text:
Soko G-4 Super Galeb

The Soko G-4 Super Galeb (from галеб), also referred to as N-62, is a Yugoslav single-engine, advanced jet trainer and light ground-attack aircraft designed by the Aeronautical Technical Institute at Žarkovo and manufactured by the SOKO aircraft factory in Mostar.

The Super Galeb was developed during the 1970s as a successor to, and replacement of, the Soko G-2 Galeb then in service with the Yugoslav Air Force (Ratno vazduhoplovstvo i protivvazdušna odbrana – RV i PVO; Ratno zrakoplovstvo i protuzračna obrana – RZ i PZO). On 17 July 1978, the maiden flight was performed by a development aircraft, designated G-4 PPP; during 1983, the first G-4 made its first flight. Quantity production of the type commenced in 1984; the assembly line operated up until the breakup of Yugoslavia in 1991. A total of 85 aircraft were built, most of which went into service with the Yugoslav Air Force, although six G-4s were exported to Myanmar.

During the Yugoslav Wars, RV i PVO G-4s carried out ground-attack sorties, a total of four were recorded as having been lost to enemy air defences. During 1992, the remaining aircraft were relocated to Serbia and Montenegro where they entered service with the Air Force of the newly formed FR Yugoslavia. A single G-4 was left over for the Republika Srpska Air Force. The Serbian Air Force has become the largest operator of the type, having acquired further Super Galebs from other ex-Yugoslavian republics. It intends to upgrade and operate its G-4s through to the 2030s.

Development
The G-4 Super Galeb was developed during the 1970s as a replacement for Yugoslav Air Force's existing fleet of the G-2 Galeb, a straight-winged jet trainer aircraft that had been developed during the late 1950s. Prior to 1999, the Galeb was the most commonly used trainer operated by the Yugoslav Air Force. According to aviation periodical Flight International, the Super Galeb showed unmistakable lineage from the earlier G-2, sharing the same British-sourced Rolls-Royce Viper turbojet engine, albeit uprated for greater performance. However, aviation historian Christopher Chant notes that: "the Super Galeb bears no more relation to the G-2 Galeb than an identity of role, being an altogether more advanced aircraft.

The first of two prototypes had been reportedly completed by early 1978. Following completion of the initial ground testing phase, the Super Galeb's maiden flight was conducted on 17 July 1978. It was followed by the first flight of one of the six pre-production aircraft on 17 December 1980. These pre-production aircraft, along with the first prototype, were designated G-4 PPP; they possessed fixed tailplanes with inset elevators and no anhedral. Unlike the G-2 Galeb, both the wing and tail surfaces are swept on the Super Galeb, while avionics to enable flight even under adverse weather conditions and at night have been integrated.

In contrast to the development aircraft, production Super Galebs, along with the second prototype, were designated G-4; in terms of design, they differed by featured an all-moving anhedral tailplane as well as being equipped with comprehensive avionics improvements. Production aircraft use a gravity-based refuelling system, while the earlier development aircraft had been furnished with a pressurised refuelling system; this was slightly slower to refuel but was both simpler and cheaper. In addition to its training mission, the G-4 was also suited for light attack operations.

During 1983, the G-4 made its first flight, by which point it had been ordered in large numbers for the Yugoslav Air Force. Beyond the domestic market, it also competed internationally against jet trainers such as the Italian Aermacchi MB-339, the Czechoslovakian Aero L-39 Albatros, and the Spanish CASA C-101; Flight International observes that, while the G-4 offered less performance than the Franco-German Dassault/Dornier Alpha Jet, it was substantially cheaper to procure.

Design
The SOKO G-4 Super Galeb is a jet trainer and light attack aircraft. Its size allows the type to be applied to both basic and advanced flight syllabuses. Aesthetically, the Super Galeb resembles the Hawker Siddeley Hawk, a contemporary British jet trainer. In terms of the G-4's basic configuration, it is a low wing monoplane design with slightly tapered wings. The aircraft is 12.25 m long and 4.3 m high, with a wingspan of 9.88 m. It weighs 3,250 kg when empty and can carry 1,882 kg of fuel. The aircraft is fitted with a short nose cone, rounded fuselage, conventional empennage, semi-circular air intakes, vertical tailfin, rudder, ailerons, horizontal stabilisers and fuel tanks at the square tips.

The two crew, typically student and instructor, are seated in a tandem configuration under individual side-opening canopies. Both positions are provided with Martin-Baker-sourced ejection seats; the rear seat is slightly elevated to render better all-round visibility and aid in the supervision of a student pilot sitting in the front. The crew are provided with avionics that enable poor-weather flying; the forward position is provided with a radio altimeter and gyro-gunsight. For combat missions, the Super Galeb can be outfitted with a centreline-mounted gun pod containing a twin-barrel 23mm Gryazev-Shipunov GSh-23L cannon with up to 200 rounds. In addition, four hard points are installed beneath the wings, the inboard pair having a 770 lb capacity while the outboard have a 550 lb capacity; these can carry a variety of Western and Eastern European armaments and equipment; the inboard pylons are plumbed for 70 gallon external fuel tanks, a locally developed reconnaissance pod was also under development at one stage.

The G-4 is powered by a single British-sources Rolls-Royce Viper turbojet engine. Since its introduction, the aircraft's performance has been considerably improved by the adoption of the more powerful Rolls-Royce Viper 632-46 engine. For further performance, attachment points for jet-assisted take-off (JATO) rockets are present underneath the fuselage. To shorten landing distances, a drogue parachute can be deployed. Direct access to the engine is achieved via the removal of the rear fuselage forward of the fin.

Operational history
During the early 1990s, Yugoslavia embarked upon an upgrade programme for its G-4 fleet. Reportedly, this programme primarily revolved around the integration of new air-to-air and air-to-ground missiles, as well as an improved aiming capability, adjustments to raise engine reliability, and enhanced electronics.

The G-4 Super Galeb performed numerous combat missions during the Yugoslav Wars. In total, three G-4s were reportedly shot down, all pilots of which ejecting safely. As a result of the Yugoslav Wars, the nation of Yugoslavia broke up into multiple smaller nations; several of which possessed aircraft from the former republic's inventory.

During the NATO bombing of Yugoslavia, seven G-4s of the Leteće zvezde aerobatics team were destroyed at Golubovci Air Base, heavily contributing to the team disbanding during 1999. Since then, a group of Serbian aviation enthusiasts have assembled a new display team, but have equipped it with older Soko G-2 Galebs that had been previously withdrawn during the 1980s.

Since 2008, the Serbian Air Force, the largest operator of the type, has proposed a comprehensive upgrade of their remaining G-4Ms. Intended to be re-designated G4-MD, the envisioned upgrade programme, which largely revolves around new avionics for improved navigation, greater ease of control, and integrate new combat systems, is reportedly set to extend the type's service life through to the 2030s. Serbia has been able to acquire additional G-4s from other former Yugoslavian republics, often by bartering, to expand its operational fleet.

Variants

 * G-4:85 aircraft produced and deployed Advanced jet trainer and light ground-attack aircraft.
 * G-4Š:5 aircraft produced Unarmed jet trainer.
 * G-4T:3 aircraft produced Dedicated target tug model.
 * G-4M:Based on six G-4s, Upgraded avionics and hardpoints, missile rail added to wingtips. Avionics include a Zrak ENP-MG4 HUD incorporating a Rudi Cajavec ENS-MG4 electronic sight, a gyro platform, multi function displays, and an optional chaff/flare dispensers. The inner hardpoints are rated at 500 kg, while the outer ones are rated at 350 kg, giving a maximum disposable load of 1,800 kg. Normal takeoff weight is 4,971 kg as a trainer, with a maximum takeoff weight of 6,400 kg in the attacker configuration, the maximum speed in "clean" configuration is 865 km/h at 10,000 m and 900 km/h at 4,000 m, with a ferry range of 2,900 km with drop tanks; range of 1,800 km with standard fuel, reduced to 1,200 km with cannon pack, four BL755 cluster bombs and two AAMs, maximum rate of climb at sea level of 1,800 m per minute, and a service ceiling of 12,500 m.
 * G-4MD: A modernized version of the 15 G-4 Super Galebs in service with the Serbian Air Force. The remaining 9 remain as they are.Further development of G-4M upgrade including: LCD flight screens, HOTAS, HUD, integrated mission computers, distance measuring equipment, GPS-based navigation systems, identification friend or foe, navcomm units, mission records, and VHF omni-range and instrument landing systems. Integration of guided weapons, countermeasures and targeting systems is also scheduled as part of the upgrade.

Operators

 * 🇷🇸: Serbian Air Force operates 25 G-4 aircraft as of 2022
 * 🇲🇲 Myanmar: Air Force operates three G-4 aircraft as of 2022

Former operators

 * 🇧🇦: Air Force inherited 1 G-4 aircraft from Republika Srpska. At one point, Bosnia was considering its sale to neighbouring Serbia.
 * 🇲🇪: Air Force Inherited 17 aircraft. Four of these were used, but have subsequently been put up for sale. By 2012, six aircraft were transferred to Serbia whilst seven were reportedly sold to a private operator.
 * : Air Force operated 77 G-4 aircraft.

Aircraft on display

 * Serbia
 * Museum of Aviation (Belgrade) in Belgrade – four Soko G-4 Super Galeb on display

title: Soko G-4 Super Galeb


text:
Weitou dialect

The Weitou dialect (Jyutping: Waitau Waa) is a dialect of Yue Chinese. It forms part of the Guan–Bao (莞寶片;, Dongguan–Bao'an) branch of Yuehai. It is spoken by older generations in Luohu and Futian districts in Shenzhen, and by those in the New Territories, Hong Kong.

The Weitou dialect can be heard in Hong Kong TV dramas and movies, and is usually used to depict characters who come from walled villages. For example, in the 1992 movie Now You See Love, Now You Don't, the chief character, played by Chow Yun-fat who himself grew up in Lamma Island, consistently speaks the Weitou dialect.

In a more general sense, Weitouhua can refer to any variety of Chinese spoken in the villages of Hong Kong, including Hakka and rural Yue dialects. In contrast, most Hong Kong residents speak standard Cantonese, while most Shenzhen residents speak Mandarin.

Phonology
Zhang & Zhuang (2003:21-4) records the phonological systems of three varieties of the Weitou dialect spoken in Hong Kong. Following is Fan Tin's (蕃田), San Tin (in IPA).

There are four tone contours, when the "entering tones" (stopped syllables) are ignored:

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

title: Weitou dialect


text:
Charlie Fox (baseball)

Charles Francis Fox (October 7, 1921 – February 16, 2004) was an American manager, general manager, scout, coach—and, briefly, a catcher—in Major League Baseball. As manager of the National League West Division champion San Francisco Giants in 1971, he was named "Manager of the Year" by The Sporting News.

Early career
Born in New York City, Fox appeared in only three games as a Major League player—garnering three hits in seven at bats for a career batting average of .429—with the 1942 New York Giants. However, Fox would spend another 33 years at the Major and Minor League level as a player, manager, scout and coach for the Giants, who relocated to San Francisco in 1958.

Fox spent more than a half-century in professional baseball, including stints as manager of the Montreal Expos and Chicago Cubs as well as the Giants. Born in the Bronx, he broke into big-league baseball in an unusual way. "I was 14, selling newspapers near the Polo Grounds with 24 cents in my pocket," he once recalled, "when a couple of tough kids came at me. I put up my dukes, and two Giants coaches saw me handling myself pretty good. They complimented me and asked if I could catch. I lied -- I said I could. They gave me a mitt and told me to help their pitchers in practice. "After a couple of hours, they handed me $5, as much as I made in a month hustling newspapers. That did it. From then on, I dreamed and worked only toward my goal of becoming a Giants catcher." Fox finally made it, late in 1942, for three games, going 3-for-7 at the plate in his only major-league playing action, before going into the Navy for three years of service during World War II. He then began a career as a player-manager of Giants' minor-league clubs, including stops at Triple-A Tacoma and Phoenix. During his time in the minors, Fox helped develop, among others, a young, strapping first baseman named Willie McCovey. "I knew Charlie ever since I signed as a 17-year-old kid -- he was kind of instrumental in the Giants signing me," McCovey said Tuesday. "I met Charlie when he was still playing. ... We all grew together. He coached me on a couple of clubs. He was easy to play for, a fiery guy."

Fox spent eight years as manager of the Giants' Class C St. Cloud Rox team in the Northern League, scouted from 1957 to 1963, then managed the Giants' Triple-A Tacoma affiliate in the Pacific Coast League in 1964 before coming to the Major Leagues as a San Francisco coach under Herman Franks in 1965. He returned to the PCL to pilot the Giants' Phoenix affiliate in 1969–70 until he was summoned to San Francisco on May 24, 1970, to replace Clyde King as the manager of the MLB Giants. The Giants were stalled in fifth place in the NL West at 19–23 (.452), and had just lost a 15-inning game to San Diego, 17–16, the day before. Under Fox, the 1970 Giants recovered to go 14 games over .500 and finish third, 16 games behind Cincinnati.

Major League managerial career
Fox led the Giants to the NL West title in 1971.

In a year known as “The Year of the Fox", Charlie Fox led a team of aging stars and rising youngsters to a Western Division title with a 90–72 record. The Giants got off to a fast start, winning 37 of their first 51 games, and enjoyed a $10 1/2$-game margin over the Los Angeles Dodgers on May 31. The energy and raw talents of youngsters like outfielders Bobby Bonds, Gary Matthews and Garry Maddox and shortstop Chris Speier melded nicely with the experience and wisdom of veterans Juan Marichal, Willie McCovey, and Willie Mays. Bonds smashed 33 home runs and 102 RBI. Meanwhile, pitching ace Marichal continued his domination over batters, notching 18 wins. In addition, Willie Mays, who was now 40-years old, slugged four home runs in his first four games. His production didn't let up as he went on to set a National League career record for runs scored in June. Despite such steady play, the team began to wear down near the end of the season. On September 1, San Francisco still held a comfortable, eight-game edge over the Dodgers. Then they withstood a furious assault by their in-state rivals during the pennant stretch. They saw their nine-game lead on September 4 dwindle to one game by the 25th. It wasn't until the final game of the season that the Giants clinched the Division title on Marichal's 5-1 gem over the San Diego Padres. The Giants salivated at the chance to face the Pittsburgh Pirates in the best-of-five 1971 National League Championship Series. They had beaten the Pirates 9-out-of-12-games and seemed likely candidates to win the pennant. The Giants jumped out of the gate full-steam ahead in the series opener, beating the Pirates, 5–4, in front of 40,977 fans at Candlestick Park. Willie McCovey and Tito Fuentes fueled the attack, ripping two-run homers in the fifth inning. However, the Giants would lose the next three games, as the Pirates would advance to the World Series in four games.

Subsequently, they made a series of bad trades and fell from contention thereafter. On June 27, 1974, after compiling a record of 348–327 (.516), Fox was replaced as manager by former stalwart Giants catcher Wes Westrum.

In 1976, he joined the front office of the Montreal Expos as a special assignment scout and served as the club's "emergency" manager when Karl Kuehl was fired on September 4. After winning only 12 of 34 games to close out the season, Fox was named as the general manager and was later succeeded on the field by Dick Williams. He held the GM title in Montreal through the 1978 season.

Fox, however, was destined to serve another term as an interim manager. In 1983, while working as a special assistant to Chicago Cubs general manager Dallas Green, Fox took over from embattled skipper Lee Elia on August 22 and managed the Cubs for the final 39 games of the season, winning 17 and losing 22. In 1984, he was replaced by Jim Frey. Later on he coached under Green in 1989 with the New York Yankees, and scouted for the Houston Astros.

Fox's career major league managing record was 377–371 (.504).

Fox served in other various capacities, from general manager to scout, with the Expos, Cubs, New York Yankees and Houston Astros.

Fox died at age 82 in Stanford, California, and his remains were interred in Holy Cross Catholic Cemetery, Colma, California.

title: Charlie Fox (baseball)


text:
Talk:Sirius Software

Comment
The following claims need references or should be removed:

 * Claim that 20th Century Fox failed to pay royalties due
 * Claim that a bankruptcy attorney "absconded" with the assets.

--EngineerScotty 06:22, 3 February 2006 (UTC)

Jerry Jewell merged here
See Articles for deletion/Jerry Jewell. Johnleemk | Talk 15:00, 9 February 2006 (UTC)

I've referenced the 20th century Fox royalties issues (covered in Hackers), and indeed, the Smithsonian video library has an interview with Jewell (now referenced). I can't find any info on the crooked bankruptcy lawyer, so I deleted that. -- Jonathan Badger August 1, 2006

Sirius Software - Not to be confused with - Sirius Software
There is another Sirius Software. This one is located in Cambridge, Massachusetts, USA and sells add-on products for the Model 204 DBMS (amoungst other things).

See: http://sirius-software.com/

Digger.barnes 21:44, 4 September 2006 (UTC)
 * added dismbiguation banner. --Jerome Potts (talk) 04:55, 11 January 2008 (UTC)

title: Talk:Sirius Software


title: File:93tilinfinity.jpg


text:
Talk:I'm Looking Through You

reverted text copied from

[www.geocities.com/SunsetStrip/ Palms/6797/songs/imlookingthroughyou.html]

and/or

[www.thebeatleshk.com/SongStories/ ImLookingThroughYou.html].

leaving behind original stub. Didn't go the copyvio notice route which requires blanking the page. Jgm 01:45, 31 August 2005 (UTC)

There is a version of "I'm Looking Through You" done by The Muppet's team for a special halloween special in season one of The Muppet Show.

Dates?
Asher and McCartney met in 1963 and this song was written in 1965. The phrase 'his girlfriend of five years' seems to imply that they were together 5 years when the song was written, which is obviously not accurate. Could someone rewrite this sentence? 205.194.127.36 (talk) 19:37, 27 April 2009 (UTC)

Ringo Starr on organ
It says in I'm Looking Through You that Ringo Starr played organ in the song and I see that it is cited. But I have seen many other sources that say the only notes Ringo knew on the piano were C. An organ manual is essentially the same as a piano keyboard but with fewer keys (61 keys instead of 88) so it must have not been very good organ playing (I haven't really heard this song before) and I don't see how he would have known how to play any keyboard instruments. I know that John Lennon, Paul McCartney and George Harrison played keyboards in many Beatles songs, but I don't know about Ringo. Furthermore, Ringo was a drummer, not a keyboardist.--Kevjgav (talk) 20:58, 10 June 2015 (UTC)

I just read The Beatles Bible and it says that Ringo actually did play organ in the song. Furthermore in List of the Beatles' instruments it says that all four Beatles played keyboards in some songs. Also in The Beatles (album) and Abbey Road it says that Ringo played piano in Don't Pass Me By and Octopus's Garden. Ringo also wrote those songs.--Kevjgav (talk) 01:14, 11 June 2015 (UTC)

It says in the article that Ringo played quick two-note vamps on the organ in this song, just like he played only three chords on the piano in Don't Pass Me By. "I'm Looking Through You" and "Don't Pass Me By" are the only songs (to my knowledge) where Ringo played any keyboard parts.--Kevjgav (talk) 07:54, 1 September 2015 (UTC)

Personnel - all Paul?
There's speculation (https://wgo.signal11.org.uk/html/content/i.htm#ilty) (https://www.youtube.com/watch?v=wpgRj5ryiR4) that the instruments were entirely played by Paul, citing the song's "messy" quality (missed drum hits, imperfect lead guitar passages, etc.) that would have been uncharacteristic for the others' guitar/drum styles.

The recording was made late in the Rubber Soul sessions, after two failed attempts (the first of which made it to Anthology 2). Considering that Paul's bandmates may well have gotten tired of working on the song, it's possible that they rushed the recording to meet the tight deadline, neglecting their usual standards for quality in favor of getting the recording done.

This speculation, however, suggests that Paul opted to simply record the song himself, rather than drag his bandmates through yet another remake, or tear them away from other work on the album tracks.

Paul would, of course, go on to create multiple self-overdubbed recordings ("Why Don't We Do It In The Road," his demo for "Come And Get It," and, of course, much of his solo work), so it wouldn't have been beyond his capabilities to record all of the parts himself. Then again, Ringo has said that he tapped on an empty matchbox to produce the distinctive percussive sound on the track.

Is there anything to this idea other than pure speculation? Elliosenor (talk) 20:32, 27 July 2022 (UTC)

 * That is a very unconvincing scenario, given that the basic track had acoustic guitar, bass, drums and tambourine recorded onto one track of the four-track tape.
 * Ringo was also the drummer on “Why Don’t We Do it I the Road?”. 27.32.208.244 (talk) 04:32, 19 September 2022 (UTC)

title: Talk:I'm Looking Through You


text: User talk:69.182.212.255

title: User talk:69.182.212.255


text:
User talk:206.176.97.195

re: Testla coil

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title: User talk:206.176.97.195


text:
File:Tommy Feb Cover norm.jpg

Summary
Front cover of Tommy February6 by Tomoko Kawase. Art direction, design and photography by Reijiro Oba for Double Six. © 2002 DefSTAR Records.

title: File:Tommy Feb Cover norm.jpg


text:
Central Bank of Argentina

The Central Bank of the Argentine Republic (Banco Central de la República Argentina, BCRA) is the central bank of Argentina, being an autarchic entity.

Article 3 of the Organic Charter lists the objectives of this Institution: “The bank aims to promote, to the extent of its powers and within the framework of the policies established by the national government, monetary stability, financial stability, employment, and economic development with social equity."

Establishment
Established by six Acts of Congress enacted on May 28, 1935, the bank replaced Argentina's currency board, which had been in operation since 1899. Its first president was Ernesto Bosch, who served in that capacity from 1935 to 1945.

The Central Bank's headquarters on San Martín Street (in the heart of Buenos Aires' financial district, known locally as the city), was originally designed in 1872 by architects Henry Hunt and Hans Schroeder. Completed in 1876, the Italian Renaissance-inspired building initially housed the Mortgage Bank of the Province of Buenos Aires. The Central Bank's offices were transferred to an adjacent address upon its establishment, and were expanded to their present size by the purchase of the Mortgage Bank building in 1940, as well as by the construction of a twin building behind it.

Drawing from a 1933 study on Argentine finance by Bank of England director Sir Otto Niemeyer, the institution's charter was drafted by Argentine economist Raúl Prebisch; Prebisch would serve as general manager until 1943. The Central Bank was a private entity during its first decade, and British interests held a majority stake; the president of the Central Bank was appointed by the president of Argentina, but 11 of its 12 directors were private bank CEOs. Pursuant to the Roca–Runciman Treaty of 1933, Central Bank reserves accrued from Argentine trade surpluses with the United Kingdom were deposited in escrow at the Bank of England, and this clause, which had led to nearly US$1 billion in inaccessible reserves (more than half the total) by 1945, prompted the BCRA's nationalization by order of Juan Perón on March 24, 1946.

Modern history
Normally subordinate to the Economy Ministry in matters of policy, the Central Bank took a more prominent role during the Latin American debt crisis when, in April 1980, it enacted Circular 1050. This measure, enacted to shield the financial sector from the cost of receiving payments in suddenly devalued pesos, bankrupted thousands of homeowners and businesses by indexing mortgages to the value of the US dollar locally, which had risen around fifteenfold by July 1982 when Central Bank President Domingo Cavallo rescinded the policy.

During the years of Cavallo's Convertibility Law, which established a 1:1 fixed exchange rate between the Argentine peso and the United States dollar on April 1, 1991, the BCRA was mainly in charge of keeping foreign currency reserves in synch with the monetary base. The policy deprived the Central Bank of exchange-rate flexibility, however, and ended at the depth of a record economic crisis a decade later.

The repeal of the Convertibility Law in January 2002 was accompanied by a 70% devaluation and depreciation of the peso to nearly 4 pesos, and the Central Bank's role afterward was the accumulation of reserves in order to gain a measure of control of the exchange rate. The BCRA buys and sells dollars from the market as needed to absorb large foreign trade surpluses and keep the official exchange rate at internationally competitive levels for Argentine exports and to encourage import substitution.

As part of a wider debt restructuring effort that brought Argentina out of its default three years earlier, in December 2005 President Néstor Kirchner announced the payment of Argentina's IMF debts in a single, anticipated disbursement. The payment was effected on January 3, 2006, employing about US$9.8 billion from BCRA reserves. This decreased the amount of reserves by one third, but did not cause adverse monetary effects, save from an increased reliance on the local bond market, which requires somewhat higher interest rates.

The BCRA continued to intervene in the exchange market, usually buying dollars, though occasionally selling small amounts (for example, reacting to rumors of a possible increase of the Federal Reserve's reference rate, which caused a minor spike in the dollar's value). Its reserves reached US$28 billion in September 2006, recovering the levels prior to the IMF payment, and rose to US$32 billion at the close of the year. The exchange rate was maintained relatively undervalued, prompted by the BCRA's market intervention as a buyer.

While fiscal policy remained fairly tight, monetary policy was highly expansionary with growth in Argentina's money supply of over 23% annually from 2003 to 2007. Citing its disapproval of this policy, the influential Global Finance magazine gave Martín Redrado, President of the Central Bank, a D grade in its October 2006 survey of global central bankers. The magazine held that Redrado "missed the opportunity to act to curb inflation when the economy was expanding at its fastest, with inflation expected to reach 12% in 2006, up from 7.7% in 2005 and 4.4% in 2004." Price controls helped keep inflation that year to 9.8%, though the public's perception of it was higher due to the sample composition used to measure the index; differences between official and private inflation estimates widened dramatically from 2007 onward. The BCRA, however, obtained exceptionally high returns on investment funded by its reserves, for a total of US$1.4 billion (a yearly rate of 5.7%) in 2006, and continued to do so in subsequent years.

Fallout from the 2008 financial crisis later forced President Cristina Fernández de Kirchner's administration to seek domestic financing for growing public spending, as well as for foreign debt service obligations; her administration, like many of her predecessors, has used the nominally independent Central Bank to prop up government finances and to support political goals. The president ordered a US$6.7 billion account opened at the Central Bank for the latter purpose in December 2009, implying the use of the Central Bank's foreign exchange reserves, and drawing direct opposition from Redrado. He was dismissed by presidential decree on January 7, 2010, prior to which Economy Minister Amado Boudou had announced that Mario Blejer (who had expressed support for the measure) would be appointed in his stead.

Following an impasse, Redrado was ultimately replaced by Mercedes Marcó del Pont, President of the National Bank of Argentina, on February 3.

Redrado's removal triggered a vocal rebuke from opposition figures in Congress, who, citing the need to preserve the Central Bank's nominal autarky, expressed doubts as to the decree's legality.

A court injunction blocked Kirchner's planned use of reserves for the retirement of high-interest bonds, a move that could have provided numerous vulture funds (holdouts from the 2005 debt restructuring who had resorted to the courts in a bid for higher returns on their defaulted bonds) a legal argument against the central bank's autarky, and thus make judgement liens against the central bank's overseas accounts possible.

The BCRA acquired a greater role as a commercial lender subsequently. The Bicentennial Fund, established in January 2010 as the vehicle for the controversial refinancing plan that led to Redrado's removal, financed fixed investment projects totaling US$2.4 billion in its first two years; a change proposed by President Fernández de Kirchner to the bank's governing statutes would allow it to function as a commercial lender outright.

The Argentine Senate approved a reform of the Central Bank charter on 22 March 2012. Under the new regime the government will be free to pay public debt using the Central Bank's reserves. The bank would also be enabled to expand its lending capacity to the Treasury, effectively giving a boost to the government's finances. Marcó del Pont's successor, National Bank President Juan Carlos Fábrega, shifted monetary policy to an anti-inflationary stance during 2014, however, raising the benchmark 3-month note interest rate to over 28%. The rate hike had the effect of reducing Central Bank operating profits, which reached a record US$12 billion in 2014, by up to 90%; but it also absorbed around US$5 billion in liquidity from the economy, and contributed to a reduction in inflation from an estimated 37% in 2014 to around 25%. This policy was largely continued by Fábrega's successor, former National Securities Commission President Alejandro Vanoli.

The Central Bank's foreign exchange reserves, which from early 2008 to early 2012 hovered between US$47 billion and US$50 billion, declined by 2014 to less than US$30 billion (an eight-year low) before stabilizing and recovering slightly. This reduction had two major facets: annual current account deficits of US$5 billion brought about by smaller merchandise trade surpluses, growing spending by Argentine tourists abroad, and interest payments on bonds held overseas (foreign debt); and a capital account deficit that reached US$7 billion in 2013 amid a foreign exchange control policy that proved counterproductive and was substantially eased in January 2014.

The official exchange rate, which had oscillated around 3 pesos per dollar since early 2003, was adversely impacted by the international 2008 financial crisis, and likewise weakened to 8 pesos per dollar by the first half of 2014. A parallel, "blue" exchange market - a fixture of Argentine finance in the 1970s and '80s - reemerged when foreign exchange controls were tightened in 2012; it similarly stabilized at around 13 pesos when controls were eased in 2014.

One of the first changes to economic policy from the Macri administration, just seven days after Macri had taken office, was to remove the currency controls that had been in place for four consecutive years. The move signified a 30% devaluation of the peso, and was met with both criticism and praise.

title: Central Bank of Argentina


text:
KOVC

KOVC (1490 AM) is a radio station based in Valley City, North Dakota, United States. It is a full service station, with frequent weather, news and sports updates. KOVC plays mostly country music and covers local and national sports games.

title: KOVC


text:
Talk:Cabrillo National Monument

Copyvio images
I have replaced two copyrighted images, with two that I have added to Wikimedia Commons with Creative_Commons_License Attribution ShareAlike 2.5. While I like these copyrighted images, especially the lighthouse image, I don't think the copyright info on the image pages is sufficient. Also, those images are of limited size/resolution. -- --Aude 01:46, 31 August 2005 (UTC)
 * Image:Point_loma_lighthouse.jpg
 * Image:Joao_Rodrigues_Cabrilho_mon.jpg

Tide Pools at Cabrillo National Monument
--Mmm321 (talk) 21:28, 28 March 2013 (UTC)

External links modified
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title: Talk:Cabrillo National Monument


text:
Talk:Secure Terminal Equipment

To Go
Need to add SVCS info --Terry 01:49, 31 August 2005 (UTC)

Need to add images of Data and SVCS because of their appearance is quite different then the office/tactical. --Terry 01:49, 31 August 2005 (UTC)

Think we should add current firmware version info, latest is 2.4 with 2.4-IP in beta. Unless someone else adds, will look at how to incorporate. --Terry 01:51, 31 August 2005 (UTC)

'releasable'?
What's 'releasable' mean in the context of the article?

 * I would assume saleable to the public without any special clearance.-- Oni Ookami Alfador Talk 20:54, 21 July 2008 (UTC)

 * I was wondering the exact same thing. Can we get a more definitive answer? This would be a valuable addition. Danielx (talk) 11:27, 23 May 2010 (UTC)

How widely is this system used?
The US gvn't is mentioned as a user. Are there others? I'm also wondering to what extent it is used within the gvn't. Danielx (talk) 11:35, 23 May 2010 (UTC)
 * Very widely, STE is the replacement for the STU-III phones, of which about 400.000 were in use by the US government and military. P2Peter (talk) 01:04, 19 November 2012 (UTC)

title: Talk:Secure Terminal Equipment


text: User talk:205.143.204.206

title: User talk:205.143.204.206


text:
Formal Methods Europe

Formal Methods Europe (FME) is an organization whose aim is to encourage the research and application of formal methods for the improvement of software and hardware in computer-based systems. The association's members are drawn from academia and industry. It is based in Europe, but is international in scope. FME operates under Dutch law.

Activities include or have included:

 * Dissemination of research findings and industrial experience through conferences (every 18 months) and sponsored events;
 * Development of information resources for educators;
 * Networking for commercial practitioners through ForTIA (Formal Techniques Industry Association).

The Chair of FME is John Fitzgerald of the University of Newcastle upon Tyne, UK.

ForTIA
The Formal Techniques Industry Association (ForTIA) aimed to support the industrial use of formal methods under the umbrella organization of Formal Methods Europe. It was founded in 2003 through the initial efforts of Dines Bjørner and was chaired by Anthony Hall and Volkmar Lotz among others. Its scope was international and membership was by company. It organized meetings, especially in conjunction with conferences, for instance, industry days at the FM conferences organized by FME.

title: Formal Methods Europe


text: File:Cluemast.png

title: File:Cluemast.png


text:
Bunkka

Bunkka is the debut studio album by English electronic musician and producer Paul Oakenfold, released under the name Oakenfold. It was released in 2002 under the Maverick label.

It is also Oakenfold's best selling album to date, with sales exceeding 1,000,000 copies worldwide.

In response to how his dance-focused audience would react to the album, Oakenfold said "I hope they realise that in any forms of music you need to push the boundaries. I've been inspired by all kinds of music, from hip-hop to guitars to dance, and hopefully the dance audience will understand that." The album was released to mixed reviews.

Track listing

 * 1) "Ready Steady Go" (featuring Asher D) – 4:13
 * 2) "Southern Sun" (featuring Carla Werner) – 6:57
 * 3) "Time of Your Life" (featuring Perry Farrell) – 4:17
 * 4) "Hypnotised" (featuring Tiff Lacey) – 6:34
 * 5) "Zoo York" (featuring Clint Mansell and Kronos Quartet) – 5:25
 * 6) "Nixon's Spirit" (featuring Hunter S. Thompson) – 2:48
 * 7) "Hold Your Hand" (featuring Emiliana Torrini) – 3:39
 * 8) "Starry Eyed Surprise" (featuring Shifty Shellshock of Crazy Town) – 3:48
 * 9) "Get Em Up" (featuring Ice Cube) – 3:50
 * 10) "Motion" (featuring Grant-Lee Phillips) – 6:24
 * 11) "The Harder They Come" (featuring Nelly Furtado and Tricky) – 3:50
 * 12) "Mortal" (Japanese bonus track also available on "The Harder They Come" single) – 6:42

Personnel
Additional personnel
 * Paul Oakenfold – keyboards, programming, drums, production, mixing, vocal engineering
 * Hunter S. Thompson – vocals, spoken word
 * Emiliana Torrini – vocals
 * Ice Cube – raps
 * Tiff Lacey – vocals
 * Asher D – raps
 * Perry Farrell – vocals
 * Nelly Furtado – vocals
 * Tricky – vocals
 * Carla Werner – vocals
 * Shifty Shellshock – raps
 * Grant Lee Phillips – vocals, background vocals, guitar
 * Mark Ralph – guitar
 * Phil Cordaro – guitar ("Ready Steady Go" and "Nixon's Spirit")
 * David Rhodes – guitar ("Get Em Up")
 * Emerson Swinford – guitar
 * Christian Twigg (Spymob) – bass guitar ("Ready Steady Go" and "Get Em Up")
 * Jamie Muhoberac – keyboards
 * Steve Osborne – production, programming, mixing, vocal mixing
 * Andy Gray – production, programming, engineering, mixing
 * Carmen Rizzo – production, engineering, vocal engineering
 * Jeff Turzo – production, mixing
 * Ed Chadwick – assistant engineering
 * Pete Davies – programming, engineering
 * Chris Blair – mastering
 * Anton Corbijn – photography

Song appearances

 * "Ready, Steady, Go", appears in a number of the films, video games and other media, including: The Bourne Identity, Stormbreaker and Collateral, Tiger Woods PGA Tour 2003, DDR Ultramix Juiced, Las Vegas, an ad campaign for Saab and an episode of the TV series ALIAS. Oakenfold produced a Korean style lyrical version of "Ready, Steady, Go" for the film Collateral.
 * "Zoo York" (which features a sample of Clint Mansell's Winter: Lux Aeterna and Bally Sagoo's Qurbani Qurbani) was used in the trailers for the films Sunshine and Babylon A.D..
 * "Starry Eyed Surprise" has been used in television commercials for Diet Coke.
 * "Get Em Up" is a reworked version of "Right Here, Right Now," which featured on the soundtrack to the film Blade II.

title: Bunkka


text:
Wikipedia:Articles for deletion/Amonity.com

 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. Rob Church Talk 00:23, 1 September 2005 (UTC)

Amonity.com
No search results. Domain name not even reserved. - choster 01:50, 31 August 2005 (UTC)
 * Delete non-existent. Presumably a typo, but I can't manage to guess what it was meant to be. -Splash 01:53, 31 August 2005 (UTC)
 * Delete and even if it is real, "created in June 2005" makes notability of a web site highly unlikely. -- DS1953 02:04, August 31, 2005 (UTC)
 * Delete per above. I agree; two months isn't enough time to make a website notable. Jaxl | talk 02:54, 31 August 2005 (UTC)
 * Delete unless surprising new evidence of notability is provided. Samaritan 08:03, 31 August 2005 (UTC)
 * Delete hoax. KissL 09:09, 31 August 2005 (UTC)
 * Delete. Non-existent website. Article only lists etymology and name of owner. Vanity. - Mgm|(talk) 09:31, August 31, 2005 (UTC)
 * Delete. Non-existent DV8 2XL 10:53, 31 August 2005 (UTC)
 * Delete. Non-existent site. *drew 12:00, 31 August 2005 (UTC)
 * Delete as per all the above. the wub  "?/!"  14:56, 31 August 2005 (UTC)
 * Delete – nn =Nichalp   «Talk»=  17:08, August 31, 2005 (UTC)
 * Delete non-existent site -- BMIComp (talk, HOWS MY DRIVING) 17:16, 31 August 2005 (UTC)
 * Delete for the reasons outlined above. The Bearded One 17:19, 31 August 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Talk:The Deep End (Madrugada album)

Fair use rationale for Image:The Deep End.jpg
Image:The Deep End.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.

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If there is 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 lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 06:24, 24 January 2008 (UTC)

title: Talk:The Deep End (Madrugada album)


text: Category:Paul Oakenfold albums

title: Category:Paul Oakenfold albums


text:
Eugène Renevier

Eugène Renevier (26 March 1831 – 4 May 1906) is a Swiss geologist.

Biography
Renevier was born in Lausanne, Switzerland on 26 March 1831, as a descendant of a noble family.

After about three years of study at the polytechnical school of Stuttgart, Renevier in 1851 went to Geneva to study under F. J. Pictet. In 1854 he went to Paris to attend the lectures of Hébert and to study fossil nummulites found in the limestone of the Alps.

From 1859 to 1881 he was an associate professor of geology and mineralogy, then a full professor of geology and paleontology at the Academy in Lausanne (1881–1906). In 1890 the academy attained the name and status of a university. In 1898–90 he was rector of the University of Lausanne. For many years, he also served as curator of the cantonal museum of geology (1874–1906).

He is distinguished for his researches on the geology and paleontology of the Alps, on which subjects he published numerous papers in the proceedings of the scientific societies in Switzerland and France. With F. J. Pictet he wrote a memoir on the Fossiles du terrain aptien de la Perte-du-Rhone (1854). In 1894 he was appointed president of the Swiss Geological Commission, and also of the International Geological Congress held that year at Zürich, in the previous meetings of which he had taken a prominent part. He published a noteworthy Tableau des terrains sédimentaires (1874); and a second more elaborate edition, accompanied by an explanatory article Chronographe géologique, was issued in 1897 as a supplement to the Report of the Zürich Congress. This new table was printed on colored sheets, the colors for each geological system corresponding with those adopted on the International geological map of Europe.

In 1879, he was elected as a member to the American Philosophical Society.

title: Eugène Renevier


text:
Caiga Quien Caiga

Caiga Quien Caiga (Whoever May Fall), also known as CQC, is an Argentine television show. Under the format of the production company Cuatro Cabezas, CQC has also been adapted in Spain, France, Chile, Italy, Brazil, Portugal and briefly in Israel and the Netherlands.

It won an International Emmy for Best Non-Scripted Entertainment in 2010.

Overview
CQC is a weekly news roundup that takes a humorous and ironic approach to reporting current affairs, show business and sports. CQC's reporters are known for asking politically incorrect questions to celebrities, which in some cases leads to visible discomfort in the interviewees.

One of the trademarks of the show is the heavy editing of the interviews to add cartoons and sound effects with the goal of highlighting (by ridicule) the interviewee's reactions. Reporters sometimes give controversial gifts to celebrities.

Hosts and reporters all dress in black suits and wear black glasses, inspired by the characters in Quentin Tarantino’s movie Reservoir Dogs.

The name of the show in Spanish is a commonly used phrase meaning "whatever it takes" (literally: "whoever might fall"), as a reference to the unorthodox interviewing methodology.

A recurring segment is "Proteste Ya" ("Protest Now"), which involves the people of a certain neighborhood or home area sending an e-mail to an e-mail address especially reserved for "Proteste Ya", complaining about government negligence in their neighborhood. The CQC journalists then go to that neighborhood, find out about the problem and try to force the person responsible to make a commitment to improve the situation, often taking something from their office as a "collateral".

Argentina
The Argentine edition of CQC was hosted by Mario Pergolini, Eduardo de la Puente and Juan di Natale until 2009. The new anchor is Roberto Pettinato.

It started broadcasting in Canal 2 (currently known as América TV), in 1995. This first stage ended in 1999, with a special show transmitted live from the Gran Rex Theatre in Buenos Aires. In 2001, there was a special show (made in the same theatre) to announce the new season of the show for the next year, this time in Canal 13. In 2005, Canal 13 hired Marcelo Tinelli, who is frequently argumented in the programme and has been a longtime rival of Mario Pergolini. This resulted in CQC (and all of the shows produced by Cuatro Cabezas) moving to Telefe. The show went on the air every Monday at 10:30 pm (local hour). On 15 December 2008, Pergolini officially retired from the show.

The journalist cast in Canal 2 were Clemente Cancela, Andy Kusnetzoff, Guillermo López, Daniel Malnatti, Gonzalo Rodríguez and Daniel Tognetti. The cast in Canal 13 were Clemente Cancela, Diego Della Salla, Guillermo López, Daniel Malnatti and Gonzalo Rodríguez.

Chile
The Chilean edition started broadcasting in 2002 on Mega every Sunday at 10:00 pm. The hosts are Nicolás Larrain, Gonzalo Feito and Iván Guerrero. The journalist cast is composed of Sebastian Eyzaguirre, Jean Philippe Cretton and Pamela Le Roy, as well as the hosts Feito and Guerrero. Previously in the show were reporter Marcelo Arismendi, Fernando Lasalvia and hosts Felipe Bianchi and Pablo Mackenna. With the show being broadcast on a Christian channel, they are restricted from talking to people related to the church. The show is produced with the support of the Chilean production company Edu. Some of their most popular memes is El Hombre de Trabajo Trabajo y Trabajo and Eduardo Bonvallet. The last season on Mega was produced on 2011. After that, the Chilean edition has had sporadic special episodes on Chilevisión and YouTube sponsored by the mobile carrier WOM.

Spain
The Spanish version was broadcast by Telecinco from 1996 to 2008 (except in 2003 and 2004 when the show was cancelled), by La Sexta from May 2008 to December 2008, and by Cuatro in 2010. The first period (1996 to 2002) was produced by GloboMedia, while Cuatro Cabezas was in charge from 2002 to 2010.

In their first stage, the show was hosted by El Gran Wyoming. Some of the reporters (like Pablo Carbonell) were already experienced TV journalists, while the rest started their television careers in CQC such as Javier Martin and Arturo Valls. Despite enjoying a high rating and the numerous awards given to the programme and its presenter, Telecinco decided to cancel the show at the end of 2002 alleging business reasons. On the weeks after the cancellation was announced, the program experienced a rise in its audience rating. The announcement was made after the reporters suggested to include a section about Ana Botella, wife of the former Spanish prime minister, though Telecinco denied that the cancellation had any connection to that.

In 2005 the programme returned to Telecinco, this time hosted by Manel Fuentes, Arturo Valls, Eduardo Aldán and Deborah Ombres as the first woman in the cast. The good ratings made the show renew their contracts for a second season, hosted by Arturo Valls, Manel Fuentes and Juan Ramón Bonet (Juanra) with the reporter cast of Toni Garrido, Fernando González (Gonzo) and Christian Gálvez, having also Arturo Valls as reporter. In the third season, Toni Garrido was replaced by Eugeni Alemany and Francisco Rodríguez was introduced after winning a contests of reporters; later Christian Gálvez left the programme for another projects in Telecinco and Maldo made his appearance in the team of reporters. The fourth season, which began in Autumn 2007, had Manel Fuentes, Juan Ramón Bonet and Leandro Rivera as hosts, the latter in replacement of Arturo Valls.

In 2008, La Sexta bought the rights of the programme from rival channel Telecinco. This new period of the programme began on 14 May 2008 with many new faces, as some of the old hosts and reporters had a contract with Telecinco (like Manel Fuentes) or decided to leave for another projects (like Gonzo). The host in this period was Frank Blanco, a radio presenter, accompanied by Juan Ramón Bonet and Toni Garrido, who come back to the show after two seasons. Estíbaliz Gabilondo, the comical duo Niño y Fox and Miguel Martín were the new reporters. The show was cancelled in December 2008 after 17 episodes because of low ratings.

In 2010, TV channel Cuatro decided to pick up the format with a female trio of presenters. The host in this new period were Ana Milán, Silvia Abril and Tània Sarrias. The show was not renewed due to low ratings.

Italy
The Italian version is called Le Iene, which is the Italian title of Tarantino's movie Reservoir Dogs. It started in 1996, currently transmitting on Italia 1.

France
There has been an edition of CQC as "Les Hyènes" in France, transmitting on France 2.

Israel
The Israeli edition of CQC aired in 2001, but was cancelled after one season for low ratings. The lack of success is attributed to the heavy competition by other satirical shows already established.

Brazil
The Brazilian edition of CQC is called Custe o Que Custar ("Whatever it Takes") and is aired on Rede Bandeirantes (Band) on Monday nights (10:15 PM, Brazilian time) and repeated on Saturdays (12:00 AM, same time zone) from March 17, 2008 to December 28, 2015. The show is hosted by Marcelo Tas, Marco Luque and Oscar Filho (nicknamed the Pequeno Pônei (Little Pony) of the team, due to his short stature), and its journalist crew is also comprised by Felipe Andreoli, Rafael Cortez, Monica Iozzi (who won the contest Quem quer ser o 8º integrante do CQC? - "Who Wants To Be The 8th Member Of CQC?"), joined by Maurício Meirelles in late 2011 and Ronald Rios in 2012.

Meirelles and Rios entered the show as replacements to former co-host Rafinha Bastos (who took a leave from the show after making an inappropriate joke about singer Wanessa's pregnancy, being subsequently dismissed by Band following revile from the media; he would go on to present the short-lived Brazilian version of Saturday Night Live on RedeTV!, as well as his own show on cable channel FX) and Danilo Gentili (formerly known as "the unexperienced reporter"), who left to star on his own project in Band, the talk show Agora é Tarde ("Now It's Too Late"), which in its last year (2014) was helmed by Bastos while Gentili left for SBT, where he presents another talk show in the same mold, The Noite com Danilo Gentili, which is airing to this day. In later years, as the reporters became bigger media figures and got scoped out by other networks, the show's turnover rate increased, with actor Dan Stulbach replacing Marcelo Tas in the show's final year.

United States
Cuatro Cabezas is planning to export the show to the United States, and shot a pilot in Argentina with hosts Dominic Monaghan, Zach Selwyn and the late Greg Giraldo. Clips of the pilot and interviews of the hosts (and Monaghan's girlfriend Evangeline Lilly) aired in the June 23, 2008 edition of the Argentine show.

Portugal
The Portuguese version of the show, Caia Quem Caia, premiered on TVI on October 25, 2008. The show was fronted by Pedro Fernandes, José Pedro Vasconcelos, and Joana Cruz. Additional field reporting was done by João Santos, Miguel Rocha, and Filipe Cardoso. The show's regular slot was Saturday nights, although it occasionally got bumped to the following evening. The first series ended on January 17, 2009, with no indication that it would come back in the future.

Netherlands
A Dutch adaptation of CQC was broadcast since August 2009 on Veronica, and was presented by Dutch TV presenters Beau van Erven Dorens, Pieter Jouke and Daan Nieber. It ended on April 5 of the following year.

title: Caiga Quien Caiga


text:
Talk:Mod python

Security
I took out disadvantage because CGI scripts suffer from the exact same problem, and can be even more notorious since they can have a greater reach to the system. If someone has an argument I'd like to hear it, but I see mod_python as a security advantage, not disadvantage...--Capi crimm 01:51, 31 August 2005 (UTC)

If configured with security in mind (see mod_suexec), CGI for sure can be more safe than stuff running directly in the web server process using the same uid/gid as the web server for all users. It is also better separated (as it runs in a separate process), so negative impact on the apache processes is unlikely. We don't need to discuss that CGI is very bad in performance compared to Python running in persistent processes, this is why I added mod_wsgi as a safe and fast alternative to Mod_python. 91.21.130.190 (talk) 12:14, 4 May 2008 (UTC)

Name of Mod_python
The name of Mod_python is not "mod_python". See official manual.
 * It is, too. “Mod_python” is the result of capitalization at the beginning of headlines and sentences. See this page in the official manual for how it is used within a sentence. —☠☢☣[d] 06:39, 15 May 2013 (UTC)

What advantage of JSP?
The line: "Using mod_python also has the advantage of Python Server Pages (PSP), a way to embed Python code into HTML pages, similar to ASP, PHP, and JavaServer Pages (JSP)."

a) What is meant by "the advantage of", shouldnt it be specified which advantage? Unless PSP (= python based web framework) is an advantage by itself, which it of course is. But this line sounds like they are referring to a side bonus, whereas the python based framework thing is the most essential. b) On the 'Python Server Pages' Wikipedia article (http://en.wikipedia.org/wiki/Python_Server_Pages), it seems to me like there is no clear definition of that, but that it is rather a term used by some Python based web frameworks. I.e. a catchy buzzword without a definition.

213.165.179.229 (talk) 14:57, 3 July 2011 (UTC)

title: Talk:Mod python


text:
Talk:Bunkka

Fair use rationale for Image:PaulOakenfoldBunkka.jpg
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title: Talk:Bunkka


text:
There for Me

There for Me may refer to:

 * "There for Me" (La Bionda song), also recorded by Sarah Brightman
 * "There for Me", a song by Mariah Carey, B-side to "Never Too Far/Hero Medley"
 * "There for Me" (Bonnie Piesse song)

title: There for Me


text: Talk:Spinal cord untethering

title: Talk:Spinal cord untethering


text:
Historias de sexo de gente común

Historias de sexo de gente común (Sex stories of ordinary people) is a television show about common people's lives revolving around sex in Argentina, produced by Endemol and aired by Telefé.

Cast

 * Juan Gil Navarro
 * Carlos Santamaría
 * Jazmín Stuart
 * Carolina Peleritti
 * Silvia Kutika
 * Eduardo Blanco
 * Mónica Ayos
 * Susana Lanteri

title: Historias de sexo de gente común


text:
Matthew Werkmeister

Matthew Werkmeister (born 30 January 1992)  is an Australian stage and television actor. He is best known for his role as Zeke Kinski in the soap opera Neighbours from 2005 to 2011 and 2014.

Career
Werkmeister began his career with the Children's Performing Company of Australia and is represented by Storm Actors.

Prior to appearing in Neighbours, Werkmeister appeared in a stage production of The Full Monty. It was for this portrayal that he was nominated in 2005 for a Music Theatre Guild of Victoria: Awards for Excellence award in the category of Junior Performer (Male). The award was won by Daniel Todd for the stage production of Kiss Me Kate.

It was whilst he was appearing in The Full Monty that Werkmeister landed the role of Zeke Kinski in the Australian soap opera Neighbours. He almost missed out on the role when his father took the call about the audition and refused it because it was a five-hour drive to there. Werkmeister has said that he was "horrified" when he found out and called his agent back to find out if he could still attend the audition. He joined the cast in 2005 initially in a recurring role before becoming a regular cast member. His portrayal of Zeke Kinski led to a nomination in 2008 for Best Young Actor at the Inside Soap awards alongside fellow cast member Fletcher O'Leary (Mickey Gannon). During his time on Neighbours, Werkmeister met British singer Lily Allen when she filmed a cameo role with him. Speaking about the cameo appearance, Werkmeister admitted he was "freaking out".

In 2008, he joined the judging panel of the Inkys, Australia's only teenage choice book award judged by people under 20 years of age. The aim of the reward is to encourage young people to read. Of his judging role Werkmeister said "Finding the time is the difficult part but some of the books are great so the reading part has been fun."

In 2009, Werkmeister was longlisted for the Logie Award for Most Popular Actor, alongside fellow cast members Steve Bastoni (Steve Parker), Alan Fletcher (Karl Kennedy), Ryan Moloney (Toadfish Rebecchi) and Ian Smith (Harold Bishop). He was included on the longlist for Most Popular Personality on TV, alongside fellow cast members Pippa Black (Elle Robinson), Carla Bonner (Stephanie Scully) and Tom Oliver (Lou Carpenter). The following year, he was longlisted for Most Popular Actor again. Werkmeister starred in the 2010 short film Barrier: the Invisible Machine as an apprentice race pilot. The film was co-produced by Neighbours crew member Terry Shepherd and premiered at the Armageddon Pop Culture Expo at the Melbourne Exhibition Centre.

In October 2010, it was announced that Werkmeister was to leave Neighbours along with Jane Hall (Rebecca Robinson) and Erin Mullally (Declan Napier). Speaking about his decision to leave, Werkmeister said "When I started on Neighbours I was only thirteen, I didn't shave or drive a car so I really have grown up on the show, I've learnt so much, worked with some great people who are now some of my closest friends." His final episode was broadcast on 11 March 2011.

From 2012 until 2014, Werkmeister starred as Josh in Matthew Smolen's webseries Chris & Josh. Werkmeister made a cameo appearance in Australian band Eagle and the Worm's music video for their 2012 single "Give Me Time". In the video, he plays a roller-skating sex symbol. From May to June 2013, Werkmeister performed as Roger Boothby in Barry Lowe's acclaimed stage play The Death of Peter Pan at Melbourne's Chapel Off Chapel. In April 2014, Werkmeister made a brief return to Neighbours as part of his on-screen family, the Kennedys' 20th anniversary.

Personal life
Werkmeister was educated at St Peters College in Cranbourne, Victoria and did most of his schoolwork by correspondence due to his acting commitments. In 2010, he attended his Débutante Ball. His hobbies include skimboarding, playing chess, oil painting, playing guitar and eating. Since leaving Neighbours, Werkmeister has kept a low-profile. In February 2017, he moved to the United States.

title: Matthew Werkmeister