text:
Talk:BBC/Archive 5

Removed "Purpose and Future Evolution" discussion
I removed the following section, on the grounds that it was completely inapprporiate for an encyclopedia entry:

 * This can be split into various thought streams and it falls as a challenge to the wikipedia community to arrive at a impartial summary of the perceived current aims and future state of this revered public service institution, both with a British and global perspective. Even the top bosses and the British Government can not agree on a meaningful, practical and concise definition and as an exercise in the intelligence of crowds it may be useful to compile a growing definition here. This can be inspired by refering to specific parts of BBC output (TV, radio and online) and arriving at a kind of messianic mission statement that acts as a clear guiding philosophy for the future. This defined purpose contains people's current perception of the structure and the type of institution everyone expects it to be in future.
 * The current aims and purpose of the BBC are
 * * to inform educate and entertain.
 * * to act as an impartial source of news and current affairs without commercial or political pressure.
 * BBC Future
 * The validity and practicality of the above definition can be tested by compiling a list of predictions. With reference to the above, the BBC is likely to change in the following way:	 :
 * * increase coverage of Europe and World Affairs
 * * maintain a non-subscription model to maintain impartiality and minimise government or commercial bias
 * * reduce reality and lifestyle shows
 * The validity and practicality of the above definition can be tested by compiling a list of predictions. With reference to the above, the BBC is likely to change in the following way:	 :
 * * increase coverage of Europe and World Affairs
 * * maintain a non-subscription model to maintain impartiality and minimise government or commercial bias
 * * reduce reality and lifestyle shows

Article too pro-bbc
I'm concerned about the strong pro-bbc stance of this article. Also in the section "Television" some sections need to be changed to remove factual errors:

The passage:

"The nations of the United Kingdom (Wales and Scotland, and the province of Northern Ireland) have been granted more autonomy from the UK network; for example, programmes are mostly introduced by local announcers, rather than by those in London. BBC One and BBC Two schedules in the UK nations can vary immensely from BBC One and BBC Two in England."

should be changed to something like:

Wales, Scotland and Northern Ireland have been granted more autonomy within the UK network. BBC One and BBC Two schedules in different parts of the UK can vary immensely from those of BBC One and BBC Two in England.

The passage:

"Programmes, such as the politically fuelled Give My Head Peace (produced by BBC Northern Ireland) and the soap opera River City (produced by BBC Scotland), have been created specifically to cater for viewers in their respective nations, who may have found programmes created for English audiences irrelevant."

should be changed to something like:

Programmes, such as the politically fuelled Give My Head Peace (produced by BBC Northern Ireland) and the soap opera River City (produced by BBC Scotland), have been created specifically to cater for viewers in their respective countries.

The passage:

"However, the BBC produces many programmes shown across the UK, such as The Good Life, One Foot in the Grave, Harry Enfield and Chums and EastEnders. The UK nations also produce a number of programmes that are shown across the UK, such as BBC Scotland's comedy series Chewin' the Fat, and BBC Northern Ireland's talk show Patrick Kielty: Almost Live. "

should be changed to something like:

However, most BBC programmes are shown across the UK. Such as The Good Life, One Foot in the Grave, Harry Enfield and Chums and EastEnders. The UK regions also produce a number of programmes that are shown across the UK. Such as BBC Scotland's comedy series Chewin' the Fat, and BBC Northern Ireland's talk show Patrick Kielty: Almost Live. WikiUser 20:03, 29 Dec 2004 (UTC)

 * The first one is fine, though a bit pointless, the second uses the wrong word (W/S/NI are nations, but not countries), and the third has slightly poor grammar (". Such as" rather than ", such as"), but other than that, why not just make the edits yourself?
 * James F. (talk) 04:35, 30 Dec 2004 (UTC)

Biased?
As a Scot I know how biased the BBC can be, especially when covering matters concerning our politics and history, however, I think it is a bit much of Fox News to paint the BBC as "anti-American"... I find the major American news networks such as Fox and CNN to be a lot less impartial than the BBC is.

The BBC's other bias may be "queen kissing", but this is not as common as it once was. ("Queen kissing" means excessive coverage and fawning over the Royal family... one purveyor being Jenny Bond)

 * To be fair, Jenny Bond was the Royal correspondent. She wouldn't have had a job without the royal family.  I'm a republican with longstanding antiroyalist views but I wouldn't accuse the BBC of being too indulgent of royalty.  They seldom seem to faun in the way that was common back in the seventies. --Tony Sidaway|Talk 12:05, 8 Jan 2005 (UTC)

 * I'd go along with that. I have my gripes with the BBC, oen of them being that like the NHS and other organisations they are pretending to be commercial in the UK too much, especially Radio 1... but when you see what else is out there, I'm happy with them.

Many feel BBC is too pro US and UK governments, especially during war time. This is legitimate criticism backed by facts and statistics. POV pushers need to back off and stop propagandizing Wikipedia.

 * Eh? So the controversies about Peter Snow on Newsnight during the Falklands War, or the Gilligan affair last year were all a figment of everyone's imagination?? It's nonsense to say the BBC is "pro the UK government", it applies a proper standard of journalistic detachment, and accordingly frequently finds itself under fire from the UK government (of any political persuasion). -- Arwel 22:12, 9 Jan 2005 (UTC)

I really wouldn't consider that Fox News is impartial. It stands, in my opinion, as one of the worst news services in the world 81.179.67.231 00:08, 10 July 2005 (UTC)

recent changes
I'm sorry MPLX, but I really don't like the recent changes you've made to this article. Specifically I don't like the way that the history about the establishment of the BBC has been moved out of this article. The history section was very useful in quickly bring you up to speed and why the BBC exists and how it evolved. But now you're just left in the dark unless you click on British Broadcasting Company. Unless you intend to VASTLY expand the British Broadcasting Company article, I see no reason why it shouldn't be re-incorporated back into this article. Jooler 12:23, 20 Jan 2005 (UTC)
 * The original article was too long and the Wiki edit notice stated that it was so. There was duplication in a LOT of articles about radio and television. I have also expanded the radio article.
 * On the question of events prior to 1927. The Corporation began in 1927 and the events prior to 1927 have nothing to do with the history of the Corporation but a separate company with its own history which I DO intend to EXPAND in a major way. I am very knowledgeable in this area and I will be able to bring together a LOT of new information. I have also begun stubs for the International Broadcasting Company and Captain Plugge, MP. which also factors in on events within the Corporation. I have also already added beginning links to WWII broadcasting by the Corporation which I also intend to EXPAND.
 * Back on the history of the British Broadcasting Company, Ltd. I have only been able to begin to schedule new copy by removing the existing history which had been placed on the Corporation pages because of the slowness of the Wiki editing system which I am sure you have experienced yourself. In fact it took me twice the time that it would normally have taken to accomplish what I have already accomplished because of these server problems. Finally the mere fact that the prior arrangement seemed fine reveals the need for adding a lot of new text because the original layout looked as if it had been lifted straight out of a BBC Handbook. Aside from other things I am also a broadcasting historian.
 * Your comment that The history section was very useful in quickly bring you up to speed and why the BBC exists and how it evolved reveals the problem. What had been posted was NOT a true picture at all and yes, I do intend to DOCUMENT all information added. MPLX/MH 15:12, 20 Jan 2005 (UTC)
 * Just a follow-up. I discovered that there was no foundation article about the British General Post Office and so I had to create a disambiguation page to untangle the stub that did exist. Without understanding what the British General Post Office was, it is impossible to understand why the British Broadcasting Company, Ltd., was created in 1922 and why the subsequent Crown Corporation was created in 1927. My problem in terms of speed in doing this work is the slow speed of Wikipedia which has now gone to snail's pace again. I am going to break off for a few hours until the peak traffic falls off with the hope that I can then edit with a degree of efficiency and not time-wasting waiting for something to happen. However, I am working on these articles. MPLX/MH 17:43, 20 Jan 2005 (UTC)

Nearly all of the "reputation" section seems to be about the Gilligan-Kelly-Hutton-WMD controversy which, while undoubtedly important to the BBC doesn't deserve quite such extensive coverage in the main article. I recommend scything deep into the article and taking out nearly all of this into a seperate page. The question of the BBC's reputation is best answered by a look at the whole history of the corporation, not a scandal/whitewash/whatever that occurred a matter of months ago. Also, while of course we must be careful not to be too pro-BBC, the fact is that it's hugely respected around the globe, and has a standing that Hutton's garbage didn't seem to dent in any serious way. — Trilobite (Talk) 08:30, 3 Feb 2005 (UTC)

 * In answer to (Talk): Someone else was the author of the Hutton stuff and it was originally of massive proportions that overwhelmed the article. If you will notice my history of editing I wrote that this needed to be cut down. I did so but I did not delete it. The problem with including it made it look as if that was the only scandal that the BBC had been involved in so I wrote and included the section on the Secret Society scandals which really did rock both BBC television and radio and cause the Director General to resign. There were NO references on this article and I included those as well. I don't object to your suggestion of a separate article regarding BBC scandals and directing attention to that page. I fear that if too much pruning is done then nothing will make any sense. So a brief one line mention of the Milne and Hutton incidents with directed reference to a larger article is fine by me and I will take you up on the idea. MPLX/MH 00:54, 5 Feb 2005 (UTC)

Sorry, but I agree that the article has not been improved. The Secret Society incident needs limiting to about the same volume of text as the other incidents, and the position of the GPO as former regulator of the RF spectrum in the UK belongs exactly there - in the article on the GPO - as it actually bears very little relevance to the founding of the BBC beyond the fact that, well, the GPO was the regulator of the time. Big deal. The BBC was originally founded (as in, financed) by a consortium of manufacturers of radio receivers in order to give people something to listen to, and the GPO issued a transmitting licence to do it. The licencing bit is pretty inaccurate - no revenue from transmitting licences has ever gone to the BBC. The licence fee was for a licence specifically to receive broadcast radio and (later) television signals within the UK, not some all-encompassing idea of "electrically coded signals". The problem with writing about the BBC is that there are millions of areas in which people are going to claim bias, so POV is more or less inevitable... Mpk 23:53, 4 Feb 2005 (UTC)
 * Regarding comments by Mpk concerning BBC scandals, I am in agreement with the idea of Trilobite above and moving this to a separate article. The big problem with the original article was that it was a rambling and repetitious mess before I started working on it. It had NO references at all! I have now begun to add a number of those.
 * Now with regards to your comments about the GPO I am afraid you are totally mistaken in your beliefs. I suggest that you read the history of the GPO to see how all of this evolved. It was NOT at all the way in which you described but exactly as stated which is why British and American broadcasting evolved from two entirely different legal roots. If you will notice it has been my habit to document and reference everything that I write. If you would like more documentation and sourced references I will gladly provide them. MPLX/MH 00:54, 5 Feb 2005 (UTC)

Criticism section inappropriate
The "criticism" section of this article is the opinion of one person, and is not at all neutral. As a matter of fact, it seems to be written in the first person. This section should OUTLINE critiicsm, not MAKE it itself. This is an encyclopaedia, not an opinon page, a blog, or anything else, and it is inappropriate (not to mention ironic given the content of the section in question) to use it as a platform for one's own opinions.

--Deregnaucourt 14:30, 11 Apr 2005 (UTC)

 * Check the history, this section was added recently by an anonymous contributor, so I have removed it. ed g2s  •  talk  14:41, 11 Apr 2005 (UTC)

 * On top of that, even if it were NPOV, it needed to be removed anyway, as it is a copyviol. The words were originally written by John Pilger, in his 2002 article "Impartiality of British Journalism." --khaosworks 15:38, 11 Apr 2005 (UTC)

REMOVED SECTION
I removed the following contribution by an anon on the grounds that is itself not impartial. There is much valid criticism contained within it, but it is expressed in a way that is not appropriate for an encyclopedia. I would support its reinsertion if it were rewritten to stick more closely to the topic and avoid flights of rhetoric. Tannin 14:46, 11 Apr 2005 (UTC)

 * The BBC is the standard-bearer of liberal journalism with it's emphasis on "impartiality". But has impartiality become a "principle" that can be suspended whenever the established authority is threatened? : John Pilger :28 Nov 2002

 * During a debate on the coverage of the miners' strike at the Edinburgh Television Festival, the BBC's industrial editor at the time, Martin Adeney, described trucks bringing coal to a steelworks as having made a "successful run". As Ken Loach pointed out, it was a successful run only if you were on the side of the government, not if you were a striking miner.

 * The assumption in Adeney's statement runs deep throughout liberal journalism, of which the BBC is the standard-bearer. It is currently expressed in the reporting of the firefighters, whose modest pay demand is represented as a percentage, not a decent living wage and invariably set against the public risk. This is "impartiality", a sacred word in the lexicon of British broadcasting, which has long lost its dictionary meaning and is a euphemism for the consensual view of established authority. Indeed, it was John Reith, the BBC's founder, who understood the power of establishment myths about "impartiality" and "balance". To Reith, impartiality was a "principle" that could be suspended whenever the established authority was threatened. He demonstrated this during the General Strike in 1926 by writing much of Prime Minister Baldwin's propaganda, and broadcasting it on the BBC. The same "principle" has since applied to every major social upheaval, notably national strikes and popular opposition to war. From the General Strike to the 1980s miners' strikes, from the colonial wars to the present-day devastation of Iraq, "impartiality" has held sway over truth.

 * Until recently, television journalism enjoyed more credibility in Britain than in other countries. This is probably because in many countries the bias of the state is crude and clearly understood, if not always acknowledged. In totalitarian states, the bias is universally regarded as implicit in all media, and a conscious or unconscious adjustment is made by the viewing, and reading, public. "In one respect, we are luckier than you in the free west," the Czech dissident writer Zdenek Urb?nek told me in the 1970s, "because we have learnt to read between the lines, and you believe you have no need; but you do." This adjustment, this reading between the lines, is now happening in Britain, as more and more people recognise the depth and subtlety of the bias of the state in the "impartial" broadcast media. So embedded are journalistic myths of a neutral, non-political centre - the "fine fulcrum of balance", as Raymond Williams called it ironically - that few broadcasters seem aware of the shift in public regard for mainstream news, especially among the young. was the assumption that impartiality actually existed: not that news channels were already following a political agenda based on a convergent parliamentary system and a market liberalism that has moved so far to the right that it accommodates and consumes "official" conservatism. Listen to British broadcasting's drumbeat on Iraq: the channelling and echoing of black propaganda dressed up as news. Take, for example, the strange speech by Tony Blair, "warning the nation of the grim threat in our midst". BBC television news faithfully echoed word for word this propaganda designed to soften up the public for Blair's attack on Iraq - an attack to which the great majority are opposed. Where is the evidence of these "daily threats we face"? And if a terrorist attack is coming, surely an unprovoked assault on a Muslim country will create the very terrorists Blair says we should fear? Therefore, isn't the British government endangering its own people with its incessant belligerence? These are vital questions that independent journalism ought to raise.

 * Leading the pack, the BBC has allowed the outrageous bribery and manipulation of the members of the United Nations Security Council, and the red herring of weapons inspections, to dominate the news while all but ignoring the true reasons for the American obsession with Iraq. "These media blitzes," wrote Gore Vidal, "resemble the magician's classic gesture of distraction: as you watch the rippling bright colours of his silk handkerchief in one hand, he is planting the rabbit in your pocket with the other." This has happened every time the war drums have been beaten, from the great slaughter of 1914-18 to the Afghanistan bombing. Time and again, the real reason for killing innocent people is obfuscated, made to vanish from the news. Who speaks of the depleted uranium that the Americans will use against Iraq, a country already suffering an epidemic of cancer as a result of the last use of this weapon of mass destruction by America and Britain in 1991? Who recalls the truth in the Medical Education Trust report that a quarter of a million Iraqis died during and in the immediate aftermath of the so-called Gulf war? Who knows about the nation of infants who, as Unicef has reported, have perished as a result of a medieval blockade run from Washington and Whitehall?

(end removed section)

PS via edit conflict. I was about to do that same revert, Ed_G2S. You beat me to it. Tannin 14:46, 11 Apr 2005 (UTC)

 * I agree that this should not have been in the article which is about as sterile and NPOV as it can get. The writer should have used the controversies article but from the length and structure of the "objection" the writer did not have a clear idea of what he/she was trying to express - but the structure of the criticism article requires fitting the critique into slots in a short and concise manner with references and footnotes so as to avoid both POV and original "research". The writer provided an editorial opinion of his/her own and not facts for an encyclopedia and the best place for an opinion of that type is a Blog site somewhere - but not here. MPLX/MH 16:00, 11 Apr 2005 (UTC)

"The" British Broadcasting Corp
Just to remove any doubt as to the status of the definite article in the first paragraph, here is a link (and the relevant part below) to the Royal Charter which capitalises "The" in "The British Broadcasting Corporation".

''NOW KNOW YE that We by Our Prerogative Royal and of Our especial grace, certain knowledge and mere motion do by this Our Charter for Us, Our Heirs and Successors will, ordain and declare as follows:—

''INCORPORATION

''1. The Corporation shall continue to be a body corporate by the name of The British Broadcasting Corporation with perpetual succession and a common seal with power to break, alter and renew the same at discretion; willing and ordaining that the Corporation shall and may sue and be sued in all Courts and be capable in law to take and hold real and personal property and do all matters and things incidental or pertaining to a body corporate, but so that the Corporation shall apply the whole of its income solely in promoting its objects. The Governors of the Corporation shall be the members thereof.

(my emphasis)

202.0.40.101 08:37, 18 Apr 2005 (UTC)

title: Talk:BBC/Archive 5


text:
User:MaxGreen

MaxGreen is my pen name for the Wikipedia. Alias:Pavel polsky

I live in greater Tel Aviv, Israel and work now for a branch of a large international corporation dealing with communication technologies.

I hold Ph.D in mathematics, but many years had passed since I finished with research in my area, partial differential equations. I'm much more interested now in history, arts, poetry and landmarks - all this is integrated in my activities as a tour guide at home and abroad.

I'm enthusiastic about Wikipedia and starting to contribute to the subjects I'm acquainted with.

Major contributions

 * Kathrine Taylor
 * Boris Anrep
 * Pinhas Rutenberg

Edits

 * Arsuf

"To do" list

 * Silver Age of Russian Poetry
 * Anna Akhmatova
 * Boris Hazanov - see ru:Борис Хазанов
 * Sigrid Undset - see a much better version de:Sigrid Undset
 * Lod
 * Lod mosaic

Useful links

 * Lists (stand-alone lists)

ru:User:MaxGreen

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

title: User:MaxGreen


text:
Talk:Vir Chakra

List of awardees
Perhaps we could add the list of individuals who have been awarded this award ? Manik Raina 14:36, 28 August 2005 (UTC)

Where is Narayan Singh?I found him in in Nishan-e-Haider winner Shabbir Sharif's page. — Preceding unsigned comment added by 117.227.75.170 (talk) 17:28, 18 January 2013 (UTC)

title: Talk:Vir Chakra


text:
Euchloe guaymasensis

Euchloe guaymasensis, the Sonoran marble or Sonoran white, is a species of butterfly in the family Pieridae. It is native to Sonora in Mexico and has been seen once in Arizona in the United States.

The butterfly has a wingspan of 31-37 mm. The upperside is pale yellow. The forewing has a black tip and a black bar toward the front edge. The underside is marbled with green.

This species occurs in rocky desert habitat. Its host plant is western tansymustard (Descurainia pinnata). Adults fly in February and March.

This species was first collected in 1983 from a microwave relay 40 mi north of Guaymas in Sonora.

title: Euchloe guaymasensis


text:
Wikipedia:Featured article candidates/Brihanmumbai Electric Supply and Transport

Brihanmumbai Electric Supply and Transport
--Self nom: The 'Brihanmumbai Electric Supply and Transport', (better known as the BEST) is the public transport company and electricity provider of Mumbai, India. It has a very interesting history from horse drawn trams to electric trams, electricity generation and later buses. =Nichalp  «Talk»=  14:39, August 28, 2005 (UTC)

 * Support. Another great effort by Nichalp. pamri 15:12, August 28, 2005 (UTC)
 * Support. Well done Nichalp!! Great work. Meets all the requirements of FA - interesting, factually accurate, NPoV, images and references.--May the Force be with you! Shreshth91  ($ |-| r 3 $ |-| t |-|)  15:43, 28 August 2005 (UTC)
 * Support, well written, informative and a good read. Deserves to be a FA in my opinion. WegianWarrior 06:27, 29 August 2005 (UTC)
 * Support, another good article on a lesser known subject. -- Sundar \talk \contribs 07:23, August 29, 2005 (UTC)
 * Support, interesting, well written/illustrated/referenced. Rossrs 13:41, 29 August 2005 (UTC)
 * Object, for the following reasons:
 * The Finance section still needs more details.
 * Is the company subsidised by the government?
 * Is the company expected to maximize profit?
 * What were the "new management techniques" that reduced losses?
 * Why can't the company hike (increase) utility and transport prices? Do they need government/parliamentary approval? Or is it just that they are expected to keep prices at the lowest posssible value that is sustainable for their business?
 * Does the company pay the government dividends?
 * Some corporate information such as the company's vision, mission statement and goals would be helpful. There's no need to be too detailed a couple of sentences will do.
 * The article states "with a consumption of 3,216 million units" but what are the units? Are they kilowatt-hours?
 * The MERC pdf is not properly linked.
 * The New Oxford American dictionary defines a public company as "a company whose shares are traded freely on a stock exchange." The infobox is therefore misleading to those who interpret it this way.
 * The "Bombay Omnibus Service" is not explained try something like "Bombay Omnibus Service, an existing transport company,"
 * "The bus service served as the common mode of transport for the middle and upper middle classes, while the trams were relegated as the poor man's transport." Why? It need only be a short explaination for example, "Due to higher-priced fares, the bus service..."
 * "cr." in the infobox should be linked to crore and try using "$... USD" instead of "... US$"
 * "This astute move" is POV, try "This move"
 * "Alternating current" and "Direct current" are not proper nouns.
 * "resulting in the BEST securing a complete monopoly over bus services in the Greater Bombay area." Why?
 * "These buses have a capacity of 110, and were introduced in 1997." - no need for the comma.
 * "Expresses buses" is grammatically incorrect, try "Express buses".
 * Does BEST generate any power? From the sound of the article they are involved strictly in power distribution. If this is so, this point needs to be made clear.
 * Volt is typically denoted by a capital "V" making a kilovolt "kV"
 * "bifurcated into two regions" is a tautology. Consider replacing "bifurcated" with a simpler word such as "divided".
 * Something describing the quantity of power the company distributes is necessary.

 * Good article though. I may have a few more comments soon. As I said for In-N-Out further insights into business strategy are always welcome. Cedars 16:15, 29 August 2005 (UTC)

Thanks for the suggestions. =Nichalp  «Talk»=  19:22, August 29, 2005 (UTC)
 * I've replaced Public by "Private (govt. owned)". I hope this is acceptable.
 * As far as the Bombay Omnibus Service goes, there's no report of its prior existance or if it was newly formed back them. Source Any suggestions what to do here?
 * Modified to: The trams meanwhile, due to its lower fares were relegated as the poor man's transport.
 * cr. in the infobox linked, $--USD done.
 * astute removed. (Thanks for noticing it)
 * AC and DC made common nouns
 * Court issue: modified the paragraph.
 * comma removed
 * Expressess buses was a genuine typo. Corrected.
 * That is mentioned in the history section, just above the =advent= section. I've reinforced this in the =Power= section.
 * kv corrected to kV
 * bifurcated --> divided
 * Quantity in MW? I'm not sure. I have the Tata figures (2.7 GW) with me, but part of this figure is also supplied to other companies. I've emailed the TATA site. Will add once I get a reply. (PS I do have some exact figures, but those are dated.)
 * 1) Its not subsidised by the government (inote+link ref added), 2) Not sure about maximizing profits. 3) Added some info on new techniques.

 * 1) I have no references stating that the Bombay Omnibus Company existed or was a proposed company then. If I modify the text to "an existing company", it may be incorrect. I would prefer not to modify.
 * I realize I misread your response, the objection was a minor one so I've now crossed it out.

 * 1) resulting in the BEST securing a complete monopoly over bus services in the Greater Bombay area has been modified to That year the Undertaking and private operators went to court with the BEST asking for a complete closure of the private companies. The case dragged on for four years before the Supreme Court of India granted the organisation a complete monopoly over bus services in the Greater Bombay area. Is this Ok, or should is there somthing you still want addressed?
 * I'm guessing some specific piece of legislation was central in that decision. What was the name of that legislation?

 * 1) Quantity of power. I'm waiting for a reply email. If I don't get one in time, would a dated (1998 exact, or 2002 approx) figure do?
 * Dated figures are fine.

 * 1) Is the company expected to maximize profit. I think all companies would like to maximize profits, please let me know what is meant by that.
 * A related question is does the company pay dividends to the government? Australia Post does but the Australian Broadcasting Corporation doesn't. One of the aims of Australia Post is profitbility but not so with the Australian Broadcasting Corporation whose main aim is to engage their audience. As a result of this, the ABC continues to forego advertising despite the way this obviously hurts their profitability. The thing with a state-owned enterprise is that it may not actually aim to make a profit but rather to provide the best, most affordable service to the public it can. For example rather than charging 8c/kWh the company may instead charge 5c/kWh even though the 8c/kWh may be more profitable. This may be because the company's aim is to serve the community and only turn as much profit as is necessary for infrastructure expansion.

 * Good work! Cedars 23:56, 29 August 2005 (UTC)

 * 1) I've added information on the company not maximising its profits as it is a public utility company. 2) I can't find any additional information on the BEST website on the supreme court ruling. Its a long time back, to additional online references are non-existant. 3) Added power in MW (dated 2000). =Nichalp   «Talk»=  17:00, August 30, 2005 (UTC)

 * 1) The company can hike the fares, but BMC approval is needed. It was already mentioned, but I've reinforced this in =Finances=. 2) There's no clear cut vision statement. Its embedded here and there in the text. eg. GPS in =transport=, solar power in =electricity=. I have added a note on its 'digitisation project' in =organisation=. I think it qualifies as a major goal. 3) pdf link corrected 4) KWH added to units. 5) Dividends.: It would have to make a tidy profit first :) There's nothing mentioned on the site about this: . I don't suppose govt owned companies do, but since I have no references, I can't add. =Nichalp   «Talk»=  08:04, September 1, 2005 (UTC)


text:
Juice (Australian band)

Juice were an Australian funk rock band formed in 1991 by brothers: Amarnath and Krishna Jones both on guitar and vocals, Lucius Borich on drums; and David Kyle on bass guitar. They released their debut album, Wine of Life, in 1994 which peaked in the top 50 on the ARIA Albums Chart. At the ARIA Music Awards of 1994, their debut extended play, Movin' On, was nominated for ARIA Award for Best Independent Release.

1991–1996: Juice
Juice formed in 1991 in Sydney as a hard rock funk band by Amarnath and his brother Krishna Jones both on guitars and vocals; Lucius Borich on drums, and David Kyle on bass guitar. According to Australian rock music historian, Ian McFarlane, they "played a fiery fusion of hard funk, aggressive rock, psychedelia and soul (somewhere between Funkadelic, Led Zeppelin, Jimi Hendrix and the 'stoned soul picnic' stylings of Sly and the Family Stone). Juice was one of a number of young bands at that time exploring diverse musical avenues on the traditional Australian pub-rock scene: d.i.g.'s acid jazz, Swoop's soulful funk grooves, Def FX's techno-metal, Skunkhour's funk'n'rap and Caligula's techno-pop". Phil Jones (aka Shiva Shankar Jones), father of Amarnath and Krishna, is a musician, who worked with 1960s group The Unknown Blues. In 1969 he relocated to the United Kingdom to join progressive rock band, Quintessence. Borich is a son of New Zealand-born Australian guitarist Kevin Borich.

During 1993 Juice supported Hoodoo Gurus and INXS; in April they released their first extended play, Movin' On. At the ARIA Music Awards of 1994 it was nominated for Best Independent Release. In April 1994 the group's debut studio album, Wine of Life, was released on Polydor Records. It provided the singles "Skyhigh" in April and "Paper World" in November that same year. Kyle left before the album had appeared and was replaced on bass guitar by Ben Rosen. In early 1995 Borich left to form a heavy stoner rock band, The Hanging Tree. Borich was replaced by Chris Simms on drums. They supported tours by Radiohead and The Tea Party. In June 1995 Juice released a single, "Never Enough", followed by another EP, Fractured in September. Simon Cox replaced Simms on drums, but by early 1996 Juice had disbanded.

1998–present: Post Juice music careers
After disbandment various former members of Juice continued their music careers. In 1998, Lucius Borich, along with Flynn Gower from The Hanging Tree formed a progressive rock group, Cog. In 1999, Amarnath and Krishna Jones created a new acoustic blues-rock band, Juggernaut, which issued three EPs, Million Miles from Home (1999), Better Than Everyone (2000) and Head in the Clouds (September 2004); and a studio album, Burn. Krishna co-wrote the screenplay of a 2001 short film, The Host, with its director and editor, Nick Tomnay. In 2002, Krishna produced recordings by nu-metal band Beacon, the group included Emelyn Walters from The Hanging Tree. Juggernaut's track, "Bubbleman", received an honourable mention in the Rock category at the 2004 International Songwriting Competition for its songwriters, Amarnath and Krishna. Krishna issued his debut solo album, Razor's Edge, in 2007. Ben Rosen remixed works by Marilyn Manson, Unwritten Law, Nikka Costa, Grinspoon, 8mm and also started his own audio company, The Gunnery, in Singapore.

On 29 May 2010 the original four members of Juice (Krishna and Amarnath Jones, Lucius Borich and David Kyle) reunited for a gig at The Beach Road Hotel to perform together for the first time since Dave Kyle departed the band in 1994. The success of that reunion gig inspired the band to reform and write a new album which was titled "Signs" and was released in 2019.

Band members

 * Krishna Jones – lead vocals, guitar (1991–2018)
 * Amarnath Jones – guitar, vocals (1991–2018)
 * Lucius Borich – drums (1991–2018)
 * David Kyle – bass guitar (1991–1994, 2010, 2018)
 * Ben Rosen – bass guitar (1995–1996)
 * Simon Cox – drums (1996)

ARIA Music Awards
The ARIA Music Awards are a set of annual ceremonies presented by Australian Recording Industry Association (ARIA), which recognise excellence, innovation, and achievement across all genres of the music of Australia. They commenced in 1987.

! Ref.
 * 1994
 * Movin' On
 * Best Independent Release
 * Nominated
 * Nominated

title: Juice (Australian band)


text:
A Burlesque on Carmen

A Burlesque on Carmen is Charlie Chaplin's thirteenth film for Essanay Studios, originally released as Carmen on December 18, 1915. Chaplin played the leading man and Edna Purviance played Carmen. The film is a parody of Cecil B. DeMille's Carmen 1915, which was itself an interpretation of the popular novella Carmen by Prosper Mérimée.

Chaplin's original version was a tightly paced two-reeler, but in 1916 after he had moved to Mutual, Essanay reworked the film into a four-reel version called A Burlesque on Carmen, or Charlie Chaplin's Burlesque on Carmen, adding discarded footage and new scenes involving a subplot about a gypsy character played by Ben Turpin. This longer version was deeply flawed in pacing and continuity, and not representative of Chaplin's initial conception. Chaplin sued Essanay but failed to stop the distribution of the longer version; Essanay's tampering with this and other of his films contributed significantly to Chaplin's bitterness about his time there. The presence of Essanay's badly redone version is likely the reason that A Burlesque on Carmen is among the least known of Chaplin's early works. Historian Ted Okuda calls the two-reel original version the best film of Chaplin's Essanay period, but derides the longer version as the worst.

Further reissues followed, for instance a synchronized sound version in 1928 by Quality Amusement Corporation. It was re-edited from the 1916 Essanay reissue, with a newly shot introduction written by newspaper columnist Duke Bakrak. This version, with rewritten title cards, poor sequencing, and "fuzzy" in appearance from generation loss, can be found today on some budget home video releases. Film preservationist David Shepard studied Chaplin's court transcripts and other evidence to more closely reproduce the original Chaplin cut. This version was released on DVD by Image Entertainment in 1999 and has since been restored a second time in HD.

Background
The story of Carmen was very popular in the 1910s, and two films under this title were released earlier in 1915. One was directed by Raoul Walsh, in which stage actress Theda Bara played Carmen, and the other by Cecil B. DeMille, in which the part was played by opera star Geraldine Farrar. DeMille's film received positive reviews but Chaplin thought it was ripe for parody.

Synopsis
Carmen, a gypsy seductress is sent to convince Darn Hosiery, the goofy officer in charge of guarding one of the entrances to the city of Sevilla, to allow a smuggling run. She first tries to bribe him but he takes the money and refused to let the smuggled goods in.

She then invites him to Lillas Pastia's inn where she seduces him. After a fight at the tobacco factory where Carmen works, he has to arrest her but later lets her escape. At Lillas Pastia's inn, he kills an officer who is also in love with her and has to go into hiding and he joins the gang of smugglers.

Carmen meets the famous toreador Escamillo and falls in love with him. She accompanies him to a bullfight but Darn Hosiery waits for her and when she tells him that she no longer loves him, he stabs her to death. But it is not for real, Chaplin shows that the knife was fake and both smile at the camera.

Review
In reviewing the four-reel version of this film that Essanay released in April 1916, four months after Chaplin's contract had expired with the studio, Julian Johnson of Photoplay panned the lengthy re-release of this comedy. Johnson declared, "In two reels this would be a characteristic Chaplin uproar. Four reels is watering the cream."

Cast

 * Charlie Chaplin - Darn Hosiery
 * Edna Purviance - Carmen
 * Jack Henderson - Lillas Pastia
 * Leo White - Morales, Officer of the Guard
 * John Rand - Escamillo the Toreador
 * May White - Frasquita
 * Bud Jamison - Soldier of the Guard
 * Lawrence A. Bowes - Gypsy
 * Frank J. Coleman - Soldier

Production
In his sequencing, Chaplin followed closely the structure of the DeMille production, using very similar sets and costumes, and he used Riesenfeld's music. At the end, Chaplin indulges in an early example of breaking the fourth wall, turning to the camera to show laughingly that his character had not really killed Carmen. The film was released as a two-reeler at the end of 1915, when Chaplin's contract with Essanay Studios was up. After he had left, the studio added two reels' worth of non-Chaplin material and re-released the film in 1916.

Music
David Shepard's 1999 restoration was released with a Robert Israel score, based on Bizet's music. A score was commissioned from Timothy Brock by Teatro de la Zarzuela de Madrid, and released in 2013 by the Cineteca di Bologna and Lobster Films for their Chaplin Essanay Project restoration. Brock also based his score on the opera by Bizet, but performed in a 1920s style. Both versions have been released numerous times on home video.

title: A Burlesque on Carmen


text:
Targ (video game)

Targ is a maze shoot 'em up developed by Exidy and released as an arcade video game in 1980. It depicts vehicular combat in a future world. It was released in North America by Exidy in June 1980 and in Japan by Sega in July.

It was listed by Play Meter as one of only two maze games among the top 20 highest-grossing arcade video games of 1980, which was dominated by space shoot 'em ups. Its success prompted Exidy to release Spectar, a sequel with improved graphics, in July 1980. A port of Targ was developed for the Atari 2600 by CBS Games, but never released.

Gameplay
The locale, described by the game cabinet as "The Crystal City", is a 10x10 grid of roads demarcated by square buildings. The player, piloting the Wummel, which looks like a small green car, maneuvers through the maze trying to shoot enemies and avoid collisions with them. Most of the enemies consist of angry-looking red wedges known as Targs. Occasionally, a small cyan-colored Spectar Smuggler appears; shooting it scores a significant bonus. None of the enemies shoot back; their sole means of destroying the Wummel is ramming into it.

When all enemies are destroyed, a bonus is awarded and a new round starts. If the player takes too long to clear the board, the Targs' speed increases until they are traveling faster than the Wummel.

Reception
Electronic Games stated in 1983 that Targ had "one of the most unique approaches to the maze-chase contest". In his 1981 video game guide How to Master the Video Games Tom Hirschfeld observed that "TARG is one game in which strategy must become almost reflex as the action quickens".

Legacy
Attack Force for the TRS-80 is a clone of Targ released by Big Five Software in 1980.

Targ was sublicensed to Centuri, who manufactured it in a cocktail version.

title: Targ (video game)


text:
Repovesi National Park

Repovesi National Park (Repoveden kansallispuisto) is situated in the municipalities of Kouvola and Mäntyharju, only a few hours north-east of the more populous Helsinki area of southern Finland. Formerly a site for intensive commercial forestry, the Repovesi area successfully transformed into a pristine national park. Pine and birch trees dominate the park. Repovesi abounds with wildlife including bear, deer and various birds. The River Koukunjoki flows through the park. Other streams and lakes are also situated within the parks boundaries.

Attractions include the Olhavanvuori hill, popular among climbers, and the Kultareitti water taxi route. Also located in the park are the Kuutinlahti bay with its restored timber rafting channels, the Lapinsalmi suspension bridge, and many observation towers.

The common fauna of the park includes the red-throated diver, the Eurasian lynx, the moose, many owls and several galliformes.

title: Repovesi National Park


text:
Diane Cluck

Diane Cluck is an American singer-songwriter. She describes her music as "intuitive folk". She currently resides in Virginia.

Early life
Cluck was raised in Lancaster, Pennsylvania. She began taking piano lessons at the age of 7, and was classically trained on scholarship at the Pennsylvania Academy of Music. She is of Irish descent on her father's side.

Music
Cluck began performing her songs publicly in New York City in 2000. She self-released her first solo album, Diane Cluck, that same year. By 2001, she was appearing regularly at the SideWalk Cafe in New York's Lower East Side, a venue that has featured such artists as Jeffrey Lewis, Regina Spektor, and Kimya Dawson. Massachusetts-based record label Important Records distributed Cluck's second and third albums, Macy's Day Bird in 2001 and Black With Green Leaves in 2002. Also in 2002, her song "Monte Carlo" was included in a compilation of New York City anti-folk music, Anti-folk Vol. 1, released by British label Rough Trade Records.

She wrote most of her fourth album, Oh Vanille / ova nil, while staying at the Dorland Mountain Arts Colony in Temecula, California, in 2003. The album was distributed in 2004 by Important Records, and subsequently reissued on 180g audiophile vinyl pressed by 3 Syllables Records in 2010. Her fifth album, Countless Times, was distributed by Voodoo-Eros in 2005, and her sixth album, Monarcana, 2001–2004, was distributed in 2006 by Very Friendly.

Although known as a solo performer, she has often collaborated with others, including Jeffrey Lewis, CocoRosie, Toby Goodshank, Herman Düne, and, recently, drummer Anders Griffen and cellist Isabel Castellvi on tours in the US, UK, and Europe.

In December 2011, she announced a fan-funded "Song-of-the-Week" project, in which she has been writing and distributing a series of 24 new songs directly to subscribers.

In March 2014, Cluck released her seventh album, Boneset, her first in eight years, on 10" vinyl, CD, and digitally, laid out "Dark to light to dark, the album overends as a mobius strip, its songs seeded with connection and release, overcoming fear with heart...birds, bones, surrender," which NPR Music described as "as thrilling a showcase of Cluck's clawed, counterintuitive fingerpicking and elastic voice as anything she's ever released."

In early 2014, Cluck embarked on a tour of the US, Ireland, the UK, and Europe. She released and co-directed her first official music video for Boneset's first single, "Sara".

Style
Shawn Bosler of The Village Voice wrote that "she is likely one of the most refined and elegant songwriters in all of neo-folkdom. A brilliant idiosyncratic guitarist, a witty and wise lyricist, an imaginative melody writer with a powerful voice; her dark and introspective tunes are utterly captivating, sorta like an earthier Kate Bush. Watch her spellbind the room."

David Garland of NPR Music described her sound as "an unlikely mix of Aaron Neville, the Baka people, and Joni Mitchell." Praising Cluck's singing for being "unaffected yet unusual", he notes that she "handles her guitar in a distinctive way, often plucking the strings where the neck meets the body of the guitar, producing a harp-like tone."

Discography

 * Albums
 * Diane Cluck – 2000 (self-released)
 * Macy's Day Bird – 2001 (distributed by Important Records)
 * Black With Green Leaves – 2002 (distributed by Important Record)
 * Oh Vanille/Ova Nil – 2003 (distributed by Important Records)
 * Countless Times – 2005 (distributed by Voodoo-Eros)
 * Monarcana, 2001–2004 – 2006 (distributed by Very Friendly)
 * Oh Vanille/Ova Nil 180g audiophile vinyl – 2010 (reissue with previously unreleased tracks, pressed and printed by 3 Syllables Records, mastered by Ray Staff)
 * Boneset – 2014 (distributed by Bone & Bloom Publishing)
 * Common Wealth – 2020
 * Collaborations (incomplete list)
 * Travel Light, The River, Finish Line – 2001 – With Jeffrey Lewis
 * So Not What I Wanted – With Herman Düne
 * To Live Like the Boys – With Herman Düne
 * Palam & Porom – 2005 – With Toby Goodshank
 * tremenda – 2005 – With Sierra Casady (on Les Disque Du Crespuscule (The Black and White Skins))
 * Noah's Ark – 2005 – Contributed to CocoRosie album
 * Tell Me to Stay (vocals) – 2009 – by Stanley Brinks
 * Compilation appearance
 * AFNY Collaborations Volume 1 (Olive Juice Music) – 2001 – With Jeffrey Lewis and Kimya Dawson
 * Antifolk Vol. 1 (Rough Trade) – 2002 – Monte Carlo
 * The Golden Apples of the Sun – 2004 – Heat From Every Corner
 * The Enlightened Family: A Collection Of Lost Songs – 2005 – Real Good Time and Nothing But God
 * Rough Trade Shops: Singer Songwriter 1 – 2006 – Easy to be Around
 * So Much Fire to Roast Human Flesh – 2006 – A Phoenix and Doves
 * From Colette With Love – 2006 – Real Good Time
 * Anticomp Folkilation – 2007 – The River – With Jeffrey Lewis
 * Margot at the Wedding OST – 2007 – Easy to be Around
 * Skins – 2011 – Petite Roses
 * Audio Antihero presents: REGAL VS STEAMBOAT for Rape Crisis – 2013 – Content to Reform (Montreal Studio Version)

title: Diane Cluck


text:
User:Egil/Sandbox/Gabriel Mouton

Gabriel Mouton (1618–1694) was a French abbot and scientist. He was a doctor of theology from Lyon, but was also interested in mathematics and astronomy.

His 1670 book, the Observationes diametrorum solis et lunae apparentium, came to form the basis of what was to become the metric system hundred years later. Based on the measurements of the size of the Earth conducted by Riccioli of Bologna (at 321,815 Bologna feet to the degree), Mouton proposed a decimal system of measurement based on the circumference of the Earth, explaining the advantages of a system based on nature.

His suggestion was a unit, milliare, that was defined as a minute of arc along a meridian. The base unit would be the virga, 1/1000 of this, corresponding to 64.4 Bologna inches, or ~2.04 m. This was reasonably close to then current unit of length, the Parisian toise (~1.95 m), which was meant to make acceptance of the new unit easier. For practical reasons, Mouton suggested that the actual standard be based on pendulum movement, so that a pendulum located in Lyon of length one virgula (1/10 virga) would change direction 3959.2 times in half an hour. Using a 45° latitude g of 9.80665 this corresponds to ~20.538 cm.

His ideas attracted interest at the time, and were supported by Jean Picard as well as Huygens in 1673, and also studied at Royal Society in London. In 1673, Leibniz independently made proposals similar to those of Mouton.

By todays measures, his milliare corresponds directly to a nautical mile, and his virga would by definition have been 1.852 m.

title: User:Egil/Sandbox/Gabriel Mouton


text:
Police Memorial Trust

The Police Memorial Trust is a charitable organisation founded in 1984 and based in London. The trust's objective is to erect memorials to British police officers killed in the line of duty, at or near the spot where they died, thereby acting as a permanent reminder to the public of the sacrifice they made.

Inspiration
The Police Memorial Trust was the brainchild of film producer Michael Winner. Inspired by the fatal shooting on 17 April 1984 of WPC Yvonne Fletcher outside the Libyan embassy in London, Winner wrote a letter to the editor of The Times newspaper suggesting a memorial be erected in Fletcher's honour. After receiving donations from members of the public, Winner established the trust on 3 May 1984.

Memorials
The first Police Memorial Trust memorial was erected for Fletcher and was unveiled at St James's Square in London by the then prime minister Margaret Thatcher on 1 February 1985.

The trust's third memorial, and the first to be erected outside London, was sited at the seafront at Frinton-on-Sea, Essex, where PC Brian Bishop was fatally shot by an armed robber on 22 August 1984. Bishop's memorial was unveiled by the then home secretary Douglas Hurd, on 19 February 1986.

On 3 October 2008, Prime Minister Gordon Brown unveiled a monument in Luton to mark the site of the fatal stabbing of PC Jonathan Henry.

A total of 50 memorials in honour of police officers killed on duty have been erected throughout the United Kingdom. They include Insp Raymond Codling and the three officers who died in the Shepherd's Bush Murders; PC Keith Blakelock; PC Sharon Beshenivsky; and PC Ged Walker.

National Police Memorial
In the mid-1990s the Police Memorial Trust proposed a single memorial for all police officers who had died in the course of their duties. This became The National Police Memorial, which is sited in St James's Park at the junction of Horse Guards Road and The Mall. It was unveiled on 26 April 2005 by Elizabeth II on behalf of the Police Memorial Trust. It contains a list of all the officers who died, supplied by the Police Roll of Honour Trust.

title: Police Memorial Trust


text: Talk:Operation Praying Mantis

title: Talk:Operation Praying Mantis


text:
Wikipedia:Articles for deletion/Encyclopedia of Everything

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

The result of the debate was delete. Woohookitty 09:22, 6 September 2005 (UTC)

Encyclopedia of Everything
It doesn't feel right. I think it's making a claim I haven't heard before, and I think it's POV. I also suspect a hoax, a crystal ball and a point. I'm probably dull and boring too, but so be it. I'll rise to the bait. Hiding talk 14:43, 28 August 2005 (UTC)
 * Delete. I can't find any references which indicate that this idea has been discussed outside of the article in question, making it original research. Besides, Gödel's incompleteness theorem makes such an encyclopedia impossible, since it could not possibly describe itself in complete detail. Pburka 15:20, August 28, 2005 (UTC)
 * Delete as per Pburka --TimPope 15:46, 28 August 2005 (UTC)
 * Keep. I created the article, no, there wasn't any research behind it, no, it isn't a widely accepted idea. But why not create the idea ourselves, and make our own phrase, or own sentiment? If we all added parts to it, it could become a good principle. Tim 18:58, August 28, 2005 (UTC)
 * Delete as OR per author. Sdedeo 19:28, 28 August 2005 (UTC)
 * Delete. Personal essay, original research. Or, redirect to Internet Archive; if we assume that Encyclopedia of Everything is not meant literally (and therefore not subject to Pburka's objection), I don't see much difference between this proposal and what the Internet Archive is project is actually trying to do. Dpbsmith (talk) 20:29, 28 August 2005 (UTC)
 * Delete, as per Tim's verification that the information is original research. Zoe 22:14, August 28, 2005 (UTC)
 * This is an opinion piece, such as it is. Redirect to Everything2, which seems to want the job. Denni ☯ 22:16, 2005 August 28 (UTC)
 * Delete original research - Wiki isn't the place to create ideas :) Ziggurat 22:46, August 31, 2005 (UTC)
 * Delete per No original research. I've also just removed it's main inward link, which was an assertion on About that this is what Wikipedia aims to be - which I don't think is really true, as Wikipedia has been careful to define what it is, and what it will exclude. - IMSoP 12:34, 1 September 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text: User talk:69.171.44.42

title: User talk:69.171.44.42


text:
Master commandant

Master commandant was a rank within the early United States Navy. Both the Continental Navy, started in 1775, and the United States Navy created by the United States Congress, in 1796, had just two commissioned ranks, lieutenant and captain. Master commandant, who would command smaller vessels, was used, unofficially, as early as 1799. The rank was made official in 1806. The name of the rank was changed to "commander" in 1837.

The early U.S. Navy had three "grades" of officer who were typically placed in charge of warships: captain; master commandant; and lieutenant, commanding (which was not a distinct rank, but a title given to an ordinary lieutenant). That structure remains largely in place in the modern US Navy, with the distinct ranks of captain, commander, and lieutenant commander.

Master commandant was roughly equivalent to the Royal Navy rank of master and commander, which itself was shortened to "commander" in 1794. When he was in command of a ship, such as a sloop or brig, a master commandant would be addressed as "captain" by the sailors on board.

Contemporary paintings show a master commandant's uniform main difference from a captain's uniform was that while a Captain wore an epaulet on each shoulder a master commandant's uniform had a single epaulet on the right shoulder, and a lieutenant commandant wore a single epaulet on the left shoulder.

American naval hero Stephen Decatur notably never held the rank of master commandant. After leading a daring raid to destroy the captured U.S. frigate USS Philadelphia (1799) in Tripoli Harbor in 1804, Decatur returned to the U.S. as a national hero and was given a direct promotion from lieutenant to captain.

Also in 1804, Master Commandant Richard Somers led a dozen volunteer sailors on USS Intrepid—loaded with explosives—toward the pirate fleet in the harbor of Tripoli, Libya.

In 1825 a master commandant was paid $60 per month, while a captain of a ship with 20–32 cannons was paid $75 per month. A lieutenant commandant was paid $50 per month, while a lieutenant or a sailing master earned $40 per month. Midshipmen earned $19 per month. Captains of ships with more than 32 cannons earned $100 per month.

title: Master commandant


text:
Corriverton

Corriverton is the easternmost town in Guyana. It lies at the mouth of the Corentyne River, opposite Nieuw Nickerie, Suriname, to which it is linked by ferry from South Drain.

Corriverton is located about 195 mi/313 km from Georgetown on the eastern side of Guyana, in the county of Berbice. Its population in 2012 was 11,386.

It is a modern administrative construction, formed from two older towns, Springlands and Skeldon, and several villages which were named, or rather numbered (e.g. '78'), after their sugar plantations, owned by Bookers.

Corriverton has a mixed population of Hindus, Christians and Muslims living together. It is the site of many mosques, temples and churches, and has an excellent educational system.

Hotels in the town include the Paraton Inn, Mahogany Hotel, Riverton Suites, Hotel Malinmar, the Swiss Guest House and many others. Corriverton is very economical for tourists.

Ferry
Since 1998, the CANAWAIMA ferry connects Moleson Creek, 10 km south of Corriverton, with South Drain in Suriname. This is the only legal connection between the two countries, but before the repaving of the road many travelers preferred to take a back-track route.

title: Corriverton


text:
Hjortspring boat

The Hjortspring boat (Hjortspringbåden) is a vessel designed as a large canoe, from the Scandinavian Pre-Roman Iron Age. It was built circa 400–300 BC. The hull and remains were rediscovered and excavated in 1921–1922 from the bog of Hjortspring Mose on the island of Als in Sønderjylland, southern Denmark. The boat is the oldest find of a wooden plank ship in Scandinavia and it closely resembles the thousands of petroglyph images of Nordic Bronze Age ships found throughout Scandinavia. The vessel is a clinker-built wooden boat of more than 19 m length overall, 13.6 m long inside, and 2 m wide. Ten thwarts that could have served as seats, span the boat with room for two persons each; this suggests space for a crew of at least 20 who propelled the boat with paddles. The boat would have weighed an estimated 530 kg, making it easily portable by its crew.

Associated finds
When found, the boat contained a great quantity of weapons and armour, including 131 shields of the Celtic type, 33 well-crafted Shield bosses, 138 iron spearheads, 31 bone or antler spearheads, 11 single-edged iron swords, and the remains of several mailcoats. Two of the swords were deliberately bent, a practice associated with Iron Age rituals. The largest of the spearheads is a massive 43.5 cm long. The find also contained bowls, boxes, blacksmith's tools, and other everyday goods. The sinking of the vessel in the bog has been interpreted as a deliberate votive offering. This is reinforced by the presence of a dismembered horse placed beneath the boat at the time of burial along with a lamb, a calf, and two dogs. Numerous graves have been discovered in Denmark from this time period containing similar grave goods and sacrificed horses, dogs, lambs, cows, other animals, and human beings.

Construction
The Hjortspring boat was constructed of lime (linden) wood planks sewn together with cord of lime bark, spruce root, or rawhide. Pitch was used to caulk and coat the seams to make the boat watertight. A long dugout log forms the bottom plank, which also acts as the keel, with two additional planks, or strakes, attached on both sides to fashion the hull. This allows the large vessel to sit high in the water and to traverse shallow waters, even with a full crew and heavy load. Hollowed timbers were used to create the distinct stem and stern-posts. These stem pieces, along with the bottom plank, extend forward and backward from the hull to form the iconic "beaks" of this type of boat construction. Vertical oak struts, secured by wooden pegs and pitch, fasten the upper and lower "beaks" and brace both ends of the watercraft. Thin limbs of hazel form the ribs which were lashed to cleats in the planks. These cleats were made by carving down the rest of the plank boards; this created a strong attachment point without a need for fastening each cleat separately by lashing or pegs to the long planks of the hull. The hull planks and hazel ribs are supported by thwarts and thicker supporting ribs of ash.

The high level of craftsmanship present in the archaeological find indicates that the boatbuilding methods used to construct the Hjortpsring boat are significantly older than the boat itself.

Later history of this type
Watercraft of this style and construction were built and used at least until the 3rd century AD. Metal rivets become increasingly present in later finds and the stem construction was simplified to a single curved shape which extended and tapered outward from the hull. These later stems, or prows, were made of single pieces of wood or multiple pieces joined. Much of the essential boatbuilding methods found in the Hjortspring boat persisted into the Viking Age. This continuation can be seen in the boat finds from Halsnøy (200 AD), Nydam (300-400 AD), Sutton Hoo (600-700 AD), and Kvalsund (690 AD).

Modern Reconstruction- The Tilia Alsie
A full reconstruction of the Hjortsprung Boat was launched in 1999.

title: Hjortspring boat


text:
Hogchoker

The hogchoker (Trinectes maculatus) is a small species of flatfish found along the Atlantic and Gulf coasts of North and South America, ranging from Massachusetts to Venezuela. They prefer brackish water, and are abundant in many bays and estuaries north of the Carolinas (another similar species replaces it south of the Carolinas). It is a member of the American sole family Achiridae. They are usually brown to dark brown in color, and lighter on their "blind side" (side lacking an eye). The overall body color is often broken by a series of spots and thin stripes, which can be lighter or darker than the main body color. The fins and tail have fringed edges helping hide the fish from its prey. They mainly feed on small aquatic insects and invertebrates. They get their common name because East Coast fishermen would feed these so-called "trash" fish to their hogs, after which the fish would bow its body into a suction cup and stick to the soft palate of the hog, rather like peanut butter in a dog’s mouth.

Distinguished from other species by an interbrachial septum lacking a foramen, T. maculatus often has no rays, or rarely one ray, in its pectoral fin.

In the aquarium
Hogchokers are sometimes offered for sale in aquarium stores, often marketed as "freshwater flounder" or "freshwater fluke". This is not entirely accurate, however. While some species of full freshwater flatfish exist from Southeast Asia and South America, the hogchoker is thought to be a species of coastal estuaries and mud flats. While some aquarists have kept specimens for their whole lives in freshwater, it is not known whether or not they can thrive without salt. Large adult specimens have been found quite regularly up the Mississippi, Hudson, and East Rivers, so long as the bottom is soft sand and rich enough to cultivate small invertebrates on the substrate. They spend their time in aquariums attached to rocks, driftwood, and the glass, using their bellies as suction cups in much the same manner as hillstream loaches. They are known to spawn in various salinities but prefer moderate salinities of 10-16 parts per thousand and a temperature of around 25 °C. After hatching the larvae move upstream into freshwater. In Spring they migrate back downstream to spawn.

They are hard to feed, preferring live food such as brine shrimp, Daphnia, mosquito larvae, and Tubifex worms. In the wild, they feed mainly by sifting tiny organisms (white sandworms in salt and brackish water, insect larvae in fresh) out of sand and mud. When unhealthy, the spots on this fish's belly often change color or move.

title: Hogchoker


text:
In the Park

In the Park is Charlie Chaplin's fourth film released in 1915 by Essanay Films. It was his third film while at the Niles Essanay Studio. It was one of several films Charlie Chaplin created in a park setting at the Golden Gate Park in San Francisco. The film co-starred Edna Purviance, Leo White, Lloyd Bacon, and Bud Jamison.

Synopsis
In one of Charlie Chaplin's "park comedies," another tramp is causing havoc. He attempts to pickpocket Charlie, but finds nothing in his pockets. Meanwhile, Charlie stealthily goes through the pickpocket's jacket and steals a cigarette and his matches. Meanwhile, two couples are having romantic interludes on separate benches. The crooked tramp steals one girl's handbag, but swiftly loses it to Charlie when he tries to pickpocket him a second time. Charlie rescues a hot dog vendor from a thug, but deftly takes a few of the sausages with his cane. Charlie sells the stolen handbag to the other male suitor. A suspicious policemen observes the goings-on and the men realize the bag is stolen and pass it among each other. Finally Charlie presents it as a gift to the other female and receives an affectionate embrace. The bag's original owner becomes angry with her suitor for permitting her bag to be stolen. The suitor is rejected and reacts hyper-dramatically. He intends to drown himself in the park's lake and asks Charlie to assist him. He presents his behind as a target and Charlie gladly kicks him into the pond. Shortly thereafter he also kicks the other girl's suitor into the pond along with the park policeman.

Review
A reviewer from Bioscope wrote, "The one and only Charlie is seen to the best advantage in this riotous farce which is as wildly funny as it is absurd. Unlike many comedians, Chaplin is always amusing.  There seem to be no grey patches in his work.  It is all one large scarlet scream."

Cast
== External links ==
 * Charlie Chaplin - Charlie
 * Edna Purviance - Nursemaid
 * Leo White - The Count, Elegant Masher
 * Leona Anderson - The Count's Fancy
 * Bud Jamison - Edna's Beau
 * Billy Armstrong - Sausage Thief
 * Ernest Van Pelt - Sausage Seller

title: In the Park


text:
Knee wall

A knee wall is a short wall, typically under three feet (one metre) in height, used to support the rafters in timber roof construction. In his book A Visual Dictionary of Architecture, Francis D. K. Ching defines a knee wall as "a short wall supporting rafters at some intermediate position along their length." The knee wall provides support to rafters which therefore need not be large enough to span from the ridge to the eaves. Typically the knee wall is covered with plaster or gypsum board.

The term is derived from the association with a human knee, partly bent. Knee walls are common in houses in which the ceiling on the top floor is an attic, i.e. the ceiling is the underside of the roof and slopes down on one or more sides.

Jamb height
Since there is no legal definition of the jamb height, further specifications are required as to how it is to be measured. It is generally accepted that the knee wall begins at the upper edge of the soffit of the floor below. There is no uniform use of the term for the end of the knee stick. In the greatest extent of the knee wall, this extends to the imaginary intersection of the outer wall with the upper edge of the rafter. The smallest dimension is when the knee wall is understood to mean only the wall that goes beyond the attic ceiling (excluding the base purlin). Between these possibilities, other methods of measurement are in use.

title: Knee wall


text:
Talk:Lateral mark

Untitled
Are you sure of the difference betweeen system A and B. I do not know about river but entering a sea port in Italy yuo should keep red ligh at left and green light at righ (you should enter keeping the color to the same side of the boat where the light of that color is present). This the only reasonable rules. In the opposite way you would think that a bout caming in the opposit direction toward you to be the entrance of the harbour (or the region of the channel you have to use) resultining in a collision. AnyFile 14:45, 28 August 2005 (UTC)

I would also agree that the text: "keep port marks to its port (left), and keep starboard marks to its right" appears to diagree with the picture, which shows the starboard (green) markers on the left and the port (red) markers on the right?. Needs clarification/disambiguation. 117.120.18.135 (talk) 21:33, 8 July 2013 (UTC)
 * The statement and the diagram are correct. It is not correct to assume red is port and green is starboard. The meaning of the 2 colours is different for region A and B lateral buoys. Shape is common for both Regions.Mark.murphy (talk) 12:27, 11 July 2013 (UTC)

Why can't lights flash 2+1?
Marks for both regions are noted as including a "flashing light of any rhythm except 2+1." Why is the 2+1 flash pattern not allowed? --Badger151 (talk) 16:03, 21 May 2016 (UTC)

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title: Talk:Lateral mark


text:
Intrahepatic bile ducts

Intrahepatic bile ducts compose the outflow system of exocrine bile product from the liver.

They can be divided into:
 * Lobar ducts (right and left hepatic ducts) - stratified columnar epithelium.
 * Interlobar ducts (between the main hepatic ducts and the interlobular ducts) - pseudostratified columnar epithelium.
 * Interlobular bile ducts (between the interlobar ducts and the lobules) - simple columnar epithelium.
 * Intralobular bile ducts (cholangioles or Canals of Hering) - simple cuboidal epithelium, then by hepatocytes
 * Bile canaliculi - two half-canaliculi formed by the hepatocytes facing the perisinusoidal space

title: Intrahepatic bile ducts


text:
Terminalia australis

Terminalia australis is a South American species of large shrub or tree, which reaches up to 12 m in height and 40 cm in diameter. It inhabits the basins of the Paraná River and the Uruguay River around the Argentine Mesopotamia, Paraguay and Uruguay, and part of the Río de la Plata.

The common names of this tree, in Spanish, include the adjective amarillo ("yellow") due to the yellow-ochre colour of its wood: amarillo, palo amarillo, amarillo del río, etc.

This species is found in the gallery forest along the shores of large rivers in the north-east of Argentina and the neighbouring countries. Its wood is finely textured, homogeneous, and moderately heavy (relative density = 0.65). It is used for ornamental and precision works, such as chess pieces, rulers, buttons, etc.

title: Terminalia australis


text:
Palo amarillo

Palo amarillo is a common name of Spanish origin for several plants and may refer to:

 * Berberis gracilis, native to Mexico
 * Bocconia frutescens
 * Esenbeckia flava
 * Euphorbia elastica
 * Terminalia australis, native to South America

title: Palo amarillo


text: User talk:Patrick Johnson

title: User talk:Patrick Johnson


text:
Asterix and the Cauldron

Asterix and the Cauldron is the thirteenth volume of the Asterix comic book series, by René Goscinny (stories) and Albert Uderzo (illustrations). It was first serialized in the magazine Pilote, issues 469–491, in 1968, and translated into English in 1976.

Plot summary
The story introduces Chief Whosemoralsarelastix, the chief of a neighboring Gaulish village: a miser who often does business with the Romans. When the Romans levy new taxes, Whosemoralsarelastix asks the people of Asterix's village to guard a cauldron full of sestertii, ostensibly to keep the money away from the imminent visit of the Roman tax collectors. Despite Asterix keeping watch, the cauldron is stolen during the night, whereupon the strict laws of the Gauls demand that Asterix be banished until he has atoned for his negligence. Obelix immediately "banishes" himself to accompany Asterix, until they find money to refill the cauldron and repay Whosemoralsarelastix.

Asterix and Obelix engage in many futile attempts to earn back the money: questioning the Romans at Compendium (only to start a riot when the Romans know nothing about the theft), attacking the pirates in the belief that they stole the money (after the pirates have converted their ship into a restaurant), selling boars (at a ridiculously low price), prize fighting (only to win worthless statuettes), acting (foiled when Obelix insults the audience and ruins the company), gambling on a chariot race (only to lose their money on false information), and even trying to rob a bank (which is empty of money after the recent tax increases). With little else to gain or lose, they take the cauldron back to Whosemoralsarelastix's village, Asterix hoping to save the village's honour by clarifying that he alone is responsible for the loss. En route they rob a Roman tax collector of sufficient money to fill the cauldron; and Asterix catches an onion-like scent on the coins, recalling that the cauldron had previously been used for cooking onion soup, and thus proving that these are the very coins seized from Asterix's care.

At Whosemoralsarelastix's village, on a high cliff at the coast, Asterix confronts Whosemoralsarelastix with the onion-smelling money, having correctly guessed that Whosemoralsarelastix stole back his own money in the hope that Asterix, to repay the supposed debt, would reimburse him. Here, Asterix and Whosemoralsarelastix duel with their swords (Asterix having exhausted the magic potion granting him superior strength), while Obelix repels Whosemoralsarelastix's followers. When Whosemoralsarelastix wins the duel and prepares to kill Asterix, a section of the cliff beneath his feet suddenly gives way, and the cauldron falls toward the ocean while Whosemoralsarelastix hangs above. Asterix then rescues Whosemoralsarelastix and re-unites with Obelix, with whom he returns home.

The money itself falls into the ship and possession of the pirates. At Asterix's village, a celebration is held for the return of the two heroes and the recovery of their honour.

Commentary

 * When Obelix suggests they get paid by telling people their adventures, Asterix rejects the idea as unlikely to raise any money. The joke is that, by this time, the series had made Goscinny and Uderzo very wealthy.
 * When Roman dignitaries assemble at the theatre, Uderzo (in Roman costume) is shown talking to the Prefect, while Goscinny, on the right, amuses his neighbours with jokes.
 * The tax collector in the book appears to be a caricature of Valéry Giscard d'Estaing, then the French minister of finance, who later became President. Two of the actors in the theatre are named Laurensolivius and Alecginus.
 * This is the first and only volume in which the pirates enjoy a happy ending, and the first of the few rare stories where their ship is not sunk (though they have already taken a beating earlier in this episode).
 * The fight at the end of the story is one of the rare times Asterix is seen using his sword, although he always carries it with him.
 * Asterix's unraveling of the plot is a reference to the Roman proverb Pecunia non olet ("money does not stink").
 * In earlier editions, the colour of the breeches of the Roman legionaries changed from white to red.
 * This volume made an appearance in the Mr. Bean episode, Goodnight Mr. Bean.

In other languages

 * Arabic: أستريكس و القدر المعدنية
 * Catalan: Astèrix i el calderó
 * Croatian: Asterix i kotlić
 * Czech: Asterix a kotlík
 * Dutch: Asterix en de koperen ketel ("Asterix and the Copper Cauldron")
 * Finnish: Asterix ja rahapata ("Asterix and the Cauldron of Money")
 * German: Asterix und der Kupferkessel
 * Greek: Ο Αστερίξ και η χύτρα
 * Hebrew: אסטריקס והקלחת
 * Icelandic: Ástríkur og grautarpotturinn
 * Indonesian: "Asterix dan Panci Sup Bawang" ("Asterix and the Cauldron of Onion Soup")
 * Italian: Asterix e il Paiolo
 * Norwegian: Asterix på skattejakt ("Asterix on a Treasure Hunt")
 * Persian: Asterix va deeg-che
 * Polish: Asteriks i kociołek
 * Portuguese: Astérix e o Caldeirão
 * Serbian: Asteriks i ukradeno kazanče (Asterix and the Stolen Cauldron)
 * Slovenian: Asterix in kotliček
 * Spanish: Astérix y el caldero
 * Swedish: Asterix och skatten ("Asterix and the Treasure" or "Asterix and the Tax", skatt meaning both treasure and tax)
 * Turkish: Asteriks ve Kazan

Reception
On Goodreads, it has a score of 4.1 out of 5.

authors: Я сошла с ума

title: Asterix and the Cauldron


text:
Toronto Donut Ride

The Donut Ride is an informal Toronto road cycling tour run every Saturday and Sunday, as well as public holidays. Typical summer numbers range from 100 to 125 riders forming a large pack, and weather permitting, the ride continues year-round and often sees a dozen riders even in mid-winter. The ride is known for being fairly fast paced, often reaching speeds of about 50 km/h on straightaways. It is also known for being fairly unforgiving; riders who are dropped from the pack are on their own.

History
The tour was first organized in 1976 as the team ride of the Scarborough Cycling Club, affiliated with a bike store in Scarborough, two of the primary organizers being Roger Keiley and Barry Hastings. As the ride grew in popularity it moved to a new starting point more centralized in Toronto, although still somewhat east of the core. It remained associated with a bike store for some time, and was insured by the Ontario Cycling Association. A serious accident in the 1990s led to the entire group being sued, and since then the ride is completely unofficial. Although the ride often took place four times a week during the summers of the mid-1990s (including an extended 160 km run up to the Holland Marsh—the "Marsh Ride"—on Wednesdays), it is now primarily a weekend and holiday affair.

Over the years the ride has hosted many notable Canadian cyclists, including legendary Toronto guru Mike Barry and his son Michael Barry (of US Postal, T-Mobile, and Columbia, Sky), Jocelyn Lovell, the Hansen Brothers, and others.

Local cyclists and filmmakers Aryeh Smith and Stephane Marcotte collaborated to develop a documentary about The Donut Ride in 2007.

Ride route
The current route starts at 9AM at the corner of Eglinton and Laird, in the parking lot of a former donut shop – hence the ride's name (currently a Great Canadian Bagel). Only a small number of the eventual pack starts at the shop, however, with riders joining all along the route, notably from a church just past the starting point, and from the bridge carrying Eglington Avenue over Bayview Avenue.

The tempo is easy early on, with riders chatting as the pack heads north and out of the city. The normal route follows Bayview northward to Sheppard Avenue. The ride winds through a number of smaller streets before turning onto Bathurst for a short period and then around a ramp onto Highway 7, a major six-lane highway, where the talking stops as the tempo picks up rather dramatically. The main high-speed portion continues from here across to Langstaff Road and then heading north on Keele St. Here the pack fragments, as the cross wind and rolling hills on Keele take their toll. Usually riders in the front group sprint for a line which is painted on the road on the outskirts of King City.

Several routes branch off from here, including a shorter 87 km route across King Road, a middle distance route along Bloomington Road, and a longer and much more challenging hillier route further north on Keele and back on Dufferin. There are six traditional routes from 83 km to 122 km. The ride meets up again after turning east to Yonge Street for a stop at Gramma's Oven, a small Polish bakery just south of King Road in Oak Ridges.

After the stop, at around 11:00am, the ride continues eastward with several additional return routes centered on either Kennedy Leslie St./Don Mills Rd. The return portion of the ride starts slow, but is followed by a higher speed section culminating in a sprint at 60+ km/h on Leslie just north of Major Mackenzie and a sprint on Kennedy just north of Unionville. The ride slows as it reaches the northern end of the city and the traffic signals once again become an issue. Oddly, the ride does not end at the starting point, but a location only a kilometer away to the southwest. Most riders have already split off from the main peloton by this point, though, making their way home by the shortest route once the main portion of the ride is over.

Route Maps
 * Short Route
 * Medium Route
 * Long Route

Tips for riders

 * The group passes by the Bayview subway station on the Sheppard Line at about 9:15am.
 * Many riders from the north meet at the Petro Canada at Yonge and Crestwood Rd. The ride picks them up about 9:30am.
 * A final group, mostly from the western side of the city, joins at the corner of Langstaff (old Highway 7) and Keele, at about 9:45am.
 * In-city speeds are fairly low, but as the pack builds it becomes large enough to essentially ignore traffic signals and settle into a steady mid-30s.
 * Once the ride exits the city around Highway 7, the speed quickly picks up into the high 40s.
 * The pack normally starts to split up on Keele St, where a series of rolling hills drops the weaker riders, who form their own packs to continue. It's easier to hang in with the group on the return portion of the ride, which is downhill and frequently has a tailwind – allowing the peloton to attain speeds of 45–55 km/h.

title: Toronto Donut Ride


text:
The World's Greatest Superheroes

The World's Greatest Superheroes was a syndicated newspaper comic strip featuring DC Comics characters which ran Sunday and daily from April 3, 1978, to February 10, 1985. It was syndicated by the Chicago Tribune/New York News Syndicate.

History
Initially starring Superman, Batman, Robin, Wonder Woman, the Flash and Black Lightning, the strip underwent several title changes, as the focus changed to primarily feature Superman.

Writers: Martin Pasko scripted at the beginning. Paul Levitz took over October 15, 1979 until March 22, 1981, with his initial story coming from a Pasko idea. Gerry Conway then picked up the assignment. A continuity from Mike W. Barr followed, appearing October 26, 1981 through January 10, 1982. Paul Kupperberg handled continuities from January 11, 1982, until the end, including a segment from January 12 through March 12, 1981, that he ghosted for Levitz. Bob Rozakis wrote all but two of The Superman Sunday Specials.

Artists: Initially dailies and Sundays were penciled by George Tuska and inked by Vince Colletta. At various times from April 25 until November 13, 1982, the strip was worked on by Tuska, Colletta, José Delbo, Bob Smith, Frank McLaughlin and Sal Trapani. Delbo and Trapani then illustrated the feature from November 14, 1982, until the end.

title: The World's Greatest Superheroes


text:
Alexander Sokurov

Alexander Nikolayevich Sokurov, PAR (Александр Николаевич Сокуров; born 14 June 1951) is a Russian filmmaker. His most significant works include a feature film, Russian Ark (2002), filmed in a single unedited shot, and Faust (2011), which was honoured with the Golden Lion, the highest prize for the best film at the Venice Film Festival.

Life and work
Sokurov was born in Podorvikha, Irkutsky District, in Siberia, into a military officer's family. He graduated from the History Department of the Nizhny Novgorod University in 1974 and entered one of the VGIK studios the following year. There he became friends with Tarkovsky and was deeply influenced by his film Mirror. Most of Sokurov's early features were banned by Soviet authorities. During his early period, he produced numerous documentaries, including The Dialogues with Solzhenitsyn and a reportage about Grigori Kozintsev's flat in Saint Petersburg. His film Mournful Unconcern was nominated for the Golden Bear at the 37th Berlin International Film Festival in 1987.

Mother and Son (1997) was his first internationally acclaimed feature film. It was entered into the 20th Moscow International Film Festival where it won the Special Silver St. George. It was mirrored by Father and Son (2003), which baffled the critics with its implicit homoeroticism (though Sokurov himself has criticized this particular interpretation). Susan Sontag included two Sokurov features among her ten favorite films of the 1990s, saying: "There’s no director active today whose films I admire as much." In 2006, he received the Master of Cinema Award of the International Filmfestival Mannheim-Heidelberg.

Sokurov is a Cannes Film Festival regular, with four of his movies having debuted there. However, until 2011, Sokurov didn't win top awards at major international festivals. For a long time, his most commercially and critically successful film was the semi-documentary Russian Ark (2002), acclaimed primarily for its visually hypnotic images and single unedited shot.

Sokurov has filmed a tetralogy exploring the corrupting effects of power. The first three installments were dedicated to prominent 20th-century rulers: Moloch (1999), about Hitler, Taurus (2001), about Lenin, and The Sun (2005) about Hirohito. In 2011, Sokurov shot the last part of the series, Faust, a retelling of Goethe's tragedy. The film, depicting instincts and schemes of Faust in his lust for power, premiered on 8 September 2011 in competition at the 68th Venice International Film Festival. The film won the Golden Lion, the highest award of the Venice Festival. Producer Andrey Sigle said about Faust: "The film has no particular relevance to contemporary events in the world – it is set in the early 19th century – but reflects Sokurov's enduring attempts to understand man and his inner forces."

The military world of the former USSR is one of Sokurov's ongoing interests, because of his personal connections to the subject and because the military marked the lives of a large part of population of the USSR. Three of his works, Spiritual Voices: From the Diaries of a War, Confession, From the Commander’s Diary and Soldier’s Dream revolve around military life. Confession has been screened at several independent film festivals, while the other two are virtually unknown.

In 1994 Sokurov accompanied Russian troops to a post on the Tajikistan-Afghanistan border. The result was Spiritual Voices: From the Diaries of a War, a 327-minute cinematic meditation on the war and the spirit of the Russian army. Landscape photography is featured in the film, but the music (including works by Mozart, Messiaen and Beethoven) and the sound are also particularly important. Soldiers' jargon and the combination of animal sounds, sighs and other location sounds in the fog and other visual effects give the film a phantasmagorical feel. The film brings together all the elements that characterize Sokurov's films: long takes, elaborate filming and image processing methods, a mix of documentary and fiction, the importance of the landscape and the sense of a filmmaker who brings transcendence to everyday gestures.

On the journey from Russia to the border post, in the film, fear never leaves the faces of the young soldiers. Sokurov captures their physical toil and their mental desolation, as well as daily rituals such as meals, sharing tobacco, writing letters and cleaning duties. There is no start or end to the dialogues; Sokurov negates conventional narrative structure. The final part of the film celebrates the arrival of the New Year, 1995, but the happiness is fleeting. The following day, everything remains the same: the endless waiting at a border post, the fear and the desolation.

In Confession: From the Commander’s Diary, Sokurov films officers from the Russian Navy, showing the monotony and lack of freedom of their everyday lives. The dialogue allows us to follow the reflections of a Ship Commander. Sokurov and his crew went aboard a naval patrol ship headed for Kuvshinka, a naval base in the Murmansk region, in the Barents Sea. Confined within the limited space of a ship anchored in Arctic waters, the team filmed the sailors as they went about their routine activities.

Soldier's Dream is another Sokurov film that deals with military themes. It contains no dialogue. This film actually came out of the material edited for one of the scenes in part three of Spiritual Voices. Soldier's Dream was screened at the Oberhausen Film Festival in Germany in 1995 – when Spiritual Voices was still at the editing stage – as Sokurov's homage to the art critic and historian Hans Schlegel, in acknowledgement of his contributions in support of Eastern European filmmakers.

He suffers from severe eyesight problems.

Studio
In 2010 Sokurov launched his personal course at the Kabardino-Balkarian State University in Nalchik. In 2015, 12 students graduated from his course; among them were such rising stars of cinema, as Kantemir Balagov, Vladimir Bitokov, Kira Kovalenko, and Alexander Zolotukhin.

Political stance
During a December 2016 meeting of the Council for Culture and Arts, Sokurov appealed to President Vladimir Putin to reconsider the verdict against filmmaker Oleg Sentsov (which Putin refused).

In 2022, Sokurov criticized Kremlin and opposed the war in Ukraine. For this, in June 2022 he was denied the right to leave Russia.

Sokurov's film Fairytale was banned in Russia. No specific reason was given, only subparagraph “zh” of the rules on the issuance of release certificates was cited: “in other cases determined by federal laws.” Sokurov emphasized that censorship is prohibited in Russia and no one has the right to restrict the Russian audience’s access to works of art. “Because the movie has already been shown and is being shown all over the world,” he said.

Other works

 * The Degraded (Разжалованный, 1980)
 * Sonata for Viola. Dmitri Shostakovitch (1981)
 * Empire (Ампир, 1986)
 * Elegy (1986)
 * And Nothing More (1987)
 * Evening Sacrifice (1987)
 * Patience of Labour (1987)
 * Maria (Peasant Elegy) (1988)
 * Moscow Elegy (1988)
 * Sonata for Hitler (1989)
 * Soviet Elegy (1989)
 * Petersburg Elegy (1990)
 * To The Events In Transcaucasia (1990)
 * A Simple Elegy (1990)
 * A Retrospection of Leningrad (1957–1990) (1990)
 * An Example of Intonation (1991)
 * Elegy from Russia (1992)
 * Soldier's Dream (1995)
 * Spiritual Voices (1995)
 * Oriental Elegy (1996)
 * Robert. A Fortunate Life (1997)
 * A Humble Life (1997)
 * The St. Petersburg Diary: Inauguration of a monument to Dostoevsky (1997)
 * The St. Petersburg Diary: Kosintsev's Flat (1998)
 * Confession (1998)
 * The Dialogues with Solzhenitsyn (1998)
 * dolce… (1999)
 * Elegy of a Voyage (2001)
 * The St. Petersburg Diary: Mozart. Requiem (2004)
 * Elegy of a life: Rostropovich, Vishnevskaya (2006)

Awards

 * Locarno International Film Festival, Bronze Leopard (The Lonely Voice of Man, 1987)
 * Moscow International Film Festival, FIPRESCI Award (out of competition, The Lonely Voice of Man, 1987)
 * Berlin International Film Festival, Award of the Forum special programme (Days of Eclipse, 1989)
 * International Film Festival Rotterdam, FIPRESCI Award, KNF Award (Elegy, A Simple Elegy, 1991)
 * State Prize of the Russian Federation (Mother and Son, 1997)
 * State Prize of the Russian Federation (Moloch, Taurus, 2001)
 * Russian Guild of Film Critics Prize for Best Director (Taurus, 2001)
 * Nika Award for Best Director and Best Picture (Taurus, 2001)
 * Toronto International Film Festival, IFC Vision Award (Russian Ark, 2002)
 * São Paulo International Film Festival, Special Award for Lifetime Achievements (2002)
 * Cannes Film Festival, FIPRESCI Award (Father and Son, 2003)
 * Argentine Film Critics Association, The Silver Condor Award (Russian Ark, 2004)
 * Yerevan International Film Festival, Golden Apricot for Best Picture (The Sun, 2005)
 * Locarno International Film Festival, Leopard of Honour for Lifetime Achievements (2006)
 * Venice Film Festival, Robert Bresson Award for spiritual search and promotion of human culture (2007)
 * Venice Film Festival, Golden Lion for Best Picture (Faust, 2011)
 * FEST, Belgrade Winner Award for his lifetime contribution to the art of film (2015)
 * International Film Festival of Kerala, Lifetime Achievement Award for his lifetime contribution to world cinema (2017)

authors: Анатолий Росдашин

title: Alexander Sokurov


text:
Federal University of Surrey

The Federal University of Surrey was an English university body which existed from 2000 to 2004. It was a federation between two institutions; the University of Surrey (UniS), and the University of Surrey Roehampton (USR).

History
The University of Surrey, based in Guildford, first validated courses for the Roehampton Institute of Higher Education in Roehampton, London in 1980 and in 1998 the two institutions decided to form an academic federation. The body was officially formed on 14 January 2000 between the two institutions and as part of the merger, Roehampton Institute was renamed University of Surrey, Roehampton.

In October 2003, the University of Surrey Roehampton announced that it would submit an application for independent university title to the Department for Education and Skills, and the application was submitted on 18 March 2004. The name chosen was Roehampton University. The application was considered by the Privy Council, and on 23 June 2004, it was announced that an independent University charter was to be granted. Thus on 1 August 2004, the Federal University was dissolved with the University of Surrey Roehampton becoming Roehampton University. The two Universities continue to support collaborative activities.

Sports
During the years of the Federal University, the sports teams from the component institutions competed with each other in various disciplines at the Federal Sports Day. In all there were three events held, the first in 2002 was declared a draw but the teams from Guildford came out on top in the 2003 and 2004 events.

title: Federal University of Surrey


text:
SRTP

SRTP may refer to:

 * Secure Real-time Transport Protocol, security profile for Real-time Transport Protocol
 * Service Request Transport Protocol, GE-Fanuc automation protocol for programmable logic controller
 * Safe Return to Port requirement, SOLAS requirement to be able to return to port without ship evacuation

title: SRTP