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Wikipedia:Articles for deletion/Robert J. Beck

 * 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 No consensus Ryan Norton T 19:56, 21 October 2005 (UTC)

Robert J. Beck
vanity and not notable Gator1 17:19, 13 October 2005 (UTC)

 * Delete per nomination. - Gator1 17:19, 13 October 2005 (UTC)
 * Delete per nomination. Large segments of article copied verbatim from personal site at UWM:  ,--Daniel Lotspeich 17:50, 13 October 2005 (UTC)\
 * Stiking through prior vote and changing: Keep and cleanup. Published author. agree w Jkelly.  --Daniel Lotspeich 01:42, 14 October 2005 (UTC)
 * Delete per nomination Bwithh 18:15, 13 October 2005 (UTC)
 * Keep and cleanup. Published author.  Jkelly 21:15, 13 October 2005 (UTC)
 * Tagged as copyvio. Ëvilphoenix Burn! 02:58, 14 October 2005 (UTC)
 * Keep and cleanup. Article was submitted by Robert J. Beck, drawing upon web page biography written and owned by Robert J. Beck.  The author is willing to clean up text.  Please Keep.  04:40, 14 October 2005 (UTC) — Preceding unsigned comment added by 129.89.119.122 (talk • contribs) 21:40, October 14, 2005
 * Mr. Beck, I presume. Generally it is not Wikipedia policy to write articles about ourselves. While there are some contributors to Wikipedia who are notable, generally writing about onesself is discouraged. However, if you would like to join Wikipedia and create a username there, you are free to post as much information about yourself as you would care to.Ëvilphoenix Burn! 02:49, 15 October 2005 (UTC)
 * Delete, vanity. Ëvilphoenix Burn! 02:49, 15 October 2005 (UTC)
 * Delete Privat  e   Butcher  02:50, 15 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.


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Northern New Mexico

Northern New Mexico in cultural terms usually refers to the area of heavy-Spanish settlement in the north-central part of New Mexico. However, New Mexico state government also uses the term to mean the northwest and north central, but to exclude both the northeastern high plains counties and Sandoval County. The five largest cities in northern New Mexico are: Santa Fe, Las Vegas, Española, Los Alamos, and Raton.

Cultural

The traditional southern boundary of the area is an escarpment called La Bajada southwest of Santa Fe. The other boundaries are poorly defined. The map in is a guide: from La Bajada the boundary runs northwest about 50 miles (80 km) west of U.S. Routes 285 and 84, and northeast about 20 miles (30 km) east of Interstate 25, to the Colorado border. The area might also be described roughly as comprising Rio Arriba, Los Alamos, Taos, and Colfax Counties; northeastern Sandoval County, northern Santa Fe County; and western San Miguel and Mora Counties, possibly with parts of adjoining counties. To the west is the Four Corners region; to the east are the high plains of Eastern New Mexico.

While northern New Mexico, also known as the río arriba or upper river area, did receive a lot of Hispanic settlement, much Hispanic colonial settlement also occurred in southern areas, known as the río abajo or lower river. The distinction between río arriba and río abajo dates back to colonial times, and continues to be a cultural and linguistic division in New Mexican Hispano society.

Governmental
New Mexico state government generally divides New Mexico into four regions: Eastern, Central, Southwestern and Northern New Mexico. For those purposes Northern includes the Four Corners area together with the cultural area, but excludes Sandoval County. The Northwest Region is frequently referred to as the "Four-Corners Region".

Tourism
For tourists, New Mexico is divided into six regions, with northern New Mexico being divided into north central region, northeast region and northwest region. Sandoval County is part of the central region to the south. Under that schema, the north central region includes the core part of cultural northern New Mexico.

Northern Rio Grande National Heritage Area
The Northern Rio Grande National Heritage Area is in the upper Rio Grande Valley and north central region of northern New Mexico. It is a federally designated National Heritage Area. It includes the area that has been inhabited by the Puebloan peoples since the early Pre-Columbian era.

Notable people

 * Andrew Valdez (born 1951), juvenile court judge for Salt Lake County, Utah.

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

title: Northern New Mexico


text: User talk:70.151.116.165

title: User talk:70.151.116.165


text:
Confédération Internationale des Sociétés d'Auteurs et Compositeurs

The International Confederation of Societies of Authors and Composers (Confédération Internationale des Sociétés d'Auteurs et Compositeurs, CISAC) is an international non-governmental, not-for-profit organisation that aims to protect the rights and promote the interests of creators worldwide. It advocates for strong legal protection of copyright and authors' rights. It is the world's largest international network of authors' societies, also known as collective management organisations (CMOs), copyright / royalty collection societies, collecting societies, or performance rights organisations (PROs).

As of 2024, 225 authors' societies from 119 countries are members of CISAC. Together, these authors' societies represent music publishers and approximately four million creators and publishers from all geographic regions and all artistic fields (music, audiovisual, drama, visual arts and literature).

In 2015, CISAC's member societies collected, €8.6bn in royalties from their respective national territories.

CISAC was founded in 1926. Its international headquarters are located in Neuilly-sur-Seine, France, with four regional offices based in Budapest, Hungary (European Affairs), Santiago, Chile (Latin American and Caribbean Affairs), Burkina Faso (African Affairs) and, since January 2013, Beijing, China (Asia-Pacific Affairs).

CISAC is financed by membership dues and has three official languages: English, French and Spanish.

Founding
CISAC was founded in France in 1926 by 18 authors' societies from 18 European countries, at the time representing mainly the dramatic arts (i.e. playwrights and stage directors).

Authors' societies are by and large non-for profit organisations that were established by creators to facilitate the management of their rights. The principle activities of authors' societies are to grant licenses, collect royalties for the use of its affiliates' creative works and distribute these royalties to rights holders.

Since its inception, CISAC's mission has been to represent creators in every corner of the globe and promote their rights. CISAC initially consisted of five federations, one each for dramatic performing rights; public performing rights; mechanical rights; literary rights; and film rights. In 1966, CISAC united the five federations to form the International Confederation of Societies of Authors and Composers as it exists today.

Recent history
Since 1994, CISAC has been working to improve data exchanges on creative works between authors' societies. Known as the Common Information System (CIS) project, CISAC has worked on the development of ISO certified international standards for the identification of creative works and rights holders.

These include the International Standard Musical Work Code (ISWC), the International Standard Audiovisual Number (ISAN), the International Standard Text Code (ISTC) and the International Standard Name Identifier (ISNI), a unique identifying number linked to contributors (such as a songwriter or publisher) and which complements CISAC's Interested Party Information (IPI) System where more detailed information on the rights owner, accessible to authors societies, is held.

CISAC released "CIS-Net powered by FastTrack" in 2004, an Internet-based network for sharing musical works information between authors' societies. CISAC is also in the process of developing IDA, an International Database for Audiovisual works and their rights holders. By facilitating the identification of creative works and their relevant rights holders, such tools aim to speed up the distribution of royalties to creators for use of their works.

In 2004, CISAC revised its statutes, creating an annual general assembly and a board of directors to oversee CISAC's actions, allowing CISAC to impose rules on its members to ensure high professional standards and enabling CISAC to dedicate more resources to getting creators directly involved in the defence of their rights.

In June 2007, CISAC's general assembly elected singer-songwriter Robin Gibb (Bee Gees) as CISAC's president and Mexican film director Alfonso Cuarón as vice-president. Gibb's 3-year term was renewed in June 2010. French visual artist and painter Hervé Di Rosa, co-founder of the artistic movement "Figuration libre", was elected vice-president in 2010. The role of CISAC president and vice-president is to voice the opinion of the international community of creators and to defend the system of collective management that protects their rights. Over the years, this role has been fulfilled by several renowned creators, such as Robert de Flers, Richard Strauss, Armand Salacrou, and Leopold Sedar Senghor.

From 2007 to 2013, CISAC has organised the biennial World Creators Summit, an international forum for stakeholders to discuss the future of copyright and creators' interests in the digital era.

CISAC adopted a series of professional rules for all of its member societies in 2008. The professional rules are a set of criteria related to the management of rights and the collection and distribution of royalties by which CISAC member societies should abide. The objective of these rules is to ensure that CISAC's members operate according to high standards of professionalism. The initiative was developed to reflect greater transparency by authors' societies towards various stakeholder groupings and the media.

The president of CISAC is Swedish songwriter Björn Ulvaeus, who was appointed in May 2020. His predecessor was French electronic music composer Jean Michel Jarre, who served as president since June 2013.

In 2013, the organisation expanded its vice presidency to four new positions, allowing for the representation of more territories and a broader range of creative repertoires. The four new vice presidents were Angélique Kidjo, a Grammy Award-winning performing artist and activist from Benin, Javed Akhtar, a celebrated scriptwriter, poet, lyricist from India, Marcelo Piñeyro, an Academy Award-winning producer and film director from Argentina, and Ousmane Sow, a revered sculptor from Senegal. The current CISAC vice presidents are: Jia Zhang-ke, Angélique Kidjo, Marcelo Piñeyro, and Miquel Barceló.

Mission and goals
CISAC works to protect the rights and promote the interests of creators across all regions of the world and artistic fields; music, audiovisual, drama, literature and visual arts. It enables collective management organisations to seamlessly represent creators internationally and ensure that royalties flow to authors for the use of their works anywhere in the world. CISAC provides business, legal, and IT support to protect creators' rights and to foster the development of the international network of collective management societies (CMOs).

Membership
As of June, 2015 CISAC's a membership organisation includes 230 authors' societies from 120 countries, indirectly representing around four million creators. There are three membership categories, depending on a society's status and operations: Member, Provisional and Associate. Authors' societies are largely non-profit organisations that are established by creators to facilitate the management of their rights. As it is very difficult for an individual creator to monitor all uses of their work and negotiate payment for these uses, many choose to entrust their rights to an authors' society. An authors' society's primary activities is to grant licenses and collect royalties and distribute royalties to the right holders for the use of their works.

Funding
CISAC's budget comes from annual membership dues, which are based on a percentage of the gross royalties collected annually by each member society.

Organisation
Revolving around the General Assembly, CISAC's highest representative entity, CISAC is composed of different administrative bodies that guide its operations and strategy.

General Assembly
CISAC's general assembly is composed of delegates from all of CISAC's Member societies. The general assembly elects the board of directors and CISAC's president and vice-president, and endorses the main resolutions, decisions and plans put forth by the board of directors. Only members have the right to vote at the general assembly.

President and vice-president
The role of CISAC's president and vice-president is to represent the international community of creators and to defend the system of collective management that protects their rights.

Board of directors
A board of directors composed of representatives from 20 of CISAC's member societies and elected by the General Assembly for a three-year period to govern CISAC's activities. The Board's composition reflects CISAC's geographical diversity and the multitude of artistic repertoires it represents.

The current chairman of the board is Eric Baptiste, CEO of SOCAN, a music authors' society in Canada ; the vice-chairmen are Javier Gutiérrez Vicen, CEO of Visual Entidad de Gestión de Artistas Plásticos (VEGAP), a visual arts authors' society in Spain, and Marisa Gandelman, CEO União Brasileira de compositores (UBC), a music authors' society in Brazil.

Secretariat
CISAC's director general is Gadi Oron, who was appointed in September, 2014. A lawyer by trade and an expert in international copyright law, Oron has been working with the creative industry for over 15 years. He joined CISAC in 2012 as General Counsel of the organisation.

Committees
CISAC has created a variety of committees that address a wide range of legal, strategic, technical, regional or creative issues related to authors' rights and serve to provide guidance on the operational aspects of the organisation.

Services and activities
CISAC's main activities are: setting professional standards for authors' societies; implementing information systems to facilitate the identification of creative works and their relevant rights holders in order to precipitate the distribution of royalties to creators; contributing to the development of authors' societies around the world; advocating for authors' rights internationally; and building strategies to help societies deal with the changes brought on by the digital era. CISAC is an active participant within the international intellectual property community and collaborates with the UN's World Intellectual Property Organization (WIPO) and the UNESCO on matters of mutual interest.

Setting professional rules and standards for authors' societies
CISAC provides tools to its members that promote best business practices for all repertoires, including:

CISAC model contracts for "reciprocal representation"
Reciprocal representation principles are the basis of the international network of authors' societies. They make it possible for one society to represent the worldwide creative repertoire in their home territory. For example, if a Spanish society and an Australian society have signed a "reciprocal representation" agreement, the Spanish society can represent the Australian society's repertoire in Spain and the Australian society can represent the Spanish society's repertoire in Australia. They grant licenses for uses of each other's repertoires and collect royalties for these uses.

Through this system of agreements, a content user (e.g. a radio broadcaster or a night club) can obtain a single license from their local authors' society for use of the worldwide repertoire of creative works. This makes it possible for creators to receive royalties for uses of their works all over the world.

Professional rules and binding resolutions
In 2008, CISAC implemented a set of Professional Rules – binding principles with which all of CISAC's members must comply. They include best practices in governance, financial management, communication, administration, and the management and exchange of information relating to creative works and their relevant right holders.

Information networks and smart metadata
CISAC manages an international information system (called the Common Information System or CIS) for the exchange of information about works, their usage and the relevant rights holders between authors' societies.

Advocating for authors' rights
Another branch of CISAC's activities is advocating for authors' rights and serving as a spokesperson for its members at the international level. CISAC works in close collaboration with authors' societies and governments to ensure local laws uphold authors' rights. It organises and participates in numerous training programmes and seminars for judges and content users that aim to deepen their understanding of copyright, authors' rights and licensing.

Resale rights campaign
Together with European Visual Artists (EVA), the European Grouping of Societies of Authors and Composers (GESAC) and other visual arts societies, CISAC has orchestrated an international campaign for the universal implementation of artists' resale right. Efforts focus on promoting a new international treaty that would remedy existing shortfalls and introduce the resale right as a mandatory element of copyright protection.

Global policy and government relations
CISAC monitors international developments and participates in negotiations on new treaties and other copyright-related initiatives. CISAC also weighs in on other treaty-related discussions taking place within the framework of the World Intellectual Property Organization (WIPO) in Geneva. In a high-level meeting held in February 2014, a CISAC delegation of creators' representatives met with WIPO's director general to agree on joint projects and promote increased visibility for creators within WIPO.

World Copyright Summit
Historically, CISAC organised the World Copyright Summit, which subsequently became the World Creators Summit, an international forum that brought together authors' societies, creators, industry leaders from the technology and entertainment sectors, policymakers and consumer representatives to discuss the future of copyright/authors' rights and creativity in the digital era. Four summits were held in 2007, 2009, 2011 and 2013.

The Creative Industries and the BRICS
In 2014, CISAC released an economic study that identifies the potential within Brazil, Russia, India, China and South Africa (BRICS) to increase their creative industries' and contribution to GDP over the next ten years. The study includes an action plan for policymakers to unlock the potential of the creative industry in these regions.

Cultural Times – The First Global Map of Cultural and Creative Industries
In 2015, CISAC published a survey prepared by Ernst & Young, that quantifies the global economic and social contribution of the creative sector, analyzing 11 Cultural and Creative Industries (CCI): advertising, architecture, books, gaming, movies, music, newspapers/magazines, performing arts, radio, television and visual arts.

Global Collections Report
CISAC publishes an annual report on its members' royalty collections. The report analyses royalty collections by region, repertoire and type of rights and looks at market trends affecting the use of creative works and the payment of royalties.

Key figures
230 authors' societies in 120 countries (as of June, 2015)

Including:
 * 103 societies in Europe
 * 49 societies in Latin American and the Caribbean
 * 30 societies in Africa
 * 20 societies in Asia-Pacific
 * 18 societies in North America (Canada – United States)

Global Royalty Collections in 2014 by all of CISAC's Members:
 * 7.9bn total collections by CISAC member societies
 * +5.0% growth in total collections in constant euro (year-on-year)
 * +2.8% growth in total collections in current euros (year-on-year)
 * Music accounted for 87% of overall collections, up 2,4%
 * Non-music collections accounted for 13.0% of overall collections, up 5.2%
 * Performing Rights made up 79% of total collections, up 3.8%
 * +4.1% growth in Europe (61% of total collections)
 * +11% growth in BRICS countries

Controversy
The so-called "CISAC Case" was a competition law case brought by the European Commission against a group of authors' societies in Europe. It specifically concerned performance rights in music repertoires and the relationship between authors' societies managing rights in music content. The proceedings focused on specific provisions in the reciprocal representation agreements signed between these societies. These provisions were based on a Model Contract for Reciprocal Representation, developed by CISAC.

2008 Decision

The commission's decision alleged that the 24 European Economic Area (EEA) societies had engaged in concerted practices and illegally reached an arrangement on the territorial scope of their respective reciprocal representation agreements. CISAC was not included in the decision, nor were there any monetary penalties for the societies. CISAC and 21 of the 24 EEA societies appealed the decision before the EU General Court in October 2008.

Final ruling

On 12 April 2013, the EU General Court issued its ruling in the 2008 appeal. The judgement annulled the 2008 decision of the EU Commission.


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User:Price is right

My user page.

title: User:Price is right


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Reymert, Arizona

Reymert is a ghost town in Pinal County, Arizona, United States.

Reymert was originally established around a post office that began operation on June 6, 1890. Reymert was named after its founder, James DeNoon Reymart, who also founded the adjacent milling and smelting town of DeNoon. James Reymert also was the editor of the Pinal Drill newspaper published in the nearby town of Pinal City.

The town's occupants largely worked at Reymert Mine, until work there stopped in the 1950s. Originally a silver mine, later a silver-manganese mine, it was located approximately five miles southwest of Superior. A Phoenix-based company bulldozed the remnants of the town in the late 1970s. The remains of two processing kilns still exist, as well as a number of stacked stone foundations.

title: Reymert, Arizona


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Vibe Vixen

Vibe Vixen is a magazine geared towards female readers of Vibe Magazine that covered fashion, beauty, dating, entertainment, sex, and societal issues for "urban minded females". The magazine was initially released in fall of 2004 and sales were considered successful enough for the magazine to be issued on a quarterly basis. The magazine went online in April 2013 and publishes regular content.

Stars who graced Vibe Vixen's covers included Ciara, Tracee Ellis Ross, Kimora Lee Simmons, Ariana Grande, Serena Williams, Kelis, and Wendy Williams.

title: Vibe Vixen


text: User talk:141.211.88.184

title: User talk:141.211.88.184


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Talk:Gogmagog (band)

Requested move

 * The following discussion is an archived discussion of the proposal. Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

The result of the proposal was move. JPG-GR (talk) 05:42, 4 May 2008 (UTC)

Gogmagog (band) → Gogmagog — only article with this name - no disambiguation needed —B.Wind (talk) 01:00, 29 April 2008 (UTC)

Survey

 * Feel free to state your position on the renaming proposal by beginning a new line in this section with  or  , then sign your comment with  . Since polling is not a substitute for discussion, please explain your reasons, taking into account Wikipedia's naming conventions.

 * Support as proposer. While the band has a similar name to Gog and Magog and Gog Magog Hills, this is the only article with the name "Gogmagog"; thus no disambiguation is needed. B.Wind (talk) 03:53, 1 May 2008 (UTC)

Discussion

 * Any additional comments:
 * The above discussion is preserved as an archive of the proposal. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

title: Talk:Gogmagog (band)


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User talk:Kratos Aurion of Cruxis

Hi, my names John, I am a big Nintendo Fanboy and I love this site, its an amazing collection of information and I'm glad to be a part of it. My talk page will be updated...later.

title: User talk:Kratos Aurion of Cruxis


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User:Walloon

Law student, journalist, and former book editor.

The difference between the right word and the almost right word is the difference between lightning and a lightning bug. — Mark Twain

title: User:Walloon


text: File:Wump World.jpg

title: File:Wump World.jpg


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Insert (effects processing)

In audio processing and sound reinforcement, an insert is an access point built into the mixing console, allowing the audio engineer to add external line level devices into the signal flow between the microphone preamplifier and the mix bus.

Common usages include gating, compressing, equalizing and for reverb effects that are specific to that channel or group. Inserts can be used as an alternate way to route signals such as for multitrack recording output or line-level direct input.

Insert jacks
Inserts can be balanced or unbalanced. Typically, higher-end mixers will have balanced inserts and entry-level mixers will have unbalanced inserts. Balanced inserts appear as a pair of jacks, one serving as the send (out from the mixer) and the other serving as the return (back to the mixer). Balanced insert jacks can be XLR, 1/4" TRS phone connector or Bantam (TT).

Unbalanced inserts can also be a pair of jacks such as RCA or 1/4" TS (Tip Sleeve) phone connector. Again, one jack serves as send and the other serves as return.

Insert jacks are often normalized so that signal is passed through the jack if nothing is inserted but is interrupted when a plug is inserted. Inserts with two separate jacks will have normalizing such that the return jack interrupts signal but the send jack doesn't. The send jack can always be counted on to send signal out to an external devices. A refinement of the normalization of jacks is the presence on the mixer of an insert control which, when adjusted, allows the user to patch into or around the inserted devices at will without having to physically disconnect the insert cables.

Most modern entry-level and medium-format mixers use a single TRS phone jack for both send and return. This dual-purpose insert jack has three conductors. Because two lines share the same three-conductor insert jack, its architecture is necessarily unbalanced, with the two circuits sharing a common ground. Of the mixers using this kind of dual-purpose insert jack, most are designed with tip send, ring return. Unbalanced TRS phone inserts are often normalized.

Because of the combination of balanced external devices and unbalanced insert jacks, the process of inserting involves finding out which devices have which kinds of output configurations. Full electronic balancing needs a different cabling style than transformer balancing, which in turn needs a different cabling style than impedance balancing. Mistakes in the interconnection may make the inserted signal drop in level by 6 dB or add hum and buzz or even overheat a balanced output circuit on the external device, decreasing its usable life.

Insert jacks themselves can be the source of intermittent signal problems. Internal jack contacts may get too loose over time and they may oxidize, impeding electrical conduction. Regular use of the jack helps keep oxidization down. The manufacturer using high quality jacks and good assembly practices helps reduce failures over time.

Another problem with TRS, TS and TT jacks that come in Send/Return pairs is that the Send jack and plug look just like the Return jack and plug. Cross-patching mistakes are possible, resulting in no signal passing through the insert.

Mixer implementation
Inserts on analog mixers appear in various locations in the signal flow, depending on the vision of the designer. Most inserts tap the signal after the microphone preamplifier and after the high-pass filter (HPF) (if present.) Others tap the signal after the channel EQ and before the fader. A few tap the signal after the fader and before the mix buses. Many consoles offer a choice between two, three or four of the possible insert points by a combination of internal jumpers or links that a skilled technician can modify.

Digital consoles are often designed to allow the user to move the virtual insert point before or after the channel EQ and some allow the insert point to be placed after the fader and before the mix buses. These are "soft" changes; the options depend largely upon the design of the mixer's user interface and the breadth of processing power devoted to the insert function.

Inserted devices can be connected in series to create a string of inserted devices. For instance, one could connect a gate, a compressor and an equalizer in series through the same channel's insert.

Some digital mixers allow multiple effects to be inserted virtually, still others allow multiple third party plugins to be used as virtual inserts.

Inserts might be found on monoaural mixer inputs, monoaural and stereo subgroups, auxiliary inputs, main outputs and matrix outputs, but are rarely found on stereo line level inputs. EQs are commonly inserted on monitor mixer output mixes so that the monitor engineer can use his own wedge and the PFL/Solo bus to hear what the artist's wedge sounds like without having to climb on stage to check.

Signal levels
Similar to input preamplifiers and outputs, insert points are found at a variety of signal levels. Most are designed to handle a nominal -10 dBV consumer line level or +4 dBu professional line level, although variations may be found. Most balanced inserts are at +4 dBu nominal level. Both analog and digital designs include sufficient headroom to allow transients exceeding the nominal level to be handled without distortion. For example, a digital console's inserts might be designed such that a +4 dBu signal corresponds to a -20 dBFS digital representation, effectively yielding 20 dB of headroom. For optimal gain staging and the least amount of system hiss, inserted devices should be chosen with regard to the signal levels both they and the mixer can handle, the ideal gain staging being achieved when the levels of both insert and inserted device match.

title: Insert (effects processing)


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Wikipedia:Articles for deletion/Parivision Entertainment

 * 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. -R. fiend 16:41, 21 October 2005 (UTC)

Parivision Entertainment
Nom & vote delete. Non-notable low-budget film company PooterCobb 17:26, 13 October 2005 (UT

 * It is the company resp[onsible for making the first 9/11 film They are also listed on IMDB as a production and distribution company. I would keep it listed — Preceding unsigned comment added by 70.19.118.151 (talk • contribs) 19:07, October 13, 2005
 * Delete agreeing with nom. Too insignificant to warrant its own entry. Dottore So 11:48, 14 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:
Talk:Clevedon

Many apologies - I've just edited the page (added a picture of the town from the air), and forgot to say what I did... IanCR 22:08, 6 October 2007 (UTC)

What else is needed to get this article to GA?
I've been looking at the guidelines at WP:UKCITIES and would be interested in what other editors think is need to get this article to meet the Good article criteria? Obviously we need to expand the lead to summarise the article & reference (or remove) the uncited claims, but is there anything else which would be required?— Rod talk 08:01, 16 February 2010 (UTC)

How notable is "notable"?
A 19th century magistrate of British India was born, and lived for a great part of his life, in Clevedon until his death. He is notable in as far as he compiled a very important and voluminous work on Arabic grammar whilst discharging his duties as magistrate in the North-Western Provinces in the late 1800s. His work is unparalleled in any language on said subject, and was the first work of its kind, being published in 1880. Would it be acceptable to add Mortimer Sloper Howell to the list of "Notable People" in this article? Uq (talk) 00:17, 20 December 2013 (UTC)
 * I would say it depends on whether there is a reference to a reliable source which says he lived in the town.— Rod talk 08:13, 20 December 2013 (UTC)
 * There are several sources that indicate his residing in Clevedon, the most important of which are the censuses of 1900 and 1910. These are accessible in the National Archive. Uq (talk) 12:29, 21 December 2013 (UTC)

External links modified
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I have just modified 4 one external links on Clevedon. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
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School drama group in Education section
added information about a school drama group named "Take the Lead" which had performed in the town. I removed it as uncited and with BLP issues. It was reinstered. I toned it down and added a reference. revised it and then suggested it should be removed. What do others think?— Rod talk 13:30, 25 December 2016 (UTC)

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title: Talk:Clevedon


text:
Talk:Tony Kenning

Def Leppard's Warchild bootleg
I've heard that it's Tony Kenning on the studio portion of Def Leppard's Warchild bootleg. Unfortunately, the bootleg, or at least my copy, is very skimpy on liner-notes and doesn't tell about this.

Gringo300 17:28, 13 October 2005 (UTC)

title: Talk:Tony Kenning


text:
Talk:Raindance Communications

I have been working on the Web Conferencing entry and have made several changes to avoid giving any one company in the space preferential treatment over any other. Noting that WebEx has an existing Wikipedia entry, I am currently working on making Wikipedia entries for other companies noted in the web conferencing entry, taking care to avoid any subjective comments.

I added some historical stock info and financials regarding Raindance. All the information came from the company's SEC filings and press releases. Any idea why Berberian left the company? JJay 00:26, 14 October 2005 (UTC)

This article sums it up: http://kauaiworld.com/articles/2003/12/05/news/news03.txt. I am dubious about how pertinent this is to the Raindance entry. I have oftened wondered how polluted Wikipedia might get if every person in the world had an entry for themselves. I think reasonably successful business people are marginal figures at best for inclusion in the Wikipedia. This article is about a company that is relevant for its space within an industry and the fact that it is traded on Nasdaq. I would not include the personal history of the founders. - Gnossos

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

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BetacommandBot (talk) 04:07, 24 January 2008 (UTC)

title: Talk:Raindance Communications


text:
Flagstaff, Maine

Flagstaff is a ghost town and former plantation in Somerset County, Maine, United States, near the existing town of Eustis and approximately 20 miles north of Rangeley.

Benedict Arnold camped here on his Quebec expedition and erected a flagstaff, hence the name.

The town was abandoned and dismantled (and legally disincorporated) in 1950 to allow construction of a hydroelectric dam on the Dead River, which enlarged Flagstaff Lake and submerged the site of the settlement.

The song "Below" by Slaid Cleaves on his 2004 album Wishbones refers to the destruction of the town, although it is not mentioned by name. The lyrics specifically mention the Dead River, and its general location.

title: Flagstaff, Maine


text:
Vorbis comment

A Vorbis comment is a metadata container used in the Vorbis, FLAC, Theora, Speex and Opus file formats. It allows information such as the title, artist, album, track number or other information about the file to be added to the file itself. However, as the official Ogg Vorbis documentation notes, “[the comment header] is meant for short, text comments, not arbitrary metadata; arbitrary metadata belongs in a separate logical bitstream (usually an XML stream type) that provides greater structure and machine parseability.” Instead, the intended function of Vorbis comments is to approximate the kind of information that might be hand-inked onto a blank faced CD-R or CD-RW: a few lines of notes briefly detailing the content.

Format
A Vorbis tag is a list of fields in the format. The field name can be composed of printable ASCII characters, 0x20 (space) through 0x7D (‘}’), with 0x3D (‘=’) and 0x7E (‘~’) excluded. It is case insensitive, so  and   are the same field.

The number of fields and their length is restricted to 4,294,967,295 (the maximum value of an unsigned 32-bit integer), but most tag editing applications impose stricter limits. FLAC has a smaller limit of 24-bit in a METADATA_BLOCK_VORBIS_COMMENT, because it stores thumbnails and cover art in binary big-endian METADATA_BLOCK_PICTURE s outside of the FLAC tags.

The data is encoded in UTF-8, and so any conforming Unicode string may be used as a value.

Any field name is allowed, and there is no format that the data values must be in. This is in contrast to the ID3 format used for MP3s, which is highly structured. Field names are also permitted to be used more than once. It is encouraged to use this feature to support multiple values, for example two  fields to list both artists of a single composition.

The specification gives several example tag names such as  and. Most applications also support common de facto standards, such as,  , and tags for ReplayGain information. Ratings are usually mapped as 1-5 stars with 20,40,60,80,100 as the actual string values.

There are no provisions for storing binary data in Vorbis comments. This is by design; they are intended to be used as part of a container format such as Ogg, and any additional binary data should be encoded into the container as a stream. The exception to this, by popular request, is a proposal to incorporate cover art into a Vorbis comment.

title: Vorbis comment


text:
User:Bobk

About Me
My name is Bob K.

I was born in Perak many moons ago and grew up in Teluk Intan but currently reside in Kuala Lumpur.

I am currently make a living as an eRider providing technical consultancy and support for NGOs and non-profit organisations in Malaysia. Not the best way to make a living as my wife will attest, but its honest :)

I am also a follower of the Christian faith and am currently worshipping in a Lutheran congregation in Bangsar, Kuala Lumpur after having spent most of my life after my conversion in the Methodist Church.

Interests In Wikipedia
I am primarily interested in the Malaysian entries in Wikipedia. I believe that accurate and comprehensive information in the public domain will contribute towards developing a civil society and I have a vested interest in seeing a civil society develop in Malaysia.

Considering the fact that not much objective information is available about Malaysia online, I hope to be able to contribute to this dearth of information and allow my contributions to be tempered by peer moderating and constructive dialogue.

Tutorials

 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style
 * Common Wikipedia Templates
 * Manual of Style (Malaysia-related articles)

Wikis Of Interest

 * Malaysia Notice Board
 * Politics of Malaysia
 * Political Parties of Malaysia
 * Malaysia Portal

Articles Contributed
Its getting pretty hard to keep track but a Wikipedia generated list can be found here.

Initiated Articles

 * South East Asia Graduate School of Theology
 * Association for Theological Education in South East Asia
 * SAARC Consortium on Open and Distance Learning
 * Lutheran Church of China
 * Mar Thoma Syrian Church in Malaysia
 * St. George's Church, Penang
 * Lutheran Church in Malaysia and Singapore
 * St. Mary's Cathedral, Kuala Lumpur
 * Malaysia Baptist Convention
 * College General
 * Sabah Theological College
 * Tung Ling Seminary
 * TCA College (Malaysia)
 * Royal Priesthood Bible College
 * Bible College of Malaysia
 * Malaysia Bible Seminary
 * Sabah Theological Seminary
 * Methodist Theological School
 * Malaysia Baptist Theological Seminary
 * Malaysia Theological Seminary
 * Methodist Church of Malaysia
 * Bishop of Calcutta
 * Brunei People's Party
 * Melayu Islam Beraja
 * Opposition (Malaysia)
 * Malaysian Workers' Party
 * Sarawak Peoples Party

Substantial Contributions

 * Indira Gandhi National Open University
 * 1st Malaya Infantry Brigade
 * Malaya Command
 * Teluk Intan
 * Church of Uganda
 * Lutheran World Federation
 * International Lutheran Council
 * Confessional Evangelical Lutheran Conference
 * Jerejak
 * Military of Malaysia
 * Church of North India
 * Church of the Province of South East Asia
 * Anglican views of homosexuality
 * Parti Keadilan Rakyat
 * Wan Azizah Wan Ismail
 * List of political parties in Malaysia

Some Interesting Trivia
Interestingly, the first contributor to my Talk Page was __earth as I have been monitoring his entries even before I decided to get involved directly with Wikipedia. One of the common areas of interest is in the user, Gary W Bush, as the latter was at a time, trolling my blog.

So that's that for now. I hope to be able to populate this page with more relevant and useful information as I continue to hone my skills in Wikipedia.

title: User:Bobk


text:
Anatoly Lepin

Anatoly Yakovlevich Lepin (Анато́лий Я́ковлевич Ле́пин; Anatols Liepiņš; 30 December 1907, in Moscow – 24 October 1984, in Moscow) was a Soviet composer of Latvian origin.

He was born in 1907 into the family of Jēkabs Liepiņš, a Latvian instrument tuner, who had recently moved to Moscow. He graduated from the Moscow Conservatory in 1936, having studied composition with A. N. Aleksandrov, and went on to teach in Tashkent from 1936 to 1938 then in Kharkiv from 1938 to 1939.

He lived in Riga from 1945 to 1950, and during that period composed the Anthem of the Latvian SSR.

Lepin was married to Milica Svarenieks, a ballerina of Latvian origin, with whom he had a son, Leonid (b. 1946), and a daughter – Tatyana (b. 1953). Lepin died in 1984 and was buried at the Vagankovo Cemetery in Moscow.

title: Anatoly Lepin


text:
User:Aarnepolkusin/Sandbox

Iran Japan Hungary Czech Poland Chile Romania Iceland. fucking postmodern hypertext, like. And let's stick a funny cyan sharp noise saudade on top of that, as well.

I prefer ambiguity to dualism (although this is not a dichotomy that makes sense - in case we assume it is one). I should know more about Descartes besides the fact that I've ended up opposing his particular flavor of dualism. Knowing he invented analytical geometry doesn't really count. I really wish I had enough patience to study enough mathematics to actually understand stuff such as fuzzy logic and topology, but I don't. Computer science, too, and programming. Mathematical notation and typography is fun, not least because I usually just skip anything more complicated than ax²+bx+c=0... ie. like anyone childish enough, I'm curious about things I don't really understand (because they're magic, like). Set theory is fun. I wish I could read some "real" stuff about mathematics and not some dumbed-down popularized fodder. I've lost all hope for modern physics, already, although I'm too bored with ontology to be really interested in it.

From browsing WardsWiki, I think I should know more about pattern languages. I also, less specifically, should know more about most of the things this page links to.

migraine bipolar depression epilepsy autism ADHD DSPS schizophrenia psychopathy blog anarchism Buridan's ass situationism

(below is a transcription of various things I've written down on pieces of paper floating around on my desk & which I decided to dump - mostly things I've thought should probably hear, read or get an idea about - possibly also some new things, after the paper era - nothing to be taken seriously)

Kirjoi: Colin Spencer - The Heretic's Feast - A history of vegetarianism Dogen (?) - Shobogenzo Peter Swirski - A Stanisław Lem Reader (Rethinking Theory) D.T. Suzuki - Essays on Zen Buddhism W.G. Sebald - Austerlitz Saul Bellow - Ravelstein Comte de Lautréamont - Les Chants de Maldoror Olli Nuutinen - Hetkisen pituus Edward Abbey - The Monkey Wrench Gang D.D. Bourland - To Be Or Not Leonard Koren - Wabi-Sabi: for artists, designers, poets & philosophers Strunk & White - The Elements of Style Christopher Alexander - The Timeless Way of Building

Levyi: Black Fly - Damaged Bobby McFerrin - The Voice Overdose - Progression of Decadence Dirty Three - Horse Stories

Juttui: Henry Cow Bijelo Dugme Nurse With Wound Muslimgauze Soul Flower Mononoke Summit Rockbitch Hijokaidan Hakuin Sesshu Merzbow Astro Twin Whitehouse Haruki Murakami Toru Takemitsu Lone Wolf And Cub gagaku noh, kabuki Fushitsusha butoh Antonin Artaud Yojimbo Book of Five Rings

title: User:Aarnepolkusin/Sandbox


text:
Elizabeth Cotten

Elizabeth "Libba" Cotten ( Nevills; January 5, 1893 – June 29, 1987) was an influential American folk and blues musician. She was a self-taught left-handed guitarist who played a guitar strung for a right-handed player, but played it upside down. This position meant that she would play the bass lines with her fingers and the melody with her thumb. Her signature alternating bass style has become known as "Cotten picking". NPR stated "her influence has reverberated through the generations, permeating every genre of music."

Her album Folksongs and Instrumentals with Guitar (1958), was placed into the National Recording Registry by the Library of Congress, and was deemed as "culturally, historically, or aesthetically significant". The album included her signature recording "Freight Train", a song she wrote in her early teens. In 1984, her live album Elizabeth Cotten Live!, won her a Grammy Award for Best Ethnic or Traditional Folk Recording, at the age of 90. That same year, Cotten was recognized as a National Heritage Fellow by the National Endowment for the Arts. In 2022, she was posthumously inducted into the Rock and Roll Hall of Fame, as an early influence.

Early life
Cotten was born in 1893 to a musical family near Chapel Hill, North Carolina, in an area that would later be incorporated as Carrboro. Her parents were George Nevill (also spelled Nevills) and Louisa (or Louise) Price Nevill. Elizabeth was the youngest of five children. She named herself on her first day of school, when the teacher asked her name, because at home she was only called "Li'l Sis". By the age of eight, she was playing songs. At age nine, she was forced to quit school and began work as a domestic worker. At the age of twelve, she had a live-in job at Chapel Hill. She earned a dollar a month, that her mother saved up to buy her first guitar. The guitar, a Sears and Roebuck brand instrument, cost $3.75. Although self-taught, she became proficient at playing the instrument, and her repertoire included a large number of rags and dance tunes.

By her early teens, she was writing her own songs, one of which, "Freight Train", became one of her most recognized. She wrote the song in remembrance of a nearby train that she could hear from her childhood home. The 1956 UK recording of the song by Chas McDevitt and Nancy Whiskey was a major hit and is credited as one of the main influences on the rise of skiffle in the UK.

Around the age of 13, Cotten began working as a maid along with her mother. On November 7, 1910, at the age of 17, she married Frank Cotten. The couple had a daughter, Lillie, and soon after Elizabeth gave up guitar playing for family and church. Elizabeth, Frank and their daughter Lillie moved around the eastern United States for a number of years, between North Carolina, New York City, and Washington, D.C., finally settling in the D.C. area. When Lillie married, Elizabeth divorced Frank and moved in with her daughter and her family.

Rediscovery
Cotten retired from playing the guitar for 25 years, except for occasional church performances. She did not begin performing publicly and recording until she was in her 60s. She was discovered by the folk-singing Seeger family while she was working for them as a housekeeper.

While working briefly in a department store, Cotten helped a child wandering through the aisles find her mother. The child was Peggy Seeger, and the mother was the composer Ruth Crawford Seeger. Soon after this, Cotten again began working as a maid, this time for Ruth Crawford Seeger and Charles Seeger, and caring for their children, Mike, Peggy, Barbara, and Penny. The Seeger family kids, who were too young to pronounce "Elizabeth", began calling her "Libba", and she embraced that nickname later in life. While working with the Seegers (a voraciously musical family that included Pete Seeger, a son of Charles from a previous marriage), she remembered her own guitar playing from 40 years prior and picked up the instrument again and relearned to play it, almost from scratch.

Later career and recordings
In the later half of the 1950s, Mike Seeger began making bedroom reel-to-reel recordings of Cotten's songs in her house. These recordings later became the album Folksongs and Instrumentals with Guitar, which was released by Folkways Records. Since the release of that album, her songs, especially her signature song, "Freight Train" — which she wrote when she was a teenager — have been covered by Peter, Paul, and Mary, Jerry Garcia, Bob Dylan, Joe Dassin, Joan Baez, Devendra Banhart, Laura Gibson, Laura Veirs, His Name Is Alive, Doc Watson, Taj Mahal, Geoff Farina, Esther Ofarim and Country Teasers.

Peggy Seeger took the song "Freight Train" with her to England, where it became popular in folk music circles. British songwriters Paul James and Fred Williams subsequently misappropriated it as their own composition and copyrighted it. Under their credit, it was then recorded by British skiffle singer Chas McDevitt, who recorded the song in December 1956. Under advice from his manager (Bill Varley), McDevitt then brought in folk-singer Nancy Whiskey and re-recorded the song with her doing the vocal; the result was a chart hit. McDevitt's version influenced many young skiffle groups of the day, including The Quarrymen. Under the advocacy of the influential Seeger family, the copyright was eventually restored to Cotten. Nevertheless, it remains mis-credited in many sources.

Shortly after that first album, she began playing concerts with Mike Seeger, the first of which was in 1960 at Swarthmore College.

In the early 1960s, Cotten went on to play concerts with some of the big names in the burgeoning folk revival. Some of these included Mississippi John Hurt, John Lee Hooker, and Muddy Waters at venues such as the Newport Folk Festival and the Smithsonian Festival of American Folklife.

The newfound interest in her work inspired her to write more songs to perform, and in 1967 she released a record created with her grandchildren, which took its name from one of her songs, "Shake Sugaree". The song featured 12-year-old Brenda Joyce Evans, Cotten's great-grandchild, and future Undisputed Truth singer.

Using profits from her touring, record releases and awards given to her for her own contributions to the folk arts, Cotten was able to move with her daughter and grandchildren from Washington, D.C., and buy a house in Syracuse, New York. She was also able to continue touring and releasing records well into her 80s. In 1984, she won the Grammy Award for Best Ethnic or Traditional Recording, for the album Elizabeth Cotten Live, released by Arhoolie Records. When accepting the award in Los Angeles, her comment was, "Thank you. I only wish I had my guitar so I could play a song for you all." In 1989, Cotten was one of 75 influential African-American women included in the photo documentary I Dream a World.

Cotten died in June 1987, at Crouse-Irving Hospital in Syracuse, New York, at the age of 94.

Guitar style
Cotten began writing music while toying with her older brother's banjo. She was left-handed, so she played the banjo in reverse position. Later, when she transferred her songs to the guitar, she formed a unique style, since on a 5-string banjo the uppermost string is not a bass string, but a short, high-pitched string which ends at the fifth fret. This required her to adopt a unique style for the guitar. She first played with the "all finger down strokes" like a banjo. Later, her playing evolved into a unique style of fingerpicking. Her signature alternating bass style is now known as "Cotten picking". Her fingerpicking techniques have influenced many other musicians.

LPs

 * Folksongs and Instrumentals with Guitar (1958)
 * Vol. 2: Shake Sugaree (1967)
 * Vol. 3: When I'm Gone (1979)

Recordings on CD

 * Freight Train and Other North Carolina Folk Songs and Tunes (also known as Folksongs and Instrumentals with Guitar) (1958)
 * Shake Sugaree
 * Live!
 * Vol. 3: When I'm Gone

Special collections

 * Mike Seeger Collection (#20009), Southern Folklife Collection, The Wilson Library, University of North Carolina at Chapel Hill.

Video and DVD

 * Masters of the Country Blues: Elizabeth Cotten and Jesse Fuller (1960)
 * Me and Stella: A Film about Elizabeth Cotten (1976)
 * Elizabeth Cotten Portrait Collection (1977–1985)
 * Homemade American Music (1980)
 * Libba Cotten: An Interview and Presentation Ceremony (1985)
 * Elizabeth Cotten with Mike Seeger (1994)
 * Legends of Traditional Fingerstyle Guitar (1994)
 * Mike Seeger and Elizabeth Cotten (1991)
 * Jesse Fuller and Elizabeth Cotten (1992)
 * The Downhome Blues (1994)
 * John Fahey, Elizabeth Cotten: Rare Performances and Interviews (1969 & 1994)
 * Rainbow Quest with Pete Seeger. Judy Collins and Elizabeth Cotten (2005)
 * Elizabeth Cotten in Concert, 1969, 1978, and 1980 (1969 & 2003)
 * The Guitar of Elizabeth Cotten (2002)

Awards and honors

 * In 1980, 1982, and 1987, Cotten was nominated for a Blues Music Award in the Traditional Blues Female Artist category.
 * Cotten was a recipient of a 1984 National Heritage Fellowship awarded by the National Endowment for the Arts, which is the United States government's highest honor in the folk and traditional arts.
 * In 1985, she won the Grammy Award in the Best Ethnic or Traditional Folk Recording category for Elizabeth Cotten Live!
 * In 1986, she was nominated for a Grammy Award in the Best Traditional Folk Recording category for her 20th Anniversary Concert album.
 * In 2022, Cotten was posthumously inducted into the Rock and Roll Hall of Fame in the Early Influence category.
 * In 2023, Cotten was named 36th best guitarist of all time by Rolling Stone.

title: Elizabeth Cotten


text:
Pellet fuel

Pellet fuels (or pellets) are a type of solid fuel made from compressed organic material. Pellets can be made from any one of five general categories of biomass: industrial waste and co-products, food waste, agricultural residues, energy crops, and untreated lumber. Wood pellets are the most common type of pellet fuel and are generally made from compacted sawdust and related industrial wastes from the milling of lumber, manufacture of wood products and furniture, and construction. Other industrial waste sources include empty fruit bunches, palm kernel shells, coconut shells, and tree tops and branches discarded during logging operations. So-called "black pellets" are made of biomass, refined to resemble hard coal and were developed to be used in existing coal-fired power plants. Pellets are categorized by their heating value, moisture and ash content, and dimensions. They can be used as fuels for power generation, commercial or residential heating, and cooking.

Pellets are extremely dense and can be produced with a low moisture content (below 10%) that allows them to be burned with a very high combustion efficiency. Further, their regular geometry and small size allow automatic feeding with very fine calibration. They can be fed to a burner by auger feeding or by pneumatic conveying. Their high density also permits compact storage and transport over long distance. They can be conveniently blown from a tanker to a storage bunker or silo on a customer's premises.

A broad range of pellet stoves, central heating furnaces, and other heating appliances have been developed and marketed since the mid-1980s. With the surge in the price of fossil fuels since 2005, the demand for pellet heating has increased in Europe and North America, and a sizable industry is emerging. According to the International Energy Agency Task 40, wood pellet production has more than doubled between 2006 and 2010 to over 14 million tons. In a 2012 report, the Biomass Energy Resource Center says that it expects wood pellet production in North America to double again in the next five years.

Production
Pellets are produced by compressing the wood material which has first passed through a hammer mill to provide a uniform dough-like mass. This mass is fed to a press, where it is squeezed through a die having holes of the size required (normally 6 mm diameter, sometimes 8 mm or larger). The high pressure of the press causes the temperature of the wood to increase greatly, and the lignin plasticizes slightly, forming a natural "glue" that holds the pellet together as it cools.

Pellets can be made from grass and other non-woody forms of biomass that do not contain lignin. A 2005 news story from Cornell University News suggested that grass pellet production was more advanced in Europe than North America. It suggested the benefits of grass as a feedstock included its short growing time (70 days), and ease of cultivation and processing. The story quoted Jerry Cherney, an agriculture professor at the school, stating that grasses produce 96% of the heat of wood and that "any mixture of grasses can be used, cut in mid- to late summer, left in the field to leach out minerals, then baled and pelleted. Drying of the hay is not required for pelleting, making the cost of processing less than with wood pelleting." In 2012, the Department of Agriculture of Nova Scotia announced as a demonstration project conversion of an oil-fired boiler to grass pellets at a research facility.

Rice-husk fuel-pellets are made by compacting rice-husk obtained as by-product of rice-growing from the fields. It also has similar characteristics to the wood-pellets and more environment-friendly, as the raw material is a waste-product. The energy content is about 4-4.2 kcal/kg and moisture content is typically less than 10%. The size of pellets is generally kept to be about 6 mm diameter and 25 mm length in the form of a cylinder; though larger cylinder or briquette forms are not uncommon. It is much cheaper than similar energy-pellets and can be compacted/manufactured from the husk at the farm itself, using cheap machinery. They generally are more environment-friendly as compared to wood-pellets. In the regions of the world where wheat is the predominant food-crop, wheat husk can also be compacted to produce energy-pellets, with characteristics similar to rice-husk pellets.

A report by CORRIM (Consortium On Research on Renewable Industrial Material) for the Life-Cycle Inventory of Wood Pellet Manufacturing and Utilization estimates the energy required to dry, pelletize and transport pellets is less than 11% of the energy content of the pellets if using pre-dried industrial wood waste. If the pellets are made directly from forest material, it takes up to 18% of the energy to dry the wood and additional 8% for transportation and manufacturing energy. An environmental impact assessment of exported wood pellets by the Department of Chemical and Mineral Engineering, University of Bologna, Italy and the Clean Energy Research Centre, at the University of British Columbia, published in 2009, concluded that the energy consumed to ship Canadian wood pellets from Vancouver to Stockholm (15,500 km via the Panama Canal), is about 14% of the total energy content of the wood pellets.

Pellet standards
Pellets conforming to the norms commonly used in Europe (DIN 51731 or Ö-Norm M-7135) have less than 10% water content, and are uniform in density (higher than 1 ton per cubic meter, thus they sink in water. (In contrast, the bulk density of a mass of pellets, including trapped air, is only about 0.6-0.7 ton per cubic meter). The pellets have good structural strength, and low dust and ash content. Because the wood fibres are broken down by the hammer mill, there is virtually no difference in the finished pellets between different wood types. Pellets can be made from nearly any wood variety; provided the pellet press is equipped with good instrumentation, the differences in feed material can be compensated for in the press regulation. In Europe, the main production areas are south Scandinavia, Finland, Central Europe, Austria, and the Baltic countries.

Pellets conforming to the European standards norms which contain recycled wood or outside contaminants are considered Class B pellets. Recycled materials such as particle board, treated or painted wood, melamine resin-coated panels and the like are particularly unsuitable for use in pellets, since they may produce noxious emissions and uncontrolled variations in the burning characteristics of the pellets.

Standards used in the United States are different, developed by the Pellet Fuels Institute and, as in Europe, are not mandatory. Still, many manufacturers comply, as warranties of US-manufactured or imported combustion equipment may not cover damage by pellets non-conformant with regulations. Prices for US pellets surged during the fossil fuel price inflation of 2007–2008, but later dropped markedly and are generally lower on a price per energy amount basis than most fossil fuels, excluding coal.

Regulatory agencies in Europe and North America are in the process of tightening the emissions standards for all forms of wood heat, including wood pellets and pellet stoves. These standards will become mandatory, with independently certified testing to ensure compliance. In the United States, the new rules initiated in 2009 have completed the EPA regulatory review process, with final new rules issued for comment on June 24, 2014. The American Lumber Standard Committee will be the independent certification agency for the new pellet standards.

Hazards
Wood pellets can emit large quantities of poisonous carbon monoxide during storage. Fatal accidents have taken place in private storerooms and onboard marine vessels.

When handled, wood pellets give off fine dust which can cause serious dust explosions.

Wood pellets are typically stored in bulk in large silos. Pellets may self-heat, ignite and give rise to a deep-seated smoldering fire that is very difficult to extinguish. The smoldering fire produces toxic carbon monoxide and flammable pyrolysis gases that can lead to silo explosions.

Pellet stove operation
There are three general types of pellet heating appliances: free standing pellet stoves, pellet stove inserts and pellet boilers.

Pellet stoves work like modern furnaces, where fuel, wood, or other biomass pellets, is stored in a storage bin called a hopper. The hopper can be located on the top of the appliance, the side of it or remotely. A mechanical auger automatically feeds pellets into a burn pot. From there, they burn at high temperatures with minimal emissions. Heat-exchange tubes send air heated by fire into room. Convection fans circulate air through heat-exchange tubes and into room. Pellet stoves have circuit boards inside that act like a thermostat and to regulate temperature.

A pellet stove insert is a stove that is inserted into an existing masonry or prefabricated wood fireplace, similar to a fireplace insert.

Pellet boilers are standalone central heating and hot water systems designed to replace traditional fossil fuel systems in residential, commercial and institutional applications. Automatic or auto-pellet boilers include silos for bulk storage of pellets, a fuel delivery system that moves the fuel from the silo to the hopper, a logic controller to regulate temperature across multiple heating zones and an automated ash removal system for long-term automated operations.

Pellet baskets allow one to heat one's home using pellets in existing stoves or fireplaces.

Energy output and efficiency
The energy content of wood pellets is approximately 4.7 – 5.2 MWh/tonne (~7450 BTU/lb), 14.4-20.3 MJ/kg.

High-efficiency wood pellet stoves and boilers have been developed in recent years, typically offering combustion efficiencies of over 85%. The newest generation of wood pellet boilers can work in condensing mode and therefore achieve 12% higher efficiency values. Wood pellet boilers have limited control over the rate and presence of combustion compared to liquid or gaseous-fired systems; however, for this reason they are better suited for hydronic heating systems due to the hydronic system's greater ability to store heat. Pellet burners capable of being retrofitted to oil-burning boilers are also available.

Air pollution emissions
Emissions such as NOx, SOx and volatile organic compounds from pellet burning equipment are in general very low in comparison to other forms of combustion heating. A recognized problem is the emission of fine particulate matter to the air, especially in urban areas that have a high concentration of pellet heating systems or coal or oil heating systems in close proximity. This PM2.5 emissions of older pellet stoves and boilers can be problematic in close quarters, especially in comparison to natural gas (or renewable biogas), though on large installations electrostatic precipitators, cyclonic separators, or baghouse particle filters can control particulates when properly maintained and operated.

Climate change aspects
There is uncertainty to what degree making heat or electricity by burning wood pellets contributes to global climate change, as well as how the impact on climate compares to the impact of using competing sources of heat. Factors in the uncertainty include the wood source, carbon dioxide emissions from production and transport as well as from final combustion, and what time scale is appropriate for the consideration.

A report in 2010 concluded that burning biomass such as wood pellets or wood chips releases a large amount of into the air, creating a "carbon debt" that is not retired for 20–25 years and after which there is a net benefit. Others have disputed this conclusions, and scientists have pointed out oversights in the report, suggesting that climate impacts are worse than reported.

Until around 2008 it was commonly assumed, even in scientific papers, that biomass energy (including from wood pellets) is carbon neutral, largely because regrowth of vegetation was believed to recapture and store the carbon that is emitted to the air. Then, scientific papers studying the climate implications of biomass began to appear which refuted the simplistic assumption of its carbon neutrality. According to the Biomass Energy Resource Center, the assumption of carbon neutrality "has shifted to a recognition that the carbon implications of biomass depend on how the fuel is harvested, from what forest types, what kinds of forest management are applied, and how biomass is used over time and across the landscape."

Sustainability
The wood products industry is concerned that if large-scale use of wood energy is instituted, the supply of raw materials for construction and manufacturing (lumber) will be significantly curtailed.

Cost
Due to the rapid increase in popularity since 2005, pellet availability and cost may be an issue. This is an important consideration when buying a pellet stove, furnace, pellet baskets or other devices known in the industry as Bradley Burners. However, current pellet production is increasing and there are plans to bring several new pellet mills online in the US in 2008–2009.

The cost of the pellets can be affected by the building cycle leading to fluctuations in the supply of sawdust and offcuts.

Per the New Hampshire Office of Energy and Planning release on Fuel Prices updated on 5 Oct 2015, the cost of #2 fuel oil delivered can be compared to the cost of Bulk Delivered Wood Fuel Pellets using their BTU equivalent: 1 ton pellets = 118.97 gallon of #2 Fuel Oil. This assumes that one ton of pellets produces 16,500,000 BTU and one gallon of #2 Fuel Oil produces 138,690 BTU. Thus if #2 Fuel Oil delivered costs $1.90/Gal, the breakeven price for pellets is $238.00/Ton delivered.

Europe
Usage across Europe varies due to government regulations. In the Netherlands, Belgium, and the UK, pellets are used mainly in large-scale power plants. The UK's largest power plant, the Drax power station, converted some of its units to pellet burners starting in 2012; by 2015 Drax had made the UK the largest recipient of exports of wood pellets from the US. In Denmark and Sweden, pellets are used in large-scale power plants, medium-scale district heating systems, and small-scale residential heat. In Germany, Austria, Italy, and France, pellets are used mostly for small-scale residential and industrial heat.

The UK has initiated a grant scheme called the Renewable Heat Incentive (RHI) allowing non-domestic and domestic wood pellet boiler installations to receive payments over a period of between 7 and 20 years. It is the first such scheme in the world and aims to increase the amount of renewable energy generated in the UK, in line with EU commitments. Scotland and Northern Ireland have separate but similar schemes. From Spring 2015, any biomass owners—whether domestic or commercial—must buy their fuels from BSL (Biomass Suppliers List) approved suppliers in order to receive RHI payments. The Renewable Heat Incentive scandal also referred to as the "cash for ash scandal", was a political scandal in Northern Ireland that centred on a failed renewable energy (wood pellet burning) incentive scheme.

Pellets are widely used in Sweden, the main pellet producer in Europe, mainly as an alternative to oil-fired central heating. In Austria, the leading market for pellet central heating furnaces (relative to its population), it is estimated that 2/3 of all new domestic heating furnaces are pellet burners. In Italy, a large market for automatically fed pellet stoves has developed. Italy's main usage for pellets is small-scale private residential and industrial boilers for heating.

In 2014 in Germany, the overall wood pellet consumption per year comprised 2,2 million tonnes. These pellets are consumed predominantly by residential small-scale heating sector. The co-firing plants which use pellet sector for energy production are not widespread in the country. The largest amount of wood pellets is certified with DINplus, and these are the pellets of the highest quality. As a rule, the pellets of lower quality are exported.

As early as 1997 a fully automatic wood pellet boilers with similar comfort level as oil and gas boilers became available in Austria.

India
In 2019, India started co-firing biomass pellets in coal fired power stations around its capital city Delhi to reduce the air pollution caused by the stubble/biomass burning in open fields to clear the fields for sowing next crop. Plans are made to use biomass pellets for power generation throughout the country to utilize nearly 145 million tonnes of agricultural residue to replace equal quantity of imported coal in power generation.

New Zealand
The total sales of wood pellets in New Zealand was 300,000–500,000 tonnes in 2013. Recent construction of new wood pellet plants has given a huge increase in production capacity. Nature's Flame wood pellet processing plant, in Taupo, is due in late 2019 to double its annual production capacity to 85,000 tonnes. Azwood Energy operates a wood pellet processing plant in Nelson, utilising more than 1.2 million cubic metres of forestry residue each year to provide carbon neutral fuel for domestic use, hospitals, schools and industrial processes, including milk-processing.

United States
Some companies import European-made boilers. , about 800,000 Americans were using wood pellets for heat. It was estimated that 2.33 million tons of wood pellets would be used for heat in the US in 2013. The US wood pellet export to Europe grew from 1.24 million tons in 2006 to 7 million tons in 2012, but forests grew even more.

Horse bedding
When small amounts of water are added to wood pellets, they expand and revert to sawdust. This makes them suitable to use as a horse bedding. The ease of storage and transportation are additional benefits over traditional bedding. However, some species of wood, including walnut, can be toxic to horses and should never be used for bedding.

In Thailand, rice husk pellets are being produced for animal bedding. They have a high absorption rate which makes them ideal for the purpose.

Cattle fodder
The biomass pellets made from edible matter can also be used as cattle fodder by importing from far away fodder surplus places to overcome the fodder shortage.

Absorbents
Wood pellets are also used to absorb contaminated water when drilling oil or gas wells.

title: Pellet fuel


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Sulayman Hayyim

Sulayman Hayyim (c. 1887 in Tehran, Iran – February 14, 1970 in Tehran), was an Iranian lexicographer, translator, playwright and essayist, often called "Iran's Father of the bilingual dictionary".

Biography
Hayyim was born into an Iranian Jewish family. His father Hayyim Eshāq was a quilter. Both of his parents were Kalimis (Iranian Jews) of Shirazi origin who had migrated to Tehran. Hayyim started his education in a Maktabkhaneh (traditional type of elementary school) called Noor that belonged to Christian missionaries in Tehran. He learned the Hebrew language and religious matters from the well-known Hakham Hayyim Moreh and became his pupil and assistant when Moreh became blind. He continued his studies in Ettehad secondary school, where he learned French and Hebrew. He was 19 when he entered the American High School (later renamed American College, and yet later Alborz High School), which was run by a group of American missionaries under the supervision of the legendary Samuel M. Jordan. At the college, young Sulayman excelled in English, Persian literature, and music.

Career
Sulayman Hayyim started teaching English in 1915 at American College. Soon after, he began working on the first series of bilingual dictionaries printed in Persian, a task that earned him the honorary name "Word Master." Later, he switched to translation. He is known to have worked for the Iranian Ministry of Finance for a number of years as a translator to Dr. Arthur Millspaugh, an American adviser to Iranian government on fiscal matters.

He then moved on to the Anglo-Iranian Oil Company, where he headed the translation bureau until his retirement in the 1950s. His first published work (1928) is a play, Yusof va Zoleikha, based on the story of Joseph and Potiphar’s wife Zuleikha, from the Old Testament. Haim wrote this play to be performed by the students of Alliance school. His first reference work, the New English–Persian Dictionary, in two volumes, was published in 1929–31. This was later replaced by the Larger English–Persian Dictionary, and never reprinted.

He knew French, Hebrew, English and Persian, and produced bilingual dictionaries in French and Hebrew as well as English. He also wrote a compilation of Persian proverbs and their English equivalents with the name "A Book of Collected Poems". Besides Yusof va Zoleikha, he wrote the plays "Esther and Mordecai" and "Ruth and Naomi". Besides writing these plays and composing their music, Haim also directed and performed in them. Moreover, he translated and contributed to articles in the Persian Encyclopedia that dealt with matters relating to the Jewish faith.

Hayyim's English–Persian and Persian–English dictionaries
Below is a list of Hayyim’s English–Persian and Persian–English dictionaries:

 * Larger English–Persian Dictionary, first published 1933, revised 1945, reissued in one volume and two volumes subsequently, rejuvenated and freshly typeset 1997. (It is his largest work, with 55,000 entries and 25,000 phrases.) ISBN 978-0-939-21448-8
 * One-Volume Persian–English Dictionary, first published 1952 and reprinted many times subsequently, freshly typeset and reformatted 1995.
 * One-Volume English–Persian Dictionary, first published 1954 and reprinted many times subsequently. ISBN 978-0-939-21449-5
 * Shorter English–Persian Dictionary, first published 1956, revised 1962, reprinted several times subsequently, revised again 1994 ISBN 978-0-939-21450-1
 * Shorter Persian–English Dictionary, first published 1957 and reprinted several times subsequently, freshly typeset and reformatted 1996.

Works as Translator

 * Analyzing the Symbols and Myths of the Novel, Tarigh Besmel Shodan, by Mahmoud Dovlatabadi

Death
Soleyman Haim died in 1970 at the age of 82, with many projects left incomplete. Dariush Haim, Davood Adhami, Jahanguir Banayan, and Manouchehr Amiri have each written about their personal memories of Hayyim.

Hayyim was fond of Persian history and literature, and the divans of Sa'di and Hafez were his favourite books. He also was an amateur poet.

Books and periodicals

 * Asef, Bijan, "Ostād Soleiman Haïm", Ofoq-e Binā, Vol II, No X, Tir-Shahrivar 1379 AHS (Summer 2000); and No XI, Mehr-Day 1379 AHS (Autumn 2000).
 * Browne, E. G. Literary History of Persia, four volumes, 1998. ISBN 0-7007-0406-X
 * Emami, Karim, Az past o boland-e tarjome, Vol 1, Tehran; Vol 2 (1385 AHS, 2006).
 * Haïm, Dariush, "Pedaram, Soleiman Haïm", in: Sarshar, Homa, and Hooman Sarshar, Yahudiān-e Irani dar tārikh-e mo'āser (Iranian Jews in contemporary history), Vol III, CA (Winter 1999).
 * Rypka, Jan, et al. History of Iranian Literature (D. Reidel, 1968). ASIN B-000-6BXVT-K

Websites

 * www.cijoh.org

title: Sulayman Hayyim


text: User talk:66.31.173.137

title: User talk:66.31.173.137


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User talk:Markpb

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome!
 * The five pillars of Wikipedia
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Djegan 17:35, 13 October 2005 (UTC)

title: User talk:Markpb


text:
Wikipedia:Articles for deletion/John Robert Powers

(NOTE: A new article for a different John Robert Powers was created by me. - Ted Wilkes 18:30, 26 January 2006 (UTC))

 * 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 all three Ryan Norton T 02:07, 22 October 2005 (UTC)

John Robert Powers
(NOTE: A new article for a different John Robert Powers was created by me. - Ted Wilkes 18:29, 26 January 2006 (UTC))

nom&vote delete Apparently non-notable guitar player for non-notable band. Google search for: "guitar player" "John Robert Powers" "marina del rey" revealed no hits User:Daniel Lotspeich 17:35, 13 October 2005 (UTC)

 * May I add D300 and Dick Dieselberg to this nomination. Their notability appears to be exactly the same as this person's. (Oh, and Delete. No Google hits or evidence of notability). DJ Clayworth 17:39, 13 October 2005 (UTC)
 * Agree. delete all three.  do they all need there own separate AFD or can an administrator take 'em all down?--User:Daniel Lotspeich 17:55, 13 October 2005 (UTC)

 * This entry was incorrectly transcluded on the AfD page for the 13th of October, so I am listing it here today. Ëvilphoenix Burn! 03:08, 14 October 2005 (UTC)
 * Delete all three - nn CLW 13:17, 14 October 2005 (UTC)
 * Delete all as per nom. Ganymead 16:15, 14 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: User talk:163.248.186.163

title: User talk:163.248.186.163


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Insert (print advertising)

In advertising, an insert or blow-in card is a separate advertisement put in a magazine, newspaper, or other publication. They are usually the main source of income for non-subscription local newspapers and other publications. Sundays typically bring numerous large inserts in newspapers, because most weekly sales begin on that day, and it also has the highest circulation of any day of the week.

A buckslip or buck slip is a slip of paper, often the size of a U.S. dollar bill (a buck), which includes additional information about a product.

Bind-in cards are cards that are bound into the bindings of the publication, and will therefore not drop out.

title: Insert (print advertising)


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User talk:Wsiegmund/Welcome

'''DO NOT EDIT OR POST REPLIES TO THIS PAGE. THIS PAGE IS AN ARCHIVE.'''

This archive page covers August, 2005.

Post replies to the main talk page, copying or summarizing the section you are replying to if necessary.

Welcome!

 * Hi,, Welcome to Wikipedia!

I hope you like this place--I sure do--and want to stay. If you need help on how to title new articles check out Naming conventions, and for help on formatting the pages visit the manual of style. If you need help look at Help and The FAQ, plus if you can't find your answer there, check The Village pump (for Wikipedia related questions) or The Reference Desk (for general questions)! There's still more help at the Tutorial and Policy Library. Plus, don't forget to visit the Community Portal. And if you have any more questions after that, feel free to post them on My User talk Page. Additional Tips:

Here's some extra tips to help you get around in the 'pedia!
 * If you made any edits before you got an account, you might be interested in assigning those to your username.
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 * You may want to add yourself to the New User Log
 * If you ever think a page or image should be deleted, please list it at the votes for deletion page. There is also a votes for undeletion page if you want to retrieve something that you think should not have been deleted.

Matani2005  Talk 18:05, 30 August 2005 (UTC)

title: User talk:Wsiegmund/Welcome


text:
David Vinckboons

David Vinckboons (baptized 13 August 1576 – c. 1632) was a Dutch Golden Age painter born in Mechelen, Southern Netherlands. Vinckboons, whose name is often spelled as Vingboons, Vinghboons, Vinckebonis or Vinckboom, had at least ten children. His sons were the cartographer and watercolourist Johannes and the architects Justus and Philip. Vinckboons himself died in Amsterdam.

Biography
Vinckboons was one of the most prolific and popular painters and print designers in the Netherlands. Himself influenced by Pieter Bruegel the Elder, he was instrumental – together with Hans Bol and Roelant Savery – in the development of genre painting in the northern Netherlands.

Vinckboons was born in Mechelen. The family moved to Antwerp around 1580, and then to Middelburg after the Spanish occupation of Antwerp in 1585. It is not likely they moved for religious reasons to Amsterdam. His father became a citizen in 1591, but none of his grandchildren were baptized in a Calvinist church. In 1602, David married in Leeuwarden to Agneta van Loon, the daughter of a notary. Then he lived in Sint Antoniesbreestraat like many other artists and painters. According to Karel van Mander, he did not have any teacher other than his father Phillipe, a painter on canvas with watercolors, an art form practised mainly in his birthplace of Mechelen.

David specialized in elegant figures in park-like landscapes (Outdoor Merry Company, 1610; Vienna, Akademie der Bildenden Künste) as well as Kermis and other village festivals. He also produced Biblical scenes such as Tobias and the Angel (1619, Olana State Historic Site). His landscapes reflect his contact with Gillis van Coninxloo. Vinckboons attracted a number of students; among them were Gillis d'Hondecoeter, Claes Janszoon Visscher and probably Esaias van de Velde.

Vingboons, as his name is often spelled, and many other varieties are to be found, had at least ten children. His sons were the cartographer and watercolourist Johannes and the architects Justus and Philip. Pieter, an engineer and soldier, died in Ceylon.

title: David Vinckboons


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Talk:Shadow government

October 2005 merge request, Shadow cabinet + Shadow government
With only three votes below, can we safely remove the tag now? - CobaltBlueTony 18:43, 8 December 2005 (UTC)

 * As stated in WP:MM, enough time has passed in the voting of the article, and its clear concensus on the page is unonimous; I'm removing the tag. However, I would still like to know why this article was put up for a merge in the first place.-MegamanZero 23:59 8<december 2005 (UTC)

 * It was done by a non-logged in user. Unless they step up and create an account, we may never know who it is so as to ask them why. - CobaltBlueTony 21:57, 8 December 2005 (UTC)

Votes

 * no - they are different things. Chendy (talk) 02:35, 18 March 2008 (UTC)

 * no

 * Should not be merged, because people unfamiliar with the concept might confuse 'shadow cabinet' with the sci-fi/conspiratorial meaning given at the bottom of the 'shadow government' entry. Then they won't understand if they encounter the term in real-life news. -megabigBLUR

 * No,Should not be merged; same reason as above, also, I would like to know the reason why this article was choosen for merging in the first place; its a personal peeve of mine when people think a article should be merged or "conformed to higher standard of quality", then don't explain thier reasons for doing so on the dicusssion page.-MegamanZero 17:16, November 19, 2005

 * NO - For all of the reasons above. - CobaltBlueTony 18:43, 8 December 2005 (UTC)

 * NO ditto, now you have 4 votes, I say remove the tag Hichris 20:23, 8 December 2005 (UTC)

I'm pretty disappointed in this entry. It seems to dismiss the concept of a shadow government as part of somebody's nutcase conspiracy theory. In fact, there are some real shadow governments at various places in the world. The one I am most familiar with is well documented by Rosaleen Duffy, "Shadow players: ecotourism development, corruption and state politics in Belize" (_Third World Quarterly_:Vol 21, No 3, pp 549– 565, 2000) I just spent over five years in Belize and the article is not idle speculation.

Altho I use Wikipedia frequently, I've never been a contributor, or I might volunteer. I just think there's a flavor to this entry that I don't like much.

science fiction my JUST OPEN YOUR EYES AND OPEN YOUR MIND POEPLE —Preceding unsigned comment added by 217.136.66.249 (talk • contribs)

August 2007 merge request, Underground government + Shadow government

 * Support seems to cover the same ground. Ewlyahoocom 05:41, 1 September 2007 (UTC)

October 2008

 * Support - Posted the tag to hopefully get this going again Mcoogan75 (talk) 07:52, 27 October 2008 (UTC)
 * These two articles are essentially the same, or at least deal with the same concept. Neither are hot on sources, discussion or edits. I support merging the two to create one high quality article in favor of two mediocre ones. Mcoogan75 (talk) 07:05, 13 November 2008 (UTC)

Examples?
Some real world examples, past or present, would be nice, if any exist beyond Propaganda Due. http://en.wikipedia.org/wiki/Propaganda_Due 71.195.87.156 (talk)

title: Talk:Shadow government