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Talk:World War II/Archive 11

Britain
I believe the United Kingdom should be a first on the list of allied nations. Between 1939 to 1941/2 the UK fought the Nazi's alone. I believe that when you put names in the combatants list, put Winston Churchil first and Roosevelt after him. Think of how many British citizens were killed during that time, how many children were killed during the nazi bombings and how many British soldiers died in Egypt and France alongside Americans. Remember another thing that when you put America first on that list, your also claiming America was involved in the war from the beginning. Your people left the British people suffer between 1939 to 1941 when America had the power to stop Germany 10 times over. I am not anti-American, but there are countries that were involved in World War 2 that stood the longest. I also thank America for defeating the Japanese, now America deserves the top credit on the combatants. I am not against America. God Bless. Amlder20 12:38, 4 August 2006 (UTC)

 * I'm not sure why it's "Soviet Union, United States, United Kingdom". It's not alphabetical and not chronological. It looks like it's in order by number of troops, but I couldn't be certain. Chronological order of joining the Allies makes more sense.

 * I would argue that you're quite wrong about the American ability in 1939 or even 1941. My understanding is that the US military was ranked about 13th or 14th in size in the late 1930s and that Rooosevelt was able to begin increasing the size and capabilities in 1940 and 1941 despite not being involved in the war. Only after 1942 was the US able to accomplish anything.

 * Of course, the biggest hurdle in the US was the large and vocal isolationist movement, with the smaller pro-fascists lending a hand to keep America out of the war. Not until the disaster of Pearl Harbor could this barrier be overcome. --Habap 14:05, 4 August 2006 (UTC)

 * I enjoy coming on here and learning a thing or two, according to television yesterday (UK History Channel) America had the greatest force at that time in the 20th Century, even though recovering from the depression, the Americans apparently managed to keep their armies in good shape, though there could be two sides to this.   Amlder20 14:50, 4 August 2006 (UTC)

 * You must be mis-remembering the dates. On 1 July 1939, the US Army had "174,000 scattered among 130 posts, camps and stations", per Army Chief of Staff (Acting) George Marshall. This information was contained in a chart in his Biennial Report to the Secretary of War for the period July 1, 1939, to June 30, 1941. He states that "in fact, during the post-war period, continuous paring of appropriations had reduced the Army virtually to the status of that of a third-rate power." (emphasis mine)

 * Now, by the time of the end of the war, there were 6 million Americans in arms, utilizing state-of-the-art weaponry and supported by burgeoning industry, but that was decidedly not the case in the pre-War or early war period. The United States was a "sleeping giant". --Habap 16:18, 4 August 2006 (UTC)

 * I believe the United Kingdom should be a first on the list of allied nations. Between 1939 to 1941/2 the UK fought the Nazi's alone.
 * This statement is incredible. What about the Soviet Union, France, Norway, Holland, Canada, Greece, Denmark, Brasil, Yugoslavia, Poland, Australia, Czechoslavakia, Poland, Belgium, New Zealand, India, South Africa, etc etc etc. Well, that's most of the world. Did they just stay away? I guess the Americans must have felt they were the only ones not in England's team. Sometimes I get very tired of this sort of stuff. English education... sheeesh! Wallie 15:30, 5 August 2006 (UTC)

 * I think that from where I stand, the British left the poor Commonwealth troops to do the nasty fighting and coping with defeats, Libya, Singapore, Crete, Greece, Cassino, New Guinea, while they quickly went back home from Dunkirk, leaving their mates France in the lurch, and disappeared from the whole Asian arena, leaving India, Australia and NZ to face the Japanese alone. The Americans had to take over the defense of Australia and New Zealand, as their defense forces were busily over there defending Britain! The British Army moved into action quickly again in 1945, when victory was assured. If we want to talk numbers, the British losses are miniscule compared with the Soviet Union. Wallie 12:03, 5 August 2006 (UTC)

 * So the British sat out of the war did we? London was never bombed oh no the Germans loved us very much. The Americans were not defending Britain at all during the war, we had our own forces and our own airforce and the Americans had theirs stationed here too, all we did was have America to join us so we could have greater numbers in defeating our enemies. I doubt the British left commonwealth countries to fight for themselves. No, the Americans helped the UK, we did not rely totally on America, and we did have American armaments but that was because we were too damn slow ourselves in preparing for the war in the first place, remember, the UK did fight back, we never sat back and the enemy - Nazi Germany - were across the sea from us.

Amlder20 22:41, 5 August 2006 (UTC)

 * You simply do not get it do you? Britain was not alone. It had numerous countries helping her. To say you were alone, even if Blair says this, which he does, is simply stupid. If these countries had not been there, then Britain would have been blockaded, and nothing would have stopped Italy from joining in attacking England too. France, Canada, India and Australia were formidable powers in their own rights at the time. Don't ignore them. bYou know that when Australia and New Zealand were being threatened by the Japanese, the British presence vanished. These two countries provided badly needed food, and fought the Germans on many fronts, in order to protect Britain. I often think that the British now only appreciate the American friendship, and forget the Commonwealth and their European partners. Wallie 23:33, 5 August 2006 (UTC)

May I remind you that France got overun by the Germans, may I also remind you that Hitler walked the streets of Paris, what European allies they were all under German control? Their governments in exile weren't so powerful, they had small numbers of men and they joined the British forces, not all of them had their own armies on British soil. I did not say the Soviet Union lost less than us, and that turns out to be a daft comparison reason being that Stalin killed his own men alongside the Germans killing his men, Stalin would kill them when they got back from the battlefield for dessertion.

Amlder20 16:46, 7 December 2006 (UTC)

Name of Britain
I realize the names that the United Kingdom and its related states call themselves are complex and vary over time. However, at the time and in most history books, it was acceptable to refer to the group let by Winston Churchill as simply "Britain". All this talk of the "British Empire" or "Commonwealth" doing this and that is misleading and anachronistic, because right or wrong places such as India and Canada were not really calling the shots and the leadership was in London. One does not talk of the "Battle of the UK" either. Britain was and is the term used by most English-speakers, except for a small community of nitpickers on Wikipedia. Please just let us use it. —Preceding unsigned comment added by <IP_ADDRESS> (talk • contribs)

 * How strange. I have never ever heard of the AIF being referred to as British. And if Britain was 'calling the shots' (it was to a great degree admittedly) the AIF would not have been releived in Tobruk, and would have gone to Burma in 1942 rather than returning to Australia. It is not appropriate to call Commonwealth forces British, and it simply isn't done in any history book I have read. I don't know how Indian or Canadian history books handle it. But I understand the confusion of my American friends...there are places further west than California that aren't Europe. The group led by Winston Churchill as you put it is regularly referred to as the Allies. aussietiger 15:03, 1 August 2006 (UTC)

 * I would tend to agree with aussietiger. Britain was not entirely 'calling the shots'. Australia, Canada etc. all joined the war by their own decision and had the right to move their troops where they saw fit. It's insulting to say "Britain did this" when it was done by a Commonwealth country. We should say "Britain" when we mean Britain, "Allies" when we mean all the Allies including the US and Soviets, and "Commonwealth" when we need to refer to all the Commonwealth countries collectively. I guess to avoid confusion we should make sure we say "British Commonwealth" the first time the term is used, to make it clear we don't mean the Commonwealth of Virginia. DJ Clayworth 15:14, 1 August 2006 (UTC)

 * What is the Commonwealth of Virginia? Do you mean the Commonwealth of Australia? Wallie 20:57, 2 August 2006 (UTC)

 * Did you click on the link? That tells you what it is. Hope that helps! --Habap 21:19, 2 August 2006 (UTC)

the british empire & its commonwealth of nations
i've revised the opening of the article to include a recognition of the british war effort as a collective action by the empire & commonwealth as well as the home country; i admit the wording is less that perfect, but the british war effort was absolutely dependant on the efforts of the empire & commonwealth taken as a whole;  with the major countries being canada, australia (& nz), south africa, & india;  all of them except for india being effectively separate powers & independant allies, & even india having some significant degree of autonomy. without the combined war effort, britain itself could not have continued the war, & possibly might not have even entered into it. canada particularly deserves recogniton as being a separate power, entering into alliance agreements with the untied states on matters such as the defence of north america (even before the formal entry of the usa into the war), separate from its ties with britian (as did australia, where the american military effectively replaced the british as the leading allied power in the region), canada also was involved more closely in the american efforts to produce atomic weapons, among other things, and canada was included in the representation of most major allied war conferences, certainly the "all powers" ones; with the canadian prime minsiter being included in the churhcill-roosevelt photos of the quebec conference..

also re: nitpickers.... i would assume that you are including winston spencer churchill among the nitpickers, as he spoke of "britian and her empire", "the empire", and "the british empire and it's commonwealth of nations" as a matter of common practice, particularly in discussing the war effort & made a specific effort to do so DURING the war. I recognize that the issue of the commonwealth countries is somewhat problematic as they are simultaneously independant allies, and affiliates of britian; but they were recognized as separate powers, responsible for their own declarations of war (unlike in ww1), and had recogniton as such on the major legal documents relating to the war.

I haven't listed tham all (major empire/commonwealth countries) in the intro to the article as this would take too much space, but i do feel that the unusual nature of the "british" war effort as including more than just the "home/mother country" does deserve some kind of specific recognition. I wuold also like to point out the subtle difference between "britian" as it might have been understood to include the empire & commonweath to a reader in the ww2 era, and "britian" as it is understood to be today (ie: just the uk & close territorial possesions such as the channel islands, isle of manx, etc.; or simply "britain" as being just great britian itself, & specifically excluding northern ireland; i admit that occasionally the few remaining colonies are included, although the practice of including any outside parts of the empire in the terms 'britain" or "british" has pretty much fallen from common usage;) It is both disprespectful & inappropriate to simply lump the empire/commonwealth cuontries all together as "british" without at least adding this caveat.

It's also inaccurate.

i'm not looking to start a war here, but the matter is too important to just let it pass.

also, the british seat on the UN security council was originally meant as a "british empire" seat; the addition of a second permanent/veto seat for a commonwealth country would have been seen as unacceptablle to some of the other powers & it would have been somewhat problematic as australia (or aus/nz) & canada both had populations too small & india was too poor too troubled & too non-white to be considered; i believe there was a fair amount of discussion of these issues @ the time the UN was being formed, but there's rly not a good compromise option that offers itself... a "commonwealth seat"? an aus/nz/ca seat? As with so many things about the UN, including only one "british" seat was the "political" & somewhat unsatisfactory compromise that was reached. the subsequent falling away of the other commonwealth countries from britain has changed the preception of the british seat on the sec. coun. from empire to just home country & it certainly nvr really worked as being representative of the empire & commonwealth as a whole. currently there is good reason to argue that neither britian nor france rly deserves a permanent/veto sec. coun. seat anymore, and that the membership/structure/voting powers of the UN should be changed to better reflect current world realities & perhaps democratic prinicples, but changing it has proved to be rather difficult (yes off-topic i know, i digress...  but i'm not the only one who does...).

the "big 5" representation included both a france that had been defeated in 1940 & who's subsequent (or total) contributions to the allied war effort, while not completely negligible, were rather less than those of the major commonwealth countries, and chiang-kai-chek's kuomintang "republic of china"  which did not represent the entire chinese nation, or effectively govern the whole of "free" (non japanese occupied) chinese territory. while china certainlly did contribute (& suffer) greatly during the war against japan, arguably the communist chinese were the more effective "ally" in the actual fighting (as well as eventually decicively wining the chinese civil war against chiang & the kmt), & on the whole they did not receive the recognition they deserved from the western powers, particulary in subsequent & later UN politcs.

long story short: the UN seats were given out for laregely political reasons & they do not accurately reflect the relative conributions and/or significance of allied nations in WW2.

as a candian i'll quietly point out that @ the end of world war 2, if you were to make a list of the "great powers" the ranking would be something like: usa & ussr as the 2 superpowers, then it's something of a toss-up between canada & china; the chinese having a larger army, but far less advanced technologically & less well equipped, & split btwn 2 major factions already engaging in the beginning of the end-phase of the chinese civil war; canada having a more technologically advanced & far better equipped military, although somewhat unbalanced as it was geared to serve as part of a combined western allied force, rather than a stand-alone power. ...germany & japan not being counted, having of course been defeated & italy being in the somewhat awkward position of having tried to change sides in the middle of the war & having thoroughly disproved its status as a great power with its combat record. —Preceding unsigned comment added by <IP_ADDRESS> (talk • contribs)

 * I think we agree on a lot of things. Canada, India, Australia etc. all made significant contributions.  Churchill is possibly the greatest world leader in history.  On how to write a quick introduction to WWII, I guess we disagree.  In my mind, the WWII term "Britain" is loose shorthand for the UK, India, Canada, NZ, Australia, mandates, parts of Africa, random islands, etc., with the understanding that most of the important decisions were made in London.  Churchill had to be careful in his speeches not to underplay anyone's importance, and therefore used stilted terms that still sound unusual.  He also talks about "Britons" and "Our Island".  The BBC thinks "Britain" is ok.  http://www.bbc.co.uk/history/war/wwtwo/.  Roosevelt writes about "Great Britain and Ireland" http://www.mtholyoke.edu/acad/intrel/WorldWar2/fdr3.htm.  If people from the non-UK regions have such a problem with being called "British", then what is the problem with acknowledging Britain as the leader of this group?  Do you really think that Ottawa was leading the war?  If so, then how many other "leaders" do we have to count up before we can say we are being fair?

 * Let's compromise... I'll leave the intro alone as long as you promise not to go through the article and mangle every sentence that uses the words "Britain" or "British". Haber 22:44, 9 July 2006 (UTC)

 * If Canada was such an influence, then why wasn't their prime minister included in "The Big Three" to become, "The Big Four?" Oyo321 23:43, 11 July 2006 (UTC)

 * Yeh. Love it. Big four. Could be big five... Poland fancies itself as some sort of a superpower like Canada too. Seriously, folks. Canada is not in the league of Britain, USA or the Soviet Union. We all have to know our pecking order... As far as the use of "British" is concerned, there is nothing special about Canada. England would have missed India more than Canada. Remember that Canada is just another country in the British Commonwealth..... OK. Canada was handy as a base/staging post for transport planes and stuff from the USA in the earlier parts of WW2. Think I saw a film about this with James Cagney once, with a whole lot of Canadian pilots in a very very smokey room. Wallie 21:10, 22 July 2006 (UTC)

title: Talk:World War II/Archive 11


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Mée

Mée is the name or part of the name of the following communes in France:

 * Mée, Mayenne in the Mayenne department
 * Le Mée, Eure-et-Loir in the Eure-et-Loir department
 * Le Mée-sur-Seine in the Seine-et-Marne department
 * Mées in the Landes department
 * Les Mées, Alpes-de-Haute-Provence in the Alpes-de-Haute-Provence department
 * Les Mées, Sarthe in the Sarthe department
 * Pays de la Mée, a historical region of the Duchy of Brittany

source: wikimedia

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

title: Mée


text:
Hugh May (footballer)

Hugh May (13 October 1882 – 1944) was a Scottish footballer who played in the Football League for Derby County.

His elder brother John was also a footballer and was capped by Scotland.

title: Hugh May (footballer)


text:
Flanders Heritage Agency

The Flanders Heritage Agency (agentschap Onroerend Erfgoed') is a cultural heritage agency sponsored by the Flemish Government. The organisation is split into four subdivisions; the former VIOE, which inventories Beschermd erfgoed in the Flemish Region; the agency "Ruimte en Erfgoed" which executes policy on heritage management and protection; the Ministry department of Town and County Planning, Housing Policy and Immovable Heritage, or Ruimtelijke Ordening, Woonbeleid en Onroerend Erfgoed (RWO), which supports the Minister of Culture on policy decisions; and Inspectie RWO, which is the inspection arm of the RWO.

History
The most tangible product that the agency creates are its inventories in three domains; archeological sites, landscapes, and historical building structures. In 1965 Belgium's inventory of the country's heritage was compared to that of other European countries and was found to be lagging far behind. The then Ministry of Education and Culture decided to address the problem by taking a modern inventory of the architectural heritage and Minister of Culture Renaat Van Elslande took the initiative by selecting a pilot project in the district of Leuven (now in Flemish Brabant). In 1967, the survey was completed and under the new Minister of Culture, this inventory was published in Dutch and French in 1971. All inventoried heritage was described with text and wherever possible it was illustrated with photographs. The last bilingual publication of the project appeared in 1973 with the district of Nivelles (now in Walloon Brabant). Flanders and Wallonia then went their separate ways.

In Flanders, the ongoing inventory was published as a series by location and was printed as Bouwen door de Eeuwen Heen in Vlaanderen, or "Building through the Ages in Flanders". The printed series ran until 2001, and after that the local inventories for each municipality were published as electronic PDF-files.

VIOE
The Vlaams Instituut voor het Onroerend Erfgoed (VIOE) was founded in 2004 and was tasked with finishing the inventory. From 2005 onwards, the inventories were kept in a database called "Inventaris van het Bouwkundig Erfgoed" (IBE), or "Inventory of Architectural Heritage". On 1 juli 2011 the VIOE merged with the Agentschap Onroerend Erfgoed to form a new agency for Immovable Heritage called Onroerend Erfgoed.

Research
The main task of the heritage agency is to conduct the necessary research to fulfill its goals, while making this information sustainably available to all interested parties, including the general public. The domains of interest are Architectural engineering, archeology, landscape architecture, and.

In practise, the VIOE conducts architectural heritage research on specific buildings and landscapes, archaeological sites, and ship wrecks.

Finished inventory
In 2009, after more than 40 years of continuous work, the inventory of architectural heritage was published on 25 September in the Belgian Official Journal. The heritage mentioned in this list enjoys some form of sustainability for the future because a number of special measures are in force to actively protect these buildings. This inventory is of course never really "finished", and is in fact reestablished each year in the month of September with updates to existing or new heritage decrees. In addition to the entire buildings that usually fall under architectural heritage, the agency now provides even smaller items in the inventory, such as specific towers, organ s, gates, and walls, but also less obvious objects such as guard stones, gardens, parks (including old trees) and industrial heritage items such as mine elevators, drawbridge machines, and other equipment.

Other heritage organizations in Flanders
For setting protection of movable and immovable heritage, the government agency of Culture, Youth, Sport en Media "Kunsten en Erfgoed" (Arts and Heritage) is the policy executor of the Flemish Government. Inspections at the local level are conducted by the "".

title: Flanders Heritage Agency


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covenant of salt

Etymology
A Biblical reference, as in Leviticus: "every offering of your grain offering you shall season with salt; you shall not allow the salt of the covenant of your God to be lacking from your grain offering. With all your offerings you shall offer salt."

Noun

 * 1)  A long-lasting agreement.

title: covenant of salt


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Talk:Sino-

What is the origin of the term Sino in connection with China?

 * Added etymology to the article. —Stephen 19:03, 6 November 2007 (UTC)

usage of sino related to ethnic
the common use of the term to describe an ethnic added. Xmlv 18:27, 16 April 2008 (UTC)

title: Talk:Sino-


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David Rivers (American football)

David Rivers (born July 23, 1994) is an American football cornerback who is currently a free agent. He played college football at Youngstown State.

Green Bay Packers
Rivers signed with the Green Bay Packers as an undrafted free agent on May 5, 2017. He was waived by the Packers on June 7, 2017.

New York Jets
On July 30, 2017, Rivers was signed by the New York Jets. He was waived by the Jets on September 1, 2017.

Tampa Bay Buccaneers
On September 19, 2017, Rivers was signed to the Tampa Bay Buccaneers' practice squad. He was released on November 15, 2017, but was re-signed a week later. He was released again on November 28, 2017.

Miami Dolphins
On December 5, 2017, Rivers was signed to the Miami Dolphins' practice squad.

Tampa Bay Buccaneers (second stint)
On December 20, 2017, Rivers was signed by the Buccaneers off the Dolphins' practice squad.

On August 8, 2018, Rivers was waived/injured by the Buccaneers and placed on injured reserve. He was released on August 14, 2018. On October 16, 2018, Rivers was re-signed to the Buccaneers practice squad. He was promoted to the active roster on November 28, 2018.

On May 24, 2019, the Buccaneers waived Rivers.

Miami Dolphins (second stint)
On July 23, 2019, Rivers was signed by the Miami Dolphins. He was released during final roster cuts on August 31, 2019.

New York Guardians
Rivers was drafted in the 3rd round during phase four in the 2020 XFL Draft by the New York Guardians.

St. Louis BattleHawks
On January 17, 2020, Rivers was traded to the St. Louis BattleHawks, along with offensive tackle Brian Wallace, in exchange for offensive linemen Dejon Allen and Avery Young. He had his contract terminated when the league suspended operations on April 10, 2020.

Winnipeg Blue Bombers
Rivers signed with the Winnipeg Blue Bombers of the CFL on July 9, 2021.

New Jersey Generals
Rivers was selected in the 10th round of the 2022 USFL draft by the New Jersey Generals.

Montreal Alouettes
On April 26, 2023, Rivers signed with the Montreal Alouettes of the Canadian Football League (CFL). On June 3, 2023, Rivers was released by the Alouettes.

title: David Rivers (American football)


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User:Rjxue/sandbox

Sector: Arts Integration
Everything in the article is relevant to arts integration and nothing outstanding strays from the topic at hand. The article seems neutral for the most part, touching on the history of arts education, different US organizations that research and advocate for arts integration, the obstacles standing in the way of integrating arts in education, and the effects that arts integration has on students.

There does seem to be a thread of support for the concept throughout the article and nothing from the perspective against arts integration. Though this positive viewpoint seems dominant, in the universe of education discourse, there is an almost unanimous sentiment that arts integration is objectively beneficial (but costly and perhaps not top priority), so I don’t think that this article purposely promotes the idea without regard for another viewpoint. Everything is presented as facts and research, not opinionated statements of persuasion.

The citations present do work and link to sources that support the specific claims in the article for the most part. There is one section about Lesley University’s program for teaching classroom teachers how to integrate the arts into their curriculum that is missing a linked citation. When spot-checking these sources, the reference material does seem appropriate and reliable, coming from academic journals and research from education centers on the space.

The information is up-to-date, discussing the effects of the current legislation, No Child Left Behind, as well as a 2013 congressional resolution to change STEM to STEAM. However, there is not much about developments in the last half decade. Additionally, the page is very focused on the state of affairs in the United States, and it could be interesting to understand if and how that differs from arts integration elsewhere. The research and advocacy section is quite long and devotes short paragraphs to various organizations. This could potentially be split up into non-profit work vs. government initiatives or something of a similar vein.

In the article’s Talk page, there is also mention of expanding to include community art and institutions outside of formal schooling since arts education can occur informally as well. The article is part of WikiProject Education, but has no quality nor importance rating. It was also an assigned topic for Cal State Fullerton’s Fall 2016 Critical Arts in Education course. We have not discussed arts education in class, so I cannot compare this article to our discussions.

Area: Art Education in the United States
Everything in this article does relate to the topic of art education in the United States. After a brief introduction, the article takes readers through the history of movements and arts education models before touching on organizations such as the NEA and their initiatives, then lightly mentioning arts integration.

Something that stood out to me was the heavy focus on historical movements with less emphasis on modern art education and funding. Though claims are factual and neutral, I don’t think the article fully encapsulates the realm of art education in the United States.

The citations do work and are sound, drawing from various art associations, journals, and scholarly works. Some facts have a listed citation, but those sources, while appropriate and reliable, are not hyperlinked. The many that are, do support the facts in the article and are unbiased.

The information is accurate and chronological, but there could be more recent information that is missing, such as a section on contemporary efforts and today’s art education landscape. I believe there could also be work done on funding because that is a large aspect to arts education and is only briefly mentioned in the introduction. A new section could potentially be added for this purpose.

On this article’s Talk page, there is discussion regarding contributors to the field, prominent educators in US history who have added to the research and advocacy surrounding art education. Otherwise, the comments around adding arts integration and chronological history seem to have been incorporated already.

The article is part of three WikiProjects: Education, Visual arts, and United States. On the quality scale, it is rated “Start-class” under all three projects and unrated in terms of importance for all the projects but for United States, under which it is of low importance. Again, we have not discussed education in class, so there is no available comparison between this article’s content and the scope of our course.

Sector: Arts Integration
==== No Child Left With Crayons: The Imperative of Arts-Based Education and Research With Language ‘Minority’ and Other Minoritized Communities ==== This journal article explains the disproportionate effect of NCLB on minoritized youth and how a focus on arts education can restore the engagement of these students. The interplay of arts education, diversity education, and arts-based research culminate in arts integration making education more equitable. This (both a more in-depth look at the effects of NCLB as well as how arts integration combats the adverse consequences) can be better explained in the article, in the NCLB sub-section under Obstacles or even in a new Cultural Effects sub-section under Contributions.

==== A View into a Decade of Arts Integration ==== This journal article looks at the impact of the CETA program (a whole school reform method of arts integration) on students, teachers, and partner schools. It addresses specific areas of success and areas of improvement, as well as resulting impact of the program. This source adds to the discussion of best practices or ways to integrate the arts into education - a section I hope to add - and provides a great example and place to start when considering how arts integration actually works.

==== Questioning the Role of ‘21st-Century Skills’ in Arts Education Advocacy Discourse ==== This journal article discusses advocacy for arts in education as it relates to the National Core Arts Standards. It provides two perspectives of advocacy -- one that emphasizes the individual benefits of arts integration as lifelong skills in inquiry (what the Core Standards are based on) and one more common view that emphasizes economic gains for the workforce -- and explains how the bridging of the two could lead to more implementation of arts integration. These alternate positions could add color to the current article, bringing in multiple viewpoints on the issue.

==== Making Meaning Many Ways: An Exploratory Look at Integrating the Arts with Classroom Curriculum ==== This is a really robust journal article that presents a study on arts integration, its multi-faceted purposes, methods by which it is executed, and the resulting effects on learning. Integrating arts into traditional classroom education acts as a different way to present and engage with material, with both linguistic and socio-cultural contexts. This could be valuable in adding detail to both how art can be integrated and how arts integration contributes to a well-rounded education.

==== Implications for Art Education in the Third Millennium: Art Technology Integration ==== This journal article speaks to technology's role in arts education, specifically how computer technology creates problems and opportunities. It could be interesting to incorporate the implications of technology as it relates to the arts, especially when thinking about how best to implement the integration of arts in classrooms. Today's education so heavily relies on technological advances, so effective arts integration is undoubtedly also affected.

==== Enhancing Student Learning through Arts Integration: Implications for the Profession ==== This journal article explains the benefits of arts integration from the perspective of teaching as a profession. It draws on the various developmental advantageous of arts education, but frames it as enhancing the teacher's ability to teach students in an interactive and more effective way. Because art impacts thought processing, it also affects each of the more traditional, not-budget-cut-affected subjects taught in classrooms. The article also brings in non-school arts programs as examples as well as proposing methods of classroom arts integration.

==== The Support Infrastructure for Youth Arts Learning ==== This chapter from a book about arts learning and state policy examines the infrastructure around arts education, identifying public schools, public after-school programs, community arts, and higher education as four key components in the space. Structure, reach, and content are discussed as criteria for the efficacy of each institution, and the role that each plays in youth arts could be an important addition to the main article. Overall, the existing infrastructure is still weak with most room for engagement and growth in the K-12 public schooling system.

==== Arts Integration, Common Core, and Cultural Wealth: An Ethnographic Case Study of a Title I Elementary School ==== This case study is a really interesting look at the results of implementing an arts integration program compliant to Common Core standards. The development and sustained execution of integrating arts into the curriculum actually supported the student-centered approach of arts education which yielded more empowered and confidents students who were not distinguishable by their cultural wealth, while a non-arts integrated curriculum would show evidence of the discrepancy.

==== The Arts and Achievement in At-risk Youth: Findings from Four Longitudinal Studies ==== This report authored by the NEA finds that at-risk students benefit most from arts education. It explains the correlation between arts programs and increased academic performance and civil engagement, collecting evidence from multiple longitudinal studies.

==== Reinvesting in arts education: Winning America’s future through creative schools ==== The President's Committee on the Arts and the Humanities (PCAH) published this report that emphasizes the role of arts education in educational improvement, student engagement, and building critical skills. It would help bolster the section on effects of arts integration, including academic, socio-emotional, and socio-cultural.

==== Nowhere, Somewhere, Everywhere: The Arts in Education ==== Davis presents different roles and places where the arts might fit into education, taking into account cultural context and other implications. This is a great source to add to the conversation about the effect of art as expression and how it fits into curricula.

Area: Art Education in the United States
==== The Evolving Ecology of Arts Education ==== This scholarly book chapter discusses the history of art education in the United States (a perfect match for what I'm aiming to contribute to this article). It advances chronologically, beginning with the lack of public funding for the arts in the 1970s, then taking us through the growing goals around art education in the decades following and how these changes tie to other education reform initiatives and were themselves a point of reform in the 1980s, and then concludes with a look at how K-12 arts education is organized today with involvement from an array of groups (government, community-based organizations, private philanthropic entities, etc.). This is a great source to reference in order to flesh out the history of art education in the US.

==== My Taxes Paid for That?! or Why the Past Is Prologue for Public Arts Funding ==== This journal article is a worthy source to cite for adding more detail on the history of budget cuts at different levels of government in the US. It touches on the debate surrounding public funding for the arts in the US and how it is both a matter of morality (is it effective/gainful/worthwhile to fund the arts) and of maintaining a balanced budget, and will be useful to expand on policy and regulations around art education.

==== JEE SELECTS: GETTING AHEAD OF S.T.E.A.M. ==== This journal article could be used to talk about the rise of STEAM schools in the US, an initiative that advocates for the arts as just as essential a part of the core curriculum as any component of the original STEM. (Might also bleed into sector article?)

==== The eugenics movement and its impact on art education in the United States ==== This article outlined three main effects that the eugenics movement had on American education: a segregation between college-bound and vocational students, a hierarchical curriculum in public schools, and a heavy emphasis on standardized testing. All these have pushed arts education, namely visual arts, to the background. This is an important development in the fabric of United States arts education, as a sociopolitical movement caused the suppression of arts education.

==== Beyond Identity Politics: The New Culture Wars and Art Education ==== This article is a recent look at cultural debates between conservative republican policy and liberal social values. It discusses art education in the context of today's contentious political climate, how multicultural art education clashes with the systems of power and production, how differences in race/class/gender/etc. has caused hostility and exclusion of marginalized populations, and how we can work toward a more intersectional approach to art education amidst these wars.

==== A New Vision for Arts Education ==== This article describes the efforts of the NEA to emphasize arts education in primary and secondary schooling. It is a perfect source for my intended contribution of detailing the movements between actors in the national conversation around arts education as it expands on various plans that the NEA has to increase arts education (including more investments, and collaboration with education leaders at all levels of government).

==== Arts education in America: What the Declines Mean for Arts Participation ==== This report could be used to discuss the relationship between arts education and participation, especially in the context of the decline in arts education in the United States, which disproportionately effect learning across different racial and ethnic groups.

==== The Sound of Silence: The Unprecedented Decline of Music Education in California Public Schools, A Statistical Review ==== I used this report to provide examples of the decline of arts provisions in the early 2000s due to budget cuts as well as new legislation on school achievement requirements, which pushed the arts to the background.

Sector: Arts Integration
When looking at the aggregate of all my sources, there seems to be a wide variety of valuable topics that are missing from the article or able to be expanded on. For one, there are many discussions on the impact and effectiveness of arts integration and its affect on student learning. Currently, the article has a section on how arts education affects development, but there are sentences I can add from these sources. In addition, there are a lot of specific methods of implementing arts integration which could be added to the main article to explain how arts can be integrated with education, whether through technology in the classroom, through community programs, or other.

Additions to Sector Article
[To Research and Advocacy Section]

Arts advocacy discourse currently presents two main opposing views in support of arts in education. The first points to economic grounds that art teaches "21st-century skills" like collaboration and innovation, which are necessary only as a means to breed productivity for the growth of the market. The second, alternative approach focuses instead on the philosophical value of creative inquiry that art instills in students, arguing lifelong development with no end in mind as a necessary habit borne out of an arts education. Tension between the utilitarian, workplace-focused view and the educational, growth-centered framework on advocacy continues to shape and reshape the arts education universe as revisions to the National Core Arts Standards reflect fluctuations in advocacy rhetoric.

[To Contributions > Academic Effects Section]

Participation in arts programs is positively correlated with increased academic achievement, including higher math and verbal SAT scores, when compared to the performance of students without arts education.

An exploratory study concluded that the integration of arts in classroom curriculum enhances academic learning because of the fully-immersive engagement of the arts, which allows students to understand different perspectives, safely take risks, express feelings through less restrictive modes, and draw parallels between the arts and traditional core subject areas.

[To Contributions > Socio-emotional Development Section]

The confidence, collaboration, and creativity that arts education fosters has a circular, positive effect on academics as well as cultural engagement.

[To Contributions > Socio-cultural Development Section]

Longitudinal studies have shown that students with arts education are more civically engaged. This socio-cultural effect of arts integration is disproportionately stronger for at-risk students.

[New Section: Integration of arts in classroom curriculum]

Jessica Davis presents eight different frameworks for considering the role of the arts in education. Her categories and methods are as follows: It is often difficult to fully integrate the arts with traditional classroom instruction in a way that allows for the arts-cultura model. This is largely due to the disconnect between art teachers and teachers of other subjects, who are not given the time or ability to coordinate and interweave lesson plans that apply art to core subjects and vice versa.
 * 1) Arts-Based - Art is at the core of learning, providing a lens through which students can understand other subjects. Art serves as the basic threshold for general learning.
 * 2) Arts-Injected (or Infused) - Art is "injected" from the outside as a matter of enrichment (e.g., a period of music, visiting artists, etc.)
 * 3) Arts-Included - Art is offered alongside traditional curriculum, not necessarily for interdisciplinary purposes but rather as its own course of study.
 * 4) Arts-Expansion - Art is an exploratory adventure that takes students outside of school (e.g., field trips to a museum, concert hall, etc.)
 * 5) Arts-Professional - This approach treats art training as a means for a professional career in the arts, and turning students into artists is the primary goal.
 * 6) Arts-Extras - Art is sometimes offered as an additional commitment outside of regular school curriculum (e.g., school newspaper, after-school dance clubs, etc.).
 * 7) Arts-Education - Referred to by some as aesthetic education, this approach uses art as a way of knowing, turning its study more philosophical to interpret and apply to experiences.
 * 8) Arts-Cultura - Art connects individual students' "culture" to collective community "cultures" to more structured racial/national "Cultures" to the ultimate universal "Culture." It is through this interplay that art encourages students to take risks, think critically, and make meaning.

[New subsection: Arts Technology Integration]

As technology continually advances, arts integration evolves to match. The challenge in integrating arts in today's technology-first education lies not in implementing production labs on school campuses or accessing the latest computer software, but rather in effectively managing the sheer amount of information that technology makes available. Students must learn to select relevant data, assess these data, and draw critically from them in order to make meaning, answer questions, or form new ones. Technology also presents more channels of expression, whether through digital art or artificial intelligence, which, if supported by arts-technology integration, can cultivate the experimentation and inquiry that arts education champions.

Area: Art Education in the United States
The compilation of these sources all point to a possible contribution in the context of more postmodern ideals of art education, how recent policy or sociopolitical factors have affected art education in the United States. Specifically, different initiatives and movements have added to a complex debate: should the United States put more of a focus on art education, and how have past decisions or the current state of affairs impacted the course of art education?

Additions to Area Article
[To Arts Integration Section]

Arts integration is especially important today when some schools no longer have or have small arts education programs due to significant budget cuts, including the federal budget agreement that took $12.5 million from the NEA, the United State's largest public arts funder, in 2011.

[New Section: History of Arts Education Provisions]

In the 1970s, provisions for arts in education were limited, at the discretion of individual states. Local schools, school boards, and districts were the main actors in deciding whether arts education was provided. Where art education was offered, it consisted of exposure-based experiences with cultural organizations outside of the school and was not integrated into classroom curriculum. In the next couple decades, budget cuts as a result of fiscal crises heavily stripped school budgets to the point where positions for art teachers were essentially eliminated in order to retain core subjects. At this time, arts was seen as nonessential to the development of critical thinking and there did not exist a standard curriculum for teaching art in public schools. As such, provisions were scarce if at all present in the 1980s and 1990s.

However, the significance of an arts education emerged as data found academic performance improvements and socio-emotional and socio-cultural benefits, among other positive effects, stemming from the stimulative nature of the arts. Key players in advocating for and providing art education included a blend of public entities (school, government agencies, etc.), private organizations, and community centers.

This emerging acknowledgement of the importance of art education was matched by a decline in provisions at the beginning of the 19th century. With the implementation of NCLB, public schools prioritized meeting Academic Performance Index (API) growth targets, downgrading the emphasis on non-core subjects. For example, in California public schools, while enrollment increased by 5.8% from 1999 to 2004, music education decreased by 50% in the same 5-year period. On a national level, data from the Surveys of Public Participation in the Arts (SPAAs) showed that in 2008, 18-24 year olds were less likely to have had an arts education than in 1982. Low-income and low-performing public schools disproportionately struggled with this decline, and African-American and Latino students are generally less able to access the arts when compared to their White counterparts.

These findings of drastic declines in art education provisions spurred efforts for reinvestment. The NEA declared goals including maximizing investment impact, collaboration with local education across levels of government, and offering guidance and leadership support for art education.

Sector: Arts Integration
*** See above section for original content added to article, see article mainpage for reorganizations/added citations/other edits
 * Total sources added/used: 8 (from sources listed and explained in Scholarly Sources section above)
 * Added missing citation for Bellisario and Donovan's Lesley University study
 * Posted 2 paragraphs to talk page outlining overlap and potential additions/improvements to the article's mainpage
 * Added 4-sentence paragraph introduction and citation to "Research and Advocacy" section about debate in advocacy discourse (including link to National Core Arts Standards)
 * Created "Key Players" sub-heading to break up section
 * Added 1 sentence and citation under "Academic effects" section (including link to National Art Education Association)
 * Added link to "Art education in the United States" in "See Also" section
 * Added 1 sentence and citation to start of "Academic effects" subsection
 * Added 1 sentence and citation to end of "Socio-emotional development" subsection
 * Added 2 sentences and citation to end of "Socio-cultural development" subsection
 * Created new "Integration of arts in classroom curriculum" section including "Arts Technology Integration" subsection and 3 citations

Area: Art Education in the United States
*** See above section for original content added to article, see article mainpage for reorganizations/added citations/other edits
 * Total sources added/used: 6 (from sources listed and explained in Scholarly Sources section above)
 * Added missing citation for Howard Gardner under "Arts Integration" section
 * Added 1 sentence and citation about 2011 $12.5M NEA budget cut under "Arts Integration" section
 * Added 1 paragraph to talk page outlining potential additions/improvements to the article's mainpage
 * Created new "History of art education provisions" section with 4 paragraphs and citations
 * Reorganized part of introduction and transferred to new section
 * Created "See Also" section with links to 8 other relevant Wikipedia articles

title: User:Rjxue/sandbox


text:
Talk:Wendy Lee Gramm

IBP
Needs more about IBP and her response to the charges against them. —Preceding unsigned comment added by <IP_ADDRESS> (talk) 23:55, 30 June 2010 (UTC)

External links modified
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 * Added archive https://web.archive.org/web/20081211015831/http://www.universityofcalifornia.edu/news/2005/jan07.html to http://www.universityofcalifornia.edu/news/2005/jan07.html

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title: Talk:Wendy Lee Gramm


text:
Christos Bourbos

Christos Bourbos (Χρήστος Μπούρμπος; born 1 June 1983) is a Greek former professional footballer who played as a right-back.

PAS Giannina
He played in PAS Giannina for three seasons (2001–2004) playing as a striker. He made his first 7 appearances with the club in the 2001–02 season as a rising star, helping the club to be promoted in the Greek Super League. But the next year 2002–03 did not be among the first priorities of the coach, the club is relegated and started to play the year after (2003–04 season) when the club is playing in Football League making 24 appearances. During these 3 periods he scored only two goals but he made 17 assists, being the first for his club.

AEK Athens
After his move to AEK Athens head coach Fernando Santos wanted to make him a right back. As a result, in one of his latest interviews, he stated that his natural position is that of the right back.

In his first season in AEK Athens, he was an indispensable member of the club (as well in Greece under 21), contributing with many assists. He managed to being among the first priorities of Santos having 15 appearances in the League, 6 in the Greek Cup and two in UEFA Europa League. An injury in 2005, deprived him from playing in the starting XI, hence in season 2005–2006 having just 2 appearances (in the Greek Cup).

Kerkyra
In 2006–2007, Llorenç Serra Ferrer having two other Right Defenders (Nikolaos Georgeas and Martin Albano Pautasso) proposed him a loan move, at first, to Niki Volou (a Second Division team). However, Bourbos refused. But just a few hours before the transfer window deadline Kerkyra made an offer for Bourbos' loan, including his annual wage, managing to loan him for the rest of the season. He returned to AEK at the end of the season as he was not in the plans of Kerkyra's coach Babis Tennes.

Iraklis
On 27 June 2008, Bourbos signed with Iraklis on a two-year contract for an undisclosed fee. A day before his deal with the club Bourbos stated in Sports Metropolis: " I feel bitterness leaving AEK. I talked with the president Antonis Remos but mostly Ilias Poursanidis. I will sign for two years. Iraklis wants to make a strong team. I did not play often with AEK and I expects to play with my new club. This is a reason why I decided to join the club, besides the fact that I will continue playing in the highest level (i.e. Super League)."

His career is declining and during 1,5-year in Iraklis did not succeed to make the difference. He made his debut with the club in a 2–1 home loss against Panserraikos. Eventually he left the club due to financial problems.

In April 2011, after his departure from the club, newspapers claimed that the club still owes him €35,580. The player expected to take legal action. This means that if the club continues to prove inconsistent with the player could face a deduction of points. Already spokesman footballer Lakis Simeoforidis an ex-player and advocate, has informed EPO and Super League, in order to start all the necessary procedures and informing the Board of License Commission.

OFI Crete
OFI did not actually being among his first priorities, but the club gave him the opportunity to celebrate another promotion to the Greek Super League and put him in the football 'map' again. On 26 September 2010, he made his debut with the club in a 0–0 home draw against Kallithea. In January 2012, he scored the only goal with the club in a 3–1 away win against Panetolikos for the Greek Cup. He made 99 appearances in all competitions with the club scoring one goal.

It seemed for long time that something's up with Bourbos and finally suspicions, took flesh and bones. Christos Bourbos filed an appeal to safeguard his salaries, which exceed €320,000! The player who has a contract with OFI Crete, tried to come to an agreement with the president of the club Manthos Poulinakis, but this never happened. The 30-year-old right-back, took the decision to make the appeal as "I got tired of waiting and fooling him. The debts have to do with my presence in the club in the last three years, and each time, I did not take the money provided in my contract." the player said. In the 2013–14 season Bourbos was one of the best players of the club. The blow is economical for OFI Crete and if the player is left free, the club loses a key member. The appeal of Bourbos added to that of Ricardo Verón, for a similar reason is clearly a big thorn for the club.

Panathinaikos
On 7 July 2014 Bourbos has signed a two years' contract with Panathinaikos. On 30 November 2015, according to newspapers' rumours Christos Bourbos is expected to leave Panathinaikos in January transfer window, because they are not in the plans of manager Andrea Stramaccioni, as he played only one match in 2015-16 season. The right defender is a transfer target of Veria. On 10 January 2016, Bourbos is finally expected to leave Panathinaikos within the month with a small compensation for his contract termination. On 3 February 2016,Panathinaikos terminated Bourbos's contract by immediate effect. The Greek right-back was not among Andrea Stramaccioni's plans and both sides took the decision to terminate his contract.

Aris
On 18 July 2016, Aris officially announced the signing of experienced right defender, who was recently released from Panathinaikos, until the summer of 2018.

title: Christos Bourbos


text:
portarsi

Verb

 * 1)  to bring along
 * 2)  to go; to move; to bring oneself
 * 3)  to behave
 * 4)  to feel
 * 1)  to behave
 * 2)  to feel
 * 1)  to behave
 * 2)  to feel
 * 1)  to feel
 * 1)  to feel

title: portarsi


text:
Cookbook:Rhubarb Cake

| Dessert | Cake

Rhubarb may be an intimidatingly tart vegetable eaten on its own, but when its sharp flavor is tempered with the addition of butter and sugar, it makes excellent desserts such as the cake recipe below.

Ingredients

 * 1½ cup thinly-sliced raw rhubarb
 * 1½ cup brown sugar
 * ½ cup butter or margarine
 * 1 egg
 * ½ tsp salt
 * 1 cup sour milk or cultured buttermilk
 * 1 tsp baking soda
 * 1 tsp vanilla
 * 2 cups flour
 * ¼ cup sugar
 * 1 tsp cinnamon

Procedure

 * 1) Cream the brown sugar and butter until fluffy. Beat in the egg and salt.
 * 2) Stir in the milk, baking soda, vanilla, and flour. Once blended, add the rhubarb and stir until mixed in.
 * 3) Pour batter into greased 9x13-inch pan. Combine the ¼ cup sugar and cinnamon, then sprinkle on top of the batter.
 * 4) Bake at 375°F for 30–35 minutes.

title: Cookbook:Rhubarb Cake


text:
Dog Care/Obesity

Dog Care

Dogs, like people, can become overweight if they eat more calories than they burn through activity. And, just as obesity can cause health problems in humans, it can cause health problems in dogs, including early arthritis, heart problems, diabetes, and much more. Because dogs' lifespans are so short to begin with, allowing a dog to become obese can significantly shorten its life.

For purebred dogs, you can get an estimate of a healthy weight for the dog by reviewing the breed standards published for that breed. Typically, male dogs are slightly larger and therefore weigh slightly more than females of the same breed.

For all dogs, including mixed-breed dogs or purebred dogs whose height falls outside the breed standard, it is easy to determine whether it is of a healthy weight as follows: There should not be deep indentations between ribs, or the dog needs more calories (more or higher quality dog food).
 * By feeling along its sides, you should be able to feel the spaces between a dog's ribs without by just lightly running your hands along its sides, pressing only hard enough to feel through the hair coat. If you can't feel the ribs, your dog is obese and needs to eat less.
 * By feeling along its back, you should be able to just barely feel the vertebrae in a dog's spine when you run your fingers along the back without pressing (or pressing just hard enough to feel through the fur of a dog with a thick coat).
 * By looking down on the dog from above as the dog is standing. The dog's waistline should be thinner than its chest and hips. You should be able to feel the hip bones with a little fat overlying them.  (Sharp hip bones means your do is too skinny.)
 * By visual inspection from the side. For short-coated dogs, such as Boxers or Chihuahuas, you should be able to just barely see the light outline of the ribs through the coat, but they should not be obvious. In any dog, the abdomen should be tucked up instead of horizontal toward the rear.

Although all dogfoods include printed suggestions for serving sizes for dogs, you must adjust the serving size depending on the amount of exercise that the dog gets and how many other sources of calories the dog has, such as plentiful treats, table scraps after every meal, and so on. As a rule, dogs should have less than five percent of their diet in treats and table scraps and at least 95% quality commercial dog food. Many pet food labels exaggerate how much food your dog needs. Ask your veterinarian for a more reasonable suggestion, or feed just enough to keep your dog in good condition, as judged by the criteria above.

If you do feed table scraps, avoid grapes, raisins, and chocolate, which are highly poisonous to dogs. Never feed uncooked meat, as dogs are just as likely as humans to get food poisoning. (It is very difficult to make a homemade diet as complete as a commercial diet... dogs need to eat mostly dog food.)

Additional information

 * List of dog breeds for links to breed info, often with size and weight, and with links to breed standards
 * Important information on the Menu Foods Dog and Cat food recall

title: Dog Care/Obesity


text:
User:Vulpine 2005YT

Vulpine Carl2005 Is A Filipino Animator And Youtuber That Joined On March 5, 2019.

title: User:Vulpine 2005YT


text:
User:Warriorblack

I am user Warriorblack a new contributor who simply likes to edit things occasionally, nothing major mostly minor things if they seem odd or off a bit. Probably will not be very active on Wikipedia much too often, but will come here only when I would like to help make visitor's viewing pleasure a little better if I can with some maintenance.

title: User:Warriorblack


text:
User:Kitelik/Books/Power

 * Machiavellian intelligence
 * Machiavellianism
 * Persuasion
 * Power (social and political)
 * Psychological manipulation
 * Robert Cialdini
 * Seduction
 * Attention
 * Ingratiation
 * Low-ball
 * Media manipulation
 * Mind control
 * Guilt society
 * List of confidence tricks
 * Social engineering (security)
 * Deception

title: User:Kitelik/Books/Power


text:
sardines

Etymology
The game name refers to sardines tightly packed in a can.

Noun

 * 1)  A children's game in which the players hide together, lying side by side.
 * 1)  A children's game in which the players hide together, lying side by side.

title: sardines


text:
Zumbi do Mato

Zumbi do Mato (roughly translated into English as "Zombie from the Grasslands") was a Brazilian experimental and noise rock band from Rio de Janeiro famous for their humorous, surreal songs, written in a stream of consciousness-esque way and filled with acerbic allusions to popular culture – referencing in particular aspects such as Western philosophy and literature, daily life in Brazil, and real-life public figures and fictional characters from different forms of media –, technobabble, scatology, nonsense, and elaborate metafictional devices, word plays and puns.

Having amassed a strong cult following throughout the mid-1990s and 2000s which lasts to the present day, the group had many different line-ups during its tenure; the only members to remain on a consistent basis were vocalist/trombonist/lyricist Löis Lancaster, keyboardist/lyricist/illustrator Marlos Salustiano, bassist/lyricist Zé Felipe (the band's only remaining founding member until his departure in 2009), and drummer Henrique Ludgero, with the noticeable absence of a guitarist. Some of their most well-known compositions are "Potinho de Anhanha", "Tiroteio do Esqueleto sem Cabeça", "O Buraco do Jabor", "O Alien que Veio pro Espaço" and "Primo Pobre do Kassin", and among their vast musical influences they count Frank Zappa, David Bowie, King Crimson, Arrigo Barnabé, Damião Experiença (with whom they played a show in 2009), Iannis Xenakis, John Cage, and Tom Waits.

History
Zumbi do Mato was formed in 1989, and released two demo tapes by the early to mid-1990s, the eponymous Zumbi do Mato (1992) and Macacomóvel (1995), which catapulted them into fame in the underground circuit. Macacomóvel in particular caught the attention of producer BNegão (also a member of rap rock group Planet Hemp), who signed them to his label Qualé Maluco Records in 1997; their debut album, Menorme, came out through the label the same year and was lauded by the likes of singer and poet Rogério Skylab and music critic Alexandre Matias. Two follow-ups, Pesadelo na Discoteca and Adorei a Mesinha, came out in 2000 and 2005 respectively by Tamborete Records.

In 2008 the band self-released their only live album, Toma, Figurão, recorded at a gig in Niterói and initially available for free download on their now-defunct official website; as of now, it can be purchased on their Bandcamp page. The album would later be included in website La Cumbuca's list of the Top 200 Brazilian Albums of the 2000s, in 121st place. In 2010 the EP Saideira do Zé, their final release with original bassist Zé Felipe (and final release overall), came out, containing studio outtakes from the Toma, Figurão sessions; the recordings, dating from 2008–09, were originally planned to be included in a deluxe physical release of Toma, Figurão which never came through. A DVD of Zumbi do Mato's performance was also scheduled to be released at some point, but those plans were eventually scrapped as well.

Zumbi do Mato played its final show on January 13, 2013, after which Löis Lancaster announced the band's end.

Legacy
Zumbi do Mato is known for its association with another famous musician of the Rio de Janeiro underground scene, Rogério Skylab; he has claimed it is one of his favorite bands and major influences, and at times has collaborated with members of the band. Skylab and Löis Lancaster sing the duet "Samba", included in his live albums Skylab II (2000) and Skylab IX (2009), and he was also a guest musician on the band's 2000 album Pesadelo na Discoteca (on the tracks "São Abdul", "Doente Porém Vivo", "Calendário 1999" and "Humilharal"). Zé Felipe and Marlos Salustiano co-wrote a handful of tracks of Skylab's 2007 album Skylab VII, and in 2009 Felipe and Skylab released a collaborative album, Rogério Skylab & Orquestra Zé Felipe, originally intended as a full-fledged collaboration between him and Zumbi do Mato. Lancaster was also an interviewee for Skylab's talk show Matador de Passarinho.

A documentary about Zumbi do Mato's history, entitled Quem É Mais Idiota do que Eu?, was directed by Vítor Rocha and released to YouTube in 2017. To celebrate the film's release, the band's catalogue was remastered and re-released digitally by Deckdisc.

Lancaster released his debut solo album, Malva, in 2017. Besides his musical career, he published in 2003 the short poetry anthology Ceneida, and also co-wrote the experimental novel Palmyra with Eliana Pougy, which came out in 2011 by Confraria do Vento.

Marlos Salustiano released his first solo album, Animal Apócrifo, back in 2001. As fine artist he did one individual show in 2004, called "Macróbios 1,5" in Goiânia (CCC – Centro Cultural Chafariz) and took part in the collective "Art Takes Time Square" in 2012. More recently, in 2017, as "MarSaL" (contraction of his former artistic name), he launched his second solo album "AUTOMEMETERONIMONOMANO", a surreoconcrette sonic adventure with special guests Gustavo Jobim (former Zumbi keyboardist), Julian Quilodran (Módulo 1000) and Péricles Cavalcanti, paying homage to Noigandres, seminal Brazilian group of concrete poetry formed by Décio Pignatari, Haroldo de Campos and Augusto de Campos (with whom Marlos exchanged letters and sent a copy of Menorme in 1997).

Final line-up

 * Löis Lancaster – vocals, trombone (1994–2013), bass guitar (2010–2013)
 * Gustavo Jobim – keyboards (2005–2013)
 * Sandro Rodrigues – drums (2010–2013)

Former members

 * Tadeu Aor – vocals (1989)
 * Alessandro "Fumê" Camacho – vocals (1989–1994)
 * Zé Felipe – bass guitar (1989–2009)
 * André Mansur – bass guitar (2010)
 * Luciano Callado – keyboards (1989)
 * Marlos Salustiano – keyboards (1990–2000)
 * Ricardo Dias – keyboards (2000–2005)
 * Érico Garcia – drums (1989–1992)
 * Bernardo Carvalho – drums (1995–1998)
 * Marcelo Pancinha – drums (1998)
 * Henrique Ludgero – drums (1998–2005)
 * David Oliveira – drums (2006)
 * Renzo Braz – drums (2006–2010)
 * Fábio Bola – electronic drum (2010)

title: Zumbi do Mato


text:
Introductory Classical Mechanics/Introduction

Classical Mechanics is the study of large (relatively speaking) objects, as opposed to quantum mechanics, which studies particles and very small objects, or relativity, which pertains to very large objects (on the order of stars and galaxies) and objects moving very quickly, over about .5c. The field includes Newton's laws of motion and gravitation and Kepler's laws of planetary motion, in addition to other laws and the application of these laws to real world problems. Classical Newtonian mechanics is accepted as incorrect due to errors observed on large scales, such as the progression of the perihelion of Mercury, which motivated Einstein to create General relativity, or under certain other circumstances including blackbody radiation, which motivated Max Planck to author his papers generating the quantum hypothesis. The theory is accurate on large scales to an incredible degree of accuracy.

Units of Measurement
Physics today uses an internationally agreed system of units for measurement. These units are precisely defined and are known as SI Units, (SI is an abbreviation of the system's French name Système international d’unités). The system defines 7 base units, and several derived units. The derived units can all be defined in terms of the base units. The base units are as follows:

In order to simplify the writing of very small or very large quantities of units, prefixes denoting an order of magnitude are used. These are also defined by by the Système Internationale and are thus called SI prefixes, or sometimes metric prefixes. They also help to simplify equations. The following table lists the officially defined prefixes.

Newton's laws
Newton's legacy is founded upon the three concepts he contributed to the idealogical world. They are his three laws of motion, his law of gravitation, and calculus. They work hand in hand in defining Newtonian mechanics. Since his time, physics as a subject has always been taught in that order, simply because each concept builds upon the work of the one before.

Before jumping into the subject at hand, it is worth it to note that Newton did not create the three laws of motion from scratch. Physics, and mechanics along with it, came before Newton. He observed nature carefully, working upon the hypotheses and knowledge of his predecessors, such as Galileo and Kepler. His modification and research lead to the formation of his three laws of motion. Hence his famous saying: "If I have seen further it is by standing on the shoulders of Giants."

His formal approach starts with a few axioms. His model of the world was of masses and forces. They form a powerful theoretical framework where the real world can be simulated. However powerful it may seem, do treat them as merely a theoretical construct and not the real thing, for they must be discarded once they do not function.

Firstly, we must define force. A force is a push or a pull, very close to how they are normally defined. However, it would be rather difficult to visualise a force that acts at a distance or that acts on a mass uniformly.

The First Law
The first law states that A body at rest stays at rest and a body in uniform motion stays in uniform motion unless acted upon by an outside force.

This law is formulated as the fundamental principle in Newton's work, and it is also known as the law of inertia. It references Aristotle's work, which states the complete opposite. This law is important for its intellectual leap, not for the mathematical use, simply because this law is completely embedded in the second law. Where mathematics becomes a hindrance, as in Newton's time, it will be helpful.

The Second Law
Newton's second law of motion states that The rate of change of momentum of a body is proportional to the resultant force acting on the body and is in the same direction. In mathematical terms, that is $$\Sigma \vec{F} = \frac{d\vec{p}}{dt}$$ where $$\vec{F}$$ refer to the various forces acting on the body and $$\vec{p}$$ refers to the momentum of the body.

This forces us to define momentum. Momentum is a mathematical product of mass and velocity. Specifically, it is mass times velocity. Then, what are mass and velocity? Velocity is the speed AND direction of the body's motion. Mass, however, is something that is totally new. It is a quantity attached to all objects; a number that Newton's theory must enforce in order to work. Luckily, from the information given so far, it is possible to define it backwards. Since we know of the law of inertia, we can define mass, inertia mass, as how difficult it is to change the motion of a body. In fact, it is possible to define the unit mass as the amount of matter (same thing as mass) in a body which changes by a unit velocity when subjected to a unit force for a unit time. $$\Sigma \vec{F} = \frac{d\vec{p}}{dt} = \frac{d}{dt}(m\vec{v})$$ $$\therefore m \frac{\Delta v}{\Delta t} = \Sigma \vec{F}$$ for constant mass and force over time. $$m = \frac{\Delta t}{\Delta v} \Sigma \vec{F}$$

The Third Law
Newton originally formulated the third law as To every action there is always opposed an equal reaction: or the mutual actions of two bodies upon each other are always equal, and directed to contrary parts. However, because of the fact that English evolves over time, we have to replace actions with forces in our modern context. It is therefore shortened to For every force there is an equal, but opposite, force

Please do note that the opposing force has to act on the other body, and is in most cases ignored.

The Law of Universal Gravitation
Two bodies exert a force on each other directly proportional to the product of their masses and inversely proportional to the square of the distance between them. That is $$F_g=G\frac{m_1m_2}{r^2}$$, where $$G$$ is a constant of proportionality.


text:
возъ

Etymology
, ultimately from.

Noun

 * 1) chariot

Etymology
, from. Cognate with 🇨🇬, 🇨🇬.

Noun

 * 1) cart, wagon
 * 2) carriage, coach
 * 3) chariot
 * 4)  Ursa Major

title: возъ


text:
Bang Phai MRT station

Bang Phai station (สถานีบางไผ่, ) is a Bangkok MRT rapid transit station on the Blue Line, above Phet Kasem Road in Bangkok, Thailand, in the area known as "Bang Phai" (the beginning of Khlong Phasi Charoen). Not to be confused with the Khlong Bang Phai station on the Purple Line.

Viaduct
This station is unique in that it differs from other stations in that it has a viaduct crosses over the tracks to the other side. It was built for the purpose of inviting the relics of the Buddha along the canal in the annual Chak Phra festival of nearby Wat Nang Chi. According to tradition, the relic cannot pass under any bridge or road.

Neighbourhoods

 * Wat Paknam Bhasicharoen
 * Wat Nang Chi Chotikaram
 * Wat Nuannoradit
 * Khlong Bang Luang Artist House and Khlong Bang Luang Floating Market
 * Wat Kamphaeng Bangchak
 * Wat Absorn Sawan
 * Bangphai General Hospital
 * Phyathai 3 Hospital

title: Bang Phai MRT station


text:
Ronald Elleway

Ron Elleway was an Australian rules footballer who played for the Football Club. During his career he played 9 games for South Australia and won 3 premierships with in 1962, 1963 and 1965.

title: Ronald Elleway


text:
User:Jephreycuma/sandbox

Hello World, This is just a mere test, I am trying to edit pages in wikipedia. Bye for now.

title: User:Jephreycuma/sandbox


text:
Jorge Zentner

Jorge Zentner (born 1953) is an Argentine comic writer and the creator of the Dieter Lumpen character.

Biography
Zentner was born at Basavilbaso, Entre Ríos, Argentina, into a Jewish family.

After studying journalism and psychology, he worked as a reporter in Argentina. In 1977 he was forced to flee Argentina, and lived in Israel, Spain and France. He began his career as a comic writer in 1979; in 1981 he started a long collaboration with Spanish artist Ruben Pellejero, with whom he realized most of his work. Comics produced by them include: Le Poignard d'Istambul (1986), Ennemis Communs (1988), Caraïbes (1990) and Le Prix de Charon (1994). Le Silence de Malka (1996) won the Angoulême International Comics Festival in 1997.

In 2000 he published the series Replay, in collaboration with artist David Sala. In 2003, together with Lorenzo Mattotti, he created Le Bruit du Givre.

title: Jorge Zentner


text:
Talk:Cryptography/Further reading

Cryptanalysis of Number Theoretic Ciphers Samuel S. Wagstaff, Jr. Chapman & Hall / CRC ISBN:<PHONE_NUMBER>

Making, Breaking Codes: Introduction to Cryptography Paul Garrett Prentice Hall ISBN:<PHONE_NUMBER>

title: Talk:Cryptography/Further reading


text:
Sunken relief

Sunken Relief sunken_relief Lesson plans

This project is most likely made for high school/college students. This project requires creativity, neatness, and hard work.

1. Begin showing the class about sunken relief, you must explain the history show some examples and explain the purpose of them. The Egyptians Egyptians were the main ones to use sunken relief sculptures to tell stories and show the greatness of the pharaoh pharaoh. This should take about 20 to 25 minutes to teach. 2. Now you start showing them how to do it, give them a demo, and let them ask questions. Start by finding a picture you or they like and let them recreate it by redoing it as a sunken relief. Now that they have a picture of their or your choice draw it on paper using coal, draw your image really dark. Now that you have your image drawn on it take a thick sheet of fresh clay and place your paper on it with the image faced down and take some rubbing alcohol Rubbing_alcolol and damp the paper evenly on to the clay. Carefully lift the paper up and your image should clearly show up. Take your sculpting tools and carefully start carving out your image. When done, smooth out your work, make it look neat.

3. The students should now know what to do, and ready to work. On the first two days they should take the time to find an image. On the third day they should recreate the image on paper, fourth day they should copy it on to a sheet of clay. The last day should be used to take time and clean up the project, smooth out and touch it up.

title: Sunken relief


text:
Wikipedia:WikiProject Spam/LinkReports/beadsjar.co.uk

Links

 * beadsjar.co.uk resolves to [//<IP_ADDRESS> <IP_ADDRESS>]
 * Link is not on the blacklist.
 * Link is not on the domainredlist.
 * Link is not on the Monitorlist.
 * None of the mentioned users is on the blacklist.
 * Link is not on the whitelist.
 * Link is not on the monitor list.
 * None of the mentioned users is on the blacklist.
 * Link is not on the whitelist.
 * Link is not on the monitor list.

Additions

 * Displayed all 2 additions.


text:
User:CraigP

Let me tell you a little bit about myself, because thats why your on my userpage. Most of my Edits are Music related ones.You can see my record collection here.

Some of my Favorite Artist/bands as of the moment: Tool, Bob Dylan, The Who, Mogwai, Queens of the Stone Age.

I also play a lot of video games, mostly on the Xbox 360, achievement points FTW! Check out my Xbox.com profile.

title: User:CraigP


text:
User:Subramanian Shankar/sandbox

Pandurang Budhkar Marg, Lower Parel

Pandurang Budhkar Marg is an important road in the Lower Parel area in Mumbai. It is located in the centre of the city. The pincode for the area is 400013 and the closest post office is on Delisle Road. http://www.onefivenine.com/india/villages/Mumbai/Mumbai/Pandurang-Budhkar-Marg-Lower-Parel It's a two-minute drive from Pandurang Budhkar Marg to Lower Parel West in two minutes and the distance is 1.2 kms. http://alldistancebetween.com/in/distance-between/pandurang-budhkar-marg-lower-parel-west-1b18dbe2b23121e539a132683d440f92/

title: User:Subramanian Shankar/sandbox


text:
Mathematics software

School of Mathematics

The links on this page and the software itself have not been validated or verified to be free of risk. Unless otherwise noted, they have been added by anonymous editors. If any registered editor with a substantial contribution history is willing to validate and certify these programs, please sign the listing as "validated." Otherwise this page exists for research purposes. I suggest googling a name before loading it, to find reviews, unless you very much know what you are doing.

To-do: Validate these programs as safe. Eliminate dead links. To-do: Review these programs, comparing them. --Abd (discuss • contribs) 13:32, 4 April 2014 (UTC)

Free mathematics software (freeware)
The below are open source tools and mostly available on GNU/Linux, and can run on other platforms too:

 * Flox Calc free, powerful script based offline graphing program for windows. Includes special functions to model relativistic travel scenarios.
 * GeoGebra - open source software for dynamic geometry, algebra and calculus for middle/high school and college. Exports interactive web pages.
 * Kig A GUI based geometry editor. Includes some analytical functions and conic sections. Exports to several formats including SVG.
 * Newt - free graphing program for windows
 * Maxima - open source symbolic maths program, like Mathematica and Maple
 * SymPy - open source computer algebra software, written in Python.
 * Axiom - another open source symbolic maths program
 * r- open source version of S-plus, a statistics program
 * TeXmacs - WYSIWYG LaTeX
 * Calc - an interactive RPN calculator package for numerical and symbolic calculations in Emacs
 * Calcpad - free programmable engineering calculator for cloud and desktop
 * gnuplot is a free graphing program for Linux, Windows and Mac
 * GraphCalc - A free, open source 2D/3D graphing application. (Windows)
 * Graph - Graph is an open source application used to draw mathematical graphs in a coordinate system (Windows)
 * GNU Octave - Matlab clone for Linux, Windows and Mac
 * Python numarray, powerful numerical calculations in a powerful programming language
 * scilab - Matlab clone
 * DataMelt - Java clone of Matlab. Also includes scripting languages (Python, Groovy etc) on Java for math and data analysis
 * Qalculate - Multipurpose and very powerful desktop calculator
 * SAGE - is a free open-source computer algebra system that includes programs for research and teaching in algebra, geometry, number theory, and cryptography. SAGE is mainly written in Python and provides interfaces to other mathematics packages.
 * SciPy - SciPy is an open source library of scientific tools for Python
 * Formulator Tarsia - is a free mathematical editor designed for teachers of mathematics creating the activities in a form of jigsaws, rectangular cards or dominos for later use in a class.
 * Armadillo - Fast C++ matrix library with optional interfaces to LAPACK and ATLAS
 * Pari/GP - number theory computations
 * Microsoft Mathematics - very useful math app for Windows
 * Algosim - a fairly advanced numerical mathematical system with graphics and SVG support for Windows

Non-free software

 * Mathematica - Advanced commercial math program. (Linux, Macintosh, Windows)
 * Maple - Mature commercial math program. (Linux, Macintosh, Windows)
 * Maple Studio Free online worksheet for plotting, based on Maple. (Browser with Java-Plugin like Mozilla, Internet Explorer, Safari)
 * MuPad - Another advanced math program with free versions available. (Linux, Macintosh, Windows)
 * Magma - Powerful package for solving computational problems in algebra.
 * Matlab
 * MathCAD
 * MatDeck - Advanced mathematical software with programming at affordable cost
 * SOWISO - Online learning and testing environment for STEM. Teachers can use their interactive courseware and also create their own materials. It is available at no cost to students through software licensing. (Linux, Macintosh, Windows)

title: Mathematics software


text:
Perisyntrocha ossealis

Perisyntrocha ossealis is a moth in the family Crambidae. It is found in India (Sikkim, Nagas).

title: Perisyntrocha ossealis


text:
Japanese/Kana/Lessons/Katakana/Lesson 3

In this lesson you are going to learn how to read and write サ、シ、ス、セ、ソ. Adding two small lines called dakuten, but commonly known simply as  tenten, meaning "two marks", causes clear sounds to change to their voiced sound. Thus, adding the tenten marks to サ、シ、ス、セ、ソ will produce ザ、ジ、ズ、ゼ、ゾ.

title: Japanese/Kana/Lessons/Katakana/Lesson 3


text:
Talk:Tarren Otte

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Tarren Otte. 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/20120615012822/http://www.qldsynchro.org.au/news.html to http://www.qldsynchro.org.au/news.html

Cheers.— InternetArchiveBot  (Report bug) 19:19, 28 April 2017 (UTC)

title: Talk:Tarren Otte


text:
PHP Programming/Smarty templating system

What is Smarty?
is a templating engine for PHP. It allows you to separate logic and presentation by separating the PHP code from the HTML (or anything else for that matter) presentation.

Old/custom templating engine example
It is just like below: (The code below is a demo of a custom template engine - not Smarty)

There are two files here "mail.html" (we can say this is a template file) and "mail_engine.php" (ya, you are right...it is an engine.)

This example allows small functionality. You might have big problems if your company value contains #CITY#, for example. There are much more advantages of using smarty. But anyway, raw PHP templating is most effective and fastest.

How does it work?
Smarty is a template engine which actually compiles the template file to the php file that can be later executed. This simply saves time on parsing and variable outputs, beating other Template Engines with much smaller memory use and regex.

Installation
Installation is very basic and easy to use

There is no requirement to copy other files as they are simple examples.
 * 1) Download Smarty Source from smarty.net
 * 2) Open it using your archive extractor (must be compatible with .tar.gz files)
 * 3) Go to the directory called Smarty-x.x.x
 * 4) Copy the libs folder to your website's root ( where you want the website to exist, for example /My_Site/ )
 * 5) You are done!

Basic Syntax #2
Comments: {* Comment *} Writing a variable, assigned from the PHP script: {$variable} Writing a variable, assigned from the config file: Using a variable in a function: $variable Other Examples (Smarty Documentation): Many other combinations are allowed: Calling Functions: {function}
 * 1) variable#

Integrating into a website
To make use of the Smarty Template engine you will need to change your php script, which is used for controlling the Smarty engine and compile the template file. Simple example:

Arrays
Please refer to

Looping
Looping in smarty is just like PHP, except that there are different ways of approaching the variables. For example, in PHP you would write this:

As Smarty compiles similar piece of code by this:

Also, you can use a section function which is very similar to foreach

In the case the designer wanted to add bullet points, or indexes of the array items, there would be no need to do anything for the programmer as you can use other variables that would change themselves after each loop.

Conditions
{if} statements in Smarty have much the same flexibility as PHP if statements, with a few added features for the template engine. Every {if} must be paired with an {/if}. {else} and {elseif} are also permitted. All PHP conditionals are recognized, such as ||, or, &&, and, etc.

The following is a list of recognized qualifiers, which must be separated from surrounding elements by spaces. Note that items listed in [brackets] are optional. PHP equivalents are shown where applicable.


text:
Gherla Synagogue

The Gherla Synagogue is a synagogue located in Gherla (Szamosújvár) in northern Romania. The building was constructed in 1903 and was in danger of collapse in 2012 when fundraising was commenced to complete structural repairs.

History of the Jews in Gherla
The modern city of Gherla was founded by the Armenian community in the 1700s with the approval bought from Vienna, with the consent of Emperor Leopold I. In the beginning the Jews were only permitted to live in the small villages surrounding the actual city. One of the villages, Iclod, even as early as 1772 had a large Jewish population, with a house of prayer and a cemetery. Many of the Jews who lived in Iclod went to work every day in Gherla. Jews were allowed to live in a neighbourhood of Gherla, Kandia, prior to 1811; in 1811, the town council decreed the Jews were to be expulsed from Gherla within 8 days on grounds that they were raising prices and using improper measures when selling alcohol.

The Jews of Gherla worked in various branches of industry and trade; several factories were owned by Jews. The largest of these was the distillery founded by Jakov Dov Feldmann, who employed many Jewish workers. At the turn of the twentieth century, Feldmann was the congregation's president.

Religious life
The congregation was established in the 1850s by which time the restrictions on settlement of Jews in town has been rescinded. The community grew at a gradual pace. By 1860s the congregation already had a kosher butcher, a synagogue and a mikvah. The cemetery was opened in the 1870, until then, the burials took place in the Jewish cemetery of Iclod. Rabbi Yitzhak Yosef ha-Kohen became the first official chief rabbi of Gherla's Jewish community in 1880, acting as the spiritual leader, religious instructor, and even shochet of the community, and under his guidance many religious institutions were set up.

By 1903 there were multiple small synagogues operating in the city. That year, a large and elaborate synagogue, now known as the Gherla Synagogue, was built to accommodate the increasing Jewish population. The synagogue's seating was for several hundred people; a census taken in 1920 put the Jewish population at 1,041 or 16% of the total population. Religious life flourished, especially thanks to the construction of the new synagogue, the improving Jewish educational system, and the formation of a society which met at the synagogue to study the Talmud.

Around this time a number of rabbis moved to the city, notable among them the Hasidic rabbi Baruch Rubin, and small religious schools popped up in individual homes, leading to the establishment of a larger "Talmud Torah" school in 1922, which housed an elementary school. Other institutions formed as well, such as the chevra kadisha (burial society), several organizations which helped take care of the needy members of the community, and even a guest house for the poorer visitors to the city. A modern mikvah facility was constructed on the banks of the Somes canal and inaugurated in 1925. By 1930, census figures show that there were 1037 Jews in Gherla. The presidents of the congregation between the two World Wars were Samuel Teleki, a landowner and distiller; Simcha Klein, a landowner; and Albert Fischer, a furniture factory owner. Following the death of Rabbi ha-Kohen in 1920, his son-in-law, Rabbi Avraham Shlomo Elias became the rabbi of Gherla. After his death in 1930, his son Jakov Samuel Elias took over the spiritual leadership of the congregation. In 1944, he was deported with the rest of the Jewish population and murdered in a camp near Auschwitz in 1945.

Spread of Zionism
During this period of thriving Jewish life, the Zionist movement which was sweeping through Transylvania attracted some followers in Gherla, and precipitated some meetings and events. The first Zionist organization in Gherla, a branch of the National Association of Translyvanian Zionists, was established in 1919. The various Zionist youth groups, such as the Aviva and Barissia, as well as Betar, were launched during the 1920s. The Zionist women were gathered in the Women's International Zionist Organization (WIZO). The non-Zionist Agudath Israel also had a local chapter. However, because the Jews of Gherla were predominantly Orthodox and at the time Zionism was shunned by the majority of traditional Jews, most of the community was less receptive or even openly hostile to Zionist ideology, and the movement did not gain as wide a following or as vibrant a cultural life as it did in some other Transylvanian cities. Nevertheless, some Zionists managed to reach leadership positions in the congregation. The highest point was reached by Albert Fischer, who was also the congregation's president.

World War II
With the coming of World War II, and specifically the Second Vienna Award on August 30, 1940, everything changed. Gherla, along with the rest of Northern Transylvania, became part of Hungary. The Hungarian government began to make life difficult for the Jews with antisemitic laws such as those that prohibited Jews from attending university or having government jobs.

In 1942, Gherla became the headquarters of a labor service drafting board. In June 1942, the board conscripted 424 Jews between the ages of 21 and 42 for labor service from Cluj, Gherla, and the surrounding areas. The draftees were assigned to labor service battalions and sent to the Eastern Front in Ukraine, where most of them perished. Those that survived and returned were subsequently sent to Dachau where a large majority were murdered.

In 1943 and 1944 more Jews from Gherla were conscripted to labor service, but the majority of them were deployed within Hungary; most of these labor servicemen survived. Of note are the actions of Imre Revicky, a colonel in the Hungarian army, who tried to deal more compassionately with the Jews. Despite Revicky's job overseeing Jewish labor; he punished his subordinates for beating the workers, risking his own life repeatedly and saving the lives of hundreds of Jews in this way. He is a Righteous Among the Nations at Yad Vashem. Following the beginning of Germany's occupation of Hungary, on March 19, 1944, the Jews of Gherla were subjected to the Nazi's Final Solution. Marked with yellow stars and expropriated, the Jews were forced into the local brickyard ghetto on May 3, 1944. On the same night, the Jews who lived in villages in the Gherla and Chiochis districts were also taken to this ghetto where 1,600 Jews were crammed, 400 of whom were from the town of Szamosújvár itself. The ghettoization was carried out under the immediate command of Mayor Lajos Tamasi, the mayor of Szamosújvár; Police Chief Erno Bereczki; and Police Chief Inspector Andor Ivanyi. On April 26, all of them had taken part in a secret conference chaired by László Endre, Hungary's State Secretary in the Ministry of the Interior. On May 18, 1944, the population of the ghetto of Gherla was loaded onto cattle car trains and transferred to the ghetto of Cluj (Kolozsvár). They were all deported to Auschwitz-Birkenau in the transport of May 25, where the overwhelming majority was murdered in gas chambers or through the harsh conditions. A single exempted Jewish family, consisting of the First World War disabled veteran Hillel Pataki, his wife, and his unmarried son, were allowed to remain in Gherla, but they were on house arrest, could not leave the house without permission, and had to wear a white armband for identification. The family succeeded in saving most of the synagogue's Torah scrolls.

The ghetto at Kolozsvár was internally administered by a Judenrat, headed by prominent members of the Jewish community, including József Fischer, of the Neolog Jewish community, Rabbi Akiba Glasner of the Orthodox community, Ernő Marton, the former editor-in-chief of the Új Kelet, and Rabbi Mozes Weinberger. Unlike others in Northern Transylvania, the Kolozsvár Council members were fully aware of both Auschwitz and the realities of the Final Solution; almost all members of the council managed to escape deportation. Fischer, as well as his family, were among the 388 Jews who were taken from the ghetto to Budapest, and eventually to freedom, in June 1944 as part of a controversial deal by Rezső Kasztner, Fischer's son-in-law, with the SS; other council members escaped to Romania.

Post-war Gherla
When the war ended, only about 40 Jews returned home and they reestablished the community. A shelter and communal kitchen, which initially was supported by the American Jewish Joint Distribution Committee, was able to provide meals every day for desperate refugees. In 1945, the survivors renovated the synagogue, which had been used as a warehouse for confiscated Jewish owned property. The Hasidic Rabbi Rubin's son-in-law, Mozes Frischman, was among the survivors and he became the congregation's postwar rabbi. By 1947, following an influx of displaced refugees, 210 Jews lived in the city.

After the formation of the State of Israel, many started to immigrate to the new Jewish homeland. By 1956, the congregation had 140 members and by 1966 the membership had declined to 21. In 1971 there were only 4 Jewish families in the city. By 2002, there was only one observant Jew, Zoltan Blum, a Holocaust survivor, who was named honorary citizen of Gherla in June 2015. Mr. Blum is still being solicited by school children and various organizations to talk about his Holocaust experience.

Present day
Since 2008, many of the former Jewish residents of Gherla who now live in Israel, United States, Canada and Australia have been actively trying to find some creative solutions to saving the beautiful synagogue of Gherla which has been neglected for decades. They formed an organization, The Jewish Community of Gherla, with members from all over the world. The president is Alexandru Sommer, a resident of Gherla of Jewish descent, whose grandmother was murdered at Auschwitz; he is actively involved in maintaining and providing access and safekeeping the Jewish cemetery and the synagogue.

Fundraising efforts began in earnest in 2012. In the spring of 2016, the organization raised enough funds to build a Holocaust Memorial Monument on the grounds of the synagogue. In addition to being a memorial to the 1600 Jews that were deported from the Gherla ghetto, and memorializing the names of the 1040 known victims, the monument is also intended to raise awareness about the fate of the synagogue and be a catalyst for fundraising efforts to repair the Gherla Synagogue.

In 2022, the city government of Gherla took over the management of the synagogue from the Romanian Jewish Federation, which owns the building. The city will administer it for the next 25 years.

title: Gherla Synagogue