text:
Wikipedia:Articles for deletion/Clayton High School

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

The result of the debate was KEEP.  Rob e  rt  03:42, 14 October 2005 (UTC)

Clayton High School
Non notable. Gtabary 22:27, 2 October 2005 (UTC)

 * Delete. Non notable. Gtabary 22:27, 2 October 2005 (UTC)
 * Keep as per Schools - it verifiably exists.  Dl yo ns 493   Ta lk  22:52, 2 October 2005 (UTC)
 * Keep per Schools as User:Dlyons493notes, and also, Gtabary tagged it 20 minutes after the article was started, clearly labeled as a stub. Joaquin Murietta 23:01, 2 October 2005 (UTC)
 * Comment. Ok. I could not find guidelines about schools in AFD or SPEEDY. I am really happy that Schools pages exists. That's gonna save me a lot of thinking and stop me AFDing schools. Bye. Gtabary 23:32, 2 October 2005 (UTC)

I suppose : end of AFD ? Gtabary 23:32, 2 October 2005 (UTC)
 * Comment Schools is not policy. It is not even a guideline. There is no policy that everything that "verifiably exists" is suitable for Wikipedia; on the contrary, WP:NOT notes explicitly "Wikipedia is not an indiscriminate collection of items of information. That something is 100% true does not mean it is suitable for inclusion in an encyclopedia." There is no consensus about schools. Comments in this AfD should comment directly on this particular article and should give specific reasons why this particular article should or should not be deleted. Dpbsmith (talk) 23:45, 2 October 2005 (UTC)
 * Comment. Am a little confused now. To my opinion, indeed, a fantastic amount of schools article are just there because schools do exists (like the door of my house for instance, just come and verify it), not much point. Thanks for underlying this Schools page is not policy nor guideline. I was a little too enthusiastic imagining that WP had a definitive (though bad) solution to this recurrent tiring school acnea. My mistake.
 * With a school article I always imagine naively that it got written because of something worth of interest. Anythinkg like "such and such labour union got started by who and who, which is now world famous", or "this foreground scientist invented in that year the dehydrated water" or just something... Not happening often though. Maybe I should list my primary, secondary and third level schools ? Gtabary 00:14, 3 October 2005 (UTC)

 * Keep, established schools are far above the level of "indiscriminate information". Kappa 00:15, 3 October 2005 (UTC)
 * Delete another school article that would be speedied if it were about a person. Denni ☯ 01:47, 3 October 2005 (UTC)
 * But schools aren't people. They are constituted by many people, and remain in a fixed place for a substantial period of time, developing an importance to the community and history that far exceeds the capacity of one person's lifetime.  No one uses the argument that "if this village were a person..."; to make that argument of schools is comparably absurd. I still don't know if I really think they are notable, but that analogy is seriously flawed. Xoloz 06:57, 3 October 2005 (UTC)
 * It is not the slightest bit flawed. It is not the building which is so influential on the people who pass through it, it is the teachers who work within it. The school itself is just so much brick and drywall. Yet Mrs. Jones, who has been teaching thirty years, and has probably influenced over a thousand young lives, will never get an article here unless she sleeps with one of her students. I find it quite amusing how much importance you place on the role of the school in the community. As a former teacher, I can assure you that a school for most people is just a good place to leave their kids while they're at work. Most parents do not involve themselves at all in the goings-on of a school, and it is a real chore to find parents willing to come out and lend a hand. While there may be some ongoing attachment by high-school students to their alma mater, no such warm fuzzy feelings are felt by elementary school students after graduation. It was rare that I had students return to visit after they had moved on to grade seven. And even if all this was not the case, an article that says in its entirety that "XY School is in Armpit, Manitoba. It has 320 students and its colors are taupe and chartreuse" does nothing whatsoever to encapsulate the "importance to the community and history that far exceeds the capacity of one person's lifetime". In fact, it cheapens the school from a shaper of student lives to a historical post-it note. And if this is all that can be said about a school, maybe its influence really wasn't so great after all. As for the comparison of villages to people, I don't recall making that analogy, and in fact, a village is not a school. People live in villages much longer than they attend a school, and in many places in the world, they may spend their whole lives there. People also tend to participate more in village or town goings-on than they do school goings-on, even if it's nothing more than shopping and doing the laundry. Finally, I have never voted on principle against school articles. However, I expect a school article to do what every other article in Wikipedia is expected to do: say something. The vast majority of these school substubs stand open-mouthed and drooling, and should be put to a quick death before they bring on the ridicule they deserve. Denni ☯ 23:55, 4 October 2005 (UTC)
 * Keep a worthwhile article about a high school.   --rob 02:11, 3 October 2005 (UTC)
 * Delete. Generic, non-encyclopedic. Gamaliel 02:47, 3 October 2005 (UTC)
 * Keep. Let's engage in some more "concensus-building"--Nicodemus75 03:35, 3 October 2005 (UTC)
 * OK. Which wiki project is the discussion at?  AfD is not the place for the discussion.  Vegaswikian 06:48, 3 October 2005 (UTC)
 * Agreed. Continually nominating schools for AfD, which will inevitably survive the process is no way to have a "discussion"--Nicodemus75 18:59, 3 October 2005 (UTC)
 * Keep verifiable and NPOV information of a school. Reasoning at Schools/Arguments.  Need of expansion is not a valid reason to delete.   Un  focused  03:42, 3 October 2005 (UTC)
 * Expand if not Delete High School Stub --JAranda | yeah 03:45, 3 October 2005 (UTC)
 * Keep and allow to grow. 20+ school articles are added a day. We will eventually have an article on every school in the developed English speaking world. They do not get deleted. Nominating them for deletion is pointless and causes unproductive rancour so please don't nominate any more. CalJW 05:00, 3 October 2005 (UTC)
 * keep per CalJW. Xoloz 06:08, 3 October 2005 (UTC)
 * Keep, as per Schools. --Merovingian (t) (c) 06:49, 3 October 2005 (UTC)
 * Keep. Ho hum. Schools at AfD. I wonder why they bother. --Apyule 08:11, 3 October 2005 (UTC)
 * Keep. -- DS1953 14:39, 3 October 2005 (UTC)
 * Delete all public schools. Gazpacho 16:39, 3 October 2005 (UTC)
 * Keep as per Schools/Arguments. Silensor 18:41, 3 October 2005 (UTC)
 * keep please we add 20 school articles a day to wikipedia and never delete them so can we stop listing these now Yuckfoo 19:25, 3 October 2005 (UTC)
 * No, I'm afraid we can't. As long as the balance of votes runs roughly fifty-fifty in favor of/opposed to deleting schools, there is no consensus, and it behooves those who believe these articles have no place in Wikipedia to keep trying. Just because they are not deleted does not mean we are obliged to stop trying; they are not deleted because a no-consensus vote defaults to a keep. Therefore, it is much, much easier to get an article kept than it is to get one deleted. Please do not feel so morally superior because your keep votes appear to be what is saving these articles. It's not - it's how the system works that is saving them. Denni ☯ 00:01, 5 October 2005 (UTC)
 * The thing is though, the balance of votes doesn't normally end up at 50-50, it normally ends up with a fairly strong keep consensus. --Apyule 01:40, 5 October 2005 (UTC)
 * But do you consider that those that have argued for delete in the past have long ago lost interest in fighting against the 'keep at all costs' crowd? Those that condider them worthy of deletion, in general, have better things to do than fight for good school articles. What i really find amazing is that the communities that are represented in wikipedia rarely have a section on education. Those that create these stubs rarely link them to the relevant community or visa versa. If the keep crowd regard schools as the focal points of communitites why are they rarely mentioned in those articles?David D. (Talk) 03:28, 12 October 2005 (UTC)
 * Yes, I have considered it. Deletion on Wikipedia is decided by those who choose to participate.  If people don't say anything, we can't take their views into account. I can speculate that the reason that some school articles aren't well integrated into Wikipedia is that they are written by students who are new here. --Apyule 05:23, 12 October 2005 (UTC)
 * With regard to students who are new. This relates to one of the strongest argument I have seen for keeping schools (i don't remember where i first saw it now).  The argument goes that a new contributor may feel comfortable writing about their school etc. It effectively gives them an immediate niche to experiment on creating articles, investigating the world of categories and templates. Even if these early contributions are less than ideal, if these contributors become more confident and contribute to more interesting articles then wikipedia definitely wins. David D. (Talk) 05:41, 12 October 2005 (UTC)
 * Not from what I've seen, and I've voted on a lot of them. For what it's worth, Delete this schoolcruft!!! Ryan Norton T 08:37, 6 October 2005 (UTC)
 * Keep — Whomever keeps nominating these valid High School articles apparently isn't checking the results. Anyway, I vote to keep all High School and up unless non-notability is strongly demonstrated. :) — RJH 19:50, 3 October 2005 (UTC)
 * Keep as per rob. Carioca 06:39, 4 October 2005 (UTC)
 * Week keep this one, on the basis of whatlinksthere and its age, and the fact that it's a secondary school not a primary school. Some alumni would be nice though as proof that it's good. Dunc|☺ 22:14, 4 October 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


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

title: User:Bartl33


title: User:BartI33


text: User talk:70.111.171.162

title: User talk:70.111.171.162


text:
User talk:Htc06

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! →Jo urna list  >>talk<<  22:28, 2 October 2005 (UTC)
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title: User talk:Htc06


text:
Double layer

Double layer may refer to:
 * Double layer (biospecific), the surface where two different phases of matter are in contact
 * Double layer (plasma physics), a structure in a plasma and consists of two parallel layers with opposite electrical charge
 * Double layer (surface science), a structure that appears on the surface of an object when it is placed into a liquid
 * Double layer forces, which occur between charged objects across liquids
 * Double layer potential, a solution of Laplace's equation
 * Double layer suturing, two layers of sutures, first in a deep level of a tissue and then at a more superficial level
 * DVD+R DL or Double layer, a DVD format

title: Double layer


text:
Choco Orta

Choco Orta (born Virgen Milagros Orta Rodriguez on November 28, 1959) is a Latin, Tropical and Salsa singer, percussionist, dancer and actress, born in Santurce, Puerto Rico.

title: Choco Orta


text:
Antonio Capuzzi

Giuseppe Antonio Capuzzi (also Capucci; 1 August 1755 – 28 March 1818) was an Italian violinist and composer.

He studied in Venice, Italy under the direction of A. Nazari (violin) and F. G. Bertoni (composition). Beginning in 1780, he was concertmaster with the orchestra at the Teatro di S. Samuele and eventually became the orchestral director at the Teatro di S. Benedetto. After his tenure at the Teatro di S. Samuele in 1805, he became orchestral director and a professor at the Bergamo Conservatory then located at the S. Maria Maggiore.

Although popular in his day, most of his music is now forgotten. The most commonly performed piece today is his concerto for double bass. The concerto was found in the British Museum, and was dedicated to Kavalier Marcantonio Montenigo, who is assumed to have performed on that instrument. An arrangement of the second (andante) and third (rondo) movements of the concerto is also performed on tuba, euphonium, and trombone. In addition Philip Catelinet arranged all three movements of the concerto for concert band and symphony orchestra. He performed it several times during his tenure at the Carnegie Mellon University in Pittsburgh, PA. His students also performed this piece. The parts may be obtained from Barry Catelinet. Several of Capuzzi's string quintets are also performed by chamber groups.

He was also a prolific composer of ballets that took place between acts of plays and operas. The most famous ballet was La villageoise, performed in London in 1796. His other known works include 5 operas, 11 ballets, 4 violin concertos, 18 string quartets, and other chamber music.

title: Antonio Capuzzi


text:
Rob Brown (actor)

Robert Brown (born March 11, 1984) is an American actor. He is known for his roles in the films Finding Forrester (2000), Coach Carter (2005), Take the Lead (2006), and The Express: The Ernie Davis Story (2008), and for starring in the HBO series Treme (2010–13) and NBC series Blindspot (2015-2020).

Early life
Brown was born in Harlem, New York on March 11, 1984, the middle of three children. Brown's mother works as a substance abuse counselor. He was raised in Brooklyn. Brown attended Poly Prep Country Day School and Prep for Prep, where he played on the school's football team as a wide receiver. He graduated from Amherst College, where he balanced his education and acting career. Prior to being cast in Finding Forrester, Brown's only acting experience was a school play during childhood.

Career
When he turned 16, Brown auditioned for Finding Forrester, expecting to be cast as an extra. However, the film's director Gus Van Sant claimed Brown was the actor he was seeking to portray high school basketball player Jamal Wallace, and cast him in the role. Brown made his acting debut in the 2000 film, opposite Sean Connery. Brown received positive reviews in his first acting role. One critic believed Brown shone more than his veteran co-star. A film reviewer stated Brown held his own "remarkably well" alongside Connery, with a third opining the two actors had an "appealing chemistry."

In 2005, he played the role of basketball player Kenyon Stone in the drama film Coach Carter, starring Samuel L. Jackson. Reviewer A. O. Scott opined Brown had a "strong" showing in the movie. The following year, he appeared as a high school student Jason "Rock" Rockwell in the dance film Take the Lead, starring Antonio Banderas and Alfre Woodard. Brown portrayed football player Ernie Davis in The Express: The Ernie Davis Story (2008).

Brown landed his first television role as jazz musician Delmond Lambreaux on drama series Treme in 2010. He continued portraying the character until the show ended in 2013. Brown was cast in the NBC drama Blindspot (2015−20) as FBI Special Agent Edgar Reade. He appeared as Bobby in Don Jon (2013) and played the role of Bryce in Criminal Activities (2015). In 2022, Brown recurred as Maurice Ward in miniseries We Own This City.

Racial profiling lawsuit
In 2013, Brown was arrested for allegedly purchasing a watch for his mother with a "fake" credit card at Macy's in New York City. He was later released with no charges against him, due to the fact that the American Express credit card was actually his. Evidently, Macy's staff had become suspicious (possibly due to the cost of the watch, his age and/or his ethnicity) but had not taken basic steps to check the validity of the credit card with American Express or cross-check against his driving license. Subsequently, CNN reported that the actor had "reached a 'settlement in principle' in his racial profiling lawsuits against Macy's and New York, according to court documents and a statement from the retailer."

title: Rob Brown (actor)


text:
User talk:MyFavEverMeli

hey! this is MyFavEverMeli!!! this is so cool..its like haveing your own webpage! lol well lemme go but if you wanna u can e-mail me at MyFavEverMeli@aim.com! I have brown hair and blue eyes...send a pic of yourself! love you all!!! ~*~*~MyFavEverMeli~*~*~

title: User talk:MyFavEverMeli


text:
User talk:JPMcGrath

Hi! Welcome to my talk page.

If I have left a message on another talk page and you want to respond to it, then please respond on that talk page and leave me a notification here using the template. Just add to the end of this page. That way, the conversation is kept on a single page. For example:

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Regards,

John McGrath

Aspen Dental
Hello: As you are a user who has edited the Aspen Dental page in the past, I’d like to solicit your input on sections that have been added to the page that lack citation, and potentially violate neutral POV. As a COI user I’d like to avoid making edits to the page myself, and so was hoping you could take a look. Here is the discussion: Talk:Aspen Dental. Thank you. - Amanda aspendental (talk) 19:56, 8 February 2012 (UTC)

Joan Biskupic
I have put her in Category:Washington Post journalists.

I think categorizing journalists by some of their past papers is debatable, but I added her anyway. Maurreen (talk) 07:07, 6 April 2010 (UTC)

 * I don't have a strong disagreement with that, but I noted several former journalists in Category:Washington Post people, so I tried to be consistent. One solution would be to create separate "current" and "former" categories, but that might be overkill. -- JPMcGrath (talk) 07:33, 6 April 2010 (UTC)

 * I think there is potential for some "former" cats. A few weeks ago, I started a cat for former NYTers.
 * But later I saw that those are at least discouraged. Maurreen (talk) 19:41, 6 April 2010 (UTC)

 * I am happy with either. I just want it to be consistent.  -- JPMcGrath (talk) 05:23, 7 April 2010 (UTC)

 * I don't feel strongly, but do you think it would be worthwhile to start a larger discussion, maybe at Talk:Journalist, to determine which way to be consistent? Maurreen (talk) 06:21, 7 April 2010 (UTC)

 * I would think that Wikipedia talk:WikiProject Journalism would make more sense, since the issue does not really apply to the Journalism article. But then, the issue does not apply only to journalist categories.  For example, Carly Fiorina is in Category:Hewlett-Packard people, Robert Reich is in Category:Harvard University faculty, and Ozzy Osbourne is in Category:Black Sabbath members.  So maybe it would make more sense to take up the issue at WT:Categorization of people -- JPMcGrath (talk) 12:23, 7 April 2010 (UTC)

 * You are right, the discussion would be most appropriate at WT:Categorization of people. When we do it, we might also address freelancers and the like. Maurreen (talk) 06:29, 10 April 2010 (UTC)

 * I started a discussion here. Maurreen (talk) 09:01, 10 April 2010 (UTC)

Thank you
Thank you! Though in some of the pages you mention my participation is limited (or in the past in one of them). Magidin (talk) 20:13, 17 May 2010 (UTC)

 * I felt it was deserved because of the accumulation of good work across multiple articles. And it's never too late to recognize a job well done.  -- JPMcGrath (talk) 22:06, 17 May 2010 (UTC)

Request for mediation of Gun laws in the United States (by state)
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Re: Gun laws in the United States (by state)
Hello. This message is being sent to inform you that there currently is a discussion at Administrators' noticeboard/Incidents regarding an issue with which you may have been involved. Thank you. Rapier (talk) 23:47, 21 October 2010 (UTC)

Warning
Dear JPMcGrath, this message serves as a formal warning regarding your editing and talk page behavior on Gun laws in the United States (by state). As you know, you were reported to WP:ANI with accusations of tendentious editing and content warring. While I don't see much evidence for a high level of tendentious editing, it is clear that there is local consensus and you are editing against it. You are welcome to seek wider community opinion by asking for a third opinion or even a request for comment, among other various methods. The warning I am issuing you is to hopefully prevent a WP:BLOCK of your editing privilege. Please read WP:CONSENSUS and thoughtfully consider your next steps. Sincerely, Basket of Puppies  00:08, 22 October 2010 (UTC)

 * I do not believe that the charge is reasonable, and would like to respond to it. I do not see any mention of this at WP:Administrators' noticeboard/Incidents.  Where should I respond? — JPMcGrath (talk) 19:45, 24 October 2010 (UTC)

 * ANI threads are automatically archived after 24 hours of inactivity, but may be restored for further discussion. So, I've un-archived the thread, back to where it was at Administrators' noticeboard/IncidentArchive820.  Feel free to respond there.  If no one says anything for 24 hours it will be archived again. — Mudwater (Talk) 20:11, 24 October 2010 (UTC)

You have been blocked from editing for a period of 24 hours for Edit warring. Once the block has expired, you are welcome to make useful contributions. If you would like to be unblocked, you may appeal this block by adding below this notice the text, but you should read the guide to appealing blocks first. — slakr \ talk / 17:50, 4 November 2010 (UTC)

New AfD of article you have worked on
Please see Articles for deletion/United States journalism scandals (3rd nomination). BigJim707 (talk) 14:47, 7 July 2011 (UTC)

September 2011 Newsletter for WikiProject United States
--Kumioko (talk) 23:47, 5 September 2011 (UTC)

December 2011 Newsletter for WikiProject United States
--Kumioko (talk) 03:15, 13 December 2011 (UTC)

MOTD Needs You!
Hi there, JPMcGrath! Thought you might be interested in Motto of the Day, a collaborative (and totally voluntary) effort by a group of Wikipedians to create original, inspirational mottoes. Have a good motto idea? Share it here, comment on some of the mottoes there or just pass this message onto your friends.

MOTD Needs Your Help!

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ArbCom elections are now open!
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ArbCom elections are now open!
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Discussion at Wikipedia talk:WikiProject U.S. Congress
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Nomination for deletion of Template:2009 Brady Campaign State Scorecard
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title: User talk:JPMcGrath


text: User talk:72.224.238.162

title: User talk:72.224.238.162


text:
Pilot-Cosmonaut of the Russian Federation

The Honorary Title Pilot-Cosmonaut of the Russian Federation (Летчик-космонавт Российской Федерации) is a state award of the Russian Federation presented to all cosmonauts who fly for the Russian Federal Space Agency. Usually accompanying the distinction is the title of Hero of the Russian Federation, the highest title that can be awarded to a Russian for performing heroic deeds while in service of the state.

History of the title
The Honorary Title of Pilot-Cosmonaut was originally established by Decree of the Presidium of the Supreme Soviet on April 14, 1961, it was then called Pilot-Cosmonaut of the USSR (Летчик-космонавт СССР). Following the dissolution of the Soviet Union in 1991, the title was retained by the Law of the Russian Federation 2555-1 dated March 20, 1992 and the title was renamed Pilot-Cosmonaut of the Russian Federation.

Award statute
The Honorary Title "Pilot-Cosmonaut of the Russian Federation" is assigned by the president of the Russian Federation for the outstanding feat of space flight. The insignia of Pilot-Cosmonaut of the Russian Federation is worn on the right side of the chest above orders and decorations.

Award description
The Honorary Title "Pilot-Cosmonaut of the Russian Federation" is a 25mm wide by 23.8mm high convex pentagon with a gilt silver rim. In the center is an image of the terrestrial globe with the territory of the Russian Federation enamelled in blue. A gold star denotes Moscow as the point of origin of a gilt orbital path going around the globe once to reach a silver satellite at the upper left of the globe. A second orbital path, this time enamelled in red, starts at the bottom center of the globe going up in an arc narrowing along the way to reach a gilt spacecraft above the globe. Along the upper left edge of the pentagon above the globe, the gilt relief inscription "PILOT" (ЛЕТЧИК), along the upper right edge of the pentagon above the globe, the gilt relief inscription "COSMONAUT" (КОСМОНАВТ), along the bottom edge of the pentagon under the globe, the gilt inscription "RUSSIA" (РОССИИ, lit. 'of Russia'), along the left and right lower edges of the pentagon, prominent gilt laurel branches. The reverse of the insignia is plain except for the award serial number.

The insignia is secured to a standard Russian square mount by a ring through the suspension loop. The mount is covered by a silk moiré tricolour ribbon of white, blue and red.

List of recipients
The individuals listed below have all received the Honorary Title of Pilot-Cosmonaut of the Russian Federation:
 * 1) August 11, 1992, Decree no. 871 — Aleksandr Yurievich Kaleri
 * 2) February 5, 1993, Decree no. 181 — Sergei Vasilyevich Avdeev
 * 3) July 23, 1993, Decree no. 1060 — Aleksandr Fedorovich Poleshchuk
 * 4) January 14, 1994, Decree no. 154 — Vasili Vasilyevich Tsibliev
 * 5) August 18, 1994, Decree no. 1697 — Yuri Vladimirovich Usachev
 * 6) November 24, 1994, Decree no. 2107 — Yuri Ivanovich Malenchenko
 * 7) November 24, 1994, Decree no. 2107 — Talgat Amangeldyuly Musabayev
 * 8) April 10, 1995, Decree no. 338 — Elena Vladimirovna Kondakova
 * 9) September 7, 1995, Decree no. 907 — Vladimir Nikolaevich Dezhurov
 * 10) October 5, 1995 Decreo no. 1017 — Nikolai Mikhailovich Budarin
 * 11) April 1, 1996, Decree no. 447 — Yuri Pavlovich Gidzenko
 * 12) October 16, 1996, Decree no. 1443 — Yuri Ivanovich Onufrienko
 * 13) April 11, 1997, Decree no. 342 — Valeri Grigorievich Korzun
 * 14) April 10, 1998, Decree no. 370 — Aleksandr Ivanovich Lazutkin
 * 15) April 10, 1998, Decree no. 372 — Pavel Vladimirovich Vinogradov
 * 16) April 10, 1998, Decree no. 372 — Salizhan Shakirovich Sharipov
 * 17) December 25, 1998, Decree no. 1640 — Yuri Mikhailovich Baturin
 * 18) April 5, 1999, Decree no. 428 — Gennadi Ivanovich Padalka
 * 19) September 10, 1999, Decree no. 1211 — Valeri Ivanovich Tokarev
 * 20) November 9, 2000, Decree no. 1858 — Sergei Viktorovich Zalyotin
 * 21) April 9, 2001, Decree no. 408 — Boris Vladimirovich Morukov
 * 22) April 10, 2002, Decree no. 367 — Konstantin Mirovich Kozeev
 * 23) October 10, 2002, Decree no. 1145 (unpublished) — Yuri Valentinovich Lonchakov
 * 24) April 12, 2003, Decree no. 420 — Mikhail Vladislavovich Tyurin
 * 25) September 21, 2003, Decree no. 1082 — Fyodor Nikolaevich Yurchikhin
 * 26) February 4, 2004, Decree no. 140 — Sergei Yevgenyevich Treshchov
 * 27) February 23, 2005, Decree no. 206 (unpublished) — Yuri Georgiyevich Shargin
 * 28) Oleg Valeryevich Kotov
 * 29) February 5, 2009, (unpublished) — Sergey Alexandrovich Volkov
 * 30) February 5, 2009, (unpublished) — Oleg Dmitriyevich Kononenko
 * 31) April 12, 2010, Decree no. 449 — Roman Yurievich Romanenko
 * 32) October 30, 2010, Decree no. 1310 — Maksim Viktorovich Surayev
 * 33) April 12, 2011, Decree no. 432 — Oleg Ivanovich Skripochka
 * 34) April 12, 2011, Decree no. 433 — Mikhail Borisovich Korniyenko
 * 35) April 12, 2011, Decree no. 433 — Aleksandr Aleksandrovich Skvortsov
 * 36) March 3, 2012, Decree no. 270 — Dmitri Yuryevich Kondratyev
 * 37) June 25, 2012, Decree no. 904  — Andrei Ivanovich Borisenko
 * 38) June 25, 2012, Decree no. 904  — Aleksandr Mikhailovich Samokutyayev
 * 39) Awarded December 25, 2013 — Anatoli Ivanishin
 * 40) Awarded December 25, 2013 — Anton Shkaplerov
 * 41) May 28, 2014, Decree no. 374 — Oleg Novitskiy
 * 42) May 28, 2014, Decree no. 374 — Sergei Revin
 * 43) May 28, 2014, Decree no. 374 — Evgeny Tarelkin


text:
User:Vijayan

who, me?

title: User:Vijayan


text:
Talk:History of Frankfurt

Language quality
This article suffers a little from having been translated (partially? in full?) from the German Wikipedia article. I don't have time to tidy up the text, unfortunately ... just to point out the problem :-) UrsusMaximus 10:51, 5 February 2007 (UTC)

 * Yeah, that's my fault. It was translated in full from the German, but I never got around to doing a final revision for English style so it's very klunky.  — Laura Scudder ☎ 17:33, 5 February 2007 (UTC)

did some copy editingActio (talk) 06:00, 1 May 2008 (UTC)

IG Farben building: intentionally undamaged? Source?
Hi. I was interested in this, under "Post-war period": "in the IG Farben Building, intentionally left undamaged by the Allies' wartime bombardment." I had previously had the impression that wartime bombing was in general quite imprecise, and I was surprised to read that this building survived, in an area generally quite badly hit, by design rather than luck. There are all sorts of great stories about what did and didn't happen in the bombing, so in a way I'd love this to be true, but it would be great to have a reliable source for this, at which point I'd be much happier about it being in the article. Can you help please? Thanks, DBaK (talk) 20:34, 19 September 2009 (UTC)

I served as an Army General Staff captain and lived in IG Farben apartments in the IG Farben area during the occupaton years. The statement above that the buildng was "in an area generally quite badly hit" is not accurate from my personal observation. I wonder upon what the writer above bases that conclusion.CoppBob (talk) 03:41, 21 September 2009 (UTC)

 * It is not a conclusion but I got the idea from the article IG Farben Building which states "During World War II, the surrounding neighbourhood was devastated, but the building itself was left largely intact". If this is wrong then obviously you will want to correct it, with appropriate references. I hope with your local knowledge you might have a view on my actual question? That would be great, thanks and best wishes DBaK (talk) 07:13, 21 September 2009 (UTC)

Belongs to France???
Someone put in a bizarre statement:
 * Frankfurt used to be part of Germany but has in the late 19th century the French bought Frankfurt. It is still commonly thought to be in Germany even though it belongs to France.

I've taken the liberty of removing it. 140.147.236.194 (talk) 20:13, 21 May 2010 (UTC)Stephen Kosciesza

Maybe there should be a separate page for "Jewish History of Frankfurt"? It seems like the last half is more about Jews being persecuted yet prevailing than about the city itself. I understand Jews have an important role in the cities history and would expect to see statements to that affect "Rothschilds" etc. . .. Most of the history of Frankfurt is about Jews in Frankfurt and does not even link to other Wikipedia articles describing events.

The Fettmilch Rising - Wikipedia. An example is no link to this, but just a statement that people were indebted to Jews and lashed out. The tension was caused by the demand of the guilds for greater participation in urban and fiscal policies. The guilds wanted a reduction in grain prices as well as some anti-Jewish regulations, such as a limitation in the number of Jews and a 50% reduction in the interest rate that Jewish moneylenders could charge (24%). Beside the guilds, merchants and independent craftsmen supported Fettmilch in the hope of annulling their debts by restricting the number of moneylenders.

I assume the word "annulling" was used rather than "having the chance to get out of debt". — Preceding unsigned comment added by 139.139.67.69 (talk) 3/Jun/11

Synagogues
What happened to the synagogues during the Nazi era in Frankfurt? Were they burnt down on Kristallnacht? And have they been rebuilt?? 81.132.121.98 (talk) 11:50, 14 June 2013 (UTC)

Anne Frank
I have added an image of Anne Frank since her parents came from Frankfurt, and her gravestone is shown in the same section. 86.155.210.225 (talk) 16:44, 15 August 2013 (UTC)
 * I have removed it for failing WP:NFCC. Do not re-add it. Werieth (talk) 17:26, 15 August 2013 (UTC)

Timeline of Frankfurt
What is missing from the recently created city timeline article? Please add relevant content. Contributions welcome. Thank you. -- M2545 (talk) 13:36, 19 May 2015 (UTC)

title: Talk:History of Frankfurt


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Talk:Antonio Capuzzi

Untitled
Its a start... Aparently he was celebrated in his time. Hes now all but forgoten except for the concerto in f major for the double bass (i think the original was in d major, but im not sure)

 * Just did a little bit of a rewrite. It was previously just a copy and paste of the intro found in the Boosey & Hawkes edition of the concerto for DB (in other words, a copyvio). --  ßott  e   siηi  (talk) 04:19, 23 December 2006 (UTC)

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Žacléř

Žacléř (Schatzlar) is a town in Trutnov District in the Hradec Králové Region of the Czech Republic. It has about 3,100 inhabitants. The historic town centre is well preserved and is protected by law as an urban monument zone.

Administrative parts
The villages of Bobr and Prkenný Důl are administrative parts of Žacléř.

Etymology
Initially, the settlement was called Bornflos (meaning "mountain creek" in Middle High German) and Bernstadt ("Bern's town"), and Schatzlar was only the name of the local castle, but the name of the castle was eventually transferred to the whole town. The origin of the name Schatzlar is unclear. It could be derived from the German word Schatzsammler ('treasure collector') or from the Middle High German words Schatz ('tax', 'fee') and lar ('settlement'). The Czech name Žacléř is a transcription of the German name.

Geography
Žacléř is located about 10 km north of Trutnov and 50 km north of Hradec Králové. It borders Poland to the north. The eastern part of the municipal territory with the built-up area lies in the Broumov Highlands. The western part lies in the Giant Mountains and most of this territory is protected as the Krkonoše National Park. The highest point is the mountain Dvorský les at 1036 m above sea level.

History
Žacléř was founded on the Silesian trail, which was a trade route from Trutnov to Wrocław. A guarding castle for the protection of the trail was built here probably during the reign of King Ottokar II, around 1260. The first written mention of the castle is from 1334.

From 1570, hard coal was mined here and from 1670, beer was brewed here. In the 19th century, the industrialization occurred. Paper mill, glassworks, and factories for textile, ceramics and soda were founded, but almost all operation ended during the 20th century. In 1992, the coal mining ended.

During World War II, the German occupiers operated a women's subcamp of the Gross-Rosen concentration camp in the town. The prisoners were mostly of Jewish women deported from German-occupied Poland and Hungary. The camp was liberated on 8 May 1945, coincidentally the day of the end of World War II in Europe.

Economy
The ceramics factory was founded in 1878 and it is the only factory in Žacléř which has survived to this day. Since 1994, the company has been operating under the name Keramtech.

Transport
There are no major roads passing through the municipal territory. The railway that starts here is unused.

Sights
The Church of the Holy Trinity was built by Jesuits in 1677 and rebuilt in the Baroque style in 1732. The rectory next to the church is a late Baroque building from 1793.

The Žacléř Castle was originally a Gothic castle, which burned down in 1523 and was rebuilt in the Renaissance style in the 16th century. It is not accessible to the public.

There is the Mining Open-air Museum Žacléř in the former Jan Šverma Mine. It focuses on the mining equipment and history of mining in Žacléř, and on paleontological findings uncovered during mining. The history of the town and a porcelain collection are shown in the Town Museum.

Twin towns – sister cities
Žacléř is twinned with:
 * 🇩🇪 Goldkronach, Germany
 * 🇵🇱 Kowary, Poland
 * 🇵🇱 Lubawka, Poland

title: Žacléř


text: User talk:69.29.199.80

title: User talk:69.29.199.80


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True (Spandau Ballet song)

"True" is a song by English pop band Spandau Ballet, released in April 1983 as the title track and third single from their third studio album. It was written by the band's lead guitarist and principal songwriter Gary Kemp to express his feelings for Altered Images lead singer Clare Grogan. Kemp was influenced musically by songs of Marvin Gaye and Al Green he was listening to at the time, and lyrically by Green and the Beatles. "True" reached number one on the UK singles chart in April 1983 and made the top 10 in several other countries, including the US, where it became their first song to reach the Billboard Hot 100.

Kemp wanted to shift the sound of Spandau Ballet into soul and incorporated band member Steve Norman's newfound interest in the saxophone into his writing; the band also updated its look to suits for the song's music video and tour. "True" was recorded with most of the other tracks from the album at Compass Point Studios in the Bahamas. The True album was then released as "Communication", its first single, was climbing the UK Singles Chart. DJs were so enthusiastic about playing the title song that the band knew it would be their next single.

The song has since become the band's signature hit. It has been covered by Paul Anka in a swing style, and used in films such as Sixteen Candles and 50 First Dates, as well as TV series such as Modern Family. Other artists have sampled it in their own hits, including P.M. Dawn, who went to number one in the US with "Set Adrift on Memory Bliss" in 1991.

Background and writing
In 1981, Spandau Ballet guitarist/songwriter Gary Kemp met Altered Images lead singer Clare Grogan and felt an "instant connection" in part due to their conversations about writers. For his birthday that year, she gave him a copy of the novel Lolita by Vladimir Nabokov, whom they had discussed. He intended the relationship to be platonic since he already had a girlfriend, but he was also competing for her attention with two other men: actor John Gordon Sinclair, who starred with her in Gregory's Girl, and artist David Band, who had designed cover art for Altered Images; he would later do so for Spandau Ballet with the single "Communication".

Spandau Ballet's first album, Journeys to Glory, was released in 1981. It reflected their desire to represent the clientele of the trendy London nightclub the Blitz with its focus on what Kemp called "white European disco music". Their second album, Diamond, had a successful stab at funk with its lead single, "Chant No. 1 (I Don't Need This Pressure On)", but otherwise disappointed critics with its more experimental material. The poor chart performance of its next two singles, "Paint Me Down" and "She Loved Like Diamond", resulted in a remix of its more pop-sounding track "Instinction", which became a number 10 hit on the UK Singles Chart in spring 1982. That rebound brought a stark realisation for Kemp: the nightclub crowd Spandau Ballet originally catered to was no longer interested in them.

Kemp told John Wilson in a Mastertapes interview in 2013 that, because they were unable to keep the audience they initially attracted, "[t]here was a sense of, '[w]e have to move on from here,'" a desire to expand to a broader audience. This later inspired the "True" lyric "I bought a ticket to the world". He suddenly felt free to compose pop music without concern for its danceability, which allowed him to focus more on the melody. He told Creem magazine in 1984, "For the first time, I was trying to write songs that were emotional release for me—me just writing about myself and the way I felt." Kemp was primarily listening to soul artists Marvin Gaye and Al Green as he developed songs for the band's next album. His love of their music factored heavily into writing the title track, even to the point of paying tribute to Gaye on a first-name basis: "The bit that goes "Listening to Marvin all night long" was a reference to me and Steve Norman, the band's saxophonist. We were massive soul boys: we loved… The Face magazine and all that glossy stuff, so this was us taking an anti-rock stance. The inky press loved blues and reggae because they were about suffering. They didn't like soul because it was aspirational, all about dancing, wearing great clothes and having sex. They saw it as vacuous. So namechecking Marvin Gaye was a defiant statement aligning us with the London soul boy culture stretching back to mod. And I'd loved Mott the Hoople singing about T. Rex in "All the Young Dudes" so was pleased to reference another artist in a song."

Kemp wanted to write a blue-eyed soul version of what Gaye and Green performed, something "with that kind of vulnerability and atmosphere of uncertainty", with music like Green's "Let's Stay Together"  and lyrics from his own experience,  particularly with regard to his feelings for Grogan. Kemp began the music for what became "True" in mid-1982 after watching the 1970 Beatles documentary Let It Be on television; afterwards the song "Dig a Pony" stuck in his head. In a 2017 interview with The Wall Street Journal, he described how the song opens: "John Lennon sings 'I, hi-hi, hi-hi, I dig a pony.' I loved how he took that one word—'I'—and turned it into a snaking melody." Kemp took to his Eko acoustic guitar that evening wanting to avoid the dance rhythms he was used to writing and instead structured a melody around the word "I" the way Lennon had. He reworked the opening line from Green's hit, "I'm, I'm so in love with you", as "Ah ha-hah hahh-hi / I know this / much is / true-oo."

"'True' is about how difficult it is to be honest when you're trying to write a love song to someone", Kemp later admitted. "Hence: 'Why do I find it hard to write the next line?'" In his 2009 autobiography I Know This Much: From Soho to Spandau, he explained that even conveying his feelings in lyrics he "felt inhibited, shy even, so I started to write about that very thing: the fear of revealing oneself, of saying in song what was true." Of the infatuation that he was uncomfortable confessing, he later told The Daily Telegraph, "I didn't want to write it down—because there's nothing more embarrassing."

After reworking Green's opening line, Kemp decided the song would not focus so much upon what he knew was true regarding the subject as it would on the issue of how much of the truth he was going to tell. He wanted to use the song as a way to tell Grogan how he felt by choosing phrases no one else would understand  and looked through the copy of Lolita she had given him. He found the underlined phrases "pill on my tongue" and "seaside limbs", the latter of which he modified for the lyric "Take your seaside arms and write the next line / Oh, I want the truth to be known." Parsing the other selection, he thought, "'A pill dissolves, doesn't it? And the pill was trying to dissolve the nerves that I have, because I'm nervous when I'm with you or thinking about you'". He wrote the lyric "With a thrill in my head and a pill on my tongue / Dissolve the nerves that have just begun." After he had finished writing the song, he felt it was more about the process of creating something "with a blue-eyed soul feel" than it was about Grogan.

Spandau Ballet had already released two albums and several singles, but Kemp and his brother, Martin, the band's bassist, were still living with their parents. Once finished with "True", Kemp sang and played it on his guitar for Martin, who liked it and thought it was ready to record. When Gary performed it for the rest of the band, he was accompanied by an old friend from his years at Dame Alice Owen's School, pianist Jess Bailey. Kemp had discovered a Rhodes Chroma keyboard that gave him the sound he wanted, and Bailey adapted Gary's guitar chords so that he could play more than just single notes on the new polyphonic synthesiser. Kemp wrote in his autobiography that "by far the slickest musician in the band" was Steve Norman, who had played guitar on Journeys to Glory but switched to percussion instruments on Diamond. They enlisted the help of Beggar & Co as the horn section on that album for tracks such as "Chant No. 1", which inspired Norman to take up the saxophone. Kemp called it "another voice within the band" and that he "would purposely write to elevate his saxophone into its own space" by changing keys, "and that just steps it out of the track and puts it somewhere else."

Kemp wrote "True" in the key of G major with a tempo of 98 BPM and a chord progression of G, Em9, CMaj9, Bm7. The song modulates to the key of E♭ major for the sax solo, after which it returns to G Major. Norman told The Guardian in 2012 that his solo combined two takes; at the time the band began working on "True", he had been regularly listening to the Grover Washington Jr.–Bill Withers hit "Just the Two of Us", explaining, "The solo is a reply to that: at the key change things just lift off, giving the song a moment of elation." The interest in the saxophone went beyond "True" for Kemp, who recalled how, as teenagers, he and Norman had appreciated its use on hits by Smokey Robinson and Stevie Wonder and, specifically, on Evelyn "Champagne" King's "Shame". He thought the instrument epitomized soul music and should be prominently featured on the new album.

Recording
The band wanted to record at Compass Point Studios in the Bahamas because of the soul music that had been recorded there; Kemp also felt that the tropical surroundings would help give the music the feeling he was trying to achieve. They also decided to get assistance in producing what would be True from Tony Swain and Steve Jolley, who had recently worked with Bananarama and Imagination. The band appreciated the use of the synth-bass on the latter's hit single "Body Talk" so much that they had Swain play the instrument on the recording of "True" instead of having Martin Kemp play electric bass. In describing how the change lent itself to the new sound they were after, Kemp insisted, "Martin didn't mind. We all loved the synth bass's sound. It was of its time and had a disco, funk-soul feel. We were trying to rebrand ourselves in a slightly different direction."

The backing vocals for the song were recorded using a Dolby noise-reduction system, but the band decided not to use the decoder that would remove the hissing from the recording because they liked the sound of the "airy, breathy fizz on top". The result gave Kemp a sense of the success they would be enjoying: "When we listened to the playback in the studio, everyone suddenly started singing along, the road crew and everything. I think we knew then it was a number 1."

Tony Hadley's lead vocal was recorded with Steve Jolley producing at Red Bus Studios in Paddington after returning from Nassau. In his 2004 autobiography To Cut a Long Story Short, Hadley wrote, "It's quite a complicated song to sing in terms of phrasing and timing, and we soldiered on for ages before we felt we'd got it right." When asked in a 2017 Professor of Rock interview about the high note he reaches while singing, "Oh, I want the truth to be said," at the point between the sax solo and the final chorus, he responded, "I don't do that big note at the end now. I just play it down." The plan was to open the song with just a string synthesizer, but Swain was unhappy with how it sounded and came up with the idea of using the chorus for the beginning without the lead. Kemp attributed the album version's six-and-a-half-minute length to their love for the finished product with the lead vocal finally included.

Cover art
Kemp asked Band to work with Spandau Ballet on the design for the new album. Because they were both seeing their careers take off during their attempts to court Grogan, they went camping together a few times in the English Lake District as a way of escaping their success. Kemp recalled, "We first started to devise a cover together for the True album when we were up in the mountains, in one of the pubs one evening. He was drawing in his sketchbook and a dove appeared, this little dove." Band later added alongside it the outline of a man's head with a brimmed hat, which the band loved; a variation was used for the sleeve of the "True" single. His work was described as "a marker for the look of the time, a jazz-influenced style that could also be seen in an exaggerated fashion in the New Romantic look." Kemp credits him with having "the skill of coming up with simple, figurative graphics that would set a visual tone for the decade." In 2012 he told The Herald: "I felt David was tuning into something visually and graphically that was in the air anyway. But he was the first to do that. David set the tone for a certain look. A lot of people picked up on it. He was creating something new that was inspiring everyone."

Kemp was unaware of some of the fun poked at the song: "Our friendly in-house press girl, Julia Marcus, even told us that she and a friend had boldly graffitied the toilet at Camden Palace with the Spandau dove and the word True." In his autobiography Pop Stars in My Pantry: A Memoir of Pop Mags and Clubbing in the 1980s, her friend, music journalist Paul Simper, recounted that the text written under the dove actually read, "This Much Is Poo".

Release and commercial performance
When the True album was completed, the band's label, Chrysalis Records, was pleased with the results and felt it would succeed on the strength of "Gold" and the title song. The first single, "Lifeline", had been recorded at Red Bus in August 1982 and released on 24 September. It peaked at number 7 on the UK Singles Chart and made its last appearance there at the end of November. The album was completed the following month, but Kemp explained that when the next single needed to be chosen, the band's manager, Steve Dagger, "didn't want to go with a ballad next and recommended another up-tempo first. 'Communication' got the band vote. Why we didn’t go straight for 'True' or 'Gold' as the next single, I'm not sure. Maybe we felt their success would be automatic and wanted to save them for later, during the album's release."

"True" was released in early February 1983, with the album following in the UK a month later, debuting on the UK Albums Chart on 12 March, the same week "Communication" peaked at number 12. Kemp felt the success of "Communication" was hampered by the fact that "radio DJs were all playing the album track 'True' instead". Hadley recalled one instance in which Simon Bates of BBC Radio 1, having just played the album version of "True" on the air before it became a single and predicting to his listeners that it would go to number one when it did, played it again immediately. For Kemp, the decision had been made for them: "By public demand, 'True' would be our next single." Norman thought the band had a "friendly rivalry" with Duran Duran: "In the studio, we used to leave each other insulting messages, jokes and caricatures." After "True" was released in mid-April 1983, however, they left Spandau Ballet a message to let them know that they thought the song was "fantastic". Despite Kemp's feeling in the Bahamas that it would be a hit, Hadley never even thought it would be released as a single. In 2014, he said that he did not think it was their best song—he preferred 1986's "Through the Barricades"—and that he was still confused by lyrics such as "Head over heels when toe to toe", concluding "But then, I suppose, we grew up on David Bowie and Roxy Music. 'Virginia Plain'—what's that about? Half of the Bowie songs, I couldn't tell you what they're about. With 'True', you have to create the imagery for yourself." In his autobiography, regarding his initial scepticism, he admitted, "No one was more surprised than me when it went on to become our biggest hit".

The day before Spandau Ballet learned that "True" had reached number one on the UK Singles Chart at the end of April, they had heard that the single had sold over 60,000 copies in one day and that their closest competitors had only sold one-third of that. They were on tour in Sheffield when Dagger heard the announcement of their chart feat, so he called their hotel to give them the news. Kemp spoke to him, excitedly woke drummer John Keeble with whom he shared the hotel room to spread the news, and snuck into Hadley's room to spray him awake with champagne. Remembering Keeble riding a room-service trolley down the hotel corridor in celebration, Hadley conceded that they "were all in high spirits" but that the rambunctious activities seemed "slightly flat" in light of their recent success. His surprise over selecting the song as a single had given way to certainty that it would top the charts, "It had such momentum the overwhelming feeling was, how can this not be a number 1?"

Once "True" had finished its third week as the most popular song in the UK, another goal came into view: the British music chart television programme Top of the Pops would be celebrating its thousandth episode the following week, so a fourth week at number one would mean that their performance of "True" would close out the milestone show. The success of "(Keep Feeling) Fascination" by the Human League seemed like it might prevent that from happening "Their record sales were sailing neck and neck with ours, but so confident was Richard Branson, owner of the League's label Virgin, that he'd decided to throw a lavish post-show party at the Kensington Roof Gardens in honour of the history and importance of Top of the Pops; but of course, him being a publicity-loving beast, it would also elevate his own band's achievement. Tickets and invites were sent out, but come the Tuesday morning, Spandau Ballet were still residing at the top of the charts. The next day we went in and recorded the special edition, playing around a huge birthday cake. That night, poor Richard had to suffer the indignity of the entire Chrysalis company… as well as us, turning up to gloat and guzzle the Branson champagne." Dagger met with Danny Glass, the head of radio promotion at Chrysalis New York, to discuss distributing the song to stations in the US, and Glass proposed starting with those focused on the Black market so that the fact that the band were all white would initially go unnoticed and not deter the potential audience there. Adult contemporary and pop stations would be next on the list. The first chart the song appeared on in Billboard magazine, however, was the Hot 100, the US equivalent of the UK Singles Chart. "True" debuted there at the beginning of August and peaked at number 4 during its 18 weeks there. Later in the month it debuted on the magazine's Adult Contemporary chart, where it spent 22 weeks, one of them at number 1. Its eight-week run on the magazine's list of the most popular Black Singles in the US began at the end of the month and included a peak position of 76, and the mid-October edition marked the start of four weeks on the Top Tracks rock chart, where it reached number 34. In addition to its 4 weeks at number 1 on the UK Singles Chart "True" also reached the top spot on the pop charts in Canada and Ireland and made the top 10 in several other countries. It received Gold certification from the British Phonographic Industry in May 1983 for shipping a half-million units and came in at number 6 on the list of the UK's best-selling songs that year. In 2011, it received a BMI award as one of the most played songs in US history with 4 million airplays. It received Platinum certification from BPI for 600,000 units on 22 July 2022.

A new mix by Tony Swain and Gary Kemp was released in 2002 on the compilation album Reformation. In April 2008, the single celebrated its 25th anniversary, and in honour of that occasion, EMI released a brand new True EP including the original single, the new mix found on Reformation, and the remastered album version, plus live recordings of "True" and "Gold" from the last show of the group's 1983 tour at Sadler's Wells.

Critical reception
When Betty Page reviewed the True album for Record Mirror, she wrote, "Kemp proves himself a softie beyond all doubt with final track 'True', a smoochy 'I am just a poor boy' epic, hand firmly on heart." Her colleague at the magazine, Daniela Soave, was less ambiguous in her review of the single, calling it a "genuine pearl of a song that deserves to be at number one" and summarizing, "Suffice to say 'True' makes you melt. Sentimental but not slushy, warm but not stifling, Spandau Ballet have hit the nail well and truly on the head and got it absolutely right."

A few of the retrospective reviews were complimentary. In 2009, Tim Rice wrote in The Spectator that the song was "a giant of its time and remains a standard today". In 2015, Peter Larsen wrote for The Orange County Register that the band's formula of mining "a vein of soulfulness tinged with nostalgia and romance" had "reached perfection" on the track, describing it as "the one Spandau Ballet song everyone knows ... It's truly a perfect song, as moving today as ever it was." Ian Gittins of The Guardian gave it as an example of the band's "slick, chart-friendly shoulder-heaving soul", calling "True" a "juggernaut power ballad". Stewart Mason of AllMusic mixed in negative comments in an otherwise positive review: "Tony Hadley's tendency towards vocal histrionics is kept in check here, except for the elongated fade-out where his familiar keening is finally let loose; for the first three or four minutes, however, he delivers the most nuanced and emotional performance of his career. Similarly, Steve Norman's saxophone is finally, for almost the only time in the band's entire career, put to good use on his melodic and well-placed solo. "True" is complete chart fodder, of course, but it's really, really good chart fodder."

Some critics showed complete disdain for the song, including different writers for The Guardian. In dismissing Spandau Ballet as "Thatcherism on vinyl", Michael Hann described "True" as "dreadful wine-bar soul". Luke Williams referred to the song as "the biggest load of musical tosh ever". In The Rolling Stone Album Guide, Paul Evans complained that "Kemp, with 'Gold' and 'True', provided Hadley perfect songs for hamming it up: lush MOR that would've been clever if it had been intended ironically."

Music video and tour fashion
When Spandau Ballet were filmed for the "Lifeline" music video, Kemp acknowledged that the clothes they wore were "drab" and that the shift to pop left them "caught in a moment of not knowing what to wear". With an upcoming tour of Europe they felt they needed to update their style and met with an old friend from Soho, Chris Sullivan, for guidance since they felt out of touch with the latest trends. They wanted uniformity and decided on suits since no one else was wearing them at the time. Sullivan presented them with sketches of his ideas, and Kemp described the look they settled on and its lasting impact on their image: "He'd come up with the idea of the gambling gunslinger, a sort of Wyatt Earp meets City Boy; five Wild West-enders. And in good cowboy fashion, it was to brand us forever."

The band wore a variation of this look for the "True" video and had only their instruments with them on an otherwise bare soundstage. The original video incorporated a series of scenes filmed in black and white involving a young man who evolves from anguish as he roams city streets to jubilation as he is joined by animation renderings of the man and the dove from the album cover. Dominic Anciano did the animation, which the band did not like and decided not to use. When Kemp spoke to Creem magazine in 1984, he summarized the version that only showed the band, saying, "I didn't want to dictate what [the video] should be like. I'm sure when people hear that record they've got their own idea of what it means and what it looks like. So we just performed it and lit it well—shooting light through water and broken glass—and it worked." Although Kemp is not credited with playing piano on the song, he is shown doing so in the video, and brother Martin is shown playing guitar even though he had been replaced by Swain on the synth-bass for the studio recording.

"True" was listed on MTV's reports to Billboard indicating what videos were in rotation on the cable network, making its first appearance there in the 9 July 1983 issue, which indicated that it had been added to their playlist as of 29 June.

Aftermath
"Gold", the next single released from the True album, entered the UK Singles Chart in August 1983 to begin a nine-week run, reaching number 2. But while it also made the top 10 on the pop charts in several countries its number 29 showing in the US was the first signal to Kemp that Chrysalis America was not promoting them. "Communication" only reached number 59 in the US in 1984, and "Only When You Leave", the first single from their next album, Parade, became their last Hot 100 entry when it peaked at number 34 later that year. Kemp was unhappy with their performances as well and blamed the low numbers on a perceived conflict between Chrysalis founders Chris Wright and Terry Ellis distracting them from promotional efforts. Wright refused to license the band to a bigger label in the US, so they sought legal advice to get out of their contract. The disappointing chart performance in the US led Spandau Ballet to leave Chrysalis for CBS Records, which released their Parade follow-up, Through the Barricades, in 1986. Hadley felt that the band's inability to sustain the interest of the American public resulted from a few other factors working against them, primarily that their big US hit was very different to what they had already succeeded with elsewhere. Kemp had said in an interview before "Gold"'s US release that he hoped it would give Americans a more balanced view of Spandau Ballet. Although some American concert attendees knew their old songs, he hoped their upcoming US tour would show the rest who came that "True" was not the sort of song they normally did.

In retrospect, however, Hadley felt they needed to spend several months touring the US so that more audiences could hear that back catalogue and not doing so also hurt their record sales there. They played "True" at the 1985 Live Aid concert, but instead of using their brief time on stage to showcase one of their earlier hits, Dagger wanted them to play "Virgin" from their upcoming Through the Barricades album, which even Kemp admitted was not a good idea. Hadley felt Dagger was inexperienced, but whenever he suggested getting a manager with more knowledge about the business, the rest of the band balked. Kemp told Creem in 1984 that he would continue to write for the larger audience Spandau Ballet had acquired with "True" but it would not be making albums that sounded like the last just because it did well. But, just as he had developed writer's block in 1981 after "Chant No. 1" became their highest-charting single, having a UK number 1 put pressure on Kemp to churn out more chart-topping hits and left him feeling that the band would always judge his future output against "True". When the Through the Barricades album and its singles failed to chart in the US, Kemp chided himself for exploring so many genres and not simply trying to write more hit songs that were imitations of "True".

Legacy
In 1984 writer-director John Hughes featured Spandau Ballet's recording of "True" in the school dance scene in Sixteen Candles, and his selection elicited responses decades later. In 2009 LA Weekly's Art Tavana noted that when it was used in that particular moment, the song "crossed over into the permanent teenage scrapbook". Also in 2009 Todd Martens of the Los Angeles Times described the emotion created by playing the song over the scene as "Totally crazy this-is-the-end-of-the-world heartache". Julian Kimble of the Washington City Paper wrote in 2014 that its inclusion "made Spandau Ballet's imprint on popular culture permanent" and that the song "adopted new significance, especially among suburban teens".

The 2009 episode of Modern Family titled "Great Expectations" featured Edward Norton playing fictional Spandau Ballet bassist Izzy LaFontaine and beginning a performance of the song, which is then followed by part of the original recording.

"Set Adrift on Memory Bliss" by P.M. Dawn, a duo of brothers Jarrett and Attrell Cordes, prominently sampled "True" and went to number 1 on the Billboard Hot 100 in November 1991. They had heard "True" in the studio where they were working on their debut album, and Attrell, known on stage as Prince Be, thought it was "so beautiful". He said, "I wanted Prince Be's version. I basically reincarnated the spirit of 'True' for me. I reshaped it as if I wrote it myself." Kemp received a writing credit with Prince Be for "Set Adrift on Memory Bliss", and Hadley appeared briefly in the music video. The duo's hit also went to number 1 on New Zealand's pop chart and made the top 10 in several countries. Kemp also received songwriting credit when "True" was sampled on the 2007 hit "You" by Lloyd that featured Lil Wayne and peaked at number 9 on the Hot 100. The Professor of Rock surprised Hadley in the 2017 interview by pointing out that the Backstreet Boys' "I Want It That Way" lifts the piano section at the end of "True"'s sax solo for the melody line of its chorus.

In 2015, "True" was voted by the British public as the nation's 10th-favourite 1980s number 1 in an ITV poll; NPR characterised it as a "karaoke staple". Other surveys were not favourable: Billboard selected "True" as one of the "Most Overplayed Songs in Movies", NME included the line "I bought a ticket to the world but now I've come back again" in their list of the "50 worst pop lyrics of all time", and it also made the Houston Press's list of "10 Songs We Never, Ever Want to Hear Again, Ever". Sean Daly of the St. Petersburg Times named "True" the worst song of all time, while Seattle Post-Intelligencer columnist Robert Jamieson selected it as the worst ever love song.

Kemp did find one famous fan: "I remember when I did The Bodyguard, Kevin Costner said to me, 'You know, that song belongs to me and my wife.' And I thought, wow, I thought it belonged to my plumber and his wife… Anyway, it didn't keep [the Costners] together, did it?"

Cover versions
will.i.am and Fergie of the American pop-rap act The Black Eyed Peas covered "True" for the 2004 Adam Sandler–Drew Barrymore film 50 First Dates. Matthew Sheby of Soundtrack.net liked their hip-hop version, and Spence D of IGN thought it was a "pretty true rendition". American indie rock singer-songwriter Cary Brothers recorded it for the 2005 superhero comedy film Sky High and received differing opinions. Soundtrack.Net's Brian McVickar thought it was "certainly a winner among this [soundtrack] collection", while Heather Phares of AllMusic only found it "blandly pleasant".

Canadian-born American singer Paul Anka released a version of the song in 2005 on his album Rock Swings, with most critics noting that his cover was one of the better songs included. Michael Fremer of Analog Planet speculated that the arrangement was inspired by "Li'l Darlin'" and felt that it "gives the melancholic song a sophisticated lilt, over which Anka sells the lyrics with a powerful, assertive reading. If you didn't know the original, you'd think the tune was originally written for big band treatment." Jazz Times's Christopher Loudon wrote, "When Rock Swings is good, it’s very good – most notably on introspective ballads like Spandau Ballet’s 'True'." John Kappes of The Plain Dealer explained, "Some of the material works as well as you might think; Spandau Ballet's 'True' was, after all, an easy-listening track waiting to happen from the start." The Village Voice's Franklin Bruno, however, felt that the album's "several attempts to negotiate impressionistic lyrics (Spandau Ballet's 'True,' Billy Idol's 'Eyes Without a Face') as though they possessed narrative content are comically misguided." Upon confessing that he had heard the Anka version, Hadley chuckled, "It was a bit strange ," and admitted to performing the song with a swing orchestra. He could only concede, "It kind of works. It's very unusual. I think when people wanna hear me sing it, they wanna hear me sing the straight version."

Formats and track listings

 * UK 7-inch single
 * 1) "True" – 5:40
 * 2) "Lifeline (Edited Remix for USA)" – 3:34
 * US 7-inch single
 * 1) "True" – 5:40
 * 2) "Gently" – 4:01

 * 12-inch single
 * 1) "True" – 6:30
 * 2) "Lifeline (Remix for USA)" – 5:15
 * 3) "Lifeline (A Capella)" – 2:01

 * 1991 CD single
 * 1) "True (Edit)" – 5:36
 * 2) "Lifeline (Edited Remix)" – 3:39
 * 3) "Heaven is a Secret" – 4:24
 * 4) "Pleasure" – 3:30

Personnel
Credits adapted from the liner notes for True:

Spandau Ballet
 * Tony Hadley – lead vocals
 * Gary Kemp – guitar and backing vocals
 * Martin Kemp – bass
 * Steve Norman – saxophone and percussion
 * John Keeble – drums

Additional musician
 * Jess Bailey – keyboards

Production
 * Tony Swain – producer, engineer
 * Steve Jolley – producer
 * Spandau Ballet – producers
 * Richard Lengyel – engineering assistance
 * Tim Young – mastering
 * David Band – art direction, illustration
 * Stephen Horsfall – typography
 * Mixed at Red Bus Studios (London)
 * Mastered at CBS Studios (London)

title: True (Spandau Ballet song)


text:
Podunk

The terms podunk and Podunk Hollow in American English denote or describe an insignificant, out-of-the-way, or even completely fictitious town. These terms are often used in the upper case as a placeholder name, to indicate "insignificance" and "lack of importance".

Etymology
The word podunk is of Algonquian origin. It denoted both the Podunk people and marshy locations, particularly the people's winter village site on the border of present-day East Hartford and South Windsor, Connecticut. Podunk was first defined in an American national dictionary in 1934, as an imaginary small town considered typical of placid dullness and lack of contact with the progress of the world.

The earliest citation in the Dictionary of American Regional English is from Samuel Griswold Goodrich's 1840 book The Politician of Podunk:

"Solomon Waxtend was a shoemaker of Podunk, a small village of New York some forty years ago."

The book portrays Waxtend as being drawn by his interest in public affairs into becoming a representative in the General Assembly, finding himself unsuited to the role, and returning to his trade. It is unclear whether the author intended to evoke more than the place near Ulysses, New York by the name "Podunk". Possibly the term was meant to exemplify "plain, honest people", as opposed to more sophisticated people with questionable values. An 1875 description said:

"Sometimes the newest State, or the youngest county or town of a State is nicknamed "Old Podunk," or whatever it may be, by its affectionate inhabitants, as though their home was an ancient figure in national history."

In American discourse, the term podunk came into general colloquial use through the wide national readership of the "Letters from Podunk" of 1846, in the Daily National Pilot of Buffalo, New York. These represented "Podunk" as a real place but one insignificant and out of the way. The term gained currency as standing for a fictional place. For instance, in 1869, Mark Twain wrote the article "Mr. Beecher and the Clergy," defending his friend Thomas K. Beecher, whose preaching had come under criticism. In it, he said:

"They even know it in Podunk, wherever that may be. It excited a two-line paragraph there."

At the time, he was living in Buffalo, moving to Hartford, Connecticut in 1871, in a home within 4 mi of the Podunk River. Elmira, where Twain had lived earlier, is within 30 mi of Podunk, New York, so it is not clear to which village Twain was referring.

Places named Podunk
The United States Board on Geographic Names lists places named "Podunk":
 * Podunk, Connecticut, an area of the town of Guilford in New Haven County
 * Podunk, New York, a hamlet in the town of Ulysses in Tompkins County
 * Podunk, Vermont, an area of the town of Wardsboro in Windham County
 * Three places, over 100 mi apart, in Michigan:
 * Podunk, Michigan, a community on Podunk Lake in Barry County
 * Podunk, Michigan, a crossroads in Gladwin County
 * Podunk, Michigan, an alternative name for Rogers City, MI in Presque Isle County, Michigan
 * Podunk, Michigan, the south eastern portion of the Village of Manchester, Michigan centered on the current village offices, formal before consolidation with the western portion "Manchester" changed in attempts to improve community image, the concurrent USPS designation of the Village of Manchester, Michigan zip code 48158. Washtenaw County, Michigan

Other areas known as Podunk include:
 * An area of East Hartford, Connecticut in the Podunk River basin including Vinton's Pond
 * An area, now a ghost town, 11 mi south of Shattuck, Oklahoma in Ellis County
 * An area in Dixie National Forest containing a guard station known as the Podunk Guard Station
 * Within Worcester County, Massachusetts (and involving three New England towns, each adjacent to at least one of the other two):
 * Podunk, an unincorporated area in East Brookfield, according to The Straight Dope
 * The Podunk Pike, which runs from Sturbridge, north through East Brookfield, and into Spencer
 * An area of northwestern Rhode Island 3 mi WNW of Pascoag
 * There is a “Potunk” Lane in Westhampton Beach, New York, of the same Algonquin origin.
 * An alternative spelling; "Podonque" is found as a name on a road leading into a settlement area (intersection of County roads 23 and 243) which is still sparsely populated, believed to having been established in the 1800s as: Podonque, Town of Rushford, New York, Allegany County, NY
 * An area near the Erie Canal lift bridge in Holley, New York
 * A lake in Franklin County, Maine.
 * Podunk, Wisconsin, a now defunct town containing a sizable Bradner, Charnley & Co. logging camp, in Door County, Wisconsin

title: Podunk


text:
Mother and the Addicts

Mother and The Addicts were a Glasgow-based band signed to Chemikal Underground Records, who formed in 2003. They have released two albums.

History
Originally inspired by bands like Dr. Feelgood and The Modern Lovers, their later material gives a heady nod in the direction of Krautrock and sees an increasing complexity in their music combining elements of funk and rock and roll. Mother and the Addicts released their debut single "Who Art You Girls?" in December 2004, followed by "Oh yeah, You Look Quite Nice" in July 2005 and their debut album, Take The Lovers Home Tonight in August 2005. Their next single a double a side "Watch the Lines/Are Other?" was released in August 2007.

The band have toured extensively along with the likes of Sons and Daughters and the 1990s. Though meeting at the Glasgow School of Art only two of the original members, Douglas Morland and Kendall Koppe attended. All of the current lineup come from Glasgow with the exception of Mother who was brought up in the Orkney Islands. Kendall Koppe left the band in 2005 to pursue a career in photography. Through 2006 the band played a handful of shows including the Indian Summer Festival and the GSA degree show as a four-piece. During this period Mother wrote the majority of the material for Science Fiction Illustrated, and the album was recorded over the winter and completed in January 2007. They have been actively touring since May 2007 being joined live by Timothy Dyer on Keyboards and samples.

Musical style
The band's sound includes elements of "white funk", disco, krautrock and pub rock, and has seen them compared to the likes of Franz Ferdinand, Dr. Feelgood, The Violent Femmes, and Roxy Music, while Mother's songwriting and singing have been compared to Mark E. Smith and Jarvis Cocker.

Break up
On 17 July 2008, the band announced on their website that they had disbanded. The following message was posted: "A quiet front has existed for some time now but the group have now disbanded, da da for now. Who knows what tomorrow might bring?"

Guitarist Douglas Morland has gigged with Glasgow-based Big Ned and with The Leather Corridor. In September 2009 he released a solo 10" EP on the Glasgow label Optimo Music as Older Lover and contiunes to record music under that moniker. Former Mother Sam Smith works as a producer and engineer, with projects including Alasdair Roberts's 2009 album Spoils for Drag City and Remember Remember's debut album for Rock Action. He is one of the directors of The Green Door Studio.

Ian Cronan and Peter Vallely formed and are running Glasgow Badges, a company which produces button badges and screen printed clothing.

Singles

 * "Who Art You Girls?" (2004)
 * "Oh Yeah, You Look Quite Nice" (2005)
 * "Watch The Lines"/"Are Other?" (2007)
 * "Attraction"/"So Tough" (2007) promo

Albums

 * Take The Lovers Home Tonight (2005) Chemikal Underground
 * Science Fiction Illustrated (2007) Chemikal Underground

title: Mother and the Addicts


text: User talk:69.86.183.77

title: User talk:69.86.183.77


text:
Saponi

The Saponi are a Native American tribe historically based in the Piedmont of North Carolina and Virginia. They spoke a Siouan language, related to the languages of the Tutelo, Biloxi, and Ofo.

They were part of the Monacan confederacies. Saponi, Tutelo, and Yesang were collectively called the Nahyssan. The Cayuga adopted the Saponi into the League of the Haudenosaunee in 1753, and some Saponi descendants are part of the Cayuga Nation.

Name
The origin and meaning of Saponi, sometimes spelled Sappony, is debated. American anthropologist John Reed Swanton wrote that Saponi was "a corruption of Monasiccapano or Monasukapanough." He wrote the name came from moni-seep meaning "shallow water." University of Kansas linguist Robert L. Rankin also suggested that their name derived from sa:p moni meaning "shallow water" or sa:p oni: meaning "shallow tree."

Ethnographer James Mooney suggested the word might come from the Siouan term sapa meaning "black."

German explorer John Lederer suggested their name came from Sepy, a female immortal in their religion. He wrote that either four tribes or clans were named for this spirit and three other closely related female spirits from whom the Saponi believed they descended. Evidence came from a short list of names given by the missionary Samuel Kirkland.

Language
The Saponi language, now extinct, was a Siouan language, closely related to Tutelo.

The Saponi dialect is known from only two sources. One is a word list of 46 terms and phrases recorded by John Fontaine at Fort Christanna in 1716. This contains a number of items showing it to be virtually the same language as recorded by Hale. The other source is William Byrd II's History of the Dividing Line betwixt Virginia and North Carolina (1728), in which he recorded the names of some local creeks. Byrd's scant list has been found to have included several names from unrelated Indian tribes.

By the time linguistic data was recorded, many related eastern Siouan tribes had settled together at Fort Christanna in Brunswick County, Virginia, where the colonists sometimes referred to them as the Christanna Indians. In 1870, philologist Horatio Hale recorded an elder Nikonha's information about the Tutelo language in Brantford, Ontario.

Territory
At the time of European contact up to the early 18th century, the Saponi lived in present-day Virginia and North Carolina. Their settlements extended into the New River in West Virginia. In the 17th and 18th centuries, some Saponi settled along the Roanoke River, its tributary the Staunton River, and the Yadkin River. Lands in the Virginia Piedmont were dominated by oak, hickory, and pine forests. In the mid-18th century, most surviving Saponi migrated to Pennsylvania and New York.

Their primary town was called Saponi. In 1670 Lederer visited their nearby settlement, Pintahae, near present-day Lynchburg, Virginia.

Culture
The Saponi were an Eastern Siouan people with a matrilineal society. They had settled villages and built houses of post-and-pole frames with central hearths. In the 17th century, men wore breechclouts and women wore deerhide aprons. Important leaders, such as medicine men, wore feather cloaks. British explorer John Lawson wrote that the Saponi were governed by a headman, an elders' council, and, when necessary, a war chief.

Historically, Saponi people hunted deer, bear, beaver, squirrel, turkey, and other fowl. They may have hunted woodland bison and elk. They fished in rivers and the Atlantic Ocean. They farmed maize, beans, and squash and harvested wild plants including various nuts, berries, and stone fruits. Chiefs used staffs of hickory wood.

17th century
In 1600, James Mooney estimated there were 2,700 Saponi. English explorer Edward Bland wrote in 1650 about the "Occononacheans and Nessoneicks" living on Roanoke River. The "Nessoneicks" were Saponi. In 1670, John Lederer visited what he described as "Sapon, a Village of the Nahyssans," who were the Saponi. Lederer wrote about the Saponi: "The nation is governed by an absolute Moarch; the People of a high stature, warlike and rich."

In 1671 Thomas Batts and Robert Fallam led an expedition that passed through several Saponi villages. After their visit, the Saponi and Tutelo moved downriver and settled with Occaneechi people. Nathanial Bacon led an attack against the tribes in 1676. This move was likely to avoid increasing attacks from Haudenosaunee people.

Nearly decimated, the Saponi relocated to three islands at the confluence of the Dan and Staunton rivers in Clarksville with their allies, the Occaneechi, Tutelo, and Nahyssans.

In 1677, the Virginia colonial government named the Saponi as tributary Indians under the colonial governor's protection.

18th century
English explorer John Lawson wrote about the Saponi in 1701. He noted they fought against the Seneca and trapped beaver for the fur trade. Shortly after his visit, the Saponi migrated to North Carolina. A band of Saponi returned to Virginia in 1708. There Occaneechi and Stukanox joined them.

By 1701, the Saponi and allied tribes, often collectively referred to as Nahyssan, Saponi, or Tutelo, had begun moving to the location of present-day Salisbury, North Carolina to gain distance from the colonial frontier. By 1711 they were just east of the Roanoke River and west of modern Windsor, North Carolina. In 1712, they asked Virginia to prohibit alcohol sales in their settlement.

In 1714, Alexander Spotswood, governor of the Colony of Virginia, resettled them in an Indian Reservation at Fort Christanna near Gholsonville, Virginia. The tribes agreed to this for protection from hostile Haudenosaunee. In 1716, the combined Saponi, Tutelo, and Manahoac population at the reservation was 200. Although in 1718 the House of Burgesses voted to abandon the fort and school, the Siouan tribes continued to stay in that area for some time. They gradually moved away in small groups over the years 1730 to 1750. One record from 1728 indicated that Colonel William Byrd II made a survey of the border between Virginia and North Carolina, guided by Ned Bearskin, a Saponi hunter. Byrd noted several abandoned fields of corn, indicating serious disturbance among the local tribes.

Hostilities between the Haudenosaunee and the Saponi and their neighbors ceased with the signing of the 1722 Treaty of Albany.

In 1740, the majority of the Saponi and Tutelo moved to Shamokin in Pennsylvania. In 1753, the Cayuga people adopted them into their nation during the Grand Council of the Haudenosaunee. In 1711 the majority of Saponi migrated with the Cayuga to near Ithaca, New York, while some remained in Pennsylvania until 1778.

A band with 28 adult Saponi remained near Granville County, North Carolina until 1755.

In 1765, Saponi settled at Tioga Point, where the Chemung River joins the Susquehanna River in north-central Pennsylvania. They also settled as Pony Hollow, just southwest of Newfield, New York, which connected to other Nahyssan and Haudenosaunee communities nearby. "Pony Hollow" is a corruption of Saponi Hollow. An estimated 30 Saponi warriors lived among these communities.

Shortly after the American Revolutionary War, Samuel Kirkland noted a community of them living near Fort Niagara who was later believed to have joined the Mohawk, whereas others continued into Canada alongside the Cayuga. Since most of the Iroquois sided with the British in the American Revolutionary War, after the victory by the United States, the Saponi and Tutelo who had joined the Iroquois were forced with them into exile in Canada. After that point, recorded history was silent about the tribe.

Americans destroyed Saponi communities in Pennsylvania and New York in 1779. In 1779, most of the Saponi were driven to Fort Niagara, where the Saponi separated from the Tutelo, who migrated north to Ontario, Canada. Those Saponi settled in Seneca County, New York in 1780. and they were forced to cede their lands to the state of New York in 1789, but some remained in the Cayuga homelands.

Distinct from the Person County Indians, a group of Saponi who remained in North Carolina merged with the Tuscarora, Meherrin, and Machapunga and migrated north into New York with them by 1802.

State-recognized tribes
North Carolina has three state-recognized tribes that identify as descendants of the historical Saponi people. None of these organizations are federally recognized as a Native American tribe.

They are:
 * 1) Haliwa-Saponi Indian Tribe, based in Halifax and Warren counties
 * 2) Occaneechi Band of the Saponi Nation, based in Mebane, North Carolina, organized in 1984 as the Eno-Occaneechi Indian Association, added Saponi to its name in 1995, state-recognized in 2002
 * 3) Sappony, based in Roxboro, North Carolina, recognized by North Carolina in 1911 as the Indians of Person County. In 2003 they changed their name to Sappony.

Unrecognized organizations
Numerous unrecognized tribes and other organizations claim Saponi ancestry. These include the Mahenips Band of the Saponi Nation of Missouri in the Ozark Hills, with headquarters in West Plains, Missouri. In 2000, the Saponi Nation of Missouri submitted a letter of intent to Petition for Federal Acknowledgement of Existence as an Indian Tribe; however, they did not follow through with submitting a petition.

Ohio is home to the second-largest population of people who claim Saponi ancestry. Ohio has no federally recognized or state-recognized tribes. Director of the Haliwa-Saponi Historic Legacy Project, Dr. Marty Richardson wrote, "A large group of Meadows Indians migrated to Ohio after 1835 and took advantage of fewer race-based restrictions." However, 1818 to 1842 marked Indian removals in Ohio. In 1998, a group called Saponi Nation of Ohio submitted a letter of intent to petition for recognition; however, they never submitted a completed petition.

title: Saponi


text:
Wikipedia talk:1984

Why isn't Big Brother Jimbo? -- Miborovsky U
 * Big Brother IS is Jimbo. -- S iva1979 Talk to me  19:58, 27 May 2006 (UTC)

 * Dam this is funny.--Planetary 18:44, 4 September 2006 (UTC)

 * Yeah, it is funny. Or it was. That's why I'm putting it back to it's former version when it was much funnier. Also, the Stalin picture is very appropriate for 1984. Dude Aronomy 06:07, 7 October 2006 (UTC)
 * This is great! --–  Emperor Walt er Humala  · ( shout! · sign? ) 00:03, 8 March 2007 (UTC)

The comparisons mentioned in here are strikingly true FinalWish 23:58, 4 October 2007 (UTC)

Not true at all! 4 = 2 + 2 12:34, 21 December 2009 (UTC)

Might catch on
We must delete this or the more oblivious members of the Proles (Anonymous Users) might find out and rebel. —Preceding unsigned comment added by Series premiere (remake) (talk • contribs) 05:01, 14 July 2008 (UTC)

Fun fact
WP:INGSOC redirects to Policies and Guidelines. It was created in 2012 and no one even noticed. CamelCase (Talk | Contribs) 07:58, 11 October 2016 (UTC)

title: Wikipedia talk:1984