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Vision theory of Jesus' appearances

The vision theory or vision hypothesis is a term used to cover a range of theories that question the physical resurrection of Jesus, and suggest that sightings of a risen Jesus were visionary experiences, often classified as grief or bereavement visions. It was first formulated by David Friedrich Strauss in the 19th century, and has been proposed in several forms by critical contemporary scholarship, including Helmut Koester, Géza Vermes, and Larry Hurtado, and members of the Jesus Seminar such as Gerd Lüdemann.

Christian apologists, scholars, and theologians reject the theory, holding the resurrection to be an actual bodily phenomenon.

Subjective vision theory
Origen's response to the second century philosopher Celsus provides the earliest known literary record of a vision hypothesis; it was later popularized by 19th century theologian David Strauss. David Friedrich Strauss (1808–1874), in his Life of Jesus (1835), argued that the resurrection was not an objective historical fact, but a subjective "recollection" of Jesus, transfiguring the dead Jesus into an imaginary, or "mythical," risen Christ. The appearance, or Christophany, of Jesus to Paul and others, was "internal and subjective." Reflection on the Messianic hope, and Psalms 16:10, led to an exaltated state of mind, in which "the risen Christ" was present "in a visionary manner," concluding that Jesus must have escaped the bondage of death. Strauss' thesis was further developed by Ernest Renan (1863) and Albert Réville (1897). These interpretations were later classed the "subjective vision hypothesis", and is advocated today in secular and Liberal Christian scholarship.

According to Ehrman, "the Christian view of the matter [is] that the visions were bona fide appearances of Jesus to his followers", a view which is "forcefully stated in any number of publications." Ehrman further notes that "Christian apologists sometimes claim that the most sensible historical explanation for these visions is that Jesus really appeared to the disciples."

According to De Conick, the experiences of the risen Christ in the earliest written sources – the "primitive Church" creed of 1 Corinthians 15:3–5, Paul in 1 Corinthians 15:8 and Galatians 1:16 – are ecstatic rapture events.

Paula Fredriksen, an agnostic scholar, expressed strong support for the vision theory, saying that “I know in their own terms what they [the disciples] saw was the raised Jesus. That's what they say, and then all the historic evidence we have afterwards attest to their conviction that that's what they saw. (...) I don't know what they saw. But I do know that as a historian that they must have seen something.”

Exaltation of Jesus
According to Hurtado, the resurrection experiences were religious experiences which "seem to have included visions of (and/or ascents to) God's heaven, in which the glorified Christ was seen in an exalted position." These visions may mostly have appeared during corporate worship. Johan Leman contends that the communal meals provided a context where participants entered a state of mind in which the presence of Jesus was felt; during these meals Jesus’ followers presumably experienced visions of their master or heard his voice. Leman also adheres to cognitive dissonance theory as an alternative explanation for the visions.

According to Ehrman, "the disciples' belief in the resurrection was based on visionary experiences." Ehrman notes that both Jesus and his early followers were apocalyptic Jews, who believed in the bodily resurrection, which would start when the coming of God's Kingdom was near. Ehrman further notes that visions usually have a strong persuasive power, but that the Gospel accounts also record a tradition of doubt about the appearances of Jesus. Ehrman's "tentative suggestion" is that only a few followers had visions, including Peter, Paul, Mary and probably James. They told others about those visions, convincing most of their close associates that Jesus was raised from the dead, but not all of them. Eventually, these stories were retold and embellished, leading to the story that all disciples had seen the risen Jesus. The belief in Jesus' resurrection radically changed their perceptions, concluding from his absence that he must have been transmitted to heaven, by God himself, exalting him to an unprecedented status and authority.

Morton Smith, in his book Jesus the Magician, holds that the apostles learned from their master the ability to induce visions and hallucinations. According to him, shortly after Jesus' demise some of his followers had visionary or mystical experiences where they saw their master risen, leading to the resurrection belief.

Call to missionary activity
According to Helmut Koester, the stories of the resurrection were originally epiphanies in which the disciples are called to a ministry by the risen Jesus, and at a secondary stage were interpreted as physical proof of the event. He contends that the more detailed accounts of the resurrection are also secondary and do not come from historically trustworthy sources, but instead belong to the genre of the narrative types.

According to Gerd Lüdemann, Peter had a vision of Jesus, induced by his feelings of guilt of betraying Jesus. The vision elevated this feeling of guilt, and Peter experienced it as a real appearance of Jesus, raised from dead. He convinced the other disciples that the resurrection of Jesus signalled that the endtime was near and God's Kingdom was coming, when the dead would rise again, as evidenced by Jesus. This revitalized the disciples, spurring their new mission.

According to Biblical scholar Géza Vermes, some disciples (not necessarily the apostles) had visions or hallucinations of a risen Jesus shortly after his death. The tales of these ‘apparitions’, and potentially the discovery of the empty tomb, encouraged and “illuminated” the dreaded apostles “like a ray of hope”, and eventually induced in them a "powerful mystical or visionary experience". The resurrection is thus to be understood as a “resurrection in the heart”: a reviving of the self-confidence of the followers of Jesus under the influence of the Spirit, "prompting them to resume their apostolic mission." They felt the presence of Jesus in their own actions, "rising again, today and tomorrow, in the hearts of the men who love him and feel he is near.”

Objective vision theory
Hans Grass (1964) proposed an "objective vision hypothesis," in which Jesus' appearances are "divinely caused visions," showing his followers that his resurrection "was a spiritual reality." Jesus' spirit was resurrected, but his body remained dead, explaining the belated conversion of Jesus' half-brother James. Grass' "objective" vision hypothesis finds no echo in more recent scholarship.

Cognitive dissonance reduction
A further explanation is provided by the theory of cognitive dissonance, which implies that Jesus’ post-mortem visions might not have been the origin of resurrection belief, but its confirmation in the eyes of the disciples. While Jesus' early followers expected the immediate installment of the Kingdom of God, the delay of this cosmic event led to a change in beliefs. According to a naturalistic explanation, in a process of cognitive dissonance reduction, Jewish scriptures were re-interpreted to explain the crucifixion and visionary post-mortem experiences of Jesus. The belief that Jesus' resurrection signaled the imminent coming of the Kingdom of God changed into a belief that the resurrection (i.e. the visions) confirmed the Messianic status of Jesus, and the belief that Jesus would return at some indeterminate time in the future, the Second Coming c.q. Parousia, heralding the expected endtime. The same process may have led to intensive proselytization, convincing others of the developing beliefs to reduce cognitive dissonance, explaining why the early group of followers grew larger despite the failing expectations.

John Gager, one of the first proposers of cognitive dissonance’s application to the growth of early Christianity, holds that the visionary experiences (and possibly lucid dreams) of the risen Jesus were the perceived ‘proofs’ that ‘resolved’ the cognitive dissonance itself.

Cognitive-dissonance-induced rationalization
A more recent variant of the aforementioned theory. Kris Komarnitsky, one the first proposers of this theory, says that while most scholars consider the resurrection belief a consequence of grief or bereavement visions, it is possible that the resurrection belief actually preceded and induced the post-mortem visions of Jesus. According to Komarnitsky, the cognitive dissonance reduction and a staunch refusal to accept Jesus’ death might have originated the resurrection belief, followed by visions (and possibly dreams) of Jesus after his death, which the disciples considered the confirmation of their belief.

Interpretation of doubt in the visions
According to Bart Ehrman, there is an intrinsic leitmotif of doubt in Jesus’ post-mortem visions, which he called a “doubt tradition”: Mary mistakes the risen Jesus for a gardener, the disciples initially doubt Jesus’ resurrection, and in another episode fail to recognise him until he reaches the shore and talks with them; other examples are episode of doubting Thomas and the disciples of Emmaus, who fail to recognise Jesus till he shares his bread with them.

Most scholars have not delved into the question. Others, such as Morton Smith and Géza Vermes, have simply concluded that, since disciples had ‘visions’ of Jesus, it was normal for them to doubt what they had seen. The elements of doubt eventually remained in the tales.

However, Bart Ehrman notes that this explanation is unlikely, as medical literature suggests that “people who have visions tend to believe them wholeheartedly”. According to Ehrman, there are too many elements of doubt in the tales to consider the aforementioned theory likely. As a result, he offers a “temptation suggestion”: while several of Jesus’ followers were convinced of their master’s resurrection by the tales of the disciples who effectively had post-mortem visions, some followers might not have believed them. Over time they either left or “ran away”, and the stories were embellished to make it seem that all the disciples eventually believed in the resurrection visions. Ehrman says the “doubt tradition” may be very old, possibly as old as the visions themselves, which he and various scholars date not further than the first or second year after Jesus’ crucifixion.

Leonard Irwin Eisenberg proposes a variant of the vision theory to explain the “doubt tradition”. Basing his observations on medical literature, he says that some disciples, overwhelmed with grief and pain, might have experienced “mistaken identity” visions: they were deeply convinced to see Jesus, gaze his face or hear his voice, while in reality they were simply seeing or hearing other people. Eisenberg explains therefore several episodes of doubt, such as the apostles and the Emmaus’ disciples not recognising Jesus, or Mary mistaking a gardener for Jesus. He also notes that, in some cases, the characters start to recognise Jesus when the person they are talking to shows kindness toward them or performs a special gesture, such as breaking bread: the kindness of that person would therefore remind them of Jesus’ kindness, inducing the hallucination. According to Eisenberg’s theory, over time Jesus’ followers started encouraging each other to see Jesus’ face in other people faces and hear his voice, leading to a self-propagating cycle of Jesus’ sightings.

Criticism
Several Christian scholars such as Gary Habermas, William Lane Craig and Michael Morrison have argued against the vision explanations for the textual accounts of a physical resurrection. According to Habermas, most scholars on Christology are "moderate conservatives", who believe that Jesus was raised from the dead, either physically or spiritually. While the vision theory has gained support among critical scholars since the last quarter of the 20th century, "the vast majority of scholars" still reject the possibility of subjective visions or hallucinations as an explanation for the resurrection-experiences. Habermas himself views these critical approaches as "efforts to dismiss the central event and doctrine of orthodox Christianity".

According to British scholar N. T. Wright, visions of the dead were always associated with spirits and ghosts, and never with bodily resurrection. Thus, Wright argues, a mere vision of Jesus would never lead to the unprecedented belief that Jesus was a physically resurrected corpse; at most, he would be perceived as an exalted martyr standing at the right hand of God. Wright argues, "precisely because such encounters [visions of the dead] were reasonably well known [...] they [the disciples] could not possibly, by themselves, have given rise to the belief that Jesus had been raised from the dead [...] Indeed, such visions meant precisely, as people in the ancient and modern worlds have discovered, that the person was dead, not that they were alive." Similarly, Wright calls the cognitive dissonance theory "widely discredited" and criticizes it on the basis that "nobody was expecting anyone, least of all a Messiah, to rise from the dead. A crucified Messiah was a failed Messiah. When Simon bar Kokhba was killed by the Romans in AD 135, nobody went around afterwards saying he really was the Messiah after all."

Dale Allison has expressed similar criticisms, and has argued that visions alone would never lead to the belief in a bodily resurrection. He writes "If there was no reason to believe that his [Jesus's] solid body had returned to life, no one would have thought him, against expectation, resurrected from the dead. Certainly visions of or perceived encounters with a postmortem Jesus would not by themselves, have supplied such reason."

While some scholars such as Ehrman have doubted the veracity of the number of witnesses, others such as C.H. Dodd have noted the antiquity of narratives concerning the postmortem appearances of Jesus, citing the sermons in Acts 10 which report that the risen Jesus ate and drank with the disciples which lack influence from Pauline theology or vocabulary and containing a high degree of semitism, lacking resemblance to the rest of Acts and Luke, indicating it comes from a much earlier tradition. Similarly, the Pauline creed preserved in 1 Cor. 15 is most commonly dated to no more than five years after Jesus' death by Biblical scholars and contains numerous postmortem appearances of Jesus. Likewise, in his evaluation of the vision theory, Allison notes that the number of witnesses raises "legitimate questions, and waving the magic wand of 'mass hysteria' will not make them vanish." According to the historian A.N. Sherwin-White, “For these stories to be legends, the rate of legendary accumulation would have to be unbelievable; more generations are needed… The span of two generations is too short to allow legendary tendencies to wipe out the hard core of historical fact.”

According to Wright, Paul "believed he had seen the risen Jesus in person, and [...] his understanding of who this Jesus was included the firm belief that he possessed a transformed but still physical body." Similarly, James Ware notes that the verb for "raised" (εγειρω) used by Paul in 1 Cor. 15 is only ever used to describe one or another kind of action involving the raising up, rising up, or setting up of something or someone from a prone or seated position to an upright, standing position. And as paraphrased by Larry Hurtado, that the verb here refers to an ascension of Jesus, a transportation of him in some “spiritual” mode to heavenly glory, is ruled out.

William Lane Craig holds that the resurrection appearances are far too diverse to be classified as hallucinations; Craig and Lüdemann entered a written debate on the subject in 2000. German Biblical scholar Martin Hengel notes that Lüdemann's theory transcends the limits of historical research, by providing an analysis which is not verifiable. Craig argues that there is "not a single instance in the casebooks exhibiting the diversity involved in the postmortem appearances of Jesus. Mike Licona similarly cites psychologist Dr. Gary Sibcy that visionary explanations for the resurrection lack sufficient scientific support. Additionally, Licona and other scholars point out that the vision theory does not account for the conversions of followers such as James, the brother but also disbeliever of Jesus, and of Paul, a persecutor of the early Christians.

In an early critique of the vision hypothesis, George Park Fisher notes that Jesus' followers had their hopes crushed by his crucifixion, and that this would not have been a "preparation of mind for such a delusion as the hallucination theory implies." He argues further that such a theory is "shut out by one remarkable peculiarity" that "they took place, as Paul's testimony shows, at intervals and in a different number."

title: Vision theory of Jesus' appearances


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Thomas Chaucer

Thomas Chaucer (c. 1367 – 18 November 1434) was an English courtier and politician. The son of the poet Geoffrey Chaucer and his wife Philippa Roet, Thomas was linked socially and by family to senior members of the English nobility, though he was himself a commoner. Elected fifteen times to the Parliament of England, he was Speaker of the House of Commons for five parliaments in the early 15th century.

Parental connections
Thomas Chaucer was a relative by marriage of John of Gaunt, 1st Duke of Lancaster, through his aunt Katherine Swynford. Katherine (born Roet) was the sister of his mother, Philippa Roet. Swynford was first Gaunt's mistress, and then his third wife. Their four children, John Beaufort, Henry Beaufort, Thomas Beaufort and Joan Beaufort, were first cousins to Thomas Chaucer, and all prospered: John's family became Earls and subsequently Dukes of Somerset, Henry a Cardinal, Thomas became Duke of Exeter, Joan became Countess of Westmorland and was grandmother of Kings Edward IV and Richard III.

King Henry IV, the son of John of Gaunt by his first marriage to Blanche of Lancaster, was half-brother to Thomas Chaucer's Beaufort first cousins. Thomas was able to buy Donnington Castle in Berkshire for his only daughter Alice de la Pole.

Marriage
Early in life, Thomas Chaucer married Matilda (or Maud) Burghersh, second daughter and coheiress of Sir John Burghersh, nephew of Henry Burghersh (1292–1340), Bishop of Lincoln (1320–1340) and Lord Chancellor of England (1328–1330), younger son of Robert de Burghersh, 1st Baron Burghersh (died 1305), and a nephew of Bartholomew de Badlesmere, 1st Baron Badlesmere. The marriage brought him large estates, including the manor of Ewelme, Oxfordshire.

Career
He was Chief Butler of England for almost thirty years, first appointed by Richard II, and on 20 March 1399 received a pension of twenty marks a year in exchange for offices granted him by the Duke, paying at the same time five marks for the confirmation of two annuities of charges on the Duchy of Lancaster and also granted by the Duke.

These annuities were confirmed to him by Henry IV, who appointed him constable of Wallingford Castle, and steward of the honours of Wallingford and St. Valery and of the Chiltern Hundreds. About the same time he succeeded his father Geoffrey Chaucer as forester of North Petherton Park, Somerset. On 5 November 1402, he received a grant of the chief butlership for life. On 23 February 1411 the queen gave him the manor of Woodstock and other estates during her life, and on 15 March the king assigned them to him after her death.

Chaucer served as High Sheriff of Berkshire and Oxfordshire during 1400 and 1403 and as High Sheriff of Hampshire in 1413. He attended fifteen parliaments as knight of the shire for Oxfordshire (1400–1401, 1402, 1405–1406, 1407, 1409–1410, 1411, 1413, 1414, 1421, 1422, 1425–1426, 1427, 1429, 1430–1431) and was Speaker of the House five times, a feat not surpassed until the 18th century.

He was chosen speaker in the parliament that met at Gloucester in 1407, and on 9 November reminded the king that the accounts of the expenditure of the last subsidy had not been rendered. The chancellor interrupted him, declaring that they were not ready, and that for the future the lords would not promise them.

He was chosen again in 1410 and in 1411, when, on making his 'protestation' and claiming the usual permission of free speech, he was answered by the king that he might speak as other speakers had done, but that no novelties would be allowed. He asked for a day's grace, and then made an apology. He was again chosen in 1414.

In 1414 he also received a commission, in which he is called domicellus, to treat about the marriage of Henry V, and to take the homage of the Duke of Burgundy. A year later he served with the king in France, bringing into the field 12 men-at-arms and 37 archers. He was not present at the Battle of Agincourt, being sent back to England ill after the siege of Harfleur; his retinue did march on to Agincourt. It is unknown if he was really sick, or used it as an excuse to return to England. In 1417, he was employed to treat for peace with France.

On the accession of Henry VI he appears to have been superseded in the chief butlership, and to have regained it shortly afterwards. In January 1424, he was appointed a member of the council, and the next year was one of the commissioners to decide a dispute between the Earl Marshal and the Earl of Warwick about precedence. In 1430–1431, he was appointed one of the executors of the will of the Duchess of York, and was by then very wealthy.

Thomas Chaucer died at Ewelme Palace in the village of Ewelme, Oxfordshire on 18 November 1434 and is buried in St Mary's church in the village.

Family
Thomas' only daughter Alice married William de la Pole, 1st Duke of Suffolk and her grandson John de la Pole, Earl of Lincoln was the designated heir of Richard III. John was killed in battle and several of his brothers were later executed after Richard lost power. They left descendants however, including the Earls of Rutland and Portmore, William Parker, 4th Baron Monteagle, who foiled the Gunpowder Plot and Sir Francis Sacheverel Darwin (through his mother, Elizabeth Collier, natural daughter of the Earl of Portmore).

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

title: Thomas Chaucer


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Georgi Iliev (businessman)

Georgi Andreev Iliev (Георги Андреев Илиев) (July 22, 1966 – August 25, 2005) was a Bulgarian businessman, best known for being a mobster, just like his brother and continuing the operation of their crime syndicate VIS.

Biography
In his early years he won several wrestling competitions and a few gold medals, but had to stop his sports career because of a criminal conviction due to his involvement in a group rape. Upon his release from prison he became something of a small-time criminal. After the death of his brother Vasil Iliev, he became the boss of a criminal organization called VIS, which fronted as a legitimate security and insurance provider. The former head secretary of the Bulgarian Ministry of Internal Affairs Boyko Borisov claims to information showing Georgi Iliev's involvement in drug dealing and smuggling operations. According to Grigor Lilov, author of "The Richest Bulgarians", Georgi Iliiev had amassed a fortune of over $250 million.

He is also thought to have taken an eighteen-year-old Dimitar Berbatov hostage with plans of making him sign for his football team, Levski Kyustendil. Berbatov's father contacted CSKA Sofia's boss Iliya Pavlov who set things straight.

Death
He was shot and killed at a restaurant in Sunny Beach, a resort town on Bulgaria's Black Sea coast near the city of Bourgas, by a suspected sniper. The same evening his club Lokomotiv won 1:0 against OFK Beograd (2:2 on aggregate) and continued in the next round of UEFA Cup where it was eventually eliminated by Bolton. Iliev was alleged to be an organized crime boss, and so his murder was suspected to be part of an ongoing turf war between rival criminal gangs. His brother Vasil Iliev was also shot and killed in 1995 in Sofia.

title: Georgi Iliev (businessman)


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Soma (studio)

Soma Electronic Music Studios is a recording studio owned and operated by John McEntire. From 1993 to 2018 it was located in Chicago, Illinois.

Artists who have recorded at Soma include Bundy K. Brown, Brokeback, Broken Social Scene, Chicago Underground Duo, Bobby Conn, David Grubbs, Isotope 217, Rob Mazurek, Nobukazu Takemura, Jim O'Rourke, Pivot, Radian, Phil Ranelin, Red Krayola, The Research (band), Royal Trux, Neil Michael Hagerty, The Sea and Cake, Stereolab, Teenage Fanclub, Tortoise, Wilco, Will Oldham, Papa M, Vaudevileins, and The Car Is on Fire.

In 2018, McEntire closed the Chicago facility and relocated to Nevada City, California, where he opened "Soma Electronic Music Studios 4.0 aka Soma West".

title: Soma (studio)


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Wikipedia:Collaboration of the week/Great Depression

Great Depression
Moved to Article Improvement Drive

 * Nominated on 20:05, August 26, 2005 (UTC); needs 5 votes by September 2, 2005.

A major global event. This article has been vandalized and is missing a lot of information. This really should be up to Feature Article status considering that it has its own category.

Support:
 * 1)  Zhatt  20:05, August 26, 2005 (UTC)

 * You should take this to WP:AID, it doesn't meet COTW criteria. —thames 22:29, 26 August 2005 (UTC)
 * Moved to WP:AID. Thanks. Zhatt  22:48, August 26, 2005 (UTC)


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Cho-liang Lin

Cho-Liang Lin (Lin Cho-liang,, born January 29, 1960), born in Hsinchu, Taiwan, is an American violinist who is renowned for his appearances as a soloist with major orchestras. Musical America named him its "Instrumentalist of the Year" in 2000. He founded the Taipei International Music Festival in 1997, the largest classical music festival in the history of Taiwan, performing to an indoor audience of over 53,000 and the Taipei Music Academy & Festival in 2019, a summer music festival.

Career
Cho-Liang Lin is a violinist whose career has spanned the globe for more than four decades. Lin was born in 1960 to a Hakka family in Hsinchu, then a quiet college town 70 km south of Taipei, a research center where his father worked as a nuclear physicist. He began playing violin at the age of five. Recognizing that he needed to pursue his violin studies abroad, he made his way to Australia by himself when he was only 12 years old; he spent three years in Sydney. His commanding technique and precocious abilities then led him to Juilliard School, where he studied with the eminent Dorothy DeLay, teacher to several renowned soloists such as Itzhak Perlman, Gil Shaham, Midori Goto, et al. He made his public debut in New York City at the age of 19, playing Mozart's Violin Concerto No. 3 at Avery Fisher Hall.

Since his début at Lincoln Center's Mostly Mozart Festival at the age of nineteen, he has appeared with virtually every major orchestra in the world, including the Boston Symphony Orchestra, Cleveland Orchestra, Royal Concertgebouw Orchestra, London Symphony Orchestra, Philadelphia Orchestra and New York Philharmonic. He has over twenty recordings to his credit, ranging from the concertos of Mozart, Mendelssohn, Bruch, Sibelius, and Prokofiev, to Christopher Rouse and Tan Dun, as well as the chamber music of Schubert, Brahms, Tchaikovsky and Ravel. His recording partners include Yefim Bronfman, Yo-Yo Ma, Wynton Marsalis, Esa-Pekka Salonen, Leonard Slatkin, Michael Tilson Thomas, Isaac Stern and Helen Huang. His recordings have been critically acclaimed, winning several Grammy nominations and The Gramophone's Record of the Year award. He has been a member of the Juilliard School faculty since 1991, and, in 2006, he also started to teach at Rice University. Lin served as the music director of La Jolla SummerFest in California from 2001 to 2018, and as the music director for Hong Kong International Chamber Music Festival since 2011.

An avid chamber musician, Lin appears at the Beijing Music Festival, as well as his perennial appearances performing at the Chamber Music Society of Lincoln Center, the Aspen Music Festival, and Santa Fe Chamber Music Festival. He is also featured in the film 4 as the principal violin of the Vivaldi's Autumn in one of the Four Quartets of the Four Seasons.

He plays the 1715 "Titian" Stradivarius.

title: Cho-liang Lin


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User:BarryHoggard

Location: New York

Born: 1966, Paragould, Arkansas

 * tristanmedia.com

title: User:BarryHoggard


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User:Ralp

Ralp is cool.

title: User:Ralp


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Wikipedia:Requests for comment/User name games

My intention is to solicit community imput on recent trends in user signatures on Wikipedia. It appears that some time ago, people started to realise that they could play around with the appearance of their signatures; this has resulted in increasing... what might be called "artistry"... in user signatures.

Some users have exploited this feature to make small puns (for example, user:Theresa Knott has regularly added anagrams of her user name to her signature. Others have made visual jokes or made use of colours, small images, and font changes in their signatures.  I don't have a problem with any of this.

Other users, however, have begun altering their signatures in such a way that it becomes difficult or impossible to tell which user has posted a given remark. These have included unpronouceable ascii art, among other things. Most recently, User:Sam Spade (who regularly changes his signature) has begun using a signature that not only doesn't include his user name, but doesn't even link to his user page, talk page, or email, but rather links to Template:Open task.

I object to this for several reasons. First, playing around with signatures in this manner makes it much easier for trolls and vandals to take advantage and impersonate registered users or get up to other mischief. But more importantly, it becomes exceedingly difficult to keep track of a given user, or to differentiate a given user's edits from those of other users, which makes tracking and dealing with vandals that much more difficult.

Comments, please. Exploding Boy 20:07, August 26, 2005 (UTC)

 * :I think that "malicious" is where the line should be drawn. -Ril-, who's sig was: ~, was deliberately confusing. Sam Spade's is mildly annoying but not malicious. He should be a good boy and link it to his userpage. Of course, this RFC will probably make him even more recalcitrant. I have a symbol after my sig which I'm sure some dislike, but tough cookies. --goethean ॐ 20:32, 26 August 2005 (UTC) I thought you  were talking about SS's old sig...his new one misled me, too. --goethean ॐ 20:39, 26 August 2005 (UTC)

I love creativity. I enjoy Sam's humor. But it is not a signature if it doesn't identify. WAS 4.250 03:29, 27 August 2005 (UTC)

 * My point exactly. Exploding Boy 03:30, August 27, 2005 (UTC)

I believe that signatures should link to the user's user page, and include the full or abbreviated name of the user as latin text. When going through five-year old talk pages trying to figure out what some old fuss was about, nobody is going to remember who ~ or Tasks you can do or some Chinese character is supposed to mean. Sigs are meant to identify, though they may be designed creatively, they are not meant to be a platform for advocacy, anonymity, iconoclasm, or churlishness. The Uninvited Co., Inc. 03:36, 27 August 2005 (UTC)

 * Signatures are meant to serve as easily recognizable, unique identifiers. Any other use is a misuse. If Sam wants to be seen as special or set himself apart from others editors, he should find another way that does not circumvent the function of sigs. FeloniousMonk 03:37, 27 August 2005 (UTC)

I will add that I have been in a particularly reptilian mood lately and have thought of changing my sig accordingly. Shall I join the bandwagon? The Uninvited Co., Inc. 03:40, 27 August 2005 (UTC)

One may place unsigned at the end of an unsigned remark. If it does not identify it is not a signiture. WAS 4.250 01:54, 1 September 2005 (UTC)
 * Agree with Exploding Boy and Uninvited. Barno 18:44, 1 September 2005 (UTC)

For what it is worth; Sam is now signing with a signature that identifies. WAS 4.250 00:18, 2 September 2005 (UTC)

 * I'm glad he's chosen to do so. Since this RFC was never only about Sam it's useful to have a record of the community's thoughts on the matter as it'll probably come up again in the future.  Exploding Boy 00:52, September 2, 2005 (UTC)

 * The history feature tells all. If you are that annoyed, add notes after their posts stating who actually did the posting once you find out from the page history. People should be free to sig however they want, though maybe it should invalidate votes. Ravedave 14:25, 2 September 2005 (UTC)

 * As long as it links to the correct userpage and is in within the bounds of decency and logic, it doesn't bother me. --Merovingian (t) (c) 14:30, September 2, 2005 (UTC)

In this case one user objected to my adding notes containing their user name to their posts. Having to check the page history is a pain, and for a new and inexperienced user it might be very difficult to discover who a poster is. This particular user's signature was not linking to his user page, or his talk page or his email, but to a template page. It would be like my signing a post with. Exploding Boy 16:28, September 2, 2005 (UTC)

 * Isn't this mostly covered in Sign your posts on talk pages? (I realize that the annoyance is more on high-traffic places like AFD than on talk pages, however.) —Wahoofive (talk) 18:54, 2 September 2005 (UTC)

Indeed it is. Thanks for providing that link. Exploding Boy 21:42, September 2, 2005 (UTC)


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Charles Chaplin (artist)

Charles Chaplin (1907–1987) was an English artist, engraver and printmaker.

"You teach me a little about engraving and I will teach you a little about art" was the remarkable offer made by Robert Austin to his new student, Charles Chaplin. Austin, an eminent engraver himself, had become Chaplin's tutor at the Royal College of Art in September 1947. Chaplin, a mature student, was a printer's commercial engraver; he was also an amateur artist whose prints had already received some recognition and had been hung at the Royal Academy summer exhibitions. He had, however, had little formal education or art training. Austin's encouragement was a major influence on Chaplin's subsequent career as an artist.

The years before World War II cover Chaplin's birth into a large working-class family, his early love of drawing, the accident which left him with only one eye, and his apprenticeship in a large printing works. After the war, he enrolled as a Saturday student at the Royal College of Art and, thereafter, his style developed significantly. Following his retirement from the printing industry, his prolific output continued unabated, encouraged by new contacts in Sweden and Canada. A shy man who loved the countryside and recorded its trees, lakes, weather, wildlife, and the fascinating rural clutter of its farmyard, his family life is revealed in the detail of his work.

His favourite technique was line engraving on copper, although he used several techniques during his career.

Known in his lifetime only to a small number of collectors, Chaplin's work is now being discovered by a wider public. A book about Chaplin and his work published in 2005 collects the prints, facts concerning the prints, and the background of his life.

title: Charles Chaplin (artist)


text:
User:The Lizard

The Lizard is an American Wikipedia member currently based in Atlanta, Georgia.

title: User:The Lizard


text:
V. Y. Mudimbe

Valentin-Yves Mudimbe (born 8 December 1941, Jadotville, Belgian Congo) is a Congolese philosopher, professor, and author of poems, novels, as well as books and articles on African culture and intellectual history. Mudimbe is Ruth F. DeVarney Professor of Romance Studies and professor of comparative literature at Duke University and maître de conferences at the École des hautes études en sciences sociales in Paris.

Early life and career
He was born in the Belgian Congo, now the Democratic Republic of the Congo. As a young man, he joined a monastery, but left in 1962 in order to study the forces that shaped African history. He studied in Louvain (PhD, 1970), came back to Congo and flew to the United States in 1979 for political reasons. He has taught at Haverford College and Stanford University, and is now Professor Emeritus in the Program in Literature at Duke University. His work has had a major impact on many disciplines including African studies, Philosophy, Sociology, Anthropology, Linguistics, Literature, and History.

Work
Mudimbe's work is considered as highly influential for African studies, notably for his major book The Invention of Africa (1988). His writings transformed the intellectual history of Africa by challenging the dominant historic reconstruction of Greek philosophy which according to him was racialised. The influence of Mudimbe's writings for African studies was compared to that of Edward Said's book Orientalism for postcolonial studies. Mudimbe showed that without critiquing the epistemologies which were the basis of the discourses about Africa critical approaches can become fruitless. He received the Herskovits Award given by African Studies Association in 1989.

Mudimbe focuses most closely on phenomenology, structuralism, mythical narratives, and the practice and use of language. As a professor, he has taught courses on these topics, as well as on ancient Greek cultural geography.

Education

 * Junior College Degree, Lovanium University, Leopoldville (Kinshasa), Congo (1962)
 * Diploma, Lovanium University, Kinshasa, Congo (1964)
 * BA, Lovanium University, Kinshasa (1966)
 * Graduate Studies, University of Paris (1968)
 * PhD with High Honors, Catholic University of Leuven, Belgium (1970)

Books

 * Novels
 * Déchirures (1971)
 * Entre les eaux (1973); trans. as Between Tides by Stephen Baker (1991)
 * Entretailles (1973)
 * L'Autre Face du royaume (1973)
 * Les Fuseaux (1974)
 * Le Bel immonde (1976); trans. as Before the Birth of the Moon by Marjolijn de Jager (1989)
 * L'Ecart (1979); trans. as The Rift by Marjolijn de Jager (1993)
 * Shaba deux (1988)
 * Les Corps glorieux des mots et des êtres (1994)

 * Essays
 * The Mudimbe Reader, Edited by Pierre-Philippe Fraiture and Daniel Orrells, University of Virginia Press.
 * L'Odeur du père, Présence Africaine (1982)
 * The Invention of Africa : Gnosis, Philosophy and the Order of Knowledge, Indiana University Press (1988)
 * Parables and Fables : Exegesis Textuality and Politics in Central Africa, The University of Wisconsin Press (1991)
 * The Surreptitious Speech: Presence Africaine and the Politics of Otherness 1947-1987, University of Chicago Press (1992)
 * Africa & the Disciplines, coeditor, University of Chicago Press (1993)
 * The Idea of Africa, African Systems of Thought, Indiana University Press, (1994)
 * Tales of Faith: Religion as Political Performance in Central Africa, Athlone Press (1997)
 * Nations, Identities, Cultures, editor, Duke University Press (1997)
 * Diaspora and Immigration, coeditor, South Atlantic Quarterly special issue, Duke University Press (1999)
 * The Normal & Its Orders, coeditor, Editions Malaïka (2007)
 * On African Fault Lines: Meditations on Alterity Politics, University of KwaZulu-Natal Press (2013)

Secondary literature

 * In English
 * White fathers in colonial central Africa : a critical examination of V.Y. Mudimbe's theories on missionary discourse in Africa Friedrich Stenger, Münster : London : Lit, 2002.
 * "Wylie on Mudimbe, 'The Idea of Africa'", Kenneth C. Wylie, H-Africa (1996).
 * Singular performances : reinscribing the subject in Francophone African writing, Charlottesville : University of Virginia Press, 2002.
 * "An Archaeology of African Knowledge: A Discussion of V. Y. Mudimbe", D. A. Masolo.
 * Postcolonial theory and Francophone literary studies, Adlai Murdoch and Anne Donadey. Gainesville : University Press of Florida, 2005.
 * Postcolonial Francophone autobiographies : from Africa to the Antilles Edgard Sankara, Charlottesville : University of Virginia Press, 2011.
 * VY Mudimbe: Undisciplined Africanism Pierre-Philippe Fraiture, Liverpool, Liverpool University Press, 2013.
 * Neil Lazarus (2005) Representation and terror in V.Y. Mudimbe, Journal of African Cultural Studies, 17:1, 81-101

 * In French
 * V.Y. Mudimbe, ou, Le discours, l'écart et l'écriture, Bernard Mouralis, Présence Africaine, Paris, 1988
 * Le roman africain face aux discours hégémoniques : étude sur l'énonciation et l'idéologie dans l'œuvre de V.Y. Mudimbe, Jean-Christophe Luhaka A. Kasende, L'harmattan 2001.
 * L'Afrique au miroir des littératures, des sciences de l'homme et de la société : mélanges offerts à V.Y. Mudimbe, Kasende, Jean-Christophe Luhaka A, L'harmattan, 2003.
 * V.Y. Mudimbe et la ré-invention de l'Afrique: poétique et politique de la décolonisation des sciences humaines, Kasereka Kavwhairehi, éditions Rodopi, 2006.
 * Pour un nouvel ordre africain de la connaissance : hommage à V.Y. Mudimbe sous la direction de Alphonse Mbuyamba-Kankolongo, Paris, 2011.

title: V. Y. Mudimbe


text:
A World Apart

A World Apart may refer to:

 * A World Apart (TV series), a 1970–1971 daytime drama series on ABC
 * A World Apart (film), a 1988 anti-apartheid drama
 * A World Apart (book), a 1950 book on the Gulag by Gustaw Herling

title: A World Apart


text:
Kazurou Inoue

Kazurou Inoue (井上 和郎) is a Japanese manga artist from Sano, Tochigi Prefecture. He received recognition for his manga Dream Security Mao (Dream Security マオ) at the 40th Rookie Comic Awards. After training under Kazuhiro Fujita, he published Heat Wave in Shōnen Sunday Super in 2001. He is most known for Midori Days, which was adapted into a 13-episode anime series by Pierrot.

Works

 * Heat Wave (2001, serialized in Shōnen Sunday Super, Shogakukan)
 * Midori Days (2002–2004, serialized in Weekly Shōnen Sunday, Shogakukan)
 * Ai Kora (2005–2008, serialized in Weekly Shōnen Sunday, Shogakukan)
 * Haru Ranman! (2007, one-shot published in Young Animal, Hakusensha)
 * Aoi Destruction (2007, collection of short stories, Shogakukan)
 * Undead (2008, serialized in Big Comic Spirits, Shogakukan)
 * Ane Comi (2009-2012, serialized in Young Animal Island, Hakusensha)
 * Mahō no Iroha! (2009-2012, serialized in Shōnen Sunday Super, Shogakukan)
 * Full-Scratch Eiji
 * Koshoten Yakou Funsenki
 * Otone no Naisho
 * Maria-san wa Toumei Shoujo (Maria-san the Invisible Girl, 2014)
 * Outrage Girl Shiomi (2016–2018, serialized in Shōnen Sunday Super, Shogakukan)

title: Kazurou Inoue


text:
Appetizing store

An appetizing store, typically in reference to Jewish cuisine in New York City, particularly Ashkenazi Jewish cuisine, is a store that sells "food that generally goes with bagels", although appetizings can also be served with a variety of breads. Appetizings include smoked and pickled fish and fish spreads, pickled vegetables, cream cheese spreads and other cheeses.

Most appetizing stores were opened in the later 1800s and the early 1900s. In 1930, there were 500 such stores in New York City; by 2015 there were fewer than ten. The concept started to experience a revitalization in the 2010s with the opening of new stores in Toronto, Philadelphia, and Brooklyn.

Term
The word "appetizing" is sometimes shortened to "appy" and is used both for the stores and the foods they sell. The term is used typically among American Jews, especially those in the New York City area in neighborhoods with traditionally large Jewish populations. Saveur traced the term back to food similar to "the cold appetizers that would have started a meal back home in Eastern Europe", although scholars Hasia Diner, Eve Jochnowitz and Norma Joseph say the foods were American foods and others, such as lox, that would have been new to immigrants from Eastern Europe.

The New York Times claimed in 2004 that the term was not used outside of New York City, but as of 2014 this was no longer true, with Toronto's Schmaltz Appetizing a notable example. While Schmaltz Appetitizing is the only restaurant in Toronto to use the term in its name, it is not the only such establishment; United Bakers Dairy Restaurant is a venerable and longstanding institution, predating Schmaltz by decades – United Bakers celebrated its hundredth anniversary in 2012, while Schmaltz opened its doors in 2014.

Foods
The stores sell food that Thrillist describes as "food that generally goes with bagels", although Milton Glaser and Jerome Snyder wrote that appetizings might be served with a variety of breads and rolls, including bialys, challah, corn rye bread, Jewish rye, onion rolls, Russian health bread, and seeded hard rolls. The Village Voice described appetizing as "the many pickled, smoked, cured, and cultured edibles served alongside bagels and bialys".

Appetizing includes both dairy and "parve" (neither dairy nor meat) food items such as lox (smoked salmon), sable, whitefish, cream cheese spreads, pickled vegetables, along with candies, nuts, and dried fruit. According to a 1968 New York Magazine article, the foods are typically served for Sunday brunch. Jewish kashrut dietary laws specify that meat and dairy products cannot be eaten together or sold in the same places.

Stores
The stores are different from delicatessens in that an appetizing store is a place that sells fish and dairy products but no meat, whereas a kosher delicatessen sells meats but no dairy. Thrillist called them "the deli's other half".

In 1930, there were 500 appetizing stores in New York City, and a similar number in 1950. The majority were opened in the late 1800s and early 1900s. In the 1950s and 1960s, the stores started to close as the owners' children pursued other careers and supermarkets started carrying Jewish specialties. By 2015, there were fewer than 10 remaining. Shelsky's in Cobble Hill was the first appetizing store to open in Brooklyn in 60 years when it opened in 2011. In 2014, an appetizing store opened in Toronto. In 2021, a shop modeled on the concept opened in Philadelphia.

Notable establishments

 * Barney Greengrass
 * Murray's Sturgeon Shop
 * Russ & Daughters
 * Zabar's

title: Appetizing store


text:
Puwersa ng Masa

The Puwersa ng Masa Coalition (PnM, Force of the Masses) was the Philippine opposition's political multi-party electoral alliance in the May 14, 2001, midterm Legislative elections. The coalition was created after the EDSA Revolution of 2001 that ousted Joseph Estrada from the presidency on January 20. The coalition was led by former First Lady Luisa Estrada who successfully ran for a Senate seat. The coalition featured candidates from the Laban ng Demokratikong Pilipino and the Pwersa ng Masang Pilipino parties, as well as independent candidates.

Election results
Four out of 13 candidates won the possible 13 seats in the Senate. These are, in order of votes received:
 * Edgardo Angara
 * Noli de Castro
 * Loi Ejercito
 * Panfilo Lacson

The other candidate was only elected to serve the remaining unexpired term of Tito Guingona.
 * Gregorio Honasan

title: Puwersa ng Masa


text: User talk:200.109.85.75

title: User talk:200.109.85.75


text:
Popol Vuh (band)

Popol Vuh were a German musical collective founded by keyboardist Florian Fricke in 1969 together with Frank Fiedler (sound design, fine cut), Holger Trülzsch (percussion), and Bettina Fricke (tablas and production). Other important members during the next two decades included Djong Yun, Renate Knaup, Conny Veit, Daniel Fichelscher, Klaus Wiese, and Robert Eliscu. The band took its name from the Mayan manuscript containing the mythology of highland Guatemala's K'iche' people.

Popol Vuh began as an electronic music project, but under Fricke's leadership they soon abandoned synthesizers for organic instrumentation and world music influences. They developed a productive working partnership with director Werner Herzog, contributing scores to films such as Aguirre, The Wrath of God (1972), Nosferatu the Vampyre (1979), and Fitzcarraldo (1982). The group are associated with West Germany's 1970s krautrock movement and are considered progenitors of new-age and ambient music. Today, Popol Vuh's best-reviewed works are In den Gärten Pharaos (1971) and Hosianna Mantra (1972).

History
The band's name, taken from the Mayan manuscript, has been translated roughly as "meeting place" or "book of the community". Their first album, Affenstunde, released in 1970, can be regarded as one of the earliest space music works, featuring the then new sounds of the Moog synthesizer together with ethnic percussion. This continued for only one more album, In den Gärten Pharaos, and material later to be released on the soundtrack to Aguirre, the Wrath of God, before Fricke largely abandoned electronic instruments in favour of piano-led compositions from 1972's Hosianna Mantra forward. This album also marked the start of exploring overtly religious themes rather than a more generally spiritual feeling within the music. The group evolved to include a range of instruments: wind and strings, electric and acoustic alike, combined to convey a mystical aura that made their music spiritual and introspective.

In 1973, Conny Veit elaborated on the spiritual component of the group's music: "'I refrain from the classification 'church music', although I think it is entirely possible and appropriate that HOSIANNA MANTRA be used as music for church. I realized this record was actually about something else for me. With the means at my disposal I wanted to grasp the original Christian being and feeling in order to convey the correctness of elementary truths in the Christian word. Not as a preacher, but as someone for whom archaic ways of life seem more valuable and right than our own contemporary culture.'"Popol Vuh influenced many other European bands with their uniquely soft but elaborate instrumentation, which took inspiration from the music of Tibet, Africa, and pre-Columbian America. With music sometimes described as "ethereal", they created soundscapes through psychedelic walls of sound, and are regarded as precursors of contemporary world music, as well as of new age and ambient.

The band contributed soundtracks to films of Werner Herzog, including the aforementioned Aguirre, the Wrath of God, as well as Nosferatu, Fitzcarraldo, Cobra Verde, Heart of Glass and The Enigma of Kaspar Hauser, in which Fricke appeared.

Florian Fricke died in Munich on 29 December 2001 and the group disbanded.

In October 2003 Klaus Schulze wrote:
 * "Florian was and remains an important forerunner of contemporary ethnic and religious music. He chose electronic music and his big Moog to free himself from the restraints of traditional music, but soon discovered that he didn't get a lot out of it and opted for the acoustic path instead. Here, he went on to create a new world, which Werner Herzog loves so much, transforming the thought patterns of electronic music into the language of acoustic ethno music."

Discography

 * 1) Affenstunde (1970)
 * 2) In den Gärten Pharaos (1971)
 * 3) Hosianna Mantra (1972)
 * 4) Seligpreisung (1973)
 * 5) Einsjäger und Siebenjäger (1974)
 * 6) Das Hohelied Salomos (1975)
 * 7) Aguirre (1975)
 * 8) Letzte Tage – Letzte Nächte (1976)
 * 9) Herz aus Glas (1977)
 * 10) Brüder des Schattens – Söhne des Lichts (1978)
 * 11) Nosferatu (1978)
 * 12) Die Nacht der Seele (1979)
 * 13) Sei still, wisse ICH BIN (1981)
 * 14) Agape – Agape (1983)
 * 15) Spirit of Peace (1985)
 * 16) Cobra Verde (1987)
 * 17) For You and Me (1991)
 * 18) City Raga (1995)
 * 19) Shepherd's Symphony – Hirtensymphonie (1997)
 * 20) Messa di Orfeo (1999)

Florian Fricke solo albums

 * Die Erde und ich sind Eins (1983) – limited private pressing
 * Florian Fricke Plays Mozart (1992) – featuring Fricke on piano playing Mozart compositions

Compilations
Note: there are two distinct issues of the compilation Best of Popol Vuh – Werner Herzog. These are distinct from The Best Soundtracks from Werner Herzog Films, though the selections of tracks overlap.

 * Perlenklänge: The Best of Popol Vuh (1976) – Ohr / Pilz / Kosmische Musik compilation
 * Tantric Songs (1981) – featuring tracks from Die Nacht der Seele and Brüder des Schattens – Söhne des Lichts
 * Fitzcarraldo (1982) – soundtrack featuring four previously released Popol Vuh compositions besides opera and traditional music
 * In the Gardens of Pharao / Aguirre (1983)
 * Gesang der Gesänge (1988)
 * Best of Popol Vuh – Werner Herzog (1989 with 14 tracks; reissued 1993 with only 10 tracks)
 * Florian Fricke (1991) – featuring tracks from Herz aus Glas (retitled) and Brüder des Schattens – Söhne des Lichts
 * The Best Soundtracks from Werner Herzog Films (1991, 8 tracks)
 * Best of Popol Vuh from the Films of Werner Herzog (1992, 10 tracks), contains one track (titled "We Are Aware of the Misery") from the Herzog film The Dark Glow of the Mountains, which was previously unreleased
 * Sing, for Song Drives Away the Wolves (1993) – remix album
 * Movie Music (1994) – 3-CD set: Aguirre, Herz aus Glas, Nosferatu
 * Nicht Hoch Im Himmel (1998)
 * Future Sound Experience (2002) – remix album recorded in 1993 (according to its booklet) and released after Florian Fricke's death
 * 70's Progressive (2006) – SPV compilation
 * On the Way to Himalaya (2006) – 3-CD set: Brüder des Schattens – Söhne des Lichts, Spirit of Peace, Die Nacht der Seele
 * The Werner Herzog Soundtracks Box set (2011)
 * Revisited & Remixed (1970–1999) (2011)

Unauthorized album

 * Yoga (1976) – recorded by Florian Fricke with Indian musicians

title: Popol Vuh (band)


text:
Hellkom

Hellkom is an Internet parody site about Telkom, South Africa's telecommunications monopoly. It was started by Gregg Stirton in June 2004 as a protest to the parastatal's excessive pricing for its services. In April 2009, Stirton started a discussion forum named BBLounge (short for broadband lounge) to complement the site. Hellkom and BBLounge communities represent South African telecommunication consumers who want to see South Africa benefit from full liberalisation of the telecommunications sector in South Africa by educating the public and the media.

Statistical, financial and factual information is provided in an effort to educate the South African and international public of the current telecommunication situation in South Africa.

Currently, 1.7 million South Africans have Internet access, from a population of 44 million people. 0.2% of the population have ADSL broadband access. (Source: INTUG)

South African ADSL broadband usage is currently being hampered by the 3 GB monthly traffic limit (equivalent to less than a day of moderately sustained usage, after which access is cut off for the rest of the month), by the cost of the service, and by the heavy port prioritization and bandwidth throttling/traffic shaping of international traffic at exchanges. The reason, speculates the Communications Users Association of South Africa (CUASA), is that incumbent Telkom makes more from leased line solutions than it ever will from providing ADSL. Technical professionals seeking acceptable telecommunications infrastructure to support their work often find emigration an attractive option; in this way Telkom is at least partly responsible for the continuing exodus of much-needed skilled workers.

"The whole country is being hamstrung by Telkom and restrictive legislation. One colonial-style monopoly is manufacturing all the salt and reselling it in limited quantities at restrictive prices." (Source: INTUG)

Related Organizations

 * BBLounge
 * Antitrust

title: Hellkom


text:
Live on St. Patrick's Day from Boston, MA

Live on St. Patrick's Day from Boston, MA is a live album from Boston punk band Dropkick Murphys. It was recorded over three shows at the Avalon Ballroom in, as the name implies, Boston, Massachusetts, and was released on September 10, 2002.


text:
Massena International Airport

Massena International Airport (Richards Field) is in St. Lawrence County, New York. It is 2 nmi east of the village of Massena. The airport sees one airline, subsidized by the Essential Air Service program.

Federal Aviation Administration records say the airport had 971 passenger boardings (enplanements) in calendar year 2008, 3,252 in 2009 and 3,350 in 2010. The National Plan of Integrated Airport Systems for 2011–2015 categorized it as a general aviation airport.

Facilities
The airport covers 752 acre at an elevation of 222 ft. It has two asphalt runways: 5/23 is 5,600 by and 9/27 is 4,000 by.

In the year ending June 30, 2011 the airport had 9,040 aircraft operations, average 24 per day: 68% general aviation, 24% air taxi, and 8% military. 10 aircraft were then based at this airport: 90% single-engine and 10% multi-engine.

Air cargo, charter, limo, courier, and overnight express, and full service for jet refueling are offered. The airport has VOR, ILS, and RNAV navigational approaches. The airport is an uncontrolled airport with no control tower.

Massena, New York does not have international service. It is an "International Airport" as a United States Customs Service port of entry for planes entering the United States from foreign countries. More Canadians than Americans use the airport, which is 86 km from Ottawa, Ontario, 117 km from Montreal, Quebec, and 13 km from Cornwall, Ontario. A one-hour advance ETA notice is required for unscheduled flights.

Airline and destinations
The airport is served by Boutique Air, with direct flights to Boston Logan International Airport and until recently to Baltimore/Washington International Airport. Boutique Air has codeshare agreements with United Airlines and American Airlines, allowing passengers seamless connections to domestic flights at both airports.

Historical airline service
The first airline flights were Colonial Airlines DC-3s in 1946. Colonial was merged into Eastern Air Lines in 1956 which continued to serve Massena until 1961, replaced by Mohawk Airlines. Mohawk continued service until 1969, replaced by Air North. Air North began operating as Allegheny Commuter in 1972, a feeder carrier for Allegheny Airlines which later became USAir. Air North reverted to their own branding in 1979 and was merged into Clinton Aero in 1982. Clinton Aero later became Brockway Air and began operating as Piedmont Commuter in association with Piedmont Airlines in 1986. Most service was flown on a route between Boston and Syracuse with stops at Burlington VT, Plattsburg, Massena, Ogdensburg, and Watertown, NY. In 1989, Brockway Air became Metro Air Northeast and switched their code-share affiliate to operate as Trans World Express in association with TWA. Metro Air Northeast ceased operating in early 1991.

Beginning in July, 1991, Massena was then served by USAir Express in association with USAir and becoming US Airways Express in 1997. Flights to Pittsburgh were flown with stops at Ogdensburg and Watertown and the carriers operating this service were Chautauqua Airlines followed by Mesa Airlines and Air Midwest. This service ended in 2007, replaced by Big Sky Airlines operating as Delta Connection flying to Boston with a stop at either Ogdensburg or Watertown. The Delta service was short lived and ended the following year. Cape Air then served Massena from 2008 with flights to Albany, NY until the current provider, Boutique Air began service in 2017.

Other sources

 * Essential Air Service documents (Docket OST-1997-2842) from the U.S. Department of Transportation:
 * Order 2005-5-8: reselects Mesa Air Group, Inc., d/b/a Air Midwest, to continue providing essential air service (EAS) at Massena, Ogdensburg and Watertown, New York, for a two-year period, and establishes an annual subsidy of $1,757,834 for service consisting of three round trips each weekday and three over the weekend period between the communities and Pittsburgh, with 19-seat Beech 1900D aircraft.
 * Order 2006-12-22: selecting Big Sky Transportation Co., a wholly owned subsidiary of MAIR Holdings, Inc. d/b/a Big Sky Airlines, to provide essential air service (EAS) at Massena, Ogdensburg, and Watertown, New York, consisting of 18 weekly round trips, three each weekday and three each weekend, to Boston, with 19-seat Beech 1900D turboprop aircraft for the two-year period beginning on or about March 1, 2007, at a combined annual subsidy of $2,097,906.
 * Order 2008-3-15: selecting Hyannis Air Service, Inc. d/b/a Cape Air, to provide subsidized essential air service (EAS) at Massena, Ogdensburg, and Watertown, New York, for the two-year period beginning when the carrier inaugurates full EAS pursuant to this Order, at a total annual subsidy of $3,879,863.
 * Order 2011-1-6: selecting Hyannis Air Service, Inc. d/b/a Cape Air, to continue providing subsidized essential air service (EAS) at Massena (for two years), at the annual subsidy rate of $1,708,911.

title: Massena International Airport


text:
File:Runaway cover.gif

synopsis
Cover of The Runaway in Oz by John R. Neill.

Non-free/fair use media rationale in The Runaway in Oz
Although this image is subject to copyright, it is covered by US fair use laws because:
 * 1) The image is only being used in the article about the book (The Runaway in Oz) for informational and educational purposes.
 * 2) Use of the book cover visually identifies the book and its author in a manner that mere prose cannot, and meets all criteria in WP:NFCC.
 * 3) This image enhances the article in which it's displayed, as it provides an immediate relevance to the reader more capably than the textual description alone.
 * 4) The image is not replaceable with an uncopyrighted or freely copyrighted image of comparable educational value.
 * 5) The image is the primary means of visual identification of the article topic.
 * 6) The image is a low resolution image of the book cover, in an inferior graphics format (GIF).
 * 7) The image is only a small portion of the commercial product.
 * 8) The use of this image will not affect the value of the original work.
 * 9) The use of this image will not limit the copyright holder's rights or ability to distribute or make a profit from the original. In particular, copies could not be used to make illegal copies of the book.

title: File:Runaway cover.gif


text:
Digital signage

Digital signage is a segment of electronic signage. Digital displays use technologies such as LCD, LED, OLED, projection and e-paper to display digital images, video, web pages, weather data, restaurant menus, or text. They can be found in public spaces, transportation systems, museums, stadiums, retail stores, hotels, restaurants and corporate buildings etc., to provide wayfinding, exhibitions, marketing and outdoor advertising. They are used as a network of electronic displays that are centrally managed and individually addressable for the display of text, animated or video messages for advertising, information, entertainment and merchandising to targeted audiences.

Roles and function
The many different uses of digital signage allow a business to accomplish a variety of goals. Some of the most common applications include:

 * Public information – news, weather, traffic and local (location specific) information, such as building directory with a map, fire exits and traveler information.
 * Internal information - corporate messages, such as health & safety items, news and so forth.
 * Product information – pricing, photos, raw materials or ingredients, suggested applications and other product information - especially useful in food marketing where signage may include nutritional facts or suggested uses or recipes.
 * Information to enhance the customer service experience - interpretive signage in museums, galleries, zoos, parks and gardens, exhibitions, tourist and cultural attractions.
 * Advertising and Promotion – promoting products or services, may be related to the location of the sign or using the screen's audience reach for general advertising.
 * Brand building – in-store digital sign to promote the brand and build a brand identity.
 * Influencing customer behavior – navigation, directing customers to different areas, increasing the "dwell time" on the store premises and a wide range of other uses in service of such influence.
 * Influencing product or brand decision-making - Signage at the point of sale designed to influence choice e.g. Signage to help shoppers to choose dresses inside a fashion store or devices that on a computerized shopping trolley helping the customer locate products, check prices, access product information and manage shopping lists.
 * Enhancing customer experience – applications include the reduction of perceived wait time in the waiting areas of restaurants and other retail operations, bank queues, and similar circumstances, as well as demonstrations, such as those of recipes in food stores, among other examples.
 * Navigation – with interactive screens (in the floor, for example, as with "informational footsteps" found in some tourist attractions, museums and the like) or with other means of "dynamic wayfinding".
 * Reservations – small, interactive screens on walls or desks that allow employees to reserve the space for a limited time and integrate with a room and resource scheduling platform.

Industry overview
Over 200 different companies worldwide market digital signage solutions and the number is still consistently growing. With the influx of digital signage providers, the digital signage market will increase at a compounded annual growth rate of 7.5% between 2021 and 2028. The reason for the rise is due to the growing demand by companies for the development of digital signage solutions, advertisement displays and paper wastage reduction, along with the growing awareness of the benefits of digital signage. As of 2021, North America dominates the digital signage market with a revenue share of 34.5%. The U.S., U.K., and Germany are projected to have considerable digital signage growth. The predominant market users of digital signage are restaurants, retailers, office buildings, regional state and local planning authorities, public transport services, and various different industries.

The size of the world market for digital signage was projected to be USD 26.76 billion in 2023, and it is projected to increase at a compound annual growth rate (CAGR) of 8.1% between 2024 and 2030.

Restaurants
Digital signage is used in restaurants through an interactive menu screen that rotates promotional offers. Restaurants use digital signage both indoors and outdoors, with the latter needing a form of weather protection depending on the components of the hardware. Outdoor usage of digital signage is most prevalent in drive-through that allows the customer to browse through the entire menu at a glance while also placing their order with an interactive touchscreen. Indoor digital signage is used for the display of menus. Prior to the integration of digital signage, restaurants manually updated the cafeteria menu, which is in itself a full-time job, especially if the menu is updated daily. With digital signage, restaurants do not have to manually update the menu feed, with live menu feed from digital signage solutions. According to a survey conducted by quick-service restaurants and casual restaurant operators, over 20% of restaurant operators experience a 5% sales lift after incorporating digital signage in their service sectors.

Shopping malls
Digital signage is widely used in shopping malls as a form of directory or map display. Uses of digital signage include a wayfinding kiosk, enabling the customer to find their path through an interactive touchscreen. Recent digital signage have begun combining interactive advertisement with wayfinding application. This will offer shoppers who interact with the advertisement of the tenant in the shopping mall to the store. Another usage is disseminating relevant information such as the schedule of an event or campaign.

Hospitality
The hospitality industry uses digital signage to display crucial information at a convenient and visible location for all its patron. A digital signage is capable of functioning as a virtual concierge in hotels and as entertainment for conferences during waiting room. Digital signage is also used in hotels as a form of wayfinding, to guide a large group of people for a conference to the correct room. Digital signage is used to provide a simple method to update information that is continuously changing such as expo information.

Cinema
Digital signage is placed in the lobby, concession stands and displays advertisement before the movie begins. This informs customers about other theater offerings and scheduling, increasing concession sales and gaining other sources of revenue.

Transport
Transport is a growing sector for digital signage with practical solutions, such as wayfinding, as well as out-of-home advertising.

Personalized digital content
One specific use of digital signage is for out-of-home advertising in which video content, advertisements, and/or messages are displayed on digital signs with the goal of delivering targeted messages, to specific locations and/or consumers, at specific times. This is often called "digital out of home" (DOOH).

Education
Digital signage can be used for school cafeteria menu boards, digitized noticeboards, and as an element of smart campuses. The University of Minnesota has installed 300 digital signage boards, updated with real-time data.

Interactivity
Interactive digital signage allows end users to interact with digital content via touchscreens, body sensors or QR codes via smartphones.

Digital signs can interact with mobile phones using SMS messaging and Bluetooth. SMS can be used to post messages on the displays, while Bluetooth allows users to interact directly with what they see on screen. In addition to mobile interactivity, networks are also using technology that integrates social and location-based media interactivity. This technology enables end users to upload photos and messages to social networks as well as text messages.

The widespread use of smartphones led to the development of screen–smart device interaction technologies. These allow smartphone users to interact directly with the digital signage screen, for example, participate in a poll, play a game, or share social network content. JPEG images and MPEG4 videos remain the dominant digital content formats for the digital signage industry. For interactive content, HTML5 and Unity3D are widely used due to their popularity among web developers and multimedia designers.

Context-aware digital signage
Context-aware digital signage leverages technologies such as sensors, cameras, beacons, RFID technologies, software programs and network connectivity including the Internet of Things (IoT) to monitor the ambient environment, process information and deliver promotional messages based on environmental cues. Many digital signage products include cameras and gather shopper demographic data by estimating the age, gender and economic status of passers-by and use this information to update signage as well as to provide back-end analytics and shopper profiles.

Equipment and network infrastructure

Digital signs rely on a variety of hardware to deliver the content. The components of a typical digital sign installation include one or more display screens, one or more media players, and a content management server. Sometimes two or more of these components are present in a single device but typically there is a display screen, a media player, and a content management server that is connected to the media player over a network. One content management server may support multiple media players and one media player may support multiple screens. Stand-alone digital sign devices combine all three functions in one device and no network connection is needed. Digital signage media players run on a variety of operating systems including Windows, Linux, Android and iOS.

LCD and LED displays
Rapidly dropping prices for large plasma and LCD screens have led to a growing increase in the number of digital sign installations. An array of these displays is known as a video wall. With the release of the HDMI 2.1 standard in 2017, wall resolution can reach 4K at higher refresh rates, 8K displays, up to 10K in some applications.

Digital signage displays use content management systems and digital media distribution systems which can either be run from personal computers and servers or regional/national media hosting providers. In many digital sign applications, content must be regularly updated to ensure that the correct messages are being displayed. This can either be done manually as and when needed, through a scheduling system, using a data feed from a content provider (e.g. Canadian Press, Data Call Technologies, Bloomberg LP, Thomson Reuters, AHN), or an in-house data source.

Whenever the display, media player and content server are located apart there is a need for audio-video wiring between the display and the media player and between the media player and the content server. The connection from media player to display is normally a VGA, DVI, HDMI or Component video connection. Sometimes this signal is distributed over Cat 5 cables using transmitter and receiver baluns allowing for greater distances between display and player and simplified wiring. The connection from media player to the content server is usually a wired Ethernet connection although some installations use wireless Wi-Fi networking.

Usage reporting
Some digital signage with the ability to offer interactive media content will come with a usage reporting function. Each interaction users have made with the digital signage such as the photos that were taken, the number of games that were played will be recorded in the digital signage and produced in the form of a usage report. From the report, owners of the digital signage will be able to gauge the effectiveness of the particular advertisement or media content that was in play at the specific hour based on the number of times interaction has been made. Furthermore, if the digital signage is integrated with kinect, the signage will be able to determine the proximity of the consumer to the display and their demographic details such as age, gender for further analytic and consumer behavior study.

History
Digital content is managed via display control software. This control software can be a stand-alone dedicated program or integrated with hardware. New messages can be created from an inventory of audio, video, image, graphics, words and phrases which are assembled in different combinations and permutations to yield new messages in real-time. Digital content displayed on the signage is presented in one of the following formats:

 * Text - Scrolling text. Either scrolling text, or text dynamically updated via external Newsfeed source.
 * Images - Scrolling images, usually in the format of digital advertisement posters
 * Video - many display control systems use canned graphics and video, however, custom video can be self-generated or contracted by many sources.
 * Interactive interfaces - Integration of signage with a touch screen, beacons, sensors, RFID technologies, to allow for two-way communications with the users. Interactive digital signage helps to engage users and may also assist advertisers to gain insight into customer behavior.
 * Context-aware interfaces - Integration of signage with cameras, sensors and software to monitor the ambient environment and audience, allowing signage to be updated according to the audience profile, weather conditions or some other relevant external factor.

Predecessors to electronic signage
Prior to the advent of digital signage throughout the industries, electronic paper were used as display devices. Electronic paper were used to hold static texts and images indefinitely without electricity. The disadvantage to electronic paper as a form of digital signage is the limited reach of information transmission. Users that need to update the information will need to be in the same retail store, or be within the proximity for shopping malls. This required manual work from store staffs and shopping mall staff in maintaining the device with the latest information.

First generation: Dot matrix display
First generation of digital signage display utilize LED board, projection screens or other emerging display types like interactive surfaces or organic LED screens (OLED). A dot matrix display digital signage will relay the information within a database. All the information must be inputted manually by a person before the message display is updated. This form of digital signage is most commonly used in both train stations, airports, and other areas where information must be conveyed to the mass public. The downside of having dot matrix digital signage is the lack of media player. This digital signage will not be able to play multimedia content.

Second generation: Multimedia player digital signage
The second generation of digital signage is able to play multimedia content and is controlled by a centralized management system. Digital audiovisual (av) content is reproduced on TVs and monitor displays of a digital sign network from at least one media player (usually a small computer unit, but DVD players and other types of media sources may also be used). Various hardware and software options exist. These range from portable media players that can output JPG slide shows or loops of MPEG-2 video to networks consisting of multiple players and servers that offer control over enterprise-wide or campus-wide displays at many venues from a single location. The former are ideal for small groups of displays that can be updated via USB flash drive, SD card or CD-ROM. Another option is the use of D.A.N. (Digital Advertising Network) players that connect directly to the monitor and to the internet, to a WAN (Wide Area Network), or to a LAN (Local Area Network). This allows the end user the ability to manage multiple D.A.N. players from any location. The end user can create new advertising or edit existing advertisements and then upload changes to the D.A.N. via the internet or other networking options.

APIs for some digital sign software allow customized content management interfaces through which end-users can manage their content from one location.

More advanced digital sign software allows content to be automatically created by the media players (computers) and servers on a minute-by-minute basis, combining real-time data, from news to weather, prices, transport schedules, etc., with av content to produce the most up-to-date content.

Third generation: Interactive digital signage
The current generation of digital signage builds onto the previous generation with the added function to interact with the system. Users will be able to interact with the advertisement, scroll through the product menu, or share their information online via the new generation of digital signage. The interactive digital signage opens up interaction and ability to collect more personalize information. Some common uses of interactive digital signage are for users to take a picture and then connect to their Facebook, Twitter, Instagram, or other Social media platform to share the photo they have taken. Products such as people counting or facial recognition are leading to developments where adverts on digital signage boards can change to display gender specific adverts or screens can direct shoppers to specific locations to enable queue management.

title: Digital signage


text: Category:Star Wars spin-off films

title: Category:Star Wars spin-off films


text:
Dance of the Yellow-Breasted Luddites

"Dance of the Yellow-Breasted Luddites" is a science fiction novelette by William Shunn. It appeared in the original anthology Vanishing Acts, edited by Ellen Datlow and published by Tor Books in 2000. It was nominated for the 2001 Nebula Award for Best Novelette.

Plot
The story takes place in a wildlife reserve on a mostly barren planet named Sutter's Mill. Rescue Star operative Hannah Specter is overseeing the introduction of a new alien animal species into the reserve and must unravel the mystery of the species' seemingly suicidal behavior.

Netherview Station series
"Dance of the Yellow-Breasted Luddites" is part of Shunn's "Netherview Station" story series, which also includes "The Practical Ramifications of Interstellar Packet Loss" and "Inclination."

title: Dance of the Yellow-Breasted Luddites


text:
Stranded (album)

Stranded is the third album by English rock band Roxy Music, released in 1973 by Island Records (it was released by Atco Records in the United States). Stranded was the first Roxy Music album on which Bryan Ferry was not the sole songwriter, with multi-instrumentalist Andy Mackay and guitarist Phil Manzanera also making songwriting contributions. It is also their first album with keyboardist/violinist Eddie Jobson and bassist John Gustafson, who replaced Brian Eno and John Porter, respectively, after their departures following the release of their previous album For Your Pleasure.

Stranded reached number one on the UK albums chart. The track "Street Life" was released as a single and reached number 9 on the UK singles chart. In the US, Stranded charted at number 186.

Cover art
The gatefold cover photograph was taken by Karl Stoecker and styled by Antony Price, and shows Playboy model Marilyn Cole. In an interview with the writer Tony Barrell in 2007, Cole recalled:

"It was at a tiny studio, somewhere off the Edgware Road in London. I'd never even heard of Roxy Music. I very soon understood that I was in safe hands, among some very talented people. There was a red dress hanging up, and I thought, 'Ooh, good, I'm going to get to wear a really nice dress'... whereupon, as I'm having my make-up done, Antony comes in and starts ripping the dress – a hole there, a slash there. I was thinking, 'Oh no.' They stuck me on this big log and explained I was supposed to be stranded in a jungle, and then they started spraying me; they sprayed my hair gold, and there was a whole mist coming over me and the dress was getting wet in all the right places."

Critical reception
Reviewing for Rolling Stone in 1974, Paul Gambaccini wrote: "Roxy Music can no longer be ignored by Americans. They may not achieve the commercial success they have in Britain, where Stranded reached Number One, but their artistic performance must be recognized. Stranded is an eloquent statement that there are still frontiers which American pop has not explored."

Reviewing for Creem in 1974, Robert Christgau found Ferry to be an "ambitious" but "oblique" artist and quoted New York artist Sidney Tillem's 1969 thesis on figurative art, "Aspects and Prospects", to conclude his review of the album: "By moral in the context of art I mean a style which executes the deeper social and psychological function of form, as opposed to a particular aspect of vanity called taste. Pop sensibility, pop consciousness, pop sentimentality have been invaluable in clarifying the provincialism and nostalgia that actually permeate a culture that has come to pride itself on sophistication. But they have not resulted in a new art simply because the requisite idealism has been lacking."

In a positive retrospective review, AllMusic critic Stephen Thomas Erlewine wrote of the album: "Under the direction of Bryan Ferry, Roxy moved toward[s] relatively straightforward territory, adding greater layers of piano and heavy guitars. Even without the washes of Eno's synthesizers, Roxy's music remains unsettling on occasion, yet in this new incarnation, they favor more measured material."

Although it was the first Roxy Music album made without Brian Eno, Eno later described it as one of his personal favourite albums by the group.

Covers
Bass guitarist John Taylor, during his solo period after leaving Duran Duran in 1997, organized a Roxy Music tribute album called Dream Home Heartaches: Remaking/Remodeling Roxy Music, which was released in 1999. On it, Ferry and Mackay's "A Song for Europe" was covered by Dave Gahan and "Street Life" was performed by Phantom 5 (a.k.a. Gerry Laffy and Simon Laffy).

Personnel
Roxy Music
 * Bryan Ferry – vocals, piano, electric piano, harmonica, cover concept
 * Andy Mackay (as Andrew Mackay) – oboe, saxophone, treatments
 * Phil Manzanera – guitar, treatments
 * Paul Thompson – drums, timpani
 * Eddie Jobson – synthesizers, keyboards, electric violin
 * John Gustafson – bass guitar except on "Street Life"

Additional personnel
 * Chris Laurence – string bass on "Sunset"
 * London Welsh Male Voice Choir – chorus on "Psalm"
 * Chris Thomas – production, uncredited bass guitar on "Street Life"
 * John Punter - engineer
 * Nicolas de Ville – cover design
 * Karl Stoecker – photography

title: Stranded (album)


text:
Dana Buchman

Dana Buchman was an upscale men's and women's fashion brand. Its founder, Dana Buchman, is an American fashion designer. The brand, which was most recently carried by Kohl's, was discontinued in 2020.

History
Dana Buchman has been a member of the Council of Fashion Designers of America since 1991 and is currently a board member of the CFDA.

In 2008, Buchman announced that she would be discontinuing her higher priced line to design exclusively for Kohl's. In 2011, Liz Claiborne sold the Dana Buchman brand to Kohl's. Kohl's carried the line until 2020, when it dropped the line along with seven other women's brands in a move toward activewear.

title: Dana Buchman


text:
La Flèche chicken

The La Flèche, Poule de La Flèche, is a rare French breed of dual-purpose domestic chicken. It originates from the département of the Sarthe, in the Pays de la Loire region, and is named for the town and commune of La Flèche in that area, not far from the capital of the Sarthe, Le Mans. The breed was once famous for the fine quality of its meat; since the Second World War, numbers have fallen very low.

History
Many authors date the origins of the La Flèche breed to the fifteenth century. An early description dates from 1846. The breed enjoyed a period of fame and success in the first part of the twentieth century, but, as with all native French breeds other than the Bresse, numbers fell heavily after the Second World War.

In the 1960s and 1970s it came close to disappearing; there has since been a gradual recovery. In 2011 a rescue project was launched by the Conservatoire des races animales en Pays de la Loire, the regional animal breed conservation body of the Pays de la Loire region.

Some birds were exported to the United States in the 1850s, but were found too delicate for the climate. Some were exported to Germany in about 1860, and others were exported to Britain by William Bernhardt Tegetmeier in 1882.

Characteristics
Their main distinguishing feature is their unusual V-shaped comb. They are of medium size, with cocks usually weighing between, and hens between.

Use
Hens may lay about 180 white eggs per year, with an average weight of

title: La Flèche chicken


text:
Rancho Simi

Rancho Simi, also known as Rancho San José de Nuestra Señora de Altagracia y Simí, was a 113009 acre Spanish land grant in what is now eastern Ventura and western Los Angeles counties granted in 1795 to Santiago Pico, founder of the Pico family of California. After Santiago Pico's death in 1815, the Rancho was regranted to Santiago's sons Javier Pico and his two brothers, Patricio Pico and Miguel Pico by Diego de Borica. The name derives from Shimiji, the name of a Chumash village in the Simi Valley for thousands of years before the Spanish arrival.

History
Rancho Simi was a Spanish land concession in Alta California given in 1795 to Santiago Pico. After Santiago Pico's death in 1815, the Rancho was regranted to Santiago's sons Javier Pico and his two brothers, Patricio Pico and Miguel Pico by the Spanish government.

José de la Guerra y Noriega, a Captain of the Santa Barbara Presidio, who had begun to acquire large amounts of land in California to raise cattle, purchased Rancho Simi from the Pico family in 1842. The grant was confirmed in 1842 by Mexican Governor Juan Alvarado. With the cession of California to the United States following the Mexican–American War, the 1848 Treaty of Guadalupe Hidalgo provided that the land grants would be honored. As required by the Land Act of 1851, a claim for Rancho Simi was filed with the Public Land Commission in 1852, and the grant was patented to José de la Guerra y Noriega in 1865.

José de la Guerra y Noriega's death in 1858, his sons continued to operate the ranchos. The end of their prosperity came when several years of drought in the 1860s caused heavy losses.

In 1865, the De la Guerras lost the ownership of El Rancho Simí excluding the portion that came to be known as Rancho Tapo*. Rancho SImi (excluding Rancho Tapo) was sold to the Philadelphia and California Petroleum Company headed by Pennsylvania Railroad president, Thomas A. Scott. When no great amount of oil was discovered, Scott began to sell the rancho. In 1887, that portion of the rancho was bought by a newly formed company, the Simi Land and Water Company.

The city of Simi Valley, California incorporated in 1969.

''*El Rancho Tapo was part of the original 113,009 acre Rancho Simí grant, but sometime around 1820-1830, the Rancho Tapo came to be thought of as a separate place within Rancho Simí. The last of the De la Guerras to live in Simí Valley retreated to a 14,400-acre portion of the original rancho that was known as the Tapo Rancho. As late as February 1877, Juan De la Guerra was reported in county newspapers to be preparing to plant walnuts in the Tapo, which appears to be the final mention of their farming in relation to the original Simí grant. The De la Guerra heirs tried every legal means, but by the 1880s, the Rancho Tapo also slipped from their ownership, as had the rest of the Rancho.''

Historic sites of the Rancho

 * Simi Adobe–Strathearn House – home of Robert P. Strathearn served as the rancho headquarters. It is now part of the Strathearn Historical Park and Museum.

title: Rancho Simi


text:
User:Tgkshorney~enwiki

Tgkshorney is the username of Tom Shorney.

title: User:Tgkshorney~enwiki


text:
Ogdensburg International Airport

Ogdensburg International Airport is a public airport located in the town of Oswegatchie, 2 mi southeast of Ogdensburg, in St. Lawrence County, New York. It is owned by the Ogdensburg Bridge & Port Authority, which also owns and operates the Ogdensburg–Prescott International Bridge, Port of Ogdensburg-Marine Terminal Facility, Commerce Park, Port of Waddington, a medium-heavy industrial park and two short line railroads. The Ogdensburg Bridge and Port Authority is a New York State public-benefit corporation. The international airport is just outside the city limits on NY 812. It is used for general aviation and commercial service. Scheduled commercial flights are operated by one airline: Contour Airlines (service is subsidized by the Essential Air Service program).

Federal Aviation Administration records say the airport had 603 passenger boardings (enplanements) in calendar year 2008, 2,329 in 2010, and 10,281 in 2016. The National Plan of Integrated Airport Systems for 2011–2015 categorized it as a general aviation airport (the commercial service category requires at least 2,500 enplanements per year).

Facilities
Ogdensburg International Airport covers 500 acres (202 ha) at an elevation of 297 feet (91 m). Its one runway, 9/27, was 5,200 by 150 feet (1,585 x 46 m) asphalt until the summer of 2016 when it was extended to 6,400 (1,951 m) by 150 ft length. In the year ending March 23, 2015 the airport had 1,508 aircraft operations, average 126 per month: 71% air taxi, 21% general aviation, and 8% military. Seven aircraft were then based at the airport, all single-engine. There are a handful of buildings: a small hangar, storage shed and fire hall.

Passenger
Airline flights (Mohawk DC-3s) started in 1957 after the airport got a 3800 foot paved runway.

A handful of tenants besides Skywest are at the airport:
 * St. Lawrence Flying Club Incorporated – fixed wing and rotary flight training

Other sources

 * Essential Air Service documents (Docket OST-1997-2842) from the U.S. Department of Transportation:
 * Order 2005-5-8: reselects Mesa Air Group, Inc., d/b/a Air Midwest, to continue providing essential air service (EAS) at Massena, Ogdensburg and Watertown, New York, for a two-year period, and establishes an annual subsidy of $1,757,834 for service consisting of three round trips each weekday and three over the weekend period between the communities and Pittsburgh, with 19-seat Beech 1900D aircraft.
 * Order 2006-12-22: selecting Big Sky Transportation Co., a wholly owned subsidiary of MAIR Holdings, Inc. d/b/a Big Sky Airlines, to provide essential air service (EAS) at Massena, Ogdensburg, and Watertown, New York, consisting of 18 weekly round trips, three each weekday and three each weekend, to Boston, with 19-seat Beech 1900D turboprop aircraft for the two-year period beginning on or about March 1, 2007, at a combined annual subsidy of $2,097,906.
 * Order 2008-3-15: selecting Hyannis Air Service, Inc. d/b/a Cape Air, to provide subsidized essential air service (EAS) at Massena, Ogdensburg, and Watertown, New York, for the two-year period beginning when the carrier inaugurates full EAS pursuant to this Order, at a total annual subsidy of $3,879,863.
 * Order 2011-1-6: selecting Hyannis Air Service, Inc. d/b/a Cape Air (Cape Air), to continue providing subsidized essential air service (EAS) at Massena (for two years), at the annual subsidy rate of $1,708,911, and at Ogdensburg (for four years), at the annual subsidy rate of $1,702,697, beginning when the carrier inaugurates the new service pattern.

title: Ogdensburg International Airport


text:
Ashtead potters

The Ashtead Pottery was opened in 1923 and continued in operation until 1935. It was based in Ashtead, Surrey, England at the Victoria Works. The operating firm, Ashtead Potters Ltd., employed disabled ex-servicemen recruited via labour exchanges across the south of England.

The founder was Sir Lawrence Weaver, who received assistance from Clough Williams-Ellis and politician Stafford Cripps. At its beginning the firm had four employees, expanding later to a workforce of up to forty men. Workers with families were housed in sheltered housing in Purcell Close.

A wide range of wares was produced, including figures and commemoratives and a range of tableware. Designers included Phoebe Stabler (Poole Pottery and Royal Doulton) and Percy Metcalfe. The firm exhibited at the Wembley British Empire Exhibitions of 1924 and 1925, selling souvenirs bearing the Wembley Lion designed by Frederick Charles Herrick (1887–1970).

The Ashtead Pottery closed in January 1935 due to a downturn in trade in the 1930s, and the death of Sir Lawrence. Victoria Works was demolished in 1985 and the site redeveloped as a sheltered housing project. A plaque commemorates Ashtead Potters Limited.

title: Ashtead potters


text:
Pir Sohawa

Pir Sohawa (Urdu: پیر سوہاوہ) is a rapidly developing tourist resort located 17 km from Islamabad on top of Margalla Hills. It has a 3000 plus ft elevation and is geographically part of Haripur District.

Like many other parts of the Margalla Hills, Haripur and Galyat mountains, Pir Sohawa sees rapid, uncontrolled development and encroachment on National Park land, which results in damages to the environment through pollution and heavy traffic.

On 6 January 2012, after almost six years, Pir Sohawa received few inches of snowfall.

Tourist attractions
Pir Sohawa is at the top of several hiking trails of the Margalla Hills.

Dino Valley is a large theme park in the hills, having a variety of cafes and children's play areas for all ages. Its location adds to the traffic problems along Pir Sohawa road.

authors: Я сошла с ума

title: Pir Sohawa


text:
User talk:Misterjoel

Welcome!

Hello,, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, please be sure to sign your name on talk pages using four tildes (~~~~) to produce your name and the current date, or three tildes (~~~) for just your name. If you have any questions, you can post to the help desk or ask me on my talk page. Again, welcome! EdwinHJ | Talk 20:16, 26 August 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

title: User talk:Misterjoel


text: User talk:69.29.153.185

title: User talk:69.29.153.185


text: User:Zec

title: User:Zec


text:
File:Stapleton airport redevelopment.jpg

Stapleton Airport Redevelopment -- Farmers Market.

Taken by Ken Kinder 20 June 2004