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Ben Johnston (composer)

Benjamin Burwell Johnston Jr. (March 15, 1926 – July 21, 2019) was an American contemporary music composer, known for his use of just intonation. He was called "one of the foremost composers of microtonal music" by Philip Bush and "one of the best non-famous composers this country has to offer" by John Rockwell.

Biography
Johnston was born in Macon, Georgia, and taught composition and theory at the University of Illinois at Urbana–Champaign from 1951 to 1986, before retiring to North Carolina. During his time teaching, he was in contact with avant-garde figures such as John Cage, La Monte Young, and Iannis Xenakis. Johnston's students included Stuart Saunders Smith, Neely Bruce, Thomas Albert, Michael Pisaro, Manfred Stahnke, and Kyle Gann. He also considered his practice of just intonation to have influenced other composers, including Larry Polansky. In 1946 he married dance band singer Dorothy Haines, but they soon divorced. In 1950 he married artist Betty Hall, who died in 2007.

Johnston began as a traditional composer of art music before working with Harry Partch. He helped the senior musician to build instruments and use them in the performance and recording of new compositions. Partch then arranged for Johnston to study with Darius Milhaud at Mills College. In 1952, Johnston met Cage, who invited him to come to New York to study with him in the summer. Though Johnston decided he did not have sufficient time to prepare for such studies, he did go to New York for several weeks and assisted, along with Earle Brown, in the production of Cage's eight-track tape composition, Williams Mix.

Later, in 1957 and 1959, he studied with Cage, who encouraged him to follow his desires and use traditional instruments rather than electronics or newly built instruments. Unskilled in carpentry and finding electronics unreliable, Johnston struggled with how to integrate microtonality and conventional instruments for ten years. He also struggled with how to integrate microtones into his compositional language through a slow process of many stages. However, since 1960 Johnston had almost exclusively used a system of microtonal notation based on the rational intervals of just intonation, what Gann describes as a "lifelong allegiance" to microtonality. Johnston also studied with Burrill Phillips and Robert Palmer.

Johnston composed music for multiple productions by the E.T.C. Company of La MaMa, Wilford Leach and John Braswell's company-in-residence at La MaMa Experimental Theatre Club in the East Village of Manhattan. His most significant work was Carmilla, which the company performed as part of their repertory throughout the 1970s. He also composed music for the company's production of Gertrude, a musical about the life of Gertrude Stein.

His other works included the orchestral work Quintet for Groups (commissioned by the St. Louis Symphony Orchestra), Sonnets of Desolation (commissioned by the Swingle Singers), the Sonata for Microtonal Piano (1964), and the Suite for Microtonal Piano (1977). Johnston completed ten string quartets. The Kepler Quartet recorded all ten of his string quartets for New World Records, finishing in April 2016 just after the composer's 90th birthday.

Johnston said:"Tempered tuning is not the acoustically simplest kind. In just tuning, any interval is tuned so as to eliminate 'beating' (the result of vibrations interfering with each other). Just intonation is the easiest to achieve by ear. In this kind of tuning, all intervals have vibration rates related by small whole-number ratios. The larger the integers of the ratio, the greater the dissonance." He received many honors, including a Guggenheim Fellowship in 1959, a grant from the National Council on the Arts and the Humanities in 1966, two commissions from the Smithsonian Institution, and the Deems Taylor Award. In 2007, the American Academy of Arts and Letters honored Johnston for his lifetime of work. His Quintet for Groups won the SWR Sinfonieorchester prize at the 2008 Donaueschinger Musiktage.

Heidi Von Gunden wrote a monograph on the composer, and Bob Gilmore edited the composer's complete writings, which were published as "Maximum Clarity" and Other Writings on Music by the University of Illinois Press. A three-part oral history covering all stages of his career is housed at the Oral History of American Music through Yale University.

Johnston died from complications of Parkinson's disease in Deerfield, Wisconsin, on July 21, 2019.

Music
He is best known for extending Harry Partch's experiments in just intonation tuning to traditional instruments through his system of notation.

Johnston's compositional style was eclectic. He used serial processes, folk song idioms (string quartets 4, 5, and 10), repetitive processes, traditional forms like fugue and variations, and intuitive processes. His main goal was "to reestablish just intonation as a viable part of our musical tradition." According to Mark Swed, "ultimately, what Johnston has done, more than any other composer with roots in the great American musical experiments of the '50s and '60s, is to translate those radical approaches to the nature of music into a music that is immediately apprehensible".

Most of Johnston's later works use a large number of pitches, generated through just-intonation procedures. In these works he formed melodies based on an "otonal" eight-note just-intonation scale made from the 8th through 15th partials of the harmonic series, or its "utonal" inversion. He then gained new pitches by using common-tone transpositions or inversions. Many of his works also feature an expansive use of just intonation, using high prime limits. His String Quartet No. 9 uses intervals of the harmonic series as high as the 31st partial. He used "potentially hundreds of pitches per octave," in a way that was "radical without being avant-garde"; in contrast with much twentieth-century music, he used microtones not for the creation of dissonance but in order to "return […] to a kind of musical beauty," which he perceived as diminished in Western music since the adoption of equal-temperament. "By the beginning of the 1980s he could say of his elaborately microtonal String Quartet no. 5... 'I have no idea as to how many different pitches it used per octave'".

Johnston's early efforts in just composition drew heavily on the accomplishments of post-Webern serialism. His 7-limit String Quartet no. 4 "Amazing Grace", was commissioned by the Fine Arts Music Foundation of Chicago, and was first recorded by the Fine Arts Quartet on Nonesuch Records in 1980 (then reissued on Gasparo as GS205). His String Quartet no. 4, perhaps Johnston's best-known composition, has also been recorded by the Kronos Quartet. The Kepler Quartet (Sharan Leventhal, Eric Segnitz, Brek Renzelman, and Karl Lavine) also recorded the piece for New World Records, as part of a complete 10-quartet series documenting Johnston's entire cycle of string quartets. The Third Quartet was premiered as part of this series by the Concord String Quartet at Alice Tully Hall at Lincoln Center for the Performing Arts, on March 15, 1976, the composer's fiftieth birthday.

Staff notation

Beginning in the 1960s, Johnston proposed an approach to notating music in just intonation (JI), redefining the understanding of conventional symbols (the seven "white" notes, along with the sharps and flats) and adding further accidentals, each designed to extend the notation into higher prime limits. Johnston's method is based on a diatonic C major scale tuned in JI, in which the interval between D (9/8 above C) and A (5/3 above C) is one Syntonic comma less than a Pythagorean perfect fifth 3:2. To write a perfect fifth, Johnston introduces a pair of symbols representing this comma, + and −. Thus, a series of perfect fifths beginning with F would proceed C G D A+ E+ B+. The three conventional white notes A E B are tuned as Ptolemaic major thirds (5:4, Ptolemy's intense diatonic scale) above F C G respectively. Johnston introduces new symbols for the septimal ( & ), undecimal ( & ), tridecimal ( & ), and further prime extensions to create an accidental-based exact JI notation for what he has named "extended just intonation".

Though "this notation is not tied to any particular diapason" and the ratios between pitches remain constant, most of Johnson’s works used A = 440 as the tuning note, making C 264 hertz. In Johnson’s notation a string quartet is tuned C−, G−, D−, A, E.

Recordings

 * 2016: Ben Johnston: String Quartets Nos. 7, 8 & 6, Quietness – Kepler Quartet (New World Records CD-80730)
 * String Quartet No. 7
 * String Quartet No. 8
 * String Quartet No. 6
 * "Quietness" (string quartet and voice)
 * 2014: Ben Johnston: Ruminations – Eclipse String Quartet, John Schneider (voice, microtonal guitar), Karen Clark (voice), Jim Sullivan (clarinet), Sarah Thornblade (violin) (MicroFest Records CD-5)
 * "The Tavern"
 * "Revised Standards"
 * "Parable"
 * 2011: Ben Johnston: String Quartets Nos. 1, 5 & 10 – Kepler Quartet (New World Records CD-80693)
 * String Quartet No. 5
 * String Quartet No. 10
 * String Quartet No. 1, "Nine Variations"
 * 2008: On Track: Commissions Vol. 2. – New Century Saxophone Quartet (Alanna Records ACD-6006, Pittsburgh)
 * Includes Johnston's "O Waly Waly Variations"
 * 2006: Ben Johnston: String Quartets Nos. 2, 3, 4 & 9 – Kepler Quartet (New World Records CD-80637)
 * String Quartet No. 9
 * Crossings: String Quartet No. 3
 * Crossings: The Silence
 * Crossings: String Quartet No. 4, "Amazing Grace"
 * String Quartet No. 2
 * 2005: Susan Fancher: Ponder Nothing (Innova Records)
 * Includes Johnston's "Ponder Nothing"
 * 2002: Cleveland Chamber Symphony. Vol. 1, 2 & 3 (Troppe Note Records)
 * Includes Johnston's "Songs of Loss"
 * 1997: Phillip Bush: Microtonal Piano (Koch International Classics 3-7369-2-H1)
 * Includes Johnston's Suite for Microtonal Piano
 * Includes Johnston's Sonata for Microtonal Piano
 * Includes Johnston's "Saint Joan"
 * 1996: Michael Cameron: Progression (Ziva Records)
 * Includes Johnston's "Progression"
 * 1993: Ponder Nothing: Chamber Music of Ben Johnston (New World Records 80432-2)
 * Septet for woodwinds, horn, and strings
 * "Three Chinese Lyrics"
 * "Gambit:"
 * "Five Fragments"
 * Trio
 * "Ponder Nothing"
 * 1995: The Stanford Quartet (Laurel Records)
 * Includes Johnston's String Quartet No. 9
 * 1976: Sound Forms for Piano (LP record, New World Records NW-203)
 * Includes Johnston's Sonata for Microtonal Piano
 * 1995: The Kronos Quartet: Released (compilation, Nonesuch Records)
 * Includes Johnston's String Quartet No. 4, "Amazing Grace"
 * 1993: Urban Diva – Dora Ohrenstein (soprano), Mary Rowell (violin), Phillip Bush (keyboards), Bill Ruyle and Jason Cirker (percussion), John Thompson (electric bass) (Emergency Music, Composers Recordings Incorporated CD-654)
 * Includes Johnston's "Calamity Jane to Her Daughter"
 * 1987: White Man Sleeps – Kronos Quartet (Elektra/Nonesuch 79163-2)
 * Includes Johnston's String Quartet No. 4, "Amazing Grace"
 * 1984: New Swingle Singers and New Vocal Workshop (Composers Recordings, Inc.)
 * Includes Johnston's "Sonnets of Desolation"
 * Includes Johnston's "Visions and Spels"
 * 1983: The New World Quartet (Composers Recordings, Inc.)
 * Includes Johnston's String Quartet No. 6
 * 1980: The Fine Arts Quartet (Nonesuch Records)
 * Includes Johnston's String Quartet No. 4, "Amazing Grace"
 * 1979: Music from the University of Illinois (Composers Recordings, Inc.)
 * Includes Johnston's Duo for flute and contrabass
 * 1970: Carmilla: A Vampire Tale (Vanguard Records)
 * 1969: John Cage & Lejaren Hiller – HPSCHD/ Ben Johnston – String Quartet No. 2. (LP record, Nonesuch Records H-71224)
 * 1969: The Contemporary Contrabass - Bertram Turetzky, contrabass (LP record, Nonesuch Records H-71237)
 * Includes Johnston's "Casta*"
 * 1968: New Music Choral Ensemble – Kenneth Gaburo, conductor (LP record, Ars Nova/Ars Antiqua Records AN1005)
 * Includes Johnston's "Ci-Git Satie"

Listening

 * Casta Bertram, Bertram Turetzky (NonesuchRecords, 1969) FLAC and liner notes MP3
 * String Quartet No. 2, Composers Quartet (Nonesuch, 1969) FLAC and liner notes MP3
 * String Quartet no. 6, New World Quartet (Composers Recordings Inc., 1983) liner notes MP3: click on "Johnston 01.mp3"
 * Sonnets of Desolation, New Swingle Singers and New Vocal Workshop (Composers Recordings Inc., 1984) liner notes MP3: click on "Johnston 02.mp3"
 * Visions and Spels, New Swingle Singers and New Vocal Workshop (Composers Recordings Inc., 1984) liner notes MP3: click on "Johnston 03.mp3" for part 1; click on "Johnston 04.mp3" for part 2

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

title: Ben Johnston (composer)


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List of WildBrain programs

This is a list of programs by WildBrain and its predecessors Decode Entertainment, Halifax Film Company, Studio B Productions, Wildbrain Entertainment, Cookie Jar Group/CINAR, DIC Entertainment, FilmFair, Ragdoll Productions, Epitome Pictures, Nerd Corps Entertainment, Iconix Brand Group, Echo Bridge Home Entertainment, Leucadia Films, and imX Communications.

Note that some shows were co-productions with other companies, and may or may not necessarily be owned by WildBrain.

WildBrain

 * Rastamouse (2011–2015) (co-production with Sony Pictures Television International)
 * SheZow (2012–2013) (co-production with Kickstart Productions and Moody Street Kids)
 * The Doozers (2013–2018) (co-production with The Jim Henson Company)
 * Transformers: Rescue Bots (2014–2016) (Seasons 3-4 for Hasbro Studios) (Season 1 was produced by Atomic Cartoons and Darby Pop Productions and Season 2 was produced by Vision Animation and Moody Street Kids)
 * Messy Goes to Okido (2015) (co-production with Doodle Productions)
 * Kuu Kuu Harajuku (2015–2019) (co-production with Vision Animation and Moody Street Kids)
 * Fangbone! (2016–2017) (co-production with Radical Sheep Productions)
 * Little People (2016–2018) (co-production with HIT Entertainment and Fisher-Price)
 * Rainbow Ruby (2016–2020) (co-production with CJ E&M)
 * Spongo, Fuzz & Jalapeña (2019) (co-production with Cheeky Little Productions)
 * Denis and Me (2020–present) (short series distributor; produced by Headspinner Productions)
 * The Brilliant World of Tom Gates (2021–present) (distributor; produced by TG Entertainment Ltd, Black Camel Pictures and Wild Child Animation)
 * Alva's World (2021–present) (distributor; produced by Kavaleer Productions)
 * Summer Memories (2022) (co-production with Aircraft Pictures and Yeti Farm)

Halifax Film/DHX Studios Halifax

 * Poko (2003–2006)
 * Lunar Jim (2006)
 * Bo on the Go! (2007–2011)
 * Animal Mechanicals (2008–2011)
 * The Mighty Jungle (2008) (co-production with Decode Entertainment)
 * Pirates: Adventures in Art (2010-2011)
 * Doozers (2013–2014) (co-production with The Jim Henson Company)
 * Inspector Gadget (2015–2018)
 * Wishenpoof! (2015)
 * Super Why! (2015–2016) (co-production with 9 Story USA) (Season 3)
 * Space Ranger Roger (2017)

Studio B Productions/DHX Studios Vancouver

 * Yvon of the Yukon (2000–2004) (co-production with Corus Entertainment)
 * What About Mimi? (2000–2003) (co-production with Decode Entertainment)
 * D'Myna Leagues (2000–2002) (co-production with CTV)
 * Yakkity Yak (2002–2003) (co-production with Kapow Pictures and Nickelodeon Productions)
 * Something Else (2003) (co-production with TV-Loonland AG and Family Channel Canada)
 * Being Ian (2005–2008) (co-production with Nelvana)
 * Class of the Titans (2005–2008) (co-production with Nelvana)
 * The Amazing Adrenalini Brothers (2006–2007) (co-production with Bejuba Entertainment and Pesky)
 * George of the Jungle (2007–2008) (season 1 only; co-production with DreamWorks Classics)
 * Ricky Sprocket: Showbiz Boy (2007–2009) (co-production with Bejuba Entertainment and SnowdenFine Animation)
 * Martha Speaks (2008–2014) (co-production with WGBH)
 * Kid vs. Kat (2008–2011)
 * My Little Pony: Friendship Is Magic (2010–2019) (co-production with Top Draw Animation for Hasbro Studios)
 * Pound Puppies (2010–2013) (co-production for Hasbro Studios)
 * Littlest Pet Shop (2012–2016) (co-production for Hasbro Studios)
 * Packages from Planet X (2013–2014) (co-production with American Greetings)
 * Dr. Dimensionpants (2014–2015) (co-production with The Factory Backwards Entertainment)

Nerd Corps Entertainment

 * Dragon Booster (2004–2006)
 * Storm Hawks (2007–2009)
 * League of Super Evil (2009–2012)
 * Hot Wheels Battle Force 5 (2009–2011)
 * Rated A for Awesome (2011–2012)
 * Slugterra (2012–present) (co-produced with Disney XD Canada (now Family Chrgd))
 * Monster High (2012–2016) (co-produced with Mattel)
 * Max Steel (2013–2016)
 * Endangered Species (2015)

Wildbrain Entertainment

 * Space is Dum (1999–2001)
 * Poochini (2000–2002) (distributed by Studio 100)
 * Yo Gabba Gabba! (2007–2015)
 * Team Smithereen (2009–2011)
 * The Ricky Gervais Show (2010–2012)
 * Bubble Guppies (2011) (season 1; co-production for Nickelodeon Productions)
 * UMIGO (2012–2014)

Ragdoll Productions

 * Tronji (2009–2010)
 * The Adventures of Abney & Teal (2011–2012)
 * Dipdap (2011–2013)
 * Twirlywoos (2015–2017)

Mattel Television

 * Fireman Sam (1987–1994; 2005–present)
 * Bob the Builder (1999–2011)
 * Little People (1999–2002, 2004–2005) (co-produced by Egmont Imagination, Cuppa Coffee Studios, and Wreckless Abandon Studios)
 * Polly Pocket (2010–2018)
 * Bob the Builder (2015) (2015–2018)

Iconix Brand Group

 * The Charlie Brown and Snoopy Show (1983–1985) (produced by Lee Mendelson/Bill Melendez Productions)
 * This Is America, Charlie Brown (1988–1989) (produced by Lee Mendelson/Bill Melendez Productions)
 * Strawberry Shortcake (2003–2008) (produced by DIC Entertainment and American Greetings)
 * Strawberry Shortcake's Berry Bitty Adventures (2010–2015) (co-production with MoonScoop Group and American Greetings)

Jay Ward Productions

 * Rocky and His Friends/The Bullwinkle Show (1959–1965)
 * The Adventures of Rocky and Bullwinkle
 * Fractured Fairy Tales
 * Aesop and Son
 * Bullwinkle's Corner
 * Mr. Know-It-All
 * The Rocky and Bullwinkle Fan Club
 * Peabody's Improbable History
 * Dudley Do-Right of the Mounties
 * Hoppity Hooper (1963–1967)
 * George of the Jungle (1967-1968)
 * Super Chicken
 * Tom Slick

WildBrain

 * Satisfaction (2013) (co-production with Bell Media and Lionsgate)
 * Topsy and Tim (2013–2015)
 * Hank Zipzer (2014–2016) (co-production with Walker Productions and Kindle Entertainment)
 * Teletubbies (2015–2018)
 * Playdate (2015) (co-production with Sinking Ship Entertainment)
 * Backstage (2016–2017) (co-production with Fresh TV)
 * Airmageddon (2016) (UK production for CBBC)
 * We Are Savvy (2016–2018)
 * Creeped Out (2017–2019) (UK production for CBBC)
 * Massive Monster Mayhem (2017)
 * Waffle the Wonder Dog (2018–present)
 * Bajillionaires (2019)
 * I Woke Up a Vampire (2023)

Decode Entertainment/WildBrain Studios Toronto

 * Brats of the Lost Nebula (1998-1999) (co-production with Jim Henson Productions)
 * Our Hero (2000–2002) (co-production with Heroic Film Company)
 * The Zack Files (2000–2002)
 * The Hoobs (2001–2002) (co-production with The Jim Henson Company)
 * Be the Creature (2003–2004)
 * Radio Free Roscoe (2003)
 * Naturally, Sadie (2005–2007)
 * The Adrenaline Project (2007–2008) (co-production with YTV)
 * The Latest Buzz (2007–2010)
 * Grandpa in My Pocket (2009, Season 1 distribution only)
 * Waybuloo (2009–2014) (co-production with The Foundation)
 * How to Be Indie (2009–2011) (co-production with Heroic Film Company and YTV)
 * Make It Pop (2015–2016) (co-production with Tom Lynch Company, N'Credible Entertainment, and Nickelodeon)
 * The Other Kingdom (2016) (co-production with Tom Lynch Company and Nickelodeon)

Halifax Film/DHX Studios Halifax

 * This Hour Has 22 Minutes (2005–present)
 * North/South (2006)
 * The Guard (2008–2009)
 * That's So Weird! (2009–2012)

Wildbrain Entertainment/DHX Los Angeles

 * Yo Gabba Gabba! (2007–2015)

Ragdoll Productions

 * Rosie and Jim (1990–2000)
 * Brum (1991–2002)
 * Open a Door (1992)
 * Tots TV (1993–1998)
 * Tots Video (1997)
 * Teletubbies (1997–2001)
 * Teletubbies Everywhere (2002)
 * Boohbah (2003–2006)
 * Blips (2005–2006)
 * In the Night Garden... (2007–2009)

Echo Bridge Entertainment
AAC Kids

Jay Ward Productions

 * Fractured Flickers (1962–1964)

CINAR/Cookie Jar Entertainment

 * The Wonderful Wizard of Oz (compilation films based on 1986 anime)
 * The Wonderful Wizard of Oz (1987)
 * The Marvelous Land of Oz (1987)
 * Ozma of Oz (1987)
 * The Emerald City of Oz (1987)
 * Madeline (television specials) (1988–1991) (co-produced by DIC Entertainment for the original special, and France Animation for the remaining five specials)
 * Madeline (April 9, 1988)
 * Madeline's Christmas (December 25, 1990)
 * Madeline and the Bad Hat (August 11, 1991)
 * Madeline and the Gypsies (September 25, 1991)
 * Madeline's Rescue (October 18, 1991)
 * Madeline in London (November 28, 1991)
 * The Real Story of... (co-produced by France Animation)
 * The Real Story of Humpty Dumpty (July 18, 1990)
 * The Real Story of the Three Little Kittens (December 15, 1990)
 * The Real Story of Itsy Bitsy Spider (October 16, 1991)
 * The Real Story of O Christmas Tree (December 21, 1991)
 * The Real Story of Happy Birthday to You (January 4, 1992)
 * The Real Story of Twinkle Twinkle Little Star (1992)
 * The Real Story of Au Clair de La Lune (1992)
 * A Gift of Munsch (1994)
 * The Sleep Room (two part miniseries; 1998) (co-produced by Alpha Media)
 * Sparky N'Arfman (1999; pilot for Nick Jr.)
 * Arthur (1996–2022; seasons 1–15 only)
 * Arthur's Perfect Christmas (2000, co-produced by WGBH Educational Foundation)
 * Arthur, It's Only Rock and Roll (2002, co-produced by WGBH Educational Foundation)
 * Caillou's Holiday Movie (2003)

Ragdoll Productions

 * Badjelly the Witch (2000)

Echo Bridge Entertainment

 * Roxanne's Best Christmas Ever (1999)

AAC Kids
 * Boys and Girls (1983)
 * The Bamboo Brush (1984)
 * I Know a Secret (1984)
 * The Cutaway (1992)
 * Celtic Electric (1998)
 * Talking to Americans (2001)

WildBrain

 * Sara Solves It (2015) (co-production with WGBH Educational Foundation and Out of the Blue Enterprises)
 * Bob's Broken Sleigh (2015) (co-produced by Eh-Okay Entertainment)
 * Ghost Patrol (2016)

WildBrain

 * My Little Pony: Equestria Girls (2013) (co-production with Hasbro Studios)
 * Hamlet & Hutch (2013)
 * My Little Pony: Equestria Girls – Rainbow Rocks (2014) (co-production with Hasbro Studios)
 * Across the Line (2015)
 * My Little Pony: Equestria Girls – Friendship Games (2015) (co-production with Hasbro Studios)
 * Full Out (2016)
 * My Little Pony: Equestria Girls – Legend of Everfree (2016) (co-production with Hasbro Studios)
 * My Little Pony: Equestria Girls TV specials (2017) (co-production with Hasbro Studios)
 * My Little Pony: The Movie (2017) (co-production with Allspark Pictures, Distributed by Lionsgate)

WildBrain (original)/DHX Los Angeles

 * Out In Space (1997)
 * Humanstein (1998)
 * A Dog Cartoon (1998)
 * Hubert's Brain (2001)

CINAR/Cookie Jar Entertainment

 * Hockey Night (1984)
 * Letters from a Dead Man (1986) (English version)
 * John the Fearless (1987)
 * Cat City (1987)
 * The Treasure of Swamp Castle (1988)
 * Train Mice (1989)
 * The Great Cheese Conspiracy (1989)
 * Million Dollar Babies (1994)
 * Bonjour Timothy (1995)
 * Wish Upon a Star (1996)
 * The Best Bad Thing (1997)
 * The Whole of the Moon (1997)
 * Ghost of Dickens' Past (1998)
 * A Winter of Turmoil (1998) (co-produced with Image & Compagnie)
 * Sally Marshall Is Not an Alien (1999)
 * Heart: The Marilyn Bell Story (1999)
 * Revenge of the Land (1999)
 * Who Gets the House? (1999)
 * Kayla (1999)
 * Ivor the Invisible (2001)
 * Both Sides of the Law (2001)

Epitome Pictures

 * School's Out (1992)
 * Degrassi Goes Hollywood (2009)
 * Degrassi Takes Manhattan (2010)

Echo Bridge Entertainment

 * Magic Kid (1993)
 * Bigfoot: The Unforgettable Encounter (1994)
 * Magic Kid 2 (1994)
 * The Power Within (1995)
 * Two Bits & Pepper (1995)
 * Earth Minus Zero (1996)
 * My Uncle the Alien (1996)
 * Tiger Heart (1996)
 * Hollywood Safari (1997)
 * Little Bigfoot (1997)
 * Little Bigfoot 2: The Journey Home (1998)
 * Secret of the Andes (1998)
 * Undercover Angel (1999)
 * When Zachary Beaver Came to Town (2003)

AAC Kids
 * Wild Horse Hank (1979)
 * The War Boy (1985)
 * A Child's Christmas in Wales (1987)
 * Clarence (1990)
 * Star Runner (1990)
 * The Girl from Mars (1991)
 * Alligator Pie (1991)
 * Heck's Way Home (1995)
 * Saltwater Moose (1996)
 * Northern Lights (1997)
 * The Girl with Brains in Her Feet (1997)
 * Ms. Bear (1997)
 * Mowgli's First Adventure: In Search of the Elephant Eye Diamond (1998)
 * Emma's Wish (1998)
 * New Waterford Girl (1999)
 * Jett Jackson: The Movie (2001)
 * Confessions of an Ugly Stepsister (2001)
 * Bowling for Columbine (2002)
 * The Man Who Saved Christmas (2002)

Nerd Corps Entertainment/WildBrain Studios Vancouver

 * Slugterra: Ghoul from Beyond (2014) (Co-produced with Disney XD Canada)
 * Slugterra: Return of the Elementals (2014) (Co-produced with Disney XD Canada, Shout Factory, Screenvision and Cineplex )
 * Slugterra: Slug Fu Showdown (2015) (Co-produced with Disney XD Canada)
 * Slugterra: Eastern Caverns (2015) (Co-produced with Disney XD Canada)
 * Slugterra: Into The Shadows (2016) (Co-produced with Family Chrgd)

Mattel Television

 * Polly Pocket: Lunar Eclipse (2003)
 * Polly Pocket 2: Cool at the Pocket Plaza (2005)
 * PollyWorld (2006)
 * Rainbow Magic: Return to Rainspell Island (2010)

Iconix Brand Group

 * Strawberry Shortcake: The Sweet Dreams Movie (2006)
 * The Strawberry Shortcake Movie: Sky's the Limit (2009)

title: List of WildBrain programs


text:
Century Dictionary

The Century Dictionary and Cyclopedia is one of the largest encyclopedic dictionaries of the English language. It was compared favorably with the Oxford English Dictionary, and frequently consulted for more factual information than would normally be the case for a dictionary.

History
The Century Dictionary is based on The Imperial Dictionary of the English Language, edited by Rev. John Ogilvie (1797–1867) and published by W. G. Blackie and Co. of Scotland, 1847–1850, which in turn is an expansion of the 1841 second edition of Noah Webster's American Dictionary. In 1882 The Century Company of New York bought the American rights to The Imperial Dictionary from Blackie and Son.

The first edition of the Century Dictionary was published from 1889 to 1891 by The Century Company, and was described as "six volumes in twenty four". The first edition runs to 7,046 pages and features some 10,000 wood-engraved illustrations. It was edited by Sanskrit scholar and linguist William Dwight Whitney, with Benjamin Eli Smith's assistance.

In 1895 a 10-volume edition was published, with the first eight volumes containing the dictionary proper, and the last two containing a biographical dictionary and a world atlas. Editions in either the 10 or 8 volume format were published in 1899, 1901, 1902, 1903 and 1904. In 1901 the title and subtitle changed slightly from The Century Dictionary; an encyclopedic lexicon of the English language to The Century Dictionary and Cyclopedia; a work of universal reference in all departments of knowledge, with a new atlas of the world. Further editions were published in 1906, 1909 and 1911, this time in 12 volumes each.

After Whitney's death in 1894, supplementary volumes were published under Smith's supervision, including The Century Cyclopedia of Names (1894) and The Century Atlas (1897). A two-volume Supplement of new vocabulary, published in 1909, completed the dictionary. A reformatted edition, The Century Dictionary and Cyclopedia, was published in 1911 in twelve quarto volumes: ten of vocabulary, plus the volume of names and the atlas. This set went through several printings, the last in 1914. The same year, the ten vocabulary volumes were published as one giant volume, about 8500 pages in a very thin paper. The now much coveted India paper edition also appeared around this time, usually in five double volumes (rarely, in 10 single volumes) plus one additional for the Cyclopedia.

The completed dictionary contained over 500,000 entries, more than Webster's New International or Funk and Wagnalls New Standard, the largest other dictionaries of the period. Each form of a word was treated separately, and liberal numbers of quotations and additional information were included to support the definitions. In its etymologies, Greek words were not transliterated.

Although no revised edition of the dictionary was ever again published, an abridged edition with new words and other features, The New Century Dictionary (edited by H.G. Emery and K.G. Brewster; revision editor, Catherine B. Avery,) was published by Appleton-Century-Crofts of New York in 1927, and reprinted in various forms for over thirty-five years. The New Century became the basis for the American College Dictionary, the first Random House Dictionary, in 1947. The three-volume New Century Cyclopedia of Names, an expansion of the 1894 volume, was published in 1954, edited by Clarence Barnhart.

The Century Dictionary was admired for the quality of its entries, the craftsmanship in its design, typography, and binding, and its excellent illustrations. It has been used as an information source for the makers of many later dictionaries, including editors of the Oxford English Dictionary, who cited it over 2,000 times in the first edition. In 1913, a Ph.D. dissertation on "American Dictionaries" concluded its 14-page chapter on the Century Dictionary with the assessment that the work "far surpasses anything in American lexicography".

Typography and typesetting
The Century Dictionary was typeset and printed by Theodore Low De Vinne, who gave it a typographic aesthetic that foreshadowed a norm of 20th century book printing. Prefigured in De Vinne's work on the Century Magazine from its origins as Scribner's Monthly in 1870, the printer eschewed the thin hairlines and reduced legibility of the 'modern' serif typefaces that were predominantly used in the mid-eighteen-hundreds, favouring Caslon as a sturdier and more legible 'old style' face instead. Due to the complexity of typesetting a large dictionary, De Vinne also devised an elaborate composition stand that gave compositors access to more than seven hundred boxes of type and special sorts within easy reach.

Digitization efforts
The works are out of copyright, and efforts have been made to digitize the volumes.

24-part set
1889–91

Twelve-volume set

 * 1911, University of Michigan and Cornell University

General sources

 * Adams, James Truslow. Dictionary of American History. New York: Scribner, 1940.

title: Century Dictionary


text:
Retro-engineering

Retro-engineering can refer to:
 * Personalization, adaptation or retrofitting of a product or device that was not intended to be modified
 * Reverse engineering, the process of discovering the technological principles of something by analysis of it

title: Retro-engineering


text:
Caudal

Caudal may refer to:

Anatomy

 * Caudal (anatomical term) (from Latin cauda; tail), used to describe how close something is to the trailing end of an organism
 * Caudal artery, the portion of the dorsal aorta of a vertebrate that passes into the tail
 * Caudal cell mass, the aggregate of undifferentiated cells at the caudal end on the spine
 * Caudal fin, the tail fin of a fish
 * Caudal vertebrae, that make up the tail of tailed animals

Places

 * Caudal (comarca), an administrative division of Asturias, Spain
 * Caudal (river), in northern Spain
 * Caudal Hills, Antarctica

Other uses

 * Caudal (protein), a family of homeobox transcription factors
 * Anne-Lise Caudal (born 1984), a French golfer

title: Caudal


text:
Tropicália

Tropicália, also known as tropicalismo , was a Brazilian artistic movement that arose in the late 1960s. It was characterized by the amalgamation of Brazilian genres—notably the union of the popular and the avant-garde, as well as the melding of Brazilian tradition and foreign traditions and styles. Today, tropicália is chiefly associated with the musical faction of the movement, which merged Brazilian and African rhythms with British and American psychedelia and pop rock. The movement also included works of film, theatre, and poetry.

The term tropicália (tropicalismo) has multiple connotations in that it played on images of Brazil being that of a "tropical paradise". Tropicalia was presented as a "field for reflection on social history". The movement was begun by a group of musicians from Bahia notably Caetano Veloso, Gilberto Gil, Gal Costa, Tom Zé, and the poet-lyricist Torquato Neto. Later the group moved from Salvador (the capital of Bahia) to São Paulo where they met with collaborators Os Mutantes and Rogério Duprat among others. They went on to produce the 1968 album Tropicália: ou Panis et Circencis, which served as the movement's manifesto.

Tropicália was not only an expression in analyzing and manipulating culture but also a mode of political expression. The tropicália movement came to fruition at a time when Brazil's military dictatorship and left-wing ideas held distinct but prominent amounts of power simultaneously. The tropicalists' rejection of both sides' version of nationalism (the military's conservative patriotism and the ineffectual bourgeois anti-imperialism) was met with criticism and harassment.

The dissolution of the movement by the early 1970s gave rise to a new wave of soloists and groups identifying as “post-tropicalist”. The movement has inspired many artists nationally and internationally. Additionally, tropicalia continues to be a main feature in the original Bahian group and their fellows’ work.

Background
A dominant principle of tropicália was antropofagia, a type of cultural "cannibalism" that encouraged the consumption of disparate influences, both temporal and geographic, as well as categorical, out of which could be created something uniquely Brazilian. It was a blurring of lines and preexisting conceptions of high and low art forms, as well as prestigious and marginalized artistic and political expressions. The idea was originally put forth by poet Oswald de Andrade in his Manifesto Antropófago, published in 1928, and was developed further by the tropicalistas in the 1960s.

While concrete poets were not an initial influence upon the group's works, the two groups, particularly Veloso, Gil, and Augusto de Campos, would go on to share an intellectual partnership in São Paulo. This partnership would help the tropicalistas to form connections with other artists around the city, most notably Rogério Duprat.

Helio Oiticica’s 1967 work “Tropicalia” shares its name and aesthetic with the movement. The movement also utilized Carmen Miranda, a Brazilian/Portuguese international star, who in Brazil had come to be viewed as inauthentic. The use of Carmen Miranda's image and motifs became synonymous with the movement. Veloso in particular would imitate the icons gestures and mannerisms during performances. This usage was intentionally done as a means to address the concept of "authenticity". Miranda was seen as presenting a caricature of what true Brazilian-ness was by Brazilians while international audiences saw her as a representative of Brazil and its culture. This dichotomy provided the means by which the tropicalistas could address the concept of authenticity in such a fashion that it was striking to their audiences.

Musical movement
The 1968 album Tropicália: ou Panis et Circencis is regarded as the musical manifesto of the tropicália movement. Although it was a collaborative project, the main creative forces behind the album were Caetano Veloso and Gilberto Gil. The album experimented with unusual time signatures and unorthodox song structures, and also mixed tradition with innovation. Politically, the album expressed criticism of the coup d'état of 1964. Key artists of the movement include Os Mutantes, Gilberto Gil, Gal Costa and Caetano Veloso. According to Maya Jaggi, "Gil was partly inspired by Jorge Ben Jor, a Rio musician on the fringes of the movement, who mixed urban samba and bossa nova with rhythm and blues, soul and funk."

The anarchistic, anti-authoritarian musical and lyrical expressions of the tropicalistas soon made them a target of censorship and repression by the military junta that ruled Brazil in this period, as did the fact some of the collective, including Veloso and Gil, also actively participated in anti-government demonstrations. The tropicalistas' passionate interest in the new wave of American and British psychedelic music of the period - most notably the work of the Beatles - also put them at odds with Marxist-influenced students on Brazil's left, whose aesthetic agenda was strongly nationalistic, and oriented towards 'traditional' Brazilian musical forms. This leftist faction vigorously rejected anything - especially tropicalismo - which they perceived as being tainted by the corrupting influences of Western capitalist popular culture. The politico-artistic tensions between leftist students and the tropicalistas reached a climax in September 1968, with Caetano Veloso's watershed performances at the third International Song Festival, held in the auditorium of Rio's Catholic University, where the audience not surprisingly included a large contingent of left-wing students.

Veloso had won a major song prize at the previous year's festival, when he was backed by an Argentinian rock band, and although his unconventional performance caused some initial consternation, he managed to win over the crowd and was feted as a new star of Brazilian popular music. By late 1968, however, Veloso was fully immersed in the tropicalia experiment, and his performances, which were expressly intended as provocative art "happenings", caused a near-riot. In the first round of the competition on 12 September, Veloso was initially greeted by enthusiastic applause, but the mood quickly changed when the music started. Veloso came on dressed in a bright green plastic tunic, festooned with electrical wires and necklaces strung with animal teeth, and his backing band Os Mutantes were also dressed in similarly outlandish attire. The ensemble launched into a barrage of psychedelic music, played at high volume, and Veloso further outraged the students with his overtly sexual stage movements. The crowd reacted angrily, shouting abuse at the performers and booing loudly, and their fury was only exacerbated by the surprise appearance of an American pop singer, John Dandurand, who joined Veloso on stage and grunted incoherently into the microphone.

After such a powerful negative reaction, Veloso was unsure whether to appear in the second round on 15 September, but his manager convinced him to go on, and this chaotic performance was recorded live and later released as a single. The students in the audience began hissing as soon as Veloso's name was announced, even before he had even taken the stage. Wearing the same green costume (minus the wires and necklaces), Veloso came on with Os Mutantes amid a storm of catcalls, and the group launched into a provocative new song Veloso had written for the occasion, "É Proibido Proibir" ("It is Forbidden to Forbid"), the title of which he had taken from a photo of a Parisian protest poster, which he had seen reproduced in a local magazine. The booing and jeering was soon so loud that Veloso struggled to be heard over the din, and he again deliberately taunted the leftists with his sexualised stage actions. Within a short time the performers were being pelted with fruit, vegetables, eggs and a rain of paper balls, and a section of the audience expressed their disapproval by standing up and turning their backs to the performers, prompting Os Mutantes to respond in kind by turning their backs on the audience. Infuriated by the students' reaction, Veloso stopped singing and launched into a furious improvised monologue, haranguing the students for their behaviour and denouncing what he saw as their cultural conservatism. He was then joined by Gilberto Gil, who came on stage to show his support for Veloso, and as the tumult reached a crescendo, Veloso announced he was withdrawing from the competition, and after deliberately finishing the song out of tune, the tropicalistas defiantly walked offstage, arm-in-arm.

On December 27, 1968, Veloso and Gil were arrested and imprisoned by the military government over the political content of their work. After two months, the two were released and subsequently forced to seek exile in London, where they lived and resumed their musical careers until they were able to return to Brazil in 1972.

In 1993, Veloso and Gil released the album Tropicália 2, celebrating 25 years of the movement and commemorating their earlier musical experiments.

Critiques
Tropicália's controversy can be traced to the uncertain and unfriendly relationship the members of the movement had with the mass media. The movement's emphasis on art clashed with the media's need for mass appeal and marketability. Tropicália additionally had an image of sensuality and flamboyance. This was a protest to the reinstated oppression of Brazil's military rule in the 1960s, and an additional cause for media pushback. In 1968, tropicália events at clubs, music festivals, and television shows attracted media attention and aroused tension between Caetano Veloso and Gilberto Gil and their critics. This widespread attention attracted the attention and suspicion of the military, who feared tropicália's influence of protest in the cultural realm.

Near the end of 1968, tropicália experienced a shift to a more overt association with international countercultures and movements, most notably that of African-American Black Power in the United States. The movement was becoming increasingly leftist, and pushed for artistic output. At a later tropicália concert in the same year, during a performance by Caetano Veloso, a riot erupted in the auditorium between tropicalists and supporters of nationalist-participant music. The nationalists were primarily college students, and the uproar culminated with screams and hurling garbage at Veloso. The nationalist-participant group's resistance of the movement was nothing new, but this incident was the tipping point of their opposition. At the nightclub Sucata, tropicália shows became increasingly resistant to Brazil's military-run society. Due to Veloso's refusal to censor the shows to government wishes, the military began to monitor tropicália events. On December 27, 1968, at the peak of government repression, Caetano Veloso and Gilberto Gil were arrested, detained, and exiled to London for two and a half years.

Modern critic Roberto Schwarz addresses tropicália's hand in solidifying the idea of the absurd as a permanent evil of Brazil, and its issues with an ideological mentality. However, the approaches of the movement were ever-shifting and did not stick to one central idea.

Influence

Throughout the 1940s until her death in 1955, the singer and actress Carmen Miranda made Hollywood musicals and performed live. Before first appearing on Broadway in 1939, she had a successful career in Brazil throughout the 1930s and was known as the "Queen of Samba". Yet after she gained international success in the United States, many Brazilians regarded her elaborate costume and performance as a caricature of Brazilian culture. In Caetano Veloso's 1968 song "Tropicália", the musician references Carmen Miranda whose vulgar iconography were an inspiration. Caetano Veloso has said Carmen Miranda was a "culturally repulsive object" for his generation. Scholar Christopher Dunn says that by embracing Carmen, Veloso treats her as "an allegory of Brazilian culture and its reception abroad".

Many tropicalistas have maintained a presence in Brazilian popular culture, specifically through MPB (Brazilian pop music). Gilberto Gil and Caetano Veloso are both respectively popular nationally and around the globe. Tom Zé, a tropicalista who had largely faded into obscurity at the end of the movement, saw a resurgence of critical and commercial interest in the 1990s.

Tropicalismo has been cited as an influence by rock musicians such as David Byrne, Beck, the Bird and the Bee, Arto Lindsay, Devendra Banhart, El Guincho, Of Montreal, and Nelly Furtado. In 1998, Beck released Mutations, the title of which is a tribute to Os Mutantes. Its hit single, "Tropicalia", reached number 21 on the Billboard Modern Rock singles chart.

Tropicália has morphed not only the Brazilian music scene itself but, the way Brazilian music is viewed. Tropicália expanded what Brazilians view as properly “authentic” and since the '90s broadened the way international audiences experienced and understood Brazilian music. Tropicália created a new precedent for artistic hybridization allowing for a diversity of sounds and styles in those who were inspired by the movement.

In 2021, scientists named a species of Brazilian tree frog, Scinax tropicalia after this movement.

Post Tropicália
Tropicalia introduced two very unusual movements to modern Brazil – antropofagia and. In addition to this was pop music from abroad that helped inaugurate postmodernism in Brazil. In spite of the falling-outs and violence, there is a permanence of tradition in Oswald's antropofagia, who at one point of time conflicted with the idea of Romantic Indianism of the nineteenth century. These ideas were and still are seen in theaters and people's notions that involved a relationship that tied back to a longer history of poetic creations.

Moreover, members of tropicalia who were not arrested or tortured, voluntarily escaped into exile in order to get away from the strict and repressing authorities. Many continuously went back and forth between different countries and cities. Some were never able to settle down. People like Caetano, Gil, and Torquato Neto, spent time in places like London, New York, or Paris. Some, but not all, were allowed to return to Brazil after years had passed. Others, still could only stay for short periods of time.

At the same time, underground magazines were expanding and this gave those who were overseas a chance to speak up about their experiences. Oiticica, for example, was one who moved to New York and published a magazine article titled, “Mario Montez, Tropicamp”. The names for the titles that were used related to the risky and systematic aims during the times of tropicalia. These magazines also told the stories of others who were in the United States and home in Brazil. By tropicalia going underground, there was a unity of the members within the group because people like Oiticica sent these writing to Brazil so that the articles could circulate locally.

In 2002, Caetano Veloso published an account of the tropicália movement, Tropical Truth: A Story of Music and Revolution in Brazil. The 1999 compilation Tropicália Essentials, featuring songs by Gilberto Gil, Caetano Veloso, Gal Costa, Tom Zé, and Os Mutantes, is an introduction to the style. Other compilations include The Tropicalia Style (1996), Tropicália 30 Anos (1997), Tropicalia: Millennium (1999), Tropicalia: Gold (2002), and Novo Millennium: Tropicalia (2005). Yet another compilation, Tropicalia: A Brazilian Revolution in Sound, was released to acclaim in 2006.

A 2012 documentary film, Tropicália, was made on the subject and artists in general; directed by Brazilian filmmaker Marcelo Machado, where Fernando Meirelles served as one of its executive producers.

title: Tropicália


text:
User talk:Snooweatinganima~enwiki

Hello Snooweatinganima, welcome to Wikipedia. I hope you enjoy editing here and being a Wikipedian. You can learn more on the how to edit page. The naming conventions and manual of style pages are also useful. Feel free to experiment at the Sandbox. If you have any questions about the project then check out Help or add a question to the Village pump. Angela

Your account will be renamed
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Renamed
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title: User talk:Snooweatinganima~enwiki


text:
User talk:Tiptyper

Hello Tiptyper, welcome to Wikipedia. I hope you enjoy editing here and being a Wikipedian. You can learn more on the how to edit page. The naming conventions and manual of style pages are also useful. Feel free to experiment at the Sandbox. If you have any questions about the project then check out Help or add a question to the Village pump. Angela

Image source problem with Image:Gkos opened.jpg
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Your user page
I found your old user page while checking out some old deleted contributions. I have history merged it, so that all edits are in one place. Hope you don't mind. Graham 87 10:55, 22 January 2009 (UTC)

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title: User talk:Tiptyper


text:
User talk:Terse

Hello Terse, welcome to Wikipedia. I hope you enjoy editing here and being a Wikipedian. You can learn more on the how to edit page. The naming conventions and manual of style pages are also useful. Feel free to experiment at the Sandbox. If you have any questions about the project then check out Help or add a question to the Village pump. Angela

Editing peoples comments
Please be aware that I am removing the last change that altered one of my comments on this Afd. Alternatively I would have to puzzle my comment together again out of his comment, but I dont want to do that. I reminded the author to undo his changes on my comment a day ago, without an answer. Greertings, --Rhun 14:54, 15 August 2007 (UTC)

Separeted the comments manually.
In the hopy that you will stop tinkering with the discussion, I have separated the two paragraphs manually. Have a nice day. --Rhun 15:06, 15 August 2007 (UTC)

Reverting and altering an Afd discussion.
If you do not stop actively altering the progrees of the Afd discussion, you will get listed yourself on the vandalism in progress list. --Rhun 15:18, 15 August 2007 (UTC)

Articles for deletion/Srbosjek (2)
Hi, thanks for partaking in the above discussion. However, please do not reformat other users' comments. If you wish to respond to another user's comments point by point (ie. splitting them up), please copy them and quote them as you wish, leaving the original post in tact. Thanks. -- Waggers 15:24, 15 August 2007 (UTC)

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

title: User talk:Terse


text:
User talk:Blake (usurped)

Hello Blake, welcome to Wikipedia. I hope you enjoy editing here and being a Wikipedian. You can learn more on the how to edit page. The naming conventions and manual of style pages are also useful. Feel free to experiment at the Sandbox. If you have any questions about the project then check out Help or add a question to the Village pump. Angela

Request for Usurpation
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Thank you for your time. Beelake (talk) 00:49, 8 December 2007 (UTC))

Request for Usurpation
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Thank you for your time. -- Blake  01  19:37, 22 July 2008 (UTC)

Take the name?
I found it odd this name almost got taken twice, yet hasnt. What happened, and can I have the name please? --Bws2cool (talk) 01:20, 20 March 2009 (UTC)

Request for Usurpation
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Thank you for your time. —Preceding unsigned comment added by Bws2cool (talk • contribs) 13:05, 20 March 2009 (UTC)

Request for Usurpation
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Thank you for your time.  - sorf ane 14:18, 19 August 2009 (UTC)

Request for Usurpation
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Thank you for your time. Blake (Talk·Edits) 16:41, 16 October 2009 (UTC)

title: User talk:Blake (usurped)


text:
User talk:David Thrale

Welcome to Wikipedia
Hello David, welcome to Wikipedia. I hope you enjoy editing here and being a Wikipedian. You can learn more on the how to edit page. The naming conventions and manual of style pages are also useful. Feel free to experiment at the Sandbox. If you have any questions about the project then check out Help or add a question to the Village pump. Angela

Hi David. Welcome to the 'pedia and thanks for your contributions. I am living in Londoner so I think our interests overlap a bit. I was wondering if you could clear up the copyright status of the image of Bobby Moore atImage_talk:1966_final_bobby_moore.jpg - I know there are several similar pictures and it would be good to know that we aren't using a picture that is going to cause copyright problems. Thanks Pete 23:10 1 Jul 2003 (UTC)

 * Thanks for the welcome Angela and Pete. Having only just found Wikipaedia, I think it is absolutely fabulous (do the BBC own the copyright to that phrase?). I think that we are safe with the ubiquitous Bobby Moore image. It is very widely used, and is, for example, used on the BBC website. I took note of the Wiki Copyright paranoia advice before uploading. David Thrale 10:03 2 Jul 2003 (UTC)

Editing articles
Hi David. Saw your village pump Qu. If you start an article, make sure it is formatted as far as it goes, and that it is obvious that there is more to come, so we don't get duplication of effort with someone picking up where you had left off. Alternatively, create your own sandbox to play in. There is an example linked from my user page. jimfbleak 11:51 2 Jul 2003 (UTC)

 * I've stuck a sandbox and image on your user page, dump either or both if you don't want them.

Hi, David, Saw your village pump question about drafts. By the way, anything you add to village pump should go to the bottom of the page. I'm not sure what those who advocate only posting longer finished articles expect (I am definitely not of those who do). You could, I suppose. keep them stored on your own computer until they meet what is envisioned as the minimum standard. I personally would simply post any draft to the article then return to it later when I wanted to work on it more. Many times no one will have paid any attention to it anyway. Fred Bauder 12:17 2 Jul 2003 (UTC)
 * Many times though someone does take notice of it. I've lost count of the number of times i've gone to bed thinking " I'll finish such and such part of the article tomorrow" and found when coming back the next day, that someone has done a lot of the work for me. Of course YMMV depending on how popular the topic is. My advice to you David would be, by all means use a sandbox, (I do) but don't fret too much about getting it perfect. Concentrate on adding some solidly researched facts, as that is the most difficult bit. Everything else can be fixed later. Theresa knott 13:01 2 Jul 2003 (UTC)

Food
Hi. I'm glad you're interested in expanding the 'how to keep food safe' article. I think part of the problem as it stands is that the article just needs to be longer. I'm of the opinion the list is good where it is, providing it's part of a longer article on food-borne diseases in general. 'How to keep food safe' would be an appropriate section in such an article, in my opinion anyway. One foodstuff not mentioned in the Food poisoning article is hamburger, which is a huge issue in North America. E coli poisoning has resulted in a number of deaths, and it is impossible to estimate how many thousands of people are made ill each year by eating improperly prepared hamburger. Good luck; I look forward to seeing the results. Denni 17:45, 2004 Mar 13 (UTC)

SL1200
David, Thanks for you work on the SL-1200 page; it look much nicer now. Also thanks for adding the picture, i was planning on adding one myself, but now i don(t have to :). btw: I moved the page to Technics SL-1200, because it seams better to me to include the manufactorers name. Ddhuyvet 09:58, 12 May 2004 (UTC)

Hi David, I have added some more info in the Technics_SL-1200 page. I've added a few models and made some other small changes. Ddhuyvet 14:29, 13 May 2004 (UTC)

User page layout
I would strongly suggest that you remove any kind of font or font size specification on your user page. It makes your page very difficult to read, as it overrides any browser font specification that users with poor eyesight may have in place.

Darrien 12:15, 2004 Jul 2 (UTC)

 * Hi Darren. Thanks for the advice. I have fixed it. Does it look OK for you now? David Thrale

 * Yes, thank you.

 * Darrien 15:12, 2004 Jul 2 (UTC)

Article Licensing
Hi, I've started a drive to get users to multi-license all of their contributions that they've made to either (1) all U.S. state, county, and city articles or (2) all articles, using the Creative Commons Attribution-Share Alike (CC-by-sa) v1.0 and v2.0 Licenses or into the public domain if they prefer. The CC-by-sa license is a true free documentation license that is similar to Wikipedia's license, the GFDL, but it allows other projects, such as WikiTravel, to use our articles. Since you are among the top 2000 Wikipedians by edits, I was wondering if you would be willing to multi-license all of your contributions or at minimum those on the geographic articles. Over 90% of people asked have agreed. For More Information:
 * Multi-Licensing FAQ - Lots of questions answered
 * Multi-Licensing Guide
 * Free the Rambot Articles Project

To allow us to track those users who muli-license their contributions, many users copy and paste the " " template into their user page, but there are other options at Template messages/User namespace. The following examples could also copied and pasted into your user page:

 * Option 1
 * I agree to multi-license all my contributions, with the exception of my user pages, as described below:

OR
 * Option 2
 * I agree to multi-license all my contributions to any U.S. state, county, or city article as described below:

Or if you wanted to place your work into the public domain, you could replace " " with "  ". If you only prefer using the GFDL, I would like to know that too. Please let me know what you think at my talk page. It's important to know either way so no one keeps asking. -- Ram-Man (comment| talk)

Image copyright problem with Image:Reading festival sticker 1976.png
Thank you for uploading Image:Reading festival sticker 1976.png. However, it currently is missing information on its copyright status. Wikipedia takes copyright very seriously. It may be deleted soon, unless we can determine the license and the source of the image. If you know this information, then you can add a copyright tag to the image description page.

If you have any questions, please feel free to ask them at the media copyright questions page. Thanks again for your cooperation. NOTE: once you correct this, please remove the tag from the image's page. STBotI (talk) 23:14, 31 January 2008 (UTC)

Queeney Thrale
Hi David. I've recently created the page Hester Maria Elphinstone, Viscountess Keith, and have used and linked to the articles on her parents you created, and to your excellent resource at thrale.com. If there's any input you can make to improve Queeney's page, your knowledge and expertise would be very welcome.

One thing you might be able to help me with is her burial place. Mary Hyde is emphatic that she's buried in the Keith mausoleum in Overton Kirkyard, with her husband and daughter ( - see the footnote beginning on that page and spilling over onto the next one), and this article on the kirkyard appears to confirm that her plaque, at least, is there. However, your link at thrale.com puts her in Brookwood Cemetery in England, in another Keith family mausoleum - see here. Are you able to let me know which is correct? Many thanks, Ka renjc 13:33, 30 August 2008 (UTC)

 * Karenjc Great new page on Queeney. I have, belatedly, made some changes, mainly to clarify your confusion around her writings. Thanks for the heads up on her place of burial. You are entirely right, Thrale.com had the wrong Keith family mausoleum. I have now put things right. Thanks David Thrale (talk) 09:23, 17 May 2010 (UTC)

 * That's great, David, thanks a lot. It must be fun to come from such a fascinating and well-documented family!  Ka renjc 18:23, 17 May 2010 (UTC)

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

title: User talk:David Thrale


text:
Maya (American TV series)

Maya is an American hour-long adventure television series that aired on NBC, Saturdays from 7:30 p.m. to 8:30 p.m., from September 16, 1967 until February 10, 1968. The series is a follow-up to the 1966 film of the same name, with Jay North and Sajid Khan reprising their roles. Set in the Indian jungle, the series centered on an American boy searching for his missing father, a big game hunter.

Synopsis
The series starred teenage Jay North (famous for starring as Dennis the Menace as a child) as Terry Bowen, and Indian actor Sajid Khan (also prominent in his homeland from his child-acting background) as Raji, a native boy who joined up with the lead. Raji's elephant, Maya, gave the series its name. Maya was Terry and Raji's source of transportation, as well as providing help when flight or rescue was needed.

In the first episode teenage Terry Bowen arrives in India to reunite with his father, who he soon learns is missing, presumed killed by a tiger. Facing deportation back to the United States, Terry escapes the authorities, and meets up by chance with orphaned runaway Raji and his pet elephant, Maya; and the two boys decide to team up to go in search of Terry's father, as Terry is hopeful his father is actually still alive. Over the course of the series the duo and the elephant continue their search while facing many side-plots, but never succeed in their quest in the episodes made during the series' short run.

Production
Filmed entirely on location, the series was produced by Frank King, who had also produced the 1966 feature film, Maya, which inspired the series and starred Jay North, Sajid Khan, and Clint Walker as Terry's estranged father, who is never seen in the TV series. The series ended after 18 episodes. It featured guest appearances by several noted Indian character actors, such as Iftekhar, Prem Nath and I. S. Johar.

Japanese singer Rajie got her stage name from the character Raji.

DVD release
On August 19, 2014, Warner Bros. released the complete series on DVD in Region 1 for the very first time via their Warner Archive Collection. This is a manufacture-on-demand (MOD) release.

title: Maya (American TV series)


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User talk:A aule

Hello, welcome to Wikipedia. I hope you enjoy editing here and being a Wikipedian. You can learn more on the how to edit page. The naming conventions and manual of style pages are also useful. Feel free to experiment at the Sandbox. If you have any questions about the project then check out Help or add a question to the Village pump. Angela

title: User talk:A aule


text:
Väinämöinen

Väinämöinen is a demigod, hero and the central character in Finnish folklore and the main character in the national epic Kalevala by Elias Lönnrot. Väinämöinen was described as an old and wise man, and he possessed a potent, magical singing voice.

In Finnish mythology
The first extant mention of Väinämöinen in literature is in a list of Tavastian gods by Mikael Agricola in 1551, where it says: "Aeinemöinen wirdhet tacoi." (lit. '"Väinämöinen forged the chants."') He and other writers described Väinämöinen as the god of chants, songs and poetry; in many stories Väinämöinen was the central figure at the birth of the world. The Karelian and Finnish national epic, the Kalevala, tells of his birth in the course of a creation story in its opening sections. This myth has elements of creation from chaos and from a cosmic egg, as well as of earth diver creation.

At first there were only primal waters and Sky. But Sky also had a daughter named Ilmatar. One day, Ilmatar descended to the waters and became pregnant. She gestated for a very long time in the waters not being able to give birth. One day a goldeneye was seeking a resting place and flew to the knee of Ilmatar, where it laid its eggs. As the bird incubated its eggs Ilmatar's knee grew warmer and warmer. Eventually she was burned by the heat and responded by moving her leg, dislodging the eggs that then fell and shattered in the waters. Land was formed from the lower part of one of the eggshells, while sky formed from the top. The egg whites turned into the moon and stars, and the yolk became the sun.

Ilmatar continued to float in the waters. Her footprints became pools for fish, and by pointing she created contours in the land. In this way she made all that is. Then one day she gave birth to Väinämöinen, the first man. Väinämöinen swam until he found land, but the land was barren. With Sampsa Pellervoinen he spread life over the land.

In the eighteenth century folk tale collected by Cristfried Ganander, Väinämöinen is said to be son of Kaleva and thus brother of Ilmarinen. His name is believed to come from the Finnish word väinä, meaning stream pool.

In the Kalevala

In the nineteenth century, some folklorists, most notably Elias Lönnrot, the writer of Kalevala, disputed Väinämöinen's mythological background, claiming that he was an ancient hero, or an influential shaman who lived perhaps in the ninth century. Stripping Väinämöinen from his direct godlike characteristics, Lönnrot turned Väinämöinen into the son of the primal goddess Ilmatar, whom Lönnrot had invented himself. In this story, it was she who was floating in the sea when a duck laid eggs on her knee. He possessed the wisdom of the ages from birth, for he was in his mother's womb for seven hundred and thirty years, while she was floating in the sea and while the earth was formed. It is after praying to the sun, the moon, and the great bear (the stars, referring to Ursa Major) that he is able to leave his mother's womb and dive into the sea.

Väinämöinen is presented as the 'eternal bard', who exerts order over chaos and established the land of Kaleva, and around whom revolve so many of the events in Kalevala. His search for a wife brings the land of Kaleva into, at first friendly, but later hostile contact with its dark and threatening neighbour in the north, Pohjola. This conflict culminates in the creation and theft of the Sampo, a magical artifact made by Ilmarinen, the subsequent mission to recapture it, and a battle which ends up splintering the Sampo and dispersing its parts around the world to parts unknown.

Väinämöinen also demonstrated his magical voice by sinking the impetuous Joukahainen into a bog by singing. Väinämöinen also slays a great pike and makes a magical kantele from its jawbones.

Väinämöinen's end is a hubristic one. The 50th and final poem of the Kalevala tells the story of the maiden Marjatta, who becomes pregnant after eating a berry, giving birth to a baby boy. This child is brought to Väinämöinen to examine and judge. His verdict is that such a strangely born infant needs to be put to death. In reply, the newborn child, mere two weeks old, chides the old sage for his sins and transgressions, such as allowing the maiden Aino, sister of Joukahainen, to drown herself. Following this, the baby is baptized and named king of Kalevala. Defeated, Väinämöinen goes to the shores of the sea, where he sings for himself a boat of copper, with which he sails away from the mortal realms. In his final words, he promises that there shall be a time when he shall return, when his crafts and might shall once again be needed. Thematically, the 50th poem thus echoes the arrival of Christianity to Finland and the subsequent fading into history of the old pagan beliefs. This is a common theme among epics, for in the tale of King Arthur, Arthur declares a similar promise before departing for Avalon.

In the original 1888 translation of Kalevala into English by John Martin Crawford, Väinämöinen's name was anglicised as Wainamoinen.

In other cultures
In the Estonian national epic Kalevipoeg, a similar hero is called Vanemuine. In neighbouring Scandinavia, Odin shares many attributes with Väinämöinen, such as connections to magic and poetry.

Popular culture
The Kalevala has been translated into English and many other languages, in both verse and prose, in complete and abridged forms. For more details see list of Kalevala translations.

J. R. R. Tolkien
Väinämöinen has been identified as a source for Gandalf, the wizard in J. R. R. Tolkien's novel The Lord of the Rings. Another Tolkienian character with great similarities to Väinämöinen is Tom Bombadil. Like Väinämöinen, he is one of the most powerful beings in his world, and both are ancient and natural beings in their setting. Both Tom Bombadil and Väinämöinen rely on the power of song and lore. Likewise, Treebeard and the Ents in general have been compared to Väinämöinen.

Akseli Gallen-Kallela
In art (such as the accompanying picture by Akseli Gallen-Kallela), Väinämöinen is described as an old man with a long white beard, which is also a popular appearance for wizards in fantasy literature.

Music
In music, Finnish folk metal band Ensiferum wrote three songs based on/about Väinämöinen, called "Old Man", "Little Dreamer" and "Cold Northland". There is also a direct reference to him in their song "One More Magic Potion", where they have written "Who can shape a kantele from a pike's jaw, like the great One once did?". The band's mascot, who appears on all their albums, also bears a similarity to traditional depictions of Väinämöinen. Another Finnish metal band named Amorphis released their tenth album The Beginning of Times in 2011. It is a concept album based on the myths and stories of Väinämöinen. Yet another well-known Finnish metal band, Korpiklaani has released a song about the death of Väinämöinen, Tuonelan Tuvilla, as well as an English version named "At The Huts of the Underworld". A song on the album Archipelago by Scottish electronic jazz collective Hidden Orchestra is also named "Vainamoinen". Philadelphia based Black metal band Nihilistinen Barbaarisuus released a song about Väinämöinen simply called "Väinämöinen" on their second studio album The Child Must Die in 2015. In classical music, Väinämöinen appears as the main character in the first movement of Jean Sibelius' original music for the "Days of the Press" celebrations of 1899. The first tableaux in this music known as Väinämöinen's Song later became the first movement of Sibelius' 1911 orchestral suite Scènes Historiques. Väinämöinen is also the theme of a composition for choir and harp by Zoltán Kodály, "Wainamoinen makes music", premiered by David Watkins.

Science fiction and fantasy
Joan D. Vinge's The Summer Queen contains characters named Vanamoinen, Ilmarinen, and Kullervo. They are not the characters from the legend though but may have been inspired by them. That book is the sequel to her Hugo Award-winning novel The Snow Queen.

Väinämöinen is also a major character in The Iron Druid Chronicles novel, Hammered by Kevin Hearne. The series follows the Tempe, Arizona-based 2,100 year-old Irish Druid, Atticus O'Sullivan. This book's main plot is the ingress of several characters - the Slavic thunder god Perun, O'Sullivan, a werewolf, a vampire, Finnish folk legend Väinämöinen, and Taoist fangshi Zhang Guolao - into Asgard to kill Norse thunder god Thor, all for their own varied reasons.

Comic books
There is a Finnish comic strip called "Väinämöisen paluu" (The Return of Väinämöinen) by Petri Hiltunen, where Väinämöinen returns from thousand-year exile to modern Finland to comment on the modern lifestyle with humor.

In the storyline "Love her to Death" of the web-comic Nukees, Gav, having died, arrives to an afterlife populated by gods. Among them is Väinämöinen, who, among other things, complains that one only gets women by playing the electric kantele.

In the Uncle Scrooge comic "The Quest for Kalevala", drawn by Don Rosa, Väinämöinen helps Scrooge and company to reassemble the Sampo (mythical mill that could produce gold from thin air) and then leaves with it back to Kalevala, but not before giving Scrooge its handle as a souvenir.

In the webcomic "Axis Powers Hetalia", the character of Finland was given the human name Tino Väinämöinen.

title: Väinämöinen


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User talk:JasonM~enwiki

Hello Jason, welcome to Wikipedia. I hope you enjoy editing here and being a Wikipedian. You can learn more on the how to edit page. The naming conventions and manual of style pages are also useful. Feel free to experiment at the Sandbox. If you have any questions about the project then check out Help or add a question to the Village pump. Angela

Jason, there is an existing article Buckminster Fuller,  jimfbleak

Hi, There seems to be some vote on the issue of the redesigned front page set up by those opposed to it. As you expressed a liking for the new page (as did I!) it might be worth casting your vote there, lest the boring old sods who prefer the old page get their way and return to the dull old look. The vote is at Talk:Main Page/Layout design. lol FearÉIREANN 01:58 5 Jul 2003 (UTC)

Naming convention for television articles
Hi. Seeing as you were once previously interested in a naming convention, I'd like to invite you to vote on adoption of Naming conventions (television). Voting is taking place on the Talk page and ends on Sep 13 2004. -- Netoholic 23:23, 22 Aug 2004 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called JasonM. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name JasonM~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 00:48, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 14:16, 22 April 2015 (UTC)

title: User talk:JasonM~enwiki


text:
Tapio

Tapio may refer to:

 * Tapio (given name), a Finnish male given name
 * Tapio (surname), a Finnish surname
 * Tapio (spirit), a god or spirit in Eastern Finnish mythology
 * Tapiola, one of the major urban centres within the city of Espoo, outside of Helsinki
 * Tapiola, Michigan, an unincorporated community in Houghton County, Michigan, United States
 * Tapiola, a symphonic poem by Jean Sibelius that was one of his last compositions
 * Tápió, the name of a stream in Hungary. See Hydrography of Hungary

title: Tapio