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Dan Wilson (catcher)

Daniel Allen Wilson (born March 25, 1969) is an American former professional baseball player. He played in Major League Baseball as a catcher from 1992 through 2005, most notably as a member of the Seattle Mariners where he played 12 of his 14 seasons. The 1996 All-Star selection began his career with the Cincinnati Reds before being traded to the Mariners, where he was regarded as one of the game's best defensive catchers. At the time of his retirement in 2005, Wilson held the American League record for career fielding percentage by a catcher. In 2012, Wilson was inducted into the Seattle Mariners Hall of Fame alongside his battery-mate, Randy Johnson.

Amateur
Wilson excelled as a baseball player from a very early age. He led his hometown Barrington, Illinois team to a 3rd-place finish in the 1981 Little League World Series. At Barrington High School he starred as a pitcher and catcher. He was selected out of high school in the 26th round of the 1987 Major League Baseball Draft by the New York Mets, but did not sign, electing instead to play college baseball at the University of Minnesota. In 1988, he played collegiate summer baseball with the Cotuit Kettleers of the Cape Cod Baseball League.

Minor leagues (1990–1993)
He re-entered the draft in 1990; he was selected in the first round, seventh overall, by the Cincinnati Reds. He signed in time to play 32 games with the Charleston Wheelers of the South Atlantic League. He returned to Charleston at the start of the 1991 season, batting .315 in 52 games before earning a promotion to Class AA Chattanooga. He started the 1992 season with Nashville in the Triple-A American Association, and he batted .251 in 106 games there before earning a September callup to the major leagues at age 23. He returned to the minor leagues the following year, going to the Indianapolis Indians since the Reds had changed their AAA affiliation after the 1992 season, and he played 51 games for the Indians as well as 36 games in the majors for the Reds.

Seattle Mariners (1994–2005)
After the 1993 season, the Reds traded Wilson to the Seattle Mariners for second baseman Bret Boone. He made the Mariners' roster out of spring training and became an established major-league player, replacing Dave Valle as the Mariners catcher. In his first full season in the majors, he struggled at the plate, batting .216, but he showed signs of his defensive ability with a .986 fielding percentage. That turned out to be the lowest fielding percentage he would have in the years he spent as the Mariners' primary catcher. The 1995 season went better for him; he played 119 games, batting .278 and raising his fielding percentage to .995, as the Mariners won the American League Western Division pennant.

In 1996, Wilson set career highs with 146 games played, 18 home runs, 83 runs batted in, and a .774 OPS. In addition, he made his only All-Star appearance. Wilson hit three home runs in an April 11, 1996 game in Detroit. The 1996 season was also his first working with starting pitcher Jamie Moyer.

Wilson was the battery-mate for Mariners pitcher Randy Johnson on June 24, 1997 when Johnson struck out 19 batters in a game against the Oakland Athletics, just one strikeout less than the major league single-game strikeout record of 20 strikeouts in a 9 inning game. Approximately six weeks later on August 8, 1997, the battery-mates teamed up to strike out another 19 batters in a game against the Chicago White Sox.

On May 3, 1998, Wilson hit an inside-the-park grand slam, an unusual feat for any ballplayer, and especially for a catcher. Wilson remained a dependable battery mate for Mariners pitchers over the next several seasons. In the 2000 season, Wilson's numbers declined to a .235 batting average and .990 fielding percentage; he was also limited to 90 games because of injuries. However, in 2001, he regained his form, playing 123 games (122 at catcher) and posting a .265 batting average and a .999 fielding percentage (one error in 744 total chances). Although it was becoming late in his career, he posted a .295 batting average in 115 games for the Mariners in 2002, and a .998 fielding percentage over 96 games in 2003. In what ended up being his last full healthy season in the majors, he batted .251 with 33 RBI in 2004.

Wilson lost his starting job at the beginning of the 2005 season to Miguel Olivo. On May 4, he suffered a torn ACL in his right knee during a game against the Los Angeles Angels of Anaheim. Wilson had intended the 2005 season to be his last as a player, and he announced his retirement, effective at the end of the 2005 season, on September 12. Although a torn ACL commonly keeps athletes sidelined for most of a season, Wilson spent most of the rest of the season rehabilitating his knee and was activated from the disabled list on September 30. He came back for one final inning on September 30 against the Oakland Athletics; he had not recovered enough to swing a bat, but he was able to crouch and throw. The Mariners' starting pitcher in that game was Jamie Moyer, with whom Wilson had formed a battery for 190 previous starts dating back to 1996. Moyer pitched to five batters in the inning, which ended when Bobby Kielty flied out to center field, and the Athletics scored no runs. Moyer went on to pitch seven more innings, and the Mariners defeated the Athletics, 4–1.

Career statistics
In a 14-year major league career, Wilson played in 1,299 games, accumulating 1,097 hits in 4,186 at bats for a .262 career batting average along with 88 home runs and 519 runs batted in. He ended his career with a .995 fielding percentage; the highest for a catcher in American League history, and the sixth highest in major league history. Wilson led American League catchers twice in fielding percentage, twice in putouts, twice in baserunners caught stealing and twice in range factor.

Wilson set an American League record for catchers with 1,051 putouts in 1997, the fourth highest season total for a catcher in major league history. His 1,128 total chances in 1997 were the sixth highest season total for a catcher in major league history. In 2001, Wilson committed only one error in 122 games, for a .9987 fielding percentage, the fourth highest season average in major league history. He played in more games as a catcher than any other player in Mariners history (1,281). He holds the Mariners career records for home runs by a catcher (including two inside-the-park home runs), and the team's single season record for catchers in RBI with 83 in 1996.

Later life
On January 17, 2012, Wilson was named to the Mariners Hall of Fame.

Since 2011, he has appeared as one of the color commentators for Seattle Mariners baseball games on Root Sports. Notably, along with Dave Sims, Wilson called the game on August 15, 2012 when Félix Hernández pitched the first perfect game in Mariners' franchise history. He was also broadcasting on Root Sports on June 8, 2012 when six Mariners' pitchers combined for a no-hitter.

On November 3, 2013, the Mariners announced that Wilson will become the team's Minor League Catching Coordinator.

title: Dan Wilson (catcher)


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User talk:Indighost

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User talk:Robheng

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User talk:Sarah5555

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User talk:Waw~enwiki

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Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Waw. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Waw~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

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Renamed
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1937 Donington Grand Prix

The 1937 Donington Grand Prix was a Grand Prix motor race held on 2 October 1937 at the Donington Park circuit.

Race report
In the race, Hermann Lang led the first few laps but retired with a broken damper, and British driver Richard Seaman followed shortly after. The lead changed hands several times between Manfred von Brauchitsch, Bernd Rosemeyer and Rudolf Caracciola. Whilst in the lead for a second time, von Brauchitsch suffered a puncture, allowing Rosemeyer to pass him and lead the race while his Auto Union teammates could not keep up with the tricky mid-engined car. Rosemeyer stayed in the lead until the end and took the win after 80 laps, with four other German cars completing the full distance within the next minutes before the race was flagged off for good.

In "When the Germans came to Donington", Rodney Walkerley describes the impression the German cars made on British journalists who had not yet witnessed them, being confident in the skills and machinery of British racers.

Away beyond the woods we heard the approaching scream of a well-tuned E.R.A. and down the winding slope towards us came Raymond Mays. He changed down, braked, skirted round the Hairpin and was gone.

"There's the winner," remarked one of my friends. "Knows this course backwards."

Half a minute later came the deeper note of a 2.9-litre Maserati, and "B. Bira" (Prince Birabongse of Siam, Mays’ nearest rival and a new star in the racing firmament) shot past us, cornering with that precision which marked him as the master he was.

"Or him," said another.

We waited again. Then they came.

Far away in the distance we heard an angry, deep-throated roaring – as someone once remarked, like hungry lions impatient for the arena. A few moments later, Manfred von Brauchitsch, red helmeted, brought a great, silver projectile snaking down the hill, and close behind, his teammate Rudolf Caracciola, then at the height of his great career. The two cars took the hairpin, von Brauchitsch almost sideways, and rocketed away out of sight with long plumes of rubber smoke trailing from their huge rear tyres, in a deafening crash of sound.

The startled Pressmen gazed at each other, awe-struck.

"Strewth," gasped one of them, "so that's what they're like!"

That was what they were like.

Entries
Notes:
 * Arthur Dobson was entered with both number 10 and 19.
 * Christian Kautz was a reserve driver but took part in practice sessions.
 * Charles Martin used both an ERA and a Maserati during the practice sessions.

Starting grid positions
Notes:
 * Arthur Hyde withdrew before qualifying, thinking he was too slow.

title: 1937 Donington Grand Prix


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Wikipedia:Articles for deletion/Fat pat and the lovely lads

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

The result of the debate was DELETE. — J I P | Talk 05:10, 10 October 2005 (UTC)

Fat pat and the lovely lads
NN ≈ jossi ≈ 20:36, 1 October 2005 (UTC)
 * Delete the article admits they are not currently notable. No allmusic entry. --best, kevin  · · · Kzollman | Talk · · · 21:48, 1 October 2005 (UTC)
 * Delete, agree. Punkmorten 22:01, 1 October 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


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User talk:Sunnysarajane

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User talk:Kingfischer

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Flemish literature

Flemish literature is literature from Flanders, historically a region comprising parts of present-day Belgium, France and the Netherlands. Until the early 19th century, this literature was regarded as an integral part of Dutch literature. After Belgium became independent from the Netherlands in 1830, the term Flemish literature acquired a narrower meaning and refers to the Dutch-language literature produced in Belgium. It remains a part of Dutch-language literature.

Medieval Flemish literature
In the earliest stages of the Dutch language, a considerable degree of mutual intelligibility with some (what we now call) German dialects was present, and some fragments and authors are claimed for both realms. Examples include the 12th-century poet Hendrik van Veldeke, who is claimed by both Dutch and German literature.

In the first stages of Flemish literature, poetry was the predominant form of literary expression. In the Low Countries as in the rest of Europe, courtly romance and poetry were popular genres during the Middle Ages. One such Minnesanger was the aforementioned Van Veldeke. The chivalric epic was a popular genre as well, often featuring King Arthur or Charlemagne (Karel) as protagonist (with notable example of Karel ende Elegast, Dutch for "Charlemagne and the elf-spirit/elf-guest").

The first Dutch language writer known by name is the 12th-century County of Loon poet Hendrik van Veldeke, an early contemporary of Walther von der Vogelweide. Van Veldeke wrote courtly love poetry, a hagiography of Saint Servatius and an epic retelling of the Aeneid in a Limburgish dialect that straddles the Dutch-German language boundary.

A number of the surviving epic works, especially the courtly romances, were copies from or expansions of earlier German or French efforts, but there are examples of truly original works (such as the anonymously written Karel ende Elegast) and original Dutch-language works that were translated into other languages (notable Dutch morality play Elckerlijc formed the basis for the English play Everyman).

Apart from ancient tales embedded in Dutch folk songs, virtually no genuine folk-tales of Dutch antiquity have come down to us, and scarcely any echoes of Germanic myth. On the other hand, the sagas of Charlemagne and Arthur appear immediately in Middle Dutch forms. These were evidently introduced by wandering minstrels and translated to gratify the curiosity of the noble women. It is rarely that the name of such a translator has reached us. The Chanson de Roland was translated somewhere in the twelfth century, and the Flemish minstrel Diederic van Assenede completed his version of Floris and Blancheflour as Floris ende Blancefloer around 1260.

The Arthurian legends appear to have been brought to Flanders by some Flemish colonists in Wales, on their return to their mother country. Around 1250 a Brabantine minstrel translated the Prose Lancelot at the command of his liege, Lodewijk van Velthem. This adaptation, known as the Lancelot Compilation, contains many differences from the French original, and includes a number of episodes that were probably originally separate romances. Some of these are themselves translations of French originals, but others, such as the Moriaen, seem to be originals. The Gauvain was translated by Penninc and Pieter Vostaert as Roman van Walewein before 1260, while the first wholly original Dutch epic writer, Jacob van Maerlant, occupied himself around 1260 with several romances dealing with Merlin and the Holy Grail.

The earliest existing fragments of the epic of Reynard the Fox were written in Latin by Flemish priests, and about 1250 the first part of a very important version in Dutch, Van den vos Reynaerde ("Of Reynard") was made by Willem. In his existing work the author follows Pierre de Saint-Cloud, but not slavishly; and he is the first really admirable writer that we meet with in Dutch literature. The second part was added by another poet, Aernout, of whom we know little else either.

The first lyrical writer of the Low Countries was John I, Duke of Brabant, who practised the minnelied with success. In 1544 the earliest collection of Dutch folk-songs saw the light, and in this volume one or two romances of the fourteenth century are preserved, of which "Het Daghet in den Oosten" is the best known.

Up until now, the Middle Dutch language output mainly serviced the aristocratic and monastic orders, recording the traditions of chivalry and of religion, but scarcely addressed the bulk of the population. With the close of the thirteenth century a change came over the face of Dutch literature.

The founder and creator of this original Dutch literature was Jacob van Maerlant. His Der Naturen Bloeme ("The Flower of Nature"), written about 1263, takes an important place in early Dutch literature. It is a collection of moral and satirical addresses to all classes of society. With his Rijmbijbel ("Verse Bible") he foreshadowed the courage and free-thought of the Reformation. It was not until 1284 that he began his masterpiece, De Spieghel Historiael ("The Mirror of History") at the command of Count Floris V.

From the very first the literary spirit in the Low Countries began to assert itself in a homely and utilitarian spirit. Thoroughly aristocratic in feeling was Hem van Aken, a priest of Louvain, who lived about 1255–1330, and who combined to a very curious extent the romantic and didactic elements prevailing at the time. As early as 1280 he had completed his translation of the Roman de la Rose, which he must have commenced in the lifetime of its author Jean de Meung.

As for prose, the oldest pieces of Dutch prose now in existence are charters of towns in Flanders and Zeeland, dated 1249, 1251 and 1254. Beatrice of Nazareth (1200–1268) was the first known prose writer in the Dutch language, the author of the notable dissertation known as the Seven Ways of Holy Love. From the other Dutch mystics whose writings have reached us, the Brussels friar Jan van Ruusbroec (better known in English as the Blessed John of Ruysbroeck, 1293/4–1381), the "father of Dutch prose" stands out. A prose translation of the Old Testament was made about 1300, and there exists a Life of Jesus of around the same date.

The poets of the Low Countries had already discovered in late medieval times the value of guilds in promoting the arts and industrial handicrafts. The term "Collèges de Rhétorique" ("Chambers of Rhetoric") is supposed to have been introduced around 1440 to the courtiers of the Burgundian dynasty, but the institutions themselves existed long before. These literary guilds, whose members called themselves "Rederijkers" or "Rhetoricians", lasted until the end of the sixteenth century and during the greater part of that time preserved a completely medieval character, even when the influences of the Renaissance and the Reformation obliged them to modify in some degree their outward forms. They were in almost all cases absolutely middle class in tone, and opposed to aristocratic ideas and tendencies in thought.

Of these chambers, the earliest were almost entirely engaged in preparing mysteries and miracle plays for the people. Towards the end of the fifteenth century, the Ghent chamber began to exercise a sovereign power over the other Flemish chambers, which was emulated later on in Holland by the Eglantine at Amsterdam. But this official recognition proved of no consequence in literature and it was not in Ghent but in Antwerp that intellectual life first began to stir. In Holland the burghers only formed the chambers, while in Flanders the representatives of the noble families were honorary members, and assisted with their money at the arrangement of ecclesiastical or political pageants. Their Landjuwelen, or Tournaments of Rhetoric, at which rich prizes were awarded, were the occasions upon which the members of the chambers distinguished themselves.

Between 1426 and 1620, at least 66 of these festivals were held. The grandest of all was the festival celebrated at Antwerp on August 3, 1561. The Brussels chamber sent 340 members, all on horseback and clad in crimson mantles. The town of Antwerp gave a ton of gold to be given in prizes, which were shared among 1,893 rhetoricians. This was the zenith of the splendour of the chambers, and after this time they soon fell into disfavour.

Their dramatic pieces produced by the chambers were of a didactic cast, with a strong farcical flavour, and continued the tradition of Jacob van Maerlant and his school. They very rarely dealt with historical or even Biblical personages, but entirely with allegorical and moral abstractions. The most notable examples of Rederijker theatre include Mariken van Nieumeghen ("Mary of Nijmegen") and Elckerlijc (which was translated into English as Everyman).

Of the pure farces of the rhetorical chambers we can speak with still more confidence, for some of them have come down to us, and among the authors famed for their skill in this sort of writing are named Cornelis Everaert of Bruges and Laurens Janssen of Haarlem. The material of these farces is extremely raw, consisting of rough jests at the expense of priests and foolish husbands, silly old men and their light wives.

The chambers also encouraged the composition of songs, but with very little success; they produced no lyrical genius more considerable than Matthijs de Casteleyn (1488–1550) of Oudenaarde, author of De Conste van Rhetorijcken ("The Art of Rhetoric").

The first writer who used the Dutch tongue with grace and precision of style was a woman and a professed opponent of Lutheranism and reformed thought. Modern Dutch literature practically begins with Anna Bijns (c. 1494–1575). Bijns, who is believed to have been born at Antwerp in 1494, was a schoolmistress at that city in her middle life, and in old age she still instructed youth in the Catholic religion. She died on April 10, 1575. From her work we know that she was a lay nun and that she occupied a position of honour and influence in Antwerp. Bijns' main subjects were faith and the character of Luther. In her first volume of poetry (1528) the Lutherans are scarcely mentioned and the focus is on her personal experience of faith. In the volume of poetry of 1538 every page is occupied with invective against the Lutherans. All the poems of Anna Bijns still extant are of the form called refereinen (refrains). Her mastery over verse form is considered to be remarkable. With the writings of Anna Bijns, the period of Middle Dutch closes and modern Dutch begins.

Split between North and South
Flanders formed a political and cultural whole with the Netherlands until 1579, when as a result of the Reformation the Protestant northern provinces (part of today's Netherlands) split off from the Roman-Catholic south which remained under Spanish rule.

While the Republic of the Seven United Netherlands witnessed its Golden Age, the Southern Netherlands suffered war and misery under Spanish occupation. As the Protestants fled from the Catholic Southern Netherlands, the once prospering port town of Antwerp started to decline as a metropolis and this to the benefit of towns and cities in the Netherlands, like Amsterdam, The Hague, Rotterdam and Utrecht. As a result of these political developments, the literature in the South, Flanders and Brabant changed its character. The flowering of medieval literature came to an abrupt end while in the 17th century the North knew a 'Golden Age' in the arts including literature. With the mass exodus of Flemish intellectuals to the Dutch Republic, literary activity in Flanders virtually came to a halt. In the French occupied part of Flanders a few major figures were active including Dominic De Jonghe (1654–1717) who translated Le Cid by Pierre Corneille into Dutch, the poet Michiel de Swaen (1654–1707) who wrote the epic Het Leven en Dood van Jezus Christus (The Life and Death of Jesus Christ) (1694) and the comedy The gecroonde leerse (The Crowned Boot) and Willem Ogier who is known for the comedy Droncken Heyn (Drunk Heyn) (1639) and a drama series entitled De seven hooft-sonden (The Seven Capital Sins) (1682).

During the 18th century, Flemish literary production was at a low tide. In 1761 Jan Des Roches who was born in The Hague published the Nieuwe Nederduytsche spraek-konst, a Dutch grammar that attempted to challenge the use of Latin as a culture language and French as the language of prestige by elaborating a standardized southern Dutch (Flemish) language. The Brussels lawyer Jan-Baptist Verlooy (1746–1797) wrote the Verhandeling op d'onacht der moederlyke tael in de Nederlanden (Treatise on the negligence of the mother tongue in the Netherlands) (1788), a report on the status of the Dutch language and the contempt with which it was treated in the past.

Other important authors include Willem Verhoeven (1738–1809), Charles Broeckaert (1767–1826) (author of the Flemish popular novel Jelle en Mietje), and Jan-Baptist Hofman (1758–1835), author of middle class tragedies.

Reunification and new split
After the conclusion of the Napoleonic Wars, Belgium and the Netherlands were reunited in 1815 under Dutch rule as the United Kingdom of the Netherlands. The reunification lead to a wider recognition of the Dutch language in Belgium. Resentment of Dutch rule by the French-speaking elites and the Catholic Church created a climate in which the Belgians revolted against Dutch rule in 1830, an event which is known as the Belgian Revolution.

The immediate result of the Belgian Revolution was a reaction against everything associated with the Dutch, and a disposition to regard the French language as the speech of liberty and independence. The provisional government of 1830 suppressed the official use of the Dutch language, which was relegated to the rank of a patois.

For some years before 1830 Jan Frans Willems (1793–1846) had been advocating the use of the Dutch language. He had done his best to allay the frictions between the Netherlands and Belgium and to prevent a separation. As archivist of Antwerp he had access to direct sources that allowed him to write a history of Flemish literature. After the revolution his Dutch sympathies made it necessary for him to keep a low profile for a while, but in 1835 he settled in Ghent, and devoted himself to the cultivation of the Dutch language. He edited old Flemish classics, such as Reinaert de Vos (1836), the rhyming Chronicles of Jan van Heelu and Jean Leclerc, etc. He gathered around him a group of people such as the chevalier Philip Blommaert (1809–1871), Karel Lodewijk Ledeganck (1805–1847), Frans Rens (1805–1874), Ferdinand Augustijn Snellaert (1809–1872), Prudens van Duyse (1804–1859), and others who wanted to support the use of the Dutch language.

Philipp Blommaert, who was born in Ghent on 27 August 1809, founded in 1834 in his native town the Nederduitsche letteroefeningen, a review for new writers. This magazine was speedily followed by other Flemish organs, and by literary societies for the promotion of Dutch in Flanders. In 1851 a central organization for the Flemish propaganda was provided by a society, named after the father of the movement, the Willemsfonds. The Roman Catholic Flemings founded in 1874 a rival Davidsfonds, called after the energetic Jean-Baptist David (1801–1866), professor at the Universite Catholique de Louvain (Leuven), and the author of a Dutch history book on Belgium (Vaderlandsche historie, Louvain, 1842–1866). As a result of this propaganda the Dutch language was placed on an equality with French in law, and in administration, in 1873 and 1878, and in the schools in 1883. Finally in 1886 a Flemish Academy was established by royal authority at Ghent, where a course in Flemish literature had been established as early as 1854.

The claims put forward by the Flemish school were justified by the appearance (1837) of In 't Wonderjaer 1566 (In the Wonderful year) of Hendrik Conscience, who roused national enthusiasm by describing the heroic struggles of the Flemings against the Spaniards. Conscience was eventually to make his greatest successes in the description of contemporary Flemish life, but his historical romances and his popular history of Flanders helped to give a popular basis to a movement which had been started by professors and scholars.

The first poet of the new school was Karel Lodewijk Ledeganck, the best known of whose poems are those on the three sister cities of Bruges, Ghent and Antwerp (De drie zustersteden, vaderlandsche trilogie, Ghent, 1846), in which he makes an impassioned protest against the adoption of French ideas, manners and language, and the neglect of Flemish tradition. The book speedily took its place as a Flemish classic. Ledeganck, who was a magistrate, also translated the French code into Dutch. Jan Theodoor van Rijswijck (1811–1849), after serving as a volunteer in the campaign of 1830, settled down as a clerk in Antwerp, and became one of the hottest champions of the Flemish movement. He wrote a series of political and satirical songs, admirably suited to his public. The romantic and sentimental poet, Jan van Beers, was typically Flemish in his sincere and moral outlook on life. Prudens van Duyse, whose most ambitious work was the epic Artevelde (1859), is perhaps best remembered by a collection (1844) of poems for children. Peter Frans Van Kerckhoven (1818–1857), a native of Antwerp, wrote novels, poems, dramas, and a work on the Flemish revival (De Vlaemsche Beweging, 1847).

Antwerp produced a realistic novelist in Jan Lambrecht Domien Sleeckx (1818–1901). An inspector of schools by profession, he was an indefatigable journalist and literary critic. He was one of the founders in 1844 of the Vlaemsch Belgie, the first daily paper in the Flemish interest. His works include a long list of plays, among them Jan Steen (1852), a comedy; Gretry, which gained a national prize in 1861; Vissers van Blankenberge (1863); and the patriotic drama of Zannekin (1865). His talent as a novelist was diametrically opposed to the idealism of Conscience. He was precise, sober and concrete in his methods, relying for his effect on the accumulation of carefully observed detail. He was particularly successful in describing the life of the shipping quarter of his native town. Among his novels are: In't Schipperskwartier (1856), Dirk Meyer (1860), Tybaerts en Cie (1867), Kunst en Liefde (Art and Love, 1870), and Vesalius in Spanje (1895). His complete works were collected in 17 volumes (1877–1884).

Jan Renier Snieders (1812–1888) wrote novels dealing with North Brabant; his brother, August Snieders (1825–1904), began by writing historical novels in the manner of Conscience, but his later novels are satires of contemporary society. A more original talent was displayed by Anton Bergmann (1835–1874), who, under the pseudonym of Tony, wrote Ernest Staas, Advocaat, which gained the quennial prize of literature in 1874. In the same year appeared the Novellen of the sisters Rosalie (1834–1875) and Virginie Loveling (1836–1923). These simple and touching stories were followed by a second collection in 1876. The sisters had published a volume of poems in 1870. Virginie Lovelings gifts of fine and exact observation soon placed her in the front rank of Flemish novelists. Her political sketches, In onze Vlaamsche gewesten (1877), were published under the name of W. G. E. Walter. Sophie (1885), Een dure Eed (1892), and Het Land der Verbeelding (1896) are among the more famous of her later works. Reimond Stijns (1850–1905) and Isidoor Teirlinck (1851–1934) produced in collaboration one very popular novel, Arm Vlaanderen (1884), and some others, and have since written separately. Cyriel Buysse, a nephew of Virginie Loveling, is a disciple of Émile Zola. Het Recht van den Sterkste (The Right of the Strongest, 1893) is a picture of vagabond life in Flanders; Schoppenboer (The Knave of Spades, 1898) deals with brutalized peasant life; and Sursum corda (1895) describes the narrowness and religiosity of village life.

In poetry, Julius de Geyter (1830–1905), author of a rhymed translation of Reinaert (1874), an epic poem on Charles V (1888), etc. produced a social epic in three parts, Drie menschen van in de wieg tot in het graf (Three Men from the Cradle to the Grave, 1861), in which he propounded radical and humanitarian views. The songs of Julius Vuylsteke (1836–1903) are full of liberal and patriotic ardour; but his later life was devoted to politics rather than literature. He had been the leading spirit of a students association at Ghent for the propagation of Flemish views, and the Willemsfonds owed much of its success to his energetic co-operation. His Uit het studentenleven appeared in 1868, and his poems were collected in 1881. The poems of Mme van Ackere (1803–1884), née Maria Doolaeghe, were modelled on Dutch originals. Joanna Courtmans (1811–1890), née Berchmans, owed her fame rather to her tales than her poems; she was above all a moralist and her fifty tales are sermons on economy and the practical virtues. Other poets were Emmanuel Hiel, author of comedies, opera libretti and some admirable songs; the abbot Guido Gezelle, who wrote religious and patriotic poems in the dialect of West Flanders; Lodewijk de Koninck (1838–1924), who attempted a great epic subject in Menschdom Verlost (1872); Johan Michiel Dautzenberg (1808–1869) from Heerlen, author of a volume of charming Volksliederen. The best of Dautzenberg's work is contained in the posthumous volume of 1869, published by his son-in-law, Frans de Cort (1834–1878), who was himself a songwriter, and translated songs from Robert Burns, from Jacques Jasmin and from German. The Makamen en Ghazelen (1866), adapted from Rückert's version of Hariri, and other volumes by Jan Ferguut (J. A. van Droogenbroeck, 1835–1902) show a growing preoccupation with form, and with the work of Gentil Theodoor Antheunis (1840–1907), they prepare the way for the ingenious and careful workmanship of the younger school of poets, of whom Charles Polydore de Mont was the leader. He was born at Wambeke in Brabant in 1857, and became professor in the academy of the fine arts at Antwerp. He introduced something of the ideas and methods of contemporary French writers into Flemish verse; and explained his theories in 1898 in an Inleiding tot de Poezie. Among Pol de Mont's numerous volumes of verse dating from 1877 onwards are Claribella (1893), and Iris (1894), which contains amongst other things a curious Uit de Legende van Jeschoea-ben-Josief, a version of the gospel story from a Jewish peasant.

Mention should also be made of the history of Ghent (Gent van den vroegsten Tijd tot heden, 1882-1889) by Frans de Potter (1834–1904), and of the art criticisms of Max Rooses (1839–1914), curator of the Plantin-Moretus Museum in Antwerp, and of Julius Sabbe (1846–1910).

20th century
In the twentieth Century Flemish literature evolved further and was influenced by the international literary evolution. Cyriel Buysse and Stijn Streuvels were influenced by the naturalist literary fashion, while Felix Timmermans was a neo-romanticist.

After World War I the poet Paul van Ostaijen was an important representative of expressionism in his poems. In between World War I and World War II, Gerard Walschap, Willem Elsschot and Marnix Gijsen were prominent Flemish writers. After World War II the first avant-garde magazine Tijd en Mens (E: Time and People) was published from 1949 up to 1955. In 1955 it was succeeded by Gard Sivik (E: Civil Guard) (up to 1964), with Hugues C. Pernath and Paul Snoek. The most prominent Flemish Vijftiger (E: Generation fifties) was Hugo Claus, who plays an important role in Flemish literature since then. Other postwar poets were Anton van Wilderode and Christine D'Haen. Some of the writers who made their debut after 1960 are Eddy Van Vliet, Herman de Coninck, Roland Jooris, Patrick Conrad and Luuk Gruwez.

The renewal of the Flemish prose immediately after World War II was the work of Hugo Claus and Louis Paul Boon. Johan Daisne and Hubert Lampo introduced magic realism in Flemish literature. Ivo Michiels and Paul De Wispelaere represented the new novel. In the eighties Walter van den Broeck and Monika van Paemel continued to write in the style of Louis Paul Boon.

Other contemporary authors are Ward Ruyslinck and Jef Geeraerts, Patrick Conrad, Kristien Hemmerechts, Eric de Kuyper, Stefan Hertmans, Pol Hoste, Paul Claes, Jan Lauwereyns, Anne Provoost and Jos Vandeloo. In the nineties the Generation X, with Herman Brusselmans and Tom Lanoye made their debut on the Flemish literary scene.

Overview

 * Johan Anthierens (1937–2000)
 * Pieter Aspe (Pierre Aspeslag, 1953–2021)
 * Aster Berkhof (Lode Van Den Bergh, born 1920)
 * Louis Paul Boon (1912–1979)
 * Herman Brusselmans (born 1957)
 * Libera Carlier (1926–2007)
 * Ernest Claes (1885–1968)
 * Paul Claes (born 1943)
 * Hugo Claus (1929–2008)
 * Patrick Conrad (born 1945)
 * Johan Daisne (Herman Thiery, 1912–1978)
 * Herman De Coninck (1944–1997)
 * Saskia de Coster (born 1976)
 * Filip De Pillecyn (1891–1962)
 * Rita Demeester (1946–1993)
 * Willem Elsschot (1882–1960)
 * Fritz Francken (1893–1969)
 * Marnix Gijsen (1899–1984)
 * Maurice Gilliams (1900–1982)
 * Luuk Gruwez (born 1953)
 * Kristien Hemmerechts (born 1955)
 * Stefan Hertmans (born 1951)
 * Karel Jonckheere (1906–1993)
 * Paul Kenis (1885–1934)
 * Eric de Kuyper (born 1942)
 * Hubert Lampo (1920–2006)
 * Tom Lanoye (born 1958)
 * Jan Lauwereyns (born 1969)
 * Maurice Maeterlinck (1862–1949)
 * Tom Naegels (born 1975)
 * Alice Nahon (1896–1933)
 * Leo Pleysier (born 1945)
 * Anne Provoost (born 1964)
 * Jean Ray (John Flanders) (1887–1964)
 * Willem Roggeman (born 1935)
 * Maria Rosseels (1916–2005)
 * Maurits Sabbe (1873–1938)
 * Paul Snoek (1933–1981)
 * Stijn Streuvels (1871–1969)
 * Herman Teirlinck (1879–1967)
 * Jotie T'Hooft (1956–1977)
 * Felix Timmermans (1886–1947)
 * Ernest Van der Hallen (1898–1948)
 * Marcel van Maele (1931–2009)
 * Paul van Ostaijen (1896–1928)
 * Paul Verhaeghen (born 1965)
 * Peter Verhelst (born 1962)
 * Gerard Walschap (1898–1989)
 * Lode Zielens (1901–1944)

References (from 19th century)

 * This article in turn cites:
 * Ida van Düringsfeld, Von der Schelde bis zur Mass. Des geistige Leben der Vlamingen (Leipzig, 3 vols., 1861)
 * J. Stecher, Histoire de la littérature néerlandaise en Belgique (1886)
 * Theodoor Coopman and L. Scharpé, Geschiedenis der Vlaamsche Letterkunde van het jaar 1830 tot heden (1899)
 * A. de Koninck, Bibliographie nationale (3 vols., 1886–1897)
 * Paul Hamelius, Histoire poétique et littéraire du mouvement flamand (1894)
 * Frans de Potter, Vlaamsche Bibliographie, issued by the Flemish Academy of Ghent — contains a list of publications between 1830 and 1890
 * W. J. A. Huberts et al., Biographisch woordenboeck der Noord- en Zuid-Nederlandsche Letterkunde (1878)

title: Flemish literature


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title: User talk:Idaios~enwiki


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Talk:Complex

Housing complex?
What about a housing complex? —The preceding unsigned comment was added by 12.77.116.90 (talk • contribs) 20:36, 1 October 2005 (UTC)
 * This use of "complex" is included in the main meaning. A housing complex is a grouping of several housing units that are interconnected or somehow related. This meaning does not have and does not warrant its own article in an encyclopedia, so there is no reason to specifically mention it. -- Centrx 19:46, 10 June 2006 (UTC)
 * I wanted this aswell. ('educational complex', etc). Surely it's worth having a mention. It doesn't need to be an article - just a redirect to building, which in turn can mention 'complex' somewhere. 86.176.242.250 (talk) 15:37, 23 February 2017 (UTC)

Complex (medicine)
Used either before or after another term, e.g. Alzheimer complex, complex condition. Would be nice if an expert could put in a phrase. --Lisa4edit (talk) 12:52, 14 April 2008 (UTC)

Conversation copied here
Having exactly one navigable blue link is not a categorical rule. In this case, "complexity theory" and "imaginary number" are highly relevant and would themselves warrant separate entries on the same page if it were logical to organize them so. Also, changing links to point to redirects here misleads the reader. "Complex algebra" is not "an element of a field of sets"; and a "mimicry complex" is not "mimicry" or even merely an instance of "mimicry". Blindly fixing every disambiguation page in a set format, which is not even required by Disambiguation or the Manual of Style, impairs the usefulness of the disambiguation page, impedes the reader, and sometimes leads to downright false listings. —Centrx→talk • 09:30, 9 November 2008 (UTC)

 * Having exactly one navigable blue link is most definitely a Manual of Style (disambiguation pages) rule. While we certainly may ignore it if it helps the page, I don't think you have shown that it does on Complex.  Please remember that this is not a page about the concept of "complex", it is a directional page for users who have typed in the word "complex".  It should not contain informational content beyond what is necessary to direct them to the article they were seeking.  This is not an educational page, it is a directional page.  Very technically, there should be no links here that weren't synonymous with the word "complex".  Let's look at your changes individually:
 * Mimicry or Mimicry complex - Both link to the same article, from which I quote, "...mimicry occurs when a group of organisms, the mimics, have evolved to share common perceived characteristics with another group, the models, through the selective action of a signal-receiver or dupe. Collectively this is known as a mimicry complex. This is the intro to the article, so I can't figure out what your objection is to using the Mimicry complex redirect.  Since this page is named "complex", we ought to be linking to things known as "complex", which this obviously is.
 * Imaginary number - This article declares in its introduction that it is a complex number, and the Complex number article seems to contain extensive explanations of imaginary numbers and units. I am not a mathematician, so I hope that someone who understands the terminology and concepts better will keep me from error here, but it seems that an imaginary number is a type of complex number, which doesn't seem to make it synonymous with the word "complex".  Any user investigating this use of the word complex, will certainly be put on the right track by going to the Complex number article, which would seem to be the broader use of the word "complex".  I can't see why we should break the rule here.
 * Your piping of Complexity theory in the Complex system entry is certainly deprecated in MOSDAB per WP:PIPING, especially the way you have added it as a secondary blue link. If you'd like, we can add Complexity theory (which is actually a dab page anyway, not an article) to the "See also" section.
 * I will accept your rewording of the field of sets entry, since I didn't think I had that quite right, but I think it would be better to link complex algebra in that entry, since it is a redirect to the exact same article, and it acually uses the word "complex", which is what a user who ends up at this page would have been seeking.
 * I hope we can sort these changes out. I have no intention of edit warring, and I do accept my limitations of knowledge, but unless there is a compelling argument to ignore the rules, I will abide by the guidelines at Manual of Style (disambiguation pages), since they have been reached and held by long consensus.  I will copy this conversation to Talk:Complex and we can continue it there. SlackerMom (talk) 15:31, 10 November 2008 (UTC)

 * MOSDAB says that an item should have exactly one navigable blue link in almost every case. It does not say "without exception", and regardless this is a style guide not rock-ribbed law.
 * Mimicry and mimicry complex link to the same article, so linking to the redirect mimicry complex is a distinction with a difference, except that doing so silently without context in the disambiguation item is misleading. "Mimicry complex" != "mimicry". If any change is warranted, the item does not belong here at all, since it seems to be a generic use of the dictionary word "complex".
 * All imaginary numbers are complex numbers, and all complex numbers worth talking about as "complex numbers" involve imaginary numbers. The entire study of complex numbers would not exist without imaginary numbers. Anyone seeking information on complex numbers in an encyclopedia wants information on imaginary numbers, and it is not clear that the topics even belong in separate articles.
 * Complexity theory: If you have a better way of describing the relationship between complexity theory and complex systems, which helps the reader at the top level decide which article is relevant, please provide it. Deleting the link, or shunting it to a bottom section as though it is unrelated to complex systems, does not help the reader find an intended topic. The relevant non-disambiguation link is supposed to be Computational complexity theory, which may have been moved or such like.
 * Complex algebra: By the same principle piping is not generally used, neither are redirects, as it says at WP:PIPING. Although, this usage is better than "mimicry complex", because a "complex algebra" is the same thing as a "field of sets", and should be worse than "computational complexity", which was supposedly merely a different word ordering and part of speech. —Centrx→talk • 23:39, 10 November 2008 (UTC)

 * OK, I'm about to take a serious wikibreak, so I'm going to leave this in your hands. Here are my thoughts, building on your responses:
 * Let's pull mimicry altogether. I think you're right about the generic use of the word.
 * Let's rewrite the complex numbers entry to succintly explain their relationship to imaginary numbers and include both links. We can't solve the content problems of the articles from here, so I won't object to including both links for now.  I'll take a crack at it and you can improve it if I don't get it right.
 * I'm not yet convinced that a link to computational complexity theory belongs on this page. That article doesn't even use the word "complex", so I'm not sure that's what someone would be seeking by typing in "complex".  I think complex system is included here because it seems possibly (more) synonymous with "complex", but perhaps we're treading close to the generic meaning of the word again even with that link.
 * Concerning complex algebra, WP:PIPING actually offers exceptions to the rule against redirects under "Where redirecting may be appropriate". Here's the quote: Linking to a redirect can also be helpful when the redirect contains the disambiguated term and could serve as an alternative title for the target article, meaning an alternate term which is already bolded in the article's lead section.  I think the complex algebra redirect meets this exception, but if you disagree, I won't object to changing it.
 * Also, I think we might as well leave Complexity theory under "See also" whether we include Computational complexity theory as an individual entry or not. SlackerMom (talk) 18:55, 11 November 2008 (UTC)

subsequent addendum
A complex system is more special than a general complex. Complex systems the theory of such things. the respective articles are not that good worded, but the links should be here. Correlatively a mimicry complex is special, too. Changed the page accordingly (among other things) -- Tomdo08 (talk) 16:17, 11 August 2010 (UTC)

Requested move 17 December 2019

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: Not moved (non-admin closure) Iffy★Chat -- 20:32, 24 December 2019 (UTC)

Complex → Complex (disambiguation) – Should be a WP:PRIMARYREDIRECT to Complexity as the broad concept topic. ZXCVBNM (TALK) 16:18, 17 December 2019 (UTC)

 * Oppose since Complex (psychology) is also a big hitter and there are some other prominent entries on that dab page as well. Complexity should be listed on the dab page however, since it doesn't appear to be at the moment? Maybe put Complexity and the psychology term in a "usually refers to" section at the top per Amazon and Mercury. —Xezbeth (talk) 16:47, 17 December 2019 (UTC)
 * Oppose As Xezbeth points out, Complex (psychology) gets |Complex_(psychology)|Complex_(magazine)|Complex a similar number of pageviews (and Complex (magazine) gets even more). Furthermore, complexity has a weaker claim to primariness because of WP:NOUN. We prefer nouns as titles - readers will generally recognize this and adjust their search patterns accordingly. Colin M (talk) 19:52, 17 December 2019 (UTC)
 * Oppose per the above. Aoba47 (talk) 00:07, 19 December 2019 (UTC)
 * Oppose. I've cleaned the page up a little, including incorporating the suggestions above, but there are probably still too many partial title matches not known as simply "complex", and some descriptions are not concise enough – it's hard to make "complex" things simple! Shhhnotsoloud (talk) 10:09, 21 December 2019 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

title: Talk:Complex


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User talk:Bradley Allen

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User talk:Angeleno310

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title: User talk:Dougwymer


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User talk:Star Bug

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title: User talk:Star Bug


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User talk:Johndlagart

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title: User talk:Johndlagart


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User talk:Lisad2l

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title: User talk:Lisad2l


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User talk:Sternitzkya

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Wikipedia needs you
Hi,. You have helped with a number of articles in the past, but you haven't edited any articles in a while. Could you make some new contributions soon to help make Wikipedia better? I hope you decide to become a more active contributor again. Feel free to drop me a line on my talk page. -- ForteTuba 04:45, 25 February 2006 (UTC)
 * Check out these articles chosen for you, based on your past edits, to help you find articles that need work.

Image Tagging Image:Angelo playing piano.gif
Thanks for uploading Image:Angelo playing piano.gif. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this media yourself then there needs to be an argument why we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then it needs to be specified where it was found, i.e., in most cases link to the website where it was taken from, and the terms of use for content from that page.

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A tag has been placed on Alluvial desert, requesting that it be speedily deleted from Wikipedia. This has been done because the page appears to have no meaningful content or history, and the text is unsalvageably incoherent.

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Note: My request for speedy deletion failed, and the speedy deletion tag has been replaced with a tag nominating the article for (not-so-speedy) deletion. See below. Paleorthid (talk) 07:43, 23 November 2007 (UTC)

AfD nomination of Alluvial desert
An article that you have been involved in editing, Alluvial desert, has been listed for deletion. If you are interested in the deletion discussion, please participate by adding your comments at Articles for deletion/. Thank you. Paleorthid (talk) 07:43, 23 November 2007 (UTC)

Proposed deletion of Lois Gladys Leppard

The article Lois Gladys Leppard has been proposed for deletion because of the following concern: "Non-notable author"

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Nomination of Paul Dillon for deletion
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title: User talk:Sternitzkya


text:
User talk:Solarmyth

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KBOB (AM)

KBOB is a radio station licensed to Davenport, Iowa, and airs a sports format. The station's frequency is 1170 kHz, and broadcasts at a power of 1 kW. Its transmitter is in Knoxville Road just outside of Milan, Illinois.

KBOB is owned by Townsquare Media, with studios located at 1229 Brady Street in Davenport (along with the co-located KJOC, WXLP, KBEA-FM and KIIK-FM).

History
The station signed on July 7, 1946 as KSTT, broadcasting from the Hotel Davenport in downtown Davenport. Format was typical of the era, with big band and vocal pop, along with news, sports and farm markets.

It wasn't until the mid-1950s—when it began playing the then-new Top 40/Contemporary Hit Radio genre—that the station really took off in popularity. Disc jockeys made liberal use of listener requests and call-in contests. If there was a live broadcast or news happening in the Quad Cities, listeners were sure to spot the "Big Red" mobile news cruiser. KSTT also polled listeners on their favorite current songs, which disc jockeys then presented in a weekly countdown program. Quad Cities area servicemen in Vietnam had tapes of KSTT programming sent to them.

The station, which moved in 1963 to 1111 East River Drive in downtown Davenport, had a large window in its studio, where motorists could see their favorite on-air disc jockeys broadcasting. Listeners today remember such radio personalities as Jay Gregory, Mike Kenneally, Michelle Coleman, Tom Clay, Bill Young, Greg Garron, Bryan Bradford, Dave Shropshire, Lou Gutenberger, Bobby Rich, Bob Bateman, Ruth & Fred, "Spike @ the Mic" O'Dell & Jim O'Hara, each of them presenting the current Top 40 hits in an entertaining way. Members of the station's award-winning news department included News Director Jerry Reid and reporters Dave Douglas (Tom Hosmanek), Gary Hummel, Paulee Lipsman, John Cloghssey, Dan Kennedy, Dan Potter, Jack Gabor, David McAlary & Fred Manfra.

KSTT listeners became participants as well as listeners, phoning in news tips, requesting songs. They attended KSTT-sponsored "hootenannys", sock-hops, "Smallstars" basketball games, picnics, concerts & "Good Guy-A-Go-Go" dances & contests. Dick Orkin's infamous "Chicken Man" a radio series & "The Tooth Fairy" another radio series episodes were heard daily.

For many years, KSTT remained the top-rated station in the Quad Cities market. But by the late 1970s early 1980s, KSTT's audience started to shrink. In August 1984, KSTT changed callsigns to KKZX, known to listeners as "11-KZX", and took one last-ditch effort at Top 40 music and had mild success. In early 1986, KKZX flipped to easy listening until 1987. After Guy Gannett Broadcasting sold the station as well as its sister station 97X to Goodrich Broadcasting, the station returned to its legendary KSTT call letters, but began programming "Golden Oldies" music from the 1950s through early 1970s, airing many of the same songs it played in its heyday. It worked for a while, but the resurgence was temporary.

Beginning in January 1989, KSTT was doing some simulcasting with sister FM station WXLP. By February 1992, 1170 AM's format was largely sports talk. In March 1993, the station's call letters were switched to KJOC.

During its 10-year run as a sports station, KJOC received most of its programming from ESPN Radio, and was the Quad Cities outlet for Chicago-area professional sports, including the Chicago Bears, Chicago Bulls, Chicago Cubs and the Chicago White Sox. For most of the 1990s, KJOC also provided coverage of local sports.

In April 2003, KJOC adopted a talk radio format. Branding itself as "Super Talk 1170," KJOC's flagship program was "The O'Reilly Factor" hosted by Bill O'Reilly. Chicago-area sports remained a fixture on the station.

On August 20, 2008, KJOC switched to an oldies format, getting most of its programming from ABC Radio Networks' "True Oldies Channel." The sports lineup continued to feature Chicago-area and Iowa State University sports.

On February 20, 2012, KUUL dropped their longtime oldies format and switched to a Top 40, which temporarily left KJOC as the lone oldies station in the Quad Cities; shortly after KUUL's switch, WYEC ("Rewind 93.9") began emphasizing its oldies format, which it had adopted some time earlier. KJOC's "True Oldies Channel" service focused on 1960s and 1970s music, while WYEC largely played music from the 1970s and 1980s plus some from the 1960s.

New owners and more format switches
On August 30, 2013, a deal was announced in which Townsquare Media would acquire 53 Cumulus Media stations, including KJOC, for $238 million. The deal is part of Cumulus' acquisition of Dial Global; Townsquare and Dial Global are both controlled by Oaktree Capital Management. The transaction was consummated effective November 14, 2013.

The format switched back to sports – a format last at 1170 AM 11 years earlier – on May 1, 2014, once again getting network programming from ESPN Radio.

On June 16, 2014, sister station KQCS (93.5 FM) began simulcasting KJOC's AM signal, as part of a planned format change – from hot adult contemporary to sports – at that frequency. The call letters were switched to KBOB (the letters formerly held by the station's sister frequency at 104.9 FM) on July 1, but initially continued to simulcast the sports talk format.

On September 8, 2014, a new classic country music format debuted at 1170 AM, with programming from Westwood One. The station was slated to begin carrying reports from the Iowa Agribusiness Radio Network by mid-September. Initial plans were to continue carrying Iowa State University sports events and local high school sports, as the station has done in the past; Chicago Cubs games were to remain at 1170 AM until the 2015 season, at which time they were to begin being carried on 93.5 FM. It was the first time 1170 AM carried a country music format full time, and marked the first-time local agriculture reports were available on a Quad Cities radio station since 2004.

In January 2015, it was announced that KBOB would become the radio broadcaster for the Quad Cities River Bandits; a Class-A Minor League Baseball team which is the Midwest League affiliate of the Houston Astros. 1AM 1170 had been the play-by-play broadcaster for the 2Quad Cities River Bandits from 1988 to 1996 before losing the broadcast rights to cross-market competitor WKBF in 1997. 2015 marks the first time AM 1170 would be the play-by-play broadcaster for the Quad Cities River Bandits in 19 years.

On August 30, 2019, KBOB returned to sports talk, branded as "ESPN 1170 AM", which moved from sister KJOC. Concurrently, that station flipped to active rock.

title: KBOB (AM)


text:
User talk:LazarKromberg

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title: User talk:LazarKromberg


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User talk:Animadversion~enwiki

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Your account will be renamed
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Renamed
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title: User talk:Animadversion~enwiki


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User talk:Myoung~enwiki

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Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Myoung. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Myoung~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

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Renamed
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title: User talk:Myoung~enwiki


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User talk:Cowboy78605

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title: User talk:Cowboy78605


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User talk:Journette

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title: User talk:Journette


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User talk:Endlesswaltz

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title: User talk:Endlesswaltz


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User:Interiot/Music

Music styles

 * funk (P-Funk, Rick James)
 * arena rock (Queen)
 * progressive rock (Jethro Tull, Golden Earing, Ping Floyd, The Alan Parsons Project)
 * punk rock (The Clash)
 * pop punk (Green day)
 * sophomoric/offensive (Presidents of USA, The Bloodhound Gang, Blink-182)
 * swing revival

Groups generally

 * (dates based on first album that I really liked, not necessarily their first release. singles listed when their other songs aren't strongly liked)

 * Simon and Garfunkel, American (1966)
 * The Beatles, British (1966)
 * Parliament/Funkadelic, American (60's and 70's)
 * Elton John, British (1970)
 * The Who, British, (1971)
 * Pink Floyd, British (1973)
 * Tom Petty and the Heartbreakers, American, 1976 (American Girl)
 * Dire Straits, British (1978)
 * R.E.M., American (1981)
 * U2, Irish (1987)
 * They Might Be Giants, American (1989)
 * Collective Soul, American (1993)
 * The Cranberries, Irish (1993)
 * Green Day, American (1994)

Great Intros

 * (I love songs that have you cranking the volume to 11 within seconds of hearing the song for the first time)

 * Foreplay/Long Time by Boston (1976)
 * The Happiest Days of Our Lives by Pink Floyd (1979)

Look into

 * Groups/genres I should learn more about

 * Rick James
 * Progressive metal
 * System of a Down
 * Dream Theater
 * Neo-classical metal

title: User:Interiot/Music


text: Talk:U.S. Route 9W

title: Talk:U.S. Route 9W


text: User talk:81.235.249.87

title: User talk:81.235.249.87


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User talk:LakeMyst

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title: User talk:LakeMyst


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User talk:Dark merlin

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Image copyright problem with Image:Bean2.jpg
Thanks for uploading Image:Bean2.jpg. However, the image may soon be deleted unless we can determine the copyright holder and copyright status. The Wikimedia Foundation is very careful about the images included in Wikipedia because of copyright law (see Wikipedia's Copyright policy).

The copyright holder is usually the creator, the creator's employer, or the last person who was transferred ownership rights. Copyright information on images is signified using copyright templates. The three basic license types on Wikipedia are open content, public domain, and fair use. Find the appropriate template in Image copyright tags and place it on the image page like this:.

Please signify the copyright information on any other images you have uploaded or will upload. Remember that images without this important information can be deleted by an administrator. If you have any questions, feel free to contact me, or ask them at the Image legality questions page. Thank you. CLW 15:19, 5 April 2006 (UTC)

Image Tagging Image:Bean2.jpg
Thanks for uploading Image:Bean2.jpg. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this media yourself then there needs to be an argument why we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then it needs to be specified where it was found, i.e., in most cases link to the website where it was taken from, and the terms of use for content from that page.

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Image copyright problem with Image:Hannibal_Bean.jpg
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title: User talk:Dark merlin


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User talk:Kyrokushen

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title: User talk:Kyrokushen


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User talk:Thanhvietnam

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title: User talk:Thanhvietnam


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User talk:Thunderboltz

Leave me a message | Send me an email.

Proposed deletion of C. K. Manisankar

The article C. K. Manisankar has been proposed for deletion because of the following concern: "Fails WP:NPOL"

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Please consider improving the page to address the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. In particular, the speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. KH-1 (talk) 05:59, 8 February 2022 (UTC)

missing
Hi. You are now listed as missing, as we seek to recognize those editors who impacted the project and are no longer contributing. Should you ever return or simply don't want to be listed, you are welcome to remove your name. Please do not see this message as any sort of prod to your activity on wiki, as we all would hope to enjoy life after having edited here. Chris Troutman ( talk ) 18:31, 1 January 2023 (UTC)

 Removal from member list You have been inactive for more than 6 months and have been removed from the Wikipedia Birthday Committee birthday list. If you become active again please feel free to re-add yourself.

Best wishes, Chris Troutman  ( talk ) 18:31, 1 January 2023 (UTC)

Proposed deletion of St. Teresa's Convent Girls' Higher Secondary School

The article St. Teresa's Convent Girls' Higher Secondary School has been proposed for deletion because of the following concern: "No sources, no indication of Notability. The WP:NSCHOOL criteria have been made much stricter since this article was created."

While all constructive contributions to Wikipedia are appreciated, pages may be deleted for any of several reasons.

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

Please consider improving the page to address the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. In particular, the speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. -MPGuy2824 (talk) 05:53, 3 May 2023 (UTC)

Nomination of The Business Standard for deletion
A discussion is taking place as to whether the article The Business Standard is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

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

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article until the discussion has finished. M.parvage (talk) 11:12, 14 June 2023 (UTC)

Ways to improve MM TV
Hello, Thunderboltz,

Thank you for creating MM TV.

I have tagged the page as having some issues to fix, as a part of our page curation process and note that:

"Please have a look at WP:ORGCRIT. Independent sources are required. Currently all sources are MM-produced."

The tags can be removed by you or another editor once the issues they mention are addressed. If you have questions, leave a comment here and begin it with. Remember to sign your reply with. For broader editing help, please visit the Teahouse.

Delivered via the Page Curation tool, on behalf of the reviewer.

Викидим (talk) 06:51, 11 March 2024 (UTC)

Nomination of Jeevan TV for deletion
A discussion is taking place as to whether the article Jeevan TV is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

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

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article until the discussion has finished. Boleyn (talk) 16:08, 25 May 2024 (UTC)

title: User talk:Thunderboltz