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Japanese adjectives

This article deals with Japanese equivalents of English adjectives.

Types of adjective
In Japanese, nouns and verbs can modify nouns, with nouns taking the 〜の particles when functioning attributively (in the genitive case), and verbs in the attributive form. These are considered separate classes of words, however.

Most of the words that can be considered to be adjectives in Japanese fall into one of two categories – variants of verbs, and nouns:

 * adjectival verb (Japanese: 形容詞, keiyōshi, literally 形容 "description" or "appearance" + 詞 "word"), or i-adjectives
 * These can be considered specialized verbs, in that they inflect for various aspects such as past tense or negation, and they can be used predicatively to end a sentence, without the need for any other "to be" verb. For example, atsui (暑い) "hot":
 * 暑い日 (Atsui hi) ("a hot day")
 * 今日は暑い. (Kyō wa atsui.) ("Today is hot.")

 * adjectival noun (形容動詞, keiyō-dōshi, literally 形容 "description" or "appearance" + 動詞 "verb"), or na-adjectives
 * These can be considered a form of noun in terms of syntax; these attach to the copula, which then inflects, but use 〜な (-na) (rather than the genitive 〜の) when modifying a noun. For example, hen (変) "strange":
 * 変な人 (Hen-na hito) ("a strange person")
 * 彼は変だ. (Kare wa hen da.) ("He is strange.")

Both the predicative forms (終止形 shūshikei, also called the "conclusive form" or "terminal form") and attributive forms (連体形 rentaikei) of i-adjectives and na-adjectives can be analyzed as verb phrases, making their attributive forms relative clauses rather than adjectives. According to this analysis, Japanese has no syntactic adjectives.

Japanese adjectives that do not fall into either of these categories are usually grouped into a grab-bag category:
 * attributives (連体詞, rentaishi, literally 連 "connects, goes with" + 体 "body", short for 体言 "uninflecting word" such as a noun + 詞 "word")
 * These may only occur before nouns, and not in a predicative position. They are various in derivation and word class, and are generally analyzed as variants of more basic classes, where this specific form (possibly a fossil) can only be used in restricted settings. For example, ōkina (大きな) "big" (variant of 大きい):
 * 大きな事 (Ōkina koto) ("a big thing")

A couple of small sub-categories can be distinguished in these categories, reflecting former grammatical distinctions or constructions which no longer exist:
 * shii-adjectives (form of i-adjectives, see below)
 * -yaka na adjectives (see below)
 * -raka na adjectives (see below)
 * taru-adjectives (ト・タル形容動詞, to, taru keiyōdōshi, literally "to, taru adjectival noun")
 * These are a variant of the common na-adjectives that developed in Late Old Japanese and have mostly died out, surviving in a few cases as fossils; they are usually classed as a form of 形容動詞 (na-adjective), as the Japanese name indicates.

 * naru-adjectives
 * These are words that were traditionally earlier forms of na-adjectives, but that followed a path similar to taru-adjectives, surviving in a few cases as fossils. These are generally classed as attributives.

i-adjectives
i-adjectives end with い (i) (but never えい, ei) in base form. They may predicate sentences and inflect for past, negative, etc. As they head verb phrases, they can be considered a type of verbal (verb-like part of speech) and inflect in an identical manner as the negative form of verbs. Their inflections are different and not so numerous as full verbs.

i-adjectives are considered verbs because they inflect with the same bases as verbs and their respective usages: irrealis (未然形 mizenkei), continuative (連用形 renyōkei), terminal (終止形 shuushikei), attributive (連体形 rentaikei), hypothetical (仮定形 kateikei), and imperative (命令形 meireikei).

Among the six bases of verbs for i-adjectives, there exist two sets of inflection paradigms: a "plain" or "true" conjugation, and what is known as a kari-conjugation (カリ活用 kari-katsuyō), which is the result of the contraction between the "plain" continuative form 〜く (ku) and the verb あり (有り, 在り) ari, meaning "to exist", "to have", or "to be". Due to this, the kari-conjugation paradigm resembles that of the r-irregular conjugation paradigm (ラ行変格活用 ra-gyō henkaku katsuyō) of あり ari, however the hypothetical (historically the 已然形 izenkei) is 〜けれ kere instead of 〜かれ kare (used historically, and also the imperative base).

The stem of i-adjectives can combine (prepend on the left), similar to the continuative form of verbs, though this is less common than for verbs. Conversely, nouns or verb stems can sometimes prepend i-adjectives, or two i-adjectives can combine, forming compound modifiers; these are much less common than Japanese compound verbs. Common examples include omo-shiro-i (面白い) (noun + i-adjective), and zuru-gashiko-i (狡賢い) (i-adjective stem + i-adjective); while haya-tochiri (早とちり) (i-adjective stem + verb stem) shows an adjective stem joining to form a noun.

shii-adjectives
A number of i-adjectives end in -shii (〜しい) (sometimes written -sii). These are overwhelmingly words for feelings, like kanashii (悲しい) or ureshii (嬉しい). These were originally a separate class of adjectives, dating at least to Old Japanese (see Old Japanese adjectives), where the two classes are known as -ku (〜く) and -shiku (〜しく), corresponding to -i and -shii. However, they merged over the course of Late Middle Japanese (see Late Middle Japanese adjectives), and now shii-adjectives are simply a form of i-adjectives. The distinction, although no longer meaningful in pronunciation, is still reflected by the writing system, where し is still written out in hiragana, as in atarashii (新しい).

Adjectives that end in -jii (〜じい) are also considered -shii adjectives, such as susamajii (凄まじい), and historically onaji (同じ), which was initially a -shii adjective, and the classical negative volitional auxiliary maji (まじ).

na-adjectives
na-adjectives always occur with a form of the copula, traditionally considered part of the na-adjective itself. The only syntactical difference between nouns and na-adjective is in the attributive form, where nouns take の (no) and adjectives take な (na). This has led many linguists to consider them a type of nominal (noun-like part of speech). Through use of inflected forms of the copula, these words can also predicate sentences and inflect for past, negative, etc.

Notably, na-adjective are distinct from regular nouns, in that they cannot be used as the topic, subject, or object. To function in these roles, the na-adjectives must include the nominalizing suffix, broadly similar to the English suffix -ness that is used to create nouns from adjectives.

-yaka na adjectives
There are a number of na-adjectives ending in 〜やか (-yaka), particularly for subjective words (compare i-adjectives ending in -shii). This is believed to be a combination of the two suffixes 〜や (-ya) and 〜か (-ka), where 〜や meant "softness" and 〜か meant "apparent, visible" (similar to modern 〜そう, -sō, which is also followed by 〜な), hence the combination 〜やか meant "appears somewhat ..., looks slightly ...". This was believed to have been used in the Nara era, and have become particularly popular in the Heian period, but is no longer productive. In some cases the original word is now only used (or almost always used) in the 〜やか form, such as 鮮やか (aza-yaka, "vivid, brilliant"), 穏やか (oda-yaka, "calm, gentle"), and 爽やか (sawa-yaka, "fresh, clear"), while in other cases the word is used in isolation, such as 雅 (miyabi, "elegant, graceful"), which is used alongside 雅やか (miyabi-yaka, "elegant, graceful"), and in other cases a related word also exists, such as 賑やか (nigi-yaka, "bustling, busy") and the verb 賑わう (nigi-wau, "be bustling, be busy"). The most basic of these is 賑やか (nigi-yaka, "bustling, busy"), but many of these are everyday words. Due to the 〜やか being originally a suffix, it is written as okurigana, even though the compound word may now be a fixed unit.

-raka na adjectives
Similarly, there are also a few na-adjectives ending in 〜らか (-raka), of similar origin. These are generally less subjective, but declined in popularity relative to the 〜やか construction in the Heian period Notable examples include 明らか (aki-raka, "clear, obvious") and 柔らか／軟らか (yawa-raka, "soft, gentle"). As with 〜やか words, the 〜らか is written out as okurigana.

taru-adjectives
A variant of na-adjectives exist, which take 〜たる (-taru) when functioning attributively (as an adjective, modifying a noun), and 〜と (-to) when functioning adverbially (when modifying a verb), instead of the 〜な (-na) and 〜に (-ni) which are mostly used with na-adjectives. taru-adjectives do not predicate a sentence (they cannot end a sentence, as verbs and i-adjectives can) or take the copula (as na-adjectives and nouns can), but must modify a noun or verb. Note that sometimes na-adjectives take a 〜と, and Japanese sound symbolisms generally take a (sometimes optional) 〜と, though these are different word classes.

There are very few of these words, and they usually are considered somewhat stiff or archaic; this word class is generally not covered in textbooks for foreign language learners of Japanese. One of the most common is 堂々 (dōdō, "magnificent, stately"). These are referred to in Japanese as ト・タル形容動詞 (to, taru keiyōdōshi) or タルト型活用 (taruto-kata katsuyō – “taru, to form conjugation”).

See 形容動詞#「タルト」型活用 for discussion in Japanese. Historically, these developed in Late Old Japanese as a variant of na-adjectives, but the form mostly died out; the remaining taru-adjectives are fossils, and conjugationally defective, having formerly held the pattern of the r-irregular class, like its component あり.

naru-adjectives
There are also a few naru-adjectives such as 単なる (tannaru, "mere, simple") or 聖なる (seinaru, "holy"), which developed similarly to taru-adjectives. As with taru-adjectives, these cannot predicate or take the copula, but must modify a noun (though generally not a verb – many of these only modify nouns via なる, not verbs via ×に), and often occur in set phrases, such as Mother Nature (母なる自然). In Late Old Japanese, tari-adjectives developed as a variant of nari-adjectives. Most nari-adjectives became na-adjectives in Modern Japanese, while tari-adjectives either died out or survived as taru-adjective fossils, but a few nari adjectives followed a similar path to the tari-adjectives and became naru-adjective fossils. They are generally classed into attributives.

Attributives
Attributives are few in number, and unlike the other words, are strictly limited to modifying nouns. Attributives never predicate sentences. They derive from other word classes, and so are not always given the same treatment syntactically. For example, ano (あの, "that") can be analysed as a noun or pronoun あ (a) plus the genitive ending の (no); aru (ある or 或る, "a certain"), saru (さる, "a certain"), and iwayuru (いわゆる, "so-called") can be analysed as verbs (iwayuru being an obsolete passive form of the verb iu (言う) "to speak"); and ōkina (大きな, "big") can be analysed as the one remaining form of the obsolete adjectival noun ōki nari. Attributive onaji (同じ, "the same") is sometimes considered to be an attributive, but it is usually analysed as simply an irregular adjectival verb (note that it has an adverbial form onajiku). The final form onaji, which occurs with the copula, is usually considered to be a noun, albeit one derived from the adjectival verb.

It can be seen that attributives are analysed variously as nouns, verbs, or adjectival nouns.

Archaic forms
Various archaic forms from Middle Japanese remain as fossils, primarily uses of -shi (〜し) or -ki (〜き) forms that in Modern Japanese would usually be -i (〜い). Everyday examples notably include yoshi (良し) and nashi (無し) – in modern grammar yoi (良い) and nai (無い), respectively. Similarly, furuki yoki (古き良き) uses archaic forms of furui (古い) and yoi (良い).

i-adjective
i-adjectives have a basic inflection created by dropping the 〜い (-i) from the end and replacing it with the appropriate ending. i-adjectives are made more polite by the use of. です is added directly after the inflected plain form and has no syntactic function; its only purpose is to make the utterance more polite (see Honorific speech in Japanese).

is a special case because it comes from the adjective. In present tense, it is read as, but since it derives from , all of its inflections supplete its forms instead. For example, becomes. also fits the same category because it is a mash-up of and.

-adjectives like have the  changed to  to change them to conditional form, e.g., ;.

i-adjectives have a full verb inflection paradigm created through contraction with the former copular verb, consisting of six verb bases, that obeys the grammar surrounding verbs in Japanese. The usage of the full inflection is more limited in Modern Japanese and the majority of adjective usage in Japanese will be within the bounds of the basic inflection above. Auxiliary verbs are attached to some of the verb bases in order to convey information; only the terminal, attributive, and imperative bases are used on their own without auxiliary support.

The two irrealis stems, and, are used for different purposes. The 〜かろ stem is used to create the volitional inflection by appending the volitional auxiliary, e.g. , while the 〜から stem is used for the formal negation auxiliary and all other purposes which require the irrealis stem, e.g.,.

The volitional form is generally used to convey supposition or presumption; there are also set phrases which utilize this form, a notable example being the volitional form of, , a formal or archaic expression for "very well" or "it would be best to..." and the volitional form of, , a formal or archaic expression for "probably not so".

The imperative form is rarely used outside of set expressions; a common usage is once again with, and its imperative form , in idiomatic set expressions like or , also making use of the imperative form of. The imperative form of, , is also used in archaic speech to indicate prohibition or a command not to do something or to indicate that one must not do something (also spelled , , ).

na-adjective
na-adjectives have a basic inflection created by dropping the 〜な (-na) and replacing it with the appropriate form of the verb だ (da), the copula. As with i-adjectives, na-adjectives are also made more polite by the use of. です is used in its role as the polite form of the copula, therefore replacing だ (the plain form of the copula) in the plain form of these adjectives.

-adjectives have added to them to change to conditional form, and just like all other  form inflections, behave like an -adjective when in negative form, e.g.,.

Because na-adjectives are simply suffixed with the copula だ, they, too, like i-adjectives, have a full verb inflection paradigm with six bases that obeys the grammar surrounding Japanese verbs.

Similarly to i-adjectives, out of the multiple irrealis stems, the irrealis stem is only used with the volitional auxiliary suffix, to form the volitional form suffixed with volitional copula , used primarily to present a supposition or presumption. The irrealis stem is not considered a true irrealis stem because it is simply the continuative stem plus the case particle, but is nevertheless suffixied with standard negation auxiliary  to form the negative form (see the basic inflection above). The irrealis stem is used with the formal negation auxiliary  and all other uses of the irrealis stem.

The attributive form exists as a fossil from the archaic, or nari-conjugation, the precursor to the modern na-adjective. Generally only the form is used for attribution, but the  form may be used to add a sense of stress, intensity, profundity, formality, or an imitation of archaic speech, such as, as compared to. It may also be seen in set phrases, like in, used to open and address a letter to someone, much like English dear.

The attributive form is also used in naru-adjectives, like  or. In almost all cases, these are used exclusively as pre-noun attributives and cannot be used in any of the other standard forms of na-adjectives. In Modern Japanese, they only serve to modify nouns and cannot be used terminally nor even adverbially, as a contrast with the similar taru-adjectives. It is generally considered ungrammatical or unnatural to use other forms with naru-adjectives, even if technically syntactically correct.

taru-adjective
taru-adjectives have much more limited usage in Modern Japanese and generally can only be used attributively with or adverbially with. Generally, to express past or negative forms, additional other words or syntax are added to the sentence rather than using the full verb paradigm. However, nevertheless, taru-adjectives do have a full verb paradigm with six bases that obeys the grammar surrounding verbs in Japanese, which may be used in archaic or highly formal speech.

The terminal form is almost never used. Generic words like, , , and are used as fill-ins with the attributive form instead.

Adverb forms
Both i-adjectives and na-adjectives can form adverbs. In the case of i-adjectives, changes to :

and in the case of na-adjectives, changes to :

There are also some words like and  that are adverbs in their root form:

In a few cases, a form of a word is common while a  form is rare or non-existent, as in  –  is common, but  is generally not used.

Terminology
The Japanese word keiyōshi is used to denote an English adjective.

Because the widespread study of Japanese is still relatively new in the Western world, there are no generally accepted English translations for the above parts of speech, with varying texts adopting different sets, and others extant not listed above.

title: Japanese adjectives


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text:
Bullets (Creed song)

"Bullets" is the second single from Creed's third album, Weathered. The song serves as the opening track to the album and is considered to be one of the band's heaviest songs.

Writing and recording
Along with entirety of the Weathered album, "Bullets" was written during four-hour sessions in vocalist Scott Stapp's living room as well as on his Sea Ray cruiser over the course of a three-week period, with Stapp contributing the lyrics and guitarist Mark Tremonti composing the music. The band recorded and mixed the song along with the album at J. Stanley Productions Inc. recording studio in Ocoee, Florida, over a four-month period in the summer and early fall of 2001.

Music and lyrics
"Bullets" is an anthemic and forceful heavy metal track that features some of Tremonti's fastest and most aggressive guitar work for Creed. Stapp described the song as "the heaviest, most intense music we've ever written." The lyrics were written by Stapp about what he felt were unjust criticisms that the band had received throughout their careers from critics and the press. In the song, Stapp asks of them to "At least look at me when you shoot a bullet through my head!", inferring that if someone has something negative to say about them to do it to their faces.

Music video
A video was also released with the single which was also aired on MTV as a follow-up to Creed's first single, "My Sacrifice". Developed by Vision Scape Interactive, the team behind games such as Twisted Metal 4, were responsible for characterizing and developing the storyline in the video with the band. The team spent $473,000, and dedicated 15 employees working more than 18 hours a day to complete the project, according to Matt McDonald, President of Vision Scape. The roots for the video were laid a year prior, when McDonald and his wife Tammy saw the Creed Behind the Music episode. The McDonald's, intrigued with the energy and message of the band, contacted Creed, through Mark Tremonti's younger brother Daniel Tremonti, to see if they were interested in contributing music for an eventually canceled video game called "Revelations". Daniel would later call back, informing Vision Scape that the band wanted them to create a music video using the visuals from "Revelations".

The video sees digitized versions of Stapp, Tremonti, and drummer Scott Philips do battle with legions of demons, metal-plated beasts and giant, saber-toothed spiders. Much of the imagery in the video is meant to reflect the way the band dealt with criticism, including the bullets Stapp is peppered with by demons meant to symbolize negative comments from critics and journalists directed at the band. According to Matt McDonald, it was very important to the band members that they were depicted accurately and to their liking, including their tattoos and the weapons they used. Tremonti's character was given a battle-axe to represent his guitar, while Philips was given two swords, with the designs on the swords inspired by his tattoos, to represent his drumsticks. Much of the footage was modeled after fight scenes from Crouching Tiger, Hidden Dragon and Iron Monkey. Originally the character model for Stapp was designed more like an Archangel, featuring a very futuristic look and metallic wings. However, Stapp wanted the design to have more "earthy" look to it, feeling it would better fit the art style of the Weathered album, as well as bring attention to his Cherokee roots and heritage, so the team redesigned his model so his wings would appear more like those of an eagle or a hawk.

Release and reception
The song was released as the second single to the Weathered album, and was the follow-up to the bands highly successful lead single "My Sacrifice". Stapp said the reasoning behind choosing "Bullets" as the follow-up single was that the band always looked to establish themselves as a rock band with a heavier side, and that the band would often go back to their heavier rock roots with the second single of an album as a tribute to the active rock and hard rock stations that gave them their big break. Tremonti praised the single feeling it exhibited the diversity of the bands sound. He stated "It's great to show the range of our style because 'Bullets' is such a different sound than our first single."

Although not as successful on the charts as its predecessor, "Bullets" managed to reach number 11 on the Billboard Mainstream Rock chart and 27 on the Modern Rock chart. The song was also released as a double A-side in the United Kingdom and Ireland, along with the bands next single "One Last Breath", where the latter would peak at number 47 on the UK Singles Chart and 41 on the Irish Singles Chart.

Appearances in media
To promote the Weathered album Creed performed "Bullets", along "My Sacrifice", on the November 17, 2001, episode of Saturday Night Live, where they were featured as musical guests. "Bullets" was also played as the opening song during the bands first show of the Weathered tour, an hour special VH1 "Opening Night Live" performance in Atlanta, Georgia, at the Philips Arena on January 16, 2002. The song was once again played as the opener for the bands performance at the 2002 Winter Olympics closing ceremony in Salt Lake City, Utah, on February 19, 2002.

title: Bullets (Creed song)


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Talk:Gerald of Wales

How does John of Salisbury fit in?
"(John of Salisbury: recorded in "Descriptio Kambriae" 1193) by Giraldus Cambrensis)."

I wasn't quite clear about the brackets here. There's obviously one missing or one extra somewhere, but where? How does John of Salisbury fit in? Removed it to here for now.

Telsa 13:25, 5 October 2005 (UTC)

Other works
There is a list of 17 extant works of Gerald's in the introduction to the Penguin Classic edition (Journey through Wales and Description of Wales, Lewis Thorpe). Is it addable? I'm not sure of the copyright niceties when it comes to copying an entire list verbatim. It is in this sort of format: ..where the volumes and pages all refer to Giraldi Cambrensis Opera, the details of which I would also have to copy in order for the list to make sense. Fair use, or not?
 * Abbr. 1  first item's full long name   volume and page number
 * Abbr. 2  second item's full long name   volume and page number

Telsa 13:25, 5 October 2005 (UTC)

Hey Telsa - Go ahead and add the citation to Brewer's editions for the Rolls Series of the Opera. Those books themselves are out of copyright, so you can certainly list them, and using Thorpe's translation of the titles should be fair use. Lutefish 27 October 2005 (UTC)

Suggest details of posts held-at least the Brecon archdeaconry-by this noted pluralistClive Sweeting

Book II "Description of Wales" ?
The current text seems to refer mostly to Book I of (the two-volume Project Gutenberg Etext of) "Description of Wales" by G. Cambrensis.

Much of Book II makes a point of being very critical. As Cambrensis puts it, "an attention to order now requires that, in this second part, we should employ our pen in pointing out those particulars in which it seems to transgress the line of virtue and commendation".

Some aspect of this 2nd book, and and especially Cambrensis' intention in writing it, should probably be included in the article. Any suggestions?

Just to mention a few items form Book II:

CHAPTER I - Of the inconstancy and instability of this nation, and their want of reverence for good faith and oaths:

"These people are no less light in mind than in body, and are by no means to be relied upon. They are easily urged to undertake any action, and are as easily checked from prosecuting it - a people quick in action, but more stubborn in a bad than in a good cause, and constant only in acts of inconstancy".

CHAPTER II - Their living by plunder, and disregard of the bonds of peace and friendship:

"This nation conceives it right to commit acts of plunder, theft, and robbery, not only against foreigners and hostile nations, but even against their own countrymen".

and even;

CHAPTER VI - Concerning the crime of incest, and the abuse of churches by succession and participation:

"The crime of incest hath so much prevailed, not only among the higher, but among the lower orders of this people, that, not having the fear of God before their eyes, they are not ashamed of intermarrying with their relations, even in the third degree of consanguinity".

culminating in;

CHAPTER VIII - In what manner this nation is to be overcome

CHAPTER IX - In what manner Wales, when conquered, should be governed

though Chapter X does present the "inseparable/insuperable" comment and expresses doubt regarding any possibility of permanently subduing the country.

thanks, Wikityke 16:00, 18 March 2007 (UTC)

Move?
Gerald of Wales is by far the most common was of referring to him in English sources. Anyone object to me moving it? Deacon of Pndapetzim ( Talk ) 17:17, 14 November 2007 (UTC)

 * Agree there are too many foreign words appearing in the names of articles in what is, after all, the English Wikipedia. Saga City 22:03, 14 November 2007 (UTC)
 * Agree Most modern works I've seen refer to him as Gerald of Wales Ealdgyth | Talk 01:25, 15 November 2007 (UTC)

Audio Drama
MisfitsAudio made an audio drama based on the works of Gerald. The official description states:''Based upon the works of Gerald de Barry, a twelfth century historian, this miniseries delves into the family of de Barry through the eyes of the youngest son. Caught between the politics of Cymru (Wales) and the Irish front lines, Philip battles to save both his brothers from certain doom.'' The link is here: http://misfitsaudio.com/serialsirphilip.php —Preceding unsigned comment added by Jj7362 (talk • contribs) 16:14, 16 June 2010 (UTC)

Spoke Welsh?
This article features the category "Welsh Speakers" but I cannot find any reference in the article to back this up. He admired Welsh poetry for sure, so does this mean he also spoke the language? (I think so!)--Shannon Dal (talk) 06:50, 14 March 2015 (UTC)

title: Talk:Gerald of Wales


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Talk:David Peace

GB84
What happened to the standalone _GB84_ page? As a histrocial novel about the miners' strike of 1984-5, with real figures - Scargill, Thatcher - and historically based figures in it, it seems strange to miss the dedicated page out.

comment
Can we ditch the "amazingly well-written" in the Clough book section? This isn't a Year 9 English homework entitled 'My Favourite Book.' 88.109.6.79

Original Research, The Man Himself, or a PR?
How come whoever wrote this seems to know the titles of the novels Peace will be writing about six years in advance? This is needs to be referenced to its source. Also, unless anyone can give me a good reason why I shouldn't, I'm going to delete all the stuff above debating his work - this isn't the place for it.Bedesboy (talk) 22:05, 4 December 2007 (UTC)

External links modified
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Remove banner?
I have added quite a few citations so it seems to be well sourced now, the banner could be removed? Enderbyinside (talk) 13:51, 21 March 2023 (UTC)

I mean the banner above the article that says "needs additional citations for verification". — Preceding unsigned comment added by Enderbyinside (talk • contribs) 13:53, 21 March 2023 (UTC)

 * I meant 'template', not used to the jargon yet. As there is not a huge amount of concern either way I will remove the current template, it can be re-instated, or another template added, if anyone is concerned. Enderbyinside (talk) 13:09, 24 March 2023 (UTC)
 * If people have new problems then would be useful to use the inline templates, so we know where the problem is rather than one at the top of the article. Keith D (talk) 17:16, 24 March 2023 (UTC)
 * Yes, noted. Enderbyinside (talk) 14:46, 12 April 2023 (UTC)

Leaving polytechnic
It says he left polytechnic to go to Istanbul. Does this mean left without finishing his studies? 180.219.83.36 (talk) 06:37, 19 December 2023 (UTC)

title: Talk:David Peace


text:
Wikipedia:Articles for deletion/Kinetite

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

The result of the debate was confusing, but I think that I hope that I'm not blundering to much if I call this a redirect to energy ball. The term does seem to have some hits as referring to light balls or something like that. Ah well, if anybody thinks my decision was completely wrong just inform me. Sjakkalle (Check!)  08:08, 28 October 2005 (UTC)

 * Yep, redirecting to energy ball was dumb, since it just made a back-to-back redirect, let's try again, redirect to fireball? Sjakkalle (Check!)  08:13, 28 October 2005 (UTC)

The result of the debate was No Consensus. Ëvilphoenix Burn! 03:08, 18 October 2005 (UTC)
 * Debate re-opened and re-listed, by request of A Man In Black. Ëvilphoenix Burn! 03:25, 18 October 2005 (UTC)

Kinetite
Two pertinent Google hits for "kinetite telekinesis" on a Star Wars webforum. Delete as original research, or poorly attested neologism. Pilatus 13:26, 5 October 2005 (UTC)
 * Delete as particularly neo neologism. - A Man In Black (conspire | past ops) 14:42, 5 October 2005 (UTC)
 * I'm thinking keep and expand, but probably rename to energy ball or some such. The article is about all energy balls, fire balls, power balls and the like in fiction and gaming. According to our fireball disambiguation page, we don't have an article for this yet. It's not original research or a neologism. The term kinetite appeared in Splinter of the Mind's Eye, the first novel in the Star Wars Expanded Universe, according to this source. However, energy ball is a more common name.-LtNOWIS 18:57, 7 October 2005 (UTC)
 * Relisting for more eyeballs. - A Man In Black (conspire | past ops) 04:37, 18 October 2005 (UTC)
 * Rename and redirect. The word is not notable; the concept, however, is potentially encyclopedic. I have no idea what to rename it to; energy ball seems iffy, but I can't think of anything better. --Ashenai (talk) 09:49, 18 October 2005 (UTC)
 * Strong delete. Neologisim, original research.  Is suggesting 'rename and redirect' a good idea when you can't actually suggest what it should be renamed to? Proto t c 16:01, 18 October 2005 (UTC)
 * Well, I did suggest what it should be renamed to: energy ball (sorry if that wasn't clear). I just noted that I wasn't really happy with that, so as to encourage others to suggest better redirect targets, if they could. --Ashenai (talk) 16:06, 18 October 2005 (UTC)

 * Delete blantently obvious neoligism.... maybe a redirect to a dragonball article afterwards.... Ryan Norton T 21:07, 18 October 2005 (UTC)

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


text:
Brother Beyond

Brother Beyond were a British pop band who had success in the pop rock genre in the late 1980s.

Biography
The group's first four singles, "I Should Have Lied", "How Many Times", "Chain-Gang Smile" (produced by Don Was), and an early version of "Can You Keep a Secret?", were written by band members Eg White, and David Ben White in collaboration with Carl Fysh. The songs were also performed together by the band members, led by vocalist Nathan Moore. These early singles, released between 1986 and 1988, were minor chart successes in the UK Singles Chart.

When the songwriters and producers Mike Stock, Matt Aitken and Pete Waterman, known as Stock Aitken Waterman (SAW), auctioned off their services to charity, Brother Beyond and label EMI won the auction. The first song to be released from this session was "The Harder I Try", a UK No. 2 hit. The song was succeeded by the song "He Ain't No Competition", getting to No. 6 in the UK. The following releases from the Get Even album failed to make the UK Top Ten. All these singles were taken from the two different editions of their first album Get Even.

After a brief hiatus, they returned with a brand new single in late 1989, "Drive On", which peaked at No. 39 in the UK, from their second album Trust. They then released a cover of the ballad by The Three Degrees, called "When Will I See You Again?", which peaked outside the UK top 40 at No. 43. The final release from their second album was the title track, "Trust", completely self-written, but only peaked at No. 53 in the UK.

EMI America issued the album Trust in the USA mid-1990 adding two new songs which the group recorded in the USA and with a more American sound to break the US market. Both were released as singles there, with the lead single "The Girl I Used to Know" achieving success, peaking at No. 27 on the Billboard Hot 100. Nathan Moore has alleged the band were required to pay £100,000 to the mafia as part of a payola strategy to secure US airplay for the single.

The follow-up single was "Just a Heartbeat Away", released commercially in Australia and as a promotional single in the US, which failed to chart. "The Girl I Used to Know" was released as a non-album single in Europe in early 1991 and peaked at No. 48 in the UK. The group disbanded that same year, with Moore joining another boyband, Worlds Apart.

In January 2011, an expanded edition of Get Even was released, featuring the original line up of the album, along with four bonus tracks. The bonus tracks are extended versions or remixes of "I Should Have Lied", "The Harder I Try", "He Ain't No Competition" and "Be My Twin".

Band members

 * Nathan Moore (vocals) – born Nathan Marcellus Moore, 10 January 1965, Stamford Hill, London
 * David White (guitar) - born David Benjamin White, 6 June 1965, Highbury, London
 * Carl Fysh (keyboards) - born Carl Anthony Fysh, 25 January 1963, Oxford, Oxfordshire
 * Steve Alexander (drums) – born Steven Alexander, 20 November 1962, Ystradgynlais, Powys

Former members

 * Eg White (bass) – born Francis Anthony White, 22 November 1966

Albums

 * Get Even (1988) – UK No. 9, AUS No. 89, GER No. 63
 * Trust (1989) – UK No. 60
 * The Very Best of Brother Beyond (compilation, 2005)

After the split
Lead singer Nathan Moore went on to sing with another boy band called Worlds Apart, successful in France in the mid-90s, and worked as a manager to such acts as Jessica Garlick. He was also a contestant on ITV's Hit Me Baby One More Time, and part of Lisa Scott-Lee's Totally Scott-Lee programme set up on MTV.

Drummer Steve Alexander toured with Duran Duran for six years before going solo. He has since worked with Jeff Beck and formed a musical collaboration called Flashman with vocalist Renn. His new project is a collaboration with bassist Simon Little called Little Alex.

Carl Fysh now works for Purple PR, a public relations agency in London. He became manager to male duo Fierce Girl, as well as working with acts including Goldfrapp, Coldplay and Adele.

David White obtained a BA degree in Fine Arts at Central St. Martin's College in London, and is currently studying for his Master of Art at Chelsea College of Art and Design. He has shown his paintings all around England and Israel.

Eg and Alice
After leaving Brother Beyond, Eg White formed the duo Eg and Alice with artist Alice Temple. Their production was critically acclaimed but a commercial failure, and none of their singles ever entered the UK Top 75. They released one album (which also didn't chart) for WEA in 1991, before Eg decided to go solo, covering the Jellyfish hit "Stay Home". Eg White won an Ivor Novello award for writing Will Young's "Leave Right Now", and has written songs for a variety of artists including Natalie Imbruglia, Joss Stone and Adele.

Eg and Alice discography

 * Album
 * 24 Years of Hunger (1991)

 * Singles
 * "Indian" (1991)
 * "Doesn't Mean That Much to Me" (1991)

title: Brother Beyond


text:
Lebanon men's national basketball team

The Lebanon men's national basketball team (منتخب لبنان لكرة السلة; Équipe du Liban de basket-ball), controlled by the Lebanese Basketball Federation (FLB), has represented Lebanon in basketball since its inception in 1947. The squad is governed by FIBA, and is part of the FIBA Asia zone.

Lebanon has achieved success throughout its history, finishing as runners-up in the FIBA Asia Cup on four occasions: 2001, 2005, 2007, and most recently in 2022. The team has also made appearances in the FIBA World Championship on four occasions (2002, 2006, 2010, and 2023), but have not progressed beyond the preliminary round.

Early history
Basketball arrived in Lebanon in the mid-1920s, initially introduced at the American University of Beirut. The official organization of basketball in the country began in 1949 with the establishment of the Lebanese Basketball Federation (Fédération Libanaise de Basketball). This period also saw the founding of the Lebanese Volleyball Federation, marking a key moment for Lebanese sports development.

The early years of international competition for Lebanon involved a unique approach. The Soviet Union's refusal to host Eurobasket 1949 and FIBA Europe's decision not to ask Czechoslovakia to host consecutive tournaments led to Egypt, the Eurobasket 1947 bronze medalist, hosting the competition. Due to travel challenges and concerns, few European teams participated. In an unconventional move, Lebanon and Syria, both Asian countries, were invited to participate in this European championship. Making their Eurobasket 1949 debut, Lebanon finished in seventh place after losing all six games in the seven-team round-robin format.

The team's second attempt at the European competition came at the Eurobasket 1953 in Moscow. During the preliminary rounds, Lebanon lost all four games, including one by forfeit due to their decision not to play against Israel. Their first victory in the tournament came against Sweden in the classification round, marking a significant milestone as Lebanon's first win in Eurobasket history. Placing fourth in their five-team group, Lebanon advanced to the 13–16 classification games. While they narrowly lost to West Germany (58–56), they secured a victory over Denmark (74–40), ultimately finishing 15th out of the 17 participating teams.

2000–2010: Three-time Asian runners-up and World Cup Appearances
Lebanon achieved notable results in the early 2000s, solidifying their presence in the Asian basketball landscape. They finished second at the 2001 ABC Championship after a 63–97 loss to China in the final. The tournament showcased the skills of Lebanon's guard, Walid Doumiati, who was awarded the tournament's Best Playmaker. Alongside him, forward Fadi El Khatib also earned a spot on the All-Star Five lineup. This silver medal secured Lebanon's participation in the 2002 FIBA World Championship, though their journey ended in the first round of the tournament.

Lebanon repeated their performance by reaching the finals again at the 2005 FIBA Asia Championship. However, their attempt to win the championship was unsuccessful against China, with Lebanon losing 61–77. Fadi El Khatib's performance earned him recognition as the tournament's Best Forward. Additionally, center Joe Vogel also secured a spot in the All-Star Five lineup. Finishing as runners-up granted Lebanon a ticket to the 2006 FIBA World Championship. Although the team secured victories against Venezuela (82–72) and France (74–73), they narrowly missed qualifying for the round of 16 in the World Championship.

The following year, Lebanon achieved second place for the third time at the 2007 FIBA Asia Championship, facing a 74–69 loss to Iran in the final. This loss prevented Lebanon from directly qualifying for the 2008 Summer Olympics. They then entered a separate qualifying tournament where 12 teams competed for the final three Olympic berths. But their journey ended in the Preliminary Round after losing their two games.

At the 2009 FIBA Asia Championship, Lebanon's reached the semifinals. Although they fell short of automatic qualification for the 2010 FIBA World Championship after losses to China and Jordan, Lebanon received a wildcard entry, securing their third consecutive World Cup appearance. Despite a victory against Canada (81–71), Lebanon couldn't progress beyond the group stage in the 2010 FIBA World Championship.

2013 FIBA suspension
Lebanon encountered a difficult period in July 2013 when the International Basketball Federation FIBA imposed an indefinite suspension. This suspension resulted from unresolved internal conflicts within the Lebanese Basketball Federation. Consequently, FIBA Asia suspended Lebanon from participating in all sanctioned events, effectively barring the country from international competitions until further notice.

The suspension had significant consequences, particularly impacting Lebanon's participation in the 2013 FIBA Asia Championship. This tournament served as a qualifying event for the 2014 FIBA Basketball World Cup in Spain. Despite securing a spot in the 2013 FIBA Asia Championship based on their second-place finish in the 2013 West Asian Basketball Championship, the national federation's suspension led to their exclusion from the tournament.

Following discussions and appeals, FIBA lifted the ban in May 2014, allowing Lebanon's national team to return to international basketball competitions.

2020–present: Asian runners-up and return to the World Cup
Lebanon displayed a significant resurgence in international basketball, culminating in a noteworthy performance at the 2022 FIBA Asia Cup, marking their return to the finals in over a decade. Despite a close contest, Lebanon finished in second place after a narrow 73–75 defeat to Australia. This marked Lebanon's fourth silver medal at the FIBA Asia Cup, adding to their previous runner-up finishes in 2001, 2005, and 2007. The tournament also highlighted the performance of Lebanon's point guard, Wael Arakji, who earned the tournament MVP title, best guard, and a spot on the All-Star Five.

Building on this success, Lebanon continued their journey by securing qualification for the 2023 FIBA Basketball World Cup. Despite facing a challenging first round with three losses, Lebanon demonstrated determination, closing their World Cup campaign with consecutive victories. They secured wins against Ivory Coast (94–84) and Iran (81–73), during the classification round, concluding their World Cup appearance on a high note.

Lebanon's 23rd place finish at the 2023 FIBA Basketball World Cup granted them entry into the 2024 FIBA Men's Olympic Qualifying Tournaments. These tournaments involved twenty-four teams competing for the remaining four slots in the 2024 Summer Olympics basketball competition. Lebanon competed in the qualifiers but did not advance, recording a performance of one victory and two defeats.

FIBA Asia Challenge
The FIBA Asia Challenge, a basketball tournament held every two years for Asian national teams, was previously known as the FIBA Asia Stanković Cup (2004–2010) and FIBA Asia Cup (2012–2014). Lebanon participated in the tournament twice (2010 and 2012) and emerged victorious in 2010. This championship win granted them automatic qualification for the 2011 FIBA Asia Championship.

Current roster
Roster for the 2024 FIBA Men's Olympic Qualifying Tournaments.

Head coach history
• Gabi Arabji

•  Henri Yabroudi

•  Albert Mamo

• 🇫🇷 Milo Monosour: 1997

•  Rizkallah Zalloum: 1997–?

• 🇺🇸 Andrew Young: 1999–?

• 🇺🇸 Johnny Neumann: 2001–2002

•  Ghassan Sarkis: 2003–?

• 🇺🇸 Paul Coughter: 2005–2006

•  Fouad Abou Chakra: 2007

• 🇷🇸 Dragan Raca: 2007–2009

• 🇺🇸 Tab Baldwin: 2010–2011

•  Ghassan Sarkis: 2011–2015

• 🇷🇸 Veselin Matić: 2015–2016

•  Patrick Saba: 2016–2017

•  Joe Moujaes: 2017

•  Ramūnas Butautas: 2017–2018

• 🇸🇮 Slobodan Subotić: 2018–2019

•  Joe Moujaes: 2019–2022

•  Jad El Hajj: 2022–2024

• 🇷🇸 Miodrag Perišić: 2024–present source:

title: Lebanon men's national basketball team


text:
Talk:Andy Goldsworthy

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 13 January 2020 and 1 May 2020. Further details are available on the course page. Student editor(s): Gracebrown98, Hmcleod21, Ahsila14, Haley Lamborn, BryceUCM. Peer reviewers: HeyImAl, HannahNicole73, Abycam, Cloe.Olivia.1967, SpicyBoi048.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 14:15, 16 January 2022 (UTC)

Strangler Cairn
I'm surprised about the misinformation but the "Stranglers Cairn" is nowhere near Lily Road in Leicester .

It is in Conondale National Park near Kenilworth in Sunshine Coast, Queensland, Australia. 118.208.180.111 (talk) 11:59, 21 April 2014 (UTC)Lubo Gregor
 * ❌ That artwork appears to no longer be listed in the article. Thanks DBaK (talk) 23:23, 19 February 2016 (UTC)

Docs
The 2001 doc Rivers and Tides has a wiki entry but is not linked to here.

There is a new doc Leaning into the Wind which needs an entry and a mention here. 2804:14D:5C54:A5B9:8891:47E:2C0F:4A5A (talk) 14:39, 11 March 2018 (UTC)
 * Thanks for that. I have added a link to Rivers and Tides and a redlink and external link to the new documentary Leaning into the Wind; I hope someone will write the article soon! Best wishes DBaK (talk) 21:43, 11 March 2018 (UTC)

Wow, that was fast! Fantastic! Hopefully someone will turn that red to blue soon... Cheers! 2804:14D:5C54:A5B9:8891:47E:2C0F:4A5A (talk) 01:21, 12 March 2018 (UTC)

Semi-protected edit request on 11 January 2021
Greetings Wikipedians,

As this is a protected article I am unable to provide an edit. However, please be advised that this article is missing a recent permanent installation by Andy Goldsworthy. The Nelson Atkins museum in Kansas City, MO commissioned a work titled Walking Wall. The Walking Wall, completed in 2019, is a dry-stacked limestone wall built without mortar. The Walking Wall was built in five stages. The first four were ephemeral - Constructed and allowed to rest for several weeks, before being meticulously disassembled at the trailing end and reassembled at the leading end until reaching the end of each stage. The installation now rests in a final permanent location.

Sources: https://walkingwall.org/ https://nelson-atkins.org/exhibitions/andy-goldsworthy-walking-wall/ https://nelson-atkins.org/andy-goldsworthy-walking-wall/ https://www.nytimes.com/2019/10/23/arts/design/walking-wall-nelson-atkins-museum-art.html Phil Kolins (talk) 03:50, 11 January 2021 (UTC)
 * Yes check.svg Done --Paul ❬talk❭ 09:40, 22 January 2021 (UTC)

"frequent earthquakes"?
San Francisco actually, does not have frequent earthquakes. Earthquakes in California (and generally) may be big when they hit, but they are not frequent. 47.138.91.48 (talk) 20:06, 7 September 2023 (UTC)

title: Talk:Andy Goldsworthy


text: Category:2006 in rugby league

title: Category:2006 in rugby league


text:
User talk:Vit Hassan

http://www.picturetrail.com/vithassan

Welcome!

Hello, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you have any questions, check out Where to ask a question or ask me on my talk page. Again, welcome! andy 16:43, 5 October 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

title: User talk:Vit Hassan


text:
User talk:Marekmosiewicz~enwiki

Hello! Thank you for your edit to Pope John Paul II. Please understand that it is not our job at Wikipedia to decide whether a claim is correct or not. If critics made a claim, then we should report that. If others refuted that claim, we can report that too. But we should never take sides; just state facts. We report the truth, and we trust our readers to draw their own conclusions. :)

Because of this, I had to revert your contribution. Please don't take this as an attack on you. All of us have had contributions reverted, it's nothing personal at all. If you want to talk about this, feel free to state your views at the talk page for Pope John Paul II, or you're always welcome to talk to me on my talk page.

In any case, welcome! I hope you'll have fun here, and help improve Wikipedia. --Ashenai (talk) 13:29, 5 October 2005 (UTC)

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 Marekmosiewicz. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Marekmosiewicz~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.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 01:20, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 15:56, 22 April 2015 (UTC)

title: User talk:Marekmosiewicz~enwiki


text:
Antoine Claire Thibaudeau

Antoine Claire, Comte Thibaudeau (23 March 1765 – 8 March 1854) was a French politician.

Early life
He was the son of Antoine de Thibaudeau (1739–1813), who was a lawyer of Poitiers and a deputy to the Estates-General of 1789. He was admitted to the bar in 1787, and in 1789 accompanied his father to the Estates-General at Versailles. When he returned to Poitiers in October he immediately set up a local revolutionary club, and in 1792 was returned as a deputy to the National Convention.

Career
Thibaudeau joined the party of the Mountain and voted for the death of Louis XVI unconditionally. Nevertheless, he incurred a certain amount of suspicion because he declined to join the Jacobin Club. In May 1793 he was on a special mission in the west and prevented his département from joining the Federalist movement. Thibaudeau occupied himself more particularly with educational business, notably in the organization of the museum of the Louvre. It was he who secured the inclusion of Tom Paine's name in the amnesty of Girondist deputies.

Secretary and then president of the Convention for a short period, he served on the Committee of Public Safety and of General Security. After the royalist insurrection of 13 Vendémiaire (5 October 1795) he opposed those Thermidorians who wished to postpone the dissolution of the Convention. At the elections for the Corps Législatif he was elected by no less than thirty-two départements. It was only by the intervention of Boulay de la Meurthe that he escaped transportation after the coup d'etat of 18 Fructidor (4 September 1797), and he then returned to the practice of his profession.

The establishment of the Consulate brought him back to public life. He was made prefect of the Gironde, and then member of the council of state, in which capacity he worked on the civil code. He at this time had Napoleon's confidence, and gave him wholehearted support. He did not entirely conceal his disapproval of the foundation of the Légion d'Honneur, of the Concordat and of Napoleon's acceptance of the Consulate for life, and his appointment as prefect of the Bouches-du-Rhône, with consequent banishment from Paris, was a semi-disgrace.

Exile
A peer of the Hundred Days, he fled at the second Restoration to Lausanne. During his exile he lived in Vienna, Prague, Augsburg and Brussels, occupying himself with his Mémoires sur la Convention et le Directoire (Paris, 2 vols., 1824); Mémoires sur le Consulat: par un ancien conseiller d'état (Paris, 1827); Histoire générale de Napoléon Bonaparte (6 vols., Paris and Stuttgart, 1827–28, vol. iii. not printed); Le Consulat et l'Empire, vol. i. of which is identical with vol. vi. of the Histoire de Napoléon (10 vols., 1834). The revolution of 1830 permitted his return to France, and he lived to become a member of the Imperial Senate under the Second Empire.

Death
He died in Paris on 8 March 1854 in his eighty-ninth year, being the last living member of the National Convention during the French Revolution to vote in the trial of Louis XVI.

Works
The special value of Thibaudeau's works arises from the fact that he wrote only of those events of which he had personal knowledge, and that he quotes with great accuracy Napoleon's actual words. His Mémoires sur le Consulat has been translated into English, with introduction and necessary notes, by G. K. Fortescue with the title of Bonaparte and the Consulate (1908). Among the papers left by Thibaudeau were documents entitled Ma Biographie and Mémoires avant ma nomination à la Convention. These were published in a small volume (Paris and Niort, 1875) which includes a list of his works and of the narrative of his life.

title: Antoine Claire Thibaudeau


text:
The Calling of Saint Matthew

The Calling of Saint Matthew is an oil painting by Caravaggio that depicts the moment Jesus Christ calls on the tax collector Matthew to follow him. It was completed in 1599–1600 for the Contarelli Chapel in the church of the French congregation, San Luigi dei Francesi in Rome, where it remains. It hangs alongside two other paintings of Matthew by Caravaggio, The Martyrdom of Saint Matthew (painted around the same time as the Calling) and The Inspiration of Saint Matthew (1602).

Commission
More than a decade earlier, Cardinal Matthieu Cointerel (in Italian, Matteo Contarelli) had left funds and specific instructions in his will for the decoration of a chapel based on themes related to his namesake, Saint Matthew. The dome of the chapel was decorated with frescoes by the late Mannerist artist Giuseppe Cesari, Caravaggio's former employer and one of the most popular painters in Rome at the time. But as Cesari became busy with royal and papal patronage, Cardinal Francesco Del Monte, Caravaggio's patron and also the prefect of the Fabbrica of St Peter's (the Vatican office for Church property), intervened to obtain for Caravaggio his first major church commission and his first painting with more than a handful of figures.

Caravaggio's Calling of Saint Matthew hangs opposite The Martyrdom of Saint Matthew. While the Martyrdom was probably the first to be started, the Calling was, by report, the first to be completed. The commission for these two lateral paintings — the Calling and the Martyrdom — is dated July 1599, and final payment was made in July 1600. Between the two, at the altar, is The Inspiration of Saint Matthew (1602).

Subject matter
The painting depicts the story from the Gospel of Matthew (Matthew 9:9): "Jesus saw a man named Matthew at his seat in the custom house, and said to him, "Follow me", and Matthew rose and followed Him." Caravaggio depicts Matthew the tax collector sitting at a table with four other men. Jesus Christ and Saint Peter have entered the room, and Jesus is pointing at Matthew. A beam of light illuminates the faces of the men at the table who are looking at Jesus Christ. This is a depiction of a moment of spiritual awakening and conversion, which was something many Baroque artists were interested in painting, especially Caravaggio.

Identity of Matthew
There is some debate over which man in the picture is Saint Matthew, as the surprised gesture of the bearded man at the table can be read in two ways.

Most writers on the Calling assume Saint Matthew to be the bearded man, and see him to be pointing at himself, as if to ask "Me?" in response to Christ's summons. This theory is strengthened when one takes into consideration the other two works in this series, The Inspiration of Saint Matthew, and The Martyrdom of Saint Matthew. The bearded man who models as Saint Matthew appears in all three works, with him unequivocally playing the role of Saint Matthew in both the "Inspiration" and the "Martyrdom".

A more recent interpretation proposes that the bearded man is in fact pointing at the young man at the end of the table, whose head is slumped. In this reading, the bearded man is asking "Him?" in response to Christ's summons, and the painting is depicting the moment immediately before a young Matthew raises his head to see Christ. Other writers describe the painting as deliberately ambiguous.

Identity of Christ
Some scholars speculate that Jesus is portrayed as the Last Adam or Second Adam as titled in the New Testament. This is displayed in Christ's hand as it reaches out towards Matthew. It is almost a mirrored image of Adam's hand in The Creation of Adam by Michelangelo, the namesake of Caravaggio. Twice in the New Testament, an explicit comparison is made between Jesus and Adam. In Romans 5:12–21, Paul argues that "just as through the disobedience of the one man the many were made sinners, so also through the obedience of the one man the many will be made righteous" (Romans 5:19, NIV). In 1 Corinthians 15:22, Paul argues that "as in Adam all die, so in Christ, all will be made alive," while in verse 45 he calls Jesus the "last/ultimate/final Adam".

Style
"This clear legibility, so different from many Mannerist paintings, ... accounted for the work's enormous popularity." The position of Christ's hand, however, reflects that of Adam's in the Sistine Chapel; the Church considered Christ to be the Second Adam. But instead of being gifted life, as the first Adam was, Christ is instead the one who bestows it, calling Levi to a new life as Matthew.

Responses
Pope Francis has said that he often went to San Luigi as a young man to contemplate the painting. Referring both to Christ's outstretched arm and Matthew's response, Francis said, "This is me, a sinner on whom the Lord has turned his gaze."

Other paintings of the same topic
There are many other early modern representations of the calling of Matthew. Two were painted prior to Caravaggio's but it is unlikely that Caravaggio would have encountered them.

 * Carpaccio's version in the Accademia in Venice
 * Marinus van Reymerswaele's version (1536)
 * Giovanni Lanfranco's derivative version (1626–28)
 * Spanish painter Juan de Pareja's version (1661) found in the Prado Museum in Madrid.
 * Hendrick ter Brugghen
 * Bernardo Strozzi's version (1620) in the Art Museum in Worcester, Massachusetts
 * Other related paintings of cardsharps include the Caravaggisti depiction of Valentin de Boulogne in the National Gallery of Art in Washington D.C.

title: The Calling of Saint Matthew


text:
Bekkestua station

Bekkestua is a station and tram stop that is served both by Oslo Metro on Kolsås Line and Oslo Tramway on Lilleaker Line situated at Bekkestua in Bærum, Norway. It is the terminus of the Lilleaker Line for tramway.

Located between Ringstabekk and Gjønnes, it was reopened on 15 August 2011 after being closed on 1 July 2006. Between 1 July 2003 and November 2004, Bekkestua was the end station on the Kolsås Line. For a while the station was only being served by the Oslo Tramway line 13, while the station was closed for an upgrade.

Since 2 December 2007, tram operations (on line 13) have returned on this line from Lilleaker to Bekkestua. Operations beyond Lilleaker use SL95 trams as there is no turnback loop at Bekkestua. The tram operations were discontinued in 2009, but reopened in January 2014 after technical difficulties delayed the opening by one month. Bekkestua bus terminal is only a minute's walk from the metro and tram platforms (1, 2, 3).

Bus transfers (bus terminal)
Bekkestua is a transportation hub with connections to bus lines:
 * 140 (Skøyen via Østerås)
 * 145 (Fornebu via Stabekk and Lysaker)
 * 150 (Gullhaug - Oslo Bus Terminal)
 * 220 (Sandvika via Haslum and Valler
 * 230 (Sandvika - (Ila/Listuveien)
 * 211 (Sandvika - via Haslum)
 * 212 (Bekkestua Round Route) via Hosle
 * 213 (Sandvika) via Høvik and Blommenholm
 * 214 (Bekkestua Round Route) via Ekern and Jar
 * 216 (Kleivveien) via Søråsen
 * N140 (Oslo Bus Terminal - via Hosle, Østerås and Lysaker)
 * FB3 (Oslo Airport via Røa and Økern)

Øygardveien, which is served by route 150E (Gullhaug-Nationaltheatret) is about a 10–15 minutes walk away.

title: Bekkestua station


text:
Talk:Coal town

Coal towns are not the same as a Company town. Removed redirect.
 * We need to build a concensus on what a coal town actually is or was. I am a member of the Wiki projects for West Virginia, Ghost Towens and Appalachia and would very much like to create an agreed upon definition, ANY ideas???Coal town guy (talk) 13:43, 4 April 2012 (UTC)

Creating Coal Town Page soon, will remove redirect from this page. Coal Towns are NOT the equivalent of a company town..Coal town guy (talk) 23:10, 4 April 2012 (UTC)

I feel like this entire article needs scrapped and started over, preferably by anyone who has knowledge of what a coal town actually is. Coal town guy had a great page here, but other editors wouldn't leave it alone. I understand that Wiki pages aren't supposed to remain static, really, but, honestly, Coal town guy is right -- "coal town" and "coal camp" are two very distinctly different things, and the definition of "coal camp" has absolutely taken over what this article was supposed to be. Mari Adkins

PAID in scrip
The percentage of coal miners who were actually PAID in scrip is rather small considering that most major coal towns had their own banks......I see the miners were paid in scrip added here repeatedly with no sourcing....IF YOU READ THE BOOKS, AND LIVED THERE, you would KNOW that usage of scrip was a credit. Was it unfair and open to misuse? YES. Was it the norm and thus can be used to advance a POV on wikipedia, NO. IF it is unsourced, WHY just stick it in there?Coal town guy (talk) 13:41, 18 June 2015 (UTC)

title: Talk:Coal town


text: Template:Philippine interbank networks

title: Template:Philippine interbank networks


text:
Talk:Blue Magic (band)

Album release dates
There is some contention about when their various albums were released...Before my edits the original Blue Magic Wikipedia page had the following listed:

 * 1973 LP Blue Magic
 * 1974 LP Magic Of The Blue
 * 1975 LP 13 Blue Magic Lane

bsnpubs gives

 * Blue Magic (1974)
 * Magic of the Blue (1974)
 * Thirteen Blue Magic Lane (1975)

And soulwalking.co.uk gives

 * Blue Magic (Atco 1975)
 * Magic Of The Blue (Atco 1975)
 * Thirteen Blue Magic Lone (Atco 1976)

I mean, Geez... Sigh, three sources and each of them dissagree.

Given that one source says they had their first "World tour" in 1975, i find it unlikely that their albums were only released that year, as soulwalking.co.uk suggests. So, since bsnpubs seems to be the most credible, I've used the information they've given. Mr Curly 13:34, 5 October 2005 (UTC)

title: Talk:Blue Magic (band)


text:
User:Arvandor

My real name is Jacobine Melis. I live in the Netherlands. I use wikipedia to help me with my essays. I myself also add articles. My english isn't good but there are many people who correct me. I also edit some small information in excisting articles. I'm interested in History espeschially the history of the Christian religion,This started when I first read the Dan Brown books. I also truly love the Lord of the Rings. The movie and the books.

title: User:Arvandor


text:
Tkʼemlúps te Secwépemc

Tkʼemlúps te Secwépemc, abbreviated TteS and previously known as the Kamloops Indian Band, is a First Nations government within the Shuswap Nation Tribal Council, which represents ten of the seventeen Secwepemc band governments, all in the southern Central Interior region, spanning the Thompson and Shuswap districts. It is one of the largest of the 17 groups into which the Secwepemc (Shuswap) nation was divided when the Colony of British Columbia established an Indian reserve system in the 1860s.

The Chief of TteS is referred to as the Kúkpi7.

History
Prior to European colonization of the Americas, the Secwepemc occupied traditional territory spanning approximately 145,000 km2, known as Secwepemcúl̓ecw in Secwepemctsín.

The Secwepemc settlement of Tkʼemlups, meaning "river junction," was an economically important centre within the area that later came to be the British Columbian Interior long before European arrival in North America. The reason was its very favourable location at the confluence of two major navigable rivers, the South Thompson River and the North Thompson. Europeans who settled in the area brought the native name into the English language as Kamloops, which became the name of Fort Kamloops, one of the main posts of the Hudson's Bay Company (originally built by the North West Company).

Leaders of the Kamloops band of Secwepemc were notable in the history of the colonization of British Columbia. Around 1800, Kwaʼlila was a chief who invited his better-known nephew Nicola to the Nicola Valley and passed on the mantle of the Kamloops chieftaincy. Nicola was the presiding chief at Kamloops, and also jointly Grand Chief of the Okanagan people, during the Fraser Canyon War and the associated troubles of the Okanagan Trail, and was made a magistrate enforcing British law by Governor James Douglas. Nicola's son Chilliheetza, or Txelexitsa, figured prominently in native/colonist politics in the later 19th Century, as have other chiefs of the Kamloops band since. Other notable Contact-era chiefs were Chief Tranquille and Chief Lolo.

The territory that would later become TteS was part of the Thompson River District of the North West Company when the company officially defined its territory west of the Rocky Mountains in 1815.After unsuccessfully recruiting local indigenous populations to hunt and trap for them, the North West Company began a practice of importing Haudenosaunee from around Montreal to hunt and trap, with an expectation that they would teach the local populations how to do so as well. This led to at least two violent confrontations between the North West Company and local indigenous people during the 1810s.

The Kamloops Indian Residential School was established on the Nation's territory in 1890, and was run by the Catholic Church until 1969 as part of the Canadian Indian residential school system, before being taken over by the federal government and used as a day school. At one point, the school was the largest in the residential school system, with up to 500 students attending at any given time. The school closed in 1978, but the building remains near a bend in the South Thompson River on Kamloops Indian Reserve No. 1. In May 2021, according to a source referencing TteS Kukpi7 Rosanne Casimir's news release, the remains of 215 children, including some as young as three years old, were found buried on the site of the former residential school. Work is being done to see if any records of these deaths can be found in local museums, and to inform community members who had family that attended the school, to provide help dealing with the discovery. Another source limits the discovery to having identified approximately 200 potential burial sites using ground penetrating radar techniques, citing more forensic investigation and excavation work needing to be done.

The city of Kamloops is now a major regional urban centre with circa 92,000 residents. The Kamloops Indian Band's business district functions economically as a part of the city, though it is separately administered by the Band. The golf course and resort/recreational community of Sun Rivers is located on the main Kamloops Reserve.

Controversy over the Sun Peaks Resort in regard to native title has involved Kamloops band members.

Demographics
The Band currently has 1,412 members living on and off its 33150 acre reserve. It has active language and cultural programs and its Skʼelep School of Excellence is one of the largest First Nations elementary schools in British Columbia (Skʼelep is the Shuswap language name for "the Trickster", Coyote).

Indian Reserves
Some of the Indian Reserves under the administration of TteS include:
 * Kamloops Indian Reserve No. 1, confluence of the South and North Thompson Rivers, adjacent to and within the City of Kamloops, 13283.2 ha (51¼ sq. mi.).  This reserve is what is meant by the common name "Kamloops Indian Reserve". The community of Sun Rivers, British Columbia is located on this reserve.
 * Kamloops Indian Reserve No. 2, at outlet of Trapp Lake, 6.0 ha.
 * Kamloops Indian Reserve No. 3, on the west shore of Trapp Lake, 3.0 ha.
 * Kamloops Indian Reserve No. 4, on the right bank of the North Thompson River about 24 miles north of Kamloops., 72.8 ha.
 * Kamloops Indian Reserve No. 5, on the north shore of Heffley Lake, 18.6 ha.
 * Hihium Lake 6 (shared between Upper Nicola, Lower Nicola, Bonaparte and Tkʼemlups (Kamloops) Bands), 78 acres

title: Tkʼemlúps te Secwépemc


text:
Cassetteboy

Cassetteboy are an English electronic music and comedy duo. The pair have achieved success with their cut-ups of celebrities such as Alan Sugar and David Cameron to make parodies of their subjects. Several of the duo's videos have gone viral, with 50 millions views on their own YouTube alone. Despite their success, Cassetteboy made no money from their videos due to their questionable legal status, until a revision of UK copyright law in 2014.

Members
Cassetteboy is a duo of Mark Bolton and Steve Warlin, though the pair prefer to remain anonymous. Bolton has worked writing audio descriptions for the blind, while Warlin has worked in various Irish pubs and in an art gallery.

The duo's name comes from the use of audio cassette in their early work. Their musical approach can be traced from the origins of sampling, musique concrète and plunderphonics. Most pieces are constructed from numerous audio and video snippets taken from TV, radio, film and popular music; The Parker Tapes was constructed using the laborious, primitive process of manually splicing segments of audio together via a two-deck tape system, or ghettoblaster; later albums are constructed digitally using sound editing software.

Early work
The duo formed in the mid-1990s as a hobby, making mixtapes for friends. They started adding humorous material between music, which ultimately took up so much time that they moved over to comedy full-time. Their initial appearance was on the Di and Dodi Do Die 7" Record released in 2000 on the Spymania offshoot Barry's Bootlegs, owned by a mysterious character known as Barry Evans, thought to be a pseudonym. As well as producing two albums of their own, they have recorded on an album with DJ Rubbish entitled Inside A Whale's Cock Vol 1, which includes humorous cover versions of songs by Alanis Morissette and Jennifer Lopez (a skiffle cover of "Jenny from the Block"), along with a parodical take on a song by The Streets. Their 2008 album, Carry On Breathing, was a concept album that "tells the story of human life through the medium of EastEnders samples".

In 2008, Bolton released Earth Inc., a satirical novel about consumerism. The book took six and a half years to write.

Viral videos
In 2008, the duo progressed to using videos and the internet, in order to teach themselves video editing. They initially struggled with new technology; the "Cassetteboy" page on Facebook and feed on Twitter were owned by other people. The first video uploaded to YouTube was a mashup of then Prime Minister Gordon Brown.

In 2009, they released Cassetteboy vs The Bloody Apprentice, a parody of the UK version of The Apprentice, primarily featuring the mashed-up dialogue of Alan Sugar. As of October 2014, the video has had over 5 million views on YouTube. Sugar says he has watched the video, while Apprentice judge Nick Hewer declared himself to be a fan of it. In 2010, a video clip by Cassetteboy appeared on "Friday Night With Jonathan Ross" using further clips of Sugar. In December 2014, the duo created a sequel to the video from later series of The Apprentice.

Cassetteboy contributed some of the video clips for spoof clip show 2009 Unwrapped with Miranda Hart, and is credited on at least one episode of BBC Radio 4's spoof clip show Listen Against. In 2010, the duo helped judge entries for London Recut, a project to encourage amateur filmmakers to produce their own work about the city.

In October 2014, Cassetteboy released "Cameron's Conference Rap", featuring cut-up clips of British Prime Minister David Cameron speaking at the annual Conservative Party Conference, set to Eminem's "Lose Yourself". During the following week, the video was viewed 3.5 million times, while Cameron's official speech video only had 44,000.

In September 2015, Cassetteboy responded to the "Piggate" scandal (the claim that Cameron had once inserted "a private part of his anatomy" into the mouth of a dead pig's head in an initiation ritual) with the viral hit Gettin' Piggy With It.

In April 2016, Cassetteboy released "Cassetteboy vs Jeremy Hunt", in response to strike action by NHS junior doctors over contract changes introduced by Jeremy Hunt, the current UK Health Secretary. The video contains mashups of Hunt's recent speeches over the tune of YMCA by the Village People.

Live performances
The duo have started to perform live concerts, which feature a variety of video mashups and other satirical material. They favour performing pop hits with additional voices for humorous effect, such as 50 Cent's "In Da Club" with Jeremy Paxman overdubbed. They have made several appearances at the Glastonbury Festival and appeared at the Edinburgh Fringe Festival with DJ Rubbish.

Political campaigns
The context of their work is often political, but always maintains a humorous aspect. The duo describe themselves as left-leaning politically and think that "it’s good to have a point of view and too much comedy these days is bland and inoffensive". They are opposed to copyright law, saying that they could only have ever achieved popularity by creating works that violate copyright. The legal situation means that they have made no money from their videos despite millions of views. The duo have been approached by advertising agencies to make videos, but have been forced to refuse due to the resulting work being illegal.

In 2014, Cassetteboy welcomed a change in UK law that allows portions of works to be reused for satirical or parody purposes. In an interview for The Guardian, Cassetteboy said "There’s obviously public demand for our videos, but it was more or less impossible for people to pay us to actually make them". The duo compared their edited parody of Dragon's Den to the live-action sketch by Harry and Paul, noting that the content was similar but the legal status significantly different. They take an ambivalent attitude towards copyright infringement as it prevents them from being paid while also allowing them to create work for free, and believe it cannot be effectively controlled.

In December 2021, Cassetteboy remixed the satirical punk rock song "Boris Johnson is Still a Fucking Cunt", which was in the running to become the Christmas Number One slot alongside LadBaby's "Sausage Rolls for Everyone". After LadBaby's Mark Hoyle criticised the song in an interview, Cassetteboy joined the discussion stating that "Looks like 'Boris Johnson is Still a F***ing C***' getting to number one would annoy LadBaby too, who seems to be tough on food poverty, completely f***ing oblivious to the causes of food poverty."

Selected discography

 * The Parker Tapes 2002, Barry's Bootlegs/Spymania
 * Festive Christmas 2002, Barry's Bootlegs
 * Inside a Whale's Cock Vol 1 2003, Barry's Bootlegs
 * Dead Horse 2005, Barry's Bootlegs
 * Mick's Tape 2005, Antidote
 * Carry On Breathing 2008, Barry's Bootlegs

title: Cassetteboy


text:
Tigerfibel

The Tigerfibel and Pantherfibel were crew instruction manuals for the German tanks of World War II, the Panzer VI Tiger heavy tank and the Panzer V Panther medium tank.

Like other manuals designated as Fibel (basic primer), they summarised what the crew needed to know for day-to-day use of the tank, but unlike the typical tedious style of a German tank manual of that period, it is well illustrated in a comic style and much of the text is written as humorous poetry.

The manuals were approved by Heinz Guderian, the Inspector-General of Panzer troops. In the case of the Panther manual, he issued his approval in the manual's rhyming style, ending with the words, Die Pantherfibel ist genehmigt; wer sie nicht kennt, der wird erledigt (roughly "The Panther primer is approved; who knows it not will be removed." )

In the same manner other comic-style-manuals were published by the German forces:

title: Tigerfibel


text:
Parks and open spaces in the London Borough of Hillingdon

The London Borough of Hillingdon is responsible for 239 parks and open spaces within its boundaries. Since much of the area is within the Green Belt, there are large areas of land properly called open space. They range in size from the Colne Valley corridor to the smallest gardens and playing fields.

 * Barra Hall Park
 * Bishop's Wood Country Park
 * Cranford Park
 * Denham Lock Wood
 * Eastcote House Gardens
 * Frays Farm Meadows
 * Fassnidge Park
 * Gutteridge Wood
 * Hayes Park
 * Hillingdon Court Park
 * Ickenham Marsh
 * Lake Farm Country Park
 * Mid Colne Valley
 * Minet Country Park
 * Norman Leddy Memorial Gardens
 * No Man's Land
 * Old Park Wood
 * Ruislip Woods (inc. Bayhurst Wood Country Park, Copse Wood, Mad Bess Wood)
 * Pinkwell Park
 * Stockley Country Park
 * Hillingdon Parks Patrol Service
 * Uxbridge Common
 * Uxbridge Cricket Club Ground


text:
User:Wwwwolf/Bookmarks

Here's some of the things that I seem to need a lot. I'll add more as needed.

title: User:Wwwwolf/Bookmarks


text:
Talk:Politics of Slovakia

Roma
I would like to see some sources for the Roma segregation, or else it will be deleted. I am not a racsit or anything, but the link is VERY biased and written largely from the Roma point of view. Slobo 13:37, 5 October 2005 (UTC)

Important notice
The government section of the "Outline of Slovakia" needs to be checked, corrected, and completed -- especially the subsections for the government branches.

When the country outlines were created, temporary data (that matched most of the countries but not all) was used to speed up the process. Those countries for which the temporary data does not match must be replaced with the correct information.

Please check that this country's outline is not in error.

If you have any questions or comments, please contact The Transhumanist.

Thank you.

title: Talk:Politics of Slovakia


text:
Sergio Alfafara

Sergio R. Alfafara (born July 27, 1920, date of death unknown) was a Filipino Cebuano Visayan writer. A parish priest, he published, authored and translated religious and missal texts in Cebuano. He published a grammar of Cebuano known as Sugboanon nga Gramatika. His pennames included Napoleon Alferez. His father, Epifanio Alfafara, was also a noted Cebuano writer. Alfafara is deceased.

title: Sergio Alfafara


text:
Stuart Clark

Stuart Rupert Clark (born 28 September 1975) is an Australian former cricketer who played for New South Wales and the Australian team. He was a right-arm fast-medium bowler. His nickname "Sarfraz" originates from the similarities of his bowling style to Sarfraz Nawaz. Clark was also a member of the Australian team that won the 2007 Cricket World Cup.

Personal life
Clark is the son of Anglo-Indian parents; his father Bruce Clark is from Chennai and his mother Mary (née Boosey) is from Kolar Gold Fields (K.G.F).

Clark finished a Master of Commerce, majoring in finance, in 2009 and then completed a degree in law at the University of Sydney. He worked as a real estate agent for 5 years before he pursued cricket.

Clark is married to Michelle, with whom he has three children.

New South Wales
Clark started out playing first-grade cricket for Sutherland District Cricket Club, opening the bowling with Glenn McGrath in that club's Sydney Grade Cricket grand final win in the 1995–96 season. Clark made his first-class debut with the New South Wales Blues on 4 February 1998 against Tasmania at the Sydney Cricket Ground. He had a poor debut season, taking only 4 wickets at an average of 76.75. The 1998–99 season also saw Clark struggle as he took only 2 wickets at an average of 220.50. After his first 7 first-class matches, Clark averaged 124.66 with the ball. His poor performances led to him being dropped during the 1998–99 season and he did not play a first-class match for over 2 years.

Clark returned for New South Wales in the 2000–01 season and enjoyed a solid comeback season, taking 8 wickets at 25.75 in the 3 matches he played. After these performances, he retained his place in the side for 2001–02, a season which would prove to be his breakthrough one. Clark played 9 matches in the season, taking 45 wickets at an average of 23.26. He claimed four 5 wicket hauls and finished second behind Australian paceman Michael Kasprowicz in the leading wicket-takers list. With a promotion to a national contract, Clark had another strong season for New South Wales in 2002–03 securing 30 wickets at an average of 30.33. While the 2003–04 season was less successful for Clark, taking 23 wickets at 38.26, 2004–05 saw a return to form as he took 40 wickets at 24.77. Clark only played 4 matches for New South Wales in the 2005–06 season yet still managed to take 17 wickets at 22.05.

Clark's full-time call up to the national team in 2006–07 also saw him play fewer matches in the 2006–07 domestic season, yet the three matches he played saw him take 21 wickets at 14.47. During this season, Clark recorded his highest ever first-class score with 62 off 43 balls against South Australia at the Adelaide Oval. Clark brought up his half-century off 34 balls and his innings included 4 sixes and 3 fours. In the same match, Clark claimed his best ever first-class figures at the time, taking 6/39 in South Australia's second innings. In the next match he played for New South Wales, Clark exceeded these figures by taking 8/58 against Western Australia at the WACA Ground. Clark ended up taking 10 wickets for the match, and his first innings figures included a hat-trick, as he took the wickets of Marcus North, Adam Voges and Steve Magoffin in successive deliveries to reduce Western Australia to 4/2.

County Cricket
He had a run of injuries in 2003–04, but recovered to play first-class cricket for Middlesex in England in 2005.

He played for Hampshire in the 2007 English cricket season.

Retirement
Clark initially announced his retirement from state cricket in May 2011 but continued playing on a "part-time" basis in the IPL and domestic limited-overs matches while juggling his position as a manager of new Twenty20 franchise Sydney Sixers. He remained in the Blues' team sheet for the 2011–12 season as injury cover before retiring permanently from all cricket in February 2012. He ended his playing career on a high by leading his club side Sydney University to Belvidere Cup triumph.

Surprise inclusion in squad
In the 2005 Ashes series, in a shock decision, he was called into the Australia national cricket team squad for the fourth and fifth Tests covering for Glenn McGrath and Brett Lee after they both suffered injuries; however, both McGrath and Lee overcame the injuries early and went on to play. Australia Chairman of selectors Trevor Hohns said: ''We consider Stuart to be a similar style bowler to Glenn McGrath ... he is already in England and showing some good form, so we have selected him to provide some cover for the current injuries.''

ODI debut
In October 2005 Clark was again called into the Australian One Day International ICC Super Series squad against the ICC World XI, covering Shaun Tait but did not play in the first match on 5 October. He made his debut later in that series, and also played against New Zealand in the 05/06 Chappell–Hadlee series. He had vindicated the decision of the selectors somewhat with his solid performances in the ODI arena, however many fans expressed disbelief at the fact that Clark was selected ahead of players such as Paul Rofe, Mick Lewis, Jason Gillespie and Andrew Bichel who had been performing to a higher standard at state level. On 23 February 2007, Clark was named in the Australian World Cup Squad as a replacement for the injured Brett Lee.

Early Test career
On 16 March 2006, Clark was included in the Australian Test squad, replacing Glenn McGrath (who was attending his sick wife Jane) for the tour of South Africa. He made his debut in the first Test at Cape Town. Clark had an immediate impact on the game, dismissing Graeme Smith early in South Africa's innings, on his way to five wickets. He captured another four in the second innings, to finish with match figures of 9/89 and the player of the match award.

In the second Test at Durban, he took four wickets, and in the third Test at Johannesburg, he returned figures of 3/81 and 4/34. Altogether, he was the leading wicket-taker of the series with 20 wickets (at 15.85 average) and was voted player of the series.

As expected Clark warranted selection for the Australian tour of Bangladesh which followed immediately after the South African whitewash However it was a forgettable tour for Clark who managed to pick up just one wicket in the first innings, and was overshadowed by recalled veteran Jason Gillespie. Clark was "released from duty" for the second Test as the Australian selectors decided to replace him with budding spinner Dan Cullen in Chittagong. However at the time, media reports stated that Clark was given compassionate leave to attend the birth of his son – Clark later suggested that the "rest" was not necessary in any case. However, by the end of the Bangladesh series, Clark maintained his spot above Jason Gillespie in the pecking order of Australian fast bowlers.

Ashes series 2006–07
Clark made his Ashes debut at the 'Gabba on 23 November 2006 in the 2006/07 series. In the first Test, he captured seven wickets as England fell to a 277-run defeat and performed similarly well in the second Test where he was the best of the bowlers as Australia triumphed by 6 wickets. Playing the final Test on his home ground in Sydney, Clark took 3 wickets in the first innings before striking 35 runs off only 47 balls with the bat in Australia's first innings.

He ended the series with the most wickets (with 26 at an average of 17, which was twice as many as any English player managed) and the best strike rate of all bowlers, surpassing even retiring greats Glenn McGrath and Shane Warne.

Post-retirement
Clark was named general manager of Sydney Sixers in May 2011 and held the position while playing part-time. He stepped down in November 2012.

title: Stuart Clark


text:
User:JRG/Dubbo Presbyterian Church

Dubbo Presbyterian Church, is a church with three congregations in Dubbo, New South Wales and a part of the Presbyterian Church of Australia.

For many years, Dubbo Presbyterian was your average country church. A dispute split the church some time in the 1970s or 80s, becoming Dubbo East Presbyterian and Dubbo West Presbyterian. Neither of these churches was able to bring in enough money to have a minister, so the elders took turns in running the services. Dubbo West met in the original church and Dubbo East met in an A-frame church owned by another denomination.

In the late 1980s, the two congregations together called a minister, David Tickle, who originally preached at both churches, and during his brief stay managed to reunite the two.

After he left, Dubbo Presbyterian was again without a minister for a period of years until Bryson Smith was inducted in 1990.

The church has split again, for the purpose of planting other congregations, rather than growing one large church. The three congregations meet at different times in the same building, but maintain independent activities.

Plainsong Music
In 1999 the Dubbo Presbyterian Church released the CD Consider Christ under the label Plainsong Music. It was composed of music and lyrics written by church musician Philip Percival, minister Bryson Smith, and others. Perspective described Consider Christ as "cutting edge" because it was the second CD released in Australia using CD-Extras, including sheet music and lyrics for every song. The congregational music was soon selected to be sung at the Katoomba Youth Convention, a major evangelical youth convention, and added to the catalogue of Matthias Media. The album One For Many followed soon after.

In 2004 CCLI listed the title track Consider Christ, with lyrics by Bryson Smith, in the top 10 songs sung in Anglican Churches.

Philip Percival approached Christian music writers Rob Smith and Nicky Chiswell to found a wider Christian music organization. The result was Emu Music.

title: User:JRG/Dubbo Presbyterian Church


text:
Portal:Trains/Featured picture candidates/UP 9214 19910510 CA Cajon.jpg

Image:UP 9214 19910510 CA Cajon.jpg
Self-nom. Good color, composition and lighting; illustrates Union Pacific Railroad demonstrating the railroad's typical "armour yellow" color scheme. slambo 13:39, 5 October 2005 (UTC)


text:
User talk:Cheezy Pigeon

Hello

Cheezy Pigeon

Welcome!
Welcome!!

Hello, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you have any questions, check out Where to ask a question or ask me on my talk page. Again, welcome! Rob Church Talk 13:40, 5 October 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

title: User talk:Cheezy Pigeon