text:
Wikipedia:Articles for deletion/Human rights abuses by Anhui police

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination).  No further edits should be made to this page.

The result of the debate was DELETE. — J I P | Talk 12:50, 7 October 2005 (UTC)

Human rights abuses by Anhui police
Once all the inaccuracies and POV statements are removed, this article has literally nothing (0 words) left: Human rights frequently are abused by police of Anhui province of China. Says who? And what exactly is so special about the situation in the province of Anhui as opposed to the rest of China that merits this article? This has to be seen in the context that Anhui still is seen as a part of China which is less developed than the entire East of China excluding Manchuria. Patently false. Manchuria is far being from the poorest region of eastern China. Henan, Jiangxi, Shanxi, and Anhui all have GDP per capita lower than Manchuria. It is administered by the provincial Public Security Bureau, whose director is Cui Yadong. Provinces in China are administered by Party Committees and the Provincial People's Governments. Public Security Bureaus are subordinate entities. This statement is laughably false. In 1995 police in Anhui province launched a campaign to hit and eradicate five religious groups. Source? Which five? Also, the first external link adds nothing to the topic of human rights abuses in Anhui, and the second link isn't even about Anhui at all. ran (talk) 03:40, 29 September 2005 (UTC)
 * Delete. --Miborovsky [[Image:Namechop.jpg|20px]] 04:24, 29 September 2005 (UTC)
 * Delete 100% POV. CambridgeBayWeather 04:40, 29 September 2005 (UTC)
 * Delete, per nom, super POV. >:  Roby Wayne  Talk •  Hist 06:43, 29 September 2005 (UTC)
 * Delete pure fiction once you check the facts for yourself. Abstrakt 22:29, 29 September 2005 (UTC)
 * Comment The title is POV and the article should be deleted. But regarding the recent riot involving thousand as reported in the given link http://english.people.com.cn/200506/30/eng20050630_193309.html, is this a notable event? Should we try to document these social unrest? --Vsion 03:35, 30 September 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text: User talk:69.234.159.123

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

title: User talk:69.234.159.123


text:
User talk:Tizioualou

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! Academic Challenger 03:41, 29 September 2005 (UTC)
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Welcome
Excellent work on the list of Algerians... I would love to help write some of these articles. Best, Tfine80 03:54, 14 October 2005 (UTC)

Image copyright problem with Image:El_mouradia.jpg
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Proposed deletion of El Idrissi High School

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title: User talk:Tizioualou


text: User talk:71.114.68.8

title: User talk:71.114.68.8


text:
Dean Marney (footballer)

Dean Edward Marney (born 31 January 1984) is an English former professional footballer who played as a midfielder.

Tottenham Hotspur
Born in Barking, London, Marney is a box-to-box midfielder and a product of the Tottenham Hotspur youth system. Although predominantly a midfielder he showed an aptitude at right back and understudied to then Spurs right back Stephen Carr, and was viewed by many as the Irish international's natural successor. He really emerged onto the scene in a mid season friendly against Irish champions Bohemians putting in a man of the match performance from right back. Unable to get his start as a young player in the Tottenham team, he was loaned out early on in his career to Swindon Town.

His initial first team action for Spurs came in August 2003, against Birmingham City. By January 2004 he had joined Queens Park Rangers on loan, as by that time Spurs had strengthened their strike force. Upon his return he was handed his debut start, but that would be his only appearance until November 2004, when he joined Gillingham on loan.

When he returned to Tottenham, he was immediately thrown in at the deep end, as a last minute choice to face an Everton team on 1 January 2005, in which he scored the first and last goals of the match in a 5–2 victory, the second being a superb 25-yard curler into the top right corner.

He struggled with form until February 2005, the month in which he participated in his only international, an England under-21 match versus the Netherlands. After considerable squad strengthening in the early part of the 2005–06 season, which included the signings of Edgar Davids and Jermaine Jenas, he found himself out of action, and moved for a season-long loan to Norwich City in the hope of winning them promotion back to the Premier League. However his time at Norwich City was cut short due to injury and he returned to Tottenham on 31 October 2005.

Hull City
Phil Parkinson made Marney his second signing for Hull City on 14 July 2006 for an undisclosed fee.

Burnley
Burnley manager Brian Laws made Marney his first summer signing on 28 May 2010. Marney scored his first goal for Burnley in a 3–3 draw with Sheffield United on 16 October 2010.

Marney struggled to establish himself in the Burnley team in his first season at the club, having spells in and out of the side. For the opening few games of his second season, Marney found himself out of favour and used predominantly as a substitute. However, a string of impressive performances from the midfielder saw him given an extended run in the side and Marney finished the season as one of the Claret's most impressive performers. The 2012–13 season is considered by many to be the best of Marney's career, being an almost ever-present in the Clarets side missing matches only through suspension and injury. Marney helped Burnley stave off relegation and eventually finish 11th in the Championship.

Marney began the 2013–14 season in a similar vein, performing very well during pre-season and the opening matches of the Football League Championship, where he formed an effective partnership with former Wolves and Wigan Athletic midfielder, David Jones, who signed for the Clarets in the summer. Over his first three seasons with Burnley, he appeared in approximately 75% of their league games and, with his contract about to expire in 2013, signed a new two-year deal. At the end of the 2017–18 season, he was released by Burnley after eight years at the club and having made over 220 appearances.

Fleetwood Town
In July 2018, Marney joined Fleetwood Town, taking the squad number 25. In July 2020, Marney was released by Fleetwood Town at the end of his contract.

International career
Marney represented England at international gaining one cap for the England under-21 side in England's 2–1 defeat to Netherlands U-21 in February 2005. He has not appeared for England since then.

Style of play
Marney is a free-flowing midfielder and has proven to be a key factor in distribution throughout the teams he has played for. While at Burnley, he developed a reputation as something of a 'hard man', picking up 12 yellow cards and 1 red card in the 2012–13 season, a figure higher than all of his team-mates and the second highest in the Championship. He is confident in challenging for the ball but shows good control of his aggression.

Honours
Hull City
 * Championship play-offs: 2007–08

Burnley
 * Championship: 2015–16

title: Dean Marney (footballer)


text:
YXU

YXU or yxu may refer to:

 * YXU, the IATA code for London International Airport, Ontario, Canada
 * yxu, the ISO 639-3 code for Yuyu language, South Australia

title: YXU


text:
Terry Knight and the Pack

Terry Knight and the Pack (also known as The Pack and The Fabulous Pack) was an American garage rock band formed in Flint, Michigan in 1965. The band was signed to the Lucky Eleven label through most of its brief recording career. They produced one national hit with their cover version of the song, "I (Who Have Nothing)". Despite their inability to replicate their success, the band was a frequent attraction in the Michigan rock scene. The Pack was fronted by singer Terry Knight. In 1969 the group disbanded but two members, drummer/vocalist Don Brewer and guitarist Mark Farner, would go on to form another band, Grand Funk Railroad.

Origins 1964-1965
Former DJ, Knight was tenured in several radio stations before trying his hand at a solo musical career in 1964. As a DJ, he was an early advocate of The Rolling Stones, and imitated their style as soloist and later when he joined the band. His initial efforts, which included an unsuccessful single and local performances, were not met with much success, so Knight persuaded a band known as The Jazz Masters to accept him as their frontman in 1965. The group, impressed by Knight's contacts in the music industry, accepted him into the band. Knight quickly took control of the band, first by changing their name to The Pack, inspired by The Shangri-Las' hit, "Leader of the Pack". and taking the group out of uniforms and switching to a more casual look similar to The Rolling Stones. In the band, Knight became the singer and songwriter. Don Brewer played drums, Herm Jackson was on bass guitar, Curt Johnson was on lead guitar, and Bobby Caldwell (April 5, 1947 – February 4, 2016) provided keyboards.

Recordings, Popularity 1965-1967
Knight was able to use his contacts to enable the Pack to record their first single, "Tears Come Rolling"/"The Colour of Our Love", at the Golden World Studio in Detroit, released on the Wingate label. At this time the band was managed by Jim Atherton, of Flint, who felt that a traditional label such as Wingate could not properly promote a British-influenced Rock group like the Pack. Atherton convinced fellow Flint businessman Otis Ellis to record the band on his small Lucky Eleven label. Before the band recorded their second single, the band name was changed to Terry Knight and The Pack, reflecting Knight's de facto role as the charismatic front man and leader of the group. When Jackson received his draft notice, he left the band, and Mark Farner replaces him on bass.

Six of their nine singles made regional Top 40s throughout Michigan, Ohio and New York, with two of them – "You're a Better Man Than I" (originally by The Yardbirds) and "I (Who Have Nothing)" (a cover of a Ben E. King song) – reaching the national charts. "I (Who Have Nothing)" went to No. 46 and earned the band an appearance on Dick Clark's television program Where the Action Is. In the summer of 1966, Farner left the band to join Dick Wagner's band, The Bossmen, allowing Jackson to return to the group. Their debut album, Terry Knight and the Pack, was released in 1966.

Tracks by the band include: "This Precious Time" (composed and produced by P.F. Sloan), covers of the Rolling Stones' songs "(I Can't Get No) Satisfaction" and "Lady Jane", and several Knight originals: "Numbers", "A Change on the Way" and "Love, Love, Love, Love, Love" (later covered by Detroit roots rockers Brownsville Station). The Music Explosion issued an almost identical version of "Love, Love, Love, Love, Love", with the same instrumental backing track but a different vocal track; it's unclear whether The Pack or the Music Explosion recorded the "original". Due to personality clashes with Knight, Johnson left the band, with Farner returning as guitarist.

TK&TP were mainstays on Cleveland's TV rock & roll showcase, Upbeat. In addition, they opened regional gigs for the Rolling Stones, the Dave Clark Five and the Yardbirds.

The Fabulous Pack, Break-Up, Grand Funk Railroad 1967-1969
After the release of their second LP, Reflections, Knight left the band to pursue a frustrated solo career as producer and singer. Meanwhile, The Pack, sometimes playing under the name "The Fabulous Pack", continued with Farner replacing Knight as lead singer, and Curt Johnson returning on guitar. The band released a few more 45 RPM singles in 1967 and 1968, starting with their cover of the old Bob and Earl hit, “Harlem Shuffle”. The song's flip side, “I’ve Got News For You”, was written by Dick Wagner, who also wrote the band's next single, “Wide Trackin”, intended for use in an advertising campaign for Pontiac's “wide tracking” automobiles; while a solid regional hit, this single did not chart nationally. Cameo-Parkway went out of business and Capitol Records picked up the remaining Cameo-Parkway contracts, including The Pack. The band went through several personnel changes, with Johnson and Caldwell leaving the group, replaced with Al Shane on keyboards and Kenny Rich on guitar respectively. In April 1968, The Pack released their final single on Capitol Records, a cover version of Jimi Hendrix's Fire retitled "Next To Your Fire", backed with a ballad written by Dick Wagner called "Without A Woman"; while popular in Michigan, this single failed to chart outside the state. By mid 1968, the band consisted of Farner on lead vocals and guitar, Brewer on drums, Craig Frost on keyboards and Rod Lester on bass. In August 1968, The Pack recorded a full-length LP that was never released, with three songs from these sessions, "Getting Into The Sun", "Can't Be Too Long (Faucet)", and "Got This Thing On The Move" subsequently appearing on the compilation album "Thirty Years of Funk: 1969–1999". In early 1969, after a botched tour which left them stranded on Cape Cod, The Pack broke up. Upon returning home, Farner and Brewer regrouped, forming the nucleus of Capitol Records' best-selling act of the early 1970s, Grand Funk Railroad, initially managed and produced by Terry Knight.

Reissues
All recordings by Terry Knight and the Pack have been out of print since 1973, except for "I (Who Have Nothing)" which is included in the Cameo Parkway 1957–1967 box set. Only one "best of" compilation was released in late 1972 by ABKCO Records as the double album Mark, Don & Terry 1966-67 (plain blue cover) inspired by the Grand Funk Railroad double album Mark, Don & Mel: 1969–71 (plain black cover) released earlier that year on Capitol. The ABKCO-released album was later re-packaged in 1973 as Funk-Off. Both albums are considered collectors items after being dropped from the ABKCO catalog. Another quasi-best-of compilation, Track On, was released on Lucky Eleven circa 1969–70.

Terry Knight and the pack were voted into the Michigan Rock and Roll Legends Hall of Fame in 2008.

Albums

 * Terry Knight and the Pack (Billboard #127) – Lucky Eleven LE-8000 (Mono)/SLE-8000 (Stereo) (1966)
 * Reflections (Original pressing) – Lucky Eleven LE-8001/SLE-8001 (1966)
 * Reflections (second pressing) – Cameo C-2007 (Mono)/CS-2007 (Stereo) (1966)
 * Compilations
 * Track On! – The Best of Mark Farner, Terry Knight & Donnie Brewer – Lucky Eleven LE-8001/SLE-8001 (1966)
 * Issued with same catalog number as the Reflections album, although the legality of this album is in question

 * Mark, Don & Terry 1966–67 (Billboard #192) – Abkco 4217 (1972)
 * Terry Knight and the Pack and Reflections (Re-release two albums on one CD) – Ace CDCHD 1273 (2010)

title: Terry Knight and the Pack


text:
Vietnam Petroleum Institute

Vietnam Petroleum Institute (VPI) was established on May 22, 1978. It is based in Hanoi, with a branch in Ho Chi Minh City.

The Institute's assigned functions and tasks are as follows:
 * Carrying out scientific and technological studies in the fields of prospecting, exploration, production, transportation, storage distribution, economics and management of oil and gas; cooperating with local and international organizations in these fields.
 * Providing scientific and technical services for companies inside and outside the petroleum industry as well as for foreign oil companies.
 * Providing scientific and technological consultancy for Vietnamese Government and Petrovietnam, State agencies and foreign oil companies in the fields of prospecting, exploration, production, transportation, storage and economics of oil and gas.
 * Providing training to improve professional capability of personnel working in the oil and gas industry, including post - graduate programs.
 * Website: http://www.vpi.pvn.vn/vn/Home.aspx

title: Vietnam Petroleum Institute


text:
John Abercrombie (guitarist)

John Laird Abercrombie (December 16, 1944 – August 22, 2017) was an American jazz guitarist. His work explored jazz fusion, free jazz, and avant-garde jazz. Abercrombie studied at Berklee College of Music in Boston, Massachusetts. He was known for his understated style and his work with organ trios.

Early life and education
John Abercrombie was born on December 16, 1944, in Port Chester, New York. Growing up in the 1950s in Greenwich, Connecticut he was attracted to the rock and roll of Chuck Berry, Elvis Presley, Fats Domino, and Bill Haley and the Comets. He also liked the sound of jazz guitarist Mickey Baker of the vocal duo Mickey and Silvia. He had two friends who were musicians with a large jazz collection. They played him albums by Dave Brubeck and Miles Davis. The first jazz guitar album he heard was by Barney Kessel.

He took guitar lessons at the age of ten, asking his teacher to show him what Barney Kessel was playing. After high school, he attended Berklee College of Music. At Berklee, he was drawn to the music of Jim Hall, the 1962 album The Bridge by Sonny Rollins, and Wes Montgomery on his albums The Wes Montgomery Trio (1959) and Boss Guitar (1963). He cites George Benson and Pat Martino as inspirations. He often played with other students at Paul's Mall, a jazz club in Boston connected to a larger club, Jazz Workshop. Appearing at Paul's Mall led to meetings with Michael Brecker, Randy Brecker, and organist Johnny Hammond Smith, who invited him to go on tour.

Stark Reality, Dreams, and Gateway
Abercrombie graduated from Berklee in 1967 and attended North Texas State University before moving to New York City in 1969. Before becoming a popular session musician, he joined Monty Stark's band, Stark Reality, in 1969 and recorded several sides including Stark Reality Discovers Hoagy Carmichael's Music Shop. Abercrombie went on to record with Gato Barbieri in 1971, Barry Miles in 1972, and Gil Evans in 1974. In 1969 he joined the Brecker Brothers in the jazz-rock fusion band Dreams. He continued to play fusion in Billy Cobham's band, but found that he disliked its focus on rock over jazz. Nonetheless his reputation grew with the popularity of both Cobham and Dreams. The band shared billing with such acts as the Doobie Brothers, but Abercrombie found his career taking an unwanted direction. "One night we appeared at the Spectrum in Philadelphia and I thought, 'What am I doing here?' It just didn't compute."

An invitation from drummer Jack DeJohnette led to the fulfillment of Abercrombie's desire to play in a jazz-oriented ensemble. Around the same time, record producer Manfred Eicher, founder and president of ECM Records, invited him to record an album. He recorded his first solo album, Timeless, with DeJohnette and keyboardist Jan Hammer, who had been his roommate in the 1960s. In 1975 he formed the band Gateway with DeJohnette and bassist Dave Holland, recording the albums Gateway (1976) and Gateway 2 (1978). Though Abercrombie would record for other labels going forward, ECM became his mainstay, and his association with that label continued for the rest of his career.

Working as a leader
The Gateway band played songs written by all three members, in a free jazz style. Following his albums as a member of the Gateway trio, Abercrombie moved to playing in a more traditional style, recording for ECM three albums, Arcade (1979), Abercrombie Quartet (1979), and M (1981) with a quartet that included pianist Richie Beirach, bassist George Mraz, and drummer Peter Donald. Abercrombie said, "it was extremely important to have that group ... it was my first opportunity to really be a leader and write consistently for the same group of musicians." During the mid-1970s and into the 1980s, he contributed to ensembles led by DeJohnette and participated in other sessions for ECM, occasionally doubling on electric mandolin. He toured with guitarist Ralph Towner with whom he recorded two albums, Sargasso Sea (1976) and Five Years Later (1981). During the mid-1980s, he continued to play standards with bassist George Mraz, and he played in a bop duo with guitarist John Scofield. He also appeared on a number of ECM releases in various ensembles with other artists on the label.

Between 1984 and 1990, Abercrombie experimented with a guitar synthesizer. He first used the instrument, though not exclusively, in 1984 in a trio with Marc Johnson on bass and Peter Erskine on drums, as well as with pianist Paul Bley in a free jazz group. The synthesizer allowed him to play what he called "louder, more open music." Abercrombie's trio with Johnson and Erskine released three albums during this time showcasing the guitar-synth: Current Events (1986), Getting There (1988, with Michael Brecker), and a live album, John Abercrombie / Marc Johnson / Peter Erskine (1989).

The 1990s and 2000s marked a time of many new associations. In 1992, Abercrombie, drummer Adam Nussbaum, and Hammond organist Jeff Palmer made a free-jazz album. He then started a trio with Nussbaum and organist Dan Wall and released While We're Young (1992), Speak of the Devil (1994), and Tactics (1997). He added trumpeter Kenny Wheeler, violinist Mark Feldman and saxophonist Joe Lovano to the trio to record Open Land (1999). The Gateway band reunited for the albums Homecoming (1995) and In the Moment (1996).

Abercrombie continued to tour and record to the end of his life. He also continued to release albums on the ECM label, an association which lasted for more than 40 years. As he said in an interview, "I'd like people to perceive me as having a direct connection to the history of jazz guitar, while expanding some musical boundaries."

In 2017, Abercrombie died of heart failure in Cortlandt Manor, New York, at the age of 72.

As leader or co-leader

 * Timeless (ECM, 1975) with Jan Hammer, Jack DeJohnette
 * Sargasso Sea (ECM, 1976) with Ralph Towner
 * Characters (ECM, 1978)
 * Arcade (ECM, 1979) as John Abercrombie Quartet with Richie Beirach, George Mraz, Peter Donald
 * Abercrombie Quartet (ECM, 1980) as John Abercrombie Quartet with Richie Beirach, George Mraz, Peter Donald
 * Straight Flight (Jam, 1980) as John Abercrombie Trio with George Mraz, Peter Donald
 * M (ECM, 1981) as John Abercrombie Quartet with Richie Beirach, George Mraz, Peter Donald
 * Route Two (Landslide, 1981) with David Earle Johnson, Dan Wall
 * Five Years Later (ECM, 1982) with Ralph Towner
 * The Midweek Blues (Plug, 1983) with David Earle Johnson, Jan Hammer
 * Night (ECM, 1984) with Michael Brecker, Jan Hammer, Jack DeJohnette
 * Drum Strum (1750 Arch, 1984) with George Marsh
 * Solar (Palo Alto, 1984) with John Scofield
 * Current Events (ECM, 1986) with Marc Johnson, Peter Erskine
 * All Strings Attached (Verve, 1987) with Tal Farlow, Larry Carlton, Larry Coryell, John Scofield, John Patitucci, Billy Hart
 * Emerald City (Pathfinder, 1987) with Richie Beirach
 * Getting There (ECM, 1988) with Marc Johnson, Peter Erskine, Michael Brecker
 * My Foolish Heart (Jazz City, 1988) with Marc Cohen, Gary Peacock, Jeff Hirshfield
 * John Abercrombie / Marc Johnson / Peter Erskine (ECM, 1989)
 * Upon a Time (New Albion, 1989) with Mel Graves, George Marsh
 * Animato (ECM, 1989) with Vince Mendoza, Jon Christensen
 * Abracadabra (Soul Note, 1990) with Jeff Palmer, David Liebman, Adam Nussbaum
 * Double Variations (Justin Time, 1990) with Tim Brady
 * Secret Obsession (Nabel, 1991) with Uli Beckerhoff, Arild Andersen, John Marshall
 * Witchcraft (Justin Time, 1991) with Don Thompson
 * Yesterday's Tomorrow (European Music Productions, 1991) with Ron McClure, Aldo Romano
 * The Toronto Concert (Maracatu, 1992) with Chris Minh Doky, Niels Lan Doky, Adam Nussbaum
 * Ease On (AudioQuest Music, 1993) with Jeff Palmer, Arthur Blythe, Victor Lewis
 * Farewell (Musidisc, 1993) with Andy LaVerne, George Mraz, Adam Nussbaum
 * November (ECM, 1993) with John Surman, Marc Johnson, Peter Erskine
 * While We're Young (ECM, 1993) with Dan Wall, Adam Nussbaum
 * Speak of the Devil (ECM, 1994) as John Abercrombie Trio with Dan Wall, Adam Nussbaum
 * Tactics (ECM, 1997) with Adam Nussbaum, Dan Wall
 * Standard Transmission (GOWI Records, 1997) with Jacek Kochan, Pat LaBarbera, Jim Vivian
 * Open Land (ECM, 1999) with Kenny Wheeler, Joe Lovano, Mark Feldman, Dan Wall, Adam Nussbaum
 * The Hudson Project (Stretch, 2000) with Peter Erskine, Bob Mintzer, John Patitucci
 * Burn'in The Blues (Consolidated Artists Productions, 2001) with Jeff Palmer, Vincent Herring, Bob Leto
 * That's for Sure (Challenge, 2002) with Marc Copland, Kenny Wheeler
 * Cat 'n' Mouse (ECM, 2002) with Mark Feldman, Marc Johnson, Joey Baron
 * Noisy Old Men (Jam, 2002) with Mick Goodrick, Steve Swallow, Gary Chaffee
 * Three Guitars (Chesky, 2003) with Larry Coryell, Badi Assad
 * Animations (Underhill Jazz, 2003) with John Basile
 * Class Trip (ECM, 2004) with Mark Feldman, Marc Johnson, Joey Baron
 * Alone Together (Acoustic Music, 2004) with Frank Haunschild
 * Brand New (Challenge, 2004) with Marc Copland, Kenny Wheeler
 * Echoes (Alessa, 2005) with Arthur Blythe, Gust Tillis, Mark Feldman
 * Structures (Chesky, 2006) with Eddie Gomez, Gene Jackson
 * The Third Quartet (ECM, 2007) with Mark Feldman, Marc Johnson, Joey Baron
 * Topics (Challenge, 2007) with John Ruocco
 * Coincidence (Whaling City Sound, 2007) with Joe Beck
 * Tales (Sony BMG, 2008) with Robert Balzar
 * Wait Till You See Her (ECM, 2009) as John Abercrombie Quartet with Mark Feldman, Thomas Morgan, Joey Baron
 * Cradle of Light (EFCM, 2009) with Marek Dykta
 * Speak to Me (Pirouet, 2011) with Marc Copland
 * Within a Song (ECM, 2012) as John Abercrombie Quartet with Joe Lovano, Drew Gress, Joey Baron
 * 39 Steps (ECM, 2013) as John Abercrombie Quartet with Marc Copland, Drew Gress, Joey Baron
 * The Angle Below (SteepleChase, 2013)
 * Inspired (ArtistShare, 2016) with Peter Bernstein, Lage Lund, Rale Micic
 * Up and Coming (ECM, 2017) as John Abercrombie Quartet with Marc Copland, Drew Gress, Joey Baron

With Gateway
 * Gateway (ECM, 1976) with Dave Holland, Jack DeJohnette
 * Gateway 2 (ECM, 1978)
 * Homecoming (ECM, 1995)
 * In the Moment (ECM, 1996)

With Andy LaVerne
 * Natural Living (Musidisc, 1990)
 * Nosmo King (SteepleChase, 1994)
 * Now It Can Be Played (SteepleChase, 1995)
 * Where We Were (Double-Time, 1996)
 * A Nice Idea (Steeplechase, 2005)
 * Live from New York (Steeplechase, 2010)

As sideman
With Franco Ambrosetti
 * Light Breeze (Enja, 1998)

With Gato Barbieri
 * Under Fire (Flying Dutchman, 1971 [1973])
 * Bolivia (Flying Dutchman, 1973)

With Billy Cobham
 * Crosswinds (Atlantic, 1974)
 * Total Eclipse (Atlantic, 1974)
 * Shabazz (Atlantic, 1975)

With Marc Copland
 * Second Look (Savoy, 1996)
 * That's For Sure (2001)
 * ...And (Hatology, 2003)
 * Another Place (Pirouet, 2008)

With Jack DeJohnette
 * Sorcery (Prestige, 1974)
 * Cosmic Chicken (Prestige, 1975)
 * Untitled (ECM, 1976)
 * Pictures (ECM, 1977)
 * New Rags (ECM, 1977) with Directions
 * New Directions (ECM, 1978)
 * New Directions in Europe (ECM, Live 1979, rel. 1980)

With Peter Erskine
 * Transition (Denon, 1987)
 * Motion Poet (Denon, 1988)

With Danny Gottlieb
 * Aquamarine (Atlantic Jazz, 1987)
 * Whirlwind (Atlantic, 1989)
 * Brooklyn Blues (Big World, 1991) with Jeremy Steig, Gil Goldstein, Chip Jackson

With Dave Liebman
 * Lookout Farm (ECM, 1973)
 * Drum Ode (ECM, 1974)
 * Sweet Hands (Horizon, 1975)

With Rudy Linka
 * Rudy Linka Quartet (Arta, 1991)
 * Mostly Standards (Arta, 1993)
 * Lucky Southern (Quinton, 2006)
 * Every Moment (Acoustic Music, 2011)

With Charles Lloyd
 * Voice in the Night (ECM, 1999)
 * The Water Is Wide (ECM, 2000)
 * Hyperion with Higgins (ECM, 2001)
 * Lift Every Voice (ECM, 2002)

With Barry Miles
 * White Heat (Mainstream, 1971)
 * Scatbird (Mainstream, 1972)

With Terry Plumeri
 * He Who Lives In Many Places (Airborne, 1971) featuring Herbie Hancock, Michael Smith, John Abercrombie, Eric Gravatt
 * Ongoing (Airborne, 1978)

With Enrico Rava
 * Katcharpari (MPS/BASF, 1973)
 * The Pilgrim and the Stars (ECM, 1975)
 * Pupa o Crisalide (RCA, 1975)
 * "Quotation Marks" (Japo, 1976)
 * The Plot (ECM, 1977)

With Johnny "Hammond" Smith
 * Nasty! (Prestige, 1968)
 * Forever Taurus (Milestone, 1976)
 * Storm Warning (Milestone, 1977)

With Lonnie Smith
 * Afro Blue (Venus, 1993)
 * Purple Haze: Tribute to Jimi Hendrix (Venus, 1995)
 * Foxy Lady: Tribute to Jimi Hendrix (Venus, 1996)

With Collin Walcott
 * Cloud Dance (ECM, 1975)
 * Grazing Dreams (ECM, 1977)

With Kenny Wheeler
 * Deer Wan (ECM, 1977)
 * Music for Large & Small Ensembles (ECM, 1990)
 * The Widow in the Window (ECM, 1990)
 * It Takes Two! (2006)

With others
 * Horacee Arnold – Tales of the Exonerated Flea (Columbia, 1974)
 * Jerry Bergonzi – Tenorist (Savant, 2007)
 * Paul Bley – Live at Sweet Basil (Soul Note, 1988)
 * Bob Brookmeyer and the WDR Big Band – Electricity (1994)
 * Royce Campbell – Six by Six: A Jazz Guitar Celebration (rec. 1994, rel. 2004) with Larry Coryell, Pat Martino, Bucky Pizzarelli, Dave Stryker
 * Stanley Clarke & Bill Shields – Shieldstone (Optimism, 1987)
 * Dreams – Dreams (Columbia, 1970)
 * Urszula Dudziak – Future Talk (Inner City, 1979)
 * Mark Egan - As We Speak (Wavetone, 2006)
 * Gil Evans – The Gil Evans Orchestra Plays the Music of Jimi Hendrix (RCA, 1974)
 * Jan Garbarek – Eventyr (ECM, 1981)
 * Jim Hall – Jim Hall And Friends Live At Town Hall Vol.2 (Musicmasters, 1991) featuring John Scofield, John Abercrombie, Mick Goodrick, Gary Burton
 * Tom Harrell – Sail Away (Contemporary, 1989)
 * Clint Houston – Watership Down (Trio, 1978)
 * Bobby Hutcherson – Un Poco Loco (Columbia, 1980)
 * Jeff Johnston – Nuage (Justin Time, 2001) featuring Dave Liebman & John Abercrombie
 * Lee Konitz – Sound of Surprise (RCA Victor, 1999)
 * Andy LaVerne – Liquid Silver (DMP, 1984)
 * Andy LaVerne – Plays the Music of Chick Corea (Jazzline 2008)
 * Joe Lovano – Landmarks (Blue Note, 1991)
 * Bob Mintzer – Hymn (Owl, 1990)
 * Czesław Niemen – Mourner's Rhapsody (1974)
 * Mike Nock – Climbing (Tomato, 1979)
 * Makoto Ozone – Now You Know (Columbia, 1987)
 * Jeff Palmer – Laser Wizzard (Statiras, 1987) with Adam Nussbaum, Gary Campbell
 * Michel Petrucciani – Michel plays Petrucciani (Blue Note, 1988)
 * Barre Phillips – Mountainscapes (ECM, 1976)
 * Stark Reality – The Stark Reality Discovers Hoagy Carmichael's Music Shop (1970)
 * John Surman – Brewster's Rooster (ECM, 2009)
 * Harvie Swartz – Arrival (RCA 1992)
 * Joseph Tawadros – The Hour of Separation (2010)
 * Henri Texier – Colonel Skopje (Label Bleu, 1988)
 * The Don Thompson Quartet – A Beautiful Friendship (Concord Jazz, 1984)
 * McCoy Tyner – Quartets 4 X 4 (Milestone, 1980)
 * Michał Urbaniak – Fusion III (Columbia, 1975)
 * Jim Vivian - Sometime Ago (Cornerstone, 2018)
 * Jack Walrath – Neohippus (Blue Note, 1989)
 * Denny Zeitlin – Tidal Wave (Palo Alto, 1984)

title: John Abercrombie (guitarist)


text:
Lillian Kinkella Keil

Captain Lillian Kinkella Keil (November 17, 1916 – June 30, 2005) was a highly decorated American World War II and Korean War flight nurse. Keil made 250 evacuation flights (23 of them transatlantic) during World War II and 175 evacuation flights during the Korean War, becoming one of the most decorated women in American military history.

Biography
Keil was born in Arcata, California. She was raised in a convent after her father abandoned her mother and their three small children. Watching the nuns tend to the sick is what drew her into nursing.

Immediately following high school, Keil attended the nursing program at St. Mary's Hospital in San Francisco and became a registered nurse.

In 1939, she became one of the first stewardesses for United Airlines. After the United States entered World War II in 1941, a passenger suggested she become a flight nurse for the United States Army Air Forces.

She was among the first flight nurse graduates of the Army School of Air Evacuation at Bowman Field, Louisville, Kentucky. Captain Keil served in London by the summer of 1943 and at Omaha Beach after the June 1944 D-Day invasion. She was among the nurses who tended the wounded of George S. Patton's Third Army as it drove across France. Her older brother, SSGT John J. Kinkella served with the Army 184th Infantry Division in the South Pacific and was killed in action on February 4, 1944, at Kwajlein Atoll, in the Marshall Islands. She arranged to have her brother's remains repatriated after the war and he was interred at Golden Gate National Cemetery in September 1949.

After the war, she returned to being a United Airlines stewardess, but reenlisted when the Korean War broke out, this time in the United States Air Force. She was one of only 30 Air Force nurses stationed in the Far East.

In all, she flew 175 air evacuations out of Korea, to go with her 250 in World War II, for a total of 425. It is estimated that she tended over 10,000 wounded in her military career.

She served as a technical advisor for the 1953 film Flight Nurse, starring Joan Leslie and Forrest Tucker, which was partly based upon her own experiences.

In 1954, she met Walter Keil, a former Navy intelligence officer during World War II. After only six weeks, they married, and when she became pregnant in 1955, she received an honorable discharge. The couple settled in Covina, California, where she continued to work as a nurse. They had two daughters. When she was the subject of a 1961 episode of the TV show This Is Your Life, the show drew one of its ten highest mail responses.

Keil died of cancer at the age of 88 and is buried at Riverside National Cemetery in Riverside, California.

Awards
Keil was awarded 19 medals and ribbons, including:
 * 4 Air Medals
 * 2 Presidential Unit Citations
 * 1 World War II Victory Medal
 * 4 battle stars in World War II
 * 1 Korean Service Medal with seven battle stars

In 2005 following her death, Congress passed a bill renaming the post office in Covina the Lillian Kinkella Keil Post Office.

title: Lillian Kinkella Keil


text:
User talk:Fleet Pete

Petescape.com Owner?
Are you the same Fleet Pete that ran petescape.com? That site seems to no longer be up? But if you are the same person, I would like to get in touch with you. Thanks. Mikix

Welcome
Hello, , and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. If you are stuck, and looking for help, please come to the Wikipedia Boot Camp, where experienced Wikipedians can answer any queries you have! Or, you can just type   on your user page, and someone will show up shortly to answer your questions. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. Again, welcome!
 * The Five Pillars of Wikipedia
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Z iggurat 03:47, 29 September 2005 (UTC)

Arc mapping
Hey, I hope you check your account every now and then! I wanted to thank you for Arc mapping. It's a great article, but could you please revisit it and cite whichever source(s) you used in your writing? If you aren't sure how to do it, just ask! Melchoir 10:31, 24 March 2006 (UTC)

 * Thanks.  I do plan to expand the article, add references, and also post some related articles; what i posted so far is just a basic start.
 * What brought you to the article on arc mapping?  Are involved in fire investigation? --Fleet Pete 16:11, 21 April 2006 (UTC)

Your edit to Hawaiian War Chant
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AfD nomination of Blübird
An editor has nominated Blübird, an article on which you have worked or that you created, for deletion. We appreciate your contributions, but the nominator doesn't believe that the article satisfies Wikipedia's criteria for inclusion and has explained why in his/her nomination (see also "What Wikipedia is not"). Your opinions on whether the article meets inclusion criteria and what should be done with the article are welcome; please participate in the discussion by adding your comments at and please be sure to sign your comments with four tildes ( ~ ). You may also edit the article during the discussion to improve it but should not remove the articles for deletion template from the top of the article; such removal will not end the deletion debate. Thank you. Please note: This is an automatic notification by a bot. I have nothing to do with this article or the deletion nomination, and can't do anything about it. Jayden54Bot 20:42, 31 March 2007 (UTC)

AfD nomination of Patchouli (band)
Patchouli (band), an article you created, has been nominated for deletion. We appreciate your contributions. However, an editor does not feel that Patchouli (band) satisfies Wikipedia's criteria for inclusion and has explained why in the nomination space (see also "What Wikipedia is not" and the Wikipedia deletion policy). Your opinions on the matter are welcome; please participate in the discussion by adding your comments at Articles for deletion/Patchouli (band) and please be sure to sign your comments with four tildes ( ~ ). You are free to edit the content of Patchouli (band) during the discussion but should not remove the articles for deletion template from the top of the article; such removal will not end the deletion discussion. Thank you. ... disco spinster   talk  18:28, 23 September 2007 (UTC)

Image copyright problem with Image:Ultima v runes.gif
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AfD nomination of Klopman diamond
I have nominated Klopman diamond, an article that you created, for deletion. I do not think that this article satisfies Wikipedia's criteria for inclusion, and have explained why at Articles for deletion/Klopman diamond. Your opinions on the matter are welcome at that same discussion page; also, you are welcome to edit the article to address these concerns. Thank you for your time. Ten Pound Hammer and his otters • (Broken clamshells • Otter chirps • HELP) 23:09, 11 December 2008 (UTC)

Articles for deletion nomination of Klopman diamond
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File:Ribbon troops.png listed for discussion
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"Three-sided record" listed at Redirects for discussion
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Nomination of Klopman diamond for deletion
A discussion is taking place as to whether the article Klopman diamond is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/Klopman diamond& until a consensus is reached, and anyone, including you, is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

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title: User talk:Fleet Pete


text:
Lord Lieutenant of Kilkenny

This is a list of people who have served as the Lord Lieutenant of Kilkenny.

There were lieutenants of counties in Ireland until the reign of James II, when they were renamed governors. The office of Lord Lieutenant was recreated on 23 August 1831.

Governors

 * James Butler, 2nd Duke of Ormond -1715 (attainted 1715)
 * Christopher Wandesford, 2nd Viscount Castlecomer 1715–1719
 * William Ponsonby, 2nd Earl of Bessborough
 * Walter Butler, 1st Marquess of Ormonde –1820
 * James Butler, 1st Marquess of Ormonde –1831

Lord Lieutenants

 * James Butler, 1st Marquess of Ormonde 7 October 1831 – 18 May 1838
 * John Ponsonby, 4th Earl of Bessborough November 1838 – 16 May 1847
 * William Frederick Fownes Tighe 25 June 1847 – 11 June 1878
 * James Butler, 3rd Marquess of Ormonde 5 October 1878 – 26 October 1919
 * Hamilton Cuffe, 5th Earl of Desart 23 June 1920 – 1922

title: Lord Lieutenant of Kilkenny


text:
Wikipedia:Articles for deletion/East campus

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination).  No further edits should be made to this page.

The result of the debate was DELETE (12 delete, 5 keep).  Rob e  rt  22:26, 9 October 2005 (UTC)

East campus
A non-notable dorm at MIT.-- BMIComp (talk, HOWS MY DRIVING) 03:47, 29 September 2005 (UTC)

 * Delete. Not specifically notable that I can see.  Perhaps if someone famous was born, died or conceived there? >:  Roby Wayne  Talk •  Hist 03:54, 29 September 2005 (UTC)
 * Delete as per nom. CambridgeBayWeather 03:56, 29 September 2005 (UTC)
 * Weak Keep -- I think the arrangement of the site at MIT is notable enough, as MIT itself is notable; remember, WP:NOT a paper encyclopedia. On the other hand, this article as it is isn't very useful or informative -- it needs to either go or be expanded.. --Mysidia (talk) 04:01, 29 September 2005 (UTC)
 * Delete. Yes, MIT itself is very notable, but if people want to read about the dorms there floor by floor, they should consult the MIT web site, not an encyclopedia. --Metropolitan90 04:12, 29 September 2005 (UTC)
 * Delete all articles about dorm buildings unless world-famous.   [  +t,  +c ,  +m  ] 06:24, 29 September 2005 (UTC)
 * Delete. Vegaswikian 07:33, 29 September 2005 (UTC)
 * Delete. I agree with Szyslak.  Unless the architect, style or design is somehow notable, a building is just a building, and a dorm even more so. Dottore So 15:58, 29 September 2005 (UTC)
 * Delete. NN.  I know many MIT students who take their dorm organization very seriously, but that doesn't mean that the rest of us ought to. -- SCZenz 21:47, 29 September 2005 (UTC)
 * comment I don't get it. There were articles about dorms at Harvard recently nominated for deletion and kept.  If its good enough for Harvard, why not MIT??? Roodog2k (talk) 21:49, 30 September 2005 (UTC)
 * delete Oh yeah, I almost forgot. I voted delete on the Harvard dorms too. Roodog2k (talk) 21:50, 30 September 2005 (UTC)
 * Keep and move to East Campus (MIT). The article says almost nothing, but much more could be said - MIT dorms are much like frats in that people choose where to live, and EC has a particularly interesting culture. --SPUI (talk) 20:19, 1 October 2005 (UTC)
 * Keep. I agree with SPUI. This should be moved to East Campus (MIT) and expanded. Baker House, Simmons Hall, Burton-Conner House, and Bexley Hall are other dorms at MIT that have informative entries in Wikipedia, and I don't those pages up for deletion. I don't see any reason why East Campus should not have an entry. MIT dorms indeed have very unique and interesting cultures. --RadiantEuphoria (talk) 16:24, 2 October 2005 (UTC)
 * Keep. If other dorms have pages, this should too. Cmouse 01:35, 3 October 2005 (UTC)
 * Delete nn -- red stucco 08:39, 3 October 2005 (UTC)
 * Delete The number of dorms notable enough to have their own article is few to none. Just because other non-notable dorms have articles does not mean we should compound the problem. U$er 17:22, 4 October 2005 (UTC)
 * Keep -- I think that you all are confusing a poorly written article with a subject that has no merit. I agree that the article needs work, however East Campus has a long and colorful history.    For example, the recent Time Traveler Convention was held at East Campus, which got international press.  I will appeal to my friend who lived at East Campus to ride in and fix the article. Theinfo 21:42, 7 October 2005 (UTC)
 * Delete as per nom CLW 06:47, 9 October 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Wikipedia:Articles for deletion/Jehovah's Witnesses sex abuse scandal

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result of the debate was DELETE. -Splash talk 23:22, 25 October 2005 (UTC)

Jehovah's Witnesses sex abuse scandal
There is nothing especially wrong with this article, I don't think, but someone else did the same thing on the same day. The other article has a more relevant title and I don't remember how to do mergers. I'm going to take the useful stuff, that's not duplicated, in this article over to that one if I can work it in.--T. Anthony 03:47, 29 September 2005 (UTC)
 * This afd nomination was orphaned. Listing now.  No opinion. —Cryptic (talk) 16:13, 17 October 2005 (UTC)
 * Merge with article mentioned by nom, if it can be found --MacRusgail 17:27, 17 October 2005 (UTC)
 * Merge with Jehovah's Witnesses and child sex abuse. DES (talk) 18:22, 17 October 2005 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Raymond Louie

Raymond Louie (born 16 January 1965) is a Canadian politician. He is a five-term Vancouver City Councillor. Formerly a member of Coalition of Progressive Electors civic party, Louie broke away and was re-elected in 2005, and again in 2008, 2011, and 2014 as a member of Vision Vancouver.

Background
Louie was born and raised in East Vancouver, and has ancestry from Zhongshan, Guangdong, China. His family ran a local bakery. He was the youngest of three siblings. He is distantly related to billionaire businessman Brandt Louie. Louie attended Nootka Elementary School and Windermere Secondary School. After graduating from high school he attended British Columbia Institute of Technology, yet never graduated. Louie worked at Mail-O-Matic Services, a local mailing house, and as a mailer with Pacific Newspaper Group. While working at Pacific Newspaper Group, Louie became a National Representative for the Communications, Energy and Paperworkers Union of Canada.

Vancouver City Council
Louie was first elected to Vancouver City Council in 2002, and was re-elected in 2005, 2008, 2011 and 2014.

As a City Councillor, Louie is on a number of local organizations, including, the Parent Advisory Committee for Maquinna Annex and Community Visions, a community liaison group in Hastings-Sunrise.

In Council, Louie has served in numerous city committees:

 * Member, Standing Committee on Planning and Environment
 * Member, Standing Committee on Transportation and Traffic
 * Member, Standing Committee on City Services and Budgets
 * Director, Vancouver Parking Corporation
 * Director, Vancouver Civic Theatres Board
 * Co-Chair, Steering Committee for the redevelopment of Southeast False Creek
 * Vice-Chair, City Creative Task Force
 * Co-Chair, Mayor's Working Group on Immigration
 * Director, Greater Vancouver Regional District (GVRD)
 * Director, GVRD Labour Relations Bureau
 * Director, GVRD Finance Committee
 * Director, Greater Vancouver Transportation Authority (GVTA)
 * Director, GVTA Finance and Audit Committee
 * member of COPE

Homeless Emergency Action Team
Louie was one of three elected officials who served on Homeless Emergency Action Team, which conceived the controversial  Homeless Emergency Action Team (HEAT) shelters.

Mayoral aspirations
In a 2007 interview, former Vancouver Mayor and current Senator, Larry Campbell, described Louie as a future mayor of Vancouver. Campbell added that he still holds that view, but wouldn't say if Louie should run for mayor in 2008. "That would be up to Raymond," Campbell said. "I just know that someday he'll be mayor. I don't know when that will be." On 12 March 2008, Louie announced his intention to run for the Vision Vancouver mayoral nomination. In an effort to secure the Vision Vancouver nomination, Louie outspent all mayoral hopefuls by spending a total of $243,621. However, in June 2008 he was defeated in the Vision Vancouver nomination race by Gregor Robertson, who went on to win the subsequent general election.

Family life
Louie lives in East Vancouver with his wife and their three children. He is an avid cyclist and has participated in the Gastown Grand Prix and Tour de White Rock.

title: Raymond Louie


text:
Wikipedia:Articles for deletion/Slugfest

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination).  No further edits should be made to this page.

The result of the debate was delete Oleg Alexandrov (talk) 23:44, 6 October 2005 (UTC)

Slugfest
Non-notable floor of a MIT dorm.-- BMIComp (talk, HOWS MY DRIVING) 03:49, 29 September 2005 (UTC)

 * Delete and it should have been speedy. CambridgeBayWeather 03:53, 29 September 2005 (UTC)
 * "NN dorm floors" is not a WP:CSD. Userfy or delete, btw. Jkelly 15:43, 29 September 2005 (UTC)
 * Is it being blatantly self-promoting and contentless a reason for speedy deletion? (I'm actually not sure.) -- SCZenz 21:52, 29 September 2005 (UTC)
 * Comment Self-promotion isn't a Candidate for speedy deletion. "Very short articles providing little or no context" is.  Note that the word is context, not content.  CSD policy is rather narrow.  There is a current proposal to expand CSD that you may wish to express an opinion on.  Jkelly 23:29, 29 September 2005 (UTC)
 * Delete. Same as East Campus above. >:  Roby Wayne  Talk •  Hist 03:54, 29 September 2005 (UTC)
 * Strong Delete --Mysidia (talk) 03:57, 29 September 2005 (UTC)
 * If this goes don't forget Fourth East, a redirect page. CambridgeBayWeather 03:59, 29 September 2005 (UTC)

 * Delete, this is basically a student organization which exists in part of one dormitory, and is inherently non-encyclopedic. --Metropolitan90 04:16, 29 September 2005 (UTC)
 * Delete Dottore So 15:59, 29 September 2005 (UTC)
 * Delete - see my question above. -- SCZenz 21:52, 29 September 2005 (UTC)
 * Delete or possibly merge with East Campus. --SPUI (talk) 20:21, 1 October 2005 (UTC)
 * Delete The number of dorms notable enough to have their own article is few to none. This floor is certainly not notable enough for its own article.  Just because other non-notable dorms have articles does not mean we should compound the problem. U$er 17:23, 4 October 2005 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Talk:Malaysian hip hop

Untitled
I reckon the true pioneers of Malaysian hip hop was KRU, mid 90s-ish. Too Phat is part of the late-90s "urban wave". Even so, Poetic Ammo was *the* pioneer of late-90s urban wave hip hop, having come before them (also under Positive Tone). I don't have the facts, and I'm not even into the local hip hop scene, so I can't be the one to expand this article properly. Any takers? --Lionelster 03:50, 29 September 2005 (UTC)

This is an interesting article on a topic I know nothing about. Could someone in the know add some details? Such as: do they rap in English or Malay? What topics do they rap about? etc Ashmoo 06:16, 10 October 2006 (UTC)

WikiProject class rating
This article was automatically assessed because at least one WikiProject had rated the article as stub, and the rating on other projects was brought up to Stub class. BetacommandBot 15:47, 10 November 2007 (UTC)

title: Talk:Malaysian hip hop


text:
Mark O. Hatfield United States Courthouse

The Mark O. Hatfield United States Courthouse is a federal courthouse in Portland, Oregon. It is named in honor of former U.S. Senator Mark O. Hatfield. It is used by the United States District Court for the District of Oregon.

The federal government originally planned to increase courtroom space in Portland by building a 13-story annex adjacent to the Gus J. Solomon United States Courthouse. In 1992, the government shifted to the construction of a new building across the street from the Multnomah County Justice Center, where federal prisoners are held for trial. The General Services Administration chose what was then known as the Hamilton Hotel block between Second and Third avenues and Salmon and Main streets for the courthouse.

With 16 stories, the courthouse rises to a height of 318 feet (97 m), making it the tenth-tallest building in Portland. The design is a collaboration between the architecture firms Kohn Pedersen Fox Associates of New York and Bora Architects previously named Broome, Oringdulph, O'Toole, Rudolph & Associates of Portland, Oregon. It was completed in 1997 at a cost of $129 million, making it the fifth most-expensive courthouse of its size constructed in the 1990s. The building contains approximately 563000 sqft. Upon completion the District Court moved from the Solomon Courthouse that was built in 1933.

The building's architecture is distinctive and contemporary, especially when compared with Portland's older, primarily rectilinear towers. The distinctive cantilevered roof shelters a small green planting area which is visible to traffic approaching on Washington Street. Designed with energy efficiency in mind, the building exceeded Oregon's Energy Code by 29 percent when it was built.

History
In 1994, the General Services Administration launched a five-year plan calling for the construction of hundreds of new federal facilities – courthouses, agency offices, research labs, and border stations - in the biggest public building boom ever. GSA sought to elevate the design of courthouses and other federal buildings through its Design Excellence Program, which encourages design by nationally prominent contemporary American architects and invites prominent architects and critics to join judges and agency heads on the selection panels. This overhaul of government design was led by Edward Feiner, Chief Architect of GSA's Public Buildings Service. The new program called for regional sensitivity and urban vitality in federal architecture.

The Mark O. Hatfield Federal Courthouse was designed and detailed by Kohn Pederson Fox Associates (KPF) of New York City, New York; and Portland's BOORA Architects, who were actually selected by a GSA panel before the institution of the Design Excellence Program. The design won a 1994 GSA National Honor Award, one of two honor awards given by GSA for new federal buildings in 1994.

The site selected for the structure is in downtown Portland, overlooking the Plaza Blocks, a trio of civic parks shared by City Hall and other civic buildings, including Michael Grave's 1984 Portland Building. The construction of the new courthouse on this site required the removal of the Hamilton Hotel, a property eligible for inclusion in the National Register of Historic Places, and underground structures associated with 19th-century Chinese commercial activity in Portland. GSA, the Oregon State Historic Preservation Office (SHPO) and the Advisory Council on Historic Preservation entered into a Memorandum of Agreement in order to take into account the effect of the undertaking on the historic properties. The agreement contained several stipulations, including Historic American Buildings Survey (HABS) documentation of the Hamilton Hotel, salvage of architecturally and historically significant items, and archaeological testing, monitoring, and recovery from the site. It was agreed that a portion of the collection of the archaeological artifacts and specimens would be displayed in the first-floor lobby of the courthouse.

The Arts in Architecture program for the courthouse was enhanced by GSA's participation in the City of Portland's percent for arts Floor-Area-Ratio (FAR) bonus credits. In November 1994, the Community Arts panel reviewed credentials and slides representing approximately 200 artists. From this extensive list, the panel recommended four artists and sites for GSA review and approval. GSA concurred and approved the selections. The artists and sites include Eric Orr - Main Lobby; Sandra Stone - Main Lobby; Tom Otterness - 8th Floor Roof Terrace; and Judith Poxson Fawkes – 16th Floor Special Proceedings Courtroom.

The design of the building was initiated in October 1992. The base building was competitively bid at 92.3 million dollars. Site demolition, foundation, and non-court tenant improvements were constructed under separate contracts for a total construction cost of 97.9 million dollars. Construction began in June 1994 and was substantially completed in September 1997.

The courthouse became a significant target during the Portland George Floyd protests.

Architectural description

The design for the new 565,300 sqft courthouse building is a creative, responsive and efficient solution to placing a large, complex program on a small 195' x 200' site in an important civic setting. BOORA Architects and Kohn Pedersen Fox Associates separated the sleek limestone, steel, aluminum, and glass courthouse into two distinct volumes.

An eight-story block, scaled to the height of the neighboring county courthouse building, incorporates administration offices and a law library with a roof terrace atop the 8th floor. Below the eight-story block are two levels of below-grade parking, building service areas, and storage space built out to the edge of the perimeter sidewalks. Behind the eight-story block, a 17-story tower contains two courtrooms per floor - each with a jury suite and judge's chambers - separated by a zone of services and circulation. Secure corridors wrap the north, south and east sides of the courtrooms, with punched windows that admit daylight into both jury suites and courts. The two courtroom per floor scheme results in an extremely efficient floor plan that maintains separate public, restricted, and secure circulation systems. The courthouse building completes Portland's "Government Center" facing three historic park blocks.

The building site is bounded by Third Avenue to the west, Main Street to the south, Second Avenue to the east and Salmon Street to the north. The building sits on a rusticated stone base referencing Italianate palazzo design. The building sits on a black granite base. Immediately atop the granite is a rough-faced limestone veneer. The remainder of the building is clad with smooth limestone or steel/aluminum and glass curtain walls. A curved elevator tower punctuates the northwest corner of the building like a campanile. The building is capped by a vaulted metal roof canopy.

The building's main entrance is located on its west elevation. The glass and steel storefront entrance is recessed at an angle from the plane of the elevation behind a row of massive pillars and is sheltered under a projecting metal canopy. The exterior wall surfaces of the eight-story block (southern half of the elevation) above the canopy is smooth limestone veneer with punched window openings, one such being a five-story opening which constitutes virtually half of the wall surface. It is divided into four bays by vertical metal fins which terminate as flagpoles or decorative poles and horizontally by metal spandrels and mullions. The top floor of the eight-story block contains the law library. Its west elevation is fully glazed and recessed from the plane of the elevation and set under another projecting metal canopy. An open-air rooftop terrace caps the eight-story block. The northern half of the west elevation above the main entrance canopy consists of the 16-story smooth limestone and glass and steel curtain wall tower. The northwest corner is a solid limestone shaft. A curved elevator penthouse with projecting metal skirt rises above the shaft like a campanile. The curtain wall portion follows the same recessed angle back from the plane of the elevation as the main entrance. The curtain wall is divided horizontally by projecting fins at the floor plates and intermediate window mullions.

The same materials and similar details continue around to the south elevation. The employees entrance is located near the center of the first floor. The eight-story block of the south elevation features a wide, vertical band of windows near its west end and a punched four-story window opening which constitutes nearly two-thirds of the elevation's wall surface. The windows are divided horizontally by metal spandrels and mullions. The top floor of the eight-story block is fully glazed and sheltered under a projecting metal canopy. A four-story metal bracket appears to support the cantilevered canopy. The 16-story tower is set back from the plane of the eight-story block, allowing for the open-air rooftop terrace. The tower's elevation consists of a limestone center shaft flanked by glass and steel curtain walls. The limestone wall surface has punched window openings of horizontal bands and small squares. The curtain walls are divided horizontally by projecting fins at the floor plates and intermediate window mullions. The vaulted metal roof crowns the tower.

The east elevation contains the building's vehicular and service entrances. The overhead garage doors are sheltered under a wide projecting metal canopy which stretches the length of the elevation. The next two floor levels are clad with smooth limestone and contain long horizontal bands of windows. At the fourth floor level, the elevation changes character. The southern half, the 16-story tower, consists of a projecting glass and steel curtain wall that appears to be supported by projecting metal brackets. The curtain wall is divided horizontally by the same projecting fins at the floor plates and intermediate window mullions. The curtain wall is divided vertically by a central recessed channel. A bracketed vertical metal fin, rising from the 4th through the 15th floors, accentuates this channel. The 16th-floor level is set back from the plane of the elevation, creating another open-air rooftop terrace covered by an open canopy which is an extension of the building's vaulted metal roof.

The north elevation contains two-story window openings at its base, allowing natural light into the public lobby. The majority of this elevation is smooth limestone veneer with punched window openings. The projecting glass and steel curtain wall accents the northeast corner, and the solid limestone shaft with curved elevator penthouse accents the northwest corner. The building's vaulted metal roof crowns the tower.

Quotations about the law are incised around the outside ground level of the courthouse, and in various locations on the courtroom floors. A famous quotation by Wendell Phillips, "The first duty of society is justice," is in the public lobby.

The courthouse incorporates extensive security measures using building design, technology, and personnel. The building provides three independent and separate circulation systems to protect court participants. Separate elevators and corridors are provided for the public, for persons in custody, and for court personnel. These circulation paths meet in the courtrooms. Extensive electronic technology includes video cameras, electronic locks, duress alarms, X-ray, and magnetometers. Architecturally significant interior spaces include the two-story main entrance lobby with marble stair and cascading water features, upper-floor court lobbies with semi-circular elevator lobbies, finely detailed wood-paneled courtrooms and hearing rooms, and the aforementioned rooftop terraces.


text:
VPI

VPI may refer to:

 * Vapor phase infiltration, a synonym for sequential infiltration synthesis
 * Velopharyngeal insufficiency, a medical term
 * Verilog Procedural Interface, in computer programming
 * Vertical Politics Institute, a conservative political action committee
 * Vietnam Petroleum Institute
 * Virginia Polytechnic Institute and State University (a.k.a. Virginia Tech)
 * Virtual path identifier, in computer networking
 * Visegrad Patent Institute, a patent organization created by the four Visegrad countries
 * Vocational Preference Inventory
 * VPI Industries, a manufacturer of phonographs
 * VPIphotonics, photonic simulation tool

title: VPI


text:
Talk:Body proportions

Why?
Do the proportions of the human body conform to any notable local maxima? Is there a reason that the arms are of this size, that the legs are of this size, etc.? --Damian Yerrick (☎) 21:41, 16 November 2006 (UTC)

somebody:

your genetics define the basic human proportions. What you eat and how active you are (ex: weightlifting, running, etc) will affect your proportions, though you will still have the basic proportions described here.

Anyways I believe that this description skips a head length. there seems to be one between mid thigh and mid calf. just under the knee. I'm not going to post that scince i'm not anauthority on body proportion. the 3d model I'm working on didn't look at all right (it actually didn't work at all) without that head length.

Another Somebody: It is missing one, its only 7 heads tall ...

This article is very badly written. Discussing spurious ideals of proportions has nothing to do with actual proportions. I was hoping to find ways to relate foot length to leg length, etc. — Preceding unsigned comment added by 98.140.79.240 (talk) 18:00, 14 December 2012 (UTC)

The eighth head...
The current description of '8 heads tall' seems a little strange, especially when we get to the last one - which is supposed to extend from just below the ankles to 'the feet'.

I'm assuming it means: from 'just below the ankles' to 'the tips of the toes', but is the height of the figure measured in this outstretched state? Because it makes it very awkward to follow as a quick guide in figure drawing.

There are a few views here over how many heads to use, and I know it isn't an absolute measurement and only a proportion guide, but the current article has gotten me looking somewhere else.

Terrahnahjacitor 21:05, 10 April 2007 (UTC)

 * I agree...how about "just above the ankles to the soles of the feet?"

 * No, the height is not measured in an outsretched state, just a pretty normal stance.

 * The fact is that there were more than one canon for different purposes: 8 heads was "ideal", 10 heads was "heroic", I think 7 realistic (though it can even be less) and of course this assumes adulthood. It could be argued the actual headage matters less than the relative proportions of all the other body parts however. A good source is Andrew Loomis's figure drawing book, now long out of print but knocking around the web nevertheless. I guess the illustrations must still be copyright though. It's a shame we can't get any more "modern"(ish) illustrations than Vitruvian Man which doesn't clearly show the head-to-head divisions, classic though it is. Adytum72a 07:44, 15 July 2007 (UTC)

Article Name
Is there some reason why the very general sounding "body proportions" was chosen over say, "Figure Drawing Canon"? As it stands the content in 100% artistic, so shouldn't that be reflected in the title? There is nothing to stop information on e.g. genetics and anything else related being added, which is all fine and well... unless it should be an article for artistic determination of proportions? I guess I'm just surprised that searching WP I couldn't find any mention of (artistic) canon. I've added art to the Canon page but this article doesn't use the word. Adytum72a 07:48, 15 July 2007 (UTC)

This page is refered to as body proportions as opposed to figure drawing canon because figure drawing canon is used to describe posture, facial features, clothing, demeanor, ect for drawing a perticular type of character, where as this page is about the realistic proportions of the body.-- sco rp ion  451   rant 00:56, 24 July 2007 (UTC)

Idealized?
So is the part about the HEAD (4 eyes wide, length of nose, etc) idealized as well? It isn't very clear on that? —Preceding unsigned comment added by 99.231.211.103 (talk) 19:24, 29 June 2009 (UTC)

Wording
"These ratios may not always reflect the actual shape of the model's body, if there is a model. In other cultures, different ratios may be emphasized for different aesthetic effect."

Needs work.

--"...if there is a model."--Where the idea of a model come from? Is this sentence necessary at all? What is it supposed to mean?

--"In other cultures..."--What 'other' cultures? What culture do you think this is?

--'different' should be removed, as it conveys no meaning in the sentnece.

74.185.249.234 (talk) 00:01, 13 October 2009 (UTC)

Up is Down
I was expecting to find an article about the human proportions as defined by the artists of the renaissance. What I found is an article about sociological study of perceptions in different cultures. Ok, ok, ugly people are pretty too. ;)

Yes, I'm not surprised to learn that the British find beauty in short, crooked legs. How else would they fit in their coracle otherwise?

And why is the icon for the "Visual arts portal" a Jewish amulet against the evil eye? That's some twisted logic right there! Is there something I'm not getting? 67.206.187.38 (talk) 03:40, 21 October 2013 (UTC)

Recent edits
was banned in 2005 from all articles dealing with weights and measurements and after frequent violations indefinitely blocked. He has come back recenty editing from two accounts and several IP addresses. Those accounts are now blocked. See Sockpuppet investigations/Rktect. Dougweller (talk) 07:42, 11 December 2013 (UTC)

So what are the usual ranges of body proportions?
For example, what are the ranges of adult height, adult leg length, adult arm length, etc. and the ranges of the ratios? The article seems to be missing the actual subject. 74.96.172.110 (talk) 16:28, 4 September 2015 (UTC)
 * Quite right. I was expecting this to be an article about anatomy, but it turns out to have practically no anatomy in it.  Maybe there is another article lurking somewhere?  Anthropometry?86.162.38.70 (talk) 15:32, 5 October 2016 (UTC)

this could be easily the least useful article in wikipedia
when someone goes to the "body proportions" one would expect something like: "arms are on average X% of the size of the legs and Y% of the size of the torso" or "the standard way of measuring the human body is X and Y" or any other form of information on the relative sizes of parts of human anatomy to each other and how they are measured. the only thing that remotely comes close to that is "An average person is generally 7-and-a-half heads tall", then there is something about the "idealized size of legs to body ratio" which is completely useless without proper anatomic information to give any context. this article is nearly devoid of any real content, I'm baffled why this even exists. 2804:14C:65D0:8274:417A:18CC:7359:87C (talk) 13:47, 20 October 2019 (UTC)

 * I agree. It really is a very poor quality article. Other articles that might be more helpful:

 * Female body shape
 * Male body shape

Additions to this list welcome. --John Maynard Friedman (talk) 22:29, 5 September 2020 (UTC)

Leg-to-body ratio
The article has a section "leg-to-body" ratio - with no definition! How is 'leg' defined? It could be any of Body could be I could go on. Fix it or delete it. --John Maynard Friedman (talk) 22:26, 5 September 2020 (UTC)
 * floor-to-crotch:
 * an approximation to this I found (unconvincing source) is "standing height minus sitting height" [chair seat to top of head]
 * ankle-bone to crotch ("tailor's "inside leg").
 * "floor to greater trochanter",
 * ankle-bone to ditto, in other words, "femur plus tibia": the source I found for this is not sufficiently convincing but seems more scientific
 * floor to illiac crest
 * ankle-bone to ditto
 * floor to waist
 * floor to crown of head

 * After a lot of googling, finally I found an academic paper that defines its terms:

"The present study investigated the relationship between LBR, defined as the height to perineum divided by total height, and perceived attractiveness."
 * so 'leg' is defined as floor to perineum (crotch), not greater trochanter (major hip bone, head of femur), illiac crest (pelvic rim) or even waist, all of which I have seen. The 'total height minus sitting height' (chair seat to top of head) is a tolerable approximation. --John Maynard Friedman (talk) 10:24, 6 September 2020 (UTC)

Redefining the scope of this article
Recognising that most of the content of this article is about artistic anatomy, I have decided to wp:be bold and just declare that this is exactly the scope of the article and no more. So I have added a short description and an about hat note to that effect and have started to clean up the article accordingly. If anyone objects, please do so now. --John Maynard Friedman (talk) 14:44, 6 September 2020 (UTC)
 * Ok by me, although a rename making this clear might be needed later. Meanwhile, it is male and Female body shape that should be in the hatnote, as the closest scientific articles. There is a certain case for a merge to Nude (art), which currently has more on the subject than here. You'll want to copy or replicate the start at Art_of_ancient_Egypt.   Johnbod (talk) 14:49, 6 September 2020 (UTC)
 * Phew! I didn't quite realise what a Pandora's Box I had opened. Yes, the art of Egypt will have to be covered, and of course China, Japan, India as well as the Western Academic tradition.
 * I agree with your decision on medical use, but the complaints above from IP visitors suggest that the about definitely needs to include anthropometrics and clothing sizes.
 * I don't really agree that it should be merged into the Nude article. Yes, relative proportions are easier to 'read' on the nude figure but apply equally to draped figures.
 * I am surprised that we don't have an article or even a redirect for artistic anatomy, any suggestions? (I don't think it should redirect to this article but the Nude article or surface anatomy might be possible? --John Maynard Friedman (talk) 23:33, 6 September 2020 (UTC)
 * Either here or Nude, I'd say. Johnbod (talk) 13:12, 7 September 2020 (UTC)

New sources to be followed up

 * This has good detail on the Egyptians. Johnbod (talk) 22:33, 14 September 2020 (UTC)
 * The Cubit and the Egyptian Canon of Art may be useful too, though it is not obvious to me why it matters which cubit is used when the canon should (sic?) be about relative rather than absolute proportions. I am still trying to make sense of it.--John Maynard Friedman (talk) 21:42, 17 September 2020 (UTC)
 * These led me to Proportion and Style in Ancient Egyptian Art by Gay Robins, who explains Iverson's deduction of the Egyptian Canon of Proportions rather more clearly than Legon [who, tbf, I suspect takes it as read that his readers are already cognoscenti]. Maybe I will have time tomorrow to write it up. --John Maynard Friedman (talk) 22:01, 17 September 2020 (UTC)
 * Making a note of Iverson's book in which he declares the Canon of Proportions:

 * Although only some of Robins's book is visible in preview, it seems clear that Iverson was guilty of confirmation bias: he saw what he wanted to see and shoehorned [or discarded as 'artistic incompetence'] the evidence to fit his theory. It seems certain that there was a grid system because traces have been found: the argument is about whether the grid-squares have a defined size – or simply that it was used as a device to scale up a drawing on a papyrus to a whole wall. Which is interesting but takes us off the topic of relative proportions. --John Maynard Friedman (talk) 23:07, 17 September 2020 (UTC)

 * What is Ancient Egyptian art? is better though maybe errs in the opposite direction (too simplified).
 * Hmmm - it gets very complicated. Most general art-historical accounts of the "canons" of various periods slide over the question rather quickly, & one begins to see why. But it would be great to get a coherent summary that does better here. Johnbod (talk) 02:48, 18 September 2020 (UTC)
 * I found a reference in a book on Indian art to shilpa shastras as the Indian version of the canon, and we have an article about it. Progress! --John Maynard Friedman (talk) 17:56, 18 September 2020 (UTC)
 * That's a huge body of texts or various types, mostly rather late in date, & with far more on temple architecture than sculptures. Most of it has not been translated, afaik. But there may well be stuff, probably reflecting Medieval India rather than Classical India. The general art histories of India don't have much at all on figure canons. There's this, off an EL on that page (take a look at the previous chapter too!). Johnbod (talk) 19:12, 18 September 2020 (UTC)

Aesthetic canon, artistic canon
Given that the article Aesthetic canon is really about artistic canons, I propose to move it to "Artistic canon" (the current title will remain as a redirect).

Full disclosure: until a few days ago, the article had other material not directly related to visual or plastic arts, but it consisted of uncited musings that forked the articles on physical attractiveness, makeup, fashion but without any specific focus on canonical frames of reference.

Please make any observations at talk:Aesthetic canon. --John Maynard Friedman (talk) 20:26, 19 September 2020 (UTC)
 * I have initiated a wp:requested move process. As of today, the discussion is whether the name should be open ended ("Artistic canon") or well-defined ("Artistic canon of body proportion"), Please contribute at talk:Aesthetic canon. --John Maynard Friedman (talk) 14:46, 26 September 2020 (UTC)
 * Following earlier discussion, I have revised the proposal to be "Artistic canons of body proportions". Please make any comments at the article talk page via link above. --John Maynard Friedman (talk) 13:50, 2 October 2020 (UTC)

Ratios (section)
As an artistic reference, this section is a mess. First two lines are great, expressing the proportions in terms of "heads" after that it is less helpful. Please someone straighten this out. Atrusoghen (talk) 14:41, 2 November 2022 (UTC)
 * I have prefixed the section with but the rule around here is, if you need anything done properly, you have to do it yourself. So go take more from the sources already cited or go hunting for new ones. --𝕁𝕄𝔽 (talk) 20:41, 2 November 2022 (UTC)

Male/female
In the 'See also' section the language describing female and male forms is asymmetric and implies that male is the 'human' form and that the female form is causally different: "Female body shape – Cumulative product of the human female skeletal structure and distribution of muscle and fat Male body shape – General shape of a human body" This seems to arise accidentally from the use of references to two articles, one on the human body and one on the female. I think we should be aiming to present the male and female forms in parallel terms. To do this we would need to adjust the two pages referred to, then the links would shake themselves into place. I'm off to look at those pages; meanwhile I post this for criticism. Lorenzoil (talk) 05:52, 7 September 2023 (UTC)
 * Yes, please go ahead. The immediate problem is that Male body shape redirects to Human body shape: "male body shape" does not have a dedicated article like Female body shape. So perhaps the solution is to create one? --𝕁𝕄𝔽 (talk) 10:58, 7 September 2023 (UTC)

title: Talk:Body proportions