text:
Talk:Record label

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This article was the subject of a Wiki Education Foundation-supported course assignment, between 13 February 2019 and 3 May 2019. Further details are available on the course page. Student editor(s): Jhc2675.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 07:53, 17 January 2022 (UTC)

A couple of points
A few of things spring to mind when I looked through this:

Firstly, almost every record contract is looked over and negotiated with solicitors, as opposed to it being an infrequent occurance as suggested by "Entertainment lawyers are used by some to look over any contract before it is signed." The solicitors will almost always be music laywers, rather than more general entertainments lawyers, and they will generally work for an indepedant soliciting company which may be employed by the Business Affairs departments of the record label.

Second big mistake I noticed is that it saids that some artists gave away their rights.

Almost all artists sign away the rights to their music, that's what Music Publishing is, probably the second biggest pillar of the music industry.

Thirdly: "A contract either provides for the artist to deliver completed recordings to the label, or for the label to undertake the recording with the artist."

I think it needs to specified that there are a few different types of contract. When the artist makes the recordings independantly then gives the label mechanical license to manufacture and distribute records that's a licensing deal. However, if the label says "bring us a completed recording" that's not a licensing deal, that's a record deal. It's just that normally a record deal will look more like "here's some money - bring us a completed recording".

Also I think recouperation needs to be explained.

Sebbi 01:27, 29 July 2006 (UTC)

Tag for cleanup
This subject deserves a better article, as it stands it's full of generalisations, assumptions and waffle. Hopefully someone more clued in than I can do this. —Preceding unsigned comment added by 60.234.228.7 (talk • contribs) 23 April 2006

 * I've rewritten the intro and added info about music groups and record groups. The rest of the article is still pretty much garbage.—mjb 05:33, 6 May 2006 (UTC)

Don't be hard asses it's not that bad, it could be better, definately, but I find the costant tagging with fix this, fix that, clean this, clean that, very annoying. 195.134.68.6 04:03, 20 May 2006 (UTC)

I find the following sentence to be biased and assumptive:

"Some prefer to use the term indie label to refer to only those independent labels that adhere to an arbitrary, ill-defined criteria of corporate structure and size, and some consider an indie label to be almost any label that releases non-mainstream music, regardless of its corporate structure."

A more thoughtful segment on 'indie labels' would be better than using negatives such as 'arbitrary' and 'ill-defined.' This is a commentary on indie labels and not a definition of them.

--72.160.71.86 10:51, 7 August 2006 (UTC)

 * The problem, as I'm trying to point out in that section, is that people apply the term 'indie' very broadly and inconsistently, because they have different standards by which they measure the 'indieness' of things, thus making 'indie label' rather difficult to define. It would be inappropriate to have Wikipedia make a definitive statement on what an indie label is, unless you phrase it like "source X says an indie label is… while source Y says…". If you have suggestions for better phrasing, though, in the meantime, please offer them. —mjb 23:54, 7 August 2006 (UTC)

I agree with [User:195.134.68.6|195.134.68.6], I actually found this article quite informative. BradNotBrat 04:51, 10 July 2007 (UTC)

The sloppy bias has seemed to creep back in. I see lines such as "Whereas 'net' labels were started as a free site, digital labels seek to give the major record industry a real run for their money." Can anybody word that without using an idiom, and using a source too? WillieBlues (talk) 21:38, 26 July 2011 (UTC)

Two basic categories the best deinition is the simplest
A Record lable is the business entity which produces and oversees the production of recorded music. It does the front line work of making the physical product which you see in your stores. Frequently a lable is simply the name on the CD itself. There may be nothing more than the members of the band or the artist themselves who do allt he work. Loreena McKennet for instance, recorded her own CD's, designed or oversaw the design of the cover are, had the CD's pressed all herself. For the first decade of her career she distributed her CD's either at her concerts or by mail order from her home. That is the most basic kind of lable.

In the classical world it can work the same way. Skylark Records originaly existed to produce Canadian Pianist jane Coop's recordings. Her husband George Lavrock is both the recording engineer and producer. Skylark Records now has more artists than just Jane Coop. But thats how it started. Skylark, however does not do their own distribution.

Another more interesting example is Netwerk Recrods. When the Vancouver Band Skinny Puppy wanted to release a CD, they did so under a lable they created called Netwerk Records. It had only one reason for being, that was the prodcution of Skinny Puppy CD's. Since one of the band members was intersted in doing more than just one CD for one band, eventually they produced recorddings for other artists. Careful business dealings, concienceous artists and lots of hard work ended up with a sucessful record lable with more than just one artist. Eventually there was some arrangements with EMI (I am unsure of what those were) and more recentely are no longer associated with EMI, but what you see now as the Netwerk started as just a band that wanted to make a CD.

Here is another way a lable is created; Distribution Fussion is a small Canadian distributor in Montreal who imports and distributes independent lables from Europe and other places in the world. The owner is also a Jazz afficiando. He has sstarted his own lable to record some Jazz artists who he though were good, Justin Time has quite a number of sucessful arists. JustinTime was Dianna Kralls first lable.

It was this lable that solicited the small chain where i did some purchasing. The initial order we placed for Diana Krall was very samll. This was at the beginnning of her career. Her careeer advanced so fast that Distrubution Fussion new that they could not handle the amount of business thsi artist would generate. GRP Records signed an distribution deal with Distributiosn Fussion for American Distribution. Shortly after that, GRP was bought by Verve Records. Very shortly after that, GRP (itself an American independant lable) was purchased by Verve. ''notice how this story is rapidly becoming extremely complex? This is not uncommon in the music industry.'' This is the point where Universal purchases PolyGram and then you know about the purchase of Universal by Vivendi.

I have outlined as slimply as it is possible to how a record lable begins. Disorganized isn't the right term for it. Independant recording lables are simply small businesses that produce recordings. They are as infinite in variety as you can imagine, but this is where the creative impetus for the music industry comes from. The major players in this industry do not cerate much new, they purchase it. Loreena McKennet is an instructive example because she was savvy enough at business to know that she should not sign a deal with a major distributor until she could do it on her own terms. In theh end, she signed a deal with Warner, but it was the deal she wanted adn she dictated the terms.

I worked in the music reatil business for 10 years, and i had been following the industry as a consumer of classical music for 15 years before that. This is not an easy business to understand and its even more difficult to do without bias or without using words that depict the players in terms which are neutral. My facts are bascaly all correct, though its been a while since i've been active in the industry. but this does give you an idea of how the processes work.

Please ask for clarification of anything I have written here, this is not publishable in this form, it is only for discussion purposes at this time.

David --88Fingers 09:03, 1 September 2006 (UTC)

Yet anoher way record labels come into being
While commenting on another artcle I was reminded of another type of lable. That is a private society or organization which produces special recordings for its membership. Ordinarily these never enter into the discussion except for two exeptions; Societies who's membership is made up of those people interested in a certain kind of recordings and who are willing to produce them  on their own. Such a label is the classical label Connoisseur Society. It produces select recordings of classical pianists for its members. The recordings are never available in ordinary music retail outlets. If they are available at all to the general public it is through mail order. This label became well enough known amongst audiophiles and classical music collectors that it was frequently reviewed in magazines like the Gramophone and as well, got radio play on the BBC and in Canada on the CBC Radio Networks.

Let me try to tie this all up for everyone. There is no "business" model for a recording label. No one invests money in a recording label expecting to make money. They are risky ventures at best, frequently fail and the return on investment is uncertain at best. Bankruptcies are a common occurrence. However, if a label manages to establish itself with some degree of notoriety, they will likely be bought by a larger distributor or one of the conglomerates. Delve back if you will into the history of teh Nonesuch label. It was begun in the 1960's by Terresa Sterns, who ran the label herself for many years. The label was dedicated to Ethnic (now called world music ) twentieth century composers, and some baroque music. This lable is noteworthy because it was one of the survivors over the decades. However about 20 years ago the lable was sold to Warner who has carried the label on in the same manner which the founder did.

Musicians start labels because they wish to maintain control of their own music and livelihoods. This frequently backfires unless they have savvy and trustworthy financial management. Other people start or invest in labels because they love the music. Sound financial investment is an all but unknown reason for starting a recording label.

--88Fingers 08:49, 2 September 2006 (UTC)

record label history corrected
Record company labels originated as printers who would put up the cost of printing the labels that get glued onto the records.

It's really quite simple when you consider exactly why they are called "labels."

They were investors. Often, they would print the labels for an unknown artist and/or songwriter and would receive a percentage of the publishing royalties for "putting up their money."

Most record manufacturing companies associated quickly with these printers and formalised the old record industry structure.

Because of standing fears of monopoly prosecution [Marconi went through this and had to divest American Marconi into RCA, ABC, and NBC], the inventors, such as Edison and others, did not want to fully vertically integrate what they knew they had in hand: complete control of the Entertainment Industry, that is, the Telecommunications Industry.

Thus, the labels and record companies, while put down on paper as separate legal entities from the giant industrials, were, in fact, part and parcel of the monopolistic structure from the patent holders on down. The Motion Pictures Patents Company [MPPC] sought to prevent all outsiders from doing any production work, first in movies, and its offspring, the Motion Pictures Association of America [MPAA] continues to operate in this pyramid structure today with the labels at the lowest levels of the structure.

Similarly, the motion picture industry, a large user of music, often supports labels today, however, the relationship and definition of the label has changed drastically since the inception of "the label." Over the years, many records companies bought up the majority of independent label printers and small publishers, integrating them into their record industry structure through third party limited legal corporation papers and other devices to give the appearance of free enterprise and independently owned and operated tiers within the motion picture and music industry. It remains an appearance for all intents and purposes.

With the advent of computer automation and ever smaller printing and recording manufacturing devices, up to and including the modern Personal Computer and its peripheral devices, such as full colour printers and internal recording devices, such as the Compact Disk Recorder [CDR] and Digital Versatile Disk Recorder [DVDR], a complete record manufacturing plant, both portable and affordable, is available to the individual and already exists in most homes, especially the homes of authors music and film.

Therefore, since all of the manufacturing processes can be done in any home, the record companies and the label companies are obsolete as business models. This is not say that a Pressing Plant and manufacturer, such as DiscMakers is obsolete, far from it, since such industrials have adapted to the changes and now cater to the individual. It is still required that large production runs be done in an industrial manufacturing pressing plant, which includes the printing, silkscreening, and other processes necessary to manufacture prerecorded entertainment in massive quantities quickly and cheaply. The movie industry and the music industry have not adapted and they are rapidly dissolving in the face of the market created by the Internet, the Niche Market. The days of the demographic market are gone, forever, replaced by the Niche Market which can reach out to all customers on an individual basis. Mass marketing has been replaced by micro marketing at the atomic [individual] level.

But the idea of a small label and/or record company is, today, in the majority, the well educated author and usually the artist himself. Since there is no manufacturing cost, per se, for producing records and/or movies as complete products, the authors and artists are no longer subject to the restraints of having to give the majority of their sales income to record companies and labels. Rather, they can collect it themselves and pay their employees instead of having to be paid by the investors of the record companies and labels because the investment by the record companies and labels no longer justifies the unfair portion of the profits that these companies took in the past. Instead of the two cents formerly paid by such labels and record companies, en toto, to the authors and artists on each record for which they charged about $6.00 to as much as $12.00 wholesale [with VHS for movies ranging from about $12.00 to $60.00], authors and artists can now obtain all of those profits for themselves; an increase in income from about 300% up to about 600%. This was formerly how much profit the labels and record companies were taking away from the authors and artists, 300 to 600 times what they paid the authors and artists. And with advances recoupable against all payments and royalties, the authors and artists actually paid for the production and publishing while the record companies and labels falsely claimed that they paid for the production and manufacturing costs which entitled them to such monstrously unfair, and often illegal, profits.

Labels no longer put up large sums of money, and, they no longer make large advances, as was questioned by one of the discussion members; certainly, no artist gets a million dollars from a label that can't compete with full author and artist independence which is taking the world by storm at places such as MySpace and YouTube. The indication is that the old style label and record company model is, for all intents and purposes, dead.

The new Internet Entertainment Industry, including its now Internetvision, Intervision, Intravision, Interactivevision [all IV], whatever one decides to call what is recognised as Internet Television, has fullfilled the predictions of McLuhan: "The medium is the message" and has, really for the first time in history, brought true artistic freedom to the authors and artists.

Since the Internet is the medium, the Internet is the message, and, it is the dominant economic force over the old motion picture and music industries. Software giants, such as Apple, Microsoft, Yahoo, and Google, moved in to pull the rug out from under the old industries before the MPAA and the RIAA knew what was happening. With the influx of tens of billions in capital investment from software companies, which also have a vested interest in copyright and its associated revenues and royalties akin to those of the authors of music and film, it is a natural transition for the software companies to replace now the former telecommunications industries and the Internet and Software join to form the new Internet Entertainment Industry [IEI], and, the Internet Entertainment & Electronics Industry [IEE and/or IEEI].

The final unification and alignment of artists and programmers has redefined the entirety of all of the former industries of the motion picture industry, the music industry, and even the electronics industry. Many of their careers cross over into all three skills, education, experience, and abilities. The union is seen as a very good thing in a 21st century economy in which the Internet will dominate world trade as the complete Telecommunications Industry headed by the personal computer.

China refers to this industry and financial district as The CyberSongs Industry, and rightfully so, since their projections for this industry are in the trillions of dollars for the next few years, that is, in its foundling stage.

The United States and Western culture prediction is at least six times that figure, or, $6,000,000,000,000.00 Clearly, the dominant economic indicator for the Gross Domestic Product of the United States as well as most European nations. The former Eastern Bloc countries, once part of the United Soviet Socialist Republics [USSR] has inverted to capitalism and the current emphasis is on music, with film to shortly follow. Groups such as t.A.T.u are merely an indicator and a forerunner of what will become the new music industry within less than four years, and most likely within a year or two.

Because I am a degreed professional in telecommunications, I need not cite anyone other than myself.

Additionally, the terms and acronyms above, such as "IV" the replacement for "tv," are coined by me. However you define them, IV being internetvision, intervision, intravision, or interactivevision, and/or implying a suffix of "television," they will resolve to IV: the life's blood of the 21st century world economy which is entertainment.

Secondly, with more than 30 years design experience in computer systems, I am more than qualified to state as an expert in the computer and all related information technologies as well anything regarding computer hardware and/or software.

I predicted this phenomenon between the years of 1975 to about 1978, this dominance of the computer from within the home in the possession of every family over all other forms of communication. It was quite simple to do so: the computer is the only device that is fully interactive, the real first interactive device, as it were, where any person in the world can interact with any other person in the world. And the qualification which eliminates the telephone from being the first truly interactive device is its limited connectivity, its cost, and its inabilities to change.

Decisions are instantaneous from each individual to any other individual for all individuals in the world, including individuals who decide to do things differently from entities which are not individuals themselves, such as governments and large corporations.

It boils down to individual freedom and the old labels and record companies provided no such liberties, only restraints, which the human individuals have thrown off with the aid of their most modern device, the computer, an extension of themselves and an extension, by design, of the human brain.

Therefore, labels and record companies, in the old context, are obsolete terms.

CyberSongs 20:17, 15 October 2006 (UTC)Terry James, CyberSongs, Author of "The Definitive Work On Computers." CyberSongs Press [1999-2006, Philadelphia]

 * I strongly disagree with this phrase ""The medium is the message" and has, really for the first time in history, brought true artistic freedom to the authors and artists".

 * In this age of the Internet, ever since the advent of the mp3, artists and authors have not benefitted, while, the major record labels, while still hemming and hawing about lost revenue have more than made up for that with the hundreds of lawsuits slapped on just about any organisation or individual they can. Downloading music illegally doesn't hurt major record labels as much as it hurts the independent labels and artists, and the availability and access which the internet offers these kinds of platforms has unfortunately killed off many independent labels/artists. BradNotBrat 05:10, 10 July 2007 (UTC)

 * Because I am a degreed professional in telecommunications, I need not cite anyone other than myself.

 * Sorry to disappoint you, Terry, but you must still adhere to the policies summarized in WP:ATT. I see more than one "because"/"therefore" (that is, original research and novel conclusions, which are forbidden) in your essay above, which would be unlikely to survive if they were added to the article. Many of your other claims, while plausible, don't seem to be very well insulated against challenges. Some of your phrasing isn't encyclopedic, and more generally, you apparently want to lead the reader toward agreement with certain sweeping assessments of the music industry — inappropriate for Wikipedia. And, as BradNotBrat points out above, some of your assertions are outright contentious.

 * Furthermore, WP:NOR doesn't even seem to apply, since you are apparently misrepresenting your own work. This article talk page is the only Google-able occurrence of "CyberSongs Press" and "The Definitive Work On Computers" on the entire Internet. The Pennsylvania Secretary Of State does not have any corporations registered with the word cybersongs. And your username being what it is suggests that you're a self-publisher, which makes you no different than a blogger. Your ideas for improving the article are welcome, but please exercise greater humility and scholarship, and perhaps seek to make smaller edits, appropriately sourced. If your more benign claims about the history of record labels are correct, then you should have no trouble finding additional sources for them. —mjb 04:04, 14 July 2007 (UTC)

Record label categories
Someone is creating categories for Record label established in xxxx for different years. This seems to me an excessive categorisation. What do others think ? -- Beardo 21:53, 28 November 2006 (UTC)

As few sources of this information are likely to exist and the list per year is likely to surprise you in its volume, I disagree.--Tednor 09:55, 3 December 2006 (UTC)

Alternatives to paper labels on LPs and 45s
This line:

The name, "record label", refers to the usually papered and cut center area of a vinyl recording that prominently displays the manufacturer's name, along with other pertinent information. Many 7" vinyl singles were pressed with a relief in lieu of the paper label, particularly in Great Britain.

The word "relief" is unclear. Perhaps it should be expanded to "...silk-screened or embossed graphics in lieu of the paper label"? K8 fan (talk) 22:19, 10 December 2007 (UTC)

Major labels timeline
The timeline of major labels purports to have Sony Music and BMG Music emerge as major labels in the late 1980s, with no apparent predecessors. But wasn't Sony Music just the former CBS Records (which included labels such as Columbia and Epic) after being acquired by Sony Corporation? And I don't know what BMG's predecessors in Europe had owned before that, but I'm pretty sure that BMG became known as a major label in the U.S. after acquiring RCA Records at that time. Since other labels' predecessor companies are shown in the timeline, surely CBS and RCA should be included as predecessors to Sony and BMG. --Metropolitan90 (talk) 17:31, 11 February 2011 (UTC)

Source for "Major vs. independent record labels" section is worthless
This section should be removed, because it doesn't cite a reliable source. It's just an article some guy wrote on About.com that listed four record labels in a numerical list. 99.163.22.236 (talk) 20:44, 13 June 2011 (UTC)

Call for new page..Film Label
I have run into a small problem on a page that described a director as owning a film label. There is no page on Wiki that I can find to help explain what a film label is and the closest I can find is this page record label. If you want to earn some points in the great internet award game creating a page Film Label that lists labels like Disney, Pixar, Dreamworks etc.  would behelpful  The page I had the problem on was Chi Chi LaRue who is said to own a film label.Pbmaise (talk) 07:32, 29 November 2011 (UTC)

Advertising should be removed in section Relationship with artists
Under the relationships with artists section: "as small as two cups of coffee a day" This just seems like someone was trying to advertise the website modlife or whatever it is (why the quotes?). I suggest that the entire part about modlife be removed as it doesn't actually add any content and has no citations. It doesn't explain at all any relevant connection between artists and labels. It doesn't even explain what it means for fans to "get in touch with thier favorite artists and bands". This just sounds like an online fanclub or something like that. I'd bet that the person who added this part of the section works for that website. — Preceding unsigned comment added by 165.214.14.21 (talk) 14:57, 30 November 2011 (UTC)

Agreed. Done. 78.26 (talk) 15:23, 30 November 2011 (UTC)

External links modified
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Cheers. —cyberbot II  Talk to my owner :Online 22:22, 29 August 2015 (UTC)

A Couple of Ideas
Hello everyone,

I am working on trying to improve this article for a class assignment, and I had a couple of ideas that I thought I would run past you guys. I would very much appreciate any personal input any of you guys would have.

1. I feel that the article could use reorganization in some areas, in particular introducing the information about major labels earlier in the article, possibly alongside the "Independent" section.

2. Expanding on the "History" section; the part describing the industry consolidation could use some more information.

Let me know if you guys have any thoughts or input, and thank you. Jhc2675 (talk) 01:01, 7 March 2019 (UTC)

Major labels chart
Why not just have it start in 1929, since there's nothing before then?

74.101.202.221 (talk) 13:45, 17 August 2019 (UTC)

My name is l.g proven l been rapperof 1 year
L.g proven 41.242.160.120 (talk) 14:18, 18 July 2024 (UTC)

title: Talk:Record label


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 * All of Greek except &thetasym; (U+03D1), &upsih; (U+03D2), &piv; (U+03D6)
 * Some of General Punctuation: &lsquo; (U+2018), &rsquo; (U+2019), &sbquo; (U+201A), &ldquo; (U+201C), &rdquo; (U+201D), &bdquo; (U+201E), &dagger; (U+2020), &Dagger; (U+2021), &bull; (U+2022), &hellip; (U+2026), &prime; (U+2032), &Prime; (U+2033), &permil; (U+2030), &oline; (U+203E), but not &ensp; (U+2002), &emsp; (U+2003), &thinsp; (U+2009), &zwnj; (U+200C), &zwj; (U+200D), &lrm; (U+200E), &rlm; (U+200F), &ndash; (U+2013), &mdash; (U+2014), &frasl; (U+2044).
 * From Letterlike Symbols: &trade; (U+2122) but not &weierp; (U+2118), &image; (U+2111), &real; (U+211C), &alefsym; (U+2135)
 * From Arrows: &larr; (U+2190), &uarr; (U+2191), &rarr; (U+2192), &darr; (U+2193), &harr; (U+2194), &rArr; (U+21D2) but not &crarr; (U+21B5), &lArr; (U+21D0), &uArr; (U+21D1), &dArr; (U+21D3), &hArr; (U+21D4)
 * From Currency Symbols: &euro; (U+20AC)
 * From Mathematical Operators: &pat; (U+2202), &radic; (U+221a), &infin; (U+221E), &cap; (U+2229), &asymp; (U+2248), &ne; (U+2260), &equiv; (U+2261), &le; (U+2264), &ge; (U+2265), but not others, including &minus; (U+2212)
 * From Miscellaneous Technical: None
 * From Geometric Shapes: &loz; (U+25CA)
 * From Miscellaneous Symbols: &spades; (U+2660), &clubs; (U+2663), &hearts; (U+2665), &diams; (U+2666)

Some of the above may be subject to change.

A flag can be set to cause &mdash; and/or &ndash; to be converted.

Unicode ranges
The bot only works on specific Unicode character ranges which are already in widespread use in the English Wikipedia (particularly as interwiki links but also elsewhere in articles), for which printable characters are commonly available on most operating systems. It will not convert characters outside of those ranges (for an example, see this bot edit ; the characters that aren't changed are precisely the ones that are not displayable, at least on my system).

Currently these ranges (see http://www.unicode.org/charts ) are:
 * ASCII printable (0x20–0x7E) only as %NN, not as &# ; or & ; (see below)
 * Latin-1 printable above 0xA0 (except &nbsp; and &shy;)
 * Latin-1 non-printable (0x80–0x9F) handled manually, see below
 * Latin extended-A

 * Greek, Cyrillic, Hebrew, Arabic, Chinese, Japanese, Korean
 * Chinese Pinyin part of Latin extended-B (third-tone)
 * Vietnamese part of Latin extended-B (o-horn, u-horn)
 * Armenian, Georgian
 * Azerbaijani uppercase schwa (from Latin extended-B) and lowercase schwa (from IPA)
 * Devanagari, Bengali, Gujarati, Tamil, Telugu, Kannada, Malayalam
 * Thai
 * Vietnamese part of Latin Extended Additional
 * Hebrew part of Alphabetical Presentation Forms (used for Yiddish)
 * Arabic Presentation Forms A and B
 * Halfwidth and Fullwidth Forms (double-width ASCII chars, often used with CJK)
 * Some punctuation and symbols beyond the Latin-1 set: euro, trade, numero sign, ndash, mdash , minus sign , left/right single/double quotes, daggers, bullet, prime and double prime, arrows, horizontal ellipsis
 * One combining diacritic: combining acute accent, also used as "stress mark"
 * Some but not all of the miscellaneous characters in WGL4; some are not converted if there is potential for confusion with another character (such as mathematical operator U+2206 INCREMENT which could be confused with uppercase Greek delta)

"Mainstream" characters only
Note, not all of the characters in the above ranges are converted. For instance, the Unicode Cyrillic range (U+0400 to U+04FF) includes many obsolete Cyrillic characters (such as yat) and Cyrillic characters for non-Slavic languages (such as Ossetian Cyrillic æ) which are not available in default fonts. In general, characters are only converted if glyphs are available for them in the default font, since characters that appear as "�" in the browser editor are difficult to work with.

mdash, ndash, minus sign
By default, the bot will not convert &mdash; &ndash; or &minus; (however it will convert the numerical forms to the alphabetical forms, for instance: &#8211; → &mdash;)  Similarly, it will convert &#160; → &nbsp; and likewise for &shy;

However, a flag can be set to turn on conversion of mdash and ndash. This is useful, for instance, in working on Wikipedia articles that cover Canadian election ridings, which incorporate dashes in their names.

Note the Unicode minus sign is not the same as the ASCII hyphen. Its glyph is the same width as the "+" sign (compare -40 and −40), and it will not line-break (so if you want −40 you never get the "−" at the end of one line and the "40" at the start of the next). The Unicode minus sign is available in the range of characters below any editing window: it's next to the ± sign, and not to be confused with the en-dash – which is next to the em-dash —.

ASCII printable
Numeric character reference (&# ;) or character entity references (& ;) are not converted when they represent ASCII characters (eg, &#39; &amp; &gt; &lt; &quot;). This is because such usage may be intended to avoid being considered wiki markup: for instance :
 *  Warspite &#39;s 381 mm rounds

where &#39; is used instead of  '  , to display:
 * Warspite's 381 mm rounds

However, there is a special exception for &#32; (&#x20;) = SPACE, because this doesn't interfere with HTML markup and because for some reason it seems to occur somewhat often within Cyrillic (see for instance: ). So we do convert this one into a literal space.

However, printable ASCII (not control characters or DEL) is almost always converted when it occurs in the form of %NN in link page names: for instance:
 *  New_York%2C_New_York_%28song%29   →   New York, New York (song)

The exceptions are for %5B ( [ ), %5D ( ] ) and %7C ( | ), which are converted to numeric character references instead because otherwise they would interfere with the |  syntax. This is mostly hypothetical, since it's unlikely that these will ever occur in article titles.

Latin-1 non-printable
The bot also detects numeric character references in the range 0x80 to 0x9F (decimal 128 to 159). These are non-printing characters in Unicode, but are used as printing characters in older character sets such as Windows-1250, Windows-1252, etc.

As part of the conversion to Mediawiki 1.5, bytes occurring in pre-1.5 content in the range 0x80 to 0x9F were assumed to be from Windows-1252 and converted accordingly, and should not be seen in wiki text. However, numeric character references in this range were not converted in any way. When the bot finds these, it pauses and prompts the operator with possible characters based on the mappings from the various Windows-125x to Unicode.

Some examples: this old revision of the "Acute accent" article, with a &#158; in it (should be z-with-caron); this old revision of Nicolaus Copernicus with four &#151; in it (should be mdash). Another example of this was this old revision:, where there is a &#159; (U+009F). The text in question appears as "Walenty RoŸdzieński" on Windows because Y-umlaut is code 0x9F in Windows-1252, but it should be "Walenty Roździeński" since z-acute is code 0x9F in Windows-1250. The bot suggests substituting Y-umlaut (U+0178) or z-acute (U+017A) in place of (U+009F), and the operator selects the suitable choice after examining the article and the context. Another alternative would be Cyrillic-small-letter-dzhe (U+045F) from Windows-1251.

ISO Latin escape sequences
Nearly all of the %NN escape sequences represent UTF-8 escape sequences. However, some represent "leftover" ISO-Latin escape sequences, left over from the time when the English and some Scandinavian wikipedias used Latin-1, the Polish wikipedia used Latin-2, etc. As described above, the ISO-Latin escape sequences can be unambiguously distinguished from the UTF-8 escape sequences. However, manual intervention is needed in order to confirm whether any particular ISO-Latin escape sequence represents Latin-1, Latin-2, etc. Most are Latin-1.

Private Use Area
The Unicode range U+E000 to U+F8FF is designated as a "private use area". No characters in this range are defined; rather, it's reserved for individual users and organizations for use with their own custom character sets and fonts, outside the scope of Unicode. Such characters should never be in Wikipedia, however there are some rare examples as the former version of Cædmon which used &#61549; (U+F06D) (actually, this is the only example I've found so far; see  for how the mystery was solved).

The bot can't attempt any kind of fix here. It flags the occurrence in its log files. The only thing to do is to try a purely manual fix (Google search, contacting the original author, consulting groff symbol font mapping, etc).

Missing semicolons
The bot will try to detect missing final semicolons in character entity references (such as "<tt>D&eacutej&aacute vu</tt>" instead of "<tt>D&eacute;j&aacute; vu</tt>") and prompt the user on whether to repair this. This requires manual intervention because of the possibility of false positives. In particular, & occurs often in URLs, in the form:
 * <tt> http://xxxxx.yyy?aaa=...&bbb=...&ccc=... </tt>.

 * Some entities are not checked because they are substrings of another entity (for instance, "&sigma" is not checked because there would be a false positive with every occurrence of "&sigmaf")
 * Some entities are not checked because they are too short and likely to produce false positives (for instance, "&pi")

The bot will also try to detect missing final semicolons in numeric character references (such as "<tt>&#263</tt>" instead of "<tt>&#263;</tt>", or the equivalent hexadecimal with "<tt>&#x</tt>") and prompt the user on whether to repair this. In this case, the possibility of false positives is greatly reduced compared to the previous case, however we still require manual intervention to approve the change.

Right-to-left and bidirectional text
If the bot creates any Unicode characters that are RTL (right-to-left, such as Arabic or Hebrew), it will report this in the edit summary.

This section needs to be updated and modified  See my comments at the Village Pump under the heading, "a proposed solution to Unicode bidirectional algorithm woes in the text editor"

If the RTL text has no LTR (left-to-right) characters embedded within it other than space and quote ('), it will go ahead and perform the conversion to Unicode. However, if any other LTR characters are embedded within two segments of RTL text, the bot will pause and ask the operator to confirm the change. If the change is confirmed, an extra report is made in the edit summary.

This is necessary because display issues can arise in the display of bidirectional text. Even though all the underlying Unicode characters are in the proper sequence as before, they may be displayed in an out-of-order sequence in the browser's editor, or sometimes even in the page as viewed by the reader. For discussion of these issues, see: http://www.w3.org/TR/html401/struct/dirlang.html

The most common case of this is an Arabic or Hebrew interwiki link that contains a disambiguation with parentheses. For instance, in the Ani Maamin article, the interwiki link was:

&

When these numeric character references are converted to Unicode, the appearance (in the browser's editor or in the diffs ) displays as:

he:אני מאמין (פיוט)

when really it should display as:

אני מאמין (פיוט)

Note that this is only a display issue: the actual underlying Unicode characters are all in proper sequence and the Hebrew interwiki link itself works fine and takes you to the correct page. The issue is that the browser display can't decide whehter the final closing parenthesis should attach to the preceding Hebrew letter ("ט") and display as "(" as a right-to-left closing parenthesis, or whether it should attach to the following ASCII character "]" and display as ")" as a left-to-right closing parenthesis.

When embedded within article text — like this: אני מאמין (פיוט) — there may also be display issues, but in this case it is sufficient to enclose the text within <span dir="rtl"> … </span> to make it display properly: אני מאמין (פיוט).

In the case of Arabic or Hebrew interwiki links, I'll usually go ahead and manually approve the change: the convenience to Arabic- or Hebrew-speaking editors to be able to actually read the interwiki link (instead of dealing with &# soup) outweighs the single misplaced parenthesis. Other cases are handled on a case-by-case basis. In some especially complicated cases of embedding (for example Template:User ar-1) it will be preferable to leave the numeric character references rather than convert to Unicode.

Edit summaries

 * Edit summaries will look like this (in the most elaborate case):

 * (20 &# ; → Unicode (12 RTL chars created) • 4 & ; → Unicode • 6 &# ; → & ; • 2 UNDEF (&# 128–159) found: 2 fixed semi-manually, 0 not • 4 link(s): %NN changed • 2 link(s): _ → space • RTL-LTR-RTL found)

 * These need to be a bit cryptic because of a 237-character limit.

 * If simplification of redirects was done, this will also be added to the edit summary.

Issues
I am currently manually checking the results of each bot edit.
 * As of September 3 2005, the bot has made a couple of thousand edits. I will no longer check routine bot edits, but will still check any edits that involve RTL characters (Hebrew, Arabic) or %NN characters or any edits that are out of the ordinary (such as ). These can be identified by the description in the edit summary.
 * As of September 14 2005, I am no longer checking the %NN edits.

 * With regards to the redirect-simplifying functionality, I will check each such edit. This is still in development and is turned off by default.

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

title: User:Curpsbot-unicodify


text: Talk:Thorntown, Indiana

title: Talk:Thorntown, Indiana


text:
Talk:Jamestown, Indiana

External links modified
Hello fellow Wikipedians,

I have just modified 3 external links on Jamestown, Indiana. 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 http://www.webcitation.org/6HQu4Spqa?url=http://www.census.gov/popest/data/cities/totals/2012/SUB-EST2012.html to http://www.census.gov/popest/data/cities/totals/2012/SUB-EST2012.html
 * Added archive https://archive.is/20160602200744/http://www.census.gov/popest/data/cities/totals/2015/SUB-EST2015.html to http://www.census.gov/popest/data/cities/totals/2015/SUB-EST2015.html
 * Added archive http://www.webcitation.org/6YSasqtfX?url=http%3A%2F%2Fwww.census.gov%2Fprod%2Fwww%2Fdecennial.html to http://www.census.gov/prod/www/decennial.html

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) 16:22, 18 April 2017 (UTC)

title: Talk:Jamestown, Indiana


text:
User talk:Gtj83uk

Welcome
Hello, , and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. If you are stuck, and looking for help, please come to the Wikipedia Boot Camp, where experienced Wikipedians can answer any queries you have! Or, you can just type   on your user page, and someone will show up shortly to answer your questions. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. Again, welcome! --Lord Voldemort (Dark Mark) 21:33, 22 August 2005 (UTC)
 * The Five Pillars of Wikipedia
 * How to edit a page
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 * How to write a great article
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 * Manual of Style

Image:Bradford management campus.jpg
Thanks for uploading Image:Bradford management campus.jpg. I notice the 'image' page specifies that the image is being used under fair use, but its use in Wikipedia articles fails our first fair use criterion in that it illustrates a subject for which a freely licensed image could reasonably be found or created. If you believe this image is not replaceable, please:
 * 1) Go to the image description page and edit it to add
 * 2) On the image discussion page, write the reason why this image is not replaceable at all.

If you have uploaded other fair use media, consider checking that you have specified how these images fully satisfy our fair use criteria. You can find a list of 'image' pages you have edited by clicking on [ this link]. Note that any fair use images which are replaceable by free-licensed alternatives 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. Sherool (talk) 16:29, 2 November 2006 (UTC)

Fair use rationale for Image:Bradford logo.jpg
Thanks for uploading Image:Bradford logo.jpg. 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 Wikipedia articles 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.

If you have uploaded other fair use media, consider checking that you have specified the fair use rationale on those pages too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any 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.

Unspecified source for Image:Bradford logo.jpg
Thanks for uploading Image:Bradford logo.jpg. I noticed that the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you did not create this file yourself, then you will need to specify the owner of the copyright. If you obtained it from a website, then a link to the website from which it was taken, together with a restatement of that website's terms of use of its content, is usually sufficient information. However, if the copyright holder is different from the website's publisher, then their copyright should also be acknowledged.

As well as adding the source, please add a proper copyright licensing tag if the file doesn't have one already. If you created/took the picture, audio, or video then the GFDL-self-no-disclaimers tag can be used to release it under the GFDL. If you believe the media meets the criteria at Fair use, use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other files, consider checking that you have specified their source and tagged them, too. You can find a list of files you have uploaded by following [ this link]. Unsourced and untagged images may be deleted one week after they have been tagged, as described on criteria for speedy deletion. If the image is copyrighted under a non-free license (per Fair use) then the image will be deleted 48 hours after 15:20, 16 May 2007 (UTC). If you have any questions please ask them at the Media copyright questions page. Thank you.

Fair use rationale for Image:Erasmus Logo.jpg
Thanks for uploading Image:Erasmus Logo.jpg. 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 Wikipedia articles 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.

If you have uploaded other fair use media, consider checking that you have specified the fair use rationale on those pages too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any 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.Betacommand (talk • contribs • Bot) 20:24, 17 May 2007 (UTC)

Unspecified source for Image:Erasmus Logo.jpg
Thanks for uploading Image:Erasmus Logo.jpg. I noticed that the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you did not create this file yourself, then you will need to specify the owner of the copyright. If you obtained it from a website, then a link to the website from which it was taken, together with a restatement of that website's terms of use of its content, is usually sufficient information. However, if the copyright holder is different from the website's publisher, then their copyright should also be acknowledged.

As well as adding the source, please add a proper copyright licensing tag if the file doesn't have one already. If you created/took the picture, audio, or video then the GFDL-self-no-disclaimers tag can be used to release it under the GFDL. If you believe the media meets the criteria at Fair use, use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other files, consider checking that you have specified their source and tagged them, too. You can find a list of files you have uploaded by following [ this link]. Unsourced and untagged images may be deleted one week after they have been tagged, as described on criteria for speedy deletion. If the image is copyrighted under a non-free license (per Fair use) then the image will be deleted 48 hours after 20:24, 17 May 2007 (UTC). If you have any questions please ask them at the Media copyright questions page. Thank you.Betacommand (talk • contribs • Bot) 20:24, 17 May 2007 (UTC)

Non-free use disputed for Image:Erasmus Logo.jpg
Thanks for uploading Image:Erasmus Logo.jpg. However, there is a concern that the rationale you have provided for using this image under "fair use" may be invalid. Please read carefully the instructions at Non-free content and then go to the image description page and clarify why you think the image qualifies.

If it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our Criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 04:16, 3 June 2007 (UTC)

title: User talk:Gtj83uk


text: Talk:Ulen, Indiana

title: Talk:Ulen, Indiana


text:
Talk:Whitestown, Indiana

Anson
Does this information really belong in this article about Whitestown? I ask this for two reasons:
 * As far as I can tell, this new land development is not inside of the town boundaries of Whitestown. "Whitestown" may be the city listed on the postal addresses for new houses in this development, however "A ZIP code's address and the "city" name written on the same line do not necessarily mean that that address is within that city." (from Zip Code)
 * While this information is sourced, it does seem to read like an advertisement and the information about Anson Mills also seems to fail the notability guidelines.

If no-one objects I am going to remove this information. —Preceding unsigned comment added by 72.218.101.145 (talk) 18:27, 8 December 2008 (UTC)

Did you remove it? It's up there again if you did. Paris1127 (talk) 09:53, 14 June 2010 (UTC)

title: Talk:Whitestown, Indiana


text:
Talk:Zionsville, Indiana

Important Tips Before Editing This Article
Please review the following: • Sbmeirow  •  Talk  •  15:09, 10 August 2012 (UTC)
 * 1) Please follow the Wikipedia USCITY guideline for layout and content.
 * 2) Please document your source by citing a reference to prove your text is verifiable.
 * 3) Please add text that has a neutral point of view instead of sounding like an advertisement.
 * 4) Please ensure a person meets Wikipedia Notability requirements before adding to the "Notable People" section.
 * 5) Please read the "Editing, Creating, and Maintaining Articles" chapter from the book Wikipedia : The Missing Manual, ISBN 9780596515164.

Untitled
brittany poore should be mentioned under famous peoples  —Preceding unsigned comment added by 91.39.210.187 (talk) 11:49, 17 January 2009 (UTC)

Does anyone know who the Sioux FC are? I've lived in Zionsville for my entire life and I have no idea who these people are. I believe that they are a fantasy soccer team, so I'm going to delete them from the article. If anyone has some real info (sources), I'll be happy to change it back. --Zaszamonde —Preceding comment was added at 17:45, 17 May 2008 (UTC)

Sioux FC is one of the many indoor soccer teams that play that was created by Zionsville High School Students, the are renowned throughout the school along with the Creep and The Super Smash Brothers —Preceding unsigned comment added by 149.159.40.88 (talk) 21:57, 20 October 2008 (UTC)

I removed the link to zionsvillein.com, since it seems to just be an ad for a real estate firm. I realize that zionsville.com is a real estate firm as well, but they have useful information on their site (restaurant locations, store information, stuff that is interesting to the local populace). zionsvillein.com seems to be a cheaply made site with no useful information (for example, all the photos of subdivisions look like they were taken from the entrance, without actually entering them -- a little shady). Whoever keeps adding the link, please provide a good reason for it being up there. --Blazeix —Preceding signed but undated comment was added at 14:27, 28 September 2007 (UTC)

I live on main st. and see horses more often than you would think. But the horse-drawn vehicles are gone. I used to see them all the time a couple years ago but since traffic has gotton worse they stopped.

I've not seen any "coaches" around Zionsville except for the local sports teams. How often are horse-drawn vehicles really seen there? (added without signing by Dogface)

Why dont you cry some more? (added without signing on 14:13, 11 August 2006 by 134.68.63.192)

The following was moved to the Discussion page, where contentiousness like this belongs:

Zionsville has not been "intentionally groomed" to give off a "village air"... Zionsville's brick main street has always been brick, and the whole town turns out to help "re-pave" when the bricks wear down. The other brick streets in the town have been paved over. The houses in the village have not been recreated to give off a village air, either... many are nicely refurbished, but most are original homes dating from the mid / late 19th century. Zionsville has intentionally passed zoning and building ordinances specifically designed to keep growth down and, yes, to conform to a specific look or style. Those sorts of rules have helped keep Zionsville a small, relatively charming community, with thriving independent shops and storefronts, when other nearby, similarly-sized communities (Carmel, many years ago, as well as Fishers and Westfield) have fallen victim to urban sprawl, and are now filled with big-box stores, national chains, and cookie-cutter neighborhoods with cookie-cutter houses, not to mention over-crowded schools and traffic nightmares. Zionsville has striven to maintain an unique identity in a midwest fast becoming completely homogeneous, and its citizens are proud that it doesn't look and feel like everytown, USA.

Dogface 17:52, 2 November 2006 (UTC)

Ray Cortopassi IS notable, please leave him under "notable residents" section
For years, Ray Cortopassi was the evening news anchor for Indianapolis news station WRTV6. He is now president of the Zionsville Chamber of Commerce. For these reasons, he belongs under the "notable residents" section. Every so often, this entry is removed. I would like this removal activity to stop. The fact that no one has taken the time to write a Wikipedia article about him does not disqualify him from being listed in this section, IMO. 98.220.43.195 (talk) 19:42, 1 March 2009 (UTC)
 * You really haven't made a case for notability. Being president of a small town chamber of commerce is not notability. Anchor of the evening news can be, but Cortopassi was only WRTV anchor for 6 years and RTV isn't even the dominate station in Indianapolis -- a relatively small t.v. market. Can you make a better case for him than his short stint as the anchor of a secondary news station in a secondary market? Ncjon (talk) 21:02, 1 March 2009 (UTC)
 * He's president of the chamber of commerce for the town this very article is about!!!!! Are you kidding? And Indianapolis is a "relatively small TV market"? By whose standards? Not every city can be New York, Chicago or LA. Now, I'm guessing you consider WTHR the dominant station in Indianapolis? Because Cortopassi is a reporter for that station now as well, further adding to his continuing visibility and notability.98.220.43.195 (talk) 22:19, 1 March 2009 (UTC)
 * You still haven't made a case for notability. Nielsen ratings show WRTV is not the dominant station in Indianapolis. Check out television markets to see how far down Indianapolis is. Ncjon (talk) 01:45, 2 March 2009 (UTC)
 * Yeah, Indianapolis is #24 out of 259. Not exactly obscure or anything. But I have to ask -- why do you care so much? As you say on your talk page, you're "just a dude" who lives in North Carolina. Why do you insist on reverting a perfectly good addition to an article on a town 1,000 miles away from you? Don't you have anything better to do than harass people you don't know who are simply trying to contribute to an article on a lovely Indiana town? 98.220.43.195 (talk) 01:48, 2 March 2009 (UTC)
 * Not harassing anyone bud. I keep track of articles I'm interested in. That includes this one. And you still haven't made a case for general notability. Ncjon (talk) 11:22, 2 March 2009 (UTC)
 * Yes, I have made a case for notability, on several fronts. You just don't want to accept it. Just because YOU don't feel he's notable is irrelevant to me. The fact that you are "keeping track" of this article by continuously deleting my entry, when you could just as easily leave it alone -- because the information is doing no harm being there -- means you are harassing me. Let it go. 98.220.43.195 (talk) 21:54, 2 March 2009 (UTC)
 * Some editors take a stricter view of notability than others do, particularly when it comes to these lists of notable residents (notable alumni too). The usual standard of notability is that the individual either have a Wikipedia article about them, or would qualify per WP:BIO. I'm not sure that this individual would qualify. In any case, what sources do we have for him? Has a local peper done a profile, for example? We can start by adding links to those sources.   Will Beback    talk    22:19, 2 March 2009 (UTC)

see this article on Ray in 2013 http://www.currentzionsville.com/2013/10/22/taking-risks/

don't take croshere off, he was a key role in many of the pacers playoff pushes, he is also my neighbor. —Preceding unsigned comment added by Dacman22 (talk • contribs) 04:06, 5 March 2010 (UTC)
 * I didn't remove Croshere. He was out of place in the alphabetical list and I moved him up, then you re-added him so he was on the list twice. Ncjon (talk) 12:01, 5 March 2010 (UTC)

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text:
Mary Anne Hobbs

Mary Anne Hobbs (born 16 May 1964) is an English DJ and music journalist from Lancashire, England. She currently hosts the BBC Radio 6 Music weekday mid-morning show, Monday to Friday, 10:30am – 1pm. She is also a performer and curator of live events. In 2024 she created a ground-breaking collaboration with violinist Anna Phoebe for the 6 Music Festival. She's hosted the ALL QUEENS stage at All Points East festival for 4 years. In 2019, she created a radical live show, Queens of the Electronic Underground for Manchester International Festival and assisted David Lynch with his musical presentation at the festival, following her series of shows, "Dark Matter" at MIF 2017. She staged a BBC Prom with Nils Frahm and A Winged Victory for the Sullen in 2015. She performs as a live DJ internationally, at events such as the opening of Switch House at TATE Modern and the TATE Britain re-hang celebrations in 2023.

Early life
Hobbs was born in Preston, Lancashire but grew up in Garstang, a small town 10 miles to the north. In the 1980s, Hobbs lived on a bus in a carpark in Hayes, Hillingdon, with the hard rock band Heretic before becoming a journalist for Sounds magazine at the age of 19. She later went to work for the NME writing the notorious Nirvana cover story of 1991. While with the NME she served as UK correspondent in Canada on CBC Radio, filing a weekly music report. This contributed to her break in radio with BBC GLR.

Career
Hobbs then worked at XFM before being headhunted by BBC Radio 1 after a confrontational interview on XFM with Radio 1's Trevor Dann. She shot a TV series about global biker culture, Mary Anne's Bikes, in Japan, America, Russia, India, and Europe for BBC Choice & BBC World in 2003, and presented the World Superbikes series 2005 for British Eurosport. She also compèred the Leeds Festival between 1999 and 2003. In the early 2000s she narrated the CBBC science series Why 5.

Radio shows
Hobbs first joined Radio 1 in January 1996, as co-presenter of the weekly Clingfilm movie review show with Mark Kermode. A fan of punk and rock (and with a love of motorbikes) from an early age, she fronted the Radio 1 Rock Show 1999–2005. But her best loved show on BBC Radio 1 was the experimental / electronic show The Breezeblock she created during her fourteen years at the network. In September 2006 The Breezeblock name was dropped for the title Experimental. Hobbs was an early champion of the dubstep and grime genres and hosted the legendary 'Dubstep Warz' special on BBC Radio 1 in January 2006.

On 23 July 2010, Hobbs announced on her MySpace page that she was leaving BBC Radio 1. She spent a year mentoring students at University of Sheffield Union of Students.

On 9 July 2011, Hobbs returned to radio in the primetime slot (7 – 10pm Saturdays) she had always coveted for electronic music, broadcasting from XFM in Manchester. In September 2011 she began hosting the relaunched "Music:Response" evening show across the XFM network. On 31 October 2012, she announced live on-air and on her Facebook page that she was leaving XFM the following day.

On 3 December 2012, the BBC announced that Hobbs was to become the new Weekend Breakfast presenter for BBC Radio 6 Music.

In 2013 and 2014 she made documentaries for BBC Radio 4, and hosted Saturday Classics programmes for BBC Radio 3 making the connections between contemporary and classical music.

On 9 August 2018, the BBC announced that Hobbs was moving to weekday mid-mornings, replacing Lauren Laverne. Hobbs' first show in this slot was on 7 January 2019.

Live DJing
Hobbs has toured as a live DJ and curated events internationally since 2006. In June 2007, Hobbs curated the UK Dubstep showcase at the Sónar festival with Skream, Oris Jay and Kode9, taking the sound out of club environments and onto an international festival stage in front of 8,500 people. Her second Sonar showcase featured Shackleton, Flying Lotus and Mala from Digital Mystikz. In 2009 she returned to the festival with Joker, The Gaslamp Killer and Martyn, and in 2010 again with Flying Lotus and also with new British producers/DJs Roska and Joy Orbison. In 2011 she played solo to her biggest ever audience of 15,000 people at Sonar, and in 2012 she created a one-off collaborative Descent into Darkness performance with techno producer Blawan. She returned solo in 2013 for the festival's 20th anniversary.

Other
Hobbs owns an original Banksy, gifted to her personally by the artist for her birthday in the year 2000. It is an early prototype of his piece ‘Love Is In The Air’ and is currently on display at Manchester Art Gallery.

Discography
Hobbs released a dark electronic compilation album on Planet Mu records entitled Warrior Dubz in October 2006, drawing the sonic parallels between dubstep, grime, dark dancefloor, techno, d&b and hip hop. She followed this with two more compilations: Evangeline in June 2008 and Wild Angels in September 2009.

Soundtracks
Darren Aronofsky and Clint Mansell invited Hobbs to work with them on the soundtrack for the Oscar-winning film Black Swan. She worked with young electronic producers to create original music for the pivotal club scenes. The soundtrack was Grammy Award nominated.

Hobbs is mentioned in the Half Man Half Biscuit song "Nove on the Sly" from the album Trouble Over Bridgwater.

title: Mary Anne Hobbs


text:
User talk:Patrick Loiseleur

Welcome
Hello, , and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. If you are stuck, and looking for help, please come to the New contributors' help page, where experienced Wikipedians can answer any queries you have! Or, you can just type   on your user page, and someone will show up shortly to answer your questions. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. Again, welcome! --Lord Voldemort (Dark Mark) 21:34, 22 August 2005 (UTC)
 * The Five Pillars of Wikipedia
 * How to edit a page
 * Editing tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style

title: User talk:Patrick Loiseleur


text:
Machito

Machito (born Francisco Raúl Gutiérrez Grillo, December 3, 1909 – April 15, 1984) was a Latin jazz musician who helped refine Afro-Cuban jazz and create both Cubop and salsa music. He was raised in Havana with his sister, singer [Graciela].

In New York City, Machito formed the Afro-Cubans in 1940, and with Mario Bauzá as musical director, brought together Cuban rhythms and big band arrangements in one group. He made numerous recordings from the 1940s to the 1980s, many with Graciela as singer. Machito changed to a smaller ensemble format in 1975, touring Europe extensively. He brought his son and daughter into the band, and received a Grammy Award in 1983, one year before he died.

Machito's music had an effect on the careers of many musicians who played in the Afro-Cubans over the years, and on those who were attracted to Latin jazz after hearing him. George Shearing, Dizzy Gillespie, Charlie Parker, Cab Calloway and Stan Kenton credited Machito as an influence. An intersection in East Harlem is named "Machito Square" in his honor.

Early life
Machito gave conflicting accounts of his birth. He sometimes said he was a native Cuban from Havana. Other accounts place his birth in Tampa, Florida, making him an American of Cuban ancestry. He may have been born in 1908 in the Jesús María district of Havana or in Tampa, 1909 in the Marianao Beach district of Havana or in Tampa, 1912 in Tampa or Havana, or even 1915 in Havana.

Regardless of his place of birth, Machito was raised from an early age in the Jesús María district of Havana, where his sister Graciela was born August 23, 1915. Her parents raised both of them. Young Francisco Raúl Gutiérrez Grillo, the son of a cigar manufacturer, was nicknamed "Macho" as a child because he was the first son born to his parents after they had three daughters. In his teens and twenties in Cuba, "Macho" became a professional musician, playing in several ensembles from 1928 to 1937.

Career
Macho moved to New York City in 1937 as a vocalist with Las Estrellas Habaneras (Havana Stars). He worked with several Latin artists and orchestras in the late 1930s, recording with Conjunto Moderno, Cuarteto Caney, Orchestra Siboney, and the bandleader Xavier Cugat. After an earlier attempt to launch a band with Mario Bauzá, in 1940 he founded the Afro-Cubans, and conducted their first rehearsal on December 3 at the Park Palace Ballroom located at W. 110th Street in Harlem. A big band-style brass section with trumpets and saxes was backed by a trap drum, piano, bass and a Cuban bongo. Several weeks later, in early January 1941, Machito took on Mario Bauzá as musical director; a role he retained for 34 years. As an instrumentalist, Bauza played trumpet and alto saxophone.

The band had an early hit with "Sopa de Pichon" in 1941. Its title is slang for "pigeon soup", a Puerto Rican joke about nearly starving as an immigrant in New York.

Machito and the Afro-Cubans, were among the first to fuse Afro-Cuban rhythms with jazz improvisation and arrangements for a big band. Machito was the front man and maraca player of the Afro Cubans, while Bauza determined the character of the band as musical director. Bauza, Machito's brother-in-law from his marriage to Machito's sister Estela, hired jazz-oriented arrangers and musicians to replace the band's founding member and original arranger, José "Pin" Madera, who had been drafted into the U.S. Military and served in World War II.

As a result, Machito's music greatly inspired such United States jazz musicians as Dizzy Gillespie, Charlie Parker and Stan Kenton. One of the items in the Kenton orchestra's repertoire was an idiomatic Afro-Cuban number known as "Machito," composed by Stan Kenton with Pete Rugolo and released as a Capitol 78 in 1947.

In April 1943 during World War II, Machito was drafted into the United States Army. After a few months of training, he suffered a leg injury and was discharged in October. Earlier, anticipating a long absence of the band's leader, Bauza had sent for Machito's younger foster sister Graciela, who traveled to New York from Havana where she had been touring with El Trio Garcia, and singing lead with the all-female Orquesta Anacaona. Graciela served as the lead singer of the Afro-Cubans for a year before Machito returned to front the band. Graciela stayed on — at performances, the two singers alternated solo songs and created duets such as "Si Si No No" and "La Paella". Adding to the percussion, Graciela played claves alongside Machito's maracas.

Beginning in 1947, teenager Willie Bobo helped move the band's gear to gigs in Upper Manhattan, just so he could watch them play. Near the end of the evening, if there were no musician's union leaders in sight (he was underage), he borrowed bongos from José Mangual and played with the band. Later, Machito helped him get positions in other Latin bands. Many years later, George Shearing pointed to Machito and Willie Bobo as two musicians who helped him learn "what Latin music was about".

Machito accepted a recording date with Stan Kenton in December 1947, playing maracas on the tune "The Peanut Vendor", which was a hit for Kenton. Other Afro-Cubans at the date were Carlos Vidal on congas and José Mangual on timbales. The next month, the bands of both Kenton and Machito shared the stage at The Town Hall, New York setting off a surging interest in Cubop. Machito named that style of music when he recorded an arrangement of Bauza's "Tanga" with the new title "Cubop City" in 1948. Machito was sought after by record producers, and in his live shows he featured soloists Howard McGhee on trumpet and Brew Moore on tenor sax. Late in 1948, he took to the studio with Charlie Parker, and Flip Phillips on tenor sax. Machito's star was ascendant, and he played Carnegie Hall on February 11, 1949, on a bill including Duke Ellington, Lester Young, Bud Powell and Coleman Hawkins. An album derived from 78 sides recorded in 1948 and 1949 was issued: Mucho Macho. For these recordings, the 14-piece band had three trumpeters (including Bauzá), four saxophonists, piano player René Hernández, a bass player, and three percussionists playing bongos, congas and timbales, augmented by Graciela on claves and Machito himself on maracas. A subsequent release was Tremendo Cumbán featuring arrangements by pianist Hernández and vocal additions from the Rigual Brothers. This recording includes Mitch Miller playing oboe on one tune, "Oboe Mambo".

Each summer from the mid-1940s to the late 1960s, a period of 22 years, Machito and his band played a ten-week engagement at the Concord Resort Hotel in the Catskills. Machito's album Vacation at the Concord was issued in 1958 as a representative experience of an evening's performance, but it was not recorded at the resort. Five-year-old Mario Grillo learned to play the timbales during the 1961 summer series, with lessons from Ubaldo Nieto, then returned to New York with his father's band and played his first gig, taking a single timbales solo at the Palladium Ballroom while standing on a chair next to Tito Puente.

In 1957, Machito recorded the album Kenya, with mostly original songs by A.K. Salim, or Hernández collaborating with Bauzá. The only cover tune was "Tin Tin Deo" by Luciano "Chano" Pozo. Guest musicians include Doc Cheatham and Joe Newman on trumpet, Cannonball Adderley on alto sax, and Eddie Bert on trombone. Band regular and arranger band Ray Santos played tenor sax on the album as well. A seven-man percussion section (including Cándido Camero and Carlos "Patato" Valdés) rounds it out. The album has shown significant longevity: a half century after its release it was named by Robert Dimery in his book 1001 Albums You Must Hear Before You Die.

Smaller format
In 1975, Machito's son Mario Grillo, known as "Machito Jr", joined the band for its recording with Dizzy Gillespie, Afro-Cuban Jazz Moods; the album, featuring arrangements by Chico O'Farrill, was nominated for a Grammy Award. Later in 1975, Machito determined that he would accept an invitation to tour Europe with a smaller eight-piece ensemble. Bauzá quit; he had grave doubts that such an enterprise would work musically. Graciela left as well. The tour and the smaller band proved very successful; the start of perennial tours of Europe. (Bauzá admitted, years later, that he had acted too hastily. ) Mario Grillo took over the duties of musical director in 1977. That year, the band earned another Grammy nomination for Fireworks — a change of tone signaled by the appearance of Lalo Rodríguez as co-lead singer and composer of three tunes. Further European tours were undertaken using the band name "Machito and his Salsa Big Band", and Machito's daughter Paula Grillo carried female lead vocals, stepping into Graciela's shoes. When the band appeared in London in February 1982, they accepted long-term engagements, making London their "home base".

At Avery Fisher Hall in 1978, Machito and his band played for the New York portion of the Newport Jazz Festival. Dizzy Gillespie soloed with the band. Following his set, Machito and Tito Puente both brought their bands to the stage. The two bands played the song "Mamba Adonis" for 15 minutes, a tune that was later renamed "Machito Forever" by Puente. Subsequently, Machito's band and Gillespie finished the set with the tune "Manteca", an arrangement from 1948.

In 1983, Machito won a Grammy Award in the Best Latin Recording category for Machito & His Salsa Big Band '82. The recording was made in the Netherlands in about four hours, mostly one take per tune.

Personal life
Machito was somewhat short in stature, at 5 ft in height. A lifelong Roman Catholic, he married Puerto Rican Hilda Torres on January 17, 1940, at which time he changed his nickname from "Macho" to "Machito". The cross-national marriage served as a sign to New York Latinos that it was possible to attain a sense of pan-Latino brotherhood. Frank and Hilda Grillo produced five children: Martha (1941), Frank Jr (1943), Barbara (1948), Mario (1956) and Paula. The family lived in Spanish Harlem at 112th Street and Second Avenue, where Machito enjoyed cooking for his children, writing the occasional song such as "Sopa de Pichón" while working in the kitchen.

Machito suffered a stroke before a concert in London, England in 1984, collapsing while waiting to go on stage at Ronnie Scott's club. He died four days later on April 19, 1984, at University College Hospital in London. His son Mario carried forward the legacy by leading The Machito Orchestra after his father's death. His daughter Paula, though dedicating her life to scholarly studies, has occasionally fronted the group as its singer.

Mario Bauzá died in 1993. Hilda Grillo, a patron of Latin music after her husband's death, died in July 1997. Having never married, Graciela died in April 2010 at the age of 94.

Legacy
In 1985, New York mayor Ed Koch named the intersection of East 111th Street and Third Avenue "Machito Square", a location in Spanish Harlem which is one block from East 110th Street, renamed "Tito Puente Way" after the 2000 death of Tito Puente. Machito lived as a young adult in an apartment on the southwest corner of the intersection.

A documentary film by Carlo Ortiz, Machito: A Latin Jazz Legacy, was released in 1987, showing an elderly Machito and his wife in their Bronx apartment, as well as archival footage from performances in the 1940s and afterward.

As leader

 * Mucho Macho Machito (Clef, 1948–1949)
 * Kenya (Roulette, 1957)
 * Vacation at the Concord (Verve, 1958)
 * Machito with Flute to Boot (Roulette, 1959)
 * Machito at the Crescendo (GNP Crescendo, 1961)
 * Machito!!! (Timeless, 1983)

As sideman

 * Miguelito Valdés, Bim Bam Boom – An Album of Cuban Rhythms (Decca)
 * Miguelito Valdés, Afro-Cuban Music (Decca, 1942)
 * Charlie Parker, South of the Border (Verve, 1948 and 1951–1952)
 * Dizzy Gillespie, Afro-Cuban Jazz Moods (Pablo, 1975)

title: Machito


text: Category:Club cricket teams in England

title: Category:Club cricket teams in England


text:
Wikipedia:Featured article candidates/Suburbs of Johannesburg/archive2

Suburbs of Johannesburg

 * Support – But I still think it needs a table. =Nichalp   «Talk»=  08:19, August 4, 2005 (UTC)
 * Support. Rossrs 10:54, 4 August 2005 (UTC)
 * Minor point: Please spread the pictures out more throughout the article. They are all bunched up in the history and innner city sections, with the rest left blank. Harro5 09:53, August 5, 2005 (UTC)
 * I have spead out the images as much as I can so that they are placed in their relevant sections.  Páll  (Die pienk olifant) 19:46, 7 August 2005 (UTC)

 * Comment. I'd like to see a section with list of sububs, and a few word description of them, possibly in lead. They should be linked to relevant article/section. I know lists are usually looked down here, but in this case I think it would be very useful - I would like to be able to easily check info on given suburb when reading the article, and currently I can do it only by using browser find function. The article is comprehensive, but not as functional as it could be. Nonetheless, I am impressed by Pall continuing work on the SA-related articles. Good work! --Piotr Konieczny aka Prokonsul Piotrus Talk 18:46, 7 August 2005 (UTC)

 * Unfortunately, your suggestion is quite impossible. There are a good 2-3000 suburbs in the city, which would make a list several articles long. Take a look at Category:Johannesburg suburbs. Now that's only four out of 11 regions!  Páll  (Die pienk olifant) 19:41, 7 August 2005 (UTC)

 * Conditional object - Please format notes and references per Cite sources/example style. Not enough info as is (retrieval dates esp needed). Also, things like "Hostels are another[15] feature[16] of Soweto." are jarring. Please in almost all cases put all cites at the end of the sentence behind the period. For example: "Hostels are another feature of Soweto.[15][16]" Other than that, pretty darn good. Aside: It might be better to combine all the region articles into one article instead of having so many stubs. --mav 17:13, 12 August 2005 (UTC)

 * OK, I'm back from holiday, and now everything has been fixed that you mentioned.  Páll  (Die pienk olifant) 18:43, 15 August 2005 (UTC)

 * Um, are the suburbs completely devoid of Sport, cultural attractions, "Notable Natives", and the many other topics of most community articles? EG does the climate or geography between the various neighborhoods vary? Also, other than a brief mention in the intro, there doesn't seem to be much about how these areas are governed. Consider this a support vote if these issues are answered, as the article seems great, as far as it goes, but any article that raises more questions than it answers seems less than an FA. I hope that the final resolution to this can wait until  Páll  is back from holiday--I can certainly understand the need for breaks from Wikipedia. Niteowlneils 02:23, 15 August 2005 (UTC)

 * I agree with some of your comments, and I have tried my best to include more information. However, I think this article should be an overview of all of the suburbs, and then more detailed information should be provided on individual suburb pages. Unfortunately, I can't address every concern since I'm not around my materials as I did not bring htem with me on holiday, however, if you would consider supporting the article with the knowledge that I will address everything when I get back?  Páll  (Die pienk olifant) 19:33, 15 August 2005 (UTC)
 * Also, consider expansion on "gold reefs", or resolving the redlink. I initially assumed it was related to oceanic reefs, but when I read they contributed 'dust', I realized that assumption must be faulty. Please remember some readers are quite ignorant. Niteowlneils 02:33, 15 August 2005 (UTC)


text:
Committee on Gender, Family, Youths, and People with Disabilities

The Committee on Gender, Family, Youths and People with Disabilities is one of the ten permanent committees of the Pan-African Parliament. It concentrates on issues concerning women, family and people and children with disabilities.

Functions of the Committee:
 * Consider issues relating to the promotion of gender equality.
 * Assist Parliament to oversee the development of policies and activities of the Union relating to family, youth and people with disabilities.


text:
Chris Woodruff

Chris Woodruff (born January 3, 1973) is an American former professional tennis player and current head coach at the University of Tennessee. He won the 1997 Canada Masters, reached the quarterfinals of the 2000 Australian Open and attained a career-high ranking of world No. 29 in August 1997.

He hails from Knoxville, Tennessee and was trained at the Knoxville Racquet Club. Since 2002, he has served as an assistant coach with the University of Tennessee men's tennis program, before being named the head coach on May 19, 2017.

College career
Woodruff attended the hometown University of Tennessee where in 1993 he won the NCAA single's title by defeating Wade McGuire of Georgia. He remains the only individual champion the school has ever had. He was also an All-American in 1992.

After winning the collegiate crown, Woodruff began his professional career.

Professional career
Woodruff won two singles titles during his career, and his first was also his biggest: The Canadian Open in 1997, an ATP Masters Series event. After winning that title he posted the highest ranking of his career: World No. 29 on August 25, 1997. He also won the 1999 Newport, Rhode Island event at the Tennis Hall of Fame.

He was named to the United States Davis Cup team in 2000, joining Andre Agassi after Pete Sampras and Todd Martin both were forced to drop out, and won his match against Wayne Black to help erase a 2–1 deficit and advance to the second round. He reached the quarterfinals at the Australian Open in the year 2000 before losing to Pete Sampras in straight sets.

Coaching career
In the summer of 2002, Woodruff returned to the University of Tennessee as a volunteer assistant coach. He served first as an assistant tennis coach before being promoted to associate head coach in 2006 when Sam Winterbotham was hired as head coach. Since Woodruff has been back at Tennessee, the Vols have had 18 All-America and 29 All-Southeastern Conference selections.

Tennessee has steadily improved their record and ranking since Woodruff and Winterbotham began coaching together. The Vols have won 178 dual matches in their first eight seasons and have ended the year ranked in the top 10 nationally five of those years. In 2010, the Vols won the Southeastern Conference regular season and tournament titles and also reached the NCAA Tennis Championship final for the third time in program history. The team finished with 31 victories, the second-most in a season in Tennessee history.

Woodruff was named the 2013 National Assistant Coach of the Year by the Intercollegiate Tennis Association for his track record of player development and keeping the Vols ranked in the top 10 for five of the last six seasons. Since 2008, he has been responsible for coaching three players to the No. 1 national singles ranking: John-Patrick Smith (2010), Rhyne Williams (2011) and Miķelis Lībietis (2013).

In 2014, Woodruff served as the on-court coach for the Vols' first NCAA doubles title in 34 years. Libietis and Hunter Reese defeated Ohio State's Peter Kobelt and Kevin Metka in the final.

title: Chris Woodruff


text:
Wikipedia:Articles for deletion/Chaingun cha-cha

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

The result of the debate was Delete --Allen3 talk 21:38, August 29, 2005 (UTC)

Chaingun cha-cha
Gaming cruft (Google isn't god - by 87 hits says nn) shoot it down --Doc (?) 21:35, 22 August 2005 (UTC)

 * Weak delete. Not very notable. Then again, we have far more trivial stuff survive VfD here. Collabi 22:59, 22 August 2005 (UTC)

— Preceding unsigned comment added by 213.157.24.136 (talk • contribs)
 * Why the heck should this be deleted? It describes what it's about pretty well.
 * 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:
User:QEDQED

Location
Sacramento, California.

Wikipedia Contributions
Created Sites

Charlotte Clark

California State Route 26 California State Route 136 California State Route 137 California State Route 145 California State Route 150 California State Route 156 California State Route 168 California State Route 180 California State Route 183 California State Route 229 California State Route 266 California State Route 269

title: User:QEDQED