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User talk:Nzzl/your mom

Hi everybody welcome to my talk pzz-nzz. I think this box at the top makes me seem pretty dang cool. I stole it from a guy who gave me the biggest welcome i'v ever seen. All Zzzlz have contribs of various magnitudes and people used to classify primates thusly:

now they use this set-up:

What do creationists use?

leave messgaes halfway down, please, not at the bottom. thanks. The "predominant stylistic convention" is to use where the article is, not to make the styles of the names equal. Use the name they are most known as. F'shizzle. --Golbez 03:57, August 27, 2005 (UTC)

 * Right, but the actual article IS at Dick Cheney. --Golbez 04:35, August 27, 2005 (UTC)

Hello
Hi Nzzl: Oh, thanks. Punctuation mistakes really get on my nerves. Per your question, Willy on Wheels is a vandal who attacks Wikipedia frequently. His personal type of vandalism is page moves, which means he moves random pages from (Name) to (Name on wheels!), or something of that accord. I see that you're new here at Wikipedia, so here's a message for you: Welcome,, to Wikipedia, the greatest encyclopedia on Earth! You seem to be off to a good start. Hopefully you will soon join the vast army of Wikipediholics! You may wish to review the welcome page, tutorial, and stylebook, as well as the avoiding common mistakes and Wikipedia is not pages. The Wikipedia directory is also quite useful.

By the way, an important tip: To sign comments on talk pages, simply type four tildes, like this: ~~~~. This will automagically add your name and the time after your comments.

To basically understand the principles and rules governing Wikipedia, you should take a look the Five Pillars that underlie all rules here.

Finally, here are some jobs that you can work on in your spare time:

Hope to see you around the Wiki! And if you have any questions whatsoever, feel free to contact me on my talk page!

You're more than welcome to leave any questions, concerns, or chat at my talk page. Cheers, Bratsche talk  5 pillars 04:16, August 27, 2005 (UTC)

Kzzl's subpages
Hi there. I noticed you wrote something in another user's subpage space. Is this something you wish to be removed? --HappyCamper 04:52, 28 August 2005 (UTC)

 * Hmm...could you please add the delete tag in the other account please? Message me once you're done. I'd just feel more comfortable deleted its content if you did that :-D Thanks a lot. Also, it's somewhat unorthodox to have 3 separate accounts. You might want to consider putting a notification somewhere so that other Wikipedians can tell you apart! Happy editing! --HappyCamper 04:56, 28 August 2005 (UTC)

Felons
The best thing to do is to bring up the issue on Talk:United States. --Golbez 03:51, August 29, 2005 (UTC)

Thanks :)
Yes, that was me. I was 128.194.54.244, but I figured out how to get a user name! I'm working on a way to make that page seem accurate to me, but acceptable to whoever's been working on it. I just know too many people who have gone to Iraq, and a couple friends who had family members who didn't come home. BQAggie2004 04:08, 29 August 2005 (UTC)

 * Again - to say it has universal suffrage (except for an exception) would somewhat contradict universal suffrage. Do any other countries with that exception say so? I think it's just generally assumed that felons can't vote. --Golbez 06:25, August 29, 2005 (UTC)

Cowbell
Have fun! By all means help yourself to it. I stumbled on it on someone else's user page and I just had to have it. We all need more cowbell! Just hit the edit button on my user page and it'll have the info there. Cut and paste and enjoy. - Lucky 6.9 19:13, 31 August 2005 (UTC)

I thought you guys could use some cheering up. cookies and punch probly woulda did it, huh? have an nice oprah instead. rep-rezizzl, y'all. Ished-out amounts of Vonn-ness 05:47, 4 September 2005 (UTC)

Inclusionism
I was able to imitate the look of a category with this HTML code:

 Your text here

Putting it at the top of your userpage should work; it looks perfect in the Classic skin, which I use.

As for the deletion debate, I'm not somebody who votes Keep on every article for deletion. I just have lower-than-average standards of inclusion than some people. I'm not very active in AfD these days, but I'd say my votes there are about 25% keep, 75% delete. The problem is that many things that are listed AfD ought to be speedily deleted, without consideration. It really surprises me that people don't have more sense when it comes to nominating articles for deletion. Anyway, you can learn more about inclusionism on the Meta-Wikimedia: Association of Inclusionist Wikipedians. I'll see you around! --Merovingian (t) (c) 14:20, September 9, 2005 (UTC)

Feedback
Yeah, I had a re-read of feedback. My point in doing the rv was that audio feedback already has an entry on the Feedback (disambiguation) page, and I also thought that the definition of audio feedback was slightly different to general feedback. I suppose my understanding of feedback is/was the intentional relaying of output to control input, but I realise now that most dictionaries only mention that this is implied rather than being part of the definition. So. If you like, you can put another reference back in the main article ... :-) -- postglock 14:05, 10 September 2005 (UTC)
 * Brilliant, love your work, 5 stars!!! Works like a ... I'm to tired to think of an apt simile, but yeah, it's great... thanks -- postglock 15:42, 10 September 2005 (UTC)

Superscripts and sigs
So, I experimented a bit, and found that you had to put the first  tag right before the item that you wanted to be bumped up a notch. So if you paste the following into your preferences, I think all will be cool. Hope this helps! Cheers, Bratsche talk 21:01, September 12, 2005 (UTC)
 * Wow, thanks! Always glad to help. Bratsche talk 02:43, September 13, 2005 (UTC)

Re: Cleanupism
I labelled antiterrorism, because I happened to stumble across it. At that time I didn't have the time to go into the subject, although I'm surprised the topic has attracted so little attention, I mean with all the stuff going on lately. Anyways, cleanups can last as long as their needed, I mean like months, even years if no one comes along to fix it up. Karol 06:59, 19 September 2005 (UTC)

Your user page needs less Image:Cowbell2.gif
You have the image Image:Cowbell2.gif on your user page; this image is copyrighted and used in the Will Ferrell article under Fair use. The use on your user page of that image is unlikely to be covered by use however, and as such is probably a Copyright violation. Could you remove the image from your user page? Thanks. --fvw *  23:40, 24 September 2005 (UTC)

Neutral votes
Well, I can only speak for myself but I vote neutral because, although I wouldn't be distraught if he were to be made an admin, I do not feel confident enough about them as an editor to support. This is mostly when I have not worked with the editor before: I rarely vote neutral on an editor I know. Is that thew sort of answer you were looking for? --Cel e stianpower hablamé 22:31, 30 September 2005 (UTC)

Stylistic error
Yeah, but I changed the redir now because Wikipedia is supposed to avoid self-references.

When you ask, "what's a stylistic error," what's the specific page you are referring to? —Lowellian (reply) 01:15, 1 October 2005 (UTC)

About the fucktard redirect
Thanks for the kudos, but I don't really deserve them for creating the redirect. I just removed a speedy deletion tag when I saw it wasn't really a recreation of an AFDed article as claimed. That's all. - Mgm|(talk) 21:43, 3 October 2005 (UTC)
 * My pleasure. - Mgm|(talk) 22:05, 3 October 2005 (UTC)

title: User talk:Nzzl/your mom


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Goodbye Iowa

"Goodbye Iowa" is the 14th episode of season 4 of the television show Buffy the Vampire Slayer. The episode aired on The WB on February 15, 2000.

Riley realizes that Walsh had tried to kill Buffy, and finds Walsh dead. He subsequently goes into withdrawal symptoms when he does not get fed the Initiative's drugs. Meanwhile Adam is on the loose, killing at random and seeking answers about himself and the world.

Plot
Buffy fills the gang in on everything that has happened since she started to work with the Initiative, and they question whether Riley was involved in the death mission on which Professor Walsh sent Buffy. Buffy arms the group with weapons and makes plans to hide out in Xander's basement. Riley shows up at Giles' place asking Buffy for information. He becomes upset when he recognizes Spike as the hostile the Initiative soldiers are searching for, and refuses to listen to what Buffy's friends are saying about them or Walsh.

Leaving Walsh's body, Adam escapes the Initiative through a vent. He approaches a young boy playing in the park and questions him about his nature. Dr. Angleman slips in a pool of blood as he enters Room 314 and finds Walsh stabbed to death. When Riley and Forrest see Walsh's body, Forrest accuses Buffy of staking Walsh.

The next morning, the girls see a news story on television about a young boy who has been killed via skewering and mutilated. Believing it to be the captured Polgara demon, Buffy goes after it. Riley - against Angleman's orders - also instructs the commandos to search for the Polgara demon; he and Buffy both end up at the park where the boy was killed. While Buffy tries to apologize to Riley, Riley informs her that Walsh is dead. Willow goes to Tara's dorm room, planning to find the Polgara using a spell that shows nearby demonic activity. However, Tara secretly sabotages the spell and it fails.

Buffy searches for information at Willy's but Riley also shows up, very angry. He is shaking and sweating and scratching his hand so badly that it bleeds, as he questions Buffy's intentions and pulls a gun on an innocent woman. Buffy consoles Riley as she sees that he is seriously unwell, leaving him at Xander's to rest. When Riley wakes up, Willow tries to stop him from going after Buffy but he pushes her to the ground and runs.

Disguised as a scientist, Buffy gets herself and Xander - dressed in fatigues - into the Initiative. They overhear Angleman talking to another scientist about their commandos having withdrawals from the drugs they had been secretly putting in their meals. Buffy grabs Angleman, demanding information about 314. Riley arrives to help Buffy, still unwilling to accept Walsh's sinister motives. Adam drops a dead body to the floor, revealing his presence. Adam is searching for answers about the world, and has returned to the Initiative so he can discover more about himself and who he is. He has a disk drive in his chest and when he inserts a disk labelled "Adam", he offers information which reveals that he is part human, demon, and machine. He explains that even though Riley had a real mother, Walsh was also his mother as she shaped and built him into a human machine for the Initiative. According to Adam, this makes him and Riley brothers, but Riley is again provoked into anger. Soon a fight breaks out, during which Adam kills Angleman, injures Riley, and proves a match for Buffy before escaping again. The other commandos enter and take Riley away.

The next day, Buffy talks to Willow about how Adam is out there and very dangerous. At the hospital, Riley lies in bed holding a scarf Buffy gave him earlier.

Themes
In Televised Morality, Gregory Stevenson argues that this episode pays homage to Mary Shelley's Frankenstein and its warning about the dangers of scientific progress without adequate ethical safeguards. For example, like Frankenstein's monster, Adam approaches a boy in the woods. The boy is playing with a cyborg soldier action figure in the park, shortly before Adam - a genuine cyborg - kills him. The monster in Shelley's novel identifies with the character Adam from Milton's Paradise Lost. In the scene that follows, Anya, Willow, and Buffy are watching Roadrunner cartoons in Xander's basement. As Wile E. Coyote's Acme technology once again backfires, Buffy complains, "That would never happen." Stevenson claims the irony is it does later happen: the Initiative's embrace of technology unfettered by moral guidance ultimately causes its own destruction.

Critical response
Vox, ranking it at #128 of all 144 episodes on their "Worst to Best" list, writes, "Riley is mostly inoffensive, but as a character, he serves the show better as a supporting player than as a central figure who is integral to the story. It's not a coincidence that season four’s best episodes mostly keep Riley to the side and let Buffy and her concerns drive the story instead."

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

title: Goodbye Iowa


text: User:Whơ

title: User:Whơ


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File:Jethro Tull - A.jpg

Summary
Cover to A by Jethro Tull.

title: File:Jethro Tull - A.jpg


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User:Whο

The "o" is actually the lower case of Omicron -> ο

title: User:Whο


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title: File:St johns maple leafs 200x200.png


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Lathe dog

A lathe dog is a mechanical device typically made of cast iron, steel or aluminum that transmits rotary motion from a faceplate to a workpiece mounted between centers in a lathe. The tail of the dog is rotated by a slot in a driving faceplate, a stud mounted on a faceplate, or sometimes a side of a chuck jaw. The workpiece passes through an aperture in the dog into which the work is secured by one or more setscrews or a clamp arrangement. The maximum cross sectional dimension of the workpiece is limited by the dimensions of the dog aperture. Lathe dogs are provided in straight tail or bent tail form, and may be single tail or double tail. A lathe dog designed to hold square, rectangular or odd-shaped work and having a moveable portion secured typically by two cap screws is called a clamp dog. Bent tail dogs are able to engage directly with a driving faceplate slot or a chuck jaw but can crowd work off centre if clearance is not present between the dog tail and a closed end of the faceplate slot. Straight tail dogs do not present the issue of crowding work off centre but require at least one driving stud to be mounted on the faceplate. If the rotating mass of the dog setup is not balanced, eccentric motion of the work may occur. Counterbalancing or reduced spindle speed may be required. Care must be taken by the operator when using lathe dogs, as it is easy to get snagged on one. Use of headless setscrews, preferably of multiple-spline drive design, that do not protrude above the outer surface of the dog is recommended. A lathe dog may also be used with some indexing heads and other tools with similar faceplates that turn about a center.

Patents

 * —Buss, Charles. Improvement in lathe-dogs

title: Lathe dog


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Talk:Reaction norm

On social issues and original research
I recognize that the below message I wrote many years ago would probably consitute original research if put in an article as-is. I'm copying and adjusting bits of pieces of it; but please help me out in getting the right NPOV tone.

That said, I want this article to touch partially on the science-studies and popular conceptions issues as well as the strictly biology concepts. As a philosopher of science (or at least I was in a past life), I'm interested in the (mis)reception of scientific concepts, and also in the sort of critiques, e.g. Lewontin makes (for example in Biology as Ideology).

If need be, I would rather rename the topic a bit than ellide the social/political aspects. Perhaps by renaming it to "Norms of reaction and ". But I think the title can still work as-is. I do recongize that the Nature versus nurture article can and should go into some of these issues in more details than this article can or should. Lulu of the Lotus-Eaters 07:49, 2005 August 27 (UTC)

Notes from old message
(just some old stuff that might be possible to recycle)

GENOTYPE, PHENOTYPE, AND NORMS OF REACTION

by David Mertz, No Copyrot

My previous comment:

 * "... and will lead, soner or later, if not to _the_ causes of English-speaking, then at the very least to some biological markers which correlate with English-speaking." (nuff said?)

A response:

 * Not really. Help a stupid interactionist understand the logic of your argument. You're not claiming that my point is merely a tautology, are you? The sentence might be empirically problematic, coz we cannot be absolutely sure that there are any biological causes or correlates with English-speaking. I don't think he same could be said of homosex (and you'd disagree naturally :).

Well... it's like this: English-speaking is *entirely* environmental. Beyond a few people with dreadful genetic deformities (causing brain damage, or whatever), *anyone* can learn English. Same goes for any language, obviously. English is even a particularly good example of a language that won't even have any accidental widespread correlations with anything genetic. It might be for Finnish or Khoi-San that the relatively isolated groups which speak them also have some genetic characteristic which is non-causally correlated with speaking that language. But there are native English speakers (to say nothing of non-native) from India, and Hong Kong, and Europe, and Native Americans, and Africans/African-Americans. There are just so many different groups (in terms of breeding communities) which maybe had been isolated for a thousand years, but in the last couple hundred have started speaking English, that there certainly isn't any even accidental correlation between *anything* genetic and English- speaking.

In a general way, I tend to be an "interactionist" as well. But it must be recognized that *some* things are entirely genetic, or entirely environmental. I *suspect* sexual orientation isn't either of these, but if it turns out to be entirely environmental, then your language is no good.

I think it's like this:

Entirely Environmental   Interactional      Entirely Genetic --   -          Language                 Height              Blood type Religion                Weight              Eye color etc. Skin color         etc.                             Sexuality (??) "IQ"

I DO NOT think of these columns as a continuum, however. I think they're just three seperate things. The reason is that people usually make a mistake of thinking the "genetic-ness" of something determines the range of phenotypic possibilities. It does, of course, in a sense... but not at all in the way most people think. The usual conception is something like this (using sexuality as a hypothetical, and that old canard about "domineering mother" as the environmental part [mind you, this is a joke for me, it's just so stupid that it's funny to use]).

#- POPULAR CONCEPTION OF GENOTYPE/PHENOTYPE INTERACTION: -#

Kinsey Scale: <--6--5--4--3--2--1--0-->     ^ (Genotype A) ^                                 ^ (Genotype B) ^ |             |                                 |              |   Domin <---> Passive                          Domin <---> Passive mom            mom                               mom             mom

You see what I mean. The conception is that each genotype gives a certain range possible phenotypic expression. In the popular conception, something which is "more genetic" gives a narrower range, while something which is "less genetic (more environmental)" gives a wider range of phenotypic possibilities.

A more general, and more accurate picture would look like the below. The example I give is an extreme one to highlight the difference with the popular model... but the idea is that ANY curves are possible for some trait across some range of genotypes. In fact, almost any curves CAN be found for various things (like height of corns in different altitudes, or whatnot):

#- MORE ACCURATE "NORM OF REACTION" OF GENOTYPE/PHENOTYPE -#

^      |                                                   ____A___A K   6 B                                                A  I    |  \_B__                                   ___A___/     Genotype A  N    5       \__B__                            A  S    |             \___B___          _____A___/ E   4                     \_B_     A  Y    |                        _\___/ 3                      A  \__B__ S   |                 __A__/         \___B__ C   2                A                      \__B__ A   |          __A__/                             \__B__    Genotype B  L    1         A                                         \__B__ E   |  ___A__/                                                \_B__ 0 A                                                           \ +--->        Passive mom                                    Domineering mom

You see the idea. If genotypes were like this in terms of "norm of sexuality" it would be impossible to say one genotype was more or less homosexual than another, since each would be "more homosexual" in some environments, but less in others. I draw more or less linear functions for each genotype, but any other curve could hypothetically be there also. One curve which is quite common in actual organisms is a normal-type curve, where a phenotype is maximized (or minimized) at a particular environment, but slopes off in both directions from than maximum (minimum). Of course, some genotypes across some environmental variables have more than one maxima/minima.

One important thing to notice is that even where different genotypes, or genotypic groups, each have a bell-curve in distribution, each genotype may reach maximal values higher than the other genotype has in the same environment -- while both showing the same general pattern of being maximized at an intermediate environment. For example, maybe there are different educational styles (i.e. rote-learning vs.  problem-solving), where everyone does the best with a combination of the two. But perhaps different genotypic groups do better at a different point in the middle. If you have a socially dominant style of eduction, it could produce as an "artifact" the effect of giving one genotype higher average scores. However, if the socially dominant education style were to change slightly, it might favor the other group. The picture might look like:

# Norm of Reaction Chart #

^      |           Genotype A     Genotype B  T    6            _________     _________ R   |           /         \   /         \ A   5          /           \ /           \ I   |         /             X             \ T   4        /             / \             \ |      /             /   \             \       3      /             /     \             \  S    |     /             /       \             \ C   2    /             /         \             \ A   |   /             /           \             \ L   1  /             /             \____         \ E   | /     ________/                   \_________\________ 0/ ____/                                      \_______\______       +--->         Environment extreme                               Other extreme

Mistake in the graph with gaussian distributions
The y-axis of the graph with the two gaussian distributions is labeled "trait scale." This is misleading as well as incorrect because this is a graph of two probability distributions; the y-axis of a distribution function should be probability/density. On the other hand, labeing the y-axis of the other graph as "trait scale" makes complete sense (which is probably why it was misapplied to the gaussian distributions graph in the first place). So could someone edit the first graph? --JianLi 21:18, 30 January 2007 (UTC)

Comments by IP user
The cited figure has to be removed for two reasons applied on the upper part of the figure: (1) Monoclonal is frequently used for antibodies! not for plants. However, it means the same genetic makeup. Here we have different genotypes (A and B). Therefore, the figure does not apply! (2) The figure tells nothing about a difference of performance (trait scale) in function of the environment. It just says that a very identical performance (trait) can be obtained by two different genotypes at two different environments. Therefore, to be more accurate, the curve should be stretchable upside down and right left, meanwhile, the figure should be removed! Similar arguments apply also to the lower part of the figure... — Preceding unsigned comment added by 82.102.247.153 (talk) 19:45, 4 September 2013 (UTC)

 * Please go ahead and improve the article, but remember that anything you do must be based on reliable sources.--Victor Chmara (talk) 19:57, 4 September 2013 (UTC)

Title of this article should be "Reaction norms"
"Reaction norms" is about four times more common than "norms of reaction", in keeping with general patterns in English noun phrase construction. See here vs. here. The title of this article should be changed to reflect usage (although it would possibly make sense to refer to both). Not sure about the procedures for changing article titles without breaking things. Human fella (talk) 07:27, 19 November 2014 (UTC)

 * Agreed, although the name should be singular, Reaction norm. I requested the move here.--Victor Chmara (talk) 10:13, 19 November 2014 (UTC)

Origin of the term
A PhD student working with a lot of population genetics literature here. I am not the expert, but all the references I have in the cited literature point to I. I. Schmalhausen, Factors of evolution: the theory of stabilizing selection (1986) as the person who originaly introduce the term of the norm of reaction. Andrei.chiffa (talk) 16:27, 14 December 2016 (UTC)
 * Thanks. I removed the ref tags because they are not needed on a talk page. Johnuniq (talk) 00:42, 15 December 2016 (UTC)

Figure correction needed
The figure on this page should say phenotype not genotype. The environment changes the phenotype, not the genotype! I'll fix it later if no one else does. Jparcoeur (talk) 17:21, 23 July 2019 (UTC)

title: Talk:Reaction norm


text: User talk:68.39.12.158

title: User talk:68.39.12.158


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Young Zee

Dewayne Battle (born December 24, 1970), known professionally as Young Zee, is an American underground hip hop emcee. He is a member of the Outsidaz, alongside Pacewon and Rah Digga.

Outsidaz
The Outsidaz, a large hip hop crew that became the first act signed to Ruff Life Records, produced several singles and released a record in the mid-'90s. The group including Young Zee had guest vocals on the Fugees' song "Cowboys" in 1996. Zee made an appearance on Rah Digga's first solo album in 1999. The group released Night Life (2000) and The Bricks (2001). In 2002 his solo track, "That's My Nigga fo' Real", was included on the hit soundtrack to Eminem's film 8 Mile.

Solo artist
Due to a history of collaboration, Zee and fans expected him to be signed to Eminem's Shady Records label under Aftermath/Interscope records, but instead he signed as a solo artist to D12 members Kuniva and Kon Artis' label Runyon Ave Records, but he made the only related appearance in "Commercial Break" on D12 World.

In 2005, Young Zee appeared on Casual's Smash Rockwell album. In 2009, he was featuring on Chicago rap duo Saurus and Bones's debut album Mind Like Mine. Zee collaborated with The Dirty Dozen on their 2011 mixtape Return Of The Dozen Vol. 2. Also in 2011, he performed on Jedi Mind Tricks's Violence Begets Violence album. In 2012, Young Zee and Mr. Green released One Crazy Weekend featuring former Outsidaz members.

Personal life
He had a relationship with fellow rapper Rah Digga. The couple has a daughter named Sativa, born in 1997. Young Zee has a son, Krash Battle (born on September 9, 1992), who is also a rapper.

Discography

 * 1996: Musical Meltdown
 * 2002: 8 Mile Soundtrack
 * 2009: Paranoia Archives
 * 2009: The Album I Had When I Was Supposed to Sign to Shady!
 * 2012: One Crazy Weekend (with Mr. Green)
 * 2022: Around the World (Risskant and Sythe)
 * 2022: Scumbag EP
 * 2023: Skarekrow LP
 * 2023: Da Bros LP

title: Young Zee


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Heartburn (novel)

Heartburn is an autobiographical novel based on Nora Ephron's marriage to and divorce from Carl Bernstein, her second husband. Originally published in 1983, the novel draws inspiration from events arising from Bernstein's affair with Margaret Jay, the daughter of former British prime minister James Callaghan. Ephron also wrote the screenplay for the 1986 film adaptation.

The novel is a vivid depiction of the breakdown of a marriage. Its strong autobiographical content provides insight into one of the "power couples" of the late 1970s. It is Nora Ephron's first published novel but in it she mentions subjects that she would go on to feature in future work such as When Harry Met Sally... and Julie & Julia.

Plot
The narrator of the novel is Rachel Samstat (based on Nora Ephron), a food writer who is married to Mark Feldman (based on Carl Bernstein), a political journalist. Rachel is a Jewish New Yorker who has moved to Washington, D.C., to support her husband's career. They have one son, Sam, and Rachel is pregnant with their second child as the book begins. The book wittily describes the life of an upper middle class intellectual couple replete with neuroses—Rachel is in group therapy, Mark agonizes over the mystifying disappearance of his socks. Threaded through the whole are recipes and anecdotes which drive the story along and humanize Samstat.

Rachel's self-esteem takes a huge battering as Mark has an affair with Thelma Rice (based on Margaret Jay) and she takes her revenge by telling the Washington grapevine that Thelma has a venereal disease.

Rachel's diamond ring, given to her by Mark after the birth of their first son and stolen from her while at group therapy, is pivotal to the plot. Remarkably she gets it back when the police catch the robber. The stone is loose in its setting and she takes it back to the family jeweler for repair. Here she discovers that while she had been in the hospital giving birth, Mark had bought an expensive necklace for his lover Thelma. She sells the ring and the money enables her to go back to New York and start afresh.

Reception
In a New Yorker piece on novels that include recipes, Adam Gopnik writes, "in Heartburn, the recipes serve both as a joke about what a food writer writing a novel would write and as a joke on novel-writing itself by someone who anticipates that she will not be treated as a 'real' novelist."

title: Heartburn (novel)


text:
Talk:Nihang

Untitled
In a paragraph you write ....They have, says Trumpp, no regular chief or disciple, yet one hears of their Guru, whose "LEAVINGS" are eaten by their disciples .... What is meant by this?

Sikhs not all Nihang
Just a note on this passage, "The Nihangs wear checkered dresses of a particular shade of blue known as "electric-blue."[3], bangles or bracelets of steel round their wrists (Kara), and quoits of steel (Chakra) in their lofty conical blue turbans, together with daggers, knives and swords of varying sizes (Kirpan), and an iron chain.

The bracelets of steel and dagger are not a Nihang custom, but practiced by all observant Sikhs. The article as is suggests this is exclusive to Nihangs.KVND 23:57, 19 October 2008 (UTC) —Preceding unsigned comment added by KVND (talk • contribs)

Akali
I thought only the AKJ are known as Akalis? Not the Nihangs? Sukh | ਸੁਖ | Talk 12:14, 22 July 2006 (UTC)

Shiromani Akali Dal/ Nihang
I have removed the statement below from this entry. This is because is give the impression that the SAD is the political representives of the Nihang, which is incorrect (a reading of the sources cited originally at the end of the article will show that ) Of course if you can cite evidence to the contray please revert. " In politics, the order is represented by the Shiromani Akali Dal, founded in the early years of the twentieth century. Members of the party, like their Nihang counterparts, also don bright electric-blue turbans " Narncruiser 12:41, 14 August 2006 (UTC)

Phula Singh
Article Akali phoola singh was created containing mostly copy and paste from other sources, so I blanked and redirected it to the Phula Singh section here. I tried to expand the section with sources from amritworld.com and Bharat Rakshak, but after adding two minor cites I decided to tag it with expand-sect as this area is outside by expertise. The blanked text is still available in the history but before archive.org's current technical difficulties I found most of the text originated here: Note the tripod page may appear blank but does infact include white on white text. -Wikianon (talk) 19:02, 18 November 2007 (UTC)
 * www.sikh-heritage.co.uk 2005 February version, which itself was edited from a 2004 version
 * 2002 October version of http://panthkhalsa.tripod.com/Warriors/SardarAkaliPhulaSinghji.htm

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

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

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BetacommandBot (talk) 23:17, 13 February 2008 (UTC)

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

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

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BetacommandBot (talk) 06:54, 26 February 2008 (UTC)

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

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

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 12:32, 8 March 2008 (UTC)

Nihangs use Cannabis sometimes called bhang
http://www.tribuneindia.com/2001/20010326/punjab1.htm

 * Using Cannabis by Nihangs in their drinking material is different than smoking Marijuana in rest of the world. Smoking is totally prohibted in Sikhism. For origional Sikh Principles and prohibtions, Please seeofficial information from Shiromani Gurdwara Prabandhak Committee.

 * Also, Mr User talk:90.192.59.97, I warn you from vandalizing Sikh religious articles. Your hate for Sikhism can encourage/force Sikhs and other non-Hindus to vandalize Hinduism and Islam related articles on wikipedia. Please respect the senstivity of religious information. So, Please read all chapters of official Sikh Code of Conduct and educate yourself before generating your next thoughts.Singh6 (talk) 15:14, 14 June 2008 (UTC)

I did not mean to offen you or anyone else, if I have then I apologise.

Now, I changed the use of cannabis from 'smoking' to 'using' however the difference is the same in actual fact, ie the effect of cannabis on the brain whether smoking or otherwise. —Preceding unsigned comment added by 90.192.59.97 (talk) 13:10, 3 July 2008 (UTC)

Electric Blue ??
'Electric Blue' is the name of a Porn video series, secondly Nihangs wouldn't have used the term 'Electric Blue' back in the 16th to 18th Centuries as the local electricity board wasn't up & running and neither was their descriptive use of the language language, so for all intents and purposes its pov. However I replaced it with the urdu term 'Bijli' to save you the embarrassment. —Preceding unsigned comment added by 90.192.59.97 (talk) 13:16, 3 July 2008 (UTC)

 * Just call things what they're called. Im sure hundreds of innocuous phrases in any article are also the names of pornos, but that doesn't mean we should them. 199.111.190.160 (talk) 03:09, 19 March 2010 (UTC)

Inappropriate removal of material on alcohol consumption
"Many Nihangs allow themselves to drink alcohol though intoxicants are considered forbidden by other Sikhs."

This statement has repeatedly and unjustifiably been removed. The BBC, unless someone can point out otherwise, is a generally a very good and reliable source. The last time it was blanked a statement was added in the edit summary that someone or other was excommunicated from the Sikh religion with the implication, I suppose, that he was not a reliable source of information and thus this statement about alcohol was unsubstantiated. This reasoning extremely poor as it bears no meaningful relationship to logic. The person cited as supposedly being excommunicated was not Stephanie Hegarty, the author of the source article so there is no relationship between the source and the alleged excommunication. The article quotes several people, anyone of whom could have made a statement on alcohol noted by the author. Even if excommunicated the person said it, he could have been excommunicated for any number of reasons which have no relationship to the tendency to drink alcohol or his truthfulness or accuracy about alcohol. If you disagree with the alcohol statement then cite a contrary source. Waerloeg (talk) 04:44, 5 November 2013 (UTC)

 * User Jujhar.pannu again unjustifiably blanks my edit and says in edit summary "Niddar SIngh is an exception, he is also excommunicated from the Khalsa, please find better citations". Completely irrelevant: Niddar Singh is not the source cited. How about the user read the talk page as I have now suggested twice in edit summaries, actually find a counter citation and respect NPOV rather than put forward his own agenda. Waerloeg (talk) 02:44, 15 November 2013 (UTC)

Please view WP:RSUW, there is a clear ban of alcohol and drugs for Nihangs (except hemp) according to the Buddha Dal documents (official international head of the Nihangs) and the articles and books available, your view is of a significant-minority view and therefor does not warrant the change of the title. Jujhar.pannu (talk) 06:08, 16 November 2013 (UTC)
 * Nope WP:RSUW does not apply here. The source is WP:Verifiable and the article is about Nihungs. If you have a source which is reliable saying he is an excommunicated Sikh you can add that. Thanks S H 09:13, 16 November 2013 (UTC)
 * It clearly is WP:RSUW especially since there are no other sources anywhere stating that Nihungs drink alcohol. Jujhar.pannu (talk) 05:20, 19 November 2013 (UTC)
 * No it's not. I suggest WP:Mediation as you clearly don't understand WP:RSUW. Thanks S H 07:40, 20 November 2013 (UTC)

Sahibzada Fateh Singh
Not one of the references used to confirm Sahibzada Fateh Singh started the Nihangs is WP:Verifiable. I want to see the exact passages that state he started the Nihangs. Thanks S H 11:37, 9 December 2013 (UTC)
 * I will give it 5 days and if there is no evidence that the references actually refer to Sahibzada Fateh Singh then the previous version will be reinstated. Thanks S H 14:06, 17 December 2013 (UTC)

 * User seems to be engaged in disruptive editing and his recent series of edits here are a clear example of WP:GAME. He first doubted a reference, which said Nihangs accept their origin to be from Sahibzada Fateh Singh, stating on my talk page "I tried to check those references and there was no reference to what you were asserting, hence why they are not WP:Verifiable, or WP:Reliable. Like I said, it's a question of WP:Competence with you".  He was proven wrong with a snapshot of the text on that page. He then sarcastically stated  "It may well say 'Some Nihangs accept Sahibzada ......as the founder of Nihangs'"  . Now he again demands the exact passage that states that he was the founder of the Nihangs. He still says  "no evidence that the references actually refer to Sahibzada Fateh Singh"

 * Passage from S. Gandhi's History of Sikh Gurus Retold (part 2), page 999 for reference

 * "The term Akali is originally from Akal, the timeless one. Guru Nanak (1469-1539) described God as Akal Murat, the Eternal form. It was used to name an order during the time of Guru Gobind Singh. There are different accounts current about the origin of this order. One of these recalls an amusing prank by Guru Gobind Singh's child Fateh Singh (1699-1705). It is said that Fateh Singh once appeared in the Guru's presence dressed in a blue chola (loose short hanging skirt-like below the knees) fastened at the waist with a linen girdle and a large blue turban with a dumala (piece of cloth forming a plume). The Guru was pleased to see his son and remarked that such should be the dress of the soldiers of God. From this expression. Sikhs committed to the Guru's ideology and cause organised themselves into an Order known as Akali Order. Another view is that Guru Gobind Singh, after his escape from Chamkaur, donned blue dress as a disguise, which he... " Jujhar.pannu (talk) 20:55, 17 January 2014 (UTC)
 * Minus the WP:Personal attack thanks for your co-operation. Thanks S H 09:16, 21 January 2014 (UTC)

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Nihang today
, can you explain your revert of the Nihang today section removal? I think it's pretty uncontroversial that adding recent news incidents involving large and very old orders or groups gives WP:UNDUE prominence to said incident. It would be better to have a general section on its militant attitude using academic sources, but the current version isn't in line with Wikipedia policies. Please explain your reasoning in the edit summary, as I did, before reverting. 117.251.198.151 (talk) 01:23, 21 October 2021 (UTC)
 * The material is properly sourced and the single paragraph does not, in my opinion, give undue weight to the event. Removal of the material smacks of whitewashing. If we wish to expand the "Nihang today" section into a description of their generally militant attitude, including examples such as the incident in question, that's fine, but simply removing it does not give a complete picture. WikiDan61 ChatMe!ReadMe!! 11:47, 21 October 2021 (UTC)
 * Since you haven't responded, can I assume you concur with my reasoning? WikiDan61 ChatMe!ReadMe!! 11:29, 25 October 2021 (UTC)

title: Talk:Nihang


text:
Alexi Murdoch

Alexi Murdoch (born 27 December 1973) is a British folk musician and songwriter. Since his debut in 2002, Murdoch has released two LPs and one EP. His music has been featured in numerous television shows and films.

Early life and education
Murdoch was born in London to a Greek father and Louise Cordet, an English singer, and lived in Greece until he was ten, when his family settled in Scotland.

Murdoch moved to the United States in 1992 to study at Duke University, before moving to Los Angeles, California to live with his then girlfriend.

Career
He first gained attention when Nic Harcourt began playing his music on KCRW. Despite increased interest, Murdoch largely turned down advances from record labels and continued to release his music independently.

Four Songs
He self-released the EP Four Songs through independent record stores and website CD Baby in November 2002. CD Baby sold over 50,000 copies of the release, becoming the site's all-time best-selling record.

In 2003, he performed at the South by Southwest (SXSW) Music Conference and that year's Sundance Film Festival, and, in 2004, at the Hollywood Reporter/Billboard Film & TV Music Conference. In 2004, the song "Orange Sky" from the EP also became the most-played song on Philadelphia indie station WXPN.

Time Without Consequence
Murdoch's first album, Time Without Consequence, was released on 6 June 2006 on his own label, Zero Summer. As with the EP, Murdoch continued to turn down the record deals he was offered from numerous major labels to maintain creative control. (The record was distributed nationally through Sony BMG.) Time Without Consequence peaked at No. 25 on the Billboard Heatseekers chart.

On 9 June 2006, Murdoch began a 34 city tour in conjunction with the Coalition of Independent Music Stores, with most bookings at independent record stores.

The album became one of the most licensed albums of the decade, receiving placements on dozens of films and television shows:
 * "Orange Sky" appeared in The O.C., House, Prison Break, Ugly Betty, Dirty Sexy Money, Ladder 49, Suburgatory, and Southland, as well as in promotions for Oscar nominated foreign film, Paradise Now and a Honda commercial.
 * "Home" appeared in a season 2 episode of Prison Break.
 * "All My Days" was featured in The O.C., Grey's Anatomy, Scrubs, Without a Trace, Stargate Universe, Conversations with Friends, and a promo for Southland. It featured as the opening song in the movie Real Steel and the final episode of Years of Living Dangerously.
 * "Song For You" appeared in Everwood.
 * "12" appeared in two television series: Brothers & Sisters and One Tree Hill.
 * "Blue Mind" was featured in the 2008 adventure film The Sharp End,, played over the final credits sequence of the 2014 independent film WildLike, and was used in several episodes of Dawson's Creek.
 * "Wait" was used in the shows Defying Gravity and Parenthood; as well as the 2017 movie "Different Flowers".
 * "It's Only Fear" was used in the Brothers and Sisters.
 * "Breathe" and "All My Days" were used in Stargate Universe, and the 2008 film Tenderness, where the album Time Without Consequence is also shown on a scene of the film.
 * Nine of Murdoch's songs were used in the 2009 film Away We Go, constituting most of the soundtrack. Three of these were unreleased at the time; "Towards the Sun" and "Crinan Wood" were later released on Murdoch's 2011 album "Towards the Sun".
 * Several songs were used in a surfing documentary One California Day. "Crinan Wood" was used in the episode "Chuck Versus the Masquerade" from the show Chuck.

Towards the Sun
Murdoch's second album, Towards the Sun, was initially released in 2009 in the US by Zero Summer Records. It was later released in the UK and Germany in 2011 by label City Slang. The song "Some Day Soon" appeared in a season 1 and a season 4 episode of This Is Us.

Touring
In the spring of 2009, Murdoch embarked on a headlining tour, during which he distributed an early version of a new album entitled Towards the Sun in a limited edition packaged in a hand-printed, cardboard sleeve.

Other bookings by Murdoch include two concerts in Berlin, one small club appearance and a second as part of the City Slang label's 20th anniversary. In February 2011, he performed in New York City as part of Lincoln Center's prestigious "American Songbook Series". Afterwards, he went on a sold-out tour of major markets throughout North America. (i.e. Philadelphia, Los Angeles, San Francisco, Seattle, Portland, Vancouver, Chicago, Minneapolis.) 2011 also saw the official release of his third recording, "Towards The Sun".

Critical reception
Murdoch has been compared to the late British singer-songwriter Nick Drake. His first album Time Without Consequence was met with wide critical praise, gaining him five stars with Alternative Press as well as placing him on Rolling Stone's Top Ten Artists list. His second release Towards the Sun gathered high praise in both the US and Europe. PopMatters, giving the record a 9/10 calls Murdoch's performance "hauntingly beautiful" and "heartbreakingly lovely".

Studio albums

 * Time Without Consequence (Zero Summer Records, 2006)
 * Towards the Sun (Zero Summer Records, City Slang, 2009)

Extended plays

 * Four Songs (Mindblue Music, 2002, EP)

Original soundtrack albums

 * Away We Go (Zero Summer, 2009)

title: Alexi Murdoch


text:
Wikipedia:Featured picture candidates/Baltimore Washington Monument

Baltimore Washington Monument

I took this image and added it to the Washington Monument (Baltimore) article. It is my first time submitting an image as a Featured Picture so give it to me easy. I think it does a good job of illustrating the subject and really makes the article more vibrant than it was without a picture. It was originally pretty dark so I lightened it a bit. If that's an issue and it would look better a little darker, I can manage that. I didnt use a tripod or anything when I took it...so i'm pleasantly surprised its aligned so well.

 * Support & Nominate. --ScottyBoy900Q ∞ 04:08, 27 August 2005 (UTC)

 * How about this? PiccoloNamek 02:20, August 28, 2005 (UTC)
 * That actually looks similar to my original photo...I just wasnt sure if it was too dark in certain spots.--ScottyBoy900Q 06:40, 28 August 2005 (UTC)
 * I prefer the original. The second version is a bit too dark for me. However, the image needs to be rotated just a bit, I notice the tower isn't perfectly straight. Raven4x4x 09:38, August 28, 2005 (UTC)
 * According to the grid and rulers in Photoshop, the horizon is straight. If you fix the tower the rest of the picture will be tilted. And about the brightness, well, therin lies the problem of people with different monitor settings. It doesn't look dark at all to me. Anyway, I fixed it a little. How's this one? PiccoloNamek 10:01, August 28, 2005 (UTC)
 * I think either my monitor, my chair and/or myself must be tilted, because it still doesn't look straight to me. I'll take your word for it, I'm sure it's just me. It is a very nice picture. Raven4x4x 12:37, August 28, 2005 (UTC)
 * Support, it's definately my monitor or the desk: I can't believe I didn't notice this before. Great image, and sorry for saying your image was tilted when it's really my fault. Raven4x4x 02:33, August 29, 2005 (UTC)
 * Support. James F. (talk) 12:59, 4 September 2005 (UTC)
 * Support, it particularly demonstrates the surrounding grounds very well and shows the area in modern times. --Noitall 05:32, September 7, 2005 (UTC)
 * Oppose. These types of monuments are intensely boring however good the photograph. If I was going to be rude I'd say something about how a good name for it might be 'Phallus in Blunderland'. But I won't. Oska 22:57, September 8, 2005 (UTC)
 * Too late. --ScottyBoy900Q 01:18, 9 September 2005 (UTC)

-- Enochlau 06:13, 10 September 2005 (UTC)


text: File:Team Shanghai Alice.png

title: File:Team Shanghai Alice.png


text:
File:Washington Monument, 1900 1a.jpg

Image source: Inage Z24.1VF, linked at. Pre-1923.

From the Maryland Historical Society web site,

title: File:Washington Monument, 1900 1a.jpg


text:
Talk:Masashi Tashiro

Needs cleanup
This seems like it could be made into a pretty interesting article, but it needs a lot of work. ZacharyS 04:10, 27 August 2005 (UTC)
 * More like a lot of translation....

Collections of moving pictures
I removed the 2 links to what were originally described as "collections of moving pictures". These links were entirely in Japanese, so I'm not sure they really belong here. For future reference: 4.248.255.136 10:11, 24 February 2006 (UTC)
 * Television commercials
 * Programs

Cleanup
Did some cleanup, but its still a mess. Especially the images and the overuse of italics. I removed the passage about additional accusations of voyeurism, because it rather reeks of tabloidism, and I couldn't rewrite it without a liberal dose of Weasel Words. Also, the source is in Chinese. 4.248.48.254 12:27, 24 February 2006 (UTC)

Discrepancies
Some of the information present in the English version of the article does not appear in the Japanese version. Namely, the police station and victim accounts of his bath-house peeping incident and the posts on the Time website. The former have some obscure points (who ran after him forcing him to run 300m from the bath-house and who caught him? Is it the same person?) and the latter have grammar issues. Where was this information gotten from?

And one more thing, is his "Way of the Whales" V-Cinema production a one-shot movie or is it a series? (Gastaman 17:30, 29 April 2006 (UTC))

My changes
I made some much needed edits to the article which were soon to be reverted by user hatto, twice. Here's what I removed and reasons for it - I hope for you, hatto, to give arguments why you reverted these edits.

1) Expand this article-template. The article is already larger than the one on Japanese Wikipedia, and he's only a second rate celebrity. The reason you give for his importance is that he was the "preliminary winner" of TIME's man of the year 2001, but that was created by a simple internet script and wasn't more than a small computer hack performed by 2channeru users.

2) The fact that he actually won (or 3rd place or whatever) another of TIME's internet polls (which I suspect wasn't presented in the actual paper but only carried out on the net) could be mentioned but it doesn't demand an image to show it. Also, the comments are completely superfluous and have nothing do to in an encylopedic article.

3) The trivia was far to trivial, which might sound like an oxymoron, but it isn't. It refers to a girl he says he once loved, and ONE lecture he once held at Waseda (a comment probably first added to Japanese wikipedia by somebody attending the lecture, feeling important, than translated into English). If that's gonna be the standard, we could just as well put in any unsourced claims saying "2nd March, Tashior ate spaghetti".

4) The fan-site links are not necessary, see EL for Wikipedia's guidelines on External linking.

Over all, there are many wikipedia guidelines I think you desperately need to familiarize yourself with if you want to keep on editing on English Wikipedia. Mackan 17:04, 28 June 2006 (UTC)

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title: Talk:Masashi Tashiro


text:
Chung Ho Yin

Chung Ho Yin (born 15 April 1971, in Hong Kong) is a former Hong Kong professional footballer.

Club career
He made his debut in first level game in Lai Sun's FA Cup match against Sing Tao on 6 April 1990.

He was released by South China of Hong Kong First Division League after 2006–07 season. However, he resigned a contract with the club after the start of 2007–08 season. He then was loaned to Eastern for the first half of the season and played 5 matches for the team. In 2008–09 season he go back to Eastern as a contract player.

International career
He has capped for Hong Kong at various youth levels, the Olympic team and was a season international. He also played in the 1992 FIFA Futsal World Championship, helping Hong Kong to finish 10th while beating Nigeria 4–1 in the process.

Career statistics
As of 14 May 2008

title: Chung Ho Yin


text:
Proton CamPro engine

The Proton CamPro engine is the first flagship automotive engine developed together with Lotus by the Malaysian automobile manufacturer, Proton.

The name CamPro is short for Cam Profiling. This engine powers the Proton Gen-2, Proton Satria Neo, Proton Waja Campro, Proton Persona, Proton Saga, Proton Exora, Proton Preve, Proton Suprima S and Proton Iriz.

The CamPro engine was created to show Proton's ability to make its own engines that produce good power output and meet newer emission standards. The engine prototype was first unveiled on 6 October 2000 at the Lotus factory in UK before it debuted in the 2004 Proton Gen•2.

All CamPro engines incorporate drive-by-wire technology (specifically electronic throttle control) for better response, eliminating the need for friction-generating mechanical linkages and cables.

Original CamPro engine
The first CamPro engine made its debut in 2004 fitted to the newly released Gen•2 models. It was codenamed S4PH and was a DOHC 16-valve 1.6-litre engine that produced 110 bhp of power at 6,000 rpm and 148 Nm of torque at 4,000 rpm. The S4PH engine was ironically not equipped with Cam Profile Switching (CPS) even though its Campro designation was an abbreviation of Cam Profile Switching. It also lacked the Variable Inlet Manifold (VIM) technology of later CamPro engines. Proton also produced a 1.3-litre version of this original CamPro engine and codenamed it S4PE.

Even though the S4PH engine had contemporary maximum power and torque outputs, its performance was reportedly sluggish in real world driving. This performance deficiency was attributed to a pronounced torque dip in the crucial 2,500 to 3,500 rpm mid engine speed range where torque actually decreased before picking up back to the maximum torque level at 4,000 rpm. This torque characteristic could also clearly be seen in manufacturer published engine performance curves.

The original Campro 1.3-litre variant produced 94 bhp of power at 6,000 rpm and 120 Nm of torque at 4,000 rpm, again contemporary outputs for a 1.3-litre passenger car engine of the time. This engine also displayed a torque dip in the mid engine speed range, similar to the one in the larger variant.

The bore x stroke dimensions for both engines are as follows:-

 * S4PH (1.6L): 76 mm x 88 mm, resulting the displacement of 1,598 cc.
 * S4PE (1.3L): 76 mm x 73.4 mm, resulting the displacement of 1,332 cc.

Applications:
 * 2004 – 2008 Proton Gen-2
 * 2006 – 2008 Proton Waja
 * 2006 – 2009 Proton Satria Neo (Lite & M-Line)
 * 2007 – 2008 Proton Persona
 * 2010 – 2015 Youngman Lotus L5

CamPro CPS and VIM engine

The CamPro CPS engine uses a variable valve lift system (Cam Profile Switching system) and a variable length intake manifold (VIM; not to be confused with the stand-alone IAFM used in the 2008 Proton Saga) to boost maximum power and improve the CPS engine's torque curve over the original CamPro engine.

The engine's Variable-length Intake Manifold (VIM) switches between a long intake manifold at low engine speeds and a short intake manifold at higher engine speeds. Proton cars use a longer intake manifold to achieve slower air flow; as it was found that promotes better mixing with fuel. The short intake manifold allows more air in faster. This is beneficial at high RPMs.

The Cam Profile Switching (CPS) system uses a tri-lobe camshaft to switch between two different cam profiles. One cam profile provides low valve lift, while the other cam profile has a high valve lift. The low valve lift cam profile is used at low to mid engine speeds to maintain idling quality and reduce emissions, while the high lift cam profile is used when the engine is spinning at mid to high engine speeds improve peak horsepower and torque. Unlike the other similar variable valve timing systems such as the Honda VTEC, the Toyota VVT-i and the Mitsubishi MIVEC which use rocker arm locking pins to change the valve timing, the CPS system uses direct-acting tappets with locking pins to change the valve timing and lift profile.

VIM switches from the long to short runner at 4,800 rpm, while the CPS system switches over at 3,800 rpm (4,400 rpm in the Proton Satria Neo CPS ). The result is 125 bhp at 6,500 rpm and 150 Nm of torque at 4,500 rpm compared to the non-CPS CamPro's 110 bhp at 6,000 rpm and 148 Nm of torque at 4,000 rpm. Proton claims that there is better response and torque at low engine speeds of between 2000 - 2500 rpm.

The new CPS engine first made its debut in the face-lifted Proton Gen•2 launched in Thailand in 2008, and made its first Malaysian debut in the Proton Waja CamPro 1.6 Premium (CPS).

Applications:
 * 2008 – 2010 Proton Gen-2 (H-line)
 * 2008 – 2011 Proton Waja
 * 2009 –2015 Proton Satria Neo (H-Line)
 * 2009 – 2016 Proton Exora
 * 2010 – 2012 Proton Gen-2 Facelift (M-Line)

CamPro IAFM engine

The CamPro IAFM (Intake Air-Fuel Module) is essentially an original CamPro engine equipped with a variable-length intake manifold, developed under a joint fast track programme that began in April 2005 by EPMB, Bosch and Proton. However, the IAFM differs from the VIM (Variable Inlet Manifold) for the CamPro CPS engine as follows:

 * 1) The IAFM is a stand-alone module that can be fitted with an original CamPro engine whereas the VIM needs to work in conjunction with the CPS system in a CamPro CPS engine.
 * 2) The IAFM is operated by the engine vacuum, while the VIM uses an ECU-controlled solenoid.

The Intake Air-Fuel Module for Proton's CamPro engine debuted in the second-generation Proton Saga, which was launched on 18 January 2008. It was first made known to the public in October 2006, when it was still in its advanced tooling stages.

With the IAFM, the 1.3L engine used in the Proton Saga now produces 98 bhp @ 6,500rpm. The maximum torque is slightly reduced to 113.2 Nm; however, the engine has broader torque range and the noticeable torque dip in the original CamPro engine has been eliminated. The official brochure is only published with the familiar 94 bhp  at 6,000 rpm power and 120 Nm at 4,000 rpm torque for consistency with other 1.3-litre Proton models.

Meanwhile, the output of the 1.6-litre version of the IAFM engine which debuted in the 2008 Proton Gen-2 M-Line produces 110 bhp @ 6,500 rpm of power and 148 Nm of torque, and the torque dip around 2,500-3,500 rpm has been eliminated. While the IAFM works great when it was new, the quality of parts are not durable over long term. When the solenoid breaks, the flap can no longer be functional to direct air in the manifold and causes it to produce the infamous 'tak, tak, tak' sound, similar to the noise of tappets while also making it a major vacuum leak to the engine.

The second-generation Campro IAFM engine, known as IAFM+ engine, debuted in the 2011 Proton Saga FLX. The new IAFM+ engine is tweaked to be paired with the new CVT gearbox by Punch Powertrain that requires the maximum operating engine speed to be reduced from the previous 6,500 rpm in the first-generation IAFM engine to only 6,000 rpm. As a result, the 1.3L IAFM+ engine produces 94 bhp @ 5,750 rpm of horsepower and 120 Nm of torque, while the 1.6L IAFM+ engine produces 108 bhp @ 5,750 rpm of horsepower and 150 Nm of torque. The combination of the new Campro IAFM+ engine with the CVT gearbox results 4% and 10% reduction on fuel consumption for urban and highway driving respectively.

Applications:

 * 2008 – 2016 Proton Saga
 * 2008 – 2010 Proton Gen-2 (M-line)
 * 2008 – 2016 Proton Persona
 * 2012 – 2018 Proton Preve

Hybrid CamPro engine
In March 2007, Proton and Lotus have announced their concept model of a Proton Gen-2 powered by a hybrid powerplant that uses the CamPro engine. The concept model was revealed during the 2007 Geneva Motor Show from 8 ~ 18 March 2007.

The hybrid power-plant system, which is known as EVE system (Efficient, Viable, Environmental) will be using the same S4PH engine as the one that powers the present gasoline version of the Gen•2, combined with a 30 kW, 144V electric motor. The main purpose of the hybrid powerplant system is to provide a hybrid system that can be retrofitted to existing models, retaining the same power-plant and also eliminating the need to develop a completely different platform, like the Honda Civic Hybrid. Unlike the IMA (Integrated Motor Assist) technology in the Civic Hybrid that uses a bulky Ni-MH battery pack, the EVE Hybrid system will use a Li-ion battery pack inside the engine bay.

The EVE Hybrid System will have 3 key technologies:

 * 1) "Micro-hybrid" start-stop system - An integrated starter-alternator system is installed to switch off the engine automatically when the engine stops, for example at a traffic light. The engine will automatically restart when the gas pedal is depressed.
 * 2) Full parallel hybrid technology - Combines the existing S4PH engine with a 30 kW, 144V electric motor, resulting in higher power (141 bhp combined), higher torque (233 N-m combined), lower emission (up to 22% carbon dioxide reduction) and better fuel economy (up to 4.6 L/100 km). The system also includes regenerative braking system.
 * 3) Continuously Variable Transmission (CVT) - The CVT system provides an infinite number of gear ratios for better efficiency.

The combined power and torque for the power-plant system are as follows:

 * Max power (gasoline engine only): 110 bhp @ 6,000 rpm
 * Max torque (gasoline engine only): 148 Nm  @ 4,000 rpm
 * Max power (combined): 141 bhp @ 5,500 rpm
 * Max torque (combined): 233 Nm  @ 1,500rpm (limited to 180 Nm continuous)

Proton will start commercialising their upcoming hybrid vehicles equipped with the EVE Hybrid System in the future.

CamPro CFE engine
The CamPro CFE engine is the light-pressure intercooled turbocharged version of the 1.6-litre CamPro engine, with the maximum boost pressure of 0.75 bar. The CFE is the acronym of "Charged Fuel Efficiency".

The idea of the production was first revealed by Proton Managing Director Datuk Syed Zainal Abidin on 13 December 2008, due to the new market trend of having small displacement engine but forced-aspirated to produce the power output equivalent to a larger motor, a similar concept as the Volkswagen TSI twincharger technology and the Ford EcoBoost engine. The finalised engine was debuted during the KLIMS 2010.

The engine is capable of producing 138 bhp at 5,000 rpm of power and 205 Nm  at 2,000-4,000 rpm of torque. To accommodate the increase of engine power, several changes to the technical specification have been done. While the engine bore remains at 76 mm, the stroke is shortened to 86 mm compared with 88 mm as in other 1.6L Campro engine variants, resulting the engine displacement of 1561 cc. The compression ratio is reduced to 8.9:1 from the previous 10:1. A variable valve timing mechanism is also added for the intake valves, but it alters the cam phasing and valve opening timing continuously rather than altering the valve lift at a preset engine speed as in the CPS mechanism.

In 2016, a public recall affecting more than 90,000 CamPro CFE equipped vehicles took place for the oil cooler hose. Together with the recall, service intervals for oil cooler hose replacement were lowered to every 40,000 kilometres. The intervals was increased to every 80,000 kilometres following the availability of a higher quality oil cooler hose in 2018 replacing an all rubber component from before with a part rubber, part metal component.

Applications:

 * 2012 – 2023 Proton Exora
 * 2012 – 2018 Proton Preve
 * 2013 – 2019 Proton Suprima S

CamPro VVT engine
The VVT (Variable Valve Timing) engine was unveiled in September 2014 with its first application in the Proton Iriz. The VVT engine has a new block, new pistons and new valves, and incorporates variable valve timing (VVT). However, some technology in the new VVT family is shared with the old CamPro, but due to the various changes and modifications made to the CamPro family over the past decade, Proton has decided not to use the 'CamPro' nameplate after its 2014 revision. However, older models like the Exora, Prevé and Suprima S will continue to use the old 'CamPro' name until it is eventually retired in favour of the upcoming GDi engines.

The latest application of the VVT engine in the 2016 Proton Persona, 2017 Proton Iriz and Proton Saga features Proton's ECO Drive Assist program. The system assesses the driver's throttle input, and a green indicator on the instrument cluster will light up when the car is being driven in an economical manner.

The engine is capable to produce 94 bhp at 5,750 rpm of power and 120 Nm  at 4,000 rpm of torque for the 1.3 variant compared to the 1.6 variant which delivers 107 bhp at 5,750 rpm of power and 150 Nm  at 4,000 rpm of torque. While the engine bore for the 1.3 variant is 76 mm, the stroke is 73.4 mm compared with the 1.6 variant which is 88 mm.

The VVT engines are like the CFE engines with the VVT for the intake valves.

Applications:

 * 2014 – present Proton Iriz
 * 2016 – present Proton Persona (equipped only with 1.6 variant)
 * 2016 – present Proton Saga (equipped only with 1.3 variant)

Future plans
Currently, Proton is planning to develop a new engine known as the code name "GDi/TGDi engine" with option of displacement between 1.0/1.2L three cylinders,1.3/1.5 naturally aspirated and turbocharged and progressively 2.0 L, 2.3 L all in the variant of either natural aspirated or in force induction type. The existing CamPro engines which are limited to 1.3-litre and 1.6-litre engine options only will be EOL (End of Life) soon after. The 1.3 and 1.5 turbo slated to churns out 140 hp/210 nm & 180 hp/250 nm respectively.

title: Proton CamPro engine


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Appalachian music

Appalachian music is the music of the region of Appalachia in the Eastern United States. Traditional Appalachian music is derived from various influences, including the ballads, hymns and fiddle music of the British Isles (particularly Scotland), and to a lesser extent the music of Continental Europe.

First recorded in the 1920s, Appalachian musicians were a key influence on the early development of old-time music, country music, bluegrass, and rock n' roll, and were an important part of the American folk music revival of the 1960s. Instruments typically used to perform Appalachian music include the banjo, American fiddle, fretted dulcimer, and later the guitar.

Early recorded Appalachian musicians include Fiddlin' John Carson, G. B. Grayson & Henry Whitter, Bascom Lamar Lunsford, the Carter Family, Clarence Ashley, and Dock Boggs, all of whom were initially recorded in the 1920s and 1930s. Several Appalachian musicians obtained renown during the folk revival of the 1950s and 1960s, including Jean Ritchie, Roscoe Holcomb, Ola Belle Reed, Lily May Ledford, Hedy West and Doc Watson. Country and bluegrass artists such as Loretta Lynn, Roy Acuff, Dolly Parton, Earl Scruggs, Chet Atkins, The Stanley Brothers and Don Reno were heavily influenced by traditional Appalachian music.

First immigrants: from the British Isles
Immigrants from Northern England, the Scottish lowlands, and Ulster arrived in Appalachia in the 17th and 18th centuries (with many from Ulster being "Ulster Scots", whose ancestors originated from parts of Southern Scotland and Northern England ), including Cumberland, and brought with them the musical traditions of these regions, consisting primarily of English and Scottish ballads— which were essentially unaccompanied narratives— and dance music, such as reels, which were accompanied by a fiddle.

Ballads
Many Appalachian ballads, such as "Pretty Saro", "The Cuckoo", "Pretty Polly", and "Matty Groves", descend from the English ballad tradition and have known antecedents there. Other songs popular in Appalachia, such as "Young Hunting," "Lord Randal," and "Barbara Allen", have lowland Scottish roots. Many of these are versions of the famous Child Ballads, collected by Francis James Child in the nineteenth century. The dance tune "Cumberland Gap" may be derived from the tune that accompanies the Scottish ballad "Bonnie George Campbell". According to the musicologist Cecil Sharp the ballads of Appalachia, including their melodies, were generally most similar to those of "the North of England, or to the Lowlands, rather than the Highlands, of Scotland, as the country from which they [the people] originally migrated. For the Appalachian tunes...have far more affinity with the normal English folk-tune than with that of the Gaelic-speaking Highlander."

Fiddle tunes
Several Appalachian fiddle tunes have origins in Gaelic-speaking regions of Ireland and Scotland, for example "Leather Britches," based on "Lord MacDonald's Reel." These may have come to Appalachia via printed versions which were very popular throughout the British Empire in the eighteenth century, rather than directly from Gaelic areas. The style of the 18th century Scottish fiddler Niel Gow, which involved a powerful and rhythmic short bow sawstroke technique, is said to have become the foundation of Appalachian fiddling.

Church music
The early British immigrants also brought a form of church singing called lining out or calling out, in which one person sings a line of a psalm or hymn and the rest of the congregation responds. This type of congregational singing, once very common all over colonial America, is now largely restricted to Old Regular Baptist churches in the hills of southwest Virginia, southern West Virginia, and eastern Kentucky.

Continental Europeans
There were German, Polish and Czech cultural pockets in Appalachia as well as many Dutch and French Huguenot immigrants. These cultures largely assimilated, but some songs and melodies, for example the German "Fischer's Hornpipe", remained in the repertoires of their Americanized ancestors. A recording of the fiddler Tommy Jarrell playing "Fisher's Hornpipe" can be heard online.

The "Appalachian" or "mountain" dulcimer, thought to have been a modification of a Germanic instrument such as the scheitholt, (or possibly the Norwegian langeleik or the French épinette des Vosges) emerged in Southwest Pennsylvania and Northwest Virginia in the 19th century. In the early 20th century, settlement schools in Kentucky taught the fretted dulcimer to students, helping spread its popularity in the region. Jean Ritchie was largely responsible for popularizing the instrument among folk music enthusiasts in the 1950s.

Appalachian yodeling is thought to have entered the Appalachian mountains in the 18th century, brought by immigrants from Germany, Scandinavia and Switzerland, where it was generally used to communicate over longs distances in mountainous terrain similar to the Appalachians. Vocal feathering, practiced by singers including Doug Wallin and described as a "half-yodel", (or more accurately, according to Judith McCulloh, as 'A sudden or forceful raising of the soft palate against the back wall of the throat and/or a sudden closing of the glottis at the very end of a given note, generally accompanied by a rise in pitch'), may also be Germanic in origin, or alternatively African.

African Americans
Cecil Sharp described the practice among white ballad singers of "dwelling arbitrarily upon certain notes of the melody, generally the weakest accents," unaware that this feature was African in origin, being widespread among African Americans and in West Africa. In early Appalachia, black and white fiddlers would exchange tunes, allowing the rhythms and harmonies to influence each other. African slaves brought a distinct tradition of community songs of work and worship, usually involving call and response, and African percussion rhythms affected the rhythms of Appalachian song and dance. However it needs to be noted that English Hymns also used a call and response format.

Early African-American vocal music, probably the ancestor of blues music, brought harmonic (third and seventh blue notes, and sliding tones) and verbal dexterity to Appalachian music, and many early Appalachian musicians, such as Dock Boggs and Hobart Smith, recalled being greatly influenced by watching black musicians perform at the beginning of the twentieth century. Dock Boggs, Doc Carter and Doc Watson have all been described as "white blues" musicians due to the presence of African American blues features in their styles.

Later developments
The "New World" ballad tradition, consisting of ballads written in North America, was as influential as the Old World tradition to the development of Appalachian music. New World ballads were typically written to reflect news events of the day, and were often published as broadsides. New World ballads popular among Appalachian musicians included "Omie Wise", "Wreck of the Old 97", "Man of Constant Sorrow," and "John Hardy". Later, coal mining and its associated labor issues led to the development of protest songs, such as "Which Side Are You On?" and "Coal Creek March".

Many ballad singers, such as Texas Gladden, acquired what is referred to as the "High Lonesome Sound", a strident, nasalized vocal timbre, often with an unmetered rhythm and the use of gapped (i.e. pentatonic) scales. It is unknown exactly when and how this style developed. Instruments such as the guitar, mandolin, and autoharp became popular in Appalachia in the late 19th century as a result of mail order catalogs. These instruments were added to the banjo-and-fiddle outfits to form early string bands.

In addition, other instruments used include the spoons which are played by hitting two spoons together, making a 'click' sound that creates tempo, and the washboard which the players play by using their hands or thimble to stroke the riffs on the instrument. These are used in place of drums to produce percussion sounds. The washtub bass is another instrument popular in Appalachian music. Also known as the gutbucket,(or in other countries the "gas-tank bass" or "laundrophone"), it is usually made from a metal wash tub, a staff or stick, and at least one string, although usually four or more strings are used. The Bass may also have tuning pegs. The washtub bass originated in African-Americans communities in Appalachia before being adopted by white string bands.

Fieldwork
Around the turn of the 20th century, a broad movement developed to record the rich musical heritage, particularly of folksong, that had been preserved and developed by the people of the Appalachians. This music was unwritten; songs were handed down, often within families, from generation to generation by oral transmission. Fieldwork to record Appalachian music (first in musical notation, later on with recording equipment) was undertaken by a variety of scholars.

One of the earliest collectors of Appalachian ballads was Kentucky native John Jacob Niles (1892–1980), who began noting ballads as early as 1907 as he learned them in the course of family, social life, and work. Due to fears of plagiarism and imitation of other collectors active in the region at the time, Niles waited until 1960 to publish his first 110 in The Ballad Book of John Jacob Niles. The area covered by Niles in his collecting days, according to the map in the Ballad Book, was bounded roughly by Tazewell, Virginia; south to Boone and Saluda, North Carolina and Greenville, South Carolina; west to Chickamauga, Georgia; north through Chattanooga and Dayton, Tennessee to Somerset, Kentucky; northwest to Bardstown, Frankfort, and Lexington, Kentucky; east to the West Virginia border, and back down to Tazewell, thus covering areas of the Smokies, the Cumberland Plateau, Upper Tennessee Valley, and the Lookout Mountain region.

In May 1916, the soprano Loraine Wyman and her pianist colleague Howard Brockway visited the Appalachians in eastern Kentucky, in a 300-mile walking trek to gather folk songs. They took their harvest back to New York, where they continued, with great success, their ongoing efforts in performing traditional folk songs to urban audiences.

Starting only about a month after Wyman and Brockway, the British folklorists Cecil Sharp and Maud Karpeles toured the Southern Appalachian region, visiting places like Hot Springs in North Carolina, Flag Pond in Tennessee, Harlan in Kentucky, and Greenbrier County in West Virginia, as well as schools such as Berea College and the Hindman Settlement School in Kentucky and the Pi Beta Phi settlement school in Gatlinburg, Tennessee. They persisted for three summers in all (1916–1918), collecting over 200 "Old World" ballads in the region, many of which had varied only slightly from their British Isles counterparts. After their first study in Appalachia, Sharp and Karpeles published English Folk Songs from the Southern Appalachians.

Among the ballads Sharp and Karpeles found in Appalachia were medieval-themed songs such as "The Elfin Knight" and "Lord Thomas and Fair Ellinor", and seafaring and adventure songs such as "In Seaport Town" and "Young Beichan". They transcribed 16 versions of "Barbara Allen" and 22 versions of "The Daemon Lover" (often called "The House Carpenter" in Appalachia). The work of Sharp and Karpeles confirmed what many folklorists had suspected— the remote valleys and hollows of the Appalachian Mountains were a vast repository of older forms of music.

Later in the twentieth century, Jean Ritchie, Texas Gladden, Nimrod Workman, Frank Proffitt and Horton Barker and many others were recorded singing traditional songs and ballads learnt in the oral tradition.

Commercial recordings
Only a few years after folk music fieldwork had begun to flourish, the commercial recording industry had developed to the point that recording Appalachian music for popular consumption had become a viable enterprise. In 1923, OKeh Records talent scout Ralph Peer held the first recording sessions for Appalachian regional musicians in Atlanta, Georgia. Musicians recorded at these sessions included Fiddlin' John Carson, a champion fiddle player from North Georgia. The commercial success of the Atlanta sessions prompted OKeh to seek out other musicians from the region, including Henry Whitter, who was recorded in New York City in 1924. The following year, Peer recorded a North Carolina string band fronted by Al Hopkins that called themselves "a bunch of hillbillies." Peer applied the name to the band, and the success of the band's recordings led to the term "Hillbilly music" being applied to Appalachian string band music.

In 1927, Peer, then working for the Victor Talking Machine Company, held a series of recording sessions at Bristol, Tennessee that to many music historians mark the beginning of commercial country music. Musicians recorded at Bristol included the Carter Family and Jimmie Rodgers. Other record companies, such as Columbia Records and ARC, followed Peer's lead and held similar recording sessions. Many early Appalachian musicians, including Clarence Ashley and Dock Boggs, experienced a moderate level of success. The onset of the Great Depression in the early 1930s, however, reduced demand for recorded music, and most of these musicians fell back into obscurity.

Folk revival
In the 1930s, radio programs such as the Grand Ole Opry kept interest in Appalachian music alive, and collectors such as musicologist Alan Lomax continued to make field recordings in the region throughout the 1940s. In 1952, Folkways Records released the landmark Anthology of American Folk Music, which had been compiled by ethnomusicologist Harry Smith, and contained tracks from Appalachian musicians such as Clarence Ashley, Dock Boggs, and G. B. Grayson. The compilation helped inspire the folk music revival of the 1950s and 1960s. Urban folk enthusiasts such as New Lost City Ramblers bandmates Mike Seeger and John Cohen and producer Ralph Rinzler traveled to remote sections of Appalachia to conduct field recordings. Along with recording and re-recordings of older Appalachian musicians and the discovery of newer musicians, the folk revivalists conducted extensive interviews with these musicians to determine their musical backgrounds and the roots of their styles and repertoires. Appalachian musicians became regulars at folk music festivals from the Newport Folk Festival to folk festivals at the University of Chicago and the University of California at Berkeley. Films such as Cohen's High Lonesome Sound— the subject of which was Kentucky banjoist and ballad singer Roscoe Holcomb— helped give enthusiasts a sense of what it was like to see Appalachian musicians perform.

Coal mining and protest music
Large-scale coal mining arrived in Appalachia in the late 19th century, and brought drastic changes in the lives of those who chose to leave their small farms for wage-paying jobs in coal mining towns. The old ballad tradition that had existed in Appalachia since the arrival of Europeans in the region was readily applied to the social problems common in late 19th-century and early 20th-century mining towns— low pay, mine disasters, and strikes. One of the earliest mining-related songs from Appalachia was "Coal Creek March," which was influenced by the 1891 Coal Creek War in Anderson County, Tennessee. Mine labor strife in West Virginia in 1914 and the 1931 Harlan County War in Kentucky produced songs such as Ralph Chaplin's "Solidarity Forever" and Florence Reece's "Which Side Are You On?" respectively. George Korson made field recordings of miners' songs in 1940 for The Library of Congress. The most commercially successful Appalachian mining song is Merle Travis' "Sixteen Tons," which has been recorded by Tennessee Ernie Ford, Johnny Cash, and dozens of other artists. Other notable coal mining songs include Jean Ritchie's "The L&N Don't Stop Here Anymore," Sarah Ogan Gunning's "Come All You Coal Miners," and Hazel Dickens' "Clay County Miner." Both classic renditions and contemporary covers are included in Jack Wright's 2007 compilation album, Music of Coal.

In 1990 they started to use a new type of mining called Mountain Top Removal (MTR). That upset a lot of people who lived in Appalachia due to the belief that mountains were holy spaces and that they were a gift from God. Some people showed these feelings through the music. Some example are Todd Burge's "What Would Moses Climb", Donna Price and Greg Treadway's "The Mountains of Home", Jean Ritchie’s "Now Is the Cool of the Day", Shirley Stewart Burns's "Leave Those Mountains Down", and Rising Appalachia's "Scale Down." Many of the songs featured a cappella and string-band sounds to give them a traditional feel.

Country music
The Bristol sessions of 1927 have been called the "Big Bang of Country Music," as some music historians have considered them the beginning of the modern country music genre. The popularity of such musicians as the Carter Family, who first recorded at the sessions, proved to industry executives that there was a market for "mountain" or "hillbilly" music. Other influential 1920s-era location recording sessions in Appalachia were the Johnson City sessions and the Knoxville sessions. Early recorded country music (i.e., late 1920s and early 1930s) typically consisted of fiddle and banjo players and a predominant string band format, reflecting its Appalachian roots. Due in large part to the success of the Grand Ole Opry, the center of country music had shifted to Nashville by 1940. In subsequent decades, as the country music industry tried to move into the mainstream, musicians and industry executives sought to deemphasize the genre's Appalachian connections, most notably by dropping the term "hillbilly music" in favor of "country." In the late 1980s, artists such as Dolly Parton, Ricky Skaggs, and Dwight Yoakam helped to bring traditional Appalachian influences back to country music.

Bluegrass
Bluegrass developed in the 1940s from a mixture of several types of music, including old-time, country, and blues, but particularly mountain string bands, which in turn evolved from banjo-and-fiddle outfits. The music's creation is often credited to Bill Monroe and his band, the Blue Grass Boys. One of the defining characteristics of bluegrass—the fast-paced three-finger banjo picking style—was developed by Monroe's banjo player, North Carolina native Earl Scruggs. Later, as a member of Flatt and Scruggs and the Foggy Mountain Boys, Scruggs wrote Foggy Mountain Breakdown, one of the most well-known bluegrass instrumentals. Bluegrass quickly grew in popularity among numerous musicians in Appalachia, including the Stanley Brothers, the Osborne Brothers, and Jimmy Martin, and although it was influenced by various music forms from inside and outside the region (Monroe himself was from Western Kentucky), it is often associated with Appalachia and performed alongside old-time and traditional music at Appalachian folk festivals.

Popular music
Appalachian music has also influenced a number of musicians from outside the region. In 1957, British skiffle artist Lonnie Donegan reached the top of the U.K. charts with his version of the Appalachian folk song "Cumberland Gap," and the following year The Kingston Trio had a number one hit on the U.S. charts with their rendition of the North Carolina ballad, "Tom Dooley". Grateful Dead member Jerry Garcia frequently performed Appalachian songs such as "Shady Grove" and "Wind and Rain", and said he had learned the clawhammer banjo style from "listening to Clarence Ashley". Bob Dylan, who also performed a number of Appalachian folk songs, considered Roscoe Holcomb to be "one of the best," and guitarist Eric Clapton considered Holcomb a "favorite" country musician.

Classical music
Classical composers Lamar Stringfield and Kurt Weill have used Appalachian folk music in their compositions, and the region was the setting for Aaron Copland's Appalachian Spring.

Film
In the early 21st century, the motion picture O Brother, Where Art Thou?, and to a lesser extent Songcatcher and Cold Mountain, generated renewed mainstream interest in traditional Appalachian music.

Festivals
Every year, numerous festivals are held through the Appalachian region, and throughout the world, to celebrate Appalachian music and related forms of music. One of the oldest is the Ole Time Fiddler's and Bluegrass Festival (known as "Fiddler's Grove") in Union Grove, North Carolina, which has been held continuously since 1924. It is held each year on Memorial Day weekend. In 1928, Appalachian musician and collector Bascom Lamar Lunsford, a native banjo player and fiddler of the North Carolina mountains, organized the Mountain Dance and Folk Festival, which is held annually in Asheville, North Carolina on the first weekend in August. Every September, Bristol hosts the old-time music festival, Rhythm & Roots Reunion. The American Folk Music Festival, established by Jean Bell Thomas in 1930, was held almost annually in Ashland, Kentucky and at various Kentucky state parks until 1972.

For five days during the first week of August each year, the Appalachian String Band Music Festival is held in Clifftop, West Virginia. This festival is dedicated to the preservation of authentic old-time string band music as well as traditional flatfoot dancing and square dancing. It features competition, performances, and workshops. Another popular festival for traditional old-time music, flatfoot dancing, as well as bluegrass music is the Tennessee Valley Old Time Fiddlers Convention, held annually the first weekend of October in Athens, Alabama. In Mount Airy, North Carolina, the Mount Airy Fiddlers Convention is held on the first weekend of June each year. The Bluff Mountain Festival is held in Hot Springs, North Carolina every year in June on the second Saturday following the first Friday. It features old-time, bluegrass, and traditional ballad music performances, as well as team clogging and individual flatfoot dancing.

Other annual festivals include Mountain Heritage Day at Western Carolina University in Cullowhee, North Carolina and the Celebration of Traditional Music at Berea College, both of which were first held in the 1970s. Another notable festival is The Museum of Appalachia's Tennessee Fall Homecoming. It is held annually in Clinton, Tennessee, on the museum grounds.

White Top Folk Festival was a popular festival in the 1930s. John Powell helped create and organize this festival. Musicians competed for prizes. This was a popular festival because it interested academic folklorists, musicologists, and journalists. In the third year more than 12,000 people attended the festival. The festival was discontinued in 1939 because of problems between the organizers and poor treatment of people without money.

The Fall Festival and Pig Roast was organized by The Appalachian Highlands Music Association (AHMA) to preserve the old Appalachian music. The price of festival tickets was low ($6). The festival drew primarily from the West Virginia public, but also included people from Ohio, Maryland, Alabama, and Virginia. Bands such as Country Charm and Country Pride, both of Princeton, and Gospel Grass, of Bluefield and Princeton, participated in the festival. This festival was last held in 2013.

Music labels
Another popular commercial recording label was Chicago-based Flying Fish label. In 1970 they had 3 albums from musicians from West Virginia. They work with Critton Hollow String Band. This was a group based in Morgan County, W.V. They did hard work to produce their music and even though they do not publish a new song they made covers of some songs like "Possum Up a Gum Stump", "Ragged But Right", "High On a Mountain" which were composed by Ola Belle Reed.

title: Appalachian music