves and passages. In the tunnels, the characters first major fight is against a well-armed drow patrol, and the next is against a raiding party composed of mind flayers and wererats, who are torturing a drow that they captured while patrolling. The characters also find a grand cavern populated by drow soldiers, purple worms, a lich, a group of undead, a giant slug, sphinxes, trolls, bugbears, troglodytes, wyverns, and fungi.

D2 Shrine of the Kuo-Toa picks up with the party continuing to pursue the drow. The party encounters a kuo-toan rogue monitor who helps them cross a large river for a fee. A party of Svirfneblin (or deep gnomes) approaches the player characters on the other side, and the party has a chance to convince them to help them fight against the drow. As the party travels, signs of the drow are all around; the drow are allowed to pass through these subterranean areas, even though they are hated and feared by the other local intelligent races. The party then moves through kuo-toa territory, ruled by the Priest-Prince Va-Guulgh. If the PCs appease the kuo-toa and respect their customs, the evil kuo-toa are not openly hostile to the party, but will attack if the party gives them a reason. The party learns that the drow and kuo-toa trade with each other openly, but the kuo-toa hate and fear the drow, resulting in frequent skirmishes between the two peoples.

D3 Vault of the Drow is set in Erelhei-Cinlu, an underground stronghold of the drow, and the Fane of Lolth, their evil spider-goddess. After traveling for league after league into the Underdark, the adventurers come upon Erelhei-Cinlu, the vast subterranean city of the drow. The adventure is written in a very open-ended fashion, giving the Dungeon Master (DM) free rein to script any number of mini-campaigns or adventures taking place inside the drow capital. An extensive overview of the drow power structure is given for just this purpose. Eventually, the players may discover an astral gate leading to the plane of the Abyss, leading into the Q1 module.

Publication history
The original modules Descent Into the Depths of the Earth and Shrine of the Kuo-Toa were both written by Gary Gygax and published by TSR, Inc. in 1978. Gygax had recently finished writing the Player's Handbook (1978), and according to Gygax, he authored the D series "as sort of a relaxation to get away from writing rules". Descent Into the Depths of the Earth, the first module of the D-series, was printed as a sixteen-page booklet, and Shrine of the Kuo-Toa, second of the three-part D-series was twenty pages; both featured an outer folder. Both modules were released before the Dungeon Masters Guide and Players Handbook. Both modules were reprinted in the omnibus collection D1-2 Descent Into the Depths in 1981, as a 32-page booklet with an outer folder. The original versions of the D1 and D2 modules both featured monochrome cover artwork by David C. Sutherland III, but the 1981 compilation was released with a color cover illustrated by Jim Roslof. Sutherland's interior artwork from the original two publications was included in the compilation, as was that of David A. Trampier. Other artists whose work appears inside the compilation include Jeff Dee, Erol Otus, David S. LaForce, Bill Willingham and Roslof.

Vault of the Drow, also by Gygax and the last of the D-series, was also originally published in 1978 as a 32-page booklet with a two-color outer cover. The original printing featured monochrome cover artwork by David C. Sutherland III. In 1981, TSR re-issued the adventure with a new color cover. D3 was re-released to coincide with the release of the D1-2 compilation Descent into the Depths of the Earth. Since the D1-2 compilation featured color cover artwork, Erol Otus was tasked with creating a new color cover for D3 as well. Sutherland's interior artwork was retained, and other interior artists for the module include Jeff Dee, David S. LaForce, David A. Trampier, and Otus. The entire campaign was eventually combined into a supermodule GDQ1-7 - Queen of the Spiders.

The modules were intended to function as a sequel for the G-series adventures. At the time these modules were released, each Dungeons & Dragons module was marked with an alphanumeric code indicating the series to which it belonged. The D in the module code represents the first letter in the word Drow. According to a Wired.com article, the D-series "introduced the world to the concept of the dark elves." Game statistics for the Drow first appear in the module, although the 1977 edition of the Monster Manual does mention the Drow.

The D-series is part of a larger overall campaign of adventures set in the World of Greyhawk campaign setting. The overall campaign begins with the three modules in the G1–3 Against the Giants series, continues through the D-series, and concludes with module Q1 Queen of the Demonweb Pits. The latter segments of the campaign, including the D-series and module Q1, are set in a vast network of caverns and tunnels called the Underdark. The entire campaign was eventually combined into a supermodule GDQ1-7 Queen of the Spiders. Descent into the Depths of the Earth was the basis for a 2000 novel of the same title by Paul Kidd.

The original TSR product codes for modules D1, D2, and D3 are 9019, 9020, and 9021 respectively (9021 being reused for the new Erol Otus cover with the blue background).

Reception
When combined with the G-series and Q module as the Queen of the Spiders, the D-series was voted the single greatest adventure of all time by Dungeon magazine in 2004. Reviewer Alan Kohler said, "The Underdark has become a classic place to set adventures... This is where it all got started." According to the editors, Vault of the Drow would have made the top five if it had been considered as a single module. They felt the Drow city detailed in the module offered "more intrigue" than any module previously. Judge Clark Peterson compared it favorably to City State of the Invincible Overlord, which also had a complicated city environment, saying "this was an underground city of evil monsters—the Drow, who, then, were new and mysterious as opposed to tired and overused as they are today." Dungeon Master for Dummies lists Descent into the Depths of the Earth as one of the ten best classic adventures, noting that it takes "the player characters into the underground world of the Drow—the wildly popular dark elves of D&D lore."

The series has received considerable praise. It was reviewed by Don Turnbull in British RPG magazine White Dwarf No. 11, who gave it 10 out of 10. He compared the series favorably to the G series of modules, which he also liked. Turnbull commented that the scope was large, and that the modules were of good value. Although D3 can be played by itself, he speculated that the party of characters may need the magic items that can be acquired in the first two to not be put at a disadvantage. Turnbull did lament that the series was designed for parties of a high level, making it difficult to use with a group of lower level characters. He concluded the review by saying "don't be surprised if they eclipse in quality most of the material you already have." All three modules are also profiled in Heroic Worlds, Lawrence Schick's 1991 guide to role-playing games.

The D-series of modules was also given an extensive overview review by Turnbull in issue No. 15 of White Dwarf, wherein he cautioned DMs that running these modules was unlike any they had run before. He commented that the adventure would be too difficult for most groups of player characters, and speculated that buyers wouldn't actually play the modules because it would take a lot of sessions to finish. He did run the adventure himself, though. He recommended using miniatures on a grid, because some of the battles involved so many characters and monsters. He also recommended rolling the dice for various encounters in advance. Although some such work would be wasted when the players chose one route over another, "it will be worth the effort." He also thought that planning enemy tactics in advance was a good idea, providing an example of how to do so using the Drow outpost from D1, as well as other encounters.

He noted that while some DMs may ban psionics in their games, if they don't allow the creatures in section M12 of D1 to use them, the game will be unbalanced in favor of the players. Although he hadn't run D3 at the time of writing the article, he wrote that the thought of planning some of its encounters "brings me out in perspiration." The power levels of his regular players' characters were insufficient for the adventure, so he gave them pre-generated ones. Although he felt the magical weapons he gave these characters were too powerful, he warned that giving weapons that are too weak would be a bigger problem. He also recommended many healing spells and potions.

Overall, he enjoyed playing the modules, despite wishing he had prepared more, and thought that his players also enjoyed the experience. He hoped that people would not be scared to use the modules because of their difficulty. In summary, he said "I can give no higher praise to these designs than to say they are as good as anyone is likely to meet, and better than almost everything else I've seen."

Reviewer Anders Swenson reviewed the D1–2 Descent into the Depths of the Earth compilation in 1982 for Different Worlds #21. Swenson noted that purchasers of adventure publications had come to expect longer texts for the given price, so that the two adventures had been combined into one format; redundant text was eliminated, and new illustrations were added to fill the resultant gaps in layout. He was perplexed by all of the creatures found in the grand cavern area originally found in module D1: "All these creatures are apparently expected to do nothing but sit in their caves and wait to be attacked, for they would certainly defeat any moderately tough adventurer party specified by the author if they all tried a massed and well-coordinated attack." He also wondered about the placement of the kuo-toan shrine: "There is great hostility between the Kuo Toa and the Drow, so it is surprising to find the main Kuo Toa stronghold in the middle of a thoroughfare used by the Drow as a main route. It is also surprising to find the Kuo Toa still in business, given the seeming superior military power of the Drow, but who knows?" Anders felt that the adventures contained a great deal of imaginative material, "but while the writing style is by no means poor, the combination of florid prose and new ideas makes a text which is relatively difficult to read. Gygax does not make a regular practice of organizing his text to help the poor GM pick out the important information quickly." However, Swenson concluded that this is overall a worthwhile adventure. "The plot is interesting, and everything is well detailed. Aside from the problems I have already noted, the adventures are interesting and generally of superior quality."

title: Descent into the Depths of the Earth