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Fort Vasai

Fort Vasai (Vasai killa in Marathi, Fortaleza de São Sebastião de Baçaim in Portuguese, Fort Bassein in English) is a ruined fort of the town of Vasai (Bassein), Konkan Division, Maharashtra, India. The structure was formally christened as the Fort of St Sebastian in the Indo-Portuguese era. The fort is a monument of national importance and is protected by the Archaeological Survey of India. The fort and the town are accessible via the Naigaon Railway Station which itself is in the city of Vasai-Virar, and lies to the immediate north of the city of Mumbai (Bombay). The Naigaon Railway Station is on the Western Railway line (formerly the Bombay-Baroda railway) in the direction of the Virar railway station.

Pre-Portuguese Era
The Greek merchant Cosma Indicopleustes is known to have visited the areas around Vasai in the 6th century and the Chinese traveller Xuanzang later on June or July 640. According to historian José Gerson da Cunha, during this time, Vasai and its surrounding areas appeared to have been ruled by the Chalukya dynasty of Karnataka. Until the 11th century, several Arabian geographers had mentioned references to towns nearby Vasai, like Thane and Nala Sopara, but no references had been made to Vasai. Vasai was later ruled by the Silhara dynasty of Konkan and eventually passed to the Yadava dynasty. It was head of district under the Yadavas (1184–1318). Later being conquered by the Gujarat Sultanate, a few years later Barbosa (1514) described it under the name Baxay (pronounced Basai) as a town with a good seaport belonging to the king of Gujarat.

Portuguese Era
The Portuguese Armadas first reached the west coast of India after the discovery of the Cape route by Vasco da Gama, he landed at Calicut in 1498. For several years after their arrival, they had been consolidating their power in north and south Konkan, in and around present-day Bombay and Goa. They had established their capital at Velha Goa captured from the Adil Shahi dynasty of Bijapur in 1510. According to historian Manuel de Faria e Sousa, the coast of Bassein (Vasai) was first visited by them in 1509, when Francisco de Almeida on his way to Dio captured a ship off Bombay Harbour, with 24 citizens of the Sultan of Guzerat aboard it.

In 1530, Portuguese captain António da Silvera burnt the city of Vasai and continued the burning and looting up to nearby Bombaim, when the King of Thana surrendered the islands of Mahim and Bombaim. Subsequently, the towns of Thana, Bandora, Mahim and Bombay were brought under Portuguese control. In 1531, António de Saldanha while returning from Gujarat to Goa, set fire to Baçaim again — to punish the Sultanate of Gujarat's King Bahadur Shah for not ceding Diu.

In 1533, Diogo (Heytor) de Sylveira, burnt the entire sea coast from Bandora, Thana, Baçaim, to Surat. Diogo de Sylveira returned to Goa with 4000 slaves and spoils. For the Portuguese, Diu was an important island to protect their trade, which they had to capture. While devising the means to capture Diu, the Portuguese governor of India Nuno da Cunha found out that the governor of Diu was Malik Ayaz whose son Malik Tokan was fortifying Baçaim with 14,000 men. Nuno da Cunha saw this fortification as a threat. He assembled a fleet of 150 ships with 4000 men and sailed to Baçaim. Upon seeing such a formidable naval power, Malik Tokan made overtures of peace to Nuno da Cunha. The peace overtures were rejected. Malik Tokan had no option but to fight the Portuguese. The Portuguese landed north of the Baçaim and invaded the fortification. Even though the Portuguese were numerically insignificant, they fought with skill and valor killing off most of the enemy soldiers while losing only a handful of their own.

On 23 December 1534, the Sultan of Gujarat Bahadur Shah signed a treaty with the Portuguese and ceded Baçaim with its dependencies of Salsette, Bombaim (Bombay), Parel, Vadala, Siao (Sion), Vorli (Worli), Mazagao (Mazgaon), Thana, Bandra, Mahim, and Caranja (Uran). In 1536, Nuno da Cunha appointed his brother-in-law Garcia de Sá as the first Captain/Governor of Baçaim. The first cornerstone for the Fort was laid by António Galvão. In 1548, the Governorship of Baçaim was passed on to Jorge Cabral.

Treaty of Vasai (1534)
The Treaty of Vasai (1534) was signed by Sultan Bahadur of Gujarat and the Kingdom of Portugal on 23 December 1534, while on board the galleon São Mateus. Based on the terms of the agreement, the Portuguese Empire gained control of the city of Vasai (Bassein), as well as its territories, islands, and seas. The Bombay islands under Portuguese control include Colaba, Old Woman's Island, Mumbai (Bombay), Mazagaon, Worli, Matunga, Mahim. Salsette, Diu, Trombay & Chaul were other territories controlled and settled by the Portuguese.

At the time, the cession of Mumbai (Bombay) was of minor importance, but retroactively it gained a place on the world map when the place passed from the Portuguese to the East India Company in 1661, as part of the dowry of Catherine Braganza. It became a major trade center, the treaty's most important long-term result.

Vasai (Bassein) became the northern territory's headquarters after the 16th-century treaty with Bahadur Shah of Gujarat. In the Portuguese era, the fort was styled as the Northern Court (Corte da Norte), second only to the Portuguese viceroy of the East in the city of Velha Goa. For over 150 years, the Portuguese presence made the surrounding area a vibrant and opulent city. The Bassein and its surroundings were the largest Portuguese territory, including places such as Chaul-Revdanda, Caranja, the Bombay Archipelago, Bandra Island, Juhu Island, Salsette Island including the city of Thane, Dharavi Island, the Bassein archipelago, Daman and Diu.

Construction of the fortress
In the second half of the 16th century, the Portuguese built a new fortress enclosing a whole town within the fort walls. The fort included 10 bastions, of these nine, were named Cavalheiro, Nossa Senhora dos Remédios, Reis Magos Santiago, São Gonçalo, Madre de Deus, São João, Elefante, São Pedro, São Paulo and São Sebastião, São Sebastião was also called "Porta Pia" or the pious door of Baçaim. It was through this bastion that the Marathas would enter to defeat the Portuguese. There were two medieval gateways, one on the seaside called Porta do Mar with massive teak gates cased with iron spikes and the other one called Porta da Terra. There were ninety pieces of artillery, 27 of which were made of bronze, and seventy mortars, 7 of these mortars were made of bronze. The port was defended by 21 gunboats each carrying 16 to 18 guns. This fort stands today with the outer shell and ruins of churches. In 1548, St. Francisco Xavier stopped in Baçaim, and a portion of the Baçaim population was converted to Christianity. In Salsette Island, the Portuguese built 9 churches: Nirmal (1557), Remedi (1557), Sandor (1566), Agashi (1568), Nandakhal (1573), Papdi (1574), Pali (1595), Manickpur (1606), Mercês (1606). All these beautiful churches are still used by the Christian community of Vasai. In 1573 alone 1600 people were baptized.

17th Century
As Baçaim prospered under the Portuguese, it came to be known as "a Corte do Norte" or "Court of the North", it became a resort to "hidalgos" or noblemen and richest merchants of Portuguese India. Baçaim became so famous that a great Portuguese man would be called "Fidalgo ou Cavalheiro de Baçaim" or "Nobleman of Bassein". Baçaim during the Portuguese period was known for the refinement and wealth and splendor of its buildings, palaces and for the beauty of its churches. The Bassein fort which now lies in ruins was the administrative center and court of the northern province, and was subordinate only to Velha Goa in the south, the capital of the East Indies or the eastern faction of the Portuguese empire. The northern province consisted of a territory that extended as far as 100 kilometers along the coast, in between Damaon (Daman) and Chaul (Colaba district), and in some places extended 30-50 kilometers inland. It was the most productive Indian area under Portuguese rule.

In 1618, Baçaim suffered from a succession of disasters. First, it was struck by a plague then on 15 May, the city was struck by a deadly cyclone. It caused considerable damage to the boats and houses, and thousands of coconut trees were uprooted and flattened, monsoon winds had pushed brackish seawater inland. Many churches and convents of the Franciscans and Augustinians were affected by the disaster. The roofs of three of the largest churches in Bassein city including the seminary and the chapel of the Jesuits were ripped off, making the structure almost beyond repair. This storm was followed by so complete a failure of rain which resulted in famine-like conditions. In a few months, the situation grew so precarious that parents were openly selling their children to Muslim brokers into slavery rather than starving them to death. The practice was stopped by the Jesuits, partly by saving from their own scanty allowances and partly by donations from the rich. In 1634, Baçaim's population numbered about 400 Portuguese families, 200 Indian Christian families and 1800 slaves (Indians and Africans). In 1674, Bassein had 2 colleges, 4 convents, and 6 churches. In 1674, 600 Arab pirates from Muscat landed at Baçaim. The fort garrison remained within the fort walls. The pirates plundered all the churches outside of the fort walls and spared no violence and cruelty towards the people of Baçaim. In 1674, More Pundit stationed himself in Kalyan, and forced the Portuguese to pay him one-fourth of Baçaim's revenues. Two years later, Shivaji advanced near Saiwan. As the Portuguese power waned towards the end of the 17th century, Baçaim suffered considerably. The importance of Baçaim was reduced by the transfer of neighboring Bombaim island to the British in 1665. The East India Company had been coveting the relatively safe Bombay Harbour for many years, even before their trading post was affected by the Sack of Surat. Bombaim was finally acquired by them through the royal dowry of Catherine Braganza, before that they had ventured to seize it by force in 1626 and had urged the directors of the East India Company to purchase it in 1652.

Their colonization efforts gradually divided the lands into estates or fiefs, which were granted as rewards to deserving individuals or to religious orders on a system known as foramen to whereby the grantees were bound to furnish military aid to the king of Portugal or where military service was not deemed necessary, to pay a certain rent. Portuguese administration saw frequent transfers of officers and the practice of allowing the great nobles to remain at court and administer their provinces.

The Portuguese trade monopoly with Europe could henceforth last only so long as no European rival came upon the scene.

The community known as the "Bombay East Indians" were called Norteiros (Northern men) after the Court of the North, based in the fort.

Maratha Era

In the 18th century, the Bassein Fort was taken over by the Maratha Empire under Peshwa Baji Rao's brother Chimaji Appa and fell in 1739 after the Battle of Vasai. The fort was taken by the British in 1774 and returned to the Maratha in 1783 under the Treaty of Salbai. The British in 1818 attacked and again took over the territory from the Marathas. The fort also played a strategic role in the First Anglo-Maratha War.

Treaty of Vasai (1802)
The Treaty of Vasai (1802) was a pact signed on 31 December 1802 between the British East India Company and Baji Rao II, the Maratha Peshwa of Pune in India after the Battle of Pune. The treaty was a decisive step in the dissolution of the Maratha Empire.

Present
The fort is a major tourist attraction in the region. The ramparts overlook what is alternatively called the Vasai Creek and the Bhayandar Creek and are almost complete, though overgrown by vegetation. Several watch-towers still stand, with safe staircases leading up. The Buildings inside the fort are in ruins, although there are enough standing walls to give a good idea of the floor plans of these structures. Some have well-preserved facades. In particular, many of the arches have weathered the years remarkably well. They are usually decorated with carved stones, some weathered beyond recognition, others still displaying sharp chisel marks.

Three chapels inside the fort are still recognisable. They have facades typical of 17th-century Churches. The southernmost of these has a well-preserved barrel-vaulted ceiling. Besides all the structures, tourists often also observe the nature that has taken over much of the fort. Butterflies, birds, plants and reptiles can all be observed.

The fort is also a popular shooting location for Bollywood movies and songs. The Bollywood hit songs Kambakkht Ishq from Pyaar Tune Kya Kiya, Poster Lagwa Do from Luka Chuppi are Bollywood songs short at the fort. Movies such as Josh starring Shah Rukh Khan, and Love Ke Liye Kuch Bhi Karega have a number of scenes from the fort. Other films shot here include Khamoshi: The Musical and Ram Gopal Verma's Aag. The fort was also one of the shooting locations for the international hit song Hymn for the Weekend by British band Coldplay. The fort showcased at the start and in between is the Vasai Fort. The video features Beyoncé and Indian actress Sonam Kapoor. The video has over 960 million views on YouTube as of July 2018, becoming the second most-viewed music video for Coldplay (after "Something Just like This").

The Archaeological Survey of India has started restoration work of the fort, although the quality of the work has been severely criticised by "conservation activists".

Accessibility
To visit the Vasai Fort, take a Western Railways train bound to Virar from Churchgate in Mumbai and alight at the Vasai Road Railway Station. If you are departing from the Central Railway or Central Railway Harbour Line, then you have to switch to the Western Railway line at either Dadar, Bandra or Andheri. Another railway line connects the Central and the Western Railways lines from Vasai Road Railway Station to Diva, a stop just beyond Thane city on the Central Railway line, and long-distance passenger trains travelling this route also carry commuters between the two lines. There is a railway station named Kopar between Diva and Dombivli. Passengers travelling from Thane or Kalyan can alight at Kopar and walk up the staircase and to Platform No. 3 where they can catch the Diva to Vasai train. The Vasai Road station is only an hour by train from Kopar station. Currently, there are 5 trains daily which goes to Vasai Road from Dombivli, Diva and Panvel and 5 trains from Vasai Road to Diva and Panvel. There is a State Road Transport Bus Terminus & Station adjacent and to the immediate west of the Vasai Road Railway Station in Manickpur-Navghar. The destination for buses going to the Vasai Fort is "Killa Bunder" or "Fort Jetty/Quay". There are buses every half-hour. Tickets cost ₹15 per person and you can alight at the last stop and walk around. Auto rickshaws are also available, which can be hired from the western entrance to the railway station but cost more per head and are regarded as unsafe in that they are usually congested. Auto rickshaws are also available, which can be hired from the main road outside the station but it is ₹ 40 per person.

Gallery
Some fauna and flora inside the fort:

title: Fort Vasai


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He's the DJ, I'm the Rapper

He's the DJ, I'm the Rapper (also known as I'm the Rapper, He's the DJ due to the way the title is printed) is the second studio album by American hip hop duo DJ Jazzy Jeff & The Fresh Prince. It was the first double album in hip hop music, and was the eighth rap album to become a platinum album.

The album was certified triple platinum by the Recording Industry Association of America (RIAA) on February 1, 1995, and is the duo's most successful album. In 1998, the album was selected as one of The Source magazine's 100 Best Rap Albums.

Singles
The album's first single, "Brand New Funk", was only released promotionally and, thus, failed to achieve any commercial success. However, the album's second single, "Parents Just Don't Understand", won the first-ever Grammy Award for Best Rap Performance and reached number 12 on the US Billboard Hot 100. Although the album's third single, "Nightmare on My Street", which reached number 15 on the US Billboard Hot 100, was considered for inclusion in the movie A Nightmare on Elm Street 4: The Dream Master, the producers of the film decided against its inclusion. As a result, later vinyl pressings of the album contain a disclaimer sticker that says, "[This song] is not part of the soundtrack...and is not authorized, licensed, or affiliated with the Nightmare on Elm Street films."

Original vinyl and cassette release
While released as a double album, Sides C and D were labeled as "Bonus Scratch Album."

Original CD release
On the original CD, "Nightmare on My Street", "As We Go", "D.J. on the Wheels," and the final four songs appeared in edited form, and "Another Special Announcement" was omitted. A German edition omitted "Jazzy's in the House" and "Human Video Game" instead. On September 8, 2017, the full vinyl version was finally issued as a double CD set that was released by Real Gone Music under license from Sony Music Entertainment with bonus tracks.

Samples and interpolations

 * "A Nightmare on My Street"
 * Theme from A Nightmare on Elm Street by Charles Bernstein

 * "Here We Go Again"
 * "Westchester Lady" by Bob James

 * "Brand New Funk"
 * "Bouncy Lady" by Pleasure
 * "Funky President (People It's Bad)" by James Brown
 * "I Can't Live Without My Radio" by LL Cool J
 * "(Fallin' Like) Dominoes" by Donald Byrd

 * "As We Go"
 * "Impeach the President" by The Honey Drippers

 * "Parents Just Don't Understand"
 * "Won't You Be My Friend" by Peter Frampton

 * "Pump Up The Bass"
 * "Funky Drummer" by James Brown

 * "Let's Get Busy, Baby"
 * "Sir Duke" by Stevie Wonder

 * "Time To Chill"
 * "Breezin'" by George Benson

 * "He's the D.J., I'm the Rapper"
 * "Jungle Love" by Steve Miller Band

 * "Live At Union Square (November 1986)"
 * "Got to Be Real" by Cheryl Lynn
 * "Apache" by Incredible Bongo Band
 * "Dance To The Drummer's Beat" by Herman Kelly and Life

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

title: He's the DJ, I'm the Rapper


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Phyletic gradualism

Phyletic gradualism is a model of evolution which theorizes that most speciation is slow, uniform and gradual. When evolution occurs in this mode, it is usually by the steady transformation of a whole species into a new one (through a process called anagenesis). In this view no clear line of demarcation exists between an ancestral species and a descendant species, unless splitting occurs. The theory is contrasted with punctuated equilibrium.

History
The word phyletic derives from the Greek φυλετικός phūletikos, which conveys the meaning of a line of descent. Phyletic gradualism contrasts with the theory of punctuated equilibrium, which proposes that most evolution occurs isolated in rare episodes of rapid evolution, when a single species splits into two distinct species, followed by a long period of stasis or non-change. These models both contrast with variable-speed evolution ("variable speedism"), which maintains that different species evolve at different rates, and that there is no reason to stress one rate of change over another.

Evolutionary biologist Richard Dawkins argues that constant-rate gradualism is not present in the professional literature, thereby the term serves only as a straw-man for punctuated-equilibrium advocates. In his book The Blind Watchmaker, Dawkins observes that Charles Darwin himself was not a constant-rate gradualist, as suggested by Niles Eldredge and Stephen Jay Gould. In the first edition of On the Origin of Species, Darwin stated that "Species of different genera and classes have not changed at the same rate, or in the same degree. In the oldest tertiary beds a few living shells may still be found in the midst of a multitude of extinct forms... The Silurian Lingula differs but little from the living species of this genus".

Lingula is among the few brachiopods surviving today but also known from fossils over 500 million years old. In the fifth edition of The Origin of Species, Darwin wrote that "the periods during which species have undergone modification, though long as measured in years, have probably been short in comparison with the periods during which they retain the same form".

title: Phyletic gradualism


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Toxic Reasons

Toxic Reasons were an American punk rock band, formed in 1979. The band released nine full-length studio albums between 1982 and 1995.

History
Toxic Reasons formed in Dayton, Ohio, in 1979. The founding members were Bruce Stuckey (bass guitar and vocals), Joel Agne (guitar and vocals), Ed Pittman (lead vocals) and Mark Patterson (drums).

In 1980, Agne left the band and was replaced by Greg Stout on bass, while Stuckey switched to lead guitar. In 1981, Patterson left the band and was replaced by James J. "J.J." Pearson on drums. Rob "Snot" Lucjak also joined on rhythm guitar.

They recorded their first studio album, Independence, at Keystone Recording in Indianapolis, Indiana, then went on tour and moved to San Francisco, where their label, Risky Records, was located. David "Tufty" Clough (formerly of Zero Boys) joined the band on bass guitar.

Pittman left the group following the release of Independence. During this time, the band created a logo showing the U.S., Canadian, and British flags joined. The symbol not only represented their tri-national roots (Pearson from Canada, Clough and Lucjak from England, and Stuckey from the U.S.), but also came to symbolize the diversity of their sound, which mixed fast hardcore punk with melodic guitar lines and elements of punk-reggae.

The band's last album, No Peace in Our Time (1995), was the first-ever punk rock CD-ROM released for Mac and Windows. It included short videos, a history of the band's history as told by Stuckey and a karaoke competition with "White Noise". Several songs from No Peace in Our Time appeared in the 1997 feature film The Waiter, directed by G. Allen Johnson.

Later projects
In 2007, Pearson released a solo album, Only One Reason.

Clough later rejoined the reformed Zero Boys.

Pittman currently plays with the band New Regrets.

Band members

 * Bruce Stuckey - guitar, vocals (1979–1995)
 * Ed Pittman - lead vocals (1979–1983)
 * Mark Patterson - drums (1979-1981)
 * Joel Agne - guitar, vocals (1979–1980)
 * Greg Stout - bass (1980-1982)
 * Jimmy Joe "J.J." Pearson - drums, vocals (1981–1995)
 * Rob "Snot" Lucjak - bass, guitar, vocals (1981–1985)
 * David "Tufty" Clough - bass, vocals (1982–1995)
 * Terry Howe - guitar (1986; died 2000)
 * Federico "Fefo" Forconi - guitar (1988-1989)

Studio albums

 * Independence (1982, Risky Records)
 * Kill By Remote Control (1984, Sixth International Records)
 * Within These Walls (1985, Treason Records)
 * Bullets for You (1986, T-Reason Records)
 * Dedication 1979-1988 (1988, SFunhouse Records)
 * Anything for Money (1989, SPV/Hellhound)
 * Fashion for Fascism (1990, Lone Wolf Records)
 * In the House of God (1993, Bitzcore)
 * No Peace in Our Time (1995, Bitzcore, 1995)

Singles and EPs

 * "War Hero"/"Somebody Help Me" 7-inch single (1980, Banit Records)
 * "Ghost Town"/"Killer", "Noise Boys" 7-inch single (1981, Risky Records)
 * "God Bless America"/"Can't Get Away", "Destroyer" 7-inch single (1984, T-Reason Records)
 * Nobody Tells Us 7-inch EP (1990, Selfless Records)
 * Toxic Reasons/ZB split 7-inch EP with Zero Boys (1992, Selfless Records)
 * No Pity 7-inch EP (2018, Artcore Fanzine)

Live albums

 * Live Berkeley Square December 1981 (2014, Beer City Records)

Compilations

 * Essential Independence (2015, Beer City Records)
 * God Bless America? (2022, Audio Platter)

Compilation appearances

 * Process Of Elimination E.P. (Touch & Go) (1981) - "Riot Squad"
 * The Master Tape (Nimrod/Affirmation) (1982) - "Mercenary", "Punk and Disorderly"
 * Charred Remains (Noise) (1982) - "Somebody Help Me"
 * We Won't Be Your Fucking Poor (Mortarhate) (1985) - "Powercrazed"
 * Symphonies For The Disaffected cassette (Beer Belly Tape) (1985) - "Destroyer", "Mercenary"
 * We Don't Need Nuclear Force (Mulleimer) (1986) - "God Bless America", "Can't Get Away"
 * The Power Of Love-International Hardcore Compilation (Starving Missle) (1986) - "Never Give In", "Party Is Over"
 * When The Bow Breaks cassette (Red Glare) (1988) - "Turn The Screw"
 * Live Treatment cassette (Shotgunning Tape SXXXXX Inc./Discraceland) (1989) "If The Kids..."
 * Children Of The Corn: Compilation Of Indiana Bands (Sonic Iquana) (1990) - "Shut You Down"
 * Nothing Lasts (Flex!/Bitzcore) (1991) - "Somebody Help Me"
 * Reagan Regime Review (Selfless) (1991) - "Somebody Help Me"
 * That's Pop Bix (Pop Bix) (1993) - "Roadkill"
 * Bloodstains Across The Midwest (Bloodstains) (1994) - "War Hero"
 * For A Fistful Of Yens! (Bitzcore|Indigo) (1994) - "Headfirst", "White Noise"
 * Ox-Companion #17-No Way Out (Ox Fanzine) (1994) - "Armageddon Night"
 * Cheap Thrills (Bitzcore/Victory Europe/We But) (1994) - "Friends"
 * Stange Notes! A Germ Cover Compilation (Bitscore) (1994) - "Not All Right", "Caught My Eye"
 * Identity II (Century Media) (1995) - "Armageddon Night"
 * So You Wanna Be A Rock 'N' Roll Compilation? (Bitzcore) (1998) - "Mark 13", "Goin' Nowhere", "Break The Bank"
 * We Won't Take No More (Mortarhate) (1995) - "Powercrazed"
 * Rock The Ripple '95 (Rock The Ripple) (1995) - "Show No Mercy"
 * Splitter Kompilaischn #1 (Art Beat) (1997) - "Friends"
 * Dance To The Revolution (Mad Butcher/KOB) (1999) "Third World America"
 * Best Rare Alternative cassette (Valentine Sound Productions) (1999) - "Goin' Nowhere"
 * H.E.A.R. (Sub City) (2000) - "Time"
 * Counter Attack (Beer City) (2003) - "Drunk And Disorderly"
 * Punk Подвал (Rebel Records Russia) (2004) - "Mercenary"
 * Ox Compilation #137 (Ox Fanzine) (2008) - "White Noise"
 * Goudvishal (Hectic Recs) (2022) - "God Bless America"
 * Punk For Ukraine Vol. #1 2XCD (Grimace) (2022) - "Unholy War"

Videos
Target Video Presents Live! VHS (1984, Target Video)

title: Toxic Reasons


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Mandara Mountains

The Mandara Mountains are a volcanic range extending about 190 km (about 120 mi) along the northern part of the Cameroon–Nigeria border, from the Benue River in the south (9.3°N, 12.8°W) to the north-west of Maroua in the north (11°N, 13.9°W). The highest elevation is the summit of Mount Oupay, at 1,494 m (4,900 ft) above sea level (°N, °W).

The region is densely populated, mainly by speakers of Chadic languages, including both the Mofu and the Kirdi ethnic groups.

Extensive archaeological research has been undertaken in the Mandara Mountains, including work at Diy-Gid-Biy (DGB) sites.

Geology
The Mandara Mountains were formed millions of years ago when a continental plate of basement rock deep beneath the African continent rose up, fragmenting and splitting as it was pushed to the surface. The climate was significantly wetter in those times, so enormous amounts of precipitation formed numerous rivers that rushed through these fractures, carving them deeper and wider, resulting in the range's notably rugged terrain.

Volcanic activity also played a role in the formation of the range. Eruptions of lava formed volcanic cones whose vents were eventually plugged with hardening magma. These hardened cores are called volcanic plugs. In the case of the Mandara Mountains, the plugs were much more erosion-resistant than the exterior of the cones, which wore away over time. Eventually, only the plugs remained, forming the stark, needle-like spires such as Kapsiki Peak that the range is known for.

Gallery

Climate
The ecoregion has tropical savanna climate, moderated by elevation. Average annual rainfall varies from 800 to 1000 mm depending on location. Most rain falls during the long wet season from May to October, and the rest of the year is dry.

Ecology
The higher elevation and rainfall of the mountains sustained plant communities distinct from the surrounding lowlands.

Open woodlands, dominated by the tree Isoberlinia doka, were once the dominant plant community in the ecoregion, In relatively intact woodlands the trees reach 12 to 18 meters high, and tree cover averages 50% or more. Grasses form the understory The highest-elevation areas, from 1,200 to 1,494 meters elevation, are home to a mix of lowland (Sudanian) and montane and submontane (Afromontane) species, including some rare and endemic plants and reptiles. The vegetation has been profoundly altered by heavy grazing, burning, and conversion to agriculture, and only fragmented and degraded areas of woodland remain.

Mozogo-Gokoro National Park and Mayo-Louti Forest Reserve in Cameroon cover lower-elevation portions of the mountains. The high peaks, which are of the greatest biological interest, are unprotected.

People
The Mandara Mountains sustain a relatively dense population, despite the topography and relatively poor soils. Historically the mountains were a refuge for people resisting conquest or enslavement by states on the surrounding plains, and the mountains sustain a great diversity of languages and traditional religions.

Local people developed a system of intensive agriculture involving the construction of terraces and measures to retain and improve soil fertility. Terraces were built on hillsides to protect soil from erosion, and can extend from valleys to the high mountain slopes. Crop rotation between sorghum, millet, and legumes maintains soil fertility and reduces pests. Trees are used for shade, fodder, and green manure. Khaya senegalensis and Acacia albida are the most important, along with about 30 other species. Domestic sheep, goats, and cattle are kept and fed in pens during the crop-growing season, and their manure is deposited on the terraces after each harvest. Domestic animals are allowed to graze on the terraces' plant stubble after harvest to ensure that the manure fertilizes the fields. Household, human, and plant waste is used to improve the soil on terraces.

title: Mandara Mountains


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And in This Corner...

And in This Corner… is the third studio album released by MC/DJ duo DJ Jazzy Jeff & The Fresh Prince. The album was released in October 1989, reaching #39 on the US Billboard 200 albums chart. The album was not released on Compact Disc in the UK. However, it was available on this format in most of Europe.

For the album, the duo took influence from jazz and funk alongside their typical repertoire. They utilized trumpets, saxes, and flutes. Lyrical concepts are fully developed, and set between the comical and crowd concepts. Smith said later that most of the recording time was spent partying in the Bahamas rather than working, and that the record suffered for their lack of discipline. Upon its release, the album was a commercial success as it sold over half a million copies, and was certified Gold by the RIAA. However, compared to the duo's previous work, the album was considered a letdown, only selling half as many copies.

Nevertheless, the album received two Grammy Awards nominations including Best Rap Performance for their first single "I Think I Can Beat Mike Tyson" in 1990 (which lost to Young MC's "Bust a Move") and Best Rap Performance by a Duo or Group for the album itself in 1991 (which lost to Quincy Jones, Big Daddy Kane, Ice-T, Kool Moe Dee, Melle Mel & Quincy Jones III's "Back on the Block").

Track listing

 * 1) "Then She Bit Me" - 3:35
 * 2) "I Think I Can Beat Mike Tyson" - 4:49
 * 3) "Jazzy's Groove" - 3:43
 * 4) "Everything That Glitters (Ain't Always Gold)" - 4:17
 * 5) "You Got It (Donut)" - 4:56
 * 6) "The Girlie Had a Mustache" - 4:32
 * 7) "The Reverend" - 4:31
 * 8) "Who Stole My Car?" - 4:57
 * 9) "The Men of Your Dreams" - 4:52
 * 10) "Numero Uno" - 4:08
 * 11) "Too Damn Hype" - 5:41
 * 12) "Jeff Waz on the Beat Box" - 5:42

Samples
Jazzy's Groove Jeff Waz on the Beatbox The Girlie Had a Mustache The Reverend Too Damn Hype Who Stole My Car? You Got It (Donut) Numero Uno The Men of Your Dreams
 * "The Champ" by The Mohawks
 * "Funky Drummer" by James Brown
 * "Synthetic Substitution" by Melvin Bliss
 * "Nautilus" by Bob James
 * "Saturday Night Style" by Mikey Dread
 * "Eric B. Is President" by Eric B. & Rakim
 * "Bring the Noise" by Public Enemy
 * "Put the Music Where Your Mouth Is" by The Olympic Runners
 * "Sing Sing" by Gaz
 * "You'll Like It Too" by Funkadelic
 * "Escape-Ism" by James Brown
 * "Think (About It)" by Lyn Collins
 * "You Can Have Watergate Just Gimme Some Bucks and I'll Be Straight" by Fred Wesley and The J.B.'s
 * "Bounce, Rock, Skate, Roll" by Vaughan Mason and Crew
 * "Dance to the Music" by Sly & the Family Stone
 * "Good Times" by Chic
 * "The Big Beat" by Billy Squier
 * "Here We Go (Live at the Funhouse)" by Run-DMC
 * "The Grunt" by The J.B.'s
 * "Funky President" by James Brown
 * "I Know You Got Soul" by Bobby Byrd
 * "Eric B. Is President" by Eric B. & Rakim
 * "Public Enemy No. 1" by Public Enemy
 * "Change the Beat (Female Version)" by Fab 5 Freddy feat. Beeside

title: And in This Corner...


text:
Lindeman (characters)

Lindeman is the surname of a large family of fictional characters portrayed by Swedish comedian Hans Alfredson in improvised monologues. Alfredson performed as Lindeman in the revues Gröna hund (1962), Gula hund (1964), Lådan (1966-1967) and Under dubbelgöken (1979). Every evening when the revues were played, an interviewer played by Lasse O'Månsson or Tage Danielsson would mention a topic from that day's newspaper and introduce a character called Lindeman. Alfredson would then improvise over the given topic.

Alfredson got the idea for the Lindeman sketches when he visited New York City together with Povel Ramel, and went to a so-called "instant theater" in Greenwich Village. The audience were allowed to request sketches on different topics, but Alfredson was unimpressed by the fact that when he and Ramel returned on the next evening, the actors performed the same "improvised" sketches. The different incarnations of Lindeman were thus all different, and had different occupations which in some way related to the topic of the day.

In the first series of Lindeman sketches in Gröna hund in 1962, all the characters had the first name Valfrid and were interviewed by O'Månsson. The recurring punchline for this first series was that they always ended up with that evening's Lindeman having his waistcoat stuck in his trouser zipper. In Gula hund, the Lindemen were introduced as Valfrid's son, Malte. The waistcoat-and-trousers running gag was abandoned, and it was Danielsson who acted as the interviewer from this point onwards. In Lådan and Under dubbelgöken, the Lindemen had different first names, and were occasionally female.

Alfredson and Danielsson also released a number of LP records with Lindeman sketches. In an interview in 1982, when the duo had sold 350,000 copies of their records, Alfredson declared that he would not perform the character again, saying "Lindeman is dead, and the final record was posthumous."

title: Lindeman (characters)


text:
Savoy Pier

The Savoy Pier was a river pier located just to the south of the Savoy Hotel on the river Thames, close to the site of the old Savoy Wharf. The pier was the first central London base of Woods River Cruises Ltd, and was designed by Beckett Rankine in 1998 as a temporary structure. It is an unusual design being restrained by transverse radial arms and longitudinal mooring cables. The contractor was Downtown Marine Construction who have since ceased trading

Scheduled river bus services operated from Savoy Pier from April 2004, to November 2008 when they were transferred to Embankment Pier, a short distance up the Thames. It was decommissioned and removed in late 2019, and was replaced by a new 140m mooring pontoon known as 'Woods Quay' in July 2020. It has been proposed that Savoy Pier be relocated to Hammersmith Embankment to be used for a new cross-river Thames Clipper service.

Other public transport nearby

 * Embankment Pier (Thames Clippers Riverline)
 * Embankment Underground station (Circle and District lines)
 * Temple Underground station (Circle and District lines)
 * Covent Garden Underground station (Piccadilly line)

Nearby Places

 * Covent Garden
 * South Bank Centre

title: Savoy Pier


text: Category:Meridians (geography)

title: Category:Meridians (geography)


text:
Antti Kalliomäki

Antti Kalliomäki (born 8 January 1947) is a Finnish politician and former athlete. Kalliomäki is a member of the Social Democratic Party of Finland (SDP) and was a member of the Parliament of Finland from 1983 until 2011. He retired from politics in 2011.

Politics
He served as Minister of Trade and Industry in the first Lipponen cabinet from 1995 to 1999. Kalliomäki was the Deputy Prime Minister and the head of SDP ministerial group in Jäätteenmäki and first Vanhanen cabinets. He hold the posts of Minister of Finance from April 2003 to September 2005 until he was replaced by the new Chairman of SDP, Eero Heinäluoma. Kalliomäki continued in the cabinet as the Minister of Education from September 2005 to April 2007.

Kalliomäki was the chairman of the SDP parliamentary group from March 1991 to April 1995 and again from March 1999 until April 2003. In municipal politics, Kallomäki was member of Vantaa city council 1984–2000 and was in the municipal council of Nurmijärvi from 2005 until his retirement.

Athletics
Before his political career, Kalliomäki was a successful athlete and won the silver medal in pole vault at the 1976 Summer Olympics in Montreal and participated also in the 1972 and 1980 Olympic Games. His personal record is 566 cm.

International competitions
1No mark in the final

title: Antti Kalliomäki


text:
Wikipedia:Articles for deletion/Alexandra Paris

 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 to delete the article. --Canderson7 15:13, September 6, 2005 (UTC)

Alexandra Paris
This appears to be a vanity page JoanneB 11:04, 28 August 2005 (UTC)

First off this is not a vanity page. Miss Paris is actually a legitmate actress and local TV personality here in Portland and you have pages for athletes, talk show hosts, models, actors and actress, and even rock stars here on the site. Are they not vanity pages too? If so they don't belong here either and you should delete them immeditely. Or are you picking on her because she hasn't won an Oscar or made over 20 million? As I see it, her space has every right to be here just as much as someone who is famous.

Badgirl 1701
 * Delete The impression I get from the page is that her acting consists of amateur musicals and access TV. Vanity.--Porturology 12:26, 28 August 2005 (UTC)

Oh really? Every actor an actress has started somewhere, even access TV. I have watched her over the years and she has grown quite a bit as a performer. Infact if you want to challege the vanity pages. Let's take a look at the pages of Courtney Love and Paris Hilton for example. Are they not vanity pages? I would think so. These two have no talent whatsoever but yet they are listed on here. But hey while you're at it why not delete ever single athlete, actor, dancer, and performer off this site reguardless. I say if you delete her. You have delete all those celebrities as well because they are vanity pages too.

Badgirl 1701
 * Delete great attempt to disguise non-notability with irrelevant details (e.g., animal house!). wow. SaltyPig 12:37, 28 August 2005 (UTC)

Like I said. If you are going to get rid of her. You might as well delete all the other celbrity vanity pages too. It's only fair.

 * It's not our place to judge talent here, as that's an opinion. We go on verifiable facts.  I see no mention of her in allmovie. Delete  Friday (talk) 14:10, 28 August 2005 (UTC)
 * Delete. Not notable - the rigorous defence of the page by Badgirl 1701 leads me to believe it is possibly vanity as well. By "vanity", we mean pages created by the person in question. Halo 14:15, 28 August 2005 (UTC)
 * Delete. nn-bio, vanity. I'm particularly amused by "Alexandra has been a Portland native since 1992". I guess she's only 12 years old! MCB 18:27, 28 August 2005 (UTC)
 * Delete article does not establish notability Sliggy 18:29, August 28, 2005 (UTC)
 * While Ms Paris may be notable within the Portland gay and lesbian community, she does not appear to meet the standards of notability outlined in WP:BIO.Delete Capitalistroadster 19:38, 28 August 2005 (UTC)
 * Delete. Self-made page. Andrew pmk | Talk 21:53, 28 August 2005 (UTC)
 * Delete. If you look at her so-called "filmography" at http://www.musecube.com/AlexandraParis/about.htm, I can find no record at imdb for any of the movies listed (not even the one with Debbie Rochon), and of the movies listed, she seems to be basically an extra even in those non-notable movies.  If we discount her supposed movie career, then all we have is that she's a cable access host.  That is not notable whatsoever.  Zoe 22:07, August 28, 2005 (UTC)
 * hey, i was a cable access host. are you trying to imply that pretty much anybody can be one? in five minutes? well... okay. you're right. SaltyPig 22:24, 28 August 2005 (UTC)
 * Delete I wikified this page because the linking format was making me think I was judging this page with insufficient attention to content, but now that I've read Capitalistroadster's comment, I believe that she fails the entertainer's test at WP:Bio not having starring or many supporting (albiet a few) roles in movies with an audience of > 5,000. -SocratesJedi | Talk 22:44, 28 August 2005 (UTC)
 * I would have to question that any movie she has been in has been seen by 5000 people. Zoe 04:30, August 29, 2005 (UTC)

 * Delete. I live in the Portland area; I've never heard of her.  Plus, whether or not you think the likes of Courtney Love and Paris Hilton are talented or not; they certainly are notable--being famous is a sufficient condition for notability.  Appearing on cable access, isn't. --EngineerScotty 00:20, 30 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.


text:
Move Your Body (Eiffel 65 song)

"Move Your Body" is a song by Italian musical group Eiffel 65. It was released as the third single from their debut album, Europop, on 4 November 1999.

Composition
"Move Your Body" is a bubblegum techno and disco song played in D minor at 130 BPM. It has dance-oriented sounds and uses the same pitch shifter–based distortion as the vocals from the previous single, "Blue (Da Ba Dee)". Group member Jeffrey Jey claimed that the song "had tried to recall the original spirit of the dance, understood as a vehicle to bring together and communicate with people."

Critical reception
Entertainment Weekly said in a review of Europop that it was hard to call "Move Your Body" a "timeless masterpiece," but it was impossible to hate it. Billboard called it a "kitschy electronic number" and commented on "the song's catchy melody, addictive lyrical redundancy, and the familiar computerized voice of the trio's Jeffrey Jey".

Commercial performance
While the single was issued through WEA Records in Italy, it was licensed to several labels for international release. In the UK, it was licensed to Warner Music Group's Eternal label, in the US to Universal Music Group's Republic, in Germany to BMG Berlin, in France to Scorpio, in Spain to Blanco y Negro, in Australia to Central Station, and to Valentine and Avex in Southeast Asia.

The song achieved huge success in many countries, topping the charts of Austria, Denmark, France, Italy and Spain; however it charted at only number 36 on the US Billboard Top 40 Mainstream.

Elia Habib, an expert of the French charts, noted the great efficiency of the song on the SNEP chart, since it was strong enough to dislodge the massive hit "Mambo No. 5 (A Little Bit Of...)" and to resist to its competitors, which prevented Eiffel 65 to remain a one-hit wonder, and enabled the band to become the first one to get its second number one single in France.

Music video
The music video is sort of a sequel to the music video for “Blue (Da Ba Dee)”, as it features the same blue aliens (their leader being named Zorotl). The band has a concert on the planet of the blue aliens, when a group of hostiles capture a female alien. The band (with the help of Zorotl) use a teleportation device to search for her. When they find her, the hostiles join the concert.

Track listings
CD maxi 1 - Germany
 * 1) "Move Your Body" (D.J. Gabry Ponte original radio edit) — 4:30
 * 2) "Move Your Body" (D.J. Gabry Ponte original club mix) — 5:54
 * 3) "Move Your Body" (D.J. Gregory Kolla & Alex X Funk Claywork mix) — 6:20
 * 4) "Move Your Body" (D.J. Gabry Ponte speed cut) — 5:32

CD maxi 2 - Germany
 * 1) "Move Your Body" (D.J. Gabry Ponte original video edit) — 3:30
 * 2) "Move Your Body" (D.J. Gabry Ponte speed radio cut) — 3:31
 * 3) "Move Your Body" (D.J. Gabry Ponte original club mix) — 5:54
 * 4) "Move Your Body" (Roby Molinaro forge edit) — 7:03
 * 5) "Blue (Da Ba Dee)" (Molinaro parade German cut) — 2:47

CD maxi - UK
 * 1) "Move Your Body" (D.J. Gabry Ponte edit) — 3:29
 * 2) "Move Your Body" (D.J. Gabry Ponte original club mix) — 5:55
 * 3) "Move Your Body" (album sampler megamix) — 6:07

CD single
 * 1) "Move Your Body" (D.J. Gabry Ponte original video edit) — 3:30
 * 2) "Move Your Body" (D.J. Gabry Ponte original club mix) — 5:54

12-inch maxi - Spain
 * 1) "Move Your Body" (D.J. Gabry Ponte original club mix) — 5:45
 * 2) "Move Your Body" (D.J. Gabry Ponte speed cut) — 5:31
 * 3) "Move Your Body" (Roby Molinaro forge edit) — 7:03

12-inch maxi - UK
 * 1) "Move Your Body" (D.J. Gabry Ponte original club mix) — 5:55
 * 2) "Move Your Body" (D.J. Gregory Kolla & Alex X Funk Claywork mix) — 6:25
 * 3) "Move Your Body" (Roby Molinaro forge edit) — 7:03
 * 4) "Move Your Body" (casino machine Paris dub) — 7:01

title: Move Your Body (Eiffel 65 song)


text:
User:Two2the8

this is the Two2the8 User page. thanks for showing up.

title: User:Two2the8


text:
Homebase (album)

Homebase is the fourth studio album released by hip-hop duo DJ Jazzy Jeff & The Fresh Prince. The album was released on July 23, 1991, reaching number 12 on the Billboard 200 charts and number 5 on the Top R&B/Hip-Hop Albums chart. It received generally favorable reviews from critics. The album was certified Platinum and won an American Music Award for Favorite Rap/Hip-Hop Album in 1992.

Album information
Four singles were released from the album: "Summertime", "The Things That U Do", "Ring My Bell", and "You Saw My Blinker". The second track on and lead single from the album, "Summertime", earned the duo a second Grammy Award for Best Single in early 1992. Smith admitted that he tried to make his voice sound deeper than usual for this album, as many fans enjoyed the track "Then She Bit Me" from the duo's previous album, And in This Corner..., which was sung in this style, while "You Saw My Blinker" is one of only two instances in which Smith uses obscenities in his music. The single "Ring My Bell" reached number 20 on the Billboard Hot 100 and number 22 on the Hot R&B/Hip Hop Singles chart.

title: Homebase (album)


text:
Yefremov

Yefremov or Efremov (Ефремов) and Yefremova or Efremova (Ефремова; feminine) is a common Russian surname. It is derived from the male given name Yefrem and literally means Yefrem's. Yefrem is the Russian form of the Hebrew name Ephraim, first used by the Israelite patriarch of that name. In Hebrew, the name means "fruitful, fertile and productive". The following individuals refer to Yefremov.

 * Aleksandr Yefremov:
 * Aleksandr Illarionovich Yefremov (1904–1951), Soviet politician, head of Moscow from 1938 to 1939
 * Alexander P. Yefremov (born 1945), Russian physicist
 * Andriy Yefremov (born 1993), Ukrainian footballer
 * Dmitry Yefremov:
 * Dmitry Yefremov (born 1974), Russian football player and coach
 * Dmitry Yefremov (born 1991), Russian football player
 * Dmitry Yefremov (born 1995), Russian football player
 * Iliyan Efremov (born 1970), Bulgarian pole vaulter
 * Ivan Yefremov (1907–1972), Soviet science fiction writer and paleontologist
 * Mikhail Yefremov:
 * Mikhail Grigoryevich Yefremov (1897–1942), Soviet military commander
 * Mikhail Olegovich Yefremov (born 1963), Soviet and Russian actor, son of Oleg Yefremov
 * Mikhail Timofeyevich Yefremov (1911–2000), Soviet politician and diplomat
 * Oleg Yefremov (1927–2000), Soviet and Russian actor
 * Oleksandr Yefremov:
 * Oleksandr Yefremov (born 1954), Ukrainian politician
 * Oleksandr Yefremov (functionary) (born 1948), Ukrainian football functionary
 * Pyotr Yefremov (1830–1908), Russian literary historian and publisher
 * Serhiy Yefremov (1876–1939), Ukrainian literary journalist and political activist
 * Yevgeni Yefremov:
 * Yevgeni Borisovich Yefremov (born 1970), retired Russian footballer
 * Yevgeni Gennadyevich Yefremov (born 1979), Russian footballer
 * Yevhen Yefremov (born 1994), Ukrainian footballer
 * Vasily Yefremov (1915–1990), Soviet ace, double Hero of the Soviet Union

as well as:
 * Antonina Yefremova (born 1981), Ukrainian sprinter
 * Lilia Vaygina-Efremova (born 1975), Ukrainian biathlete
 * Nelli Yefremova (1962–2019), Soviet sprint canoer

title: Yefremov


text:
Wikipedia:Articles for deletion/Swami Sai Premananda

Neither the google search nor his article indicate that this person, who is not to be confused with Swami Premananda, is notable. Andries 11:07, 28 August 2005 (UTC)

Keep: Having so much more than obscure figures represented at Wikipedia, it would be unfair to limit acceptance of this Premananda on a successful google research. I think it is even notable, that, if you read his philosphy, it is so similar or equal to so many others, that their should also be a category created, where all those masters and enlighten souls could be found.Thomas h 09:19, 1 September 2005 (UTC)

Keep: As Thomas has noted, the philosophy and teachings are what makes him notable. Not only that, I do believe that the Humanitarian works being done by this person deserves the attention of the world. Educating children and feeding the poor are definitely deserving on a fundamental basis.Talesh 13:32, 3 September 2005 (UTC)

Keep: Swami Sai Premananda has and will be doing significant international and domestic humanitarian work that is certainly notable by anyone's standards. I think it's important that the world be aware of the quick work he is doing so that more support can be found for future humanitarian endeavours. Also, his teachings on love and bhakti are universal and especially important at a time like this when these very fundamental concepts have seemingly been forgotten.Saik 20:47, 3 September 2005 (UTC)


text:
Armored train Hurban

The armored train Hurban was an armoured train used during World War II, during the Slovak National Uprising. The Hurban was constructed on September 25, 1944, in the Railway Manufactory in Zvolen, Slovakia, and was the last armored train used in the Slovak National Uprising. A replica is displayed as a monument in a park next to the castle in Zvolen, and an original preserved machine gun carriage is at the Museum of the Slovak National Uprising in Banská Bystrica.

Combat history
The commander of the train was Captain J. Kukliš, and his assistant was Lt. J. Belko, together commanding a crew of 71 men. Hurban operated in the Brezno – Červená Skala area against the 18th division SS Horst Wessel and from October 23–24, 1944, was the main factor in the fight for the upper flow of the Hron river. Despite suffering a damaged engine, it repulsed all German attacks. It was pulled to Harmanec, where it was abandoned in a railway tunnel, the crew fighting on as a partisan detachment.

title: Armored train Hurban


text:
Code Red (DJ Jazzy Jeff & the Fresh Prince album)

Code Red is the fifth and final studio album by the American hip-hop duo DJ Jazzy Jeff & The Fresh Prince, released on October 12, 1993, on Jive Records. The album peaked at number sixty-four on the Billboard 200 and number thirty-nine on the Top R&B/Hip-Hop Albums chart. On January 14, 1994, the Recording Industry Association of America certified the album gold. Four singles reached the Billboard charts; "Boom! Shake the Room", "I'm Looking for the One (To Be with Me)","I Wanna Rock", and "Can't Wait to Be With You".

Track listing

 * 1) "Somethin' Like Dis" – 4:08
 * 2) "I'm Looking for the One (To Be with Me)" – 4:35
 * 3) "Boom! Shake the Room" – 3:49
 * 4) "Can't Wait to Be with You" (featuring Christopher Williams) – 3:51
 * 5) "Twinkle Twinkle (I'm Not a Star)" – 5:23
 * 6) "Code Red" – 3:30
 * 7) "Shadow Dreams" – 4:05
 * 8) "Just Kickin' It" – 4:11
 * 9) "Ain't No Place Like Home" – 5:08
 * 10) "I Wanna Rock" – 6:19
 * 11) "Scream" – 4:31
 * 12) "Boom! Shake the Room" (Street Remix) – 4:30

Samples
Ain't No Place Like Home '''Boom! Shake the Room''' Can't Wait to Be With You Code Red I'm Looking for the One (To Be With Me) I Wanna Rock Just Kickin' It Scream Somethin' Like Dis Twinkle Twinkle (I'm Not a Star) '''Boom! Shake the Room (Street Remix)'''
 * "Melody for Thelma" by Blue Mitchell
 * "La Di Da Di" by Doug E. Fresh and Slick Rick
 * "Funky Worm" by Ohio Players
 * "The Jones' (12-inch Surgery Mix)" by The Temptations
 * "Jump" by Kris Kross
 * "You'll Like It Too" by Funkadelic
 * "Never Too Much" by Luther Vandross
 * "Atomic Dog" by George Clinton
 * "Date With The Rain" by Eddie Kendricks
 * "Funky President" by James Brown
 * "Tell Me if You Still Care" by The S.O.S. Band
 * "All Night Long" by Mary Jane Girls
 * "I Can't Live Without My Radio" by LL Cool J
 * "It Takes Two" by Rob Base & DJ E-Z Rock
 * "Think About It" by Lynn Collins
 * "Mystic Voyage" by Roy Ayers Ubiquity
 * "School Boy Crush" by Average White Band
 * "That's the Way (I Like It)" by KC & the Sunshine Band
 * "Jump" by Kris Kross
 * "Rock Box" by Run-DMC
 * "La Di Da Di" by Doug E. Fresh and Slick Rick
 * "It's a New Day" by Skull Snaps
 * "I Wanna Thank You" by Johnny Guitar Watson
 * "Black Steel in the Hour of Chaos" by Public Enemy
 * "Superfluous" by Eddie Harris
 * "Mama Said Knock You Out" by LL Cool J
 * "Come In Out of the Rain" by Parliament
 * "Wah Wah Man" by Young-Holt Unlimited
 * "Long Red" by Mountain


text:
Talk:Special Astrophysical Observatory of the Russian Academy of Science

Name Change
This article's name should be "Special Astrophysical Observatory of the Russian Academy of Sciences" (sciences, plural), but I don't know how to change the title. Perhaps someone else knows how? Patrickwooldridge (talk) 19:54, 12 September 2016 (UTC)

Untitled
Would a frame grab from the BTA-6 in-dome webcam qualify as fair use? There's no copyright information on the webcam page. I would imagine would be the most appropriate.--BillC 11:13, 28 August 2005 (UTC)

If you want to know you can ask by email, I'm sure they wouldn't mind.

'Largest telescope in the world?'
Discussion below was copied from User talk:84.34.132.226

Re: Zelenchukskaya, I thought that all mirrors larger than the BTA-6 were segmented, or have some solid mirrors a greater diameter? --BillC 12:31, 9 April 2006 (UTC)
 * After reading List of largest optical reflecting telescopes, I stand corrected. --BillC 13:00, 9 April 2006 (UTC)

The BTA-6 is the last big mirror of old "stiff" approach, and ever since mirrors have been placed on dynamic actively controlled supports, and thinner larger diameter glass plates are feasible for actual telescopes. -- Oh2mqk 9 Apr 2006
 * Now that sounds more like it. If we have a reference for this, it should be in the article. --BillC 07:38, 10 April 2006 (UTC)

Code 114 or 115?
Is the SAO IAU code 114 or 115? See the List of observatory codes. And what is the relation between the SAO and the Kazan University Observatory (Обсерватории Казанского Университета); V. P. Engel'gardt Astronomical Observatory (Астрономической Обсерватории им. В. П. Энгельгардта)? Urhixidur 04:27, 28 April 2007 (UTC) Formally SAO and Mountain station of Kazan University Observatory aka V. P. Engel'gardt Astronomical Observatory are two different organizations, they are just situated right next to each other...Kirx (talk) 17:11, 8 September 2008 (UTC)

WTF ?
Zelentchukskaya is the town (actually big village) 20 km north of Nizhniy Arkhyz, named after the river Zelenchuk that goes through Nizhniy Arkhyz. This article needs to be renamed, and there isn't much to say about Zelenchukskaya.
 * You may have a point here. I am the original creator of this article and, if I recall, I chose the name based upon the name given by the corresponding Encyclopaedia Britannia article. The Russian article is named 'Special Astrophysical Observatory RAN'. Perhaps Zelenchuk Observatory might be a better name. Thoughts? — BillC talk 00:05, 15 May 2007 (UTC)

I would drop the "Zelenchuk", it's the name used in popular astronomy magazines. People in the village of Nizhniy Arkhiz call the observatory SAO, and the complete name is SAO-RAN. RAN stands for Russian Academy of Science so you could name it SAO-RAS. Or better, to be complete "Special Astrophysical Observatory of the Russian Academy of Science", and then a redirect for SAO-RAS. Also in your article you mention the small town of Zelenchuk. It's not exact. Zelenchuk is the name of the river. The town is the town "of the Zelenchuk", Zelenchukskaya. There isn't much to say about Zelenchukskaya. It's about 10000 people and pretty rural. You can also add in your article that the observatory has 2 comfortable hotels (one in the village and one within walking distance of BTA) and can therefore be visited. If you want to add something about the science, www.sao.ru is the best source although most of it is not updated very often. There are many things to say about this observatory, feel free to ask if you would like to complete this article. Because of the popular name Zelenchuk you could make a redirect page at Zelenchuk, or better make a disambiguation page saying that Zelenchuk is the river, Zelenchukskaya a town on the Zelenchuk, and then add that the observatory above the Zelenchuk is often called Zelenchuk outside Russia.

...Oh, and I'm positive they wouldn't mind if you use a webcam shot of the BTA. But if you're really worried, send a short email to the email you'll find on http://w0.sao.ru/Doc-en/About/

NPOV
you have described this magnificent achievment as a peace of garbage.. you have included a link to a typcal cold war propaganda... first of all, initial result were not disapointing at all... this telescope was the best and the most modern at the world when its made and many years after... it is true that second mirror has better finish than first one but that doesnt mean that first mirror is so bad as you maked sound... it is not that dramatic difference... first mirror finish was 91% light to 1 arc second, second mirror finish was 91% to 0.8 arc second.

the first mirror was polished to the 0.01 μm accuracy but few little imperfections on the glass (scraches) caused some minor problems and thats why the mirror was changed... but anyhow it is not that dramatical.. they could leave the first mirror it would work fine... this few cracks were more like surface deep scraches.. and i dont see why is so important to empahisize first mirror imperfections when issue is corrected with second mirror which have finish quality and surface accuracy same as modern big mirror like subaru telesope built 25 years later.

it is normal that second mirror has better finish due to lesons learnt in making of first one, but again first one is also good...

the biggest problem of this telescope is its location and meteorogical conditions.. (sadly this is best site in russia) those temperatures changes make more problems than difference in first and second mirrors... with ideal conditions like in hawaii observatories this telescope would perform much better... it can achieve 0.6 arcsec, but it rarely makes better than 1 arcsec due bad weather... harsh enviroment is the biggest problem.. you can put any other telesope in this loaction and you will have the same problems...

it is decided to send first mirror (stored at observatory from 1979.) back to the the factory (it arrived in june 4th 2007.) to be thinned and repolished for the cost of 150 million rubbles and it would be put back on the telescope after its done. this will reduce the mirror weight and hopefully reduce influence of temperature changes... -=HyPeRzOnD=- 08:29, 21 June 2007 (UTC)

 * I concur. Please make necessary changes to tone down Cold War propaganda. --Ghirla-трёп- 23:33, 18 August 2007 (UTC)

Oh come on. The first mirror had numerous flaws that were "corrected" by covering them up with black fabric. The fact that they replaced it, at some expense one imagines, demonstrates how bad it was. To pretend that this is not a serious problem, or that the mirror was "good" as you state above, is precisely the sort of "Cold War propaganda" you're complaining about.

You point out that it can achieve 0.6 arseconds, but that's the first I've heard of this, the two independent references out there say 0.8. So let's compare that number with other instruments, comparing their diffraction-limited performance, their optical quality, and their astronomical seeing, both average and 10 percentile:

name      limit   optical av seeing  10% seeing BTA-6     0.023   0.8     ~2         1.5 Wilson 60 0.092   0.5     ~1         0.5 (getting worse) Hale 200  0.026   >0.5    (somewhat worse than Wilson) CFHT      0.039   0.2     0.4        0.25

These numbers are taken from the CFHT manual and the Mount Wilson historical seeing document. The BTA numbers are from the S&T article that we're all reading.

If we concern ourselves purely with numbers for the optics themselves, BTA is outperformed by telescopes that are 70 years older than it, and it's dramatically outperformed by the CFHT of the same era (1979). When you add in the site constraints in terms of astronomical seeing, it's downright terrible. BTA gets astronomical seeing at 1.5 only 10% of the time; in comparison Wilson used to get 0.5 at 10%, and even with LA encroaching on it that's been reduced to perhaps 1. And then there's the CFHT again, which is six times better.

So yeah, given these numbers BTA can safely be described as a "peace of garbage" without too much hyperbole (not my words mind you). If we don't mention these very real problems, we're simply whitewashing the article, making it non-NPOV all over again.

Maury (talk) 00:30, 1 February 2008 (UTC)


text:
Eugène Martineau

Eugène Martineau may refer to:

 * Eugène Martineau (politician) (1837–1880), Ottawa mayor
 * Eugène Martineau (athlete) (born 1980), decathlete from the Netherlands

title: Eugène Martineau


text:
Akitoshi Kawazu

Akitoshi Kawazu (河津 秋敏) is a Japanese game designer, director, producer and writer. After joining Square (later Square Enix) in 1985, he went on to become a central developer for the first two Final Fantasy titles, then acted as creator and lead developer for the SaGa series.

Interested in games since his high school days, his first project at Square was a graphic designer for Rad Racer; he then acted as battle designer for Final Fantasy and Final Fantasy II. He has since worked on nearly every SaGa title, in addition to creating the Final Fantasy Crystal Chronicles subseries, smaller projects including The Last Remnant, and serving in an executive role on multiple Square Enix projects.

Kawazu has drawn much of his design inspiration from Western role-playing titles such as Dungeons & Dragons and Wizardry, admitting a liking for sword and sorcery settings in his scenarios. A characteristic of his games is a non-linear design for storylines and exploration, and systems that are not actively explained to players. He also has a deep involvement in each project beyond his credited roles, and tries something new with each game he develops.

Early life
Kawazu was born on November 5, 1962, in Oguni, a town in Aso District, Kumamoto Prefecture. Talking about his early life in Oguni, Kawazu said that he was a "rowdy" type who wanted to be in the limelight and did not hesitate to voice his opinion to adults. He studied and graduated from Kumamoto Prefectural High School, then later studied at the Science School of the Tokyo Institute of Technology. During high school and college, he was deeply interested in games; he first became a dedicated player of Space Invaders, then later developed a love of tabletop role-playing and tabletop strategy games. He was originally scheduled to enter a job with Sony from the Science School, but due to unspecified circumstances in his private life he was forced to drop out.

His first game-related job was as a part-time journalist for Beep, a general gaming magazine published by SoftBank, at the invitation of a school friend. He started out writing product reviews, and during his time with the magazine he gained exposure to games and the video games industry. While he had never heard of the company Square, he became interested in working for them upon seeing an advertisement for Suishō no Dragon, featuring artwork by the game's illustrator Gen Sato. Despite his lack of video game development experience, he applied for a job there. Originally he was told the deadline for applicants had passed, but he was asked in for an interview anyway. He was interviewed first by Hiromichi Tanaka, then by Hironobu Sakaguchi, and Kawazu was taken on as a part-time employee in 1985.

Career
Kawazu's first job at Square (later Square Enix) was as a graphic designer for Rad Racer. Following that, he was asked by Sakaguchi to work on the company's new role-playing game (RPG) project Final Fantasy, begun by Sakaguchi after the genre was proven as commercial viable by Enix's Dragon Quest. At the time, Kawazu had no idea how popular the title would become; his role was designing the battle system. He returned as battle designer for its sequel Final Fantasy II. As part of a drive to create something different from the original, he created a notorious system of use-based statistic gains. In the wake of internal discussions and a lack of outside understanding of Kawazu's systems for Final Fantasy II, future titles beginning with Final Fantasy III went back to the basic systems of the first game.

Following the success of Tetris for the Game Boy, Square president Masafumi Miyamoto wanted to make their own version of it for the console, but the staff instead designed an RPG, the first for the platform; Kawazu acted as director and designer. The game was Makai Toushi SaGa, released in the West as The Final Fantasy Legend. It proved hugely popular and was Square's first title to sell a million copies. Kawazu subsequently worked on Final Fantasy Legend II, then upon request from Nintendo started production on Romancing SaGa for the Super Famicom; another production team in Osaka designed a third Game Boy title without his involvement. He would continue working on SaGa titles for the Super Famicom, and multiple PlayStation titles for the next several years. After the troubled production of Legend of Mana, where he took on a supervisory role in keeping the project from cancellation, Kawazu decided that his main talent lay as a producer overseeing projects.

Following SaGa Frontier 2 in 1999, Kawazu's team were originally employed on a numbered Final Fantasy project. When production was halted due to internal issues surrounding PlayOnline, Kawazu's team switched to supporting production for The Bouncer and developing multiple WonderSwan Color titles including original titles and ports. The 2002 SaGa title Unlimited Saga was designed based solely around Kawazu's tastes, using his position within the company to get his way. The title was divisive, and was the last original SaGa title until the release of SaGa: Scarlet Grace in 2016. He also created the concept for the anime series Final Fantasy: Unlimited during this period, which originally had a narrative link to Unlimited Saga.

From 2004 to 2007, Kawazu served as one of Square Enix's board of directors alongside Yoichi Wada and Yosuke Matsuda. He was the only game developer among them, and returned to development following his resignation from the board. During this time, Kawazu acted as executive producer for both the Ivalice Alliance, a series of titles set within the fictional world of Ivalice; and Final Fantasy Crystal Chronicles, a subseries he created through the partially-owned shell company The Game Developer Studio, acting as producer for the first game and executive producer for subsequent entries. For the fifth entry The Crystal Bearers, he acted as a producer and writer. In 2005 he took over as executive producer of Final Fantasy XII after Yasumi Matsuno withdrew. He played a key creative role in The Last Remnant, a standalone RPG designed by veterans of the SaGa series. He also acted as concept creator for It's New Frontier, a life simulator for mobile devices which ran from 2009 to the close of Square Enix's old mobile services in 2018. He currently works as general producer for the SaGa series, serving in an executive role on projects including the mobile spin-offs Imperial SaGa (2015) and Romancing SaGa Re:Universe (2018).

Design philosophy and influences
Kawazu is noted in his game design for using mechanics seen as unconventional in the RPG genre, such as usage-based ability leveling, non-linear storytelling, and open worlds or similar freely-explorable environments. Speaking specifically about the SaGa series, Kawazu described his philosophy for it as always trying something new with each entry and pushing at the perceived limitations of RPGs. His games are also noted for obscured mechanics and higher-than-average difficulty, something Kawazu ascribes to his love of challenging gameplay. Many of his design sensibilities and game tastes were drawn from Western video games, particularly the Dungeons & Dragons franchise, the video game Wizardry, and the products of Avalon Hill. Unlimited Saga was his most literal expression of this, with mechanics and presentation directly emulating tabletop games. Its divisive reception caused Kawazu to create more conventional titles in the future, though they continued to use his gameplay philosophies.

Throughout his career, regardless of the reception, Kawazu has striven for originality in his game design, drawing from unconventional sources compared to other video games. He played with Western tabletop games in his youth, and also manually translated them as they were frequently in English rather than Japanese. His favourite video game is Ultima IV: Quest of the Avatar. For the visual and narrative style of his games, he drew influence from the sword and sorcery subgenre of fantasy, which he greatly enjoyed in his youth. The SaGa series has consciously moved away from the typical storylines of other series such as Final Fantasy. When working on games, Kawazu often has duties and input beyond his credited role; an instance of this was SaGa Frontier II, where he was credited as producer and co-writer but ended up writing almost all the scenarios himself, but he ensures staff were given proper credit.

title: Akitoshi Kawazu


text:
Talk:Spidercide (comics)

Previously redirected to: Talk:Spidercide

SoM has started work on Spidercide (comics)/Temp. MosheZadka 11:10, 28 August 2005 (UTC)

title: Talk:Spidercide (comics)


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Penaeus monodon

Penaeus monodon, commonly known as the giant tiger prawn, Asian tiger shrimp, black tiger shrimp, and other names, is a marine crustacean that is widely reared for food.

Taxonomy
Penaeus monodon was first described by Johan Christian Fabricius in 1798. That name was overlooked until 1949, when Lipke Holthuis clarified to which species it referred. Holthuis also showed that P. monodon had to be the type species of the genus Penaeus.

Description
Females can reach about 33 cm long, but are typically 25 - 30 cm long and weigh 200 - 320 g; males are slightly smaller at 20 - 25 cm long and weighing 100 - 170 g. The carapace and abdomen are transversely banded with alternative red and white. The antennae are grayish brown. Brown pereiopods and pleopods are present with fringing setae in red.

Distribution
Its natural distribution is the Indo-Pacific, ranging from the eastern coast of Africa and the Arabian Peninsula, as far as Southeast Asia, the Pacific Ocean, and northern Australia.

It is an invasive species in the northern waters of the Gulf of Mexico and the Atlantic Ocean off the Southern U.S.

Invasive species
The first occurrence of P. monodon in the U.S. was in November 1988. Close to 300 shrimp were captured off the Southeastern shore after an accidental release from an aquaculture facility. This species can now be caught in waters from Texas to North Carolina. Although P. monodon has been an invasive species for many years, it has yet to grow large, established populations. Escapes in other parts of the world, though, have led to established P. monodon populations, such as off West Africa, Brazil, and the Caribbean.

Habitat
P. monodon is suited to inhabit a multitude of environments. They mainly occur in Southeastern Asia, but are widely found. Juveniles of P. monodon are generally found in sandy estuaries and mangroves, and upon adulthood, they move to deeper waters (0– 110 m) and live on muddy or rocky bottoms. The P. monodon has shown to be nocturnal in the wild, burrowing into substrate during the day, and coming out at night to feed. P. monodon typically feed on detritus, polychaete worms, mollusks, and small crustaceans. They feed on algae, as well. Due to their nutrient-rich diet, these shrimp are unable to consume phytoplankton because of their feeding appendages, but they are able to consume senescent phytoplankton. They also commence mating at night, and can produce around 800,000 eggs.

Aquaculture
P. monodon is the second-most widely cultured prawn species in the world, after only whiteleg shrimp, Litopenaeus vannamei. In 2009, 770,000 tonnes were produced, with a total value of US$3,650,000,000. P. monodon makes up nearly 50% of cultured shrimp alone.

The prawn is popular to culture because of its tolerance to salinity and very quick growth rate, but they are very vulnerable to fungal, viral, and bacterial infections. Diseases such as white spot disease and yellowhead disease have led to a great economic impact in shrimp industries around the globe. They can receive transmitted diseases from other crustaceans such as the Australian red claw crayfish (Cherax quadricarinatus), which is susceptible to yellowhead disease and has shown to transmit it to P. monodon in Thailand.

Black tiger shrimp's susceptibility to many diseases engenders economic constraints towards the black tiger shrimp food industry in Australia, which is farm-raised. To confront such challenges, attempts have been made to selectively breed specific pathogen-resistant lines of the species.

P. monodon has been farmed throughout the world, including West Africa, Hawaii, Tahiti, and England. For optimal growth, P. monodon is raised in waters between 28 and 33 °C. Characteristically for the Penaeus genus, P. monodon has a natural ability to survive and grow in a wide range of salinity, though its optimal salinity is around 15-25 g/L. While in a farm setting, the shrimp are typically fed a compound diet, which is produced in dried pellets. By mixing the diet to have compound feeds and fresh feed, P. monodon was shown to have better reproductive performance.

Sustainable consumption
In 2010, Greenpeace added P. monodon to its seafood red list – "a list of fish that are commonly sold in supermarkets around the world, and which have a very high risk of being sourced from unsustainable fisheries". The reasons given by Greenpeace were "destruction of vast areas of mangroves in several countries, overfishing of juvenile shrimp from the wild to supply farms, and significant human-rights abuses".

Genetic research
In an effort to understand whether DNA repair processes can protect crustaceans against infection, basic research was conducted to elucidate the repair mechanisms used by P. monodon. Repair of DNA double-strand breaks was found to be predominantly carried out by accurate homologous recombinational repair. Another, less accurate process, microhomology-mediated end joining, is also used to repair such breaks.

title: Penaeus monodon


text:
Richard Kostelanetz

Richard Cory Kostelanetz (born May 14, 1940) is an American artist, author, and critic.

Birth and education
Kostelanetz was born to Boris Kostelanetz and Ethel Cory and is the nephew of the conductor Andre Kostelanetz. He has a B.A. (1962) from Brown University and an M.A. (1966) in American History from Columbia University under Woodrow Wilson, NYS Regents, and International Fellowships; he also studied at King's College London as a Fulbright Scholar during 1964-1965.

He is the recipient of grants from the Guggenheim Foundation (1967), Pulitzer Foundation (1965), the DAAD Berliner Kunstlerprogramm (1981–1983), Vogelstein Foundation (1980), Fund for Investigative Journalism (1981), Pollock-Krasner Foundation (2001), CCLM (1981), ASCAP (1983 annually to the present), American Public Radio Program Fund (1984), and the National Endowment for the Arts with ten individual awards (1976, 1978, 1979, 1981, 1982, 1983, 1985, 1986, 1990, 1991). He also assumed production residencies at the Electronic Music Studio of Stockholm, Experimental TV Center (Owego, NY), Mishkenot Sha'ananim (Jerusalem), and the MIT Media Lab.

Works
Kostelanetz came onto the literary scene with essays in quarterlies such as Partisan Review and The Hudson Review, then profiles of older artists, musicians and writers for The New York Times Magazine; these profiles were collected in Master Minds (1969).

His book The End of Intelligent Writing: Literary Politics in America (1974) caused considerable controversy. SoHo: The Rise and Fall of an Artists' Colony (2003) chronicles cultural life in New York City in the late 20th century. In 1967, he signed the "Writers and Editors War Tax Protest," vowing to refuse to pay taxes raised to fund the Vietnam War.

Books of his radically alternative fiction include In the Beginning (1971) (the alphabet arranged in single and double letter combinations), Short Fictions (1974), More Short Fictions (1980, and Furtherest Fictions (2007)); of his mostly visual poetry, Visual Language (1970), I Articulations (1974), Wordworks (1993), and More Wordworks (2006).

Among the anthologies he has edited are On Contemporary Literature (1964, 1969), Beyond Left & Right (1968), John Cage (1970, 1991), Moholy-Nagy (1970), Breakthrough Fictioneers (1973), Scenarios (1980), and The Literature of SoHo (1981).

A political anarchist-libertarian, he authored Political Essays (1999) and Toward Secession: More Political Essays (2008) and has since 1987 been a contributing editor for Liberty. In 1973 he was one of the signers of the Humanist Manifesto II.

Media
Among his literary contemporaries, Richard Kostelanetz has also produced literature in audio, video, holography, prints, book-art, computer-based installations, among other new media. Though he coined the term "polyartist" to characterize people who excel at two or more nonadjacent arts, he considers that, since nearly all his creative work incorporates language or literary forms, it represents Writing reflecting polyartistry. "Wordsand" (1978–81) was a traveling early retrospective of his work in several media.

Reviews
His work has been acknowledged at some length(s) in the following and additional works:
 * Ronald S. Berman's "America in the Sixties" (1967)
 * Ihab Hassan's "Contemporary American Literature" (1973)
 * Robert Spiller's "Literary History of the United States" (fourth ed., 1974)
 * "The Reader's Adviser" (1969 & 1974)
 * Daniel Hoffman's "Harvard Guide to Contemporary American Writing" (1979)
 * Irving and Anne D. Weiss's "Thesaurus of Book Digests" 1950–1980 (1981)
 * George Myers' "Introduction to Modern Times" (1982)
 * David Cope's "New Directions in Music" (1984)
 * Joan Lyons' "Artists' Books" (1985)
 * Tom Holmes' "Electronic and Experimental Music" (1985)
 * Jamake Highwater's "Shadow Show" (1986)
 * "Columbia Literary History of the United States" (1988)
 * Eric Salzman's "Twentieth-Century Music: An Introduction" (third edition, 1988)
 * Tom Johnson's "The Voice of the New Music" (1989)
 * Robert Siegle's "Suburban Ambush" (1989)
 * John Rodden's "The Politics of Literary Reputation" (1989)
 * "The Reader's Catalog" (1989)
 * Lydia Goehr's "The Imaginary Museum of Musical Works" (1992)
 * Bob Grumman's "Of Manywhere-at-Once" (1998)
 * Samuel R. Delany's "About Writing" (2005)
 * Kyle Gann's "Music Downtown" (2006)
 * Sally Banes's "Before, Between, and Beyond: Three Decades of Dance Writing" (2007, University of Wisconsin Press)
 * C. T. Funkhouser's "Prehistoric Digital Poetry" (2007)
 * Geza Perneczky's "Assembling Magazines 1969–2000" (2007)

title: Richard Kostelanetz


text:
Mahim Fort

The Mahim Fort (Marathi: माहीम किल्ला) is a fort in Mahim in Mumbai, Maharashtra state, India. Strategically located in the Mahim Bay, the fort overlooks Worli to the south, Bandra to the north, and Mahim to the east. The origins of the fort are unclear, but it occupies a strategic location that has been frequently contested. The fort is currently in disrepair, suffering from administrative neglect, encroachment of slums, and exposure to tidal erosion.

History
In 1516, Portuguese commander Dom Joao de Monoy entered the Mahim Creek and defeated the commander of Mahim fort. The fort was the site of frequent skirmishes between the Portuguese and a Gujarati ruler before the island of Mahim was appropriated from Bahadur Shah of Gujarat by the Portuguese in 1534. In 1661, the Portuguese ceded the island of Mahim as dowry to Charles II of England. After the English gained control of the fort, it was strengthened by Sir Thomas Grantham in 1684, and became a strategic watchtower against possible Portuguese attacks, and later from the Marathas.

In 1772, the Portuguese attempted to attack this fort, but they were repelled by the British with cannonballs. The Mount Mary's Basilica was damaged during this encounter. According to historical accounts, the fort had 100 soldiers and 30 cannons at that time.

The fort was captured by the British during the First Anglo-Maratha War.

Encroachments
The fort lies off the Mahim Causeway which links the suburbs to the city. The fort is heavily encroached by slums, and parts of the fort have caved in due to tidal erosion and neglect. Though the site is classified as a Grade I heritage structure, nothing much has been done to maintain it. Large boulders are strewn on the sand and crevices as high as three metres (fifteen feet) are visible. Responsibility of the fort is shuffled between the state government and the Brihanmumbai Municipal Corporation, although the fort lies of state government land. In 2004, rupees five lakhs had to be returned as the encroachments were not removed by local authorities. Later, in 2008, Jairaj Phatak, the Municipal Commissioner had proposed a makeover to the fort.

title: Mahim Fort


text:
Wikipedia:Articles for deletion/Stoned Mullet

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

The result of the debate was delete. Woohookitty 09:35, 6 September 2005 (UTC)

Stoned Mullet
original research, non-notable, POV, etc. SaltyPig 12:02, 28 August 2005 (UTC)

 * Keep It's a real and valid small band. Why make it harder for them by deleting their entry? unsigned by 220.237.177.85 11:48, 28 August 2005
 * Delete - just because they're real, doesn't mean they're notable Halo 12:13, 28 August 2005 (UTC)
 * Delete nn Ryan Norton T 15:27, 28 August 2005 (UTC)
 * Delete; non-notable. Jaxl | talk 15:45, 28 August 2005 (UTC)
 * Delete. No assertion of meeting WP:MUSIC.  Friday (talk) 16:26, 28 August 2005 (UTC)
 * Delete. Not really a "small band", more like a "garage band" which uses free webhosting to host their website. Andrew pmk | Talk 21:51, 28 August 2005 (UTC)
 * Delete as classic band vanity complete with support hosiery. - Lucky 6.9 23:20, 28 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.


text: Category:Chemlab albums

title: Category:Chemlab albums


text:
Norton Folgate

Norton Folgate is a short length of street in London, connecting Bishopsgate with Shoreditch High Street, on the northern edge of the City of London.

It constitutes a short section of the A10 road, the former Roman Ermine Street. Its name is a reminder of the tiny ancient Liberty of Norton Folgate situated in and around the area.

The nearest London Underground station is Liverpool Street, also a National Rail mainline railway station. The nearest London Overground station is Shoreditch High Street.

It lends its name to a character played by Samuel Barnett in the ongoing Big Finish Productions Torchwood audio drama series.

In July 2015, more than 500 people protested against the demolition of the old buildings in historic Norton Folgate neighbourhood to make way for new developments. People travelled from across the country to ask for the restoration of the old structures rather than offering them to the international property investment market.

title: Norton Folgate


text:
Andrew Graham-Dixon

Andrew Michael Graham-Dixon (born 26 December 1960) is a British art historian, art critic, author and broadcaster.

Early life and education
Andrew Graham-Dixon is a son of the barrister Anthony Philip Graham-Dixon (1929–2012), Q.C., and (Margaret) Suzanne "Sue" (née Villar, 1931–2010), a publicist for music and opera companies.

Graham-Dixon was educated at the independent Westminster School. He continued his education at Christ Church, Oxford, where he read English. He graduated in 1981 and then pursued doctoral studies at the Courtauld Institute of Art, University of London.

Career
Graham-Dixon began work as a reviewer for the shortlived weekly The Sunday Correspondent before becoming the chief art critic of The Independent, where he remained until 1998. He won the Arts Journalist of the Year Award three years in a row – in 1987, 1988 and 1989. He later became the chief art critic of The Sunday Telegraph.

In 1992 Graham-Dixon won the first prize in the Reportage section at the Montreal World Film Festival for a documentary film about Théodore Géricault's painting The Raft of the Medusa. From 2004 he was a contributor to The Culture Show on BBC Two, covering a variety of subjects and often acting as the main presenter. He has also presented many BBC documentary series on art, including A History of British Art (1996), Renaissance (1999), Caravaggio (2002), The Secret of Drawing (2005), The Battle for British Art (2007), Art of Eternity (2007), Art of Spain (2008), The Art of Russia (2009), Art of Germany (2010), Art of America (2011), British Art at War: Bomberg, Sickert and Nash (2014),  Art of China (2014) and Art of France (2017). He is passionate about the Mona Lisa, appearing in the popular BBC documentary Secrets of the Mona Lisa (2015). In 2018 he presented a four-part series on BBC Four – Art, Passion & Power: The Story of the Royal Collection.

He has also presented programmes on subjects other than art, such as I, Samurai (2006) and The Real Casino Royale for the BBC and 100% English (2006) for Channel 4. In 2010 he interviewed John Lydon for a Culture Show special about Public Image Ltd.

In 2018 he gave a lecture as part of the Alpine Fellowship symposium in Venice.

Graham-Dixon also wrote and presented the BBC documentary Who Killed Caravaggio?, broadcast on BBC 4 in 2010. The same year saw the publication of his biography, Caravaggio: A Life Sacred And Profane.

Honorary doctorate
In 2010 Plymouth University awarded Graham-Dixon an honorary Doctorate of Arts.

Supporter of Young British Artists
He was an early supporter of the group later known as the Young British Artists. In 1990 he wrote:

"Goldsmiths' graduates are unembarrassed about promoting themselves and their work: some of the most striking exhibitions in London over the past few months—'The East Country Yard Show', or 'Gambler', both staged in docklands—have been independently organised and funded by Goldsmiths' graduates as showcases for their work. This has given them a reputation for pushiness, yet it should also be said that in terms of ambition, attention to display and sheer bravado there has been little to match such shows in the country's established contemporary art institutions. They were far superior, for instance, to any of the contemporary art shows that have been staged by the Liverpool Tate in its own multi-million-pound dockland site."

Cambridge Union speech
On 9 November 2021 Graham-Dixon was banned from speaking again at the Cambridge Union after a debate titled "This House Believes there is no such thing as good taste", for the Cambridge Union Debating Society, where Graham-Dixon spoke in opposition to the motion. According to the Campaign Against Antisemitism Graham-Dixon recited part of speech made by Adolf Hitler including the lines: "This modern, horrible art that was promoted by the Jews.. and the modern art, it was cubist – inspired by the art of the negroes. This tribal art, urgh, how horrible is that?" He later apologised for the impression and said that he was trying to "underline the utterly evil nature of Hitler." He added: "I apologise sincerely to anyone who found my debating tactics and use of Hitler's own language distressing; on reflection I can see that some of the words I used, even in quotation, are inherently offensive."

Public figures including Louis de Bernières and John Cleese were among those to defend Graham-Dixon, and criticism of the Union's plans for an exclusion list prompted a U-turn from its president. In a statement to The Jewish Chronicle, fellow historian Guy Walters said: "The idea that Andrew Graham-Dixon has been blacklisted for performing what was clearly a satirical impression of Adolf Hitler is both disgraceful and deeply ironic." A full transcript of the speech was published by The Telegraph.

Personal life
Graham-Dixon is married and lives in East Sussex. He has four children.

DVD releases

 * Art of Spain (2010)
 * Art of Germany (2011)
 * Art of China (2015)
 * Art of America (2014)
 * Italy Unpacked (2014)
 * Sicily Unpacked (2014)
 * Rome Unpacked (2018)

title: Andrew Graham-Dixon