text:
Talk:1821 Norfolk and Long Island hurricane

Track
There is a possible track map on the Talk page for 1820-1829 Atlantic hurricane seasons, someone might be able to put it in the article. Hurricanehink 23:45, 5 October 2005 (UTC)

 * This article really needs some sources...it's claims are too unbelievable otherwise. Jdorje 00:24, 7 October 2005 (UTC)

Claims
If the unbelievable claims in this article are true, it probably has something to do with Tambora. Jdorje 00:25, 7 October 2005 (UTC)

 * I have a real gripe about past hurricane that no one knows about that have their own article. What is the non-hurricane freak going to care about a hurricane no one remembers? And for the hurricane freaks, this article is probably short enough to go into the decadal article. Another thing, the hurricane was not the only hurricane in history to hit NYC directly. A hurricane in 1893 did that as well. There is so little information on this hurricane, it doesn't deserve to have its own article. If you look at the track, it seems impossible. A cat. 4 or 5 that, in 3 days, goes from the Lesser Antilles to New Jersey. For all we know, there could have been 2 hurricanes; one moving slowly through the Lesser Antilles, one moving quickly northward through the East Coast. I propose merging this article with 1820-1829 Atlantic hurricane seasons on the shear basis of lack of good information. Hurricanehink 01:57, 9 October 2005 (UTC)

 * Sources A lot of the info comes from the source listed on the page under "External links": http://www.nyc.gov/html/oem/html/readynewyork/hazard_hurricane_history.html -- which is to say that the info comes straight from the NYC Government.  They say, "Reaching the City on September 3, 1821, the storm was one of the only hurricanes believed to have passed directly over parts of modern New York City."  Additional information comes from History of New York City (1784-1854) and a previous version of 1820-1829 Atlantic hurricane seasons.
 * I oppose moving this article to the 1820-1829 Atlantic hurricane seasons article, simply because it was a very notable event, and this page has quite a bit of good (and largely sourced) information.
 * Lastly, history is important, so I don't buy your "no non-hurricane freak is going to care about a hurricane no one remebers" comment. --Quasipalm 19:08, 11 October 2005 (UTC)

Restarted
Well, let's try it again for this article. Hopefully it is sufficient to keep. A merger is definetly not needed, IMO. Hurricanehink 22:56, 27 November 2005 (UTC)

 * Yes, the new article is much better. However I'm still curious: why would it be called the Norfolk and Long Island hurricane when it didn't make landfall near either?  How can it be a direct strike on NYC when it had already been on land for 500 miles? Jdorje 01:14, 28 November 2005 (UTC)

 * Hmm, good question. It should be called the Atlantic Coast Hurricane of 1821, IMO. Hurricanehink 01:39, 28 November 2005 (UTC)

Name
Wasn't this the "Great American Hurricane" of 19th Century lore? -- § Hurricane E  RIC § archive 23:40, 15 April 2007 (UTC)

Todo
Decent article. Needs references and some wikification and general copyediting. Jdorje 07:15, 9 January 2006 (UTC)

 * The references are in external links... What more should be done about that? Hurricanehink 01:32, 10 January 2006 (UTC)

 * To qualify as A-class we need inline references. Probably the and system as used in 2005 Atlantic hurricane season is easiest. Jdorje 02:19, 10 January 2006 (UTC)

Good article review

 * GA review (see here for criteria)

 * 1) It is reasonably well written.
 * a (prose): See above  b (MoS):  See above notes.
 * 1) It is factually accurate and verifiable.
 * a (references): b (citations to reliable sources):  c (OR):
 * 1) It is broad in its coverage.
 * a (major aspects): b (focused):
 * 1) It follows the neutral point of view policy.
 * a (fair representation): b (all significant views):
 * 1) It is stable.
 * 2) It contains images, where possible, to illustrate the topic.
 * a (tagged and captioned): b lack of images (does not in itself exclude GA):  c (non-free images have fair use rationales):
 * 1) Overall:
 * a Pass/Fail:
 * a Pass/Fail:

Wow, for a slacked off article, it certainly made a turnaround. Congrats. It is now a Good Article.Mitch32contribs 00:37, 13 January 2008 (UTC)

Who said the Pre-Colombian Hurricane ever made landfall in New York City?
The current iteration of this article reads: " Another, even more intense hurricane struck the region in pre-Columbian times (sometime between 1278 and 1438) and was detected by paleotempestological research.[2]" The citation leads to a Brown University titled "Sedimentary evidence of intense hurricane strikes from New Jersey." The article upon inspection, in fact, never even mentions New York City, so I am struggling to figure out how someone made the conclusion made in the above statement. I feel it should be removed, unless someone else can provide compelling evidence otherwise.

Link to the Brown article: http://www.geo.brown.edu/georesearch/esh/QE/Publications/Geology2001/JDonnelly/NewJersey/NewJersey.pdf — Preceding unsigned comment added by 216.165.95.78 (talk) 01:10, 16 June 2013 (UTC)

 * Hmm, yeah, the evidence was found south of Atlantic City. We could as easily call it a Delaware hurricane. Jim.henderson (talk) 14:52, 17 June 2013 (UTC)

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Only the fourth known landfall in New York City?
"The 1821 Norfolk and Long Island Hurricane was one of four known tropical cyclones that have made landfall in New York City, the third was the 1893 New York hurricane, and the fourth was Hurricane Irene in 2011."

Based on the information that I found on this site, it seems as though several other storms have also made landfall in New York City; Hurricane Five in 1861, Hurricane Six in 1872, Hurricane Six in 1874, Hurricane Diane in 1955, Tropical Storm Doria in 1971 and Hurricane Bertha in 1996. --Undescribed (talk) 01:45, 18 July 2017 (UTC)


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Newdigate

Newdigate is a village and civil parish in the Mole Valley borough of Surrey lying in a relatively flat part of the Weald to the east of the A24 road between Dorking and Horsham, 13 mi ESE of Guildford and 25 mi south of London. Neighbouring parishes are Charlwood, North Holmwood, South Holmwood, Leigh and Capel.

Etymology
The name of Newdigate refers to a place at the gate or path to a wood. Surviving manuscripts such as manorial rolls, Assize Rolls and Feet of Fines give forms including Newdegate (13th century), Newedegate and Neudegate (15th century) and Nudgate (16th century). The name Ewood (Iwode in Feet of Fines 1312) occurs in the parish and might derive from Old English for a forest of yew-trees, in which case the 'N' survives from a prefix such as 'in' (O.E. 'on') or 'at the' (O.E. 'be þane'). Alternatively, the word may refer to a 'New wood'.

Early history
In early history Newdigate was at the western heart of the Weald a much more dense wooded forest occupying the space between the North and South Downs.

Middle Ages
Newdigate was for the most part in Copthorne Hundred, forming a detached part of it. But the hamlet of Parkgate and the part of the parish near it were in Reigate Hundred. The place does not appear at all in the 1086 Domesday Book, and the connection with Copthorne is a probable result of the land holding by the Montfort family of Newdigate together with Ashtead Manor, while Parkgate was held with Reigate and Dorking by the Earls of Warenne and Surrey.

Newdigate has a medieval church, St. Peter's Church, which is a grade II* listed building.

Ewood (Yew Wood) was described during the medieval period as a "park" which was an enclosure of the forest for the purpose of deer hunting – the patent rolls of 1312 refer to it.

As Newdigate began as a road through the forest (Reigate to Ockley) rather than a fixed settlement. An inclosure of considerable land later gave rise to the name Parkgate, the "gate" by now meaning an entrance.

Newdigate or Marshlands Manor
In 1564 Trinity College, Cambridge's estate at Newdigate was divided amongst various tenants who paid quit-rents, heriots, and owed suit of court. In 1702 its manor house and farms of Naylors, Horseland, and Bearland, in good repair, were let to Dr. Akehurst, remained in the possession of Trinity College until the middle of the 19th century.

Newdigate Place
Newdigate Place also often early on named Newdigate Manor was the seat of Richard de Newdigate's family from 1234 to 1235, a large house standing round a courtyard. Henry Nevill, then Lord Abergavenny at the close of the 16th century (Tudor Period) was overlord only of the manor, it having descended to him. Newdigate Place was almost totally demolished near the end of the 18th century. From 1636 to 1810 the manor was owned by the Budgen family. A former version standing close to it was pulled down by John Budgen owner between 1772 and 1805. In 1810 the buyer was the Duke of Norfolk.

Cudworth Manor
In 1298–9 Walter de la Poyle died seised of the site of the manor of Cudworth or Cudford, in Newdigate and Rusper, Sussex which he held of the Abbot of Chertsey in socage.

Building material of medieval date visible in the footings of the present house suggest that in its final form the moated manor took the form of a courtyard house of which extensive remains may survive in what is now the garden of the house.

Manor and Park of Ewood/Iwood
In 1574 a survey was taken of the dwelling houses and buildings, including the ironworks, furnace, forge, and hammer, which were then worked by Robert Reynolds, who was occupying the mansion house and park, and who also held the brew house and watermill for grinding corn. The ironworks were then said to be worth £40 yearly. After many more owners – Sir Francis Carew was among the owners – Joseph Valentine Grimstead sold it to the Duke of Norfolk in 1786.

In 1807 the Duke of Norfolk began to build a new house at Ewood, but it was never completed, and the part built was pulled down after the duke's death in 1815. By 1911 Henry Lee Steere of Jayes Park, Ockley, was Lord of the Manor.

Kingsland Manor
Fewer nobility have held this manor, namely in 1619 Kingsland Manor was briefly purchased by Sir Thomas Bludder and by 1716 ended up in the use of Ezra Gill, Lords of the manor of Temple Elfold, Capel.

Early industry in Newdigate
Owing to its iron foundry, for which a former lake, Ewood Pond was built, Newdigate was among the parishes excepted by name from the Act 1 Elizabeth against cutting of timber, and the works at Ewood were excepted by name from a later Act on the same matter owing to the good management of the woods.

Post industrial Revolution
Based on the 1841 Census, Samuel Lewis (publisher) wrote in his topographical guide to England that the population was 552. St Peter's living as today is a rectory and in the patronage of the Crown. All tithes have been commuted for £580, and the glebe comprised in 1848 4 acres. A description given in 1911 for the Victoria County Histories topological summary is in terms of land use: "The parish is still thickly wooded, and is purely agricultural, except for brick and tile works."

Charities funded an exhibition (scholarship) for four years study for one of the school's pupils to Trinity College, Cambridge.

From the 1930s to the early 1980s Newdigate was home to the Schermuly Rocket Pistol Apparatus Limited, manufacturer of devices for firing rescue lines to stricken ships.

Geography

Newdigate is 1.6 mi east of the A24 road between Dorking and Horsham, 13 mi ESE of Guildford and 25 mi south of London.

Endemic to the soil in Newdigate are a number of thick clay beds making the area was home to numerous brickmaking businesses. However, the local brickworks is now a housing estate called Mulberry Place, or more commonly, "The Mulberries".

During 2018 & 2019, Newdigate has been the centre of many earthquakes, the strongest striking in 2019 and having a magnitude of 3.1

Cudworth
Cudworth is a hamlet is 1 mi southeast of the village centre of Newdigate. In its centre is a scheduled ancient monument, grade II* listed, tight-moated manor house, Cudworth Manor, see history above.

Parkgate
Parkgate contains several residential roads, split by Ewood and Parkgate copses, two small copses part of a small forest from Reffolds Copse to Furzefield and Hammonds Copses.

Economy, Culture and Community
Newdigate has a village shop with a sub post office and two public houses as well as many small businesses. The village hall is a substantial building hired out for activities and events.

Due to a controlled number of properties in good condition, village amenities and Endowed Infant School the house prices in Newdigate are considerably higher than in nearby North and South Holmwood; the area is very much part of the London Commuter Belt and the nearest railway station is Holmwood railway station which is on the Mole Valley Line. The location of this station is in fact Beare Green, Capel 1.7 mi away from the village centre.

Demography and housing
Newdigate civil parish had in 2001 a population of 1,524 in 625 households, of which 17.7% were aged over 65; 3.9% of the population were in full-time further education; 76.8% of all men were economically active whereas 2.4% were unemployed, 5% worked part-time; 60.4% of all women were economically active whereas 0.9% were unemployed, 33.8% worked part-time.

As to ethnicity, 98.8% of the population identified themselves as being white, 0.2% as black 0.2%, as of Indian descent, 0.2%, as of Pakistani descent and 0.0% as of mixed or other ethnicity.

In terms of religion, 78.3%% of the population responded as being Christian, 0.4% as Muslim, 1.2% other religions, 13.8% as atheist and 6.6% declined to answer.

Newdigate's economy is predominantly a service sector economy reflected by a low concentration at one end of the official categorisation table of occupation given, compiled from the 2001 census:

Whereas 32.0% of the population worked in middle or higher professional occupations, based upon salary and title.

The average level of accommodation in the region composed of detached houses was 28%, the average that was apartments was 22.6%.

The proportion of households in the civil parish who owned their home outright compares to the regional average of 35.1%. The proportion who owned their home with a loan compares to the regional average of 32.5%. The remaining % is made up of rented dwellings (plus a negligible % of households living rent-free).

Education

 * Newdigate Infant School is in the village.

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

title: Newdigate


text: User talk:68.84.99.194

title: User talk:68.84.99.194


text: User talk:70.19.250.245

title: User talk:70.19.250.245


text:
Lycée La Fontaine

Lycée La Fontaine may refer to:
 * Lycée La Fontaine (Paris), France
 * Lycée La Fontaine (Niger)

title: Lycée La Fontaine


text:
Rod Smallwood

Roderick Charles Smallwood (born 17 February 1950) is an English music manager, best known as the co-manager of the British heavy metal band Iron Maiden. With his business partner, Andy Taylor, whom he met while studying at Trinity College, Cambridge, he founded the Sanctuary Records Group in 1979, which became the largest independent record label in the UK and the largest independent music management company in the world until its closure in 2007. Prior to managing Iron Maiden, Smallwood managed Steve Harley & Cockney Rebel.

Biography
Smallwood was born and raised in Huddersfield, West Yorkshire, where he grew up listening to The Beatles and The Rolling Stones on the radio and playing cricket and rugby union. It was only when he began attending university that his musical interests expanded and he began listening to Deep Purple, Pink Floyd, Grateful Dead and The Doors.

In the autumn of 1968, Smallwood began studying architecture at Trinity College, Cambridge, where he soon became involved in organising social events, such as the annual Trinity May Ball, for which he booked the "various acts". It was while undertaking these duties that he formed a friendship with fellow undergraduate and future business partner Andy Taylor. From then on, Smallwood and Taylor worked on end-of-term events together and booked various musicians, including Graham Bond, Chris Farlowe, Bridget St John, John Martyn, and, most notably, the MC5. Smallwood acquired most of these artists from a local booking agency, Horus Arts, whose boss, Barry Hawkins, gave Smallwood advice which led to his career as a booking agent.

Shortly before his final exams in 1971, Smallwood dropped out of university and moved to Paris with his girlfriend, stating that "it just seemed like the cool thing to do". After three months in Paris, Smallwood undertook a job at a London booking agency, Gemini, in order to finance a trip to Morocco. Through his work with Gemini, Smallwood was offered a "£35 a week" job with rival agency MAM, and therefore abandoned his trip to Morocco. After 18 months with MAM, Smallwood began managing English rock act Steve Harley & Cockney Rebel. Smallwood disliked working with Harley, whom he would later describe as "a pain - selfish, egotistical, obsessed" and thus "completely put me off management." Convinced by EMI, Harley fired Trigram, his management agency, and Smallwood undertook the management of punk rock act Gloria Mundi.

In 1979, Smallwood decided to return to university to obtain a law degree, where he was given a copy of Iron Maiden's demo tape. After much deliberation, Smallwood eventually contacted Steve Harris, the band's bassist and founder member, and arranged two pub gigs for the group in west London, one at the Windsor Castle in Maida Vale and the other at The Swan in Hammersmith. Neither show went to plan: the first was cancelled after the band refused to play early, and the band had to perform the second without lead vocalist, Paul Di'Anno, who was arrested for carrying a knife 30 minutes before the gig. In spite of this, Smallwood agreed to help the group, although, following his experiences with Steve Harley, he did not initially commit to becoming their full-time manager until he arranged the band's signing to EMI and publishers Zomba at the end of the year. Eventually joined by Andy Taylor in 1982, the pair have managed the group ever since.

After committing himself to managing Iron Maiden in October 1979, Smallwood decided to form his own management company, which he would name after Iron Maiden's second single, "Sanctuary". Sanctuary Records Group eventually expanded into the largest independent record label in the United Kingdom until its closure in 2007. Prior to this, in November 2006, Smallwood left Sanctuary and formed Phantom Music Management with Andy Taylor, which focuses solely on Iron Maiden.

The Iron Maiden b-side "Sheriff of Huddersfield" was written by Iron Maiden about Rod Smallwood, and was released on the 1986 single "Wasted Years". It likens Smallwood to the Sheriff of Nottingham, due to his notorious stinginess with money, and refers to his frequent complaining about a (then recent) move to Los Angeles. Smallwood did not know about the song until the single was released.

title: Rod Smallwood


text:
Talk:Iroh

Article restored
This article has improved in terms of sources since its nomination for deletion. The reason why it was nominated for deletion is because of its lack of notability in outside sources. Please see the article as it appeared in January 2015 and compare it with its current iteration. There is a noticeable difference. G. Capo (talk) 19:01, 8 September 2015 (UTC)
 * I don't have a preference so I'm going to abstain from the discussion. When I removed the content here and here I was combating some highly questionable editing from InternetSpartan, whose sole contributions appear to involve serial reversions. Regards, Cyphoidbomb (talk) 19:04, 8 September 2015 (UTC)
 * Diff showing the "noticable difference" that refers to.  It seems to consist mostly of the addition of a (well-sourced) section on how the character was received in real life. I would suggest that anyone thinking of turning it back into a re-direct instead take it to a  new AFD as the addition of a real-world discussion of the character is enough of an improvement to possibly make a difference; however I'd still prefer to see bigger changes in the rest of the article. ~  ONUnicorn (Talk|Contribs) problem solving 20:01, 8 September 2015 (UTC)

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User:Josephtate

Short Biography
Hello. I'm Joseph Tate. You can visit my website.

title: User:Josephtate


text:
Security policy

Security policy is a definition of what it means to be secure for a system, organization or other entity. For an organization, it addresses the constraints on behavior of its members as well as constraints imposed on adversaries by mechanisms such as doors, locks, keys and walls. For systems, the security policy addresses constraints on functions and flow among them, constraints on access by external systems and adversaries including programs and access to data by people.

Significance
If it is important to be secure, then it is important to be sure all of the security policy is enforced by mechanisms that are strong. There are organized methodologies and risk assessment strategies to assure completeness of security policies and assure that they are completely enforced. In complex systems, such as information systems, policies can be decomposed into sub-policies to facilitate the allocation of security mechanisms to enforce sub-policies. However, this practice has pitfalls. It is too easy to simply go directly to the sub-policies, which are essentially the rules of operation and dispense with the top level policy. That gives the false sense that the rules of operation address some overall definition of security when they do not. Because it is so difficult to think clearly with completeness about security, rules of operation stated as "sub-policies" with no "super-policy" usually turn out to be rambling rules that fail to enforce anything with completeness. Consequently, a top-level security policy is essential to any serious security scheme and sub-policies and rules of operation are meaningless without it.

title: Security policy


text:
Wanted Dead or Alive (TV series)

Wanted Dead or Alive is an American Western television series starring Steve McQueen as bounty hunter Josh Randall. It aired on CBS for three seasons from 1958–1961. The black-and-white program was a spin-off of a March 1958 episode of Trackdown, a 1957–1959 Western series starring Robert Culp. Both series were produced by Vincent Fennelly for Four Star Television in association with CBS.

The series made McQueen, known for the concept of "cool" in entertainment, a television star. He later became the first TV star to cross over into comparable status on the big screen.

Synopsis
Josh Randall is a Confederate veteran and bounty hunter with a soft heart. He often donates his earnings to the needy, and helps his prisoners if they have been wrongly accused.

Although Randall is a bounty hunter, he doesn't only chase and capture men on wanted posters. He also settles a family feud, frees unjustly jailed or sentenced men, helps an amnesia victim recover his memory, and finds missing husbands, sons, fathers, a fiancée, a suitor, a daughter who had been captured many years earlier by Indians, an Army deserter, a pet sheep, and even Santa Claus. This variety, as well as his pursuit of justice and not just money, contributed to the show's attraction and popularity.

Except for a few episodes at the beginning of the series, Randall rode an energetic horse named Ringo.

Beginning with the 1959 episode, "Amos Carter", actor Wright King would appear in a supporting role as Jason Nichols, an eager young deputy sheriff turned bounty hunter. By the start of the third season, Nichols had been dropped. The episode, "The Partners", in which Nichols killed three men who Randall felt could have been taken alive, is often considered the episode that broke up the partnership, although that was actually only the second episode with Wright King and long before the last episode he appeared in.

Three hard mother-grabbin' years, but I learned my trade and it gave me discipline. McQueen, commenting about his experience on the series.

Main
Steve McQueen played Josh Randall, the primary character, appearing in all 94 episodes.

Guest stars

 * Nick Adams
 * Charles Aidman
 * Claude Akins
 * John Anderson
 * R. G. Armstrong
 * Noah Beery Jr.
 * James Best
 * Steve Brodie
 * Anthony Caruso
 * Lon Chaney Jr.
 * James Coburn
 * Royal Dano
 * John Dehner
 * Brad Dexter
 * Lawrence Dobkin
 * King Donovan
 * Betsy Drake
 * Don Dubbins
 * Robert Ellenstein
 * Beverly Garland
 * Don Gordon
 * Dabbs Greer
 * Alan Hale Jr.
 * Skip Homeier
 * DeForest Kelley
 * Douglas Kennedy
 * Martin Landau
 * Michael Landon
 * Cloris Leachman
 * Nan Leslie
 * Ralph Meeker
 * Mary Tyler Moore
 * Lori Nelson
 * Jay North
 * Susan Oliver
 * Luana Patten
 * Stafford Repp
 * Walter Sande
 * Everett Sloane
 * Jay Silverheels
 * Suzanne Storrs
 * Lee Van Cleef

Development
Vincent Fennelly and Four Star Television were considering a spinoff of their current series, Trackdown, which itself was a spinoff of Zane Grey Theater. At the time, McQueen's manager, Hillard Elkins, was also representing Trackdown star Robert Culp. Elkins knew of the spinoff plan and suggested McQueen for the role. McQueen's style was exactly what Fennelly was looking for to fill the role. Initially not interested in doing Westerns, McQueen agreed to the role based on his ability to connect with Fennelly and his vision for the role of Randall. The pilot was filmed before McQueen did The Blob in 1958.

Four Star founder, Dick Powell, was initially hesitant about McQueen in the lead role due to McQueen's short stature, as well as his inability to ride horses, but he changed his mind after seeing early clips of the first episode. It was Powell's idea to give the character of Josh Randall a gimmick weapon.

Prior to initial filming, Steve McQueen did not know how to ride horses and was forced to learn for the show's production.

McQueen had a reputation for being difficult to work with, and he fired three stunt men within the first day's filming, including Richard Farnsworth. Ultimately, that job went to Loren Janes, who also doubled for McQueen in a number of movies.

Although the show and its episodes are fiction, bounty hunters were common in the American West, and there is some historical basis for the stories.

McQueen's initial salary for the show was $750 per episode, but due to the show's popularity, that climbed to $100,000 per year, which was extremely high for the time. The time slot change for the third season that ultimately ruined the show's ratings may have been CBS's way of killing the show due to ever increasing production costs. Another factor was McQueen's strained relationship with Viceroy cigarettes, the show's sponsor.

The show helped launch the careers of several directors.

Writing
Writers included Samuel A. Peeples, Tom Gries and Charles Beaumont.

Filming
The premiere episode was filmed on the 20th Century Fox backlot in West Los Angeles and on location in Arizona, while the rest of the series was filmed at the Selznick Studios. A number of additional shooting locations were used, with the outdoor action sequences of several episodes shot on the famed Iverson Movie Ranch in Chatsworth, California. A number of sets on the Republic Pictures backlot in Studio City, California, also appear in the series, notably the Western street and the Duchess Ranch set, which, at the time of production on the series, consisted mainly of a large barn, a main house and a bunkhouse.

Music
The main theme was composed by Rudy Schrager. Music was supervised by Herschel Burke Gilbert.

Colorized version
In December 1987, Four Star International colorized Wanted Dead or Alive, making it the first vintage television series to be completely colorized. The colorized version aired on at least 50 independent television stations.

Firearms
Randall carries a gimmick rifle called the "Mare's Leg" in a unique quick-draw holster. The Mare's Leg was a shortened Winchester Model 1892 .44-40, with a gun belt that held .45-70 cartridges that, although they couldn't be fired from the weapon, looked more intimidating. The gun itself was a real, working firearm rather than a prop, and had to be registered with the LAPD.

To learn the art of the quick draw, McQueen turned to Sammy Davis Jr., who he knew from working in New York. Davis was known for being proficient with Western-style pistol work.

Themes
Early television Westerns were aimed at a youth audience, but by the mid-1950s, Western films and television began being made to attract an adult audience. Wanted Dead or Alive was one of the several shows that came to define the "adult Western" of the era, with an attractive leading character in the primary role. Unlike many television Westerns of the era, Wanted Dead or Alive focused on the action rather than character development, and McQueen's method style was unique to the Westerns of the period. McQueen's character was a man of few words and showed little emotion, often appearing to be interested more in the bounty hunter's reward than in justice.

Although most television Westerns of the time were of the classic genre, Wanted Dead or Alive 's Josh Randall was more of an antihero of the Revisionist Western genre. McQueen initially had been reluctant to do a Western, but when the opportunity arose for the character to be less of the traditional hero, he felt he was able to bring more of himself into a realistic portrayal of the bounty hunter.

Broadcast
Wanted Dead or Alive first aired on CBS on September 6, 1958. It aired Saturday nights from 8:30–9 p.m. until September 1960. From September 1960 until March 1961, it aired on Wednesday nights, 8:30–9 p.m.

Home media
On June 7, 2005, New Line Home Entertainment released season 1 of Wanted Dead or Alive on DVD in Region 1. In 2007, BCI Eclipse acquired the distribution rights to the series, and released the final two seasons on DVD. Season 2 was released on July 17, 2007, and Season 3 on October 16, 2007.

In June 2009, Mill Creek Entertainment acquired the rights to the series under license from copyright holder StudioCanal, and has subsequently re-released the first two seasons. On August 25, 2009, they released an 11-disc DVD box set featuring all 94 episodes of the series.

Reception
Initially, the show was popular with audiences, but not popular with critics. A review in Variety, September 10, 1958, noted that McQueen's characterization of the bounty hunter was "almost stuffy in its allegiance to the breed. ... Acting is ok. It's obvious what the half-hour needs is scripting and perhaps some cleaner direction." However, by the third season, the ratings had crashed, some of which can be attributed to the change from its original Saturday night time slot to Wednesday nights directly opposite the popular series, The Adventures of Ozzie and Harriet.

1986 film
In 1986, New World Pictures adapted the series into a low-budget film of the same title; Rutger Hauer played modern-day bounty hunter Nick Randall, Josh's grandson.

title: Wanted Dead or Alive (TV series)


text:
Violin Concerto (Dvořák)

The Violin Concerto in A minor, Op. 53 (B. 96 / B. 108), is a violin concerto composed by Antonín Dvořák in 1879. It was premiered in Prague on 14 October 1883.

History
Dvořák was encouraged to write a violin concerto by his publisher Simrock, after compositions such as Slavonic Dances and his Symphony No. 6 had been successful. The composer sought advice from the violinist Joseph Joachim, the director of the Musikhochschule Berlin, who had played his chamber music in concerts, including the world premiere of his String Sextet in A major. Dvořák composed the work with the intention of dedicating it to him, and hoped for a premiere played by Joachim.

Dvořák composed a first sketch in July 1879 that already contained the themes of the final version. He took it to Berlin at the end of the month where Joachim had staged a gala evening in his honour. Joachim recommended formal changes which Dvořák made over the following two months. In November he mailed the work to Joachim with a dedication on the title page: "I dedicate this work to the great Maestro Jos. Joachim, with the deepest respect, Ant. Dvořák." He requested Joachim's opinion, and the violinist replied that he was busy but would look into it as soon as possible.

No written reply from Joachim has survived, but Dvořák visited Joachim in Berlin in the spring of 1880. After the consultation, the composer rewrote the concerto between in April and May. Joachim, a strict classicist, may have objected to the abrupt truncation of the first movement's orchestral tutti, the short recapitulation, and the persistent repetition found in the third movement. Dvořák sent the new version to Joachim for inspection, but had to wait more than two years for an answer.

The violin concerto was premiered in Prague on 14 October 1883. by František Ondříček, who also gave the Vienna and London premieres. The concerto was first performed in the United States on 30 October 1891, at the Auditorium Theatre in Chicago. Max Bendix was soloist with the Chicago Orchestra led by Theodore Thomas. The concerto remains an important work in the violin repertoire.

Instrumentation
The concerto is scored for solo violin and an orchestra consisting of 2 flutes, 2 oboes, 2 clarinets (in A), 2 bassoons, 4 horns, 2 trumpets, timpani, and strings.

Structure
The structure of the concerto is the classical three movements, fast–slow–fast.

1. Allegro ma non troppo (A minor)

2. Adagio ma non troppo (F major)

3. Finale: Allegro giocoso ma non troppo (A major)

The first movement and the second movement are interconnected (attacca subito).

Selected recordings

 * Augustin Hadelich: Bohemian Tales - with the Bavarian Radio Orchestra, conducted by Jakub Hrůša

title: Violin Concerto (Dvořák)


text: User talk:70.243.32.96

title: User talk:70.243.32.96


text:
File:Marian Conspiracy.jpg

Summary
Big Finish Doctor Who 06 - The Marian Conspiracy cover

Fair use in The Marian Conspiracy
Though this image is subject to copyright, its use is covered by the U.S. fair use laws because:
 * 1) It's a low resolution copy of a CD/album cover.
 * 2) It doesn't limit the copyright owner's rights to sell the CD/album in any way, in fact, it may encourage sales.
 * 3) Because of the low resolution, copies could not be used to make illegal copies of the album artwork on another CD.
 * 4) The image is itself a subject of discussion in the article or used in the infobox thereof.
 * 5) The image on the cover is significant because it was made by a famous artist.

Source

 * 1) Derived from a digital capture (scan/photo) of the album/CD cover (creator of this digital version is irrelevant as the copyright in all equivalent images is still held by the same party). Copyright held by the record company or the artist. Claimed as fair use regardless.

title: File:Marian Conspiracy.jpg


text:
Category:History of the District of Columbia

This category is for the history of the federal district of Columbia which has not always been coextensive with the history of the city of Washington, D.C.; see also: Category:History of Washington, D.C..


text:
Wikipedia:Articles for deletion/John Ulmer

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

The result of the debate was DELETE. — J I P | Talk 07:40, 25 October 2005 (UTC)

John Ulmer
Delete. Self promotion and non-notable. 64.108.199.247 23:50, 5 October 2005 (UTC)

 * Delete. Agreed, this is a vanity page by a person who is not notable, and is, in fact, a self-confessed Wiki vandal (see link 1). This biography has been posted as the result of an IMDb feud with another IMDb user and a "who's more important" competition. See:  John Ulmer, who claims to have once been employed for a brief time by CNBC Studios in London ought to be deleted as typical and non-notable, and John Ulmer, the unrelated but credited actor should be retained. At the very least, John Ulmer allegedly formerly of CNBC should be moved to the user's  own user-page, as per Wiki Vanity article policy. User's claims about Roger Ebert, Roger Avary and Quentin Tarantino, and his own film scripts are unverifiable. 203.49.137.60 02:41, 6 October 2005 (UTC)

Hi Shamrock! Or should I say Monroe?

Glad you could contribute to the page's deletion process.

As for the "unverifiable" claims that my content has been read by Ebert and Tarantino, et al...care for me to scan and upload their feedback to me? Which include autographed books?

And would you like me to scan over my legal papers pertaining to my employment/internship at CNBC on Fleet Street in London, England?

Cheers, Monroe! — Preceding unsigned comment added by 172.136.94.27 (talk • contribs) 02:25, 7 October 2005 (UTC)
 * This afd nomination was orphaned. Listing now.  No opinion. —Cryptic (talk) 16:20, 17 October 2005 (UTC)

 * Delete as per nomination. Non-notable. Although Ulmer has an imdb.com listing ti appears he has only played in minor roles. Eddie.willers 18:00, 17 October 2005 (UTC)

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


text:
Wikipedia:Articles for deletion/Thunderbolt (band)

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

The result of the debate was No Consensus. Ëvilphoenix Burn! 04:17, 18 October 2005 (UTC)

Thunderbolt (band)
Not notable band yet, with 1 album allmusic. Doesn't meet WP:MUSIC. feydey 23:50, 5 October 2005 (UTC)

 * Comment: They are (or were) apparently somewhat popular in Norway. For what it's worth, the article on the Norwegian wiki has more detail. I'm not sure that that article is worth much, either, though. I cleaned up this one a little, but I would not be sad to see it go. Maybe if there were some sign that they are still active; their label only shows one record and doesn't suggest that we should expect anything more. — HorsePunchKid → 龜  02:47, 6 October 2005 (UTC)

 * Delete Fails WP:MUSIC --JAranda | yeah 03:12, 6 October 2005 (UTC)

Comment: Although the norwegian wiki article is poor (its even mainly a rip of from a festival presentation from 2004), the english version has now been made proper (the initial entry was abrupted, hence not finished) and as an entry comment I would like to point out that Thunderbolt actually achieve the WP:MUSIC by the following points:

 * 2: International tour / gigs (they comply to both)
 * 3: Two albums on 'major' labels (the second album is finished and even printed, but shipment/release was postponed by the label due to marketing reasons... however, to my knowledge it will be released within few weeks from now)
 * (4: Even if 'prominently' can be discussed, they're one of the very few metal bands besides Satyricon, Dimmu Borgir and Pagan's Mind that are frequently mentioned in the mainstream press in addtion to the music press)

Hence, please do not delete this article :) — Preceding unsigned comment added by 85.164.161.140  (talk • contribs)

 * Keep. Based upon the info above, plus the rewrite. Blank Verse   ∅  10:31, 7 October 2005 (UTC)

 * What, still open? Clearly a keep, per 85.164.161.140's note; we need to delete people's articles about their local bands that have never played outside school gigs, but this looks like rather more than that. Haeleth 22:45, 17 October 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Lycée La Fontaine (Niger)

Lycée La Fontaine in Niamey, Niger, is a French-speaking international school attached to the French Embassy. It was established in 1962. In 2021 it had some 876 students (32% French, 68% local and from other countries) and 56 educators.

It is directly operated by the Agency for French Education Abroad (AEFE), an agency of the French government.

The school takes students from primary to lycée (high school) level.

title: Lycée La Fontaine (Niger)


text: Category:Schools in Niger

title: Category:Schools in Niger


text:
Wikipedia:Articles for deletion/Androgynist Feminists

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

The result of the debate was DELETE. -Doc (?) 00:58, 13 October 2005 (UTC)

Androgynist Feminists
POV, borderline speedy for no useful content --Trovatore 23:55, 5 October 2005
 * Delete per nom. Jkelly 01:13, 6 October 2005 (UTC)
 * Delete. There's such a thing as androgynist feminism, but it has nothing to do with the straw figure set up in this article.  Doctor Whom 01:39, 6 October 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Category:Airports in Indonesia

This category is for airports in Indonesia - where possible please locate in Province or Island

title: Category:Airports in Indonesia


text: Category:Education in Niger

title: Category:Education in Niger


text: User talk:68.60.74.164

title: User talk:68.60.74.164


text:
File:Genocide Machine.jpg

Summary
Big Finish Doctor Who 07 - The Genocide Machine cover

Fair use in The Genocide Machine
Though this image is subject to copyright, its use is covered by the U.S. fair use laws because:
 * 1) It's a low resolution copy of a CD/album cover.
 * 2) It doesn't limit the copyright owner's rights to sell the CD/album in any way, in fact, it may encourage sales.
 * 3) Because of the low resolution, copies could not be used to make illegal copies of the album artwork on another CD.
 * 4) The image is itself a subject of discussion in the article or used in the infobox thereof.
 * 5) The image on the cover is significant because it was made by a famous artist.

Source

 * 1) Derived from a digital capture (scan/photo) of the album/CD cover (creator of this digital version is irrelevant as the copyright in all equivalent images is still held by the same party). Copyright held by the record company or the artist. Claimed as fair use regardless.

title: File:Genocide Machine.jpg


text:
Dulce Domum

Dulce Domum (lit. Sweetly Homeward) is a tune composed by Robert Ambrose in 1876. This phrase is used as the title of chapter 5 of the 1908 novel The Wind in the Willows.

Songs using this tune

 * "One Sweetly Solemn Thought" by Phoebe Cary

title: Dulce Domum


text:
Talk:Alive in an Ultra World

Devil's Food
Added note about Devil Food being found on the album Fire Garden. It's part of the Fire Garden Suite. You're welcome.

External links modified
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title: Talk:Alive in an Ultra World


text: Category:Parks in Manitoba

title: Category:Parks in Manitoba


text:
Talk:Associés de Laval

Articles for Deletion debate
This article survived an Articles for Deletion debate. The discussion can be found here. -Splash talk 23:56, 5 October 2005 (UTC)

External links modified
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I have just modified 2 one external links on Associés de Laval. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20080619193112/http://www.associesdelaval.qc.ca:80/ to http://www.associesdelaval.qc.ca/
 * Added archive https://web.archive.org/web/20080619193112/http://www.associesdelaval.qc.ca:80/ to http://www.associesdelaval.qc.ca/

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title: Talk:Associés de Laval


text:
Wikipedia:Articles for deletion/111,111,111 (number)

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

The result of the debate was DELETE. -Doc (?) 00:56, 13 October 2005 (UTC)

111,111,111 (number)
Yet another one of the infinite set of integers got an article. Not much info either.
 * Delete Oleg Alexandrov 23:56, 5 October 2005 (UTC)
 * Speedy delete for sure. Marskell 00:48, 6 October 2005 (UTC)
 * Comment Under what criteria? Jkelly 01:15, 6 October 2005 (UTC)
 * Keep. This is a mathematically notable integer that has unique and special properties, as shown in the article. When squared, the number produces the following number: "12345678987654321" which is all of the integers (except 0) in ascending and descending order. Mathematically speaking, this is a totally unique occurrance in the infinite set of integers.--Nicodemus75 02:40, 6 October 2005 (UTC)
 * I guess you mean digits, not integers. Yes, it is a unique occurrance, but not a particularly interesting one. We could find something unique about every integer. JPD 09:57, 6 October 2005 (UTC)
 * If you can find three different mathematically interesting and seemingly unrelated properties of the number, then WikiProject Numbers can endorse this article. Being the square root of a pandigital number is a base-dependent property, and as such, it is not that interesting mathematically. PrimeFan 17:33, 6 October 2005 (UTC)

 * Delete-Still an Number --JAranda | yeah 03:14, 6 October 2005 (UTC)
 * Delete as just another integer. The one minor mathematical trick ties it to a number that isn't particularly important, either. - A Man In Black (conspire | past ops) 03:17, 6 October 2005 (UTC)
 * Delete. It does a cute trick, but it's just an integer. MCB
 * Delete. All postive integers are interesting, so they have to be more than interesting to get an article. JPD 09:57, 6 October 2005 (UTC)
 * Delete Every number is interesting, but it is policy that every number is not article-worthy, because even not paper is finite. Xoloz 13:07, 6 October 2005 (UTC)
 * Merge the interesting factoid into Orders of magnitude (numbers), then delete this page. Interestiong facts about numbers over 100 can always be merged somewhere... — RJH 15:28, 6 October 2005 (UTC)
 * Delete This is already mentioned at 100000000 (number). If anything else interesting about 111111111 turns up, it can be added there. And if enough interesting things are written there (which I doubt) then and only then would this number warrant its own article. Today it doesn't. PrimeFan 19:22, 6 October 2005 (UTC)
 * Delete. Silliness. linas 00:11, 8 October 2005 (UTC)
 * Delete and redirect to 100000000 (number). -- Jitse Niesen (talk) 20:54, 8 October 2005 (UTC)
 * Redirect as above. -- Egil 07:03, 10 October 2005 (UTC)
 * Delete not encyclopaedic -- red stucco  08:44, 10 October 2005 (UTC)
 * Delete nn -- Arthur Rubin (talk) 00:59, 11 October 2005 (UTC)
 * Delete Complete nonesense.Rhetoricalwater 23:35, 11 October 2005 (UTC)
 * Strong Keep Real Number with interesting properties. Klonimus 02:49, 12 October 2005 (UTC)
 * REDIRECT to 100000000 (number) since the only point of substance is already in the latter article. —Phil | Talk 06:46, 12 October 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Talk:Valence (chemistry)

Comment
Valence is also a linguistic term. It has to to with the number of participants in a clause.
 * (unsigned) . -DePiep (talk) 12:53, 5 March 2023 (UTC)

Science
What is valency 2409:4050:E84:F729:2037:8661:FA15:32D0 (talk) 05:09, 13 April 2022 (UTC)

 * Valency is the British spelling, and valence is the American spelling. Same meaning. Dirac66 (talk) 02:24, 10 May 2022 (UTC)
 * This wikipedia page is wrong to say they are two different spellings and wrong to say one is UK one is USA.
 * https://english.stackexchange.com/questions/599736/how-can-the-difference-between-the-chemistry-words-of-valence-and-valency-be-des/599741#599741
 * They are different words for the same thing, but "valency" was more common in the UK pre 1970s. Since then, both in the UK and USA, and especially nowadays, people use the word valence . And nowadays almost nobody in the UK or USA uses the word valency 86.1.49.43 (talk) 00:47, 11 December 2022 (UTC)

 * At least some British dictionaries still include valency. See https://dictionary.cambridge.org/dictionary/english/valency and https://www.collinsdictionary.com/dictionary/english/valency. Dirac66 (talk) 01:59, 11 December 2022 (UTC)

Suggested sub-topic.
I remember the word "valence" from chemistry classes. But chemistry or physics is not what brought me to this article. I'm trying to find out whether "valence" can be used metaphorically to describe something, such as a "thought," that has a certain "charge" to it almost like an electrical charge. Can "valence" be used (metaphorically) as a synonym for something that has a certain polarity or "charge?" If "valence" can be used metaphorically to describe something outside of the realm of science maybe that could be added to the article. 2600:8801:BE01:7C00:384E:582A:B8E:C3EE (talk) 18:39, 4 March 2023 (UTC)
 * That sounds like Valence (psychology). The article here is strictly the chemistry aspect. Other meanings of the word are listed at Valence (not the specific '(chemistry)' page), with links to their own specific articles. DMacks (talk) 18:45, 4 March 2023 (UTC)

title: Talk:Valence (chemistry)


text:
Talk:1850–59 Atlantic hurricane seasons

1851
Should 1851 Atlantic hurricane season even be an article? There is so little information, I propose it be merged with the main article, as well as 1852. Hurricanehink 23:57, 5 October 2005 (UTC)
 * I agree. -- RattleMan 00:17, 6 October 2005 (UTC)

Todo
I dropped this to stub, seeing as every storm is not mentioned. Given how long the article would be if every storm was mentioned, should every season back to 1851 have an article? Hurricanehink ( talk ) 16:24, 10 December 2006 (UTC)

Dead link
During several automated bot runs the following external link was found to be unavailable. Please check if the link is in fact down and fix or remove it in that case!
 * http://www.srh.noaa.gov/lch/research/txearly19hur.htm
 * In 1820–1829 Atlantic hurricane seasons on 2011-05-25 02:03:12, 404 Not Found
 * In 1820–1829 Atlantic hurricane seasons on 2011-06-01 22:40:25, 404 Not Found

--JeffGBot (talk) 22:58, 1 June 2011 (UTC)

Dead link 2
During several automated bot runs the following external link was found to be unavailable. Please check if the link is in fact down and fix or remove it in that case!
 * http://www.srh.noaa.gov/lch/research/laerly19hu.htm
 * In 1820–1829 Atlantic hurricane seasons on 2011-05-25 02:03:12, 404 Not Found
 * In 1820–1829 Atlantic hurricane seasons on 2011-06-01 22:40:31, 404 Not Found

--JeffGBot (talk) 22:58, 1 June 2011 (UTC)

Category ratings
Can anyone tell me where these category ratings are coming from? My understanding is that the category rating system came into play in the 20th, not the 19th, century. GenQuest "Talk to Me" 18:58, 8 January 2013 (UTC)
 * They were retroactively applied, based on their estimated winds. --♫ Hurricanehink ( talk ) 19:01, 8 January 2013 (UTC)
 * Thanks. Next question, isn't it more appropriate, then, to speak in terms of "estimated force" or "estimated category" instead of the hard statement of fact this (and probably other 18-19th century) weather article(s) seems to take? I'm not a weather guy so don't know what the standards are in that field.  GenQuest  "Talk to Me" 21:43, 10 January 2013 (UTC)

Orphaned references in 1850–59 Atlantic hurricane seasons
I check pages listed in Category:Pages with incorrect ref formatting to try to fix reference errors. One of the things I do is look for content for orphaned references in wikilinked articles. I have found content for some of 1850–59 Atlantic hurricane seasons's orphans, the problem is that I found more than one version. I can't determine which (if any) is correct for this article, so I am asking for a sentient editor to look it over and copy the correct ref content into this article.

Reference named "Partagas": From 1856 Last Island hurricane:  From 1853 Atlantic hurricane season:

I apologize if any of the above are effectively identical; I am just a simple computer program, so I can't determine whether minor differences are significant or not. AnomieBOT ⚡ 20:52, 28 June 2013 (UTC)

title: Talk:1850–59 Atlantic hurricane seasons


text:
User talk:Pdivos

Welcome!
Hello, Pdivos, and welcome to Wikipedia! Thank you for your contributions; I hope you like the place and decide to stay. We're glad to have you in our community! Here are a few good links for newcomers:

 * If you haven't already, drop by the New user log and tell others a bit about yourself.
 * Always sign your posts on talk pages! That way, others will know who left which comments. You can sign your post like I did by using 4 tildes ( ~ ), which will leave your username and time you posted the comment.
 * The Five Pillars of Wikipedia
 * Simplified Ruleset
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial, which can be very useful later.
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * Wikipedia Glossary
 * Check out Redwolf24's Bootcamp! Redwolf is a very friendly user, and this page might prove useful to you.

I hope you enjoy editing here and being a Wikipedian! Though we all make mistakes at some point, here is what Wikipedia is not, which might help you out. If you have any questions or concerns, don't hesitate to see the help pages, add a question to the village pump, or ask me. The Community Portal can also be very useful.

Happy editing!

- User:Mys e kurity|Mysekurity ]] additions | e-mail ]]23:57, 5 October 2005 (UTC)

 * One more thing though, I saw that you uploaded Image:NiklasZenstromm.jpg, but did not tag your image, something that is required of all images that are put on Wikipedia. Please find the information on the source, and give it its appropriate tag, or else it might be put up for deletion. I really like the images, and think they'd make a great contribution to Wikipedia, but they're not allowed to go up without propper source and licence information. Thanks again,

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

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

If you have uploaded other images, please check that you have specified their source and copyright tagged them, too. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thanks so much. -- User:Mys e kurity|Mysekurity ]] additions | e-mail ]]02:01, 6 October 2005 (UTC)

Image copyright problem with Image:John_Charles_Harsanyi.jpg
Thanks for uploading Image:John_Charles_Harsanyi.jpg. However, the image may soon be deleted unless we can determine the copyright holder and copyright status. The Wikimedia Foundation is very careful about the images included in Wikipedia because of copyright law (see Wikipedia's Copyright policy).

The copyright holder is usually the creator, the creator's employer, or the last person who was transferred ownership rights. Copyright information on images on Wikipedia is signified using copyright templates. The three basic license types on Wikipedia are open content, public domain, and fair use. Find the appropriate template in Image copyright tags and place it on the image page like this:.

Please signify the copyright information on any other images you have uploaded or will upload. Remember that images without this important information can be deleted by an administrator. You can get help on image copyright tagging from Wikipedia talk:Image copyright tags. -- Carnildo 23:33, 31 January 2006 (UTC)

February 2016
Hello, I'm BU Rob13. I noticed that you recently removed some content from George Soros with this edit, without explaining why. In the future, it would be helpful to others if you described your changes to Wikipedia with an edit summary. If this was a mistake, don't worry, the removed content has been restored. If you think I made a mistake, or if you have any questions, you can leave me a message on my talk page. Thanks. ~ RobTalk 20:52, 23 February 2016 (UTC)

title: User talk:Pdivos


text: Template:Campaignbox Black Hawk War

title: Template:Campaignbox Black Hawk War


text: Category:2006 Atlantic hurricane season

title: Category:2006 Atlantic hurricane season


text: User talk:68.197.3.77

title: User talk:68.197.3.77


text: Category:2006 meteorology

title: Category:2006 meteorology


text:
Mirta Ojito

Mirta Ojito is a Cuban-born author and journalist. She has written two nonfiction books, Finding Mañana: A Memoir of a Cuban Exodus a book about her journey to the U.S. as a teenager in the Mariel boatlift, and Hunting Season: Immigration and Murder in an All-American Town." She was part of a group of New York Times reporters who shared the Pulitzer Prize for national reporting in 2001 for a series of articles about race in America. More recently, she was a member of the Telemundo team that won an Emmy for the coverage of Pope Francis's visit to the Americas.

Early life
Born on February 10, 1964, in Cuba, Ojito was raised in the Santos Suárez neighborhood of Havana. Her parents disliked the Communist regime and always told her one day they would leave Cuba. That day came on May 10, 1980, when Ojito and her family left the island aboard a boat named Mañana, as part of the Mariel boatlift, and arrived in Key West the following the day. The family settled in Miami.

Education
After finishing High School in Miami, Ojito attended Miami Dade College and went on to Florida Atlantic University, graduating in 1986.

Career
In 1987, she started working for The Miami Herald, where she remained for nine years, alternating between that paper and El Nuevo Herald. She became known, primarily, for her coverage of Cuban detainees in federal penitentiaries and stories about human rights in Cuba. In 1996, she started working in the Metro desk of The New York Times, where she covered immigration, among other beats.

In 1998, she returned to Cuba to cover the Pope's visit to the island. A first person story from that trip was nominated for the Pulitzer Prize. She left the paper in January 2002 to write her first book and, four years later, started teaching at Columbia University Graduate School of Journalism, where she became known for her work on immigration. She lectured widely on topics regarding Cuba, immigration and journalism.

In 2014, she joined NBC News, where she is the Senior Director in the NBC News Standards team and works at Telemundo Network. She is a member of the Council on Foreign Relations.

Ojito served as a judge for the 2019 and 2021 American Mosaic Journalism Prize.

Books

 * (2006) Finding Mañana: A Memoir of a Cuban Exodus
 * Hunting Season: Immigration and Murder in an All-American Town

title: Mirta Ojito


text:
File:Red Dawn (Doctor Who).jpg

Summary
Big Finish Doctor Who 08 - Red Dawn cover

Fair use in Red Dawn (Doctor Who audio)
Though this image is subject to copyright, its use is covered by the U.S. fair use laws because:
 * 1) It's a low resolution copy of a CD/album cover.
 * 2) It doesn't limit the copyright owner's rights to sell the CD/album in any way, in fact, it may encourage sales.
 * 3) Because of the low resolution, copies could not be used to make illegal copies of the album artwork on another CD.
 * 4) The image is itself a subject of discussion in the article or used in the infobox thereof.
 * 5) The image on the cover is significant because it was made by a famous artist.

Source

 * 1) Derived from a digital capture (scan/photo) of the album/CD cover (creator of this digital version is irrelevant as the copyright in all equivalent images is still held by the same party). Copyright held by the record company or the artist. Claimed as fair use regardless.

title: File:Red Dawn (Doctor Who).jpg


text:
User:Ch. Rogel

I am a chief librarian living in a breton-speaking area (West Brittany) and I learned the breton language around my twenties. I got degrees in French, History and Geography, Librarianship and Breton. I am interested in many fields of knowledge, especially history and languages.

title: User:Ch. Rogel


text:
Warm antibody autoimmune hemolytic anemia

Warm antibody autoimmune hemolytic anemia (WAIHA) is the most common form of autoimmune haemolytic anemia. About half of the cases are of unknown cause, with the other half attributable to a predisposing condition or medications being taken. Contrary to cold autoimmune hemolytic anemia (e.g., cold agglutinin disease and paroxysmal cold hemoglobinuria) which happens in cold temperature (28–31 °C), WAIHA happens at body temperature.

Causes
AIHA may be:
 * Idiopathic, that is, without any known cause
 * Secondary to another disease, such as an antecedent upper respiratory tract infection, systemic lupus erythematosus or a malignancy, such as chronic lymphocytic leukemia (CLL)

Medications

 * Several medications have been associated with the development of warm AIHA. These medications include quinidine, nonsteroidal anti-inflammatory drugs (NSAIDs), alpha methyldopa, and antibiotics such as penicillins, cephalosporins (such as ceftriaxone and cefotetan), and ciprofloxacin.

Pathophysiology
The most common antibody isotype involved in warm antibody AIHA is IgG, though sometimes IgA is found. The IgG antibodies attach to a red blood cell, leaving their FC portion exposed with maximal reactivity at 37 °C (versus cold antibody induced hemolytic anemia whose antibodies only bind red blood cells at low body temperatures, typically 28–31 °C). The FC region is recognized and grabbed onto by FC receptors found on monocytes and macrophages in the spleen. These cells will pick off portions of the red cell membrane, almost as if they are taking a bite. The loss of membrane causes the red blood cells to become spherocytes. Spherocytes are not as flexible as normal RBCs and will be singled-out for destruction in the red pulp of the spleen as well as other portions of the reticuloendothelial system. The red blood cells trapped in the spleen cause the spleen to enlarge, leading to the splenomegaly often seen in these patients.

There are two models for this: the hapten model and the autoantibody model. The hapten model proposes that certain drugs, especially penicillin and cephalosporins, will bind to certain proteins on the red cell membrane and act as haptens (small molecules that can elicit an immune response only when attached to a large carrier such as a protein; the carrier may be one that also does not elicit an immune response by itself). Antibodies are created against the protein-drug complex, leading to the destructive sequence described above. The autoantibody model proposes that, through a mechanism not yet understood, certain drugs will cause antibodies to be made against red blood cells which again leads to the same destructive sequence. It is possible for it to occur in an immunocompromised patient.

Diagnosis
Diagnosis is made by a positive direct Coombs test, other lab tests, and clinical examination and history. The direct Coombs test looks for antibodies attached to the surface of red blood cells.

Clinical findings
Laboratory findings include severe anemia, normal MCV (mean corpuscular volume), and hyperbilirubinemia (from increased red cell destruction) that can be of the conjugated or unconjugated type.

Treatment
Corticosteroids and immunoglobulins are two commonly used treatments for warm antibody AIHA. Initial medical treatment consists of prednisone. If ineffective, splenectomy should be considered.

If refractory to both these therapies, other options include rituximab, danazol, cyclosphosphamide, azathioprine, or ciclosporin. High-dose intravenous immune globulin may be effective in controlling hemolysis, but the benefit is short lived (1–4 weeks), and the therapy is very expensive.


text: User talk:24.140.78.123

title: User talk:24.140.78.123


text:
Knock-for-knock agreement

A knock-for-knock agreement is an agreement between two insurance companies whereby, when both companies' policy-holders incur losses in the same insured event (usually a motor accident), each insurer pays the losses sustained by its own policy-holder regardless of who was responsible.

Rationale
The rationale is economic and administrative efficiency: While an insurer may be able to pursue a recovery from the party responsible for an accident or from its policy-holder, this is a costly administrative procedure. The knock-for-knock agreement simplifies recovery claims among insurers and, over time, attributes costs fairly among insurers.

However, knock-for-knock agreements between insurers have been criticised as unfair on the party not responsible for an accident. If, for the sake of administrative ease, an insurer pays out to repair damage done to its policy-holder's own car instead of pursuing the party responsible for the accident for all relevant costs, an effective claim is recorded against that policy-holder's insurance record. In this way, knock-for-knock agreements can result in policy-holders finding unexpectedly, when they come to renew their insurance, that they face higher premiums regardless of responsibility for an accident they were involved in.

Other contexts
Military Claims

'Knock for knock' is also used in a specific, analogous sense, for example, the following, cited in the "Law at War", from the US Army website :

 * In addition to handling these routine matters, the chief of the Claims Section participated in the negotiations with the Korean government concerning the payment of foreign claims generated by troops of the Army of the Republic of Korea who were active in South Vietnam. In fact, the MACV Staff judge Advocate's office was to play a vital role in the negotiation and implementation of certain claims agreements with the Vietnamese government and the Free World allies which came to be known as "knock-for-knock" agreements. These compacts contained provisions whereby the government of one nation waived the claims against the government of the second nation for damage to government property. The agreements did not, however, waive the personal right of an individual to claim damages in the case of negligence of a member of the force of another allied nation. The arrangements nevertheless removed a potential irritant to the relationships among the Free World forces.

Oil and Gas Industry

'Knock for knock' is a common contractual arrangement in the oil and gas industry. The operator of an oil and gas property requires the assistance and expertise of many kinds of contractors, including drilling companies, well service companies, facility constructors, equipment suppliers, and caterers. Generally, the operator will engage these services under a master service agreement which sets forth the essential commercial terms under which the work will be performed. One of these terms is the allocation of the risk of loss to people and property. In general, a knock-for-knock agreement means that each party working on an oil and gas worksite—the operator and each contractor—agrees to protect and indemnify all the other parties against injuries to that party's employees and agents, and destruction or damage to that party's property. This allocation is not based upon the fault or culpability of the party whose employee was injured or whose property was damaged. The goal is the efficient defense and payment of a claim through having a single party responsible for the loss.

title: Knock-for-knock agreement


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Direct–inverse alignment

The definition of a direct–inverse language is a matter under research, but it is widely understood to involve different grammar for transitive predications according to the relative positions of their "subject" and their "object" on a person hierarchy, which, in turn, is some combination of saliency and animacy specific to a given language. The direct construction is the unmarked one. The direct construction is used when the subject of the transitive clause outranks the object in the person hierarchy, and the inverse is used when the object outranks the subject.

The existence of direct–inverse morphosyntax is usually accompanied by proximate–obviative morphosyntax. The direct–inverse dimension subsumes the proximate–obviative dimension. Across languages, obviation almost always involves the third person (although second-person obviation is reported for some Nilo-Saharan languages), and the direct–inverse alternation is usually presented as being a way of marking the proximate–obviative distinction between two (or more) third-person arguments of a sentence. However, there are at least two languages with inverse systems, the Mesoamerican languages Zoque and Huastec, in which inverse morphosyntax is never used when both subject and object are third person but only when one of the arguments is third person, and the other is a speech act participant (SAP), the first or second person.

Morphosyntactic variation across inverse-type languages
Neither a morphological feature nor a syntactic feature is common to all inverse systems.

Direct-inverse systems on verbs coexist with the various morphosyntactic alignments in nouns. In some inverse languages, including all Mesoamerican inverse languages, the direct-inverse alternation changes the morphosyntactic alignment, and the language is said to have hierarchical alignment.

Klaiman has suggested four common properties of inverse languages:
 * 1) Core participants of transitive predicates are ranked on a hierarchy of salience, topicality or animacy.
 * 2) Only transitive predicates can participate in the direct–inverse alternation.
 * 3) A morphosyntactic device should be used to signal whether the most salient participant is notional subject or notional object.
 * 4) Direct–inverse alternation does not entail detransitivization.

Some languages that comply with Klaiman's definition of an inverse language are Maasai, Carib, Wastek, Chukchi, the Algonquian languages and some Athapaskan languages like Koyukon and Navajo, Mapudungun and Movima (language isolates), rGyalrong (Sino-Tibetan), Kopar (Sepik), and some Mixe–Zoquean languages. On the other hand, the Mixean language Oluteco has been reported to have an inverse system which does not conform to the second rule, as certain intransitive verbs and passives of ditransitives also can take inverse morphology.

Inverse morphology in Ojibwe
In Ojibwe, an Algonquian language of North America, the person hierarchy is second person > first person > third person proximate > third person obviative. Since the morphology of Ojibwe has no case distinctions (an Ojibwe nominal phrase does not change when its relations to the other sentence constituents change), the only way to distinguish subject from object in a transitive verb with two participants is through direct–inverse suffixes. A direct suffix indicates that the action is performed by someone higher on the person hierarchy on someone lower on the person hierarchy:

o- bizindaw -aa -n

3- listen.to -DIRECT -3OBVIATIVE

"He listens to the other one"

An inverse suffix indicates that the action is performed by someone lower on the person hierarchy on someone higher on the person hierarchy (such as by the speaker on the addressee or an obviative third person on a proximate):

o- bizindaw -igoo -n

3- listen.to -INVERSE -3OBVIATIVE

"The other one listens to him"

As can be seen, the only difference between these two verbs is the direct–inverse opposition, rather than case markers (or word order, when distinct nominals are used). An inverse verb is not equivalent to a passive verb. There is a separate passivity marker, denoted in literature as "indefinite person (X)", ranked in topicality hierarchy below first and second persons, but higher than animate and inanimate third persons:

{} bizindaw -aa

X- listen.to -DIRECT

"He is listened to"

Semantic and pragmatic inverse in Sahaptin
Sahaptin, an Amerindian language of the northwestern United States, has an inverse marked by the verbal prefix pá-. It indicates transitive action from the second to the first person when both arguments are SAPs. That can be called the semantic inverse.

q̓ínu -ša =maš

"I see you"

pá- q̓inu -ša =nam

"you see me"

Sahaptin pá- does not occur with transitive action between SAPs and the third person, but it does occur between third-person participants. The contrast can be elicited with multiple clause examples such as given below. In the inverse the semantic patient is coreferential with the subject in the preceding clause. That can be called a pragmatic inverse.

wínš i- q̓ínu -šana wapaanłá -an ku i- ʔíƛ̓iyawi -ya paanáy

man 3NOM- see -ASP grizzly -ACC and 3NOM- kill -PST 3ACC.SG

"the man saw the grizzly and he killed it"

wínš i- q̓ínu -šana wapaanłá -an ku pá- ʔiƛ̓iyawi -ya

man 3NOM- see -ASP grizzly -ACC and INV- kill -PST

"the man saw the grizzly and it killed him"

The pragmatic inverse topicalizes the patient, but its nominal, if present, retains its accusative case-marking.

ku pá- ʔiƛ̓iyawi -ya paanáy

and INV- kill -PST 3ACC.SG

"and it killed him"

Japanese
The different Japanese verbs for "to give", used for both favours and physical objects, can be considered an instance of direct–inverse alignment. Ageru (上げる) is used when the subject, the giver, is lower down on the person hierarchy than the beneficiary, the indirect object. Meanwhile, kureru (くれる) or kudasaru (下さる) must be used if the subject is higher up. For example, the first person in Japanese is lower than the second on the person hierarchy, so you would say:

Switching the subject and object in either example, or switching the verbs between the two sentences would be unacceptable.

title: Direct–inverse alignment


text:
Talk:Desmond Morton (historian)

Untitled
i removed the stub listing as I added a fair bit more information, I believe it's enough to qualify as a full article. pm_shef 03:55, 28 January 2006 (UTC)

Fair use rationale for Image:Morton.jpg
Image:Morton.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 00:54, 14 February 2008 (UTC)

title: Talk:Desmond Morton (historian)


text:
Stephenson valve gear

The Stephenson valve gear or Stephenson link or shifting link is a simple design of valve gear that was widely used throughout the world for various kinds of steam engines. It is named after Robert Stephenson but was invented by his employees.

Historical background
During the 1830s, the most popular valve drive for steam locomotives was known as gab motion in the United Kingdom and V-hook motion in the United States. The gab motion incorporated two sets of eccentrics and rods for each cylinder; one eccentric was set to give forward and the other backwards motion to the engine and one or the other could accordingly engage with a pin driving the distribution valve by means of the gabs: - vee-shaped ends to the eccentric rods supposed to catch the rocker driving the valve rod whatever its position. It was a clumsy mechanism, difficult to operate, and only gave fixed valve events.

In 1841, two employees of Robert Stephenson and Company, draughtsman William Howe and pattern-maker William Williams, suggested the simple expedient of replacing the gabs with a vertical slotted link, pivoted at both ends to the tips of the eccentric rods. To change direction, the link and rod ends were bodily raised or lowered by means of a counterbalanced bell crank worked by a reach rod that connected it to the reversing lever. This not only simplified reversing but it was realised that the gear could be raised or lowered in small increments, and thus the combined motion from the “forward” and “back” eccentrics in differing proportions would impart shorter travel to the valve, cutting off admission steam earlier in the stroke and using a smaller amount steam expansively in the cylinder, using its own energy rather than continuing to draw from the boiler. It became the practice to start the engine or climb gradients at long cutoff, usually about 70-80% maximum of the power stroke and to shorten the cutoff as momentum was gained to benefit from the economy of expansive working and the effect of increased lead and higher compression at the end of each stroke. This process was popularly known as "linking up" or “notching up”, the latter because the reversing lever could be held in precise positions by means of a catch on the lever engaging notches in a quadrant; the term stuck even after the introduction of the screw reverser. A further intrinsic advantage of the Stephenson gear not found in most other types was variable lead. Depending on how the gear was laid out, it was possible to considerably reduce compression and back pressure at the end of each piston stroke when working at low speed in full gear; once again as momentum was gained and cutoff shortened, so lead was automatically advanced and compression increased, cushioning the piston at the end of each stroke and heating the remaining trapped steam in order to avoid temperature drop in the fresh charge of incoming admission steam.

American locomotives universally employed inside Stephenson valve gear placed between the frames until around 1900 when it quickly gave way to outside Walschaerts motion. In Europe, Stephenson gear could be placed either outside the driving wheels and driven by either eccentrics or return cranks or else between the frames driven from the axle through eccentrics, as was mostly the case in Great Britain.

Applications
Abner Doble considered Stephenson valve gear: "(...) the most universally suitable valve gear of all, for it can be worked out for a long engine structure or a short one. It can be a very simple valve gear and still be very accurate, but its great advantage is that its accuracy is self-contained, for the exact relationship between its points of support (eccentrics on shaft, valve crosshead, and link hanger arm) have but little effect on the motion of the valve. Its use on engines in which all the cylinders lie in one plane, represents, in the belief of the writer, the best choice." Another benefit of the Stephenson gear, intrinsic to the system, is variable lead: usually zero in full gear and increasing as cutoff is shortened. One consequent disadvantage of the Stephenson gear is that it has a tendency to over-compression at the end of the stroke when very short cut-offs are used, and therefore the minimum cut-off cannot be as low as on a locomotive with Walschaerts gear. Longer eccentric rods and a shorter link reduce this effect.

Stephenson valve gear is a convenient arrangement for any engine that needs to reverse and was widely applied to railway locomotives, traction engines, steam car engines and to stationary engines that needed to reverse, such as rolling-mill engines. It was used on the overwhelming majority of marine engines. The Great Western Railway used Stephenson gear on most of its locomotives, although the later four-cylinder engines used inside Walschaerts gear.

Details of the gear differ principally in the arrangement of the expansion link. In early locomotive practice, the eccentric rod ends were pivoted at the ends of the link while, in marine engines, the eccentric rod pivots were set behind the link slot (or below on a vertical engine). These became known respectively as the 'locomotive link' and the 'launch link'. The launch link superseded the locomotive type as it allows more direct linear drive to the piston rod in full gear and permits a longer valve travel within a given space by reducing the size of eccentric required for a given travel. Launch-type links were pretty well universal for American locomotives right from the 1850s but, in Europe, although occurring as early as 1846, they did not become widespread until around 1900. Larger marine engines generally used the bulkier and more expensive marine double-bar link, which has greater wearing surfaces and which improved valve events by minimising geometric compromises inherent in the launch link.

In the United Kingdom, locomotives having Stephenson valve gear normally had this mounted in between the locomotive frames. In 1947, the London, Midland and Scottish Railway built a series of their Stanier Class 5 4-6-0 locomotives, most of which had the Walschaerts' valve gear that was normal for this class, but one of them, no. 4767, had Stephenson valve gear mounted outside the wheels and frames. Instead of eccentrics, double return cranks were used to drive the eccentric rods, and a launch-type expansion link was used. This one cost £13,278, which was about £600 more than those built at the same time with Walschaerts' valve gear. The aim of the experiment was to find out if a valve gear having variable lead (as opposed to the constant lead of the Walschaerts' motion) would affect performance. On trial, it proved to have no advantage, although in normal service it did gain a reputation as a good performer on banks.

Derivatives
As a harmonic valve gear, the Stephenson arrangement may be considered as optimum. Nevertheless, the fact the link needed to be bodily displaced in order to reverse meant that it required considerable vertical clearance. At the time of its introduction, it was deemed important in the locomotive world to keep the centre of gravity, and therefore the boiler centre line as low as possible. Because valve gears in Britain were generally placed between the frames beneath the boiler, the extremely cramped conditions made the valve gear inaccessible for servicing. Also reversing could be a strenuous occupation as it entailed lifting the weight of the link plus eccentric rod ends. In order to address these problems two main variants were developed:

Gooch valve gear
In the Gooch valve gear (invented by Daniel Gooch in 1843) the reversing and cut-off functions were achieved by raising or lowering a radius rod which connected the valve-rod to a "stationary" link pivoting around a fixed point. The advantages sought were reduced height for the gear and lighter action as the reversing lever was only required to lift the weight of the radius rod. This meant that the link was convex (in relation to the eccentrics) instead of concave. Gooch valve gear had the disadvantage of angularity between the valve spindle and the eccentric rod in full gear, whereas the best forms of the Stephenson gear, the thrust was in a straight line. The Gooch gear gave constant lead at whatever cutoff. This was observed to be a disadvantage when similar locomotives fitted with either Gooch or Stephenson gear were compared in service Gooch gear was never popular in Britain except with one or two engineers down to the 1860s, but it was quite common in France.

Allan straight link valve gear
The Allan straight link valve gear (invented by Alexander Allan in 1855) combined the features of the Stephenson and Gooch gears. The reversing and cut-off functions were achieved by simultaneously raising the radius rod and lowering the link or vice versa. As with the Gooch gear, this saved space but the Allan gear gave performance closer to that of the Stephenson. Moreover, the straight expansion link simplified manufacture. Once again, the Allan gear was not often used in the UK but fairly common on the Continent. Notable UK examples are the Great Western Railway's 1361 and 1366 classes, and the narrow-gauge Ffestiniog Railway's 0-4-0TT class (which were produced by George England and Co.). Talyllyn Railway's second locomotive, Dolgoch (which was produced by Fletcher, Jennings & Co.) is provided with Fletcher's patent arrangement of Allan straight link gear.

title: Stephenson valve gear


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Switchback, West Virginia

Switchback is an unincorporated community in McDowell County, West Virginia, United States. Switchback had its own high school in operation from 1923 to 1953.

The community's name most likely refers to the shape of nearby railroad tracks. The James Ellwood Jones House and Pocahontas Fuel Company Store were listed on the National Register of Historic Places in 1992.

title: Switchback, West Virginia


text:
User:Alikia

Alikia's Page

G'day
Wikipedia is a fascinating resource, sometimes believable. My interests are eclectic, but initially i've written about another eclectic character, William Irvine a Scottish evangelist of last century, and a few bits and pieces about various Christian things (incl. the article on Bible Study Fellowship). And plan to do some contrib's on other scientific stuff. Whatever stimulates the creative juices at the time. And always endeavouring and encouraging others to walk with the wind of the Spirit in your hair...

Blog
My blog is hidden for the moment, while we engage in battle.

Hello
I have a vexatious slant against people who make edits without reading wiki guidelines. :) Thanks for posting up on Discussion and see my response there.Slofstra (talk) 21:32, 25 January 2008 (UTC)

title: User:Alikia


text:
Lycée La Fontaine (Paris)

Lycée Jean-de-La-Fontaine is a lycée in the 16th arrondissement of Paris, France.

The school building, in the shape of an "open rectangle", was constructed on top of ancient fortifications. Construction began in 1935 and finished in 1938. Towards the end of World War II it was used as an American hospital.

title: Lycée La Fontaine (Paris)


text:
Mario Hoops 3-on-3

Mario Hoops 3-on-3, known in Europe as Mario Slam Basketball and in Japan as Mario Basket 3on3 (マリオバスケ 3on3), is a sports game developed by Square Enix and published by Nintendo for the Nintendo DS in 2006. The game is the first in which Mario and Final Fantasy characters appear together as playable characters, and the second Mario game developed by Square Enix, the first one being Super Mario RPG. It is the first Mario basketball game ever to be released, although characters from the series have appeared in the GameCube version of NBA Street V3. The game was released on the European Wii U Virtual Console on May 26, 2016 and it was released on North American Wii U Virtual Console on November 3, 2016.

The game features a series of three versus three basketball tournaments on different courts, each of three games. The game uses the Nintendo DS's touch screen extensively and features items and coins from the Mario series. The game received mixed reviews from critics, who praised the game for being amusing and fun, but criticized the weak AI and limited multiplayer options, with full basketball games only being playable across two players locally who each had a copy of the game.

Gameplay
The gameplay of Mario Hoops 3-on-3 is centered on basketball games, structured into tournaments that the player must win to progress. The tournament ladder is made with graphics based on the original Super Mario Bros.. Each tournament consists of three games with two halves of two and a half minutes each. The one exception is an extra game with the Final Fantasy team at the end of the final tournament. The player can win a tournament by winning the three games on its ladder. Upon winning, the player is awarded either a gold cup, a silver cup, or a bronze cup. These cups correspond with winning by more than 200 points cumulatively across the three matches, 100 points, or simply winning all three games.

The matches feature three players on each side, with characters drawn primarily from Mario and other Nintendo games, as well as characters from Square Enix's Final Fantasy series. During matches, the Nintendo DS touch control is used for all actions except for movement, which can be handled by the directional pad. The player can also control directly via the touch screen. The top screen of the DS shows the game in 3D, while the bottom screen shows an overhead view of the whole court. Dribbling is performed automatically, but slower if the touch screen is not used actively to dribble.

The player can perform multiple moves, such as stealing the ball and passing, by using gestures on the touchpad. The player shoots by drawing a line forward on the touchscreen. Depending on where the character is and how he/she is moving, the shot will either be a normal shot, a special shot, or a slam dunk; these shots give the team different numbers of points. The basketball court contains multiple coin pads, which give the player coins when dribbled on up to a maximum value; when the player makes a shot, their coins are added to their total point score. Some items appear on the court; when used they grant the player special moves.

There are two game modes: normal and hard. Hard mode is unlocked after the game is beaten on normal. In addition to the regular tournament game, there is an exhibition mode. In this mode, the player can customize the rules such as the amount of playing time, the number of periods played and turning items on or off. Multiplayer is limited to local games, and each player must own their own copy of the game. The game does not have online multiplayer, and the "game sharing" option (playing multiplayer across only one copy of the game) only allows for the playing of select minigames, not full basketball games.

Music
The game's music was composed and arranged primarily by Masayoshi Soken, with some tracks created by Koji Kondo and Yukio Kaneoka. The soundtrack was Soken's first major game soundtrack; he had worked at Square Enix as a sound editor for five years before the release of the game and had only composed music for advertisements and minor games before Mario Hoops. The music covers a wide variety of genres and influences, using techno, rock music, African drum beats, and vocal performances. An official soundtrack album containing music from the game, Mario Basketball 3on3 Original Soundtrack, was published by Square Enix on October 18, 2006. The album contains 31 tracks over a duration of 41:26.

Reception
The game received "mixed or average" reviews according to video game review aggregator Metacritic. The game was generally praised for its control, graphics, and variety, but was criticized for its simplistic AI, unsatisfactory minigames, overpowered skills for the Final Fantasy characters, and lack of Nintendo Wi-Fi connection support.

411Mania gave the game a score of 7.5 out of 10 and said it was "a game that could've easily been rated much higher had there been Wi-Fi connectivity, smarter AI and a richer single card download-play option. Not including Wi-Fi was inexcusable as it would have easily been one of the most played games online. [...] I'd honestly recommend this game for any DS owner out there as I feel the game at least deserves a try. Some will be hooked, some won't, but you can't deny the fun of Mario Hoops 3 on 3." The Sydney Morning Herald gave it three stars out of five and called it "fast-paced stylus-swiping basketball action best suited to short matches against friends." The Times also gave it three stars out of five, saying, "The wild combinations of touch-pad and direction keys required to play make this a game you might not wish to use on public transport, and it somehow lacks the charm of previous Mario-themed games. Good, but not great."

As of July 25, 2007, Mario Hoops 3-on-3 has sold 1.5 million copies worldwide.

title: Mario Hoops 3-on-3


text:
File:Spectre of Lanyon Moor.jpg

Summary
Big Finish Doctor Who 09 - The Spectre of Lanyon Moor cover

Fair use in The Spectre of Lanyon Moor
Though this image is subject to copyright, its use is covered by the U.S. fair use laws because:
 * 1) It's a low resolution copy of a CD/album cover.
 * 2) It doesn't limit the copyright owner's rights to sell the CD/album in any way, in fact, it may encourage sales.
 * 3) Because of the low resolution, copies could not be used to make illegal copies of the album artwork on another CD.
 * 4) The image is itself a subject of discussion in the article or used in the infobox thereof.
 * 5) The image on the cover is significant because it was made by a famous artist.

Source

 * 1) Derived from a digital capture (scan/photo) of the album/CD cover (creator of this digital version is irrelevant as the copyright in all equivalent images is still held by the same party). Copyright held by the record company or the artist. Claimed as fair use regardless.

title: File:Spectre of Lanyon Moor.jpg