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Jealousy

Jealousy generally refers to the thoughts or feelings of insecurity, fear, and concern over a relative lack of possessions or safety.

Jealousy can consist of one or more emotions such as anger, resentment, inadequacy, helplessness or disgust. In its original meaning, jealousy is distinct from envy, though the two terms have popularly become synonymous in the English language, with jealousy now also taking on the definition originally used for envy alone. These two emotions are often confused with each other, since they tend to appear in the same situation.

Jealousy is a typical experience in human relationships, and it has been observed in infants as young as five months. Some researchers claim that jealousy is seen in all cultures and is a universal trait. However, others claim jealousy is a culture-specific emotion.

Jealousy can either be suspicious or reactive, and it is often reinforced as a series of particularly strong emotions and constructed as a universal human experience. Psychologists have proposed several models to study the processes underlying jealousy and have identified factors that result in jealousy. Sociologists have demonstrated that cultural beliefs and values play an important role in determining what triggers jealousy and what constitutes socially acceptable expressions of jealousy. Biologists have identified factors that may unconsciously influence the expression of jealousy.

Throughout history, artists have also explored the theme of jealousy in paintings, films, songs, plays, poems, and books, and theologians have offered religious views of jealousy based on the scriptures of their respective faiths.

Etymology
The word stems from the French jalousie, formed from jaloux (jealous), and further from Low Latin zelosus (full of zeal), in turn from the Greek word ζῆλος (zēlos), sometimes "jealousy", but more often in a positive sense "emulation, ardour, zeal" (with a root connoting "to boil, ferment"; or "yeast"). The "biblical language" zeal would be known as "tolerating no unfaithfulness" while in middle English zealous is good. One origin word gelus meant "Possessive and suspicious" the word then turned into jelus.

Since William Shakespeare's use of terms like "green-eyed monster", the color green has been associated with jealousy and envy, from which the expression "green with envy", is derived.

Scientific examples

People do not express jealousy through a single emotion or a single behavior. They instead express jealousy through diverse emotions and behaviors, which makes it difficult to form a scientific definition of jealousy. Scientists instead define it in their own words, as illustrated by the following examples:

 * "Romantic jealousy is here defined as a complex of thoughts, feelings, and actions which follow threats to self-esteem and/or threats to the existence or quality of the relationship, when those threats are generated by the perception of potential attraction between one's partner and a (perhaps imaginary) rival."

 * "Jealousy, then, is any aversive reaction that occurs as the result of a partner's extradyadic relationship that is considered likely to occur."

 * "Jealousy is conceptualized as a cognitive, emotional, and behavioral response to a relationship threat. In the case of sexual jealousy, this threat emanates from knowing or suspecting that one's partner has had (or desires to have) sexual activity with a third party. In the case of emotional jealousy, an individual feels threatened by her or his partner's emotional involvement with and/or love for a third party."

 * "Jealousy is defined as a defensive reaction to a perceived threat to a valued relationship, arising from a situation in which the partner's involvement with an activity and/or another person is contrary to the jealous person's definition of their relationship."

 * "Jealousy is triggered by the threat of separation from, or loss of, a romantic partner, when that threat is attributed to the possibility of the partner's romantic interest in another person."

These definitions of jealousy share two basic themes. First, all the definitions imply a triad composed of a jealous individual, a partner, and a perception of a third party or rival. Second, all the definitions describe jealousy as a reaction to a perceived threat to the relationship between two people, or a dyad. Jealous reactions typically involve aversive emotions and/or behaviors that are assumed to be protective for their attachment relationships. These themes form the essential meaning of jealousy in most scientific studies.

Comparison with envy
Popular culture uses the word jealousy as a synonym for envy. Many dictionary definitions include a reference to envy or envious feelings. In fact, the overlapping use of jealousy and envy has a long history. The terms are used indiscriminately in such popular 'feel-good' books as Nancy Friday's Jealousy, where the expression 'jealousy' applies to a broad range of passions, from envy to lust and greed. While this kind of usage blurs the boundaries between categories that are intellectually valuable and psychologically justifiable, such confusion is understandable in that historical explorations of the term indicate that these boundaries have long posed problems. Margot Grzywacz's fascinating etymological survey of the word in Romance and Germanic languages asserts, indeed, that the concept was one of those that proved to be the most difficult to express in language and was therefore among the last to find an unambiguous term. Classical Latin used invidia, without strictly differentiating between envy and jealousy. It was not until the postclassical era that Latin borrowed the late and poetic Greek word zelotypia and the associated adjective zelosus. It is from this adjective that are derived French jaloux, Provençal gelos, Italian geloso, Spanish celoso, and Portuguese cioso. Perhaps the overlapping use of jealousy and envy occurs because people can experience both at the same time. A person may envy the characteristics or possessions of someone who also happens to be a romantic rival. In fact, one may even interpret romantic jealousy as a form of envy. A jealous person may envy the affection that their partner gives to a rival – affection the jealous person feels entitled to himself or herself. People often use the word jealousy as a broad label that applies to both experiences of jealousy and experiences of envy.

Although popular culture often uses jealousy and envy as synonyms, modern philosophers and psychologists have argued for conceptual distinctions between jealousy and envy. For example, philosopher John Rawls distinguishes between jealousy and envy on the ground that jealousy involves the wish to keep what one has, and envy the wish to get what one does not have. Thus, a child is jealous of her parents' attention to a sibling, but envious of her friend's new bicycle. Psychologists Laura Guerrero and Peter Andersen have proposed the same distinction. They claim the jealous person "perceives that he or she possesses a valued relationship, but is in danger of losing it or at least of having it altered in an undesirable manner," whereas the envious person "does not possess a valued commodity, but wishes to possess it." Gerrod Parrott draws attention to the distinct thoughts and feelings that occur in jealousy and envy.

The common experience of jealousy for many people may involve:

 * Fear of loss
 * Suspicion of or anger about a perceived betrayal
 * Low self-esteem and sadness over perceived loss
 * Uncertainty and loneliness
 * Fear of losing an important person to another
 * Distrust

The experience of envy involves:

 * Feelings of inferiority
 * Longing
 * Resentment of circumstances
 * Ill will towards envied person often accompanied by guilt about these feelings
 * Motivation to improve
 * Desire to possess the attractive rival's qualities
 * Disapproval of feelings
 * Sadness towards other's accomplishments

Parrott acknowledges that people can experience envy and jealousy at the same time. Feelings of envy about a rival can even intensify the experience of jealousy. Still, the differences between envy and jealousy in terms of thoughts and feelings justify their distinction in philosophy and science.

In psychology
Jealousy involves an entire "emotional episode" including a complex narrative. This includes the circumstances that lead up to jealousy, jealousy itself as emotion, any attempt at self regulation, subsequent actions and events, and ultimately the resolution of the episode. The narrative can originate from experienced facts, thoughts, perceptions, memories, but also imagination, guesses and assumptions. The more society and culture matter in the formation of these factors, the more jealousy can have a social and cultural origin. By contrast, jealousy can be a "cognitively impenetrable state", where education and rational belief matter very little.

One possible explanation of the origin of jealousy in evolutionary psychology is that the emotion evolved in order to maximize the success of our genes: it is a biologically based emotion selected to foster the certainty about the paternity of one's own offspring. A jealous behavior, in women, is directed into avoiding sexual betrayal and a consequent waste of resources and effort in taking care of someone else's offspring. There are, additionally, cultural or social explanations of the origin of jealousy. According to one, the narrative from which jealousy arises can be in great part made by the imagination. Imagination is strongly affected by a person's cultural milieu. The pattern of reasoning, the way one perceives situations, depends strongly on cultural context. It has elsewhere been suggested that jealousy is in fact a secondary emotion in reaction to one's needs not being met, be those needs for attachment, attention, reassurance or any other form of care that would be otherwise expected to arise from that primary romantic relationship.

While mainstream psychology considers sexual arousal through jealousy a paraphilia, some authors on sexuality have argued that jealousy in manageable dimensions can have a definite positive effect on sexual function and sexual satisfaction. Studies have also shown that jealousy sometimes heightens passion towards partners and increases the intensity of passionate sex.

Jealousy in children and teenagers has been observed more often in those with low self-esteem and can evoke aggressive reactions. One such study suggested that developing intimate friends can be followed by emotional insecurity and loneliness in some children when those intimate friends interact with others. Jealousy is linked to aggression and low self-esteem. Research by Sybil Hart, PhD, at Texas Tech University indicates that children are capable of feeling and displaying jealousy at as young as six months. Infants showed signs of distress when their mothers focused their attention on a lifelike doll. This research could explain why children and infants show distress when a sibling is born, creating the foundation for sibling rivalry.

In addition to traditional jealousy comes Obsessive Jealousy, which can be a form of Obsessive Compulsive Disorder. This jealousy is characterized by obsessional jealousy and thoughts of the partner.

In sociology
Anthropologists have claimed that jealousy varies across cultures. Cultural learning can influence the situations that trigger jealousy and the manner in which jealousy is expressed. Attitudes toward jealousy can also change within a culture over time. For example, attitudes toward jealousy changed substantially during the 1960s and 1970s in the United States. People in the United States adopted much more negative views about jealousy. As men and women became more equal it became less appropriate or acceptable to express jealousy.

Romantic jealousy
Romantic jealousy arises as a result of romantic interest.

It is defined as “a complex of thoughts, feelings, and actions that follow threats to self-esteem and/or threats to the existence or quality of the relationship when those threats are generated by the perception of a real or potential romantic attraction between one's partner and a (perhaps imaginary) rival.” Different from sexual jealousy, romantic jealousy is triggered by threats to self and relationship (rather than sexual interest in another person). Factors, such as feelings of inadequacy as a partner, sexual exclusivity, and having put relatively more effort into the relationship, are positively correlated to relationship jealousy in both genders.

Communicative responses
As romantic jealousy is a complicated reaction that has multiple components, i.e., thoughts, feelings, and actions, one aspect of romantic jealousy that is under study is communicative responses. Communicative responses serve three critical functions in a romantic relationship, i.e., reducing uncertainty, maintaining or repairing relationship, and restoring self-esteem. If done properly, communicative responses can lead to more satisfying relationships after experiencing romantic jealousy.

There are two subsets of communicative responses: interactive responses and general behavior responses. Interactive responses is face-to-face and partner-directed while general behavior responses may not occur interactively. Guerrero and colleagues further categorize multiple types of communicative responses of romantic jealousy. Interactive responses can be broken down to six types falling in different places on continua of threat and directness:

 * Avoidance/Denial (low threat and low directness). Example: becoming silent; pretending nothing is wrong.
 * Integrative Communication (low threat and high directness). Example: explaining feelings; calmly questioning partner.
 * Active Distancing (medium threat and medium directness). Example: decreasing affection.
 * Negative Affect Expression (medium threat and medium directness). Example: venting frustration; crying or sulking.
 * Distributive Communication (high threat and high directness). Example: acting rude; making hurtful or abrasive comments.
 * Violent Communication/Threats (high threat and high directness). Example: using physical force.

Guerrero and colleagues have also proposed five general behavior responses. The five sub-types differ in whether a response is 1) directed at partner or rival(s), 2) directed at discovery or repair, and 3) positively or negatively valenced:

 * Surveillance/ Restriction (rival-targeted, discovery-oriented, commonly negatively valenced). Example: observing rival; trying to restrict contact with partner.
 * Rival Contacts (rival-targeted, discovery-oriented/repair-oriented, commonly negatively valenced). Example: confronting rival.
 * Manipulation Attempts (partner-targeted, repair-oriented, negatively valenced). Example: tricking partner to test loyalty; trying to make partner feel guilty.
 * Compensatory Restoration (partner-targeted, repair-oriented, commonly positively valenced). Example: sending flowers to partner.
 * Violent Behavior (-, -, negatively valenced). Example: slamming doors.

While some of these communicative responses are destructive and aggressive, e.g., distributive communication and active distancing, some individuals respond to jealousy in a more constructive way. Integrative communication, compensatory restoration, and negative affect expression have been shown to lead to positive relation outcomes. One factor that affects the type of communicative responses elicited in an individual is emotions. Jealousy anger is associated with more aggressive communicative response while irritation tends to lead to more constructive communicative behaviors.

Researchers also believe that when jealousy is experienced it can be caused by differences in understanding the commitment level of the couple, rather than directly being caused by biology alone. The research identified that if a person valued long-term relationships more than being sexually exclusive, those individuals were more likely to demonstrate jealousy over emotional rather than physical infidelity.

Through a study conducted in three Spanish-Speaking countries, it was determined that Facebook jealousy also exists. This Facebook jealousy ultimately leads to increased relationship jealousy and study participants also displayed decreased self esteem as a result of the Facebook jealousy.

Sexual jealousy
Sexual jealousy may be triggered when a person's partner displays sexual interest in another person. The feeling of jealousy may be just as powerful if one partner suspects the other is guilty of infidelity. Fearing that their partner will experience sexual jealousy the person who has been unfaithful may lie about their actions in order to protect their partner. Experts often believe that sexual jealousy is in fact a biological imperative. It may be part of a mechanism by which humans and other animals ensure access to the best reproductive partners.

It seems that male jealousy in heterosexual relationships may be influenced by their female partner's phase in her menstrual cycle. In the period around and shortly before ovulation, males are found to display more mate-retention tactics, which are linked to jealousy. Furthermore, a male is more likely to employ mate-retention tactics if their partner shows more interest in other males, which is more likely to occur in the pre-ovulation phase.

Contemporary views on gender-based differences
According to Rebecca L. Ammon in The Osprey Journal of Ideas and Inquiry at UNF Digital Commons (2004), the Parental Investment Model based on parental investment theory posits that more men than women ratify sex differences in jealousy. In addition, more women over men consider emotional infidelity (fear of abandonment) as more distressing than sexual infidelity. According to the attachment theory, sex and attachment style makes significant and unique interactive contributions to the distress experienced. Security within the relationship also heavily contributes to one's level of distress. These findings imply that psychological and cultural mechanisms regarding sex differences may play a larger role than expected. The attachment theory also claims to reveal how infants' attachment patterns are the basis for self-report measures of adult attachment. Although there are no sex differences in childhood attachment, individuals with dismissing behavior were more concerned with the sexual aspect of relationships. As a coping mechanism these individuals would report sexual infidelity as more harmful. Moreover, research shows that audit attachment styles strongly conclude with the type of infidelity that occurred. Thus psychological and cultural mechanisms are implied as unvarying differences in jealousy that play a role in sexual attachment. In 1906, The American Journal of Psychology had reported that "the weight of quotable (male) authority is to the effect that women are more susceptible to jealousy". This claim was accompanied in the journal by a quote from Confucius: "The five worst maladies that afflict the female mind are indocility, discontent, slander, jealousy and silliness."

Emotional jealousy was predicted to be nine times more responsive in females than in males. The emotional jealousy predicted in females also held turn to state that females experiencing emotional jealousy are more violent than men experiencing emotional jealousy.

There are distinct emotional responses to gender differences in romantic relationships. For example, due to paternity uncertainty in males, jealousy increases in males over sexual infidelity rather than emotional. According to research more women are likely to be upset by signs of resource withdraw (i.e. another female) than by sexual infidelity. A large amount of data supports this notion. However, one must consider for jealousy the life stage or experience one encounters in reference to the diverse responses to infidelity available. Research states that a componential view of jealousy consist of specific set of emotions that serve the reproductive role. However, research shows that both men and women would be equally angry and point the blame for sexual infidelity, but women would be more hurt by emotional infidelity. Despite this fact, anger surfaces when both parties involved are responsible for some type of uncontrollable behavior, sexual conduct is not exempt. Some behavior and actions are controllable such as sexual behavior. However hurt feelings are activated by relationship deviation. No evidence is known to be sexually dimorphic in both college and adult convenience samples. The Jealousy Specific Innate Model (JSIM) proved to not be innate, but may be sensitive to situational factors. As a result, it may only activate at stages. For example, it was predicted that male jealousy decreases as females reproductive values decreases.

A second possibility that the JSIM effect is not innate but is cultural. Differences have been highlighted in socio-economic status specific such as the divide between high school and collegiate individuals. Moreover, individuals of both genders were angrier and blamed their partners more for sexual infidelities but were more hurt by emotional infidelity. Jealousy is composed of lower-level emotional states (e.g., anger and hurt) which may be triggered by a variety of events, not by differences in individuals' life stage. Although research has recognized the importance of early childhood experiences for the development of competence in intimate relationships, early family environment is recently being examined as we age). Research on self-esteem and attachment theory suggest that individuals internalize early experiences within the family which subconsciously translates into their personal view of worth of themselves and the value of being close to other individuals, especially in an interpersonal relationship.

In animals
A study by researchers at the University of California, San Diego, replicated jealousy studies done on humans on canines. They reported, in a paper published in PLOS ONE in 2014, that a significant number of dogs exhibited jealous behaviors when their human companions paid attention to dog-like toys, compared to when their human companions paid attention to non-social objects.

In addition, Jealousy has been speculated to be a potential factor in incidences of aggression or emotional tension in dogs. Mellissa Starling, an animal behavior consultant of the University of Sydney, noted that "dogs are social animals and they obey a group hierarchy. Changes in the home, like the arrival of a baby, can prompt a family pet to behave differently to what one might expect."

In fiction, film, and art

Artistic depictions of jealousy occur in fiction, films, and other art forms such as painting and sculpture. Jealousy is a common theme in literature, art, theatre, and film. Often, it is presented as a demonstration of particularly deep feelings of love, rather than a destructive obsession.

A study done by Ferris, Smith, Greenberg, and Smith looked into the way people saw dating and romantic relationships based on how many reality dating shows they watched. People who spent a large amount of time watching these reality dating shows "endorsed" or supported the "dating attitudes" that would be shown on the show. While the other people who do not spend time watching reality dating shows did not mirror the same ideas. This means if someone watches a reality dating show that displays men and women reacting violently or aggressively towards their partner due to jealousy they can mirror that. This is reflected in romantic movies as well. Jessica R. Frampton conducted a study looking into romantic jealousy in movies. The study found that there were "230 instances of romantic jealousy were identified in the 51 top-grossing romantic comedies from 2002–2014" Some of the films did not display romantic jealousy however, some featured many examples of romantic jealousy. This was due to the fact that some of the top-grossing movies did not contain a rival or romantic competition. While others such as Forgetting Sarah Marshall was said to contain "19 instances of romantic jealousy." Out of the 230 instances 58% were reactive jealousy while 31% showed possessive jealousy. The last 11% displayed anxious jealousy it was seen the least in all 230 cases. Out of the 361 reactions to the jealousy found 53% were found to be "Destructive responses." Only 19% of responses were constructive while 10% showed avoidant responses. The last 18% were considered "rival focused responses" which lead to the finding that "there was a higher than expected number of rival-focused responses to possessive jealousy."

In religion
Jealousy in religion examines how the scriptures and teachings of various religions deal with the topic of jealousy. Religions may be compared and contrasted on how they deal with two issues: concepts of divine jealousy, and rules about the provocation and expression of human jealousy.

Cross culture
A study was done in order to cross examine jealousy among four different cultures, Ireland, Thailand, India and the United States. These cultures were chosen to demonstrate differences in expression across cultures. The study posits that male-dominant cultures are more likely to express and reveal jealousy. The survey found that Thais are less likely to express jealousy than the other three cultures. This is because the men in these cultures are rewarded in a way for showing jealousy due to the fact that some women interpret it as love. This can also be seen when watching romantic comedies when males show they are jealous of a rival or emotionally jealous women perceive it as men caring more.

title: Jealousy


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Talk:Anarchist groups

What is the purpose of this page? It most certainly is not an article. Please see What Wikipedia is not number 11. --mav

 * List removed. --mav

This article is useless and basically looking for a reason to exist :
 * There is only one group listed, so the article should be titled Anarchist group.
 * One anarchist group can easily be added to the anarchism article.
 * The first paragraph (added by Sam Francis with the reasoning "added paragraph that might be better beginning anarchist organisation, but we'll develop it and see") is heavily opinionated.
 * The organization of anarchists is unimportant to nearly all people.
 * Anarchy is not a method of organization, it is a political philosophy.
 * Many anarchists engage in indirect action, especially those that became anarchists for practical rather than moral reasons.
 * Even if the first paragraph was factual, it would be better placed in the anarchism article, since it would help to enlighten people about anarchism and would not be extraneous.
 * --Olathe October 4, 2003

No one has responded in over a month and the page still has the same flaws. I have decided to redirect this page to anarchism. I moved the paragraph about the Anarchist Party of Canada to its own article. I also checked the Anarchism article and it has...a list of anarchist groups in the article.
 * --Olathe November 15, 2003

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

title: Talk:Anarchist groups


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Proteus (moon)

Proteus, also known as Neptune VIII, is the second-largest Neptunian moon, and Neptune's largest inner satellite. Discovered by Voyager 2 in 1989, it is named after Proteus, the shape-changing sea god of Greek mythology. Proteus orbits Neptune in a nearly equatorial orbit at a distance of about 4.75 times the radius of Neptune's equator.

Despite being a predominantly icy body more than 400 km in diameter, Proteus's shape deviates significantly from an ellipsoid. It is shaped more like an irregular polyhedron with several slightly concave facets and relief as high as 20 km. Its surface is dark, neutral in color, and heavily cratered. Proteus's largest crater is Pharos, which is more than 230 km in diameter. There are also a number of scarps, grooves, and valleys related to large craters.

Proteus is probably not an original body that formed with Neptune. It could have accreted later from the debris formed when the largest Neptunian satellite, Triton, was captured.

Discovery and naming
Proteus was discovered from the images taken by the Voyager 2 space probe two months before its Neptune flyby in August 1989. Proteus was discovered 40 years after the discovery of Neptune's moon Nereid in 1949.

Upon discovery, Proteus received the temporary provisional designation S/1989 N 1. Stephen P. Synnott and Bradford A. Smith announced its discovery on July 7, 1989, speaking only of "17 frames taken over 21 days", which gives a discovery date of sometime before June 16.

On 16 September 1991, S/1989 N 1 was named after Proteus, the shape-changing sea god of Greek mythology following the convention that moons of Neptune should be named after deities and creatures related to the sea.

Orbit
Proteus orbits Neptune at a distance of approximately 117647 km, nearly equal to 4.75 times the equatorial radius of the planet. The orbit of Proteus is nearly circular, having a small orbital eccentricity, and is inclined by about 0.5 degrees to Neptune's equator. Proteus is tidally locked to Neptune, and rotates synchronously with its orbital motion, which means that Proteus always presents the same face to Neptune.

Proteus may have once been in a 1:2 orbital resonance with Larissa, where Proteus made one orbit for every two orbits made by Larissa. Due to the outward tidal migration of Proteus over time, this is no longer the case. Proteus may have ceased its integral orbital resonance with Larissa several hundred million years ago.

Physical characteristics
Proteus is the second-largest moon of Neptune and is the largest of its regular prograde moons. It is about 420 km in diameter, larger than Nereid, Neptune's third-largest moon. It was not discovered by Earth-based telescopes because Proteus orbits so close to Neptune that it is lost in the glare of reflected sunlight.

Composition
The surface of Proteus is dark as it has a geometrical albedo of about 10 percent–meaning that its surface reflects 10 percent of the light it receives from the Sun. The color of its surface is neutral as the reflectivity does not change appreciably with the wavelength from violet to green. In the near-infrared range of around the wavelength of 2 μm, Proteus's surface becomes less reflective, indicating the possible presence of complex organic compounds such as hydrocarbons or cyanides. These compounds may be responsible for the low albedo of the inner Neptunian moons. Although Proteus is usually thought to contain significant amounts of water ice, it has not been detected spectroscopically on the surface.

Shape
The shape of Proteus is close to a sphere with a radius of about 210 km, although deviations from the spherical shape are large—up to 20 km; scientists believe it is about as large as a body of its density can be without being pulled into a perfect spherical shape by its own gravity. Proteus is slightly elongated in the direction of Neptune, although its overall shape is closer to an irregular polyhedron than to a triaxial ellipsoid. The surface of Proteus shows several flat or slightly concave facets measuring from 150 to 200 km in diameter. They are probably degraded impact craters.

Surface features

Proteus is heavily cratered, showing no sign of any geological modification. The largest crater, Pharos, has a diameter from 230 to 260 km. Its depth is about 10–15 km. The crater has a central dome on its floor a few kilometres high. Pharos is the only named surface feature on this moon: the name is Greek and refers to the island where Proteus reigned. In addition to Pharos there are several craters 50–100 km in diameter and many more with diameters less than 50 km.

Other landforms on Proteus include linear features such as scarps, valleys, and grooves. The most prominent one runs parallel to the equator to the west of Pharos. These features likely formed as a result of the giant impacts, which formed Pharos and other large craters or as a result of tidal stresses from Neptune.

Named features
Protean craters are named after water-related spirits, gods, goddesses (excluding Greek and Roman names). As of May 2024, there is only one named crater on this body.

Origin
Proteus, like the other inner moons of Neptune, is unlikely to be an original body that formed with it, and is more likely to have accreted from the rubble that was produced after Triton's capture. Triton's orbit upon capture would have been highly eccentric, and would have caused chaotic perturbations in the orbits of the original inner Neptunian moons, causing them to collide and reduce to a disc of rubble. Only after Triton's orbit became circularised did some of the rubble disc re-accrete into the present-day moons of Neptune.

Proteus initially had a smaller orbit around Neptune, and may have formed closer to the planet. At the time of the formation of Proteus, its orbit was estimated to be 8000 km less than its current distance from Neptune. Over time, Proteus migrated outward from Neptune through tidal interactions. During the outward migration of Proteus, collisions and impact events may have formed large craters and had ejected fragments of Proteus into orbit around Neptune. A collision of Proteus and another object could possibly explain the origin of Neptune's smaller moon Hippocamp, which orbits close to Proteus.

title: Proteus (moon)


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Forgotten Silver

Forgotten Silver is a 1995 New Zealand mockumentary film that purports to tell the story of a pioneering New Zealand filmmaker. It was written and directed by Peter Jackson and Costa Botes, both of whom appear in the film in their roles as makers of the documentary.

Synopsis
Forgotten Silver purports to tell the story of "forgotten" New Zealand filmmaker Colin McKenzie, and the rediscovery of his lost films, which presenter Peter Jackson claims to have found in an old shed. McKenzie is presented as the first and greatest innovator of modern cinema, single-handedly inventing the tracking shot (by accident), the close-up (unintentionally), and both sound and colour film years before their historically documented creation. The film also shows fragments of an epic Biblical film, Salome, supposedly made by McKenzie in a giant set in the forests of New Zealand, and a "computer enhancement" of a McKenzie film proving that New Zealander Richard Pearse was the first man to invent a powered aircraft, several months before the Wright Brothers.

The film also shows a (staged) premiere screening of a recovered McKenzie film presented by film promoter Lindsay Shelton. It features deadpan commentary from actor/director Sam Neill and director and film archivist John O'Shea, as well as critical praise from international industry notables including film historian Leonard Maltin, and Harvey Weinstein of Miramax Films.

In reality, McKenzie is a fictional character, and the films featured in Forgotten Silver were all created by Peter Jackson, carefully mimicking the style of early cinema. The interviewees are all acting. Thomas Robins, the actor who portrays Colin McKenzie, is today more easily recognized by audiences as Sméagol's ill-fated cousin Déagol in Jackson's The Lord of the Rings: The Return of the King.

Cast
As themselves:
 * Jeffrey Thomas (narrator)
 * Peter Jackson
 * Johnny Morris
 * Costa Botes
 * Harvey Weinstein
 * Leonard Maltin
 * Sam Neill
 * John O'Shea
 * Marguerite Hurst
 * Lindsay Shelton
 * Davina Whitehouse

Actors:
 * Beatrice Ashton - Hannah McKenzie
 * Thomas Robins - Colin McKenzie
 * Richard Shirtcliffe - Brooke McKenzie
 * Peter Corrigan - Stan "the Man" Wilson
 * Sarah McLeod - May Belle

Production
Costa Botes directed the "documentary" portions while Peter Jackson created the "archive footage" supposedly filmed by McKenzie. Jackson also shot fake interviews in Los Angeles, including the one with Weinstein.

Reception
The film was first aired on Television New Zealand's channel TV ONE at a time usually dedicated to plays and mini-series, but was billed and introduced as a serious documentary. Many viewers were fooled until the directors shortly afterwards revealed that it was a hoax. This created controversy. The film was later screened at film festivals.

title: Forgotten Silver


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Chuck Barris

Charles Hirsch Barris (June 3, 1929 – March 21, 2017) was an American game show creator, producer, and host. Barris was known for hosting The Gong Show and creating The Dating Game and The Newlywed Game. He was also a songwriter who wrote "Palisades Park", recorded by Freddy Cannon and also recorded by Ramones. Barris wrote an autobiography titled Confessions of a Dangerous Mind, which was made into the film of the same title starring Sam Rockwell and directed by George Clooney.

Early life
Barris was born to a Jewish family in Philadelphia, Pennsylvania, on June 3, 1929, the son of Edith (née Cohen) and Nathaniel Barris, a dentist. He was raised in Lower Merion Township and attended Lower Merion High School. His uncle was singer, songwriter and actor Harry Barris. He graduated in 1953 from Drexel University where he was a columnist for the student newspaper, The Triangle.

Career
Barris got his start in television as a page and later was part of the staff at NBC in New York City. Following his stint at NBC, Barris worked as a standards-and-practices person at the television music show American Bandstand for ABC. Barris produced pop music for records and television, and wrote "Palisades Park," which was recorded by Freddy Cannon and peaked at No. 3 on the Billboard Hot 100 for two weeks (June 23–30, 1962) to become the biggest hit of Cannon's career. Barris also wrote or co-wrote some of the music that appeared on his game shows.

Barris was promoted to the daytime programming division at ABC in Los Angeles and was responsible for determining which game shows ABC would air. Barris told his bosses the game show concepts being pitched were worse than his own ideas. They suggested that Barris quit his programming job and become a producer.

Barris formed his production company, Chuck Barris Productions, on June 14, 1965. His first success came in 1965 with The Dating Game, which aired on ABC. This show was hosted by Jim Lange and featured three contestants who competed for a date with a person blocked from their view. The contestants' sexy banter and its "flower power"-motif studio set were a revolution for the game show genre. The show ran until 1980 and was twice revived, later in the 1980s and 1990s. A Celebrity version of the show began in June 2021.

In 1966 Barris began The Newlywed Game, originally created by Nick Nicholson and E. Roger Muir, also for ABC. The combination of the newlywed couples' humorous candor and host Bob Eubanks's sly questioning made the show another hit for Barris. The show is the longest lasting of any developed by his company, broadcast until 1985, for a total of 19 full years on both "first run" network TV and syndication. Game Show Network airs a current version with Sherri Shepherd. Interviewed on the NPR program Wait Wait... Don't Tell Me! on August 1, 2009, Barris said that The Newlywed Game was the easiest program he had developed: "All I needed was four couples, eight questions, and a washer-dryer."

Barris created several other short-lived game shows for ABC in the 1960s and for syndication in the 1970s, all of which revolved around a common theme: the game play normally derived its interest (and often, humor) from the excitement, vulnerability, embarrassment, or anger of the contestants or participants in the game. Barris also made several attempts through the years at non-game formats, such as ABC's Operation: Entertainment, a variety show staged at military bases akin to USO shows; a CBS revival of Your Hit Parade; and The Bobby Vinton Show, a Canada-based syndicated variety show for singer Bobby Vinton (produced in conjunction with Chris Bearde and Allan Blye). The last was his most successful program other than a game show.

The Gong Show
The somewhat shy Barris rarely appeared on camera, though he once dashed onto the set of The New Treasure Hunt to throw a pie at emcee Geoff Edwards. However, Barris became a public figure in 1976 when he produced and served as the host of the talent show spoof The Gong Show, which he packaged in partnership with television producer Chris Bearde. The show's cult following has endured, though it ran only two seasons on NBC (1976–78) and four in syndication (1976–80). As with some of Barris' other projects (including The Newlywed Game), it was at one point possible to see The Gong Show twice daily, a relatively uncommon feat in the years prior to cable TV's expansion into the commercial market.

The original host of the NBC show was John Barbour, who misunderstood the show's concept and considered it a straight talent show, as opposed to Barris' parody concept. Barris dropped Barbour at the last minute; in order to save the show, Barris followed the advice of an NBC executive who suggested that he should host his own show.

Barris' jokey, bumbling personality, his accentuated hand-clapping between sentences (which eventually had the studio audience joining in with him), and his catchphrases (he would usually go into commercial break with, "We'll be right back with more er ... STUFF ...", occasionally paired with shifting his head to reveal the ubiquitous sign behind the stage reading simply "STUFF", and "This is me saying 'bye'" was one of his favorite closing lines) were the antithesis of the smooth TV host (such as Gary Owens, who hosted the syndicated version in its first season). Barris joined in with the eccentricity of the format, using unusual props, dressing in colorful and somewhat unusual clothing (such as strange hats pulled over his head, if not his eyes), he became yet another performer of the show, and for many viewers, quite a cult hero. Dubbed "Chuckie Baby" by his fans, Barris was a perfect fit with the show's goofy, sometimes wild amateur performers and its panel of three judges (including regulars Jamie Farr, Jaye P. Morgan, and Arte Johnson). In addition, there was a growing "cast of characters", including an NBC stage carpenter who played "Father Ed," a priest who would get flustered when his cue cards were deliberately turned upside-down; stand-up comedian Murray Langston, who as "The Unknown Comic" wore a paper bag over his head (with cut-outs for his eyes, mouth, and even a box of Kleenex); and "Gene Gene the Dancing Machine" (Gene Patton), arguably the most popular member of the "cast", the show's stagehand, who would show up and dance whenever the band played the song "Jumpin' at the Woodside". In the early 1980s, Patton was even pointed out by tour guides of incoming NBC tours as his onscreen character, while at the same time adhering to his more typical off-camera work duties.

One Gong Show episode consisted of every act appearing singing the song "Feelings", which was popular at the time. One of its most infamous incidents came on the NBC version in 1978, when Barris presented an onstage act consisting of two teenage girls, slowly and suggestively sucking popsicles. Another incident was when during a "Gene Gene, The Dancing Machine" segment, Jaye P. Morgan opened her blouse to reveal her bare breasts.

In 1980, Barris starred in and directed The Gong Show Movie. The film was a major failure at the box office.

The Gong Show has had four subsequent revivals, one under Barris' title (with Don Bleu) in 1988–1989, one on The Game Show Network in 2000 called Extreme Gong and another with current format owner Sony Pictures Television (with Dave Attell) in 2008. A fourth version, produced by Will Arnett and hosted by fictional British celebrity "Tommy Maitland" (Mike Myers), aired on ABC beginning in 2017.

Comebacks and setbacks
Barris continued strongly until the mid-1970s, when ABC cancelled the Dating and Newlywed games. This left Barris with only one show, his weekly syndicated effort The New Treasure Hunt, but the success of The Gong Show in 1976 encouraged him to revive the Dating and Newlywed games, as well as adding the $1.98 Beauty Show to his syndication empire. He also hosted a short lived prime time variety hour for NBC from February to April 1978, called The Chuck Barris Rah-Rah Show, essentially a non-competitive knock-off of Gong.

The empire crumbled again amid the burnout of another of his creations, the 1979–1980 Three's a Crowd (in which three sets of wives and secretaries competed to see who knew more about their husbands/bosses). This show provoked protests from both feminist and socially conservative groups, who charged that the show deliberately exploited adultery, to advocate it as a social norm. Most stations dropped this show months before the season was over as a response to those criticisms. At the same time, The Newlywed Game lost the sponsorships of Ford and Procter & Gamble and earned the resentment of Jackie Autry, whose husband and business partner Gene Autry owned the show's Los Angeles outlet and production base, KTLA, because of its supposedly highly prurient content. So strong were the feelings of the Autrys that The Newlywed Game came close to being expelled from the KTLA facilities, but the show was discontinued by the syndicator before any action occurred. The Gong Show and The Dating Game also ended otherwise successful syndicated runs in 1980.

During the winter of 1980, Barris attempted to rebuild by bringing back another game show that was not an original of his, Camouflage, in which contestants answered questions for the chance to locate a "hidden object" (such as a toaster) concealed within a cartoon-type drawing. Although a noncontroversial format, it lasted only a short time in syndication. By September 1980, for the first time in his company's history, Barris had no shows in production.

After a year's inactivity, Barris revived Treasure Hunt again in 1981 in partnership with the original 1950s version's producer, Budd Granoff, who had become his business partner (the show itself was created by its original host, Jan Murray). Unlike with the 1970s version of Treasure Hunt, Barris did not have direct involvement with the production of the show itself. This revival, a five-day-a-week strip, lasted only one year.

Barris, by this time living in France, came back again in 1984 and formed Barris Industries. He formed a distributor arm called Bel-Air Program Sales (later Barris Program Sales) and an ad-sales barter called Clarion Communications (later Barris Advertising Sales). After a week-long trial of The Newlywed Game on ABC in 1984 (with Dating Game emcee Jim Lange), Barris produced the daily Newlywed Game (titled The New Newlywed Game) in syndication from 1985 to 1989, with original host Eubanks (and in 1988, comedian Paul Rodriguez). The Dating Game returned to syndication the next year for a three-year run (the first year hosted by Elaine Joyce, and the next two hosted by Jeff MacGregor). The Gong Show would also return for one season in 1988, now hosted by "True" Don Bleu. All of those shows (except for the one-week trial run of Newlywed on ABC) aired in syndication, not on the networks.

Chuck Barris sold his shares of Barris Industries, Inc. in 1987 to Burt Sugarman and left to move back to France and was no longer directly involved in his media company. In 1988, Barris Industries acquired the Guber-Peters Company. On September 7, 1989, Barris Industries was renamed as the Guber-Peters Entertainment Company. After the shows' runs ended, Sony Corporation acquired Guber-Peters Entertainment (formerly Barris Industries) for $200 million on September 29, 1989, a day after Sony Corporation of Japan acquired Columbia Pictures Entertainment. The sale was completed on November 9, 1989, after Sony's acquisition of Columbia Pictures Entertainment a day earlier. Sony revived Dating and Newlywed from 1996 to 1999. Sony also revived The Gong Show in 1998, this time as Extreme Gong, a Game Show Network (GSN) original production. Three's a Crowd would be revived as All New Three's a Crowd, which, like Extreme Gong, was a GSN original. A few years after Extreme Gong ended, Sony planned to revive the show again under its classic name and format for The WB Television Network, but this version was never realized. Sony and MTV Networks' Comedy Central collaborated on a fourth Gong Show revival as The Gong Show with Dave Attell in 2008; this did sell and aired on Comedy Central from July to September 2008.

One more attempt at reviving an old game show that was not his own originally resulted in an unsold pilot of the 1950s-era game Dollar a Second, hosted by Bob Eubanks. It had at least one showing on GSN, and has since become part of the collector/trader's circuit. Two more unsold pilots were called Bamboozle and Comedy Courtroom.

Barris published Della: A Memoir of My Daughter in 2010 about the death of his only child, who died in 1998 after a long struggle with drug addiction.

CIA career claims
In 1984, Barris wrote an autobiography, Confessions of a Dangerous Mind. In the book he states that he worked for the Central Intelligence Agency (CIA) as an assassin in the 1960s and the 1970s in Southeast Asia, Latin America, and the Middle East. A 2002 feature film version, directed by George Clooney and starring Sam Rockwell, depicts Barris killing 33 people. Barris wrote a sequel to Confessions of a Dangerous Mind in 2004 called Bad Grass Never Dies.

The CIA denied Barris ever worked for them in any capacity. After the release of the movie, CIA spokesman Paul Nowack said Barris' assertions that he worked for the spy agency “[are] ridiculous. It's absolutely not true".

In an interview on NBC's Today Show in 1984, Barris admitted to having made the story up. "No, I was never a CIA hit man. I never did those things. I once applied for the CIA, and while I was going through the process I got a job and went on television. But I had always wondered what would have happened if I had done both." In an interview in 2010 with the Television Academy Foundation, he was asked if he had ever disclosed the truth to anyone, including his wife. "No, never," Barris said. "I'll never say, one way or the other".

Personal life and death
Barris' first wife was Lyn Levy, the niece of one of the founders of CBS. Their marriage lasted from 1957 to 1976, ending in divorce. Together they had a daughter, Della, who frequently appeared on The Gong Show, usually introducing her father. Della died of an alcohol and cocaine overdose in 1998 at the age of 36. At the time of her death, she was HIV positive. In 1980, Barris married Robin Altman. They divorced in 1999. The following year, he married Mary Clagett.

Barris was diagnosed with lung cancer in the 1990s. After undergoing surgery to remove part of his lung, he contracted an infection and spent a month in intensive care.

Barris died on March 21, 2017, of natural causes at the age of 87 at his home in Palisades, New York, where he lived with Clagett.

Shows

 * The $1.98 Beauty Show
 * Bamboozle (unsold pilot)
 * Camouflage
 * The Chuck Barris Rah-Rah Show
 * Comedy Courtroom (unsold pilot)
 * Cop Out (unsold pilot)
 * The Dating Game
 * Dollar a Second (unsold pilot)
 * Dream Girl of '67
 * The Mama Cass Television Show (ABC special, 1969)
 * The Family Game
 * The Game Game
 * The Gong Show
 * How's Your Mother-in-Law?
 * Leave It to the Women
 * The Newlywed Game
 * Operation: Entertainment
 * The Parent Game
 * People Pickers (unsold pilot)
 * Three's a Crowd
 * The New Treasure Hunt/Treasure Hunt
 * Your Hit Parade (CBS, 1974)

Discography
Barris composed music and released them on the following 45 rpm records. Songs with an asterisk (*) are songs not composed by Barris, yet featured on the recordings:
 * "Too Rich" / "I Know A Child" (Capitol Records)
 * "Baja California" / *"Donnie" (Dot Records)
 * "Why Me Oh Lord" / "Sometimes It Just Don't Pay To Get Up" (MCA Records)

Barris also composed the following songs (with performer, who performed the music first, listed on each). The first two songs were released on "Swan" 45 rpm records, and the third released on a "Decca" LP record:
 * "Summertime Guy" (Eddie Rambeau; an instrumental version of this song was used as the theme for The Newlywed Game)
 * "Palisades Park" (Freddy Cannon)
 * "Love Sickness" (Milton DeLugg)

In 1973, Barris released an LP of television game show music, Chuck Barris Presents Themes From TV Game Shows (Friends Records). All tracks are instrumentals and are arranged by Tom Scott, Mike Barone, and Dale Oehler. The tracks for the LP, as listed from the back of the LP jacket, are as follows:

Side 1
 * "Dating Game Theme" (January/CBP Music, Inc. BMI Chuck Barris/David Mook)
 * "Dating Game Closing Theme" (Little Rosie)
 * "Newlywed Game Theme"
 * "Treasure Hunt Theme"
 * "True Grit - Winners Theme" (Bernstein) Famous Music ASCAP
 * "Treasure Hunt Losers Theme"
 * "People Pickers Theme" (Pretty Maidens)

Side 2
 * "Operation Entertainment Theme" (Road Of Love)
 * "Family Game Theme" (Too Rich)
 * "Cop-Out Theme" (Little Russian Song)
 * "Mother-In-Law Theme" (Mother Trucker)
 * "Parent Game Theme" (Baja California)
 * "Dream Girl Theme" (Hunk Of Love)

Books

 * You and Me, Babe (1974) Novel
 * Confessions of a Dangerous Mind (1984) Memoir
 * The Game Show King (1993) Memoir
 * Bad Grass Never Dies (2004) Memoir
 * The Big Question (2007) Novel
 * Who Killed Art Deco? (2009) Novel
 * Della: A Memoir of My Daughter (2010) Memoir

CDs

 * Confessions of A Dangerous Singer (Domo Records, 2003)
 * Confessions of a Dangerous Mind (Domo Records, 2003)

title: Chuck Barris


text:
Stage management

Stage management is a broad field that is generally defined as the practice of organization and coordination of an event or theatrical production. Stage management may encompass a variety of activities including overseeing of the rehearsal process and coordinating communications among various production teams and personnel. Stage management requires a general understanding of all aspects of production and provides complete organization to ensure the process runs smoothly and efficiently.

A stage manager is an individual who has overall responsibility for stage management and the smooth execution of a theatrical production. Stage management may be performed by an individual in small productions, while larger productions typically employ a stage management team consisting of a head stage manager, or production stage manager, and one or more assistant stage managers.

History
The title of stage manager was not used until the 18th century, though the concept and need for someone to fill the area of stage management can be seen with the Ancient Greeks. The playwrights were usually responsible for production elements. Sophocles is the first known stage technician, supported by his employment as a scenic artist, playwright, musician, and producer.

In the Middle Ages, there is evidence of a conducteur de secrets, who oversaw collecting money at the door and serving as a prompter on stage. The prompter held the script and was prepared to feed performers their lines; this was a common practice of the time.

Between the Renaissance and 17th century, the actors and playwrights handled stage management aspects and stage crew. In the Elizabethan and Jacobean theatre there were two roles that covered stage management: stage keeper and bookkeeper. The stage keeper was responsible for the maintenance of the theater, taking props on and off stage, and security of performance space. The bookkeeper was responsible for the stage script, obtaining necessary licenses, copying/providing lines for the performers, marking entrances and exits, tracking props, marking when sound effects come in, and cueing props and sound effects.

Between the Renaissance and the 16th century, actors and playwrights took upon themselves the handling of finances, general directorial duties, and stage management. Stage management first emerged as a distinct role in the 17th century during Shakespeare's and Molière's time. During Shakespeare’s time the roles of stage management were left to apprentices, young boys learning the trade. There is still evidence of a prompter at this time.

It was not until the 18th century in England that the term stage manager was used. This was the first time a person other than actors and playwright was hired to direct or manage the stage. Over time, with the rise in complexity of theatre due to advances such as mechanized scenery, quick costume changes, and controlled lighting, the stage manager's job was split into two positions— director and stage manager.

Many playwrights, directors, and actors have previously worked as assistant stage managers. Writer and director Preston Sturges, for example, was employed as an ASM on Isadora Duncan's production of Oedipus Rex at the age of 16 and a half:

"When one is responsible for giving an offstage cue, even the simplest ones, like the ring of a telephone or a birdcall, demand considerable sangfroid, and the job is nerve-wracking. One is very much aware that everything depends on the delivery of the cue at exactly the right microsecond. One stands there, knees slightly bent, breathing heavily..."

Sturges didn't last long in this job, due to his calling for thunder and then lightning instead of lightning and then thunder, but 16 years later Brock Pemberton hired him as an ASM on Antoinette Perry's production of Goin' Home, which led to the first mounting of one of Sturges' plays on Broadway, The Guinea Pig, in 1929.

United States
In the United States, stage manager is a generic title that may be applied to anyone who performs stage management functions. On small shows, one person typically performs all the tasks of stage management, and is simply referred to as the stage manager. Larger shows often need two or more stage managers. In such cases the head stage manager is titled production stage manager (commonly abbreviated PSM), and working under the PSM is one or more assistant stage managers (commonly abbreviated ASM). Shows that employ three stage managers have a PSM and two ASMs, though the program credits may list them as production stage manager (first or head stage manager), stage manager (second stage manager), and assistant stage manager (third stage manager).

Some professional stage managers on plays and musicals may choose to be represented by a union known as the Actors' Equity Association, which also represents performers. In addition to performing their typical stage management duties (e.g., maintaining the prompt book and calling performances), Equity stage managers are also required to uphold the union's rules and rights for Equity artists. Union stage managers for opera, ballet, and modern dance are represented by the American Guild of Musical Artists and perform most of the same duties as their counterparts in plays and musicals. The American Guild of Variety Artists also represents variety performers, dancers and stage managers.

United Kingdom
In the UK, the structure of a stage management team depends on the type and size of the production. It can consist of stage manager (overseeing the running of the show), deputy stage manager (commonly called DSM), and assistant stage manager (commonly called ASM). A fringe theatre show may employ one stage manager to carry out the tasks of an entire team, whereas a West End theatre show in London might employ multiple ASMs. Professional stage managers are represented by the British Actors' Equity Association, which also represents performers.

Deputy stage manager
The DSM prompts actors and will usually cue technical crew members and sometimes cast, while following the orders of the director and stage manager. The DSM calls actors to hold while technical problems are sorted out during rehearsal, and determines where in the script to restart halted scenes. The deputy stage manager (DSM) is a separate position in some theatres, while in others the responsibilities of the DSM may be assumed by the stage manager or assistant stage manager.

Assistant stage manager
The assistant stage manager (ASM) has varied responsibilities, which are assigned by the stage manager. The ASM assists in finding and maintaining props during rehearsals and the run of the show. The ASM may take attendance or estimate audience size, may manage the backstage technicians, may act as a liaison between crew, cast and management, and may call some cues. Mundane tasks such as mopping the stage and brewing coffee or tea may fall to the ASM. If the stage manager is unable to perform his or her duties, the ASM must be able to fill in. The assistant may also be in charge of one wing of the stage, while the stage manager is on the other wing.

South Korea
Due to the recent global rise in popularity of K-POP and mainstream cultural arts, Korean stage planners are playing a significant role worldwide. Typically, stage planners determine the timing and venue of performances and take responsibility for the entire process leading up to the completion of the event, acting as overall directors. They conduct thorough analyses on what performances people desire, whether similar events have already taken place, and if the emotional expression aligns with the intended message. Successful performances are scrutinized for the strategies used to captivate the audience. Those responsible for bringing the performances planned by stage planners to life on stage are the staff. Consequently, stage planners organize various staff members responsible for directing, choreography, music, stage design, lighting, costumes, makeup, etc. They also oversee the preparation process, secure the necessary funds, check preparations, and guide the director in staging scenes.

One of the most notable Korean stage planners is Kim Sang-wook, the CEO of PLAN A, who has orchestrated numerous performances, including the 'Love Yourself' tour by BTS.

Show control based venues
Many live shows around the world are produced with the foreknowledge that they will have a very long run, often measured in years. These are usually known quantities that are very expensive productions and have a guaranteed audience because of their location. They may be on cruise ships, in theme parks, Las Vegas or at destination resorts. These shows warrant very long-range development and planning and use stage managers to run almost all technical elements in the show, without many of the other traditional crew members, such as sound, lighting and rigging operators. In these cases, show control systems are installed and connected to all other technical systems in the theatre, which are specifically designed to be controlled by show control and to operate safely with minimal supervision. Stage managers working these shows usually have the additional responsibility for programming the show control system, and often the other control systems as well.

Different areas of stage management
The role of stage manager evolved from an amalgamation of various positions in theater over several centuries and is still generally known for its integral relationship with theater. Many other types of productions and events have incorporated the position of stage management, however. Some of the most common are opera, music and dance concerts, film and television.

For music concerts, stage management includes a large variety of responsibilities depending on both the venue and the size and expertise of the musical group coming into the venue. Some of the responsibilities of a concert stage manager include overseeing the schedule for load in and out of equipment, seeing to the comfort of the group which can include arranging refreshments and or transportation, sometimes arranging how and where merchandise is to be sold at the venue, and above all, as with all areas of stage management, watching out for the safety of all participants in the experience including performers, audience, and any crews required.

Stage managers and unions
Stage managers often ensure safe working conditions in the theatrical space by working closely with theatrical unions to keep rehearsals and performances on time, safe, and efficient.

Actors' Equity Association
Commonly referred to as Equity, AEA is the American union for stage managers and actors. The AEA works to negotiate and provide performers and stage managers quality living conditions, livable wages, and benefits.

Related Unions
American stage managers work closely with the following unions. Stage managers often have an in depth knowledge of their sister unions:

 * IATSE: The union representing theatrical stage hands. IATSE also represents other crafts including makeup and hair designers, costume designers, child-actor guardians, and the film industry crafts.
 * USA: American entertainment industry union. In theatre they represents the scenic crafts.
 * AFM: Union representing American musicians and laborers
 * Teamsters: Labor union representing transportation professionals
 * DGA: Union representing film and television directors and stage managers
 * SAG-AFTRA: Labor union representing media professionals including film and television actors

title: Stage management


text:
Dialogue

Dialogue (sometimes spelled dialog in American English) is a written or spoken conversational exchange between two or more people, and a literary and theatrical form that depicts such an exchange. As a philosophical or didactic device, it is chiefly associated in the West with the Socratic dialogue as developed by Plato, but antecedents are also found in other traditions including Indian literature.

Etymology
The term dialogue stems from the Greek διάλογος (dialogos, conversation); its roots are διά (dia: through) and λόγος (logos: speech, reason). The first extant author who uses the term is Plato, in whose works it is closely associated with the art of dialectic. Latin took over the word as dialogus.

Antiquity
Dialogue as a genre in the Middle East and Asia dates back to ancient works, such as Sumerian disputations preserved in copies from the late third millennium BC, Rigvedic dialogue hymns, and the Mahabharata.

In the West, Plato (c. 427 BC – c. 348 BC) has commonly been credited with the systematic use of dialogue as an independent literary form. Ancient sources indicate, however, that the Platonic dialogue had its foundations in the mime, which the Sicilian poets Sophron and Epicharmus had cultivated half a century earlier. These works, admired and imitated by Plato, have not survived and we have only the vaguest idea of how they may have been performed. The Mimes of Herodas, which were found in a papyrus in 1891, give some idea of their character.

Plato further simplified the form and reduced it to pure argumentative conversation, while leaving intact the amusing element of character-drawing. By about 400 BC he had perfected the Socratic dialogue. All his extant writings, except the Apology and Epistles, use this form.

Following Plato, the dialogue became a major literary genre in antiquity, and several important works both in Latin and in Greek were written. Soon after Plato, Xenophon wrote his own Symposium; also, Aristotle is said to have written several philosophical dialogues in Plato's style (of which only fragments survive). In the 2nd century CE, Christian apologist Justin Martyr wrote the Dialogue with Trypho, which was a discourse between Justin representing Christianity and Trypho representing Judaism. Another Christian apologetic dialogue from the time was the Octavius, between the Christian Octavius and pagan Caecilius.

Japan
In the East, in 13th century Japan, dialogue was used in important philosophical works. In the 1200s, Nichiren Daishonin wrote some of his important writings in dialogue form, describing a meeting between two characters in order to present his argument and theory, such as in "Conversation between a Sage and an Unenlightened Man" (The Writings of Nichiren Daishonin 1: pp. 99–140, dated around 1256), and "On Establishing the Correct Teaching for the Peace of the Land" (Ibid., pp. 6–30; dated 1260), while in other writings he used a question and answer format, without the narrative scenario, such as in "Questions and Answers about Embracing the Lotus Sutra" (Ibid., pp. 55–67, possibly from 1263). The sage or person answering the questions was understood as the author.

Modern period
Two French writers of eminence borrowed the title of Lucian's most famous collection; both Fontenelle (1683) and Fénelon (1712) prepared Dialogues des morts ("Dialogues of the Dead"). Contemporaneously, in 1688, the French philosopher Nicolas Malebranche published his Dialogues on Metaphysics and Religion, thus contributing to the genre's revival in philosophic circles. In English non-dramatic literature the dialogue did not see extensive use until Berkeley employed it, in 1713, for his treatise, Three Dialogues between Hylas and Philonous. His contemporary, the Scottish philosopher David Hume wrote Dialogues Concerning Natural Religion. A prominent 19th-century example of literary dialogue was Landor's Imaginary Conversations (1821–1828).

In Germany, Wieland adopted this form for several important satirical works published between 1780 and 1799. In Spanish literature, the Dialogues of Valdés (1528) and those on Painting (1633) by Vincenzo Carducci are celebrated. Italian writers of collections of dialogues, following Plato's example, include Torquato Tasso (1586), Galileo (1632), Galiani (1770), Leopardi (1825), and a host of others.

In the 19th century, the French returned to the original application of dialogue. The inventions of "Gyp", of Henri Lavedan, and of others, which tell a mundane anecdote wittily and maliciously in conversation, would probably present a close analogy to the lost mimes of the early Sicilian poets. English writers including Anstey Guthrie also adopted the form, but these dialogues seem to have found less of a popular following among the English than their counterparts written by French authors.

The Platonic dialogue, as a distinct genre which features Socrates as a speaker and one or more interlocutors discussing some philosophical question, experienced something of a rebirth in the 20th century. Authors who have recently employed it include George Santayana, in his eminent Dialogues in Limbo (1926, 2nd ed. 1948; this work also includes such historical figures as Alcibiades, Aristippus, Avicenna, Democritus, and Dionysius the Younger as speakers). Also Edith Stein and Iris Murdoch used the dialogue form. Stein imagined a dialogue between Edmund Husserl (phenomenologist) and Thomas Aquinas (metaphysical realist). Murdoch included not only Socrates and Alcibiades as interlocutors in her work Acastos: Two Platonic Dialogues (1986), but featured a young Plato himself as well. More recently Timothy Williamson wrote Tetralogue, a philosophical exchange on a train between four people with radically different epistemological views.

In the 20th century, philosophical treatments of dialogue emerged from thinkers including Mikhail Bakhtin, Paulo Freire, Martin Buber, and David Bohm. Although diverging in many details, these thinkers have proposed a holistic concept of dialogue. Educators such as Freire and Ramón Flecha have also developed a body of theory and techniques for using egalitarian dialogue as a pedagogical tool.

As topic
Martin Buber assigns dialogue a pivotal position in his theology. His most influential work is titled I and Thou. Buber cherishes and promotes dialogue not as some purposive attempt to reach conclusions or express mere points of view, but as the very prerequisite of authentic relationship between man and man, and between man and God. Buber's thought centres on "true dialogue", which is characterised by openness, honesty, and mutual commitment.

The Second Vatican Council placed a major emphasis on dialogue with the World. Most of the council's documents involve some kind of dialogue : dialogue with other religions (Nostra aetate), dialogue with other Christians (Unitatis Redintegratio), dialogue with modern society (Gaudium et spes) and dialogue with political authorities (Dignitatis Humanae). However, in the English translations of these texts, "dialogue" was used to translate two Latin words with distinct meanings, colloquium ("discussion") and dialogus ("dialogue"). The choice of terminology appears to have been strongly influenced by Buber's thought.

The physicist David Bohm originated a related form of dialogue where a group of people talk together in order to explore their assumptions of thinking, meaning, communication, and social effects. This group consists of ten to thirty people who meet for a few hours regularly or a few continuous days. In a Bohm dialogue, dialoguers agree to leave behind debate tactics that attempt to convince and, instead, talk from their own experience on subjects that are improvised on the spot.

In his influential works, Russian philosopher Mikhail Bakhtin provided an extralinguistic methodology for analysing the nature and meaning of dialogue: "Dialogic relations have a specific nature: they can be reduced neither to the purely logical (even if dialectical) nor to the purely linguistic (compositional-syntactic) They are possible only between complete utterances of various speaking subjects... Where there is no word and no language, there can be no dialogic relations; they cannot exist among objects or logical quantities (concepts, judgments, and so forth). Dialogic relations presuppose a language, but they do not reside within the system of language. They are impossible among elements of a language."

The Brazilian educationalist Paulo Freire, known for developing popular education, advanced dialogue as a type of pedagogy. Freire held that dialogued communication allowed students and teachers to learn from one another in an environment characterised by respect and equality. A great advocate for oppressed peoples, Freire was concerned with praxis—action that is informed and linked to people's values. Dialogued pedagogy was not only about deepening understanding; it was also about making positive changes in the world: to make it better.

As practice

Dialogue is used as a practice in a variety of settings, from education to business. Influential theorists of dialogal education include Paulo Freire and Ramon Flecha.

In the United States, an early form of dialogic learning emerged in the Great Books movement of the early to mid-20th century, which emphasised egalitarian dialogues in small classes as a way of understanding the foundational texts of the Western canon. Institutions that continue to follow a version of this model include the Great Books Foundation, Shimer College in Chicago, and St. John's College in Annapolis and Santa Fe.

Egalitarian dialogue
Egalitarian dialogue is a concept in dialogic learning. It may be defined as a dialogue in which contributions are considered according to the validity of their reasoning, instead of according to the status or position of power of those who make them.

Structured dialogue
Structured dialogue represents a class of dialogue practices developed as a means of orienting the dialogic discourse toward problem understanding and consensual action. Whereas most traditional dialogue practices are unstructured or semi-structured, such conversational modes have been observed as insufficient for the coordination of multiple perspectives in a problem area. A disciplined form of dialogue, where participants agree to follow a dialogue framework or a facilitator, enables groups to address complex shared problems.

Aleco Christakis (who created structured dialogue design) and John N. Warfield (who created science of generic design) were two of the leading developers of this school of dialogue. The rationale for engaging structured dialogue follows the observation that a rigorous bottom-up democratic form of dialogue must be structured to ensure that a sufficient variety of stakeholders represents the problem system of concern, and that their voices and contributions are equally balanced in the dialogic process.

Structured dialogue is employed for complex problems including peacemaking (e.g., Civil Society Dialogue project in Cyprus) and indigenous community development., as well as government and social policy formulation.

In one deployment, structured dialogue is (according to a European Union definition) "a means of mutual communication between governments and administrations including EU institutions and young people. The aim is to get young people's contribution towards the formulation of policies relevant to young peoples lives." The application of structured dialogue requires one to differentiate the meanings of discussion and deliberation.

Groups such as Worldwide Marriage Encounter and Retrouvaille use dialogue as a communication tool for married couples. Both groups teach a dialogue method that helps couples learn more about each other in non-threatening postures, which helps to foster growth in the married relationship.

Dialogical leadership
The German philosopher and classicist Karl-Martin Dietz emphasises the original meaning of dialogue (from Greek dia-logos, i.e. 'two words'), which goes back to Heraclitus: "The logos [...] answers to the question of the world as a whole and how everything in it is connected. Logos is the one principle at work, that gives order to the manifold in the world." For Dietz, dialogue means "a kind of thinking, acting and speaking, which the logos "passes through"" Therefore, talking to each other is merely one part of "dialogue". Acting dialogically means directing someone's attention to another one and to reality at the same time.

Against this background and together with Thomas Kracht, Karl-Martin Dietz developed what he termed "dialogical leadership" as a form of organisational management. In several German enterprises and organisations it replaced the traditional human resource management, e.g. in the German drugstore chain dm-drogerie markt.

Separately, and earlier to Thomas Kracht and Karl-Martin Dietz, Rens van Loon published multiple works on the concept of dialogical leadership, starting with a chapter in the 2003 book The Organization as Story.

Moral dialogues
Moral dialogues are social processes which allow societies or communities to form new shared moral understandings. Moral dialogues have the capacity to modify the moral positions of a sufficient number of people to generate widespread approval for actions and policies that previously had little support or were considered morally inappropriate by many. Communitarian philosopher Amitai Etzioni has developed an analytical framework which—modelling historical examples—outlines the reoccurring components of moral dialogues. Elements of moral dialogues include: establishing a moral baseline; sociological dialogue starters which initiate the process of developing new shared moral understandings; the linking of multiple groups' discussions in the form of "megalogues"; distinguishing the distinct attributes of the moral dialogue (apart from rational deliberations or culture wars); dramatisation to call widespread attention to the issue at hand; and, closure through the establishment of a new shared moral understanding. Moral dialogues allow people of a given community to determine what is morally acceptable to a majority of people within the community.

title: Dialogue


text:
Pomeranian dog

The Pomeranian (also known as a Pom, Pommy or Pome) is a breed of dog of the Spitz type that is named for the Pomerania region in north-west Poland and north-east Germany in Central Europe. Classed as a toy dog breed because of its small size, the Pomeranian is descended from larger Spitz-type dogs, specifically the German Spitz.

The breed has been made popular by a number of royal owners since the 18th century. Queen Victoria owned a particularly small Pomeranian, and consequently, the smaller variety became universally popular. During Queen Victoria's lifetime alone, the size of the breed decreased by half. As of 2017, in terms of registration figures, since at least 1998, the breed has ranked among the top fifty most popular breeds in the United States, and the current fashion for small dogs has increased their popularity worldwide.

Appearance
Pomeranians are small dogs weighing 1.36 - 3.17 kg and standing 8 - 14 in high at the withers. They are compact but sturdy dogs with an abundant textured coat with a highly plumed tail set high and flat. The top coat forms a ruff of fur on the neck, which Poms are well known for, and they also have a fringe of feathery hair on the hindquarters.

The earliest examples of the breed were white or occasionally brown or black. Queen Victoria adopted a small red Pomeranian in 1888, which caused that color to become fashionable by the end of the 19th century. In modern times, the Pomeranian comes in the widest variety of colors of any dog breed, including white, black, brown, red, orange, cream, blue, sable, black and tan, brown and tan, spotted, brindle, parti, and blue Merle, plus combinations of those colors. The most common colors are orange, black, and cream/white.

Behaviour

Pomeranians are alert and aware of changes in their environment, and barking at new stimuli can develop into a habit of barking excessively in any situation. They are somewhat defensive of their territory and thus may bark when they hear outside noises.

Health
A UK study found a life expectancy of 12.2 years for the Pomeranian. A Japanese study of pet cemetery data found a life expectancy of 14 years, below the average of 15.3 years for cross-breds below 10kgs.

Pomeranians are one of the breeds with the smallest average litter size, with various sources giving numbers of between 1.9 and 2.7 puppies per litter.

Dermatological conditions
The Pomeranian is significantly predisposed to alopecia X with Pomeranians comprising 79.3% of the case load of a referral clinic in Japan and 26.5% of an endocrine alopecia case load in the US.

Skeletal conditions
A study in England found the prevalence patellar luxation to be 6.5% in the Pomeranian, the highest prevalence out of all breeds in the study. A USA study found an odds ratio of 18.6 compared to crossbreeds. Another study in the US found the Pomeranian to make up 9.3% of the caseload. In Thailand prevalence was found as high as 75% in one study and a 28.9% caseload in another.

Gastrointestinal conditions
A study in the US found a prevalence of 0.29% for congenital portosystemic shunt, an odds ratio of 5.6 compared to mixed-breed dogs.

A Japanese study found the Pomeranian to be significantly predisposed to gallbladder mucocoele with an odds ratio of 7.74 compared to the overall referral population.

Neurological conditions
In case studies of atlantoaxial subluxation the Pomeranian was found to comprise 10.6% of cases in Japan, 46.7% in the UK, and 10.5% and 6.5% in the US.

Other conditions
Merle-colored dogs may have mild to severe deafness, blindness, increased intraocular pressure, ametropia, microphthalmia, and colobomas. Merle dogs born from parents who are also both merles may additionally have abnormalities of the skeletal, cardiac and reproductive systems. In case studies of referral clinics for tracheal collapse the Pomeranian made up 6%, 13.5%, and 16.7% of three referral caseloads in the US and 11.9% of a referral caseload in South Korea. In an Australian study on a referral population the Pomeranian had a 9.3% prevalence.

Another common disorder in male Pomeranians is cryptorchidism. This is when either one or both of the testicles do not descend into the scrotum. It is treated through surgical removal of the retained testicle.

In China, 54.6% of Pomeranians attending veterinary clinics were obese.

Origins

The Pomeranian is considered to be descended from the German Spitz. The breed is thought to have acquired its name by association with the area known as Pomerania which is located in northern Poland and Germany along the Baltic Sea. Although not the origin of the breed, this area is credited with the breeding that led to the original Pomeranian type of dog. Proper documentation was lacking until the breed's introduction into the United Kingdom.

An early modern recorded reference to the Pomeranian breed is from 2 November 1764, in a diary entry in James Boswell's Boswell on the Grand Tour: Germany and Switzerland. "The Frenchman had a Pomeranian dog named Pomer whom he was mighty fond of." The offspring of a Pomeranian and a wolf bred by an animal merchant from London is discussed in Thomas Pennant's A Tour in Scotland from 1769.

Two members of the British Royal Family influenced the evolution of the breed. In 1767, Queen Charlotte, Queen-consort of King George III of Great Britain, brought two Pomeranians to England.

Named Phoebe and Mercury, the dogs were depicted in paintings by Sir Thomas Gainsborough. These paintings depicted a dog larger than the modern breed, reportedly weighing as much as 30 - 50 lb, but showing modern traits such as the heavy coat, ears and a tail curled over the back.

Queen Victoria, Queen Charlotte's granddaughter, was also an enthusiast and established a large breeding kennel. One of her favoured dogs was a comparatively small red sable Pomeranian which she possibly named "Windsor's Marco" and was reported to weigh only 12 lb. When she first exhibited Marco in 1891, it caused the smaller-type Pomeranian to become immediately popular, and breeders began selecting only the smaller specimens for breeding. During her lifetime, the size of the Pomeranian breed was reported to have decreased by 50%. Queen Victoria worked to improve and promote the Pomeranian breed by importing smaller Pomeranians of different colours from various European countries to add to her breeding program. Royal owners during this period also included Joséphine de Beauharnais, the wife of Napoleon I of France, and King George IV of the United Kingdom.

The first breed club was set up in England in 1891, and the first breed standard was written shortly afterwards. The first member of the breed was registered in the United States to the American Kennel Club in 1898, and it was recognized in 1900.

In 1912, two Pomeranians were among only three dogs to survive the sinking of RMS Titanic. A Pomeranian called "Lady", owned by Margaret Bechstein Hays, escaped with her owner in lifeboat number seven, while Elizabeth Barrett Rothschild took her pet to safety with her in lifeboat number six.

Glen Rose Flashaway won the Toy Group at the Westminster Kennel Club Dog Show in 1926, the first Pomeranian to win a group at Westminster. It would take until 1988 for the first Pomeranian, "Great Elms Prince Charming II", to win the Best in Show prize from the Westminster Kennel Club.

In the standard published in 1998, the Pomeranian is included in the German Spitz standard, along with the Keeshond, by the Fédération Cynologique Internationale.

Popularity
The Pomeranian has been among the more popular dog breeds in the United States, featuring consistently in the top 20 of registered American Kennel Club dog breeds since at least 1998, when it was ranked #10; the breed was #17 in the 2011 rankings, dropping two spots from the previous year. In 2012 and 2013 it remained in the top twenty and was ranked at #19. In 2015, the breed fell to #21, falling further to #22 in both 2016 and 2017.

It is not listed in the top 20 breeds in the UK in either 2007 or 2008. In Australia their popularity has declined since 1986, with a peak of 1,128 Pomeranians registered with the Australian National Kennel Council in 1987; only 577 were registered in 2008. However, this is an increase from 2004, when only 491 dogs were registered.

title: Pomeranian dog


text:
Talk:Maarten Tromp

Untitled
He was not killed near Scheveningen. He died at de battle of Ter Heijde august 10 1653.

The Battle of Scheveningen was on July 31st 1653, August 10th is the Gregorian Date Cloidl (talk) 00:40, 28 March 2021 (UTC)

 * "Ter Heide" and "Scheveningen" are two names for the same battle. Gdr 11:46, 2004 Aug 5 (UTC)

I suspect the following may be inaccurate
The article says this:

"In 1633 Tromp lead the Dutch fleet that sailed to meet the Spanish fleet under Antonio de Oquendo. They met near Dunkirk, but the meeting was actually a trap. England and France, who were ostensibly allies of the Dutch, had joined Spain in a secret alliance. Oquendo deliberately aimed to hit the sails and rigging of the Dutch ships, while the English and French ships that accompanied Tromp attacked his ships from the rear once they were engaged with the Spanish. A handful of Dutch ships, including Tromp, were able to escape, and Tromp led them to the South American port of Recife, which was then held by the Dutch West India Company.

"Realizing that Recife had become untenable, be eventually persuaded the colonists to abandon it and evacuate to Saint Eustatia. This evacuation was completed by September of 1634."

It appears to me that the historical account has been conflated with the fictional account in the alternative history novel "1633" of Eric Flint, which depicts exactly such a battle in the year 1633. The fact that Eric Flint was extremely meticulous and clever in creating an alternative history which seems to flow organically from actual events leading up to it does not imply at all that what is in his books depicts actual history. The genre is after all called "alternative history" for very good reasons.

I, by the way, am an avid reader of the "1632" series of Eric Flint, and I came to this article on Maarten Tromp because that series had whetted my interest, and I wanted to see what he had actually done in real life, in real history. And I found the above-quoted excerpt, which reflects a battle and its aftermath which Eric Flint himself described as fiction in the novel "1633."

I suspect that the above-quoted excerpt from the article needs a rigorous fact-checking, which I unfortunately am not able to do. I hope that someone else has time to do that job.

Theodore Kilgore — Preceding unsigned comment added by Kilgota (talk • contribs) 18:52, 14 February 2017 (UTC)

The broom
Any reference as to where this "story" comes from? I know it from J.F. Coopers "Red Rover", but he doesn't give any specifics. --Maxus96 (talk) 21:50, 16 April 2018 (UTC)

title: Talk:Maarten Tromp


text:
User:Barkingdoc

My blog is at Second String Soulmate

Contributing since Jan 2003. Major contributions have been to:
 * Buffy the Vampire Slayer, Theatre, contemporary mythology, Nielsen Ratings, vampire, Acting, Jim Henson and Muppets

Residence: Los Angeles, California Writer, Dramaturge, Performer Previous localities:
 * Redlands, California, Hollywood, California, Santa Fe, New Mexico, Valencia, California, Riverside, California, Guam (US protectorate), Prescott, Arizona

Background: Theatre, dramaturgy, spoken word/performance poetry (Poetry Slam), cultural analysis, creative writing, critical writing, psychology, counseling, T'ai Chi Chuan, trans-denominational spiritual practice.

Graduate BFA, California Institute of the Arts, Majors in Theatre and Critical Writing, minor in Mythology with a focus on Vampire myth, folklore, and fiction.

Topics of particular interest: cultural analysis, popular culture, writing, theatre, dramaturgy, spirituality, entertainment, television, parody, satire, political activism in the arts, social activism in the arts, feminism, feminist analysis, mythology, folklore, puppetry, contemporary mythology, American Revolutionary War.

User Page Updated November 17th, 2007

I agree to multi-license all my contributions, with the exception of my user pages, as described below:

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title: User:Barkingdoc


text:
User talk:Barkingdoc

Old talk removed. New talk WELCOME. :)

Doc: I saw your comment at the bottom of the Buffy the Vampire Slayer article. I am trying to kickstart a Whedonverse WProject: WikiProject Buffy. I would love your help!
 * - Che Nuevara 26 April 05

Vampire
I would disagree most strongly that User:Evmore is willing to discuss the article itself, as he seems interested only in having things nearly exactly the way he had it before and lies about what other people said to try to claim that they support this, ignores actual points already discussed, encourages clear sockpuppets who only have registered extrmely recently and have no edit history and completely denies problems he already had spelled out to him in very clear language. He was the one who started all the original problems and his current comments are an exact repeat of the old situation when we were making actual progress. Any process of working together depends largely upon ignoring the words of people who are lying and who are not following the rules of consensus. Simply put, the article cannot get anywhere while he is promising to be disruptive and ignore the clear concerns expressed by actual editors about a section that is clearly too long and detailed about the topic of another article entirely and full of misleading, inaccurate and irrelevant statements about the topic of the article in question. 02:08, August 7, 2005 (UTC)

Vampire article
While I came in as an "interested" third party who'd like to see good work on the article, I'm growing more and more of the opinion that DreamGuy just won't operate in good faith. He continues to make nonsensical accusations, does not acknowledge his own culpability in the edit war. I think he needs a break because he is too wrapped up in it for his own good, but from the history of that talk page he's been acting this way for some time.Devilbat

Image:Buffy Cast1.jpg
They are cracking down on images in "fair use". Can you specify if the image is a film-screenshot, movieposter, or some more specific flag? For your convenience, Image_copyright_tags --None-of-the-Above 08:55, 8 September 2005 (UTC)
 * Thanks! --None-of-the-Above 09:09, 8 September 2005 (UTC)

Land of the Lost
Holy freaking mother...what a magnificent work! I am impressed beyond words at what you were able to ascertain from that whacked-out old TV show. BRAVO! - Lucky 6.9 05:21, 15 September 2005 (UTC)

WikiProject Buffy Checklist
Hiya, just letting some people who regularly work on Buffyverse articles know there is now a checklist for non-episode articles in place to highlight articles needing work on, and articles coming into completion. It is available at the main project page, since this is where the 'WikiProject Buffy template' on the discussion page of all Buffyverse pages directs people:

 * WikiProject Buffy

It mainly discludes episode articles since they are dealt with at WikiProject Buffy/Episodes

Thanks -- AnGeL X 17:29, 9 March 2006 (UTC)

Buffy the Vampire Slayer under peer review
As a Wikipedian who contributes to Buffy-related articles, you maybe interested to know that Buffy the Vampire Slayer is currently under peer review at Peer review/Buffy the Vampire Slayer. It is hoped that this article might soon become a featured one. Feedback about the article at the forum, on how it might be improved upon is hugely appreciated. Thanks. -- Paxomen 17:51, 11 September 2006 (UTC)

Featured article candidate review: Buffy article
Hi

Just letting WikiProject Buffyverse members know that the article 'Buffy the Vampire Slayer' has recently been nominated as a candidate to become a featured article. Should it become a featured article, it will be possible for the article to appear on the Wikipedia main page on March 10th 2007, the 10th anniversary of Buffy (the premiere, "Welcome to the Hellmouth" aired March 10th 1997).

Any feedback you can offer to improve the article and/or to either object or support the nomination would be wonderful:

Featured article candidates/Buffy the Vampire Slayer

-- Paxomen 17:31, 21 September 2006 (UTC)

Unspecified source for Image:Buffy Cast1.jpg
Thanks for uploading Image:Buffy Cast1.jpg. I notice the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this file yourself, then there needs to be a justification explaining why we have the right to use it on Wikipedia (see copyright tagging below). If you did not create the file yourself, then you need to specify where it was found, i.e., in most cases link to the website where it was taken from, and the terms of use for content from that page.

If the file also doesn't have a copyright tag, then one should be added. If you created/took the picture, audio, or video then the GFDL-self tag can be used to release it under the GFDL. If you believe the media meets the criteria at Fair use, use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other files, consider checking that you have specified their source and tagged them, too. You can find a list of files you have uploaded by following [ this link]. Unsourced and untagged images may 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. Abu Badali 18:08, 26 September 2006 (UTC)

FAR
Buffy the Vampire Slayer (TV series) has been nominated for a featured article review. Articles are typically reviewed for two weeks. Please leave your comments and help us to return the article to featured quality. If concerns are not addressed during the review period, articles are moved onto the Featured Article Removal Candidates list for a further period, where editors may declare "Keep" or "Remove" the article from featured status. The instructions for the review process are here. Reviewers' concerns are here.  BIGNOLE     (Contact me)  21:03, 27 April 2008 (UTC)

hello
Hello! :) I thought you might be interested in this. Check it out and add your name under "Participants" if your interested. Have a nice day and happy editing! --Grrrlriot (talk) 18:48, 6 July 2008 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 08:52, 23 November 2015 (UTC)

Nomination of Land of the Lost (1974 TV series) geography and technology for deletion
A discussion is taking place as to whether the article Land of the Lost (1974 TV series) geography and technology is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/Land of the Lost (1974 TV series) geography and technology until a consensus is reached, and anyone, including you, is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article. Shooterwalker (talk) 03:42, 31 July 2020 (UTC)

title: User talk:Barkingdoc


text: User:MetBoy

title: User:MetBoy