text:
Talk:Captain Marvel (Marvel Comics)

Bravo!
Bravo! Or should I say - SHAZAM! Modemac

 * Not on this page. Maybe you should shout "Kree!" --GentlemanGhost 13:46, 31 May 2007 (UTC)

POV
I added a statement to this article that said something like, "The most well-remembered Captain Marvel stories were written and drawn by Jim Starlin" One user commenented that this was a POV statement and removed it. I just want to discuss this a little, because I think it actually an important statement to have in the article. First of all, I think that they really the most remembered stories; they were collected and reprinted 10 years later as 'The Life of Captain Marvel'. Second, I think that this type statement really isn't terribly POV - I didn't say that the Jim Starlin issues were the best - that would be a value judgement. But is a fact that those issues are the ones that are sought after and command a higher price, because they are well-remembered. Yeah you could leave the statement out, but I think leaves part of the 'story' incomplete. The best solution might be to recast the statement in a more 'factual' way. "One writer of Captain Marvel stories was Jim Starlin". Or something like that. But I guess I just think that when you see something that just crosses the POV line a little, it's probably better to try and improve it than to just delete it. (I can't believe I got concerned about this, but I'm at work and this is more fun than the thing I'm supposed to be doing!) User:ike9898

 * I feel the phrase "most well-remembered" is POV. Like you, ike, I did it while at work and didn't have time to put enough thought into rephrasing it, sorry. I agree that if Jim Starlin is reasonably integral to the article, then he should be mentioned in a well phrased NPOV manner. Could you say something like "Jim Starlin was one of hte more highly acclaimed writers of the Captain Marvel stories"? UtherSRG 23:56, 16 Dec 2003 (UTC)

 * How about something like what we find in the Daredevil article? "Daredevil was not an overly popular or influential Marvel hero until the late 1970s when writer/illustrator Frank Miller made him a much darker character. ..." I really loved DD or Captain Marvel when I was reading the Lee+Colan stories, but I loved even more the later Miller & Starlin works on the characters. PhS 14:52, 30 August 2005 (UTC)

Appearances
A little confused why this comment was added:

<!--These sections are for series that starred the character; Wolverine doesn't get all of his X-Men appearances in his bibliography. Go to www.chronologyproject.com for lists of appearances; that's beyond the scope of Wikipedia.-->

And this was removed:

 * The New Thunderbolts (2004) #1-?

Captain Marvel/Photon is one of the stars of New Thunderbolts. He appears in the "header text" in every issue as a team member. True, the series is not 100% Captain Marvel (and, despite being a team member, his appearances have been a bit spotty so far), but why include the following?

 * Marvel Super-Heroes (1967) #12-13
 * Marvel Spotlight (1979) #1-4

Neither of these are "series that starred the character". Both series were intended for rotating casts. (I think Marvel Spotlight may have ended after issue #4 when the CM story ended, but if it did that was never the intent. And, yes, I realize MSH was the first appearance, but it still doesn't fit the criteria given above.)  Adding in "New Thunderbolts" is hardly turning this page into an appearance chart: The page doesn't even list Avengers Forever. (Although, speaking of, maybe it should... The whole series did star Genis-Vell, albeit among others.)

As far as Wolverine goes, he doesn't have a bibliography (as I check this), so this seems a poor comparison.

I'm adding New Thunderbolts back in. If there is a strong reason for removing it again, please explain further.

 * There is. Genis is not the feature character in New Thunderbolts, the team is. Adding Marvel Super-Heroes and Marvel Spotlight to the bibliography is appropriate because those were anthologies and Mar-Vell was the feature character. But New Thunderbolts is no more a Captain Marvel book than Avengers is a Vision book. One wouldn't include the Avengers series in the Vision bibliography. Similarly, should a Wolverine bibliography be included in his page, it would feature his main series, any Wolverine mini-series, graphic novel or one-shot, and the Marvel Comics Presents short stories anthology, but not any of the X-Men series or his multiple guest appearances. --Pc13 16:20, July 19, 2005 (UTC)

 * Perhaps. Even if the entire series isn't included in the list, though, I'm of the opinion that at least the critical issues (such as when Genis-Vell takes the name "Photon") should be listed, since by definition a "bibliography" is a listing of sources.  (See also my response to SoM below for further discussion of this logic.)  If this isn't a true bibliography, we should call it something else. - Roger McCoy 06:21, 20 July 2005 (UTC)

Incidentally, if this is a bibliography of "Captain Marvel Titles", why are we including issue numbers at all? User:Roger McCoy

 * The standard seems to be "solo stories," regardless of whether these stories appear in an anthology title or in the character's self-titled series, and the exceptions seem to be stuff like Marvel Two-in-One, whethe Thing co-starred in every issue with a "guest hero of the month," making it a de facto Thing series. Issue numbers are simply informing you how long these series lasted.

 * Not saying I entirely agree with this, since I think significant stories should probably be included (although then you get into the "what's significant" debate, oc...), but it seems to be the way the concensus has run for some time. Maybe you should bring it up @ WP:CMC. - SoM 23:12, 30 May 2005 (UTC)

 * Personally, I'm of the opinion that, if an event is significant enough to be included in the biography given here, then the issue containing it is certainly worth including. In fact, by definition, this is what a bibliography does.  While I certainly agree with the comment that Wikipedia is not intended as an appearance chart, Wikipedia officially encourages editors to cite their sources, so it seems illogical to intentionally exclude issues that have a direct bearing on the article.

 * Maybe it would make more sense to divide it up between a listing of titles and significant issues to separate out the two, but this seems like it would be unnecessarily complicated. It does seem ironic that the "Bibliography of Titles" doesn't serve as a bibliography and lists issues rather than titles.  Even renaming this section would make this a bit less nonsensical, but even this would have to be done with a core idea of what the section really means.

 * I dunno. Even taking into account your explanation, the whole thing seems kind of arbitrary.  Of course, it seems that you agree with me on this anyway...  - Roger McCoy 08:02, 1 Jun 2005 (UTC)

Shouldn't Ultimate Captain Marvel be included? - Apollonaire1980

writing issue?
"and that the character whom it will be is already in play." Is this some comic slang I'm not familiar with or unclear writing? Gbleem 03:35, 22 December 2005 (UTC)

Captain who?
This article doesn't explain why each of these characters is called Captain Marvel. --Gbleem 03:51, 22 December 2005 (UTC)

Images
Why did someone delete all the images from this site? Much thanks to the person who put them back in. All of the images were up-loaded using standard Wiki. operating proceedure, so there should be no copyright issues. Any idea why the images where removed? Bhissong 12:37, 8 May 2006 (UTC)

Opening
I think the opening of this article should be very brief. It should simply state that there are multiple characters with the name of Captain Marvel. The entire rest of the article explains who these people are, so I think it's unnecessary to put any sort of description at the top. Bhissong 13:35, 27 June 2006 (UTC)bhissong
 * I agree. A nice intro blurb would be very good. --70.56.19.243 04:49, 20 July 2006 (UTC)

Legal Copyright
Shouldn't there be a discussion about how Stan Lee/Marvel Comics took it upon themselves to trademark (copyright?) the name "Captain Marvel" and, as a result, when DC Comics wanted to publish their own Capt. Marvel comics they had to use Shazam. I'm as big a geek as the next comic fan, but how about some real world info (this and maybe publication history)? Anyone? Roygbiv666 16:31, 18 July 2006 (UTC)

The Atoman/Captain Marvel connection
In Volume Two of the Captain Marvel Marvel Masterworks hardcover reprint series, Roy Thomas mentions that the updated costume that premiered in Captain Marvel #17 was derived from that of an obscure 40's hero, Atoman (published in two adventures by Spark Publications). RahadyanS 19:07, 19 September 2007 (UTC)

Fair use rationale for Image:Captain Marvel vol 4 cover 1.jpg
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Fair use rationale for Image:Ultimate Captain Marvel.jpg
Image:Ultimate Captain Marvel.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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BetacommandBot (talk) 02:19, 12 February 2008 (UTC)

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

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

BetacommandBot (talk) 14:32, 8 March 2008 (UTC)

WikiProject Comics B-Class Assesment required
This article needs the B-Class checklist filled in to remain a B-Class article for the Comics WikiProject. If the checklist is not filled in by 7th August this article will be re-assessed as C-Class. The checklist should be filled out referencing the guidance given at Version 1.0 Editorial Team/Assessment/B-Class criteria. For further details please contact the Comics WikiProject. Comics-awb (talk) 16:00, 31 July 2008 (UTC)

C-Class rated for Comics Project
As this B-Class article has yet to receive a review, it has been rated as C-Class. If you disagree and would like to request an assesment, please visit WikiProject Comics/Assessment and list the article. Hiding T 15:02, 12 February 2009 (UTC)

Phyla-Vell
Who is "last seen romancing Moondragon"? Phyla-Vell or Elysius? Can't tell from the text. (If the later, that would make Phyla-Vell's existence problematic, no?) Dmforcier (talk) 17:26, 16 August 2011 (UTC)

Draft for Captain Marvel (film)
This is just a notice that there is a draft for Captain Marvel at Draft:Captain Marvel (film) until such time that it is ready for inclusion in the mainspace. All are welcome to come help nurture the article's development there. --TriiipleThreat (talk) 20:26, 28 October 2014 (UTC)

Carol Danvers, Ms. Marvel, Captain Marvel, and feminism
There is a discussion on the Carol Danvers talk page that may be of interest to watchers of this page. Lightbreather (talk) 21:56, 23 December 2014 (UTC)
 * Not any longer. 2.31.162.42 (talk) 03:34, 27 March 2022 (UTC)

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In other media
Hello, I would like to have your opinion on the "In other media" section.

This section does not list all the appearances of each character who took the Captain Marvel codename. Which is why I would like to propose two ideas.

On one hand, I think we could create a new article titled "Captain Marvel in other media," which would look like this page. For instance, Carol Danvers alone has appeared in many different media as Captain Marvel, which makes me believe that the Captain Marvel (Marvel Comics) article would probably have too much data in the "In other media" section.

On the other hand, I was wondering if you think this section should "remain the same," but that sub-sections should be created to deal with each Captain Marvel.

Thank you for reading. Higher Further Faster (talk) 09:34, 23 July 2023 (UTC)

title: Talk:Captain Marvel (Marvel Comics)


text:
Bucket sort

Bucket sort, or bin sort, is a sorting algorithm that works by distributing the elements of an array into a number of buckets. Each bucket is then sorted individually, either using a different sorting algorithm, or by recursively applying the bucket sorting algorithm. It is a distribution sort, a generalization of pigeonhole sort that allows multiple keys per bucket, and is a cousin of radix sort in the most-to-least significant digit flavor. Bucket sort can be implemented with comparisons and therefore can also be considered a comparison sort algorithm. The computational complexity depends on the algorithm used to sort each bucket, the number of buckets to use, and whether the input is uniformly distributed.

Bucket sort works as follows:
 * 1) Set up an array of initially empty "buckets".
 * 2) Scatter: Go over the original array, putting each object in its bucket.
 * 3) Sort each non-empty bucket.
 * 4) Gather: Visit the buckets in order and put all elements back into the original array.

Pseudocode
function bucketSort(array, k) is buckets ← new array of k empty lists M ← 1 + the maximum key value in the array for i = 0 to length(array) do insert array[i] into buckets[floor(k × array[i] / M)] for i = 0 to k do nextSort(buckets[i]) return the concatenation of buckets[0], ...., buckets[k]

Let array denote the array to be sorted and k denote the number of buckets to use. One can compute the maximum key value in linear time by iterating over all the keys once. The floor function must be used to convert a floating number to an integer ( and possibly casting of datatypes too ). The function nextSort is a sorting function used to sort each bucket. Conventionally, insertion sort is used, but other algorithms could be used as well, such as selection sort or merge sort. Using bucketSort itself as nextSort produces a relative of radix sort; in particular, the case n = 2 corresponds to quicksort (although potentially with poor pivot choices).

Worst-case analysis
When the input contains several keys that are close to each other (clustering), those elements are likely to be placed in the same bucket, which results in some buckets containing more elements than average. The worst-case scenario occurs when all the elements are placed in a single bucket. The overall performance would then be dominated by the algorithm used to sort each bucket, for example $$O(n^2)$$ insertion sort or $$O(n \log(n))$$ comparison sort algorithms, such as merge sort.

Average-case analysis
Consider the case that the input is uniformly distributed. The first step, which is initialize the buckets and find the maximum key value in the array, can be done in $$O(n)$$ time. If division and multiplication can be done in constant time, then scattering each element to its bucket also costs $$O(n)$$. Assume insertion sort is used to sort each bucket, then the third step costs $$O(\textstyle \sum_{i=1}^k \displaystyle n_i^2)$$, where $$n_i$$ is the length of the bucket indexed $$i$$. Since we are concerning the average time, the expectation $$E(n_i^2)$$ has to be evaluated instead. Let $$X_{ij}$$ be the random variable that is $$1$$ if element $$j$$ is placed in bucket $$i$$, and $$0$$ otherwise. We have $$n_i = \sum_{j=1}^n X_{ij}$$. Therefore,

 * $$\begin{align}

E(n_i^2) & = E\left(\sum_{j=1}^n X_{ij} \sum_{l=1}^n X_{il}\right) \\ & = E\left(\sum_{j=1}^n \sum_{l=1}^n X_{ij}X_{il}\right) \\ & = E\left(\sum_{j=1}^n X_{ij}^2\right) + E\left(\sum_{1\leq j,l\leq n}\sum_{j\neq l}X_{ij}X_{il}\right) \end{align} $$

The last line separates the summation into the case $$j=l$$ and the case $$j\neq l$$. Since the chance of an object distributed to bucket $$i$$ is $$1/k$$, $$X_{ij} $$ is 1 with probability $$1/k$$ and 0 otherwise.

 * $$E(X_{ij}^2) = 1^2\cdot \left(\frac{1}{k}\right) + 0^2\cdot \left(1-\frac{1}{k}\right) = \frac{1}{k}$$
 * $$E(X_{ij}X_{ik}) = 1\cdot \left(\frac{1}{k}\right)\left(\frac{1}{k}\right) = \frac{1}{k^2} $$

With the summation, it would be

 * $$E\left(\sum_{j=1}^n X_{ij}^2\right) + E\left(\sum_{1\leq j,k\leq n}\sum_{j\neq k}X_{ij}X_{ik}\right) = n\cdot\frac{1}{k} + n(n-1)\cdot\frac{1}{k^2} = \frac{n^2+nk-n}{k^2}$$

Finally, the complexity would be $$O\left(\sum_{i=1}^kE(n_i^2)\right) = O\left(\sum_{i=1}^k \frac{n^2+nk-n}{k^2}\right) = O\left(\frac{n^2}{k}+n\right) $$.

The last step of bucket sort, which is concatenating all the sorted objects in each bucket, requires $$O(k)$$ time. Therefore, the total complexity is $$O\left(n+\frac{n^2}{k}+k\right)$$. Note that if k is chosen to be $$k = \Theta(n)$$, then bucket sort runs in $$O(n)$$ average time, given a uniformly distributed input.

Optimizations
A common optimization is to put the unsorted elements of the buckets back in the original array first, then run insertion sort over the complete array; because insertion sort's runtime is based on how far each element is from its final position, the number of comparisons remains relatively small, and the memory hierarchy is better exploited by storing the list contiguously in memory.

If the input distribution is known or can be estimated, buckets can often be chosen which contain constant density (rather than merely having constant size). This allows $$O(n)$$ average time complexity even without uniformly distributed input.

Generic bucket sort
The most common variant of bucket sort operates on a list of n numeric inputs between zero and some maximum value M and divides the value range into n buckets each of size M/n. If each bucket is sorted using insertion sort, the sort can be shown to run in expected linear time (where the average is taken over all possible inputs). However, the performance of this sort degrades with clustering; if many values occur close together, they will all fall into a single bucket and be sorted slowly. This performance degradation is avoided in the original bucket sort algorithm by assuming that the input is generated by a random process that distributes elements uniformly over the interval [0,1).

ProxmapSort
Similar to generic bucket sort as described above, ProxmapSort works by dividing an array of keys into subarrays via the use of a "map key" function that preserves a partial ordering on the keys; as each key is added to its subarray, insertion sort is used to keep that subarray sorted, resulting in the entire array being in sorted order when ProxmapSort completes. ProxmapSort differs from bucket sorts in its use of the map key to place the data approximately where it belongs in sorted order, producing a "proxmap" — a proximity mapping — of the keys.

Histogram sort
Another variant of bucket sort known as histogram sort or counting sort adds an initial pass that counts the number of elements that will fall into each bucket using a count array. Using this information, the array values can be arranged into a sequence of buckets in-place by a sequence of exchanges, leaving no space overhead for bucket storage.

Postman's sort
The Postman's sort is a variant of bucket sort that takes advantage of a hierarchical structure of elements, typically described by a set of attributes. This is the algorithm used by letter-sorting machines in post offices: mail is sorted first between domestic and international; then by state, province or territory; then by destination post office; then by routes, etc. Since keys are not compared against each other, sorting time is O(cn), where c depends on the size of the key and number of buckets. This is similar to a radix sort that works "top down," or "most significant digit first."

Shuffle sort
The shuffle sort is a variant of bucket sort that begins by removing the first 1/8 of the n items to be sorted, sorts them recursively, and puts them in an array. This creates n/8 "buckets" to which the remaining 7/8 of the items are distributed. Each "bucket" is then sorted, and the "buckets" are concatenated into a sorted array.

Comparison with other sorting algorithms
Bucket sort can be seen as a generalization of counting sort; in fact, if each bucket has size 1 then bucket sort degenerates to counting sort. The variable bucket size of bucket sort allows it to use O(n) memory instead of O(M) memory, where M is the number of distinct values; in exchange, it gives up counting sort's O(n + M) worst-case behavior.

Bucket sort with two buckets is effectively a version of quicksort where the pivot value is always selected to be the middle value of the value range. While this choice is effective for uniformly distributed inputs, other means of choosing the pivot in quicksort such as randomly selected pivots make it more resistant to clustering in the input distribution.

The n-way mergesort algorithm also begins by distributing the list into n sublists and sorting each one; however, the sublists created by mergesort have overlapping value ranges and so cannot be recombined by simple concatenation as in bucket sort. Instead, they must be interleaved by a merge algorithm. However, this added expense is counterbalanced by the simpler scatter phase and the ability to ensure that each sublist is the same size, providing a good worst-case time bound.

Top-down radix sort can be seen as a special case of bucket sort where both the range of values and the number of buckets is constrained to be a power of two. Consequently, each bucket's size is also a power of two, and the procedure can be applied recursively. This approach can accelerate the scatter phase, since we only need to examine a prefix of the bit representation of each element to determine its bucket.

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

title: Bucket sort


text:
Sidney Bechet

Sidney Joseph Bechet (May 14, 1897 – May 14, 1959) was an American jazz saxophonist, clarinetist, and composer. He was one of the first important soloists in jazz, and first recorded several months before trumpeter Louis Armstrong. His erratic temperament hampered his career, and not until the late 1940s did he earn wide acclaim. Bechet spent much of his later life in France.

Early life
Bechet was born in New Orleans in 1897 to a middle-class Creole of color family. Bechet's father Omar was both a shoemaker and a flute player, and all four of his brothers were musicians as well.

His older brother, Leonard Victor Bechet, was a full-time dentist and a part-time trombonist and bandleader. Bechet learned and mastered several musical instruments that were kept around the house (he began on the cornet), mostly by teaching himself; he decided to specialize in the clarinet (which he played almost exclusively until about 1919).

At the age of six, he started performing with his brother's band at a family birthday party, debuting his talents to acclaim. Later in his youth, Bechet studied with Joseph "King" Oliver, Bunk Johnson, Freddie Keppard, Lorenzo Tio, "Big Eye" Louis Nelson Delisle, and George Baquet.

Musical development
Bechet played in many New Orleans ensembles using the improvisational techniques of the time (obbligatos with scales and arpeggios and varying the melody). While working with Louis Armstrong, Bechet was one of the first musicians to develop the Swing style of jazz; he influenced the widening difference between jazz and ragtime. Bechet liked to have his sound dominate in a performance, and trumpeters reportedly found it difficult to play alongside him.

He performed in parades with Freddie Keppard's brass band, the Olympia Orchestra, and in John Robichaux's dance orchestra. From 1911 to 1912, he performed with Bunk Johnson in the Eagle Band of New Orleans and in 1913–14 with King Oliver in the Olympia Band. From 1914 to 1917, he was touring and traveling, going as far north as Chicago and frequently performing with Freddie Keppard.

In the spring of 1919, he traveled to New York City and joined Will Marion Cook's Syncopated Orchestra. Soon after, the orchestra traveled to Europe, where they performed at the Royal Philharmonic Hall in London. The group was warmly received, and Bechet was especially popular.

While in London, he discovered the straight soprano saxophone and developed a style unlike his clarinet tone. Bechet was the first influential soprano saxophonist, leading to its rising popularity as a jazz instrument.

His saxophone sound could be described as emotional, reckless, and all-encompassing. He often used a broad vibrato, similar to some New Orleans clarinetists at the time. In 1919, a Swiss classical music conductor, Ernest Ansermet, wrote a tribute to Bechet. It was one of the earliest (if not the first) articles about a jazz musician written by an expert in the field of classical music, linking Bechet's music with that of Bach.

Bechet's first recordings were made in 1923 and 1924. The session was led by Clarence Williams, a pianist and songwriter, better known at that time for his music publishing and record producing, and his "Blue Five" (which included Louis Armstrong). Bechet recorded "Wild Cat Blues" and "Kansas City Man Blues." The former is in a ragtime style with four 16-bar themes, and the latter is a 12-bar blues. In 1924, Bechet worked with Duke Ellington for three months and made a significant impact on Ellington's early jazz style. Duke Ellington called him "the epitome of jazz." However, he never learned how to read music in his lifetime of being a musician.

Bechet in France

On September 15, 1925, Bechet and other members of the Revue Nègre, including Josephine Baker, sailed to Europe, arriving at Cherbourg, France, on September 22. The revue opened at the Théâtre des Champs-Élysées in Paris on October 2. The show was an example of negrophilia in France at the time. He toured Europe with multiple bands, reaching as far as Russia in mid-1926. In 1928, he led his small band at Chez Bricktop (run by the popular Ada "Bricktop" Smith) in Montmartre, Paris.

In France, Bechet found that he was appreciated by a wider audience and had more general freedom than he did in the United States.

He was imprisoned in Paris for eleven months. In his autobiography, he wrote that he accidentally shot a woman when he was trying to shoot a musician who had insulted him. He had challenged the man to duel and said, "Sidney Bechet never plays the wrong chord." After his release, he was deported to New York, arriving soon after the stock market crash of 1929. He joined with Lorenzo Tio and also came to know trumpeter Roy Eldridge.

In 1932, Bechet returned to New York City to lead a band with Tommy Ladnier. The band, comprising six members, performed at the Savoy Ballroom. He played in Noble Sissle's orchestra, which toured in Germany and Russia.

Later life
In 1938, "Hold Tight, Hold Tight (Want Some Seafood Mama)," commonly known as "Hold Tight," was composed by Bechet's guitarist Leonard Ware and two session singers with claimed contributions from Bechet himself. The song became known for its suggestive lyrics and then for a series of lawsuits over songwriter royalties.

In 1939, Bechet and the pianist Willie "The Lion" Smith led a group that recorded several early versions of what was later called Latin jazz, adapting traditional méringue, rhumba and Haitian songs to the jazz idiom. On July 28, 1940, Bechet made a guest appearance on the NBC Radio show The Chamber Music Society of Lower Basin Street, playing two of his showpieces ("Shake It and Break It" and "St. Louis Blues") with Henry Levine's Dixieland band. Levine invited Bechet into the RCA Victor recording studio (on 24th Street in New York City), where Bechet lent his soprano sax to Levine's traditional arrangement of "Muskrat Ramble." On April 18, 1941, as an early experiment in overdubbing at Victor, Bechet recorded a version of the pop song "The Sheik of Araby," playing six different instruments: clarinet, soprano saxophone, tenor saxophone, piano, bass, and drums. A hitherto unissued master of this recording was included in the 1965 LP Bechet of New Orleans, issued by RCA Victor as LPV-510. In the liner notes, George Hoeffer quoted Bechet: "'I started by playing The Sheik on piano and played the drums while listening to the piano. I meant to play all the rhythm instruments but got all mixed up and grabbed my soprano, then the bass, then the tenor saxophone, and finally finished up with the clarinet.'"In 1944, 1946, and 1953, he recorded and performed in concert with the Chicago jazz pianist and vibraphonist Max Miller; private recordings from Miller's archive have never been released. These concerts and recordings are described in John Chilton's biography Sidney Bechet: The Wizard of Jazz.

With jobs in music difficult to find, he opened a tailor shop with Ladnier. They were visited by musicians and played in the back of the shop. In the 1940s, Bechet played in several bands, but his financial situation did not improve until the end of that decade. By the end of the 1940s, Bechet had tired of struggling to make music in the United States. His contract with Jazz Limited, a Chicago-based record label, was limiting the events at which he could perform (for instance, the label would not permit him to perform at the 1948 Festival of Europe in Nice). He believed the jazz scene in the United States had little left to offer him and was getting stale.

In 1958, Bechet performed as a soloist and with various other renowned musicians including Buck Clayton and Sarah Vaughn in memorable, spirited concerts in the United States Pavilion at Expo 58, the World's Fair in Brussels, Belgium.

Permanent settlement in Paris
In 1951, he migrated to France permanently, after his performance as a soloist at the Paris Jazz Fair caused a surge in his popularity in that country, where he easily found well-paid work. Also, in 1951, he married Elisabeth Ziegler in Antibes. In 1953, he signed a recording contract with Disques Vogue that lasted for the rest of his life. He recorded many hit tunes, including "Les Oignons," "Promenade aux Champs-Élysées," and the international hit "Petite Fleur." He also composed a classical ballet score in the late Romantic style of Tchaikovsky called La nuit est une sorcière ("The Night Is a Witch"). Some existentialists in France took to calling him le dieu ("the god").

Autobiography and death
Shortly before his death, Bechet dictated his autobiography, Treat It Gentle, to Al Rose, a record producer and radio host. He had worked with Rose several times in concert promotions and had a fractious relationship with him. In his autobiography, Bechet's view of himself was starkly different from the one Rose knew.

"The kindly old gentleman in his book was filled with charity and compassion. The one I knew was self-centered, cold, and capable of the most atrocious cruelty, especially toward women."

Though other internet sources have picked up the claim that Bechet dictated his autobiography to Al Rose, the autobiography itself—Treat It Gentle (Twayne, 1960)—notes that "Among those who helped record and edit the tapes on which this book is based are Joan Reid, Desmond Flower, and John Ciardi." The "Foreword" to the book by Desmond Flower explains in detail how the material from the various interviews was put together into book form, and there is no mention of any involvement by Al Rose in the interviewing or editing process.

Although embellished and frequently inaccurate, Treat It Gentle remains a staple account for the "insider's view of the New Orleans tradition."

Bechet died in Garches, near Paris, of lung cancer on May 14, 1959, on his 62nd birthday. He is buried in a local cemetery. Two other major jazz musicians died that year: Billie Holiday and Lester Young.

Legacy
In 2013, a crater on Mercury was named after Bechet. In the novel Steppenwolf by Hermann Hesse, Bechet was the inspiration for the character "Pablo."

Bechet's music has been included in the soundtracks of about 60 films, including the following: Flirting (1991), JFK (1991), Chocolat (2000), The Quiet American (2002), and Midnight in Paris (2011).

Philip Larkin wrote a poem called "For Sidney Bechet." It can be found in The Complete Poems. It is written about on the Philip Larkin Society website.

Van Morrison mentions Sidney Bechet in the song "See Me Through Part II (Just A Closer Walk With Thee)" from the 1990 album Hymns to the Silence: "...Sidney Bechet on Sunday afternoons in winter/Sidney Bechet, Sunday afternoons in winter..."

In Antibes, France, a small one-block park is named Sidney Bechet Square in his honor. The park contains a monument with a bust of Bechet and a plaque that reads, "To Sidney BECHET, one of the world's greatest jazz musicians, so honored by his new home. - Sidney J. BARTHELEMY, Mayor of New Orleans, April 16, 1994."

A fictionalized Sidney Bechet appears in two episodes of George Lucas's The Young Indiana Jones Chronicles portrayed by Jeffrey Wright.

Additionally, in an interview with Woody Allen, when asked what "dead person he would like to have dinner with," he responded, " ... I guess maybe Sidney Bechet." Bechet continues to live on in the movies of Allen.

Personal life
Bechet was Catholic.

Bechet was known for having an abrasive attitude, which has been compared to that of Coleman Hawkins. They were both incredibly sure of their relative importance in the music industry during a time in which jazz was losing popularity. They were stubborn and lacked patience with younger artists with less experience or knowledge of the jazz industry.

Bechet briefly took time off from the music industry in 1938 when he opened a tailor shop in New York.

Bechet had three wives: Elizabeth Ziegler (1951–death), Marie-Louise Crawford (1934–1942), and Norma Hale (1918–1929).

Awards

 * DownBeat magazine Hall of Fame, 1968
 * Bechet was inducted into the Big Band and Jazz Hall of Fame in 1983.
 * Awarded a blue plaque outside his former London home in 2014 (pictured).

Singles

 * "Texas Moaner Blues", with Louis Armstrong, 1924
 * "Cake Walkin' Babies from Home", with Red Onion Jazz Babies, 1925
 * "Got the Bench, Got the Park (But I Haven't Got You)," 1930
 * "Blues in Thirds", 1940
 * "Dear Old Southland", 1940
 * "Egyptian Fantasy", 1941
 * "Muskrat Ramble", 1944
 * "Blue Horizon", 1944
 * "Dutch Swing College Blues", 1954
 * "Kansas City Man Blues", 1954
 * "Petite Fleur", 1959
 * "Dans les Rues D'Antibes", 1960
 * "Premier Bal", 1960
 * "Who's Sorry Now", 1961
 * "Weary Blues", 1979

Albums

 * "A Jazz Masterwork", 1948
 * "Sidney Bechet & Claude Luter", 1950
 * "Jazz Classics Vol. 1", 1950
 * "Jazz Classics Vol. 2", 1950
 * "Sidney Bechet - Bunk Johnson: Days Beyond Recall", 1951
 * "Sidney Bechet, Claude Luter: On Parade", 1951
 * "Sidney Bechet, Claude Luter, Andre Reweliotty et son Orchestre: Bechet-Souvenirs," 1951
 * "Sidney Bechet, Muggsy Spanier: Jam Session", 1952
 * "Sidney Bechet", 1952
 * "Port of Harlem Six", 1952
 * "Soprano Sax Solos", 1952
 * "French Movies", 2014

Movies
Bechet was featured in three films and played a jazz musician.

 * Série noire,
 * L'inspecteur connaît la musique,
 * Quelle équipe!

title: Sidney Bechet


text:
Wikipedia:French php translation page

Please see fr:Wikipédia:LanguageFr.php.

title: Wikipedia:French php translation page


text:
Talk:Sidney Bechet

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 5 October 2021 and 13 December 2021. Further details are available on the course page. Student editor(s): Juliewagoner12. Peer reviewers: Pcharlotte.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 09:18, 17 January 2022 (UTC)

Untitled
First version of Sidney Bechet entry. If it seems familiar, that's because it's a slightly modified version of a short bio I wrote over 5 years ago that's been on one of my websites at http://www.geocities.com/infrogmation/Bechet.html. -- Infrogmation

Might be nice to include how one properly pronounces his name, since most people probably don't know. --Steve

I second the motion: I signed on to find out if it's "buh-SHAY" or "buh-SHET", and that info belongs in the first paragraph of his bio. Pete Pab8888 (talk) 06:14, 2 April 2014 (UTC)

I have just started listening to Sidney Bechet and think it would be nice to develop a proper discography. Is it acceptable to start putting information and 'adding as we go long' so to speak. --BustOut 17:30, 2 September 2006 (UTC)

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

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 11:35, 6 June 2007 (UTC)

Mugshot
I think it would be worthwhile to mention that the picture used to illustrate Sidney is a mugshot. The Goffrey C. Ward and Ken Burns book Jazz: A History of America's Music states the mugshot was taken in London, in 1922. --MosheA (talk) 03:09, 11 February 2008 (UTC)

Re Bechet's gunfight
John Chilton, in his biography of Bechet, suggests that the gunfight which resulted in Bechet's prison term was not over musical issues. Rather, Chilton suggests, a dispute over a woman may have been behind it. —Preceding unsigned comment added by 67.102.251.138 (talk) 18:07, 13 February 2009 (UTC)

Creole
The phrase "Creole of Color" is unnecessary and redundant. Just "Creole" will suffice. Dangnad (talk) 01:10, 24 July 2011 (UTC)
 * Absolutely wrong. (Take a little time to learn about terminology and what "Creole" means in the context of Louisiana, please. Certainly "Creoles" in Louisiana are not of necessity "of Color".) Infrogmation (talk) 03:06, 24 July 2011 (UTC)
 * After all these years I have seen this reply and Infrogmation is absolutely right. "Creole" can apply to many kinds of people in early New Orleans including native born to slaves. Ref: https://en.wikipedia.org/wiki/Louisiana_Creole_people Dangnad (talk) 03:25, 9 July 2019 (UTC)

Irrelevant Anecdote
The quote from Sugar Blues is not very relevant to Sidney Bechet (or very profound, but that's another story :)), but probably does belong on the Sugar Blues (song) and Sugar Blue (singer) pages if they exist. A sentence along the lines of, "The blues harmonica player Sugar Blues took his nickname from a similarly named Sidney Bechet song" would certainly suffice on this page.Speedfranklin (talk) 21:01, 30 August 2013 (UTC)

I agree. I think the block quote from Sugar Blue is not of sufficient importance in this article and will delete it. Jwicklatz (talk) 18:12, 25 May 2017 (UTC)

This is the deleted block quote:

"I needed a nickname ... all the good ones were taken! You know 'Muddy Waters', 'Blind Lemon', 'Sonny Boy' ... until one night a friend and I were leaving a concert—a Doc Watson concert—when somebody threw out of the window a box full of old 78s: I picked one up and it said 'Sugar Blues' by Sidney Bechet. ... That's it! I thought it was perfect. ... so here I am.'" Jwicklatz (talk) 18:16, 25 May 2017 (UTC)

Notice the extraneous closing quotation mark at the end of the extract. Jwicklatz (talk) 18:17, 25 May 2017 (UTC)

Reading music
To all accounts, Bechet was NOT able to read music. When he composed tunes, he needed others to write them down. James "Buster" Toliver did that for him during most of the 30ies. — Preceding unsigned comment added by 2A02:1205:5045:1BC0:1C59:8F59:2F7E:F9AE (talk) 15:03, 8 October 2016 (UTC)

Discography
The discography referenced has disappeared from the Internet. A discography is available at http://www.sidneybechet.org/wp-content/uploads/SidneyBechet-Discography.pdf 82.69.91.35 (talk) 09:43, 30 November 2016 (UTC)RichardP

Unreleased The Sheik of Araby by Sidney Bechet's One Man band? Really?
The article states that:

''(...) On April 18, 1941, as an early experiment in overdubbing at Victor, Bechet recorded a version of the pop song "The Sheik of Araby", playing six different instruments: clarinet, soprano saxophone, tenor saxophone, piano, bass, and drums. A hitherto unissued master of this recording was included in the 1965 LP Bechet of New Orleans, issued by RCA Victor as LPV-510. (...)''

Both recordings from the session (The Sheik of Araby & Blues of Bechet) were released back in 1941, as evidenced by this discogs entry:

https://www.discogs.com/release/5364796

Australian HMV's entry contains photo of 'The Sheik of Araby' side as well:

https://www.discogs.com/Sidney-Bechet-Blues-Of-Bechet-The-Sheik-Of-Araby/release/10373656

--89.186.17.91 (talk) 19:17, 27 June 2019 (UTC)

Discography – Petite Fleur
Should the year be 1952? Please see Petite Fleur, where 1959 is given as the year of the Chris Barber recording and 1952 as that of the Sidney Bechet recording. Old Father Time (talk) 19:39, 16 July 2021 (UTC)

title: Talk:Sidney Bechet


text:
Flag of San Marino

The flag of San Marino is formed by two equal horizontal bands of white (top) and light blue with the national coat of arms superimposed in the center; the coat of arms has a shield (featuring three towers on three peaks) with a closed crown on top, flanked by an oak and laurel wreath, with a scroll below bearing the word LIBERTAS (Freedom). The two colors of the flag represent peace (white) and liberty (light blue).

Although the Law on the flag and coat of arms of San Marino from 2011 refers only to the "official flag" of the republic, a de facto civil flag, which omits the coat of arms, can sometimes be seen flying. Some official sources of San Marino suggest that the civil flag is actually the bicolor with the coat of arms of the specific city it is used in, instead of the national one.

The national ensign of San Marino is identical to the state flag.

San Marino's municipalities all have flags that are very similar to San Marino's national flag. These flags all contain a shield-like emblem on the horizontal white and blue bicolor. Closest to the hoist of these flags is the name of the municipality written vertically.

History
The oldest attested standard of the republic dates back from 4 September 1465, when it was commissioned from a manufacturer in Florence, allegedly composed of a tricolour of gold, white and "alessandrino" (thought to be purple, recently re-interpreted as a shade of azure).

In 1797, most likely influenced by the wave of reforms in France, the Supreme Council of the Republic commissioned a white and blue cockade, which, coincidentally or not, was identical to the one used by the French revolutionaries.

The decree of 6 April 1862 standardized the coat of arms, but did not mention the flag.

Proportions and colors
The official proportion of the flag is 3:4, the coat of arms' width being $3/8$ of the flag's length. While the arms are horizontally centered, their vertical position on the flag is defined by the location of the center of the cross on top of the crown: at $1/8$ of the flag's length. The proportion of the coat of arms is 5:6.

A 2:3 proportion can be used internationally and/or when specifically requested. In this case, the coat of arms' width is $1/3$ of the flag's length, and the center of the cross on the top of the crown will be at $1/6$ of the flag's height below the upper edge.

The colors of the flag are officially prescribed as follows:

Municipalities ("Castles")
Castles have their own flag, as indicated by March 28th 1997 decree n°40. Article 2 demands each name to be indicated vertically at the hoist in peigmot font, but it is not enforced and it is usual see hoisted unnamed flags at public offices.

title: Flag of San Marino


text:
Talk:Geneva County, Alabama

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External Link
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Talk:Greene County, Alabama

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External Link or Reference
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History section
This county has no "history" section. It needs one. The population fluctuations are likely partly due to the county being subdivided over time (parts of it being split off to form new counties). Ryoung 122 20:14, 14 September 2011 (UTC)

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Talk:Hale County, Alabama

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External Link
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Talk:Henry County, Alabama

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Clarence Williams (musician)

Clarence Williams (October 8, 1898 or October 6, 1893 – November 6, 1965)   was an American jazz pianist, composer, promoter, vocalist, theatrical producer, and publisher.

Biography
Williams was born in Plaquemine, Louisiana, to Dennis, a bassist, and Sally Williams, and ran away from home at age 12 to join Billy Kersands' Traveling Minstrel Show, then moved to New Orleans. At first, Williams worked shining shoes and doing odd jobs, but soon became known as a singer and master of ceremonies. By the early 1910s, he was a well-regarded local entertainer also playing piano, and was composing new tunes by 1913. Williams was a good businessman and worked arranging and managing entertainment at the local African American vaudeville theater as well as at various saloons and dance halls around Rampart Street, and at clubs and houses in Storyville.

Williams started a music publishing business with violinist/bandleader Armand J. Piron in 1915, which by the 1920s was the leading African-American owned music publisher in the country. He toured briefly with W. C. Handy, set up a publishing office in Chicago, then settled in New York in the early 1920s. In 1921, he married blues singer and stage actress Eva Taylor, with whom he would frequently perform. They moved to Queens in the 1920s with the intention of creating a community of black artists. He envisioned a space where African American artists could live, work, and collaborate together, free from the racial discrimination and segregation that was prevalent in other parts of the city at the time.

Williams and his wife, Eva Taylor, purchased a large house on Ruscoe Street (108th Ave near Addisleigh Park) and turned it into a gathering place for black artists, musicians, and intellectuals. They hosted regular parties and events, which attracted many notable figures from the Harlem Renaissance, including Langston Hughes, Zora Neale Hurston, and Duke Ellington.

Harlem Renaissance
He was one of the primary pianists on scores of blues records recorded in New York during the 1920s. He supervised African American recordings (the 8000 race series) for the New York offices of Okeh phonograph company in the 1920s in the Gaiety Theatre office building in Times Square. He recruited many of the artists who performed on the label. He also recorded extensively, leading studio bands frequently for OKeh, Columbia and occasionally other record labels.

He mostly used "Clarence Williams' Jazz Kings" for his hot band sides and "Clarence Williams' Washboard Five" for his washboard sides. He also produced and participated in early recordings by Louis Armstrong, Sidney Bechet, Bessie Smith, Virginia Liston, Irene Scruggs, his niece Katherine Henderson, and others. Two of his 1924 recording bands, "The Red Onion Jazz Babies" and "Clarence Williams' Blue Five" featured cornetist Armstrong and soprano saxophonist Bechet, two of the most important early jazz soloists, in their only recordings together before the 1940s. Clarence Williams' Blue Five, a studio band only, formed after the success of King Oliver's recordings in order to explore the market for blues-oriented music. The rivalry between Armstrong and Bechet, who tried to outdo each other with successive solo breaks, is exemplified in "Cake Walkin' Babies from Home", the most celebrated of these performances, which survives in versions recorded by both bands. Although the narrative of a rivalry during these recordings is frequently discussed in scholarship, Armstrong and Bechet do have moments of friendly collaboration, such as the shared break in "Texas Moaner Blues." King Oliver played cornet on a number of Williams's late 1920s recordings. He was the recording director for the short-lived QRS Records label in 1928.

Most of his recordings were songs from his publishing house, which explains why he recorded tunes like "Baby Won't You Please Come Home", "Close Fit Blues" and "Papa De-Da-Da" numerous times. Among his own compositions was "Shout, Sister, Shout" (1929), which was recorded by him, and also covered by the Boswell Sisters, in 1931.

Labels
In 1933, he signed to the Vocalion label and the recordings mostly featuring washboard percussion, through 1935 (and a session in 1938). He also recorded for Bluebird in 1937, and again in 1941.

In 1943, Williams sold his extensive back-catalogue of tunes to Decca Records for $50,000 and retired, but then bought a bargain used-goods store, the Harlem Thrift Shop. Williams died in Queens, New York City, in 1965, and was interred in Saint Charles Cemetery in Farmingdale on Long Island. On her death in 1977, his wife, Eva Taylor, was interred next to him.

Personal life
Clarence Williams' grandson is actor Clarence Williams III.

Work
Clarence Williams' name appears as composer or co-composer on numerous tunes, including a number which by Williams' own admission were written by others but which Williams bought all rights to outright, as was a common practice in the music publishing business at the time. Clarence Williams was also credited as the author of Hank Williams' 1949 hit "My Bucket's Got a Hole in It", a song that was later recorded by Louis Armstrong. In 1970, Williams was posthumously inducted into the Songwriters Hall of Fame.

Songs

 * "I Wish I Could Shimmy Like My Sister Kate" (as publisher – not composer, suspected to be originally Armstrong's "Katie's Head" bought by Piron and Williams)
 * "I Ain't Gonna Give Nobody None o' this Jelly-Roll" (with Spencer Williams, 1919)
 * "Sugar Blues" (1919)
 * "Baby Won't You Please Come Home" (1919)
 * "Royal Garden Blues" (with Spencer Williams, 1919)
 * "Ain't Nobody's Business If I Do" (and others, 1922)
 * "Shout, Sister, Shout"
 * "You Missed A Good Woman"
 * "That Ought To Do It"
 * "Look What A Fool I've Been"
 * "Got To Cool My Doggies Now"
 * "I Can Beat You Doing What You're Doing Me"
 * "Need a Little Sugar in My Bowl" (1931)
 * "My Bucket's Got a Hole in It" (1933)

title: Clarence Williams (musician)


text:
Talk:Houston County, Alabama

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External Link
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Talk:Jackson County, Alabama

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External Link
Hello, there is an article here, http://www.encyclopediaofalabama.org/face/Article.jsp?id=h-1343, that might be useful. Thanks, Justin --Duboiju (talk) 19:33, 16 April 2009 (UTC)

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title: Talk:Jackson County, Alabama


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Talk:Jefferson County, Alabama

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Fair use rationale for File:Jefferson County Seal.png
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Bond Controversy
What is the difference between "default" and "technical default?" —Preceding unsigned comment added by 208.61.151.128 (talk) 03:24, 10 March 2008 (UTC)
 * I'll quote from the Birmingham News: "Technical default means the county has violated terms of the swap agreements with investment banks, including JP Morgan Chase. A payment default occurs if the county discontinues payments to the banks, which has not happened so far." --Dystopos (talk) 04:01, 10 March 2008 (UTC)

The sewer bond portion of the article says, "The debt structure now was such that there was no way that 700,000 people could pay it back over 30 years. The job could have been done for somewhere between $1.2 billion and $1.5 billion but shouldn't have cost 3.2 billion. Those selling the bonds weren't interested in whether they could be repaid as they would have moved on." This seems to be a paraphrase of comments made by the current head of the Sewer Commission from a 2011 BBC radio interview, but it reads like a statement of fact, perhaps due to the lack of quotation marks. Suggest the author of this part of the article edit it to make it clear that these are the views of one player in the controversy, one with a vested position. I suspect the comments are accurate, but.... Opus131 (talk) 23:11, 9 November 2011 (UTC)

Debt per resident
Rolling Stone says $4,800, not $7,000. -- AnonMoos (talk) 19:47, 4 April 2010 (UTC)

Sewer Construction
"Much of this work was awarded to inexperienced companies, many of which have since been convicted of bribery, along with several county officials."

While there have been questions in news reports regarding some engineering work, there was never any report or accusation that contracting companies which repaired, rehabilitated and built sewers under the 1996 Consent Decree were "inexperienced companies." On the contrary, even in the cases of those who were convicted of bribery, court records indicate that a strict qualification process was in place for the cured-in-place sewer rehab work, for which only three companies in the U.S. were found qualified to supply the materials and oversee the process. Additionally, court testimony proved that all construction done by the companies on trial was completed in a competent and timely manner. Bamacartag (talk) 14:21, 10 May 2010 (UTC)

 * There was an extended interview between Lesley Curwen of the BBC World Service and David Carrington, President of Jefferson County Commission on on 28th February 2011. I'll put some material on her shortly but the interview is available here JRPG (talk) 14:54, 28 February 2011 (UTC)

 * Looks like the county voted to seek Chapter 9 Bankruptcy over the sewer construction deal. 24.156.216.144 (talk) 22:36, 9 November 2011 (UTC)

Historical Ecology of Jefferson County
We are working on an entry for the historical ecology of Jefferson County. It will be uploaded on Tuesday - let us know what you think and please contribute if you are knowledgeable on the subject. —Preceding unsigned comment added by Annadestinmccown (talk • contribs) 21:40, 5 December 2010 (UTC)

Sources to consider for inclusion
found items which have not been incorporated but might help content

 * --User:Ceyockey ( talk to me ) 19:22, 19 February 2012 (UTC)
 * --User:Ceyockey ( talk to me ) 19:22, 19 February 2012 (UTC)

Jefferson county alabama
While reading you article on Jefferson County I came across the section on the sheriff office. In the section it was stated that the department has 175 deputies, as a Deputy with this department I know we have that many deputies alone in the main county jail in downtown Birmingham. A total for the department is somewhere around 800. — Preceding unsigned comment added by 180.222.138.158 (talk) 08:00, 26 October 2013 (UTC)

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title: Talk:Jefferson County, Alabama


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Tommy Ladnier

Thomas James Ladnier (May 28, 1900 – June 4, 1939) was an American jazz trumpeter. Hugues Panassié – an influential French critic, jazz historian, and renowned exponent of New Orleans jazz – rated Ladnier, sometime on or before 1956, second only to Louis Armstrong.

Early years
Ladnier was born in Mandeville, Louisiana – located on the north shore of Lake Pontchartrain, with New Orleans on the opposite shore. Beginning 1914, Ladnier performed in Mandeville's Independence Band at the Dew Drop Dance Hall, led by clarinetist Isidore Frick (né Isidore Fritz; 1890–1940). Trumpeter Bunk Johnson sometimes played with this band and gave young Ladnier lessons. Other members of the band included Louis Fritz (trombone); Joe Fritz (bass); Klebert Cagnolatti (drums) – older brother of trumpeter Cag Cagnolatti (1911–1983); Claybear (sax); Leon Laurent (violin); Buddy Petit (1890–1931) (cornet); Lucien Fritz (drums), Edmond Hall (1901–1967) (clarinet).

In 1917, Ladnier moved with his mother to Chicago and worked in the stock yards.

Early career
Ladnier – on February 1, 1920, in Chicago – married Daisy Mathews (née Hazel B. Mathews; 1902–1979). Around 1921, he became a professional musician. Ladnier played for some time in St. Louis with Charlie Creath. Beginning in 1923, he played in Chicago and made many recordings for Paramount Records with pianist Lovie Austin, accompanying blues singers Ma Rainey, Ida Cox, and Alberta Hunter. For some time, Ladnier played with his inspiration, King Oliver. He emulated Oliver's freak style on the solo in "Play that Thing" with Ollie Power's Harmony Syncopators in September 1923. On March 13, 1923, in Chicago, Ladnier's mother, Willie Ladnier (née Willie Williams; abt. 1879–1923) died from a gun shot at a party quarrel.

Career
Ladnier joined pianist Sam Wooding in 1925 for an extensive tour (Germany, Sweden, Denmark, Spain, and Russia).

This orchestra recorded in Berlin. He returned to New York and became the hot soloist for the Fletcher Henderson orchestra from 1926–1927. He returned to the Sam Wooding Orchestra for another tour (Germany, Austria, Turkey, Switzerland, Italy, and France), then left in January 1929 to work freelance in Paris. A short tour with dancer Harry Fleming brought him to Spain, where he met dancer Louis Douglas and joined him shortly in November 1929 in Paris, acting as orchestra leader. He again free-lanced in Paris until summer 1930 when he joined the Noble Sissle dance band, performing in Paris and London.

He returned to U.S. at the end of 1930 and stayed with Sissle until January 1932. The Sissle orchestra made some recordings in London and New York. Back in America in 1932, Ladnier and Sidney Bechet formed the New Orleans Feetwarmers. During the Depression, they tried to run a tailor shop in Harlem, but neither was interested in business. Ladnier left New York and played in the east, sometimes giving trumpet lessons. For a year, he lived in Stamford, Connecticut.

In 1938, Hugues Panassié, a French critic and record producer who met Ladnier in Paris in 1930, visited New York. He found Ladnier and recorded the Panassié Sessions with Sidney Bechet and Mezz Mezzrow. Ladnier and Bechet participated in the first From Spirituals to Swing concert arranged by John Hammond in December 1938.

Ladnier's last studio recording was on February 1, 1939, in New York as a sideman with singer Rosetta Crawford (de) accompanied by James P. Johnson's Hep Cats (Decca 7584). With Johnson (1894–1955) on piano, his sidemen were Teddy Bunn (1909–1978) (guitar); Elmer James (1910–1954) (double bass); and Zutty Singleton (1898–1975) (drums).

Death
At age 39, Ladnier, died unexpectedly of a heart attack June 4, 1939, while staying at Mezz Mezzrow's apartment at 1 West 126th Street – a six-story, 48-unit residential building in the Harlem neighborhood of Manhattan. It fell upon Mezzrow to take care of Ladnier's belongings and bury him. The memorial service was on Friday, June 9, 1939. Ladnier was buried at Frederick Douglass Memorial Park, Staten Island, an African American cemetery. The first burials there were in 1935. Ladnier's grave is No. 58, range 13, Section H. Despite efforts by Mezzrow and friends, the grave remained unmarked for nearly 69 years. Then, grave marker – 30 cm square, 13 mm thick – was placed on Ladnier's grave. It was carved from Nero Granite with no grain structure and is attached to a concrete base. The marker was engraved by Bob Sprauge and was placed on site by Bob Lang.

title: Tommy Ladnier


text:
Wikipedia talk:French php translation page

Ce n'est pas ceci déjà au wiki fr ? Le qual sera le plus met au jour, le plus complet? --Brion 19:15 Oct 1, 2002 (UTC)

Il s'apparait, que ceci est le plus met au jour. Je l'ai met au serveur CVS, et suis en train de construir un serveur de preuvage... Test server on the way... --Brion 07:26 Oct 8, 2002 (UTC)


text:
Talk:Lamar County, Alabama

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External Link
Hello, there is an article here, http://www.encyclopediaofalabama.org/face/Article.jsp?id=h-1344, that might be useful. Thanks, Justin --Duboiju (talk) 19:38, 16 April 2009 (UTC)

Jones County
I did a little research, and from what I can tell Lamar County is not a separate county from Jones County established in the same area, but is a re-established Jones County under another name. It seems that the County government counted to function while the County itself was de-established. . Emmette Hernandez Coleman (talk) 20:14, 2 April 2013 (UTC)

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San Marino (disambiguation)

The Republic of San Marino is a European country completely surrounded by Italy.

San Marino may also refer to:

 * Saint Marinus, the founder of the state of San Marino
 * City of San Marino, the capital city of the Republic of San Marino
 * San Marino (river), a river in the Italian peninsula
 * Autodromo Enzo e Dino Ferrari, the circuit that hosts the San Marino Grand Prix
 * San Marino, California, a city in Los Angeles County, United States
 * ASD Victor San Marino, a football club in the Republic of San Marino that plays in the Italian Serie C2
 * The San Marino national football team
 * San Marino, Croatia, a hamlet and a ferry port on the island of Rab
 * San Marino Brand, a Philippine canned seafood brand manufactured by CDO Foodsphere

title: San Marino (disambiguation)


text:
Talk:Lauderdale County, Alabama

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External Link
Hello, there is an article here, http://www.encyclopediaofalabama.org/face/Article.jsp?id=h-1290, that might merit an external link. Thanks, Justin --Duboiju (talk) 17:59, 6 April 2009 (UTC)

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Spontaneous Music Ensemble

The Spontaneous Music Ensemble (SME) was a loose collection of free improvising musicians, convened in 1965 by the now late South London-based jazz drummer/trumpeter John Stevens and alto and soprano saxophonist Trevor Watts. SME performances and recordings could range from Stevens–Watts duos to gatherings of more than a dozen players.

Ethos
As critic Brian Olewnick writes, the SME emphasised an "extremely open, leaderless aspect where a premium was placed on careful and considered listening on the part of the musicians. Saxophonist Evan Parker observed that Stevens had two basic rules: (1) If you can't hear another musician, you're playing too loud, and (2) if the music you're producing doesn't regularly relate to what you're hearing others create, why be in the group? This led to the development of what would jocularly become known as 'insect improv' – music that tended to be very quiet, very intense, arrhythmic, and by and large atonal."

History
The SME began an intensive six nights per week residency at the Little Theatre Club in London in January 1966 and recorded their first album Challenge the following month.

One can loosely divide the group's history into two periods: the more horn-oriented earlier ensembles (typically with some combination of Watts, saxophonist Evan Parker and trumpeter Kenny Wheeler), and the later string-based ensembles with guitarist Roger Smith (who became as central to the second edition of SME as Watts was to the first) and violinist Nigel Coombes. The transitional point is the quartet album Biosystem (Incus, 1977), which also featured cellist Colin Wood.

Countless other musicians passed through the SME over the years, including Derek Bailey, Paul Rutherford, Maggie Nichols, Dave Holland, Barry Guy, Peter Kowald and Kent Carter. The final edition of the group was a trio of Stevens, Smith, and the saxophonist John Butcher, a configuration documented on A New Distance (1994).

Inspired both by American free jazz and by the radical, abstract music of AMM, as well as influences as diverse as Anton Webern and Samuel Beckett (two Stevens touchstones), the SME kept at least a measure of jazz in their sound, though this became less audible in the later "string" ensembles.

Stevens' death in 1994 brought an end to the SME.

Discography

 * Challenge (1966, Eyemark Records; reissued on Emanem Records) (featuring Kenny Wheeler, Paul Rutherford, Trevor Watts, Bruce Cale, Jeff Clyne, John Stevens) (plus Evan Parker & Chris Cambridge on track 10)
 * Karyobin (1968, Island Records; reissued 1993 on Chronoscope) (featuring John Stevens, Evan Parker, Kenny Wheeler, Derek Bailey, Dave Holland)
 * Frameworks (1968/1971/1973, Emanem Records) (featuring various lineups, including Stevens, Norma Winstone, Trevor Watts, Kenny Wheeler, Paul Rutherford, Julie Tippetts, Ron Herman)
 * John Stevens/Spontaneous Music Ensemble (1969, Marmalade Records) (featuring John Stevens, Kenny Wheeler, Derek Bailey, Trevor Watts, Peter Lemer, Johnny Dyani, Maggie Nichols, Carolann Nichols, Pepi Lemer)
 * For You To Share (1970, Emanem Records)
 * The Source – From and Towards (1971, Tangent Records) (recorded 18 November 1970; featuring Trevor Watts, Ray Warleigh, Brian Smith, Ken (sic) Wheeler, Bob Norden, Chris Pyne, Mick Pyne, Ron Mathewson, Marcio Mattos, John Stevens)
 * So What Do You Think? (1971, Tangent Records) (featuring John Stevens, Trevor Watts, Kenny Wheeler, Derek Bailey, Dave Holland)
 * Birds of a Feather (1971, BYG Records (featuring John Stevens, Trevor Watts, Ron Herman, Julie Tippetts [Driscoll])
 * Bobby Bradford, John Stevens and the Spontaneous Music Ensemble Live Vols. 1 & 2 (1971, Nessa Records)
 * 1.2. Albert Ayler (1971, Affinity) (featuring John Stevens, Trevor Watts, Ron Herman, Julie Tippetts)
 * Face to Face (1973, Emanem Records) (featuring John Stevens and Trevor Watts)
 * Quintessence (1973–74, Emanem Records) (featuring John Stevens, Trevor Watts, Evan Parker, Derek Bailey, Kent Carter)
 * Biosystem (1977, Incus Records; reissued by Psi Records in 2006 with additional material) (featuring John Stevens, Nigel Coombes, Roger Smith, Colin Wood)
 * Hot and Cold Heroes (1980/91, Emanem Records) (featuring John Stevens, Nigel Coombes, Roger Smith)
 * A New Distance (1994, Acta; reissued by Emanem Records in 2005 with additional material from 1993) (featuring John Stevens, John Butcher, Roger Smith)

title: Spontaneous Music Ensemble


text:
Talk:Lawrence County, Alabama

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External Link
Hello, there is an article here, http://www.encyclopediaofalabama.org/face/Article.jsp?id=h-1287, that might be useful as an external link. Thanks, Justin --Duboiju (talk) 17:57, 6 April 2009 (UTC)

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title: Talk:Lawrence County, Alabama


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Talk:Lee County, Alabama

Question
Wondering how to edit this U.S. County Entry? The WikiProject U.S. Counties standards might help. — Preceding unsigned comment added by Ram-Man (talk • contribs) 19:21, 1 October 2002 (UTC)

External Link
Hello, there is an article here, http://www.encyclopediaofalabama.org/face/Article.jsp?id=h-1288, that might be useful as an external link. Thanks, Justin --Duboiju (talk) 18:01, 6 April 2009 (UTC)

Echota Cherokee
The state-recognized Echota Cherokee Tribe of Alabama isn't based in Lee County. They are based in Falkville, Alabama, in Morgan County, Alabama. I was going to move the uncited statement about them, but apparently it is incorrect. Since the group is quite large, they likely have members in Morgan County, but that would have to be cited and established as being notable. Yuchitown (talk) 16:10, 23 April 2024 (UTC)

title: Talk:Lee County, Alabama


text:
Talk:Limestone County, Alabama

Untitled
Wondering how to edit this U.S. County Entry? The WikiProject U.S. Counties standards might help. — Preceding unsigned comment added by Ram-Man (talk • contribs) 19:22, 1 October 2002 (UTC)

County Seat Edit
To whoever added the comment about not being able to edit the infobox, I have made the edit you requested. Quidam65 15:00, 14 September 2007 (UTC)

External Link
Hello, there is an article here, http://www.encyclopediaofalabama.org/face/Article.jsp?id=h-1289, that might be useful as an external link. Thanks, Justin --Duboiju (talk) 18:06, 6 April 2009 (UTC)

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 * Added archive https://web.archive.org/web/20120312091122/http://www.dot.state.al.us/images/RailMapF.pdf to http://www.dot.state.al.us/images/RailMapF.pdf

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External links modified
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I have just modified 3 external links on Limestone County, Alabama. 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://www.webcitation.org/609fAonBx?url=http://quickfacts.census.gov/qfd/states/01/01083.html to http://quickfacts.census.gov/qfd/states/01/01083.html
 * Added archive https://web.archive.org/web/20060308163324/http://www.co.limestone.al.us/ to http://www.co.limestone.al.us/
 * Added archive https://web.archive.org/web/20060402232302/http://alabamamaps.ua.edu/historicalmaps/counties/limestone.html to http://alabamamaps.ua.edu/historicalmaps/counties/limestone.html

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title: Talk:Limestone County, Alabama


text:
Talk:Lowndes County, Alabama

Untitled
Wondering how to edit this U.S. County Entry? The WikiProject U.S. Counties standards might help. — Preceding unsigned comment added by Ram-Man (talk • contribs) 19:23, 1 October 2002 (UTC)

External Link
Hello, there is an article here, http://www.encyclopediaofalabama.org/face/Article.jsp?id=h-1349, that might be useful. Thanks, Justin --Duboiju (talk) 19:41, 16 April 2009 (UTC)

External links modified
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I have just modified 2 external links on Lowndes County, Alabama. 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://www.webcitation.org/60AHUarMp?url=http://quickfacts.census.gov/qfd/states/01/01085.html to http://quickfacts.census.gov/qfd/states/01/01085.html
 * Added archive https://web.archive.org/web/20090212134035/http://lowndesboe.org/schools.htm to http://www.lowndesboe.org/schools.htm

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Wiki Education assignment: Environmental and Climate Justice
— Assignment last updated by Uptonl854 (talk) 13:12, 26 September 2023 (UTC)

title: Talk:Lowndes County, Alabama


text:
Talk:Macon County, Alabama

Untitled
Wondering how to edit this U.S. County Entry? The WikiProject U.S. Counties standards might help. — Preceding unsigned comment added by Ram-Man (talk • contribs) 19:23, 1 October 2002 (UTC)

External Link
Hello, there is an article here, http://www.encyclopediaofalabama.org/face/Article.jsp?id=h-1291, that might merit an external link or mention under references. Thanks, Justin --Duboiju (talk) 18:08, 6 April 2009 (UTC)

Macon County Line - film setting
As of 7/30/2014, this article claims "Macon County, Ala." was the "setting" of the film "Macon County Line" (a popular 70's movie notable for making millions on a shoestring budget) and includes a link to the film's article. The movie's article claims the Macon County is in Georgia but also seems to claim the characters where in Louisiana (which has parishes, not counties) when they got in trouble. Perhaps this "Macon County, Ala." article is claiming the movie was filmed there and I misunderstood ?? Tho I saw the movie long ago, I'm not sure if the film directly or indirectly defined the location of Macon County. The reference to "Macon County Line" in this article should be verified. Gloryroad (talk) 00:04, 31 July 2014 (UTC)

History - Political Orthodoxy rather than Factual
There's an interesting sentance here that I find objectionable:

"In the first half of the twentieth century, thousands of blacks migrated out of the county to industrial cities in the North and Midwest for job opportunities, and the chance to escape legal segregation. Those who remained have struggled for employment in the mostly rural county, and population has declined by about one third since 1950."

While this makes mention of a 'great migration' from Alabama/The South/Macon County because of (insert Civil-Rights Era propaganda here) the County in fact experienced continual population growth throughout that period, excepting a decrease following the 1920 Census/Great War of 1914-18, the population has only declined since the agitation and Civil Rights Movement began, and segregation was federally extinguished. — Preceding unsigned comment added by LikkerdySplit (talk • contribs) 21:36, 26 December 2016 (UTC)

External links modified
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I have just modified one external link on Macon County, Alabama. 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:
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title: Talk:Macon County, Alabama