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Talk:The Neverending Story

Translation
Both the part called History of Origin and Publication and the part called Interpretation were translated from the German wikipedia page on the neverending story. — Preceding unsigned comment added by Superpanda55 (talk • contribs) 11:06, 21 June 2018 (UTC)

Does not meet Wikipedia policies
Someone has put a great deal of effort into the "Interpretation" section. For this, I salute you! But there's a problem. This section contains numerous statements which conflict with Wikipedia policies (explained here) regarding verifiability and citations. For example, see the fourth, fifth and sixth paragraphs. These statements are someone's interpretation of the novel, but whose? There are no citations to support them. If they are interpretations that have been published somewhere, citations should be added. If these are a Wikipedia editor's interpretations, such statements (no matter how well-reasoned) should be deleted. Wikipedia is not the place for original work, archival findings that have not been published, or evidence from any source that has not been published, as stated in the link above. BuzzWeiser196 (talk) 11:53, 22 June 2018 (UTC)
 * Looks like it was translated from the German Wikipedia, which does seem to cite sources.-- Laukku  TheGreit (Talk•Contribs) 16:39, 26 October 2018 (UTC)
 * Editors' translations cannot be used. They certainly cannot be turned into a wall of text without citations. There's already a reception section where some of this could have been worked in, judiciously, not dumped wholesale as it is. OP is correct. If no one is going to rewrite it according to style and with proper citations, it cannot remain. The History and Origin (?) section likewise has no sections and is by the same editor, quoting out of thin air. The Editions section too. ZarhanFastfire (talk) 04:49, 26 November 2018 (UTC)

Made substantial revisions
I came here to correct a statement in the "Editions" section and ended up substantially revising the page, including a near-complete rewrite of the summary. The previous summary struck me as focusing heavily on the first third of the novel, on which the 1983 film is based (a film that Ende detested), and thus glossing over the vast majority of the book. Mozby (talk) 12:26, 11 December 2020 (UTC)

"Strange" child?
He ist not strange, he is a quiet kid, who loves to read and is bullied by other kids. KhlavKhalash (talk) 16:49, 2 December 2022 (UTC)

 * I hope you have seen the correction I've done to that then. I agree with you wholeheartedly.  Main problem now is that this must be condensed and less poetic. Maxcardun (talk) 17:01, 25 April 2023 (UTC)

title: Talk:The Neverending Story


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User talk:Weaselwaffles

It takes place in the year 3000 after the human race suffers the rapture. A final blast from a meteor lands in Asia, and as the remaining human race sees the meteor never landed. It tore a hole in the earth's air. As one by one enter they have the power but not the full power of the Gods. In the Realm called InFeron the Remaining humans became immortal. They continued their lives by living a new life in a new world. They Decided that the war with god they became not Veterans but Warrians, a former race of Humans now fight with the gods to stay alive. In their New Planet. And to know what happened to God.

Through out Inferon Humans indulge themselves with nothing but entertainment and no money or labor is encouraged. Their currency falls from above and they live by who they follow. The world is now free from suffering But How long will it last. And if there ever be peace on earth!

The Line of Charactors: Rynell: His hair is a Natural Blue plays in a one man band with his guitar. His Power is Illusions People do not see what he plays its what they see when he plays.

Korona: Sun Goddess. A Bounty Hunter Out to find the defier of God, and why Earth was destroyed. Lytle the God of Death a surprisingly intimidating but when you really see him he's merely 4 feet tall Vira: The Godess of Reality and Fantasy. If anyone knows why a new world was created, she would surely know.

Fallen Lore
The night cold as the day I died, the Touch of my lover by my side. She lives but her nose is cold as ice. No day for sleep for this being cause tthe one he lost, he never had. The coldest nose, was only in his head. For when he walks to his lonley room. He remembers his lover, and awaits his doom. 12 o'clock and with whiskey in his breath. I Lay there with out my breath. 2 o'clock he soon falls, at 5 the morning calls. No one had seen Her cry for me, no one has seen my spirited deem. Why the pain did I know not. Is she really the cold nose that I had fought. There there, it matters not. For I am here and she is not....

The Story Of my Life and yet a Poem of my Strifes. Based on true life mediforic Events

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

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Talk:Lobster Newberg

Delete. Misspelled, inaccurate and already completely covered at Lobster. --Wetman 05:58, 3 October 2005 (UTC)

AfD discussion
Articles_for_deletion/Lobster_neuberg  (aeropagitica)   22:25, 12 March 2006 (UTC)
 * Result of the debate was Kept and moved to Lobster Newberg. Geoff  Who, me?  01:28, 27 June 2012 (UTC)

Chicken or Egg
This article states: "Lobster Newburg is related to Lobster Thermidor" As the former predates the latter, this should be the other way around and placed in the Thermidor article. —Preceding unsigned comment added by 69.243.164.201 (talk) 13:09, 3 April 2011 (UTC)

Spelling
NewbErg or NewbUrg??? — Preceding unsigned comment added by 78.12.81.254 (talk) 13:24, 27 August 2011 (UTC)

A Google search for "Lobster Newburg" gives 225,000 results; one for "Lobster Newberg" gives 114,000 and a polite inquiry as to whether I don't mean Newburg. However, the Wikipedians apparently have decided in favor of the "Newberg" spelling, possibly because the recipe's originator spelled his name "Wenberg", not "Wenburg". Cactus Wren (talk) 16:22, 21 March 2012 (UTC)

related?
Both this article and the "Lobster Thermidor" article say they are "related". They have some similar preparation techniques but I would think "related" would only be appropriate if one had inspired the other (never stated in either article) or if there were some common historical event that caused them to be devised. — Preceding unsigned comment added by 69.149.72.66 (talk) 00:46, 5 July 2012 (UTC)

title: Talk:Lobster Newberg


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Category:Unprintworthy redirects

"Unprintworthy" redirects are redirect pages on Wikipedia that aid online navigation, but would have little or no value as pointers to target articles in a hard-copy book. The name of a redirect may be unprintworthy for a number of reasons, including being nearly identical to the name of the target page, containing typographical errors, or not being encyclopaedic. Redirects are not unprintworthy just because the name may be offensive to some, unless the name is also not encyclopaedic.

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Alberni Valley Heritage Network

The Alberni Valley Heritage Network in Port Alberni, British Columbia consists of the Alberni Valley Museum (First Nations culture, local and industrial history and folk art), the McLean Mill National Historic Site (a historic steam-operated sawmill), the Alberni Pacific Railway (a steam-powered heritage railway), and the Maritime Discovery Centre.

title: Alberni Valley Heritage Network


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Illinois Caverns State Natural Area

Illinois Caverns is a state natural area in the New Design Precinct of Monroe County, Illinois. It features Illinois Caverns which is alternatively known as Mammoth Cave of Illinois (also Burksville Cave, Egyptian Cave, Eckert Cave). Illinois Caverns is the second-largest cave in Illinois and has more than 9.6 km of passages. The cave has a constant temperature of 58 F, and portions flood during wet weather. Passages can be 20 ft high and just as wide. It is located off Illinois Route 3, south of Waterloo, near the unincorporated community of Burksville.

History
What is now known as Illinois Caverns hosted its first paying customers in March 1901, operated by a Mr. White of East Saint Louis. It is the only cave in Illinois to have been commercially operated, attracting many visitors from St. Louis during the 1904 World's Fair. However the cave was never considered a commercial success (it closed in 1907), and had remained almost completely unimproved, excepting the extant concrete entrance stairs and a single ladder. When the cave and environs were sold to the State of Illinois in 1985, care of the site was entrusted to Armin Krueger, until his death.

Geology
The cave was, and in fact still is being formed in the Mississippian limestone (CaCO3) and dolomite (CaMg(CO3)2) (or karst common to the region) by water dissolution, and includes cave formations such as stalactites, stalagmites, rimstone dams, flowstone, and soda straws. The cavern is a branchwork type cave, which generally consists of a central cavern and stream with smaller passages and tributaries branching off. Numerous circular, crater-like depressions are evident in the area surrounding the entrance, easily visible from the air or space. These are typical of both the area and karst topography in general.

Cave fauna
Fauna in the cave includes bats, salamanders, frogs, crickets, amphipods, and isopods. Illinois Caverns is home to the federal endangered species Gammarus acherondytes (a.k.a. Illinois Cave Amphipod). This species of amphipod is found nowhere else in the world except a few neighboring caves located in the southwestern Illinois karst.

Visitation
The cave was closed to visitors in early 2010 to stop the spread of white-nose syndrome (WNS) in bats. The cave reopened to visitors on June 16, 2021.

Persons desiring to enter the cave need a permit. A minimum of four people per party is needed for entrance into the cave. Each person needs to have a hardhat, boots, sturdy clothing, and three sources of light. At times some portions of the cave may be off-limits, these areas should be clearly marked.

title: Illinois Caverns State Natural Area


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Chaya Czernowin

Chaya Czernowin (Hebrew: חיה צ'רנובין, ; born December 7, 1957) is an Israeli American composer, and Walter Bigelow Rosen Professor of Music at Harvard University.

She is the lead composer at the Schloß Solitude Sommerakademie, a biannual international academy of composers and resident musicians at the landmark Schloß Solitude, in Stuttgart, Germany. She is a 2011 Guggenheim Fellow.

Education and early career
Czernowin was born in Haifa, and raised in Israel. She studied in Israel, Germany, and in the United States. She also received fellowships to compose in Japan and in Germany. Czernowin studied at the Rubin Academy of music at Tel-Aviv University, Bard College, and received her PhD from the University of California, San Diego in 1993. At UCSD, she studied with Brian Ferneyhough and Roger Reynolds.

Czernowin spent several years after her formal studies on residencies and fellowships in Japan, Europe, and the United States. She was awarded the Ernst von Siemens Music Composers' Prize in 2003.

From 1997 to 2006, she was professor of composition at UCSD, and between 2006 and 2009 she was professor of composition at the University of Music and Performing Arts, Vienna.

Early works

 * Dam Sheom Hachol

Operas

 * "opera without words," PNIMA...ins innere. (2000), premiered at the Munich Biennale
 * A companion to Mozart's fragment, Adama/Zäide (2006)
 * "Infinite Now" (2017), opera in six acts, premiered at the Vlaamse Opera in Ghent
 * Heart Chamber, 2019, premiered at the Deutsche Oper Berlin.

Source:

Orchestra

 * Birds for string orchestra (1984), 11'
 * The hour glass bleeds still for string orchestra (1992, rev. 2002)
 * Amber for large orchestra (1993), 18'
 * Afatsim for mixed ensemble (1996), 10'
 * Shu Hai in an orchestral setting for orchestra, female voice, and live electronics (2001), 30'
 * Dam Sheon Hachol (the hourglass bleeds still) version for string orchestra (2002), 19'
 * Maim (strange water, stolen water), triptych for large orchestra, tubax recorded and a quintet of soloists (oboe, tubax, electric guitar, piano, viola) (2001/2002), 18';
 * I: maim zarim maim gnuvim (strange water stolen water) (2002);
 * II: The memory of water (2006);
 * III: mei mechaa (water of disent) (2005–2006)

Ensemble

 * Afatsim for mixed ensemble (1996). Appears twice (see orchestra)
 * Winter Songs I: Pending Light for live electronics and seven instruments (2002/2003), 12'
 * Winter Songs II: Stones for seven instruments and three percussionists (2003), 12'
 * Winter Songs III: Roots for live electronics, seven instruments and three percussionists (2003), 14'
 * Excavated Dialogues Fragments for a mixed ensemble of Eastern and Western instruments (2003), 8‘
 * Excavated Dialogues Fragments – Second version for a mixed ensemble of modern and Renaissance/Baroque instruments (2003, rev. 2005)
 * Anea Crystal for Two String Quartets and an Octet (2008)
 * Sheva for seven players, for tpt b trb 2 percussionists pno contra guitar and vcl (2008)

Concerto

 * While Liquid Amber for three amplified piccolos (solo) and large orchestra (2000), 18'

Chamber music

 * Ina for bass flute and pre-recorded flutes (1989), 12' – ED 9680
 * LeArye for violin and 15 pre-recorded violins and violas (1990), 14'
 * Dam Sheon Hachol (the hourglass bleeds still) for string sextet (1992), 18' – ED 9663
 * A map of a recurrent dream for sho, u, live and pre-recorded Tape (1994), 17'
 * Tris for percussion and pre recorded percussion (1993), 13'
 * Die Kreuzung for accordion, alt saxsophone and bass (1994), 10' – ED 9684
 * String Quartet (1995), 14'
 * Drift (Sahaf) for saxophone (baritone and sopranino) or clarinet (Eb clarinet and bass clarinet), E-guitar, piano and percussion (timpano, marimba, 2 plastic triangle liners, bamboo wind chime, ocean drum, ratchet, snare drum) (2008)

Vocal music

 * Manoalchadiya for bass flute and two female voices (1988), 13'
 * Shu Hai Mitamen Behatalat Kidon (Shu Hai Practices Javalin) for solo female voice and recorded nine voices with live electronics (1996/1997), 30' – ED 9672
 * Six Miniatures and a Simultaneous Song for mixed ensemble and a singer (1998), 13'
 * Pilgerfahrten for narrator, boy's choir, and instrumental ensemble (2005/2006, rev. 2007)

Recent works

 * Winter Songs, Maim Zarim, Main Gnuvim

title: Chaya Czernowin


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File:Hangable Auto Bulb (AFX album - cover art).jpg

Summary
Hangable Auto Bulb Re-release cover. Designed by The Designer's Republic. Taken from Warp Records website.


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Category:Printworthy redirects

Printworthy redirects should prove helpful to people perusing a hard copy of the same material. Redirects may be considered printworthy if they are linked to from a large number of articles.

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Vespula germanica

Vespula germanica, the European wasp, German wasp, or German yellowjacket is a species of wasp found in much of the Northern Hemisphere, native to Europe, Northern Africa, and temperate Asia. It has spread and become well-established in many other places, including North America, South America (Argentina and Chile), Australia, South Africa, and New Zealand. German wasps are part of the family Vespidae and are sometimes mistakenly referred to as paper wasps because they build grey paper nests, although strictly speaking, paper wasps are part of the subfamily Polistinae. In North America, they are also known as yellowjackets.

Taxonomy and phylogeny
Vespula germanica belongs to the genus Vespula, which includes various species of social wasps that are found throughout the Northern Hemisphere. In North America, these wasps are most commonly known as yellowjackets, but this name also applies to species within the sister genus Dolichovespula. Members of Vespula are often confused with other genera, especially the paper wasp Polistes dominula. Colonies of V. germanica share many characteristics with those of V. vulgaris (common wasp) and V. pensylvanica (western yellowjacket), so they are very often studied together.

Description and identification
The German wasp is about 13 mm (0.5 in) long, has a mass of 74.1 ± 9.6 mg, and has typical wasp colours of black and yellow. It is very similar to the common wasp (V.vulgaris), but unlike the common wasp, has three tiny black dots on the clypeus. To further complicate the issue this only applies to workers. To help with identification, a good practice to observe is to first categorize the wasp as worker, queen, or drone before identifying it as V.vulgaris or V.germanica. Gastral pattern (the black dots or marks on the abdomen) are highly variable and not good characteristics to use in identifying. However, the identification of a wasp as V.vulgaris may be difficult because the normally unbroken black mark on its clypeus can sometimes appear broken (particularly in males) making it look extremely similar to V.germanica.

Distribution and habitat
V. germanica originated in Europe, Asia, and North Africa and can now be found in sections of every continent but Antarctica. It has established populations in North America, South America, South Africa, New Zealand, and Australia. German yellowjackets are known to be especially successful and destructive invaders of new territories. These wasps are polyphagous predators which feed on native arthropods, and because they are able to outdo many other animals for food, they have caused considerable harm to the indigenous wildlife of areas which they have invaded. For a given year, V. germanica disperses at distances of no more than 1000 m, so that their rapid dispersal is likely to be aided by accidental human transport of hibernating queens. This normally leads to a bottleneck effect during the establishment of new populations, which explains the significant genetic differentiation often found among geographically distant populations.

The nest is made from chewed plant fibres, mixed with saliva. The majority of nests are found in the soil below ground. A significant portion of nests are found in artificial structures such as attics, and a small portion are found above ground.

Colony cycle
A single queen initiates a nest in the spring by constructing an embryonic nest, which contains a series of hexagonal cells. These cells are used to house one wasp through the immature stages of life: egg, larval instar, and pupa. The colony grows rapidly during the summer with a huge increase in worker numbers and nest size. By the end of summer, the rate of growth slows considerably and more males are produced than workers, and the focus is shifted from building small cells to building cells that are 30-40 percent larger. These new cells house the new queens and males. In the fall, the new queens begin hibernation, while the old queens die off and the colony collapses. In some cases, the nests may survive through the winter and reach the next season. If this occurs, the nest will become polygynous and reach a much larger size than in the previous year.

V. germanica nests are strongly affected by climate. Average colonies in Australia contain over 9500 small workers and 3600 large queen and male cells. By the end of May, colonies in Australia have 15,000 wasps emerging from small cells and 2500 wasps emerging from the large cells. By comparison, nests in the British Isles only have 6100–6500 small cells and 1500 large cells on average, in roughly eight combs. Additionally, a significant number of nests in Australia are able to survive the winter, whereas in England none of the nests survive. This demonstrates how V. germanica nests can reach a substantial size in appropriate climate conditions.

Worker specialization
High variation in the sequence and diversity of tasks performed by V. germanica workers suggests limited temporal polyethism exists within the species. Temporal polyethism is a mechanism in which workers specialize on tasks in a sequential order throughout their lives, instead of performing numerous tasks concurrently. The typical order of tasks in V. germanica is nest work, pulp foraging, carbohydrate foraging and protein foraging. Approximately 61 percent of the wasps observed perform more than two of these tasks during their lifetimes. Additionally, about 40 percent of the wasps specialize on only one task per day, but these individuals varied with respect to age and sequence of task performance. The schedule of temporal polyethism found in V. germanica is highly accelerated when compared to other Hymenoptera, which is likely related to worker lifespan. Vespula workers may not live long enough to benefit from a strict system of worker specialization, in which workers repeatedly perform one task.

Mating behavior
Vespula germanica queens are typically polyandrous. The queens mate with a moderate number of males, usually between one and seven, with no optimal number of mates. In addition, mating events are independent of each other, which discredits the hypothesis that queens terminate mating behavior after mating with a male that possesses an optimal set of attributes.

V. germanica workers are unable to mate and so incapable of producing diploid offspring. In some nests, however, the workers produce haploid male offspring from unfertilized eggs. Worker reproduction has been documented in other Vespula wasp colonies, but usually only after the death of the queen. However, workers of V. germanica have been found reproducing in the presence of a queen.

Foraging behavior
Vespula germanica workers are known to be opportunistic predators and scavengers. They are efficient at hunting for small, live food sources and at collecting from large stationary sources. It is believed that the flexibility in V. germanica's foraging behavior is a key factor in their ability to rapidly colonize new areas in a variety of ecological environments. As scavengers, V. germanica are forced to make numerous trips between the location of the food source and the nest, where the larvae are kept and fed. This calls for V. germanica foragers to be adept at relocating earlier food sources.

Cognitive plasticity
The ability to relocate previously discovered food sources is only one example of the diverse cognitive mechanisms at play within V. germanica's behaviors. V. germanica foragers continue to visit a feeder after food removal, but are able to rapidly remove associations that no longer provide a reward. The amount of time that the foragers continue to search these sites depends on the number of times they had visited it in the past. The choices made by V. germanica take into account both current and past experiences. These abilities imply that these wasps have important learning and memory capacities which enable them to memorize various resource characteristics, including the route to resources, as well as specific spatial location with respect to local landmarks. In addition, V. germanica wasps have been shown to have sensorimotor learning capacities which allow them to associate visual stimuli with certain motor responses. This reported high cognitive plasticity enables V. germanica wasps to inhabit a variety of regions. Its flexibility in nesting and diet habits in conjunction with its foraging capabilities may help explain the success with which V. germanica has invaded so many different ecological areas.

Genetic relatedness within colonies
V. germanica queens are typically polyandrous. Because the queen mates with multiple males, the workers are more closely related to the queen's sons than to sons of other workers. These asymmetries in relatedness are believed to be a factor leading to worker policing within colonies.

Male skew
Male reproductive skew within V. germanica indicates that males do not contribute equally to the production of offspring when compared to females. The level of skew observed was higher among males in nests with queens that mated with multiple males. Reproductive skew may be linked to patterns of sex allocation, but sex ratio data for Vespula colonies suggest that a split-sex ratio is not produced. This contradicts the theory that the reproductive skew seen in V. germanica is part of an evolutionary strategy of males due to asymmetries in relatedness.

Worker policing
Worker policing is selected for when it benefits the colony. The benefits are gained through various measures, such as increasing colony efficiency and establishing a female-based sex-allocation ratio. Worker policing is especially common in colonies where queens mate with multiple males. Thus on average, the workers are more closely related to sons of the queen than to those of other workers. In the past, V. germanica was thought to be an exception to the general pattern that high mating frequency led to low levels of worker reproduction. However, recent studies indicate that while worker reproduction occurs at a considerable rate, worker policing keeps these worker-laid eggs from reaching adulthood. This is demonstrated by a study carried out in Belgium, showing that while an estimated 58.4 percent of male eggs were laid by workers, only 0.44 percent of adult males were workers' sons. The numbers indicate the efficiency with which worker policing is carried out. Policing by aggression, which prevents workers from laying eggs in the first place, leads to increases in colony productivity, while policing by eating the eggs of workers is more likely to result in sex-ratio benefits.

Diet

V. germanica wasps have a diverse diet. They are known to eat carrion, live arthropods (including spiders ), fruit, honeydew, and processed human food and garbage. They are opportunistic scavengers and hunters able to obtain food from a variety of different sources. For example, many Vespula species have been observed feeding on dead honey bees (Apis mellifera) found outside the beehive entrance in the late summer. This flexibility in diet is beneficial, because V. germanica must often compete for resources with native biota in areas it invades.

Parasites
Female bee moths (Aphomia sociella) have been known to lay eggs in the nests of V. germanica. Hatched larvae will then feed on the eggs, larvae, and pupae left unprotected by the wasp, sometimes destroying large parts of the nest as they tunnel throughout looking for food.

Pest status
The species is considered a pest in most areas outside its native range, although its long residency in North America means it is not treated with any level of urgency there, unlike in areas such as South America, where the introduction is more recent and the impacts more dramatic.

Along with the closely related common wasp (Vespula vulgaris) and three species of Polistes paper wasps, the German wasp is considered a pest in New Zealand. It was probably introduced in the late 19th century, but did not appear in large numbers until around 1940. Wasp numbers reach their greatest densities in beech forest of the South Island, due to the abundant honeydew produced by the beech-scale insect there. This has a serious effect on forest ecology, as less honeydew remains available for native birds. However, German wasps were quickly succeeded in much of the South Island and its beech forests by Vespula vulgaris accidentally introduced in the 1970s.

title: Vespula germanica


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Kim Jee-woon

Kim Jee-woon (born July 6, 1964) is a South Korean film director, screenwriter, and producer. He was a theater actor and director before debuting with his self-written and directed film, The Quiet Family in 1998. Kim has worked with increasing levels of success in cinema, showing accomplished acting and a detailed stylization in his films. He is currently one of the most recognized screenwriters/directors in the Korean film industry.

His films A Tale of Two Sisters (2003) and A Bittersweet Life (2005) were both critical and commercial successes. He is also known for the films The Foul King (2000), The Good, the Bad, the Weird (2008) and I Saw the Devil (2010).

Early life
Kim Jee-woon was born on July 6, 1964, in Seoul, South Korea and is the youngest of six siblings. He grew up in Samgak-dong, a neighborhood between present day Jongno and Euljiro. His grandfather was a tailor. When he was young, Kim's father frequently took him to the cinema where he was exposed to many classic European films. This exposure inspired him dreaming of becoming film maker.

In 1983, Kim entered the Department of theater at Seoul Institute of the Arts. After dropping out of school, Kim stayed in Paris for three months in 1991 and watched about 100 films during Cahiers du Cinéma's 40-year anniversary film festival. Kim built up his career in the field by writing and directing several plays, including Hot Sea (1994) and Movie Movie (1995). He also acted onstage in the musical Guys and Dolls (1983) and Anton Chekhov's play The Seagull.

Debut as screenwriter and director (1994–2002)
Kim begin his film career as assistant director for Lee Sung-soo's 1994 film The Young Lover. In 1996, Kim started his career as a screenwriter by chance, because he was in a car accident and had to pay for the repairs, which amounted to KRW 6 million ($5,300). Kim won a competition in the movie magazine Premiere with his script entitled Wonderful Seasons.

In 1997, Kim went to a ramen shop, and the lady owner used Cine21 magazine instead of a tray. The magazine had an advertisement about the 1st Cine21 Screenplay Contest stating it was a week before the deadline. Kim wrote a film script entitled The Quiet Family, and won first prize. The screenplay went into several film production companies, but couldn't find the right director. Eventually, Kim got the opportunity to direct his first feature film, The Quiet Family (1998), a horror/drama/comedy about a family who owns a mountain inn and whose guests continue to commit suicide. The film was his first collaboration with actors Choi Min-sik and Song Kang-ho. The film won Best Live Action film at the 1999 Fantasporto film festival, and Best Director and Best Film at the Malaga International Week of Fantastic Cinema. It was also nominated for Best Film at the 1998 Sitges - Catalan International Film Festival.

In 2000, Kim directed and wrote his second feature film, The Foul King (2000), which reunited him with Song Kang-ho. The film follows an unproductive and incompetent bank clerk (played by Song Kang-ho) who escapes his demanding, alpha-male boss by entering the pro-wrestling ring and fighting under a pseudonym, "The Foul King." The two worlds eventually end up colliding. Song Kang-ho mentioned that film The Foul King (2000) is his personal favorite. The film won Best Director at the 2001 Milan International Film Festival and an Audience Award at the Udine Far East Film Festival.

In 2001, Kim directed and wrote a short film entitled Coming Out (2001). The film is about vampires, among other things, and Kim wrote and directed Coming Out as part of a project to distribute three digital short films online. It was also commissioned by venture group Media 4M, and the project also included shorts by Jang Jin and Ryu Seung-wan. Coming Out was shot with a Canon XL-1 camcorder during a time when digital filmmaking in South Korea was still in its infancy, and it went on to inspire many other digital productions. It was shown at the Fantasia Festival and the Puchon International Fantastic Film Festival in 2001, and the Thessaloniki International Film Festival in 2005. Coming Out was also included as a special feature on the UK DVD release of The Quiet Family, and a review at DVDActive praised it as "delicate, cerebral and contemporary cinema at its most profound."

Kim next wrote and directed the "Memories" segment in the omnibus film, Three (also known as Three Extremes II), also featuring segments directed by Peter Chan and Nonzee Nimibutr. The segment starred Kim Hye-soo.

Career breakthrough (2003–2010)
Kim wrote and directed A Tale of Two Sisters (2003), an adaptation of a Joseon Dynasty era folktale called Janghwa Hongryeon jeon. The original Korean folktale featured two sisters named Janghwa and Hongryeon (Rose Flower and Red Lotus). However, in the film, the sisters were named Su-mi (played by Im Soo-jung) and Su-yeon (played by Moon Geun-young), which still carried the same meaning of Rose and Lotus. A Tale of Two Sisters, released in-between the aforementioned hits of 2003, was the third highest-grossing film after Memories of Murder, and only about 150,000 tickets short of Oldboy’s initial run of 3,260,000 admissions. It held of record the highest-grossing South Korean horror film for several years.

The film received numerous awards at various film festivals, including the Fant-Asia Film Festival (most popular film), Best Actress (Im Soo-jung), Best Director and Best Film at the Fantasporto, Best Picture at Screamfest Horror Film Festival, Grand Prize and the Youth Jury Grand Prize at the Gerardmer Film Festival, and acting awards for Im Soo-jung and Yum Jung-ah at the Blue Dragon Film Awards and the Brussels International Fantastic Film Festival. The movie was later remade into the 2009 U.S. film The Uninvited, starring Emily Browning, with Kim receiving an original story/writer credit.

In 2005, Kim wrote and directed A Bittersweet Life (2005), his first collaboration with actor Lee Byung-hun (whom he would later work with in The Good, the Bad, the Weird and I Saw the Devil (2010). The film was an ultra-stylish and ultra-violent gangster and mobster picture that was both a critical and commercial success in South Korea. The film was released theatrically in South Korea on 1 April 2005. It opened on 265 screens throughout the country, and registered a total of 1,112,950 admissions by the end of its run. Lee Byung-hun won Best Actor at the Baeksang Arts Awards and Hwang Jung-min won a Best Supporting Actor award at Korea's Grand Bell Awards. Kim also won the "Action Asia Award" at the 2006 Deauville Asian Film Festival.

In 2008, Kim wrote and directed The Good, the Bad, the Weird (2008), his tribute to Sergio Leone's western action film The Good, the Bad and the Ugly (1966). He would re-team again with Song Kang-ho (who played "The Weird") as well as Lee Byung-hun (who played "The Bad") in the film. The film takes place in 1930s Manchuria and chronicles the struggles of the three main characters in trying to find a piece of treasure. The film won an Achievement in Cinematography Award from the 2008 Asia Pacific Screen Awards, won Best Supporting Actor for Jung Woo-sung (the "Good") at the 2009 Asian Film Awards, and won Best Director and Best Special Effects at the 2008 Sitges - Catalan International Film Festival.

In 2010, Kim directed, based on a screenplay from Park Hoon-jung, the thriller I Saw the Devil, the first time Kim directed a film from a script by someone else. Choi Min-sik, who played the serial killer, came to him with the script. Kim's first impression of the script was it felt very new and powerful, with a brutal and tough side to it, which got him interested. Kim thought one of the most important things was to find the right antagonist for Choi's character. He met Lee Byung-hun whom he worked with previously on The Good, the Bad, the Weird in a festival and he agreed to headline the film.

The Korea Media Rating Board forced Kim to re-cut the film for its theatrical release, objecting to its violent content. The film received a "Restricted" rating twice, preventing any sort of release in theatres or on home video and promotions as well. Seven cuts were made with the total runtime of removed material between eighty and ninety seconds. The film was finally released in South Korean Cinemas on August 12, 2010. On 3 November 2010 Kim attended the London Korean Film Festival to introduce the restored version of I Saw The Devil. It also received screenings at several other international film festivals, including the Fantasporto Film Festival, Toronto International Film Festival, Sitges Film Festival, and San Sebastian Film Festival.

The film won a number of awards, including Best Director and Best Film at Fantasporto, Special Jury Prize, Audience Award, Critics Award at the Gerardmer Film Festival, Best Lighting at the Grand Bell Awards, Best Foreign Language film from the Austin Film Critics Association and Best Editing from the 2011 Asian Film Awards.

In 2006, Kim directed and wrote the segment known as "The Heavenly Creature" about a robot who achieves enlightenment in a Buddhist temple, in 2012 omnibus film Doomsday Book (Yim Pil-sung directed the other two segments). The film won Best International Film at the Fantasia Festival and a Special Award at the Toronto After Dark Film Festival.

US debut and recent works (2010-2018)
In 2010, Kim was hired as director for US film The Last Stand, which was produced by Lorenzo di Bonaventura and Lionsgate Films. The company had acquired Andrew Knauer's spec script for The Last Stand in June 2009, prior to Kim's involvement. According to di Bonaventura, Kim was brought on board because of his ability to elevate simple concepts and make them feel more rich in his previous works. Kim himself expressed interest in the film's storyline of protecting something valuable, no matter how small, and the idea of using old-fashioned methods to take down advanced technology. In addition, screenwriter Jeffrey Nachmanoff was hired to revise the script. According to di Bonaventura, the film had a Western movie vibe, featuring a small town besieged by a villainous figure similar to a corrupt cattle baron, with a seasoned veteran attempting to thwart his plans.

In 2011, Lionsgate offered Arnold Schwarzenegger the lead role in The Last Stand, after initially considering Liam Neeson for the part. The Last Stand marked Schwarzenegger's return to acting after having just ended his tenure as Governor of California. This was Arnold Schwarzenegger's first lead acting role since Terminator 3: Rise of the Machines in 2003. The announcement of Schwarzenegger's casting in The Last Stand was made in July 2011. The actor stated that he found the project to be "quite different" from his previous roles, despite being action-packed, as he had to portray a character who was sensitive to his team and shared humorous moments similar to True Lies. Initially, Kim was hesitant to cast such a prominent star in the film, but after discussing the character of Ray Owens with Schwarzenegger, they both agreed on portraying him as an everyman rather than having a "Terminator-like feel." The film also starred Johnny Knoxville, Forest Whitaker, Peter Stormare and Daniel Henney. Two weeks later, Lionsgate announced a release date of January 18, 2013. Filming for The Last Stand began on October 17, 2011, in Belen, New Mexico and Nevada. The movie follows a small town sheriff and his deputies as they try to stop a drug lord from fleeing to Mexico in a modified sports car. Belen was ultimately chosen as the filming location for its abandoned area that could be used by the production company for as long as they needed it. Production designer Franco-Giacomo Carbone filled six vacant lots with façades that incorporated a mixture of styles to heighten the appearance of a frontier city with much history. Two existing buildings in Belen became landmarks of Sommerton: the local hotel and a condemned building that became the diner. While the producers initially wanted to film in Downtown Las Vegas, they found that downtown Albuquerque offered a visually similar location and opted to film there instead. The Las Vegas Strip was later added in post-production. Filming in Belen did not interfere with local businesses, as the town allowed filming from 6 p.m. to 6 a.m. Kim aimed to create distinct looks for each space, with the FBI environment having cold tones and Sommerton having warm colors to enhance its peaceful small town feeling.

In October 2013, it was reported that Kim would direct the film adaptation of Ed Brubaker's pulp crime comic Coward. However, this project did not come to fruition. After his debut in the US, Kim returned to Korea.

In the same year, Kim premiered his short film The X in the Gala Presentation category at the Busan International Film Festival. Kim filmed The X using Korea's new multi-projection technology, ScreenX. ScreenX technology expands the movie's display onto the sidewalls of the theater, allowing certain scenes to wrap around the audience by capturing them in 270 degrees. In addition to this visual technology, SoundX was also created to enhance the overall experience by conveying a more immersive sense of space and distance. These innovative creations enable viewers to be fully surrounded, and in addition, they offer exciting new narrative possibilities for filmmakers.

In 2014, Kim was honored at the Gérardmer Film Festival, where his previous works had also been recognized. He had previously received the Grand Prize in 2004 for A Tale of Two Sisters (2003), as well as the Critics' Prize and Audience Prize in 2011 for I Saw the Devil (2010).

On August 3, 2015, it was announced that Warner Bros. would finance and distribute its first ever Korean-language 1930s set drama Secret Agent, and the $8.62 million budgeted film would also be produced by Grimm Pictures. The project and script was developed by Lee Jin-sook, which Kim Jee-woon would direct, and the cast would be Song Kang-ho and Gong Yoo. A trailer was released on July 14, 2016, revealing the new title as The Age of Shadows. On August 30, 2016, The Korean Film Council (KOFIC) announced that The Age of Shadows had been selected as South Korea's official entry for the best foreign-language film category at the 89th Academy Awards.

From 2017 to 2018, Kim filmed the science fiction action film Illang: The Wolf Brigade, which is a remake of the 1999 anime film Jin-Roh: The Wolf Brigade   Featured a star-studded cast that includes Gang Dong-won, Han Hyo-joo, Jung Woo-sung, Kim Mu-yeol and Choi Min-ho, the film was released in the summer of 2018. The production cost was 19 billion won (US$17.04 million), and it was distributed by Warner Bros. Korea. Although it received mixed reviews and underperformed at the domestic box office, selling around 897,000 tickets against its break-even point of six million tickets, it competed for the Golden Shell at the San Sebastián International Film Festival, making it the second South Korean film to do so. Netflix also acquired the international distribution rights for the film.

First OTT drama and upcoming works
In celebration of 100 years of Korean cinema, Kim's The Foul King was selected as one of 18 films for the 7th Korean Film Festival in Brussels from October 31 to November 9, 2019.

Earlier in May 2019, YG Entertainment's drama production subsidiary YG Studioplex announced that Kim would direct the company's adaptation of the Daum webtoon Dr. Brain, created by Hongjacga.

In October 2020, several Korean news outlets reported that the adaptation had been picked up by Apple TV+, making it their first Korean language original series. Titled Dr. Brain, the sci-fi thriller consists of six episodes and was scheduled November 4, 2021, to coincide with the launch of Apple TV+ in South Korea. Lee Sun-kyun stars in the lead role as Sewon Koh, a brain scientist who tries to solve the mysterious death of his family by utilizing advanced technology to access the memories of his deceased wife. Lee Yoo-young played Jaeyi Jung, Sewon's wife.

Lee Sun-kyun was nominated for Best Performance by an Actor in the 2022 International Emmy Awards, as announced on September 29 of that year. He's the second Korean actor to receive a nomination in this category, following Jang Hyuk's nomination in 2011 for his role in The Slave Hunters.

Earlier in February 2022, it was revealed that Kim Jee-woon would team up for the fifth time with Song Kang-ho for his upcoming film Cobweb. The movie, which features an ensemble cast that includes Im Soo-jung, Oh Jung-se, Jeon Yeo-been and Krystal Jung, was written by Shin Yeon-shick. Cobweb is the first project of Anthology Studios, co-founded by Kim, Song and Jay Choi (former local production head for Warner Bros Korea), and was acquired by JTBC Studios in early 2021. The film has been invited to be part of the out-of-competition section of the 76th Cannes International Film Festival, which will be held in May 2023.

On December 7, 2022, at the 'Yong Film Night' event, it was announced that Kim will co-direct an OTT series with the tentative title Mangnaein, alongside young director Park Bo-ram. The series is an adaptation of the crime novel Second Sister by Hong Kong writer Chan Ho Kei. Yong Film is producing the series in collaboration with Anthology Studio and SK Global.

In April 2023, Kim signed with Creative Artists Agency.

Style
Kim is recognized for his ability to push the boundaries of various film genres. He has written and directed films that span a wide range of genres, including horror, comedy, sci-fi, noir, western, and spy thrillers. Rather than relying on a formulaic approach, Kim's filmmaking involves exploring a diverse array of eras, styles, and genres with impressive proficiency.

Kim is a filmmaker known for his meticulous attention to detail and processes, much like a watchmaker. Kim's directing techniques are characterized by smooth camerawork and his use of classic colors, lighting effects, and rich architectural set design, which are prominent features of his visual storytelling. His background in directing plays before entering Chungmuro has earned him a reputation for having a theatrical style, which is evident in his dialogue-heavy comedies. These comedies also feature numerous visual gags that creatively employ camera techniques and editing.

One of the defining characteristics of Kim's work is his masterful staging of action sequences. He has a reputation for creating incredibly intense and realistic action scenes that are both visually stunning and emotionally impactful. His ability to choreograph complex fight scenes and chases, as well as his use of practical effects and stunts, has earned him a reputation as one of the most skilled action directors in the industry. Additionally, Kim is renowned for his affinity for graphic violence, which makes even his famous compatriots Bong Joon-ho and Park Chan-wook pale in comparison.

Despite the visceral nature of his action scenes, one of the hallmarks of Kim's storytelling is his affinity to create lonely, alienated and solitary characters. He often explores the psychological motivations of his characters, delving deep into their inner worlds to reveal their fears, desires, and vulnerabilities. This allows him to create stories that are not only thrilling and action-packed but also emotionally resonant and thought-provoking.

Furthermore, Kim places great emphasis on the DVD releases of his films and goes to great lengths to package them with extensive documentary materials and revealing commentary tracks.

Influences
Kim's films are known for their intricate visual design, which is not derived from his personal background. Instead, he draws inspiration from other celebrated filmmakers whom he admires. While Kim admires many directors, he has stated that French filmmaker Robert Bresson is the most respected among them. However, critics have noted that Kim's films are quite different from Bresson's style."

Kim has mentioned on multiple occasions that he was inspired and influenced by the works of French auteur Jean-Pierre Melville, whose films he watched as a child. Kim has also referred to his film A Bittersweet Life was a Koreanized Melville. In regards to Melville's influence on his filmmaking, Kim identifies two key takeaways. Firstly, he attempts to convey the futility of life through his films by adopting a cynical and detached approach to expose this vanity. Secondly, he draws inspiration from Melville's indirect and oblique narrative style, attempting to replicate the weight of atmosphere, the meaningful presence and absence of light, and the body language of actors to convey meaning without relying on dialogue. In essence, Kim seeks to emulate Melville's ability to speak without words, both in terms of expression and deeper meaning.

In addition, Kim expresses his admiration for the films of the Coen Brothers and Quentin Tarantino, noting their tendency to incorporate allusions and references to other directors and films. While the visual style of A Bittersweet Life is largely influenced by Melville, Kim drew inspiration from Quentin Tarantino's film Kill Bill and Brian De Palma's film Scarface for action sequences, particularly the final gunfight.

Sergio Leone's Spaghetti Western films, particularly The Good, the Bad and the Ugly, also had profound impact on Kim's work. Kim made tribute with his own "Kimchi Western" film The Good, the Bad, the Weird, which can be viewed as a Korean take on the Western genre. The film combines elements of the Korean Manchuria-Western sub-genre, which emerged in the 1960s and early 1970s, with elements of the Western genre.

Kim took inspiration from David Fincher's Zodiac when shaping the visual style of his film I Saw the Devil. He specifically incorporated the muted colors and contrast used in Zodiac to capture the mood of the time period. This approach differed from Kim's previous films, which often featured vibrant colors and high contrast. By emulating the Zodiac style, Kim aimed to achieve a more realistic look. The resulting dark tones were no longer flat black, but appeared hazy or grey, creating a creepy atmosphere that set the film apart from Kim's earlier works.

With The Age of Shadows, Kim stated that it began as a chilly spy film, and he drew inspiration from foreign classics such as Tinker Tailor Soldier Spy, The Third Man, and The Spy Who Came in from the Cold. However, he soon realized that his film differed significantly from these movies, as they depicted conflicts between Western cultures and powers during the first and second World Wars. In contrast, The Age of Shadows centers on the sacrifices and struggles of individuals fighting for their own nation, imbuing it with a sense of desperate emotion that intensifies as the narrative progresses. As a result, what began as a cold spy film became a more impassioned and heated work.

Collaborators
Kim Jee-woon places immense importance on the roles of cinematographer and artistic director in film production. He has formed several long-lasting partnerships and close collaborations with talented professionals in these fields. For instance, he worked extensively with cinematographer Lee Mo-gae particularly on A Tale of Two Sisters (2003), The Good, the Bad, the Weird (2008), I Saw the Devil (2010), and Illang: The Wolf Brigade. Similarly, Kim collaborated with cinematographer Kim Ji-yong on A Bittersweet Life (2005), The Last Stand (2013), and The Age of Shadows (2016).

Kim has also developed a productive partnership with music director Mowg, beginning with their first collaboration on the omnibus film Doomsday Book (started in 2006, released in 2012). They went on to work together on several other projects, including I Saw the Devil (2010), The Last Stand (2013), One Perfect Day (short film 2013), The X (short film 2013), The Age of Shadows (2016), Illang: The Wolf Brigade (2018), Untact (short film 2020), and Dr. Brain (2021).

He also worked three times with Music director Dalpalan in Three... Extremes, A Bittersweet Life, and The Good, the Bad, the Weird.

Furthermore, Kim has a talent for attracting top-tier acting talents. Some of Korea's most well-known stars, such as Choi Min-sik and Song Kang-ho, have been integral parts of his casting selection. Song Kang-ho, in particular, has appeared in five of Kim's feature length films, and Kim considers him a partner in his filmmaking endeavors. In addition to Song, other actors who have appeared in at least two of his films are Choi Min-sik, Lee Byung-hun, Jung Woo-sung, Kim Kap-soo and Im Soo-jung.

Philanthropy
Kim Jee-woon donated his entire modeling fee from Japanese Sony Bravia to VANK, a cyber diplomatic mission. According to Park Ki-tae, the general manager of VANK, on August 12, 2008, Kim made the donation as a way to show his appreciation for the support he received for The Good, the Bad, the Weird. The donation was used for the 'Dokdo Keeper' cause.

title: Kim Jee-woon


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Wikipedia:Articles for deletion/End of Days (Band)

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

The result of the debate was delete. Sjakkalle (Check!)  07:40, 12 October 2005 (UTC)

End of Days (Band)
another non notbale band failing WP:MUSIC. -- ( ☺ drini ♫ | ☎ ) 06:06, 3 October 2005 (UTC)
 * Let be noted that End of Days (Band) and The Denizensare both bands with the same members and both articles have the same content. -- ( ☺ drini ♫ | ☎ ) 06:09, 3 October 2005 (UTC)

 * Delete band vanity. Xoloz 06:21, 3 October 2005 (UTC)
 * Delete, band vanity. — J I P | Talk 09:15, 3 October 2005 (UTC)
 * Delete still on the demo CD stage, as noted fails WP:MUSIC. Mallocks 12:39, 3 October 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


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Conaway Ranch

Conaway Ranch is a 17300 acre ranch in Yolo County, California. The vast property is located between the cities of Woodland, Davis, and West Sacramento in a triangle formed by State Route 113, Interstate 5, and Interstate 80.

Background
Conaway Ranch is a 17244 acre property that sits to the east of both Davis and Woodland and west of Sacramento. Two-thirds of the property sits in the Yolo Bypass (the 'causeway'), the sink of Cache Creek, or the Green Zone between County Road 27 and County Road 29. Most of the ranch is currently protected by Williamson Act contracts. All of the land is zoned for agriculture or agriculture preserve and is leased to more than 40 farmers and various waterfowl and hunting groups. Also, there are three different 500 acre (2 km2) wetlands on the ranch.

Prior to 2001 the property was owned by a subsidiary of PG&E, called PG&E Properties. When PG&E Properties went bankrupt, it was acquired by National Energy and Gas Transmission, NEGT. In 2004, the Yolo County Board of Supervisors announced plans to acquire Conaway Ranch from NEGT, which itself was now bankrupt. By order of the bankruptcy court, the property had to be sold in a closed-bid auction. By state law, Yolo County could not participate in that auction. The land was purchased in that auction for about $60 million by the Conaway Preservation Group.

The Conaway Preservation Group is owned by a group of local businessmen, including Kyriakos Tsakopoulos who was named President & CEO of AKT Development Group. The land was the subject of an eminent domain action initiated by Yolo County. The ranch holds valuable water rights, among other natural resources. The county claimed that it had an interest in the land not being developed. Yolo County officials were attempting to seize the land for what they described as the public purpose of maintaining the status quo. The county claimed that it proposed transferring long-term management authority for the ranch to a Joint Powers Authority or similar consortium of entities such as Yolo County, municipalities within the county, the Yolo County Flood Control District, University of California at Davis, and possibly the Rumsey Band of Wintun Indians.

The Conaway Preservation Group opposed the action, arguing that the county did not need to condemn the ranch to fully protect the ranch's resources, which were already protected through local zoning, existing state law and local ordinances. The Conaway Preservation Group claimed it had no plans for development on the property, and made no requests to the county for any of the land to be rezoned. "The primary goal of the Conaway Preservation Group is to maintain private ownership while allowing for easements and other mechanisms to be placed on the ranch to protect the property's water resources, agricultural land, wildlife, and flood control benefits," asserted former president Steve Giardo.

The county planned to borrow all of the money for the acquisition from the Rumsey tribe. A price had not yet been determined, nor was any rate of interest publicly disclosed. The county contended that it estimated the price (which would be set by a jury) at $60 million. In September 2006 the county entered into a settlement agreement with the Conaway Preservation Group and abandoned the eminent domain action.

Timeline

 * — Conaway Conservancy Group, a joint venture between local landowners and PG&E Properties, Inc., buys the Ranch. The group, which includes Anthony Smernes and current owner Steve Gidaro, proposed a housing and commercial development on the property's northwest corner, next to the City of Woodland.  The city government ultimately denied the plan, deciding to grow in a different direction
 * — Conaway Conservancy Group sells $6.5 million worth of water to state Drought Water Bank. Yolo County Board of Supervisors, including current Supervisor Helen Thomson, vote to support water transfer on a 4–1 vote.
 * — PG&E buys interests of local landowners, including ownership share held by Steve Gidaro, John Reynen, and Anthony Smernes. Both Steve and John plan to re-purchase the property at some point in the future.
 * — PG&E drops development plans, places Conaway Ranch on the market for $68.5 million. Gidaro and Reynen consider re-purchasing the property.  Local elected officials discuss forming a Joint Powers Authority to secure funding to purchase Conaway.  PG&E Properties pulls property off the market.
 * — Property is transferred from PG&E to National Energy and Gas Transmission (NEGT) as part of PG&E restructuring during bankruptcy proceedings.
 * — NEGT announces it will sell the property. Sets up closed bidding process to sell ranch.  Steve and John request bid package and begin process of putting investment group together.  Local elected officials form Joint Powers Authority in an attempt to secure financing to bid for the Ranch.
 * — Yolo County supervisors decide to not participate in closed bidding process and, instead, start eminent domain proceedings to acquire property.
 * — Yolo County supervisors vote 4–0 to adopt eminent domain resolution to acquire property.
 * — After NEGT's bid process closes, Conaway Preservation Group, LLC, awarded ownership of Conaway Ranch. Ownership includes Steve Gidaro, John Reynen and other prominent investors/developers in Sacramento.  CPG conducts outreach to County supervisors to reach compromise that would keep property in private ownership but place greater public controls on land and water.
 * — CPG offers to conduct tours of property with County supervisors. Yolo County suspends public Joint Powers Authority meetings.
 * — Yolo County officials announce ‘stringless deal’ agreement with Rumsey Band of Wintun Indians who agree to provide financing for condemnation action.
 * — Yolo County Superior Court Judge Timothy Fall rules that the county can use its power of eminent domain to take the ranch, despite CPG's argument that the county did not adequately specify what it intended to do with the property.
 * — A Yolo County Superior Court jury is scheduled to begin hearing evidence of how much the county will have to pay for the property. Estimates range from $50 million to more than $389 million.
 * — Yolo County and Conaway Preservation Group agree to a settlement and the eminent domain action is dropped.
 * — Developer Angelo K. Tsakopoulos assumes controlling interest in Conaway Ranch through a purchase under his Tri-City Water and Farm LLC

title: Conaway Ranch


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Alberni Pacific Railway

The Alberni Pacific Railway is a heritage railway originating in Port Alberni, British Columbia. Due to budget and equipment concerns, the railway did not operate in the 2020 season.

Rolling stock
The railway is powered by locomotive No. 7 - a 1929 Baldwin 2-8-2ST steam locomotive departing from the 1912 CPR Station. It uses rebuilt Canadian National Railway transfer cabooses as passenger cars. The 40-minute excursions go to the McLean Mill National Historic Site.

Along with the steam locomotives, there is an Alco RS3 diesel electric locomotive. There are five running coaches, three open and two covered.

Locomotive roster

 * No. 2 is a Lima 42 ST 2-truck Shay steam locomotive. It is on display on special occasions. It no longer holds pressure due to boiler problems.

 * No. 7 is a Baldwin 90 ST 2-8-2 ST. This engine is currently out of service for rebuilding.

 * No. 112 is a Baldwin 75 ST 2-6-2 ST. It is currently in the initial stages of rebuilding.

 * No. 11 diesel is a World War II Locomotive built in 1942 later used as a MacMillan Bloedel switching locomotive and weighs 45 ST. This locomotive is used as the back-up motive power for trains on the APR if the #7 breaks down.

 * No. 8427 is an ALCO RS-3. It weighs 120 ST and has a 1600 hp output. It is out of service requiring work on its wheels. 8427 was built in 1954 for the Canadian Pacific Railway. It was purchases by Crown Zellerbach Ltd. around 1970's and used in their logging operation in Ladysmith. The Western Vancouver Island Industrial Historical Society acquired it around 1994/95. This unit is believed to be the last surviving unit of a CP RS-3.

title: Alberni Pacific Railway


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Abdel Halim Hafez

Abdel Halim Ali Shabana (عبد الحليم علي شبانة), commonly known as Abdel Halim Hafez (عبد الحليم حافظ, ) (21 June 1929 – 30 March 1977), was an Egyptian singer, actor, conductor, businessman, music teacher and film producer. He is considered to be one of the greatest Egyptian musicians along with Umm Kulthum, Mohamed Abdel Wahab, Farid Al Atrach, Mohamed Fawzi, and Shadia. As his popularity grew, he was given the nickname 'el-Andaleeb el-Asmar (العندليب الأسمر ),  meaning The Dark-Skinned Nightingale. To date, he has sold over 80 million records.

Early life
Born Abdel Halim Ali Shabanah in El-Halawat in El Sharqia, 80 kilometers (50 miles) north of Cairo, he was the fourth child of Ali Ismail Shabanah. He had two brothers, Ismail and Mohamed, and one sister, Alyah. His mother died from labor complications three days after giving birth to him – something that made people around him believe that he brought bad luck. His father died as well a few months later, leaving him and his siblings orphaned at a young age. He lived in a poor orphanage for a number of years. He was later raised by his aunt and uncle in Cairo. During these years Abdel Halim was extremely poor.

Abdel Halim's musical abilities first became apparent while he was in primary school and his older brother Ismail Shabanah was his first music teacher. At the age of 14 he joined the Arabic Music Institute in Cairo and became known for singing the songs of Mohammed Abdel Wahab. He dropped out from the Higher Theatrical Music Institute as an oboe player.

Musical career
In the very beginning, Abdel Halim worked as a teacher of music at schools in Tanta and El-Mahalla El-Kubra. While singing in clubs in Cairo, Abdel Halim was drafted as a last-minute substitute when the singer Karem Mahmoud was unable to sing a scheduled live radio performance in 1953. Abdel Halim's performance was heard by Hafez Abdel Wahab, the supervisor of musical programming for Egyptian national radio. Abdel Halim took 'Hafez', Abdel Wahab's first name, as his stage-surname in recognition of his patronage. In the early days of his career, Abdel Halim was rejected for his new style of singing. However he persisted and was able to gain accolades later on. Eventually, he became a singer enjoyed by all generations. He also became Egypt's first romantic singer.In collaboration with composer Mohammed Abdel Wahab, Abdel Halim went on to produce many popular love songs such as Ahwak ("I adore you"), Nebtedi Minen el Hekaya ("Where should we start the story"), and Fatet Ganbena( "She passed by us"). Hafez also worked with Egyptian poet Mohamed Hamza on songs including Zay el Hawa ("It feels like love"), Sawah ("Wanderer"), Hawel Teftekerni ("Try to remember me"), Aye Damiet Hozn ("Any tear of sadness"), and Maw'ood ("Destined").

During his career, he was very popular and always performed in sold-out arenas and stadiums. Despite his popularity, he rarely released a studio album since he worked purely as a live singer. He also played many different instruments, including the oboe, drums, piano, oud, clarinet and guitar. He was involved in all aspects of the composition of his songs. Halim introduced many new instruments to the Arab world. He was known for his deep passion in his songs and his unique voice. Halim performed in almost every country in the Arab world as well as outside the Arab world, including several concerts in Europe. Moreover, he sang uplifting patriotic songs for not only his native Egypt whom he dedicated the supermajority of his patriotic songs, but also there are some few songs dedicated to other countries in the Arab world such as Lebanon, Syria, Tunisia, Algeria and Morocco during their revolutions and wars. He used to encourage and help many young artists and actors to pursue successful careers. His entire catalogue was acquired by the Mazzika group in the early 2000s.

Fame
In Egypt, Halim is known as the "King of Music", "The Son of Nile", "The voice of the people", "The son of the revolution", and "King of emotions and feelings". His patriotic songs were the most frequent songs sung by the crowds during the Egyptian Revolution of 2011. One of the revolutionaries in the Egyptian Revolution of 2011 quoted that "the nightingale's songs inspired us during the January 25 revolution", he added "Although, he died 35 years ago, his songs will surely continue to inspire his fellow Egyptians for many generations to come". His albums and CDs have sold more copies since his death than any other Arabic artist ever. His way of singing, the popularity of his songs and his behavior made him a role model for almost every modern singer in the entire region. Egyptians and also Arab people of all ages are fans of Halim. Halim is still remembered in the hearts of many people, even years after his death.

Personal life

At the age of 11, Abdel Halim contracted schistosomiasis —a rare parasitic waterborne disease —and was afflicted by it for most of his career. Despite this, he remained positive and continued composing and performing his songs.

Although Abdel Halim never married, it was rumoured that he was secretly married to actress Soad Hosni for six years. This has never been proven to date. People who were close to both singers denied this rumor.

In 1969 Halim built a hospital in Egypt. He treated the poor, the rich, and presidents equally in the Arab World.

Abdel Halim established strong friendships with many contemporary presidents and kings of the Eastern world, including Gamal Abdel Nasser of Egypt, and King Hassan II of Morocco. He also had very close friendships with most Egyptian poets.

Illness
Abdel Halim Hafez was afflicted with cirrhosis of the liver caused by schistosomiasis, and this cirrhosis was the cause of his death in 1977. He knew about this disease for the first time in 1956 when he was invited to have dinner with his friend Mustafa Al-Areef during the Holy month of Ramadan by where he had stomach bleeding.

Doctors who treated him during his illness journey are Dr. Mustafa Kenawy, Dr. Yassin Abdel Ghaffar, Dr. Zaki Sweidan, Dr. Hisham Issa, Dr. Shaker Sorour(Serour)( His attending physician), and from England Dr. Tanner, Dr. Sheila Sherlock, Dr. Doger Williams, Dr. Ronald Macbeth, and from France Dr. Sarazan.

He had a private secretary, Miss Suhair Muhammad Ali, and she worked with him since 1972, and she accompanied him in all the hospitals where he stayed.

Hospitals where he was stayed abroad: Ibn Sina Hospital in Rabat (Morocco), St. James Hearst Hospital, London Clinic, Fersing Home, Kings College Hospital (the hospital that witnessed his death) in England, and La Salpetrière (in Paris).

Death
Abdel Halim died of liver failure as a complication from Schistosoma mansoni (reference St. George's University School of Medicine) on 30 March 1977 (a few months before his 48th birthday) while undergoing treatment for Bilharzia in King's College Hospital, London. His funeral in Cairo was attended by millions of people – more than any funeral in the history of the Middle East, other than that of President Nasser. Halim was reported to have had many more dreams and goals that he wanted to achieve, though his early death prevented him from doing so. In the wake of Halim's passing, it was documented people committed suicide, including at least four women committing suicide by jumping off a balcony during his funeral march. He was buried in Al Bassatin Cemetery in Cairo.

Legacy
Abdel Halim Hafez's song "Khosara" (خسارة) received notice in the Western world in 1999 when elements from it were used for Jay-Z's recording "Big Pimpin'." Two complete bars from "Khosara" were rerecorded, not sampled, and used without permission from the song's producer and copyright holder, Magdi el-Amroussi. Jay-Z's use of an interpolation, rather than an actual sample, allowed him to avoid paying royalties for the use of the song.

Over 300 of Abdel Halim Hafez's songs were recorded and he starred in 16 classic and successful films, including Dalilah (دليله), which was the Middle East's first color motion picture.

Along with Mohammed Abdel Wahab and Magdi el-Amroussi, Abdel Halim was one of the main founders of the Egyptian recording company Soutelphan, which continues to operate to this day as a subsidiary of Mazzika

A feature film about his life, "Haleem", was released in 2006, starring Ahmad Zaki in the title role, produced by the Good News Group. In the same year a soap opera "Al-andaleeb hikayt shaab" was produced in Egypt with Shadi Shamel starring as Abdel Halim. Shamel won the lead role in a televised competition.

On 21 June 2011, Google celebrated his 82nd birthday with a Google Doodle.

On 19 April 2019, Lebanese singer Carole Samaha performed alongside a Pepper's ghost image of Abdel Halim Hafez at the Manara Hall in New Cairo. The concert, titled "Helm" (dream), was Egypt's first concert featuring Pepper's ghost.

Songs
Some of Halim's most popular songs are:

 * "Ahwak" (I adore you),
 * "Ala Ad El Sho'" (As much as the longing),
 * "Ala Hesb Wedad" (Wherever my heart leads me),
 * "Betlomooni Leih" (Why do you blame me),
 * "El Massih" (Christ),
 * "Fatet Ganbena" (She passed by us),
 * "Gabbar" (Arrogant),
 * "Gana El Hawa" (The mood struck us),
 * "Sawwah" (Wanderer),
 * "Maw'ood" (Destined),
 * "Zai El Hawa" (Like Air),
 * "Qari'at Al Fingan" (The coffee fortune-teller), his last song while alive
 * "Habibati Man-Takoon" (My Love, Who Is She), released posthumously

Patriotic Songs

 * "The New Testament" in 1952, the first national anthem sung by Abdel Halim Hafez in his life, written by Mahmoud Abdel Hai and composed by Abdel Hamid Tawfiq Zaki, and Abdel Halim sang it after the July 23 revolution.
 * "We are the people" is the first song that Abdel Halim sang to President Gamal Abdel Nasser after he was chosen to be President of the Republic in 1956. It is the first meeting between the trio Abdel Halim, the analyst Kamal Al-Taweel and the poet Salah Jahin.
 * "God, our country" is the first cooperation between Mohamed Abdel-Wahab and Abdel Halim in the field of patriotic songs in 1956. Abdel Halim sang after the tripartite aggression.
 * "On its Land" or "Christ's Song" is about Jerusalem, written by Abdel Rahman Al-Abnoudi, composed by Baligh Hamdi and distributed by Ali Ismail.
 * "Your Son Says You Hero" written by Abdul Rahman Al-Abnoudi, and composed by Kamal Al-Taweel.
 * "The Greater Homeland Anthem" in 1960 written by Ahmed Shafiq Kamel and composed by Mohamed Abdel Wahab.
 * "The Story of a People" in 1960 written by Ahmed Shafiq Kamel and composed by Kamal Al-Taweel, in the "Adwaa Al-Madina" party that was held in Aswan to celebrate the laying of the foundation stone for the construction of the High Dam.
 * "Matalib Shaab" on the occasion of the tenth anniversary of the revolution, 23 July 1962, written b Ahmed Shafiq Kamel, composed by Kamal Al-Taweel and distributed by Ali Ismail.
 * "Sourah" he sang on Revolution Day on 23 July 1966, written by Salah Jaheen and composed by Kamal Al-Taweel.
 * "Aadah Al-Nahar" in 1967, and it is one of the most prominent songs of Abdel Halim, written by Abdel Rahman Al-Abnoudi and composed by Baligh Hamdi.
 * "I swear by its name" in 1967, which Abdel Halim promised to sing in all his concerts until the land of Egypt is liberated in the Sinai, written by of Abdel Rahman Al-Abnoudi and composed by Kamal Al-Taweel.
 * "The Gun Talk" in 1968, written by of Abdul Rahman Al-Abnoudi and composed by Kamal Al-Taweel.
 * "Aash lih Aal" is the first song which was sung by Abdel Halim after 1973 October Victory, written by Mohamed Hamza and composed by Baligh Hamdi;it was the first song in which he praised the role of President Mohamed Anwar Sadat in the great victory of Egypt.
 * "Good morning, Sina" is another cooperation between Abdel Halim and Kamal Al-Taweel in 1974.
 * "al nejmah malet ala amar" 1975, written by Mohsen Al-Khayat and composed by Muhammad Al-Mouji,
 * "The Boat is Back" written by f Mustafa Al-Damrani and composed by Muhammad Abdel Wahab after the reopening of the Suez Canal for global navigation.

Religious Invocations
All of theses religious invocations were written by the poet Abdel-Fattah Mustafa, and composed by Muhammad Al-Mouji.
 * "Nafadet Einayah Almanamm" (My eyes shook the dream)
 * "Ana min al tourab" (I am from dust)
 * "Ala Toutah" (On the raspberry)
 * "Adaaouka Ya Samaah" (I call you,Listener)
 * "Wa Rahmatoka fi Nasim" (And your mercy in the breeze")
 * "Bayneh wa Bayn Al nas" (Between me and the people)
 * "Wa Habeh fih Al-ared" (And the grain in the earth)
 * "Khalineh Kelmah" (Let me a word)
 * "Waraa Al shajar" (Tree leaves)
 * "Bayna Sohbat Al Ward" (Among the company of Roses)
 * "Ya Khalek Alward" (The Creator of the flowers)

title: Abdel Halim Hafez


text:
Wikipedia:Articles for deletion/The Denizens

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

The result of the debate was delete. Sjakkalle (Check!)  07:40, 12 October 2005 (UTC)

The Denizens
yet another garage band failing WP:MUSIC. -- ( ☺ drini ♫ | ☎ ) 06:08, 3 October 2005 (UTC)
 * Let be noted that End of Days (Band) and The Denizensare both bands with the same members and both articles have the same content. -- ( ☺ drini ♫ | ☎ ) 06:10, 3 October 2005 (UTC)

 * Delete band vanity. Xoloz 06:22, 3 October 2005 (UTC)
 * Delete, band vanity. — J I P | Talk 09:15, 3 October 2005 (UTC)
 * Delete as above, given they're the same band. Mallocks 12:40, 3 October 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Sweet Thursday

Sweet Thursday is a 1954 novel by John Steinbeck. It is a sequel to Cannery Row and set in the years after the end of World War II.

According to Steinbeck in the narrative, "Sweet Thursday" is the day between Lousy Wednesday and Waiting Friday.

The book is not held in as high esteem as is Cannery Row, which is considered one of Steinbeck's classic texts.

Genesis of the novel
In the wake of World War II, Steinbeck left California for New York City and divorced his second wife Gwyn Conger Steinbeck in 1948. He married the actress Elaine Scott and became interested in writing for the theater, writing the play Burning Bright. Produced by Rodgers and Hammerstein, the play opened on Broadway in October 1950 and closed after 13 performances, a flop.

When Steinbeck found out that there was interest in turning Cannery Row into a Broadway musical, he wrote Sweet Thursday as a more Broadway-friendly piece. Eventually, Rodgers and Hammerstein became interested in it after Frank Loesser turned the property down.

Its origins as a pitch for a musical may explain some of the differences in the lead character of Mack between the two novels. In Sweet Thursday, Mack repeats snippets of poetry and whimsy, and he sings a melody that are out of character with the Mack of 1945's Cannery Row.

Synopsis
Doc returns to a failed Western Biological Laboratories and a changed Cannery Row after serving in the army during World War II. Mack and the Boys are still living in the Palace Flophouse, but Lee Chong has sold his general store to Joseph and Mary Rivas. Since the death of its original owner Dora, the local brothel, The Bear Flag Restaurant, is now being run by Dora's older sister Fauna, a former mission worker previously known as Flora. Under Fauna, the girls of the Bear Flag study etiquette and posture with the goal of joining Fauna's list of "gold stars," former employees of the Bear Flag who have married and left their employ there.

As Doc tries to rebuild his neglected business, the latest Bear Flag resident Suzy is causing trouble. Fauna knows Suzy isn't cut out to be a working girl, but her soft heart always causes her to fall for a hard luck story. Deciding to make Suzy one of her gold star girls, Fauna plots to throw Suzy into the arms of an unwitting Doc and enlists the aid of Mack and the Boys.

After a disastrous party hosted by Mack and the Boys, Suzy leaves the Bear Flag, but not to marry Doc. Choosing to live alone, Suzy moves into an empty boiler in a vacant lot and takes a job at the local diner, the Golden Poppy. While Cannery Row is stunned over Suzy's actions and Doc wrestles with a critical project, Hazel, one of the Boys living in the Palace Flophouse, struggles with his own demons. Having been told by Fauna in an astrological reading he will become president of the United States, Hazel fights destiny. To practice for high office, Hazel understands that he must learn to make difficult decisions — one of which is breaking Doc's arm, for he's realized that this, arousing Suzy's sympathy, is the only way to bring the couple together. Realizing Doc's broken arm will keep him from a much-needed collecting expedition, Mack and the Boys teach Suzy to drive a car. Suzy and the injured Doc head to the coast for the collecting expedition.

History
The novel was adapted into the 1955 Rodgers and Hammerstein Broadway musical Pipe Dream, which was nominated for nine Tony Awards but which was one of their unsuccessful shows, only lasting as long as the pre-reviews, advance ticket sale, a first for one of their musicals. In 2011, Smithsonian Magazine ranked it as #1 among the all-time Broadway flops.

The movie version of the book's predecessor, Cannery Row, incorporates several of the story lines in Sweet Thursday.

Characters
Doc is a marine biologist who runs a biological specimens business, Western Biological Laboratories, who collects, prepares and markets specimens of fish and mammals for research and dissection. He is back from World War II and is feeling melancholy and lonely when he launches into research of octopii.

Suzy is a young woman from San Francisco who arrives in Monterey via the bus and goes to work briefly as a prostitute at the Bear Flag Restaurant, Monterey's most prominent bordello. She winds up working at a diner and living in an abandoned boiler, the latter having figured in Cannery Row as the home of a married couple. Her and Doc eventually falling in love is the crux of the story.

Mack is the de facto leader of a group of formerly homeless men who live in a shack on Cannery Row. The post-War Mack is more philosophical and has a more literary bent than did the Mack of Cannery Row, indicating the character's evolution as a musical comedy character.

Hazel, a simple minded but good hearted-young man who sometimes goes on marine specimen hunting trips with Doc, is the most prominent of Mack's boys who hunker down at the Palace Flophouse. His horoscope and the fact that he has only four toes on one foot forecasts that Hazel will one day be President of the United States.

Fauna, the sister of Dora Flood of Cannery Row, takes over the Bear Flag Restaurant. She is much like Dora, except she has interest in astrology and is dedicated to making matches for her girls with prominent citizens.

Joseph and Mary Riva is the Mexican-American owner of the grocery store once owned by Lee Chong, who has returned to China. In addition to running the store, Joseph and Mary is a labor contractor for undocumented workers from Mexico and serves as an agent for his nephew's salsa band. He is perceived as a rival for Suzy by Doc.

Inspiration for the characters
Doc was based on Steinbeck's friend Ed Ricketts, a marine biologist and entrepreneur.

Mack was based on Cannery Row denizen Harold Otis "Gabe" Bicknell. A photo of Bricknell was used on the cover of the 1994 paperback edition of the novel.

Bear Flag Restaurant owner and madam Fauna Flood, as was her sister Dora in the Cannery Row were based on Flora Woods Adams, a bordello owner who also figures in Steinbeck's earlier novel Tortilla Flat and in East of Eden.

Wide Ida, the proprietor of La Ida Cafe, was based on Edith Luciani, a prostitute from San Francisco who ran the Row's second busiest bordello, which was owned by Woods. In both this novel and Cannery Row, La Ida Cafe is not a bordello, unlike the real establishment it was based on. Bicknell and McLean occasionally worked for Luciani, as Mack and Eddie did for Wide Ida in the novel.

Musical references

 * In 1960 Duke Ellington and Billy Strayhorn wrote and recorded Suite Thursday inspired by the Steinbeck novel and dedicated to the author.
 * The song "Sweet Thursday" from California singer/songwriter Matt Costa's 2006 release Songs We Sing is an allusion to the work. The song also incorporates aspects of other Steinbeck works including Tortilla Flat (1935) and The Grapes of Wrath (1939).
 * British supergroup Sweet Thursday (band) named themselves after the novel.

title: Sweet Thursday


text: User talk:70.117.201.89

title: User talk:70.117.201.89


text:
Web resource

A web resource is any identifiable resource (digital, physical, or abstract) present on or connected to the World Wide Web. Resources are identified using Uniform Resource Identifiers (URIs). In the Semantic Web, web resources and their semantic properties are described using the Resource Description Framework (RDF).

The concept of a web resource has evolved during the Web's history, from the early notion of static addressable documents or files, to a more generic and abstract definition, now encompassing every "thing" or entity that can be identified, named, addressed or handled, in any way whatsoever, in the web at large, or in any networked information system. The declarative aspects of a resource (identification and naming) and its functional aspects (addressing and technical handling) weren't clearly distinct in the early specifications of the web, and the very definition of the concept has been the subject of long and still open debate involving difficult, and often arcane, technical, social, linguistic and philosophical issues.

From documents and files to web resources
In the early specifications of the web (1990–1994), the term resource is barely used at all. The web is designed as a network of more or less static addressable objects, basically files and documents, linked using Uniform Resource Locators (URLs). A web resource is implicitly defined as something which can be identified. The identification serves two distinct purposes: naming and addressing; the latter only depends on a protocol. It is notable that RFC 1630 does not attempt to define at all the notion of resource; actually it barely uses the term besides its occurrence in Uniform Resource Identifier (URI), Uniform Resource Locator (URL), and Uniform Resource Name (URN), and still speaks about "Objects of the Network".

RFC 1738 (December 1994) further specifies URLs, the term "Universal" being changed to "Uniform". The document is making a more systematic use of resource to refer to objects which are "available", or "can be located and accessed" through the internet. There again, the term resource itself is not explicitly defined.

From web resources to abstract resources
The first explicit definition of resource is found in RFC 2396, in August 1998: "A resource can be anything that has identity. Familiar examples include an electronic document, an image, a service (e.g., 'today's weather report for Los Angeles'), and a collection of other resources. Not all resources are network 'retrievable'; e.g., human beings, corporations, and bound books in a library can also be considered resources. The resource is the conceptual mapping to an entity or set of entities, not necessarily the entity which corresponds to that mapping at any particular instance in time. Thus, a resource can remain constant even when its content---the entities to which it currently corresponds---changes over time, provided that the conceptual mapping is not changed in the process." Although examples in this document were still limited to physical entities, the definition opened the door to more abstract resources. Providing a concept is given an identity, and this identity is expressed by a well-formed URI (Uniform Resource Identifier, a superset of URLs), then a concept can be a resource as well.

In January 2005, RFC 3986 makes this extension of the definition completely explicit: '…abstract concepts can be resources, such as the operators and operands of a mathematical equation, the types of a relationship (e.g., "parent" or "employee"), or numeric values (e.g., zero, one, and infinity).'

Resources in RDF and the Semantic Web
First released in 1999, RDF was first intended to describe resources, in other words to declare metadata of resources in a standard way. A RDF description of a resource is a set of triples (subject, predicate, object), where subject represents the resource to be described, predicate a type of property relevant to this resource, and object can be data or another resource. The predicate itself is considered as a resource and identified by a URI. Hence, properties like "title", "author" are represented in RDF as resources, which can be used, in a recursive way, as the subject of other triples. Building on this recursive principle, RDF vocabularies, such as RDF Schema (RDFS), Web Ontology Language (OWL), and Simple Knowledge Organization System will pile up definitions of abstract resources such as classes, properties, concepts, all identified by URIs.

RDF also specifies the definition of anonymous resources or blank nodes, which are not absolutely identified by URIs.

Using HTTP URIs to identify abstract resources
URLs, particularly HTTP URIs, are frequently used to identify abstract resources, such as classes, properties or other kind of concepts. Examples can be found in RDFS or OWL ontologies. Since such URIs are associated with the HTTP protocol, the question arose of which kind of representation, if any, should one get for such resources through this protocol, typically using a web browser, and if the syntax of the URI itself could help to differentiate "abstract" resources from "information" resources. The URI specifications such as RFC 3986 left to the protocol specification the task of defining actions performed on the resources and they do not provide any answer to this question. It had been suggested that an HTTP URI identifying a resource in the original sense, such as a file, document, or any kind of so-called information resource, should be "slash" URIs — in other words, should not contain a fragment identifier, whereas a URI used to identify a concept or abstract resource should be a "hash" URI using a fragment identifier.

For example:  would both identify and locate a web page (maybe providing some human-readable description of the widgets sold by Silly Widgets, Inc.) whereas   would identify the abstract concept or class "Widget" in this company ontology, and would not necessarily retrieve any physical resource through HTTP protocol. But it has been answered that such a distinction is impossible to enforce in practice, and famous standard vocabularies provide counter-examples widely used. For example, the Dublin Core concepts such as "title", "publisher", "creator" are identified by "slash" URIs like.

The general question of which kind of resources HTTP URI should or should not identify has been formerly known in W3C as the httpRange-14 issue, following its name on the list defined by the (TAG). The TAG delivered in 2005 a final answer to this issue, making the distinction between an "information resource" and a "non-information" resource dependent on the type of answer given by the server to a "GET" request:

 * 2xx Success indicates resource is an information resource.
 * 303 See Other indicates the resource could be informational or abstract; the redirection target could tell you.
 * 4xx Client Error provides no information at all.

This allows vocabularies (like Dublin Core, FOAF, and Wordnet) to continue to use slash instead of hash for pragmatic reasons. While this compromise seems to have met a consensus in the Semantic Web community, some of its prominent members such as Pat Hayes have expressed concerns both on its technical feasibility and conceptual foundation. According to Patrick Hayes' viewpoint, the very distinction between "information resource" and "other resource" is impossible to find and should better not be specified at all, and ambiguity of the referent resource is inherent to URIs like to any naming mechanism.

Resource ownership, intellectual property and trust
In RDF, "anybody can declare anything about anything". Resources are defined by formal descriptions which anyone can publish, copy, modify and publish over the web. If the content of a web resource in the classical sense (a web page or on-line file) is clearly owned by its publisher, who can claim intellectual property on it, an abstract resource can be defined by an accumulation of RDF descriptions, not necessarily controlled by a unique publisher, and not necessarily consistent with each other. It's an open issue to know if a resource should have an authoritative definition with clear and trustable ownership, and in this case, how to make this description technically distinct from other descriptions. A parallel issue is how intellectual property may apply to such descriptions.

title: Web resource


text:
Talk:III

How do we set it up so that III is still a redirection to the number 3?

-Geordan H

Excuse us! Why did you go deleting our hard work writing about our organization? The intolerance of people on this website so far has made us sorrowful and upset at the idea of promoting our organization over the internet in the future. Please at least provide some discussion first before automatically deleting what YOU believe to be bogus just because it does not show up on a search over www.google.com!

-Geordan H

III or 'Band' III?
I've always been wondering on what grounds the bands name is taken in the albums name? Here are 4 albums where the bands name is also there, 10 albums (Chad Brock is listed twice) where the title is only III. In all these album covers, the bands or singers name is in the cover, so that can't be the reason. 82.141.125.215 (talk) 04:35, 10 June 2011 (UTC)

title: Talk:III