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Ordu

Ordu or Altınordu is a port city on the Black Sea coast of Turkey, historically also known as Cotyora or Kotyora (Κοτύωρα), and the capital of Ordu Province. The city forms the urban part of the Altınordu district, with a population of 235,096 in 2023.

Name
Kotyora, the original name of the city is a legacy of indigenous Colchians. The name is allegedly composed of an old Laz language word for pottery ('Koto', similar to Mingrelian 'Koto', Georgian 'Kotani' and Laz 'Katana') and a common Kartvelian suffix indicating belonging ('Uri'). In Zan (aka Colchian) Kotyora means a place where pottery is made. This point is supported with several other Kartvelian place names existing in the region as well as the region itself historically being known as Djanik (Djani being another name for Laz).

The contemporary name of Ordu meaning 'army camp' in Ottoman Turkish was adopted during the Ottoman Empire because of an army outpost being located near the present day city.

History
In the 8th century BC, Cotyora (Κοτύωρα) was founded by the Miletians as one of a string of colonies along the Black Sea coast. Diodorus Siculus wrote that it was a colony of the Sinopians. Xenophon's Anabasis relates that the Ten Thousand rested there for 45 days before embarking for home. Strabo also mentions it. Under Pharnaces I of Pontus, Cotyora was united in a synoikismos with Cerasus. Arrian, in the Periplus of the Euxine Sea (131 CE), describes it as a village "and not a large one." Suda mentioned that it was also called Cytora (Κύτωρα).

The area came under the control of the Danishmends, then the Seljuk Turks in 1214 and 1228, and the Hacıemiroğulları Beylik in 1346. Afterwards, it passed to the dominion of the Ottomans in 1461 along with the Empire of Trabzon.

The modern city was founded by the Ottomans as Bayramlı near Eskipazar as a military outpost 5 km west of Ordu.

In 1869, the city's name was changed to Ordu and it was united with the districts of Bolaman, Perşembe, Ulubey, Hansamana (Gölköy), and Aybastı. At the turn of the 20th century, the city was more than half Christian (Greek and Armenian), and was known for its Greek schools.

On 4 April 1921, Ordu province was created by separating from Trebizond Vilayet.

Archaeology
In 2016, archaeologist discovered a marble statue of Cybele. In 2018, at the same site, they also discovered sculptures of Pan and Dionysus. In 2021, archaeologists complained because a stone quarry used dynamite destroying some of the rock tombs.

In December 2021, archaeologists announced 1600 year-old eight tombs in the Kurtulus district of Ordu. Researchers also uncovered human and animal remains, many pieces of jewelry made of gold, sardine stone, silver, glass, and bronze, a glass bottle and beads. In the same area researchers unearthed a Byzantine monastery church and they determined it was dedicated to the Emperor Constantine and his mother Helena.

Ordu today
The Sağra factory shop, selling many varieties of chocolate-covered hazelnuts, is one of the town's attractions.

The Boztepe aerial tramway is another popular attraction which is set to become a modern symbol for the city.

Local music is typical of the Black Sea region, including the kemençe. The cuisine is primarily based on local vegetables and includes both typical Turkish dishes — such as pide and kebab — and more interesting fare such as plain or caramel 'burnt ice-cream'.

Economy
Ordu is one of the provinces where hazelnuts are grown the most in Turkey. Ordu is famous for hazelnuts, producing about 25 percent of the worldwide crop. The province relies on the crop for up to 80% of its economic activity. Turkey as a whole produces about 75 percent of the world's hazelnuts. As of 1920, Ordu was one of the few producers of white green beans, which were exported to Europe. Ordu also had mulberry tree plantations for sericulture. Today, the city is partially industrialized and a member of the Anatolian Tigers with its 7 companies.

Places of interest

 * Paşaoğlu Konağı and Ethnographic museum – an ethnographic museum.
 * Taşbaşı Cultural Centre – a cultural centre
 * Boztepe – a hill of 550 m overlooking the town from the west. Since June 2012, an aerial lift system provides an easy way of transportation between the city's coastline and the hilltop. The Ordu Boztepe Gondola can transport hourly 900 passengers up to the hilltop in 6.5 minutes.
 * Old Houses of Ordu in the old city center
 * Yalı Camii, also called Aziziye Camii – a mosque
 * Atik İbrahim Paşa Camii, also called Orta Cami – a mosque built in 1770
 * Eski Pazar Camii – a mosque with adjoining Turkish baths
 * Efirli Camii – a mosque
 * Cape Jason is an Archaeological site and a small peninsula facing the sea. Its name is derived from the Mythological leader Jason of the Argonauts.

Sports
The city is the home of the Orduspor football club. Its base is the 19 Eylül Stadium in the heart of the city. Orduspor football team has played in the Super League of Turkey several seasons. The club also has a basketball team.

International relations
Ordu is twinned with:

 * Batumi, Georgia, since 2000
 * 🇦🇿 Ganja, Azerbaijan

Climate
Ordu has a humid subtropical climate (Köppen: Cfa, Trewartha: Cf), like most of the eastern Black Sea coast of Turkey. It experiences warm summers, cool winters, and plentiful precipitation throughout the year, which is heaviest in autumn and winter.

Snowfall is occasional between the months of December and March, snowing for a week or two, and it can be heavy once it snows.

The water temperature, like in the rest of the Black Sea coast of Turkey, is always cool and fluctuates between 8 and 20 C throughout the year.

Notable people from Ordu

 * Gülşen – singer
 * Ertuğrul Günay – politician who is a former Ministry of Culture and Tourism (Turkey)
 * Kadir İnanır – actor
 * İdris Naim Şahin - politician
 * Mehmet Hilmi Güler – politician who was Ministry of Energy and Natural Resources and current mayor of the Ordu Province.
 * Numan Kurtulmuş – politician
 * Terzi Fikri – comunist politician and old Fatsa mayor.
 * Kamil Sönmez – Black Sea region at Turkish folk music artist
 * Soner Arıca – musician
 * Erdoğan Arıca – footballer

Mayors Of Ordu metropolitan municipality

 * 1977-1980 and 1984-1994 Kazım Türkmen  CHP, SODEP, SHP
 * 1994-2004 Fikret Türkyılmaz ANAP, MHP
 * 2004-2014 Seyit Torun DSP, CHP
 * 2014-2018 Enver Yılmaz AK Party
 * 2018-2019 Engin Tekintaş AK Party
 * 2019-present Hilmi Güler AK Party

Sport In Ordu

 * Orduspor
 * 52 Orduspor
 * Orduspor 1967

title: Ordu


text:
Mr. & Mrs. Smith (1996 TV series)

Mr. & Mrs. Smith is an American action drama television series that aired on CBS. Starring Scott Bakula and Maria Bello, the series aired from September 20, 1996, to November 8, 1996. Mr. & Mrs. Smith was set and filmed in Seattle. The series was produced by Page Two Productions and Bakula Productions in association with Warner Bros. Television.

Synopsis
A spy known only as Mr. Smith (Bakula) works for a private security organization known as "The Factory". Using covert operatives and the latest technology they gather information on technology, science, and economics in an effort to protect corporate America from espionage. They are also hired out as private security or to help with covert operations like the recovery of stolen Stinger missiles. In the pilot, a rival named Mrs. Smith (Bello) becomes entangled in a case with Mr. Smith. After losing her job when her mission fails, The Factory hires her and assigns them to work together. Though they often bicker, and know nothing about each other's personal lives, including real names, they make a good team.

The series was canceled after nine of the thirteen episodes produced were aired. The remaining four episodes aired in Norway, Poland, Finland, Australia, the Netherlands, and Germany.

Cast

 * Scott Bakula as Mr. Smith
 * Maria Bello as Mrs. Smith
 * Roy Dotrice as Mr. Big

Production
Mr. & Mrs. Smith was executive produced by Kerry Lenhart and John J. Sakmar. Series star Scott Bakula served as one of the series' producers.

The pilot episode marked the acting debut of Timothy Olyphant, who played Mr. Smith's original partner.

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

title: Mr. & Mrs. Smith (1996 TV series)


text:
Talk:USS Enterprise (NCC-1701-D)

Propulsion
There really needs to be some stuff about the propulsion / engineering systems on this page. Type and size reactor, power output, impulse/ warp system specs, ... any body know where to find this stuff? —Preceding unsigned comment added by 24.18.244.22 (talk) 03:34, 12 August 2009 (UTC)

Odd design
Seems kind of strange that the design of a starship would be so vertically asymmetrical, or that the bridge would be located on the very "top". I'd imagine that this particular starship had massive problems with center-of-gravity balancing and... well... bridges getting shot off =) 74.135.4.188 13:40, 18 October 2006 (UTC)

Spec list
Can someone explain what makes this spec list authoritative? Or was it just picked at random? AlistairMcMillan 10:21, 22 August 2005 (UTC)

Problems with spec list
Let's start real simple. Can someone point me to the source of the "463 m (1,521 ft)" figure for the width of the Ent-D? The Technical Manual, which at a glance doesn't seem to explicitly list dimensions, does however suggest 388.36 metres on page 20. AlistairMcMillan 07:04, 20 October 2005 (UTC)

 * I believe this information is in the ST:DS9 Technical Manual; I don't have it handy, but specs for numerous classes are in there. E Pluribus Anthony 07:14, 20 October 2005 (UTC)

 * Great. TNG Technical Manual says 388.36m and DS9 Technical Manual says 463.73m. AlistairMcMillan 08:21, 20 October 2005 (UTC)

 * Hey; I know ... inconsistencies. There is also a diagram in The Art of Star Trek which indicates the beam of the saucer section (used in scale for Star Trek: Generations) in feet.  It is just slightly larger than the 463.73 m figure, which is also about right if you consider the length as being around 641 m.  (I can't recall what the precise figures are now, though.)  I'll confirm later.  E Pluribus Anthony 12:42, 24 October 2005 (UTC)

The exact quote from Conundrum is "We are equipped with 10 phaser banks, 250 photo torpedoes and a high-capacity shield grid." AlistairMcMillan 12:09, 24 October 2005 (UTC)

 * Hi! I know; didn't I say that (paraphrased)?  I believe (but could be mistaken) that both technical manuals indicate different figures for phasers, too.  Not to conduct original research and dispute canon, but one can count the number of phaser arrays (the long strips on the ship exterior); in the docked configuration, there are eleven of them (one additional array is on the battle 'cobra' head, when docked).  Perhaps a note indicating 10 or more is sufficient?  And then there's the 'souped-up' Venture, which apparently has one more array atop each warp engine.

 * The number of phaser arrays – eleven type-10 – appears in the ST:DS9 TM (p. 151). E Pluribus Anthony 01:26, 12 November 2005 (UTC)

 * The number of pho-torps (missiles) cited on-screen is consistent with the ST:TNG TM; in the manual, the number of probes is also mentioned.

 * The number of torpedo launchers – two (while docked) – appears both in the ST:TNG TM and ST:DS9 TM (p. 151). E Pluribus Anthony 01:26, 12 November 2005 (UTC)

 * Yes: a high-capacity shield grid is indicated; the ST:TNG TM actually cites a total shield output in the gigawatt range, but unsure of the precise figure. (This all from memory ... very sad.) :)

 * I hope this makes some sorta sense. Thoughts?  E Pluribus Anthony 12:35, 24 October 2005 (UTC)
 * Do the tehcnical manuals have info for all ships. We can compare them using both manuals. In a table showing what each manual suggests. There may be incinsistencies, but what is new with that. -- Cool CatTalk 23:50, 26 March 2006 (UTC)

 * That may be somewhat cumbersome. To my knowledge, there are three major semi-canon print sources for specs: Star Trek: The Next Generation Technical Manual, Star Trek: Deep Space Nine Technical Manual, and Star Trek Starship Spotter (ST:SS).  None are fully comprehensive.  The first focuses (of course) on the Enterprise-D but gleans insights into other aspects of 'contemporary' technology.  Ditto for the ST:DS9 TM, which is glossier and profiles numerous starships from vaious nations, but it has been chided for inaccuracies and inconsistencies.  Lastly, ST:SS is primarily a compendium of beauty shots (by the graphic artists who created digital starships for the various productions) with specs that don't necessarily agree with factoids in the other two and elsewhere.  As well there are also a smattering of specs et al. in other print and online materials (of varying canonicity) ... and entire fanon sites are devoted to resolving said inconsistencies regarding starship specs.

 * I think the approach taken, for example, with the Enterprise-D or -E spec infoboxes is the way to go. As long as (the above) sources are cited, we discuss inclusions/variations, and note them (with general statements if necessary), we can embolden said articles and include agreeable yet germane information.  Thoughts?  E Pluribus Anthony | talk | 00:38, 27 March 2006 (UTC)

Commander/Captain Riker?
The article mentions that Commander Riker briefly was Captain of the Enterprise-D. During that period, he had been field-promoted to Captain (he wore four pips on his collar and everything). Should any mention be made that he was a Captain during the time of his command of the Enterprise?--Raguleader 22:10, 26 August 2006 (UTC)
 * Great minds think alike, and so do we: while you were typing this up, I just removed the rank listings for both Jellico and Riker. Anyone interested in that info. can just go to the characters' articles. --EEMeltonIV 22:11, 26 August 2006 (UTC)

Size
How big is it?--66.176.212.236 22:04, 29 January 2007 (UTC)

Non-free Image Use
Is the asteroid field image really needed? Per WP:NFC, use of non-free content should be kept to a minimum. "Multiple items are not used if one will suffice; one is used only if necessary." Neitherday 01:45, 20 August 2007 (UTC)

Ten Forward
Why does Ten Forward redirect here? Someone needs to make a disambiguation for this because I KNOW there's more definitions of this term. --TangoFett (talk) 00:09, 27 May 2010 (UTC)

Warp 10+
I've re-added a legitimate point about the inconsistency of the "future" Enterprise travelling in excess of warp 10. This is well based - it is covered in detail in the warp drive article linked to, the TNG Technical Manual, and features prominently in the Voyager episode Threshold.

And yet, somehow this is still OR. Go figure. Crispmuncher (talk) 17:56, 13 July 2010 (UTC)

 * Pease cite a source indicating this trivial plot detail and supposed discrepancy actually matters to someone in the real world, and not just tech-manual-obsessed fanboys (such as myself). The notion that it is an "inconsistency" is OR -- it may very well be consistent with eg the episode's alternate future history tech. This kind of speculation/assertion without citation to it being an "inconsistency" is inappropriate here. Take it to Memory Alpha. --EEMIV (talk) 23:37, 13 July 2010 (UTC)

 * I saw that as well and was about to comment on it til I noticed this. It seems to me that you can argue things one or the other - you can argue that a one-off episode is an irrelevance _or_ you can argue that one episode is significant.  What you _can't_ do is argue that one episode is significant and another irrelevant, which is what EEMIV appears to be doing from the edit log.  —Preceding unsigned comment added by 87.112.22.111 (talk) 08:22, 22 April 2011 (UTC)

NCC-1701D would be at least the 6th Federation Starships named Enterprise
Doing this from memory but here is the breakdown as I figure it: 1 - NX-01 (TV Series "Star Trek Enterprise") 2 - NCC-1701 Constitution Class (TV Series "Star Trek" original series) NOTE: Includes NCC-1701 Improved Constitution Class (Star Trek Movies I, II, and III) 3 - NCC 1701A Constitution Class (Star Trek Movies IV, V, and VI) 4 - NCC 1701B Excelsior Class (TV Series "Star Trek TNG" referenced and shown in "Star Trek Generations") 5 - NCC 1701C Ambassador Class ("Star Trek TNG" shown in episode "Yesterdays Enterprise") 6 - NCC 1701D —Preceding unsigned comment added by 24.43.5.154 (talk) 00:19, 11 January 2011 (UTC)

But NX-01 wasn't part of the federation. Brian Boru is awesome (talk) 00:23, 11 January 2011 (UTC)

Actually the federation was founded while the Enterprise NX-01 still was on duty... so I would agree: NCC-1701-D is the 6th Federation Starship. — Preceding unsigned comment added by 2003:CB:2746:E900:F541:3DFA:DFDF:4553 (talk) 20:17, 11 October 2020 (UTC)

Input requested
I've posed a few questions at Wikipedia_talk:WikiProject_Star_Trek, and I'd appreciate feedback from anyone who has this article watchlisted. Thanks! --EEMIV (talk) 16:02, 30 January 2012 (UTC)

Using "the" with ship's names
A discussion relevant to the most recently added/reverted edits to the mainpage has started here: Talk:USS Enterprise (NCC-1701). Thanks. Jabberjawjapan (talk) 08:03, 23 February 2017 (UTC)

External links modified
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Input requested: name-change proposal that would affect this article
Fellow Treksters: I have an idea that would affect this and other articles about various starships Enterprise. I'd appreciate your input at the WikiProject talk page at Wikipedia_talk:WikiProject_Star_Trek. Thanks! --EEMIV (talk) 01:23, 3 September 2018 (UTC)

Displacement?
I don't think displacement is the correct unit as it is a maritime term. The unit should be mass, surely?  Tony Holkham   (Talk)  20:24, 2 July 2019 (UTC)

Mass on the White fire plans says Approx 5,000,000 metric tons --Stevegoodmansen (talk) 06:28, 17 March 2020 (UTC)

Length Width & Height
While the Length and Width seem to be close enough to accurate, the Height can not possibly be accurate. This height number is way too tall. --Stevegoodmansen (talk) 04:29, 17 March 2020 (UTC) The dimensions on the original Whitefire plans are: Overall Length 642.5 meters Overall Beam (Width) 467.2 meters Overall depth 137.6 meters

These dimensions actually scale to the size of the ship. I'd be really curious where the numbers on this page came from. Width and length aren't too bad but height is extremely off.

--Stevegoodmansen (talk) 06:26, 17 March 2020 (UTC)

Published NCC-1701-D Dimensions vs Wikipedia:

Ed Whitefire Blueprints: L: 642.5m, W: 467.2m, H: 137.6m

Rick Sternbach Blueprints: L: ~642.5m, W: ~468.4m, H: ~139.9m

Wikipedia dimensions: L: 642.5m, W: 463.73m, H: 195.26m

Ed Whitefire worked with Star Trek Art Department staff member Andrew Probert to produce his original blueprints, which are probably the closest to the actual models used on the show.

Since Rick Sternbach was a senior illustrator for the show, and coauthored the Star Trek: The Next Generation Technical Manual with Michael Okuda, his version is probably considered the most "official", but since it uses a scale instead of providing explicit dimensions, all sizes were estimated based on measurements taken from the drawings, using the generally agreed on 642.5m length as a fixed reference.

Since both sources are pretty close, and the Wikipedia entry is so far off, I can only guess it's a typo, and was supposed to be something like 135.26m. In any case, since there are 2 quasi-official sources that give a vastly lower height value, unless a more official citation can be provided that backs up the current Wikipedia entry, it should be changed accordingly. (I came to this discussion after trying to model the 1701D using the dimensions currently provided here, and it looks ridiculous, like a 16:9 aspect image squashed to fit on an old 4:3 TV screen.)

69.172.159.106 (talk) 13:47, 10 June 2020 (UTC)

Working on an overhaul
Hey, all. I've begun an overhaul of this article. It's very much a work in progress, but I'm hoping to do here in terms of restructure, content, and sourcing that was my passion project at USS Enterprise (NCC-1701) a couple of years ago. Please do jump into the article to deposit sources and production info here. I've been skimming through old Starlogs at the Internet Archive and have been a bit surprised by some of the scant info. on the ship design itself (although there is a cool report from David Gerrold about set construction: https://archive.org/details/starlog_magazine-121/page/n13/mode/2up). --EEMIV (talk) 23:14, 3 November 2020 (UTC)

Commisioned when?
"Starfleet commissions the Galaxy-class USS Enterprise in 2263 under the command of Captain Jean-Luc Picard. " - Isn't that 2363? Drsruli (talk) 08:15, 26 November 2020 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for speedy deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for speedy deletion: You can see the reason for deletion at the file description page linked above. —Community Tech bot (talk) 14:08, 14 April 2023 (UTC)
 * Picard Bridge Enterprise D x.png

Ten-Forward
Ten-Forward redirects to this article, but is not mentioned in the article. Koro Neil (talk) 11:29, 26 June 2024 (UTC)

title: Talk:USS Enterprise (NCC-1701-D)


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Michael Gordon (composer)

Michael Gordon (born July 20, 1956) is an American composer and co-founder of the Bang on a Can music collective and festival. He grew up in Nicaragua.

Life and career
Michael Gordon was born in Miami Beach, Florida on July 20, 1956. He grew up in Nicaragua on the outskirts of Managua in an Eastern European Jewish community before moving back to Miami Beach at age eight.

Gordon's music is an outgrowth of his experience with underground rock bands in New York City and his formal training in composition at Yale where he studied with Martin Bresnick. He is based in New York City.

Bang on a Can
Gordon is one of the founders and artistic directors of New York's Bang on a Can Festival, alongside fellow composers Julia Wolfe—his wife—and David Lang. He has collaborated with them on several projects.

The opera The Carbon Copy Building, a collaboration with comic book artist Ben Katchor, received the 2000 Village Voice Obie Award for Best New American Work. A projected comic strip accompanies and interacts with the singers, and the frames fall away in the telling of the story.

Gordon, Wolfe and Lang subsequently collaborated with librettist Deborah Artman on the 'oratorio' Lost Objects, the recording of which was released in summer 2001 (Teldec New Line).

A further project is Shelter, a multi-media work that was commissioned by the ensemble musikFabrik and features the Scandinavian vocalists Trio Mediaeval in a staged spectacle that, in the words of librettist Deborah Artman, "evokes the power and threat of nature, the soaring frontier promise contained in the framing of a new house, the pure aesthetic beauty of blueprints, the sweet architecture of sound and the uneasy vulnerability that underlies even the safety of our sleep." Shelter was premiered in Cologne in Germany in spring 2005, and received its US premiere in November 2005.

Both Shelter and Carbon Copy Building were staged by New York's Ridge Theater, in collaboration with Laurie Olinder (visual graphics), Bill Morrison (filmmaker) and Bob McGrath (director), with whom Gordon has often worked. The opera Chaos, with libretto by Matthew Maguire, premiered at The Kitchen in New York in the autumn of 1998 with stage direction by Bob McGrath. The work, which opened to rave reviews and packed houses, is a fast-paced science fiction spectacle in 25 short scenes.

In 2017, Chinese singer Gong Linna premiered Cloud River Mountain, written by the three Bang on a Can composers in addition to Lao Luo. They also premiered Road Trip, a celebration of Bang on a Can's 30-year journey, together at the Brooklyn Academy of Music in October 2017.

Music
Gordon's music incorporates elements of dissonance, minimalism, modality, and popular culture.

His music has been presented at Lincoln Center for the Performing Arts, Carnegie Hall, The Proms, the Brooklyn Academy of Music, the Sydney 2000 Olympic Arts Festival, the Kennedy Center, The Kitchen, the Kölner Philharmonie, Royal Albert Hall, the Bonn Oper, and the Jewish Museum Vienna, as well as at the Rotterdam, Edinburgh, St. Petersburg, Holland, Adelaide, Huddersfield, Settembre Musica and Dresden music festivals. In addition, his music has been choreographed by Eliot Feld, The Royal Ballet, Emio Greco | PC, Wayne McGregor (for Stuttgart Ballet, Random Dance), Pina Bausch's Tanztheater Wuppertal, Heinz Spoerli (for Zürich Ballet), Ashley Page (for The Royal Ballet and the Scottish Ballet), and Club Guy & Roni. In 2017, Douglas Lee choreographed a Gordon score for the Ballett Zürich, and in 2018 Brian Brooks choreographed another score for the Miami City Ballet. Gordon is also a featured artist in the repertoires of Ensemble Modern, Alarm Will Sound, and the Kronos Quartet.

Notable works
Since 1991, Gordon has worked extensively with video. His work Van Gogh Video Opera, a collaboration with video artist Elliott Caplan, premiered to critical acclaim in New York in 1991 and received its European premiere in Vienna in 1992. Other works with Caplan include Grand Dairy, based on a diner on New York's Lower East Side, which was produced in Vienna in 1996, and Weather (German Tour 1997), in which the 16 string players of Ensemble Resonanz perform on a vertical stage surrounded by video panels. The recording of Weather is available on Arthrob/Nonesuch Records. In 1997 he worked with playwright Anna Deavere Smith on House Arrest, First Edition, which premiered at the Arena Stage Theater in Washington, DC.

Gordon's percussion sextet Timber was written for the percussion ensembles Slagwerk Den Haag and Mantra Percussion. This work, an evening-length piece for six 2x4s, toured with dance throughout 2009–10 and was premiered in its concert version in June 2011. The full percussion sextet was released on Cantaloupe Music in 2011. In 2014–15 it was played in Walt Disney Concert Hall (performed by So Percussion and members of the Los Angeles Philharmonic), in Belgium (by Ictus), and in Scandinavia (by Nordic Seks). Other recent pieces for single-instrument ensembles include Rushes for seven bassoons and Amplified for four electric guitars.

Decasia, a large-scale symphony with projections commissioned by the Europäischer Musikmonat 2001 for the Basel Sinfonietta, was also staged by the Ridge Theater. The orchestra sits on a triangular pyramid structure that surrounds the audience, while Bill Morrison's film of black and white 'found' footage in various states of deterioration is projected onto scrim draping the structure. The ensuing Bill Morrison film, Decasia, cut to Michael Gordon's complete score, was shown at the 2002 Sundance Film Festival and has been screened at film festivals worldwide.

Other large-scale symphonic works include Rewriting Beethoven's Seventh Symphony, a revised composition of Beethoven’s original symphony, commissioned by the 2006 Beethoven Festival in Bonn and premiered by Jonathan Nott and the Bamberg Symphony, and Sunshine of your Love, written for over 100 instruments divided into four microtonally tuned groups. Under the baton of composer/conductor John Adams, the Ensemble Modern toured Sunshine of your Love to seven European capitals in 1999.

In 2008, Gordon collaborated with Ridge Theater again on the multi-performer song-cycle Lightning at our Feet, co-commissioned by Cynthia Woods Mitchell Center for the Arts at the University of Houston and the Brooklyn Academy of Music for the Next Wave Festival. Lightning at our Feet puts Emily Dickinson's poetry to music and encompasses her words in a world of visual imagery. A further collaboration with Ridge Theater, Gotham, a commission from the American Composers Orchestra, incorporates film, projections, lighting and an orchestra of 35 musicians to explore the 'other' New York City. Directed by Bob McGrath, the work premiered at Carnegie's Zankel Hall in February 2004 with the American Composers Orchestra and combines Bill Morrison's archival and original footage of New York with Laurie Olinder's photographic projections of the urban landscape. Gordon and Morrison's works together also include Dystopia about Los Angeles, written in 2008 for David Robertson and the Los Angeles Philharmonic, and El Sol Caliente about Miami Beach, commissioned by the New World Symphony for the 100th anniversary of the city. The two also collaborated on a piano concerto for Tomoko Mukayaima and the Seattle Symphony in 2016 called The Unchanging Sea.

Gordon has worked extensively with London's Icebreaker. His work Yo Shakespeare was recorded by Icebreaker on their debut Argo/Decca recording Terminal Velocity, recently re-released by Cantaloupe Music. Gordon's work Trance was written for Icebreaker with the additional component of eight brass players. The 52-minute work was also originally recorded for Argo and was released in the autumn of 1996; a new re-mixed version is now on Cantaloupe Music. Link was written for the group in 1998, in collaboration with David Lang, as a complementary piece to Yo Shakespeare and Lang's Cheating, Lying, Stealing for a new ballet by Ashley Page for The Royal Ballet in London, subsequently revived by Page at the Scottish Ballet.

In 2004 Gordon released Light Is Calling (Nonesuch), an album of tracks created with producers R. Luke DuBois and Damian LeGassick, and scored for a small ensemble of musicians (most notably Todd Reynolds on violin) with complex electronic arrangements orchestrated by DuBois and LeGassick. He has since collaborated with DuBois extensively on the electronic backing arrangements for subsequent pieces, including All Vows for cellist Maya Beiser (2006, for which DuBois also served as a video artist), Sad Park for the Kronos Quartet (2006), and the opera What to Wear, libretto by Richard Foreman (2006). The Sad Park uses the voices of child witnesses to September 11 as its subject.

Gordon’s Natural History, inspired by Crater Lake National Park in Oregon and commissioned by the Britt Festival, was performed in July 2016 on the rim of the lake itself, as part of the 100th anniversary of America’s National Park Service. The premiere was performed by forty members of the Britt Orchestra, a chorus of fifty regional choristers, fifteen members of Steiger Butte Drum, whose members are all from the local Klamath Tribes, and thirty brass and percussionists from Southern Oregon University.

Gordon had three world premieres in the spring of 2016: The Unchanging Sea, a piano concerto for Tomoko Mukayaima and the Seattle Symphony, with video by Bill Morrison; Material, for four-person percussion and piano ensemble Yarn/Wire, playing one piano; and Observations on Air, a bassoon concerto for Peter Whelan and the Orchestra of the Age of Enlightenment. In 2017 The Crossing premiered Anonymous Man, a choral memoir, based on conversations that Gordon has had with a homeless man living on his street. Big Space, which premiered at the 2017 BBC Proms, distributes the musicians throughout the audience.

Awards and recognition
The recipient of multiple awards and grants, Gordon has been honored by the Guggenheim Foundation, the National Endowment for the Arts, a 2002 Foundation for Contemporary Arts Grants to Artists Award, and the American Academy of Arts and Letters. Formed in 1983 as the "Michael Gordon Philharmonic" and renamed the "Michael Gordon Band" in 2000, Gordon's own ensemble has performed across Europe and the United States at venues such as Alice Tully Hall and the punk mecca CBGB, on the Contemporary Music Network Tour, and at the Almeida Festival in London. In September 2016 Gordon was named the first-ever composer-in-residence of the Young People's Chorus of New York City.

List of works

 * Thou Shalt!/Thou Shalt Not! (1983) clarinets, percussion, keyboard, electric guitar, violin and viola (18')
 * The Low Quartet (1985) for any four low instruments (8')
 * Strange Quiet (1985) for clarinets, percussion, keyboard, electric guitar, violin and viola (14')
 * Acid Rain (1986) for flute, clarinet, organ and string quintet (8')
 * Four Kings Fight Five (1988) for oboe, clarinet, percussion, electric guitar, violin, viola, and cello
 * Paint It Black (1988) for solo double bass (11')
 * Van Gogh Video Opera (1991) (1h 5') live opera with video
 * Romeo (1992) for chamber orchestra (8')
 * Yo Shakespeare (1992) for large ensemble (Icebreaker) (11')
 * Industry (1992) for solo cello and electronics
 * XVI (1993) for chorus of sixteen singers (15')
 * Chaos (1994) opera (1h 20')
 * Trance (1995) for large ensemble (Icebreaker) (50')
 * acdc (1996) for flute, clarinet, violin, cello and piano (10')
 * I Buried Paul (1996) for clarinet, percussion, keyboard, electric guitar, cello, double bass (Bang on a Can All-Stars)
 * Love Bead (1997) for large ensemble (Ensemble Modern) (10')
 * Weather (1997) for 16-piece string orchestra and video
 * Weather One (1997) for string sextet (20')
 * XY (1998) for solo percussion
 * vera, chuck, and dave (1998) for large ensemble
 * Music for Airports (1998) (with David Lang and Julia Wolfe) arrangement for small ensemble (48')
 * Link (1998) (with David Lang) for large ensemble (Icebreaker) (11')
 * Sunshine of Your Love (1999) for large orchestra (10')
 * The Carbon Copy Building (with David Lang and Julia Wolfe) (1999) opera with video
 * Lost Objects (with David Lang and Julia Wolfe; libretto by Deborah Artman) (2000) oratorio with video
 * Decasia (2001) for orchestra with film (1h 7')
 * Potassium (2001) for string quartet (15')
 * Tinge (2004) for three violins and audio playback (4')
 * Gotham (2004) for chamber orchestra (30')
 * Who By Water (2004) for large ensemble (Alarm Will Sound) (18')
 * Light is Calling (2004) studio album, version for band also
 * Sonatra (2004) for solo piano (25')
 * Idle (2004) for three violins and audio playback (5')
 * Grey Pink Yellow (2005) for orchestra (12')
 * What to Wear (2005) (with text by Richard Foreman) opera (65')
 * Acquanetta (libretto by Deborah Artman) (2005/2017) opera (1h 10')
 * Shelter (with David Lang and Julia Wolfe; libretto by Deborah Artman) (2005) oratorio with video
 * The Sad Park (2006) for string quartet and pre-recorded voice (25')
 * All Vows (2006, rev. 2014) for solo cello (15')
 * Rewriting Beethoven's Seventh Symphony (2006) for orchestra (22')
 * Dystopia (2007) for orchestra (29')
 * Every Stop On The F Train (2007) for treble voices (5')
 * the light of the dark (2008) for small ensemble (13')
 * (purgatorio) POPERA (2008) for six electric guitars (20')
 * Water (2008) (with David Lang and Julia Wolfe) for chorus and ensemble (76')
 * Lightning at our feet (2008) opera for four singer/performers playing violin, cello, piano, electric guitar, and electronics (75')
 * Timber (2009) for six percussionists (60')
 * for Madeline (2009) for small ensemble (8')
 * He Saw a Skull (2009) for twelve voices (6')
 * Clouded Yellow (2010) for string quartet (10')
 * Exalted (2010) for chorus and string quartet (10')
 * Tree-oh (2011) for three violins (6')
 * Cold (2011) for large ensemble (15')
 * Gene Takes a Drink (2012) for small ensemble (6')
 * Rushes (2012) for seven bassoons (56')
 * Dry (2013) for large ensemble (18')
 * Beijing Harmony (2013) for orchestra (12')
 * Aftermath (2014) dance piece (23')
 * Ode to La Bruja, Hanon, Czerny, Van Cliburn and little gold stars... (or, To Everyone Who Made My Life Miserable, Thank You.) (2014) for six pianos (17')
 * Hyper (2014) for small ensemble (12')
 * El Sol Caliente (2015) for orchestra (20')
 * No anthem (2015) for large ensemble (10')
 * Cloud-River-Mountain (2015) for chamber ensemble (20')
 * Amplified (2015) for four electric guitars (60')
 * Great Trees of New York City (2016) for SATB
 * Observations on Air (2016) for bassoon and orchestra (20')
 * The Unchanging Sea (2016) for orchestra (20')
 * Material (2016) for two pianists and two percussionists on one piano (25')
 * kwerk (2016) for violin (4')
 * Natural History (2016) for orchestra, chorus, brass, and drums (20')
 * CORPUS (2017) for orchestra (30')
 * Big Space (2017) for orchestra (25')
 * Road Trip (2017) for small ensemble (60')
 * On Desbrosses Street (2017) for piano (10')
 * New work for Miami City Ballet (2018) for orchestra (20')

Recordings

 * Big Noise from Nicaragua (1994)
 * Weather (1999)
 * Decasia (2002)
 * Light is Calling (2004)
 * Trance (2004)
 * Van Gogh (2008)
 * (purgatorio) POPOPERA (2008)
 * Timber (2011)
 * Rushes (2014)
 * Dystopia (2015)
 * Gotham (2015)
 * Sonatra (2018)
 * Clouded Yellow (2018)

title: Michael Gordon (composer)


text:
User talk:ArielS

At Requests for comment/Media, art and literature, I suggest you read the peach-colored instruction box at the top careful and fix your entry or it will probably be removed or ignored. Use the existing entries as examples. ¦ Reisio 10:22, 2005 August 22 (UTC)

Image Tagging Image:ST 30s-11.jpg
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Spencer Tracy
Why did you remove the References section of the Spencer Tracy article? — Walloon 05:36, 11 September 2006 (UTC)

Why did you again remove the References section of the Spencer Tracy article? — Walloon 12:28, 15 September 2006 (UTC)

Why did you again remove the References section of the Spencer Tracy article? — Walloon 21:52, 30 September 2006 (UTC)

Katharine Hepburn
Why do you keep removing the Oscar boxes? Gareth E Kegg 08:41, 20 September 2006 (UTC)

Could you please explain your unexplained and systematic removal of infoboxes, reference sections, and other information from the articles for Katharine Hepburn and Spencer Tracy? According to your exit history this has been quietly going on for months. Regards. 72.131.44.247 23:03, 30 September 2006 (UTC)

ArielS 06:38, 1 October 2006 (UTC) The Oscar boxes have been removed because they are pointless clutter. They have nothing to do with Hepburn and don't belong in her Wikipedia entry.

I omitted the reference to William Mann's book because it is trash. Hepburn wasn't a lesbian and putting it in her Wikipedia article is offensive.

The "references" I object to mainly is the one that keeps popping up about Tracy's religion not being the reason he didn't get a divorce. You don't know that at all. The comment is totally speculative.

Why don't you leave these two entries alone. You've added nothing useful to them.

Ariel S.

 * Many other biographical profiles of Tracey have claimed that Tracey did not divorce because he was Catholic, erroneously assuming that his wife was Catholic and/or that they married in the Catholic Church. But it is fact, not speculation, that Spencer Tracey would not have violated Catholic Church law if he had divorced, and I supply an authoritative source for that. It is also fact that his wife was not Catholic and that they did not marry in the Catholic Church. You also deleted the other two reference notes I gave, one sourcing the list of the high schools Tracey attended with a very good article about his Wisconsin years.

 * Regarding the Hepburn article, you write, "Hepburn wasn't a lesbian." You don't know that. The comment is totally speculative. — Walloon 07:04, 1 October 2006 (UTC)

ArielS 08:15, 1 October 2006 (UTC)

Your comment about Tracy and his divorce doesn't make any sense. The issue is whether his understanding of his religion affected his decision whether or not to divorce his wife. It doesn't matter whether you think he wouldn't have violated church law if he had divorced Louise. You don't know if that was his view on the matter. You are jumping to the conclusion that since YOU think he wouldn't have violated church law, that he thought he wouldn't have and therefore he didn't get a divorce for some other reason. There is absolutely no evidence for that conclusion.

With regard to Hepburn's sexuality, she stated several times that she wasn't a lesbian. There is absolutely no reason to include the opinion of a sleazy celebrity biographer like Mann. His book is trash.

Why don't you stay away from the Hepburn and Tracy Wikipedia entries.

 * Given that the publication date of the book is October 3, two days from now, you obviously cannot have read the book, although you seem to be pretending that you have. Far from being called trash, William J. Mann's book has gotten very good reviews. Publishers Weekly said: "This will surely be the definitive version of Hepburn's life for decades to come, as it is an outstanding example of painstaking research matched with splendid writing." Booklist said: "Mann has done his homework, digging up sources who have never before spoken, finding new facts . . . . Rich and vivid, this will garner great attention — and deservedly so." Kirkus Reviews called it an "engaging, comprehensive biography. . . . Tapping into a wellspring of sources, the author has managed to reanimate with great skill and dexterity this shrewd, sophisticated woman." Library Journal said it was "well researched and written." So, your opinion that it is "trash" is a minority view. The majority view, by people who read a lot of biographies, is that the book is serious and well-researched.

 * Pulitzer Prize-winning author A. Scott Berg, who knew Hepburn well, also gave information in his biography suggesting Hepburn was bisexual. See also biographies by Darwin Porter and Anne Edwards, which suggest the same.

 * Why don't you stay away from the Hepburn and Tracey Wikipedia articles. — Walloon 08:48, 1 October 2006 (UTC)

ArielS 15:24, 1 October 2006 (UTC)

Berg didn't suggest that Hepburn was gay. And you would seriously cite Darwin Porter and Anne Edwards as sources for Hepburn's sexual orientation? Do you think they know more about her sex life than she did? Let me guess. You're gay, right? Just because you are doesn't mean that everyone else is. And, by the way, his name was Tracy not Tracey. That's the problem with Wikipedia. People like you with an agenda try to use it for as a platform for your crap.

 * I am a journalist and former book editor. I also grew up in Milwaukee and attended the same high school as Spencer Tracy. The Tracy and Hepburn articles are only two of several hundred that I have edited at Wikipedia, and my "agenda" is accuracy. Actors and other celebrities never lie about their sexual orientations? See pp. 266-267 of Berg's biography, Kate Remembered, in which he refers to Irene Mayer Selznick, who was Hepburn's close friend from the 1930s until her death:
 * During her last visit to East Forty-Ninth Street, Irene discovered a young woman she did not know who had been staying there. At one moment her eagle-eyes had witnessed an exchange between the two of them that suggested a level of intimacy she had never allowed herself to believe. "Now everything made sense," Irene said to me. "Dorothy Arzner, Nancy Hamilton — all those women. Laura Harding [with whom Hepburn lived in the 1930s]. Now it all makes sense. A double-gater. I never believed that relationship with Spence was about sex."

 * "Irene, I think you might be getting carried away," I said. "I sure get the feeling that Spencer Tracy was a pretty sexual animal. and they wouldn't have lasted that long if sex wasn't involved."

 * "In the beginning," she said. "But you can't drink as much as Spence did and maintain a relationship based on sex."

 * "But like most great relationships," I suggested, "shouldn't it become about something more?"

 * Irene granted that was the case with Hepburn and Tracy; but she was disturbed by her new understanding of Kate's sexual nature. '"Irene," I said, "you don't know what goes on with all these women. I mean, Kate herself says, 'Nobody really knows what goes on between two people when they're alone.'"

 * "That's my point," Irene replied. "You're too young to have known all those other women, those single women. I knew them. I knew who they were."

 * If four different biographers, working independently, find evidence that their subject may have been bisexual, it is worth noting. And it would be hypocritical here to omit such information when the article here has no problem with mentioning her affairs with men. — Walloon 19:09, 1 October 2006 (UTC)

ArielS 21:46, 1 October 2006 (UTC) These writers are all just hack celebrity biographers who wait until this or that star is dead to write all sorts of rubbish about them because they know that dead people or their estates cannot sue for libel. Are you incapable of distinguishing crap from quality? The reason I have no problem with mentioning her affairs with men is because SHE said she had these affairs with men. She, in fact, stated she never had a lesbian relationship with any woman. It's irresponsible to include such allegations. Why should we believe these writers over what KH herself said? Why put malicious gossip in this article?

By the way, you are taking Selznick's comment out of context. At the time she was upset with KH and they were becoming estranged. Berg should have never included her comments in his book but having done it, it's clear that she was just bitter. Also, incidentally, Selznick is one of the people that KH was supposed to be having a lesbian affair with. Obviously, Irene didn't acknowledge that she was.

I ask again. Are you gay? Is claiming that every old Hollywood star was gay your agenda?

ArielS 17:06, 2 October 2006 (UTC)

I have filed a quest for mediation at http://en.wikipedia.org/wiki/Wikipedia:Requests_for_mediation/

Edits to Katharine Hepburn
ArielS - you obviously have an interest in Hepburn and Tracy, but your edits are naturally going to cause concern among other editors. It is generally considered bad form to remove large swathes of text without discussion or explanation. It is one of several types of behaviour that is often interpreted as vandalism. It's the unexplained nature of your edits that causes concern, more than the edits themselves, as evidenced by the edit summaries used by the people who have reverted you - "reverting unexplained edits" etc. If you feel strongly, as you obviously do, that much of the information is not appropriate, the course of action to most likely achieve the result you desire is to discuss it at Talk:Katharine Hepburn. It's also helpful to use edit summaries, so that other users don't have to rely upon their psychic abilities to understand your edits. Something as simple as "removing incorrect information" would be better than nothing, although this would only be suitable for minor edits - not for removing large amounts of text. As it is, you must surely feel like you're hitting your head against a brick wall, because every time you make an edit, someone reverts it. Well, the fact is that this will continue to happen and whatever good you may have contributed to the article/s, will not eventuate. If you take the time to discuss these issues, you will find that some people will react favourably and some won't. You will perhaps win some "points", although you will never win all, but at least you will have a chance of influencing the outcome. At the moment, your edits to the Katharine Hepburn article are amounting to nothing because they're being reverted as quickly as you make them. You know all this of course, because you were using the talk page in August 2005, but lately you've been content to just edit war over it, and getting nowhere, of course. Rossrs 09:12, 1 October 2006 (UTC)

ArielS 21:47, 1 October 2006 (UTC)

I've explained why these items should be omitted. These boneheads keep putting their garbage back in. Why not keep them from doing it?

 * Because nobody is equating your unexplained edits of September/October 2006 to your comments on the talk page of August 2005. Whether or not you are a vandal is beside the point : the problem is you look like one, and you're acting like one. I  can't understand why you keep using the same tactic when it's so obviously not working. Rossrs 10:13, 2 October 2006 (UTC)

Warning
Please stop. If you continue to vandalize pages, you will be blocked from editing Wikipedia. . I have tried to give you the benefit of the doubt, have explained how you might approach this, and have attempted to demonstrate this on both the article and talk pages for Katharine Hepburn. You are being disruptive and I am now asking that you stop. Rossrs 11:55, 2 October 2006 (UTC)

ArielS 16:34, 2 October 2006 (UTC)

I have no idea who you are but why don't you block the people who are posting unfounded claims about Hepburn's sexuality. Is this a tabloid or supposedly an informative database of general information?

 * You don't need to know who I am, but you need to make yourself aware of Wikipedia's policies and abide by them. Please read Three-revert rule.  You have broken this rule.  On October 2, you reverted edits to Katharine Hepburn 5 times.    You might also read Verifiability - nobody is claiming outright that Hepburn was a lesbian.  All they have done is state that a biographer has alleged her to have been.  I don't particularly like it either, but under Wikipedia's rules it is acceptable because it has been published, and the publication has been cited.   This is not the only information you have been removing, however.  You are expected to work within Wikipedia's policies - even the ones that you don't like.  Both of the pages I have suggested you read, are "official policy".  Rossrs 21:17, 2 October 2006 (UTC)

title: User talk:ArielS


text:
User talk:Jeshii/

I saw your comment on the Visual Basic talk page. I am in the process of reorganizing that book so it would be very handy to have any concrete suggestions about improvements. Kjwhitefoot 10:25, 22 August 2005 (UTC)

title: User talk:Jeshii/


text:
Oraibi, Arizona

Oraibi, also referred to as Old Oraibi, is a Hopi village in Navajo County, Arizona, United States, in the northeastern part of the state. Known as Orayvi by the native inhabitants, it is on Third Mesa on the Hopi Reservation near Kykotsmovi Village.

History
Oraibi was founded sometime before the year 1100 AD, making it possibly the oldest continuously inhabited settlement in the United States. Archeologists speculate that a series of severe droughts in the late 13th century forced the Hopi to abandon several smaller villages in the region and consolidate within a few population centers, Oraibi being one of them. As Oraibi's population grew considerably, it became the most influential of the Hopi settlements. By 1890, the village was estimated to have a population of 905, about half of the 1,824 estimated to be living in all of the Hopi settlements at the time.

Oraibi remained unknown to European explorers until about 1540 when Spanish explorer Pedro de Tovar (who was part of the Coronado expedition) encountered the Hopi while searching for the legendary Seven Cities of Gold. Contact with the Europeans remained infrequent until 1629 when the San Francisco mission was established in the village. In 1680 the Pueblo Revolt resulted in decreased Spanish influence in the area and the closing of the mission. Subsequent attempts to reestablish the missions in Hopi villages were met with repeated failures. The former mission is still visible today as a ruin.

Split
Hopi interaction with outsiders slowly increased during 1850–1860 due to missionaries, traders, and surveyors for the US government. Contact remained sporadic and informal until 1870 when an Indian agent was appointed to the Hopi, followed by the establishment of the Hopi Indian Agency in Keams Canyon in 1874.

Interaction with the US government increased with the establishment of the Hopi Reservation in 1882. This led to a number of changes for the Hopi way of life. Missionary efforts intensified and Hopi children were kidnapped from their homes and forced to attend school, exposing them to new cultural influences.

In 1890 a number of residents more receptive to the cultural influences moved closer to the trading post to establish Kykotsmovi Village, sometimes called New Oraibi. The continuing tension caused by the ideological schism between the "friendlies" ("New Hopi" to the traditional Hopi), those who were open to these cultural influences, and the "hostiles" (or "Traditionalists" led by Yukiuma) who opposed them (those who desired to preserve Hopi ways) led to an event called the "Oraibi Split" in 1906. Tribal leaders on differing sides of the schism engaged in a bloodless competition to determine the outcome, which resulted in the expulsion of the hostiles (traditionalists), who left to found the village of Hotevilla. Subsequent efforts by the displaced residents to reintegrate resulted in an additional split, with the second group founding Bacavi.

With the loss of much of its population, Oraibi lost its place as the center of Hopi culture. Although the Hopi tribal constitution, maneuvered into being by the coal mining interests in 1939, provides each village with a seat on the tribal council, Hotevilla, where most of the traditional Hopi settled, has declined to elect a representative and maintains independence from the tribal council. Kykotsmovi Village is now the seat of the Hopi tribal government.

Today
In spite of the "friendly" ("New Hopi") outcome of the Oraibi Split, Old Oraibi has since maintained a more traditional Hopi way of life and has resisted the adoption of the more modern culture visible in Kykotsmovi. While visitors to the pueblo are welcomed (a short road connects to Arizona State Route 264), the residents tend to be very private and do not allow photographs to be taken in the town.

Old Oraibi is listed on the National Register of Historic Places and was declared a National Historic Landmark in 1964.

Cultural references
Oraibi features prominently in an extended essay by Aby Warburg, Schlangenritual: Ein Reisebericht, a transcript of a lecture given in Kreuzlingen, Switzerland in 1923 (English translation "Images from the Region of the Pueblo Indians of North America"; also translated into many other languages). Warburg visited Oraibi in 1896 and with the help of Henry Voth attended a ritual spring dance. He found in the symbolism of the Hopi, in particular the snake symbol, a key to understanding similar symbols in other cultures. Warburg took several pictures of Oraibi and of the Hopi ceremonies.

Hopi life in Oraibi is also described in Don C. Talayesva's autobiography, Sun chief, the Autobiography of a Hopi Indian. Talayesva was born in Oraibi in 1890, where he was raised as a traditional Hopi. Talayesva started working in 1938 with a Yale University anthropologist, Leo Simmons, who helped him write his autobiography.

Hopi educator, writer, and potter Polingaysi Qöyawayma (1892–1990) related stories of growing up in Oraibi in her 1964 autobiography No Turning Back.

The social anthropologist Sherry Ortner uses the phrase "another pot from Old Oraibi" to characterize a style of exhaustive "thickness" in ethnographic writing which—hubristically, in her view—attempts a "holistic" comprehension of the culture under scrutiny.

title: Oraibi, Arizona


text:
Hippolytushoef

Hippolytushoef, abbreviated locally as Hippo, is a town in the western Netherlands, located in the municipality of Hollands Kroon, North Holland, 14 km east of Den Helder.

History
The village was first mentioned in 1343 or 1344 as "van Ypolshove", and is a combination of "farmland" and Hippolytus of Rome. Hippolytushoef was the main village of the former island Wieringen and originates in the 12th century.

The Dutch Reformed church is a single aisled church with a large tower with brick spire. The tower dates from the 13th century and the spire was added in the 15th century. In 1674, the church was destroyed and rebuilt the next year. In 1893, the choir collapsed and was rebuilt 1895 by Joseph Cuypers.

Hippolytushoef was home to 340 people in 1840. Until 2012, Hippolytushoef was the capital of the former municipality of Wieringen that merged into Hollands Kroon.

title: Hippolytushoef


text:
Muckleburgh Collection

The Muckleburgh Collection is a military museum sited on a former military camp at Weybourne, on the North Norfolk coast, England. It was opened to the public in 1988 and is the largest privately owned military museum in the United Kingdom.

History
The museum is located on the site of the Second World War and post-war Weybourne Anti Aircraft Training Camp. Weybourne Camp is north west of the coastal village of Weybourne. The site, originally called Carvel Farm, was first used in 1935 by the Anti–Aircraft Division of the Territorial Army as a summer training camp. In 1937 and as a result of the growing threat of war, it was decided to make the camp permanent and more fixed structures and defences were erected.

During the Second World War, the camp was surrounded by a perimeter anti-tank ditch and defended by a system of gun emplacements and barbed wire. The interior of the camp consisted of groups of Nissen huts, barracks and other military buildings. The cliff top to the north was covered by a line of heavy anti-aircraft guns and batteries, slit trenches and pillboxes. In 1941, the camp was visited by Winston Churchill, to view a demonstration of the Unrotated Projectile anti–aircraft weapon.

As the war progressed, defences at Weybourne Camp became more complex and were altered regularly and significantly and a grass airstrip was laid out, which remains in use.

After the war, the camp became known as the AA permanent Range and Radar Training Wing and gunnery training continued until 1958. The site still has a RAF radar receiving station and is the location of the University of East Anglia Weybourne Atmospheric Observatory and a Metrological Station.

The museum
When Weybourne Camp closed, the site returned to private ownership and many buildings that were beyond repair were demolished.

The Muckleburgh Collection was founded by Squadron Leader Berry Savory and his son Michael Savory. At the time of the museum's opening in 1988, the principal display consisted of 30 vehicles and a small room describing the camp history. The museum has expanded to include over 150 artillery pieces, tanks and other vehicles, most of which are in working order.

The Muckleburgh Collection is home to the Suffolk and Norfolk Yeomanry collection, the North Norfolk Amateur Radio Group and numerous special displays. The vehicles, museum site, and its unspoilt 300 acre has been used for television films, documentaries and dramas.

The museum offers rides in a military vehicle and hosts "tank driving" in a FV432. Among the 25 working tanks are a Panzer P-68, a Chieftain and a Stuart M5A1, a Soviet T-55 and a Canadian-built Sherman.

Tracked

 * A41 Centurion Mk5
 * AMX-13
 * Centurion ARRV
 * Churchill Mk7
 * Comet Mk 2
 * FV101 Scorpion CVR(T)
 * FV4201 Chieftain Mk5
 * FV433 Abbot SPG (two)
 * FV432 APC
 * FV434 ARV
 * FV438 Swingfire
 * M24 Chaffee
 * M47 Patton
 * M16A2 White with Maxson quad 50 calibre MG
 * M29 Weasel Cargo Carrier
 * M4A1 Sherman 'Grizzly'
 * M5A1 Stuart (Honey)
 * MT-55 Bridgelayer
 * Panzer PZ61
 * Panzer PZ68
 * Sexton 25Pdr SP
 * T-34/85 MBT
 * T-55 MBT
 * Tracked Rapier SAM Launcher M74B
 * Universal Carrier No2 Mk1
 * ZSU-23-4 Shilka Anti-aircraft

Armoured

 * BTR-40 APC
 * Daimler Armoured Car Mk1
 * Daimler Dingo Mk2 Scout Car
 * Ferret Mk1/2 (two)
 * FV1611 Humber Mk2 ('Pig')
 * FV601 Alvis Saladin Mk2
 * FV620 Alvis Stalwart Mk1 (two)
 * Landsverk Unimog Scout Car
 * M3A1 White Scout Car
 * M8 Greyhound
 * Alvis Saracen APC Mk1

Guns

 * 105 mm Field Gun
 * 105 mm L3A1 Pack Howitzer
 * 12 Pdr Naval Gun Mk5
 * L1 BAT
 * QF 13 pounder Field Gun
 * Argentine CITEFA 155 mm Field Gun M-77
 * 155 mm gun M1 Long Tom
 * QF 17-pounder anti-tank gun
 * QF 18 Pounder field gun
 * QF 2-pounder anti-tank gun (two)
 * QF 25-pounder gun-howitzer & Limber
 * QF 3.7-inch anti-aircraft gun
 * QF 4.5-inch howitzer
 * 40 mm Bofors L70 (two)
 * 5.5-inch howitzer
 * 57 mm AZP S-60 Anti-aircraft
 * QF 6-pounder Anti-tank
 * 7 Pdr Mark IV Armstrong Cannon
 * 88 mm Flak 37
 * FH70 155 Field Howitzer
 * Flak 20 RH 202 (Rheinmetall)
 * M1 155 mm Howitzer
 * M56 105 mm Pack Howitzer
 * Single 14.5 mm ZPU1
 * Twin 14.5 mm ZPU2 (two)
 * Quad 14.5 mm ZPU4
 * 106 Recoilless Rifle

Support Vehicles

 * 10 KVA Generator
 * Orme-Evans No1 Mk1 Airborne Trailer
 * Albion 10TonGS Workshop
 * Austin 8 Staff Car
 * Austin K5 GSA
 * Austin K6 Breakdown Gantry
 * Bedford QL 3 Ton
 * Bedford Radio Van
 * Brockhouse 20 ton Trailer
 * Cranes 7.5 ton Trailer
 * M416 jeep trailer
 * M19 Gama Goat (three)
 * M43 Dodge Ambulance
 * Austin 12 Saloon Car
 * Austin K2/Y Ambulance
 * DKW Munga
 * 90 cm Searchlight
 * BSA M20 Motor Cycle
 * Cable Trailer
 * Chevrolet C8AT Portee
 * Diamond T 981 Prime Mover
 * Diamond T 967 Wrecker
 * Ford GPA (Amphibian)
 * Ford WOT 2
 * Ford WOT 6
 * M9 Rogers 45 Ton Trailer
 * GMC CCKW 352 (Jimmy)
 * Godiva Coventry Climax mobile Fire Pump
 * Godiva Coventry Climax Fire Pump
 * Leyland DAF GS
 * Leyland Hippo Mk II
 * Morris Commercial C8 FAT Mk3 (Quad)
 * Praga 8 ton Mobile Crane
 * SV/25 Scammell Pioneer
 * Willys GPW jeep
 * Russian ZIL-131 Water Tanker
 * Fire Hose Reel Tender (two)

Missiles

 * 9K11 Malyutka (AT-3 SAGGER)
 * 9M113 Konkurs Wire-guided AT
 * 9M37M Strela 10 SAM
 * Bristol Bloodhound Mk2
 * English Electric Thunderbird Mk2
 * Replica Fieseler Fi 103 (V1 Doodlebug) with a section of the original Peenemünde launch ramp
 * 9K35 Strela-10 SAM (SA-13 "Gopher")
 * Javelin LML trainer
 * Rapier Mk2 Launcher (& 15 test Missiles)

Radar

 * Anti Aircraft Fire Control No3 MkVII
 * Cymbeline mortar locating radar
 * Green Archer mortar locating radar
 * Local warning Anti aircraft No4 Mk7
 * No11 Target Surveillance (Big Ears)
 * No12 Height Finder (Noddy)
 * Type 65 (two)
 * Type 85
 * Type 88 Target Surveillance

title: Muckleburgh Collection


text:
Beattock Summit

Beattock Summit is the highest point of the West Coast Main Line (WCML) railway and of the A74(M) motorway as they cross between Dumfries and Galloway and South Lanarkshire in south west Scotland.

The height of the summit reached by the A74(M) motorway is 1,033 feet (315 m) above sea level. The adjacent railway reaches a slightly lower elevation of 1016 ft. The summit is the watershed between the River Clyde to the north and Evan Water, a tributary of the River Annan to the south.

Railway history
The summit was the highest point on the Caledonian Railway Main Line north of the border (built by the Caledonian Railway and opened on 15 February 1848), it is located 52 miles (83 km) south of Glasgow Central and 349 miles (558 km) north of London Euston stations.

The northbound climb has a 15 mile ascent, with gradients of up to 1 in 69 (1 foot of rising or falling gradient for every 69 feet of distance) which made it a notoriously severe climb in the days of steam locomotives, which frequently required banking assistance to get their trains up the incline. There was an engine shed at Beattock which had banking locomotives on standby twenty-four hours per day to minimise train delays. The railway was electrified in 1974 by British Rail.

The severity of the climb to the summit is referenced in W. H. Auden's poem Night Mail, written in 1936 for the G.P.O. Film Unit's celebrated production of the same name.

Private station
The summit was the location of a private halt from 1900 to around 1926. 1966

title: Beattock Summit


text:
User talk:Bnvrc

HI

I am Ramachandra Kumar BNV

I am the creator of http://www.explohyd.com

my website is about hyderabad. explore it and have a virtual tour.

title: User talk:Bnvrc


text:
Computer Games (album)

Computer Games is the debut album by American funk musician George Clinton, released by Capitol Records on November 5, 1982. Though technically Clinton's first "solo" album, the record featured most of the same personnel who had appeared on recent albums by Parliament and Funkadelic, both formally disbanded by Clinton in 1981. Conceived in the aftermath of a period marked by financial and personal struggles for Clinton, Computer Games restored his popularity for a short time before P-Funk fell victim to renewed legal problems and scant label support in the mid-1980s.

According to Glenn Kenny of Trouser Press, after the end of his Parliament-Funkadelic collective, Clinton's album was titled as a "nod to the burgeoning wave of techno-funk that was beginning to overtake almost every other form of dance music; rather than reject the new technology, he adapted it here in his own unique way".

The single "Loopzilla" hit the top 20 of the R&B charts, followed by "Atomic Dog" which reached No. 1 R&B but peaked at No. 101 on the pop chart.

The album was listed by Slant Magazine at #97 on its list of the "Best Albums of the 1980s".

Track listing

 * 1) "Get Dressed" (George Clinton, Bootsy Collins) – 3:41 (released as a single-Capitol 5222)
 * 2) "Man's Best Friend/Loopzilla" (Clinton, Kenneth Gambrell, Garry Shider, David Spradley) – 12:51 (released as a 12" single-Capitol 8556)
 * 3) "Pot Sharing Tots" (Clinton, Walter Morrison) – 3:45
 * 4) "Computer Games" (Clinton, Morrison) – 6:46
 * 5) "Atomic Dog" (Clinton, Shider, Spradley) – 4:47 (released as a single-Capitol 5201 and 12" single-Capitol 8556)
 * 6) "Free Alterations" (Darryl Clinton, Clinton) – 4:20
 * 7) "One Fun at a Time" (Clinton, Morrison) – 4:29

Personnel

 * George Clinton
 * Eddie Hazel, Garry Shider, Junie Morrison, Tony Thomas - guitar
 * Bootsy Collins, Junie Morrison - bass
 * Bernie Worrell, David Spradley, Junie Morrison, Rahni Harris - keyboards
 * Dennis Chambers, Jerry Jones - drums
 * Larry Fratangelo, Muruga Booker - percussion
 * Fred Wesley, Larry Hatcher, Maceo Parker, Richard Griffith - horns
 * Bootsy Collins, Brenda Forman, Brides of Funkenstein, Carmen McGee, Clip Payne, Darryl Clinton, Garry Shider, Gary Mudbone Cooper, George Bunny, Godmoma, Gwendolyn Dozier, Jessica Cleaves, Jessie Driscoll, Jimmy Keaton, Joyce Pearson, Julius Keaton, Junie Morrison, Larry Heckstall, Parlet, Ray Davis, Robert "P-Nut" Johnson, Ron Ford, Tracey Lewis, Trina Frazier, Vanessa Poe, Veronica Faust - vocals
 * Technical
 * David Baker, Mike Iacopelli, John Jaszcz, Tony Ray, Greg Reilly, Jeff Turkin, Jim Vitti, Greg Ward – recording engineer
 * George Clinton, William Collins, Ted Currier, Walter "Junie" Morrison, Gary Shider – Producer
 * George Clinton, Junie Morrison, Fred Wesley – arrangements
 * Greg Reilly, Jim Vitti – mixing

title: Computer Games (album)


text:
Jim Sullivan (rugby, born 1903)

Jim Sullivan (2 December 1903 – 14 September 1977) was a Welsh rugby league player, and coach. Sullivan joined Wigan in June 1921 after starting his career in rugby union. A right-footed toe-end style (rather than round the corner style) goal-kicking, he scored 4,883 points in a career that spanned 25 years with Wigan, and still holds several records with the club today.

He made a combined total of 60 appearances at representative level with England, Wales, Great Britain and Other Nationalities, and his 26 appearances with Wales was still a record for many years after his death. He also represented Wales in British baseball. Sullivan went on to have the rare distinction of playing all three codes of baseball played in Britain the inter-war years. He played both Welsh and English baseball before the two codes were unified in 1927 and continued playing baseball in the latter 20s and 30s, primarily for the Everton and St Margarets baseball clubs in Liverpool. In the mid-1930 he also played American baseball for Manchester Blue Sox and Greenfield Giants.

Early life
Sullivan was born at Cardiff, Glamorgan, Wales. He attended St Alban's School, and joined his hometown rugby union team Cardiff at the age of 16. He made his début against Neath in October 1920, and went on to make 38 appearances for the club. In December 1920, 26-days after his seventeenth birthday, he played for the Barbarians in a match against Newport, becoming the youngest player to represent the team. His performances attracted the attention of several rugby league clubs, including Wakefield Trinity, Hull FC, Huddersfield and Wigan. While playing for Cardiff, Sullivan served an apprenticeship to become a boilermaker. He was also a British baseball player, and appeared for Wales in a match against England in 1921.

Rugby league career
In June 1921, Sullivan turned professional and joined rugby league side Wigan, reportedly signing a 12-year contract for a fee of £750. He made his début in August 1921, converting five goals in a 21–0 victory over Widnes. He made his first representative appearance in December 1921, playing for Wales in a 16–21 defeat against Australia.

Jim Sullivan played, and scored 4-conversions in Wigan's 13-2 victory over Oldham in the Championship Final during the 1921–22 season at The Cliff, Broughton on Saturday 6 May 1922, played , and scored 4-conversions in the 22-10 victory over Warrington in the Championship Final during the 1925–26 season at Knowsley Road, St. Helens on Saturday 8 May 1926. played, and scored 2-conversions, and a drop goal in Wigan's 15–3 victory over Salford in the Championship Final during the 1933–34 season at Wilderspool Stadium, Warrington on Saturday 28 April 1934, and played in the 12–5 victory over Dewsbury in the Championship Final second-leg during the 1943–44 season at Crown Flatt, Dewsbury on Saturday 20 May 1944 (Joe Jones having played  in the first-leg).

Jim Sullivan played, and scored 4 conversions in Wigan's 20–2 victory over Leigh in the 1922–23 Lancashire Cup Final at the Willows in Weaste, Salford on Saturday 25 November 1922, played , and scored a conversion in the 11–15 defeat by Swinton in the 1925–26 Lancashire Cup Final at The Cliff, Broughton on Wednesday 9 December 1925, played , and scored a conversion in the 2–5 defeat by Swinton in the 1927–28 Lancashire Cup Final  at Watersheddings, Oldham on Saturday 19 November 1927, played , and scored a conversion in the 5–4 victory over Widnes in the 1928–29 Lancashire Cup Final the Willows, Salford, on Saturday 24 November 1928, played , and scored 2-conversions in the 12–21 defeat by Salford in the 1934–35 Lancashire Cup Final  at Station Road, Swinton, on Saturday 20 October 1934, played , and scored 2-conversions in the 7–15 defeat by Salford in the 1935–36 Lancashire Cup Final at Wilderspool Stadium, Warrington on Saturday 19 October 1935, played , and scored a conversion in the 2–5 defeat by Salford in the 1936–37 Lancashire Cup Final  at Wilderspool, Warrington on Saturday 17 October 1936, and played  and scored 5-conversions in the 10–7 victory over Salford in the 1938–39 Lancashire Cup Final during the 1938–39 season at Station Road, Swinton on Saturday 22 October 1938.

On 14 February 1925, he landed 22 goals against amateurs Flimby & Fothergill in the Challenge Cup, which is still a record. He toured with the Great Britain Lions three times (1924, 1928 and 1932) and was captain on the last occasion. He top-scored on all three tours. He refused what would have been a record fourth trip, in 1936, for personal reasons.

For twenty years, he dominated at, representing Great Britain (28 times), Wales (26), Other Nationalities (6), British Empire (1), Glamorgan (1) and Glamorgan and Monmouthshire (12). He was Wales' most capped player for over 70 years before his record was surpassed by Ian Watson in 2010. During the Second World War, he played infrequently for Wigan, as he chose to appear as a guest for a number of other clubs, including Dewsbury, Keighley and Bradford Northern. His last season before retiring was in 1945–46 – the season when the peacetime league resumed – and played his last game against Batley in February 1946.

When he removed his Wigan jersey for the last time, he had made 774 appearances and amassed 2,317 goals and 4,883 points for the club. These figures are still unchallenged. He scored a club record of 161 goals in 1934-35 and a record total of 204 goals in 1933-34 (including representative games). He had won three league Championships, two Challenge Cups and three Lancashire Cups.

Appearance record
Sullivan holds the world record for the most first team appearances in the sport of Rugby League. In his 25 year career, Sullivan made 928 first team appearances, a figure unmatched anywhere in the world.

Coaching career
Having been captain-coach at Wigan since 1932, Sullivan continued managing the team after retiring as a player in 1946, creating one of the club's greatest sides by winning a record five championships and a brace of Challenge Cups.

Sullivan was the coach in Wigan's 8-3 victory over Bradford Northern in the 1948–49 Challenge Cup Final at Wembley Stadium, London on Saturday 1 May 1948, in front of a crowd of 91,465.

In 1952 he joined St. Helens, overseeing their rise. Sullivan was the coach in St. Helens' 10–15 defeat by Huddersfield in the 1952-53 Challenge Cup Final at Wembley Stadium, London on Saturday 25 April 1953, in front of a crowd of 89,588, and was the coach in the 13-2 victory over Halifax in the 1955 -56 Challenge Cup Final  at Wembley Stadium, London on Saturday 28 April 1956, in front of a crowd of 79,341.

Sullivan was the coach in St. Helens' 44–22 victory over Hunslet in the Championship Final during the 1958–59 season at Odsal Stadium, Bradford on Saturday 16 May 1959.

He later returned to Wigan as coach in 1961, but left months later due to ill health.

Jim Sullivan died in his home town of Cardiff on 1 November 1977 at the age of 73. He was one of the inaugural inductees of the British Rugby League Hall of Fame in October 1988. He is also an inductee of the Wigan Hall of Fame, and the St Helens Hall of Fame.

title: Jim Sullivan (rugby, born 1903)


text:
Talk:Upper house

constitutions
Under "powers", it says "The British House of Lords is sometimes seen as having a special role of safeguarding the constitution...". This is not strictly speaking correct because the UK doesn't have a consititution. — Preceding unsigned comment added by 20.138.246.89 (talk) 10:26, 22 August 2005 (UTC)

 * It's got an uncodified one, so if the lower house tried to pass something that overrode long established precedent, that could be considered screwing with the "constitution". 69.142.2.68 11:47, 29 August 2005 (UTC)

 * If constitution means "a fundamental law that the legislature cannot alter", then indeed the UK has none. But a more literal meaning of constitution is "how the state is constituted", i.e. its structure and the laws defining that structure — such as the Acts of Union, the various Parliament Acts and HoL Acts .... —Tamfang (talk) 21:24, 22 April 2010 (UTC)

House of Lords Common?
Unter the common titles heading, it says that 'House of Lords' Is common, despite the fact that only one exists. Am I mistaken?

 * Historically there have been a few "Houses of Lords", but now the British on is the only one Keeperoftheseal 01:53, 24 April 2006 (UTC)

Merging
The Second Chamber should be merged into this article. Now there's a redirect from Second chamber (lower c) to here. The same with First Chamber, but here the redirect has the capital C. --Hu Totya 12:32, 28 December 2006 (UTC)

 * Agree. I agree, the two should be merged. --Kevin 00:28, 29 December 2006 (UTC)

 * I also agree. it must be merged. Superzohar [[Image:Star*.svg|13px]] Talk 17:02, 25 February 2007 (UTC)

 * I strongly agree as well. Merge them! Salt 03:25, 13 March 2007 (UTC)

I am merging both Second Chamber and First Chamber to the correct articles now. --Cpt. Morgan (Reinoutr) 10:40, 2 April 2007 (UTC)

Unique title?
How can Seanad Éireann (Irish senate) be an unique title? --89.97.35.70 (talk) 00:39, 28 February 2008 (UTC)

 * Agreed, obviously the exact word 'Senate' doesn't appear in the names of most assemblies when written in their native language, but the English translation is likely to be Senate. I see no reason why the Seanad Éireann has been specially singled out. PaddyUniv (talk) 17:58, 12 October 2008 (UTC)

 * Seeing no disagreement on this point, I'll remove it. —Tamfang (talk) 07:16, 22 April 2010 (UTC)

Strange Article, No Refs, Much Vagueness
There is something very strange about this article. The term upper house is almost exclusive used by people to describe the legislatures of other countries, no one calls parts of their own legislature upper house. The name upper house is sometimes applied to institutions as different from each other as the US Senate (elected by the people), the British House of Lords (appointed by monarch, hereditary, etc.) and the German Bundesrat (members of state administrations). It is a useless term, often used, but no one knows what it means. Note that the article does not cite a single reference, which means that according to WP guidelines, almost every single sentence in it should be removed. CuriousOliver (talk) 14:46, 15 November 2008 (UTC)

 * "Upper house" is a common noun, and of course it's a useful abstraction. Certainly there are no countries where this is the official name, but the official names tend to differ, while meaning essentially the same - a legislative body with more prestige than the other. — Preceding unsigned comment added by 193.224.72.132 (talk) 09:33, 25 March 2016 (UTC)

Etymology
Where do the terms "upper" and "lower" house originate from? --70.142.41.253 (talk) 23:44, 30 June 2009 (UTC)

 * Well, I just read an old CNN article that says that "The House of Representatives met on the ground floor. The Senate met on the floor above and became known as the "upper chamber," as it is still called today." This was regarding the United States Congress first meeting place in Federal Hall in New York City. CNN.com - Symbolic site for Congress to meet - September 5, 2002 Jason McHuff (talk) 02:31, 16 January 2010 (UTC)

 * Even if that is the true origin, I'd say the terms stuck because they were understood as referring to degrees of dignity; it's generally harder to get into the upper house. —Tamfang (talk) 07:19, 22 April 2010 (UTC)

 * There is NO Upper House or Lower House in the U.S. Congress. Both chambers have equal legisalative powers, unlike in a typical parliamentarian system.  The Senate is not the upper house! I am changing the article.  — Preceding unsigned comment added by 65.242.198.98 (talk) 16:29, 26 March 2013 (UTC)

 * The official website of the United States senate has many references to itself as the "upper house". Mediatech492 (talk) 17:09, 26 March 2013 (UTC)

Photos
I think it's too bad that photo of the Canadian Senate Chamber features only a couple of chairs and desks - it is truly a beautiful room, as a wider shot would have shown. —Preceding unsigned comment added by 174.117.25.44 (talk) 05:21, 30 March 2010 (UTC)

Possible specific characteristics
The above-entitled section is a grammatical mess. The first item is especially obscure: Is this one example or three? What does "seizing ... by evocation" mean? What does "house of reference" mean? —Tamfang (talk) 03:28, 5 June 2010 (UTC)
 * Given less power than the lower house, with special reservations, e.g. only when seizing a proposal by evocation, not on the budget, nor the house of reference for majority assent.

 * Huh. Guess I'll have to remove that item to get someone's attention. —Tamfang (talk) 20:11, 28 November 2010 (UTC)

"Possible specific characteristics"
Is it not absurd to list eleven items, and then say that "at least one applies", "usually"? It proves that there is no generally accepted meaning of the term "upper house". It seems to be nothing more than a term that has been in use in some places (e.g. United Kingdom), but not in others. Those who keep trying to identify an upper house in every bicameral legislative system should stop and concede that, for example the Senate of the United States, or the Bundesrat of Germany, are not generally considered upper houses. CuriousOliver (talk) 11:11, 17 September 2012 (UTC)

Imperial Council of Lords - Empire of Endesia
I'm pretty sure "Imperial Council of Lords - Empire of Endesia" doesn't exist. -- Citizen127 (talk) 02:39, 4 November 2016 (UTC)

 * Right. I've removed it. W. P. Uzer (talk) 06:59, 4 November 2016 (UTC)

hereditary history

 * In the past, some upper houses had seats that were entirely hereditary, such as in the British House of Lords until 1999 ...

Doesn't it still have a few seats that are "entirely hereditary"? I seem to remember that the Duke of Norfolk is guaranteed a seat (ex officio as Earl Marshal, but that office is hereditary).

If the sentence means that all seats (the entirety of the House) were hereditary, I don't think that was ever true. Nearly all peerages created since 1963 (not 1999) are for life only, not hereditary. Even before then, the House of Lords included most bishops of the Church of England. —Tamfang (talk) 05:12, 7 December 2019 (UTC)

Unique titles
In "Unique titles", what does the gray background on some cells indicate? --Ungulates (talk) 19:22, 4 April 2021 (UTC)

 * And why do both lines for India list names that are specifically mentioned as common terms (and shared with other countries) in the section immediately above. And National Assembly is used by two countries in that table, so not unique and should be under Common terms instead.
 * (Actually, checking the history, grey background used to mean a historical term not used by the current government of that nation. Somewhere along the line the key to that info got removed, without removing the highlighting itself. That was probably an error...) 82.24.247.127 (talk) 02:30, 12 January 2022 (UTC)

 * Hmm. Looks like https://en.wikipedia.org/w/index.php?title=Upper_house&diff=926168044&oldid=922385607 and the changes around it did a bit of damage, and only some of those changes were reverted a few days later. 82.24.247.127 (talk) 02:35, 12 January 2022 (UTC)

title: Talk:Upper house


text:
Philip Currie, 1st Baron Currie

Philip Henry Wodehouse Currie, 1st Baron Currie, (13 October 1834 – 12 May 1906), known as Sir Philip Currie between 1885 and 1899, was a British diplomat. He was Permanent Under-Secretary of State for Foreign Affairs from 1888/9 to 1893, Ambassador to the Ottoman Empire from 1893 to 1898 and Ambassador to Italy from 1898 to 1902.

Background and education
Currie was the son of Raikes Currie, Member of Parliament for Northampton, and the Hon. Laura Sophia, daughter of John Wodehouse, 1st Baron Wodehouse. He was a great-nephew of William Currie and a second cousin of Sir Frederick Currie, 1st Baronet and Vice-Admiral Mark John Currie. He was educated at Eton.

Diplomatic career
Currie joined the Foreign Office in 1854. He was an attaché at St Petersburg, Russia, from 1856 to 1857, and précis writer to the Foreign Secretary, Lord Clarendon, from 1857 to 1858 and private secretary to another Foreign Secretary, Lord Salisbury, from 1878 to 1880. He was Assistant Permanent Under-Secretary of State for Foreign Affairs from 1882 to 1889, when he was made Permanent Under-Secretary of State for Foreign Affairs. He was Ambassador to the Ottoman Empire from 1893 to 1898 and as Ambassador to Italy from 1898 to 1902. Currie was appointed a CB in 1878, a KCB in 1885 and a GCB in 1892. In 1899 he was elevated to the peerage as Baron Currie, of Hawley in the County of Southampton.

From 24 November to 21 December 1898, Currie was one of the British Government delegates to the Rome Anti-Anarchist Congress, with Sir Howard Vincent and Sir Godfrey Lushington.

Personal life
Currie married Mary, daughter of Charles James Savile Montgomerie Lamb and widow of Henry Sydenham Singleton, in 1894. She was a poet under the pen-name Violet Fane. There were no children from the marriage. She died in October 1905, aged 62. Lord Currie survived her by a year and died in May 1906, aged 71. The title became extinct on his death.

Assessments
According to Keith Neilson and T. G. Otte, "Philip Currie was not a great permanent head of the Foreign Office... More than any other PUS, Currie was the creature of one of his political masters [Salisbury]."

title: Philip Currie, 1st Baron Currie


text:
User:Kjwhitefoot

I'm a working programmer, lapsed physicist, sometime embedded controller designer, etc. Intermittently editing the Visual Basic Classic book on Wikibooks (http://en.wikibooks.org/wiki/Programming:Visual_Basic_Classic).

http://en.wikibooks.org/wiki/User:Kwhitefoot

title: User:Kjwhitefoot


text:
Immanentize the eschaton

In political theory and theology, to immanentize the eschaton is a generally pejorative phrase referring to attempts to bring about utopian conditions in the world, and to effectively create heaven on earth. Theologically, the belief is akin to postmillennialism as reflected in the Social Gospel of the 1880–1930 era, as well as Protestant reform movements during the Second Great Awakening in the 1830s and 1840s such as abolitionism.

Origin
Modern usage of the phrase started with Eric Voegelin in The New Science of Politics in 1952. Conservative spokesman William F. Buckley popularized Voegelin's phrase as "Don't immanentize the eschaton!". Buckley's version became a political slogan of Young Americans for Freedom during the 1960s and 1970s.

Voegelin identified a number of similarities between ancient Gnosticism and the beliefs held by a number of modern political theories, particularly Communism and Nazism. He identified the root of the Gnostic impulse as belief in a lack of concord within society as a result of an inherent disorder, or even evil, of the world. He described this as having two effects:
 * The belief that the disorder of the world can be transcended by extraordinary insight, learning, or knowledge, called a Gnostic Speculation by Voegelin (the Gnostics themselves referred to this as gnosis).
 * The desire to implement a policy to actualize the speculation, or as Voegelin said, to Immanentize the Eschaton, to create a sort of heaven on earth within history. See Scientism.

One of the more oft-quoted passages from Voegelin's work on Gnosticism is that "The problem of an eidos in history, hence, arises only when a Christian transcendental fulfillment becomes immanentized. Such an immanentist hypostasis of the eschaton, however, is a theoretical fallacy."

James H. Billington's 1980 book Fire in the Minds of Men explores the idea further.

Christianity
At the end of the 12th century, Joachim of Fiore theorized the coming of an age of earthly bliss right before the end of time. Although not a full immanentization, Joachim has opened the way to an anticipation of the eschaton in the course of time. His ideas have influenced the thoughts on an immanentized eschaton.

In contemporary terminology this process is sometimes described as "hastening the eschaton" or "hastening the apocalypse". In this sense it refers to a phenomenon related to millenarianism and the specific Christian form of millennialism which is based on a particular reading of the Christian Bible's Book of Revelation especially popular among evangelicals in the United States.

title: Immanentize the eschaton