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John Wright (cardinal)

John Joseph Wright (July 18, 1909 – August 10, 1979) was an American cardinal of the Roman Catholic Church. He served as Prefect of the Congregation for the Clergy from 1969 until his death, and was elevated to the cardinalate in 1969.

Early life and ordination
John Joseph Wright was born in Dorchester, Massachusetts, to John and Harriet (née Cokely) Wright. While attending Boston Latin School, he worked at the Hyde Park branch of the Boston Public Library as stack boy in the evenings and summers. He also financed his studies by working for The Boston Post.

Wright graduated from Boston College in 1931, and then entered St. John's Seminary in Brighton. At the end of his first year at St. John's, he was sent to Rome to study at the Pontifical North American College and the Pontifical Gregorian University. He was ordained to the priesthood by Francesco Cardinal Marchetti Selvaggiani on December 8, 1935, in the chapel of the North American College.

As a child he listened to World War I soldiers talking about France and became fascinated with the country. He took unpaid parish work in Scotland, England and France, where he took a parish in the Dordogne and learned the folk songs and poetry.

Professor
After his ordination he did graduate work at the Gregorian, earning his Licentiate of Sacred Theology in 1936 and his Doctorate of Sacred Theology in 1939. Wright taught philosophy and theology at his alma mater of St. John's Seminary until 1943, when he was appointed private secretary to the Cardinal William Henry O'Connell of Boston. Wright continued in this position under O'Connell's successor, future Cardinal Richard Cushing, and was raised to the rank of Monsignor on December 17, 1944.

Auxiliary bishop of Boston and Bishop of Worcester
On May 10, 1947, he was appointed Auxiliary Bishop of Boston and Titular Bishop of Aegeae. Wright received his episcopal consecration on the following June 30 from Archbishop Cushing, with Bishops Ralph Hayes and James Connelly serving as co-consecrators, in the Cathedral of the Holy Cross.

During the National Pilgrimage to Lourdes and Rome, Wright was awarded the Legion of Honour by French Foreign Minister Robert Schuman.

Wright was later named the first Bishop of Worcester on January 28, 1950. In this position, he criticized both Utopians and doom-sayers, and said that an exemplary Christian "[recognizes] the vast errors of which human nature is capable... but [knows] that grace is stronger than sin". A member of the Mariological Society of America, he hosted at Worcester the group's 1950 convention

Bishop of Pittsburgh
Wright became the eighth Bishop of Pittsburgh on January 23, 1959, and then attended the Second Vatican Council (1962–65), during which he was a decisive force behind several of its documents. Following the Council's advancements in ecumenism, he believed that an "immediate unity in good works and charity" would arise between Catholics and Protestants. In 1961, Wright opened the Bishop's Latin School as the pre-seminary high school of the diocese. It operated through 1973.

Wright was also known to promote music and culture during his time in Pittsburgh, befriending the African-American Catholic composer Mary Lou Williams, commissioning her to perform a Jazz Mass at a local Catholic school, and helping her to establish the Pittsburgh Jazz Festival.

Congregation for the Clergy
Pope Paul VI appointed Wright as the Prefect of the Congregation for the Clergy, and thus the highest-ranking American in the Roman Curia, on April 23, 1969.

Cardinal
He was created Cardinal Priest of Gesù Divin Maestro alla Pineta Sacchetti by Pope Paul in the consistory of April 28, 1969. Wright was one of the four cardinals who travelled to Auschwitz in 1972 for a memorial of Maximilian Kolbe; besides John Krol, he was the only other American cardinal to visit Poland.

Wright did not participate in the August 1978 conclave because he was recovering from surgery, but he was one of the cardinal electors in the conclave of the following October, which selected Pope John Paul II.

Death
Wright died from polymyositis in Cambridge, Massachusetts, at age 70. He is buried in Holyhood Cemetery in Brookline, Massachusetts.

Views
He was an intellectual who was liberal on social issues, but conservative in theology. He espoused civil rights and condemned the Vietnam War, but opposed ordination of women and birth control. He believed that annual Synods of Bishops would be useless and burdenful, and that seven years was the appropriate age for children to receive the Sacrament of Penance, as it might be thus able to correct sinful behavior at an early age. He also believed that Pope John Paul I would be "a witty Pontiff who delights in combining love of literature with love of the words of God."

Legacy
Pope John Paul II, five days after Wright's death, pointed to his life as "an existence which was spent totally for Christ and his Church," and that Wright was "always faithful to his motto: Resonare Christum corde Romano (Echo Christ with a Roman heart). That really sums up his whole life" as he had a "sensus Ecclesiae which was second nature to him."

Archbishop Alberto Bovone, who worked as the undersecretary of Wright, wrote of the characteristic features of his personality: strong, exuberant joviality, who gave wise and humorous contributions during meetings; saw himself as the Pope's soldier, with a combatant's temperament; an ardent and indefatigable worker, who was reluctant to rest when involved in a project; generous towards his friends and co-workers, giving them gifts as tokens of affection; love for the faith that led him to correct theological errors of the media and to be upset at theologians who superimposed their opinion over sacred doctrine, while being indulgent towards persons who admitted their mistakes.

In 1998, Wright's namesake was given to Cardinal Wright Elementary School, a Catholic elementary school formed through the merger of St. Aloysius School in Reserve Township, Most Holy Name of Jesus School in Troy Hill, and St. Peter School in the central North Side of Pittsburgh. The school was in existence until its closure in 2011, when it was merged with Northside Catholic School.

The John Cardinal Wright Award is given to those in the Pittsburgh Catholic Diocese who have made a significant contribution in fulfilling the mission of the church through working with youth and young adults.

title: John Wright (cardinal)


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title: User talk:142.103.207.10


text:
Talk:Proto-punk

The Ramones
The Ramones were said to have been a result of Protopunk. However, The Ramones were part of the original punk movement. The Sex Pistols did branch from protopunk, the Ramones were in protopunk. Also, I added that the original protopunk bands were Blondie, Patti Smith, and the Ramones at CBGBs. The New York Dolls were also part of this triplet, however, they are credit (in college music history courses) as being wave 2 punk movement bands. This is because they knew how to play their instruments before they started playing as a band.

 * if your knowledge about punk is coming from college music history classes, then your knowledge is necessarily flawed and you're wasting your money at that school. knowledge about punk (or any art/music form) can't be received

 * the ramones are generally seen as the point at which protopunk became true punk. also, all first generation punk bands were a direct result of protopunk, which is best defined as bands that were active before the term 'punk' was coined. Joeyramoney 19:32, 12 February 2006 (UTC)

 * Patti Smith, Blondie, and The Ramones are not protopunk. Smith and The Ramones, along with Hell, Suicide, and Television, are all major playors in First Wave Punk. Blondie is New Wave; I'm not even sure how you thought they were proto-punk. Quinibus

Protopunk music goes all the way back to The Who's angry instrument smashing. Several British groups, notably John's Children and The Move, were influenced by The Who and developed outrageous stage acts to compensate for their poor playing. These groups were amongst the first protopunks. At around the same time in America, groups like the MC5 developed angry, repetitive music with an anti-society message. Eventually, British protopunk and American protopunk became intertwined circa 1972, to form the basis of punk rock.

Many vastly more popular and well-known musicians emerged from protopunk groups. For instance, Marc Bolan, formerly of John's Children, invented glam rock, a theatrical variant of protopunk, and hid behind groundbreaking costumes to disguise his amateurish guitar playing. He became one of the most influential rock stars ever. The New York Dolls and other protopunks, were influenced by his music and costumes, and created an angry variant which was absorbed into the styles of garage rockers such as The Ramones.

And that's the origins of punk. Your helpful mate, Percussion

 * That's a nice history, but incomplete: you left out Lou Reed, Bowie, and Iggy Pop. Also: note, The Ramones may have sold the most t-shirts to sub-urban kids, but they aren't the only major band in the early punk movement; just the most accessible.Quinibus

I'm not sure why exactly Pere Ubu should be considered proto-punk, like the article suggests. Perhaps someone can enlighten me.Quinibus
 * Terminal Tower

Television isn't protopunk. They played with at CBGBs at the same time as the Ramones..Quinibus

Wait, why is Greenday listed as proto-punk? This is'nt right.

Green Day is not protopunk. Protopunk refers to the origins of punk in the 60s and 70s. Green Day weren't around until 89. The punk movement was well established and moving towards the mainstream by that time.

The article suggests that Eddie Cochran and Iggy Pop were both known as the "Godfather of Punk". Which is correct?
 * neither, it's Ricky Nelson —Preceding unsigned comment added by 69.125.110.223 (talk) 21:06, 15 January 2008 (UTC)

What about Neil Young? I mean Tonight's the night. On the beach. etc. — Preceding unsigned comment added by 82.194.206.52 (talk) 16:08, 25 June 2007 (UTC)

 * What "protopunk," means is subject to different interpretations. The New York scene of the 70s, though it was the first to self-consciously call itself "punk" (thanks in large part to the influence of early 70s rock critics), did not originally see itself as inventing punk (at least not pre-Punk Magazine), but rather to bring back (and update) the kind of rock & roll (already being referred to as "punk") that people were yearning for: mid 60s garage and MC5, Stooges, etc..  That is one reason why the Ramones make so many nostalgic and stylistic references to 60s rock & roll.  They were essentially an updated garage band--punk in that kind of way.

 * At first, the New York scene was only a music scene--it did not consider itself to be a completely distinct and separate subculture or lifestyle, in the way the London scene would later make obligatory in most people's minds. It had no manifestos, doctrines, no recognizable "look."  The Ramones never considered themselves part of any subculture other than just being four guys form Queens who loved rock & roll--punk in the kind of way that people such as Lester Bangs and Lenny Kaye had earlier waxed about.

 * So, deciphering exactly where protopunk ends and punk begins is highly problematic. Were the Ramones any less punk than the Sex Pistols?  Were the Stooges any less punk than the Ramones?  Were the 60s garage bands any less punk than the Stooges?  It was the 60s garage bands, after all, that (retroactively) got called punk first.  So, where do you draw the line? For most people it is CBGB's.  But, the Dictators were playing there before the Ramones, and they are usually considered protopunk, which doesn't quite make sense.  Furthermore, the New York scene was never as much of a subculture/lifestyle as people usually assume.  So, if your requirement to be considered punk is subculture/lifestyle, then you would have to discount almost all of the New York bands and artists (including the Ramones) and start with the London scene.  If your baseline is CBGB's, then you would have to re-classify The Dictators and other bands as punk, not protopunk.    If your requirement is to go along with the original definition as used in the early 70s, then you have to push the whole punk thing back to 1963, and regard certain rock & rollers form the 50s and early 60s as protopunk (i.e. Chess rockers, rockabilly, Link Wray, surf, etc.).  I think that a lot of this essentially boils down to whether you consider punk to be primarily a form of rock and roll music or as a lifestyle/subculture.  Personally, I consider it to be music first and last: as an ongoing thread in rock & roll.  The subculture stuff if OK as far as I am concerned, but you can take it or leave it.  The whole "proto" thing came about in the late 70s, so that people wouldn't confuse the then current 70s punk from the previous stuff.  But, now punk is seen as a trans-generational phenomenon, so is there any longer the need to remove anything pre-1975 from its classification? Unfortunately, wiki has no choice but to classify artists according to the current prevailing view. Garagepunk66 (talk) 04:14, 9 June 2014 (UTC)
 * @Garagepunk66 This is definitely a muddy and confusing issue. And it's something that can be observed throughout Wikipedia. A good example: Television is listed as both protopunk AND punk rock in their infobox. How can this be so? What's the logic here? Two other examples of this are The Stooges (same thing) and The Dictators' album Go Girl Crazy!. While I can see that most people generally use chronology when assessing whether or not a particular band is punk rock or protopunk (therefore, it might make sense to have the Stooges and Television fall into both since they both formed before punk rock is generally said to have started), the Dictators' album makes no sense. Since all the songs on it were recorded and released around the same time, how can it fall into BOTH genres? One would of course argue that we should follow whatever the sources say, but as you pointed out above, even they contradict each other. I think the best thing to do would be to gather some sources showing this contradiction (ie. some sources labelling 1960s garage bands as "punk", and others calling them "protopunk", etc.) and maybe bring this up on either WikiProject Punk music, or the Music genres task force so that a consensus can be reached on this, and hopefully make this grey area more clear. Johnny338 (talk) 16:37, 10 June 2014 (UTC)

The Kinks
The Kinks are often overlooked as the pioneers of punk that they really where/are. They played heavy, fast, power chord driven rock music (for the 60's at least). Just listen to "I'm Not Like Everybody Else", a song recorded in early 1966. Bands like The Who and The Ramones were huge fans of the Kinks. In the mid-late 70's they (the Kinks) got back to their hard rock/punk roots, like on the live album "One For the Road".

The Kinks have been making their way back in (and out) of the list again. There is a difference between band that are an influence on later punk and those that belong to the immediate period before. Most commentators make this distinction--Sabrebd (talk) 19:20, 26 June 2009 (UTC)

John Cale
I added a mention of Cale, as he was certainly very heavily involved in the scene. Also, someone should consider mentioning Neil Young. 124.178.105.179 14:16, 6 May 2007 (UTC)
 * Neil Young is proto-alternative (or will be, once such a category is established). He was still too much of a CSNY hippie in the 70s to be protopunk

pere ubu
chronologically, how are they protopunk if they formed in 1975, after the ramones? 24.23.97.35 00:02, 24 June 2007 (UTC)

Radio Birdman
I addded Radio Birdman to this topic. I don't mind if someone cleans up my verbiage, however it cannot be denied that they were a major influence. —Preceding unsigned comment added by Crassus cazius (talk • contribs) 00:36, 14 December 2007 (UTC)

Needs work
This could def be a good & valuable article, but it's going to take a good deal of effort. I assisted Professor Vivien Goldman with her recent courses on punk at NYU. One week we had Lenny Kaye and Seymour Stein in to talk. When we got on to the roots topic, Lenny, with Seymour agreeing, waxed eloquent on Bing Crosby. He'd just written a book about crooners. Punk, it seemed, could be expressed as "an attitude and an amplifier".

I think it would be good to break it down into the various strains, and then develop them individually. Then re-synthesize the thing as a whole. Wwwhatsup 23:11, 30 November 2007 (UTC)

I would go further and say that the 'Notable examples' section is now a joke. Perhaps it should be dispensed with and replaced with a link to List of forerunners of punk music where people can have a field day adding their favorite bands. Wwwhatsup (talk) 10:31, 6 January 2008 (UTC)

punk academia? really? well i guess if yer even gonna bother, shouldn't you at least include Third World War (band), Hawkwind, and the Pink Fairies, who countless punk bands have sited as influences, and are even listed on Wikipedia as such? seems whoever wrote this article has a problem with the limeys; all the bands listed are yankees.--12.149.100.21 (talk) 21:29, 23 June 2009 (UTC)

oops, just saw the List of forerunners of punk music...sorry about that. i even forgot to sign in, damn am i loose in the brain or what?--Almightybooblikon (talk) 21:33, 23 June 2009 (UTC)

There's not much mention of Hawkwind, which was 'the band punks were into before punks were invented'. They were totally anti-establishment, anti corporate rock and resolutely 'underground'. It was their attitude that greatly influenced many of the early punks, such as Johnny Rotten who was a mega Hawkwind fan. Also, ever heard Captain Lockheed and the Starfighters (aka Bob Calvert)? Totally punk in 1974. I think they deserve much more of a mention, even if their major influence is often overlooked by the 'mainstream'. — Preceding unsigned comment added by 81.157.183.10 (talk) 02:22, 13 November 2011 (UTC)

White Punks on Coke
Crawdaddy just revived a 1975 article on the 60's roots of punk. I guess the coke refers to Coca Cola? One good point raised is that a constant vital element of punk rock is the existence of local small record labels. Wwwhatsup (talk) 13:55, 18 January 2008 (UTC)

The Monks
What about the Monks? From their article "Because of these features, the Monks are often referenced as forerunners of the later punk movement." Unsourced, but I recall seeing a rockumentary which made the same claim. They certainly had many of the musical elements that came to define punk. Check out this video --Wormcast (talk) 18:32, 1 August 2009 (UTC)

I would consider the monks as a garage band, not a protopunk band. They might have had some influence but adding them would mean adding any garage band. --Eze226

Sub-genre
This article has a music genre infobox, but is proto-punk a sub-genre? The lead doesn't describe it as such. Garage rock and Pub rock clearly are, but it seems to be more a term to describe a range of influences, rather than a cohesive genre. Feel free to point out counter-arguments and sources here, but if there are no serious objections I will delete the box in a few days.--''' SabreBD  (talk ) 21:05, 18 November 2009 (UTC)

 * I waited nearly a month. If you object please comment and explain why.--''' SabreBD  (talk ) 20:43, 9 December 2009 (UTC)

 * Go for it. It seems to me that if a "genre" can only be defined retrospectively, as this is, it shouldn't really have a "genre" infobox.  Ghmyrtle (talk) 22:00, 9 December 2009 (UTC)

 * Since my edit was reverted I am going to give it a little more time so that editors can express views here and perhaps provide evidence over the issue of being a genre.--''' SabreBD  (talk ) 08:24, 10 December 2009 (UTC)

The Saints
No mention of the Saints, formed 1974? The Saints (band) —Preceding unsigned comment added by 86.131.163.108 (talk) 18:16, 8 December 2009 (UTC)

It would depend on what they sounded like prior to 1976, rather than simply when they were formed. Sometimes bands can be around for a while and not pick up a "punk" sound until after a certain point (e.g. The Jam, who are reported as dating back to around 1972, but are certainly never described as proto-punk. They were apparently a simple cover band for several years). I'm not sure but about the Saints, but it's certainly a possibility I suppose. Theburning25 (talk) 17:18, 19 July 2010 (UTC)

 * I believe that the Saints are usually classified as what most people define as full-fledged punk, because their first album came out in 1977 (even though the band had been around for a few years). On pg. 136 of the current edition of his book, If Your Like the Ramones..., Peter Aaron describes them and he indicates that they probably sounded very punk even before their first album, because they were completely unaware of the New York and London scenes.  He puts them in his chapter devoted to "punk" bands of the 1975-1978 era.  Keep in mind that there had been a long tradition of punky sounding bands in Australia going back to the mid-60s garage scene there.  Listen to 60s Aussie bands such as The Missing Links, the Throb, The Chimney Sweeps and you will see where The Saints probably got a lot of their influences.  Some people assume that they were just jumping onto the '77 bandwagon, when that may not have been the case at all. Garagepunk66 (talk) 03:32, 9 June 2014 (UTC)

Richard Hell
Richard Hell & the Voidoids were punk or at least new-wave, not proto-punk. In 1977 Sire Records released a promotional double 7 inch 33 1/3 RPM set with the catalog number PRO 696 labeled "NEW WAVE rock 'n' roll Get behind it before it gets past you." featuring Richard Hell & the Voidoids in the company of Dead Boys, Talking Heads, and the Saints. —Preceding unsigned comment added by 72.229.32.44 (talk) 09:44, 23 April 2010 (UTC)

New Wave was used interchangeably with punk during the 70s, there probably wasn't a single band from the first wave scene that wasn't referred to by it at least once. The Voioids were a punk band and perhaps in a chronological sense were not a "proto-punk" project, but they do have proto-punk roots through earlier bands members were involved with (such as Television). Richard Hell individually is an essential proto-punk figure, that's not's even up for debate. Theburning25 (talk) 17:10, 19 July 2010 (UTC)

Stylistic origins
hello, how do you insert a box showing the stylistic origins? and other info 188.222.41.105 (talk) 19:33, 16 October 2010 (UTC)

 * Infoboxes are for genres. The box was removed because this is not a genre. See Sub-genre above.--''' SabreBD  (talk ) 20:09, 16 October 2010 (UTC)

Foresight / Classic Rock
May I suggest that the concept of "protopunk" is a gen X construction, the result of very poor music historians attempting to understand and conceptualize all of music history relative to their own roots? I'm conceiving a music historian that sees three phases of rock music: proto-punk, punk and post-punk. Do you see where I'm going with this?

Might I suggest that acts such as MC5, The Who, The Velvet Underground and The Stooges should be given the label classic rock? I know, I know....classic rock is what your parents listened to....but my gen y years can't really hear enough of a difference in sound between The Who, The Stooges and The Rolling Stones to justify placing them in different genres. —Preceding unsigned comment added by 99.246.69.26 (talk) 21:50, 7 December 2010 (UTC)
 * Good point - the terms proto-punk, punk, and post-punk do seem to privilege punk as some kind of monolithic phenomenon. 90.224.25.46 (talk) 14:31, 30 December 2010 (UTC)

 * With all due respect, it is not up to any of our ears, whichever generation they are from, to define the definitions, that is up to the sources. I am pretty sure you would be able to find sources that calls them "classic rock", but if there are sources that defines these bands as being protopunk, then it is legitimate to include them in this genre as well, they are not mutually exclusive. --Saddhiyama (talk) 14:36, 30 December 2010 (UTC)

Your comments are I'm afraid, rather short-sighted. I myself am "Gen Y" and can certainly hear a difference in The Stooges, MC5 and the Velvet Underground vs bands like Zeppelin, Pink Floyd, Deep Purple, Queen. Of course general consensus is leaning increasingly toward your own take on "Classic Rock". Included among CR playlists now are acts like the Ramones, The Clash, Talking Heads, even 80s and early 90s Alternative bands. Classic Rock has apparently shifted from it's original purpose as a babyboomer rock retrospective, into playing anything that is slightly "old" at the moment.

The Stooges, MC5 and VU did not get the same level of radio support as their AOR peers. They did not come close to drawing the arena crowds of your typical Classic Rock band, they did not produce Mick Jagger, Robert Plant, Jim Morrisson iconic "rock stars" and generally, did not fit in with the musical landscape and culture. Iggy and Lou Reed were anti-60s, anti-hippie/flower power. It is more than simple "construction" to recognize that these bands were the early equivalent of underground rock, who very much laid the groundwork for punk. Their influence has been documented ever since those very early punk days and it isn't just a "Gen-Xer" phenomenon to cite this. Proto and early punk wasn't even a Gen-X thing. Gen-X is more popularly tied to early-90s Grunge, for fecks's sake.

Now you did mention The Who, and I will give that they are a, well, "classic" example of a Classic Rock band. There were a few acts like that who were stylistically bold enough to spill some of their influence onto punk. One major thing to distinguish the likes of The Whos from The Stooges etc, is the "cult" element. These bands seem to share a recurring theme of short-lived stints, to which their lack of success is largely attributable. They wound up with niche followings and a kind of "mythical", "what could have been" legacy. These bands were far more influential than famous. To me, actually, that's the difference between "influencing punk" and being protopunk. The Who, Kinks, Bowie, or at a stretch Alice Cooper or the Doors, are acts I would consider influential to the formation of punk, but would not call protopunk. They fit under other rock genre molds just fine, and for all intents and purposes are Classic Rockers. The "cult" acts-Stooges, MC5, VU, The Sonics, Modern Lovers, NYDs, Monks...I would consider to be protopunks, in the sense that they were actually punk before their time. They were very on the fringe, and more difficult to classify (back then). They may be from our "dad's era", but around 8 out of 10 dads of our dads were NOT listening to them. Theburning25 (talk) 15:14, 25 April 2011 (UTC)

"Classic Rock" was a term invented in the early 2000s. Before classic rock stations all that music was played Album Oriented Rock stations, a format that dates back to the early 60s. AOR stations just played good rock music and didn't care much about genre distinctions. — Preceding unsigned comment added by 72.207.27.185 (talk) 00:54, 24 July 2019 (UTC)

 * US AOR and hard rock radio stations in the late '70s and early '80s were referring to pre-'74 bands (Beatles/Stones/Doors/Floyd/etc) as classic rock; term is ancient. Footy0604 (talk) 14:48, 14 April 2023 (UTC)

Wrong link in "Wire"
Being unfamiliar with editing articles I am writing here. The link behind "Wire" leads to the article about wires ("A wire is a single, usually cylindrical, string of metal.") but not to the Band "Wire". This should be corrected. Thanks. —Preceding unsigned comment added by 192.35.17.11 (talk) 08:25, 28 January 2011 (UTC)
 * Now done - thanks for noticing! Ghmyrtle (talk) 08:27, 28 January 2011 (UTC)

The Doors???
The Doors, protopunk?? YAAACK — Preceding unsigned comment added by 74.78.154.65 (talk) 21:28, 29 July 2013 (UTC)

Sorry I'm so late, but in case anyone else is curious, the Doors are considered protopunk partly due to Jim Morrison's notorious antics (Iggy Pop has long spoken of Morrison's influence on him). Plus, songs such as "Break on Through", "Hello I Love You", and "Soul Kitchen" have an attitude and aggression that is a precursor to punk. In any case, it really can't be changed in the article unless one can provide reliable sources that outweigh the sources claiming that they are protopunk. Johnny338 (talk) 18:12, 24 May 2014 (UTC)

Factual error in opening statement/Need to add mention of certain protopunk genres in heading/Add "...some of..."

 * The opening statement errs factually when it says: "Typically, proto-punk artists were not themselves considered punk..." Knowledgeable wiki editors are aware that in the early 70s, critics called them punk.  I do not necessary suggest that the artists always used the term to describe themselves.  But, we could re-word this in a more accurate way.  The modified statement could read: "Typically, proto-punk artists are not usually themselves classified as punk..."  The improved wording shifts things to the present tense, which is more accurate.  "Classified" sounds better than "considered," here, because it is more precise and encyclopedic.   After all, people can consider artists to be punk (i.e. as an adjective) that they would not actually classify as punk (i.e. Tom Waits, for instance).  The addition of "usually" accounts for existing differences of opinion.

 * Furthermore, even though the statement is correct when it says that protopunk draws from different genres ("...it includes a wide range of musical backgrounds and styles."), it comes out sounding too general and vague and needs to be further qualified. We could mention garage rock, Detroit rock, and glam rock as particular instances form which it draws.  The modified statement could read: "...it includes a wide range of musical backgrounds and styles, such as garage rock, Detroit rock, glam rock, and others."

 * Also, the heading creates the false impression that the artists and bands listed in the paragraph are the only ones that could be considered influential, when there could be others. So we need to add that these artists are "...some of..." the ones considered influential.  There is really no fixed of set amount.  Garagepunk66 (talk) 04:24, 16 June 2014 (UTC)

 * I made the necessary changes in wording, giving the introductory statements more factual accuracy and precision. Basic meaning of content remains the same. Garagepunk66 (talk) 08:08, 24 June 2014 (UTC)
 * I don't think a list of other styles - "such as garage rock, Detroit rock, glam rock, and others" - should be included. Not all glam rock can be classed as "proto-punk".  But I'd be content to leave in "garage rock", most of which probably can be counted as "proto-punk".  Ghmyrtle (talk) 08:19, 24 June 2014 (UTC)

 * You make a good point that not everything from the various genres is considered protopunk. Perhaps we could still include Detroit and Glam, but qualify them with "certain artists," (keeping in mind how so many associate the eras of MC5/Stooges and the New York Dolls with protopunk--we just couldn't leave those periods out for particular mention).  For instance the statement could read: "...it includes a wide range of musical backgrounds and styles, such as much garage rock, as well as certain Detroit and Glam rock artists, and others."  Would that work a little better? Garagepunk66 (talk) 03:38, 26 June 2014 (UTC)
 * I don't think so. The intro is supposed to summarise the main points of the article, not to cover every detail or possibility.  Ghmyrtle (talk) 07:18, 26 June 2014 (UTC)

 * That is true. The statement, as you have re-worded it, should suffice. Garagepunk66 (talk) 07:43, 26 June 2014 (UTC)

Hyphen
The article title is Protopunk - no hyphen - but the opening sentence uses Proto-punk - with hyphen. We should be consistent. What do most sources say? Ghmyrtle (talk) 08:23, 24 June 2014 (UTC)

Proposal to rename article to Proto-punk
I propose to rename this article to Proto-punk. A simple Google search returns more results for this rendering, and a great deal of this article (including references) refer to it this way, not as "protopunk". 22:33, 18 February 2015 (UTC)

 * This seems prudent. Common use of the term by major music publications seems to include the hyphen across the board, as is evidenced by, , and urs145 (talk) 20:52, 6 August 2015 (UTC)

Los Saicos
I added this Peruvian group (Armando Pattroni) 181.67.105.19 (talk) 01:12, 10 October 2014 (UTC)

Punk rock coverage
There is a lot of punk rock-related coverage on this article but it's not even clear whether "proto-punk" has anything to do with "punk rock" (are progressive rock and progressive trance related? Not really, so you wouldn't find paragraphs in the "progressive trance" article talking about King Crimson and Jethro Tull). Some of the info about punk needs to be trimmed or moved.--Ilovetopaint (talk) 02:01, 10 June 2016 (UTC)

Peru
We have one or two editors seeking to include Peru in the infobox, as the first-named of three countries of origin of the style - presumably in recognition of Los Saicos. Is such an important claim justified? I doubt it. Views? Ghmyrtle (talk) 07:26, 18 June 2016 (UTC)

 * Ghmyrtle, the truth that if necessary, add to Saicos not as creators, but as pioneers of protopunk and add them to the article, since there are recordings, media and testimonies of great figures related to this style believe that this group, not only pioneer protopunk but also of garage rock, several years before they were developed in the United States. It 's not about recognition as you want to point out, if not locate chronologically since its formation. I agree with you that has misread the idea that actually emerged in Peru punk , something we know , did not happen , but it Saicos , has pioneered the aforementioned musical style. I reliable references that prove their veracity. Regards! Adriel ricardo morales (talk) 02:48, 24 June 2016 (UTC)

When I looked at the sources it seemed like a lot of them were talking about punk rock, not proto-punk.--Ilovetopaint (talk) 00:37, 6 July 2016 (UTC)

Article appears to be going in wrong direction and needs a lot of work
There are some issues that need to be raised here. This article is over-reliant on one brief AllMusic piece (with no named author), and, though cited, even goes to the point of copying its statements ad verbatim in the lead section, which is borders on plagiarism. The old wording (a while back) in the lead was much better. Someone removed Ghmyrtle's statement about mid-1960s garage as part of what constitutes definitions of proto-punk. If someone had just taken the time to ask him, he would have pointed out the Lester Bangs piece "Protopunk: The Garage Bands" that appeared in the Rolling Stone History of Rock & Roll (both 1980 and 1992 editions) that was dedicated to mid-60s garage bands. This Wiki article used to treat proto-punk in broader terms. While the term proto-punk is today more often used to designate the small group of bands in the early 1970s the lead refers to, it now overlooks the large number of earlier bands that the term is also applied. So, in the hierarchy of usage, it goes something like this:
 * 1) Music from approx. 1969-1974 that influenced punk movement of mid to late 70s (most common usage)
 * 2) Garage band music from approx. 1963-1968 that also had influence on later punk (second most common usage, possible original form)
 * 3) Certain music 1958-1962 (i.e. Link Wray) (distant third--may be difficult to find sources)

The third instance may prove too difficult to include, unless we can find some good sources, but the first two should be included and discussed both in the lead and body of the article. User: Ilovetopaint, what should we do about all of the "citation not mentioned in article" tags? This article needs a lot of work. Garagepunk66 (talk) 02:45, 16 October 2016 (UTC)
 * I made some modifications in the lead section. I changed the wording so that it does not quote ad verbatim.  I re-instated Ghmyrtle's wording relating to 60s garage and cited Bangs' piece in RS.  I made the statements more inclusive of the totality of protpunk.  However, the text section is going to need some work.  Garagepunk66 (talk) 03:08, 16 October 2016 (UTC)
 * Not sure, but one thing I have to remind you is to stop adding OR text like "most often used to designate". It's not supposed to be our job to figure these things out.
 * As with any article, if you can find valuable material on "proto-punk", then include it, but be careful of WP:NAMEDROP and WP:OFFTOPIC.--Ilovetopaint (talk) 03:26, 16 October 2016 (UTC)
 * Sometimes wording things gets tricky. I wouldn't say that "most often used to designate" is an original thought. It's just there to describe the prevailing view.  However, I'll admit that it sounds a bit awkward.  I will be careful.  Garagepunk66 (talk) 03:34, 16 October 2016 (UTC)

 * I went in and addressed some of the problems. I removed statements sounding synthetic or non-neutral.  I added citations in some places where they were needed.  Having addressed that, I removed the synthesis template at the top and other obsolete tags.  There are still some places (lower-down in the article) that need citations, so I left that part of the template up at the top. Garagepunk66 (talk) 04:14, 16 October 2016 (UTC)

"the prevailing view" - and you know this how? It doesn't say it in the source. When writing articles, please maintain a NPOV. Don't embellish the sources with OR.--Ilovetopaint (talk) 04:27, 21 October 2016 (UTC)

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Jazz origins
I recommend that one of proto-punk's origins be jazz. I just read Lou Reed's article here, and it quotes him as being inspired by Ornette Coleman. I suggest a similar citation be added as an edit. I'll probably do it myself eventually. If you disagree with the suggestion, then just reply back to me here. Thanks.  Lighthead  þ 21:08, 29 April 2019 (UTC)

Pink Floyd
In this article, writer Stuart Berman comments on Pink Floyd's influence on later bands - which no-one denies. An IP editor here keeps claiming that the article justifies adding Barrett-era Floyd as a "proto-punk" band. Does anyone agree, or have a view? Ghmyrtle (talk) 21:35, 18 August 2019 (UTC)

 * In interpret that the article say that early Pink Floyd can be considered a "proto-punk" band, in the way that bands such as The Rolling Stones or krautrock bands such as Can or Neu! were, they weren't proto-punk bands like MC5 or The Stooges. — Preceding unsigned comment added by 2800:200:e800:d8c:d81c:49f5:1e12:e680 (talk • contribs)

 * No, the source you cited does not fully endorse the proto-punk genre. Binksternet (talk) 00:29, 19 August 2019 (UTC)
 * And you've been genre-warring on various Pink Floyd articles for more than a year as Special:Contributions/2800:200:E800:D8C:0:0:0:0/64 from Peru. I'm quite certain you've used other IP addresses as well. You have been disruptive for too long. Binksternet (talk) 00:32, 19 August 2019 (UTC)

was or is?
i think it should be was a musical genre as no one makes proto punk songs anymore and you can't since punk existsAutograph84 (talk) 16:58, 29 October 2021 (UTC)

 * I wouldn't call proto-punk a genre but more a retroactive recognition of groups with different sounds/attitude/message that had some influence on early punk bands. Not sure there can be any proto-punk purity here. Footy0604 (talk) 14:54, 14 April 2023 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 18:40, 21 April 2023 (UTC)
 * Dave Davies.png

This article's main academic references are not about proto-punk, the only articles mentioning it are from AllMusic, anonymous original authors and random copywriters.
[|Wikipedia Reliable Sources] Says that if there's no reliable source, then it should not have an article on it. Is AllMusic even a reliable source? I cannot find the author of the Proto-punk article on it. If we strip down anything definition-wise on this article from All-Music, the absolute mention of proto-punk almost disappears. HannahCritter (talk) 00:18, 4 November 2023 (UTC)
 * You started this account today and have made only four edits to two talk pages, and you want both articles deleted? With one Google search I found several reliable sources that discuss proto-punk explicitly, including Alchemy of Punk: Transmutation, Subversion, and Poetry in Punk Avant-Gardes, Punk Rock: Music Is the Currency of Life, My So-Called Punk: Green Day, Fall Out Boy, The Distillers, Bad Religion—How Neo-Punk Stage-Dived into the Mainstream, Screaming for Change: Articulating a Unifying Philosophy of Punk Rock, Rebels Wit Attitude: Subversive Rock Humorists, and PUNK: Loud Guitars, Louder Statements. Carlstak (talk) 03:57, 4 November 2023 (UTC)
 * I have been lurking for a while.
 * my account’s age has nothing to do with what I said.
 * I do not pitch deleting both articles but rather the upbringing of sources that are unreliable. Thanks for bringing up new sources.
 * Why should we rely on the unreliable sources in the current article rather than using the excellent examples in literature that you sent?
 * I think it’s a step to the right direction if we move towards reliable sources.
 * On a personal note, Death as a band sounds pretty punk to me, what is the source that calls it proto-punk? HannahCritter (talk) 04:22, 4 November 2023 (UTC)

title: Talk:Proto-punk


text:
A Long Ride from Hell

A Long Ride from Hell (Italian: Vivo per la tua morte, lit. "I live for your death") is a 1968 Spaghetti Western film directed by Camillo Bazzoni. It is based on the novel Judas Gun by Gordon D. Shirreffs. The film was bodybuilder Steve Reeves' final film prior to his retirement. Reeves, who turned down the lead of A Fistful of Dollars financed and co-wrote the film himself upon seeing the successful box office returns of the Clint Eastwood spaghetti westerns at the time. The film did poorly and Reeves retired from filmmaking that year.

Plot
Reeves portrays cowboy Mike Sturges, who, along with his younger brother, Roy, is sentenced to Yuma Territorial Prison on a trumped-up train robbery charge. Both endure cruel treatment before Mike escapes to exact revenge on their enemies.

Cast

 * Steve Reeves - Mike Sturges
 * Wayde Preston - Marlin Mayner
 * Guido Lollobrigida - Deputy Sheriff Harry
 * Domenico Palmara - Sheriff Max Freeman
 * Silvana Venturelli - Ruth Harper
 * Giovanni Pazzafini - Bill Savage
 * Ivan Scratuglia - Roy Sturges
 * Rosalba Neri - Encarnacion
 * Spartaco Conversi - Bobcat Bates
 * Franco Balducci - Mason
 * Bruno Corazzari - Shorty
 * Franco Fantasia - Castleman
 * Aldo Sambrell - Mexican bounty hunter
 * Silvan Bacci - Felicias
 * Mario Maranzana - Naco bartender
 * Emma Baron Cerlesi - Mrs. Sturges
 * Enzo Fiermonte

Releases
Wild East originally released this in a limited edition R0 NTSC DVD in 2008. In 2011 Code Red, after settling a distribution rights dispute with Wild East, re-released the film with Wild East's special features, an interview with Mimmo Palmara and a feature with Steve Reeves. Both are out-of-print.

title: A Long Ride from Hell


text:
Wikipedia:Cleanup Taskforce/Georgia Author of the Year Award

Georgia Author of the Year Award
converted to subpage 01:40, 15 October 2005 (UTC)

Cleanup Taskforce log
Added to User:Thereverendeg/Desk (literature). -- Beland 08:01, 7 August 2005 (UTC)

Unless the authors or winners are famous enough, there should not be a link on names or poems or essays or individual works. These should all be removed. Colin Kelly and Jimmy Carter were left linked as these are well known Atlanta authors and poet. The second Jimmy Carter, not sure if this is President Carter? -- WayneRay 10:49, 8 August 2005 (UTC)

 * If this is an annual award then why is this article only on one year's results? RJFJR 00:01, 15 October 2005 (UTC)

The details are now at Georgia Author of the Year Award 2004 and the general award is at Georgia Author of the Year Award. RJFJR 13:28, 21 June 2006 (UTC)

 * There currently aren't articles for any of the other years.
 * The main article is a stub.
 * The 2004 article needs some cleanup.

Closing. RJFJR 00:35, 5 July 2006 (UTC)


text:
Talk:List of awards presented by the governor general of Canada

Untitled
I think perhaps some of these awards are not appropriate for this page. For example the Governor General does not distribute the Royal Victorian Medal, it is the gift of soverign for services rendered. The Governor General is the principal Dame Grand Cross of the Order of St. John but I dont think she presents the order. Dowew 01:40, 15 October 2005 (UTC)

 * Dowew, the main reason not all the entries match the scope of the article is that there are No references for this list. Until(1 == 2) 13:53, 6 July 2007 (UTC)


text:
Talk:Affine involution

Comment
Patrick restored the text I deleted with the comment: "rv deletion, not clear where info was moved to, if at all". I guess I should have clarified better why I deleted it.

But first, I would like to say that there is nothing wrong with deleting text. Actually, sometimes it is highly useful. It is like pruning a tree, you remove information sometimes which is not essential, or not well written, so that the remaining text is of overall better quality.

The section ==Affine involutions== in the article is badly written. It starts with general characerizaton of affine involutions, it goes to characterization of isometric involutions, and jumps back to the characterization of affine involutions in 3D. Three pieces of information with unclear transitions between each other, and inconsistent with the title of the section. The text starting with "The other isometries are inversion" goes into a much more level of detail than everything else in that section, which is bad style (one loses track of the overall spirit of the section when getting bogged down into details).

That is to say, this section is an amalgam of information which is correct in individual pieces, but fitting rather badly together. The only solution I was able to come of with is trim some stuff, so that what is left is better written. If you can come up with a better solution, please do so. If you fail to come up with a solution, I will trim the text again. Again, one should not sacrifice the general scructure and readability of an article for the sake of putting all kinds of true information. Oleg Alexandrov (talk) 01:40, 15 October 2005 (UTC)

 * You deleted info about an important special case. That is very inappropriate. If you think the info fits better in another existing article or in a new article than you should move it.--Patrick 11:03, 17 October 2005 (UTC)
 * I thought I made my point above. Oleg Alexandrov (talk) 11:06, 17 October 2005 (UTC)

 * You mix up two questions: whether it is useful info, and if so, where it can best be put.--Patrick 11:18, 17 October 2005 (UTC)
 * You are right of course. That's why I asked for a better arrangement above. Glad you did it eventually. Oleg Alexandrov (talk) 11:30, 17 October 2005 (UTC)

title: Talk:Affine involution


text:
Talk:Golden share

Why "golden share" in Russian?
Why do we need to know how to say "golden share" in Russian? Joseph/N328KF (Talk) 01:40, 15 October 2005 (UTC)

 * The initial article was created to explain Zolotaya Aktsiya, and later it was supplememted with Golden Share in other countries. I have zero familiarity with the subject, but I feel like you've got a point here, since Google gives only 133 hits for that. Probably it should be moved as a minor note in the paragraph about Russia, since there is a redirect(you know those newspapers starting articles with introduction to a foreign word, so just in case someone will seek explanation after reading that sort of thing)–Gnomz007(?) 04:28, 15 October 2005 (UTC)

 * Did that myself.–Gnomz007(?) 04:33, 15 October 2005 (UTC)

Commented Section
This was commented on the article page, I've moved it here: A golden share can veto all other shares and can be useful in takeover bids....Since most companies have to live with the risk of takeover bids, this seemed rather unfair... (not sure if its possible with Russian golden shares) http://www.likvidation.ru/Public/20040203134643Public.html - analisys in Russian —Cliffb 07:48, 22 November 2006 (UTC)

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title: Talk:Golden share


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The Sword of God (album)

The Sword of God is the 2001 album by the Portland indie-rock duo Quasi, released on Touch and Go Records in the United States, and Domino Recording Company in the U.K.

Critical reception
The Sword of God received mixed, but generally positive reviews. Thom Jurek of Allmusic lauded the improved musicianship, writing: "Weiss has become a stomping drummer, a poignant, ironically comedic lyricist, and a smart-assed vocalist, and Coomes has become a smoking guitar player and a proficient if not deft keyboardist."

Critics noted a marked change in sonic direction from their previous efforts, Featuring "Birds" and Field Studies, but had mixed reactions to the changes. Billboard (magazine) positively described the sound as "freewheeling" and "mangier, almost bar-band", while Pitchfork's Mat LeMay felt that "the efforts made by the band to expand their oeuvre on The Sword of God just fall flat." In contrast to those reviews, Keith Phipps of The A.V. Club criticized the lack of change: "Sword of God is fine, but it suffers from following two better albums, which it resembles too closely to avoid comparison."

Track listing
All tracks by Sam Coomes except where noted.
 * 1) "Introduction" – 0:51
 * 2) "Fuck Hollywood" – 4:47
 * 3) "It's Raining" – 3:10
 * 4) "Genetic Science" – 3:21
 * 5) "The Sword of God" – 4:55
 * 6) "A Case of No Way Out" – 4:12
 * 7) "The Curse of Having It All" (Janet Weiss) – 4:53
 * 8) "Seal the Deal" (Coomes, Weiss) – 4:16
 * 9) "From a Hole in the Ground" – 3:15
 * 10) "Little Lord Fontleroy" – 3:34
 * 11) "Goblins & Trolls" – 4:11
 * 12) "Better Luck Next Time" – 3:59
 * 13) "Nothing, Nowhere" – 3:13
 * 14) "Rock & Roll Can Never Die" – 4:18

Personnel

 * Sam Coomes – vocals, guitars, Roxichord, keyboards, liner notes
 * Janet Weiss – vocals, drums
 * Quasi – production
 * Stanley Zappa – saxophone on "Fuck Hollywood"
 * Larry Crane – assisted production on "Fuck Hollywood," "The Sword of God," and "Seal the Deal"
 * John Clark – back cover, photography
 * Neil Gust – design assistant
 * Roger Seibel – mastering

title: The Sword of God (album)


text: Category:Fort Lauderdalians

title: Category:Fort Lauderdalians


text:
File:Am ifolder.png

Summary
A screenshot of iFolder running on Mac OS X. Taken by User:AlistairMcMillan on October 15, 2005.

title: File:Am ifolder.png


text:
Hercules Unchained

Hercules Unchained (Ercole e la regina di Lidia, "Hercules and the Queen of Lydia") is a 1959 Italian-French epic fantasy feature film starring Steve Reeves and Sylva Koscina in a story about two warring brothers and Hercules' tribulations in the court of Queen Omphale. The film is the sequel to the Reeves vehicle Hercules (1958) and marks Reeves' second – and last – appearance as Hercules. The film's screenplay, loosely based upon various Greek mythology and plays by Aeschylus and Sophocles, was written by Ennio De Concini and Pietro Francisci with Francisci directing and Bruno Vailati and Ferruccio De Martino producing the film.

Plot
While travelling, Hercules is asked to intervene in a quarrel between two brothers, Eteocles and Polynices, over who should rule Thebes. Before he can complete this task, Hercules drinks from a magic spring and is hypnotized by a harem girl who dances the "Dance of Shiva", loses his memory and becomes the captive of Queen Omphale of Lydia. The Queen keeps men until she tires of them, then has them made into statues. While young Ulysses tries to help him regain his memory, Hercules' wife, Iole, finds herself in danger from Eteocles, current ruler of Thebes, who plans on throwing her to the wild beasts in his entertainment arena. Hercules slays three tigers in succession and rescues his wife, then assists the Theban army in repelling mercenary attackers hired by Polynices. The two brothers ultimately fight one another for the throne and end up killing each other; the good high priest Creon is elected by acclaim.

Cast

 * Steve Reeves as Hercules
 * Sylvia Lopez as Queen Omphale of Lydia
 * Sylva Koscina as Iole
 * Sergio Fantoni as Eteocles
 * Mimmo Palmara as Polynices
 * Gabriele Antonini as Ulysses
 * Fulvio Carrara as Castor
 * Willi Colombini as Pollux
 * Gian Paolo Rosmino as Aesculapius
 * Gino Mattera as Orpheus
 * Primo Carnera as Antaeus
 * Cesare Fantoni as King Oedipus
 * Daniele Vargas as Amphiaraus
 * Carlo D'Angelo as High Priest Creon
 * Gianni Loti as Sandone
 * Fulvia Franco as Anticlea
 * Colleen Bennett as the prima ballerina
 * Nando Cicero as Lastene

Production
The tale of Hercules and Queen Omphale is taken from the ancient Greek myth, of which there are several variations throughout history. Character names are drawn from a mixture of various Greek legends and plays, notably The Seven Against Thebes by Aeschylus and Oedipus at Colonus by Sophocles. Hercules' line "I wove the threads [of my memory] together" is a reference to his task of spinning thread and weaving with Omphale's attendants. The film is only very loosely based on the source material, randomly mixing events and featuring characterizations varying from those depicted in the sources.

Reception
Film critic Howard Hughes argues that due to a better script, "punchier action" and more convincing acting the film was "superior to its predecessor" Hercules. Concerning the cast he praises in particular the French actress Sylvia Lopez ("movingly effective") whose career ended prematurely when in 1959, soon after finishing this film, she died at the age of 26 of leukemia.

The film opened in New England on 30 June 1960 in 200 theaters grossing $500,000 in a week. The film was the third most popular movie at the British box office in 1960. In its opening in 39 theaters in the UK over the first August Bank Holiday weekend, it set 36 house records.

Legacy
Hercules Unchained has been broadcast on American television, and is available in both VHS and DVD formats. The film's Italian title means "Hercules and the Queen of Lydia". The film was also featured in an episode of Mystery Science Theater 3000.

Comic book adaption

 * Dell Four Color #1121 (August 1960)

title: Hercules Unchained


text:
Upcoming

Upcoming (formerly Upcoming.org) is a social event calendar website that launched in 2003, founded by Andy Baio.

Features
Upcoming combines features of an event calendar and a social networking site. Primarily, the site is a searchable, browseable repository of upcoming events, such as art exhibits, conferences, and music concerts. Event information is primarily contributed by the user community, although in its later years, an increasing percentage of event data originated from commercial sources. Users can indicate their plans by marking that they are "watching" or "going" to an event. Users can also establish "friend" relationships with each other and receive notifications about what their friends are attending.

The site switched to the Yahoo! user accounts system in early 2007, and changed its domain name to upcoming.yahoo.com. At the same time, the site formally changed its name from "Upcoming.org" to simply "Upcoming".

Upcoming uses iCalendar, GeoRSS, and RSS for content syndication and supports an open API for searching or submitting event data. It also uses hCalendar microformats, so that events can be downloaded directly into calendar applications.

History
On October 4, 2005, Upcoming.org was acquired by Yahoo!. In April 2013, Yahoo! announced the retirement of Upcoming.

On May 7, 2014, Andy Baio launched a Kickstarter campaign to re-launch upcoming.org independently of Yahoo!

title: Upcoming


text:
Julian Richer

Julian Richer (born 1959) is an English retail entrepreneur, philanthropist and author,    best known as the founder of Richer Sounds, the UK's largest hi-fi retailer. Richer has gained a reputation for his motivational style of management and his philanthropic and charitable activities.

According to the Sunday Times Rich List in 2019, Richer was worth £160 million.

Early life
Richer was born in St Thomas' Hospital, London in 1959. He was at UCS Junior School from 1968 to 1972 before becoming a boarder at Clifton College in Bristol between 1972 and 1977, thanks to a bequest from his grandfather. His parents both worked for Marks & Spencer before going on to work for themselves. His father, Percy, later qualified as a solicitor when he was 50.

Career
Richer's business career started at the age of 14 while he was still at school at Clifton College, Bristol, and he opened his first shop near London Bridge aged 19. This store in south London holds the Guinness record for the highest sales per square foot of any retail outlet in the world.

Richer in the past advised some organisations including Asda on staff motivation, customer service, cultural change, communications and suggestion schemes. In March 2018 Marks & Spencer announced that he was advising them on cultural change.

He was made the youngest ever Business Communicator of the Year for 1995.

He has been awarded honorary doctorates by Kingston University and Bournemouth University in 2002, University of York and Open University in 2023.

Richer was appointed as a Lieutenant of the Royal Victorian Order (LVO) in 2007.

In November 2013, Richer announced to the press that he would bequeath 100% of the firm to a trust co-owned by employees of the company. In May 2019 Richer, then aged 60, announced that he had transferred ownership to employees by passing 60% of his shares to a trust, as well as separately paying each employee, excluding directors, a thank you bonus of £1,000 for every year of work from his own pocket to his 500+ employees who had worked an average of 8 years each (circa £4 million).

In 2019, Richer was awarded the 'Outstanding Contribution to Retail' award by Retail Week magazine.

In 2020, What Hi-Fi?, the world’s #1 tech buyer’s guide, gave Richer their Outstanding Contribution award, stating “The man behind Richer Sounds, and much more, has made an undeniably positive mark on the UK hi-fi industry.”

In 2022, Richer wrote a series of 31 articles for The Sunday Times in the business section, under the title "Julian Richer Sound Advice".

Charitable interests
15% of the profits from Richer Sounds are donated to charities.

Richer has a particular interest in supporting charities involved with human rights, animal welfare, social housing deprivation and generally fighting injustice.

Richer founded ACTS435, which was launched in December 2009 by the Archbishop of York, Dr John Sentamu, who remains a patron. Acts435 connects people in need with people who can donate. ACTS435 operates from some 600 locations, mostly churches but also Citizens Advice branches and debt counselling centres. Christians Against Poverty and the Trussell Trust are key partners. Well over thirty thousand people have benefited from the charity (as of May 2021). The charity allows people to give directly to those in need. This means that 100% of funds raised by Acts435 goes to the recipients.

He founded the charity ASB Help in autumn 2013 which supports victims of anti-social behaviour. Baroness Newlove, Victims’ Commissioner, endorsed ASB Help soon after, commenting “I am delighted that ASB Help has launched this service to help equip victims in the fight against anti-social behaviour." The charity’s website provides interactive guides, practical information and the necessary tools on how to effectively report anti-social behaviour. it helps in between two and four thousand people per week.

He founded Richer Unsigned, a not-for-profit designed to promote the best undiscovered music the UK has to offer. Richer Unsigned supports and promotes musicians who may just be getting started, who have been in the industry a while or simply don't have a great label deal. It currently has over 3,000 artists featured on its website.

In 2018 he founded TaxWatch which launched in October, dedicated to the research and exposure of aggressive tax avoiding corporations. TaxWatch has been cited by several newspapers, including The Times, the Financial Times, The Guardian, The Daily Telegraph and many others as well as Parliament with regard to corporate tax avoidance, including high profile investigations into tech, media and retail companies. It was also included in International Tax Review’s 2020-2021 Global Tax 50. International Tax Review’s Global Tax 50 is an annual list of “the most influential figures and events in fiscal policy over the past year.” The list also seeks to recognise “who and what will be particularly important” in the coming year. In their article about TaxWatch ITR noted, “TaxWatch has existed for just over two years but, in that time, it has made a big name for itself.”

In November 2019 it was reported in the Sunday Telegraph that he was launching and funding the Good Business Charter to encourage businesses to improve their behaviour, which was confirmed by Carolyn Fairbairn in a speech at the CBI's annual conference the following day. It was launched on 3 February 2020. A number of notable charities, businesses and public sector organisations have signed up, including Amnesty International, Aviva, Brompton Bicycle, Capita, City of York Council, Deloitte, Ealing Borough Council, League Against Cruel Sports, Luton Borough Council, Legal & General, London City Airport, Oxfam, Shelter (charity), Soil Association, St. James's Place plc, [Trussell Trust]], Trades Union Congress, TSB Bank, University of Nottingham and the University of York

In January 2020, Richer launched Zero Hours Justice, a campaign designed to highlight the exploitative nature of zero hour contracts and ultimately, to seek a complete ban on them, when unilaterally imposed on workers. It has also fought for humane working practices around zero hours contracts, such as advocating for staff to be put on furlough while on zero hours contracts. It provides legal information and advice through a telephone helpline, email and website. Apart from that, this campaign also empowers people by circulating necessary information regarding zero hour contracts and promoting healthy working environments.

On 29 November 2021, The Fairness Foundation was launched, which Richer had founded to change the terms of the public debate about fairness, and to inspire citizens, the media and decision-makers to create a fairer society. The Foundation focuses on areas such as democracy, education, the environment, health, housing, justice, social security, taxation, wealth and work as some of the core issues that need addressing in order to make society fairer. The editorial board is chaired by Will Hutton.

Books
Richer has written several books, including:

The Richer Way, which talks about starting a business and how to motivate a workforce by getting the best out of people. The Independent described it as "one of the best business books in history"

The Ethical Capitalist, which discusses the need for a new sense of moral purpose in business and how to make business work better for society. This was a Financial Times book of the month.

Our Housing Disaster: and what we can do about it, describes how we got to such a catastrophic housing situation and that a new and bold approach to providing the homes that the UK needs is essential. The book was featured by The Guardian and The Times.

Personal life
Richer is married to Rosie, a fashion model. They live near York in North Yorkshire, England.

Richer was baptised into the Anglican faith in 2006 by The Rev Canon Roger Simpson at St Michael Le Belfrey, York and was confirmed later the same year by John Sentamu, Archbishop of York, in his chapel in Bishopthorpe Palace.

In his spare time, Richer plays the drums in the soul/funk/pop group, Ten Millennia, who have supported Shakin' Stevens, The Corrs, Texas, Tony Hadley and Jools Holland [the latter on 13 occasions], including 30 November 2018 at the Royal Albert Hall.

title: Julian Richer


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Truncation (disambiguation)

Truncation is the term used for limiting the number of digits right of the decimal point by discarding the least significant ones.

Truncation may also refer to:

Mathematics

 * Truncation (statistics) refers to measurements which have been cut off at some value
 * Truncation (numerical analysis) refers to truncating an infinite sum by a finite one
 * Truncation (geometry) is the removal of one or more parts, as for example in truncated cube
 * Propositional truncation, a type former which truncates a type down to a mere proposition

Computer science

 * Data truncation, an event that occurs when a file or other data is stored in a location too small to accommodate its entire length
 * Truncate (SQL), a command in the SQL data manipulation language to quickly remove all data from a table

Biology

 * Truncate, a leaf shape
 * Truncated protein, a protein shortened by a mutation which specifically induces premature termination of messenger RNA translation

Other uses

 * Cheque truncation, the conversion of physical cheques into electronic form for transmission to the paying bank
 * Clipping (morphology), the word formation process which consists in the reduction of a word to one of its parts
 * Truncation (archaeology), also 'cut', the removal of archaeological deposits from an archaeological record

title: Truncation (disambiguation)


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Wikipedia talk:Articles for deletion/Place friendship

Do not delete: first-effort entry: reference to Chatterjee's research deserves attention: open entry to edits  --Mary Godwin 01:45, 15 October 2005 (UTC)


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User talk:AFooFightingMan

Hey! Good work on the Little Room page :)

title: User talk:AFooFightingMan


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Homo Faber

Homo Faber may refer to:
 * Homo faber, a philosophical concept articulated by Hannah Arendt and Max Scheler
 * Homo Faber (novel), a novel by Max Frisch

title: Homo Faber


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Wikipedia:WikiProject Sharks/shark article status

X means done.

x means something done, but can be improved or wrong headr or no header