text:
Wikipedia talk:Collaborations

Overviews
I have some concerns with creating overviews for each collaboration project.
 * 1) Large overlap with the collaborations template.
 * 2) The constant birth and death of collaborations would require near-constant editing and re-editing of this page.
 * 3) No other top-level overview page does this. The page on WikiProjects doesn't attempt to overview every wikiproject--it would be a logistical nightmare.
 * 4) Doesn't add much to the wikipedian's experience: the name of the collaboration is usually enough to pique one's interest.
 * 5) Overloads this page's length, TOC, and general usefulness. I think we should remain on-point with the most useful information about collaborations in general, and about setting up new collaborations.
 * Understandable, it was just stated in the project page that the page was supposed to have that. It wouldn't require constant updating though, just the new collabs when this done.(Idea is to have inactive ,and active). Anyway, I'll go either way with this but for now I removed the text in the article refering to the overviews. Falphin 22:40, 24 August 2005 (UTC)

WikiProject Commonwealth of Nations Numismatics
We could do with a lot of help from the numismatists on the board with improving the articles in this project, especially with photos. I can't provide photos, as I have to borrow a computer, which does not have a scanner or a digital camera attached. If you are a coin dealer, we'd like your assistance with catalogue references. - (Aidan Work 01:36, 17 January 2006 (UTC))

Where should the collaboration template go?
The Collaborations states (with my emphasis)

 * Create a collaboration notice template, and insert it at the top of the talk page of current or nominated collaborations.

but later it says

 * General practice is to have the template marking the current collaboration at the top of the article in question while leaving the candidacy templates on the talk page.

Is that a contradiction?

I strongly disagree with putting any kind of such templates on article pages. They do not belong there and are distracting. The appropriate place for them is the talk page. I would like to raise some discussion on that. Thanks. Oleg Alexandrov (talk) 00:03, 24 May 2006 (UTC)

 * I made a bit of a speech on this very issue to get the GA collaboration rules changed, and I don't think I have the time to re-type the whole thing, but my sentiments on the issue can be found at: Wikipedia talk:Good Article Collaboration of the week near the bottom. I would however agree that the rules are probably contradictory in this respect, however, it may be that the first one is talking about a different notice template than the one below, I dunno. Homestarmy 00:21, 24 May 2006 (UTC)
 * The template should go on the talk page in my opinion. The only messages which go on article pages are ones directly relating to the content.  Wikipedia messages go on talk pages.  If they are to go on the article pages, then at least make them small! --Midnighttonight 02:31, 24 May 2006 (UTC)

I think that all such templates should go on the talk pages. Paul August ☎ 00:50, 24 May 2006 (UTC)

 * While I agree that the templates can be distracting, even ugly in some cases, I think they are too often overlooked if they are relegated to talk pages. So I support placement of temporary collaboration templates on article pages, although with reluctance in some cases. Perhaps we could agree on some guidelines for size, colour, etc to minimise the obtrusiveness of the templates? -- Avenue 00:56, 24 May 2006 (UTC)

 * I think guidelines would be nice, 1 line ought to do it in my opinion. Of course, im one to talk since the collaboration I participate in has a 2-line template, but I can't figure out how to shrink it to a neat, single line of text :(. Homestarmy 00:59, 24 May 2006 (UTC)

 * I agree that the article page is probably the place for the tag of the article being worked on. This results in only one tag per collaboration, bringing the total number of tags on the entire en.WP to like, what, twenty?  Then you have to realize that all of those tags are on articles that are so bad that a group voted them in need of dire help.  That being the case, I don't think the tag is taking anything away from the article.  In fact, it is doing the opposite by letting visitors know that not only does en.WP realize the article quality is lacking, but that en.WP is organized and doing something about it.

 * With that being said, I think that only active collaborations should have tags on pages. If the collaboration is defunct, the tag is meaningless and will negate all of the pros I listed before. uriah923(talk) 03:57, 24 May 2006 (UTC)

 * The mathematics article is not bad, rather in very good shape. And until I changed it, that collaboration template was with red text on reddish background, awful. I see the motivation for putting tags on articles needing cleanup, but not on good articles.

 * Besides, the surest way of people noticing the collaboration is via the collaboration project and other various posts, not on the article itself. Oleg Alexandrov (talk) 04:21, 24 May 2006 (UTC)

Collaboration templates belong on the talk page because they are not relevant to the general reader of the article (i.e. a non-contributor who has just picked the article from a Google search). Gandalf61 08:38, 24 May 2006 (UTC)

 * Well what if somebody tries to reference Wikipedia while an article is in collaboration, and cites it, and suppose a teacher back checks it only to find the article has been changed? A collaboration template would help tell readers "Hey, this article is being worked on, yo!" Homestarmy 14:14, 24 May 2006 (UTC)
 * Articles are always being worked on, whether in collaboration or not. By definition, all of Wikipedia is fluid at all times. I find your argument a bit unconvincing. :) Oleg Alexandrov (talk) 14:53, 24 May 2006 (UTC)
 * But think of it this way, if you've got a collaboration, that's somewhat like an extra cluster of Wikipedia editors focusing themselves on an article, often times with the goal of changing it as much as necessary to become an FA. Many articles are relatively stagnent until a collaboration comes on by, and while an article can surely change at any time, collaboration status makes it far more likely that it will change much more drastically, especially in the way of getting references, which is basically what verifies most information. With the push to improve an article much more strong, information and references will probably change much more rapidly and drastically than normal editing would do. Besides, the single line templates aren't that ugly, maybe make a standardized style for all of them onto one line, it could make it look more formal. Homestarmy 17:37, 24 May 2006 (UTC)
 * I agree that tasteful and unobtrusive tags on the article page are the way to go. uriah923(talk) 18:05, 24 May 2006 (UTC)

 * I have to agree that these templates belong on the talk page - ESPECIALY the potential COTW templates like USnom - no one but editors needs to know that information. While I disagree that those using wikipedia need notice that an article is under current collaboration; there is at least some logic to that. But putting a notice on somthing that may or may not ever be collaborated on is meta data that does not belong on the article page. Additionally, as indicated in the recent signpost article on the subject of metadata on the article pages - even templates that only add small unobtrusive icons are generally still reaching concensus to be deleted except for the most popular ones (featured article and Spoken Wikipedia) Trödel  21:58, 24 May 2006 (UTC)
 * notice I went ahead and moved all of the USnom to the talk page so that it doesn't end up being nominated for deletion while this is being discussed. Trödel  22:09, 24 May 2006 (UTC)
 * I got to Games on COTWs removing all nomination templates being used on the article page as of 22:57, 24 May 2006 (UTC) Trödel  :)
 * I think that candidate templates definently don't need to be on the article page, but should this discussino include both nomination templates and main templates? Homestarmy 22:13, 24 May 2006 (UTC)
 * The nomination tags most definitely should go on the talk page, as there could be hundreds of them and their validity/importance hasn't been established. Active collaborations, however, are very few in number and are on articles that are usually voted to need lots of help.  uriah923(talk) 22:28, 24 May 2006 (UTC)
 * No such templates are not restricted only to articles which "need lots of help". Paul August ☎ 23:04, 24 May 2006 (UTC)

I think that think that candidate templates should be on the talkpage, but 'Active'' collaborations should go on the article page. Brian | (Talk) 07:17, 25 May 2006 (UTC)

In my opinion, candidate templates should be placed on both article and discussion pages. Paul James Cowie 07:26, 26 May 2006 (UTC)

Meta information should go on talk pages only. This is an encyclopedia and while every article could use and under construction sign, that's implied in what we do. I can't believe there aren't more people that are chiming in that there's already been significant discussion and consensus that templates like this should only go on talk pages. It's not like the template is what draws someone in to edit the article. The collaboration pages themselves and other placces that point out the collaboration do that and it's fine for the template to be on the talk page. - Taxman Talk 21:44, 31 May 2006 (UTC)

 * Well whatever discussion happened, most collaborations seem to of either ignored it or didn't care, because most of them seem to still place their tags on article pages. Homestarmy 00:40, 1 June 2006 (UTC)

There hasn't been discussion on this in over a month, but I would like to see a consensus reached so we don't have 20 different collaboration projects all working with different rules. Whatever is decided, it should apply to all projects. I feel that according to what the Help:Namespaces are used for, and WP:ASR, that these sorts of templates should go on talk pages. Any message aimed towards editors should go on talk. Any message aimed towards casual readers (such as NPOV tags and clean up tags etc) should go in the main article namespace. Some editors have suggested that placing the collaboration templates in the main article namespace works to advertise these projects. However, I do not think the encyclopedic integrity of an article should be compromised in order to advertise to editors, or otherwise encourage lay readers to participate. If someone is interested, they can actively seek out the project pages, or come across the templates almost just as easily through the talk pages. Anyway, that's my 2 cents. Whatever happens, I hope we can reach a decision, and that we can apply it for all the collaboration projects. --Andrew c 22:43, 14 July 2006 (UTC)

 * Some of us have also expressed the idea that putting the collaboration template on the main article helps to inform casual readers that the content of the article may change more rapidly that the article may normally change. Homestarmy 23:22, 14 July 2006 (UTC)

 * Well if that is the case, a) I think the templates should be revised in order to suit that meaning better and b) we should put similar tags on some of the most edited articles (surely there is a way to figure out the top 20 articles that get the most edits per day). I think the compromise that most collabortion projects have reached, put the nomination templates on talk, and the weekly article templates on the main article, seems sufficient (while I personally would like to see them all on talk, in the spirit of compromise, hold back those feelings). --Andrew c 00:30, 15 July 2006 (UTC)

 * My view remains the same - they should be on the top of talk pages only. But I am willing to compromise on the actual selection. However, for nominee templates I feel to put them on the article page is goes agianst policy. -- Trödel 02:32, 15 July 2006 (UTC)

This discussion seems to have ended, but any kind of self-referential (so to speak) templates should probably go under discussion only... Mad Jack 16:36, 5 September 2006 (UTC)

 * Agreed, I plan on bringing this up with some of the projects within the next week --T-rex 19:34, 15 November 2006 (UTC)

LGBT?
Was just looking at the Collaboration templates' sections, and have no idea where WP:LGBT's Collaboration would go. Anyone know? Dev920 (Have a nice day!) 18:55, 7 January 2007 (UTC)

Standing lists at Wikiprojects
To facilitate throughput to GA and FA, I'm trialling this; I've listed Standing Lists of large articles with substantial content which may be within striking distance of GA with varying amounts of work WRT formatting and copyediting. Some are already being worked on but I'm seeing if this increases collaboration. So far I've done this on WP mammals talk page and WP Birds collab pages. Be interesting to see if more of these come through cheers, Cas Liber | talk  |  contribs 01:31, 3 June 2007 (UTC)

RfC: Should the collaboration template appear on the article page
Some editors have suggested that the collaboration template should not appear on the article page. They have raised the matter at Wikipedia talk:Australian Collaboration of the Fortnight and also at Administrators%27_noticeboard. At WP:ANI it was suggested that the issue be escalated more generally and it should not consider only the Australian collaboration but collaboration projects in general. I note the issue was discussed above on this page (Wikipedia talk:Collaborations butthe project page states at Collaborations at the time of my writing this  General practice is to have the template marking the current collaboration at the top of the article in question while leaving the candidacy templates on the talk page. --Matilda talk 00:29, 17 March 2008 (UTC)
 * This RfC should go at Wikipedia talk:Template namespace which is the guidline for template usage - it would overule the consensus of this page.  Ry an P os tl et hw ai te  01:00, 17 March 2008 (UTC)

 * Moved - see Wikipedia talk:Template namespace --Matilda talk 01:05, 17 March 2008 (UTC)

RfC concluded
The conversation seems to have died down, so I have updated the page here in a manner I believe to be consistent with the decision: Allow active collaborations to mark the article page, but if the collaboration goes for over twice as long as it is scheduled to, the tag should be removed and the collaboration marked inactive. The wording is not quite the same, as that wording doesn't fit here. --Scott Davis Talk 12:21, 25 March 2008 (UTC)

Why is this page about wrestling?
Can someone explain why collaborations are only about wrestling? Xasodfuih (talk) 22:04, 6 January 2009 (UTC)

Dr. Hari Singh Nalwa Scientist
Dr. Hari Singh Nalwa is the President & CEO of American Scientific Publishers (www.aspbs.com) based in Los Angeles, California, USA which he founded in 2000. He belongs to Soop village of Baghpat district in Uttar Pradesh (UP). He is a citizen of the United States of America.

President and CEO - American Scientific Publishers (www.aspbs.com)
Dr. Nalwa is the President and CEO of American Scientific Publishers (www.aspbs.com). He played a critical role in promoting and defining the field of nanotechnology and is one of the world's leading experts in this research field. He is distinguished around the world as a scientist, businessman, publisher, prolific author, and editor after three decades of vigorous work and dedication.

Early Life
Dr. Nalwa was born into a farmer family in a small remote village Soop of the Baghpat District in Uttar Pradesh (UP), India. Both of his parents (father: Kadam Singh and mother: Sukh Devi) were illiterate. He was born with the name “Hari Singh.” He greatly admired Hari Singh Nalwa (1791–1837), a Commander-in-Chief of the Khalsa, the army of the Sikh Empire. In high school, he decided to add “Nalwa” (which means tiger) to the end of his name, even though his original last name is “Tomar” therefore, his full name should be “Hari Singh Tomar” (where Tomar is his gotra, or clan).

Education and Work
Dr. Nalwa received a Bachelor of Science (B.Sc.) degree in bio-sciences (chemistry, zoology, and botany) from the Meerut University in 1974, a Master of Science (M.Sc.) in Organic Chemistry from the Indian Institute of Technology (IIT) at Roorkee in 1977, and his PhD degree in Polymer Science/Physical Organic Chemistry from the Indian Institute of Technology (IIT) at New Delhi in 1983. His PhD thesis research focused on the electrical conductivity, dielectric properties, thermally stimulated depolarization (TSD) currents, ferroelectric/pyroelectric properties of macromolecular systems including thiourea-based polymers and metallophthalocyanines. Since then, his research activities and professional career have been devoted to the studies of electronic and photonic materials. He started his career as a guest scientist at the Hahn Meitner Institute (HMI) in West Berlin, West Germany (1983–1984), and thereafter moved to the University of Southern California (USC) in Los Angeles, California (1984–1987) as a research associate. After a three-year stay at USC, he moved to the State University of New York (SUNY) at Buffalo (1987–1988) to work in the field of nonlinear optics. In 1988, he joined the Tokyo University of Agriculture and Technology in Tokyo, Japan, as a lecturer/assistant professor where he researched conducting polymers and organic materials for second-order nonlinear optics and taught some classes (1988–1990). In October 1990, he joined Hitachi Research Laboratory (Omika-cho, Hitachi City, Ibaraki), Hitachi Ltd., Japan (1990–1999), as a staff scientist. He was the first foreigner ever to have a permanent job at Hitachi Ltd. While working at Hitachi Ltd., he was concurrently an honorary visiting professor at IIT Delhi. He resigned from Hitachi Ltd. in 1999 and returned to the United States to provide his children an American education. He worked as the head of department and R&D manager at Ciba Specialty Chemical Corporation (Ciba-Geigy, Switzerland) in Los Angeles, California for a year (1999-2000), thereafter, he resigned to start his own business entitled "American Scientific Publishers" (www.aspbs.com) focused on nanotechnology.

Research Expertise
Dr. Nalwa’s research experience includes ferroelectric polymers, electrically conducting polymers, polymer electrets, nonlinear optical materials for integrated optics, ab initio calculations, electroluminescent materials, low and high dielectric constant materials for microelectronics packaging, organic semiconductors, nanocrystalline and nanostructured materials, Langmuir-Blodgett films, high-temperature resistant polymer composites, epoxy-based photopolymers, rapid modeling, and stereolithography. He has made outstanding contributions to a wide spectrum of research areas from polymer science to materials science to nanotechnology and published many outstanding research papers and books. The "Handbook of Advanced Electronic and Photonic Materials and Devices", 10-Volume Set edited by Dr. Nalwa was published by Academic Press in 2001.

(1) CONDUCTING POLYMERS: Dr. Nalwa has worked on a variety of electrically conducting polymers including polyacetylene, poly(diacetylene), polypyrrole, polythiophene, polyfuran, polyaniline, and heteroaromatic ladder polymers, their copolymers, and their-based composites. The "Handbook of Organic Conductive Molecules and Polymers" (4-Volume Set, John Wiley & Sons, New York, 1997) edited by Dr. Nalwa, is a major reference source that has received much attention from researchers and professionals working in the field of conducting polymers.

(2) NONLINEAR OPTICS: Dr. Nalwa worked for over a decade in the field of nonlinear optics (NLO), focused on the synthesis, characterization, ab initio calculations, and study of second- and third-order NLO properties of organic materials, including aromatic polyureas, polyazine, polythiophene, porphyrazine, metallophthalocyanine, and naphthalocyanine derivatives. The book entitled "Nonlinear Optics of Organic Molecules and Polymers", edited by H. S. Nalwa and S. Miyata, published by CRC Press in 1997, is one of the top reference sources in this research field.

(3) NANOTECHNOLOGY: In 1992, in a collaboration between Hitachi Research Laboratory, Hitachi Ltd., and Research Institute for Polymers and Textiles at Tsukuba Science City, Dr. Nalwa worked for one year on the synthesis of nano/microcrystals of organic conjugated chromophores. This was the first exposure of Dr. Nalwa to nanostructured materials/nanotechnology when only a handful of scientists around the world were involved in the field of nanotechnology. Thereafter, he has published many outstanding major-reference books, encyclopedias, and review articles focused on emerging new aspects of nanotechnology including toxicological impact of nanomaterials on human health and the environment, applications of nanotechnology in cancer diagnosis and therapy, nano-energy, applications of biomaterials in nanobiotechnology, soft nanomaterials, and nanodrugs, etc. Dr. Nalwa has edited 60 books in the field of nanotechnology. The "Handbook of Nanostructured Materials and Nanotechnology" (5 Volumes, Academic Press, San Diego, 2000) edited by Dr. Nalwa, was the first multi-volume handbook ever published in the field of nanotechnology. Likely, the "Encyclopedia of Nanoscience and Nanotechnology" (25 Volumes, American Scientific Publishers, Los Angeles, 2004/2011) edited by Dr. Nalwa, is the one and only such major landmark reference work in the world.

Research Publications
Working for over 30 years, Dr. Nalwa has authored over 150 scientific articles, 25 book chapters, 18 patents (Hitachi Ltd., Japan), and 114 scientific books in the fields of nanotechnology, materials science and polymer science mainly focused on functional electronic and photonic materials and their-based device applications. Dr. Nalwa is an international authority and an expert in editing multivolume major reference works, he has written and edited/co-edited 114 (single-volume) scientific books for the scientific community, and he is one of the most cited scientists in the world. His great reputation in the scientific community is evident by a long list of research publications, multivolume scientific books and encyclopedias that he has published in crossdisciplinary research areas of nanotechnology, materials science, polymer science, biological sciences, chemistry, and physics.

114 Scientific Books Edited/Co-edited

 * (1) H. S. Nalwa (Editor), Ferroelectric Polymers: Chemistry, Physics and Applications (Marcel Dekker, New York, NY, 1995)

 * (2) H. S. Nalwa (Editor), Handbook of Organic Conductive Molecules and Polymers, 4-Volume Set (John Wiley & Sons, New York, NY, 1997)

 * (3) H. S. Nalwa and S. Miyata (Editors), Nonlinear Optics of Organic Molecules and Polymers (CRC Press, Boca Raton, Florida, 1997)

 * (4) S. Miyata and H. S. Nalwa (Editors), Organic Electroluminescent Materials and Devices (Gordon & Breach, Switzerland, 1997)

 * (5) H. S. Nalwa (Editor), Handbook of Low and High Dielectric Constant Materials and Their Applications, 2-Volume Set (Academic Press, San Diego, USA, 1999)

 * (6) H. S. Nalwa (Editor), Handbook of Nanostructured Materials and Nanotechnology, 5-Volume Set (Academic Press, San Diego, USA, 1999).
 * Foreword by: Professor George Olah, Nobel Prize Laureate in Chemistry (University of Southern California, USA)

 * (7) H. S. Nalwa (Editor), Handbook of Advanced Electronic and Photonic Materials and Devices, 10-Volume Set (Academic Press, San Diego, USA, 2000).
 * Foreword by: Professor Nicolaas Bloembergen, Nobel Prize Laureate in Physics (Harvard University, USA)

 * (8) H. S. Nalwa (Editor), Handbook of Thin Films Materials, 5-Volume Set (Academic Press, San Diego, USA, 2001)

 * (9) H. S. Nalwa (Editor), Handbook of Surfaces and Interfaces of Materials, 5-Volume Set (Academic Press, San Diego, USA, 2001)

 * (10) H. S. Nalwa (Editor), Advanced Functional Molecules and Polymers, 4-Volume Set (Gordon & Breach, Switzerland, 2001)

 * (11) H. S. Nalwa (Editor), Silicon-Based Materials and Devices, 2-Volume Set (Academic Press, San Diego, USA, 2001)

 * (12) H. S. Nalwa (Editor), Photodetectors and Fiber Optics (Academic Press, San Diego, USA, 2001)

 * (13) H. S. Nalwa (Editor), Supramolecular Photosensitive and Electroactive Materials (Academic Press, San Diego, USA, 2001)

 * (14) H. S. Nalwa (Editor), Semiconductors and Semimetals, Vol. 73 (Academic Press, San Diego, USA, 2001)

 * (15) H. S. Nalwa (Editor), Advances in Surface Science, Vol. 38 (Academic Press, San Diego, USA, 2001)

 * (16) H. S. Nalwa (Editor), Nanostructured Materials and Nanotechnology - Concise Edition (Academic Press, San Diego, USA, 2001)

 * (17) H. S. Nalwa (Editor), Magnetic Nanostructures, First Edition (American Scientific Publishers, Los Angeles, California, 2002)

 * (18) S. K. Tripathy, J. Kumar, and H. S. Nalwa (Editors), Handbook of Polyelectrolytes and Their Applications, 3-Volume Set (American Scientific Publishers, Los Angeles, California, 2002).
 * Foreword by: Professor Alan G. MacDiarmid, Nobel Prize Laureate in Chemistry (University of Pennsylvania, USA)

 * (19) H. S. Nalwa and L. S. Rohwer (Editors), Handbook of Luminescence, Display Materials and Devices, 3-Volume Set (American Scientific Publishers, Los Angeles, California, 2003).

 * Foreword by: Professor Alan J. Heeger, Nobel Prize Laureate in Chemistry (University of California Santa Barbara, USA)

 * (20) H. S. Nalwa (Editor), Handbook of Photochemistry and Photobiology, 4-Volume Set (American Scientific Publishers, Los Angeles, California, 2003).

 * Foreword by: Professor Jean-Marie Lehn, Nobel Prize Laureate in Chemistry (University of Louis Pasteur, France)

 * (21) H. S. Nalwa (Editor), Handbook of Organic-Inorganic Hybrid Materials and Nanocomposites, 2-Volume Set (American Scientific Publishers, Los Angeles, California, 2003)

 * (22) S. Bandopadhyay and H. S. Nalwa (Editors), Quantum Dots and Nanowires (American Scientific Publishers, Los Angeles, California, 2003)

 * (23) H. S. Nalwa (Editor), Nanoclusters and Nanocrystals (American Scientific Publishers, Los Angeles, California 2003)

 * (24) H. S. Nalwa (Editor), Polymer Optical Fibers (American Scientific Publishers, Los Angeles, California, 2004)

 * (25) H. S. Nalwa (Editor), Encyclopedia of Nanoscience and Nanotechnology, 10-Volume Set, Volumes 1-10 (American Scientific Publishers, Los Angeles, California, 2004).

 * Foreword by: Professor Richard E. Smalley, Nobel Prize Laureate in Chemistry (Rice University, USA)

 * (26) H. S. Nalwa (Editor), Handbook of Nanostructured Biomaterials and Their Applications in Nanobiotechnology, 2-Volume Set (American Scientific Publishers, Los Angeles, California, 2005)

 * (27) H. S. Nalwa (Editor), Polymeric Nanostructures and Their Applications, 2-Volume Set (American Scientific Publishers, Los Angeles, California, 2007)

 * (28) H. S. Nalwa (Editor), Handbook of Organic Electronics and Photonics, 3-Volume Set (American Scientific Publishers, Los Angeles, California, 2008)

 * (29) H. S. Nalwa and T. J. Webster (Editors), Cancer Nanotechnology: Nanomaterials for Cancer Diagnosis and Therapy (American Scientific Publishers, Los Angeles, California, 2008)

 * (30) Y. L. Zhao and H. S. Nalwa (Editors), Nanotoxicology: Interactions of Nanomaterials with Biological Systems (American Scientific Publishers, Los Angeles, California, 2008)

 * (31) K. Ariga and H. S. Nalwa (Editors), Bottom-up Nanofabrication: Supramolecules, Self-Assembly and Organized Films, 6-Volume Set (American Scientific Publishers, Los Angeles, California, 2009)

 * (32) N. He and H. S. Nalwa (Editors), Biochips Nanotechnology (American Scientific Publishers, Los Angeles, California, 2009)

 * (33) A. K. Mohanty, M. Misra, and H. S. Nalwa (Editors), Packaging Nanotechnology (American Scientific Publishers, Los Angeles, California, 2009)

 * (34) H. S. Nalwa (Editor), Magnetic Nanostructures, Second Edition (American Scientific Publishers, Los Angeles, California, 2009)

 * (35) H. S. Nalwa (Editor), Soft Nanomaterials, 2-Volume Set (American Scientific Publishers, Los Angeles, California, 2009)

 * (36) T. Y. Tseng and H. S. Nalwa (Editors), Handbook of Nanoceramics and Their Based Nanodevices, 5-Volume Set (American Scientific Publishers, Los Angeles, California, 2009)

 * (37) H. S. Nalwa (Editor), Nanomaterials for Energy Applications (American Scientific Publishers, Los Angeles, California, 2009)

 * (38) Y. Lin and H. S. Nalwa (Editors), Handbook of Electrochemical Nanotechnology, 2-Volume Set (American Scientific Publishers, Los Angeles, California, 2009)

 * (39) H. S. Nalwa (Editor), Encyclopedia of Nanoscience and Nanotechnology, 15-Volume Set, Volumes 11-25 (American Scientific Publishers, Los Angeles, California, 2011)

Encyclopedia of Nanoscience and Nanotechnology, 25 Volumes (www.aspbs.com/enn)
The World's first Encyclopedia of Nanoscience and Nanotechnology, 10-Volume Set (www.aspbs.com/enn) edited by Hari Singh Nalwa, Foreword by Professor Richard E. Smalley, Nobel Prize Laureate, Endorsed by Professor Jean-Marie Lehn, Nobel Prize Laureate) published by American Scientific Publishers (www.aspbs.com) received the "2005 Best Reference Work Award" of the American Society for Engineering Education (USA) and was also selected as the "2005 Outstanding Academic Title" by the CHOICE magazine from the American Library Association (USA).

This was the first encyclopedia ever published in the field of nanotechnology. Again, 15 more volumes of the Encylopedia of Nanoscience and Nanotechnology edited by Dr. Nalwa was published in 2011. With the addition of 15 new volumes (volumes 11–25), the entire 25-volume set now contains the largest number of review chapters ever published in the field of nanotechnology. This 25-volume encyclopedia contains over 710 state-of-the-art review chapters organized in an A–Z format to provide complete coverage of advanced research in all nanotechnology-related fields such as chemistry, physics, materials science, engineering, and medicine. The review chapters are contributed by over 2,000 of the world’s leading scientists from top-notch academic and industrial institutions worldwide. This 25-volume encyclopedia now contains 710 review chapters including 150,000 bibliographic citations and thousands of illustrations, figures, tables, and equations covering nearly 20,000 pages. There is no match for this landmark 25-volumemajor reference work, as this is the only encyclopedia of this size in the world in the field of nanotechnology.

Endorsement/Reviews:

(1) "The Encyclopedia of Nanoscience and Nanotechnology is the world's first single most comprehensive reference source ever published in the field of nanotechnology. This encyclopedia is an indispensable source for any research professional as well as for technology investors and developers seeking up-to-date information on the nanotechnology among a wide range of disciplines from science to engineering to medicine. It should inspire future generations of academic and industrial researchers who endeavor to develop new nanoscale materials and devices." Professor Richard E. Smalley, Nobel Prize Laureate in Chemistry (2) "In view of the great interest that Nanoscience and Nanotechnology are attracting, the rapid development they are experiencing and of the profound impact they will have, an Encyclopedia covering this field is most welcome. It should become a source of inspiration as well as of information for a very wide range of scientists."

Professor Jean-Marie Lehn, Nobel Prize Laureate in Chemistry (3) "American Scientific Publisher's Encyclopedia of Nanoscience and Nanotechnology is an excellent scientific encyclopedia. It provides an excellent breath and depth of information that is particularly suited to benefit a broad spectrum of non-professional and professional researchers...it is an excellent set that should provide sound information for several years to come."

Alice Trussell, Director, Kansas State University Fiedler Engineering Library, USA, E-STREAMS Vol. 7, September 2004

Editor-in-Chief and Scholarly Activities
Dr. Nalwa is the founder and Editor-in-Chief of the Journal of Nanoscience and Nanotechnology (www.aspbs.com/jnn), Advanced Science Letters (www.aspbs.com/science), and Advanced Science, Engineering and Medicine (www.aspbs.com/asem). He is well known throughout scientific community for his monumental editorial work on "Handbook of Nanostructured Materials and Nanotechnology" (5-Volume Set, Academic Press, San Diego, USA, 1999) which received the "Award of Excellence" from the Association of American Publishers. After the publication of this multivolume handbook, he started the most ambitious publication project of the Encyclopedia of Nanoscience and Nanotechnology in summer 2000 to bring the World's first encyclopedia in the field of nanotechnology. Dr. Nalwa is the founder and Editor-in-Chief of the Journal of Porphyrins and Phthalocyanines published by John Wiley (1997-2000). He has served on the editorial board of Journal of Macromolecular Science-Physics, Applied Organometallic Chemistry (1993-1999), International Journal of Photoenergy, and Photonics Science News. He has been a referee for many international journals that includes Journal of American Chemical Society, Journal of Physical Chemistry, Applied Physics Letters, Journal of Applied Physics, Chemistry of Materials, Journal of Materials Science, Coordination Chemistry Reviews, Applied Organometallic Chemistry, Journal of Porphyrins and Phthalocyanines, Journal of Macromolecular Science-Physics, Applied Physics, Materials Research Bulletin, Optical Communications, Journal of Nanoscience and Nanotechnology, and Journal of Biomedical Nanotechnology.

Dr. Nalwa helped organize the First International Symposium on the Crystal Growth of Organic Materials (Tokyo,1989) and the Second International Symposium on Phthalocyanines (Edinburgh,1998) under the auspices of the Royal Society of Chemistry. He also proposed a the first conference on porphyrins and phthalocyanines to the scientific community that, in part, was intended to promote public awareness of the Journal of Porphyrins and Phthalocyanines, which he founded in 1996 and remained the Editor-in-Chief until December 2000. As a member of the organizing committee, he helped effectuate the First International Conference on Porphyrins and Phthalocyanines, which was held in Dijon, France in 2000. He was on the organizing committee of the BioMEMS and Smart Nanostructures, (December 17 19, 2001, Adelaide, Australia).

Managing Editor
Dr. Nalwa is the managing editor for all scientific/technical/medical journals, encyclopedias, and books at the American Scientific Publishers.

Awards/Honors
Dr. Nalwa received the "Award of Excellence" from the Association of American Publishers for his editorial work on "Handbook of Nanostructured Materials and Nanotechnology" (5-Volume Set, Academic Press, San Diego, USA, 1999). The World's first Encyclopedia of Nanoscience and Nanotechnology (10-Volume Set, American Scientific Publishers, Los Angeles, USA, 2004) edited by Dr. Nalwa received the "2005 Best Reference Work Award" of the American Society for Engineering Education (USA) and was also selected as the "2005 Outstanding Academic Title" by the CHOICE magazine from the American Library Association (USA).

Dr. Nalwa has been cited in the "Who’s Who in Science and Engineering", "Who’s Who in America", "Who’s Who in the World", "Dictionary of International Biography" and "2000 Outstanding Intellectuals of the 21st Century Order of Excellence and “Top 100 Scientists-2008” (International Biographical Centre, Cambridge, England).

Scholarships
Dr. Nalwa has been awarded a number of prestigious fellowships including National Merit Scholarship – Government of India (1970-1974), Indian Space Research Organization (ISRO) Fellowship – India (1978-1982), Council of Scientific and Industrial Research (CSIR) Senior Fellowship –India (1982-1983), NEC Fellowship – Japan (1988-1990) and Japanese Government Science & Technology Agency Fellowship–Japan (1988-1990).

title: Wikipedia talk:Collaborations


text:
Breakdancing

Breakdancing, also called b-boying, b-girling or breaking, is a style of street dance developed by African Americans in The Bronx, New York City, United States.

Breakdancing consists mainly of four kinds of movement—toprock, downrock, power moves, and freezes—and is typically set to songs containing drum breaks, especially in funk, soul, and hip-hop. Its modern dance elements originated among the poor youth of New York during the early 1980s. It is tied to the birth of hip-hop, whose DJs developed rhythmic breaks for dancers.

The dance form has expanded globally, with an array of organizations and independent competitions supporting its growth. Breaking will become an Olympic sport at the 2024 Summer Olympics in Paris, per a December 7, 2020 decision by the International Olympic Committee, after a proposal by the World DanceSport Federation.

Terminology
The origin of the term "breakdance" is unknown. It was used by hiphop pioneer Kurtis Blow in a 1980 profile by Bill Adler in the New York Daily News. The term is frequently used to refer to the dance in popular culture and in the mainstream entertainment industry. The term "breakdancing" has become an umbrella term that includes California-based dance styles such as popping, locking, and electric boogaloo, in addition to the New York-based b-boying.

A practitioner of this dance is called a b-boy, b-girl, breakdancer, or breaker. The terms "b-boy" ("break-boy"), "b-girl" ("break-girl"), and "breaker" were the original terms used to describe the dancers who performed to DJ Kool Herc's breakbeats. The obvious connection of the term "breaking" is to the word "breakbeat". DJ Kool Herc has said that the term "breaking" was 1970s slang for "getting excited", "acting energetically" or "causing a disturbance".

Most pioneers and notable practitioners prefer the older terms "b-boying" and "breaking". Frosty Freeze of the Rock Steady Crew has said, "We were known as b-boys"; hip-hop pioneer Afrika Bambaataa has said, "B-boys, [are] what you call break boys...or b-girls, what you call break girls." Co-founder of Rock Steady Crew Santiago "Jo Jo" Torres, Rock Steady Crew member Marc "Mr. Freeze" Lemberger, hip-hop historian Fab 5 Freddy, and rappers Big Daddy Kane and Tech N9ne use the term "b-boy".

Some enthusiasts consider "breakdancing" an ignorant, and even pejorative, term. Others use it to derogatorily refer to studio-trained dancers who can perform the moves but who do not live a "b-boy lifestyle". Still others use the term "breakdancer" to disparage those who learn the dance for personal gain rather than for commitment to the culture. Many accuse the media of presenting a simplified version of the dance that focuses on "tricks" instead of culture.

History
Many elements of breaking developed before the 1970s. Even Colonial American dances such as the minuet, Juba, the quadrille, and the waltz have may have contributed elements. The Juba, for example, is an African dance where men had dance circles where one man at a time would go and dance, similar to modern-day breaking. This dance also inspired competition, also seen in breaking, because better treatment would be given to the slave who intrigued their master. In the 1877 book Rob Roy on the Baltic, John MacGregor describes seeing near Norrköping a "young man quite alone, who was practicing over and over the most inexplicable leap in the air...he swung himself up, and then round on his hand for a point, when his upper leg described a great circle." The engraving shows a young man apparently breaking. The dance was called the Giesse Harad Polska or "salmon district dance". In 1894, Thomas Edison filmed Walter Wilkins, Denny Toliver, and Joe Rastus dancing and performing a "breakdown". Then in 1898 he filmed a young street dancer performing acrobatic headspins. Some authors claim that breaking and capoeira have common African origin, while others claim that capoeira directly influenced breaking. There is also evidence of a similar style of dancing in Kaduna, Nigeria, in 1959. B-boy pioneers Richard "Crazy Legs" Colon and Kenneth "Ken Swift" Gabbert, both of Rock Steady Crew, cite James Brown and Kung Fu films (notably Bruce Lee films) as influences. Many of the acrobatic moves, such as the flare, show clear connections to gymnastics.

However, it was not until the 1970s that breaking developed as a defined dance style in the United States. These precursing elements began to take form in the early 1970s, as breaking began to grow at parties featuring DJs and instrumental records. It was at these parties that DJ Kool Herc, a Bronx-based DJ pioneer, developed rhythmic breakdown sections by simultaneously switching between two copies of the same record, creating “breaks”. By looping the records and their simultaneous breaks, he was able to prolong the break and provide a rhythmic and improvisational base for dancers: Herc tells Jeff Chang in his book Can't Stop Won't Stop (2005), “And once they heard that, that was it, wasn't no turning back. They always wanted to hear breaks after breaks after breaks after breaks."

Breaking prompted dance battles and dance sessions known as "cyphers", competitive circles in which participants took turns dancing while surrounded by onlookers. The Five-Percent Nation first used the term “cypher” to denote circles of people. Crews including the Rock Steady Crew or Mighty Zulu Kingz began to form, in response to the growth of competitive cyphers which sometimes featured cash-prizes, titles, and bragging rights.

Uprock
Breaking started as toprock, footwork-oriented dance moves performed standing up, but as dance crews began to experiment, a separate dance form known as uprock further influenced breaking. Uprock, also known as Brooklyn uprock, is a more aggressive dance style commonly performed between two partners that feature intricate footwork and hitting motions, mimicking a fight. As a separate dance style, it never gained the same widespread popularity as breaking, except for some very specific moves adopted by breakers who use it as a variation for their toprock. Uprock is also stated to have roots in gangs, as an expressive medium used to settle turf disputes, with the winner deciding the location of a future battle. Although some disagree that breaking ever played a part in mediating gang rivalry, the early growth of breaking still primarily served to assist the poor youth of the Bronx to stray away from gang violence and rather expel their time towards an artistic dance. One example is former gang leader Afrika Bambaataa, who hosted hip-hop parties and vowed to specifically use hip-hop to support children away from gang violence. He would eventually form the Universal Zulu Nation to further his message.

Some breakers argue that because uprock was originally a separate dance style it should never be mixed with breaking and that the uprock moves performed by breakers today are not the original moves but imitations that only show a small part of the original uprock style. In the music video for 1985's hit single "I Wonder If I Take You Home", Lisa Lisa and Cult Jam's drummer Mike Hughes can be seen "rocking" (doing uprock) at 1:24 when viewed on YouTube.

Worldwide expansion
This section describes the development of breakdancing throughout the world. Countries are sorted alphabetically.

Brazil
Ismael Toledo was one of the first breakers in Brazil. In 1984, he moved to the United States to study dance. While in the U.S. he discovered breakdancing and ended up meeting breaker Crazy Legs who personally mentored him for the four years that followed. After becoming proficient in breakdancing, he moved back to São Paulo and started to organize crews and enter international competitions. He eventually opened a hip-hop dance studio called the Hip-Hop Street College.

Cambodia
Born in Thailand and raised in the United States, Tuy "KK" Sobil started a community center called Tiny Toones in Phnom Penh, Cambodia in 2005 where he uses dancing, hip-hop music, and art to teach Cambodian youth language skills, computer skills, and life skills (hygiene, sex education, counseling). His organization helps roughly 5,000 youths each year. One of these youths include Diamond, who is regarded as Cambodia's first b-girl.

Canada
There are several ways breakdancing came to Canada. During the late 1970s and early 1980s, films such as Breakin' (1984), Beat Street (1984), and the immigration of people from Chicago, New York, Detroit, Seattle, and Los Angeles introduced dance styles from the United States. Breakdancing expanded in Canada from there, with crews like Canadian Floormasters taking over the 80's scene, and New Energy opening for James Brown in 1984 at the Paladium in Montreal. Leading into the 90's, crews like Bag of Trix, Rakunz, Intrikit, Contents Under Pressure, Supernaturalz, Boogie Brats, and Red Power Squad, led the scene throughout the rest of the past two decades and counting.

France
Breakdancing took off in France in the early 1980s with the creation of groups such as the Paris City Breakers (who styled themselves after the well-known New York City Breakers). In 1984, France became the first country in the world to have a regularly and nationally broadcast television show about Hip Hop—hosted by Sidney Duteil—with a focus on Hip Hop dance. This show led to the explosion of Hip Hop dance in France, with many new crews appearing on the scene.

Japan
Breakdancing in Japan was introduced in 1983 following the release of the movie Wild Style. The release of the movie was accompanied by a tour by the Rock Steady Crew and many Japanese were captivated. Other movies such as Flashdance followed and furthered the breakdance craze. Crazy-A, the leader of the Tokyo chapter of the Rock Steady Crew, was dragged to see Flashdance by his then girlfriend and walked out captivated by the dance form and became one its earliest and one of the most influential breakers in Japanese history. Groups began to spring up as well, with early groups such as Tokyo B-Boys, Dynamic Rock Force (American kids from Yokota AB), B-5 Crew, and Mystic Movers popping up in Harajuku. The breakdancing community in Japan found a home in Tokyo's Yoyogi Park in Harajuku, which still remains an active area for breakdancers and hip-hop enthusiasts. As hip-hop continued to grow in Japan, so did breakdancing and the breakdancing communities. Following the introduction of international breakdancing competitions, Japan began to compete and were praised for their agility and precision, yet they were criticized in the beginning for lacking originality. The Japanese began to truly flourish on the international stage following the breakdancing career of Taisuke Nonaka, known simply as Taisuke. Taisuke began to dominate the international scene and led the Japanese team Floorriorz to win the BOTY in 2015 against crew Kienjuice from Belarus. Despite Taisuke's successful career in group competitions, he failed to win the solo Red Bull BC One competition, an individual breakdancing championship that had continued to evade Japanese bboys. The first Japanese to win the BC One competition became Bboy Issei in 2016. Issei is widely regarded by many as the best Japanese breakdancer currently and in the eyes of some, the best worldwide. Female bboys, or "bgirls", are also prevalent in Japan and following the introduction of a female BC One competition in 2018, Japanese bgirl Ami Yuasa became the first female champion. Notable Japanese bboy crews include FoundNation, Body Carnival, and the Floorriorz. Notable Japanese bgirl crews include Queen of Queens, Body Carnival, and Nishikasai.

South Korea
Breakdancing was first introduced to South Korea by American soldiers shortly after its surge of popularity in the U.S. during the 1980s, but it was not until the late 1990s that the culture and dance took hold. 1997 is known as the "Year Zero of Korean breaking". A Korean-American hip hop promoter named John Jay Chon was visiting his family in Seoul and while he was there, he met a crew named Expression Crew in a club. He gave them a VHS tape of a Los Angeles breakdancing competition called Radiotron. A year later when he returned, Chon found that his video and others like his had been copied and dubbed numerous times, and were feeding an ever-growing breaker community.

In 2002, Korea's Expression Crew won the prestigious international breakdancing competition Battle of the Year, exposing the skill of the country's breakers to the rest of the world. Since then, the Korean government has capitalized on the popularity of the dance and has promoted it alongside Korean culture. R-16 Korea is the most well-known government-sponsored breakdancing event, and is hosted by the Korea Tourism Organization and supported by the Ministry of Culture, Sports, and Tourism.

Famous breakdancing crews from Korea include Morning of Owl, Jinjo Crew, Rivers Crew and Gamblerz.

Soviet Union
In the 1980s the Soviet Union was in a state of the Cold War with the countries of the Western Bloc. Soviet people lived behind the Iron Curtain, so they usually learned the new fashion trends emerging in the capitalist countries with some delay. The Soviet Union first learned of breakdancing in 1984, when videotapes of the films Breakin', Breakin' 2 and Beat Street got into the country. In the USSR these movies were not released officially. They were brought home by Soviet citizens who had the opportunity to travel to Western countries (for example, by diplomats). Originally, the dance became popular in big cities: Moscow and Leningrad, as well as in the Baltic republics (some citizens of these Soviet republics had the opportunity to watch Western television). The attitude of the authorities to the new dance that came from the West was negative.

The situation changed in 1985 with Mikhail Gorbachev who came to power and with the beginning of the Perestroika policy. The first to legalize the new dance were dancers from the Baltic republics. They presented this dance as the "protest against the arbitrariness of the capitalists", explaining that the dance was invented by Black Americans from poor neighborhoods. In 1985 the performance of Czech Jiří Korn was shown in the program "Morning Post", and became one of the first official demonstrations of breakdancing on Soviet television. With the support of the Leninist Young Communist League in 1986 breakdance festivals were held in the cities of the Baltic republics (Tallinn, Palanga, Riga). The next step was the spreading of the similar festivals to other Soviet republics. Festivals were held in Donetsk (Ukraine), Vitebsk (Belarus), Gorky (Russia). Breakdancing could be seen in Soviet cinema: Dancing on the Roof (1985), Courier (1986), Publication (1988). By the end of the decade the dance became almost ubiquitous. At almost any disco or school dance one could see a person dancing in the "robot" style.

In the early 1990s the country experienced a severe economic and political crisis. With the dissolution of the Soviet Union, the breakdance craze was over and breakdancing became dated. The next wave of interest in breakdancing in Russia would only occur in the late 90s.

China
Although social media such as YouTube cannot be used in China, breakdancing in China has been popular. Many people copy breakdancing videos from abroad and distribute them back to the mainland. Although it is still an underground culture in China because of some restrictions, breakdancing was reported to be a growing presence in 2013.

Dance elements
There are four primary elements that form breakdancing: toprock, downrock, power moves, and freezes.
 * Toprock generally refers to any string of steps performed from a standing position. It is usually the first and foremost opening display of style, though dancers often transition from other aspects of breakdancing to toprock and back. Toprock has a variety of steps which can each be varied according to the dancer's expression (i.e. aggressive, calm, excited). A great deal of freedom is allowed in the definition of toprock: as long as the dancer maintains cleanliness, form, and attitude, theoretically anything can be toprock. Toprock can draw upon many other dance styles such as popping, locking, tap dance, Lindy hop, or house dance. Transitions from toprock to downrock and power moves are called "drops".
 * Downrock (also known as "footwork" or "floorwork") is used to describe any movement on the floor with the hands supporting the dancer as much as the feet. Downrock includes moves such as the foundational 6-step, and its variants such as the 3-step. The most basic of downrock is done entirely on feet and hands but more complex variations can involve the knees when threading limbs through each other.
 * Power moves are acrobatic moves that require momentum, speed, endurance, strength, flexibility, and control to execute. The breaker is generally supported by his upper body while the rest of his body creates circular momentum. Some examples are the windmill, swipe, back spin, and head spin. Some power moves are borrowed from gymnastics and martial arts. An example of a power move taken from gymnastics is the Thomas Flair which is shortened and spelled flare in breakdancing.
 * Freezes are stylish poses that require the breaker to suspend himself or herself off the ground using upper body strength in poses such as the pike. They are used to emphasize strong beats in the music and often signal the end of a set. Freezes can be linked into chains or "stacks" where breakers go from freeze to freeze to freeze in order to hit the beats of the music, which displays musicality and physical strength.

Styles
There are many individual styles used in breakdancing. Individual styles often stem from a dancer's region of origin and influences. However, some people such as Jacob "Kujo" Lyons believe that the internet inhibits individual style. In a 2012 interview with B-Boy Magazine he expressed his frustration: "… because everybody watches the same videos online, everybody ends up looking very similar. The differences between individual b-boys, between crews, between cities/states/countries/continents, have largely disappeared. It used to be that you could tell what city a b-boy was from by the way he danced. Not anymore. But I've been saying these things for almost a decade, and most people don't listen, but continue watching the same videos and dancing the same way. It's what I call the 'international style', or the 'Youtube style'."

Luis "Alien Ness" Martinez, the president of Mighty Zulu Kings, expressed a similar frustration in a separate interview three years earlier with "The Super B-Beat Show" about the top five things he hates in breakdancing: "Oh yeah, the last thing I hate in breakin'… Yo, all y'all motherfuckin' internet b-boys... I'm an internet b-boy too, but I'm real about my shit. Everybody knows who I am, I'm out at every fucking jam, I'm in a different country every week. I tell my story dancing... I've been all around the world, y'all been all around the world wide web... [my friend] Bebe once said that shit, and I co-sign that, Bebe said that. That wasn't me but that's the realist shit I ever heard anybody say. I've been all around the world, you've been all around the world wide web."

Although there are some generalities in the styles that exist, many dancers combine elements of different styles with their own ideas and knowledge in order to create a unique style of their own. Breakers can therefore be categorized into a broad style, which generally showcases the same types of techniques.
 * Power: This style is what most members of the general public associate with the term "breakdancing". Power moves comprise full-body spins and rotations that give the illusion of defying gravity. Examples of power moves include head spins, backspins, windmills, flares, air tracks/air flares, 1990s, 2000s, jackhammers, crickets, turtles, hand glides, halos, and elbow spins. Those breakers who use "power moves" almost exclusively in their sets are referred to as "power heads".
 * Abstract: A very broad style which may include the incorporation of "threading" footwork, freestyle movement to hit beats, house dance, and "circus" styles (tricks, contortion, etc.).
 * Blow-up: A style which focuses on the "wow factor" of certain power moves, freezes, and circus styles. Blowups consist of performing a sequence of as many difficult trick combinations in as quick succession as possible in order to "smack" or exceed the virtuosity of the other breaker's performance. The names of some of these moves are air baby, hollow backs, solar eclipse, and reverse air baby, among others. The main goal in blow-up style is the rapid transition through a sequence of power moves, ending in a skillful freeze or "suicide". Like freezes, a suicide is used to emphasize a strong beat in the music and signal the end to a routine. While freezes draw attention to a controlled final position, suicides draw attention to the motion of falling or losing control. B-boys or b-girls will make it appear that they have lost control and fall onto their backs, stomachs, etc. The more painful the suicide appears, the more impressive it is, but breakers execute them in a way to minimize pain.
 * Flavor: A style that is based more on elaborate toprock, downrock, and/or freezes. This style is focused more on the beat and musicality of the song than having to rely on power moves only. Breakers who base their dance on "flavor" or style are known as "style heads".

Music
The musical selection for breakdancing is not restricted to hip-hop music as long as the tempo and beat pattern conditions are met. Breakdancing can be readily adapted to different music genres with the aid of remixing. The original songs that popularized the dance form borrow significantly from progressive genres of funk, soul, disco, electro, and jazz funk. A musical canon of these traditional b-boy songs have since developed, songs that were once expected to be played at every b-boying event. As the dance form grew, this standardization of classic songs prompted innovation of dance moves and break beats that reimagined the standard melodies. These songs include “Give It Up or Turn It a Loose” by James Brown, “Apache” by the Incredible Bongo Band, and "The Mexican" by Babe Ruth to name a few.

The most common feature of breakdance music exists in musical breaks, or compilations formed from samples taken from different songs which are then looped and chained together by the DJ. The tempo generally ranges between 110 and 135 beats per minute with shuffled sixteenth and quarter beats in the percussive pattern. History credits DJ Kool Herc for the invention of this concept later termed the break beat.

Major competitions

 * Battle of the Year (BOTY) was founded in 1990 by Thomas Hergenröther in Germany. It is the first and largest international breakdancing competition for breakdance crews. BOTY holds regional qualifying tournaments in several countries such as Zimbabwe, Japan, Israel, Algeria, Indonesia, and the Balkans. Crews who win these tournaments go on to compete in the final championship in Montpellier, France. BOTY was featured in the independent documentary Planet B-Boy (2007) that filmed five dance crews training for the 2005 championship. A 3D film Battle of the Year was released in January 2013. It was directed by Benson Lee who also directed Planet B-Boy.
 * The Notorious IBE is a Dutch-based breakdancing competition founded in 1998. IBE (International Breakdance Event) is not a traditional competition because there are not any stages or judges. Instead, there are timed competitive events that take place in large multitiered ciphers—circular dance spaces surrounded by observers—where the winners are determined by audience approval. There are several kinds of events such as the b-girl crew battle, the Seven 2 Smoke battle (eight top ranked breakers battle each other to determine the overall winner), the All vs. All continental battle (all the American breakers vs. all the European breakers vs. the Asian breakers vs. Mexican/Brazilian breakers), and the Circle Prinz IBE. The Circle Prinz IBE is a knockout tournament that takes place in multiple smaller cipher battles until the last standing breaker is declared the winner. IBE also hosts the European finals for the UK B-Boy Championships.
 * Chelles Battle Pro was created in 2001 and it is held every year in Chelles, France. There are two competitions. One is a kids competition for solo breakers who are 12 years old or younger. The other competition is a knock-out tournament for eight breaker crews. Some crews have to qualify at their country's local tournament; others are invited straight to the finale.
 * Red Bull BC One was created in 2004 by Red Bull and is hosted in a different country every year. The competition brings together the top 16 breakers from around the world. Six spots are earned through six regional qualifying tournaments. The other 10 spots are reserved for last year's winner, wild card selections, and recommendations from an international panel of experts. A past participant of the competition is world record holder Mauro "Cico" (pronounced CHEE-co) Peruzzi. B-boy Cico holds the world record in the 1990s. A 1990 is a move in which a breaker spins continuously on one hand—a hand spin rather than a head spin. Cico broke the record by spinning 27 times. A documentary based on the competition called Turn It Loose (2009) profiled six breakdancers' training for the 2007 championship in Johannesburg. Two of these breakdancers were Ali "Lilou" Ramdani from Pockémon Crew and Omar "Roxrite" Delgado from Squadron.
 * R16 Korea is a South Korean breakdancing competition founded in 2007 by Asian Americans Charlie Shin and John Jay Chon. Like BOTY and Red Bull BC One put together, Respect16 is a competition for the top 16 ranked crews in the world. What sets it apart from other competitions is that it is sponsored by the government and broadcast live on Korean television and in several countries in Europe. In 2011, R16 instituted a new judging system that was created to eliminate bias and set a unified and fair standard for the way breakdance battles should be judged. With the new system, breakers are judged against five criteria: foundation, dynamics (power moves), battle, originality, and execution. There is one judge for each category and the scores are shown on a large screen during battles so that the audience can see who is winning at any given moment.
 * The Youth Olympic Games incorporated breakdancing as part of its programme, starting with the 2018 Summer Youth Olympics in Buenos Aires. Breakdancing is eligible for inclusion as it is a discipline of dancesport, which is recognised by the International Olympic Committee. The competition featured men's, women's and mixed-team events in a one-on-one battle format.
 * The 2024 Summer Olympics in Paris will see breakdancing make its Olympic debut. 16 male and 16 female breakdancers will compete in head-to-head matches. IOC President Thomas Bach stated that they added breakdancing as part of an effort to draw more interest from young people in the Olympics.

Female presence
Similar to other hip-hop subcultures, such as graffiti writing, rapping, and DJing, breakers are predominantly male, but this is not to say that women breakers, b-girls, are invisible or nonexistent. Female participants, such as Daisy Castro (also known as Baby Love of Rock Steady Crew), attest that females have been breakdancing since its inception. Critics argue that it is unfair to make a sweeping generalization about these inequalities because women have begun to play a larger role in the breakdancing scene.

Some people have pointed to a lack of promotion as a barrier, as full-time b-girl Firefly stated in a BBC piece: "It's getting more popular. There are a lot more girls involved. The problem is that promoters are not putting on enough female-only battles." Growing interest is being shown in changing the traditional image of females in hip-hop culture (and by extension, breakdance culture) to a more positive, empowered role in the modern hip-hop scene.

In 2018, Japan's B-Girl Ami became the first B-Girl world champion of Red Bull BC One. Although B-Girl Ayumi had been invited as a competitor for the 2017 championship, it was only until 2018 that a 16 B-Girl bracket was featured as part of the main event.

Film
In the past 50 years, various films have depicted the dance. 1975's (filmed in 1974) Tommy included a breakdancing sequence during the "Sensation" number. Later, in the early 1980s, several films depicted breakdancing including Fame, Wild Style, Flashdance, Breakin', Breakin' 2: Electric Boogaloo, Delivery Boys, Krush Groove, and Beat Street. In 1985, at the height of breakdancing's popularity, Donnie Yen starred in a Hong Kong film called Mismatched Couples in which he performed various b-boy and breakdancing moves.

The 2000s saw a resurgence of films and television series featuring breakdancing that continued into the early 2010s:
 * The 2001 comedy film Zoolander depicts Zoolander (Ben Stiller) and Hansel (Owen Wilson) performing breakdance moves on a catwalk.
 * The 2004 anime television series Samurai Champloo features one of the main characters, Mugen using a fighting style based on breakdancing.
 * The Step Up films (2006–14) are dance movies that focus on the passion and love of dance. Breakdancing is featured in all five films, Step Up, Step Up 2: The Streets, Step Up 3D, and Step Up Revolution, and Step Up: All In, as well as the TV series Step Up: High Water.
 * The "Step Up" series made dance movies popular by showcasing different dance styles, like breakdancing. This led to an increase in dance-themed films and made dance a popular subject in entertainment.
 * The 2007 comedy Kickin' It Old Skool stars Jamie Kennedy as a breakdancer who hits his head during a talent show and wakes up from a coma in the year 2007, then plans to get his breakdancing team back together.
 * The 2009 Thai martial arts film Raging Phoenix features a fictional martial art called meiraiyutth based on a combination of Muay Thai and breakdancing.
 * The 2009 British drama film Fish Tank stars Katie Jarvis as a 15-year-old who regularly practices hip-hop dance, including breakdancing, in her council estate.
 * The 2013 American 3D dance film Battle of the Year is a drama about the dance competition of the same name.
 * The 1968 film Bye Bye Braverman has elements of breakdancing in its final scene

Several documentary films have been made about breakdancing:
 * The 1983 PBS documentary Style Wars chronicled New York graffiti artists, but also includes some breakdancing.
 * The 2007 documentary Planet B-Boy follows five crews from around the world in their journey to the international breakdancing competition Battle of the Year. The Planet B-Boy documentary was the inspiration for the 2013 American 3D dance film Battle of the Year, a drama about the competition of the same name.
 * The 2010 German documentary Neukölln Unlimited depicts the life of two breakdancing brothers in Berlin that try to use their dancing talents to secure a livelihood. Breakdancing moves are sometimes incorporated into the choreography of films featuring martial arts. This is due to the visually pleasing aspect of the dance, no matter how ridiculous or useless it would be in an actual fight.

Television
In the United States, Breakdancing is widely referenced in TV advertising, as well as news, travelogue, and documentary segments, as an indicator of youth/street culture. From a production point of view the style is visually arresting, instantly recognizable and adducible to fast-editing, while the ethos is multi-ethnic, energetic and edgy, but free from the gangster-laden overtones of much rap-culture imagery. Its usability as a visual cliché benefits sponsorship, despite the relatively small following of the genre itself beyond the circle of its practitioners. In 2005, a Volkswagen Golf GTi commercial featured a partly CGI version of Gene Kelly popping and breakdancing to a remix of "Singin' in the Rain" by Mint Royale. The tagline was, "The original, updated." The dance shows So You Think You Can Dance and America's Best Dance Crew arguably brought breakdancing back to the forefront of pop culture in the United States, similar to the popularity it had enjoyed in the 1980s. The American drama television series Step Up: High Water, a series focused on breakdancing and other forms of hip-hop dance, premiered on March 20, 2019.

Since breakdancing's popularity surge in South Korea, it has been featured in various TV dramas and commercials. Break is a 2006 South Korean miniseries about a breakdancing competition. Over the Rainbow is a 2006 South Korean drama series centered on different characters who are brought together by breakdancing. Showdown, a breakdancing competition game show hosted by Jay Park, premiered in South Korea on March 18, 2022.

Literature

 * In 1997, Kim Soo Yong began serialization of the first breakdancing themed comic, Hip Hop. The comic sold over 1.5 million books and it helped to introduce breakdancing and hip-hop culture to Korean youth.
 * The first breakdancing themed novel, Kid B, was published by Houghton Mifflin in 2006. The author, Linden Dalecki, was an amateur breaker in high school and directed a short documentary film about Texas breakdancing culture before writing the novel. The novel was inspired by Dalecki's short story The B-Boys of Beaumont, which won the 2004 Austin Chronicle short story contest.
 * Breakin' the city, a photo book by Nicolaus Schmidt, portrays breakers from the Bronx and Brooklyn wheeling around on subway cars, in city plazas, and on sidewalks in New York City. Published in 2011, it features six New York based breakdance crews photographed between 2007 and 2009.
 * Breakdancing: Mr. Fresh and the Supreme Rockers Show You How (Avon Books, 1984) was an introductory reference for newcomers to the "breakin'" style of dance as it evolved in North America in the 1970s and 1980s.

Video gaming
A few video games feature breaking, including:
 * Break Dance is an 8-bit computer game by Epyx released in 1984 at the height of breakdancing's popularity.
 * Break Street is a computer game in which the player receives points for performing complex dance moves using the joystick without exhausting the player character's remaining energy. It was released for the Commodore 64 in October 1984 at the height of breakdancing's popularity.
 * Dance Dance Revolution: Mario Mix has Mario and Luigi breakdancing to numerous songs – some based after the Super Mario series, and others based on real life. It released on October 24, 2005, on the Nintendo GameCube.
 * B-boy is a 2006 console game released for PS2 and PSP which aims at an unadulterated depiction of breakdancing.
 * Bust a Groove is a video game franchise whose character "Heat" specializes in breakdancing.
 * Pump It Up is a Korean game that requires physical movement of the feet. The game involves breakdancing and people can accomplish this feat by memorizing the steps and creating dance moves to hit the arrows on time.
 * Breakdance Champion Red Bull BC One is an iOS and Android rhythm game that focuses on the actual breakdancing competition Red Bull BC One.
 * Floor Kids is a Nintendo Switch game released in 2017 that scores your performance based on its musicality, originality, and style. It received praise for its innovative controls and the Kid Koala soundtrack.
 * In the long-running Yakuza video game franchise, Goro Majima's Breaker fighting style heavily relies on movements and techniques derived from break dancing.

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

title: Breakdancing


text:
USCGC Redbud

The USCGC Redbud (WLB-398) was one of 20 "C" class 180 ft buoy tenders that entered service during World War II. She was assigned to the 7th Naval District and was based out of Miami, Florida, where she serviced aids to navigation. She was loaned to the U.S. Navy on 18 March 1949 and was redesignated as AKL-398 (although the Navy retained her Coast Guard-given name) on 31 March 1949. The Navy had her converted at Long Beach, California and she was commissioned on 23 July 1949 under the command of LCDR F. E. Clark, USN.

Following shakedown, Redbud departed Long Beach 3 August 1949 and headed for the east coast. On 18 September she arrived at Boston, whence she continued on to NS Argentia, Newfoundland, to join the support force for the construction and maintenance of air bases and early warning installations in the North Atlantic and Arctic areas. Through the end of the year and into 1950, she operated along the southwestern coast of Greenland, adding more northerly ports and those on the Canadian side of Baffin Bay to her schedule during the warmer months. Until 28 February 1952, she continued her support of Arctic bases, rehabilitating navigational aids, activating and repairing submarine petroleum lines, and delivering bulk petroleum and general cargo, as a commissioned U.S. Navy ship. Then decommissioned, she was simultaneously placed in service, assigned to MSTS, and, with a civil-service crew, returned to sealift support for the Northeast Command (SUNEC).

In 1956, Redbud's schedule was altered to include winter (November through March) supply runs to the Texas Towers which alternated with warmer weather (April through October) SUNEC duties. Maintaining that schedule through the 1960s, her primary mission continued to be her SUNEC missions, and, until 1970, she was usually the first MSTS ship to arrive in the far north to open a new resupply season.

On 10 November 1970, she was returned to the Coast Guard and was struck from the Navy list ten days later. She was then transferred to the Republic of the Philippines on 1 March 1972 under a grant-in-aid. She served the Philippines as Kalinga (AG-89).

title: USCGC Redbud


text:
Charles Calvert

Charles Calvert may refer to:

 * Charles Calvert, 3rd Baron Baltimore (1637–1715), Proprietary Governor of the Province of Maryland
 * Charles Calvert, 5th Baron Baltimore (1699–1751), Proprietary Governor of the Province of Maryland
 * Charles Benedict Calvert (1808–1864), U.S. Congressman from the sixth district of Maryland
 * Charles Calvert (MP) (1768–1832), English brewer and Member of Parliament
 * Charles Calvert (painter) (1785–1852), English landscape painter
 * Charles Alexander Calvert (1828–1879), actor and theatre manager
 * Charles Calvert (governor) (1688–1734), Governor of Maryland, 1720–1727
 * Charles Calvert (director), British film director
 * Charles Calvert (Cambridge University cricketer) (1825–1882), English cricketer
 * Charles Calvert (cricketer, born 1833) (1833–1905), English cricketer
 * Chuck Calvert (born 1930), member of the Ohio House of Representatives

title: Charles Calvert


text:
Talk:The Tower Treasure

Link spamming and plagiarism
See [] for discussion about User FWDixon/Bob Finnan's link spamming and plagiarism.

More on the link spamming and commercial advertising. Example http://hardyboys.bobfinnan.com/hbpb.htm is just a list of titles that all have links to Amazon. All of the books summaries were copied from Amazon. Every HB Digest title, Casefiles title, Clues Brothers title, Supermysteries title, Ultra Thriller title and so on has a link to Amazon and all summaries were copied from Amazon. Does that tell anyone something?

"Outdated"
The entire section seems pretty frivolous to me, but in particular...

'Also, much of the language is outdated and show the strictly noble intentions of Frank and Joe. When referring to Callie Shaw, a girl Frank liked, the text reads, "Frank often dated Callie and liked her better than any girl he knew." Joe liked Chet's sister, Iola Morton. When talking about her, the book says that Joe "thought she was quite the nicest girl in Bayport High and dated her regularly."'

...how is that outdated? Caswin 11:54, 2 May 2007 (UTC)

 * Moreover, it appears to be original research. Consequently, I have removed it. If someone wants to add a cited critical opinion of this book, that's fine. However, if it's just the editor's own opinion of the book, it doesn't belong on Wikipedia. --GentlemanGhost 12:28, 2 May 2007 (UTC)

Fair use rationale for Image:The Tower Treasure Version Two.jpg
Image:The Tower Treasure Version Two.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure 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 there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and 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.BetacommandBot 06:36, 6 June 2007 (UTC)

Fair use rationale for Image:The Tower Treasure Version Three.jpg
Image:The Tower Treasure Version Three.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure 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 there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and 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.BetacommandBot 06:36, 6 June 2007 (UTC)

Fair use rationale for Image:The Tower Treasure Version One.jpg
Image:The Tower Treasure Version One.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure 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 there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and 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.BetacommandBot 06:36, 6 June 2007 (UTC)

Picture
Why do you have a picture of the audiobook version?Dan Hickman 23:21, 14 November 2007 (UTC)

 * Ive been wondering that too (WHLfan (talk) 23:53, 19 December 2007 (UTC)).

Vandalism...
Could someone with the capability to do this, please roll-back the edits by 71.178.152.201.
 * Thank you,
 * WHLfan (talk) 21:58, 30 May 2008 (UTC)

Link to 1927 public domain book
The book is now public domain for the 1927 edition. Can someone add a link to page scans or full text? The later editions are not public domain, please do not link to them 2600:1700:D591:5F10:D92B:3D58:A7E3:2325 (talk) 16:09, 2 January 2023 (UTC)

title: Talk:The Tower Treasure


text: File:Annabel Lamb - Once Bitten album cover.jpg


text:
Talk:Liugong Island

Untitled
How interesting that a war memorial in China should have an inscription in English. I doubt that any war memorial in an Eglish speaking country has an inscription in a foreign language. Can anyone explain this curious phenomenon? Too Old 16:37, 24 August 2005 (UTC)
 * perhaps it was meant to be an attraction? there are many monuments in China inscipted with English, especially in Shanghai. --Kvasir 22:12, 24 August 2005 (UTC)
 * I can only speculate, but the island is a major tourist attraction and heavy investments have been made into its infrastructure. English can be found in several places, e.g., on sign posts and in some of the exhibits (not in the memorial hall, though). This may have been done with foreign visitors in mind, but it may also cater to the taste of the Chinese visitors, many of whom consider English as fashionable. Probably for this reason, a lot of English labels are currently being used in China, in public places, stores, and on products. Many of them in places that are unlikely to receive foreign vistors/customers and in many cases it is obvious that they were generated from a dictionary by somebody who was not familiar with the language.rm 23:24, 24 August 2005 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 2 external links on Liugong Island. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20120212180859/http://www.allstates-flag.com/fotw/flags/cn_gbcol.html to http://www.allstates-flag.com/fotw/flags/cn_gbcol.html
 * Added archive https://web.archive.org/web/20050831152359/http://www.china-sd.net/eng/sdtravel/scenery/15.asp to http://www.china-sd.net/eng/sdtravel/scenery/15.asp

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 02:58, 4 January 2018 (UTC)

title: Talk:Liugong Island


text:
Talk:Ethshar

Although Lawrence Watt-Evans used Ethshar at first as an RPG setting, its primary encyclopedic fame and importance is as a setting for a series of fantasy novels and short stories. I don't think the is appropriate, and I'm going to remove it as I add a little more detail on the world itself. --Jim Henry | Talk 16:37, 24 August 2005 (UTC)

I've just made a small correction, removing a reference to something that didn't happen as planned.

I noticed Jim Henry's comment from 2005 that Ethshar isn't really known as an RPG setting. In fact, the last time the original play-by-mail RPG was used was in 1983, two years before the first Ethshar story was published, so yeah, I'll agree with him on that.

I've also filled in a little in the linked article about varieties of magic in Ethshar, and corrected the spelling of "gaja." (It doesn't get capitalized.)

I'm flattered that anyone's taken the trouble to create these entries.

-- Lawrence Watt-Evans

207.172.91.31 15:48, 23 March 2007 (UTC)

It's new, so its not appropriate for reference (yet), but it might be helpful; http://ethshar.wikia.com/wiki/The_Misenchanted_Wiki 76.125.25.91 (talk) 21:15, 14 July 2010 (UTC)

title: Talk:Ethshar


text:
Torrejón de Ardoz

Torrejón de Ardoz is a municipality of Spain belonging to the Community of Madrid.

The European Union Satellite Centre (SatCen), an agency of the European Union, is located in Torrejón de Ardoz. It is also the location of the headquarters of the Instituto Nacional de Técnica Aeroespacial (INTA), the Spanish space agency.

The Torrejón Air Base/Madrid–Torrejón Airport also lies on the municipality.

Etymology
Torrejón comes from torre ("tower"); the suffix -jón is a diminutive that ultimately makes reference to the small or unimportant nature of the noun. The Ardoz add-on comes from the namesake creek.

History
While there is no certainty of the origin of Torrejón de Ardoz, it probably dates from the 12th century, associated to fortifications built to protect Alcalá de Henares. It was part of the Land of Alcalá for all purposes until 1554, when it was granted the status of town.

In 1843 it was the place of a short battle between general Ramón Narvaez and senator Antonio Seoane, as part of the rebellion against Espartero.

The United States Air Force jointly occupied the Torrejón Air Base, installed in 1955, under agreements made with Francisco Franco. The base was subject of criticism since its beginnings and a meeting place of pacifist demonstrations attended by progressives and ecologists.

One of the election platforms of Felipe González's Spanish Socialist Workers' Party (PSOE) was to close the base to the American fighter wing. Once González became prime minister, the lease of the then 401st Tactical Fighter Wing (now the 401st Air Expeditionary Group) was not renewed and the F-16 fighter wing left the base in the early 1990s.

Location
It is located to the east of the city of Madrid, near the A-2, the highway connecting Madrid and Barcelona. With the city located at the right-bank (north) of the Henares the relief of the municipality gently decreases in elevation from north to south.

Three small creeks pass through the municipality emptying into the Henares. From West to East: Arroyo del Valle, Arroyo Pelayo, and Arroyo Ardoz.

The highest point lies in the North of the municipality, standing at 623 m above sea level.

The municipality has a total area of 32.49 km2.

Famous people from Torrejón de Ardoz

 * Artists
 * El Chojin, rapper
 * Pilar Rubio, television presenter
 * Military personnel
 * Frederick M. Padilla, U.S. Marine major general
 * Politicians
 * Kate Brown, governor of Oregon
 * Sportpeople
 * David Andújar, footballer
 * Wallace Bryant, basketball player
 * Jorge Garbajosa, basketball player
 * Guti, footballer
 * Antonio Guzmán Núñez, footballer
 * Kane, wrestler
 * Sergio Mora, footballer
 * Mario Rivillos Plaza, futsal player
 * Manuel Romero, footballer
 * Crime
 * Patrick Nogueira, murderer. Lived with his uncle, aunt and cousins before his family moved to Pioz.

title: Torrejón de Ardoz


text:
John Rajchman

John Rajchman (born June 25, 1946) is an American philosopher working in the areas of art history, architecture, and continental philosophy. Son of Jan A. Rajchman, a Polish-American computer scientist.

John Rajchman is an Adjunct Professor and Director of Modern Art M.A. Programs in the Department of Art History and Archaeology at Columbia University. He has previously taught at Princeton University, Massachusetts Institute of Technology, Collège International de Philosophie in Paris, and The Cooper Union, among others.

He is a Contributing Editor for Artforum and is on the board of Critical Space. John Rajchman received a B.A., from Yale University and Ph.D., from Columbia University.

Works

 * Michel Foucault: The Freedom of Philosophy (1985)
 * Post-analytic Philosophy (1985) editor with Cornel West
 * Le Savoir-faire avec l'inconscient : éthique et psychanalyse (1986)
 * Philosophical Events: Essays of the '80s (1991)
 * Truth and Eros, Foucault, Lacan and the Question of Ethics (1991)
 * The Identity in Question (1995) editor
 * Constructions (Writing Architecture) (1998)
 * The Deleuze Connections (2000)
 * Rendre la terre légère (2005)
 * French Philosophy Since 1945: Problems, Concepts, Inventions (2011) editor with Etienne Balibar

title: John Rajchman


text: User talk:66.208.246.226

title: User talk:66.208.246.226


text:
Wikipedia:Articles for deletion/Jesus Mighty Rock

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

The result of the debate was Delete --Allen3 talk 02:02, August 30, 2005 (UTC)

Jesus Mighty Rock
Band vanity. 1 Google hit. Kurt Shaped Box 16:39, 24 August 2005 (UTC)

 * Delete also duplicate at http://en.wikipedia.org/wiki/JMR_--_%22Jesus_Mighty_Rock%22 -- Ryan Norton T 16:42, 24 August 2005 (UTC)
 * Delete. I've been in bands.  I've never written about any of them.  Oh, well...we persist. - Lucky 6.9 16:44, 24 August 2005 (UTC)
 * Bold textKeepBold textThey are legit. I think that they had a popular contemporary christian song back in the 80's. [User:Big Check1]
 * comment by, 17:00, 24 August 2005 (UTC)
 * Keep. I am familiar with JMR.  They had a minor hit back about 15-20 years ago in CCM.  Recommend a cleanup.
 * comment by, 17:06, 24 August 2005 (UTC)
 * Delete. Looks a like standard non-notable band. Flowerparty  talk 17:10, 24 August 2005 (UTC)

 * Keep They played the college circuit back in the seventies and were pretty good.  I've got one of their tapes somewhere.  Rocky 6821|70.78.398.34
 * Another vote by . 17:44, 24 August 2005 (UTC)
 * Delete, nn band of sock puppets. Martg76 17:44, 24 August 2005 (UTC)
 * Please judge the article on its content and not the anon votes. If any of them is still around. Could you please read WP:MUSIC and provide some evidence this band clears any of the criteria for inclusion? - Mgm|(talk) 17:51, August 24, 2005 (UTC)
 * If you are referring to my vote, I clearly did so by considering the band non-notable. Martg76 15:41, 25 August 2005 (UTC)
 * Either delete or cleanup, but definitely not keep as is. --Quintin3265 17:53, 24 August 2005 (UTC)
 * Delete. Non-notable band vanity. See also Votes for deletion/JMR -- "Jesus Mighty Rock" above. Fernando Rizo T/C 19:04, 24 August 2005 (UTC)

This is actually funny. I just received an email to check this out. I am the founder of JMR Band. We ARE a real band. We have been playing a long time. We have played with some notable groups, but WE have never had a national hit record. Of course, that has never been our purpose. We have always been and always will be an indie group. We received some significant regional radio airplay on one of our songs, but that's about it. I hope this clears up the matter. [Joe / jmrband@hotmail.com]
 * Comment. Not to be snide, but I think that's essentially an admission of non-notability. Nothing that meets the bar set by WP:MUSIC. Fernando Rizo T/C 19:54, 24 August 2005 (UTC)

 * The moment I see sockpuppets I type Delete. --PhilipO 20:10, August 24, 2005 (UTC)
 * Delete (changed from reserved), despite my clean up only one editor has further edited - adding two external urls, delete. I have done a bit of clean up on this, but undecided, and I usually sock puppets where it hurts them. Alf 20:59, 24 August 2005 (UTC)
 * Delete. --Agamemnon2 21:53, 24 August 2005 (UTC)
 * Jesus! Mighty rock vanity here. Delete. Sdedeo 21:55, 24 August 2005 (UTC)
 * Delete nn band vanity. -- Etacar11   02:50, 25 August 2005 (UTC)
 * Comment Joe mentions that they've "played with some notable groups" - was any touring as a support act involved? WP:MUSIC specifically mentions national and international tours as possible criteria for notability. The same source also mentions released two or more albums on a major label or important indie label (nothing about those albums being hits). Do any of these apply? Tonywalton | Talk 14:11, 25 August 2005 (UTC)
 * Delete also duplicate at JMR_--_%22Jesus_Mighty_Rock%22; unless the "We have played with some notable groups" issue is resolved iaw WP:MUSIC guidelines, then combine these two and expand. Peter Ellis 00:34, 30 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.