text:
Talk:Milling machine

copy milling vs. pantograph
Could someone address copy milling, and the differences between that a a pantograph machine?Chickpeana (talk) 09:52, 27 September 2009 (UTC)

Senses of the term "engraving"
I've partially removed "Most CNC milling machines, also known as engraving machines, " I've never come across the term, but I'm not in that field so I'll leave it to others - Graibeard 12:27, 27 August 2005 (UTC)

 * I also wondered about that for a long time. Recently I came across an old use of the term "engraving" where it was meant to mean the same thing as "diesinking". This explains the terminology usage, but it's just as well that the lede currently does not include that term, because I think nowadays everyone would say "diesinking" or "contour milling" in that sense, with "engraving" referring to, e.g., carving some text into a surface. At least in my neck of the woods. — ¾-10 17:38, 24 June 2008 (UTC)

I'll put the same comment here as I put in the engraving topic. If you ask an engraver, then "engraving" is the incision of lines by essentially carving with chisels (gravers, burins), which raise a bur or chip in the process. To them, anything involving wheels and abrasives is NOT engraving. In fact, to some the term only applies to a two dimensional result - any deeper is called carving. True automated engraving machines do that very thing - they drag a chisel point across metal with a pantographic control. I'm not laying down a definition, and many in the world call cutting glass with wheels "engraving", and other things similar, rightly or wrongly. Just illuminating the point of view. To a professional engraver anything that doesn't involve a point cutting a shallow line, raising a chip in the process (as a chisel does) is NOT engraving. Jjdon (talk) 19:32, 11 February 2009 (UTC)

caption change for endmill picture
I changed the title from cutters to endmills in the interests of accuracy, as endmills are what they are called by those who use, sell, produce or otherwise handles them. Ollin —The preceding unsigned comment was added by 69.12.136.223 (talk) 23:58, 26 March 2007 (UTC).
 * B... but... but what about face mills, slab mills, shell mills, slitting saws, side mills, flycutters, drills, reamers, boring heads, burnishing tools, and all the other cutters a milling machine uses? ='( - Toastydeath 01:16, 27 March 2007 (UTC)
 * Oh, I get it. NEVERMIND I AM RETARDED. - Toastydeath 01:17, 27 March 2007 (UTC)

Please cite facts
Can anyone cite information supporting the suggestion that CNC machines were developed to short circuit organised labor? I suspect this in someone's subjective opinio and not fact. As a machinist, I would suspect that this was done to increase accuracy and interchangability of parts. Manually operated machines are more likely to lead to variances in product from one day to the next. Irritantno9 (talk) 14:05, 12 August 2008 (UTC)

 * This is an interesting and complicated topic. It's a situation complex enough that everyone can see in it what they want to see, because there's some truth to all sides. I had the exact same reaction as you when I first caught an inkling of this over at Talk:Numerical control. The argument about social power's influence on NC/CNC development is presented at length in . However, there are some formidable problems with breezily mentioning the argument in Wikipedia articles such as this one. For the moment, I would say that anyone interested in the history of machine tools should definitely read Noble 1984 (which I just did), because regardless of whether (or to what degree) you come away accepting his central argument, the book offers a very interesting and detailed look at the profusion of automating technologies that were on the horizon in the 1940s and what happened with them in subsequent decades. I think that Wikipedia will inevitably need to address this in better fashion in future, but it will require some thought and time. Honestly I think the thing to do for the moment is to remove the reference to the motivations behind the development, simply because you should keep the lid on the can of worms until you're ready to adequately explore it. (Just lifting the lid and then stopping makes people ask "WTF?" like you and I both did.) I also think that eventually WP will need to have a separate article called "machine tool control", because you can't talk about control development just in reference to one particular class of machine tools (e.g., milling machines in this article's case). Well, I'm rambling, but to summarize, I'm going to remove the passing reference to the can of worms until it can be adequately explored. — ¾-10 01:14, 13 August 2008 (UTC)

language box
why does the Spanish version link has a star? —Preceding unsigned comment added by 77.54.98.25 (talk) 13:49, 21 September 2008 (UTC)

 * The star indicates that the Spanish article is a featured article on the Spanish Wikipedia. — ¾-10 02:51, 22 September 2008 (UTC)

"Portical mills"????
The list of "Other milling machine variants and terminology" includes the following "type": Portical mills It has the spindle mounted in a T structure ... huh? I've searched all over, and the only instances of "portical mills" are duplicates of this page (complete with grammatical error). Is this a real type of milling machine, or just a misspelled "vertical mill"? (Note that a year and a half ago I wrote this same comment about the initial picture's caption; the caption has been changed but my comment was deleted. I'm still not sure whether there is or is not such a thing as "portical"...) --Dan Griscom (talk) 03:48, 19 February 2009 (UTC)

 * Yeah, I did a search and couldn't come up with a lick of info (other than dupes of this page). I've never heard of such a thing, so I say it's garbage. Wizard191 (talk) 14:04, 19 February 2009 (UTC)

 * Gone. -- Dan Griscom (talk) 01:52, 28 February 2009 (UTC)

Description
We need a whole section started for the description of a mill. The lathe article does this well.

As a side note, I've move this sentence from back gear which can be incorporated into the section: "On a metalworking lathe or milling machine a back gear is a set of gears that reduces the spindle speed in half." Wizard191 (talk) 18:43, 29 June 2009 (UTC)

3D milling
3D milling is not described (see http://www.elektor.com/projects/profiler-pro-upgrades.957535.lynkx) aldough there is a picture of a 3D object (needs text label)

can the distinction between regular(2d/2,5d?) and 3d milling be made more clear ? —Preceding unsigned comment added by 91.176.1.77 (talk) 16:53, 4 July 2009 (UTC)

problem with CAD/CNC image
This is a relatively small issue, but in the CAD/CNC comparison image shown at the top of the page, the physical part has two large holes which don't exist in the CAD version. Presumably the physical part was not actually generated from the CAD file shown... 194.126.102.99 (talk) 14:21, 8 October 2009 (UTC)

 * Those are most likely fixturing holes. Wizard191 (talk) 15:22, 8 October 2009 (UTC)

 * Well, I can see 5 holes in the physical object not seen on the CAD drawing, so the argument they are "fixturing holes" is not sound. Whether this is relevant depends on what the picture is meant to illustrate. I suspect in this instance the picture is demonstrating the concept of parts being machined from CAD designs, and since the motivation for that is repeatable accuracy I think it is relevant that the part be as identical to the drawing as possible. Five holes is not a trivial difference.  Cottonshirt  τ   04:39, 10 April 2011 (UTC)

 * I'm not sure where you get 5 holes from; I only see two that are not in the CAD image. As far as fixturing holes go for simpler parts, they are not usually designed into the part, and I would qualify this part as simple (just from the looks of it). Would the picture be better without those holes, absolutely, but I don't think they completely ruin the picture to the point where its useless. Wizard191 (talk) 15:39, 10 April 2011 (UTC)

 * On the left hand end of the completed part there is a piece that juts out. On the front face of that there is a large hole, and on the inside curved face there are three smaller holes in a line. The right hand end also has a hole in its front face and none of these are seen in the CAD image. 3 + 1 + 1 = 5. Cottonshirt  τ   05:03, 5 June 2011 (UTC)

 * LOL, those aren't holes, those are drops of cutting fluid. Open up the picture to its full size; you'll see clearly that they aren't holes. Wizard191 (talk) 21:10, 6 June 2011 (UTC)

 * I'd agree that (1) they may well be fixturing holes not recorded in the CAD/CAM file, and (2) regardless [even if the file version was revised later], the picture still serves its purpose here well. Regarding point #1, remember that the person who drew the part drawing is often not the same person who decides how to machine the part. Not that the former is necessarily totally ignorant of the machining plans; but it may often be that only the latter decides on the hole centers for fixturing, lifting-bolt holes (for large parts), etc. — ¾-10 04:00, 11 April 2011 (UTC)

Not sure the CNC stuff (and the picture of the CNC mill which just looks like a big block) belongs at the top of the page. A nice picture of an old-school vertical mill at work would be much more illustrative. LRT24 (talk) 14:27, 10 March 2012 (UTC)

see also references
Any strong reason to link to rapid prototyping or 3D printing? They're not related to milling. Wilhkar (talk) 22:40, 8 February 2010 (UTC)wilhkar

 * Quite right; I've removed them. Wizard191 (talk) 02:50, 9 February 2010 (UTC)

machining centers
Should machining centers have their own article? Again? (notice the term redirects to here) Wilhkar (talk) 21:18, 24 February 2010 (UTC) wilhkar

 * I'd tend to say no, because they are so similar to a milling machine. Wizard191 (talk) 15:36, 25 February 2010 (UTC)

 * Belated new pondering, 10 months later: I agree with both ideas above, occurring in temporal sequence. That is, keep the merged article for now (as currently existing), with a separate article to be spun off in years to come when anyone (perhaps me) gets around to developing the content and refs sufficiently to warrant the spin-off. Same thought also applies to spinning turning center off of lathe (metal) when we get the chance. Looking forward to it! — ¾-10 18:25, 1 January 2011 (UTC)

Bridgeport references
This article often cites "Bridgeport-type (-style)" milling machines before it describes them. When one reaches World War I and Interwar Period, there is no reference to the reputed inventor of this type of machine, Rudolph Bannow (1897-1962). I recommend that the Bridgeport milling machine should be described with a sub-heading that gives attribution to its inventor and that the first reference to the Bridgeport-type milling machine should link further down in the article. For example, the statement, "Turret mills, like the ubiquitous Bridgeport, are generally smaller than bedmills, and are considered by some to be more versatile," should follow the explanation of what a turret mill is. Look at building the information so that the reader starts with the basics and builds to the particulars. --User:HopsonRoad 17:03, 1 January 2011 (UTC)

 * Absolutely capital idea. Funny you mention this, because I was just reading this TMW article over coffee this morning, which mentions that Bridgeport mill serial number 1 is on display at the American Precision Museum, and I thought to myself, "I oughta go add a mention of that interesting little tidbit to the article "Bridgeport (machine tool brand)". Which I'm about to go do! Happy new year! — ¾-10 18:10, 1 January 2011 (UTC)

Usage of "form factor"
I am concerned that the term, "form factor" obscures rather than elucidates what's being described in this article. Wikipedia's description of form factor has a variety of meanings, the most relevant of which is, "the geometry of a product, especially in industrial and engineering design...." It then goes on to list applications to computers. A Google search also emphasizes computer usage. Since a reasonably literate reader, like myself, had to look up a term that is in an encyclopedia, geared for lay readers, I feel that a less specialized term should be substituted. I propose either "geometry" or "configuration." --User:HopsonRoad 03:11, 3 January 2011 (UTC)

 * Good point. I like "configuration" maybe more than "form factor" (due to likelier recognition by readers), although both are acceptable. I was never entirely happy writing "form factor", because, as you say, it's likely to be unfamiliar to readers; but I felt like our language lacks a good term for the idea, and I have seen "form factor" catching on as it slowly moves out of IT slang and into general vocabulary. (For example, referring to disk sizes and formats, mobile phone form factors, etc.) I think the reason it's catching on is because general language strongly needs a word for this idea nowadays, and it has formerly lacked one (neologism in action!). However, I think the word "configuration" is a good alternative, and I think it failed to occur to me when I was using "form factor". So I'm good with the change. I think we should pipe-link the first mention to wikt, i.e., [[wikt:configuration |configuration]] . I have been doing this more lately whenever I use a "big word" on Wikipedia, and I think it's great for readers such as K-12 students and ESL/EFL readers, of which en.Wikipedia has truckloads—in fact, as time goes on, I value them equally as audiences ([E-1st-L adults] versus [E-1st-L kids plus ESL/EFL adults & kids]), although some of the content development that I do is very challenging to clarify down to the bone, and it'll take some years to refine it further. Serving the lingually needier readers takes more work and thought, but the payoff will be much bigger. Anyway, I digress! I got your mail. Need to shower and ship off to bed for the night, but I'll get back tomorrow. — ¾-10 03:45, 3 January 2011 (UTC)

 * Thank you for your thoughtful reply, 3/4-10. I agree that such a specialized word is often helpful. However, in this case, when I see "factor," I expect a mathematical relationship, like aspect ratio. Unless we can describe such a mathematical relationship for machines, I feel that the term is unsuitable. I note that the term is being used in an increasingly loosey-goosey manner in about the half of the computer and cell-phone references, but in science and in the original computer terms, the term was still mathematical. In German, one might use Gestalt, the word for form or shape, to denote an archetypical image. So, I like the approach that you propose. Cheers, User:HopsonRoad 14:30, 3 January 2011 (UTC)

Britannica's current entry on diesinking was evidently written in the 1960s
Accessdate=2011-01-27. It talks about tracers, pantographs, and plaster models, yet it doesn't even mention CNC! Not to make too much of this one data point, but I'm sorry, this is just emblematic to me of how Wikipedia is kicking Britannica's ass despite anyone's counterarguments about the supposed benefits of paid editorial oversight and the supposed horrors of crowdsourcing. Guess what? Crowdsourcing is working, "free" is working, and all the rest is just jealousy and asking who moved the cheese. I'm sorry to sound like a shill with that latter reference—I know it's about as popular as talking about synergy and right-sizing—but sometimes you've got to be honest about what you see in front of your own eyes, even if people resent hearing it. — ¾-10 03:11, 28 January 2011 (UTC)
 * Amen, brothers and sisters! User:HopsonRoad 03:16, 28 January 2011 (UTC)

title: Talk:Milling machine


text:
Joe Hunter (cricketer)

Joseph Hunter (3 August 1855 – 4 January 1891) was an English professional cricketer who played for Yorkshire County Cricket Club from 1878 to 1888, and in five Test matches for England in 1884–85. He was born at Scarborough, Yorkshire, and died at Rotherham, Yorkshire.

Hunter was a wicket-keeper who played in 162 first-class matches. He held 232 career catches and completed 124 stumpings. He was a right-handed tail-end batsman and scored 1,330 runs at an average of 7.86 runs per completed innings with a highest score of 60* as one of two half-centuries.

Career
Joe Hunter, one of five brothers, was born in Scarborough, Yorkshire. He learned his cricket by playing on the beach at Scarborough.

Yorkshire
Hunter made his first-class debut for Yorkshire in 1878 when he stood in for George Pinder, who had been injured. He played in ten matches during July and August until Pinder could return. Hunter's debut was in a Roses Match against Lancashire at Old Trafford on 11–12 July. It did not go well because Lancashire won by an innings and 26 runs with more than a day to spare. Lancashire batted first and scored 267, having been 266/9 overnight. Hunter did not dismiss any of their batsmen. Yorkshire collapsed twice on the second day, scoring 123 and 118. A. G. Steel, who was noted for his expertise in "twisting (spinning) the ball from both sides of the wicket", took 5/49 and 9/63 for a match return of 14/112. Hunter was last in the Yorkshire batting line-up. He was caught by Steel off Alec Watson for 4 in his debut innings and then was the not out batsman with 8 in the second.

Hunter dismissed his first victims in Yorkshire's next match, which was against Surrey at Bramall Lane on 15–16 July. Yorkshire batted first and scored 309 all out. Hunter was number 10 in the batting order and scored 14. His first "victim" was John Shuter, whom he caught off George Ulyett for 13. Later, he caught Morice Clarke for 17 off Harry Pearson. Surrey were all out for 78. In the second innings, Hunter caught James Southerton off Tom Emmett for 10. Surrey were all out for 127 and Yorkshire won by an innings and 104 runs with a day to spare. In all, Hunter played in ten matches in 1878, scoring 73 runs with a highest innings of 17. He held 8 catches and completed 4 stumpings.

Hunter did not play for the county team in 1879 or 1880. Pinder retired after the 1880 season and Hunter succeeded him as Yorkshire's first-choice keeper from May 1881 until May 1888. In all, Hunter played in 162 first-class matches, 143 of them for Yorkshire. Pinder later praised Hunter as "a very good man".

By 1886, when Lord Hawke's captaincy of Yorkshire began in earnest, Hunter was one of the team's senior professionals. Hawke had until then been something of an amateur figurehead and had not played much cricket at all since 1882. From the beginning of the 1886 season, Hawke adopted a "new broom" philosophy with the determination of leading Yorkshire to success. While there was no longer any doubt that Hawke was in charge of the team, he always listened to his professionals and Joe Hunter was among a few who could offer "unsolicited advice" that Hawke would often heed.

Cricket magazine: portrait and biography
In its issue of 25 September 1884, published just after Hunter left for Australia with Alfred Shaw's XI, the magazine Cricket: A Weekly Record of the Game featured him on its front page. Cricket reminded its readers of the many famous fast bowlers used by Yorkshire since the club was founded in 1863 – among them George Freeman, Tom Emmett and George Ulyett – and the consequent need for a Yorkshire keeper to have courage as well as skill. Each of Ned Stephenson, George Pinder and Joe Hunter had "in turn bravely upheld the honour of Yorkshire for pluck in this responsible position". While Hunter was not "as good as Pilling or Sherwin", he was the obvious choice, when they were both unavailable, to stand in for the Players against the Australians at The Oval in July 1884 and to join Shaw's XI on the voyage to Australia for the 1884–85 tour. Cricket mentioned that Hunter was very much a tail-end batsman who had shown little improvement in that department but, in keeping wicket against fast bowling, he had "certainly no superiors".

Tour of Australia, 1884–85
As mentioned in the Cricket feature, Hunter was invited to represent the Players against the 1884 Australians at The Oval on 31 July. This was because both Dick Pilling and Mordecai Sherwin were unavailable. It was a three-day match but the Australians won by 9 wickets with a day to spare. The Players, captained by Tom Emmett, won the toss and batted first but were bowled out by Fred Spofforth (8/62) for 107. Hunter was number 11 and scored 9 not out. Australia replied with 151 and Hunter completed three stumpings to dismiss Percy McDonnell, George Giffen and Tup Scott, who were all top-order batsmen. In the Players' second innings, Spofforth again destroyed the batting with 6/34 (a match return of 14/96). Hunter was again the not out batsman but this time without scoring. Australia quickly accounted for the 28 runs needed to win. Hunter had made a good impression in the Players v Australians match and, when neither Pilling nor Sherwin accepted invitations for the tour of Australia in 1884–85, Hunter travelled instead. He played in all five Test matches. His first match on the tour was on 2 October during a stopover in Suez Port (at the southern end of the Suez Canal) against a 22-man team of British Army, Navy and civilian residents. Shaw's XI made 117 (Hunter 9*) and the 22 scored 40/11; the result was a draw. The team's ship docked in Port Adelaide on 29 October. Their first match in Australia began on the 31st against a South Australian XV at the Adelaide Oval. It was a five-day match which Shaw's XI won by 3 wickets. Hunter claimed six victims with three catches and three stumpings.

Ill-health and early death
Hunter was dogged by ill-health and was forced to retire from cricket during the 1888 season. He was succeeded as Yorkshire's wicket-keeper by his brother, David (1860–1927), who went on to play in 552 first-class matches until 1909. Joe Hunter's final match was at Lord's on 24–25 May 1888. Yorkshire led Middlesex by 15 runs after the first innings but were bowled out for 43 in their second, George Burton taking 7/18 (10/71 in the match). Middlesex won by 9 wickets. Hunter batted last in both innings and was out for 0 and 1. He did not dismiss any batsmen in the match.

Hunter was originally a stonemason in Scarborough. He later became a pub landlord, first in Scarborough, then in Doncaster and finally at the Wheatsheaf in Rotherham where he died, suddenly, in January 1891, aged 35. Wisden said Hunter at his best "was good enough for any county team", although he was not a top rank keeper like Dick Pilling or Mordecai Sherwin.

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

title: Joe Hunter (cricketer)


text:
Ancient pyramid

"Pyramid" in the context of ancient architecture primarily refers to the Egyptian pyramids (see List of Egyptian pyramids). Various other structures built in antiquity have also been called pyramids:

 * Mesoamerican step pyramids; see Mesoamerican pyramids
 * Chinese pyramids
 * Mesopotamian Ziggurats
 * The Nubian pyramids, Sudan
 * The Pyramid of Hellinikon, Greece
 * The Pyramid of Gaius Cestius, Porta San Paolo, Rome
 * The Star Pyramid or Pulemelei Mound, Samoa
 * The Peruvian Pyramids

title: Ancient pyramid


text:
I'm Livin' in Shame

"I'm Livin' in Shame" is a 1969 song released for Diana Ross & the Supremes on the Motown label. The sequel to the Supremes' number-one hit, "Love Child," the song peaked in the top ten on the US Billboard Hot 100 pop chart at #10 and the top 20 in the UK at #14 in April and May 1969.

Background and release
Inspired by the plot of Douglas Sirk's 1959 film Imitation of Life, The Clan composed "I'm Livin' in Shame" as a sequel to the Supremes' number-one hit single, "Love Child." The song explores the quest of the 'love child' to shun both her impoverished childhood and her mother, and pass herself off to her friends and new husband as the daughter of a rich family. The woman's mother ends up dying without ever seeing her daughter as an adult, or ever meeting her two-year-old grandson, to the child's regret and chagrin.

The girl group debuted the single live on the Sunday, January 5, 1969 episode of the popular CBS variety program, The Ed Sullivan Show, peaking at number 10 on the American pop chart and at 14 on the UK singles chart in late winter and early spring of 1969. The recorded release is without the backing vocals of Mary Wilson or Cindy Birdsong (as with many singles released under this group's billing, session singers The Andantes appear on the record).

Cash Box described it as a "spectacular performance and another standout song" that continues the story of the Supremes earlier single "Love Child."

Personnel

 * Lead vocals by Diana Ross
 * Background vocals by the Andantes: Jackie Hicks, Marlene Barrow, and Louvain Demps
 * Instrumentation by the Funk Brothers

Track listing

 * 7" single (6 January 1969) (North America/United Kingdom/Netherlands)
 * 1) "I'm Livin' in Shame" – 2:57
 * 2) "I'm So Glad I Got Somebody (Like You Around)" – 2:58

title: I'm Livin' in Shame


text:
Let the Sunshine In (album)

Let The Sunshine In is the sixteenth studio album by Diana Ross & the Supremes recorded and released by Motown in 1969. It contains the hit single "I'm Livin' in Shame" (the sequel to 1968's number-one hit "Love Child"), "The Composer," a Smokey Robinson composition that peaked at number 27, and "No Matter What Sign You Are," - a single produced by Motown chief Berry Gordy that failed to crack to Top 30 (peaking at number 31). Motown had titled the album “No Matter What Sign You Are” originally; going as far as creating the front cover art with the title in it, but when the single didn’t chart as expected the album was retitled “Let The Sunshine In.” Though the album was released when the group consisted of Diana Ross, Mary Wilson and Cindy Birdsong, original founding member Florence Ballard (whom Birdsong replaced) appears on two songs.

One track from this album, "Let the Music Play" was an outtake from the I Hear a Symphony (1966) album recording sessions and therefore features backing by Ballard, who was fired in 1967, two years prior to the release of this album. The other track, "What Becomes of the Broken Hearted", was recorded by the Supremes in 1966.

Side one

 * 1) "The Composer" (Smokey Robinson) – 2:55
 * 2) "Everyday People" (Sly Stone) – 2:59
 * 3) "No Matter What Sign You Are" (Berry Gordy, Hank Cosby) – 2:56
 * 4) "Hey, Western Union Man" (Kenny Gamble, Leon Huff) – 2:53
 * 5) "What Becomes of the Broken Hearted" (Paul Riser, James Dean, William Weatherspoon) – 2:52
 * 6) "I'm Livin' in Shame" (The Clan) – 2:57

Side two

 * 1) Medley: "Aquarius/Let the Sunshine In (The Flesh Failures)" (James Rado, Gerome Ragni, Galt MacDermot) – 2:59
 * 2) "Let the Music Play" (Burt Bacharach, Hal David) – 2:39
 * 3) "With a Child's Heart" (Hank Cosby, Sylvia Moy, Vicki Basemore) – 2:59
 * 4) "Discover Me (And You'll Discover Love)" (Johnny Bristol, Beatrice Verdi, Doris McNeil) – 2:24
 * 5) "Will This Be the Day" (Pete Moore, Terry Johnson, Beatrice Verdi) – 2:56
 * 6) "I'm So Glad I Got Somebody (Like You Around)" (Allen Story, Horgay Gordy, L. Russell Brown) – 3:31

Unused Recordings from the Let The Sunshine In timeframe (November 1968-May 1969)

 * 1) "MacArthur Park" (Webb)
 * 2) "You're Gonna Hear from Me" (Previn-Previn)
 * 3) "Son of a Preacher Man" (Hurley-Wilkins)
 * 4) "For Once in My Life" (Miller-Murden)
 * 5) "Witchi Tai To" (Pepper)
 * 6) "Canadian Sunset" (Heywood-Gimbel)
 * 7) "Autumn Leaves" (Mercer-Prevert-Kosma)
 * 8) "Are You Sure Love Is The Name Of This Game" (Robinson)
 * 9) "Stormy" (Buie-Cobb)
 * 10) "A Little Breeze" (Sharpe)

Personnel

 * Diana Ross – lead and background vocals
 * Mary Wilson – background vocals
 * Cindy Birdsong – background vocals
 * Florence Ballard – background vocals on "Let the Music Play"
 * The Andantes – background vocals
 * The Blackberries - background vocals on "No Matter What Sign You Are"
 * The Funk Brothers - instrumentation
 * Various Los Angeles-area session musicians – instrumentation

title: Let the Sunshine In (album)


text:
Scandal (1950 film)

Scandal is a 1950 Japanese film written and directed by Akira Kurosawa. The film stars Toshirō Mifune, Takashi Shimura and Shirley Yamaguchi.

Plot
Ichiro Aoye (Toshiro Mifune), an artist, meets a famous young classical singer, Miyako Saijo (Shirley Yamaguchi) while he is working on a painting in the mountains. She is on foot, having missed her bus, but they discover they are staying at the same hotel, so Aoye gives Saijo a ride back to town on his motorcycle. On the way, they are spotted by paparazzi from the tabloid magazine Amour. Saijo refuses to grant the photographers an interview, so they plot their revenge and are able to take a picture of Aoye and Saijo on the balcony of her room and print it along with a fabricated story under the headline "The Love Story of Miyako Saijo".

Aoye is outraged by this false scandal and plans to sue the magazine. During the subsequent media circus, he is approached by a down-and-out lawyer, Hiruta (Takashi Shimura), whose name means 'leechfield' (蛭田) and who claims to share Aoye's anger with the press. Aoye hires Hiruta as his attorney, but Hiruta is desperate for money to care for his daughter, Masako (Yōko Katsuragi), who has a terminal case of tuberculosis, so he accepts a bribe from the editor of Amour in exchange for agreeing to throw the trial. The trial proceeds badly for the plaintiffs and Hiruta, struck by the kindness of Aoye and Saijo towards Masako and Masako's disgust at the way he is handling the case, becomes ridden with guilt. Masako dies near the end of the trial, convinced that Aoye and Saijo will win, since they have the truth on their side. On the final day in court Hiruta, prodded by his conscience, confesses to taking the bribe and Amour loses the case.

Cast

 * Toshiro Mifune - Ichirō Aoye
 * Takashi Shimura - Attorney Hiruta
 * Yoshiko Yamaguchi - Miyako Saijo
 * Noriko Sengoku - Sumie
 * Yōko Katsuragi - Masako Hiruta
 * Eitaro Ozawa - Hori
 * Shinichi Himori - Editor Asai
 * Ichiro Shimizu - Arai
 * Fumiko Okamura - Miyako's mother
 * Masao Shimizu - Judge
 * Kokuten Kōdō - Old Man
 * Bokuzen Hidari - Drunk
 * Kōji Mitsui - Photographer

Commentary
Scandal was described by Kurosawa himself as a protest film about "the rise of the press in Japan and its habitual confusion of freedom with license. Personal privacy is never respected and the scandal sheets are the worst offenders." The movie depicts aspects of so-called kasutori culture, a phenomenon of early postwar Japan that refers to the proliferation of sleazy magazines and cheap alcohol.

title: Scandal (1950 film)


text:
User talk:Planetpjs

Welcome!

Hello,, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, please be sure to sign your name on talk pages using four tildes (~~~~) to produce your name and the current date, or three tildes (~~~) for just your name. If you have any questions, you can post to the help desk or ask me on my talk page. Again, welcome!
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

That said, please don't remove votes from the Votes for deletion pages. This is considered vandalism. JRM · Talk 12:31, 27 August 2005 (UTC)

Stop listing pages on Votes for deletion you just wrote. This is disruptive. To tag new pages for expansion or improvement, use. JRM · Talk 12:44, 27 August 2005 (UTC)
 * I have reverted your listing of Erwin Kreyzsig to VfD. If you feel an article you wrote should be deleted because it was created by mistake, tag it with and it can be speedily deleted. Do not use VfD for this purpose. JRM · Talk 12:49, 27 August 2005 (UTC)

I have, once again, reverted the addition of the article to VfD. Either tag it as a stub, tag it for cleanup, or tag it for speedy deletion. To test editing Wikipedia, use the sandbox. Please do not continuously list articles you yourself wrote to VfD—it is not the place to list articles for cleanup. If you persist in doing this, you may be blocked from editing Wikipedia. JRM · Talk 13:03, 27 August 2005 (UTC)

And I have delete your listing of Shuan Tait for Vfd. If you persist in this behavior, you will be blocked from editing. Zoe 23:02, August 27, 2005 (UTC)

 * Unlike Zoe I watch cricket - so I guess you want to get rid of Shuan Tait because the spelling is wrong. I've turned the page into a redirect to Shaun Tait, but it may be best just to delete it entirely. If you want then I can do that. David | Talk 23:13, 27 August 2005 (UTC)
 * Actually, Planetpj's reason for deleting immediately after creating was "Not noteable enough; may get dropped anytime". And I went to Google to see if it was shuan or shaun and got 20 hits for shuan, so I figured he just spelled his name strangely. Zoe 23:17, August 27, 2005 (UTC)

Shaun Tait picture
Hello Planetpjs,

Thank you for finding a picture of Shaun Tait. Unfortunately, though, we can't use it. We're only allowed to use pictures with the permission of the copyright holder. Sad, but that's the law. I've added it to Wikipedia:Copyright problems.

Stephen Turner 18:11, 29 August 2005 (UTC)

JDBUG
JDBUG has been proposed for deletion. Please see the article for details. NickelShoe 16:17, 20 February 2006 (UTC)

Speedy deletion nomination of JDBUG

A tag has been placed on JDBUG requesting that it be speedily deleted from Wikipedia. This has been done under section A7 of the criteria for speedy deletion, because the article appears to be about a person, a group of people, an individual animal, an organization (band, club, company, etc.), web content, or an organized event, but it does not credibly indicate how or why the subject is important or significant: that is, why an article about that subject should be included in an encyclopedia. Under the criteria for speedy deletion, such articles may be deleted at any time. Please read more about what is generally accepted as notable.

If you think this page should not be deleted for this reason, you may contest the nomination by visiting the page and clicking the button labelled "Contest this speedy deletion". This will give you the opportunity to explain why you believe the page should not be deleted. However, be aware that once a page is tagged for speedy deletion, it may be deleted without delay. Please do not remove the speedy deletion tag from the page yourself, but do not hesitate to add information in line with Wikipedia's policies and guidelines. If the page is deleted, and you wish to retrieve the deleted material for future reference or improvement, then please contact the. Dennis Bratland (talk) 22:40, 8 December 2017 (UTC)

title: User talk:Planetpjs


text: Category:British ballet dancers

title: Category:British ballet dancers


text:
Nationwide (TV programme)

Nationwide was a BBC current affairs television programme which ran from 9 September 1969 until 5 August 1983. Originally broadcast on BBC 1 from Tuesday to Thursday, and then each weekday from 1972, it followed the early evening news, and included the regional opt-out news programmes.

Outline
It followed a magazine format, combining regional news, political analysis and discussion with consumer affairs, light entertainment and sports reporting. It began on 9 September 1969, running between Tuesdays and Thursdays at 6:00pm, before being extended to five days a week in 1972. From 1976 until 1981, the start time was 5:55pm. The final edition was broadcast on 5 August 1983 and, the following October, it was replaced by Sixty Minutes. The long-running Watchdog programme began as a Nationwide feature.

The light entertainment was quite similar in tone to That's Life!, with eccentric stories such as a skateboarding duck and men who claimed that they could walk on egg shells. Richard Stilgoe performed topical songs. The show's tendency to sidestep serious matters in favour of light pieces was parodied in an episode of Monty Python's Flying Circus, where the show, instead of reporting on the opening of the Third World War, chose to feature a story about a "theory" that sitting down in a comfortable chair rests one's legs.

After the introduction and round-up, the BBC regions opted out for their main news magazine programmes (Midlands Today, Points West, Wales Today, South Today, Look East, Reporting Scotland, Spotlight, Look North, Scene Around Six). Once they had handed back to Lime Grove Studios in London, the regions remained on standby to participate in feedback and two-way interviews to be transmitted across the whole BBC network.

The programme's second, and best remembered theme tune, was a library piece called The Good Word, composed by Johnny Scott.

The show was used in an influential cultural/media studies project at the University of Birmingham, known as The Nationwide Project.

Nationwide for London and the South East
For all of its run, Nationwide presented and provided the regional news for the BBC London/South East region, as this was the only BBC region not to have its own dedicated news team.

A further peculiarity was that as this segment had no regional branding at all in London and the South East, it carried the Nationwide title despite only covering local news. Indeed, the first opening credits in 1969, which displayed the all the regional news programme titles, simply had "London" added on at the end. Later credits omitted reference to any London programme at all. This changed at the start of 1982, when the regional programmes and Nationwide were separated. Now, Nationwide's title sequence was shown after the regional programmes and the London/South East news was now called South East at Six.

However, it was still presented by the Nationwide team, used the Nationwide theme and, for the first few months, the opening titles were the same as for Nationwide, but with local images superimposed. Later that year, when Nationwide introduced a new title sequence, South East at Six started using different graphics that had no reference to Nationwide, though still with the Nationwide music. When Nationwide was replaced by Sixty Minutes, the situation returned to how it had been before 1982 and lasted until 1984.

Margaret Thatcher On the Spot
In May 1983, during a general election special of its "On the Spot" feature, Diana Gould, a teacher from Cirencester, persistently challenged Margaret Thatcher about her ordering of the sinking of the General Belgrano when it was sailing away from the Falklands.

Thatcher denied that the Belgrano had been sailing away, but Gould quoted map references and continued to push her point across, encouraged – so the Conservative Party claimed – by presenter Sue Lawley. When Thatcher asked her whether she accepted that the Belgrano had been a danger to British shipping when it was sunk, Gould told her that she did not.

Thatcher was extremely angry about the BBC for allowing the question. Thatcher's husband Denis lashed out at Roger Bolton, the editor of the programme, in the entertainment suite, saying that his wife had been "stitched up by bloody BBC poofs and Trots". Lawley said she was never permitted to interview Thatcher again, and later Thatcher refused an invitation to appear on Desert Island Discs which Lawley was then presenting.

Archive status
As a contemporary programme Nationwide was only recorded on broadcast videotape in case of possible complaint or litigation; after a period of time tapes would be wiped and re-used although filmed reports were archived. Consequently, only a few complete editions exist in their original form.

However, in his book The Television Heritage (1989), author Steve Bryant claimed that "a virtually complete collection of the BBC magazine programme Nationwide from 1971 to 1980" existed as domestic recordings. He wrote:

"Already virtually doomed is material held on early domestic tape formats manufactured by Sony, Shibaden and Philips. The pictures from these tapes are very poor – indeed, the Sony and Shibaden reel-to-reel tapes are monochrome only – but some unique collections exist on these formats. Most significant is a virtually complete collection of the BBC magazine programme Nationwide from 1971 to 1980, mostly on Sony and Shibaden, but on Philips for the programmes after 1977. This collection is held by the NFA (National Film Archive) and represents the only copies of the complete programmes in existence.

The BBC has all the film reports and a small selection of pre-recorded video inserts, but the programmes themselves were live and were not recorded off-air. Neither the machinery nor the funds are currently available to save the contents of these tapes, so a valuable daily record of British life in the 70s, including a large number of live interviews with leading politicians and celebrities of the time, looks like being lost."

The British Film Institute website stated in 2003 "so far we have successfully dubbed 500 [Philips] N-1500 [tapes] as part of an HLF-funded Nationwide preservation project". In November 2016, the BFI's holdings of Nationwide, described as being on an "exceptionally rare" video format, were included in a list of 100,000 most at risk television episodes which were to be digitised following £13.5 million of National Lottery funding.

Documentaries

 * Let's Go Nationwide, BBC2, 1991; Transmitted as part of The Lime Grove Story, 26 August 1991, marking the closing of the studios
 * It's Time to Go Nationwide, BBC4, 2009; Shown 5 February 2009

title: Nationwide (TV programme)


text: Category:Australian ballet dancers

title: Category:Australian ballet dancers


text: Category:American ballet dancers

title: Category:American ballet dancers


text:
User:Egil/Sandbox/Earth

Work in progress.

title: User:Egil/Sandbox/Earth


text:
Aria: Canticle of the Monomyth

Aria: Canticle of the Monomyth, also known as Aria Roleplaying, is a role-playing game published by Last Unicorn Games in 1994.

Description
The rules for this role-playing system are contained in a 500-page softcover book designed by Christian Scott Moore and Owen Seyler and edited by Kirsten Kaschock, with cover art by Michael William Kaluta. Aria is based on the concept of the 'monomyth', the theory that one fundamental story is at the core of most myths, legends and fairy tales.

Unlike many other role-playing games which center on individual characters in a pre-set game world, Aria encourages players to create entire "player nations", using "Narrative Environments" (regional units such as villages or kingdoms) and "Interactive Histories" (the phases of social development).

The book is divided into two halves (each paginated separately): "Persona Creation Book", and "Myth Creation Book".

Creation of "player nation"
Using a step-by-step formula, the players determine the attributes (called "Determinants") of their player nations in the areas of Environment, Economics and Political, as well as geography, political framework, demographics, philosophical orientation, and social status divisions. Player then create a historical timeline that touches on the game world's pivotal events and major personalities.

Gameplay
Once every player has created a player nation, the resultant interplay between the players results in an interactive history — essentially the game campaign. Game time is divided into Historic Intervals, roughly equivalent to five years. Each Interval begins with an event introduced by the referee. A phase of internal development follows, with players using their Determinants and sub-Determinants to resolve Critical Junctures that may occur as a result. A phase of External development follows, with interaction between players (warfare, espionage, diplomacy, trade, etc.) During an Interval, a player may decide on taking Actions, from a list of more than two dozen possibilities. A player may declare two Internal Actions during an Interval, along with a number of External Actions equal to half of his player nation's Scope rating. All of these will be resolved by the referee at the end of the Interval, using rolls of ten-sided dice by the player matched against the relevant Determinant, with a potentially large number of optional modifiers. Tables included in the rules help the referee to resolve each Action.

Player character option
If the players wish to play a more traditional game of single personalities within the game of player nations, they can create an individual by creating a personality type. Using a point-buy system based on the character's age, the player then buys attributes and skills. Task resolution and combat use essentially the same rules as for player nations.

Magic
Unlike many other role-playing systems, the rules do not include pre-made spells. Instead, the player must decide on the purpose of the spell, and then invent their own spell, cost and effects.

Reception
In the February 1995 edition of Dragon (Issue #214), Rick Swan found the rules complex and time-consuming, but the premise of the game novel. Swan warned that "The system isn't easy — here's one of the formulas for the Civil War Action: [(Power Value + Consent Value + Authority Value)/3] X 0.1 = Percent of Total Forces Controlled By Ruling Agency." But he thought that the reward for the patiently diligent player was "a gaming experience of unprecedented sweep." Although Swan liked the concept of player nations, he found the single player character system to be "an obstacle course of ambiguous rules." He called the design-your-own-spell magic system "ingenious", but allowed that developing magic spells would take much time: "If you have the patience, it's a fascinating way to spend a weekend. Or two." Swan gave Aria an average rating of 4 out of 6, liking the magic system and player nation system, but not player character creation. Calling the game "borderline brilliant", Swan concluded, "The Aria game is such a hodgepodge of breakthroughs and boo-boos, it's hard to believe it all sprung from the minds of the same two guys. But I'm willing to overlook the missteps; I'm not the kind of guy who discovers a talking dog then complains about its diction."

In the May 1995 edition of Pyramid (Issue #13), Paul Beakley liked the game, saying, "Page for page and pound for pound (the first two books are almost 600 pages of material), Aria: Canticle of the Monomyth is an excellent buy. It's sufficiently generic that its best ideas can expand any fantasy game, the art and production is beautiful, and the research and thoroughness of the game is unparalleled."

In the December 1996 edition of Arcane (Issue 14), Andrew Rilstone found the massive rulebook to be "little more than a mega-complex character generation system." Adding to the rule complexity, Rilstone found the language dense, commenting that this is "a rulebook to be read with dictionary in hand." He was fascinated by the premise of the game where consecutive sessions, in game terms, take place weeks, years or even centuries apart. But Rilstone found that the whole thing was bogged down in endless verbiage: "Did we really need 250 brain-numbing words distinguishing between Fair and Very Fair complexion, and pointing out that in a given society 'curly and wavy hair' is uncommon?" Rilstone concluded by giving the book the lowest possible rating of only 1 out of 10 overall, saying "Verbose, obtuse, badly explained, badly organised, repetitive, over-complex, pretentious, but containing one phenomenally good idea. Aria should have been a milestone in the history of roleplaying games. Unfortunately, it has turned out to be a large and expensive doorstop instead. Aria is quite literally unplayable."

In March 2000, a reviewer on RPG.net summarized their review of Aria by saying, "I love Aria, but it is not a game without faults. It has many. However, it also has many virtues, and should not be overlooked simply because of the poor quality of presentation."

Reviews

 * Shadis #17 (Jan. 1995)
 * Shadis #18 (Feb. 1995)

title: Aria: Canticle of the Monomyth


text:
Bronson Avenue

Bronson Avenue (Ottawa Road #79) is a major north-south arterial road in Ottawa, Ontario, Canada. It starts at the south end as a continuation of the Airport Parkway, which is an expressway to the Macdonald-Cartier International Airport. It continues past Carleton University, the Glebe, north through Centretown, and ends downtown at Sparks Street.

Starting as an expressway leading from the Airport Parkway, Bronson quickly becomes a six lane divided principal arterial with little or no direct frontage and a speed limit of 70 km/h. From Colonel By Drive, Bronson Avenue continues as a four-lane undivided principal arterial road through residential and commercial areas with a speed limit of 50 km/h. Upon reaching Albert Street, Bronson ends as a local road for downtown residents.

Bronson Avenue is a gateway to the southern neighbourhoods of Ottawa and since it is generally faster to take Bronson Avenue than Bank Street, the street is usually quite busy, particularly at rush hour.

Glebe Collegiate Institute and Carleton University border on Bronson Avenue.

There has been considerable debate about the nature of the road in the past few years; some have called for an expressway to be built in the corridor to link to a twinned Airport Parkway; but that has been extremely unpopular with local residents calling for improved public transit and is unlikely to be built.

Bronson Avenue took its name from Ottawa businessman and politician (Ontario MLA) Erskine Henry Bronson.

Neighbourhoods
Bronson Avenue is considered a boundary line for several Ottawa neighbourhoods:
 * Centretown
 * Centretown West
 * The Glebe
 * Old Ottawa South

Major intersections
Major intersections (from south to north):
 * Start as a continuation of Airport Parkway - 0.0 km
 * Sunnyside Avenue - 0.9 km
 * Colonel By Drive - 1.3 km
 * Carling Avenue - 2.2 km
 * Highway 417 - 2.6 km
 * Catherine Street - 2.7 km
 * Gladstone Avenue - 3.0 km
 * Somerset Street - 3.4 km
 * Slater Street - 3.9 km
 * Albert Street - 4.0 km
 * Ends at Sparks Street - 4.1 km

Points of interest

 * Bronson Centre
 * Carleton University

title: Bronson Avenue


text:
Solstice Media

Solstice Media is an Australian publisher based in Adelaide, South Australia. Established in 2004, it was known for publishing the weekly tabloid newspaper The Independent Weekly. Solstice publishes InDaily, which was initially the online subscriber daily news service of the weekly newspaper but replaced the printed version entirely in November 2010. Solstice also publishes CityMag, a weekly digital magazine and quarterly print magazine established in 2013; SA Life, a monthly print magazine; the arts and culture webzine, InReview; The New Daily; The Southern Cross; InQueensland; and other online products.

History
The Independent Weekly, established in September 2004, was a weekly independent newspaper published and circulated in Adelaide, released on Saturdays. The newspaper's owners were Solstice Media.

The newspaper launched an online subscriber daily news service called InDaily on the anniversary of its first year in operation. In March 2006, The Independent Weekly switched to a tabloid format and moved its release from Sunday to Saturday. The Independent Weekly ceased physical publication in November 2010 and was replaced by InDaily.

The Independent Weekly featured articles of critical and intellectual substance, especially with regard to local issues, and was a champion of the arts in Adelaide. Publisher Paul Hamra, as acting editor, changed the structure of the organisation from utilising a full staff of reporters to using contributors and articles sourced from Fairfax, AFP and The Independent. Its international coverage was sourced largely from The Washington Post, the Los Angeles Times and The Independent in London. The newspaper sold for A$2.50. Its circulation dropped to less than 8000 a week in November 2010 from a peak of 12,000 in mid-2008.

After the cessation of printed publication, the InDaily newsletter and website remained free to its 30,000 subscribers. The InDaily website seeks voluntary donations to "support independent journalism".

40 Under 40
Solstice Media has run the "40 Under 40" event since 2018, whereby they recognise leadership in South Australians under 40 years of age. The event comprises the selection of 40 people from a number of nominated candidates, with various awards in specific categories awarded to some of them.

title: Solstice Media


text: File:Negativlandchumbawambaabcsofanarchism.jpg


text:
Ballon (ballet)

Ballon is the appearance of being lightweight and light-footed while jumping. It is a desirable aesthetic in ballet and other dance genres, making it seem as though a dancer effortlessly becomes airborne, floats in the air, and lands softly. The name is widely thought to be derived from the French word ballon (meaning "balloon"), though it has been dubiously claimed that the name was inspired by French ballet danseur Claude Balon, who was known for performing exceptionally light leaps.

Physics
A dancer will appear to defy the laws of physics when ballon is exhibited effectively. For example, during a grand jeté, the dancer may appear to hover in the air. Physically, the dancer's center of mass follows a ballistic trajectory, as does any projectile, but observers have limited ability to reckon center of mass when a projectile changes its configuration in flight. By raising the arms and legs while ascending and lowering them while descending, the dancer alters the apparent path of the center of mass and, in so doing, seems to observers to be momentarily floating in the air.

Dancers strive to exhibit ballon in large jumps as well as in small, quick jumps such as petite allegro steps. For example, ballon is a characteristic of pas de chat. The dancer starts from a plié (bent knees) and then, during the ascending phase of the step, lifts each knee in succession with hips turned out, so that for a moment both feet are in the air and the dancer appears to be suspended in air. To give the appearance of lightness when landing, the dancer pliés and rolls the foot from toe to heel.

title: Ballon (ballet)


text:
Nine O'Clock News

The Nine O'Clock News may refer to:

 * RTÉ News: Nine O'Clock (1961–present)
 * BBC Nine O'Clock News (1970–2000)
 * KBS Nine O'Clock News, also known as KBS News 9 (1973–present)
 * Not the Nine O'Clock News (1979–1982)
 * Not Necessarily the News, based on Not the Nine O'Clock News (1983–1990)

title: Nine O'Clock News