text:
Talk:Room Raiders

What I don't get is...
What I don't get about this show is that these people must know they're going to be on Room Raiders... WHY DON'T THEY CLEAN UP THEIR ROOMS?! Seriously, it's all so setup it's really not that entertaining. -- BrandonR 14:50, 6 October 2005 (UTC)

Wow, you are a really slow person or just easily manipulated! They don't know if they are going to be on the show or not. They simply know that they have been interviewed for a possible spot, and hand in a resume. On the resume it tells the selectors where to contact them if needed and during what time usually. Don't you see they wear different clothing? It's obvious they sign a contract to allow MTV to "raid" them and invade their privacy, so the particpants are usually dumb because they are giving up a right to privacy to be on TV.

Or they could just interview them and shoot the beginning scenes at the end of it all and pay them a certain amount for it or they can just be happy with air time.

 * Exactly...In the beginning, they all act completely clueless, typically asking if they can get their shoes or claiming they have things to do. Furthermore, one's parents or friends will not usually let a deranged man run into the house and abduct the one who will be a contestant on the show.

=setup=

most of the shows ARE set up but not all of them. Heres an example, room raiders texas had a wrestling special. It featured two brothers three girls. The brothers raided the rooms chose the girl and everything. Then they had to wrestle each other. One of them "got hit with a briefcase". Then at the end some unknown guy goes in the ring and "atacks them". The girl goes with the other guy instead. The other guy was her boyfriend. These shows are made up!

partial set up

Listen, it's quite obvious part of the shows are set up, such as the ones who are doing the raiding. Of course the "raider" is going to have some say in the process. So if they wanted a wrestling match then that is what MTV will give them. They will accomodate the contestants since they are literally making millions of them while giving the contestants a very very small fraction of that. However, the ones who are being raided do not know they are being raided. THAT part is NOT set up!!!! The MTV grabbers (the ones who grab the contestants in the show) go from house to house until they have found 3 contestants. Everything you see in their rooms is theirs and they have signed off in their prior interviews to allow anything to be aired on TV because people will do anything to get on TV!

THIS SHOW IS SO SCRIPTED..THEY ARE HORRIBLE ACTORS TOO. THIS PEOPLE ARE MAKING FOOLS OF THEMSELVES WITH OUT EVEN KNOWING.I FEEL SO BAD FOR TH EM.
 * This isn't the place for such discussion. If you want to lament about the show's practices find a forum and air your thoughts there. --76.214.139.86 (talk) 08:56, 27 May 2008 (UTC)

Setting back western civilization by centuries, and proving that most people are idiots....television. — Preceding unsigned comment added by 219.101.196.2 (talk) 13:37, 26 December 2012 (UTC)

Minor clean-up/expansion, please
This is [obviously] not very notable, but it'd be nice to have external links. Also, the sidebar is vandalized and outdated. Paperxcrip (talk) 05:27, 26 June 2009 (UTC)

title: Talk:Room Raiders


text:
Upper Ammonoosuc River

The Upper Ammonoosuc River is a tributary of the Connecticut River that flows through Coös County in the northern part of the northeastern U.S. state of New Hampshire. Despite its name, the river is not an upstream portion of the Ammonoosuc River, but instead a separate tributary of the Connecticut River flowing from 20 to 60 mi north of the Ammonoosuc.

The Upper Ammonoosuc rises in Pond of Safety in the town of Randolph, runs first generally north through rural portions of Berlin (where it flows through the Godfrey Dam), Milan and a corner of Dummer, then west through Stark and then Northumberland, where it drains into the Connecticut near the village of Groveton. The end points of that 42.4 mi course are approximately 25 air miles (38 km) apart.

From Milan to Groveton it is fairly closely paralleled by New Hampshire Route 110.

Fort Wentworth was built in 1755 at the junction of the Upper Ammonoosuc and Connecticut rivers (now near the village of Groveton). The fort was used sporadically during the French and Indian War and the American Revolutionary War.

The watershed area includes the northern Crescent Range, eastern Pliny Range, and the eastern and northern Pilot Range, all in the White Mountains. Major tributaries of the Upper Ammonoosuc include:
 * Nash Stream, rising in the township of Odell
 * Phillips Brook, rising in Erving's Location
 * the North Branch of the Upper Ammonoosuc, flowing roughly parallel to and east of the main stem (with a ridge between them that includes Hodgdon Hill and carries NH Rte. 110) in the town of Milan, to join it at West Milan
 * the West Branch of the Upper Ammonoosuc, rising on the eastern slope of Mount Cabot in Kilkenny, draining Unknown Pond and York Pond, and joining the main stem below the Godfrey Dam.

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

title: Upper Ammonoosuc River


text:
Ryan Hansen

Ryan Hansen (born July 5, 1981) is an American actor. He is best known for starring as Dick Casablancas on the noir drama series Veronica Mars (2004–2007, 2019), as Kyle Bradway on the Starz comedy series Party Down (2009–2010, 2023–present), and as Nolan in the horror remake film Friday the 13th (2009). Hansen also had a recurring role on the comedy series 2 Broke Girls (2012–2017) and the web series Burning Love (2012–2013).

Career
Hansen began acting with guest-starring roles on series such as Grounded for Life, That's So Raven, and Las Vegas. In 2004, Hansen auditioned for the role of Duncan Kane on Veronica Mars but lost out to Teddy Dunn. However, Rob Thomas told him to try out for the role of Dick Casablancas.

In 2008, Hansen appeared in Superhero Movie, released on March 28. In 2008, Hansen appeared in the CCT original musical Alice as Trevor McKnight/White Night. The show opened on July 31 and ran through August 10, in San Diego.

In 2011, Hansen portrayed Ben Lewis on the NBC sitcom Friends with Benefits.

BuddyTV ranked him #79 on its list of "TV's Sexiest Men of 2011".

In 2012, he began a recurring role as Andy, the candy shop owner, on the CBS sitcom 2 Broke Girls. The same year he had a supporting role in the film Hit and Run alongside Dax Shepard, Kristen Bell and Bradley Cooper.

On October 25, 2017, the new YouTube Premium series Ryan Hansen Solves Crimes on Television premiered, in which Hansen plays a fictionalized version of himself, as the show's title character.

In 2020, he starred opposite Jimmy O. Yang in two films, Like a Boss and Fantasy Island, released a month apart. In the former film, their characters were business partners, and in the latter, they were step-siblings who were strongly fond of each other.

Personal life
Hansen married Amy Russell in 2004. The couple were Kristen Bell's housemates for two years. Hansen and Russell have three daughters.

Hansen has supported Invisible Children, which was founded by his brother-in-law Jason Russell. In 2010, he appeared in the online series The LXD: The Legion of Extraordinary Dancers, with 50% of the profits going to the Invisible Children campaign.

Stage

 * Alice (2008) – Trevor McKnight/White Night

title: Ryan Hansen


text:
Ray Halligan

Raymond James Halligan (born 23 August 1939) was a Western Australian politician, who served in the Western Australian legislative Council from 1997 to 2009.

Halligan was born in Sydney in 1939. He attended Woy Woy High School, in the New South Wales Central Coast town of Woy Woy.

In 1968, Halligan was awarded his Accountancy Certificate, and began to practice as an accountant. Working in Papua New Guinea for a time, Ray was employed with the Papua New Guinea Development Bank, as well as private companies in the country. For a time he was Chief Accountant for the Nauru Phosphate Corporation. Halligan is a member of the National Institute of Accountants.

Halligan was elected to the Western Australian Legislative Council in 1997 for the Liberal Party, as the member for the North Metropolitan Region. He was elected at a by-election, after the previous member, Ross Lightfoot, was appointed to the Australian Senate to fill a casual vacancy.

From 9 March to 31 December 2001, Halligan was the Shadow Minister for Local Government. From 1 January 2002 to 20 March 2005, he was the Shadow Minister for three portfolios: Housing, Works and Services and Citizenship and Multicultural Affairs. From 20 March 2005 to 2008he was the Shadow Minister for Citizenship and Multicultural Affairs.

Since 24 May 2005 to 2009, Halligan was the Deputy Chairman of Committees for the Parliament of Western Australia. He was the Deputy Chair of the Joint Standing Committees on the Corruption & Crime Commission, on Delegated Legislation and had been a member of the Standing Committee on Constitutional Affairs. Halligan was the secretary for the parliamentary wing of the Liberal Party in Western Australia.

Halligan is a member of a number of political and community organisations, including Australians for Constitutional Monarchy and Australian National Flag Association. Halligan was made the foundation Vice-Chairman for The Friends of Israel (WA) Inc in 2009.

Halligan was awarded a Liberal Party Meritorious Service Award for his services to the organisational wing of the Liberal Party of Western Australia in 2017. His contribution includes being President of Cowan Division 1994–1996 and again 2010–2011. Also, being Cowan Divisional Treasurer 1988–1994. He served on the State Executive of the Party 1994–1996 & 2010–2011.

title: Ray Halligan


text:
Day of the Warrior

Day of the Warrior (also known as L.E.T.H.A.L. Ladies: Day of the Warrior) is a 1996 action adventure film written and directed by Andy Sidaris and starring Kevin Light and Julie Strain.

Plot
A team of female agents must stop the scheme of the Warrior, a former CIA agent turned criminal freelancer, who stole the agency's computer database and is now going after undercover agents one by one.

Cast

 * Kevin Light ... Doc Austin
 * Cristian Letelier ... J. Tyler Ward
 * Julie Strain ... Willow Black
 * Julie K. Smith ... Cobra
 * Shae Marks ... Tiger
 * Marcus Bagwell ... Warrior
 * Raye Hollitt ... Kym
 * Rodrigo Obregón ... Manuel
 * Justin Melvey ... Jordon
 * Gerald Okamura ... Fu
 * Richard Cansino ... J.P.
 * Cassidy Phillips ... Chaz
 * Tammy Parks ... Scorpion
 * Darren Wise ... Shark
 * Ted Prior .... Dietrich

Release
Day of the Warrior was broadcast on Cinemax. It was released on Blu-Ray in 2020.

Reception
A retrospective review by Charleston Picou from Horror News Net in 2020 states that "Day of the Warrior is an exploitative movie that' pretty blatant about what its intentions are. However, it still manages to have its own charm in not only in embracing the ridiculous, but also how openly un-PC it is. It's the kind of film that could have only been made in the halcyon days of the 1990s. Check it out."

The film gained retrospective cult following.

title: Day of the Warrior


text: User talk:193.140.43.4

title: User talk:193.140.43.4


text:
Olive Borden

Olive Mary Borden (July 14, 1907 – October 1, 1947) was an American film and stage actress who began her career during the silent film era. She was nicknamed "the Joy Girl", after playing the lead in the 1927 film of that same title. Borden was known for her jet-black hair and stunning overall beauty.

At the peak of her career in the mid-1920s, Borden was earning $1,500 a week. In 1927, she walked out on her contract with Fox after refusing to take a pay cut. By 1929, her career began to wane due to her rumored reputation for being temperamental and her difficulty transitioning to sound films. She made her last film, Chloe, Love Is Calling You, in 1934 and moved on to stage work for a time. By the late 1930s, she had declared bankruptcy and stopped acting. During World War II, she joined the Women's Army Corps. She was later honorably discharged with distinction after sustaining a foot injury during service. Borden attempted a comeback in films, however, she was hindered by her alcoholism and health problems.

In 1945, she began working at the Sunshine Mission, a home for impoverished women located in the skidrow section of Los Angeles. She died there in October 1947 of a stomach ailment and pneumonia at the age of 40.

Early life
Borden was born in Richmond, Virginia on July 14, 1906. It was often erroneously reported that Sybil Tinkle was Borden's real name until the 1990s, when it was discovered that another woman had been confused with Borden. In a 1910 census report, her name is listed as Borden. Her father Harry Robinson Borden (1880–1907) died when she was a baby and she was raised by her mother Cecelia "Sibbie" Shields (1884–1959) in Norfolk, Virginia, and Baltimore, Maryland, where she attended Catholic boarding schools. Through her father, she was a fourth cousin of Lizzie Borden.

Career
Borden began her career as one of the Sennett Bathing Beauties in 1922 and was soon appearing as a vamp in Hal Roach comedy shorts. Producer Paul Bern chose her for an uncredited role in his film The Dressmaker from Paris (1925). She was signed by Fox after being named a WAMPAS Baby Star in 1925 (along with her cousin, Natalie Joyce). Borden quickly became one of their most popular and highest paid stars earning a salary of $1,500 a week. She had starring roles in eleven films at Fox, including 3 Bad Men and Fig Leaves, both of which costarred her then-boyfriend George O'Brien. 3 Bad Men has also been featured at the Museum of Modern Art. During this time she worked with some directors who would go on to achieve major fame, including John Ford, Howard Hawks, and Leo McCarey.

Paramount Studios began a policy of 10% paycuts on any salary over $50 to recoup production costs, when Fox tried the same and cut her salary in 1927, Borden left the studio. By this point she was a major silent film star. In making the transition to "talkies" she worked with a voice coach (to suppress her Southern accent). She was less successful, but still remained in demand as an actress, continuing to work for Columbia and RKO. She had cut her trademark hair into a short bob, and turned herself into a modern flapper. But Borden had trouble with the new look, losing her identity; she couldn't find her audience and this confused her waning public.

She made few movies in the early 1930s and her once promising career stalled, producing but one picture in 1932 (The Divorce Racket), and three in 1933 (Leave it to Me, Hotel Variety, and The Mild West). Her last screen credit came in the 1934 film Chloe, Love Is Calling You, where she played a woman kidnapped at birth and raised as a child of mixed race. Some say that this once-lost film "is so bad it should've stayed lost." A pre-code movie made under Will Hays, it had little box office success and in some states (mostly southern) it was banned at the time of its release. Borden then moved to New York, where she had a brief stage career, and made a living on the waning vaudeville circuit.

Later years
During her acting career, Borden was one of the highest paid stars. She spent her money freely and by the late 1930s, she was broke. Borden then found work as a postal clerk and mail carrier and also worked as a nurse's aide. In December 1942, Borden joined the Women's Army Corps (the Women's Army Corps, the only non-Nurse Corps element that women could serve in the Army at that time) where she served as an ambulance driver and received an Army citation for bravery in turning over an enemy ammunition truck. Her Army career ended in 1944, with an honorable discharge after she was hospitalized in Walter Reed Medical Center with a severe foot injury. After her discharge, she attempted an unsuccessful comeback in films.

Borden struggled with alcoholism and numerous health problems. She spent her final years in the skid row section of Los Angeles working and living at the Sunshine Mission, a home for women alongside her mother Sibbie, who got Borden the work.

Personal life
Borden had several relationships with men, in and out of the motion picture industry. For the majority of her life, she lived with her mother, Sibbie, who was known as a "stage mother", helping Borden with most decisions and spending of money until Borden's death. From 1926 to 1930, Borden was romantically involved with actor George O'Brien and the press reported they were engaged. She also dated director Marshall Neilan and producer Paul Bern.

Borden was married twice. Her first marriage was to stockbroker Theodore Spector, whom she married on March 28, 1931, in Harrison, New York. The marriage was rocky from the start, and the couple separated in early 1932 after news of scandal broke that she was involved in a love triangle. Spector had not divorced his first wife, Pearl, whom he married in 1919, and he was arrested for bigamy after his first wife came forward and claimed they were still married. In November 1932, Borden petitioned the court for an annulment, which was granted on November 22. Spector was ultimately cleared of bigamy, but Borden had the marriage annulled, moved on from the entire incident. She married her second husband, 26-year-old railroad technician, John Moeller, in November 1934 under the pseudonym Mary Borden.

Death
Borden died on October 1, 1947, from complications of pneumonia at the age of 40. The only possession she had when she died was a signed photo of herself. Borden's funeral was held on October 3 at the Sunshine Mission home for women, where she had worked and lived since 1945. The mission's founder, Essie Binkley West, officiated at the service. Borden was buried at Forest Lawn Memorial Park in Glendale, California. Her mother was interred in the grave next to her when she died of a heart attack in 1959.

For her contributions to the film industry, Borden has a motion pictures star on the Hollywood Walk of Fame at 6801 Hollywood Boulevard. She was one of the first eight stars chosen to receive a star in 1958.

title: Olive Borden


text:
Fred Dretske

Frederick Irwin "Fred" Dretske (December 9, 1932 – July 24, 2013) was an American philosopher noted for his contributions to epistemology and the philosophy of mind.

Life and career
Born to Frederick and Hattie Dretske, Dretske first planned to be an engineer, attending Purdue University. He changed his mind after taking the university's only philosophy course, deciding philosophy was the only thing he wanted to do in his life.

After graduating in 1954 with a degree in electrical engineering and serving in the army, he enrolled in graduate school in philosophy at the University of Minnesota, where he received his PhD in 1960. His dissertation, supervised by May Brodbeck, was on the philosophy of time.

Dretske's first academic appointment was to the University of Wisconsin–Madison in 1960, where he rose to the rank of full Professor. In 1988 he was recruited to Stanford University, where he was the Bella and Eloise Mabury Knapp Professor of Philosophy. He remained at Stanford until his retirement in 1998, after which he was professor emeritus in philosophy at Stanford and senior research scholar in philosophy at Duke University until his death.

He was awarded the Jean Nicod Prize in 1994. He was elected a Fellow of the American Academy of Arts & Sciences in 2003.

Upon his death, he was survived by his second wife Judith Fortson, by his children Kathleen Dretske and Ray Dretske, and by a stepson, Ryan Fortson.

Philosophical work
Dretske held externalist views about the mind, and thus he tried in various writings to show that by means of mere introspection one actually learns about their own mind less than might be expected. His later work centered on conscious experience and self-knowledge,

Seeing and Knowing (1969)
Dretske's first book, Seeing and Knowing, deals with the question of what is required to know that something is the case on the basis of what is seen. According to the theory presented in Seeing and Knowing, for a subject S to be able to see that an object b has property P is:

(i) for b to be P (ii) for S to see b (iii) for the conditions under which S sees b to be such that b would not look the way it now looks to S unless it were P and (iv) for S, believing that conditions are as described in (iii), to take b to be P.

For instance, for me to see that the soup is boiling – to know, by seeing, that it is boiling – is for the soup to be boiling, for me to see the soup, for the conditions under which I see the soup to be such that it would not look the way it does were it not boiling, and for me to believe that the soup is boiling on that basis.

Knowledge and the Flow of Information (1981)
Dretske's next book returned to the topic of knowledge gained via perception but substantially changes the theory. Dretske had become convinced that information theory was required to make sense of knowledge (and also belief). He signaled this change at the beginning of the new book, opening the Preface with the lines "In the beginning there was information. The word came later." Information, understood in Dretske's sense, is something that exists as an objective and mind-independent feature of the natural world and can be quantified. Dretske offers the following theory of information:

A signal r carries the information that s is F = The conditional probability of s's being F, given r (and k), is 1 (but, given k alone, less than 1).

Thus, for a red light (r) to carry the information that a goal (s) has been scored (is F) is for the probability that a goal has been scored, given that the light is red (and given my background knowledge of the world, k), to be 1 (but less than 1 given just my background knowledge).

With this theory of information, Dretske then argued that for a knower, K, to know that s is F = K's belief that s is F is caused (or causally sustained) by the information that s is F.

His theory of knowledge thus replaced conscious appearances with the idea that the visual state of the observer carries information, thereby minimizing appeal to the mysteries of consciousness in explaining knowledge.

Dretske's work on belief begins in the last third of Knowledge and the Flow of Information, but the theory changed again in the book that followed, Explaining Behavior (1988). There Dretske claims that actions are the causing of movements by mental states, rather than the movements themselves. Action is thus a partly mental process itself, not a mere product of a mental process. For the meaning – the content – of a belief to explain an action, on this view, is for the content of the belief to explain why it is that the mental state is part of a process that leads to the movement it does.

Explaining Behavior: Reasons in a World of Causes (1988)
According to Explaining Behavior, a belief that s is F is a brain state that has been recruited (through operant conditioning) to be part of movement-causing processes because it did, when recruited, carry the information that s is F. Being recruited because of carrying information gives a thing (such as a brain state) the function of carrying that information, on Dretske's view, and having the function of carrying information makes that thing a representation.

Beliefs are thus mental representations that contribute to movement production because of their contents (saying P is why the brain state is recruited to cause movement), and so form components of the process known as acting for a reason.

An important feature of Dretske's account of belief is that, although brain states are recruited to control action because they carry information, there is no guarantee that they will continue to do so. Yet, once they have been recruited for carrying information, they have the function of carrying information, and continue to have that function even if they no longer carry information. This is how misrepresentation enters the world.

Naturalizing the Mind (1995)
Dretske's last monograph was on consciousness. Between the representational theory of belief, desire, and action in Explaining Behavior and the representational theory of consciousness found in Naturalizing the Mind, Dretske aimed to give full support to what he calls the "Representational Thesis". This is the claim that:

(1) All mental facts are representational facts, and (2) All representational facts are facts about informational functions.

In Naturalizing the Mind Dretske argues that when a brain state acquires, through natural selection, the function of carrying information, then it is a mental representation suited (with certain provisos) to being a state of consciousness. Representations that get their functions through being recruited by operant conditioning, on the other hand, are beliefs, just as he held in Explaining Behavior.

Other philosophical work
In addition to the subjects tackled in Dretske's book-length projects, he was also known as a leading proponent, along with David Armstrong and Michael Tooley, of the view that laws of nature are relations among universals.

In his 1970 article "Epistemic Operators", Fred Dretske discusses epistemic closure and its relationship to philosophical skepticism. The principle of epistemic closure holds the following to be valid:

 * S knows p.
 * S knows p entails q.
 * S knows q.

For example,

 * 1) John knows that he is eating oatmeal.
 * 2) John knows that eating oatmeal entails that he is not eating scrambled eggs.
 * 3) John knows that he is not eating scrambled eggs.

Epistemic closure, however, is vulnerable to exploitation by the skeptic. Eating oatmeal entails not eating scrambled eggs. It also entails not eating scrambled eggs while being deceived by an evil demon into believing one is eating oatmeal. Because John does not have evidence to suggest that he is not being deceived by an evil demon, the skeptic argues that John does not know he is eating oatmeal. To combat this attack by the skeptic, Dretske develops relevant alternatives theory (RAT).

RAT holds that an agent need only be able to rule out all relevant alternatives in order to possess knowledge. According to RAT, every knowledge claim is made against a spectrum of relevant alternatives entailed by the original knowledge claim. Also entailed by a knowledge claim are irrelevant alternatives. The skeptic's alternatives fall into this irrelevant category. The following applies RAT to Johns oatmeal:

 * 1) John knows that he is eating oatmeal (as opposed to eating scrambled eggs, eating a bagel, bathing in oatmeal, etc.)
 * 2) John knows that eating oatmeal entails that he is not eating scrambled eggs.
 * 3) John knows that he is not eating scrambled eggs.
 * 4) John knows that eating oatmeal entails that he is not eating scrambled eggs while being deceived by an evil demon into believing he is eating oatmeal.
 * 5) John does not know that he is not eating scrambled eggs while being deceived by an evil demon.  (This alternative is irrelevant; it does not lie within the spectrum of relevant alternatives implied by his initial claim.)

Although it provides a defense from the skeptic, RAT requires a denial of the principle of epistemic closure. Epistemic closure does not hold if one does not know all of the known entailments of a knowledge claim. The denial of epistemic closure is rejected by many philosophers who regard the principle as intuitive.

Another issue with RAT is how one defines "relevant alternatives." "A relevant alternative," Dretske writes, "is an alternative that might have been realized in the existing circumstances if the actual state of affairs had not materialized."

Selected publications

 * 1969, Seeing and Knowing, Chicago: The University of Chicago Press. ISBN 0-7100-6213-3
 * 1981, Knowledge and the Flow of Information, Cambridge, Massachusetts The MIT Press. ISBN 0-262-04063-8
 * 1988, Explaining Behavior: Reasons in a World of Causes, Cambridge, Massachusetts The MIT Press. ISBN 0-262-04094-8
 * 1995, Naturalizing the Mind, Cambridge, Massachusetts: The MIT Press. ISBN 0-262-04149-9
 * 2000, Perception, Knowledge and Belief, Cambridge: Cambridge University Press. ISBN 0-521-77742-9

title: Fred Dretske


text: User talk:69.231.151.77

title: User talk:69.231.151.77


text:
Talk:Narva Gate

The Italian name of the architect is probably Giacomo Quarenghi. The "Dz" seems to be some back-transliteration from Russian. Lupo 14:57, 6 October 2005 (UTC)

title: Talk:Narva Gate


text: User talk:68.209.177.178

title: User talk:68.209.177.178


text: User talk:24.250.136.236

title: User talk:24.250.136.236


text:
User talk:Facemelta5000

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! , SqueakBox 14:58, 6 October 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

title: User talk:Facemelta5000


text:
Boulak Bridge

The Boulak Bridge (also called the Boulac Bridge, Abou El Ela Bridge, Abou al-Ela Bridge) was a bridge that crossed the Nile River in Cairo, Egypt. It linked Gezira Island to Bulaq.

History
The bridge was designed and built between 1908 and 1912 by William Scherzer. It had a rolling and locking mechanism used for opening it to river traffic and was 274.5 metres long and 20 meters wide. The Boulak Bridge was demolished in 1998.

title: Boulak Bridge


text:
User:Sam8

Hi. Most of my contributions are under the anon Special:Contributions/209.6.241.74. I finally got around to creating an account.

title: User:Sam8


text:
List of Mexican artists

This is a list of Mexican artists. This list includes people born in Mexico, notably of Mexican descent, or otherwise strongly associated to Mexico.

Illustrators, graphic artists

 * Angélica Argüelles Kubli (born 1963)
 * Alberto Beltrán (1923–2002)
 * Ángel Bracho (1911–2005)
 * Celia Calderón (1921–1969)
 * Federico Cantú Garza (1907–1989)
 * Alexander Cañedo (1902–1978)
 * Casimiro Castro (1826–1889)
 * Erasto Cortés Juárez (1900–1972)
 * José Luis Cuevas (1934–2017)
 * Francisco Díaz de León (1897–1975)
 * Francisco Dosamantes (1911–1986)
 * Rodolfo Escalera (1929–2000)
 * Jesús Escobedo (1918–1978)
 * Andrea Gómez (1926–2012)
 * Oscar González Loyo (1959–2021)
 * José Ibarra Rizo (born 1992)
 * Hesiquio Iriarte (ca 1820–1903)
 * Sarah Jiménez (1927–2017)
 * Leopoldo Méndez (1902–1969)
 * Adolfo Mexiac (1927–2019)
 * Francisco Moreno Capdevila (1926–1995)
 * Isidoro Ocampo (1910–1983)
 * Mariano Paredes (1912–1980)
 * José Guadalupe Posada (1852–1913)
 * Humberto Ramos (born 1970)
 * Julio Ruelas (1870–1907)
 * Francisco Eduardo Tresguerras (1759–1833)
 * Zalathiel Vargas (born 1941)
 * Héctor Xavier (1921–1994)
 * Gerardo Yepiz (born 1970)
 * Angel Zamarripa (1912–1990)

Multimedia, and multidisciplinary artists

 * Gilberto Aceves Navarro (1931–2019)
 * Carlos Amorales (born 1970)
 * Federico Cantú Garza (1907–1989)
 * Fernando Castro Pacheco (1918–2013)
 * Vladimir Cora (born 1951)
 * Pedro Coronel (1922–1985)
 * Germán Cueto (1883–1975)
 * Lola Cueto (1897–1978)
 * Gabriel Fernández Ledesma (1900–1983)
 * Demián Flores (born 1971)
 * Leopoldo Flores (1934–2016)
 * Gelsen Gas (1933–2015)
 * Carmen Gayón (born 1951)
 * José Antonio Gómez Rosas (1916-1977)
 * Francisco Guevara (born 1978)
 * Miguel Hernández Urbán (1936–2017)
 * Rafael Lozano-Hemmer (born 1967)
 * Ofelia Márquez Huitzil (born 1959)
 * Aliria Morales (born 1950)
 * Carlos Nakatani (1934–2004)
 * Leonardo Nierman (1932–2023)
 * Carlos Orozco Romero (1896–1984)
 * Gabriel Orozco (born 1962)
 * Ruben Ortiz Torres (born 1964)
 * Feliciano Peña (1915–1982).
 * Pedro Preux (1932–2011)
 * Antonio Pujol (1913–1995)
 * Mario Reyes (1926–2017)
 * José Reyes Meza (1924–2011)
 * Waldemar Sjölander (1908–1988)
 * Valetta Swann (1904–1973)
 * Beatriz Zamora (born 1935)

Colonial era, 1521–1821

 * Juan Francisco de Aguilera (active in the last third of the 18th century)
 * José de Alcíbar (ca 1730–1803)
 * Ignacio Maria Barreda, single canvas casta painting 1777
 * Miguel Cabrera (ca 1695–1768)
 * José del Castillo (active in the last third of the 18th century)
 * Juan Correa (ca 1645–1716)
 * Nicolás Correa (ca 1660-ca 1729)
 * Baltasar de Echave Ibía (1585/1605 – 1644)
 * Baltasar de Echave y Rioja (1632–1682)
 * Nicolás Enríquez (active between 1726 and 1787)
 * Juan Gerson, Nahua artist, active 1562
 * Xavier Guerrero (1896–1974)
 * José de Ibarra, casta paintings
 * José Juárez (1617–1661)
 * Luis Juárez (c. 1585 – 1639)
 * Luis Lagarto (c. 1556 – 1620)
 * Sebastián López de Arteaga (1610–1652)
 * Alonso López de Herrera (c. 1585-ca. 1675)
 * Andrés López (active between 1763 and 1811)
 * José Joaquín Magón, produced two sets of 18th c. casta paintings
 * Luis de Mena
 * José de Mora (active in the first half of the 18th century)
 * Juan Patricio Morlete Ruiz (1713–1772)
 * José de Páez (1720-ca 1790)
 * Antonio Pėrez de Aguilar (active in the mid-18th century)
 * Hipólito de Rioja (active in the 2nd half of the 17th century)
 * Antonio Rodríguez (1636–1691)
 * Juan Rodríguez Juárez (1675–1728)
 * Nicolás Rodríguez Juárez (1667–1734)
 * Miguel Rudecindo Contreras (active in the mid-18th century)
 * José Francisco Xavier de Salazar y Mendoza (1750–1802), painter
 * Diego de Sanabria (active in the last third of the 18th century)
 * José María Vásquez (1763-ca 1826)
 * Cristóbal de Villalpando (c. 1649 – 1714)
 * Joaquín Villegas (1713 – after 1753)

Foreign artists that worked extensively in Colonial Mexico

 * Baltasar de Echave Orio (c. 1558-ca. 1623)
 * Francisco Clapera (1746–1810)
 * Rafael Ximeno y Planes (1759–1825)

Post-independence period, 1821–

 * Amelia Abascal (1920–?)
 * Ignacio Aguirre (1900–1990)
 * Rodolfo Aguirre Tinoco (1927–2019)
 * Armando Ahuatzi (born 1950)
 * Ramón Alva de la Canal (1892–1985)
 * Jesús Álvarez Amaya (1925–2010)
 * Abraham Ángel (1905–1924)
 * Raúl Anguiano (1915–2006)
 * Luis Y. Aragón (born 1939)
 * Gustavo Arias Murueta (1923–2019)
 * Javier Arevalo (1937–2020)
 * Luis Arenal Bastar (1909–1985)
 * Dr. Atl (1875–1964)
 * Abelardo Ávila (1907–1967)
 * Ignacio Asúnsolo (1890–1965)
 * Santos Balmori (1899–1992)
 * Sofía Bassi (1913–1998)
 * Ignacio Barrios (1930–2013)
 * Arnold Belkin (1930–1992)
 * Angelina Beloff (1879–1969)
 * Lizet Benrey
 * Roberto Berdecio (1910–1996)
 * Adolfo Best Maugard (1891–1954)
 * Helen Bickham (born 1935)
 * Hermenegildo Bustos (1832–1907)
 * Rosario Cabrera (1901–1975)
 * Ramón Cano Manilla (1888–1974)
 * Sebastián Canovas (born 1957)
 * Gonzalo Carrasco (1859–1936)
 * Julio Carrasco Bretón (born 1950)
 * Leonora Carrington (1917–2011)
 * Julio Castellanos (1905–1947)
 * Fidencio Castillo (1907–1993)
 * Elizabeth Catlett (1915–2012)
 * Guillermo Ceniceros (born 1939)
 * José Chávez Morado (1909–2002)
 * Joaquín Clausell (1866–1935)
 * Miguel Condé (born 1939)
 * Jesus Contreras Peña (1918–1992)
 * Juan Cordero (1822–1884)
 * Salvador Corona (1895–1990)
 * Francisco Corzas (1936–1983)
 * Olga Costa (1913–1993)
 * Luis Coto (1830–1891)
 * Miguel Covarrubias (1904–1957)
 * José Víctor Crowley (born 1935)
 * Nicolás Cuéllar
 * Olga Dondé (1937–2004)
 * Roberto Donis (1934–2008)
 * Manuel Echauri (1914–2001)
 * Enrique Echeverría (1923–1972)
 * Francisco Eppens Helguera (1913–1990)
 * Arturo Estrada Hernández (born 1925)
 * José María Estrada (1810–1862)
 * Antonio Fabrés (1854–1938)
 * Luis Filcer (1927–2018)
 * Rafael Flores (1832–1886)
 * Pedro Friedeberg (born 1936)
 * Alberto Fuster (1870–1922)
 * Julio Galán (1958–2006)
 * Byron Galvez (1941–2009)
 * Vicente Gandía (1935–2009)
 * José Julio Gaona (born 1943)
 * Arturo García Bustos (1926–2017)
 * José García Narezo (1922–1994)
 * Armando García Núñez (1883–1965)
 * Antonio García Vega (born 1954)
 * Mauricio García Vega (born 1944)
 * Germán Gedovius (1867–1937)
 * Gunther Gerzso (1915–2000)
 * Francisco Goitia (1882–1960)
 * Jorge González Camarena (1908–1980)
 * Antonio González Orozco (1933–2020)
 * A. González Pineda (active in the last third of the 19th century)
 * Alfredo Guati Rojo (1918–2003)
 * Jesús Guerrero Galván (1910–1973)
 * Eloísa Jiménez Gutiérrez (1908–1990)
 * Francisco Ángel Gutiérrez Carreola (1906–1945)
 * Judith Gutierrez (1927–2003)
 * Rodrigo Gutierrez (1848–1903)
 * Azteca de Gyves (born 1963)
 * Jesús Helguera (1910–1971)
 * José Hernández Delgadillo (1927–2000)
 * Desiderio Hernández Xochitiotzin (1922–2007)
 * Saturnino Herrán (1887–1918)
 * Rodolfo Hurtado (1940–2005)
 * Francisco Icaza (1930–2014)
 * Ernesto Icaza Sánchez (1866–1935)
 * Leandro Izaguirre (1867–1941)
 * María Izquierdo (1902–1955)
 * Jazzamoart (born 1951)
 * José María Jara (1866–1939)
 * José Jiménez (1830–1859)
 * Frida Kahlo (1907–1954)
 * Myra Landau
 * Eugenio Landesio (1810–1879)
 * Agustín Lazo Adalid (1896–1971)
 * Joy Laville (1923–2018)
 * Rina Lazo (1923–2019)
 * Fernando Leal (1896–1964)
 * Arturo Lemus Beltran (born 1978)
 * Manuel Lepe Macedo (1936–1984)
 * Marcela Lobo Crenier (born 1959)
 * Julia López (born 1936)
 * Amador Lugo Guadarrama (1921–2002)
 * Leonel Maciel (born 1939)
 * Héctor Martínez Arteche (1934–2011)
 * Ricardo Martínez de Hoyos (1918–2009)
 * Daniel Manrique (1939–2010)
 * Eliana Menassé
 * Arnulfo Mendoza (1954–2014)
 * Carlos Mérida (1891–1984)
 * Benito Messeguer (1930–1982)
 * Guillermo Meza (1917–1997)
 * Alfonso Michel (1897–1957)
 * Luis Monroy (1845–1918)
 * Roberto Montenegro (1885–1968)
 * Gustavo Montoya (1905–2003)
 * Francisco Mora (1922–2002)
 * Rodolfo Morales (1925–2001)
 * Rodolfo Moreno (1923–2012)
 * Fumiko Nakashima (born 1981)
 * Carl Nebel
 * Nefero (1920–2005)
 * Ezequiel Negrete Lira (1902–1961)
 * Rodolfo Nieto (1936–1985)
 * Luis Nishizawa (1918–2014)
 * José Maria Obregón (1832–1902)
 * Manuel Ocaranza (1841–1882)
 * Juan O'Gorman (1905–1982)
 * Pablo O'Higgins (1904–1983)
 * José Clemente Orozco (1883–1949)
 * Ignacio Ortiz (born 1934)
 * Mario Orozco Rivera (1930–1998)
 * Sandra Pani (born 1964)
 * Félix Parra (1845–1919)
 * Tomás Parra (born 1937)
 * Antonio Peláez (1921–1994)
 * José Salomé Pina (1830–1909)
 * Aarón Piña Mora (1914–2009)
 * Fanny Rabel (1922–2008)
 * Alice Rahon (1904–1987)
 * Joaquín Ramírez (ca 1839–1866)
 * Alfredo Ramos Martínez (1871–1946)
 * Santiago Rebull (1829–1902)
 * Jesús Reyes Ferreira (1880–1977)
 * Fermín Revueltas Sánchez (1900–1935)
 * Diego Rivera (1886–1957)
 * Antonio Rodríguez Luna (1910–1985)
 * Manuel Rodríguez Lozano (1894?-1971)
 * Francisco Romano Guillemín (1884–1950)
 * José Luis Romo Martín (1954–2016)
 * Ingrid Rosas (born 1967)
 * Antonio M. Ruíz (1892–1964)
 * Veronica Ruiz de Velasco (born 1968)
 * Diana Salazar (born 1972)
 * Herlinda Sanchez Laurel (1941–2019)
 * David Alfaro Siqueiros (1896–1974)
 * Rufino Tamayo (1899–1991)
 * Juan Téllez Hellín (1879–1930)
 * Francisco Toledo (1941–2019)
 * Mauricio Toussaint (born 1960)
 * Filemón Treviño (born 1969)
 * Lucinda Urrusti (1929–2023)
 * Cordelia Urueta (1908–1995)
 * Francisco Antonio Vallejo (1722–1785)
 * Luis Valsoto (born 1939)
 * Rafael Vargas-Suarez a.k.a. Vargas-Suarez Universal (born 1972)
 * Remedios Varo (1908–1963)
 * Manuel Ignacio Vásquez (active between 1806 and 1835)
 * José María Velasco Gómez (1840–1912)
 * Lourdes Villagomez (born 1984)
 * Vlady (1920–2005)
 * Shino Watabe (born 1970)
 * Ángel Zárraga (1886–1946)
 * Nahum B. Zenil (born 1947)
 * Alfredo Zalce (1908–2003)
 * José Zúñiga (born 1937)
 * Celso Zubire (born 1947)

Photographers

 * Manuel Álvarez Bravo (1902–2002)
 * Colette Álvarez Urbajtel (1934–2020)
 * Enrique Bostelmann (1939–2003)
 * Agustín Casasola (1874–1928)
 * Blanca Charolet (born 1953)
 * Héctor García Cobo (1923–2012)
 * Maya Goded (born 1967)
 * Graciela Iturbide (born 1942)
 * Guillermo Kahlo (1871–1941)
 * Paulina Lavista (born 1945)
 * Nacho López (1923–1986)
 * Teresa Margolles (born 1963)
 * The Mayo Brothers
 * Pedro Meyer (born 1935)
 * Tina Modotti (1896–1942)
 * Dulce Pinzon (born 1974)
 * Walter Reuter (1906–2005)
 * Mariana Yampolsky (1925–2002)

Sculptors

 * Clemente Islas Allende (1892–1938)
 * Adalberto Álvarez Marines
 * Feliciano Béjar (1920–2007)
 * Juan Bellido (ca 1829-?)
 * Sergio Bustamante
 * Geles Cabrera (born 1929)
 * Federico Cantú Garza (1907–1989)
 * Francisco Cárdenas Martínez
 * Rosa Castillo (1910–1989)
 * Elizabeth Catlett (1915–2012)
 * Pedro Cervantes (1933–2020)
 * Jesus F. Contreras (1866–1902)
 * Einar and Jamex de la Torre (1960 and 1963)
 * Arnulfo Domínguez Bello (active in the first half of the 20th century)
 * Manuel Felguerez (1928–2020)
 * Mathias Goeritz (1916–1990)
 * Fernando González Gortázar
 * Enrique Guerra (1871–1943)
 * Gabriel Guerra (1847–1893)
 * Ángela Gurría (1929–2023)
 * Pedro Patiňo Ixtolinque (1774–1834)
 * Heriberto Juárez (1932–2008)
 * Pablo Kubli (born 1953)
 * José María Labastida (ca 1800–ca 1849)
 * Mardonio Magaña (1866–1947)
 * Tosia Malamud (1923–2008)
 * Francisco Arturo Marín (1907–1979)
 * Mary Martin (1907–1969)
 * Ricardo Martínez Herrera (born 1989)
 * Deyanira África Melo
 * Luis Ortiz Monasterio (1906–1990)
 * Fidencio Lucano Nava (1869–1938)
 * Agustín Parra Echauri
 * Marina Pombar (born 1947)
 * Abel Ramírez Águilar (1943–2021)
 * María Luisa Reid (born 1943)
 * Dionicio Rodriguez (1891–1955)
 * José Sacal (1944–2018)
 * Sebastián (born 1947)
 * Naomi Siegmann (1933–2018)
 * Felipe Sojo (1833–1869)
 * Juan Soriano (1920–2006)
 * Manuel Vilar (1812–1860)
 * Álvaro Zardoni (born 1964)
 * Francisco Zúñiga (1912–1998)

title: List of Mexican artists


text:
Monastery of São Vicente de Fora

The Church and Monastery of São Vicente de Fora, meaning "Monastery of St. Vincent Outside the Walls", is a 17th-century church and monastery in the city of Lisbon, Portugal. It is one of the most important monasteries and mannerist buildings in the country. The monastery also contains the royal pantheon of the Braganza monarchs of Portugal.

History and art
The original Monastery of São Vicente de Fora was founded around 1147 by the first Portuguese King, Afonso Henriques, for the Augustinian Order. Built in Romanesque style outside the city walls, it was one of the most important monastic foundations in mediaeval Portugal. It is dedicated to Saint Vincent of Saragossa, patron saint of Lisbon, whose relics were brought from the Algarve to Lisbon in the 12th century.

The present buildings are the result of a reconstruction ordered by King Philip II of Spain, who had become King of Portugal (as Philip I) after a succession crisis in 1580. The church of the monastery was built between 1582 and 1629, while other monastery buildings were finished only in the 18th century. The author of the design of the church is thought to be the Italian Jesuit Filippo Terzi and/or the Spaniard Juan de Herrera. The plans were followed and modified by Leonardo Turriano, Baltazar Álvares, Pedro Nunes Tinoco and João Nunes Tinoco. In 1755, an earthquake hit Lisbon, causing damage to the church which then needed reconstruction.

The church of the Monastery has a majestic, austere façade that follows the later Renaissance style known as Mannerism. The façade, attributed to Baltazar Álvares, has several niches with statues of saints and is flanked by two towers (a model that would become widespread in Portugal). The lower part of the façade has three arches that lead to the galilee (entrance hall). The floorplan of the church reveals a Latin cross building with a one-aisled nave with lateral chapels. The church is covered by barrel vaulting and has a huge dome over the crossing. The general design of the church interior follows that of the prototypic church of The Gesù, in Rome. Within the monastery are ceramic tiles formed into panels that depict several different scenes. The ceramic tiles that were created are called azulejo. The tiles were created and painted for the monastery during two separate periods established by Santos Simoes. The first period was from 1700 until 1725 and was called the "great painting period," during King Joao V's reign. The second period was called "the great production period," which lasted from 1725 until 1755. The scenes range from life in the countryside, hunting, and even noble amusement. In total, there are over 150 different panels and scenes within the monastery. [2 ]

The beautiful main altarpiece is a Baroque work of the 18th century by one of the best Portuguese sculptors, Joaquim Machado de Castro. It has the shape of a baldachin and is decorated with a large number of statues. The church also boasts several fine altarpieces in the lateral chapels.

The Monastery buildings are reached through a magnificent baroque portal, located beside the church façade. Inside, the entrance is decorated with blue-white, 18th century tiles that tell the history of the Monastery, including scenes of the Siege of Lisbon in 1147. The ceiling of the room has an illusionistic painting executed in 1710 by the Italian Vincenzo Baccarelli. The sacristy of the Monastery is exuberantly decorated with polychromed marble and painting. The cloisters are also notable for the 18th century tiles that recount fables of La Fontaine, among other themes.

Braganza Pantheon
In 1834, after the Dissolution of the monasteries in Portugal, the monastery was transformed into a palace for the archbishops of Lisbon. Some decades later, King Ferdinand II transformed the monks' old refectory into a pantheon for the kings of the House of Braganza. Their tombs were transferred from the main chapel to this room.

title: Monastery of São Vicente de Fora


text:
User talk:Mefisto philis

Welcome
Welcome!

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

Also, I noticed that you signed the Kanika Bandyopdhyay article. Please note that you only sign talk posts and not aricle contributions. --JiFish(Talk/Contrib) 15:02, 6 October 2005 (UTC)

Blanking
Why did you blank the Kanika Bandyopdhyay article? --JiFish(Talk/Contrib) 15:03, 6 October 2005 (UTC)

Because the lastname is spelt incorrectly. It should be Bandyopadhyay, and not Bandyopdhyay. I have copied the article as Kanika Bandyopadhyay

--Ajantrik Mitra 15:07, 6 October 2005 (UTC)

 * Okay. For future reference, you should never blank an article. (Even one you have created yourself.) If you wish to remove an article, you should follow the Articles for deletion process. In this case I have turned Kanika Bandyopdhyay in to a redirect to Kanika Bandyopadhyay.
 * Also note that if you use the 'move' function you can rename articles without creating new versions. (The option is near the edit command when you are logged in.) This will automatically create a redirect page like I did in this case.
 * Thanks for your time. --JiFish(Talk/Contrib) 15:46, 6 October 2005 (UTC)

Image Tagging
Thanks for uploading Image:Kanika banerjee.jpg, Image:Kanika 2.jpg and Image:Kanika.jpg. I notice the image pages currently doesn't specify who created the images, so the copyright status is therefore unclear. If you have not created the images yourself then you need to argue that we have the right to use the image on Wikipedia (see copyright tagging below). If you have not created the images yourself then you should also specify where you found it, ie in most cases link to the website where you got it, and the terms of use for content from that page.

If the image also doesn't have a copyright tag then you must also add one. If you created/took the pictures then you can use to release them under the GFDL. If you can claim fair use use .)  See Image copyright tags for the full list of copyright tags that you can use.

Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion.

I already added a fair use tag to Image:Kanika cover.jpg since it obviously fell under the CD cover fair use rational.

Thanks again for your time. --JiFish(Talk/Contrib) 16:04, 6 October 2005 (UTC)

Non-free use disputed for Image:Kanika cover.jpg
Thanks for uploading Image:Kanika cover.jpg. However, there is a concern that the rationale you have provided for using this image under "fair use" may be invalid. Please read carefully the instructions at Non-free content and then go to the image description page and clarify why you think the image qualifies. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our Criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 16:18, 4 June 2007 (UTC)

title: User talk:Mefisto philis


text:
Talk:Mashup (web application hybrid)

 * date=(D:)July 2021 |result=keep |page=Mashup (web application hybrid)}}

Naming
I am wondering if the naming "mashup" isn't kind of imprecise or a mix-up of spellings, and whether the name for the phenomenon discussed here should be "mesh-up" rather than "mash-up"?

The Oxford English Dictionary defines the verb "to mash" as "to reduce or beat to a mash", or "(in brewing) to mix (powdered malt) with hot water to form wort". None of them quite fits the notion we are trying to describe in this article, namely combining data from different sources into one application.

On the other hand, the verb "to mesh" is related to the noun "mesh" like what you have in a net, and can be defined as "to cause something to resemble a network". Now I'm not a native English speaker, however, couldn't one think of the combining of data into one application as some kind of "tying a net"? I.e. wouldn't "mesh-up" be a much more correct metaphor (and probably also the original one) than "mash-up"? Opinions? —Preceding unsigned comment added by Fiordiligi (talk • contribs) 11:23, 16 July 2009 (UTC)

Comment: I dont think that there is any hope in going against established linguistic usages. Formal rules are powerless against it. Ppolsinelli (talk) 16:31, 10 December 2009 (UTC)

Enterprise mashups
A conversant contributor please add an explanation of consumer mashups (done in the browser) versus enterprise mashups (done on the server). —Preceding unsigned comment added by Pmerson (talk • contribs) 17:57, 19 November 2008 (UTC)

It is not a matter of "done on the browser" or "done on the server". An enterprise mashup is a Web application based on the mashup paradigm, used in a business context, e.g., an analytical dashboard. — Preceding unsigned comment added by Matteo.picozzi (talk • contribs) 16:37, 10 January 2012 (UTC)

A Little History Please
It would be great if someone could add a little history of mashups. when was the first mashup? how have mashups evolved? What were the enabling technologies? etc. —Preceding unsigned comment added by 211.100.39.250 (talk) 07:10, 7 July 2009 (UTC)

From Wingnut: Hello, thanks for asking about history. Although few mention it, I believe the original "mashup" was a two-directional thing that POSSIBLY originated with Ted Nelson's "Thinking Machines" and was originally called "transclusion". It should probably STILL be called that. Trans-copyright is also involved, as transcluding is, in a way, node-serving. Node-servers are a yet-undiscovered thing. Content developers/authors, in theory, could/would 'allow' (or disallow) HTML nodes to be transport-included (transcluded), and an html 'node' (think of it as an article or paragraph) could be included in another's webpage IF the node-author wants to allow it, and if trans-copyright rules have been satisfied. The transcluded node was supposed to be bi-directional. Ideally, there is a link that leads back to the markup/page that originally contained said node, and thus, at minimum, proper credit for the transcluded content could be maintained. Ted Nelson has been shunned and somehow pushed-aside by the greater web community even though he and Project Xanadu were/are VERY far ahead of their time. To NOT bring-up Ted Nelson's long-ago work on transclusion... in a discussion about these so-called "mashups"... is nothing short of an ethics crime.

ONE of the problems seen, and once publicly-discussed by myself and others, is author-preferred CSS styles. Although I don't know much about the DOM .getComputedStyle function, it COULD BE used to get the CSS settings on ANY node... once that node is rendered and its styles allowed to cascade on down the line. There was talk a few years back about eliminating the HTML style attribute, and I argued that the style attribute is the ONLY "pocket" that could be used to carry the AUTHOR PREFERRED STYLE along-with any transcluded node. I think a node author should be allowed to say "Yes, you can use this node/article IF you use MY CSS styles when you present it in your 'mashup'". I think that if the node author wants transcluders to use original author-preferred CSS, transcluders should honor that. Later, when node-serving is commonplace, a mechanism to accomplish come-along CSS should be invented/included. That, is not an easy task, considering many served nodes will simply have ID or CLASS CSS selectors... and these selectors will be referencing stylerules at the AUTHOR'S site, and not at the site of the transcluded nodes. The transcluder COULD just LINK-in the CSS files from the originating site IF they are external .css files. If they are in a style element in the HEAD of a document, look out. And under either condition, beit style element or external stylesheets, blind stylesheet including could lead to CSS selector name collisions. This is why... when nodes are to be transcluded, they should somehow have their style... shoved into a style attribute in the node itself and carried along in that way... where CSS selectors are not a factor. As the nodeserver 'installs' a style attribute in the transcluded nodes on the way out the door, it should also remove all ID and CLASS selectors from the node(s).

I know, TMI, but, that's the LONG story of nodeserving/transclusion and some of its hurdles. Thanks for asking about the history, fellow wiki-tweaker! Well done. End of input by Wingnut.

Uncategorised entries
When one can quantify information and the usefulness thereof, define operators for the sum or multiplication of information, and show that a mashup performs these operations, then we can say that mashups can make information exponentially more useful. Minor edit EnsGabe 20:32, 23 September 2007 (UTC)

I have a question I keep asking and still dont see an answer covered in this article, namely, What is the difference between a mashup and a portal. They both combine source material from different sources into a single web page. So, what distinquishes one from another?

PolyGlot 13:10, 2 August 2006 (UTC)

I have a few xquestions about this definition...

"a web application created using the public   interface or API of two or more third party   applications."

First, web application is an established term with a somewhat narrow meaning.

I'm wondering if we could expand this to say a website OR web application.

Second, I personally use a number of RSS feeds as sources in my mashups (example: http://xboxradar.com). Likewise, some of the providers such as eBay and Google AdSense have mashable information provided via Javascript includes.

Again, wondering if we could expand the definition to clearly include these types of sources.

In summary, I think a more encompassing though still accurate deinifinition would read something to the effect of...

"a website or web application that combines information from more than one source."

The definition could then go on to talk about the various methods for sourcing the information.

Any thoughts appreciated.

Toddlevy 15:08, 6 October 2005 (UTC) toddlevy [at] hotmail [dot] com

I think Todd's suggestion is valid - to make the description more "generic", rather than making reference to web applications as the source. However, I think that inclusion of the fact that the sources are web/internet sources, and that there is an established API (as compared to "screen-scraping") to make this information available is an important part of the definition.

Stevesawyer

But a website that combines information would be cnn.com or bbc.com, not a mashup. I'd say "website" is collection of urls, but a "web application" is a narrower collection of urls for a single purpose. A "Web Application" tends to mean something narrower yet, where the caps signify a particular system for serving web applications. In short the existing definition seems better to me.

JohnJBarton 04:49, 22 February 2006 (UTC)

I agree with Todd about the missing "website" part, but API is an essential part of the definition (as oposed to screens-scrapping, as Steve mention). So, my suggestion is:

"a website or a web application created using the  public interface or API of two or more third party   applications."

GuiAmbros 19:15, 26 February 2006 (UTC) nospamwikipedia /at/ ambros /dot/ com /dot/ br

Shouldn't "API" be spelled out before the acronym?

Mashup; The combination of one (1) or more products or services. ftw! — Preceding unsigned comment added by 114.198.66.114 (talk) 10:17, 11 August 2011 (UTC)

Video Map Mashup
I added virtualvideomap.com as an example of a "Video Mashup". What do you think about combining the titles of "Video Mashup" and "Map Mashup" sections?

I also corrected a grammatical error.

Let me know.

webmaster@virtualvideomap.com

Content vs. Web Tool (application?) Mashup
I came to this talk page because the current definition of mashup on the article page seems to focus on the idea that a mashup is content. (I wanted to comment that a mashup (imho, but who didn't know what a mashup even could be a few weeks ago) could also be a website created by mixing and matching web applications (or similar). This (talk) page seems to address that (iiuc), but the article doesn't, or not very clearly.

To pick a very bad example (because it may not have any chance of working), couldn't a mashup be a website created with (say) some combination of Plone, Ruby on Rails, and whatever else? (regardless of where the content comes from)

--Rhkramer 15:26, 2 August 2006 (UTC)
 * That's called "application integration". -- ShinmaWa(talk) 01:10, 11 May 2007 (UTC)

Shouldn't titles be reserved for the most COMMON usage ??
"The etymology of this term almost certainly derives from its similar use in pop music..." Yeas, it almost certainly does. Which is why the term "Mashup" should be reserved for pop music, and the top line should say "For website usage see: Bastard Webmonkeying."

Apropos terminology... How about a link from this page to the term bricolage which (in anthropology and cultural studies) means more or less the same thing as 'mashup', only in the 'real world'. I think we can get some useful perspective on 'mashups' by comparing them with the literature on bricolage. (This is another fine example of the internet community thinking they've made something up which in fact has been around for millennia).

217.74.218.254 13:21, 29 January 2007 (UTC)Brennan Young

A Section of Mashup examples should be added to this page
When a user comes across this page, he might want to see a live example of mashuup website, however, in this page, we do NOT have such kind of links.

 * I agree, why not pick some popular sites from programmableweb.com, etc and link to them?? for instance, veloroutes.org uses google maps, usgs elevation data, geonames reverse geo-location, flickr api, youtube api... just an example but there should at least be some links to actual mashups.. 63.225.174.47

 * Examples would be helpful, but it's not clear to me which ones to pick. The ones currently listed aren't necessarily the most popular or most instructive ones to show, for instance. RaymondYee 20:14, 27 June 2007 (UTC)

 * Without disagreeing with the principle of having examples, I don't find an encyclopedic purpose to the current list of examples. The programmableweb link provides all the examples anyone needs for the limited purpose of simply seeing examples. Based on WP:NOT, I suggest that any further references to specific mashup sites be done to clarify, or serve as references for, specific points in the article. Consequently, I'm removing the links to individual example sites. Rich Janis (talk) 10:32, 28 November 2007 (UTC)

Added a link to the Windows Live Local article.
In addition to the existing link to Google Map. —The preceding unsigned comment was added by 141.154.35.246 (talk) 21:52, 16 February 2007 (UTC).

 * Link is refused for several reasons: on the Wikipedia page of Windows Live Local there is no mention of an API that would allow developers to use the facility of this service to build new application upon it (Google Map's Wikipedia article does speak about it). So this link should not be place yet in the see also section. Further more, and this explain why it has been simply removed. After browsing on Windows Live Local web site, there does not seems to be a mention on its API either! Therefore, you cannot build new application on this service, then this service cannot be used to build new mashup. As a conclusion, this link is irrelevant in the section see also, and in the mashup article. --Huygens 25 23:26, 18 February 2007 (UTC)

 * Please look for a link says "Developers" on the bottom of http://map.live.com/, or http://dev.live.com/virtualearth/. —The preceding unsigned comment was added by 24.60.179.169 (talk) 11:10, 19 February 2007 (UTC).

 * OK, thank you for the information, I have found it but as mentioned I would not put it in the see also, because the Windows Live Local article on Wikipedia does not talk about the possible usage of this service for other web sites (using the SDK). The see also section is related to the mashup article, I mean that those articles in this section should speak also of mashup or possible use of the service for other web site. I would like to have your understanding that we can put the link in this section only if the Windows Live Local article is updated with relevant, insightful information. What I propose for the time being. We add the link to this Microsoft service article somewhere else in the mashup article by mentioning that it is possible to build mashup application that uses map from this service or others. If you do not write any objection, I will update the article in a couple of days. --Huygens 25 16:00, 19 February 2007 (UTC)

Business Week Links
The links to Business Week remains while all others got removed except Programmableweb.com. Is it because Business Week has more money? —The preceding unsigned comment was added by 141.154.35.246 (talk) 01:18, 17 February 2007 (UTC).
 * Yep, one could ask that... However, the first link to business week is of interest for the article (under Articles about mashups). But the links in the section "Sites about mashups" are questionable. If it was considered that a site like http://www.webmashup.com/ should be removed, then those two left should also be removed. --Huygens 25 23:26, 18 February 2007 (UTC)

If you don't know what a mashup is, this article isn't helpful
The "lead paragraph," which is actually just a lead sentence, is just about the only thing that provides a clue as to what a mashup really is, if you don't already know. This is then followed by the statement "It is sometimes created as a critique or commentary on an existing work or product," and the unitiated reader wonders, how does a web application combining content from different sources constitute a critique or commentary on those. Nor would the uninitiated have an idea what the difference between a mashup using a public interface vs. not using a public interface. To really get a sense of what's being described, you have to read the outside articles or follow the links, and in that regard, it seems to fail as an encyclopedia article. Drlith 12:16, 17 March 2007 (UTC)

 * There is no definition for someone who doesn't know what a mashup is. What seems to be a definition only makes the reader more confused. —The preceding unsigned comment was added by Cubique (talk • contribs) 23:26, April 10, 2007 (UTC)

 * Concur: I still don't know what a mashup is after reading this article. Furthermore, the distinction between a mashup and a portal seems to rest on the presence of an "API," but the article neither defines "API" nor provides a link to more information.
 * * Septegram * Talk * Contributions * 18:27, 16 December 2008 (UTC)

Marketing language
The language in at least the lead paragraph is awful, full of buzzwords and mostly devoid of meaning. 213.100.20.12 23:22, 25 September 2007 (UTC)

It still is dreadful one year later! —Preceding unsigned comment added by 77.197.180.8 (talk) 16:55, 30 September 2008 (UTC)

Page Makeover Suggestions
I have too many comments and disagreements with the information on this page and would like to help in revamping it. I do not mind helping with the material, however I need to get some of my ideas out in the open for others to review.

Brianpwolfe (talk) 11:57, 3 October 2008 (UTC)
 * 1) I would like to remove everything that claims a mashup is similar to a portal and is somehow about data aggregation. iGoogle aggregates data, but I do not think it is a mashup.
 * 2) Let's get rid of examples like youMashTube. Unless I am missing something here.  I went to the site, and it seemed all their data came from youtube, and that they had a nice user interface for it.  In my definition.  I do not feel that a nifty new user interface falls into the mashup category.  While it is true that a lot of mashups have nice new user interfaces.  I would consider the lastest UI technologies as a part of Web 2.0 in general and RIA.
 * 3) News aggregation -- Digg example. I do not digg that often, but doesn't this site just aggregate data?  They do not really mash it do they?
 * 4) "Mashups versus portals" section has to go. Along with "Architectural aspects of mashups" section and "Information overload section"
 * 5) I think once we start getting precise about what we call a mashup, then we can just call it a Mashup and remove this web-application hybrid language.
 * 6) The types of mashups section needs some edits too.

I will take a stab at a definition that I need to refine and get feedback on....
My core grounding belief about this goes something like this..: "A mashup combines data from more than one source and integrates that data to create something new and unique.  The merging of datasets provides unique events that we can act on, which gives the mashup it's uniqueness.  At it's simplest form we define a mashup as being the intersection of this data combination and event generation process.  However in practice the mashup will usually provide more features around the data and events.  Typically we see a nice presentation of the information.  We also see new processes and events being generated and ran as a result of these events. I hope I have convinced you that a mashup has to have this generation of unique events that was not possible before the merging of the data or functionality.

That brings me to another point... I keep using the term data and two or more data sources. While this is true and fine, and it is what we see almost all the mashups doing now. Especially the public mahsups. I also think there is another element which we could call 'function' so with this, we could also have a mashup by mixing functionality from two or more services and creating something new. The best exanmples for this are in the cloud computing, web-services, public API space. For example a company could mix up some Amazon web services, and also mix up some services from another business. They may or may not throw in a service of it's own, but they market and sell the complete package as a service or a process. I think this is a mashup as well, and I do not know the best way to combine this into a single definition without confusing others right now.

I will keep trying to iron out my ideas and provide more examples. I am just not happy with all the definitions and explanations I have seen so far. Brianpwolfe (talk) 11:56, 3 October 2008 (UTC)

Content from business mashups
A seperate article was created for business mashups which seems unnecessary. I've added some of the content to this article but here is the rest. I would add it but am not familiar with this topic. Smartse (talk) 17:02, 23 April 2009 (UTC)

In web development, a business mashup is a Web application that combines data or functionality from one or more sources into a single integrated business application. The term Mashup implies easy, fast integration, frequently done by access to open APIs and data sources to produce results that were not the original reason for producing the raw source data. Buinsess Mashups are different from other types of mashups such as consumer mashups in the way the are built and the technologies used to build them. An example of a business mashup is an management dashboard, which might include data from relational databases and LDAP directories and have access control features to ensure that the mashup user has permission to view the business data. Unlike portal technology, there are no industry standards regarding for Business Mashups and there is some debate regarding the definition.

Business Mashups are a key component of integrating business and data services, as Business Mashups technologies provide the ability to develop new integrated services quickly, to combine internal services with external or personalized information, and to make these services tangible to the business user through user-friendly Web browser interfaces.

Legal and commercial issues are often an underlooked aspect related Business Mashups. For example, there are sometimes restrictions on using an API with a device that is not a Web browser or it is not possible to use that API to provide a commercial service. In addition, the API providers often do not provide any sort of warranty in case of failure to deliver the service. These aspects may limit the applicability of Business Mashups unless specific service level agreements are in place.

Breaking out Business Mashup
has tried several times to break Business Mashup into a separate article and and  have reverted it back several times (which I agree with). I restored the content for Business Mashup to this article once already. I don't see any reason to break Business Mashups into a separate article as this article is nowhere near too long. I recommend that we keep the content here for the foreseeable future, until it gets too unweildy. Does anyone besides BusinessMashup disagree? Toddst1 (talk) 20:51, 23 April 2009 (UTC)

Merge proposal - Mashup enabler into Mashup (web application hybrid)
The only reason for a Mashup enabler to exist is to become a part of a Mashup application. Both articles have been tagged for improvement. I believe that the effort to merge these articles would produce more comprehensive coverage of the topic and a higher quality article. I would start by adding a "Components" section with "Mashup enabler" as one of the subsections. Any other suggestions? John Harvey (talk) 14:43, 10 October 2009 (UTC)

''I agree - for now the two articles should be merged together... lightweight visual interfaces for user generated mashups are key to the popularity and pervasiveness of mashups.'' Ace Anomalous 20:32, 11 March 2010 (UTC)

Agree I like the "Components" section idea K.G. (talk) 14:26, 13 May 2010 (UTC)

 * ✅ Diff, with no attempt to tidy/harmonise content. -- Trevj (talk) 09:38, 28 March 2012 (UTC)

Wikipedia Mashups List?
I was searching for a List of Wikipedia Mashups. Does that exist? If not, would be nice to have. I've put some here, on my page. - Cy21 (talk) 19:21, 22 February 2010 (UTC)
 * I agree, a list would be useful - please add if it can be done to Wikipedia guidelines. Mikebar (talk) 14:15, 23 February 2010 (UTC)
 * Just found out, not categorised that way but they are listed here: Tools, Searching and Tools. Cy21 (talk) 21:31, 25 February 2010 (UTC)

West Indian Slang?
The lead paragraph claims "The term mashup originally comes from British - West Indies slang meaning to be intoxicated, or as a description for something or someone not functioning as intended." Surely software use of term comes from use in music, and there is no reference to this origin in the entry on that use. I couldn't even find evidence that this is a UK-WI slang term with that meaning, let alone that it's where this usage is derived from. I suggest deleting this unless some sort of support can be offered for the claim. Faff296 (talk) 22:04, 22 July 2014 (UTC)

External links modified (January 2018)
Hello fellow Wikipedians,

I have just modified one external link on Mashup (web application hybrid). Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://archive.is/20120718175204/http://sw.deri.org/2009/09/financial-data/ to http://sw.deri.org/2009/09/financial-data/

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 21:23, 20 January 2018 (UTC)

Copyright problem removed
Prior content in this article duplicated one or more previously published sources. The material was copied from: https://archive.is/20120718175204/http://sw.deri.org/2009/09/financial-data/. Copied or closely paraphrased material has been rewritten or removed and must not be restored, unless it is duly released under a compatible license. (For more information, please see "using copyrighted works from others" if you are not the copyright holder of this material, or "donating copyrighted materials" if you are.)

For legal reasons, we cannot accept copyrighted text or images borrowed from other web sites or published material; such additions will be deleted. Contributors may use copyrighted publications as a source of information, and, if allowed under fair use, may copy sentences and phrases, provided they are included in quotation marks and referenced properly. The material may also be rewritten, providing it does not infringe on the copyright of the original or plagiarize from that source. Therefore, such paraphrased portions must provide their source. Please see our guideline on non-free text for how to properly implement limited quotations of copyrighted text. Wikipedia takes copyright violations very seriously, and persistent violators will be blocked from editing. While we appreciate contributions, we must require all contributors to understand and comply with these policies. Thank you. Johnnie Bob (talk) 19:09, 20 July 2021 (UTC)

title: Talk:Mashup (web application hybrid)


text:
World Gliding Championships

The World Gliding Championships (WGC) is a gliding competition held roughly every two years by the FAI Gliding Commission. The dates are not always exactly two years apart, often because the contests are always held in the summer in either the Southern Hemisphere or Northern Hemisphere.

History
Gliding had been a demonstration sport at the 1936 Summer Olympics and was due to become an official Olympic sport in the Helsinki Games in 1940. However, since the Second World War, gliding has not featured in the Olympics, and so the World Championships are the highest level in the sport. There are now contests for six classes of glider and so in recent years the Championships have been divided between two locations. The women's, junior, grand prix and aerobatic events are also held separately.

Each of the following entries give the year and location of the contest followed by the winner of each class, nationality and the glider used.

A list of future events is available here

World Grand Prix Gliding Championships
Gliding Grand Prix, or Sailplane Grand Prix (SGP), is a newer type of gliding competition. It has simpler rules and a more spectacular appearance than conventional soaring competitions.

Women's World Gliding Championships
The Women's World Gliding Championships (WWGC) is a women-only gliding competition. From 1979 to 1999 women's gliding competitions were held as International European Women's Gliding Championships.

Junior World Gliding Championships
The Junior World Gliding Championships (JWGC) is a competition for glider pilots under the age of 26. From 1991 to 1997, international junior gliding competitions were held as European Junior Gliding Championships.

FAI World Glider Aerobatic Championships
World Glider Aerobatic Championships take place each year (every two years until 2011) since 1985 under the auspices of the FAI. They are administrated by the FAI Aerobatics Commission "Commission Internationale de Voltige Aerienne" (CIVA). The 2001 championships were part of the World Air Games. Since 1994, European Glider Aerobatic Championships are held in the years between the World Championships. Since 2010, an additional event is organized in a slightly less demanding "Advanced" category – the World Advanced Glider Aerobatic Championships (WAGAC). WAGAC is organized yearly, usually accompanying the WGAC.

 * 1st FAI World Glider Aerobatic Championships, Mauterndorf, Austria, 26 August – 3 September 1985
 * individual results:
 * Jerzy Makula (Poland) glider: Kobuz 3
 * Ludwig Fuß (Federal Republic of Germany), glider: Lo 100
 * Marek Szufa (Poland) glider: Kobuz 3
 * team winners:
 * Polish People's Republic: Jerzy Makula (Kobuz 3), Marek Szufa (Kobuz 3), Marian Bednorz
 * Federal Republic of Germany: Ludwig Fuß (Lo 100), Helmut Laurson (Lo 100a), Josef Eberl (Lo 100)
 * 🇦🇹 Austria: Siegfried Duchkowitsch, Reinhard Haggenmüller, Otto Salzinger
 * 2nd FAI World Glider Aerobatic Championships, Bielsko-Biała, Poland, 1–15 August 1987
 * individual results:
 * Jerzy Makula (Poland), glider: Kobuz 3
 * Andrzej Tomkowicz (Poland), glider: Kobuz 3
 * Nancy Blank (United States of America) glider: Kobuz 3
 * team winners:
 * Polish People's Republic: Jerzy Makula (Kobuz 3), Andrzej Tomkowicz (Kobuz 3), ...
 * Federal Republic of Germany
 * 🇦🇹 Austria
 * 3rd FAI World Glider Aerobatic Championships, Hockenheim, Federal Republic of Germany, 15–26 August 1989
 * individual results:
 * Jerzy Makula (Poland), glider: Kobuz 3
 * Andrzej Jozef Solski (Poland), glider: Kobuz 3
 * Hubert Jänsch (Federal Republic of Germany), glider: Lo 100
 * team winners:
 * 🇵🇱 Poland: Jerzy Makula (Kobuz 3), Jozef Solski (Kobuz 3), ...
 * Federal Republic of Germany: Hubert Jänsch (Lo 100), ...
 * : Walter Martig (LO 100), Peter Gafner (LO 100), Franz Studer (LO 100)
 * 4th FAI World Glider Aerobatic Championships, Zielona Góra, Poland, 18–31 August 1991
 * individual results:
 * Jerzy Makula (Poland), glider: Swift S-1
 * Tadeusz Mezyk (Poland), glider: Swift S-1
 * Marek Hernik (Poland), glider: Swift S-1
 * team winners:
 * 🇵🇱 Poland: Jerzy Makula (Swift S-1), Tadeusz Mezyk (Swift S-1), Marek Hernik (Swift S-1)
 * : Martin Scheuermann (Mü 28), Hubert Jänsch (Lo 100), Konrad Huber (Lo 100)
 * : Stephen Coan (Windex 1200), Charles Kalko (Celstar GA-1), Chris Smisson (Celstar GA-1)
 * 5th FAI World Glider Aerobatic Championships, Venlo, the Netherlands, 15–28 August 1993
 * individual results:
 * Jerzy Makula (Poland)
 * Adam Michałowski (Poland)
 * Tadeusz Mezyk (Poland)
 * team winners:
 * 🇵🇱 Poland: Jerzy Makula, Adam Michałowski, Tadeusz Mezyk
 * : Sándor Katona, Pierre Albertini, Daniel Serres
 * : Hubert Jänsch, Ulf Kramer, Henry Bohlig
 * 6th FAI World Glider Aerobatic Championships, Fayence, Var, France, 11–23 September 1995
 * individual results:
 * Mikhail Mamistov (Russia), glider: Swift S-1
 * Jerzy Makula (Poland), glider: MDM-1 Fox
 * Sergey Rakhmanin (Russia), glider: Swift S-1
 * team winners:
 * : Mikhail Mamistov (Swift S-1), Sergey Rakhmanin (Swift S-1), Victor Tchmal (Swift S-1)
 * 🇵🇱 Poland: Jerzy Makula (MDM-1 Fox), Andrzej Tomkowicz (Swift S-1), Marek Hernik (MDM-1 Fox)
 * : Daniel Serres (Swift S-1), Etienne Meyrous (Swift S-1), Pierre Albertini (Swift S-1)
 * 7th FAI World Glider Aerobatic Championships, Antalya, Turkey, 9–21 September 1997
 * individual results:
 * Mikhail Mamistov (Russia)
 * Sergei Krikalev (Russia) – cosmonaut
 * Georgij Kaminski (Russia)
 * team winners:
 * : Mikhail Mamistov, Sergei Krikalev, Georgij Kaminski
 * 8th FAI World Glider Aerobatic Championships, Niederöblarn, Austria, 15–28 August 1999
 * individual results:
 * Jerzy Makula (Poland), glider: MDM-1 Fox
 * Henry Bohlig (Germany), glider: Swift S-1
 * Krzystof Brzakalik (Poland), glider: Swift S-1
 * team winners:
 * 🇵🇱 Poland: Jerzy Makula (MDM-1 Fox), Krzysztof Brząkalik (Swift S-1), Adam Michałowski (Swift S-1)
 * : Henry Bohlig (Swift S-1), Helmut Lindner (Swift S-1), Detlef Eilers (Swift S-1)
 * : Valentin Barabanov (Swift S-1), Georgij Kaminski (Swift S-1), Alexandr Panfierov (Swift S-1)
 * 9th FAI World Glider Aerobatic Championships and 2nd World Air Games Glider Aerobatics Championships, Palma del Río, Córdoba, Spain, 19 June – 1 July 2001
 * individual results:
 * Alexandr Panfierov (Russia)
 * Jerzy Makula (Poland)
 * Adam Michałowski (Poland)
 * team winners:
 * 🇵🇱 Poland: Jerzy Makula, Adam Michałowski, Małgorzata Margańska
 * : Alexandr Panfierov, Valentin Barabanov, Georgij Kaminski
 * 🇭🇺 Hungary: Ferenc Tóth, János Szilágyi, Sándor Katona
 * 10th FAI World Glider Aerobatic Championships, Pér, Hungary, 2–15 August 2003
 * individual results:
 * Ferenc Tóth (Hungary), glider: Swift S-1
 * Jerzy Makula (Poland), glider: MDM-1 Fox
 * Georgij Kaminski (Russia), glider: Swift S-1
 * team winners:
 * 🇵🇱 Poland: Jerzy Makula (MDM-1 Fox), Krzysztof Brząkalik (Swift S-1), Lucjan Fizia (Swift S-1)
 * : Georgij Kaminski (Swift S-1), Alexandr Panfierov (Swift S-1), Alexandr Smirnov (Swift S-1)
 * 🇭🇺 Hungary: Ferenc Tóth (Swift S-1), Sándor Katona (Swift S-1), János Szilágyi (Swift S-1)
 * 11th FAI World Glider Aerobatic Championships, Serpuchov, Russia, 20–30 July 2005
 * individual results:
 * Georgij Kaminski (Russia)
 * Jerzy Makula (Poland)
 * Ferenc Tóth (Hungary)
 * team winners:
 * : Georgij Kaminski, Alexandr Panfierov, Valentin Barabanov
 * 🇵🇱 Poland: Jerzy Makula, Krzysztof Brząkalik, Stanisław Makula
 * 🇭🇺 Hungary: Ferenc Tóth, János Szilágyi, Sándor Katona
 * 12th FAI World Glider Aerobatic Championships, Niederöblarn, Austria, 16–25 August 2007
 * individual results:
 * Georgij Kaminski (Russia), glider: Swift S-1
 * Ferenc Tóth (Hungary), glider: Swift S-1
 * Jerzy Makula (Poland), glider: Solo-Fox
 * team winners:
 * 🇭🇺 Hungary: Ferenc Tóth (Swift S-1), János Szilágyi (Swift S-1), Zoltán Kakuk (Swift S-1)
 * : Olaf Schmidt (Swift S-1), Markus Feyerabend (Swift S-1), Eugen Schaal (MDM-1 Fox)
 * : Georgij Kaminski (Swift S-1), Igor Plakhsin (Swift S-1), Olga Romanenko (Swift S-1)
 * 13th FAI World Glider Aerobatic Championships, Hosín, Czech Republic, 10 July 2009 – 19 July 2009
 * individual results:
 * Georgij Kaminski (Russia), glider: Swift S-1
 * Erik Piriou (France), glider: Swift S-1
 * Jan Rozlivka (Czech Republic), glider: Swift S-1
 * team winners:
 * : Erik Piriou (Swift S-1), Daniel Serres (Swift S-1), Jean-Christophe Beaumier (Swift S-1)
 * 🇨🇿 Czech Republic: Jan Rozlivka (Swift S-1), Přemysl Vávra (Swift S-1), Miroslav Červenka (Swift S-1)
 * : Eugen Schaal (MDM-1 Fox), Olaf Schmidt (Swift S-1), Gerhard Teichmann (Swift S-1)
 * 1st FAI World Advanced Glider Aerobatic Championships, Jämijärvi, Finland, 17–24 July 2010.
 * individual results:
 * Johan Gustafsson (Sweden), glider: Pilatus B-4
 * Michael Spitzer (Germany), glider: MDM-1 Fox
 * Jochen Reuter (Germany), glider: MDM-1 Fox
 * team winners:
 * : Michael Spitzer (MDM-1 Fox), Jochen Reuter (MDM-1 Fox), Sebastian Dirlam (MDM-1 Fox)
 * 🇸🇪 Sweden: Johan Gustafsson (Pilatus B4), Daniel Ahlin (MDM-1 Fox), Pekka Havbrandt (MDM-1 Fox)
 * 🇨🇿 Czech Republic: Petr Biskup (MDM-1 Fox), Miloš Ramert (MDM-1 Fox), Jan Rolinek (MDM-1 Fox)
 * 14th FAI World Glider Aerobatic Championships (Unlimited) and 2nd FAI World Advanced Glider Aerobatic Championships (Advanced), Toruń, Poland, 26 July 2011 – 7 August 2011
 * Unlimited category
 * individual results:
 * Jerzy Makula (Poland), glider: Solo-Fox
 * Georgij Kaminski (Russia), glider: Swift S-1
 * Erik Piriou (France), glider: Swift S-1
 * team winners:
 * 🇵🇱 Poland: Jerzy Makula (Solo-Fox), Maciej Pospieszyński (Swift S-1), Stanisław Makula (Solo-Fox)
 * : Erik Piriou (Swift S-1), Daniel Serres (Swift S-1), Pierre Albertini (Swift S-1)
 * : Georgij Kaminski (Swift S-1), Vladimir Ilinski (Swift S-1), Igor Plaksin (Swift S-1)
 * Advanced category
 * individual results:
 * Benoit Merieau (France), glider: Swift S-1
 * Luca Bertossio (Italy), glider: Swift S-1
 * Aurelien Durgineux (France), glider: Swift S-1
 * team winners:
 * : David Friedrich (Swift S-1), Jochen Reuter (MDM-1 Fox), Michael Spitzer (MDM-1 Fox)
 * : Benoit Merieau (Swift S-1), Aurelien Durgineux (Swift S-1), Daniel Devillers (Swift S-1)
 * 🇸🇪 Sweden: Daniel Ahlin (MDM-1 Fox), Johan Gustafsson (Pilatus B-4), Pekka Havbrandt (MDM-1 Fox)
 * 15th FAI World Glider Aerobatic Championships (Unlimited) and 3rd FAI World Advanced Glider Aerobatic Championships (Advanced), Dubnica, Slovakia, 9 August 2012 – 18 August 2012
 * Unlimited category
 * individual results:
 * 🇵🇱 Poland: Maciej Pospieszyński, glider: Swift S-1
 * 🇭🇺 Hungary: Ferenc Tóth, glider: Swift S-1
 * : Markus Feyerabend, glider: Swift S-1
 * Advanced category
 * individual results:
 * : Luca Bertossio, glider: Swift S-1
 * : Marcello Tedeschi, glider: Swift S-1
 * : Sasa Marvin, glider: Swift S-1
 * team results:
 * : Luca Bertossio (Swift S-1), Marcello Tedeschi (Swift S-1), Sasa Marvin (Swift S-1)
 * : Nicolas Soehner (MDM-1 Fox), Eberhard Holl (MDM-1 Fox), Dirk Maslonka (MDM-1 Fox)
 * 🇵🇱 Poland: Magdalena Stróżyk (Solo Fox), Katarzyna Żmudzińska (MDM-1 Fox), Sławomir Talowski (Swift S-1)

 * 16th FAI World Glider Aerobatic Championships (Unlimited) and 4th World Advanced Glider Aerobatic Championships (Advanced), Oripää Airfield, Oripää, Finland, 18–27 July 2013
 * Unlimited category
 * individual results:
 * : Vladmir Ilyinski, glider: Swift S-1
 * : Georgij Kaminski, glider: Swift S-1
 * 🇵🇱 Poland: Maciej Pospieszyński, glider: Swift S-1
 * team winners:
 * 🇨🇿 Czech Republic
 * 🇵🇱 Poland
 * Advanced category
 * individual results:
 * 🇸🇪 Sweden: Johan Gustafsson, glider: SZD-59 Acro
 * 🇵🇱 Poland: Sławomir Talowski, glider: Swift S-1
 * 🇸🇪 Sweden: Daniel Ahlin, glider: Salto
 * team results:
 * 🇵🇱 Poland: Sławomir Talowski (Swift S-1), Katarzyna Żmudzinska (Swift S-1), Magdalena Stróżyk (Swift S-1)
 * 🇨🇿 Czech Republic: Michal Čechmánek (Swift S-1), Ivo Červinka (Swift S-1), Jan Rolinek (Swift S-1)
 * : Sasha Marvin (Swift S-1), Pietro Filippini (Swift S-1), Lapo Simone Dressino (Swift S-1)
 * 17th FAI World Glider Aerobatic Championships (Unlimited category) and 5th World Advanced Glider Aerobatic Championships (Advanced category) Toruń Airfield, Toruń, Poland, July 22 – August 2, 2014.
 * Unlimited category
 * individual results:
 * 🇵🇱 Poland: Maciej Pospieszyński, glider: Swift S-1
 * 🇭🇺 Hungary: Ferenc Tóth, glider: Swift S-1
 * : Georgij Kaminski, glider: Swift S-1
 * team winners:
 * 🇨🇿 Czech Republic: Přemysl Vávra, Jan Rozlivka, Jan Rolinek
 * 🇵🇱 Poland: Maciej Pospieszyński, Jerzy Makula, Tomasz Kaczmarczyk
 * : Georgy Kaminskiy, Valeriy Korchagin, Vladimir Ilinskiy
 * Advanced category
 * individual results:
 * : Romain Vienne, glider: Swift S-1
 * 🇵🇱 Poland: Katarzyna Żmudzińska, glider: Swift S-1
 * 🇵🇱 Poland: Sławomir Talowski, glider: Swift S-1
 * team results:
 * 🇵🇱 Poland: Katarzyna Żmudzinska, Sławomir Talowski, Michał Klimaszewski
 * : Romain Vienne, Benoit Madrenas, Ervin George
 * : Markus Pönicke, Andreas Rodewald, Eberhard Holl
 * 18th FAI World Glider Aerobatic Championships (Unlimited category) and 6th World Advanced Glider Aerobatic Championships (Advanced category), August 5–15, 2015, Zbraslavice Airport, Czech Republic.
 * Unlimited category
 * individual results:
 * 🇭🇺 Hungary: Ferenc Tóth, glider: Swift S-1
 * : Luca Bertossio, glider: Swift S-1
 * : Eugen Schaal, glider: Swift S-1
 * team winners:
 * 🇨🇿 Czech Republic: Přemysl Vávra, Miroslav Červenka, Lucie Pešková
 * : Eugen Schaal, Markus Feyerabend, Gisbert Leimkühler
 * 🇵🇱 Poland: Maciej Pospieszyński, Jerzy Makula, Magdalene Stróžyk
 * Advanced category
 * individual results:
 * 🇨🇿 Czech Republic: Miroslav Černý, glider: Swift S-1
 * 🇵🇱 Poland: Sławomir Talowski, glider: Swift S-1
 * : Jonas Langenegger, glider: MDM-1 Fox
 * team results:
 * 🇵🇱 Poland: Sławomir Talowski, Katarzyna Zmudziňska, Michał Andrzejewski
 * 🇨🇿 Czech Republic: Miroslav Černý, David Beneš, Martin Meloun
 * : Jonas Langenegger, Manfred Echter, Martin Götz
 * 20th FAI World Glider Aerobatic Championships (Unlimited category) and 8th World Advanced Glider Aerobatic Championships (Advanced category), July 27 – August 5, 2017, Toruń, Poland.
 * Unlimited category
 * individual results:
 * 🇭🇺 Hungary: Ferenc Tóth, glider: Swift S-1
 * 🇭🇺 Hungary: János Szilágyi, glider: Swift S-1
 * : Luca Bertossio, glider: Swift S-1
 * team winners:
 * 🇭🇺 Hungary: Ferenc Tóth, János Szilágyi, János Sonkoly
 * : Moritz Kirchberg, Eugen Schaal, Marvin Woltering
 * 🇦🇹 Austria: Siegfried Mayr, Gabriel Stangl, Bernhard Behr
 * Advanced category
 * individual results:
 * 🇸🇪 Sweden: Gustav Salminen, glider: MDM-1 Fox
 * : Erwin George, glider: Swift S-1
 * 🇵🇱 Poland: Michał Klimaszewski, glider: MDM-1 Fox
 * team results:
 * 🇵🇱 Poland: Michał Andrzejewski, Agata Nykaza, Mirosław Wrześniewski
 * : Erwin George, Benoît Madrenas, Eric Lanquetin
 * 🇷🇴 Romania: Ciprian Lupaș, Valentin Hota, Gál Zsolt
 * 🇷🇴 Romania: Ciprian Lupaș, Valentin Hota, Gál Zsolt

 * 21st FAI World Glider Aerobatic Championships (Unlimited category) and 9th World Advanced Glider Aerobatic Championships (Advanced category), August 1 – 11, 2018, Zbraslavice Airport, Czech Republic.
 * Unlimited category
 * individual results:
 * 🇭🇺 Hungary: Ferenc Tóth, glider: Swift S-1
 * : Luca Bertossio, glider: Swift S-1
 * : Moritz Kirchberg, glider: Swift S-1
 * team winners:
 * : Moritz Kirchberg, Eugen Schaal, Eberhard Holl
 * 🇭🇺 Hungary: Ferenc Tóth, János Szilágyi, János Sonkoly
 * 🇨🇿 Czech Republic: Přemysl Vávra, Miroslav Červenka, Miroslav Černý
 * Advanced category
 * individual results:
 * : Jonas Langenegger, glider: MDM-1 Fox
 * 🇨🇿 Czech Republic: Tomáš Bartoň, glider: Swift S-1
 * 🇨🇿 Czech Republic: Josef Rejent, glider: Swift S-1
 * team results:
 * 🇨🇿 Czech Republic: Tomáš Bartoň, Josef Rejent, Aleš Ferra
 * 🇵🇱 Poland: Michał Klimaszewski, Sławomir Cichoń, Wojciech Gałuszka
 * 🇷🇴 Romania: Lorand Daroczi, Octav Alexan, Ciprian Lupaș

 * 22nd FAI World Glider Aerobatic Championships (Unlimited category) and 10th World Advanced Glider Aerobatic Championships (Advanced category), July 18–26, 2019, Deva, Romania.
 * Unlimited category
 * individual results:
 * 🇭🇺 Hungary: Ferenc Tóth, glider: Swift S-1
 * : Eugen Schaal, glider: Swift S-1
 * : Michael Spitzer, glider: Swift S-1
 * team winners:
 * : Eugen Schaal, Michael Spitzer, Tobias Hackel
 * 🇵🇱 Poland: Stanisław Makula, Jan Makula, Piotr Lewandowski
 * 🇦🇹 Austria: Bernhard Behr, Siegfried Mayr, Gabriel Stangl
 * Advanced category
 * individual results:
 * 🇵🇱 Poland: Patrycja Pacak, glider: Swift S-1
 * 🇷🇴 Romania: Octav Alexan, glider: MDM-1 Fox
 * : Charlie Levy-Louapre, glider: MDM-1 Fox
 * team results:
 * 🇷🇴 Romania: Octav Alexan, Lorand Daroczi, Ciprian Lupaș
 * : Charlie Levy-Louapre, Thibaut Fromantin, Marc de Bouvier
 * : Stefan Zistler, Mathias Mühlbacher, David Tempel

 * 23rd FAI World Glider Aerobatic Championships (Unlimited category) and 11th World Advanced Glider Aerobatic Championships (Advanced category), July 29–August 6, 2021, Leszno, Poland.
 * Unlimited category
 * individual results:
 * 🇭🇺 Hungary: Ferenc Tóth, glider: Swift S-1
 * : Luca Bertossio, glider: Swift S-1
 * : Vladimir Ilinskiy, glider: Swift S-1
 * team winners:
 * 🇵🇱 Poland: Piotr Lewandowski, Jan Makula, Stanisław Makula
 * : Benoît Madrenas, Nicolas Honnons, Marc de Bouvier
 * 🇦🇹 Austria: Siegfried Mayr, Bernhard Behr, Jakob Prior
 * Advanced category
 * individual results:
 * : Charlie Levy-Louapre, glider: Swift S-1
 * : Maria Gavrilina, glider: Swift S-1
 * : Thibaut Fromantin, glider: Swift S-1
 * team results:
 * 🇷🇴 Romania: Octav Alexan, Valentin Hoța, Daroczi Lorand
 * : Charlie Levy-Louapre, Thibaut Fromantin, Frédéric Durand
 * 🇵🇱 Poland: Sławomir Cichoń, Wojciech Gałuszka, Michał Rumiński

 * 24th FAI World Glider Aerobatic Championships (Unlimited category) and 12th World Advanced Glider Aerobatic Championships (Advanced category), 18–26 August, 2022, Issoudun, France.
 * Unlimited category
 * individual results:
 * 🇭🇺 Hungary: Ferenc Tóth, glider: Swift S-1
 * 🇵🇱 Poland: Maciej Pospieszyński, glider: Swift S-1
 * : Jonas Langenegger, glider: Swift S-1
 * team winners:
 * : Charlie Levy-Louapre, Marc de Bouvier
 * 🇵🇱 Poland: Maciej Pospieszyński, Michał Klimaszewski
 * : Michael Spitzer, Wolfgang Schiek
 * Advanced category
 * individual results:
 * 🇨🇿 Czech Republic: Oliver Adamy, glider: Swift S-1
 * : Thibaut Fromantin, glider: Swift S-1
 * 🇵🇱 Poland: Mirosław Wrześniewski, glider: Swift S-1
 * team results:
 * 🇨🇿 Czech Republic: Oliver Adamy, Adam Klenka, Jan Adam
 * : Mathias Mühlbacher, Holger Geusen, David Tempel
 * 🇷🇴 Romania: Valentin Hoța, Zsolt Gál, Lorand Daroczi

 * 25th FAI World Glider Aerobatic Championships (Unlimited category) and 13th World Advanced Glider Aerobatic Championships (Advanced category), 27 July – 5 August, 2023, Toruń, Poland.
 * Unlimited category
 * individual results:
 * 🇵🇱 Poland: Maciej Pospieszyński, glider: Swift S-1
 * 🇫🇷 France: Charlie Levy-Louapre, glider: Swift S-1
 * : Siegfried Mayr, glider: Swift S-1
 * team winners:
 * 🇵🇱 Poland: Maciej Pospieszyński, Mirosław Wrześniewski
 * : Wolfgang Schiek, Michael Spitzer
 * : Charlie Levy-Louapre, Marc de Bouvier
 * Advanced category
 * individual results:
 * : Thibaut Fromantin, glider: Swift S-1
 * 🇵🇱 Poland: Agata Porębska, glider: Swift S-1
 * 🇨🇿 Czech Republic: Tomáš Michálek, glider: Swift S-1
 * team results:
 * 🇨🇿 Czech Republic: Tomáš Michálek, Jan Adam, Marek Veselý
 * : Richard Münzberger, David Tempel, Lars Czernek
 * 🇵🇱 Poland: Agata Porębska, Paweł Mazur, Piotr Sieradzan

title: World Gliding Championships


text:
Wikipedia:Articles for deletion/Tyler Palmateer-Semrick

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

The result of the debate was delete. -R. fiend 04:10, 15 October 2005 (UTC)

Tyler Palmateer-Semrick
Musician from not notable groups, with no entries of those in WP. feydey 15:03, 6 October 2005 (UTC)
 * Delete. -- Kjkolb 12:07, 11 October 2005 (UTC)

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


text:
Utagawa Kunisada II

Utagawa Kunisada II (歌川国貞, 1823 – 20 July 1880) was a Japanese ukiyo-e print designer, one of three to take the name "Utagawa Kunisada". He headed the Utagawa school.

Life and career
Little is known of Kunisada II's early life. A pupil of Utagawa Kunisada I, he signed much of his early work "Kunimasa III". His earliest known prints date to 1844. Kunisada I adopted him in 1846 after he married the master's daughter Osuzu. He took the name Kunisada II c. 1850–51, about the time he inherited the house of Kunisada I. He changed his name once more following his master's death, to Toyokuni III. However, since there were three artists called Toyokuni before him, Kunisada II is now often known as Toyokuni IV.

Kunisada II worked in the style of his master, but never achieved the same level of success. His prints include over 40 series, mostly of actors (yakusha-e), as well portraits of beauties, illustrations of scenes from literature, erotica, and other subjects. He illustrated nearly 200 books. One of his most celebrated actor series, "The Tale of the Eight Dog Heroes" (Hakkendun inu no sōshi no uchi), dating from 1852, is drawn from Kyokutei Bakin's epic novel, "The Satomi Clan and the Eight Dogs" (Nansō Satomi hakkenden), written from 1814 to 1842 and published in 106 volumes.

Kunisada II's popularity waned in the Meiji period (1868–1912), and he appears to have stopped making prints after 1874. He died on 20 July 1880 and was buried at Banshōin Kōunji. His Buddhist posthumous name is Sankōin Hōkokujutei Shinji. Students of his include Kunisada III (1848–1920).

Signatures
Kunisada II usually signed prints either 国貞画 (Kunisada ga, drawn by Kunisada) or 国貞筆 (Kunisada hitsu, from the brush of Kunisada). He did not sign prints "Kunisada II". His signature may be distinguished from that of Kunisada I in that the sada kanji is straight in the signature of Kunisada I, but angular in the signature of Kunisada II (see figure). Further, Kunisada I took the name 'Toyokuni' in 1844, and never included the 'Kunisada' signature within the Toshidama cartouche, as Kunisada II often does in the 1850s and 1860s. Moreover, most prints signed 'Kunisada' and by Kunisada II are datable by censor or date seals to post-1850.

title: Utagawa Kunisada II