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Orbital (1991 album)

Orbital (also known as Orbital 1 or the Green Album) is the debut studio album by English electronic music duo Orbital, released on 30 September 1991 by FFRR Records. Orbital self-titled their first two albums so the "Green Album" is an unofficial name to distinguish it from the second album. The Mutations EP refers to the album as L.P. C.D. M.C., thus titling the album after the "LP" / "CD" / "MC" on the front cover of the respective format.

Background
Orbital was formed in the late 80s, and consisted of brothers Phil and Paul Hartnoll. Their first track, "Chime", was released in 1989 to much success, reaching #17 on the UK charts. They were signed to FFRR Records after a bidding war for the track, and the group began to work on their first album.

Composition
The idea of making a full album was inspired by bands like Kraftwerk and Cabaret Voltaire. The album was mainly recorded in the Hartnolls' house, which had been left to them by their parents, although "Macro Head" and "Belfast" were recorded at Gee St. and Marcus Studios, respectively.

The original European release includes live versions of Orbital's first two singles, "Chime" and "Midnight", which had been suggested by FFRR's owner, Pete Tong, to be included on the album, along with "Belfast". "Desert Storm" was recorded all in one day, 17 January 1991, the same day as the launch of Operation Desert Storm, which the track was then named after. "Fahrenheit 303" was named after the Roland TB-303, a bass synthesizer used prominently in the track. The name for "Steel Cube Idolatry" came from a bad review of one of the band's performances while supporting Cabaret Voltaire, which suggested the name as a parody of how "boring" they thought the music was. Paul later said, "We thought, right, we don't even know what any of that means but we are definitely having "Steel Cube Idolatry". That is a brilliant title."

Artwork and packaging
The front cover of the LP release shows a diagram of the heart within the star pattern on the front and in detail on the inner sleeves, while the CD only features the diagram on the inner cover. A similar style of artwork is featured on the second Orbital album, Orbital, colloquially known as "The Brown Album" to distinguish it from this album, which pictures a diagram of the kidneys instead. The cover design is different to identify each format of the release, with the red circle in the centre of the cover on the LP, CD, and cassette versions including the text LP, CD, and MC, respectively. In the case of the CD and LP pressing, the circle also appears on the disc and label, respectively. Vinyl pressings had the track listing on the front cover, rather than on the back.

American release
Orbital was released in 1992 with a different cover and track listing in the United States, incorporating remixes, non-album singles and tracks from Orbital EPs. However, due to the inclusion of tracks not on the original album, the original versions of tracks "Speed Freak", "Macro Head", "Fahrenheit 303", "High Rise", "Untitled" and "I Think it's Disgusting" would not appear on the American release, although "Speed Freak" and "Fahrenheit 303" would appear in a remixed form. "Chime" and "Midnight" do appear, but not in their live versions, instead in the studio versions, although both tracks appear in an edited form. All tracks on the U.S. release had also been remastered using the Bedini Audio Spectral Enhancer (B.A.S.E.).

2024 re-release and tour
In 2024, Orbital was re-released in an "expanded" edition which featured a remastered edition of the album, along with three bonus discs of music from the era. Alongside this, the band would announce a tour of the album to take place throughout the UK. The album would also be re-released as part of that year's Record Store Day celebrations, appearing in a "splatter" vinyl edition.

Europe
Each format (LP, CD and cassette) included a track not included on the others. The hidden track "I Think it's Disgusting" appeared on the CD version only. The double vinyl LP version included a track called "Macro Head", while the cassette included a nine-minute track listed as "Untitled", later named "Torpedo Town" on the 2024 re-release.
 * Alternate track listings

Personnel

 * Paul Hartnoll, Phil Hartnoll – Performer (Orbital)
 * Orbital – Producer
 * Tim Hunt – Engineer
 * Herbert Lesch – Assistant Engineer
 * Fultano '91 – Sleeve Design

Use in other media
"Belfast" appears on the soundtrack to the film Human Traffic, for which Tong was a musical adviser.

title: Orbital (1991 album)


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

title: User talk:69.11.30.251


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Fermanagh GAA

The Fermanagh County Board of the Gaelic Athletic Association (GAA) (Cumann Lúthchleas Gael, Coiste Chontae Fear Manach) or Fermanagh GAA is one of the 32 county boards of the GAA in Ireland and is responsible for the administration of Gaelic games in County Fermanagh, Northern Ireland.

The county football team reached an All-Ireland Senior Football Championship semi-final replay in 2004, its best performance in the competition.

Clubs
Clubs contest the Fermanagh Senior Football Championship.

Fermanagh (22) has the second smallest number of clubs of any county in Ireland, behind Longford (21). 21 of the 22 offer football, while Lisbellaw St Patrick's offers hurling.

 * Fermanagh football clubs

County team
The county team has never won an Ulster Senior Football Championship (SFC) but has contested the final on six occasions: 1914, 1935, 1945, 1982, 2008 and 2018. Fermanagh is the only team in its province to have never won an Ulster SFC.

In Charlie Mulgrew's first season in charge, the county team reached the 2003 All-Ireland Senior Football Championship quarter-final after beating Meath and Mayo in the qualifiers. The team went to a replayed 2004 All-Ireland Senior Football Championship semi-final, beating Meath, Cork and Donegal and most memorably of all Armagh, thanks to a late point by Tom Brewster, before losing to Mayo.

Hurling
Clubs contest the Fermanagh Senior Hurling Championship.

 * Fermanagh hurling clubs

Fermanagh has the following achievements in hurling.

All-Irelands (4)

 * All-Ireland Senior Hurling Championship: 0
 * All-Ireland Junior Hurling Championship/Nicky Rackard Cup: 1
 * Champions (1): 1994
 * Runners-Up (1): 1977
 * All-Ireland Junior B Hurling Championship/Lory Meagher Cups: 2
 * Champions (2): 2015, 2021
 * Runners-Up (3): 2012, 2014, 2020
 * All-Ireland Minor C Championships: 1
 * 2009

Provincials (1)

 * Ulster Senior Hurling Championship: 0
 * Ulster Junior Hurling Championships: 1
 * 1994

Leagues (3)

 * National Hurling League Division 4: 1
 * 1995
 * National Hurling League Division 3 Shield: 1
 * 2007
 * National Hurling Division 3B: 1
 * 2022

Ladies' football
Fermanagh has a ladies' football team.

Camogie
Having been established in the 1920s, Camogie was revived in Fermanagh by Father Tom Maguire in 1939 around a base in Newtownbutler and they contested Ulster senior championship finals in the 1940s. Enniskillen contested the Féile na nGael camogie first division final in 1977 and Teemore won divisional honours in 1993, 1994 and 1995.

Under Camogie's National Development Plan 2010-2015, "Our Game, Our Passion", three new camogie clubs were to be established in Fermanagh and a county board formed by 2015.

title: Fermanagh GAA


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Munich Residenz

The Residenz (, Residence) in central Munich is the former royal palace of the Wittelsbach monarchs of Bavaria. The Residenz is the largest city palace in Germany and is today open to visitors for its architecture, room decorations, and displays from the former royal collections. The complex of buildings contains ten courtyards and displays 130 rooms. The three main parts are the Königsbau (near the Max-Joseph-Platz), the Alte Residenz (Old Residenz; towards the Residenzstraße) and the Festsaalbau (towards the Hofgarten). A wing of the Festsaalbau contains the Cuvilliés Theatre since the reconstruction of the Residenz after World War II. It also houses the Herkulessaal (Hercules Hall), the primary concert venue for the Bavarian Radio Symphony Orchestra. The Byzantine Court Church of All Saints (Allerheiligen-Hofkirche) at the east side is facing the Marstall, the building for the former Court Riding School and the royal stables.

History and architecture
The first buildings at this site were erected in the year 1385 and were financed by the township of Munich as a sanction for a failed uprising against Stephen III (1375–1413) and his younger brothers. The Silver Tower (Silberturm), as the strongest bastion, was significantly situated next to the inner walls protecting the castle against the city. This sturdy new castle (Neuveste – new fortress), surrounded by wide moats and located at the very north eastern corner of the new double ring of town walls, replaced the difficult to defend Alter Hof (the Old Court) located in the middle of the town as residence of the Wittelsbach rulers. For the Dukes of the often divided country had felt the need to keep some distance from the frequently rebellious city dwellers at the one hand and for some defence against their warlike relatives at the other. As a result, they sought to build themselves a shelter impregnable and easy to leave (directly towards the glacis, without having to enter city lanes) at the same time. Around 1470, under Albert IV (1465–1508), the fortress walls and the gate in the north were built, followed by the construction of two turrets.

The gothic foundation walls and the basement vaults of the old castle including the round pillars of the so-called ballroom cellar (Ballsaalkeller) are today the oldest surviving parts of the palace. The Residenz's development over the centuries didn't only take place out of its main centre, the Neuveste, but in addition grew out of several single parts and extensions, the first of which used to be the Antiquarium. Finally, after more than four centuries of development, the giant palace had practically replaced a whole former city quarter with barracks, a monastery, houses and gardens. It assembles the styles of the late Renaissance, as well as of Baroque, Rococo and Neo-Classicism.

The Alte Residenz

With the order of William IV (1508–1550) to expand the Neuveste with the so-called Rundstubenbau and to set up the first Court Garden, began the history of the Munich Residenz as a representative palace. To the history cycle of this garden pavilion belonged once also the Battle of Issus of Albrecht Altdorfer. Under Albert V (1550–1579) Wilhelm Egkl built next to a banqueting hall of the Neuveste (St. George Hall) an art chamber in the building of the former ducal stables, many collections in Munich originate from there. Since there was not enough space for the extensive collection of sculptures, the building for the Antiquarium was created 1568–1571. It had to be built outside the castle, as there was no place in the Neuveste.

William V (1579–1597) ordered the construction of the Witwenstock (Widow Wing) for the dowager Duchess Anna and in 1581–1586 the four wings of the Grottenhof. Friedrich Sustris was the architect. Around 1590 the construction of the Black Hall was begun to the southeast on the Antiquarium. Under direction of Sustris the Erbprinzentrakt (Prince Wing), north of the Witwenstock was added. Maximilian I (1597–1651) commissioned what is now called the Maximilian Residenz (Maximilianische Residenz ), the west wing of the palace. Until the 19th century, it was the only publicly visible facade and it still is preserved. The portals are guarded by two lions and a statue of the Virgin Mary as patroness of Bavaria in a wall niche between the portals on the west side of the residence complex. Maximilian had rebuilt and connected the existing buildings. In addition, Maximilian I had from 1612 large parts of the south and west wings of the Neuveste with the Silver Tower demolished. Between 1611 and 1619, the wing at the large Emperor's Courtyard (Kaiserhof) was created to the north of the complex. It documents the high political claims of Maximilian.

Its large dimensions satisfied Maximilian's successors up to 18th century, who contented themselves with interior upgrading and smaller extensions such as the wing for the Grüne Galerie (1730) and the Residenz Theatre (1751).

Courtyards
Ten courtyards can be found inside the large complex: The Grotto Courtyard (Grottenhof) with the Perseus Fountain was built between 1581 and 1586 under William V (1579–1597) by Friedrich Sustris as the leading architect, and takes its name from the grotto on the western façade of the Antiquarium.

The octagonal Brunnenhof (Fountain Courtyard) served as a place for tournaments before the large Wittelsbach Fountain was erected in the middle of the courtyard in 1610. The buildings around the Kaiserhof (Emperor's Courtyard) with the Residenz Tower as clock tower, were erected from 1612 to 1618, in the reign of Maximilian I. Both courtyards are decorated with optical illusions on the facade, the same as the facade of the Alte Residenz.

The Königsbauhof (King's Building Courtyard) replaced a garden. At its eastern side the rococo facade of the Grüne Galerie (Green Gallery) is situated, designed by François Cuvilliés the Elder in of 1731–33.

Other courtyards are the Kapellenhof (Chapel Courtyard), the large Apothekenhof (Apothecary Courtyard) behind the Festsaalbau, the Puderhöfchen (Small Powder Courtyard), the Küchenhof (Kitchen Courtyard), the Kabinettsgarten (Cabinet Garden), and then finally the Zierhöfchen (Decorative Courtyard or Comité Courtyard).

The Königsbau
Today's building is from the time of King Ludwig I of Bavaria (1825–1848), who instructed his architect Leo von Klenze to extend the palace. Between 1825 and 1835 the King's building (Königsbau) was constructed to the south in the style of the Florentine Palazzo Pitti. The building is 30 meters high.

In the Königsbau are numerous suites of rooms, including the State Apartment of Ludwig I on the first floor and the Nibelungen Halls on the ground floor. Today also the Treasury are situated in the ground floor of the Königsbau. The royal living rooms are still preserved, they served primarily for the representation and could be visited by appointment already at that time. The actual private apartments of the royal couple on the back of Königsbau have not survived due to its destruction in World War II. On the second floor were the so-called Festgemächer, which were intended for minor court festivities. The spatial sequence was divided into lounge, reception salon, dance hall, flowers hall and private rooms for the king. These rooms are still preserved but in a highly simplified form and are now home to the Bavarian Academy of Fine Arts. From 2016 to 2018 the Yellow Staircase of Klenze was restored. Once it was the main entrance to the royal apartments in the Königsbau.

The Maximilian-Joseph Denkmal (King Maximilian-Joseph Memorial) at Max-Joseph-Platz (Maximilian-Joseph Square) stands in front of the Königsbau. It was created as a memorial for King Maximilian Joseph (1799–1825) by Christian Daniel Rauch and carried out by Johann Baptist Stiglmaier. It was only unveiled in 1835 as the king had rejected being depicted seated.

The Festsaalbau
The neo-classical 250 metre long Banqueting Hall Wing (Festsaalbau) in the north section of the Residenz was added between 1832 and 1842 by Klenze under instructions from King Ludwig I. Here were located the Large Throne Room and the royal reception halls. One of the primary concert venues for the Bavarian Radio Symphony Orchestra is the Herkulessaal (Hercules Hall), which has replaced the destroyed Large Throne Room. The Festsaalbau today houses also the Bavarian Academy of Sciences and Humanities and the Cuvilliés Theatre (Old Residenz Theatre).

The Winter Garden was commissioned by King Ludwig II of Bavaria (1864–1886) around 1870. After the king's death, the Winter Garden on the roof of the Festsaalbau of the Residenz Palace was dismantled in 1897. The reason for this was due to water leaking from the ornamental lake through the ceiling of the rooms below. Photographs and sketches still record this incredible creation which included a grotto, a Moorish kiosk, an Indian royal tent, an artificially illuminated rainbow and intermittent moonlight.

The Old Residenz Theatre
The building of the Residenz Theatre, next to the church, was constructed already under Elector Maximilian III (1745–1777) from 1751. Before World War II, it housed the Old Residenz Theatre. The decoration of the old theatre, carefully dismantled and removed, was moved into the south-eastern wing of the Festsaalbau next to the Allerheiligen-Hofkirche after the war. Here it was reopened as Cuvilliés Theatre. In 2008, the courtyard before the theatre was also redesigned and covered with a new glass roof. It was then named Comité Courtyard after the Comité Cuvilliés, an initiative that made the renovation of the theatre possible by collecting donations.

The Allerheiligen-Hofkirche
The Allerheiligen-Hofkirche (Court Church of All Saints) on the eastern side of the Residenz was commissioned in 1825 by King Ludwig I. It was inspired by the Cappella Palatina, the richly decorated Byzantine royal chapel in Palermo. As bombs destroyed all but the outer walls in 1944, its rich interior ornament was almost completely lost. The church is now used for concerts and events.

The Marstall
Facing the church, the Marstall, the building for the former Court Riding School (Hofreitschule) was erected under King Maximilian Joseph by Klenze between 1817 and 1822. The construction of the monumental portal arch, surmounted by busts of Castor and Pollux, is considered one of the most mature early works of Klenze. The extensive buildings for the royal stables no longer exist. From 1923 the Marstall housed the Marstallmuseum which was in 1941 moved into Nymphenburg Palace. Today the building serves as scenery house, workshop building and study stage of the Residenz Theatre.

Opening to public and World War II damage
Prince Regent Luitpold (1886–1912) ordered the rebuilding of the Stone Rooms for his purposes as he did not want to live in the apartments of the King. During his time, the new Treasury, designed by Julius Hofmann, was created. Today it forms the entrance to the counter area. King Ludwig III (1912–1918) occupied the palace for only a short period before the revolution of 1918. He first moved like his father, into the Stone Rooms at the Kaiserhof tract, and later into the Königsbau. Now technical upgrades such as central heating and electric lighting were made, which had the Prince Regent still rejected. In addition, the Nibelungen Halls were used by Queen Maria Theresa, to create with other women, items for Bavarian soldiers during World War I.

As early as the reign of King Ludwig I, interested citizens could by appointment (when the royal couple were not living in the Residenz) visit the Königsbau. Under Prince Regent Luitpold, it was possible to visit all the unused parts of the palace and the Old Treasury. In 1897 the first guide book for the Residenz in Munich was published. After the revolution of 1918, the Residenz became a public museum.

The palace was severely damaged by bombing during World War II. Most of its rooms were reconstructed by the 1980s. Some of the buildings, however, were rebuilt in a simplified manner. Examples of this are the facade of the Alte Residenz on Residenzstrasse or the Arcades in front of the former throne hall on the first floor of the Festsaalbau. A substantial loss was caused by the destruction of the neo-classical rooms and halls in the Festssalbau (including the Grand Throne Hall, now the Hercules Concert Hall, and the Grand Stairway), of the rich décor of the Papal Rooms including the ceiling of the Golden Hall and of the apartment of King Ludwig II (1864–1886). The frescoes of the Court Church of All Saints were also completely destroyed.

Restoration of historic interiors continues, most recently with the Yellow Staircase in the Konisgsbau, with work completed in 2021.

Residenz Museum
The Hall of Antiquities (Antiquarium), built between 1568 and 1571 for the antique collection of Duke Albert V (1550–1579) by Wilhelm Egkl and Jacobo Strada, is the largest Renaissance hall north of the Alps. It was remodelled into a banqueting hall by Friedrich Sustris in 1586–1600. The Antiquarium housed the Ducal Library until 1581. The low hall was then covered with a barrel vault that had 17 window lunettes. The hall was adorned with paintings by Peter Candid, Antonio Ponzano, and Hans Thonauer the Elder, though some were initially designed by Sustris himself. The Court Chapel (Hofkapelle), the Emperor's Staircase (Kaisertreppe) and Imperial Hall (Kaisersaal), the Stone Rooms (Steinzimmer; 1612–1617; general design by Hans Krumpper) and the Trier Rooms (Trierzimmer); ceiling frescoes by Peter Candid) built for Elector Maximilian I are typical examples from the early 17th century. The Baroque era is represented by the Papal Rooms (Päpstlichen Zimmer), erected under his son Elector Ferdinand Maria (1651–1679). Pope Pius VI lived here during his visit in Munich in 1782. As a result, the rooms were named after him. The extensions of Elector Maximilian II Emanuel (1679–1726), especially the Alexander room and Summer room are representative living rooms. They were altered not long after his death. The remains were destroyed during the residence fire of 1729.

The Ancestral Gallery (Ahnengallerie; 1726–1731) along with the Porcelain Cabinet (both constructed by Joseph Effner) and the Ornate Rooms (Reichen Zimmer) designed by François de Cuvilliés for Charles Albert (1726–1745) are magnificent examples of the court Rococo style. The rich decoration was executed by Johann Baptist Zimmermann, Joachim Dietrich and Wenzeslaus Miroffsky. The two-storey exterior façade of the Green Gallery (Grüne Gallerie) with its seven arched windows facing the courtyard of the Königsbau is a masterpiece of Cuvilliés. The Green Gallery, named after the wall covering made of green silk damask, was not only a ballroom, but also a gallery for paintings and mirrors. The magnificent Bedchamber (Paradeschlafzimmer) served as the place for the electoral dressing procedure. Thus all the structures erected by the court architects Joseph Effner and François de Cuvilliés served only the glorification of the House of Wittelsbach and the attainment of the imperial crown, which ultimately succeeded in 1742. In January 1745, Charles Albert died as Emperor Charles VII in the Residenz, which was thus also for a short time the imperial palace of the Holy Roman Empire. In the times of Elector Maximilian III (1745–1777) the rococo Apartments of the Prince Elector (Kurfürstenzimmer) were constructed between 1746 and 1763. Cuvilliés and Johann Baptist Gunetzrhainer were responsible for the work. The Neo-classical epoch is represented by the Charlotte Rooms (Charlottenzimmer), the Royal Apartments and the Halls of the Battles (Schlachtensäle) in the Königsbau. The wall and ceiling paintings are by Julius Schnorr von Carolsfeld in the Nibelungensäle (Nibelungen Halls; 1827–1834). They are the first monumental representations of the Nibelungenlied Nibelungen Saga of Songs. The actual private chambers of the royal couple at the back of the Königsbau no longer survive as they were destroyed in World War II. Leo von Klenze was not only responsible for the architecture, but also designed the floors, the wall paintings and all the furniture. In the Festsaalbau were spacious halls that contained the Grand Throne Room in the centre, the Imperial halls, the ballroom and the Battle Hall in the north-eastern pavilion. These facilities were intended only for state occasions and were only accessible by a grand staircase which no longer exists. Here the most important royal ceremonies were held, surrounded by twelve colossal statues sculpted by Ferdinand von Miller, representing the main Bavarian rulers.

In addition to the rich accumulation of furniture, paintings and sculptures, today the museum contains bronze work, clocks, tapestries, porcelain and several special collections such as masterpieces of bronze art, European miniatures and liturgical vestments. The Wittelsbach dynasty porcelain collection includes items from their own Nymphenburg Porcelain Factory as well as from such famous porcelain producers such as Sèvres in France and Royal Porcelain from Berlin. The Wittelsbach East Asian collection includes over 500 pieces of porcelain and some paintings. In the Royal Silver Chambers, valuable pieces are housed. The collection of relics of the Munich Residenz come from the era of the Counter-Reformation. In the Festsaalbau bronze sculptures from the late 16th and early 17th centuries are presented, one of the richest collections of European bronze art from the Mannerism and early Baroque eras.

The Treasury
Founded by Duke Albert V the Treasury houses the jewels of the Wittelsbach dynasty. This magnificent display in the Schatzkammer (Treasury) is contained in ten halls in the eastern wing of the Königsbau. The collection is one of the most important in the world and spans 1000 years from the early Middle Ages to Neo-classicism. Royal insignia, crowns, swords, goblets, goldsmith works, rock crystal, ivory work, icons and numerous other treasures like precious tableware and toiletries are magnificently presented. Among the exhibits are Emperor Charles the Bald's prayer-book from around 860, the altar-ciborium of Emperor Arnulf of Carinthia from around 890, the crown of the Empress Cunigunde, reliquary of the True Cross which belonged to the Emperor Henry II, a cross which belonged to Queen Gisela, all from around 1000, the Reliquary Crown of Henry II from around 1270, an English Queen's crown from around 1370 (the oldest surviving crown of England that came to the palatinate line of the house of Wittelsbach as the dowry of Blanche of England, the daughter of King Henry IV of England), the famous Statuette of St George (Munich, ca. 1599), the insignia and orders of the Bavarian monarchs, including crowns and insignia of the Emperor Charles VII (1742), the Crown of Bavaria (1807), ceremonial swords and ruby jewellery which belonged to Queen Therese. A precious set of matching dishes served the French Empress Marie Louise during her journeys. Non-European art and craftwork, including Chinese porcelain, ivories from Ceylon and captured Turkish daggers are also on display.

The coin collection
The Residenz houses the Bavarian state coin collection, the Staatliche Münzsammlung. It was found by Duke Albert V. By the accession of Elector Palatine Charles Theodore (1777–1799), the Palatine and the Electoral Bavarian collection were combined. During the Napoleonic era many monastic coin collections came into the care of the Bavarian state. Crown Prince Ludwig, later King Ludwig I, had much enthusiasm for Ancient Greek coins and spent a lot of time examining the collection. In the first three decades of the 20th century, the collection was extended to house the Renaissance coins, medals and insignia. In 1963, the current exhibition rooms were opened in the Munich Residenz. With more than 300,000 coins, medals and banknotes from the ancient world to the present time, it is one of the world's leading collections.

Hofgarten
The Hofgarten (Court Garden) is located at the northern side of the Residenz opposite to the Festsaalbau. It was laid out under King Maximilian I. In the middle of the park in French style is a circular temple built in 1615, crowned by a statue of Bavaria created in 1594 by Hubert Gerhard. The western Hofgarten arcades with the gate (Hofgartentor) were executed by Klenze. The northern wing includes the former electoral gallery building which was built by court architect Karl Albert von Lespilliez in 1780/81, today home of a theatre museum (Deutsches Theatermueum).

The remnants of some renaissance arcades in the north east of the park were integrated into the Bavarian State Chancellery in 1992. The people of Munich love to denounce it as the 'Straussoleum', named after a former state Premier who commissioned it, or even the Munich White House, in reference to the long and hard fights that prevented the state government from erecting three giant wings instead of one. These wings it was claimed would have destroyed the overall impression of the court gardens. Its middle section with the a reconstructed dome are the only surviving sections of the former Bavarian Army Museum, constructed between 1900 and 1905 and almost completely destroyed during the bombing raids of World War II. The museum is now located in the Neues Schloss (New Palace) in Ingolstadt, around 80 kilometres north of Munich.

Tourism
The Munich Residence and its museums have received more than 300,000 visitors per year, similar to the Nymphenburg Palace and ahead of Schleissheim Palace, but clearly behind the castles of King Ludwig II, especially Neuschwanstein.

title: Munich Residenz


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West Virginia Route 82

West Virginia Route 82 is an east–west state highway in central West Virginia, USA. The western terminus of the route is at an interchange with U.S. Route 19 in Birch River. The eastern terminus is at West Virginia Route 20 outside Cowen.

Course
From Cowen, the road travels past the Big Ditch Wildlife Management Area and through Boggs in Webster County until reaching the community of Birch River in Nicholas County.

With the exception of a small portion by Big Ditch Lake, the entire route follows the Birch River.

title: West Virginia Route 82


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Ellen Hinsey

Ellen Hinsey (born 1960 in Boston) is an author, researcher and professor. Her work is concerned with history, ethics and democracy with a focus on Central and Eastern Europe. She has taught at the French graduate school the Ecole Polytechnique and Skidmore College's Paris program. She has most recently been a visiting professor at Georg-August-Universität in Göttingen.

Early life and education
Ellen Hinsey was born in 1960 in Boston, Massachusetts. She received a Bachelor of Fine Arts degree from Tufts University and a graduate degree from Université de Paris VII. For the last three decades she has lived in Europe.

Career
Hinsey's current work addresses authoritarianism. She has received a number of awards including fellowships from the American Academy in Berlin (2001) and the DAAD Berlin Künstlerprogramm Fellowship (2015), a Lannan Foundation Award, a Union League Civic/Arts Award, a Stover Prize and a Rona Jaffe Foundation Award.

She is a senior editor at the New American Studies Journal and is the international correspondent for The New England Review.

She has been an invited speaker at the University of Bonn, the American Academy in Berlin, the Polish Academy of Sciences, the University of Munich, Freie Universität Berlin and the Ecole Normale Supérieure, among others. She has been an invited author at international festivals and other venues including The New School (New York), Poetry International (Royal Festival Hall), the London Book Fair, the Leipzig Book Fair, the International Literaturfestival Berlin, Cuirt International Festival of Literature, the Dublin Festival of Literature, the Sorbonne, the University of Łódź and The Arsenal Book Festival (Kiev) among others.

Work

Hinsey is the author of six books and has edited and translated three others.

Hinsey's collection of essays, Mastering the Past: Contemporary Central and Eastern Europe and the Rise of Illiberalism (Telos Press, 2017), examines new forms of authoritarianism. It includes first-hand accounts and analyses of the impact of the 2012 Russian presidential election and its aftermath, the rise of populism in Poland and the constitutional crisis, Hungarian illiberalism, Václav Havel's ethical legacy and post-1989 German reconstruction. A selection of these essays first appeared in The New England Review.

In 2018, The Illegal Age was published (Arc Publications, 2018). It is a philosophical-poetic investigation into the twentieth-century's legacy of totalitarianism and the rise of political illegality. Reviewer Chris Edgoose noted: "The word ‘important’ is over-used (...) but in the case of Ellen Hinsey's The Illegal Age it seems to me the only appropriate adjective (...). It is not a book we can afford to ignore. Like Robert O. Paxton’s 2005 The Anatomy of Fascism, this is a book which approaches its subject with the absolute clarity it requires." The book was the UK Poetry Book Society's 2018 Autumn Choice.

Her memoir collaboration with Lithuanian dissident and poet Tomas Venclova, Magnetic North: Conversations with Tomas Venclova /Ellen Hinsey, examines postwar Eastern European totalitarianism, dissidence, culture and ethics. It has been published in German, English, Lithuanian, Ukrainian, Polish and Russian editions, and was nominated for Lithuania's 2018 Book of the Year.

Beginning in February 2002, she traveled to the International Criminal Tribunal for the former Yugoslavia in The Hague to listen to witness sessions. Her third book, Update on the Descent, addressed this experience, and is an anatomy of political violence. It was published in 2009 by Notre Dame University Press and Bloodaxe Books and has been called "an urgent, probing book." Reviewing the 2017 German translation (Matthes & Seitz), literary critic Gregor Dotzauer called it an "anthropology of violence," and notes that "Er zeigt auch, wozu eine Poesie in der Lage ist, die bereit ist, es mit so ziemlich allen Furien dieser Welt aufzunehmen."

Her second book, The White Fire of Time (Wesleyan University Press, 2002 / Bloodaxe Books, 2003) was written after a family tragedy, and explores ethics and renewal.

Hinsey's first book, Cities of Memory, draws on her experiences at the Berlin Wall on the weekend of November 9, 1989, as well as in Prague during the Velvet Revolution. The book received the Yale Series Award and was published by Yale University Press in 1996.

Her work has appeared in The New York Times, The New Yorker, Die Welt, The Irish Times, Der Tagesspiegel, Gazeta Wyborcza, The New England Review and The Paris Review, among other publications.

Translations

Hinsey is the editor and co-translator of The Junction: Selected Poems of Tomas Venclova (Bloodaxe Books, 2008). Her other translations include The Secret Piano, by Zhu Xiao-Mei, an account of growing up under the Cultural Revolution (Amazon Crossing, 2012) and Wild Harmonies by Hélène Grimaud (Riverhead/Penguin Books, 2005).

Honors and awards

 * 2018 UK Poetry Book Society, Autumn Choice, The Illegal Age
 * 2017 SWR Bestenliste July/August
 * 2015 DAAD Berliner Künstlerprogramm Fellow
 * 2014 National Poetry Series (finalist)
 * 2013 Pushcart Prize nomination for "The New Opposition in Hungary"
 * 2012 Pushcart Prize nomination for "Death in the Forest"
 * 2007 The Stover Memorial Award / The Southwest Review
 * 2001 Berlin Prize Fellowship / The American Academy in Berlin
 * 2001 The Union League Civic and Arts Poetry Prize / Poetry
 * 1998 Ledig-Rowohlt Foundation Fellowship, Château de Lavigny
 * 1998 Rona Jaffe Foundation Writers' Award
 * 1996 The Yale Younger Poets Prize
 * Lannan Foundation Award

Books

 * The Invisible Fugue (Wildhouse Publishing, 2023) ISBN 978-1-961741-08-9
 * The Illegal Age (Arc Publications, 2018) ISBN 9781911469377,
 * Mastering the Past: Contemporary Central and Eastern Europe and the Rise of Illiberalism (Telos Press, 2017) ISBN 9780914386650,
 * Magnetic North: Conversations with Tomas Venclova (Rochester University Press, 2017 / Boydell & Brewer, 2017) ISBN 9781580469265,
 * Foreign language editions
 * - Der magnetische Norden (German edition: Suhrkamp, 2017)
 * - Nelyginant šiaurė magnetą (Lithuanian edition: Apostrofa, 2017)
 * - магнітну північ (Ukrainian edition: Dukh i Litera, 2017)
 * - Magnetyczna Północ. Rozmawia Ellen Hinsey (Polish edition: Zeszyty Literackie, 2017)
 * - Nord Magnétique: Conversations avec Ellen Hinsey (French edition: Les Éditions Noir sur Blanc, 2023)

 * Update on the Descent (University of Notre Dame Press, 2009 / Bloodaxe Books, 2009) ISBN 9780268031084,
 * Foreign language editions
 * - Des Menschen Element (German edition: Matthes & Seitz, 2017)

 * The White Fire of Time (Wesleyan University Press, 2002 / Bloodaxe Books, 2003) ISBN 9781852246129,
 * Cities of Memory (Yale University Press, 1996) ISBN 9780300066739,
 * The Junction: Selected Poems of Tomas Venclova, editor and co-translator, (Bloodaxe Books, 2009) ISBN 9781852248109,
 * The Secret Piano: From Mao's Labor Camps to Bach's Goldberg Variations, by Zhu Xiao-Mei, translation by Ellen Hinsey (AmazonCrossing, 2012)
 * Wild Harmonies, by Hélène Grimaud, translation by Ellen Hinsey (Riverhead Press, 2006) ISBN 9781594482663,

Selected articles

 * "Genug ist genug!: Warum polnische Frauen der PiS-Regierung den Kampf ansagen", Der Tagesspiegel, 10 November 2020
 * "Polnische Verhältnisse: Die verratene Aufklärung", Der Tagesspiegel, 9 July 2020
 * "Und dennoch lebt der Traum von Martin Luther King", Der Tagesspiegel, 9 June 2020
 * "A State of Fog: Making Sense of the Polish (Non)Election", The New England Review, 16 June 2020
 * "Miglota padėtis" (Lithuanian translation of "A State of Fog"), IQ, 7 June 2020
 * "Bożonarodzeniowy list nadziei i solidarności", Gazeta Wyborcza, 4 January 2018
 * "Poland’s Constitutional Crisis and the Future Legality of Europe: A Tragedy in Five Acts", The New England Review, 2018
 * "The Rise of the Illiberal Elites", TELOSscope, July 3, 2017
 * "The Illegal Age / Das Zeitalter der Rechtswidrigkeit", Der Tagesspiegel, January 31, 2017
 * "The Illegal Age" The Irish Times, November 23, 2016
 * "Poland's Illiberal Challenge: A Dialogue with Rafal Pankowski", The New England Review, 2016
 * "Putin Cracks Down: The Russian Presidential Election and Its Aftermath", The New England Review, 2013
 * "Death in the Forest", The New England Review, 2011
 * "The New Opposition in Hungary", The New England Review, 2012
 * "Eternal Return: Berlin Journal, 1989–2009", The New England Review, 2010

Critical studies of Hinsey

 * 2011: Poetic Memory: The Forgotten Self in Plath, Howe, Hinsey, and Glück by Uta Gosmann, ISBN 978-1611470369
 * 2012: (Un)concealing the Hedgehog by Paulina Ambrozy, ISBN 978-8323224839
 * 2008: Another Language: Poetic Experiments in Britain and North America by Kornelia Freitag (ed.), ISBN 978-3825812102

title: Ellen Hinsey


text:
Tovah Feldshuh

Terri Sue "Tovah" Feldshuh (born December 27, 1948) is an American actress, singer, and playwright. She has been a Broadway star for fifty years, earning four Tony Award nominations. She has also received two Emmy Award nominations for Holocaust and Law & Order, and appeared in such films as A Walk on the Moon, She's Funny That Way, and Kissing Jessica Stein. In 2015–2016, she played the role of Deanna Monroe on AMC's television adaptation of The Walking Dead.

Early life
Feldshuh is of Jewish heritage, the daughter of Lillian (née Kaplan) and Sidney Feldshuh, who was a lawyer. Her brother David Feldshuh is the Pulitzer Prize–nominated playwright of Miss Evers' Boys.

She was raised in Scarsdale, New York, in Westchester County, and graduated from Sarah Lawrence College. In her high-school years, she was a student at the National Music Camp (later named the Interlochen Arts Camp) as a star in their drama class. She studied acting at HB Studio in New York City. She started her career under theater director Michael Langham at the Guthrie Theater, where she was awarded the McKnight Fellowship in Acting.

Theater
Feldshuh appeared on the stage under the name "Terri Fairchild" before deciding to incorporate her Hebrew name and her original surname as her professional name, Tovah Feldshuh. She said of her name changes: "I fell in love with a Christian boy, Michael Fairchild, who didn't want to kiss a Terri Sue. He said: 'Terri Sue doesn't fit you at all. What's that other name of yours? Tovah? Now that's a name!" In 1994, she joked that she could have changed her name to "Goody Two-shoes", since tovah is Hebrew for "good", while Feldshuh translates from German as "field shoe".

She made her Broadway debut in the short-lived 1973 musical Cyrano starring Christopher Plummer. She appeared in the titular role in Yentl both off-Broadway at the Chelsea Theater Center and later on Broadway. Both productions are detailed in the book, Chelsea on the Edge: The Adventures of an American Theater, which describes tensions between Feldshuh and director Robert Kalfin over the play's interpretation.

Her other Broadway credits include Saravá, Lend Me a Tenor, and Golda's Balcony - William Gibson's work about the late Israeli Prime Minister Golda Meir. Golda's Balcony set a record as the longest-running one-woman play in Broadway history on January 2, 2005.

Feldshuh made her cabaret debut at the Algonquin Hotel Oak Room with her act, ''Tovah: Crossovah! From Broadway to Cabaret, which was followed by Tovah: Out of Her Mind!'' She took the latter show on the road to Philadelphia, Dallas, Houston, San Francisco, Los Angeles, Chicago, Hong Kong, and Sydney. The West End production sold out an eight-week run at the Duke of York's Theatre. The Boston Globe selected her as Best Cabaret Artist of 2000. In 2000, she co-wrote and performed in a one-woman play about actress Tallulah Bankhead titled Tallulah Hallelujah!

She returned to Broadway in the Dan Gordon play Irena's Vow in March 2009. She had appeared off-Broadway in this play in September 2008. In 2012, Feldshuh performed as Mama Rose in a revival of Gypsy.

At the September 21, 2013, Broadway performance of Pippin, Andrea Martin's last performance as Berthe (Pippin's grandmother) was announced to be the following day, and Feldshuh would be subsequently taking over the role. In 2014, she starred in Gypsy at the Bristol Riverside Theatre as Mama Rose.

In February 2015, she performed a one-woman show that she called Aging Is Optional at 54 Below.

In July 2022, it was announced that Feldshuh would replace Jane Lynch as Mrs. Brice in the Broadway revival of Funny Girl, beginning September 6, 2022.

Film and television
In 1973, Feldshuh appeared on television in a supporting role in Scream, Pretty Peggy. In 1976, she also had a supporting role in Ryan's Hope, and in the following year, she played Katharine Hepburn in The Amazing Howard Hughes. Also in 1977, she appeared on The Bob Newhart Show as Veronica Kidd, in an episode called "The Heartbreak Kidd" (season five, episode 18), which aired February 5. However, Feldshuh came to international prominence as Helena Slomova in the 1978 miniseries Holocaust, based on Gerald Green's novel. Between 1991 and 2007, Feldshuh had a recurring role as defense attorney Danielle Melnick on NBC's Law & Order. In 2017, Feldshuh reprised her role as Melnick, who was by then a Cook County judge, in Dick Wolf's Chicago Justice, a companion program to his Chicago Fire, Chicago P.D., and Chicago Med that was situated primarily in the Cook County, Illinois, court system.

Feldshuh's feature-film appearances have included Lady in the Water, The Triangle Factory Fire Scandal, A Walk on the Moon, Happy Accidents, Brewster's Millions, The Idolmaker, The Blue Iguana, A Day in October, The Believer, Love Comes Lately, Just My Luck, and Kissing Jessica Stein. She also appeared as Ruthie in the 2004 film The Tollbooth.

Feldshuh appeared in Goyband, co-starring Adam Pascal, Amy Davidson, Cris Judd, Dean Edwards, Tibor Feldman, and Natasha Lyonne. She was also slated to star in the psychological thriller Acts of Mercy. In 2009, Feldshuh recorded the song "Bein Nahar Prat" for Pioneers for a Cure, with the proceeds benefiting Ellen's Run.

In 2012, she appeared as Mossad agent Rivka in the Covert Affairs episode "Wishful Beginnings". In 2014, she appeared in the film She's Funny That Way.

In March 2015, Feldshuh made her debut in a starring role on AMC's highly rated The Walking Dead. Feldshuh had never seen the show before being cast as former politician Deanna Monroe, whose character Feldshuh says she based on Hillary Clinton. She also appeared in the six-part miniseries Flesh and Bone, which debuted in 2015 on Starz.

From 2015 to 2019, Feldshuh had a recurring role on the musical comedy Crazy Ex-Girlfriend as Naomi Bunch, the image-conscious and hypercritical mother of the show's main character, Rebecca Bunch, played by Rachel Bloom.

Personal life
Feldshuh married New York attorney Andrew Harris Levy in 1977. Actress Ruth Gordon was her maid of honor. They have a son, Garson, an economist and graduate of Harvard and Oxford universities; and a daughter, Amanda, who graduated from the Massachusetts Institute of Technology. When Amanda married in 2014, Feldshuh gave her the advice, "You know how to have a successful marriage? Shut one eye, and don't leave. Some of it's fun and some of it isn't. It can be challenging, but you do not leave the field of play." Her nephew Noah Feldshuh is a former member of alternative rock band X Ambassadors, having left the band after an indefinite hiatus beginning in 2016.

She lives on the Upper West Side of Manhattan.

For her charity work, she is the recipient of the Eleanor Roosevelt Humanities Award, Hadassah's Myrtle Wreath, and the Israel Peace Medal. The National Foundation for Jewish Culture honored her with the 2002 Jewish Image Award and the Performing Arts award in 2006.

When doing research for her role as Irene Gut Opdyke in the play Irena's Vow, Feldshuh traveled to Borshchiv, Ukraine, and discovered that her own ancestor, Moishe Feldshuh, had lived there in the early 20th century.

In March 2015, Feldshuh hiked Mount Kilimanjaro with her son. She explained to Variety she was inspired after the 2014 death of her mother at age 103, and her own athletic role in Pippin, in which she had to swing on a trapeze. "I really do feel we're only in this body once," she said. "I just want enough money to buy experience. I can forgo a dress, but the idea of taking a trip and trekking Mt. Kilimanjaro, or going on the Trans-Siberian railroad, or tracking lemurs in Madagascar — these things are very exciting to me. To see the world until I leave my own body. It's now or not at all."

Honors

 * 1975: Honored as a Special Mention during Drama Desk Awards

title: Tovah Feldshuh


text:
Talk:Horse whisperer

October 2005
I guess I should have been watching this article. Who are Tom Dorrance, and Ray Hunt? It is pointless to list people like this without links to some more information about their contributions. P0M 17:20, 2 October 2005 (UTC)

I've added Monty Roberts to the list. It is entirely POV to eliminate mention of this person even if he has been the subject of controversy. There once was some information about his basic discovery and a hodge-podge of information and misinformation about his training methods. I'm not sure whether that has been deleted or not.

The article includes a list of "horse whisperers," but the only one that goes anywhere goes to an article about another person with the same name. Somebody has deleted the article that at least contained links to the websites of these individuals and some basic information about them. When the article was deleted, whoever did the deletions did not clean up the links to it.

Articles about none of these people should express judgments on their personalities, their fame, or anything like that. If, like Xenophon, Powell, and Rarey, they made some genuine changes to the art and science of horse training, then those contributions should be objectively stated. Presumably these several individuals are not all teaching the same things in the same way, and it ought to be possible to detail these differences without making one guy an evil guru and another guy a good guru. If somebody wants to do a biographical article on someone like Powell, who had quite an interesting life, then the personal stuff should go there. Whether somebody was a prima donna or a self-effacing saint is irrelevant to what they conveyed to the world about how to train and care for horses. P0M 17:37, 2 October 2005 (UTC)

Mark_Rashid??
Please, how does this relate??

Thank You,

[[ hopiakuta Please do  sign  your  signature  on your  message. %7e%7e  Thank You. -]] 14:30, 5 December 2007 (UTC)

 * See my answer on the Mark Rashid page. Montanabw (talk) 18:02, 5 December 2007 (UTC)

Buck Brannaman
Interesting bit of trivia: Buck doubled for Redford in parts of the movie; you can tell which scenes he's in because he's right-handed (Redford is left-handed).

 * All I know is that one or the other of them was wearing a heavy ring while working the horse in one scene, which was a huge continuity error; anyone combining ropes, a nutso horse and rings is asking for amputation!     Montanabw (talk) 03:12, 9 April 2008 (UTC)
 * Yeah, John Lyons pointed that out (along with a bunch of other no-no's that were in the movie). Oh well, it's Hollywood. What can you do? --AeronM (talk) 01:01, 10 April 2008 (UTC)

 * Indeed. Don't even get me started on how movies in general make horses "whinny" (via a dubbed soundtrack) at the wrong times!  LOL!  Um, that and things like stainless steel bits on horses in epics set during the bronze age!  Oh, well, you know how I can go on and on...  Montanabw (talk) 21:22, 10 April 2008 (UTC)

"Secret method"
The article mentions the "secret method", but why not reveal what it is/was? 80.0.108.118 (talk) 23:44, 2 June 2008 (UTC)

 * Because there is no secret, it's just hype. (grin)  Montanabw (talk) 16:19, 3 June 2008 (UTC)

"Literature and Film"
I don't think the bit about Dracula's driver should be included here. Within the context of the novel, the 'driver' turns out to be Dracula, who can communicate with animals via arcane methods; hardly horse whispering.

title: Talk:Horse whisperer


text:
User talk:Cb3rob

Welcome
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17:21, 2 October 2005 (UTC)

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title: User talk:Cb3rob


text:
User talk:Jorynnc

Welcome
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title: User talk:Jorynnc


text:
User talk:Leadwerks

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Thanks for experimenting with Wikipedia. Your test worked, and has been reverted or removed. Please use the sandbox for any other tests you want to do. Take a look at the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks. Tonywalton | Talk 17:24, 2 October 2005 (UTC)

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title: User talk:Leadwerks


text:
Zaynab

Zainab may refer to:
 * Zaynab (novel) or Zaynab: Country Scenes and Moral, considered the first modern Egyptian novel, published 1913
 * Zaynab (name)

title: Zaynab


text:
Talk:Atheist's wager

Is this even a thing?
This article doesn't refer to any credible sources at all. Putting "atheist's wager" into a google books search gives only 31 responses and the majority of these are 'books' composed of compilations of wikipedia articles. Searching for the phrase in google scholar gives only 18 responses. Unless someone can find sources that show credible philosophers or theologians talking about this notion then I suggest the article should be deleted. — Preceding unsigned comment added by 85.179.32.252 (talk) 09:40, 6 November 2012 (UTC)

 * This is not a thing. Well, it's a thing, but ino reliable sources showing that this is noteworthy have ever existed on this page. Previous AFD results were to merge, so I redirected article. Wikipedia is not a soapbox, and it's clear that this article's only reason for existing was to advance the personal views of the editors who created it. Now, certainly, responses to Pascal's Wager are notable, especially as it's so easily criticized, but these criticisms are notable only in the context of that topic, not on their own. And I see no evidence that philosophers, atheists or agnostics even use the term "Athesits Wager" for the common response. DreamGuy (talk) 13:56, 26 January 2013 (UTC)

 * No, previous AfD results were not to merge. One was to keep, the other was to merge. The second AfD took place 2 and a half years ago. Since then, it appears that consensus has changed. The article needs a fair amount of work, but simply blanking it against that consensus is probably not the best route.  — Jess · Δ♥ 14:15, 26 January 2013 (UTC)

 * I've added a number of sources, reformulated the lead, attributed a few statements, and additionally removed a poor quality source we were using previously. To be clear, my only real objection to merging is that the material can't be given sufficient space within Pascal's Wager (an already long article). IIRC, that specific point was discussed elsewhere at some point last year. Anyway, the article is in better shape now, being properly attributed and sourced. Thanks.  — Jess · Δ♥ 15:27, 26 January 2013 (UTC)

Missing the point
I agree with the sentiment that is laid out, if in fact we assume that the way God's purported judgement is through acts. But to my understanding, Pascal's Wager is never about judging acts. It merely posits a false dichotomy of belief, as belief (in God's existence) is often stated as the only requirement for entering heaven. Pascal's Wager only makes account of believing and being wrong vs. not believing and being wrong. So putting it forth as a "response" to Pascal's Wager seems inaccurate or at least futile considering what appears to be an inherent irrelevancy or false equivocation, if you will. — Preceding unsigned comment added by Bigdaddy1978 (talk • contribs) 09:48, 13 May 2013 (UTC)

First define "good" and "evil"
First of all, many atheists think there is no such thing as "good" and "evil". Even if they accept it can be shown that "good" and "evil" are relative concepts. The definitions can reach terribly intricate levels if pondered over to great depth. Firstly, one must be serious about understanding philosophical concepts. -Polytope4d (talk) 19:23, 21 September 2013 (UTC)

"Good" is relative to the religion. Various religions have held it is good to have sex with strangers for money, smash babies to death on rocks, and kill people who do not believe in that particular religion. — Preceding unsigned comment added by 98.199.182.209 (talk) 22:52, 10 April 2015 (UTC)

Why would a benevolent god send a person to eternal hell?
This sounds like the work of a malevolent god, representing the missing cells in this argument. — Preceding unsigned comment added by 82.183.54.239 (talk) 14:12, 11 November 2020 (UTC)

title: Talk:Atheist's wager


text:
User talk:Piccadilly

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Category:Princes of Greece has been nominated for renaming
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title: User talk:Piccadilly


text:
User talk:RMoreland

Welcome
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17:22, 2 October 2005 (UTC)

title: User talk:RMoreland


text:
Inaccessible Islands

The Inaccessible Islands ("Islas Inaccesibles" in Spanish) are a group of small precipitous islands ranging from 120 to 215 m high, the westernmost features of the South Orkney Islands, lying 20 km west of Coronation Island in Antarctica. They were discovered in December 1821 by Captain George Powell, a British sealer in the sloop James Monroe, though it is possible they are the "Seal Islands" seen by Nathaniel Palmer a year earlier. The islands were so named by Powell because of their appearance of inaccessibility. They are considered part of the British Antarctic Territory by the United Kingdom and part of the Province of Tierra del Fuego by Argentina.

Important Bird Area
The islands have been identified as an Important Bird Area (IBA) by BirdLife International because they support a large breeding colony of southern fulmars (50,000 pairs). Other birds nesting at the site include chinstrap penguins (1,000 pairs) and Antarctic shags (100 pairs).

title: Inaccessible Islands


text:
Talk:Antonio Prohías

Untitled
I have read several Spy Vs. Spy comics where the Morse Code on top didn't seem to read "By Prohias", and the comic clearly was drawn in a different style, yet still was claimed as being drawn "by Prohias" in regular text. I wonder whether the Morse Code here was a sort of "secret message" for revealing the Real artist of these comics?

 * Actually, it was Peter Kuper who first wrote "By Prohias". In Prohias' strips, the name of the story was written in morse.

 * No, Prohias put "By Prohias" in his own strips too. The Morse reads "-... -.-- .--. .-. --- .... .. .- ..." on every one of them, including the ones done by other artists/writers like Duck Edwing, Bob Clarke or Dave Manak. Madamluna 20:53, 22 November 2005 (UTC)

Almost all of this should be moved to the page on Spy vs. Spy. This page should focus on Antonio Prohias the person, about whom far less is commonly known. Richard K. Carson 07:22, 15 December 2005 (UTC)

I exaggerated a bit when I said that "almost all" of this should be moved. I hope I did not offend. I think the Spy vs. Spy article would benefit from some of what is here, and I might like to move some (not "almost all") of this over there, provided it would not violate the integrity of this article. I might add a few facts, but I don't want to change anything that is here, except possibly to move it. In the meantime, I shall go sit in the corner. Richard K. Carson 17:22, 19 December 2005 (UTC)

 * Sure, go right ahead. I was actually planning on asking here if a characters section would be welcomed but it hadn't looked like a very active page so I just went and did it. Feel free to move it if you want. Madamluna

Re: "Play Pictionary with the MAD Artists" (#284, January 1989, pp. 14-15), "Gluttony" panel:  I have this issue and this panel was definitely not drawn by Prohias. It was done by Bob Clarke. It was during the period when Spy vs. Spy was drawn by other artists but still attributed to Prohias.

More about Spy vs Spy
It says he originated it, but that's it. I think there should be more about how he came up with it, how he hooked up with Mad, etc. It's sort of sketchy. --AW (talk) 04:59, 22 January 2008 (UTC)

It would be nice to have external reference(s) in the biographical section, particularly the part about being denied entry to Italy. Peter Chastain (talk) 12:03, 9 February 2008 (UTC) An artist with editorial ink in his veins, he always argued: "Do not say it with words, say it with drawings." Without dialogues for his characters, he communicated his silent style with tremendous creative genius."  —Preceding unsigned comment added by Educador (talk • contribs) 16:51, 8 August 2009 (UTC)

Tavarich: typo?
I'm only reading this casually, but it appears the section heading "Tavarich" is a typo for "Tovarich." The summary paragraph seems to refer to the same thing as "Tovarich" which is the Russian word. 76.117.49.56 (talk) 03:06, 8 April 2011 (UTC)

External links modified
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title: Talk:Antonio Prohías


text:
User talk:Mkop

Welcome
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Johann Wolfgang [ T ... C ]

17:23, 2 October 2005 (UTC)

Untagged image
An image you uploaded, Image:Htc Logo.gif, was tagged with the coatofarms copyright tag. This tag was deleted because it does not actually specify the copyright status of the image. The image may need a more accurate copyright tag, or it may need to be deleted. If the image portrays a seal or emblem, it should be tagged as seal. If you have any questions, ask them at Media copyright questions. -- 13:54, 30 December 2006 (UTC)

December 2007
Welcome to Wikipedia. Although everyone is welcome to make constructive contributions to Wikipedia, at least one of your recent edits, such as the one you made to User:ClueBot/Sandbox, did not appear to be constructive and has been automatically reverted by ClueBot. Please use the sandbox for any test edits you would like to make, and take a look at the welcome page to learn more about contributing to this encyclopedia. If you believe there has been a mistake and would like to report a false positive, please report it here and then remove this warning from your talk page. If your edit was not vandalism, please feel free to make your edit again after reporting it. The following is the log entry regarding this warning: User:ClueBot/Sandbox was changed by Mkop (c) (t) making a minor change adding "!!!" on 2007-12-18T07:01:46+00:00. Thank you. ClueBot (talk) 07:01, 18 December 2007 (UTC)

Radio translators template
On most articles where RadioTranslators is used, we don't want the call signs to be linked; as per Wikipedia's policy around radio stations, in most cases the translator call signs are just redirects back to the same article the template is transcluded onto in the first place. If there are a smaller number of articles where we do want all or some of the call signs to link to other articles, there needs to be a less intrusive alternative that doesn't make the majority of the articles link back to themselves unnecessarily — for instance, if you know how to do complex template coding, you could conceivably add a switchable feature to the template which would link the call sign if the template is set as "linkswitch = yes" in a particular article, or the stations in the Family Radio article which do have their own separate articles instead of being redirects to the network could be reorganized in a different table format instead of using the RadioTranslators template. Thanks. Bearcat (talk) 20:45, 23 May 2011 (UTC)

title: User talk:Mkop


text:
Irvine Valley

Irvine Valley may refer to:

 * Irvine Valley College, California, United States
 * Loudoun, a parish in East Ayrshire, Scotland, roughly encompassing the northern half of the Upper-Irvine Valley along the River Irvine

title: Irvine Valley


text:
Gaetano Scirea

Gaetano Scirea (25 May 1953 – 3 September 1989) was an Italian professional footballer who is considered one of the greatest defenders of his generation and one of the greatest defenders of all time. He spent most of his career with Juventus

Scirea is one of only six players in European football history to have won all international trophies for football clubs recognized by UEFA and FIFA. Scirea is also one of only nine players in the history of European football that won all three major UEFA football competitions, a feat he managed while playing with Juventus, the Italian club with which he spent the majority of his career, aside from two seasons with Atalanta. At international level, he played for the Italy national team for more than a decade, during which he was an undisputed member of Italy's defensive line-up, keeping Franco Baresi out of the national team for four years, until he retired in 1986. Scirea became a World Champion with the 1982 FIFA World Cup winning team, which defeated Brazil 3–2 in a decisive second round match and Germany 3–1 in the final; he also represented Italy in two more World Cups, finishing in fourth-place in 1978, and UEFA Euro 1980, where Italy once again managed a fourth-place finish.

Club career

Scirea was born at Cernusco sul Naviglio, in the province of Milan, but was of Sicilian origin.

Scirea made his Serie A debut for Atalanta against Cagliari on 24 September 1972. He remained with Atalanta for two seasons, before transferring to Juventus, with whom he would stay until the end of his playing career. In all, he made 397 appearances in Serie A, scoring 24 goals. Scirea saw great success with Juventus, playing alongside Antonio Cabrini, and the hard-hitting Claudio Gentile as well as goalkeeper Dino Zoff. He managed the impressive feat of winning every UEFA Club and domestic competition during his time at the club (seven Serie A titles, two Coppa Italias, one UEFA Cup, one  Cup Winners' Cup, one  European Cup, one  UEFA Super Cup and one  Intercontinental Cup).

He retired from club football at the end of the 1987–88 season. He took up the role of scout at Juventus, later working as a coach.

International career

Scirea debuted with the Italy national team on 30 December 1975, against Greece. He immediately became an irreplaceable pillar of the team managed by Enzo Bearzot, and played in three World Cups, and one European Championship on home soil in 1980, where Italy finished in fourth place after reaching the semi-final, and Scirea was named part of the team of the tournament.

Scirea, alongside clubmates Antonio Cabrini and Claudio Gentile, right-back Giuseppe Bergomi and goalkeeper Dino Zoff, formed the defensive backbone of perhaps the strongest Italian side of the post-war period as the Azzurri dominated international and club football during the late 1970s to early 80s.

Scirea impressed in the 1978 World Cup where Italy finished in fourth place. At the 1982 World Cup, after a quiet start in the first round group stage, Italy beat Argentina and then Brazil in the second round, later overcoming Poland 2–0 in the semi-final. A 3–1 victory over West Germany in the final earned Scirea a lasting place in World Cup history. By 1986 World Cup, however, the team was in transition, and went out to France in the second round. This was to be Scirea's last match for Italy, having won 78 caps and scored 2 goals.

Style of play

Scirea was a modern and highly talented defender, gifted with excellent technical skills and tactical ability, who was known for his pace, elegance on the ball, and innate capacity to read the game. In contrast to the ruthless tactics often employed by other defenders, including his paired partner, Claudio Gentile, Scirea was renowned for his class, fair play and sportsmanship. Scirea never earned a red card in his career. He was also known for his leadership, serving as captain of both Juventus and the Italy national side.

A former midfielder, he played the sweeper, or libero, role for most of his career, and contributed to the development of the position, due to his vision, composure on the ball and passing ability. Thus, in addition to aiding his team defensively, Scirea would detach himself from the defensive line and contribute to the attacking potential of his team, frequently being involved in the build-up of goals, and sometimes even scoring himself. In the latter part of his career, as he lost his pace, Scirea played a more defensive role as a centre-back.

Personal life
Scirea was married to Mariella Cavanna; together they had a son, Riccardo. Mariella has become a politician after her husband's death.

Death
In summer 1989, Scirea visited Poland as an observer to watch Górnik Zabrze, against which Juventus was to play in the UEFA Cup. On 3 September 1989, a car carrying him collided head-on with a truck near Babsk. The car carried four canisters of gasoline in the trunk (a common practice in Poland at that time due to frequent gas shortages), which exploded upon impact, killing Scirea along with two fellow passengers.

Legacy
Due to his own defensive skill and sportsmanship, Scirea's name has become attached to various youth tournaments and fair-play awards as a role model for sportsmanship and sporting excellence, including the Premio Nazionale Carriera Esemplare "Gaetano Scirea", which is awarded to a legendary Serie A footballer for their career achievements, talent, and personality. In 2005, former Italy national team coach Enzo Bearzot proposed the retirement of the jersey number six of that national team and Juventus in recognition of Scirea's career. The south stand in Juventus' home ground Juventus Stadium, as well as the one in the former Stadio delle Alpi, is known as the Curva Scirea and it is occupied by the Juventus Ultras.

Honours
Juventus
 * Serie A: 1974–75, 1976–77, 1977–78, 1980–81, 1981–82, 1983–84, 1985–86
 * Coppa Italia: 1978–79, 1982–83
 * European Cup: 1984–85
 * UEFA Cup Winners' Cup: 1983–84
 * UEFA Cup: 1976–77
 * UEFA Super Cup: 1984
 * Intercontinental Cup: 1985

Italy
 * FIFA World Cup: 1982

Individual
 * UEFA European Championship Team of the Tournament: 1980
 * Italian Football Hall of Fame: 2011
 * Juventus Greatest XI of All Time: 2017

title: Gaetano Scirea


text:
Talk:Rosita (Sesame Street)

Spanish
Is Rosita speaking much real Spanish, or teaching the kids Spanish words in the show?

title: Talk:Rosita (Sesame Street)


text:
User talk:Ashley mezz5677

Welcome
Welcome to Wikipedia , I hope you will like it here and decide to stay.

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Johann Wolfgang [ T ... C ]

17:24, 2 October 2005 (UTC)

title: User talk:Ashley mezz5677


text:
Toll tin

Toll tin or tin toll was a toll payable in tin mining in Devon and Cornwall in south-west England. The holder of a set of tin bounds was required to pay the freeholder of the land on which the bounds had been pitched a portion, called toll tin, of the tin ore (or black tin) extracted.

Toll tin became due as soon as the ore was broken from the ground and, although some freeholders may have taken it in this form, it is likely that others opted for the more practical approach of taking it as a portion of the proceeds of the sale of the refined tin (or white tin).

Toll tin was not the only way in which a miner's share of the tin extracted was reduced — he was also required to pay a tax to the Crown on the refined tin, known as tin coinage, before the tin could legally be sold.

title: Toll tin


text:
User talk:Roryjackson

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Johann Wolfgang [ T ... C ]

17:24, 2 October 2005 (UTC)

title: User talk:Roryjackson


text:
Ajmal Khattak

Ajmal Khan Khattak (اجمل خټک; اجمل خٹک; 15 September 1925 – 7 February 2010) was a Pakistani politician, writer and Pashto language poet from North-West Frontier Province (now Khyber Pakhtunkhwa), who served as the President of Awami National Party. He was a close friend of Khan Abdul Wali Khan.

His early student life was marked by active protests against the British Raj, which was followed by his joining of the Khudai khidmatgar movement and anti-colonial Pashto poetry. Following the independence of Pakistan in 1947. he joined the National Awami Party and became a close friend of Abdul Wali Khan.

He served as secretary general of the National Awami Party from 1969–1973. He was defeated by Abdul Haq in the 1970 general election, however following a crackdown against the Party by the government of Zulfiqar Ali Bhutto, Ajmal Khattak fled into exile to Kabul. He returned in 1989 and was elected in 1990 to the National Assembly of Pakistan, he was then elected President of the Awami National Party following the retirement of Wali Khan. Following a power struggle in 2000, he briefly formed a breakaway party which was routed in the 2002 election. He rejoined the Awami National Party shortly afterwards and retired from active politics.

Early life
Born in Akora Khattak on 15 September 1925, Ajmal Khattak as a child was greatly influenced by Bacha Khan. By the time he turned 17, he was already an active member of the Quit India Movement. He was a student then at the Government High School, Peshawar, but he left to contribute more to the movement. It was the beginning of a political career that stretched over five decades during which his literary pursuits and education took several painful turns. However, he did return to his studies completing a masters in Persian from Peshawar University. At Islamia College, Peshawar, he was among the pioneers who put Pushto literature on the 'modern' track. Linking it to European literature, particularly English, he was able to give it new direction and was acclaimed as a progressive poet.

He has had a long career in both the Indian Independence Movement against the British in the Khyber Pakhtunkhwa (then NWFP) of what was then undivided India as well as part of the National Awami Party (NAP) in its various incarnations in Pakistan. His early political career began during the Quit India movement after he came under the influence of the Khudai Khidmatgar movement. He was forced to leave the school due to his involvement in the Quit India Movement. As a writer he served as editor of various Newspapers and periodicals, including Anjam, Shahbaz, Adal and Rahber as well as script writer for Radio Pakistan.

Political career
He was defeated in the 1970 election in his home constituency. After the resignation of Khyber-Pakhtunkhwa cabinet in protest at President Zulfikar Ali Bhutto's dismissal of the Balochistan government led by Sardar Ataullah Mengal, Ajmal Khattak became the Secretary General of the National Awami Party.

He was the organiser and stage secretary at the United Democratic Front rally held at Liaquat Bagh Rawalpindi on 23 March 1973, when shots were fired at the UDF leaders, including Khan Abdul Wali Khan. In the general melee that followed, a number of UDF and NAP workers were killed by the authorities in their attempt at ending the rally.

Exile
Since Ajmal Khattak was a prominent figure in the National Awami Party, he was wanted by the Federal Security Force as part of the general crackdown on NAP. To avoid arrest and possible torture, he fled into self-imposed exile to Afghanistan and stayed there for 16 long years. During this time he was closely associated with the Pakhtunistan movement.

During his years in Kabul, Ajmal Khattak was a close confidant of Badshah Khan, and also enjoyed excellent relations with leaders of the People's Democratic Party of Afghanistan, including General Secretary Nur Muhammad Taraki, Babrak Karmal and Dr. Mohammad Najibullah.

Writing and poetry
A committed Marxist-Leninist he was the author of many books in Pashto and had written 13 books in Pushto and Urdu including a History of Pushto Literature (in Urdu) 'Pakistan Main Qaumi Jamhoori Tehrikin, Da Ghirat Chagha, Batoor, Gul auo Perhar, Guloona auo Takaloona, Jalawatan ki Shairee, Pukhtana Shora and Da Wakht Chagha''. In 2006, the Torlandi Pukhto Adabi Tolana, Swabi, conferred on Ajmal Khattak the title of Baba-e-Nazam at a big public mushaira.

His work has been the subject of renewed interest by the South Asian Studies Department at the University of Pennsylvania, which has translated his works into English.

However, in November 2006, when the government informed him that he was in line for the lucrative award of Sitara-i-Imtiaz, he refused it with a polite note. He was also awarded the Kamal-e-Funn Award 2007 by the Pakistan Academy of Letters.

Return to Pakistan
He ended his exile in 1989 after the Awami National Party (ANP), the successor of the NAP, entered into an electoral alliance with Nawaz Sharif and his Pakistan Muslim League- led Islami Jamhoori Ittehad (IJI). In the general election of October 1990, Ajmal Khattak was elected from his home district of Nowshera to the National Assembly of Pakistan, defeating Pervez Khattak of the Pakistan Peoples Party (PPP). These elections also signalled the retirement of Khan Wali Khan after his electoral loss to Maulana Hassan Jan of the Jamiat Ulema-e-Islam. Ajmal Khattak was elected as the President of the ANP when Khan Wali Khan stepped down from the post.

President of ANP
In the 1993 general elections, Ajmal Khattak lost his re-election bid in Nowshera to the PPP candidate Major General Naseerullah Babar. As a leading critic of the PPP, it was important for the ANP – IJI alliance to have Ajmal Khattak in parliament, and he was therefore nominated to the Senate of Pakistan in March 1994. His two terms as President of the Awami National Party were noted primarily for the close alliance with former opponents, the Muslim League, after the alliance collapsed in January 1998 over the renaming of the province of NWFP to Pakthunkhwa and Khattak role in leading the Awami National party briefly into joining an alliance known as the Pakistan Oppressed Nations Movement (PONM). The decision to join PONM was made despite strong pressure from party critics who preferred the ANP to ally themselves with a Federal party like the Peoples Party. Eventually, Khattak succumbed to party pressure and the Awami National Party left PONM joining the Grand Democratic Alliance which included the Pakistan Peoples Party.

He was ousted as ANP President in 2000, after a protracted power struggle with Nasim Wali Khan, wife of Khan Abdul Wali Khan, triggered by accusations of his closeness to Pervez Musharraf and his criticism of corrupt politicians in a press conference. Deciding to leave the party he briefly led a splinter group called National Awami Party of Pakistan. His Party was routed in the 2002 general elections amidst the religio-political parties alliance, Muttahida Majlis-e-Amal (MMA), sweep of Khyber-Pakhtunkhwa. After the shock victory of the MMA, he rejoined the Awami National Party after efforts by Khan Wali Khan. He retired from active politics in 2003 and was given the title of party patron in Chief.

Death
Khattak died at a local hospital in Peshawar on Sunday, 7 February 2010. He was 85. He had left politics years earlier and had been residing at his native village, Akora Khattak. He was laid to rest a day after his death. On 12 May 2012, Khattak's shrine was blown up by unknown militants in Akora Khattak village.

title: Ajmal Khattak


text:
Mount Carmel, Ontario

Mount Carmel, Ontario, may refer to:

 * Mount Carmel, Prince Edward County, Ontario, Prince Edward County, Ontario
 * Mount Carmel, Essex County, Ontario, Essex County, Ontario
 * Mount Carmel, Haldimand County, Ontario
 * Mount Carmel, Middlesex County, Ontario

title: Mount Carmel, Ontario


text:
User talk:Taradacktyl

Welcome
Welcome to Wikipedia , I hope you will like it here and decide to stay.

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Johann Wolfgang [ T ... C ]

17:24, 2 October 2005 (UTC)

title: User talk:Taradacktyl


text:
User talk:Panda cheung17

Welcome
Welcome to Wikipedia , I hope you will like it here and decide to stay.

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 * How to upload files
 * Image copyright tags

Also: To sign comments on talk pages, simply type four tildes, like this: ~~~~. This will automatically add your username and the time after your comments. Signing with three tildes ~~~ will just sign your username. I hope to see you around Wikipedia! If you have any questions, feel free to contact me on my talk page!

Johann Wolfgang [ T ... C ]

17:25, 2 October 2005 (UTC)

title: User talk:Panda cheung17