text:
Royal Cambodian Armed Forces

The Royal Cambodian Armed Forces (RCAF; កងយោធពលខេមរភូមិន្ទ, ខ.ភ.ម, UNGEGN: Kâng Yoŭthôpôl Khémôrôphumĭnt, K.P.M, ALA-LC: Kang Yodhabal Khemarabhūmind, K.B.M) is Cambodia's national military force. The Supreme Commander-in-Chief is King Norodom Sihamoni. Since 2018, General Vong Pisen has been the Commander-in-Chief of the RCAF as head of the Army, Navy, Air Force and the Gendarmerie. The armed forces operate under the jurisdiction of the Ministry of National Defence. Under the country's constitution, the RCAF is charged with protecting the sovereignty and territorial integrity of the Kingdom of Cambodia.

It was created in 1993 by a merger of the Cambodian People's Armed Forces (CPAF) and the National Army of Democratic Kampuchea (NADK) which included the Khmer Rouge, the Khmer People's National Liberation Front (KPNLF) and the National United Front for an Independent, Neutral, Peaceful and Cooperative Cambodia (Front uni national pour un Cambodge indépendant, neutre, pacifique, et coopératif, FUNCINPEC). The forerunner of the CPAF was the Kampuchean People's Revolutionary Armed Forces (KPRAF), established in 1979 with support from the People's Army of Vietnam (PAVN).

Royal Cambodian Armed Forces (RCAF)
The RCAF was established in 1993 after the democratic election of a government consisting of two prime ministers. The armed forces of all parties except the NADK were integrated into a national armed force.

To resolve security problems, the government began a "Win-Win policy" in mid-1995 of national reconciliation and unity efforts under the Monarchy of Cambodia. Defections of NADK units began in early 1996 up until the death of Pol Pot in 1998.

Branches
The RCAF has four branches: the Royal Cambodian Army, the Royal Cambodian Navy, the Royal Cambodian Air Force and the Royal Gendarmerie of Cambodia.

The Royal Cambodian Army (RCA) is the largest RCAF branch, with troops stationed in each of the country's 25 provinces. The Royal Cambodian Navy (RCN), the second-largest branch and operates in the Gulf of Thailand, along the Mekong and Bassac rivers and in the Tonlé Sap lake. The Royal Cambodian Air Force (RCAF), the smallest service branch with 5,000 members, operates in every province which has an airport. The Royal Gendarmerie is the national gendarmerie force of the Kingdom of Cambodia. It is a branch of the RCAF and it is responsible for the maintenance of public order and internal security. It has a strength of 30,000 members deployed in all provinces.

title: Royal Cambodian Armed Forces


text:
CBOT

CBOT may refer to:

 * CBOT-DT, a television station (channel 4.1, digital UHF 25) licensed to serve Ottawa, Ontario, Canada
 * CBot (programming language), a programming language, used in Colobot games
 * Chicago Board of Trade, futures and options exchange in Chicago, Illinois, USA

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

title: CBOT


text:
Pantherinae

The Pantherinae is a subfamily of the Felidae; it was named and first described by Reginald Innes Pocock in 1917 as only including the Panthera species, but later also came to include the clouded leopards (genus Neofelis). The Pantherinae genetically diverged from a common ancestor between and.

Characteristics
Pantherinae species are characterised by an imperfectly ossified hyoid bone with elastic tendons that enable their larynx to be mobile. They have a flat rhinarium that only barely reaches the dorsal side of the nose. The area between the nostrils is narrow, and not extended sidewards as in the Felinae.

The Panthera species have a single, rounded, vocal fold with a thick mucosal lining, a large vocalis muscle, and a large cricothyroid muscle with long and narrow membranes. A vocal fold that is longer than 19 mm enables all but the snow leopard among them to roar, as it has shorter vocal folds of 9 mm that provide a lower resistance to airflow; this distinction was one reason it was proposed to be retained in the genus Uncia.

Evolution
The Felidae originated in Central Asia in the Late Miocene; the subfamily Pantherinae diverged from the Felidae between and. Several fossil Panthera species were described: An additional fossil genus Leontoceryx was described in 1938.
 * Panthera blytheae is possibly the oldest known species of Panthera that lived during the Early Pliocene, though its possible latest Miocene specimens and its taxonomic placement within the genus Panthera are questioned, probably belonging to a different genus and subfamily of felids.
 * Panthera palaeosinensis lived in the Early Pleistocene around two million years ago in northern East Asia.
 * Panthera zdanskyi is dated to.
 * Panthera gombaszoegensis lived from about in Europe.
 * Panthera youngi lived in the Pleistocene about in China.
 * Panthera spelaea lived in Europe after the third Cromerian interglacial stage from about 450,000 to 14,000 years ago.
 * Panthera atrox lived in North America during the Pleistocene and early Holocene about 340,000 to 11,000 years ago.
 * Panthera shawi was a lion-like cat in South Africa that possibly lived in the early Pleistocene.
 * Panthera balamoides lived in the Yucatan Peninsula in Mexico, during the Pleistocene.

There is evidence of distinct markers for the mitochondrial genome for Felidae.

Results of a DNA-based study indicate that the tiger (Panthera tigris) branched off first, followed by the jaguar (P. onca), the lion (P. leo), then the leopard (P. pardus) and snow leopard (P. uncia).

Felis pamiri, formerly referred to as Metailurus, is now considered a probable relative of extant Pantherinae and was moved to the genus Miopanthera.

Taxonomy
Pocock originally defined the Pantherinae as comprising the genera Panthera and Uncia. Today, Uncia has been subsumed into Panthera, and the genus Neofelis is also included.

Living genera
The following table shows the extant taxa within the Pantherinae, grouped according to the traditional phenotypical classification.

title: Pantherinae


text:
Mr. Bill's Real Life Adventures

Mr. Bill's Real Life Adventures is a 1986 comedy television film written by Walter Williams and directed by Jim Drake. The film was based on the "Mr. Bill" skits from the television show Saturday Night Live. Mr. Bill's Real Life Adventures premiered on the Showtime cable television network in the United States on September 11, 1986.

Synopsis
An attempt to bring the "Mr. Bill" clay characters to "life" in a sitcom format, this Showtime special featured Mr. Bill (Peter Scolari), his wife (Valerie Mahaffey) and son (Christopher Burton), as well as his next-door neighbor, Sluggo (Michael McManus), his wife (Lenore Kasdorf) and daughter (Hope Tibbetts). Although starring actors, the "Bills" were shown to be a "miniature" family, with many of the jokes revolving around the characters' small size and the challenges they faced living in a "large" human world, as well as scenarios where Mr. Bill is subjected to the various abusive situations the original Saturday Night Live character was best known for. However, in this film Sluggo is depicted more of a nuisance towards Mr. Bill than a threat. Although the audience was invited to "look out for more shows" at the end of the 43-minute film, no follow-up "Mr. Bill" shows were ever produced.

Cast

 * Peter Scolari - Mr. Bill
 * Valerie Mahaffey - Mrs. Bill
 * Christopher Burton - Billy
 * Michael McManus - Sluggo
 * Lenore Kasdorf - Mrs. Sluggo
 * Hope Tibbetts - Junior
 * Shelley Duvall - Herself

title: Mr. Bill's Real Life Adventures


text:
Grey Poupon

Grey Poupon is a brand of Dijon mustard which originated in Dijon, France, in 1866.

The U.S. rights to the brand were acquired by the Heublein Company in 1946, later passing on to Kraft Foods. Grey Poupon became popular in the United States in the late 1970s and 1980s as American tastes broadened from conventional American yellow mustards, aided in large part by a memorable advertising campaign emphasizing the product's association with luxury.

Like other Dijon mustards, Grey Poupon contains a small amount of white wine. The American version is made with brown mustard seed grown in Canada.

History

Dijon, France, Mustard-maker Maurice Grey (b. Urcy, France, 1816; d. 1897), was awarded a Royal Appointment in 1860 for developing a machine that dramatically increased the speed of manufacture. In 1866 he received financing for putting it into use by partnering with fellow Dijon moutardier, Auguste Poupon, birthing Grey-Poupon.

In 1946, the Heublein Company bought the American rights from the original company.

André Ricard, bought the popular Marseilles brand Maille. In 1970, the directors of Grey Poupon and Ricard formed a conglomerate called S.E.G.M.A. Maille. Soon afterwards, the new company decided to phase out the Grey Poupon label in France.

In America, R. J. Reynolds Tobacco Company acquired Heublein in 1982 and merged it with Nabisco in 1985 to form RJR Nabisco. In 1999, Kraft Foods acquired Nabisco, including the Grey Poupon brand.

In 2000, Amora-Maille was acquired by Unilever and UK trademark rights to Grey Poupon were assumed by it until 2005 when the rights were sold to G Costa & Company Limited, a subsidiary of Associated British Foods. In 2008, Associated British Foods folded G Costa into AB World Foods.

Grey Poupon Dijon and wholegrain mustard are still produced in France for the European markets. Production of Grey Poupon for the American market moved from Pennsylvania to Holland, Michigan, following Kraft Heinz's expansion of its 120-year-old production facility there.

Advertising
Heublein increased the visibility and name recognition of their mustard brand with a 1981 commercial pointing out that "one can enjoy the finer things of life with white wine mustard without paying high prices", in which a Rolls-Royce pulls up alongside another Rolls-Royce, and a passenger in one asks "Pardon me, would you have any Grey Poupon?" The other responds, "But of course!", followed by the jar of Grey Poupon being passed between the vehicles. In one variation, the characters are on the Orient Express.

The commercial spawned a number of variations, often comedic; a 1991 version features Ian Richardson asking Paul Eddington if he has any Grey Poupon, to which Eddington replies, "But of course", then motions for his driver to speed away. It is implied that they are playing the roles of the fictitious British Prime Ministers Francis Urquhart (from House of Cards) and Jim Hacker (from Yes, Prime Minister), respectively. Another commercial included the introduction of a plastic squeeze bottle, wherein the bottle makes a flatulent noise, much to the mortification of the driver.

The advertising campaign helped solidify Grey Poupon's status as a product associated with the wealthy; in 1992, Grey Poupon had the strongest correlation between a person's income and whether or not they used the product.

In 2013, Grey Poupon created a new advertisement, playing upon the 1980s commercial, an action movie spoof where the driver who took the Grey Poupon jar (played by British actor Frazer Douglas) is chased down by the mustard's original owner (played by American actor Rod McCary). The spot was nominated for an Emmy for best commercial.

Brand extensions
In 2007, Kraft introduced three new specialty mustards under the Grey Poupon brand: a coarse-ground mustard with whole mustard seeds, a spicy brown mustard with diced yellow onions, and a honey mustard with clover honey and spices. Only the coarse ground version remains in production.

In popular culture
The "Pardon me, would you have any Grey Poupon?" commercials have been parodied in many films and TV shows.

In her semi-autobiographical 1983 novel Heartburn, Nora Ephron's protagonist describes the recipe for an ideal vinaigrette as "mix two tablespoons of Grey Poupon mustard with two tablespoons good red wine vinegar. Then, whisking constantly with a fork, slowly add six tablespoons olive oil, until the vinaigrette is thick and creamy; this makes a very strong vinaigrette that is perfect for salad greens like arugula and watercress and endive."

The Grey Poupon name has appeared frequently in hip-hop and rap lyrics since 1992.

title: Grey Poupon


text: User talk:67.171.66.189

title: User talk:67.171.66.189


text:
Talk:Crash Holly

Wrestlinglover's feed back
Yeah, I'm sorry I put this off again. I went and did nothing but think about what I was going to do. Then I noticed it was 3 am. Eventually this will get done. I'm going to do the lead right now.-- Will C  07:19, 11 October 2008 (UTC)

 * Online World of Wrestling isn't known as a reliable source. Are we sure anything is reliable from it? Maybe you could look through TV.com for his name or IMDB. Maybe even IGN. Just helping with a source since in Sacrifice's GA review I had to change the Online World of Wresting references.
 * As I replied to Nikki, some match results/ring names etc, are allowed but not controversial stuff. I had both Matt Hardy and Jeff Hardy pass with Online World Of Wrestling as a source. BTW, TV.com + IMDb aren't considered reliable. I'll check IGN, but no guarantees. Since he died in 2003, some websites don't have a lot of info on him. ♥ Nici ♥ Vampire ♥ Heart ♥ 14:22, 11 October 2008 (UTC)

 * "Lockwood later joined TNA as "Mad Mikey", but died six months later." to "After his departure from WWE, Lockwood signed with Total Nonstop Action Wrestling (TNA) and debuted as "Mad Mikey", however died six months into his run." To get rid of the "later". It is used three times in two sentences. You can screw with my sentence. It is just a rough draft.
 * ✅ ♥ Nici ♥ Vampire ♥ Heart ♥ 14:22, 11 October 2008 (UTC)

I'll do more tomorrow. Over the spanned of a month at the rate I'm moving. You'll understand Sunday morning why I do not have much time.-- Will C  07:19, 11 October 2008 (UTC)
 * No rush. Thanks for this! ♥ Nici ♥ Vampire ♥ Heart ♥ 14:22, 11 October 2008 (UTC)
 * Better late than never I guess. Here is the rest of my feed back.-- Will C  20:49, 27 October 2008 (UTC)

 * Professional wrestling career
 * Early career
 * "After viewing a tape of a match between O'Grady and Michael Modest, Extreme Championship Wrestling (ECW) employee Taz contacted Lockwood about joining ECW, and Lockwood had a brief stint there." -- I have a problem with the "And Lockdown had a brief stint there." I feel that can either be cut into a new sentence or reworded to not sounds so, I don't know, weird. I would suggest "joining ECW; Lockdown agreed and spent a brief time there." That is off the top of my head I just think it needs rewording.-- Will C  20:49, 27 October 2008 (UTC)
 * ✅ ♥ Nici ♥ Vampire ♥ Heart ♥ 14:17, 28 October 2008 (UTC)

 * Is it true that "co-ordinator" has a "-". Just wondering. I did not know that. You learn something new everyday.-- Will C  20:49, 27 October 2008 (UTC)
 * I believe so. I've always written it that way. ♥ Nici ♥ Vampire ♥ Heart ♥ 14:10, 28 October 2008 (UTC)
 * I looked it up, Co-ordinator does not have a hypen. "Coordinator"-- Will C  18:54, 28 October 2008 (UTC)
 * Alright, ✅ ♥ Nici ♥ Vampire ♥ Heart ♥ 19:50, 28 October 2008 (UTC)

 * World Wrestling Federation/Entertainment
 * Holly Cousins and Hardcore Champion (1999–2001)
 * "Lockwood debuted as Crash Holly, the on-screen cousin of Bob "Hardcore" Holly, on World Wrestling Federation WWF television on the August 16, 1999, edition of Raw is War." -- I see redundancy. Plus it should be episode and not edition. I've had to learn that the hard way. Everyone telling me edition then episode.-- Will C  20:49, 27 October 2008 (UTC)

 * ", with Hardcore frequently threatening Holly." -- Maybe instead of referring to one of them as Holly, just go by the first name. ", with Bob frequently threatening Crash." Just in case of confusion.-- Will C  20:49, 27 October 2008 (UTC)
 * No, this is how it's supposed to be. I had npo problems doing it this way on Matt and Jeff Hardy. ♥ Nici ♥ Vampire ♥ Heart ♥ 20:53, 27 October 2008 (UTC)

 * ", made his pay-per-view debut at SummerSlam," -- Explain what SummerSlam is. At WWF's August pay-per-view SummerSlam. Also explain what a Tag Team Turmoil match is.-- Will C  20:49, 27 October 2008 (UTC)
 * "Made his pay-per-view debut at WWF's August pay-per-vew SummerSlam" is redundant. Have reworded the sentence though. ♥ Nici ♥ Vampire ♥ Heart ♥ 14:17, 28 October 2008 (UTC)
 * ✅ ♥ Nici ♥ Vampire ♥ Heart ♥ 14:32, 28 October 2008 (UTC)

 * I've also noticed you don't really have this article out of universe that much. Like you have the ring names instead of the real names.-- Will C  20:49, 27 October 2008 (UTC)
 * Are you sure that's a requirement for bios? I thought that was just PPV articles. But, whatever. ✅ ♥ Nici ♥ Vampire ♥ Heart ♥ 14:32, 28 October 2008 (UTC)
 * The decision was meant for all articles. PPV, bios, and promotion articles. No article should in universe now. The decision technically got added to bios since I did that with Gail Kim. When she was the COTW, I took her partly out of universe. Nikki thought it was a good idea and said that all articles should be out of universe. Everyone agreed. Blame me, sorry.-- Will C  18:54, 28 October 2008 (UTC)

 * "On March 18, 2001, on Heat," to "On the March 18, 2001 episode of Heat," -- IT seems kind of weird with two ons.-- Will C  20:49, 27 October 2008 (UTC)
 * I disagree. If I keep saying "on the __ episode of __" then it'll get redundant. The way it is now is fine to me. ♥ Nici ♥ Vampire ♥ Heart ♥ 14:17, 28 October 2008 (UTC)

 * SmackDown! (2002–2003)
 * "When the WWF was renamed World Wrestling Entertainment and then divided into two "brands"," -- I would explain what the brand extension is.-- Will C  20:49, 27 October 2008 (UTC)
 * ✅ ♥ Nici ♥ Vampire ♥ Heart ♥ 14:34, 28 October 2008 (UTC)

 * After WWE
 * What is an "offshoot"?-- Will C  20:49, 27 October 2008 (UTC)
 * No idea, so I removed it. ♥ Nici ♥ Vampire ♥ Heart ♥ 14:32, 28 October 2008 (UTC)

 * Death
 * "He was buried in China Grove in Rowan County, North Carolina." -- Can you find the date he was buried? It seems important to me.-- Will C  20:49, 27 October 2008 (UTC)
 * I can't find the date of his funeral anywhere. ♥ Nici ♥ Vampire ♥ Heart ♥ 14:39, 28 October 2008 (UTC)
 * Okay that is all the problems I see besides it needs to be taken out of universe which shouldn't be too hard since you aren't greatly into in-universe country. Also all editions need to be changed to episode and pay-per-views need to be explained.-- Will C  20:49, 27 October 2008 (UTC)
 * Cool, I'll get to it later. Thanks man. ♥ Nici ♥ Vampire ♥ Heart ♥ 14:17, 28 October 2008 (UTC)
 * All done, as far as I can see. Thanks, dude. Much appreciated. ♥ Nici ♥ Vampire ♥ Heart ♥ 14:43, 28 October 2008 (UTC)
 * No problem, if you would like anymore on anything just give me a heads up.-- Will C  18:54, 28 October 2008 (UTC)

GA1
— Preceding unsigned comment added by NJA (talk • contribs) 20:41, 15 November 2008 (UTC)

Reliable Sources Needed for Death Info
This article needs better sourcing for the gruesome details of Lockwood's death. The linked USA Today article only indicates that his death was ruled a suicide. The other details come from "Wrestleview.com," which does not appear to meet the criteria of WP:RS since it appears to be a blog/fansite and not a news organization. Given the seriousness of the situation described, reliable sources are needed here. Uncle Dick (talk) 22:24, 14 April 2009 (UTC)

Daughter
Didn't Crash have a daughter named Patricia Lockwood? Just wondering since she should be mentioned on here.(MgTurtle (talk) 03:23, 13 July 2010 (UTC))
 * His daughter is mentioned - albeit briefly - "a portion of the profits from the sale of the DVD went to Lockwood's daughter's education fund". I could find no other info on his daughter, let alone info in reliable sources to add to the article. ♥ Nici ♥ Vampire ♥ Heart ♥ 13:18, 17 July 2010 (UTC)

 * Yes, he has a daughter. I believe I am a reliable source, being that I am his niece. Lockwood later had a relationship with a woman that resulted in Patricia. I am the daughter of that woman's brother and the cousin of Patty.
 * I think you're telling the truth, but Wikipedia relies on a different sort of "reliable source". We can't cite you for anything in the article, but this is useful for readers who read the talk page. Thanks. InedibleHulk (talk) 08:23, 11 July 2016 (UTC)

Requested Move

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

The result of the proposal was moved. --BDD (talk) 17:02, 10 July 2013 (UTC)

Mike Lockwood → Crash Holly – Lockwood achieved most of his success under the Crash Holly moniker and received most exposure by that name. LM2000 (talk) 18:23, 3 July 2013 (UTC)

Survey

 * Support, clearly the most common name. McPhail (talk) 19:40, 3 July 2013 (UTC)
 * Support Unlike his hardcore cousin Bob, "Crash" was treated as a first name in the WWF, and no other was acknowledged. InedibleHulk (talk) 01:53, 4 July 2013 (UTC)
 * Support - The clear commonname of the subject.  STATic  message me!  05:37, 5 July 2013 (UTC)
 * Weak support. While most of his success certainly came as Crash Holly, he's had a fairly short career anyway, and he has been known under different names. It's a difficult one to call for me, as he's certainly best known as Crash (which I suppose WP:COMMONNAME applies to), but he also had such a short career – including one with different promotions – that a convincing argument could be made to keep it as it is. As such, I'm giving weak support, but would be willing to change it to an oppose if a good enough case is made. —  Richard  BB  08:57, 5 July 2013 (UTC)

Discussion

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

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text:
List of colleges in Canada

This is a list of colleges in Canada. Colleges are distinct from universities in Canada as they are typically not degree-granting institutions, though some may be enabled by provincial legislation to grant degrees using joint programs with universities or by permission of the provincial Minister of Education.

Alberta

 * ABM College of Health and Technology
 * Ambrose University College
 * Bay River College
 * Bow Valley College
 * Grande Prairie Regional College
 * Keyano College
 * The King's University College
 * Lakeland College
 * Lethbridge College
 * MaKami College
 * Medicine Hat College
 * NorQuest College
 * Northern Alberta Institute of Technology
 * Olds College
 * Prairie College
 * Red Crow Community College
 * Red Deer Polytechnic
 * Reeves College
 * Robertson College
 * Southern Alberta Institute of Technology
 * Sundance College

British Columbia

 * Acsenda School of Management

 * Alexander College
 * British Columbia Institute of Technology
 * Cambria College
 * Camosun College
 * Coast Mountain College
 * College of New Caledonia
 * College of the Rockies
 * Columbia College
 * Cornerstone International Community College of Canada
 * Create Career College
 * Douglas College
 * Educacentre College (French language institution)
 * Eton College, Vancouver
 * First College
 * Langara College
 * North Island College
 * Northern Lights College
 * Okanagan College
 * Selkirk College
 * Sprott Shaw College
 * Vancouver Community College
 * Vancouver Institute of Media Arts (VanArts)

Manitoba

 * Assiniboine Community College
 * Booth University College
 * Manitoba Institute of Trades and Technology
 * Menno Simons College
 * Providence University College and Theological Seminary
 * Red River College
 * Robertson College
 * St. Andrew's College
 * St. John's College
 * St. Paul's College
 * Steinbach Bible College
 * Sundance College Winnipeg
 * École technique et professionnelle (operated under the Université de Saint-Boniface)
 * University College of the North
 * Yellowquill University College

New Brunswick

 * Collège communautaire du Nouveau-Brunswick
 * Maritime College of Forest Technology
 * McKenzie College
 * New Brunswick College of Craft and Design
 * New Brunswick Community College
 * Oulton College

Newfoundland and Labrador

 * College of the North Atlantic

Northwest Territories

 * Aurora College
 * Collège nordique francophone

Nova Scotia

 * Canadian Coast Guard College
 * Gaelic College
 * Nova Scotia Community College

Nunavut

 * Nunavut Arctic College

Ontario

 * Algonquin College
 * Cambrian College
 * Canadore College
 * Centennial College
 * Collège Boréal
 * Conestoga College
 * Confederation College
 * Durham College
 * Fanshawe College
 * Fleming College
 * George Brown College
 * Georgian College
 * Humber College
 * La Cité collégiale
 * Lambton College
 * Loyalist College
 * Mohawk College
 * Niagara College
 * Northern College
 * St. Clair College
 * St. Lawrence College
 * Sault College
 * Seneca College
 * Sheridan College

Prince Edward Island

 * Collège de l'Île
 * Holland College

Quebec
Public institutions • Cégep André-Laurendeau, LaSalle, Montreal

• Cégep Beauce-Appalaches, Saint-Georges

• Cégep de Baie-Comeau, Baie-Comeau

• Cégep de Chicoutimi, Chicoutimi, Saguenay

• Cégep de Drummondville, Drummondville

• Cégep de Granby-Haute-Yamaska, Granby

• Cégep de Jonquière, Jonquière, Saguenay

• Cégep de la Gaspésie et des Îles, Gaspé

• Cégep de La Pocatière, La Pocatière

• Cégep de l'Abitibi-Témiscamingue, Rouyn-Noranda

• Cégep de Lévis-Lauzon, Lévis

• Cégep de l'Outaouais, Hull, Gatineau

• Cégep de Matane, Matane

• Cégep de Rimouski, Rimouski

• Cégep de Rivière-du-Loup, Rivière-du-Loup

• Cégep de Saint-Félicien, Saint-Félicien

• Cégep de Saint-Hyacinthe, Saint-Hyacinthe

• Cégep de Saint-Jean-sur-Richelieu, Saint-Jean-sur-Richelieu

• Cégep de Saint-Jérôme, Saint-Jérôme

• Cégep de Saint-Laurent, Saint-Laurent, Montreal

• Cégep de Sainte-Foy, Sainte-Foy, Quebec City

• Cégep de Sept-Îles, Sept-Îles

• Cégep de Sherbrooke, 2e arrondissement, Sherbrooke

• Cégep de Sorel-Tracy, Sorel-Tracy

• Cégep de Thetford, Thetford Mines

• Cégep de Trois-Rivières, Trois-Rivières

• Cégep de Victoriaville, Victoriaville

• Cégep du Vieux Montréal, Ville-Marie (Quartier Latin), Montreal

• Cégep Édouard-Montpetit, Vieux-Longueuil, Longueuil

• Cégep Limoilou, Limoilou, Quebec City

• Cégep Marie-Victorin, Rivière-des-Prairies, Montreal

• Cégep régional de Lanaudière

• Champlain Regional College

• Collège Ahuntsic, Ahuntsic, Montreal

• Collège Canada, Montreal

• Collège d'Alma, Alma

• Collège de Bois-de-Boulogne, Cartierville, Montreal

• Collège de Maisonneuve, Hochelaga-Maisonneuve, Montreal

• Collège de Rosemont, Rosemont, Montreal

• Collège de Valleyfield, Salaberry-de-Valleyfield

• Collège François-Xavier-Garneau, La Cité, Quebec City

• Collège Gérald-Godin, Sainte-Geneviève, Montreal

• Collège Lionel-Groulx, Sainte-Thérèse

• Collège Montmorency, Laval

• Collège Shawinigan, Shawinigan

• Dawson College, Westmount, Montreal

• Heritage College, Hull, Gatineau

• Herzing College (Downtown), Montreal

• John Abbott College, Sainte-Anne-de-Bellevue, Montreal

• Vanier College, Saint-Laurent, Montreal Private institutions • Collège André-Grasset, including the Institut Grasset, both located in Montreal

• Collège Bart, Quebec City

• Collège International Marie de France, Montreal

• Collège Jean-de-Brébeuf, Montreal

• Collège Laflèche, Trois-Rivières

• Collège Mérici, Quebec City

• Collège O'Sullivan de Québec

• Collège Stanislas, Outremont

• Collegial Sainte-Anne, related to the Collège Sainte-Anne de Lachine, Montreal

• École de musique Vincent d'Indy, Outremont; named after Vincent d'Indy

• National Circus School, Montreal

• LaSalle College, Montreal

• Marianopolis College, Montreal

• O'Sullivan College of Montreal, Montreal

• Séminaire de Sherbrooke, Sherbrooke

• TAV College,  Montreal

• Trebas Institute, Montreal

• M College of Canada, Montreal

Saskatchewan

 * Bethany College, Hepburn
 * Briercrest College and Seminary, Caronport
 * Carlton Trail College, Humboldt
 * Horizon College and Seminary, Saskatoon
 * College Mathieu, Gravelbourg (French language institution)
 * Cumberland College, Nipawin, Tisdale, Melfort and Hudson Bay
 * Eston College, Eston
 * Great Plains College, various locations
 * Lakeland College, Lloydminster
 * Nipawin Bible College, Nipawin
 * North West College, the Battlefords and Meadow Lake
 * Northlands College, La Ronge, Buffalo Narrows and Creighton
 * Parkland College, Melville
 * St Peter's College, Muenster
 * Saskatchewan Indian Institute of Technologies, various
 * Saskatchewan Polytechnic, Moose Jaw, Prince Albert, Regina, Saskatoon
 * Southeast College, Weyburn
 * Western Academy Broadcasting College, Saskatoon

Yukon

 * Yukon School of Visual Arts

title: List of colleges in Canada


text:
File:Jirashin Volume 1 Cover.jpg

Summary
Jiraishin Japanese Manga cover. This is under the copyright of Tsutomo Takahashi and Kodansha.

title: File:Jirashin Volume 1 Cover.jpg


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Talk:Indian-head test pattern

=
==== The reference needed for mentions of "sine wave tone" exists in Wikipedia under Audio, but it doesn't mention "sine wave tone" in particular as part of the test conducted with the test pattern, and that page needs an edit to add that information. ALL analog audio is sine wave; this particular tone spoken of here is 60 Hz which is calibrated with the specifications of the AC power supplied by electric power plants--also federally regulated to be exactly 60 Hz. It's upon that 60Hz calibration that other frequencies used in the broadcast depended on. Also true in radio broadcasting especially when going on emergency power during a power outage. If that 60Hz frequency reference was off, all the others would be as well. — Preceding unsigned comment added by DSLevesque (talk • contribs) 03:48, 5 April 2020 (UTC)

title: Talk:Indian-head test pattern


text:
Talk:John Brown's Body

John Brown wasn't the dead deputy in Bob Marley's "I Shot the Sheriff".

John Brown's Body is also a ska/reggae/jam band.

 * Actually (not that it has anything to do with this article) John Brown was the sheriff, as in "Sheriff John Brown always hated me." 151.205.184.111 14:49, 29 May 2006 (UTC)

I rock
Previous poster: just make a disambiguation page.

I moved this to Wikisource! I Rock!

Mark Steyn Link

 * An article on "John Brown's Body and "The Battle Hymn of the Republic" by Mark Steyn

This link doesn't seem to say anything about this song so I have removed it. If anyone knows where the link should point can they put it back?

—Preceding unsigned comment added by Sijarvis (talk • contribs) 09:46, 30 August 2006 (UTC)

 * Steyn's website used to be updated weekly or thereabouts with different content at the same URLs. (I loathe websites that do that.) However, his website has been redesigned and now has stable URLs. Furthermore, he's recently posted the article about this song, so I've linked to it at the new URL (while doing a larger edit). Cheers, CWC 16:01, 28 May 2007 (UTC)

Missing verses?
So there is a version with one fully worked out verse, like so:

He captured Harper's Ferry with his nineteen men so true, / And he frightened old Virginia till she trembled through and through, / They hung him for a traitor, themselves the traitor crew, / But his soul is marching on!

but the rest of the verses are one liners? This is disappointing, I had encountered the worked out verse in a John Buchan book years ago and thought I had a good idea of what some of the other worked out verses were likely to be. And still, I have to say that a single worked out verse is unlikely, I would still bet that the version given on the site is a degenerated version of a worked out song. I would imagine one verse went something like: ''It was down in bloody Kansas where the slavers rode abroad He was called to be a soldier in the army of the Lord He smote their haughty power with his terrible quick sword And his soul goes marching on. '' Similarly "grave" rhymes with "brave" and "slave"; a fully worked out first verse almost writes itself. If that is obvious to me I doubt it was any less obvious in the 1860s, when verse writing was much more common. I think there must be a lost fully worked out abolitiionist version, probably the original version, revisionist theories about the good-natured Sergeant Brown notwithstanding. ''They hanged John Brown from a sour apple tree As they hanged the Liberator long ago at Calvary He died a holy martyr so that all men would be free And his soul goes marching on! ''

To a Christian hanging immediately suggests the Crucifixion especially hanging from a tree, the cross has been described as a "tree" since the Middle Ages; and if the Christion happens to be also a verse-maker then "hanged from a tree" brings "Calvary" to mind almost automatically, its a good strong rhyme. Like "free", also a natural assocaition in the context. Oh no, I do not think we should be misled by Sergeant Brown. he is a distraction of the nature of "Ned Ludd"

Surely, it must have been something like that. Jeremy (talk) 08:32, 28 December 2007 (UTC)

Revisionism Overempahsised
I'm very unhappy about this page. The revisionist view, on the face of it ridiculous, is given far too much emphasis. Some fact tag are needed. I don't know what tag one puts up for "worthless citation" but I think a few of those are also needed. Jeremy (talk) 09:21, 2 January 2008 (UTC)

Not missing verses after all, and revisionist argument clarified
The full William Weston Patton song from http://www.law.umkc.edu/faculty/projects/ftrials/johnbrown/brownbody.html: John Brown by William W. Patton

Old John Brown’s body lies moldering in the grave, While weep the sons of bondage whom he ventured all to save; But tho he lost his life while struggling for the slave, His soul is marching on.

John Brown was a hero, undaunted, true and brave,/ And Kansas knows his valor when he fought her rights to save;/ Now, tho the grass grows green above his grave,/ His soul is marching on.

He captured Harper’s Ferry, with his nineteen men so few,/ And frightened "Old Virginny" till she trembled thru and thru;/ They hung him for a traitor, themselves the traitor crew,/ But his soul is marching on.

John Brown was John the Baptist of the Christ we are to see,/ Christ who of the bondmen shall the Liberator be,/ And soon thruout the Sunny South the slaves shall all be free,/ For his soul is marching on.

The conflict that he heralded he looks from heaven to view,/ On the army of the Union with its flag red, white and blue./ And heaven shall ring with anthems o’er the deed they mean to do,/ For his soul is marching on.

Ye soldiers of Freedom, then strike, while strike ye may,/ The death blow of oppression in a better time and way,/ For the dawn of old John Brown has brightened into day,/ And his soul is marching on.

I think this song, written October 1861 and published December 1861, should be included on the site. The site I took this from (UMKC School of Law) also gives a simpler version of the song, and links to a pbs site on the history of the song which makes clear that the original teasing of Seageant Brown was indeed about sharing the same name as the abolitionist; the original song was thus by this account at least just as much about the abolitionist as Sergeant Brown. And it is still not clear whether or not the song was pre-existing as commonsense would suggest. Jeremy (talk) 00:31, 6 March 2008 (UTC)

Thomas Bishop
In the The Battle Hymn of the Republic article the song is credited to one Thomas Bishop. Who was this Thomas Bishop? See the following site which asserts that Bishop wrote about the abolitionist, sadly doesn't give his original words: http://www.providenceforum.org/default.aspx?pid=24

"History of the Battle Hymn of the Republic

In Charleston, South Carolina in 1853 a preacher, William Steffe, wrote a hymn, a camp meeting song evangelists called a “good shouter”. It went: “Say brothers will you meet us on Canaan’s happy shore. To watch the Jordan roar.” The melody caught on but the words didn’t. Sailors and soldiers made up their own words to the tune, upsetting Steffe. He had been trying to glorify God in his song and others turned it into a distasteful bar song. He thought himself, and his labor for the Lord, a failure.

Then, a visitor from Vermont, Thomas Bishop picked up the tune while visiting the South. He returned to the North to join an infantry battalion stationed in Boston Harbor, Massachusetts. Soon after, abolitionist John Brown made his attack on Harper’s Ferry in 1859. Bishop decided to dramatize that event in song. He put together a marching song for the Tiger Battalion to the tune Steffe created: “John Brown’s body lies a moulderin’ in the grave. But his soul goes marching on.” Steffe would not have liked it – a Northerner using a melody written by a Southerner to arouse the anti-slave camps in the North....."

etc. This account has its own problems and doesn't immediately strke one as scholarly, but it also doesn't seem to be based on nothing. 203.87.64.23 (talk) 04:16, 12 March 2008 (UTC)

Credible story of how Thomas Brigham Bishop wrote John Brown- source Time 1 July 1935
I found the following in the Time archive: http://www.time.com/time/magazine/article/0,9171,770050,00.html?iid=chix-sphere

It seems to be the true story (it give publishing details of Bishop's song) and also contains the checkable claim that Bishop wote "When Johnny Comes Marching Home". It doesn't cedit Steffe, I'd guess that Bishop's tune was close enough to Steffe's to be assimilated. But that's just a guess. But hey, so much for the revisionist nonsense.. Of course no reason to doubt that the boys did give good-natured Sergeant Brown a hard time.... Jeremy (talk) 02:50, 14 March 2008 (UTC) From the Time article:

"Three-quarters of a century ago in Portland. Maine, a fierce form of religious fervor overtook a hardshelled Yankee named Andrew J. Johnson. Seeking out his young brother-in-law, Johnson accused him of writing songs in league with the Devil and, thrusting out his self-righteous chest, shouted: "I am bound to be a soldier in the army of the Lord! Glory! glory, Hallelujah!" Thomas Brigham Bishop, a farm-boy from the village of Wayne, jokingly set his brother-in-law's tirade to music. As popular as any popular song, Glory, Glory, Hallelujah was sung a few evenings later by Andrew Johnson, soon became the big camp-meeting hymn throughout the State of Maine.

When John Brown was hanged at Charles Town in 1859 for his Harper's Ferry raid, Thomas Brigham Bishop happened to be in nearby Martinsburg. Taking paper & pencil he dashed off the crude verses of John Brown's Body Lies a-Mould' ring in the Grave, set them to the music of his Glory, Glory, Hallelujah. The song was published by John Church of Cincinnati in 1861. Union soldiers, at the outbreak of the Civil War, picked it up as a marching song, added the "Jeff Davis" verse, carried it to Washington. There in 1862 after a great review across the Potomac Julia Ward Howe heard the Federal troopers singing it. Early the next morning, with John Brown's Body running through her mind, she wrote the words of The Battle Hymn of the Republic to Bishop's tune.

Despite the fact that he provided the music for one of the patriotic anthems of all time, the name of Thomas Brigham Bishop has been practically forgotten in the annals of U. S. music. To see that he gets his just due from history is the purpose of an elderly New Yorker named John James MacIntyre, now a publicity man for the Cunard White Star Line, once a struggling songwriter and publisher whom Bishop befriended. This week marks the 100th anniversary of Thomas Bishop's birth. Loyal John MacIntyre refused to let the occasion pass without telling his friend's life-story:

"Down East" in the 1850's the budding songwriter was regarded as a rapscallion. When he might have been brooding over crops, he was strumming a mandolin, playing at country dances, barnstorming in minstrel shows. During the Civil War he commanded a Negro detachment called Company G. One day he heard a dusky private muttering, "Shoo, fly, don't bother me." Thereupon Bishop wrote another song which every soldier sang:

Shoo, fly, don't bother me

I belong to Company G. .. .

After the war the songwriter from Maine plugged on at music. He wrote When Johnny Comes Marching Home, Sweet Evalina, If Your Foot Is Pretty, Show It. He toured for a time as cornetist in Pat Gilmore's Band. Then, when middleaged, his Yankee blood asserted itself and he turned to banking." ....etc

Bhugh's Rewrite
....has immeasurably improved this article. Its still not quite on the money however. If you look at the Library of Congress early manuscripts of the lyrics you will see that they are all close variants, one proudly claims to be the "original" and the others including the only dated one (1861) agree with it apart from small details. This does not agree with situation of free variation and diffuse composition presently described by the article. The "Jeff Davis" verse is said by MacIntyre to be a later addition (and the same would presumably go for the 3 cheers verse), and what is left is consistent as a single conception, ie John Brown has just died and is marching to heaven, to join the heavenly host and become a "soldier in the army of the lord". Consider the "pet lambs" verse, it belongs to this context. A merry funeral song. And this is consistent with the song being written in 1859 when Brown was hanged. And the article at once identifies the Brown tune with the Canaan tune and points out their substantial difference. Can't have it both ways here. I still reckon the Bishop theory is looking good. Jeremy (talk) 01:33, 19 March 2008 (UTC)

 * You can read George Kimball's article here and Annie Randall's here. If you read those, perhaps along with some of the referenced articles in Randall's article, you'll start to have a better idea of the milieu we're talking about here and many of your questions will be answered. You bring up a lot of good points and if the article addresses and explains those issues it will undoubtedly be improved.

 * On the flip side, I'm concerned about accepting the claims about Bishop wholeheartedly, because there do not seem to be any primary documents from anywhere close to the time of the song's composition. They all seem to be 2nd or 3rd hand and from 50 years or more after the song was written.  As Kimball explains (p. 376) all sorts of people stepped forward later on to claim credit and priority.  To advance beyond a mere claim, you really need to have first-hand documentary evidence, not merely a claim that has been repeated in various media outlets many years after the fact.

 * If documentation can be located and included in the article notes then that changes things dramatically. But so far the documentation for the claims made on behalf of Bishop is weak and those claims are not well substantiated at all. Bhugh (talk) 04:24, 21 March 2008 (UTC)

 * "And the article at once identifies the Brown tune with the Canaan tune and points out their substantial difference. Can't have it both ways here." Quite the contrary, no musicologist would say that a slight rhythmic variation to a melody made in order to fit in some extra syllables, makes it a "different melody".  The most you could possibly say is that it is a simple rhythmic variation of the same melody.  One of the neat things about the evolution of the "Glory Hallelujah" tune is that you can see this process at work as you go from the very simple words of "Say, Brothers" through the initial John Brown words, through some of the more complex words.   Each succeeding step adds a few more of those dotted rhythms in order to add in a few more syllables (culminating in the Battle Hymn of the Republic, where pretty much every rhythm has become dotted in order to cram the maximum possible syllables into each line).  But throughout all this, the melodic profile remains amazingly unchanged--the same note comes at the same place on the same beat.  The chorus, of course, remains essentially unchanged in all of these versions, so the interesting effect you arrive at in the Battle Hymn is that the verse and the chorus both have the "same" melody, just with that simple rhythmic variation to allow for the greater/lesser number of words per line in verse vs. chorus. Bhugh (talk) 05:13, 21 March 2008 (UTC)

"If you look at the Library of Congress early manuscripts of the lyrics" --Can you help me out with where you're searching & what search terms at the LOC? Or a link to the some of the interesting results? I'm not finding much there that is helpful, but what you're finding sounds quite interesting. . .  68.92.155.114 (talk) 14:24, 21 March 2008 (UTC)

I used the "Search All Collections" option taking me to http://memory.loc.gov/ammem/browse/ and use John Brown Song and also John Brown's Body (without bracketing)for search terms. I get (all with same lyrics or near enough):

the (undated) version currently referenced on the page: John Brown's original marching song. Tune--Brothers, will you meet me. Johnson, Song Publisher, &c., Phila. [n. d.]IMPRINT Philadelphia, Pennsylvania: J. H. Johnson RELATED NAME(S) Publisher: J. H. Johnson SHELF LOCATION Civil War Song Sheets, Series 1, Volume 2

the only dated one, I think, a version mentioned by Kimball in his account: John Brown. Origin, Fort Warren. Music arranged by C. B. Marsh. Published by C. S. Hall, 256 Main Street, Charleston, Mass. Entered, according to the act of Congress. in the year 1861, By C. S. Hall, in the Clerk's office of the District Court of the District of Massachusetts. Marsh, C. B. IMPRINT Charlestown, Massachusetts: C. S. Hall, 1861 RELATED NAME(S) Publisher: C. S. Hall SHELF LOCATION American Song Sheets, Series 1, Volume 5

one of the undated ones but apaprently contemporary: Glory hally, hallelujah! or The John Brown song! Hip, hip, hip hurrah! ! Published by Horace Partridge, No. 27 Hanover Street, Boston. [n. d.]IMPRINT Horace Partridge RELATED NAME(S) Publisher: Horace Partridge SHELF LOCATION American Song Sheets, Series 1, Volume 3

another undated song, handwritten (with same lyrics) SHELF LOCATION American Song Sheets, Series 1, Volume 5

another undated song from publisher Charles Magnus on the hand-coloured songsheet shelves

another undated one from H De Marsan American Song Sheets, Series 1, Volume 5

published again (several) undated by one J. Wrigley SHELF LOCATION Civil War Song Sheets, Series 1, Volume 2 J. WRIGLEY. Publisher, of Songs, Ballad's, and Toy Books, Conversation, Age, and Small Playing Cards, Alphabet Wood Blocks, Valentines, Motto Vorses, and Cut Paper &c. No. 27 Chatham Street (OPPOSITE CITY HALL PARK) NEW YORK

also a songsheet of the refrain only dated 1861 and a songsheet using the Paston words.

A very stable set of lyrics in other words. I certainly haven't exhausted the resources in the library, including an unrelated new claim by one Frank Jerome to have written the song! I repeat my point about the stability of these accounts of the early lyrics. As for the Bishop claim, I have not found and I guess now won't find online a copy of Bishop's John Church version. But I would suppose it would be reprinted in the MacIntyre book, which is listed on Amazon but no copies presently available. The KImball account was published in the post-reconstruction era, when abolitionist sentiment was a bit of an embarrassment, ins't that right? Jeremy (talk) 06:24, 25 March 2008 (UTC)

Also in the "Guide to the William R. and Louise Fielder Sheet Music Collection" at http://content.cdlib.org/view?docId=tf9870072n&chunk.id=c02-1.8.5.25.3&brand=oac I find the following info: in Box 32 Folder 7 there is a copy of: ''John Brown song, or, Glory hallelujah, with nw and revised words Chicago :Root & Cady, 1861. New York :William Hall & Son, 1861 Also published by Firth, Pond & Co., New York ; Russell & Tolman, Boston ; S. Brainard & Co., Cleveland ; H. N. Hempsted, Milwaukee''. I imagine that is the Paston words again.

Kimball btw gives late May 1861, Boston, as the first appearance of the John Brwon Song songsheets on the streets. He comments that a couple of verses were added at the time of publication. It is interseting to see that there are a number points of clear agreement betwenn Kimball and Bishop despite their major differences: first published 1861, tune from a pre-existing hymn, was a marching song already before printing, at least one verse added after song substantially created, a partially humourous source for the song (in the Bishop story good-natured mockery of his brother-in-law, and of course the joke about Sgt john Brown in the Kimball version). I think the article is able to say that the song appeared in print in 1861. At the moment I have no reference to show that Bishop's version of the words was the same as the common six verse song although common sense suggests they were. When this is shown I think there will be a good case fro strengthening the claims of Bishop. The first 4 verses hang together, they are consistent with Bishop's claim that they were written in 1859 specifically as a response to Brown's hanging. They clearly show Brown on his way to heaven. Kimball's version makes little sense, not saying he was dishonest. Jeremy (talk) 06:05, 27 March 2008 (UTC)

who was "John Brown" in this song?
In the John Brown disambiguation article and in the The Battle Hymn of the Republic article, both make mention that the John Brown in the song is not John Brown (abolitionist). This article, however, doesn't even address the issue of whether it was about anyone else. If it is correct that the song was originally about someone else, it should be mentioned. If, instead, this is a "common myth/misunderstanding", it should at least be mentioned here and explain the misunderstanding, much like Samuel Mudd mentioned the incorrect etymology of the phrase "your name is mud". Wrs1864 (talk) 12:59, 14 May 2008 (UTC)

 * It's not so much that it is about a different John Brown than the abolitionist, but that it is about the very fact that this other lesser-known John Brown had the same name as the famous John Brown. The humor of those original John Brown Song verses comes from the fact that they apply equally to the famous John Brown and the unknown John Brown.

 * "This article, however, doesn't even address the issue of whether it was about anyone else." Actually a good part of the article is about this very issue--that it's actually about two different John Browns at once.  See second paragraph of the intro and the section History of the Text of "John Brown's Body" Bhugh (talk) 01:35, 31 May 2008 (UTC)

 * Ok, I missed that line in the lead, but having re-read the article, I can find no other mention. There was nothing in the history section.  As per WP:LEAD, the lead is supposed to be a summary, it is not a place to introduce important "facts".   I see no references saying that there was any intent of humor about the two different people, so I've added "fact" tags.  I have also copied the text from the The Battle Hymn of the Republic article to make the history section clearer.  Wrs1864 (talk) 13:06, 31 May 2008 (UTC)

Original research issue with Kimball vs Bishop accounts of creation of the song
?"The humor of those original John Brown Song verses comes from the fact that they apply equally to the famous John Brown and the unknown John Brown."?? Except of course that they don't! Not a sausage. The Kimball version is a crock, obviously, not saying that soldiers didn't joke about and tease a sergeant John Brown. Why am I so confident? Because I sometimes write songs myself, not good ones that anyone is likely to hear about, but songs nevertheless, and I can pick a consistent theme when I see it. The first four verses of the John Brown Song have a consistent theme which fits Bishop's account. John Brown is recently dead and marching to heaven, leaving earth where all effective action is stained by moral ambiguity "to be a soldier in the army of the lord". He carries his knapsack on his back because he is a soldier of course but also I think because until he reaches heaven he carries the weight of his sins. His "pet lambs" meet him on the way because he had been in the wool trade (is that true of the sergeant?) but also because they are symbols of innocence and his journey to heaven involves confronting his life on earth in its good and bad aspects. The imagery drawn on is I think that of Pilgrim's Progress which which I imagine Bishop would have been familiar.......I'll be interested to see how the discussion develops and learn more. Jeremy (talk) 09:44, 26 July 2008 (UTC)

 * Jeremy, you have very strong opinions about this subject, obviously, but the trouble is the sources you favor are further removed from the facts (by decades) and far more suspect than the one you say "is a crock". It's fine if you think it's a crock but you really need to provide evidence--better evidence--than Kimball's if you want to refute Kimball's account.  So far you have not come even close to doing so.

 * Your two sources for Bishop's account of composing both the words and music are (1) A non-scholarly 2004 compilation of civil war era music which does not even claim to be doing primary research but is simply quoting information from other secondary sources and (2) a Time Magazine article written 65 years after the fact--and some three decades after Bishop's death--quoting a friend of Bishop's who "remembers" talking to Bishop about a wide variety of things.

 * These just are not credible sources, period.

 * Even worse, your source #1 is almost certainly not independent but is simply based on other sources that all ultimately trace back to the claims by by Bishop's friend in the 1935 Time article and other sources. So your two sources are not even really independent--everything merely traces back to the claims made by Bishop's friend some 30 years after Bishop's death.

 * What's more, Bishop was a professional musician, composer, and band leader with many music publications to his name. There is **no way** he composed "John Brown" and then published his first editions of the piece (which already by contemporary reports was popular and something of a local "hit" before it was even published) and did it anonymously.  Look at **any** of his other publications--they have his name splashed all over them, precisely because he was a composer and musician trying hard to establish his name and keep it before the public.

 * If Bishop had really composed John Brown out of whole cloth (and "Say, Brothers" and "Johnny Comes Marching Home," as well--MacIntyre is not shy in his claims, even implying Bishop has his hand in Stephen Foster's "Swanee River"!), there would be no doubt about it whatsoever because he would have loudly and clearly made that fact clear from Day 1, including the original publication of the sheet music and from that day forward. So it becomes very difficult to explain why there are documented copies of "Say, Brothers" not listing Bishop as an author, that pre-date 1860, and also what appear to be the earliest printed versions of the John Brown Song, published by C. S. Hall, also do not list Bishop's authorship anywhere.  This simply does not square with Bishop's practice in publishing his many other pieces of sheet music, many of which can be found in the Library of Congress's collection.

 * So the whole "Bishop composed John Brown (and incidentally the hymn tune as well--even though it appears in numerous hymn collections and never credited to Bishop) and published it but completely anonymously and then horrible other people came along and stole the credit but then 65 years later a good friend of Bishop's (who just happened to be an impresario of sorts) came along to clear the air and straighten the whole matter out" just really does not add up at all.

 * Conclusion--if Bishop is mentioned at all in the article it really needs to be in the context of all the various versions, revisions, and claims to authorship that were made once John Brown became popular. Without far more direct proof, Bishop's claim doesn't stand above any of these others in any way.

 * Accepting Bishop as the primary author without far, far better proof really does qualify as original research.

 * You disparage Kimball's account--pointing out (correctly) that it was written some decades after the events--but you neglect the strengths of Kimball's account, which is referenced repeatedly in the notes to the article and is available online now for anyone to read and judge for themselves:

 * 1. Kimball's article is written by an eyewitness and participant in the events he describes.
 * 2. Kimball's article contains a detailed and internally consistent account, with many details that can be objectively checked for accuracy, and references to many other people who participated in the events--a number of whom would still have been alive at the time of publication.
 * 3. The article shows original documents, artifacts, and other strong proofs dating to the original time of publication. These do not (and by their nature, cannot) prove in detail every statement that Kimball makes.  And as with any eyewitness account written years after the event, the possibility of false recall or mis-statement must be considered.  Nevertheless the evidence shown in the article clearly supports the gist of Kimball's story.  And unfortunately for your position, you are not quibbling with the details of Kimball's story but need to overturn the gist of it.  The evidence simply is not on your side.
 * 4. Kimball's article was published in a well known, well-respected journal (compared with the source you prefer for Bishop's claim, from Time Magazine, which is not even pretending to do research into the composition of John Brown's Body, but is simply reporting what Bishop's friend told the reporter--it's a human interest story written by a journalist, not careful research presented by a scholar).
 * 5. Although published about 30 years after the events it describes, Kimball's account was still published 4 and a half **decades** earlier than the source you prefer to give primacy (ie an article in Time Magazine dating from 1935).
 * 6. The points made by Kimball are backed up by actual scholarly sources (ie Randall and Stutler--see the notes to the article) and each of the points you disagree with can be backed up to specific information in those scholarly articles. Whereas the evidence you like to cite to the contrary is more often from song compilations--well known for copying reference information from other secondary sources far removed from the original--and then of course, Time Magazine from 1935 and your gut feeling about how songs are written.
 * In short it is a case of well documented conclusions directly backed by scholarly research and primary sources vs. unverified claims, hunches, and original research.
 * Bhugh (talk) 07:40, 2 May 2009 (UTC)

 * Jeremy wrote: "Why am I so confident? Because I sometimes write songs myself, not good ones that anyone is likely to hear about, but songs nevertheless, and I can pick a consistent theme when I see it."

 * A major part of your contribution to the article--which is all toned to tearing down the claims of Kimball, which you don't like, and building up those of Bishop, which you do--is based on exactly this feeling you have.

 * And based on your statement, this feeling is clearly original research.

 * It is fine if you have that hunch. But before you can base a Wikipedia article on your hunch you have to find actual, scholarly, verifiable sources that say what you think (hope/wish) they should say.

 * Unless and until you can find those sources (and again, a 1935 Time Magazine article and 2004 non-scholarly music compilation don't even come close to qualifying) you need to keep your original research and hunches out of the article.

 * For more info see the No original research page.

 * Bhugh (talk) 08:21, 2 May 2009 (UTC)

 * "Jeremy wrote: "I can pick a consistent theme when I see it."

 * Not to beat a dead horse here, but it has been thrashing around so long it just really needs to be thoroughly beaten until thoroughly dead--

 * Even the original, simple lyrics of the "John Brown Song" clearly have a consistent theme. You seem to believe this is somehow contradicted by the oral/folk way of writing and transmitting songs and lyrics.

 * However, you're just wrong. (Sorry to be blunt--I just don't know how else to say it.)

 * In fact the Kimball article details at some length the process that led to the creation of the lyrics. This sort of process was quite typical of the time and period--a fact that can be backed up by a careful reading of the Stutler and Randall articles as well as the entire musicological literature dealing with this period.

 * In short (as detailed in the Kimball article) the soldiers had a series of sayings they had developed as a group, around the idea that their comrade had the same name as the famous John Brown.

 * These were worked into various verses to a hymn tune many of them knew already.

 * This was done spontaneously and no doubt on an ad-hoc basis as different people thought of different variations and ideas that fit.

 * However (and more to your point) these are not by any means uneducated ignorant rubes. The battalion had an organized glee club that met and practiced regularly.  So they had people who knew both music and the finer points of literature.

 * So the initial spontaneous jokes and music-making are refined and even practiced knowingly. Undoubtedly things were refined in this process.

 * What's more when they realized it was a bit of a popular hit they had a group of people (**literary** people, chosen particularly for that characteristic) who worked over the lyrics, selected the best, undoubtedly changed and refined them as necessary, and readied them for publication.

 * And in doing so one of the things they **specifically** did was choose the particular verses to print. And being "literary" sorts you can just bet they were thinking exactly like you, the song composer, does--they were looking to put together verses that exactly did fit together and have a sort of unifying theme.

 * So, abracadabra and presto, there is the problem solved, easily and logically. And you don't have to take **my** word for it--just read (carefully! carefully!!) the original article by Kimball where he explains it all.

 * Once published (and re- re- re-published many times soon thereafter) of course those original lyrics as originally written were copied quite verbatim from publication to publication (thus the "great stability of the text" you like to make a big deal of. Of COURSE it's stable--that's why they call it printing!)

 * At the same time, many other people (and groups . . . ) are working on their own versions of the lyrics, which most often incorporate some of the ideas and even phrases of the original but expand on them in some way--by adding more versions, more lines per verse, etc etc etc.  Then (some of) these are published as well, meaning they are now "set in stone" and "stable" as well.

 * So by putting these two processes together, you can (amazingly!) have **both** stability of text **and simultaneously** a folk-like spontaneous oral adaptation and continual mutation and updating of the text. This is even seen down to the present day with lyrics ranging from "John Brown's baby has a pimple on his bum" to "We'll hang all the Thomians on the cadju-puhulang tree" to "Mine eyes have seen the glory of the burning of the school".

 * See, whenever people sing a song they know by heart they can and will change and adapt the lyrics as they feel the urge. This is the oral or folk-like tradition.  Yet most everyone even in the 1860s was capable of taking a pen and writing their creation down and so now it is written and "stable".

 * This is in a nutshell the dichotomy between "oral" and "written" that you seem to have such a hard time understanding. It isn't hard at all--it is very obviously a combination of the two processes and one of things that really neat about the John Brown/Battle Hymn corpus of texts is you can just look at those texts and see right there how they developed and mutated and inter-related and took ideas from one another and so on.

 * But again--you don't have to take my word for it. It's all there in black and white right in Kimball's original article.  Bhugh (talk) 10:08, 2 May 2009 (UTC)

Oi, Bhugh; your interesting comments have just turned up on my watchlist, regarding a subject I haven't much thought of for a while. No need to apologise for being blunt....it does save time, ( although possibly dropping the tone a little might also save time? but I'm not fussed...)

I take your point about the weakness of my referencing, my only defence is that it was a lot better than the referencing I found when I got to the article! Have a look at the history and you will see. I do think however that you downgrade the importance of MacIntyre. He wasn't just "interviewed by a journalist", he knew Bishop and he wrote a book on the subject....it is true that he mistakenly attributes "Johnny" to Bishop, so he isn't infallible. As to "Swannee River" I think you will find that Bishop claimed to have transcribed the song for Foster. Is this not credible? My referencing for widespread belief in Bishop's authorship could have been a lot better than it was; the standards I found in place were very much lower than the standards you are now rightfully applying.

"Say Brothers" is recorded before 1861, but not actually very long before 1861, is it? I'm pressed for time right now but my recollection is it was published only a very few years before the war.

I had never heard of Bishop before I looked at this article, your assumption that I come with a pro-Bishop cause is unfounded. The article should record that both claims have been made and that neither is proven; obviously my impressions and hunches etc should not go in the article, but it is legitmate to use them as heuristic tools.....I referred to them on this page in the interests of transparency. But it is obvious enough that the revisionist view of the meaning of the song serves a certain political agenda. If you go to the "John Brown" talk page you will see how controversial topic John Brown is....among North Americans. (I think you will find that in most of the rest of the world a martyr to the cause of abolishing chattel slavery is not all that controversial). You make a big play of the lateness of Macintyre's book, but it is doubtful how significant the difference between him and Kimball is in that regard, a few decades doesn't mean much to the middle-aged....Kimball's comments were published in the 1890s, a the height of the backlash against the abolition of slavery, right?

In fact, there is quite a big area of possible accomdation between the Kimball version and the Bishop/MacIntyre version. There is a quite different account I found in the archives which should probably be noted in the article.

Speaking of hunches and original research, what status do you assign your feelings about how Bishop would have behaved if he had been the author or partial author of John Brown?

Enough for now....Jeremy (talk) 01:48, 6 May 2009 (UTC)

Oh Bhug, you disappoint me.....I've just been looking at the article and your supposed "scholarly" source. The following is uncited, and isapparently a garble of MacIntyre's account. Bishop, according to MacIntyre, did not write his song after a visit to Harpers Ferry but in Charles Town at the time of Brown's hanging.....and as I have mentioned the first four verses are entirely consistent with that. (Does being able to read with comprehension count as "original research"?) It is a trash reference, Bhugh, at least so far as it refers to Bishop. Is any pice of garbage good enough so long as it supports your cause? (He distorts the Jerome version as well, whther through carelessness or dishonesty is hard to say, but either way this is one trash reference)

Here is the tripe: ''According to [BIshop's] story, in 1858, he wrote verses for a song entitled "He's Gone to Be a Soldier in the Army of the Lord," one of the verses in the Fort Warren version of "John Brown's Body." Supposedly, in 1859, Bishop visited Harper's Ferry after John Brown's raid and wrote new verses to his "Army of the Lord" song, one of which was "John Brown's body lies a moulderin' in the grave." He later claimed to have written the words and music for "Kitty Wells," "Shoo, Fly, Don't Bother Me," and the tune for "When Johnny Comes Marching Home."''

And also, the Bishop claim is not just a "typical" claim. That is wrong. It is, as you well know, the main alternative to the Kimball theory.

Anyway, really must go this time....Jeremy (talk) 02:09, 6 May 2009 (UTC)

Except that...we don't the John Church Cincinnati version of the song, so far as I know....So we don't know if that one did have Bishop's name on it or not. ( He was a serving officer at the time, would that have imposed restrictions on publishing?) But it is very likely reproduced in MacIntyre's book....which I haven't seen inside although I have seen a picture of it on Amazon where a copy was recently available. I haven't read the book and I darsay neither have you....ceetainly your Allen "expert" never has. I'll see if it is in my local State Library....Jeremy (talk) 02:17, 6 May 2009 (UTC)

I've made a few more small edits....most notably removing the claim that Kimball's is the "earliest known" account of the creation of the song. I don't think the research for the article, a bit of googling basically, can bear the weight of such a claim. A number of secondary sources remark that Bishop pushed his claim, and from memory Jerome's claim was actually earlier (his account is in the Libary of Congress site, someone with more time that I have right now might like to check). Bhugh pours scorn on the Steve Cornelius book, but has obviously not actually looked at it, as Cornelius shows no sign of having read the MacIntyre article but refers to an earlier folklorist as having strongly supported Bishop's claim. An article in the West Virginia historical journal casually refers to Bishop's authorship as a matter of common knowledge. This was in the 1960s when the Kimabll claims had been around for 70 years......the fact is I think that to take the argument further we will have to get off our computers and into a libary with paper books in it.

And I repeat, the Kimball claims do seem to fit a particular political agenda and while that doesn't mean they are untrue it does mean we should be careful. Jeremy (talk) 09:21, 8 May 2009 (UTC)

Another version
Due to it's development, there are maybe +20 versions of the song... I'm just going to post an alternate version for refrence here:
 * John Brown's Body lies a-moldering in the grave, (x3)
 * Chorus:
 * Glory, glory, hallelujah! (x3)
 * His soul goes marching on!
 * John Brown died that the slaves might be free, (x3)
 * But his soul goes marching on.
 * He's gone to be a soldier in the army of the Lord, (x3)
 * And his soul is marching on.
 * The stars of heaven are looking kindly down, (x3)
 * On the grave of old John Brown.

Partially useful, I hope.

7h3 0N3 7h3 \/4Nl)4L5 Pl-l34R ( t  /  c  ) 03:17, 22 March 2009 (UTC)

 * Just making corrections...

 * 7h3 0N3 7h3 \/4Nl)4L5 Pl-l34R ( t  /  c  ) 20:19, 22 March 2009 (UTC)

Parodies
Is Karl Marx's Whiskers are Sixteen Inches Long, mentioned in Franklin Rosemont's biography of Joe Hill, and mentioned in The Big Red Song Book also a parody? Pustelnik (talk) 21:48, 4 July 2009 (UTC)

Thomas Brigham Bishop, once again

 * So, I know there has been discussion here in the past on the authorship claims of Thomas Brigham Bishop. I've just written an article on Bishop, so I invite your commentary on it.  Bishop was a fascinating guy, a clear teller of tall tales and not one to shy away from scams and grandiose claims.  I am interested in finding any other biographies or articles about Bishop directly, as writing this article required poring over many old sources about the different stages of his life.  cheers.--Milowent • talkblp-r  16:53, 22 September 2011 (UTC)

 * Thanks, Milowent, this is certainly an article that is very relevant to the history of the John Brown Song. Bhugh (talk) 16:44, 1 June 2014 (UTC)

Modern Song
The band Masters of Reality Masters of Reality has a song on its 1989 album of of the same name produced by Rick Rubin. The song lyrics are about John Brown, "John Brown, bring him down, pull his body to the ground." Bucknastay (talk) 03:46, 30 September 2013 (UTC)

New Scholarly Book/Excellent New Source
A new, very excellent, scholarly history of the Battle Hymn of the Republic, the tune, and related texts has been published: The Battle Hymn of the Republic: A Biography of the Song That Marches On by John Stauffer and Benjamin Soskis.

Some of the book is available via Google Books.

This should allow us to improve the article quite a lot and remove many of the speculations and spurious/poorly sourced ideas that have been included in the article in earlier revisions. The book includes excellent documentation pushing the 'Say Brothers' text and tune into the late 1700s/early 1800s and clearly ties the words (various versions) and tune to the camp meeting mileu.

 * I made several revisions to incorporate some of this information. The new and very authoritative source clears up much of the issue around the former disputes as to whether Bishop, Steffe, etc etc had any claim to authorship of either John Brown text or tune.  So the article could be re-written quite extensively to minimize the the prominence of those previous disputes and simply tell the story of how the John Brown Song text and music came to be and what its influence is.  These first edits are just a first crack at this and there is still quite a bit of editing to be done to incorporate this information into and article that reads well and is focused. Bhugh (talk) 19:34, 1 June 2014 (UTC)

 * It might be worthwhile to create a separate article that focuses on Say Brothers and the origin of the tune, that could be linked from both this article and The Battle Hymn of the Republic article. That would allow this article to focus more closely on the interesting topic of the John Brown Song. Bhugh (talk) 19:34, 1 June 2014 (UTC)

Great. Jeremy (talk) 04:58, 4 June 2014 (UTC) I went to the link but unfortunately it cut out before getting to Bishop, althoughb it certainly provides background for the claim that earlier words to the tune already had an anti-slavery subtext, "Canaan" being a recognized code term. Fascinating stuff. The especial reason I wanted to get to Bishop was to find out if is true that Bishop served in the Tiger battalion....if so then there is no necessary conflict between the Kimball and Bishop versions, apart from the red herring about the jovial Scotchman Sergeant Brown. Jeremy (talk) 05:12, 4 June 2014 (UTC)

Class Update
I updated the article class from Start to C. This is clearly well above Start class and probably with a bit of cleanup could be in Class B range. Bhugh (talk) 19:44, 1 June 2014 (UTC)

Far Side cartoon
In case anybody thinks a mention or link is worth it, here are a couple of sources about the "John Brown's Body and Fender Shop" Far Side cartoon. Orlando Sentinel article reddit discussion NoJoy (talk) 14:10, 14 October 2014 (UTC)

External links modified
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"John Brown's Tractor" listed at Redirects for discussion
An editor has asked for a discussion to address the redirect John Brown&. Please participate in the redirect discussion if you wish to do so. Hog Farm (talk) 05:00, 17 March 2020 (UTC)

Adding the word "song"
I would like you to reconsider adding the word song. The context is that I recently wrote an article on John Brown's body, about his corpse and its burial. As it is now there is one article on John Brown's body and another on John Brown's Body. This is confusing. I couldn't think of what to put in parentheses as part of the title of the new article, so on the model of John Brown's Body (poem), I added the word song. Please reconsider. Thank you. deisenbe (talk) 20:01, 12 July 2021 (UTC)
 * The song is clearly the WP:PRIMARYTOPIC for "John Brown's Body", so it wouldn't need a qualifier even if it weren't already naturally differentiated from John Brown's body by capitalisation. If you insist on having it moved, you can file a move request, but I don't think it would succeed.
 * Additionally, I don't think the title "John Brown's body" is a very natural one. The article is specifically about his dead body, so something like Corpse of John Brown would make more sense. I can't find any similar Wikipedia articles on corpses though, so I don't know whether there's a convention for this or not. Lennart97 (talk) 21:07, 12 July 2021 (UTC)

Can't find evidence for Russian soldiers ever singing John Brown's Body
The source for the following line "The American consul in Vladivostok, Russia, Richard T. Greener, reported in 1906 that Russian soldiers were singing the song" eventually leads back to this article https://nyshistoricnewspapers.org/lccn/sn83030384/1906-08-18/ed-1/seq-24/. Yet, I can't find any mention of Vladivostok, Greener, or even the song itself. Tried searching elsewhere but all literature refers back to this single document.

Does anyone have any clue if this story is even real? — Preceding unsigned comment added by LilithJ777 (talk • contribs) 01:04, 27 May 2022 (UTC)

title: Talk:John Brown's Body


text:
Talk:Royal Cambodian Armed Forces

Untitled
This gives us a reasonable start. Please don't panic, the text is mine and has been published in various articles and reports (I think some are on the 'net, try googling "Strong Fighting"). I wrote it in 2001 as a general overview of the RCAF for foreign readers and have used it in several publications since. I have updated the section on demobilisation and made a few edits. It would be good to have a para or two on the history of RCAF - any takers? Paxse 05:32, 9 October 2005 (UTC)

Khemer 36.37.207.187 (talk) 12:57, 30 April 2023 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 13:55, 8 May 2023 (UTC)
 * Flag of the Royal Cambodian Armed Forces.png

title: Talk:Royal Cambodian Armed Forces


text:
Grenfell

Grenfell may refer to:

Buildings

 * Grenfell Campus, Memorial University of Newfoundland, Canada
 * Grenfell Centre, Adelaide, Australia, an office block
 * Grenfell railway station, New South Wales, Australia
 * Grenfell Tower, a building in London, UK

People

 * Alice Grenfell (1842–1917), British suffragist and Egyptologist
 * Bernard Pyne Grenfell (1869–1926), English Egyptologist
 * Bryan Grenfell (b. 1954), British biologist
 * Cecil Grenfell (1864–1924), soldier and British Liberal politician
 * Charles Grenfell (1790–1867), British businessman and politician
 * Charles Grenfell (1823–1861), British politician
 * Clarine Coffin Grenfell (1910–2004), American poet
 * David Grenfell (1881–1968), Welsh politician
 * Diana Grenfell, (1935 - 2021), British plantswoman
 * Edward Grenfell, 1st Baron St Just (1870–1941), British politician and banker
 * Ettie Grenfell, Baroness Desborough (1967–1952), British society hostess
 * Eustace Grenfell (1890–1964), British pilot
 * Frances Grenfell, later Campbell-Preston (1918–2022), British author and courtier
 * Francis Grenfell, 1st Baron Grenfell (1841–1925), British soldier
 * Francis Octavius Grenfell (1880–1915), English soldier and Victoria Cross winner
 * George Grenfell (1849–1906), Cornish missionary and explorer
 * George St. Leger Grenfell (1808–1868), British soldier of fortune
 * Helen Loring Grenfell (1863–1935), American suffragist and state superintendent of schools
 * Henry Grenfell (1824–1902), British banker and politician
 * Hubert Grenfell (1845–1906), British naval officer
 * Joanne Grenfell (b. 1972), British bishop
 * John Pascoe Grenfell (1800–1869), British admiral in the Brazilian Navy
 * Joyce Grenfell (1910–1979), English actress, comedian and singer–songwriter
 * Julian Grenfell (1888–1915), British poet and son of Lord Desborough
 * Julian Grenfell, 3rd Baron Grenfell (b. 1935), British politician
 * Maria Grenfell (b. 1969), Australian musician and composer
 * Pascoe Grenfell (1761–1838), British businessman and politician
 * Pascoe Grenfell, 2nd Baron Grenfell (1905–1976), British politician
 * Pascoe St Leger Grenfell (1798–1879), British businessman
 * Peter Grenfell, 2nd Baron St Just (1922–1984), British politician
 * Stephen Grenfell (d. 1989), British broadcaster
 * Stephen Grenfell (b. 1966), English footballer
 * Wilfred Grenfell (1865–1940), British medical missionary
 * William Grenfell, 1st Baron Desborough (1855–1945), British athlete, sportsman and public servant

Given name

 * Grenfell Jones (1934–2007), Welsh cartoonist
 * Grenfell Price (1892–1977), Australian geographer
 * Arthur Grenfell Wauchope (1874–1947), British army officer and colonial administrator

Places

 * Grenfell, New South Wales, Australia, a town
 * Grenfell, Saskatchewan, Canada, a town
 * Grenfell Street, Adelaide, Australia

Other uses

 * Grenfell Cloth, a cotton twill fabric
 * Grenfell Tower fire, a fatal fire at a tower block in London in June 2017

title: Grenfell


text:
Viral matrix protein

Viral matrix proteins are structural proteins linking the viral envelope with the virus core. They play a crucial role in virus assembly, and interact with the RNP complex as well as with the viral membrane. They are found in many enveloped viruses including paramyxoviruses, orthomyxoviruses, herpesviruses, retroviruses, filoviruses and other groups.

An example is the M1 protein of the influenza virus, showing affinity to the glycoproteins inserted in the host cell membrane on one side and affinity for the RNP complex molecules on the other side, which allows formation at the membrane of a complex made of the viral ribonucleoprotein at the inner side indirectly connected to the viral glycoproteins protruding from the membrane. This assembly complex will now bud out of the cell as new mature viruses.

Viral matrix proteins, like many other viral proteins, can exert different functions during the course of the infection. For example, in rhabdoviruses, binding of M proteins to nucleocapsids is accountable for the formation of its “bullet” shaped virions.

In herpesviruses, the viral matrix is usually called viral tegument and contains many proteins involved in viral entry, early gene expression and immune evasion.

title: Viral matrix protein


text:
Strong (Robbie Williams song)

"Strong" is a song by English recording artist Robbie Williams. It was released on 15 March 1999 as the third single from his second studio album, I've Been Expecting You (1998). The song managed to break into the top five in the United Kingdom. The B-side is the live version of "Let Me Entertain You" recorded at the 1999 Brit Awards, the performance was included on the single in the enhanced section.

In June 2017, Williams performed at the One Love Manchester benefit concert, in aid of the Manchester Arena bombing victims and as a display of the city's unity against terrorism. Williams opened and closed his set by leading a 55,000-strong terrace chant of the song's chorus, changing the lyrics to "Manchester we're strong, we're strong, we're strong. And we're still singing our songs, our songs, our songs!".

On the final night of Williams's 2003 Knebworth House concerts, 125,000 ticketholders sang Strong to set the world record for Most Karaoke Participants. Williams and his audience held the record until 2009, when 160,000 people sang Friends in Low Places by Garth Brooks whilst in attendance at the 2009 NASCAR Sharpie 500 race.

Background and release
"Strong" was written by Robbie Williams while he was in a hotel in Cologne, Germany. It was inspired by some of his most hardcore fans, who, Williams confessed, "scared the living daylights out of [him]". He said, "I just wanted them to understand I'm not being rude, but I'm feeling a bit scared of everything."

Following its release on 15 March 1999, "Strong" became Williams' seventh top-five single in the United Kingdom, peaking at number four on the UK Singles Chart. The track also reached the top 10 in New Zealand, debuting and peaking at number nine on 30 May 1999.

Music video
The video is a compilation of on-tour footage, including many live performances, Williams with his nephew, Williams on stage with his dad, and Williams messing about.

Track listings
UK CD single
 * 1) "Strong"
 * 2) "Let Me Entertain You" (live at the Brit Awards '99)
 * 3) "Happy Song"
 * 4) "Let Me Entertain You" (live at the Brit Awards '99 video)

UK cassette single
 * 1) "Strong"
 * 2) "Let Me Entertain You" (live at the Brit Awards '99)
 * 3) "Happy Song"

European CD single
 * 1) "Strong"
 * 2) "Let Me Entertain You" (live at the Brit Awards '99)
 * 3) "Let Me Entertain You" (live at the Brit Awards '99 video)

Credits and personnel
Credits are lifted from the I've Been Expecting You album booklet.

Studio
 * Mastered at Metropolis Mastering (London, England)

Personnel

 * Robbie Williams – writing, vocals
 * Guy Chambers – writing, acoustic guitar, electric guitar, keyboards, piano, production, arrangement
 * Gary Nuttall – background vocals
 * David Catlin-Birch – background vocals, acoustic guitar, bass guitar
 * Steve McEwan – background vocals, electric guitar
 * Andre Barreau – background vocals

 * Fil Eisler – guitar, guitar solos
 * Jeremy Stacey – drums
 * Andy Duncan – percussion
 * Steve Power – production, recording, mixing, programming
 * Steve McNichol – programming
 * Tony Cousins – mastering

Cover versions

 * In 2015, Lower Than Atlantis released a cover of the song on the 2015 reissue of their self-titled album.

title: Strong (Robbie Williams song)


text:
Arlington High School (Illinois)

Arlington High School was a public high school located in Arlington Heights, Illinois, which operated from 1922 to 1984. It was the oldest school in Township High School District 214 which served students in Arlington Heights, Buffalo Grove, Elk Grove Village, Mount Prospect, Prospect Heights, Rolling Meadows and Wheeling, Illinois. The school occupied a site that is approximately 1.3 km due east of Arlington Racetrack.

In the mid-1980s, District 214 had budget concerns with declining enrollment. As a result, the district board members decided to close Arlington High School in 1984, and Forest View High School in 1986.

History
The closing of Arlington High School was a significant community event in 1983 and 1984, which embattled residents of the district who did not want to see their high schools close. The school district administration completed its first report in April 1981 to the District 214 Board of Education stating that one of eight high schools should close by 1983 due to declining enrollment. Weeks later a report was submitted that two high schools should close by the 1985-1986 school year. Residents responded by presenting arguments to support their own schools. Pro-Arlington supporters declared that Arlington, being the oldest school, had an important community tradition and an important location near downtown Arlington Heights that helped develop and maintain community values and support downtown businesses. Arlington supporters also declared that Arlington had dense residential surroundings, which allowed most students to walk to school. Arlington supporters also underscored the benefit of the agreement with the Arlington Heights Park District to use the swimming pool, which was across the street from the high school, for education and competitive swimming events. Only Wheeling and Buffalo Grove High Schools, which were not at risk of closure, had swimming pools.

In April 1982 a computer study listed Rolling Meadows, John Hersey High School, Forest View and Prospect High School (in order) as the most likely schools to be closed. Non-Arlington High School residents sought to keep their schools open by declaring that Arlington High School was the oldest school and the most expensive to maintain and remodel. They even cited a tragic accident in 1971, when a brick partition wall in a bathroom collapsed when three male students (trapped in the bathroom) braced themselves to open a door that had been secured by a piece of wood as a prank. One of the students eventually died from his injuries. The partitions were immediately re-designed for safety reasons.

On May 3, 1982, District 214 adjusted data for a computer study and corrected the target list for school closures: John Hersey High School, Arlington, and Prospect High School. On May 17, 1982, the District 214 board voted 5–2 to close Arlington High School. A group of Arlington High School parents formed the Assembly of Citizens and Taxpayers (ACT) to study the possibility of seceding from District 214 and forming their own district (August, 1982). Eventually a lawsuit was filed by five Arlington Heights residents and ACT against District 214, charging the board ignored facts from its own studies (November 18, 1982).

In the subsequent lawsuit, District 214 planner Howard Feddema testified that board member Donald Hoeck called him to ask that a computer study's data be manipulated to have Arlington High School move to the top as the candidate for closing. Hoeck replied that he was only trying to demonstrate that numbers could be manipulated many ways (March 10 and 11, 1983). Circuit Court Judge James C. Murray overturned the District 214 decision to close Arlington High School. Judge Murray's opinion states that the board created standards to follow in the closing of schools and then failed to follow them (May 26, 1983). District 214 appealed on June 1, 1983, but Arlington High School freshmen still enrolled in Fall 1983.

On the second day of the new school year in 1983, Illinois Appellate Court (Justices James J. Mejda, Kenneth E. Wilson, and Francis S. Lorenz) overturned Cook County Judge James Murray's ruling blocking the closing of Arlington High School. The Appellate Court stated that they "cannot question the wisdom of the final action. Right or wrong, it is the decision the board adopted as a quasi-legislative function within its powers ..." and that the court is "unable to say that the ultimate decision itself, the decision to close Arlington and reassign the freshmen students was so palpably arbitrary, capricious or unreasonable as to render it null and void" (August 31, 1983).

Post closure uses
In May 1984, District 214 put Arlington High School up for sale and then for auction. Arlington High School closed its doors to public high school students in June 1984. The following year in April, Christian Liberty Academy of Prospect Heights purchased Arlington High School for $1.51 million. Christian Liberty Academy continues to operate from the Arlington High School building.

Interior and exterior scenes from the 1986 film Lucas starring Charlie Sheen and Corey Haim were shot at the school during the summer immediately after its closing, including some scenes with the Prospect High School Marching Band which at that point contained former Arlington students.

Notable alumni

 * Doug Betters was an NFL All-Pro defensive end.
 * Dick Bokelmann, former MLB player (St. Louis Cardinals)
 * George Bork is a former football quarterback who played for Northern Illinois University before playing for the Montréal Alouettes of the Canadian Football League. The first college quarterback to pass for 3,000 yards, he was inducted into the College Football Hall of Fame.
 * Charles Dickinson (1969), Author
 * Alan Gratzer (1966) is a co-founder of REO Speedwagon.
 * Robert A. "Bob" McDonald (1971), U.S. Secretary of Veterans Affairs; Chairman, President, and CEO of Procter & Gamble.
 * Ed Paschke (1957) was a highly acclaimed artist, a leader in the Chicago Imagist style.
 * Fritz Peterson was a pitcher for the New York Yankees who pitched in the 1970 All-Star Game.
 * Paul Splittorff was a star pitcher with the Kansas City Royals. Coincidentally, Splittorff pitched against fellow Arlington grad Fritz Peterson at Yankee Stadium in 1971
 * Jim Staahl (1965) is an actor.
 * George Vukovich, former MLB player (Philadelphia Phillies, Cleveland Indians)

title: Arlington High School (Illinois)


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text:
Best Of: Hollywood a Go-Go

Best Of: Hollywood a Go-Go is an L.A. Guns Greatest Hits album released in Japan in 1996.

It is one of the only LA Guns albums bearing the name 'Best of' truly being a Best of, as opposed to re-recordings of hits albums like Greatest Hits and Black Beauties.

Track listing

 * 1) "Sex Action"
 * 2) "Never Enough"
 * 3) "Electric Gypsy"
 * 4) "Kiss My Love Goodbye"
 * 5) "Ballad of Jayne"
 * 6) "One More Reason"
 * 7) "Wild Obsession"
 * 8) "Kill That Girl"
 * 9) "Rip and Tear"
 * 10) "No Mercy"
 * 11) "Killing Machine"
 * 12) "Dirty Luv"
 * 13) "Malaria"
 * 14) "Long Time Dead"
 * 15) "Some Lie 4 Love"
 * 16) "Face Down"
 * 17) "Hollywood Tease"
 * 18) "I Wanna Be Your Man"
 * 19) "Sex Action" (live)

title: Best Of: Hollywood a Go-Go