text:
Desert flower

Desert flower may refer to:

 * The Desert Flower, an 1863 opera by William Vincent Wallace
 * Desert Flower, a 1998 biography of Somali model Waris Dirie
 * Desert Flower (film), a 2009 German film adaptation of the biography
 * The Desert Flower (film), a 1925 American Western film
 * Desert Flower, a Native American hound character in the 1988 animated film The Good, the Bad, and Huckleberry Hound

title: Desert flower


text:
Talk:I'm Every Woman (Whitney Houston single)

Here is where I feel SOMEONE needs to start putting their foot down. Do NOT right whole articles for covers of songs, when the original does not yet have an article. Someone needs to rewrite this completely so that it covers BOTH versions of the song; I will gather research links to start. Enough is enough. --FuriousFreddy 21:20, 25 August 2005 (UTC)
 * I am a proponent of songs having their own entries, but I must agree with you that it seems unnecessary that different versions of the same song have their own articles. One comprehensive "I'm Every Woman" article would be preferable. GassyGuy 07:39, 24 May 2006 (UTC)

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


text:
HMCS Yukon

Several Canadian naval units have been named HMCS Yukon.

 * HMCS Yukon (DDE 263) was a Cold War-era Mackenzie-class destroyer.
 * HMCS Yukon was a planned Canada-class submarine cancelled in 1989.

title: HMCS Yukon


text: User talk:66.81.169.40

title: User talk:66.81.169.40


text:
Talk:KTLA-TV

"Founded 1948" is after first broadcast date of 1947.

The CW logo
If KTLA's new The CW logo has been seen, can't it be placed on the article? 70.149.166.184 00:09, 15 August 2006 (UTC)
 * That would require an interested Wikipedian in LA (likely check) who can make a screen capture and crop it to show a meaningfully-sized logo. Boy, there is no limit to the curses I have for Tribune... Morgan Wick 05:31, 15 August 2006 (UTC)

title: Talk:KTLA-TV


text:
Perpetual Desolation

Perpetual Desolation is the second and final studio album by the Norwegian gothic metal band The Sins of Thy Beloved. It was recorded and mixed at Sound Suite Studio during September/October 1999 and released in 2000 through Napalm Records.

The Sins of Thy Beloved

 * Anita Auglend - vocals
 * Glenn Morten Nordbø - guitars, vocals
 * Arild Christensen - guitars, vocals
 * Ingfrid Stensland - keyboards
 * Anders Thue - keyboards, piano
 * Ola Aarrestad - bass
 * Stig Johansen - drums

Additional musicians

 * Pete Johansen - violin

Production

 * Terje Refsnes - producer, engineer, mixing with The Sins of Thy Beloved
 * Petter Hegre - photography
 * Tor Søreide - artwork, design, lettering

title: Perpetual Desolation


text:
Intraoperative neurophysiological monitoring

Intraoperative neurophysiological monitoring (IONM) or intraoperative neuromonitoring is the use of electrophysiological methods such as electroencephalography (EEG), electromyography (EMG), and evoked potentials to monitor the functional integrity of certain neural structures (e.g., nerves, spinal cord and parts of the brain) during surgery. The purpose of IONM is to reduce the risk to the patient of iatrogenic damage to the nervous system, and/or to provide functional guidance to the surgeon and anesthesiologist.

Methods
Neuromonitoring employs various electrophysiologic modalities, such as extracellular single unit and local field recordings, SSEP, transcranial electrical motor evoked potentials (TCeMEP), EEG, EMG, and auditory brainstem response (ABR). For a given surgery, the set of modalities used depends in part on which neural structures are at risk. Transcranial Doppler imaging (TCDI) is also becoming more widely used to detect vascular emboli. TCDI can be used in tandem with EEG during vascular surgery. IONM techniques have significantly reduced the rates of morbidity and mortality without introducing additional risks. By doing so, IONM techniques reduce health care costs.

To accomplish these objectives, a member of the surgical team with special training in neurophysiology obtains and co-interprets triggered and spontaneous electrophysiologic signals from the patient periodically or continuously throughout the course of the operation. Patients who benefit from neuromonitoring are those undergoing operations involving the nervous system or which pose risk to its anatomic or physiologic integrity. In general, a trained neurophysiologist attaches a computer system to the patient using stimulating and recording electrodes. Interactive software running on the system carries out two tasks:
 * 1) selective activation of stimulating electrodes with appropriate timing, and
 * 2) processing and displaying of the electrophysiologic signals as they are picked up by the recording electrodes.

The neurophysiologist can thus observe and document the electrophysiologic signals in realtime in the operating area during the surgery. The signals change according to various factors, including anesthesia, tissue temperature, surgical stage, and tissue stresses. Various factors exert their influence on the signals with various tissue-dependent timecourses. Differentiating the signal changes along these lines – with particular attention paid to stresses – is the joint task of the surgical triad: surgeon, anesthesiologist, and neurophysiologist.

Surgical procedures
Patients benefit from neuromonitoring during certain surgical procedures, namely any surgery where there is risk to the nervous system. Most neuromonitoring is utilized by spine surgeons, but neurosurgeons, vascular, orthopedic, otolaryngologists, and urology surgeons have all utilized neuromonitoring as well.

The most common applications are in spinal surgery; selected brain surgeries; carotid endarterectomy; ENT procedures such as acoustic neuroma (vestibular schwannoma) resection, parotidectomy; and nerve surgery. Motor evoked potentials have also been used in surgery for thoracic aortic aneurysm. Intraoperative monitoring is used to : For example, during any surgery on the thoracic or cervical spinal column, there is some risk to the spinal cord. Since the 1970s, SSEP (somatosensory evoked potentials) have been used to monitor spinal cord function by stimulating a nerve distal to the surgery, and recording from the cerebral cortex or other locations rostral to the surgery. A baseline is obtained, and if there are no significant changes, the assumption is that the spinal cord has not been injured. If there is a significant change, corrective measures can be taken; for example, the hardware can be removed. More recently, transcranial electric motor evoked potentials (TCeMEP) have also been used for spinal cord monitoring. This is the reverse of SSEP; the motor cortex is stimulated transcranially, and recordings made from muscles in the limbs, or from spinal cord caudal to the surgery. This allows direct monitoring of motor tracts in the spinal cord. EEG electroencephalography is used for monitoring of cerebral function in neurovascular cases (cerebral aneurysms, carotid endarterectomy) and for defining tumor margins in epilepsy surgery and some cerebral tumors.
 * to localize neural structures, for example to locate cranial nerves during skull base surgery;
 * to test function of these structures; and
 * for early detection of intraoperative neural injury, allowing for immediate corrective measures.

EEG measures taken during anesthesia exhibit stereotypic changes as anesthetic depth increases. These changes include complex patterns of waves with frequency slowing accompanied by amplitude increases which typically peak when loss of consciousness occurs (loss of responses to verbal commands; loss of righting reflex). As anesthetic depth increases from light surgical levels to deep anesthesia, the EEG exhibits disrupted rhythmic waveforms, high amplitude burst suppression activity, and finally, very low amplitude isoelectric or 'flat line' activity. Various signal analysis approaches have been used to quantify these pattern changes and can provide an indication of loss of recall, loss of consciousness and anesthetic depth. Monitors have been developed using various algorithms for signal analysis and are commercially available, but none have as yet proven 100% accurate. This is a difficult problem and an active area of medical research.

EMG is used for cranial nerve monitoring in skull base cases and for nerve root monitoring and testing in spinal surgery. ABR (a.k.a. BSEP, BSER, BAEP, etc.) is used for monitoring of the acoustic nerve during acoustic neuroma and brainstem tumor resections.

Licensure, certification, credentialing, and evidence
In the US, IONM licensure has not been legislated at the state or federal level. Issues of licensure are discussed in ASET's 68-page white paper on occupational regulation. Worldwide, there are at least two private certifications available: CNIM (Certified in Neurophysiological Intraoperative Monitoring) and D.ABNM (Diplomate of the American Board of Neurophysiological Monitoring). Though not governmentally regulated, certain health care facilities have internal regulations pertaining to neuromonitoring certifications (see below). The CNIM is a more widely known credential throughout the United States. The Certification for Neurophysiological Intraoperative Monitoring (CNIM) is awarded by the American Board of Electroencephalographic and Evoked Potential Technologists. As of 2010, minimum requirements include 1) a B.A., B.S. [Path 2] 2) R.EP.T or R.EEG.T Credential [Path 1] 3) A minimum of 150 surgeries. Path 1 is a 200 question exam costing $600. Path 2 is a 250-question exam. A 4-hour multiple-choice computer-based exam is offered twice a year. Currently, there are a little over 3500 board certified clinicians.

Audiologists may received board certification in neurophysiological intraoperative monitoring via AABIOM. The exam has 200 multiple choice questions covering 6 areas: Anesthesia, Neuroscience, Instrumentation, Electro-physiology, Human physiology / anatomy, Surgical Applications.

There are several organisations that certify MDs in the field including the American Clinical Neurophysiology Society (www.acns.org) and the American Board of Electrodiagnostic Medicine. The optimal practice model is under discussion at the present time (2013) as is the relevant qualifications for supervision.

Outside the US there many different styles of IOM.

The evidence-based support for IOM is growing. There is a debate over whether IOM required controlled studies such as randomized trials, or whether expert consensus suffices.


text: User talk:Mickey661

title: User talk:Mickey661


text:
Minera Limeworks

The Minera Limeworks were extensive lime quarries and kilns at Minera in Wrexham, Wales. It was located at, near the villages of Gwynfryn, Minera, and Coedpoeth and was locally referred to as The Calch.

History
The Minera Limeworks were once the largest lime workings in the north of Wales. Limeburning at Minera is recorded from as early as 1620 but the Minera Lime Company was established in 1852. The total output from the Minera area quarries was estimated, in 1859, to be around 300,000 tons, with 200,000 tons of this converted to lime.

The Minera Lime Company became a limited company in 1865, and this prompted some heavy cash injection into the works. Using this money, the company erected a "Hoffmann kiln". Originally destined for brickmaking, it was soon converted to limeburning. This kiln still exists and is one of three that were purpose-built for lime burning left in the UK: another is located at Langcliffe in Yorkshire, another is located at Llanymynech Limeworks.

The quarries had their own steam locomotive and hundred of open coal wagons and closed lime wagons at its peak. Hornby Railways and Dapol both have model wagons detailing the Minera Lime Co. It also had extensive kilns, still there to this day. The works closed in 1972 and the Wrexham and Minera Branch railway lines were pulled up at around the same time.

Current usage
Blasting and quarrying of limestone, used for road building materials, continued at the site until 1993.

For many years since closure, the quarry served as storage for road building materials, and a tipple for them was built, but was soon abandoned. In 2004-05 the quarry was subject to a cleanup operation, where all the materials were taken and the whole area flattened. Tarmac (a supplier of materials to the building trade) who had taken interest in the site took several core samples and found the quarry to still be a viable source of lime.

Lafarge Aggregates owned the site until recently, following their take over of Redland plc and erected large amounts of fencing around most of the site as well as signage advising to stick to signed footpaths, restricting movement around the quarry for health and safety purposes. Lafarge had no interest in resuming quarrying operations at the site here.

The Minera Quarry Trust negotiated with Lafarge about the future of the site. Minera Quarry Trust was established in 2005 with the explicit aim of conserving the former quarry site for the benefit of the public. Since then the trust has made significant progress in developing a plan of action for the site that encompasses both short term improvements and long term sustainability for the site. The Trust worked in partnership with North Wales Wildlife Trust to develop the project and received political endorsement from Wrexham County Borough Council.

North Wales Wildlife Trust purchased the site for £1 from Tarmac, who also donated £100,000 so work could be carried out to make the site safe for public access. The site was officially opened on 2 June 2018 by Mike Dilger as their 36th Wildlife Reserve in North Wales.

The quarry contains entrances to the important caves Ogof Dydd Byraf and Ogof Llyn Du whose passages come very close to Ogof Cefn-y-Gist and Ogof Llyn Parc. starting in the quarry linked to many underground rivers.

title: Minera Limeworks


title: User:Mickey661


text:
User:Holycharly/Gold rush

Frogstuff

 * fr:Conquête de l'Ouest ~ American Old West
 * fr:Géostratégie de l'espace (dumped :-o ) ~ militarisation of space
 * fr:Syndrome de Stendhal < Motif of harmful sensation

 * up to translate : Clearstream > fr:Clearstream
 * new deep, heavy crow carriers have arrived.

Germaine stuff

 * From Elian :
 * Zitate zu Wikipedia

My question, to this esteemed Wiki community, is this: Do you think that a Wiki could successfully generate a useful encyclopedia? --JimboWales Yes, but in the end it wouldn't be an encyclopedia. It would be a wiki. --WardCunningham

Eine Zwischenfrage: ist die Anonymität in der Wikipedia eigentlich eine Heilige Kuh? --Ilja Heilig ist mir nichts, aber dieser Wiederkäuer ist mir so ans Herz gewachsen, dass ich ihn nicht ohne Widerstand zur Schlachtbank durchlassen werde ;-) --akl

wikipedia is not a created encyclopedia, but rather is creating an encyclopedia. --Josh Cogliati

The big secret of course is that Wikipedia is not really about an encyclopedia, it's just a big game of nomic. ;-) --JimboWales

When the best sort of sysop has to break the law to do what everyone knows is right, there's something wrong with the law. --JimboWales

Zum Thema absichtlich Fehler in Wikipedia einfügen:

Please don't litter my sidewalk... Dear reporters: Some of the nice people who live on my street have the habit of picking any litter that they see on the sidewalk. I hope you will resist the urge to dump litter on my sidewalk just to find out whether anybody really picks it up. --Daniel P.B. Smith

Mehr Zitate gibt es da.

Group ideology

 * Utilitarians : such as Ultramarine

title: User:Holycharly/Gold rush


text:
William Moorsom

Captain William Scarth Moorsom (1804–1863) was an English soldier and engineer. After assisting Robert Stephenson he created railway lines in England, Belgium, Germany and Ceylon.

Early life and career
Moorsom was born at Whitby into a military family, the youngest of the four sons of Admiral Sir Robert Moorsom, who had served at the Trafalgar, and his wife Eleanor.

He entered the Royal Military College in 1819, and became especially adept in fortification and military surveying. In 1823 he joined the 79th Highlanders Regiment, then stationed in Ireland. During his stay there, he made a survey of Dublin and its neighbourhood, which remained in use until it was superseded by the publication of the Ordnance Survey. In 1825 he served in the Mediterranean as a lieutenant in the 7th Fusiliers. In 1826 he transferred to the 69th Regiment, and then to the 52nd Light Infantry in Nova Scotia, having been promoted to Captain.

During this time he served as deputy quartermaster-general. He produced a survey of the harbour and environs of Halifax, along with reports on transport feasibility to all parts of the province, and published a monograph Letters From Nova Scotia; comprising Sketches of a Young Country in 1830.

Although he was highly regarded he was unable to purchase a suitable promotion so returned to England and bought out his commission in 1832. He had met his wife, Isabella Ann Morris, daughter of Lewis Wilkins, judge and head of the supreme court, in Nova Scotia. They lived with his father at Cosgrove Priory, near Stony Stratford, until his death in April 1835.

Railway engineer
With his experience of military surveying, Moorsom assisted in the construction of the London and Birmingham Railway construction of which had begun in 1833 and of which his eldest brother, Constantine Richard Moorsom was Secretary to the Board. Moorsom's survey of the valley of the Ouse allowed the railway line to be straightened, and eliminated the need for a large embankment. This feat attracted the attention of Robert Stephenson. He then spent two years studying new railway lines all over the country and in 1836 undertook a survey of the country between Birmingham and Gloucester in order to build a railway. The Birmingham and Gloucester Railway had found Brunel's proposals out of its financial reach. Moorsom's brief in 1836 was to build the line as cheaply as possible, which he did by following open country, thereby avoiding populated areas where land prices were higher. Arriving at the Lickey Hills there was no option but to climb, using cable assistance if necessary.

From experience gained observing mineral railways in the north, Moorsom preferred locomotives. The general opinion at that time was that adhesion was not possible on such a steep incline and so the directors of the company set out to buy stationary engines for cable-haulage. They found the cost prohibitive; so, Moorsom was allowed to continue what was thought to be a considerable gamble. The resulting Lickey Incline has entered railway folklore.

Since no English manufacturer would, or could, supply him, he ordered 4-2-0 locomotives from Norris of Philadelphia in the United States. The loco they supplied had 4 ft driving wheels, cylinder bore of 10+1/2 in, and 18 in stroke, weighing 10+1/4 LT

Moorsom was also awarded the Telford Medal for his method of using iron caissons filled with concrete and masonry to form the foundations of a three-arch viaduct across the River Avon, near Tewkesbury.

In passing, one of his assistants was Herbert Spencer. F. R. Conder was critical of Moorsom's management style and engineering abilities in his Personal Recollections of English Engineers (1868) Spencer was less recriminatory in his Autobiography (1904), describing Moorsom as a kind man, although he felt that he had treated some subordinates meanly. Chrimes suggests that his problems may have been "due to the financial pressures of bringing up a large family, combined with working for companies which had limited financial resources."

The period of 1844–45 proved to be especially busy with new lines from Birmingham to Wolverhampton, Shrewsbury, Newton, and Chester,; the Yarmouth Junction, from Diss and Beccles, the Irish Great Western, from Naas, by Tullamore, to Galway, the Metropolitan Counties Junction, from Gravesend, by Reigate, Dorking, Weybridge, Staines, Rickmansworth, St. Albans, Chelmsford, and Billericay to Tilbury, the London, Hammersmith, Staines, and Windsor, 25 miles, and several smaller lines. The Southampton and Dorchester Railway in 1847 was notable as "Castleman' Corkscrew": its promoters insisted that it should serve as many of the local communities as possible. At this time, Moorsom surveyed the line from Exeter and Plymouth to Falmouth, the West Cornwall Railway, from Truro to Penzance.

In 1845 he was in Ireland working on the Waterford and Kilkenny Railway. Of note was a timber viaduct over the River Nore, 85 ft in height and of 200 ft span, at the time the largest of its type in the British Isles.

Though the design was not used, he won the Prussian government's engineering prize in 1850 for his design for a bridge to cross the Rhine at Cologne on the line from Prussia's Rhine Province to Antwerp in Belgium for the Königlich Preußische und Großherzoglich Hessische Staatseisenbahn (K.P.u.G.H.St.E.).

For the next four years there was a general retraction of the industry and in 1852 Moorsom became involved with the Britannia and Baltimore Mining Company to prospect for and mine gold in the United Kingdom. Although some gold was produced it was not enough to make the company viable. During this period he was appointed engineer to the Cromford and High Peak Railway which was in deep financial difficulty. In 1857 the Stockport, Disley and Whaley Bridge Railway was opened, with a proposal to link with the Cromford line. Plans were laid to capitalise on this by substantially improving the line. The necessary funds were not forthcoming, however, and there was opposition from other railway companies. The C&HPR and Moorsom parted company in about 1856.

Over the years Moorsom had gained the reputation of taking on too many projects, and some of his surveys were also found wanting. He was frequently replaced by other engineers, and found it difficult to obtain work. In 1856 he was asked to survey the railway from Kandy to Colombo Ceylon (Sri Lanka). Under pressure to complete the work before the rainy season, he began early in January, and presented his report in May, and part of the work proved to be faulty.

Last years
In 1860, Moorsom's wife Isabella died and, in 1862 he was Engineer with the Ringwood, Christchurch and Bournemouth Railway

He had been elected an Associate of the Institution of Civil Engineers, on 24 March 1835, and was transferred to the class of Members on 20 February 1849. Among a number of papers that he read was, in 1852, Description of the viaduct erected over the river Nore, near Thomastown . He became a Member of the Society of Arts on 31 January 1843.

He occupied his retirement by writing a history of his regiment and died of cancer, after a long and painful illness, at his home, 17A Great George Street, Westminster, on 3 June 1863, aged 61, and was buried at Kensal Green cemetery.

title: William Moorsom


text: User talk:68.52.29.220

title: User talk:68.52.29.220


text:
BRA

The initials BRA may refer to:

Military

 * Bougainville Revolutionary Army, a Papua New Guinea revolutionary army
 * Brigadier, Royal Artillery, in a Commonwealth army division

Organizations

 * Boston Redevelopment Authority, an American planning agency
 * BRA Transportes Aéreos, a former Brazilian airline
 * BRA Braathens Regional Airlines, a Swedish airline
 * British Records Association, for historic records and archives
 * Brå, Brottsförebyggande rådet, the Swedish National Council for Crime Prevention

Codes

 * Brazil (ISO 3166-1 alpha-3 code)
 * Barreiras Airport (IATA code), in Brazil
 * Union Station (Brattleboro, Vermont), US, Amtrak station code

Other uses

 * Belfast Royal Academy, Northern Ireland, a school
 * Bentley Rhythm Ace, an English band
 * Bilateral renal agenesis, a fetal medical condition
 * Breast Reconstruction Awareness Day or No Bra Day

title: BRA


text:
I'm Every Woman

"I'm Every Woman" is a song by American singer Chaka Khan, released in September 1978 by Warner Bros. as her debut solo single from her first album, Chaka (1978). It was Khan's first hit outside her recordings with the funk band Rufus. "I'm Every Woman" was produced by Arif Mardin and written by the successful songwriting team Nickolas Ashford and Valerie Simpson. The single established Chaka's career outside the group Rufus, whom she would leave after their eighth studio album, Masterjam, was released in late 1979.

The track was remixed and re-released in 1989 for Khan's remix album Life Is a Dance: The Remix Project; this mix reached number eight in the United Kingdom. American singer Whitney Houston covered the song in 1992 with production by David Cole and Robert Clivillés and vocals produced by Narada Michael Walden. It was a major hit, peaking at number four on both the US Billboard Hot 100 and the UK Singles Chart.

Chart performance
In the United States, "I'm Every Woman" reached number twenty-one on the Billboard Hot 100, number one on the Hot Soul Singles, and number thirty on the disco chart. In the United Kingdom, it peaked at number eleven.

Music video
A music video was produced for Khan's version of "I'm Every Woman" at a time when the value of promotional films was increasing. The video, which features five dancing Chakas dressed in various outfits to represent "every woman", was made a few years before the onset of mainstream coverage of "music promos" through such outlets as MTV, VH1, and BET.

Impact and legacy
Rolling Stone ranked "I’m Every Woman" number 27 in their list of "200 Greatest Dance Songs of All Time" in 2022.

Credits and personnel

 * Lead and background vocals by Chaka Khan
 * Background vocals by Will Lee and Hamish Stuart
 * Produced by Arif Mardin
 * Drums by Steve Ferrone
 * Bass by Will Lee
 * Guitars by Hamish Stuart and Phil Upchurch
 * Piano by Richard Tee
 * Engineer by James Douglass

Whitney Houston version
American singer and actress Whitney Houston recorded "I'm Every Woman" for The Bodyguard soundtrack. Houston's version was produced by Narada Michael Walden, with additional production by David Cole and Robert Clivillés from C+C Music Factory. It was released as Houston's second single from the soundtrack on January 2, 1993, by Arista Records. Her version adds the introduction "Whatever you want, whatever you need..." where Houston contributed to the song. Randee St. Nicholas directed the music video for the song, featuring a pregnant Houston. A live performance of "I'm Every Woman" was included in the 1999 release Divas Live '99 as a duet with Chaka Khan. A 1994 performance was included on the 2014 CD and DVD release, Whitney Houston Live: Her Greatest Performances.

Release
When "I'm Every Woman" was released, Houston's preceding single, "I Will Always Love You," was still at number one on the US Billboard Hot 100 (it remained there for eight more weeks). Houston's version of "I'm Every Woman" peaked at number four on the Billboard Hot 100 in just its seventh and eighth week of release; remaining in the top 40 for nineteen weeks. The song became number one on the Billboard Hot Dance Club Play chart, reached number five on the Hot R&B/Hip-Hop Songs chart, and cracked the top 40 on the Hot Adult Contemporary Tracks chart. Houston's cover was also a bigger international hit than the original version as it peaked within the top 5 in the UK and several other countries, and the top 20 in France, Australia, Germany, Sweden and Switzerland. Contrary to popular belief, Houston did not perform backing vocals on Khan's original 1978 version. Chaka Khan confirmed this in an interview with Lester Holt in 2012. As a tribute to her, however, Houston proclaims Khan's name towards the end of the song.

Critical reception
AllMusic editor Stephen Thomas Erlewine praised Houston's cover version of "I'm Every Woman", stating that it's a "first-rate" urban pop song "that skillfully capture[s] Houston at her best." Larry Flick from Billboard wrote, "Utilizing the original version's instantly recognizable vocal arrangement, Houston belts with unbridled confidence and power." Randy Clark from Cash Box declared it as a "dance-inspired tune", noting its "discotheque feel and obvious dance floor appeal". He added, "Although Whitney is the strongest aspect of this song, the combination of her voice and the house jam should launch this track high onto various charts and playlists alike." Entertainment Weekly's Amy Linden praised the cover as "triumphant". She explained, "To take on another diva's material requires the female equivalent of cojones, and Houston (wisely) doesn't muck around with the original's overall tone or arrangement. But she sure does it justice, even adding a sly Chaka shout-out as the cut fades."

Alan Jones from Music Week felt the singer "does her best to xerox the performance of Chaka Khan." Nancy Culp from NME said her "Whitney-ed version" is "well over the top and she carries it decently, but lacks the real soul to give it punch." Stephen Holden of The New York Times wrote, "Though not as exuberantly sexy as the original, her version [...] is a respectable imitation." A writer from Rolling Stone called it an overwrought remake and added that Whitney undermined her soul roots. USA Today complimented the song, "She adds surprises: Chaka Khan's "I'm Every Woman" becomes sweaty house music."

Music video
The accompanying music video for "I'm Every Woman" was directed by Randee St. Nicholas, and features a very pregnant Houston performing the song, while scenes from The Bodyguard are intercut into the clip. The video also features cameo appearances by Houston's mother Cissy Houston as well as by Chaka Khan, Valerie Simpson, Martha Wash and labelmate TLC. The song won Houston a NAACP Image Award for Outstanding Music Video, and received a Grammy Award nomination in 1994 for Best Female R&B Vocal Performance. The video was later made available on Houston's official YouTube channel in 2009 and had generated more than 90 million views as of early 2024.

Track listings and formats

 * CD single
 * 1) "I'm Every Woman" – 4:45
 * 2) "Who Do You Love" – 3:55

 * European CD maxi-single
 * 1) "I'm Every Woman" (7" single) – 4:44
 * 2) "I'm Every Woman" (Clivillés & Cole House Mix I) – 10:37
 * 3) "I'm Every Woman" (a cappella Mix) – 4:27

 * UK CD maxi-single
 * 1) "I'm Every Woman" (7" single) – 4:44
 * 2) "I'm Every Woman" (Every Woman's House/Club Mix Radio Edit) – 4:40
 * 3) "I'm Every Woman" (Clivillés & Cole House Mix I) – 10:37
 * 4) "I'm Every Woman" (Every Woman's House/Club Mix) – 10:14
 * 5) "I'm Every Woman" (Every Woman's Beat) – 4:11
 * 6) "I'm Every Woman" (a cappella Mix) – 4:27

 * US CD maxi-single
 * 1) "I'm Every Woman" (Every Woman's House/Club Mix Radio Edit) – 4:40
 * 2) "I'm Every Woman" (album version) – 4:45
 * 3) "I'm Every Woman" (Every Woman's House/Club Mix) – 10:14
 * 4) "I'm Every Woman" (Clivillés & Cole House Mix I) – 10:37
 * 5) "I'm Every Woman" (Clivillés & Cole House Mix II) – 10:54
 * 6) "Who Do You Love" – 3:55

 * US 12" maxi-single
 * 1) "I'm Every Woman" (Every Woman's House/Club Mix) – 10:14
 * 2) "I'm Every Woman" (Every Woman's Beat) – 4:11
 * 3) "I'm Every Woman" (Clivillés & Cole House Mix I) – 10:37
 * 4) "I'm Every Woman" (Clivillés & Cole House Mix II) – 10:54
 * 5) "I'm Every Woman" (The C & C Dub) – 10:03
 * 6) "I'm Every Woman" (a cappella Mix) – 4:27

Credits and personnel

 * Performed by Whitney Houston
 * Produced by Narada Michael Walden
 * Additional production and remix by Robert Clivilles and David Cole
 * Vocal arrangement inspired by Chaka Khan
 * Additional vocal arrangement and production by Robert Clivilles and David Cole
 * Roland TR-909 Programming by Louis Biancaniello, James Alfano and Chauncey Mahan
 * Recording engineers – Matt Rohr, Marc Reyburn
 * Additional production recording engineers – Acar S. Key, Richard Joseph
 * Mixing engineer – Bob Rosa
 * Executive producers - Clive Davis, Whitney Houston

Other versions
After the popularity of the Whitney Houston version, The Oprah Winfrey Show unveiled its "I'm Every Woman" campaign in the 1993–94 season, using a cover version with remade lyrics in promos and an instrumental rendition used as the theme song. Girls Aloud covered "I'm Every Woman" on the UK Discomania album released in 2004. In 2006, it was recorded in the fifth season of American Idol by Mandisa, and put on the album American Idol Season 5: Encores. Country pop singer and songwriter Taylor Swift also recorded the song when she was trying to get a record label.

title: I'm Every Woman


text:
Talk:I'm Every Woman

Fair use rationale for Image:I'm Every Woman.jpg
Image:I'm Every Woman.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 00:19, 6 June 2007 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 2 external links on I'm Every Woman. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20110721125307/http://www.irishcharts.ie/search/placement?page=3 to http://www.irishcharts.ie/search/placement?page=3
 * Added archive https://web.archive.org/web/20110604040853/http://www.bpi.co.uk/certifiedawards/search.aspx to http://www.bpi.co.uk/certifiedawards/search.aspx

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 16:40, 7 April 2017 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on I'm Every Woman. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20111004042556/http://www.whitney-fan.com/music/reviews/36/65 to http://www.whitney-fan.com/music/reviews/36/65

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 21:13, 9 November 2017 (UTC)

title: Talk:I'm Every Woman


text:
User:Henryshoots

An Arsenal fan.

http://upload.wikimedia.org/wikipedia/en/4/4a/Nov-10-2000.PDF

http://upload.wikimedia.org/wikipedia/en/f/f1/Dec-1-2000.PDF

http://upload.wikimedia.org/wikipedia/en/0/0c/10-25-02-Phillipian-Article.pdf

title: User:Henryshoots


text:
User talk:Etriaph

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome!
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

-- Denelson83 21:26, 25 August 2005 (UTC)

title: User talk:Etriaph


title: User:Mickey662


text:
Wikipedia:Account suspensions/CltFn

CltFn
CltFn (three hours; expires 04:06, Jun 23, 2005) - unwillingness to follow our policies; justifying biased writing by accusing an admin of biased writing: "Have I inserted edits that are influenced by my POV ,perhaps, haven't you?? ".

title: Wikipedia:Account suspensions/CltFn


text:
Talk:Edict of Saint-Germain

Questions
Were there not two different edicts of toleration issued under this name, the one mentioned in this article and one issued in 1570? If so, should separate pages be set up to cover the two events or a single page addressing both edicts? — Preceding unsigned comment added by 129.15.127.254 (talk) 21:27, 25 August 2005 (UTC)

 * I have the same question -- different pages reference the "Edict of Saint-Germain" for different dates, and there are many for 1570 which has no mention on this page. Can someone please clarify this?  — Catherine\talk 23:00, 12 November 2005 (UTC)

title: Talk:Edict of Saint-Germain


text:
Wikipedia:Articles for deletion/GIMO

 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. Sjakkalle (Check!)  08:24, 1 September 2005 (UTC)

GIMO
Neologism. However, even if it wasn't a neologism, it would be more of a dictionary article.-- BMIComp (talk, HOWS MY DRIVING) 21:27, 25 August 2005 (UTC)

 * Delete Per submitter --Bob 21:32, 25 August 2005 (UTC)
 * Delete per nom. Alf 22:46, 25 August 2005 (UTC)
 * Delete - per above - Tεx  τ  urε  21:07, 29 August 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.
 * 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.

title: Wikipedia:Articles for deletion/GIMO


text:
Gunnar Emil Garfors

Gunnar Emil Garfors (1900–1979) was a Norwegian poet from Ankenes near Narvik, but born in Skjomen."Under høg himmel" was published posthumously in 1980. Garfors was awarded the Norwegian King's Service Medal in Silver for his work within education and his fight against tobacco smoking.

title: Gunnar Emil Garfors


text: User talk:68.251.34.112

title: User talk:68.251.34.112


text:
Symphony No. 1 (Rachmaninoff)

The Symphony No. 1 in D minor, Op. 13, is a four-movement composition for orchestra written from January to October 1895 by the Russian composer Sergei Rachmaninoff. He composed it at his Ivanovka estate near Tambov, Russia. Despite its poor initial reception, the symphony is now seen as a dynamic representation of the Russian symphonic tradition, with British composer Robert Simpson calling it "a powerful work in its own right, stemming from Borodin and Tchaikovsky, but convinced, individual, finely constructed, and achieving a genuinely tragic and heroic expression that stands far above the pathos of his later music."

The premiere, which took place in St. Petersburg on March 28, 1897, was an absolute disaster for reasons which included under-rehearsal and the poor performance by the possibly intoxicated conductor Alexander Glazunov. Rachmaninoff subsequently suffered a psychological collapse but did not destroy or attempt to disown the score. It was left in Russia when he went into exile in 1917 and subsequently lost. In 1944, after the composer's death, the separate instrumental parts of the symphony were discovered and were used to reconstruct the full score. The symphony's second performance took place at the Moscow Conservatory on October 17, 1945, conducted by Aleksandr Gauk. Following a general reassessment of Rachmaninoff's music, the First Symphony has been performed frequently and recorded several times.

Background
The First Symphony was actually Rachmaninoff's second attempt in the genre. During 1890–91, his final year at the Moscow Conservatory, he had been assigned by one of his composition teachers, Anton Arensky, to write a symphony as an exercise. Rachmaninoff later told biographer Oskar von Riesmann that he had completed the work; however, three of the four movements subsequently vanished. The single surviving movement, approximately 12 minutes in length, was published posthumously in 1947 as Rachmaninoff's Youth Symphony. This student work is written in traditional sonata form and modeled after the opening movement of Tchaikovsky's Fourth Symphony. Rachmaninoff added that neither Arensky nor fellow-professor Sergei Taneyev was enthusiastic about the work, perhaps because of its lack of individuality. The First Piano Concerto, which he wrote later in 1891, showed a better indication of his ability to handle large-scale musical forces, and his transcription (1894) of Tchaikovsky's Manfred Symphony into a piano duet gave him further exposure to the symphonic genre.

Composition
Rachmaninoff began planning what would become his First Symphony in September 1894, after he had finished orchestrating his Caprice Bohémien. He composed the symphony between January and October 1895, which was an unusually long time for Rachmaninoff to spend on a composition; the project had proved to be extremely challenging. Writing from Ivanovka on July 29, he complained that despite seven-hour days, progress was exceptionally slow. Those daily work schedules had increased to ten hours a day by September, and the symphony was completed and orchestrated before Rachmaninoff left Ivanovka on October 7.

The atypical length of time Rachmaninoff had needed to compose the symphony was followed by delays in getting it performed. In 1895 he had met the musical philanthropist Mitrofan Belyayev, whose interest in programming a piece of Rachmaninoff's music had led to a performance of the tone poem The Rock at the Russian Symphony Concerts in St. Petersburg. In 1896, encouraged by Taneyev and Glazunov, Belyayev agreed to program Rachmaninoff's symphony the following year. However, when Rachmaninoff played the symphony at the piano for Taneyev, the elder composer complained: "These melodies are flabby, colorless – there is nothing that can be done with them." Rachmaninoff made numerous changes to the score, but was still dissatisfied. After further advice from Taneyev he made further amendments, including expansion of the slow movement.

Description
The symphony is scored for 3 flutes (3rd doubling piccolo), 2 oboes, 2 clarinets in B♭, 2 bassoons, 4 horns in F, 3 trumpets in B♭, 3 trombones, tuba, timpani, cymbals, bass drum (movements 1, 2 and 4 only), triangle (movements 2 and 4 only), snare drum, tambourine, tam-tam (movement 4 only) and strings. A typical performance has an approximate duration of 45 minutes.

Grave—Allegro non troppo (D minor)
A short introduction (just seven bars), gives the tone to the work: strong, fierce, and brave. In it two motivic items are presented which will establish the cyclic material for the entire composition: a note cell preceded by a grupetto and theme derived from the medieval Dies Irae plainchant. The latter becomes the prevailing theme in the Allegro, developed and enriched by orchestral figures based on Tchaikovsky.

The second theme (Moderato), in the violins, is interesting in its melodic structure, which uses the gypsy scale (with two augmented seconds). It is also harmonically unusual because of its ambiguous tonality. This theme is repeated by the whole orchestra in a sudden and powerful fortissimo, which leads to the first theme climaxing in a brass chorale. At the beginning of the repetition, the cell-grupetto reappears insistently.

Allegro animato (F major)
The second movement is a fantastic scherzo which also begins with the cell-grupetto as well as a reminiscence of the Dies Irae, at least its first notes. The movement's main theme is a short melody, that we hear alternatively under its original form and its inversion, but the latter only appears briefly and episodically, spaced out by call signals and shudders of the orchestra which constitute an expressive background. In the central part, the cell-grupetto comes back again, giving birth to a new theme which is repeated by a solo violin for a few bars, in a gypsy air.

Larghetto (B♭ major)
In the lyric calm of this movement, even the grupetto seems to have lost its menacing tension. The clarinet sings an easy and soft melody, but in the middle some storms appear with the gloomy harmonies of the muted horns. The theme, repeated, is ornamented with repetitive appoggiatura and counterpoint.

Allegro con fuoco (D major)
The cell-grupetto again gives the final movement a faltering violence. The brass instruments and a march rhythm start a theme based, once more, on the Dies Irae.

A calm con anima passage follows with a melody in the violins which goes quickly to high notes. Brass instruments take a prominent role followed by a new change in the central part (Allegro mosso), introduced by repeated notes in the low strings. The rhythm is especially interesting, with its soft syncopation (related to a binary rhythm in a ternary bar): repeated accompaniment from the scherzo appears in the second part and the return of the grupetto relaunches the movement with its dynamic and orchestral violence. A tam-tam hit follows the coda, at the end of which the grupetto, played by the strings in a slower time, is repeated with a prophetic insistence, strengthened by the brass and percussion instruments.

Despite the uneven quality of the composition itself, there is no doubt that the First Symphony is powerful and dramatic. It is influenced by Tchaikovsky's last symphonies, although this influence can only be seen in the feeling of anguish against relentless fate.

Form
The composer Robert Simpson regarded Rachmaninoff's First Symphony as much superior to the two that followed it, feeling that it had been created "naturally and without strain" on the whole and with all four of its movements "thematically genuinely integrated." He also felt the symphony sidesteps what he called the "lyrical inflation" and "forced climaxes" of the Second Symphony and the piano concertos. Instead of this lyric inflation, as Robert Walker pointed out, a person could chart an increasing brevity and concision in Rachmaninoff's orchestral compositions in the works he completed after graduating from the Moscow Conservatory—in other words, from Prince Rostislav to The Rock and from The Rock to the symphony. Simpson essentially agreed about this musical economy, commenting that the symphony's structure as a whole could not be faulted. While Rachmaninoff did have a habit of relaxing into a slower tempo with the second subject of his first movement (a habit at which, Simpson claimed, Rachmaninoff became much worse later in his career), he kept a firm grip on the corresponding material in this work. Simpson especially cited the last movement's climax as overwhelmingly powerful and extremely economical in the use of its musical material.

Rachmaninoff biographer Max Harrison writes, "The most original element in this work comes from a network of motivic relationships," adding that while the composer had employed this network in his Caprice Bohémien, he takes its use still further in the symphony. The result is that, while the symphony is a fully cyclic work, the level of thematic integration is taken far more extensively than in most Russian symphonies. As musicologist Dr. David Brown points out, "Themes and thematic fragments from earlier movements are transformed, sometimes profoundly, to help shape existing material as well as to generate new material." In taking the level of thematic integration thus far, Rachmaninoff was able to use comparatively little musical material to combine all four movements. César Cui may have complained of exactly this quality when he wrote about the "meaningless repetition of the same short tricks," but motivic analysts who have since studied the symphony have considered these "tricks" a compositional strength, not a weakness.

Harrison writes that these same motivic analysts lay claim to the First Symphony as proof "that Rachmaninoff could write genuinely symphonic music rather than the ballets squeezed into sonata shapes written by many Russian composers, from Tchaikovsky to Stravinsky." Harrison adds that Rachmaninoff's treatment of symphonic form might for this reason be more closely descended from Alexander Borodin, a point the St. Petersburg critics may have either failed to notice or ignored at the work's premiere. Another original idea of Rachmaninoff's, as pointed out by Harrison, was his "use of Znamenny Chants (знаменный распев) as the source of thematic ideas." While the material Rachmaninoff derives from them occasionally lends a decidedly religious air, he never quotes these chants literally. They resemble what Béla Bartók would call "imaginary folk music"—formally composed music that closely resembles folk music due to his complete absorption of the spirit and musical syntax of Eastern European folk song and dance.

Some analysts such as Rachmaninoff scholar Geoffrey Norris mention that the symphony also has its problems. The slow movement lapses into a static central episode referring back to the motto theme and the scherzo becomes depleted of rhythmic drive by rambling, repeating repetitions of the same theme. The symphony's clogged and sometimes brash orchestration can make the work sound portentous, though an attentive performance can make the symphony a dark, forceful and rapturous musical statement by helping clarify the orchestration and minimize the potential pitfalls in that area."

Glazunov
Nikolai Rimsky-Korsakov, whose own musical preferences in the later years of his career were not overly progressive, may have sounded an advance warning on hearing the symphony in rehearsal when he told Rachmaninoff, "Forgive me, but I do not find this music at all agreeable." As the elder statesman of Russian music after Tchaikovsky's death, Rimsky-Korsakov may have felt justified saying something to Rachmaninoff, but he may have said it for the wrong reason. By the reports of many present, the rehearsal that Rimsky-Korsakov had heard, conducted by his friend and musical protégé Glazunov, was both a disaster as a performance and a horrific travesty of the score.

Though Glazunov loved to conduct, he never totally mastered the craft, despite Rimsky-Korsakov's claims in his memoirs to the contrary. The elder composer's comments on Glazunov's initial appearances as a conductor may in fact have been accurate for this occasion as well: "Slow by nature, maladroit and clumsy of movement, the maestro, speaking slowly and in a low voice, manifestly displayed little ability either for conducting rehearsals or for swaying the orchestra during concert performances." Not only did Glazunov conduct badly during the rehearsal of the First Symphony, but he also made cuts in the score and several changes in orchestration. The cuts he made in the first two movements made little sense musically, and his poor use of rehearsal time was complicated by the fact that two other works were receiving their first performances at the same concert. Harrison mentions that Rachmaninoff was concerned and tried talking to him during breaks in the rehearsal but to no effect.

Glazunov premiered the symphony on March 28 (March 16 o.s.), 1897. The performance was a complete failure; Rachmaninoff himself left in agony before it was over. Conductor Alexander Khessin, who attended the premiere, remembered, "The Symphony was insufficiently rehearsed, the orchestra was ragged, basic stability in tempos was lacking, many errors in the orchestral parts were uncorrected; but the chief thing that ruined the work was the lifeless, superficial, bland performance, with no flashes of animation, enthusiasm or brilliance of orchestral sound."

Moreover, Natalia Satina, who became Rachmaninoff's wife, later claimed, along with other witnesses, that Glazunov may have been drunk on the podium. One person in particular wrote that at the rehearsal he was "standing motionless on the conductor's rostrum, wielding his baton without animation." Rachmaninoff was obviously very concerned and in the pauses went to Glazunov and said something to him, but he never managed to arouse him from a state of complete indifference. Although Rachmaninoff never echoed this claim of inebriation and the charge itself cannot be confirmed, it is also not implausible considering Glazunov's reputation for alcohol. As reportedly told later by his pupil Dmitri Shostakovich and echoed in the New Grove, Glazunov kept a bottle of alcohol hidden behind his desk at the St. Petersburg Conservatory, sipping it through a tube during lessons.

Drunk or not, Glazunov may have neither understood nor been totally committed to the symphony, as it was a composition in a newer, more modern idiom and greater length (approximately 45 minutes) than he might have expected. Nor was he apparently sympathetic to Rachmaninoff's music on the whole, commenting on another occasion, "There is a lot of feeling ... but no sense whatever." What makes this comment strange in itself is that Glazunov himself may have anticipated Rachmaninoff's musical style in his own Second Symphony, which he had written in 1886. (Glazunov later demonstrated his low regard for Rachmaninoff's music by leaving a copy of the score for the Fourth Piano Concerto in a Paris taxicab in 1930. The score had been a present from the composer. ) Nevertheless, it might be surprising that Glazunov had conducted a competent performance of Rachmaninoff's orchestral fantasy The Rock the previous year. While it was generally received favorably, César Cui stated, in a foretaste of his comments on the symphony, that "the whole composition shows that this composer is more concerned about sound than about music."

Political bias
For all of Belyayev's good intentions, having the First Symphony performed in St. Petersburg did not necessarily bode well, with Rimsky-Korsakov's comment merely serving as an omen of things to come. The St. Petersburg musical scene was dominated by a group of young composers called the Belyayev circle, headed by Rimsky-Korsakov since he had taught many of them at the Conservatory there. While Rimsky-Korsakov called the group "progressive" in his autobiography, musicologist Francis Maes suggests a better term for the group's focus might have been "moderately academic" as the majority of these composers turned technical accomplishment into an end in itself. This attitude, claims musicologist Solomon Volkov, had long typified the St. Petersburg Conservatory and the majority of its alumni.

The academic style of musical composition which resulted from this attitude, typified best in the works of Glazunov and Rimsky-Korsakov, became the preferred method of this group. If a composer wanted to be accepted into the Belyayev circle or receive Belyayev's patronage, he had to conform by writing musical works in this vein. This bias would continue to some point after Rimsky-Korsakov's departure with his son-in-law Maximilian Steinberg in charge of composition classes at the Conservatory through the 1920s, and Shostakovich would complain about Steinberg's conservatism, typified by such phrases as "the inviolable foundations of the kuchka" and the "sacred traditions of Nikolai Andreyevich [Rimsky-Korsakov]." Despite Rimsky-Korsakov's denial of the Belyayev circle being similar to The Five under Mily Balakirev, the two factions did share one trait. Like The Five, the Belyayev group viewed with suspicion those compositions that did not follow its canon.

Critical reaction
Much of what was written about the symphony may have been motivated by a long-standing antagonism between St. Petersburg and Moscow. There was also the fact it was a symphony in question this time—a musical form the St. Petersburg critics and many other members of the Belyayev Circle were very particular about defending. While critics in St. Petersburg had actually given good reviews to The Rock when Glazunov conducted it, a symphony was another matter.

Rachmaninoff's work may have been considered offensive because of its relatively progressive use of symphonic form; this could have gone against the critics' sensibilities as well as the precepts Rimsky-Korsakov taught at the Conservatory. Aleksandr Gauk, who would conduct the triumphant revival of the symphony in 1945, surmised as much, suggesting the work failed initially "because it was a modern composition, far ahead of its time, so it did not satisfy the tastes of the contemporary critics." The more partisan of these critics went on the attack, with Cui leading the charge:

If there were a conservatory in Hell, and if one of its talented students were to compose a programme symphony based on the story of the Ten Plagues of Egypt, and if he were to compose a symphony like Mr. Rachmaninoff's, then he would have fulfilled his task brilliantly and would delight the inhabitants of Hell. To us this music leaves an evil impression with its broken rhythms, obscurity and vagueness of form, meaningless repetition of the same short tricks, the nasal sound of the orchestra, the strained crash of the brass, and above all its sickly perverse harmonization and quasi-melodic outlines, the complete absence of simplicity and naturalness, the complete absence of themes.

Cui did give Rachmaninoff as close to a compliment as he would ever come, writing, "Mr. Rachmaninoff does avoid banality, and probably feels strongly and deeply, and tries to express these feelings in new forms." However, this olive branch was too obscured by the vitriol of the rest of the review for anyone to notice. Moreover, Cui's bias against Moscow composers was extremely deep-seated. In a letter to M.S. Kerzina dated December 19, 1904, he placed them together with Richard Strauss, "whose absurd cacophony will not be music even in the 30th century."

A more balanced consideration of the work, unfortunately too late to undo the damage wrought by Cui, came from critic Nikolai Findeisen in the April issue of Russkaya Muzykalnaya Gazeta:

The climax of the concert, Rachmaninoff's D minor symphony, was not very successfully interpreted, and was therefore largely misunderstood and underestimated by the audience. This work shows new impulses, tendencies toward new colors, new themes, new images, and yet it impresses one as something not fully said or solved. However, I shall refrain from expressing my final opinion, for it would be too easy to repeat the history of Tchaikovsky's Fifth Symphony, only recently [thanks to Nikisch] "discovered" by us, and which everyone now admires as a new, marvelous, and beautiful creation. To be sure, Rachmaninoff's first symphony may not be wholly beautiful, integrated and definite, but some of its pages seem far from mediocre. The first movement, and especially the furious finale with its concluding Largo, contains much beauty, novelty, and even inspiration...

Composer's reaction
Rachmaninoff wrote to composer Alexander Zatayevich on May 6 "of my impressions of the performance of the symphony ... though it is difficult for me." This letter has been cited frequently for the composer's opinion of Glazunov's lack of conducting skill. However, Rachmaninoff also writes extensively about his impression of the symphony itself:

I'm not at all affected by its lack of success, nor am I disturbed by the newspapers' abuse; but I am deeply distressed and heavily depressed by the fact that my Symphony, though I loved it very much and love it now, did not please me at all after its first rehearsal. This means, you'll say, that it's poorly orchestrated. But I am convinced, I reply, that good music can shine through poor instrumentation, nor do I consider the instrumentation to be wholly unsuccessful. So two surmises remain. Either, like some composers, I am unduly partial to this composition, or this composition was poorly performed. And this is what really happened. I am amazed—how can a man with the high talent of Glazunov conduct so badly? I speak not merely of his conducting technique (there's no use asking this of him), but of his musicianship. He feels nothing when he conducts—as if he understands nothing!... So I assume that the performance may have been the cause of the failure (I do not assert—I assume). If the public were familiar with the symphony, they would blame the conductor (I continue to "assume"), but when a composition is both unknown and badly performed, the public is inclined to blame the composer. This view would seem plausible, particularly as this symphony, though not decadent, in the current sense of the term, is really slightly "new." This means it must be played according to the most precise indications of the composer, who may thus somewhat make peace between the public and himself, and between the public and the composition (for the composition would then be more intelligible to the public)... As you see, at present I'm inclined to blame the performance. Tomorrow, probably, this opinion, too, will change. In any case I will not reject this Symphony, and after leaving it alone for six months, I'll look at it, perhaps correct it, and perhaps publish it, but perhaps by then my partiality for it will have passed. Then I'll tear it up.

Long after the fact, Rachmaninoff told his biographer Oskar von Riesemann, "I returned to Moscow a changed man. My confidence in myself had received a sudden blow. Agonizing hours spent in doubt and hard thinking had brought me to the conclusion that I ought to give up composing." However, the composer's comments to Zatayevich seem considerably more rational, even logical. Nor had the press been entirely unfavorable toward the symphony (see above). It may have been on subsequent reflection that Rachmaninoff suffered his psychological collapse.

As Harrison points out, "This delay in Rachmaninoff's collapse has never been, and presumably never will be, satisfactorily explained." One question some scholars have asked is whether the symphony had an autobiographical element that gave its failure a more personal dimension. According to many sources, the original manuscript, now lost, carried a dedication to "A. L." plus the epigraph to Leo Tolstoy's novel Anna Karenina, "Vengeance is mine; I will repay." A. L. was Anna Lodyzhenskaya, the beautiful Romani wife of his friend Peter Lodyzhensky. He had also dedicated the Caprice Bohémien to her. Whether Rachmaninoff's regard for her was merely infatuation or something more serious cannot be known. Neither can the connection between the two of them and Anna Karenina, or between the biblical quotation and the religious chants providing the basis for the symphony's thematic material.

When the collapse came, Rachmaninoff was left totally shattered. He had begun sketches for another symphony but now abandoned them and was unable to compose until 1900, when family members and friends convinced him to seek hypnotic therapy with Dr. Nikolai Dahl. The product of these meetings was the Second Piano Concerto, premiered in 1901. But during this period he focused on conducting and performing, so the time was not lost at all. One stroke of good fortune came from impresario Savva Mamontov, who two years earlier had founded the Moscow Private Russian Opera Company. He offered Rachmaninoff the post of assistant conductor for the 1897-8 season, which the composer accepted. He also acted as a soloist in many concerts.

Neglect and disappearance
The symphony was not performed again in Rachmaninoff's lifetime. Although it is sometimes said that he tore the score up; he in fact did not, but he remained ambivalent towards the piece. In April 1908, three months after the successful premiere of his Second Symphony, he considered revising the First. He wrote to his Conservatory colleague Nikita Morozov that the symphony was one of three of his early works that he would like to see in a "corrected, decent form." (The other two compositions were the First Piano Concerto and Caprice Bohémien.) He wrote in 1910 to critic Grigory Prokofiev, "The symphony contains many successful passages insofar as its music is concerned, but the orchestration is worse than weak, a fact that caused its failure at the St. Petersburg performance." In 1917, in a letter to Boris Asafiev, he wrote that he would not show it to anyone and make sure in his will that no one would see it.

Before his departure from Russia, Rachmaninoff gave the key to his writing desk in his Moscow flat to his cousin Sofiya Satina; in it was locked the manuscript score for the First Symphony. He showed her the manuscript and asked her to look after it for him. Satina had the desk moved to her own flat, in the same building. It remained there until Satina emigrated from Russia in 1921. At that time, the manuscript passed into the care of the family housekeeper, Mariya Shatalina (née Ivanova). Shatalina died in 1925. All other manuscripts from Rachmaninoff's flat were moved by the state to archives of the Glinka Museum in Moscow, including the manuscript of the two-piano version of the symphony as well as some sketches for the work, but the manuscript score disappeared. The mysterious disappearance of the score has suggested to some that it may have been appropriated by an opportunist. Regardless of the exact circumstances, the manuscript score remains lost.

Second life
While Rachmaninoff had kept the score of the First Symphony safely in his Moscow flat until the October Revolution, he had made no attempt to collect the orchestral parts in his haste to leave St. Petersburg in 1897. This fact would prove fortuitous in the symphony's ultimate fate. Shortly after the composer's death, in 1944, the instrumental parts of the symphony were discovered by chance in the Belyayev Archive of the Leningrad Conservatory Library. Using these parts and the two-piano arrangement, a group of scholars headed by prominent Russian conductor Aleksandr Gauk reconstructed the full score. The second performance of the piece, considered a success, took place at the Moscow Conservatory on October 17, 1945, conducted by Aleksandr Gauk.

The American premiere took place on March 19, 1948 at the Philadelphia Academy of Music, the Philadelphia Orchestra conducted by Eugene Ormandy. The work needed seven rehearsals. It was part of the first concert to be televised in the United States. With the posthumous rise in Rachmaninoff's reputation as a composer, the symphony became part of the standard orchestral repertoire.

The first British performance of the symphony took place on January 2, 1964, with the semi-professional Polyphonia Symphony Orchestra conducted by Bryan Fairfax. This was during a time when Rachmaninoff's music was held in low regard in the United Kingdom.

The first Australian performance was in 1985 in the Perth Concert Hall by the West Australian Symphony Orchestra, conducted by Vladimir Verbitsky.

Popular uses
The theme from the symphony's fourth movement was used for a time during the late 1960s as the title music of the BBC television programme Panorama.

The symphony's premiere and Rachmaninoff's subsequent writer's block and hypnotherapy are the subject of Dave Malloy's 2015 musical Preludes; the score uses samples of the symphony and other works of Rachmaninoff's.

Notable recordings

 * Vladimir Ashkenazy conducting the Concertgebouw Orchestra
 * André Previn conducting the London Symphony Orchestra
 * Mariss Jansons conducting the St. Petersburg Philharmonic Orchestra
 * Gianandrea Noseda conducting the BBC Philharmonic
 * Eugene Ormandy conducting the Philadelphia Orchestra
 * Mikhail Pletnev conducting the Russian National Orchestra
 * Leonard Slatkin conducting the St. Louis Symphony Orchestra
 * Yevgeny Svetlanov conducting the Bolshoi Theatre Orchestra, another with the USSR Symphony Orchestra
 * Edo de Waart conducting the Rotterdam Philharmonic, another recording with Netherlands Radio Philharmonic Orchestra
 * Walter Weller conducting the Suisse Romande Orchestra
 * Andrew Litton conducting the Royal Philharmonic Orchestra
 * Gennady Rozhdestvensky conducting the USSR Ministry Of Culture SO

title: Symphony No. 1 (Rachmaninoff)


text: User talk:Mickey662

title: User talk:Mickey662


text:
Balakata

Balakata is a genus of trees in the family Euphorbiaceae first described as a genus in 1999. It is native to Southeast Asia, southern China, the Himalayas, and New Guinea. The genus name was inspired by balákat-gúbat ("shoulder-tree"), the Philippine common name for B. luzonica.

Balakata baccata grows up to 26 meters tall, while B. luzonica can reach 36 m. These trees have alternately arranged leaves 3.5 to 11 cm long, usually with large basal glands on the undersides. The undersides are also whitish in color in B. baccata, but not in B. luzonica. The former has longer petioles than the latter. The trees are monoecious, with inflorescences containing several male flowers and usually at least one female flower at the base. The fruit is smooth and fleshy. That of B. baccata usually contains two seeds, while the fruit of B. luzonica has a single seed.

Both species yield useful wood; B. luzonica wood may have commercial value.

 * Species
 * 1) Balakata baccata (Roxb.) Esser - Yunnan, Bangladesh, Cambodia, Assam, Bhutan, Andaman & Nicobar, Borneo, Sumatra, Laos, Malaysia, Myanmar, Thailand, Vietnam
 * 2) Balakata luzonica (Vidal) Esser - Philippines, Sulawesi, Maluku, New Guinea

title: Balakata


text:
Wikipedia:Account suspensions/Bluxo

Bluxo
Bluxo Blocked indef by CryptoDerk as vandal after two edits.
 * Looked like newbie experiment to me, so I unblocked and left a nice note. -- Uncle Ed (talk) 20:32, Jun 23, 2005 (UTC)
 * This person is the pelican shit vandal. Please don't remove bans that you think may be wrong without asking about it first.  Administrators are appointed because people have faith in their abilities — for another one to come along and remove a ban without at least inquiring about it first is a remarkable lack of good faith.  Additionally, the image he inserted and uploaded is a known image he uses for pelican shit vandalism, and has been deleted before as such. CryptoDerk 21:03, Jun 23, 2005 (UTC)
 * I also blocked Bluxo32 - possibly the same person. -- Uncle Ed (talk) 21:58, Jun 23, 2005 (UTC)

title: Wikipedia:Account suspensions/Bluxo


text:
E. B. Eddy Company

The E. B. Eddy Company was a Canadian pulp and paper company, now a division of Domtar Inc. At the time of the purchase, the company had facilities in Hull, Quebec, Timmins, Ontario, Espanola, Ontario, Chapleau, Ontario, Pembroke, Ontario, Sault Ste. Marie, Ontario, Delta, British Columbia and Port Huron, Michigan.

History
The E. B. Eddy Manufacturing Company was originally incorporated in 1886 as with Ezra Butler Eddy as its president. Eddy had begun business in 1854 making and selling wooden matches out of his home in Hull, Canada East (now Quebec). The company expanded into pulp and paper. In 1891, it was renamed to the E. B. Eddy Company.

On April 26, 1900, a large fire destroyed most of the company's facilities, but it was back in operation in less than a year. Eddy died in 1906. In 1926, R.B. Bennett gained control of the company.

In 1943, the company was sold to George Weston, Ltd. The company acquired the paper mills of the J.R. Booth Company in 1946.

In 1998, the company was taken over by Domtar Inc. and became the E. B. Eddy Division of that company.

Eddy Match Company
E. B. Eddy sold off its match division in 1927 and it was merged with World Match Corp. Ltd., Dominion Match Co. Ltd. and Canadian Match Co. Ltd.. The company became the first manufacturer of book matches in Canada in 1929 and was the largest producer of this product in Canada. Its operations included a second plant in Mission, British Columbia.

Eddy Match had a capital structure where 2/3 of the stock were held by British Match Corporation in London, England and 1/3 by Diamond Match in the United States. In the 1950s, Diamond Match sold its shares to the public in Canada by listing on the Toronto Stock Exchange. J. Alex Lawrason became President and CEO in June 1969 in Toronto, Ontario. He had joined the company in Vancouver, British Columbia in 1949, as a salesman.

During the 1960s and 1970s, other operations included: The company operated a match factory in Pembroke, Ontario until 1998. Eddy Match was merged with Atlas Match of Euless, Texas in 1998, which itself was acquired by D. D. Bean of Jaffrey, New Hampshire in 2016.
 * Ideal Vendor Company in Deseronto, Ontario which manufactured vending machines. Ideal Vendors made a variety of soft drink vending machines. The Sales office (& HO) of Ideal was in the Sun Life Building in Montreal. The last president was Dudley Sutherland. He travelled the world selling these machines and spent a lot of time doing so in Africa.  The machine was unique in that it was a top-opener - the bottles were held on a rack by the neck. There were a number of parallel racks. The bottles were more air-cooled than cold. Inserting a coin allowed one bottle to be moved down the rack and out the dispensing end.
 * Steel Equipment in Pembroke which manufactured steel office furniture
 * Grant Industries in Vancouver which distributed building products. This company was identified as one of the Canadian distributors of zonolite products contaminated with asbestos which originated from Libby, Montana. The company was purchased in the mid-1950s and had branches right across Canada. The company was shut down and liquidated in 1971.
 * Kootenay Forest Products in Nelson, British Columbia
 * Harrow Lumber Company in Nelson, British Columbia
 * Insulation Industries
 * Eddy Match Co. in Berthierville, Quebec
 * Eddy industrial Products. Started as a machine shop and in due course was manufacturing high-speed packaging machinery for light bulbs all of which were shipped to customers in the United States.
 * W. W. Powell in Nelson, British Columbia. The company manufactured match blocks. The company was purchased in 1949 and closed in approximately 1954

title: E. B. Eddy Company


text: User talk:82.183.169.245

title: User talk:82.183.169.245


text:
American foulbrood

American foulbrood (AFB, Histolysis infectiosa perniciosa larvae apium, Pestis americana larvae apium), caused by the spore-forming bacterium Paenibacillus larvae, is a highly infectious honey bee brood disease. It is the most widespread and destructive of the honey bee brood diseases. It is globally distributed and burning of infected colonies is often considered as the only effective measure to prevent spreading of the disease.

Characteristics
Paenibacillus larvae is a rod-shaped bacterium visible only under a high power microscope. Larvae up to three days old become infected by ingesting spores present in their food. Young larvae less than 24 hours old are most susceptible to infection. Spores germinate in the gut of the larva and the vegetative form of the bacteria begins to grow and multiply until the midgut is massively filled with bacteria, resulting in a shortage of nutrients (commensal non-invasive phase). This is when P. larvae breaks through the midgut wall and enters the hemocoel of the larva, accompanied by the death of the larva (invasive phase). Now, the bacteria take nourishment from the dead larva and decompose it into a ropy mass (saprophytic phase). Once this decomposition results in a second shortage of nutrients, P. larvae produces millions of spores. The ropy mass dries down to a characteristic scale. This disease does not affect adult honey bees, but is highly infectious and deadly to bee broods.

History
Until 1906 American foulbrood was not differentiated from European foulbrood, and the condition was simply referred to as foulbrood. Thereafter, the terms European and American were used to distinguish the diseases. However, the designations do not refer to the geographical distributions but to the areas where they were first investigated scientifically. In 1907, it was demonstrated conclusively that the bacterium Bacillus larvae was the cause of American foulbrood disease by fulfilling Koch's postulates. The geographical origin of AFB is unknown, but it is found almost worldwide.

Diagnosis
Lab testing is necessary for definitive diagnosis, but a good field test is to touch a dead larva with a toothpick or twig. It will be sticky and "ropey" (drawn out). Foulbrood also has a characteristic odor, and experienced beekeepers with a good sense of smell can often detect the disease upon opening a hive. However, this odour may not be noticeable until the disease is in an advanced stage. Since response and treatment is required as early as possible to protect other colonies, absence of odour cannot be relied on as indicating absence of foulbrood. Only regular and thorough inspection of the brood can identify the disease in its early stages. The most reliable disease diagnosis is done by sending in some possibly affected brood comb honey to a laboratory specialized in identifying honey bee diseases.

Disease spread
When cleaning contaminated cells, bees distribute spores throughout the colony. Disease spreads rapidly throughout the hive as the bees, trying to remove the spore-laden dead larvae, contaminate brood food. Nectar stored in contaminated cells will contain spores and soon the brood chamber becomes filled with contaminated honey. As this honey is moved up into the supers, the entire hive becomes contaminated with spores. When the colony becomes weak from AFB infection, robber bees may enter and take contaminated honey back to their hives, thereby spreading the disease to other colonies and apiaries. Beekeepers also may spread disease by moving equipment (frames or supers) from contaminated hives to healthy ones.

American foulbrood spores are extremely resistant to desiccation and can remain viable for more than 40 years in honey and beekeeping equipment. Therefore, honey from an unknown source should never be used as bee feed, and used beekeeping equipment should be assumed to be contaminated unless known to be otherwise.

Treatment
European Union law requires all infected hives and equipment to be destroyed. In the US, many State Apiary Inspectors require an AFB diseased hive to be burned completely. The spores can survive up to 40 years and are difficult to destroy.

A less radical method of containing the spread of disease is burning only the frames and comb and thoroughly flame scorching the interior of the hive body, bottom board and covers. Dipping the hive parts in hot paraffin wax or a 3% sodium hypochlorite solution (bleach) also renders the AFB spores innocuous. It is also possible to sterilize an infected hive without damaging either the structure of the hive or the stores of honey and pollen it contains by sufficiently lengthy exposure to an atmosphere of ethylene oxide gas, as in a closed chamber, as hospitals do to sterilize equipment that cannot withstand steam sterilization.

Antibiotics, in non-resistant strains of the pathogen, can prevent the vegetative state of the bacterium forming. Drug treatment to prevent the American foulbrood spores from successfully germinating and proliferating is possible using oxytetracycline hydrochloride (Terramycin). Another drug treatment, tylosin tartrate, was approved by the US Food and Drug Administration (FDA) in 2005.

Chemical treatment is sometimes used prophylactically, but this is a source of considerable controversy because certain strains of the bacterium seem to be rapidly developing resistance. In addition, hives that are contaminated with millions of American foulbrood spores have to be prophylactically treated indefinitely. Once the treatment is suspended, the American foulbrood spores germinate successfully again leading to a disease outbreak.

Alternative treatments are currently under investigation. One example is phage therapy. Another promising approach might be the use of lactic acid-producing bacteria as a treatment for AFB. However, further research is still indispensable to prove the effectiveness of these methods in the field.

In January 2023, the United States Department of Agriculture approved the world's first vaccine for bees. The vaccine protects the bees from foulbrood and is dispensed by adding an inactive version of the bacteria to royal jelly consumed by worker bees, who feed the queen bee, who in turn passes immunity to her offspring. It was developed by biotech company Dalan Animal Health.

title: American foulbrood


text:
England, Arkansas

England is a city in southwestern Lonoke County, Arkansas, United States and the county's fourth most populous city. The population was 2,825 at the 2010 census. It is part of the Little Rock–North Little Rock–Conway Metropolitan Statistical Area.

Geography
According to the United States Census Bureau, the city has a total area of 1.9 square miles (4.8 km$2$), all land.

2020 census
As of the 2020 United States census, there were 2,477 people, 1,026 households, and 667 families residing in the city.

2000 census
At the 2000 census there were 2,972 people in 1,183 households, including 830 families, in the city. The population density was 1,597.1 PD/sqmi. There were 1,305 housing units at an average density of 701.3 /sqmi. The racial makeup of the city was 65.51% White, 33.18% Black or African American, 0.37% Native American, 0.10% Asian, 0.10% from other races, and 0.74% from two or more races. 0.84% of the population were Hispanic or Latino of any race. Of the 1,183 households 32.6% had children under the age of 18 living with them, 46.7% were married couples living together, 19.8% had a female householder with no husband present, and 29.8% were non-families. 26.7% of households were one person and 13.7% were one person aged 65 or older. The average household size was 2.51 and the average family size was 3.03.

The age distribution was 27.1% under the age of 18, 9.3% from 18 to 24, 26.6% from 25 to 44, 20.8% from 45 to 64, and 16.2% 65 or older. The median age was 36 years. For every 100 females, there were 83.9 males. For every 100 females age 18 and over, there were 78.7 males.

The median household income was $28,516 and the median family income was $34,335. Males had a median income of $26,449 versus $18,500 for females. The per capita income for the city was $14,095. About 14.7% of families and 17.9% of the population were below the poverty line, including 21.9% of those under age 18 and 21.8% of those age 65 or over.

Economy
The Arkansas Department of Correction operates the Willis H. Sargent Training Academy in England.

Sports
England is home of the England Lions.

Education
The England Public School District is headquartered in and serves England, with students graduating from England High School.

Notable people

 * Charles Capps, Pentecostal minister and televangelist.
 * Country music artists Arlene, Bobby and Robbie Harden, also known as The Harden Trio, were born in England, Arkansas.

title: England, Arkansas


text:
Dr. Jekyll and Sister Hyde

Dr. Jekyll and Sister Hyde is a 1971 British horror film directed by Roy Ward Baker based on the 1886 novella Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson. The film was made by British studio Hammer Film Productions and was their third adaptation of the story after The Ugly Duckling and The Two Faces of Dr. Jekyll. The film is notable for showing Jekyll transform into a female Hyde; it also incorporates into the plot aspects of the historical Jack the Ripper and Burke and Hare cases. The title characters were played by the film's stars, Ralph Bates and Martine Beswick.

Plot
Dr. Henry Jekyll dedicates his life to the curing of all known illnesses; however, his lecherous friend Professor Robertson remarks that Jekyll's experiments take so long to actually be discovered, he will no doubt be dead by the time he is able to achieve anything. Haunted by this remark, Jekyll abandons his studies and obsessively begins searching for an elixir of life, using female hormones taken from fresh cadavers supplied by murderers Burke and Hare, reasoning that these hormones will help him to extend his life since women traditionally live longer than men and have stronger systems.

In the apartment above Jekyll's lives a family: an elderly mother, her daughter Susan Spencer, and Susan's brother Howard. Susan is attracted to Jekyll, and he returns her affections, but is too obsessed with his work to make advances. Mixing the female hormones into a serum and drinking it has the effect of changing Jekyll's sex. Susan becomes jealous when she discovers this mysterious woman, but when she confronts Jekyll, to explain the sudden appearance of his female alter ego, he calls her Mrs. Edwina Hyde, saying she is his widowed sister who has come to live with him. Howard, on the other hand, develops a lust for Mrs. Hyde.

Jekyll soon finds that his serum requires a regular supply of female hormones to maintain its effect, necessitating the killing of young girls. Burke and Hare supply his needs, but their criminal activities are uncovered. Burke is lynched by a mob and Hare blinded by lime. The doctor decides to take matters into his own hands and commits the murders attributed to Jack the Ripper. Jekyll abhors this, but Mrs. Hyde relishes the killings as she begins to take control, even seducing and then killing Professor Robertson when he attempts to question her about the murders.

As Mrs. Hyde grows more powerful, the two personalities begin to struggle for dominance. Jekyll asks Susan to the opera; however, when he is getting dressed to go out, he unconsciously takes Mrs. Hyde's gown from the wardrobe instead of his own clothes, realizing that he no longer needs to drink the serum in order to transform.

Susan is heartbroken when Jekyll fails to take her out to the opera, and she decides to go alone. However, Mrs. Hyde decides that innocent, pure Susan's blood is just what she needs to finally take over Jekyll's body. She stalks Susan through the dark streets, but Jekyll's will only just manages to thwart Mrs. Hyde's attempt to kill Susan. He then commits one last murder to find a way to stabilize his condition, but he is interrupted by the police after a comment by Hare leads them to realize the similarity between Jekyll's earlier experiments on cadavers and the Ripper murders. As Jekyll tries to escape by climbing along the outside of a building, he transforms into Mrs. Hyde and falls to the ground — dying as an amalgamation of both male and female.

Critical reception
Time Out called the film "enormous fun" and an "admirably successful attempt to ring new changes on an old theme". George R. Reis from DVD Drive-In gave the film a positive review, writing, "In the hands of most filmmakers of the time, such a gender-bending theme would call for maximum exploitation tactics, but not with Hammer. Clemens' script doesn't take itself too seriously, yet justly fuses the legends of Stevenson's titular character with Jack the Ripper and the graverobbers Burke and Hare". Reis commended the film's performances and Baker's direction. Variety called the film "highly imaginative", further writing, "Director Roy Ward Baker has set a good pace, built tension nicely and played it straight so that all seems credible. He tops chills and gruesome murders with quite a lot of subtle fun. Bates and Beswick, strong, attractive personalities, bear a strange resemblance to each other making the transitions entirely believable." John Higgins of Starburst Magazine awarded the film 8/10 stars, praising Beswick's performance and the script.

Home media
The film was first released on DVD in 2001 by Anchor Bay as part of The Hammer Collection in the U.S. and has since been released on DVD in other territories. The film was released on Blu-ray in 2018.

title: Dr. Jekyll and Sister Hyde


text: User talk:81.157.27.92

title: User talk:81.157.27.92


text:
James Fisk (financier)

James Fisk Jr. (April 1, 1835 – January 7, 1872), known variously as "Big Jim", "Diamond Jim", and "Jubilee Jim" – was an American stockbroker and corporate executive who has been referred to as one of the "robber barons" of the Gilded Age. Though Fisk was admired by the working class of New York and the Erie Railroad, he achieved much ill-fame for his role in Black Friday in 1869, where he and his partner Jay Gould befriended the unsuspecting President Ulysses S. Grant in an attempt to use the President's good name in a scheme to corner the gold market in New York City. On January 7, 1872, Fisk was assassinated in New York City, in relation to his business dealings.

Early life
Fisk was born in the hamlet of Pownal, Vermont, in Bennington County in 1835. After a brief period in school, he ran away in 1850 and joined Van Amberg's Mammoth Circus & Menagerie. Later, he became a hotel waiter, and finally adopted the business of his father, a peddler.

Start in business
Fisk applied what he learned in the circus to his peddling and grew his father's business. He then became a salesman for Jordan Marsh, a Boston dry goods firm.

A failure as a salesman, he was sent to Washington, D.C., in 1861 to sell textiles to the government. By his shrewd dealing in army contracts during the Civil War, and, by some accounts, cotton smuggling across enemy lines—in which he enlisted the help of his father—he accumulated considerable wealth, which he soon lost in speculation. At the end of the war, he made a fortune by learning of the end of the Siege of Petersburg which guaranteed Confederate defeat and sending an agent on a fast boat to London to short as many Confederate bonds as possible before the news arrived.

Financial buccaneer
In 1864 Fisk became a stockbroker in New York City, and was employed by railroad robber baron Daniel Drew as a buyer. He aided Drew in the Erie War against Cornelius Vanderbilt for control of the Erie Railroad. This resulted in Fisk and Jay Gould becoming members of the Erie directorate, and subsequently, a well-planned raid netted Fisk and Gould control of the railroad. The association with Gould continued until Fisk's death.

Fisk and Gould carried financial buccaneering to extremes: their program included an open alliance with New York politician Boss Tweed, the wholesale bribery of legislatures, and the buying of judges. Their attempt to corner the gold market culminated in the fateful Black Friday of September 24, 1869. Though many investors were ruined, Fisk and Gould escaped both punishment and significant financial harm.

Personal life

Fisk married Lucy Moore in 1854, when he was 19 and she was 15. Lucy was an orphan, raised by an uncle from Springfield, Massachusetts. She tolerated Fisk's many extramarital affairs, perhaps because she was happy living with her “childhood friend and inseparable companion,” Fanny Harrod, in Boston. Regardless, they remained close, with Fisk visiting her every few weeks and spending summers and vacations with her every chance he could.

In New York, Fisk had a relationship with Josie Mansfield. Mansfield was considered by some a voluptuous beauty by Victorian standards of female desirability. Fisk housed Mansfield in an apartment a few doors down from the Erie Railroad headquarters on West 23rd Street and had a covered passage built linking the back doors of the headquarters and her apartment building. Fisk's relationship with Mansfield scandalized New York society.

Mansfield eventually fell in love with Fisk's business associate Edward Stiles Stokes (1840–1901), a man noted for his good looks. Stokes left his wife and family, and Mansfield left Fisk.

Death
In a bid for money, Mansfield and Stokes tried to extort Fisk by threatening the publication of letters written by Fisk to Mansfield that allegedly proved Fisk's legal wrongdoings. A legal and public relations battle followed, but Fisk refused to pay Mansfield anything. Increasingly frustrated and flirting with bankruptcy, Stokes confronted Fisk in New York City on January 6, 1872, in the Grand Central Hotel and shot him twice, in the arm and abdomen. A relatively young man of 36, Fisk died of the abdominal wound the next morning after giving a dying declaration identifying Stokes as the killer.

Stokes pleaded self-defense, using a wildly incongruent set of mitigating circumstances. He claimed to have been suffering from emotional turmoil at the time he committed the act. Fisk's death was blamed on medical malpractice by those who treated his mortal wound. Stokes was subsequently tried three times for the Fisk homicide. The first trial where he was charged with first degree murder ended in a hung jury, and rumors of jury members bribed. The second trial found him guilty of first degree murder and he was sentenced to death, a verdict overturned by appeal. The third trial concluded with a conviction for manslaughter, and Stokes served four years of a six-year prison sentence in Sing Sing Penitentiary.

Fisk's body was laid out for public view in the Grand Opera House, which he had owned. Some twenty thousand people came to pay their respects, with five times as many more individuals waiting in the streets to gain entrance. The 39 letters Fisk had written to Mansfield were published in the New York Herald one week after his death. The letters were commonplace communications between a man and the woman he loved. Fisk is buried in the Prospect Hill Cemetery in Brattleboro, Vermont.

Fisk was vilified by high society for his amoral and eccentric ways and by many pundits of the day for his business dealings; but he was loved and mourned by the workingmen of New York and the Erie Railroad. He was known as "Colonel" for being the nominal commander of the 9th New York National Guard Infantry Regiment, although his only experience of military action with this unit was an inglorious role in the Orange Riot of July 12, 1871.

In popular culture
Fisk's life was broadly fictionalized in the biopic The Toast of New York (1937), starring Edward Arnold as Fisk.

The Colt House Revolver is known among collectors as the Jim Fisk model or the Jim Fisk pistol, as it was used by Edward Stiles Stokes (Ned Stokes) in his murder.

The circumstances surrounding his murder were dramatized in the CBS radio program Crime Classics on June 29, 1953, in the episode entitled "The Checkered Life and Sudden Death of Colonel James Fisk".

Rumors in Finland About Fisk's Legacy
After Fisk's death, rumors began circulating in Finland that he had left part of his enormous inheritance to "relatives living in Finland". These rumors are believed to have originated in the town of Porvoo, where the local newspaper, Borgåbladet, published a report in June 1872. The rumor quickly spread to Helsinki, the capital of the Grand Duchy of Finland at the time, and then to Turku, reaching these cities through newspapers in July 1872.

Several people in Finland believed they were Fisk's heirs and began claiming a share of the inheritance. The attempts were apparently unsuccessful and the story of the inheritance gradually faded. However, it resurfaced in the early 20th century when a family in Suodenniemi hired an agent to collect the supposed inheritance.

The Fisk inheritance story is now considered one of the many inheritance myths of the period. Notably, Fisk is not known to have had any close relatives in Finland.

title: James Fisk (financier)


text:
User talk:Ravenking

Hi and welcome to Wikipedia! I saw your article on Bangladesh cricket problems - while it was a well written essay, Wikipedia is an encyclopedia, so we don't use the "I think" form to write articles, for example. All articles need to be written from a Neutral Point of View. However, you'd be more than welcome to write something expressing the same sentiments (while slightly more neutral) on the page of Bangladeshi cricket team, which I think would be a better place for such content.

Here are some useful links, too, to see how editors prefer Wikipedia to look:

 * The five pillars
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style Sam Vimes 21:34, 25 August 2005 (UTC)

title: User talk:Ravenking


text: Category:Macedonian footballers

title: Category:Macedonian footballers