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Oronce Fine

Oronce Fine (or Finé; Latin: Orontius Finnaeus or Finaeus; Oronzio Fineo; 20 December 1494 – 8 August 1555) was a French mathematician, cartographer, editor and book illustrator.

Life
Born in Briançon, the son and grandson of physicians, he was educated in Paris (Collège de Navarre) and obtained a degree in medicine in 1522.

Fine grew up in an academic household and his parents contribution to sciences was notable in France at the time. Much of Fine's early childhood was shaped by his father's involvement and support of sciences. Fine's father in addition to being a physician was a strong student in astronomy. He had created many astronomical instruments and published a treatise which was one of the few astronomical incunabula of French origin.

Fine's university was known as a leading center at Paris for the study of scholastic philosophy and theology. There he fostered his editing ability and later printed many editions of writings from scholars. It is believed that his career ended abruptly when he was imprisoned, for reasons that are highly disputed.

In 1531, he was appointed to the chair of mathematics at the Collège Royal (the present Collège de France), founded by King Francis I, where he taught until his death.

In time, as the first chair of mathematics he had become the leading mathematicians of France. Arguably, one of his most significant contributions to sciences is his published compilation of the four main areas of mathematics that he named Protomathesis. Fine was known by his peers to be much more than just a mathematician, though. He taught at the French College Royal as the first Royal Lecturer in mathematics, he made instruments, and oversaw Paris's printing houses. He was also influential to the lives of students, particularly Pedro Nunes and Petrus Ramus as well as many others, and inspired them to continue their scholastic endeavors.

Although he leaves a great legacy in regard to his published papers of mathematics, he suffered financial problems and legal issues throughout his career. He worked as an illustrator and proof reader for Paris's print houses in hopes relieving the financial strain brought on by his six children and his father's death. Unfortunately, his efforts were not enough which added to his family's poverty drastically after he died. Making the matters worse for his children, his wife died shortly after Fine's death.

Mathematics
Fine made contribution to mathematics. He was the first mathematics teacher to be a royal lecturer, and popularized mathematical teaching all over France. He was tasked with making math more transparent and to reform the curriculum that was being taught in France at the time. Fine was faced with having to incorporate practical branches of math that could be used in other areas like medicine, law, and theology.

To display his new teachings and developments, he released a collection of his work through his Protomathesis. This collection included his teaching on practical math, not only traditional mathematics. The Protomathesis also incorporated both practical and theoretical teachings, which were completely new to France, and changed the way that mathematics was taught and viewed. His study and teachings of mathematics allowed him to also be prolific in a wide range of mathematical fields, including practical geometry, arithmetic, optics, gnomonics, astronomy and instrumentalism.

Fine proposed several approximations to the value of pi. He gave it as (22+2/9)/7 ≈ 3.1746 in 1544. Later, he gave 47/15 ≈ 3.1333 and, in De rebus mathematicis (1556), he gave 3+11/78 ≈ 3.1410.

Astronomy and geography
In 1542 Fine published the astronomy textbook De mundi sphaera (On the Heavenly Spheres), which included woodcut illustrations. His writing on astronomy included guides to the use of astronomical equipment and methods (e.g. the ancient practice of determining longitude through the coordinated observation of lunar eclipses from two fixed points with enough distance between them to make the phenomena appear at different times of the night). He also described more recent innovations, such as an instrument he called a méthéoroscope (an astrolabe modified by adding a compass).

Explanatory work was complemented by direct contributions. His woodcut map of France (1525) is one of the first of its kind. He constructed an ivory sundial in 1524, which still exists.

Fine's heart-shaped (cordiform) map projection of 1531 was frequently employed by other cartographers, including Peter Apian and Gerardus Mercator. The map bore a dedicatory inscription that said: "Oronce Fine of the Dauphiny to the Reader: We offer to you, Dear Reader, a representation of the entire world according to the views of modern Geographers and Hydrographers, preserving the proportion of the centre to both the Equator and the latitudes, laid out on a plane in the form of a double human heart; of which the left comprises the northern part and the right the Southern part of the World. Therefore, receive this small gift kindly; and thank Christian Wechel, by whose good will and at whose expense I have shared it with you. Farewell, July, 1531."

Fine attempted to reconcile discoveries in the New World with old medieval legends and information (derived from Ptolemy) regarding the Orient. Thus, on one of his two world maps, Nova Universi Orbis Descriptio (1531), the legend marked Asia covers both North America and Asia, which were represented as one landmass. He used the toponym "America" for South America, and thus Marco Polo's Mangi, Tangut and Catay appear on the shores of the present-day Gulf of Mexico. On the same map, Fine drew Terra Australis to the south, including the legend "recently discovered but not yet completely explored", by which he meant the discovery of Tierra del Fuego by Ferdinand Magellan.

Fine's cosmography was derived from the German mathematician and cosmographer Johannes Schöner. In his study of Schöner's globes, Franz von Wieser found that the derivation of Fine's mappemonde from them was "unmistakeable (unverkennbar)"; he said "Orontius Finaeus took from Schöner not only the Brasilie Regio, but the whole Austral Continent, the Strait of Magellan, and above all the whole arrangement of lands; in a word, the mappemonde of Oronce Fine is a copy of Schöner's". Lucien Gallois also noted the undeniable ressemblance parfaite between Finé's 1531 mappemonde and Schöner's globe of 1533. As Schöner's globe of 1523, which also closely resembled Fine's mappemonde, was not identified until 1925 by Frederik (F.C.) Wieder, Gallois was forced to argue that Fine, who said he had been working on his mappemonde since 1521, had had direct or indirect personal communication with Schöner or had drawn upon his 1515 Luculentissima descriptio. Wieder's identification of Schöner's map gores of 1523 strengthens Gallois' case for Fine's reliance upon Schöner.

Fine's 1536 world map bore a dedicatory inscription in the lower left corner, which stated: "ABOUT FIFTEEN years since, Dear Reader, we first designed, in the shape of a human heart, this universal map of the world, in gratitude to the Most Christian and Most Mighty Francis, King of the French, our most clement Maecenas. For while we saw it pleased the King, a Polymath, and uncommon Geographer, and was praised by many, even in foreign countries, I wanted finally to communicate the same description of the whole globe to all students of Mathematics: which, after variations in fortune and crises in the studies we pursued, which up to now have been a hindrance to us, we have finally done at our own risk. And so, augmented and corrected by many observations of modern hydrographers, the same heart-shaped geographical image we present to yourself, devoted reader and to all men of goodwill of a wise and liberal mind. It remains, therefore, that you will not refuse to accept this labour and industry of ours which has a human appearance, and consult it fairly and well. Finally, while we strive ever more earnestly for the favour and generosity of our Most Christian and magnificent King, whose happiness and success you eagerly desire, we have shared this with you. Farewell, from Paris."

The same map bore another inscription in the lower right corner, which explained how to use the map to accurately measure the distances between places shown on it: "From the description of the world in this map, for any two locations of which the longitudes and latitudes are given (but not exceeding ninety degrees), close to the true direct distance between them can be calculated. Having thus reckoned the longitudes and latitudes of the places, their places in the chart being selected at the same time, place one foot of the compasses over the other places, and extend the other over the rest. Then the compasses trace an invariant straight line, which divides the figure equally, and the degrees are distributed between them; and you will observe how many degrees the compasses take in. If you multiply these by 62 miles, or 31 French leagues, or 20 common ones, by a tenth or more, that way, you will obtain the distances of any of these places."

Death and legacy
Fine died in Paris at age 60.

Jean Clouet is said to have painted a portrait of Fine in 1530, when Fine was 36. With the original painting lost, the rendering is now known only through prints derived from the original image.

In the famous engraving Fool's Cap Map of the World, the name Orontius Fineus is inscribed in one corner, which is thought to be a Latinized form of Oronce Finé. The artist of Fool's Cap is unknown, but because it was published between 1580 and 1590, long after Finé's death, the inscription is not thought to represent him as the artist but rather the subject of the work's ridicule.

Honours
The lunar crater Orontius and Finaeus Cove in Antarctica are named after Oronce Fine, using his Latinized name.

In May 2016, a square named after Oronce Fine was inaugurated in Paris, France, opposite the École Normale Supérieure, behind the Pantheon.

title: Oronce Fine


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User:Staypuftman

Im just trying to pitch in and help...maybe someone needs me somewhere? I am working on the dental amalgam stuff but have run into some serious headaches. There appears to be a force much larger than I at work on that page and the topic more generally. I guess if you need anything drop me a message here.

Peace Out, John

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

title: User:Staypuftman


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User talk:Lord Voldemort/Archive 3

'''This is an archive of the discussion surrounding my unsuccessful RfA. If you would like to leave me a message, please see my talk page. Thank you, come again.'''

Admin
Hey. Are you interested in being an adminstrator? Hipocrite - « Talk » 20:35, 27 September 2005 (UTC)

 * No - I think that you do incredibly good work (both NPOV and generally), that you have the temprament and that you would play fair with the tools. I checked you on the editcountitis tool, and while you don't have the 3k - 6months that make you a shoo in, I just wanted to know if A. you would be interested and B. if you wanted to warn me off due to some sort of thing. Since A is true and B is not, there are three tasks left - 1. since it would be a borderline nomination, can I convince someone cooler than me to do it, 2. If it fails with the majoirty of people being "too soon come back later" would you be pissed and 3. is there anyone really angry at you? Hipocrite - « Talk » 20:53, 27 September 2005 (UTC)

 * Done. Requests_for_adminship/Lord_Voldemort You need to accept and answer the questions and stuff. I hope all goes well, and please blame me not yourself if everything goes badly. Hipocrite - « Talk » 21:24, 27 September 2005 (UTC)

 * You can begin blaming me. I do apologize that things did not go better. On the bright side, this does provide you a bright line towards a future claim of reformation - "Since my last RFA, I have not done anything bad." At the typical 6 month mark, you'll be a shoein. Regardless, you'll always be an adminstrator in my mind. If you feel the need to vengance ban me for possibly adding to your wikistress, I promise not to report you. Hipocrite - « Talk » 19:20, 28 September 2005 (UTC)

Re:From George W. Bush talk page
Thanks for the compliment, and good luck with your RfA!--inks 03:54, 28 September 2005 (UTC)

Let me be frank
I apologize if you find this offensive, but I will be frank with you. I don't buy your reformation. It doesn't help I suppose that you are buddy buddy with Hipocrite, his nominating you suggests to me that you are still your old self as he is quite possibly Wikipedia's most successful troll ever. I personally believe this move of you being nominated for adminship is at worst an attempt to place someone in a position of power who will blatantly abuse that power. At best, I feel that you will end up being another Zoe, and quite frankly one admin who throws temper tantrums and launches into personal attacks and breaches of civility is bad enough. If you have reformed, then I would suggest you withdraw your RFA and resubmit it in six months. You only just joined Wikipedia in June. There really hasn't been enough time for you to reform. Agriculture 14:17, 28 September 2005 (UTC)
 * The above comment, and the fact that Hipocrite is a member of JETFA resulted in misconception concerning you and Hip. I stand corrected. My main concern is neither the personal attacks nor the time you have spent editing Wikipedia. If JETFA were renamed, I would reconsider my vote. P.S. you may want to refactor all comments pertinent to your RFA into one subheading. freestylefrappe 21:24, 29 September 2005 (UTC)

Your RfA
Hi Voldemort, thankyou for your message. At the moment I am not minded to change my vote; however I may vote support in the future if between now and then you show a firm commitment to being civil to other users, even if they are a pain in the ass. This is very important because as an admin one is expected to deal with confrontational characters from time to time.

As I said on your RfA: I know that you created JETFA in good faith, I just feel that it comes across as slightly immature and a bit too confrontational. Although backlogs are always a bad thing, it is better for Wikipedia that people know which articles need looking at and JETFA could well put some people off from tagging such articles. It is not always possible for editors to edit the articles that they tag; maybe they don't have the time these things sometimes take etc. Also articles in need of wikification often need to be improved in other areas, this often requires a certain familiarity with the subject matter.

I hope you are not too disheartened by the oppose votes you have received, many of our best admins failed to be promoted their first time round. I wish you all the best for the next time you stand. Rje 18:33, 28 September 2005 (UTC)

Your RfA from Private Butcher
I worked near Alexandria, and I just from my viewpoint on what an admin should be like, and I felt you met my standards so I supported you. Private Butcher 21:35, 28 September 2005 (UTC)

Dark Lord's RFA
No problem. Don't worry, things aren't too grim. A lot of people said they'd support in another month or two. They just want to make sure that your slate is clean. You'll definitely have my support again in the future if this doesn't pass (unless, of course, you have your Dementors kiss me). Ac e  tic  ' Acid  00:33, 29 September 2005 (UTC)

Yes, really, let me know when (if you fail this time) you are re-nominated. I would be most glad to vote support again. Anytime buddy. I signed my support vote with a Peter Pettigrew like quiver "I had no choice you see";) Ban  e  s  13:46, 29 September 2005 (UTC)

RFA
Thanks for the clarification message on my talk page. I'm sure that with a little more editing history under your belt I'd be able to make a more accurate assessment of your character as an editor. --DropDeadGorgias (talk) 14:52, 29 September 2005 (UTC)

Re: your RfA
No problem. Tell me when you're up for adminship again and I'll be more than happy to support, my Lord. H e rmione1980 22:39, 29 September 2005 (UTC)

RFA

I'd be glad to vote for you in a few a months. Have a nice day, and keep up the good work!! Johann Wolfgang [ T ... C ]  21:33, 29 September 2005 (UTC)

Hmmmm
So it appears you will be made an admin soon, despite my opposition and the opposition as others. Let me say I would probably have supported you in a few months time had you shown that your word on reformation is true. I would urge you in preparation for your new role to look at a few bad examples of admins and how they treat others. Then take a look at some good examples of admins and choose to be of the second type. Agriculture 04:51, 30 September 2005 (UTC)

Re: Your RFA
Don't sweat it. Any concern that I may have will most probably dissapear by your next RFA in which I would be glad to vote a strong Submit to his will for you. Just keep at the good work and don't do anything stupid (but not in a condescending manner)... =)  Sasquatch  t|c 18:41, 30 September 2005 (UTC)

RFA
You may find it much more safer if you dont advertise your RFA while RC patrolling ;) Oh and do tag on IRC :P --Cool Cat Talk 22:07, 30 September 2005 (UTC)

On RfA: Thanks for giving thanks
Thanks for replying a word of thanks after I voted you support. Maybe the best way you can pay me back is by voting me back? (Just kidding, campaigning draws oppose votes) But do vote me if you also think that I'm a worthy person to become a sysop. Thanks. De ryc k C.  15:58, 3 October 2005 (UTC)

How does this rate on the silliness scale?
"Watch the destruction unfold here." You tell me: silly or serious? I'm not calling you silly, but come on, what sort of remark is this? Uncle Ed 16:59, 3 October 2005 (UTC)

Trademark
On Lord Voldemort's trademark status:

IC 028. US 022 023 038 050. G & S: TOYS, SPORTING GOODS, GAMES AND PLAYTHINGS, NAMELY, ACTION FIGURES AND ACCESSORIES THEREFOR; PLUSH TOYS; BALLOONS; BATHTUB TOYS; RIDE-ON TOYS; EQUIPMENT SOLD AS A UNIT FOR PLAYING CARD GAMES; TOY VEHICLES; DOLLS; FLYING DISCS; ELECTRONIC HAND-HELD GAME UNIT; GAME EQUIPMENT SOLD AS A UNIT FOR PLAYING A BOARD GAME, A CARD GAME, A MANIPULATIVE GAME, A PARLOR GAME, AND, AN ACTION TYPE TARGET GAME; COMPUTER GAME MACHINE AND SOFTWARE SOLD AS A UNIT FOR PLAYING A PARLOR-TYPE COMPUTER GAME; STAND ALONE VIDEO OUTPUT GAME MACHINES, JIGSAW AND MANIPULATIVE PUZZLES; PAPER FACE MASKS; SKATEBOARDS; ICE SKATES; WATER SQUIRTING TOYS; BALLS, NAMELY, PLAYGROUND BALLS, SOCCER BALLS, BASEBALLS, BASKETBALLS; BASEBALL GLOVES; SWIMMING FLOATS FOR RECREATIONAL USE; KICKBOARD FLOTATION DEVICES FOR RECREATIONAL USE; SURFBOARDS; SWIM BOARDS FOR RECREATIONAL USE; SWIM FINS; TOY ZIP GUNS; TOY BAKEWARE AND TOY COOKWARE; TOY BANKS; AND CHRISTMAS TREE ORNAMENTS. FIRST USE: 20000729. FIRST USE IN COMMERCE: 20000729

Seems that it's ok to use as a handle on an online service. Hipocrite - « Talk » 19:13, 3 October 2005 (UTC)

 * Thanks. Although some people sure seem to have a problem with it. -- Lord Vold e  mort  (Dark Mark) 19:26, 3 October 2005 (UTC)

Vote
Anyway my vote won't make a difference. I saw that Shauri had given you her trust, and that is a good argument for giving you mine as well. Just remember never to do personal attacks. It can be extremely hard not to do that sometimes, but it is essential not to. Moreover, it is only *you* who look bad. Keep in line, do your thing and I'll see you on the admin side next time.--Wiglaf 21:39, 3 October 2005 (UTC)

 * I know about the crap that dumps on you. Even during my vote, people got back at me for fighting trolls, whereas others found my troll-fighting skills to be an asset to Wikipedia (you can never please everyone).--Wiglaf 21:51, 3 October 2005 (UTC)

Stress
I hear you're a bit stressed, and just wanted to offer my help if there is anything I can do. -- Essjay ·  Talk 01:08, 4 October 2005 (UTC)

WP:ESP
Glad that you're feeling better. Don't take things in your RfA too seriously; you're a valuable contributor, and I'm sure you'll make it in a month or two. Thanks! Flcelloguy | A note? | Desk | WS 15:00, 4 October 2005 (UTC)

 * You're welcome, LV, and even though your stress has gone down, the offer still stands. -- Essjay ·  Talk 15:38, 4 October 2005 (UTC)

reasons
if u and io are two who did, as we did, not get along for so long, and now i feel you are still worth supporting, dont you think that says something? (also kinda commenton what ed had to say)Gimmiet 18:07, 4 October 2005 (UTC)

 * I do, and I thank you. See you around. -- Lord Vold e  mort  (Dark Mark) 18:18, 4 October 2005 (UTC)

Your RfA
I appreciate your kindness, send best wishes, and will forget old mistakes, assuming your fine recent record continues. Xoloz 13:44, 5 October 2005 (UTC)

Another "Your RFA" Heading
Hello Tom. Did you make it? Are you an admin yet? I cant seem to find any results. I really hope it wasnt "no conscensus". P.S. It sounds like you need to dispatch a Death Eater to silence Durin. Perhaps Bellatrix Lestrange?;) Ban  e  s  19:05, 5 October 2005 (UTC)

 * It failed. My condolences, Voldemort. --Maru (talk) 19:35, 5 October 2005 (UTC)

That's okay... I'll survive. My only regret was that I didn't answer the questions immediately when nominated. Oh, and that it turns out the person who nominated me was somewhat mistrusted among the Wikipedia community. But, alas, the stars were not quite aligned in my favor this time around. Thanks to everyone who voted, Support or Oppose. I hold no grudges because of any of this. To all that said they might support me in the future: You better, or else! Just kidding. Okay, I've babbled on too long. Thanks again. -- Lord Vold e  mort  (Dark Mark)  20:47, 5 October 2005 (UTC)

Another "Your RFA" Heading
Hello Tom. Did you make it? Are you an admin yet? I cant seem to find any results. I really hope it wasnt "no conscensus". P.S. It sounds like you need to dispatch a Death Eater to silence Durin. Perhaps Bellatrix Lestrange?;) Ban  e  s  19:05, 5 October 2005 (UTC)

 * It failed. My condolences, Voldemort. --Maru (talk) 19:35, 5 October 2005 (UTC)

That's okay... I'll survive. My only regret was that I didn't answer the questions immediately when nominated. Oh, and that it turns out the person who nominated me was somewhat mistrusted among the Wikipedia community. But, alas, the stars were not quite aligned in my favor this time around. Thanks to everyone who voted, Support or Oppose. I hold no grudges because of any of this. To all that said they might support me in the future: You better, or else! Just kidding. Okay, I've babbled on too long. Thanks again. -- Lord Vold e  mort  (Dark Mark)  20:47, 5 October 2005 (UTC)

 * Excuse me? User:Agriculture is not the wikipedia community. Hipocrite - « Talk » 15:05, 6 October 2005 (UTC)

 * Sorry, I should have qualified that. "Somewhat mistrusted among members of the Wikipedia community." I meant no offense. See you around, my friend. -- Lord Vold e  mort  (Dark Mark)  15:13, 6 October 2005 (UTC)

 * Given a month or two of dedicated service to Wikipedia and no sign of slipping back to personal attacks I will wholeheartedly switch my Oppose to Support. Agriculture 00:10, 6 October 2005 (UTC)
 * I second that.--MONGO 00:41, 6 October 2005 (UTC)

Re:Your RfA
Molotov-- Thanks for your vote of support on my RfA. Unfortunately, it was posted past the ending time, and probably will not be counted. Thanks anyways. Look for me again in a few months. Cheers. --Lord Voldemort (Dark Mark) 13:29, 5 October 2005 (UTC)

 * Sorry about that; congratulations anyway. [[Image:Working Man's Barnstar.png]] Molotov  (talk) [[Image:Flag of California.png|25px]] 22:45, 5 October 2005 (UTC)

 * Umm... I didn't get it, but thanks for the star anyways. -- Lord Vold e  mort  (Dark Mark)  13:54, 6 October 2005 (UTC)

Your RFA
You're right, I really should check those timestamps, shouldn't I? Or I could blame the bureaucrats for not closing it super-quick, yeah, that's the ticket...  It does you a good deal of credit that you're so gracious about your narrow non-promotion. Better luck in a couple of months, though equally, I'm sure you'll not need it. Alai 21:53, 6 October 2005 (UTC)

Rfa
Hi, Sorry to see you didn't get the mop, but I feel it's only a matter of another couple of months. Any time I've seen you over on Afd, what you've had to say sounded good. Seems like most people were commenting on personal attacks - I can't comment on that since I haven't come across any, but my guess is that if there aren't any in the next while, then adminship won't be a problem next time round. Dl yo ns 493  Ta lk   20:20, 8 October 2005 (UTC)

 * Thanks. I may think about trying again in a few months, and hope people will forgive me. But I am not too worried at this point. I just have to keep plugging away and keeping my spirits up. And thanks for the kind words about AfD. Cheers my friend. -- Lord Vold e  mort  (Dark Mark)  14:00, 10 October 2005 (UTC)

RfA
Lord Voldemort, I'm sorry I missed your voting by a few days. You would have gotten a good vote from me as i've seen you quite a bit around the FP's. I'm also up for vote right now, so if you have anything of a good idea of me, i'd appreciate your vote if you think im worthy. Thanks, and see you around the FP's. --ScottyBoy900Q ∞ 22:38, 10 October 2005 (UTC)

title: User talk:Lord Voldemort/Archive 3


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Category:Airports in Colombia

This category is for airports in Colombia.

title: Category:Airports in Colombia


text:
Bea Wain

Beatrice Ruth Wain (April 30, 1917 – August 19, 2017) was an American Big Band-era singer and radio personality born in the Bronx, New York City. She had several hits with Larry Clinton and His Orchestra, including "My Reverie", "Deep Purple", and "Heart and Soul". Wain and announcer Andre Baruch, her husband, co-hosted radio programs from the 1940s to the 1980s.

Career
Wain made her debut on radio at age 6 as a "featured performer" on the NBC Children's Hour. As an adult, she sang regularly on The Larry Clinton Show (NBC 1938), Monday Merry-Go-Round (NBC Blue 1941–1942), Starlight Serenade (Mutual 1944), and Your Hit Parade.

She led the vocal group Bea and the Bachelors (with Al Rinker, Ken Lane, and John Smedberg).

Her debut with Clinton was made in the summer of 1938 at the Glen Island Casino, New Rochelle, New York.

Recordings
On a 1937 recording with Artie Shaw, she was credited as Beatrice Wayne, which led some to assume that was her real name. On record labels, her name was shortened (without her permission) to "Bea" by the record company, ostensibly for space considerations. As she explained, "They cut it to 'Bea' Wain. They cut the 'Beatrice' out to 'Bea'. I was just a little old girl singer, but that's the truth. So that's how my name became 'Bea Wain'."

Wain's recording of My Reverie (Victor 26006) with the Clinton orchestra stayed at the top of the chart for eight weeks in 1938. Her other popular recordings included "Deep Purple", "Heart and Soul", and "Martha".

In 1939, Wain was voted by Billboard Magazine as 'Female Band Vocalist of The Year', beating superstars such as Ella Fitzgerald to the title.

Wain was the first artist to record the Harold Arlen-Yip Harburg classic "Over the Rainbow" (for RCA Victor on December 7, 1938, with Clinton's orchestra), but Metro-Goldwyn-Mayer forbade the release of the record until The Wizard of Oz (1939) had opened and audiences heard Judy Garland perform it.

Wain rarely made recordings after she left the Clinton orchestra in 1939, focusing primarily on her work on radio.

"Mr. and Mrs. Music"
Following World War II, Wain worked with her husband, Andre Baruch, as a disc jockey team in New York on WMCA, where they were billed as "Mr. and Mrs. Music". An article in the May 1949 issue of Radio Best magazine noted, "In the trade she is looked upon as an accurate picker of hits and is a favourite song plugger of tunesmiths like Cole Porter, Johnny Mercer, Harold Arlen and Harry Warren."

During the early 1980s, the pair hosted a syndicated radio recreation of Your Hit Parade. Baruch died in 1991.

In a 2004 interview with Christopher Popa, Wain reflected: "Actually, I've had a wonderful life, a wonderful career. And I'm still singing, and I'm still singing pretty good. This past December, I did a series of shows in Palm Springs, California, and the review said, 'Bea Wain is still a giant.' It's something called Musical Chairs. I did six shows in six different venues, and I was a smash. And I really got a kick out of it."

Death
Wain died of congestive heart failure at an assisted living home on August 19, 2017, in Beverly Hills, California, at the age of 100.

Listen to

 * Amanda Wilde's 2007 interview with Bea Wain, aged 90
 * Sara Fishko's 2007 interview with Bea Wain on WNYC Radio

title: Bea Wain


text: User:I.M. Rich

title: User:I.M. Rich


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Wikipedia:Articles for deletion/Jack Learson

 * 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 Speedy delete. Ral  315   WS  04:29, 6 October 2005 (UTC)

Jack Learson
Article about a substitute teacher. Would be nn-bio, but it claims he is the CEO of a major company, JL Enterprises. Searching on the company name returns too many different companies to verify this. However, searching on its "major subsidiary", Jack Learson Online, returns no results. Searching on "Jack Learson" alone returns five unique hits, none of which seem to be relevant.-- GraemeL (talk) 21:06, 5 October 2005 (UTC)
 * Delete as per nom. Possible hoax, possible attack, nonverifiable.   Dl yo ns 493   Ta lk   21:22, 5 October 2005 (UTC)
 * Oh, yeah, lots of corporate CEOs moonlight as substitute teachers. Delete —Wahoofive (talk) 21:23, 5 October 2005 (UTC)
 * Delete What rubbish. CambridgeBayWeather 21:36, 5 October 2005 (UTC)
 * Speedy Delete As per CSD:A1 and A7 - the assertion of notability is demonstratably false as shown by GraemeL, and no one is disputing that it's false. I'm placing the tag.--inks T 21:41, 5 October 2005 (UTC)
 * Speedy Delete A7 as above. --CastAStone 22:58, 5 October 2005 (UTC)
 * Keep This article is legit. The SAU-39 District website is www.sprise.com, you may beable to specifically find him somewhere on the site, or at www.sprise.com/shs (the Souhegan website). The part about CEO may be false (unsure), which would justify for deletion, but not whole article. inks T 23:03, 5 October 2005 (UTC)
 * Who's this guy pretending (badly) to be me?--inks T 04:13, 6 October 2005 (UTC)

 * Speedy Delete. The CEO stuff was edited out, leaving a simple CSD:A7 nn-bio. MCB 00:47, 6 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:
Loraine Wyman

(Julie) Loraine Wyman (October 23, 1885 – September 11, 1937) was an American soprano, noted for her concert performances of folk songs, some of which she collected from traditional singers in field work. Paul J. Stamler has called Wyman "the first real practitioner of the urban folk revival."

Early family life
Her mother, Julie Moran Wyman (1860–1907) was from Joliet, Illinois, near Chicago. She possessed a mezzo-soprano voice described as a "marvel" and had a successful career as an opera singer.

On 2 April 1880 Julie Moran married Walter C. Wyman (1850–1927), a "coal merchant", "society man", and collector and dealer in Native American anthropological artifacts. He lived in Evanston, Illinois, a suburb of Chicago. Wyman was quite wealthy; the Chicago Tribune remarks that the couple "made their home in the Edwin E. Brown mansion, and maintained there a lavish establishment of servants, horses, and carriages." They were prominent in Evanston social circles. The Wymans had three children, all daughters: Florence (born 25 January 1881), Caroline (born 28 August 1882), and the youngest Loraine (born 23 October 1885 in Evanston).

Wyman's childhood was not always serene. After 1891, her parents lived separately, with Julie taking Loraine and Florence to Paris to live, leaving Caroline with the father. In 1896 Walter Wyman obtained a divorce from his wife on grounds of adultery (he also charged her with addiction to alcohol). As part of the divorce proceedings Wyman successfully obtained custody of all three of his daughters, who joined him in Evanston. Following this there were two occasions in which the daughters fled from their father, attempting to join their mother. Julie Wyman's brother was arrested for helping them in the first of their escape attempts, and for a time after this they were placed under police watch. The Chicago Tribune later described how the mother and daughters made their final escape via New York (March 1897): they were "taken aboard of an outgoing French steamer by a launch which was in waiting in the North [i.e. Hudson] river. Thus she eluded detectives employed by her husband."

Having relocated her children to Paris, Julie Wyman fairly soon returned to North America, where she settled in Toronto and resumed her singing career; between 1898 and 1904 performances by her are recorded in Toronto, New York, Buffalo, Boston, and Cleveland. She eventually moved to Philadelphia. Julie Wyman died a suicide in 1907 in the apartment of her daughter Caroline in New York; Loraine and her older sister Florence were still living in Paris at the time.

Musical training
Amid all this disruption, Loraine Wyman grew to adulthood, mostly in Paris. She learned the French language and developed a sense of connection to France and its people—manifested in her later fundraising efforts during the First World War (see below). She also took up singing, and is reported by one source to have studied with Blanche Marchesi, who had earlier taught her mother. More important were her studies with the celebrated cabaret singer Yvette Guilbert, from whom (Stamler) "she acquired a taste for French and British folksongs."

The French-Canadian folklore specialist Marius Barbeau later asserted that her French training was fundamental to Wyman's artistic approach.

Miss Loraine Wyman makes us realize to what extent a rustic melody can be transformed by art while still preserving its original contour. Although American by birth, Miss Wyman is a representative of French style and taste. The discrimination, finesse, and sincerity of her interpretations relies especially on the tradition founded by Gaston Paris and Julien Tiersot and broadened by Yvette Guilbert, of whom she was a pupil.

Launching her career
In about 1909 she returned to America, settling in New York. Probably around this time she studied with a leading New York voice teacher, Frida Ashforth. By the following year, she had embarked on a concert career, in which she sang a mixture of folksongs of various origin to urban audiences. Stamler writes,

She became a popular touring concert artist, performing French and British songs in peasant costume and charming audiences and critics across the country. In 1914, the New York Times reported that she had achieved critical success as a performer in London, and in January 1916, she stood in for an ailing Guilbert at the Metropolitan Opera, to rave notices.

A reviewer for the Boston Transcript wrote:

Her voice, a light one, but of fine, agreeable quality and carrying power, has been carefully trained and is expressive. — Her diction is excellent. She has the great gift of humor. In her interpretation naive, pathetic or malicious songs, facial expression and significant gestures add to the effect of her well modulated voice. — There is no extravagance in her performance; she does not go too far; she knows when she has made her points and is willing to give her hearers credit for a certain amount of intelligence.

Smith (2003), reviewing the press accounts, concludes that Wyman consistently delighted her audiences and critics. For example, one review (Rochester Post Express, 13 November 1912) said:

Miss Loraine Wyman gave a costume ballade recital last night before the members of the Alliance Francaise and their friends ... It is doubtful if the audience, no matter what the musical experience of its individuals may have been, has received more enjoyment than was given with a liberal hand by this young songster last night.

Performances before 1916
Wyman's New York debut was in January 1910. Later that year, she left for Europe, performing with her mentor Yvette Guilbert at the Théâtre du Gymnase in Paris in November, 1910, and again at Bechstein Hall (now Wigmore Hall) in London in June 1911. In 1912, Wyman performed at the Women's Musical Club in Toronto, where her mother had appeared twelve years earlier. By 1913 she was well enough known to be invited to perform at the White House before President Taft and the assembled members of the Supreme Court. In 1914, she performed in London and Paris, taking the opportunity to research more folk song material in "old monasteries and libraries" there. Later that year, she went to perform in Chicago and Evanston, where she had not been since her childhood; a number of performances were in homes of old family friends. In 1915 Wyman crossed the continent for performances in the Los Angeles area.

Appalachian fieldwork
The early stages of Wyman's performing career coincided with a widespread awakening of interest in the folk songs of the southern Appalachian mountains, where the local population—at the time quite geographically isolated—had conserved and evolved a centuries-long heritage of melody and lyrics by oral transmission across generations. Already, several state folklore societies had formed to collect and record these songs, and Olive Dame Campbell had gathered (though not published) a fairly extensive body of material. Previously, Wyman had sung on stage only folksongs gathered by others, mostly French and British, and it is only natural that she would develop an interest in field work in such a fertile territory, fieldwork whose results would permit her to expand her performing repertoire with American material.

Thus in 1916 Wyman undertook, with her accompanist the composer Howard Brockway, a six-week journey through the Cumberland Mountains to collect Appalachian folk songs. A contemporary reviewer described the work as follows:

Attracted to the songs by a study of their purely literary aspects as published some time ago by Professor Bradley, these two musical patriots tramped some 300 miles through the Kentucky wilds, "climbing mountains, fording streams, enduring superlative discomforts and ... rebuffs from the suspicious inhabitants, but emerging in the end with something like eighty entrancing melodic specimens in their note-books, representing both the 'lonesome tunes' and 'fast music', as they are called."

Wyman and Brockway began their efforts at the Pine Mountain Settlement School, where they had been invited by co-director Ethel DeLong Zande. They also worked at the Hindman Settlement School, and ultimately journeyed through seven counties of eastern Kentucky: Knott, Harlan, Letcher, Estill, Pulaski, Magoffin, and Jackson.

Concerning the delicate task of persuading the inhabitants to share their songs, Wyman wrote:

The [inhabitants] seldom responded readily to our requests...If they did not refuse pointblank, they would plead a cold or hoarseness as an excuse for not singing at once. The ruse actually worked with me for a while, but I presently came to see through it and continued to ply my arguments and pleadings. Often it was necessary to sing for them first. Then, forgetting their reserve, they would seek to correct me in some detail and present we had what we had sought, tho[ugh] it sometimes required much persuasion to make them repeat a melody or even a phrase. Our first song we obtained from a little girl of fourteen, who, however, was so shy about singing that she consented to do it only on condition that we let her withdraw to the end of a dark hall, where she could not be seen.

On returning to their base in New York, Wyman and Brockway began to perform on stage the songs they had gathered, using piano accompaniments composed by Brockway. They premiered their renditions of Appalachian song at the Cort Theater in New York in October 1916, and per Stamler, "continu[ed] for the next decade to uniformly enthusiastic reviews." They also published selected songs from their fieldwork, along with Brockway's piano accompaniments, in two collections:

 * Lonesome Tunes: Folk Songs from the Kentucky Mountains (1916) New York: H. W. Gray.
 * Twenty Kentucky Mountain Songs (1920) Boston: Oliver Ditson & Co.

Sales figures of these volumes are apparently not available, but Stamler, noting their widespread appearance in library catalogs, infers that they sold well. Lonesome Tunes was reissued by its publisher in 1944, 28 years after initial publication.

The two volumes just mentioned were intended for domestic use and enjoyment, rather than specifically being contributions to the scholarly literature on folk song. Wyman later shared a large amount of her Appalachian material with the doyen of American folk song scholars, George Lyman Kittredge, who published some of it (properly acknowledging Wyman) in a 1917 scholarly article.

As her career continued to flourish Wyman made efforts to "give back" (as we would say today) to the Appalachian community. In 1917 she returned to Chicago to sing Appalachian folk songs in a benefit concert for the Hindman Settlement School, and served on the Advisory Board of the Pine Mountain Settlement School.

The Appalachian dulcimer
At some point, probably on her fieldwork visit to Kentucky, Wyman bought an Appalachian dulcimer, which she demonstrated at the 1916 concert premiering the songs from the Kentucky fieldwork. This may have been the instrument that was depicted in the photograph of Wyman seen at right, which appeared in Vogue]] on 1 May 1917. Wyman's dulcimer was the work of J. Edward Thomas (1850–1933), the leading builder of the time.

According to Maud Karpeles, who did fieldwork in the Appalachians around the same time as Wyman, the Appalachian dulcimer was confined to Kentucky at the time and not widely distributed even there. It likewise seems not to have been an essential aspect of Wyman's own performances. Seeger notes that it is a low-volume instrument, more suited to home than public use. Wyman donated her dulcimer to the Bucks County Historical Society at some point before 1926.

Fieldwork in Canada
In July 1918 she collected French-language folk songs in Percé, Quebec, making use of an Edison phonograph to make recordings of her speakers. She was assisted in the fieldwork by "Mr. Adolfo Betti of the Flonzaley Quartet", who put the music into written notation. The research was published as Wyman (1920). Wyman commented in her article on the nature of folk song fieldwork:

Folk-song gathering, to be well and thoroughly accomplished, must be done slowly and deliberately, regardless of the passing of time. The singer should not be hurried, but should be allowed to give each song as memory brings it back, with reminiscences and casual conversation. Not the least fascinating of the many phases of collecting is the sudden blooming of a seemingly barren field. On making my preliminary inquiries at Percé I should have feared to return empty-handed from my eager quest, had I not known the elusiveness of the folk-song singer. Some of the best songs were obtained from people who, at first, professed utter ignorance of the subject.

Her performances around the same time before members of the Montreal branch of the American Folklore Society stimulated Canadian scholars to undertake fieldwork on French Canadian folk song.

Wyman later collaborated in further French Canadian fieldwork with Marius Barbeau; Barbeau (1920) mentions an unpublished set of folksongs, "Collection Barbeau-Wyman", consisting of "60 songs with text and phonograph recording, collected at Notre-Dame-du-Portage (Témiscouata) and Saint-André (Kamouraska). The same archive held Wyman's Percé songs.

Later life
Wyman's concertizing continued throughout the second half of the 1910s and first half of the 1920s, often in performances for charitable causes put on by the upper stratum of New York City society. During the First World War, these included benefits for the soldiers of the French Army, as well as concerts in aid of French musicians impoverished by the war.

In the first half of the 1920s Wyman frequently appeared on concert programs with the early music specialist, harpsichordist, and pedagogue Arthur Whiting, usually in college and university settings. Wyman herself owned a harpsichord, a 1921 model built by the Gaveau firm in France.

She served for a time (ca. 1922–1923) on the faculty of the Mannes School of Music as a teacher of English and French diction; Howard Brockway was also teaching there in the piano department.

A review of one of her performances in 1924 by Olin Downes in the New York Times praised her as "an excellent musician" but also reported her as being "not in good vocal condition". No further New York performances, it appears, were subsequently reported in the Times. Her last public performances for which documentation survives took place in 1925.

On 14 July 1926, Wyman married a wealthy obstetrician and medical school professor named Henry McMahon Painter (12 July 1863 – 11 March 1934), whose patients include members of prominent New York families. According to Minton, Wyman and Painter had been lovers for many years; earlier in 1926 Painter had obtained a divorce from his wife. Painter retired from medicine in 1928; Wyman moved with him to France, where they lived in Grez-sur-Loing, an artist-colony village not far from Paris. They later returned to New York, where Painter died in 1934.

With her marriage Wyman disappeared entirely from public life. She died in New York 11 September 1937, aged 51.

Scholarly legacy
Loraine Wyman left a substantial scholarly library, "an extensive collection of books about folk music and folklore mostly of the British Isles, the United States and France." On her death the collection, along with other materials, passed to her older sister Florence Wyman Ivins, who in the meantime had become a well-known artist. The elder sister donated these materials to Connecticut College in 1948. The scholarly books remain in the Special Collections of the Connecticut College Library. Loraine Wyman's field notes and other papers were transferred in 2004 to an archive at Brown University, where they reside today. Her Gaveau harpsichord was transferred to the Yale University Collection of Musical Instruments. The field notes she shared with George Lyman Kittredge are preserved in Houghton Library at Harvard University.

Influence and assessment
Loraine Wyman is an almost totally forgotten figure today. The two published accounts of her life (Lee and McNeil 2001 and Stamler 2012) are both brief and incomplete, and the flurry of interest in the 1910s in Appalachian folk music which she helped create is little remembered; nowadays when one speaks of a "folk revival" in America, this is taken to mean the later period of interest in the 1940s through 1960s, going from Pete Seeger to Bob Dylan (for details see roots revival). Wyman's Appalachian field work with Brockway was outshone by the far more comprehensive study of Cecil Sharp and Maud Karpeles, begun almost exactly at the moment Wyman and Brockway left Kentucky. Wyman and Brockway's Appalachian volumes were later denigrated by the folk song scholar D. K. Wilgus, who complained that the texts had been altered and the singers of individual songs not identified.

Nevertheless, Wyman's work was and is appreciated by various individuals. The Australian composer-pianist Percy Grainger, who had a strong interest in folk music and did field work on folk songs himself, performed the Wyman-Brockway settings in public, and noted a kind of emotional connection to the published volumes: he performed the songs in Lonesome Tunes at home with his mother (taking the vocal part on a saxophone or sarrusophone), and said of the book after her death "in other ways, also, a most sacred relic to me".

Stamler writes:

Loraine Wyman's work demands respect. She shone a popular light on Appalachian culture, and she presented the material in concert and in books in a way that, according to all available accounts, was designed to both inform and delight her readers and listeners while treating her sources with dignity and respect. For the first practitioner of the urban folk revival, that is no small accomplishment.

List of publications by Loraine Wyman

 * Brockway, Howard, and Loraine Wyman (1917) Le jardinier indifferent (Basse-Normandie). For vocal solo with piano accompaniment composed by Brockway. New York : H.W. Gray.
 * Brockway, Howard, and Loraine Wyman (1918) The nightingale : Harlan Co., Kentucky. Set for four-part women's chorus (SSAA). Publisher: New York : H.W. Gray.
 * Brockway, Howard, and Loraine Wyman (1918) Brother Green or The dying soldier. (Harlan County, Kentucky). Set for a capella mixed chorus with rehearsal accompaniment for piano. New York, H.W. Gray.
 * Prunières, Henry (1920) G. Francesco Malipiero. Translated from the French by Loraine Wyman. The Musical Quarterly 6: 326–341.
 * Wyman, Loraine, and Howard Brockway (1916) Lonesome Tunes: Folk Songs from the Kentucky Mountains. New York: H. W. Gray.
 * Wyman, Loraine, and Howard Brockway (1920) Twenty Kentucky Mountain Songs Boston: Oliver Ditson & Co.
 * Wyman, Loraine (1920) Songs from Percé. Journal of American Folklore, Vol. 33, No. 130 (Oct. – Dec., 1920), pp. 321–335. Available on JSTOR.

title: Loraine Wyman


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Long delayed echo

Long delayed echoes (LDEs) are radio echoes which return to the sender several seconds after a radio transmission has occurred. Delays of longer than 2.7 seconds are considered LDEs. LDEs are considered anomalous and have a number of proposed scientific origins.

History
These echoes were first observed in 1927 by civil engineer and amateur radio operator Jørgen Hals from his home near Oslo, Norway. Hals had repeatedly observed an unexpected second radio echo with a significant time delay after the primary radio echo ended. Unable to account for this strange phenomenon, he wrote a letter to Norwegian physicist Carl Størmer, explaining the event:

"At the end of the summer of 1927 I repeatedly heard signals from the Dutch short-wave transmitting station PCJJ at Eindhoven. At the same time as I heard these I also heard echoes. I heard the usual echo which goes round the Earth with an interval of about 1/7 of a second as well as a weaker echo about three seconds after the principal echo had gone. When the principal signal was especially strong, I suppose the amplitude for the last echo three seconds later, lay between 1/10 and 1/20 of the principal signal in strength. From where this echo comes I cannot say for the present, I can only confirm that I really heard it."

Physicist Balthasar van der Pol helped Hals and Stormer investigate the echoes, but due to the sporadic nature of the echo events and variations in time-delay, did not find a suitable explanation.

Long delayed echoes have been heard sporadically from the first observations in 1927 and up to the present day.

Five hypotheses
Shlionskiy lists 15 possible natural explanations in two groups: reflections in outer space, and reflections within the Earth's magnetosphere. Vidmar and Crawford suggest five of them are the most likely. Sverre Holm, professor of signal processing at the University of Oslo details those five; in summary,

 * Ducting in the Earth's magnetosphere and ionosphere at low HF frequencies (1–4 MHz). Some similarities with whistlers.

 * Signals may pass the ionosphere and then be conducted in the magnetosphere out to a distance of several Earth radii over to the opposite hemisphere where they will be reflected on top of the ionosphere. The round-trip time varies with the geomagnetic latitude of the transmitter and is typically in the 140–300 ms range. The further north the station, the larger the delay. Due to the short delay, this cannot be considered to be a real long-delayed echo. For completeness it is still included here.

Radio waves of frequency less than about 7 MHz can become trapped in magnetic field-aligned ionization ducts with L values (distance from the center of the Earth to the field line at the magnetic equator) less than about 4. These waves after being trapped can propagate to the opposite hemisphere where they become reflected in the topside ionosphere. They can return along the duct, leave it, and propagate to the receiver.

 * Travel many times around the world. Signals can travel around the Earth seven times in one second. Such signals are also not uncommon.
 * "Goodacre reports that he pointed his antenna towards the horizon and received his own 28 MHz signal delayed by up to about 9 seconds.... His measurement implies travel up to 65 rounds around the earth." Probably the upper frequency limit for such effects.

 * The most popular current theory is that the radio signals are trapped between two ionized layers in the atmosphere and then are guided around the world many times over until they fall out of a gap in the bottom layer. (Ducting propagation between air layers in the lower atmosphere is a well-understood phenomenon. See Radio propagation.)

 * Mode conversion: Signals couple to plasma waves in the upper ionosphere.
 * Investigated experimentally by Crawford et al., they recorded echoes with delays up to 40 seconds at 5–12 MHz.

The signals from two separated transmitters T1 and T2, T2 transmitting CW or quasi-CW signals, interact nonlinearly in the ionosphere or magnetosphere. If the wave vector and frequency of the forced oscillation at the difference frequency of the two signals satisfies the dispersion relation for electrostatic waves, such waves would exist and begin to propagate. This wave could grow in amplitude due to wave-particle interaction. At a later time it could interact with the CW signal and propagate to T1.

 * Reflection from distant plasma clouds coming originally from the Sun.
 * Freyman did experiments at 9.9 MHz and detected several thousand echoes of delay up to 16 seconds at times when solar plasma probably entered the magnetosphere.

 * Non-linearity in addition to mode conversion. Two transmitted signals combine to generate a difference frequency, which travels with a plasma wave, and then it is converted back.
 * It could explain amateur VHF/UHF echoes. Hans Rasmussen found echoes delayed by 4.6 seconds at 1296 MHz, and Yurek recorded a 5.75 second delay at 432 MHz.

Alternative hypotheses
Some believe that the aurora activity that follows a solar storm is the source of LDEs.

Still others believe that LDEs are double EME (EMEME) reflections, i.e. the signal is reflected by the Moon and that reflected signal is reflected by the Earth back to the Moon and reflected again by the Moon back to the Earth.

When discussing the use of automated probes as a potential means of contact with extraterrestrial civilizations, American physicist Ronald Bracewell proposed that such probes might try to attract attention by sending back to us our own signals, citing the long delayed echoes as a possible case. This concept was expanded upon by Duncan Lunan, and also addressed by Holm.

Deception
Volker Grassmann writing in VHF Communications noted the possibility of individuals hoaxing LDEs, saying, "Attempts at deception can in no case be ruled out, and it is to be feared that less serious radio amateurs contribute to deliberate falsification.... Short transmissions using different frequencies are a relatively simple procedure for excluding potential troublemakers." To reduce the possibilities of errors or hoaxes a worldwide logging system has been developed.

title: Long delayed echo


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User talk:SchnappM

John Cale - Honi Soit
OK, I guess my UK A&M copy had gone cheap on following the concept and just had a plain inner. AllyD 11:34, 25 February 2007 (UTC)

Proposed deletion of Sightings (band)

The article Sightings (band) has been proposed for deletion  because of the following concern:
 * No independent reliable secondary sources to establish notability

While all contributions to Wikipedia are appreciated, content or articles may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the notice, but please explain why in your edit summary or on the article's talk page.

Please consider improving the article to address the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. In particular, the speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. Chris Cunningham (user:thumperward) - talk 12:44, 27 September 2011 (UTC)

title: User talk:SchnappM


text:
User talk:LyndaLAX

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! , SqueakBox 21:08, 5 October 2005 (UTC)
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Please do not add commercial links — or links to your own private websites — to Wikipedia. Wikipedia is not a vehicle for advertising or a mere collection of external links. See the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks. CryptoDerk 17:08, 9 October 2005 (UTC)
 * Please stop. If you continue to use Wikipedia for advertising, you will be blocked from editing. -- Perfecto 02:15, 6 January 2006 (UTC)

title: User talk:LyndaLAX


text:
1930–31 Yugoslav Football Championship

The 1930/31 National Championship (Serbo-Croato-Slovenian: Državno prvenstvo 1930/31 / Државно првенство 1930/31) begun shortly after the previous season and was now contested during autumn and continuing through the next year ending in spring. BSK Beograd ended the Zagreb clubs' streak with record stats and an undefeated season.

Jugoslavija Beograd didn't qualify for the Državno prvenstvo.

Winning squad
Champions:

BSK Belgrade (coach: Antal Nemes)

 * Otmar Gazzari
 * Predrag Radovanović
 * Dragomir Tošić
 * Milorad Arsenijević
 * Đorđe Popović
 * Miodrag Jovanović
 * Ljubiša Đorđević
 * Aleksandar Tirnanić
 * Svetislav Glišović
 * Blagoje Marjanović
 * Nikola Marjanović
 * Đorđe Vujadinović
 * Dragoslav Virić
 * Predrag Antić

Top scorers
Final goalscoring position, number of goals, player/players and club.
 * 1 - 12 goals - Đorđe Vujadinović (BSK Belgrade)
 * 2 - 7 goals - Blagoje Marjanović (BSK Belgrade)
 * 3 - 6 goals - Aleksandar Tirnanić (BSK Belgrade), Mirko Kokotović (Građanski Zagreb)

title: 1930–31 Yugoslav Football Championship


text:
Talk:Boss Hogg

Cleanup
I've added a 'ceanup' tag, as the article mixes current and past tense; I'm not sure which is usually used. Andy Mabbett 21:09, 5 October 2005 (UTC)

Magazine spoof

 * "Cracked Magazine" did a spoof on the "Dukes" in which Boss Hogg proclaims that he still wins in the end-he secretly owns the wrecking company that salvages all the wrecked cars in each TV Epsiode! —Preceding unsigned comment added by 134.53.145.29 (talk) 17:45, 8 September 2008 (UTC)

Traffic Schemes
1. It will unlikely be clear to readers outside the US (and Canada?) that it is illegal to park near a fire hydrant. I wonder if we could add a short parenthesis to thate effect (which are illegal to park by) something like that. We in the UK don't have them-- they are under the footpath (sidewalk)-- and though we are used to seeing them on television most people would not be familiar with that restriction.

2. There was about 10 years ago a case of a chap in England standing outside his property dressed in a dark suit and hat and pointing his hair-dryer at passing cars (to stop them speeding). He was successfully prosecuted for impersonating a police officer (though he was not in police uniform). Worth mentioning? It might be against the tone of the article. If not, I will look up the reference.

SimonTrew (talk) 01:56, 4 February 2009 (UTC)

1980's country music video
When I was a little kid, I actually watched music videos on CMT. One of them, as I recall, had someone who was dressed up like Boss Hogg. I'm not sure about much else, but I know that the song went something like "Send out my dying love for you". It was kind of a call-and-response song, I think. Would anyone here at Wikipedia know the actual title of that song, and who sang it? Spock80, 18:02 (UTC) 04 October 2018

Uhh, anyone? Spock80, 11:58 (UTC) 21 September 2019

Characters appearing in every episode
The article says that Boss Hogg and Uncle Jesse were the only characters who appeared in every episode. Don't Bo and Luke appear in every episode? TypoBoy (talk) 13:12, 2 November 2015 (UTC)

 * No, Bo and Luke were replaced by Coy and Vance during much of the 5th season. Pawsable (talk) 20:25, 15 March 2022 (UTC)

 * The article is incorrect. Daisy Duke also appears in every single episode as does Uncle Jessie. Boss Hogg does not (Sorel Booke died 1994; the final tv episode Reunion was a 1997 production) Kav2001c (talk) 04:43, 13 June 2022 (UTC)kav2001c

Origin of the name?
Does anyone have any information on the inspiration for Boss Hogg's name? I just ran into this reference in The Prize: The Epic Quest for Oil, Money, and Power, p. 93: 'The syndicate was led by James Hogg, the three-hundred-pound ex-governor and progressive champion of Texas. The former governor was also a tough businessman: "Hogg's my name," he once explained," and hog's my nature.' This was in 1897. -- Calion | Talk 02:15, 28 May 2021 (UTC)

 * Hagg was the name of the protagonist in Moonrunners. Boss Rainey was the original big bad guy. Somehow the Haggs were changed to the Dukes and I guess they liked name so much they kept Hogg for the new big bad guy. Boar's Nest predates Boss Hogg character though so the bar was def not named after the family who owned it. It was originally a put down calling Rainey a Hogg Kav2001c (talk) 03:56, 14 June 2022 (UTC)kav2001c

What state is Hazzard County in?
Article starts off by placing Boss Hogg in Kentucky, with Georgia as a side mention, but the fictional setting of the whole show was in Georgia. — Preceding unsigned comment added by Pawsable (talk • contribs) 20:31, 15 March 2022 (UTC)

title: Talk:Boss Hogg


text:
User talk:Memetank

Welcome!

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Fluor
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Kingdom Hotel Investments
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Eva Kwok

Eva Lee Kwok (born c. 1942) is a Malaysian-born Canadian business executive and investor. She is currently based in Vancouver, British Columbia, Canada. She spent her early life in Penang, where she attended St. George's Girls' School.

She has served as chairperson and CEO of Amara International Investment Corporation since 1992. She previously served in a variety of roles, including president and managing director of Melcorp Mercantile Inc., vice-president of the Asia Pacific Foundation of Canada and president and CEO of the Saskatchewan Institute of Applied Science and Technology. From 1968 to 1988, Kwok taught at the University of Saskatchewan in progressively senior positions, becoming Dean of the College of Home Economics in 1986.

Her own investment firm, Amara International Investment Corp., was responsible for the development of Burnaby's Crystal Mall.

Kwok received her Master of Science (Nutrition) from King's College London, University of London, England in 1967.

She also serves as a director of B.C. Women's Hospital and Health Centre Foundation and Canada's Outstanding Chief Executive Officer of the Year Award Program.

Personal
Kwok is married to architect and urban planner, Stanley Kwok. He is a former Deputy Chairman of Concord Pacific Developments and currently president of private investment firm Amara International.

Board member
Kwok serves on the board of directors of these companies:
 * CK Life Sciences International (Holdings) Inc. It is engaged in the business of research and development, commercialisation, marketing and sale of biotechnology products.
 * Husky Energy Inc. is a publicly traded, large, integrated energy company with interests globally [4] and its head office in Calgary, Alberta
 * Cheung Kong Infrastructure Holdings Ltd is the flagship of the Cheung Kong Group, headquartered in Hong Kong, and one of Hong Kong's leading multi-national conglomerates.
 * The Advisory Board for the National Awards in Governance of the Conference Board of Canada/Spencer Stuart and the Advisory Council
 * University of British Columbia, Faculty of Graduate Studies.

Previous board affiliations include:
 * Air Canada is the flag carrier and largest airline of Canada.
 * B.C. Women's Hospital & Health Centre
 * Bank of Montreal from 14 September 1999 until 3 March 2009
 * Coca-Cola Beverages Ltd.
 * Fletcher Challenge Canada
 * Health Centre Foundation
 * Scott Paper Ltd. is a USA-based corporation which manufactures primarily paper based consumer products.
 * Shoppers Drug Mart is Canada's largest retail pharmacy chain, and it has its headquarters in North York, Toronto, Ontario.
 * B.C. Progress Board
 * Telesystems International Wireless Inc.) was a Canadian-based fast-growing, global mobile communications operator.
 * Vancouver General Hospital Foundation

title: Eva Kwok


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Gwyneth Herbert

Gwyneth Herbert (born 26 August 1981) is a British singer-songwriter, composer, multi-instrumentalist and record producer. Initially known for her interpretation of jazz and swing standards, she is now established as a writer of original compositions, including musical theatre. She has been described as "an exquisite wordsmith" with "a voice that can effortlessly render any emotion with commanding ease" and her songs as being "impressively crafted and engrossing vignette[s] of life's more difficult moments".

Three of her six albums have received four-starred reviews in the British national press. Another album, Between Me and the Wardrobe, received a five-starred review in The Observer. Her seventh album, Letters I Haven't Written, was released in October 2018.

Early life and education
Born in Wimbledon, London, to Mary and Brian Herbert, she was brought up in Surrey and Hampshire in the south of England. She began playing the piano at the age of three and was writing basic songs at the age of five. She also learned the French horn, achieving Grade 8 by the age of 15. Throughout her teenage years she played music with local orchestras and bands such as the Surrey County Youth Orchestra and also briefly formed a short-lived punk band. At 14 she recorded a demo tape of her own songs at Trinity Studios, Woking; however, despite music industry interest, she chose to continue with her studies.

Herbert went to Glebelands School in Cranleigh, Surrey and, for her sixth form studies, to Alton College in Hampshire, where her musical tastes moved more towards jazz. While she was studying at St Chad's College, University of Durham, she met up with fellow student Will Rutter and together they began to write and perform in the cafés and bars of North East England as a jazz duo called Black Coffee.

First Songs
After leaving university, Herbert and Rutter moved to London, where they soon met a former member of Boney M, who had been asked to judge a forthcoming Polish television music competition. She and Rutter were invited to enter, and Black Coffee won the competition. Returning to London, Black Coffee continued to perform in local bars, before being introduced to Ian Shaw, a noted jazz vocalist. This led eventually to the production of a debut CD, First Songs, initially credited to "Gwyn and Will", of both original songs and jazz standards, which was launched at London's PizzaExpress Jazz Club in September 2003. The Herbert/Rutter song "Sweet Insomnia" featured guest vocals from Jamie Cullum. Described by BBC Music's reviewer as "a lovingly crafted debut", the album received a significant amount of radio airplay on Jazz FM and BBC Radio 2, and was promoted by Michael Parkinson.

Bittersweet and Blue
Soon after, Herbert was signed to the Universal Classics and Jazz label and released, in September 2004, her first major label album, Bittersweet and Blue. This comprised mainly standards, but also included three original tracks by Herbert and Rutter. Herbert's version of Neil Young's "Only Love Can Break Your Heart", taken from this album, was featured on the soundtrack of romantic comedy Leap Year, directed by Anand Tucker and starring Amy Adams and Matthew Goode. John Fordham, in a four-starred review of the album for The Guardian, praised Herbert's "precociously powerful chemistry of taste and meticulous care for every sound – from a whisper to an exhortation".

Between Me and the Wardrobe
Herbert left Universal Classics and Jazz to pursue a less commercial and more personal musical direction and then self-financed a project in which she collaborated with Polar Bear's Seb Rochford in a production role. Between Me and the Wardrobe, an album of self-penned songs, was recorded in three days and was never intended for general release. The album was initially made available, in 2006, on Herbert's own Monkeywood label before being picked up by Blue Note Records, making Herbert their first UK signing in 30 years. In a five-starred review, Stuart Nicholson of The Observer said that on this album she "lets the lyrics do the work for her. They are well thought out, moving between artfully constructed soft-focus simplicities to poignant yearning".

Ten Lives and All the Ghosts
In early 2008, Herbert was commissioned by a collaborative project between Peter Gabriel and Bowers & Wilkins to record an acoustic album at Gabriel's Real World Studios. The result of these sessions, Ten Lives, was released as a digital download in July 2008, available only from the Bowers & Wilkins website as part of their Music Club.

Remixed versions of these songs were to form the basis of Herbert's album All the Ghosts, which was released by Naim Edge in July 2009 in Europe to critical acclaim, including four-starred reviews from The Daily Telegraph and The Guardian; the album was released in the United States in June 2010. This album also featured two further recordings, including a cover version of David Bowie's "Rock 'n' Roll Suicide", by Robert Harder, who had previously collaborated with Herbert as recording engineer of Between Me and the Wardrobe. It was remastered for vinyl by Steve Rooke at Abbey Road Studios, London and reissued in LP format in 2010.

Clangers and Mash
In October 2009, Herbert returned to Harder Sound Studio to record the song "Perfect Fit" which she gave away as a free download, available exclusively from Naim Edge. It was also released as a single on 7 March 2011. The track was also one of nine tracks on her EP Clangers and Mash, released on 1 November 2010, which included remixes, by Seb Rochford of Polar Bear, of some of her previously published songs.

In a four-starred review for The Guardian, John Fordham described it as a "fascinating set of variations on the familiar for Herbert regulars, or an appealing introduction for jazz-averse newcomers", saying that although her songs had been radically transformed, "Herbert's unfussy soulfulness and personal vision always glow through".

The Sea Cabinet
In January 2010, Herbert was commissioned by Snape Maltings as artist in residence to write, record and perform a new body of work based on stories of the sea. This was performed in October 2010 at Snape Maltings. An album of this music, The Sea Cabinet, was released in May 2013 and launched in a series of concerts from 23 to 26 May at Wilton's Music Hall in London's East End. In a review of the album launch, The Guardian's jazz critic John Fordham said that "Herbert's imaginative narrative, and her casually commanding voice – whether softly nuanced as confiding speech or at full soaring-contralto stretch – were the central characters in an entertaining and often moving show that opens a new chapter in her creative story". Michal Boncza, in a review for the Morning Star of musical performances in 2013, described it as a "stand-out", admiring "a voice that can effortlessly render any emotion with commanding ease. Every song is an impressively crafted and engrossing vignette of life's more difficult moments and they grab the attention time and again".

The Financial Times' four-starred review called it "a concept album about the debt British history owes to the sea". In a four-starred review The Independent described it as a "cabinet of curiosities" with "a cabaret approach to storytelling, in rollicking sea shanties and waltzes", and "inventive" instrumentation "featuring wheezing accordions, warbling woodwind, tinkling music boxes and rolling bells". Alexander Varty, for Vancouver's The Georgia Straight, said that the album "blends Weimar cabaret and English music-hall stylings, with disquieting touches of avant-garde jazz".

Commenting on her live performance in July 2013 at the Love Supreme Jazz Festival in Glynde Place, East Sussex, Nick Hasted of The Independent said: "Gwyneth Herbert sings the shanties on her The Sea Cabinet album with happy, cabaret sensuality, detailing a relationship’s shipwrecked, sunken past in 'I Still Hear The Bells'".

In a performance described as "mesmerising" and "a surreal delight", with "beautiful entrancing music", Theatre Elision gave the song cycle its United States premiere from 30 May to 9 June 2019 at The Southern Theater in Minneapolis, Minnesota. The production, which had a running time of 75 minutes, was directed by Lindsay Fitzgerald.

Letters I Haven't Written
Letters I Haven't Written, her seventh album, was released on 12 October 2018. It was produced at Rockfield Studios, Monmouth and, like Herbert's previous album The Sea Cabinet, was crowdfunded. The songs on the album, all written by Herbert, have been described as "exquisitely crafted". On the subjects of "love, gratitude and protest", they are about the lost art of letterwriting. Reviewing the album for Jazzwise magazine, Peter Quinn said that "Letters I Haven't Written is by turns moving, thrilling and entrancing".

The A–Z of Mrs P
In 2010, Herbert won the Stiles and Drewe Song of the Year Award with her composition "Lovely London Town", from a musical she wrote with playwright Diane Samuels. The musical, The A–Z of Mrs P, tells the story of Phyllis Pearsall's creation of the London A to Z street atlas. It was performed in workshop with actress Sophie Thompson in May 2011 and opened at Southwark Playhouse on 21 February 2014 starring Peep Show actress Isy Suttie. The show's original cast recording, which includes a bonus track sung by Herbert, was released in March 2014.

Springtime for Henry (and Barbara)
At Site Gallery, the contemporary art space in Sheffield, Gwyneth Herbert and the artist Mel Brimfield explored an imagined relationship between the sculptors Henry Moore and Barbara Hepworth in Barbara and Henry – The Musical, which ran from 18 November to 13 December 2014. This developed into the spoof musical Springtime for Henry (and Barbara), which was performed at Wilton's Music Hall in London's East End on 26 and 27 January 2016. It starred Frances Ruffelle as Hepworth and Andrew C. Wadsworth as Moore.

The Snow Queen, A Christmas Carol and The Nutcracker
In December 2016 and January 2017 she performed in, and was composer, lyricist and musical director for, a musical production at Bristol Old Vic of Hans Christian Andersen's story The Snow Queen, directed by Lee Lyford. The Guardian's reviewer, Lyn Gardner, praised "Gwyneth Herbert’s delightful songs and their deadpan wit".

She returned to Bristol Old Vic in December 2018 as a performer, composer, lyricist and musical director for a musical production of the Charles Dickens story A Christmas Carol, also directed by Lee Lyford, which received a five-starred rating from the Bristol Post and four stars from BroadwayWorld. Reviewing the show for WhatsOnStage.com, Daisy Bowie-Sell said: "Gwyneth Herbert's music is a lovely, a-tonal mix of minor chords that are a little reminiscent of those heard in the Old Vic's recent The Grinning Man. And though the songs are not exactly ear worms, they are absolutely beautiful, including a love song sung by Crystal Condie as Scrooge's one-time love interest and Harry Bird as her partner." The Guardian described Herbert's music for the show as "haunting". The production continued its run until 13 January 2019 and returned on 28 November 2019.

She was composer/lyricist for Bristol Old Vic's The Nutcracker, which opened on 24 November 2022 and ran until 7 January 2023. She also had a part in this production in what The Observer's reviewer described as the "terrifying, curse-hurling Queen Mouse, played by Herbert with wicked glee".

Other musicals and compositions
In April 2012, Gwyneth Herbert's one-act musical Before the Law, co-written with Christine Denniston and adapted from Peter Barnes' A Hand Witch of the Second Stage, received a Special Commendation at the inaugural Sidney Brown Memorial Award (now called the S & S Award) for the best new unproduced musical of the year, which is run by Mercury Musical Developments (MMD), the organisation that supports new musical theatre writing. It is the companion piece to After Lydia, a 30-minute one-act musical based on Terence Rattigan’s play of the same name, which was commissioned by Sounds of England and was also a collaboration with Christine Denniston. After Lydia was given a 45-minute reading at Ronnie Scott's Jazz Club in London on Monday 14 March 2011, starring Rebecca Caine, Andrew C. Wadsworth, Simon Green and Daniel Fraser, with Stefan Bednarczyk as musical director. Directed by Maria Friedman, it also had a staged reading at the Watermill Theatre, Newbury, Berkshire in August 2012.

Herbert was the composer and sound designer for a play by Diane Samuels, Poppy + George, which was performed at Watford Palace Theatre in February 2016. Herbert has also collaborated with Diane Samuels in writing a new musical about contraception, The Rhythm Method, which was performed at the Landor Space in Clapham, London in May 2018.

Herbert composed music for Le Tabou, a full two-act musical theatre piece based on the surrealist novel Froth on the Daydream and the life of its author Boris Vian, written by Kath Burlinson and performed by Youth Music Theatre UK at the Barbican Theatre, Plymouth in August 2013.

Her songs have been covered by other artists. "Not the Kind of Girl", a song that Herbert wrote for a screening of the 1928 film The Patsy at the Birds Eye View film festival at the BFI, was included by Ian Shaw on his 2017 album Shine Sister Shine.

In 2017, Herbert wrote the song "Boxed Up Broken Heart" for actress Jasmine Armfield to perform in the BBC television programme EastEnders, in her role as Bex Fowler. She also co-wrote, with Olivia Stevens, the song "Leave A Little Light On", which was released as a single by Ruby and the Revelators in January 2019.

Other work
In 2016 she was one of the judges for the BBC Young Musician Jazz Awards.

Performances
In March 2010, Herbert performed a newly commissioned score for Marion Davies’ 1928 silent comedy classic The Patsy, at BFI Southbank's Birds Eye View Film Festival. One of the songs, "Not the Kind of Girl", subsequently appeared as the final track on her 2018 album Letters I Haven't Written.

In 2012, Herbert joined forces with members of the Buck Clayton Legacy Band to explore, in a series of concerts and talks, the jazz repertoire of Peggy Lee. In July 2012, she performed, with BBC Radio 3 DJ Max Reinhardt and Paris-based singer China Moses, in a revue by Alex Webb which told the story of Café Society, New York's first non-segregated nightclub. The show had a London Jazz Festival premiere at the Southbank Centre and a successful run at Kilburn's Tricycle Theatre.

In 2014, she collaborated with artist Mel Brimfield in presenting The Palace That Joan Built, a celebration of the centenary of Joan Littlewood's birth, as part of the London Underground's Art on the Underground programme. This included a live performance at Stratford Underground station.

In 2015, as part of the London Sinfonietta’s Notes to the New Government concert, which expressed composers' hopes for the future of society following Britain's general election, she performed a new song, "Tick Tock", described by The Guardian as "gloriously done, inveigh[ing] against educational conformity". In January 2016 she and Frances Ruffelle performed a cabaret piece when Charles, Prince of Wales and Camilla, Duchess of Cornwall visited Wilton's Music Hall.

In autumn 2017 she and her band previewed a new touring show and forthcoming album, Letters I Haven't Written.

Broadcasts
Gwyneth Herbert talked to Claire Martin about her album Bittersweet and Blue on BBC Radio 3's Jazz Line-Up on 12 February 2005 and was interviewed about her career on BBC Radio 4's Woman's Hour on 28 November 2007. On 13 December 2013, with Frances Ruffelle, Isy Suttie and Neil Marcus, she talked with Tom Service on his BBC Radio 3 programme Music Matters about the development of musical theatre and The A–Z of Mrs P.

On 1 February 2008, in a broadcast for BBC Radio 3's Jazz Library, she joined the programme's presenter Alyn Shipton to discuss the recordings of Ella Fitzgerald. On 23 March 2008 she joined Alyn Shipton to select the best albums from singer Anita O'Day's discography. On 23 October 2011, in another broadcast for Jazz Library, subsequently made available as a podcast, she joined Shipton to identify the best work of the saxophonist and singer Louis Jordan. On 22 March 2014 she picked, with Shipton, the essential recordings of Dinah Washington.

In 2010, 2011 and 2013 she and Thomas Guthrie sang in The Playlist, a series of BBC Radio 4 broadcasts recreating the previously unknown musical lives of famous figures from the past, discovering and recording their favourite songs – including songs they themselves had composed.

Recordings
Gwyneth Herbert has appeared on other artists' albums. She is featured on the track "A Day In The Life Of A Fool" on Konishi Yasuharu's 2011 album One and Ten Very Sad Songs – Konishi Yasuharu Is Pizzicato One (Universal Music). She provided "vocal theremin" on the track "C.H.A.O.S. (The Third version)" on Bourgeois & Maurice's 2013 album The Third. She also produced this track and three others on the album, co-producing a fifth track with Ben Humphreys. She was a vocalist on Dave Price's original soundtrack digital album for The Roof, which was performed by London's Fuel Theatre during 2014.

On Janette Mason's 2014 album D'Ranged she took lead vocals on two tracks – the Alison Moyet song "This House" and Paul Weller's "You Do Something To Me". London Jazz News described the treatment of Paul Weller's song, with Herbert accompanied only by Mason's piano, as "a haunting and affecting performance".

She performed songs on the 2004 album The Music of BB Cooper: Featuring the Best in British Vocal Jazz and the 2022 album Heart of Mine: Songs of Ross Lorraine.

Production
Herbert is also a record producer. She produced Frances Ruffelle's album, I Say Yeh-Yeh, released on 9 October 2015 and provided musical arrangements for Ruffelle's shows in New York City in 2017 and 2019, which she co-created, Frances Ruffelle Live(S) in New York!

Performance
Gwyneth Herbert has been described as a "sophisticated jazz-ballad artist" with a "precociously powerful chemistry of taste and meticulous care for every sound – from a whisper to an exhortation" and "a voice that can effortlessly render any emotion with commanding ease".

Personal life
Gwyneth Herbert lives in Weston-super-Mare, Somerset.

title: Gwyneth Herbert


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Talk:Public Company Accounting Oversight Board

[Untitled]
I'm missing the critics about the PCAOB and their accounting standard 2 (AS 2) which led to the AS5 in 2007 213.214.35.16 21:31, 30 September 2007 (UTC)

 * That's a criticism of AS2, not of the PCAOB. Epstein's Mother 07:41, 1 October 2007 (UTC)

Salary information is out of date
http://www.cfo.com/article.cfm/10327975

"Atkins' sticking point is the 3.3 percent increase in the PCAOB board members' salaries, which he called "disproportionately high." The increases will raise chairman Mark Olson's pay by $21,000 to $654,406 and each of the other board members by $17,000 to $531,995." —Preceding unsigned comment added by 173.24.27.68 (talk) 20:20, 18 May 2009 (UTC)

Supreme Court
I added information about the case in the Supreme Court, as it is scheduled for argument in two weeks. When someone gets around to writing the article about the case, the long quotation of issues presented should be moved to that article. I note that the respondents' merits briefs address an additional question: whether the petitioners' failure to follow the review procedure set out in the statute leaves the court without jurisdiction to hear the appeal (see PCAOB's merits brief and the SG's brief). 121a0012 (talk) 07:51, 28 November 2009 (UTC)

 * Now see also Lyle Denniston's preview at SCOTUSblog. 121a0012 (talk) 02:41, 4 December 2009 (UTC)

First chairman?
"The PCAOB's first Chairman was...William J. McDonough" - really? Even though he was not there long enough to do anything, WHW surely has this title? Snori (talk) 08:16, 28 October 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Public Company Accounting Oversight Board. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20091006063003/http://origin.www.supremecourtus.gov:80/docket/08-861.htm to http://origin.www.supremecourtus.gov/docket/08-861.htm

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text: User talk:84.63.32.87

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text: Category:Administrators of the Office of Information and Regulatory Affairs


text: User talk:24.227.19.210

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Eugen Bolz

Eugen Anton Bolz (15 December 1881 – 23 January 1945) was a German politician and a member of the resistance to the Nazi régime.

Life
Born in Rottenburg am Neckar, Bolz was his parents' twelfth child. His father Joseph Bolz was a salesman. His mother was Maria Theresia Bolz (née Huber). He married Maria Hoeness from Ulm in 1920 and they had one daughter. Through his wife's family, Bolz was the uncle of Cardinal Paul Augustin Mayer (1911–2010).

Career
Bolz took his Abitur in 1900 at the Karls-Gymnasium in Stuttgart. He was involved in the Windthorstbund, the youth organization of the Centre Party.

From 1900, he studied law at the University of Tübingen and at the universities of Bonn (1901) and Berlin (1901–02). He became a member of the Catholic student associations AV Guestfalia Tübingen, the KDStV Bavaria Bonn and the KAV Suevia Berlin, all in the CV. At the KAV Suevia Berlin he met the centre politician Felix Porsch who caused him to become a politician after graduation. In 1902, he continued his studies in Tübingen and graduated in 1905 from the first state examination. He then completed the traineeship in Rottenburg, Ravensburg and Stuttgart. After Bolz had passed second state examination in 1909, he worked as a laborer at the prosecution of Ulm. From 1911 to 1914, he worked as an assessor at the Stuttgart prosecution. During World War I he served as lieutenant in the Western Front in Alsace. Not long after finishing his studies in Bonn and Berlin, he latched onto politics as a career and joined the Centre Party, which he represented in the Reichstag from 1912 to 1933, and from 1915 to 1933, also in the Württemberg Landtag. In Württemberg, he became Justice Minister in 1919 and Interior Minister in 1923.

At the time when the National Socialists seized power in 1933, Bolz was Württemberg's Staatspräsident – the first Catholic to hold the position in predominantly Protestant Württemberg – and also Interior Minister. Since he was an adherent of Catholic social teaching, which made no secret of its loathing for the Nazis, it was no surprise that Bolz was one of the new régime's greatest opponents. Owing to this, he was forced from office early in 1933 and wound up spending several weeks in Hohenasperg Prison. Led by the party whip, Bolz's party approved the new Ermächtigungsgesetz ("Enabling Act") on 23 March 1933, even though it weighed heavily on their conscience.

After being released from the concentration camp, Bolz moved back to Beuron, near Ulm. There, he forswore politics for a while, busying himself mainly with economic issues, papal social encyclicals, and Catholic Action. During this time of involuntary retirement, he sometimes did work as a tax advisor, and he always knew that the Gestapo were watching him.

In late 1941 and early 1942, he came into contact with the resistance circle about Carl Friedrich Goerdeler. Bolz readily declared that he would like to take over a ministerial post in the new government after Hitler was overthrown. Goerdeler put him down as Culture Minister in the cabinet that he foresaw having to put together. Among other things, this would have meant that Bolz would be taking Goebbels's place.

However, on 20 July 1944, Goerdeler's plan fell apart when Claus von Stauffenberg's attempt to kill Hitler at the Wolf's Lair in East Prussia failed. Bolz was arrested on 12 August 1944, and on 21 December, he was sentenced to death at the German "People's Court" (Volksgerichtshof). He was beheaded at Plötzensee Prison in Berlin on 23 January 1945. There is a memorial to Eugen Bolz in the form of a bronze plaque at the house where he was born, at Königstraße 53 in Rottenburg am Neckar. It bears, among other things, the Latin inscription "TIMOR DOMINI INITIUM SAPIENTIAE" — "The fear of the Lord is the beginning of wisdom". The grammar school that he went to is now called the Eugen-Bolz-Gymnasium. A Catholic private school in Bad Waldsee and a Realschule in Ellwangen – both in Baden-Württemberg – are also named for him. One of the sitting rooms at the Baden-Württemberg Landtag is named after him. In downtown Stuttgart, at the Königsbau, stands a monument to Eugen Bolz. In 2004, a new bell at the church where Bolz was baptized, St. Moriz in Rottenburg am Neckar, was named after him. Many other buildings, streets and squares in Germany are likewise connected with the name Eugen Bolz.

Eugen Bolz Study Endowment
Since 1994, there has been an "Eugen Bolz Study Endowment" (Studienstiftung Eugen Bolz). This endowment is for study and education, and is closely associated with the Cartellverband der katholischen deutschen Studentenverbindungen (CV). It affords students an education in democracy and civics.

Quotes

 * "Politics is nothing other than practically applied religion."
 * "Given the Nazis' reign of terror, I demanded that God's law stand above state law."

Literature

 * Christentum und Politik. Dokumente des Widerstands by Joachim Köhler, 1996 Thorbecke-Verlag Sigmaringen, ISBN 3-7995-4083-0
 * Eugen Bolz und die Krise des politischen Katholizismus in der Weimarer Republik by Joachim Sailer, bibliotheca academica Verlag, ISBN 3-928471-09-0
 * "Eugen Bolz (1881–1945)" by Rudolf Morsey, in: Jürgen Aretz / Anton Rauscher (Hg.), Zeitgeschichte in Lebensbildern, Bd. 5, Mainz 1982
 * "Eugen Bolz. Württembergischer Minister und Staatspräsident" by Joachim Köhler, in: Michael Bosch / Wolfgang Niess (Hg.), Der Widerstand im deutschen Südwesten 1933–1945, Stuttgart 1984
 * Eugen Bolz by Max Miller, 1951 Schwabenverlag
 * Staatspräsident Dr. Eugen Bolz als Mann u. Staatsmann by Alois Dangelmaier, 1948 Schwabenverlag
 * Leben und Martyrium unseres Staatspräsidenten Dr. Eugen Bolz by Wilhelm Kohler, 1947 Ackermann Verlag
 * Helmut Moll, (Hrsg. im Auftrag der Deutschen Bischofskonferenz), Zeugen für Chritus. Das deutsche Martyrologium des 20. Jahrhunderts, 6. erweiterte und neu strukturierte Auflage, Paderborn u.a. 2015, ISBN 978-3-506-78080-5, Band I, 659–663.
 * Frank Raberg: Eugen Bolz. Zwischen Pflicht und Widerstand. DRW-Verlag Weinbrenner, Leinfelden-Echterdingen 2009, ISBN 3-87181-716-3.
 * Joachim Sailer: Eugen Bolz und die Krise des politischen Katholizismus in der Weimarer Republik. bibliotheca academica Verlag, Tübingen 1994, ISBN 3-928471-09-0.
 * Joachim Sailer: Eugen Bolz und die Krise des politischen Katholizismus in der Weimarer Republik. bibliotheca academica Verlag, Tübingen 1994, ISBN 3-928471-09-0.

title: Eugen Bolz


text: Category:Airports in Costa Rica

title: Category:Airports in Costa Rica