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Marmora's warbler

Marmora's warbler (Curruca sarda) is a typical warbler in the Sylviidae family. The specific sarda is a Latin feminine form for a person from Sardinia.

Taxonomy
Marmora's warbler was formerly described in 1820 by the Dutch zoologist Coenraad Jacob Temminck under the binomial name Sylvia sarda. Temminck based his account on a manuscript by the Italian soldier and naturalist Alberto della Marmora that had been read at the Academy of Turin in August 1819. Marmora's warbler is now one of 27 species placed in the genus Curruca that was introduced by the German naturalist Johann Matthäus Bechstein in 1802. The species is monotypic: no subspecies are recognised.

Distribution and habitat
It breeds on Mediterranean islands, typically including Corsica and Sardinia. The smaller Balearic Islands bird is given specific status as Balearic warbler, Curruca balearica. These two seem to form a superspecies which in turn groups with Tristram's warbler and the Dartford warbler. They are generally resident but some birds migrate south to winter in north Africa. They are rare vagrants to northern and western Europe. These small passerine birds are found in open country with thorny bushes and heather. 3-5 eggs are laid in a nest in a bush. Like most warblers, they are insectivorous.

Description
These are small, long tailed, large-headed birds, overall very similar to their close relatives in the Dartford warbler group. Marmora's warblers are grey above and below, lacking the brick-red underparts of the Dartford warbler. Adult males have darker patches on the forehead and between the eye and the pointed bill. The legs and iris are red. The song is a fast rattle. Immature birds can be confused with young Dartford warblers, which are also grey below, but Marmora's have a paler throat. Their iris is dark.

title: Marmora's warbler


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The Angels (American group)

The Angels were an American girl group best known for their 1963 No. 1 hit single "My Boyfriend's Back".

The Angels originated in New Jersey as the Starlets, consisting of sisters Barbara "Bibs" and Phyllis "Jiggs" Allbut, Bernadette Carroll, and Lynda Malzone. They had local hits and worked as backup singers in the studio. Linda Jansen replaced Malzone as lead singer, and the group eventually changed their name to the Angels. In 1963, they signed with Mercury Records' subsidiary Smash Records and released their biggest hit, "My Boyfriend's Back," which reached number one on the Billboard Hot 100 and sold over one million copies. The group underwent several lineup changes and disputes over their name, resulting in a temporary rebranding as the Halos. In 2005, the Angels were inducted into the Vocal Group Hall of Fame. As of 2021, Phyllis Allbut and Peggy Santiglia are the last remaining founding members of the group still alive.

History
The group originated in New Jersey as the Starlets which consisted of sisters Barbara "Bibs" and Phyllis "Jiggs" Allbut, Bernadette Carroll, and Lynda Malzone. They had minor local hits and wound up doing back-up work in the studio. When Malzone left, Linda Jansen became the new lead singer. Their manager, Tom DeCillis, turned his focus to Bernadette Carroll and dropped the rest of the group. Carroll would find solo success in 1964 with her Laurie Records single "Party Girl". After a failed attempt at a record deal with producer Gerry Granahan, the Allbut sisters turned their focus to education: Phyllis was in teacher's college at the time and Barbara was accepted into the Juilliard School for her abilities as a musical arranger. Soon Granahan, who had previously rejected the group, saw hit potential in the song they had performed for him in their audition, a version of "Till", and wanted them to record it in the studio. "Till" became their first single under their new name, the Angels, and also their first hit (No. 14 US) when it was released by Granahan's Caprice label in 1962. The song was followed up with a second national hit, "Cry Baby Cry". The Angels had one album on Caprice, titled ...And the Angels Sing, in 1962.

Jansen left the group in late 1962 to go solo and was replaced by Peggy Santiglia, formerly of The Delicates (with Denise Ferri and Arleen Lanzotti). Santiglia had sung jingles for WINS Radio, appeared on Broadway, and had songwriting experience. In 1963, the trio signed to Mercury Records' subsidiary label Smash Records and began working with the Feldman-Goldstein-Gottehrer songwriting team, who wrote "My Boyfriend's Back". The Angels' performance (with Santiglia on lead) was originally intended as a demo for The Shirelles' consideration, but the music publishers chose instead to release it as it stood. The song was a major hit, reaching number one on the Billboard Hot 100. "My Boyfriend's Back" sold over one million copies, and was awarded a gold disc. The follow-up was the lower-charting "I Adore Him" (No. 25 US). The B-side "Thank You And Goodnight" charted at No. 84 US. During their Smash career, the Angels maintained a steady string of moderately successful singles which included "Wow Wow Wee (He's The Boy For Me)" (No. 41 US). Their album My Boyfriend's Back  made the top forty, charting at No. 33. but their next, A Halo to You, did not chart. The group left Smash in 1964 and signed with Congress Records.

The group became the Halos, following a dispute over the ownership of the name "the Angels". Peggy Santiglia took a leave of absence from the group in 1965 and was replaced by Toni Mason. The group released several more singles, none of which charted. Mason left the group in 1967 and was replaced by Debra Swisher (previously of The Pixies Three), who had recently recorded and released her own version of "Thank You And Goodnight" on the ABC-Paramount Records subsidiary, Boom Records. This lineup resumed using the name "the Angels" and released a handful of singles on RCA Records. Former Starlet Bernadette Carroll was back in the group and became the new lead. They appeared on The Dean Martin Show before disbanding in 1968. Santiglia and Phyllis and Barbara Allbut regrouped in the early 1970s and released a new single on Polydor Records.

Phyllis Allbut and Santiglia continued to perform as the Angels, joined occasionally by Barbara Allbut.

In 2005, the Angels were inducted in the Vocal Group Hall of Fame.

Depicted by actresses, the Angels are shown singing "My Boyfriend's Back" in the 2014 film Jersey Boys, based on the Broadway hit musical about Frankie Valli and The Four Seasons. Both groups originated in New Jersey.

On October 5, 2018, former member Bernadette Carroll died at the age of 74.

On February 19, 2019, the Angels' original lead singer Linda Jansen died at the age of 74.

On July 10, 2021, founding member Barbara "Bibs" Allbut Brown died at the age of 80, leaving her sister Phyllis and Peggy as the last remaining founding members of the group still alive.

Members

 * Barbara "Bibs" Allbut Brown (born September 24, 1940, in Orange, New Jersey; died July 10, 2021)
 * Phyllis "Jiggs" Allbut Sirico (born September 24, 1942, in Orange, New Jersey)
 * Linda Jansen (born Linda Jankowski, July 7, 1944, in Newark, New Jersey; died February 19, 2019)
 * Peggy Santiglia Ricker (born May 4, 1944, in Belleville, New Jersey)
 * Bernadette Carroll (born Bernadette Dalia, June 21, 1944, in Elizabeth, New Jersey; died October 5, 2018, at her home in Florida)

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

title: The Angels (American group)


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Talk:Water polo

Goalkeeper half-court rules
The rules have been changed, and the goalkeeper is now permitted to move past the half-distance line. Please change the article to reflect that. https://collegiatewaterpolo.org/wp-content/uploads/2020/06/2020-2022PRXWP_MajorRulesChanges.pdf https://resources.fina.org/fina/document/2021/01/12/a13c160d-b94a-4b63-93aa-a06fa370433f/2019_2021_wp_rules_congress_amended_06012020_0.pdf 136.244.131.34 (talk) 19:11, 24 April 2023 (UTC)

Recent translation of water polo book in French
https://la84.org/wp-content/uploads/LA84WaterPolo_Fr.pdf Pete.snyd (talk) 22:47, 17 May 2023 (UTC)

Semi-protected edit request on 2 October 2023
I want to Remove mouthgar: A mouthguard is not mandatory in most tournaments but is recommended." Because, as a waterpolo player I have never seen or heard of mouthguards being recommended because you would not be able to breath easily and you could not tell your team that your opponent is flanking trying to steal the ball etc. Br meast (talk) 16:33, 2 October 2023 (UTC)
 * Red information icon with gradient background.svg Not done for now: While I have not removed this from the article, it does not have a source. So I have instead tagged it with the citation-needed template. In the meantime, if you are able to provide reliable sources directly explaining that water polo players do not wear mouth guards, this would support removing it from the equipment list. If you provide a source, please reactivate this edit request by following the instructions provided in the box on the right. -- Pinchme123 (talk) 01:39, 6 October 2023 (UTC)

References for the sport of water polo
below is a pdf listing publicized by the LA84foundation. It was translated to French in 2022. Given that the current Olympics (2024) is in France I would encourage adding a second pdf to the Footnote/reference section https://la84.org/wp-content/uploads/LA84WaterPolo_Fr.pdf Merci 2600:8802:5700:5ED:4824:AAAA:900:D116 (talk) 17:04, 24 June 2024 (UTC)

title: Talk:Water polo


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Tony Iommi

Anthony Frank Iommi Jr. (born 19 February 1948) is an English musician. He co-founded the pioneering heavy metal band Black Sabbath, and was the band's guitarist, leader, primary composer, and sole continuous member for over five decades. He is considered one of the pioneers of heavy metal music and is responsible for inspiring numerous subgenres of metal, most notably doom metal. Iommi was ranked number 13 on Rolling Stone 's 2023 list of the “250 Greatest Guitarists of all Time.

On his last day of work in a sheet metal factory, as a teenager, Iommi lost the tips of the middle and ring fingers of his right hand in an accident, an event which crucially impacted his playing style. He briefly left Black Sabbath (then known as Earth) in 1968 to join Jethro Tull, but did not record any material with the band, and subsequently returned to Black Sabbath in 1969. In 2000, he released his first solo album Iommi, followed by 2005's Fused, which featured his former bandmate Glenn Hughes. After releasing Fused, he formed Heaven & Hell, which disbanded shortly after the death of Ronnie James Dio in 2010 (they toured on Black Sabbath songs when Dio was in the band but changed the name for legal reasons).

In 2011, Iommi published his autobiography, entitled Iron Man: My Journey Through Heaven and Hell with Black Sabbath.

Early life
Iommi was born at Heathfield Road Maternity Hospital in Birmingham, the only child of Italian immigrants Sylvia Maria (née Valenti) from Palermo, Sicily, and Anthony Frank Iommi Sr. from Marche. Sylvia's family were vineyard owners in Italy. The family was Catholic, though they rarely attended Mass. Their family home in the Park Lane area of Aston also housed a shop which was a popular meeting place in the neighbourhood, with the living room doubling as the shop's stockroom. His mother ran the shop while his father was a carpenter by trade.

Born and raised in Handsworth, Birmingham, Iommi attended Birchfield Road School, where future bandmate Ozzy Osbourne was also a pupil one year behind him. At age 8 or 9, while being chased by another boy, Iommi fell and cut his upper lip. As a result, he gained the nickname "Scarface", which made him self-conscious, so he eventually grew his trademark moustache as a means of covering the scar.

At about age 10, Iommi began working out and learned judo, karate, and later boxing as a means of protecting himself from the local gangs which congregated in his neighbourhood. He envisioned a future as a bouncer in a nightclub. Iommi initially wanted to play the drums, but due to the excessive noise he chose the guitar instead as a teenager, after being inspired by the likes of Hank Marvin and the Shadows. He has always played guitar left-handed. After completing school, Iommi worked briefly as a plumber and later in a factory manufacturing rings. He stated that at one point he worked in a music store, but quit after being falsely accused of stealing.

Factory accident
At the age of 17, Iommi lost the tips of the middle and ring fingers of his right hand (his fret-board hand, since he is left-handed) in an industrial accident on his last day of work in a sheet metal factory. Iommi described how he "was told 'you'll never play again'. It was just unbelievable. I sat in the hospital with my hand in this bag and I thought, that's it – I'm finished. But eventually I thought 'I'm not going to accept that. There must be a way I can play'." After the injury, Iommi's factory foreman played him a recording of famous jazz guitarist Django Reinhardt, which encouraged him to continue as a musician. As Iommi later wrote: "My friend said, 'Listen to this guy play', and I went, 'No way! Listening to someone play the guitar is the very last thing I want to do right now!' But he kept insisting and he ended up playing the record for me. I told him I thought it was really good and then he said, 'You know, the guy's only playing with two fingers on his fretboard hand because of an injury he sustained in a terrible fire.' I was totally knocked back by this revelation and was so impressed by what I had just heard that I suddenly became inspired to start trying to play again."

Inspired by Reinhardt's two-fingered guitar playing, Iommi decided to try playing guitar again, though the injury made it quite painful to do so. Although it was an option, Iommi never seriously considered switching hands and learning to play right-handed. In an interview with Guitar World magazine, he was asked if he was "ever tempted to switch to right-handed playing." Iommi responded:

"If I knew what I know now I probably would have switched. At the time I had already been playing two or three years, and it seemed like I had been playing a long time. I thought I'd never be able to change the way I played. The reality of the situation was that I hadn't been playing very long at all, and I probably could have spent the same amount of time learning to play right handed. I did have a go at it, but I just didn't have the patience. It seemed impossible to me. I decided to make do with what I had, and I made some plastic fingertips for myself. I just persevered with it."

He ultimately decided to continue playing left-handed. To do so, he fitted homemade thimbles to his injured fingers to extend and protect them; the thimbles were made from an old Fairy Liquid bottle – "melted it down, got a hot soldering iron and shaped it like a finger" – and cut sections from a leather jacket to cover his new homemade prosthetic, which created two technical problems. First, the thimbles prevented him from feeling the strings, causing a tendency to press down very hard on them. Second, he had difficulty bending strings, leading him to seek light-gauge guitar strings to make it easier to do so. However, Iommi recalls that such strings were not manufactured at the time, so he used banjo strings instead, until around 1970–71 when Picato Strings began making light-gauge guitar strings. Furthermore, he used the injured fingers predominantly for fretting chords rather than single-note solos. In 1974, Iommi told Guitar Player magazine that the thimbles "helped with his technique" because he had to use his little finger more than he had before the accident. Later, he also began tuning his guitar to lower pitches, sometimes as far as three semitones below standard guitar tuning (e.g., on "Children of the Grave", "Lord of this World", and "Into the Void", all on the album Master of Reality). Although Iommi states that the main purpose of doing so was to create a "bigger, heavier sound", slackening the strings makes it easier to bend them.

Iommi reflected in 2016 saying that his greatest regret is losing his fingertips.

"It became a burden. Some people believe the accident invented heavy metal. It helped me invent a new kind of music. I play a new sound and a different style of playing, and a different sort of music. Really, it turned out to be a good thing off a bad thing. But I don't know whether it did. It's just something I've had to learn to live with. It affects your playing style; you can't feel the strings, and there are certain chords I can't play. Right at the beginning I was told by doctors: 'You won't be playing guitar.' But I believed I could do it, and I did."

Pre-Black Sabbath
Iommi had played in several blues/rock bands, one of the earliest of which was the Rockin' Chevrolets from 1964 to 1965. The band had regular bookings. Iommi later joined The Birds And Bees, and when they were offered work in Germany, Iommi decided to leave his factory job to take up the opportunity. From 1966 to 1967, Iommi played in a band named the Rest. It was in the Rest that Iommi first met future-Black Sabbath drummer Bill Ward, who played drums and sang in the band.

From January until July 1968 Iommi was guitarist in Mythology, with Ward joining a month later in mid-February. In May 1968 police raided the group's practice flat and found cannabis resin, which resulted in fines for the band members. Most significantly, the incident made it quite difficult for the band to secure future bookings as most club owners avoided bands they viewed as drug users. Mythology subsequently split up after a gig in Silloth on 13 July 1968.

In August 1968 at the same time as the break-up of Mythology, another Birmingham band called Rare Breed also broke up. Vocalist Ozzy Osbourne joined with Iommi and Ward after the duo responded to an advert in a local music shop proclaiming "Ozzy Zig Requires Gig – has own PA". Requiring a bassist, Osbourne mentioned his former Rare Breed bandmate Geezer Butler, who was subsequently hired along with slide guitarist Jimmy Phillips and saxophonist Alan "Aker" Clarke. The six-piece band were named the Polka Tulk Blues Band. After just two gigs (the last of which was at the Banklands Youth Club in Workington), Phillips and Clarke were dismissed from the band, which soon after shortened its name to Polka Tulk.

Earth and Jethro Tull
Iommi, Butler, Ward, and Osbourne renamed the band Earth in September 1968. The same month Iommi briefly departed to join Jethro Tull. However, after only two performances (an appearance on "The Rolling Stones Rock & Roll Circus" in which the band mimed "A Song for Jeffrey" while Ian Anderson sang live, and a live appearance at BBC), Iommi was back with Earth in November 1968.

Concerning his brief working relationship with Jethro Tull vocalist Ian Anderson, Iommi said: "I learned quite a lot from him, I must say. I learned that you have got to work at it. You have to rehearse. When I came back and I got the band (Earth) back together, I made sure that everybody was up early in the morning and rehearsing. I used to go and pick them up. I was the only one at the time that could drive. I used to have to drive the bloody van and get them up at quarter to nine every morning; which was, believe me, early for us then. I said to them, 'This is how we have got to do it because this is how Jethro Tull did it.' They had a schedule and they knew that they were going to work from this time till that time. I tried that with our band and we got into doing it. It worked. Instead of just strolling in at any hour, it made it more like we were saying, 'Let's do it!'"

Black Sabbath
In August 1969, after being confused with another group named Earth (who had minor success in England), the group renamed themselves Black Sabbath. His factory accident affected the Black Sabbath sound; Iommi had detuned his guitar by 1971's Master of Reality album, lowering string tension and easing the pain to his fingertips. Black Sabbath bassist Geezer Butler did the same to match Iommi. Sabbath was among the first bands to detune, and the technique became a mainstay of heavy metal music. Iommi combined blues-like guitar solos and dark, minor-key riffing with a revolutionary high-gain, heavily distorted tone with his use of power chords, a modified treble-boosting effect-pedal and a Gibson SG.

By the late 1970s, Black Sabbath were experiencing problematic substance use, managerial problems, and touring exhaustion. In addition, the band's slow, blues-driven riffs were seen by some as outmoded against the rising generation of metal bands such as Judas Priest and Motörhead. After the albums Technical Ecstasy and Never Say Die! were not universally critically well received, Iommi and Butler decided that Sabbath needed a fresh start so, in the summer of 1979, they replaced Osbourne with Ronnie James Dio, the former vocalist for Rainbow. With Dio, Black Sabbath produced Heaven and Hell, an album that attempted to update Black Sabbath's sound for the 1980s and include the soaring vocals that characterised the NWOBHM (New wave of British heavy metal) scene. Halfway through the 1980 tour, Bill Ward dropped out due to alcohol problems and displeasure with the direction that Dio was taking the band. He was replaced by Vinny Appice. With Iommi and Geezer Butler the only original members, this line-up produced Mob Rules. Dio quit the following year to begin a solo career, so Sabbath went through a revolving door line-up for the next decade with a succession of frontmen: Ian Gillan, Glenn Hughes, Ray Gillen, and Tony Martin. After Ian Gillan (formerly of Deep Purple) departed the band in 1984, Geezer Butler left as well. With Sabbath in effective hiatus, Iommi recorded his first solo album, entitled Seventh Star. The album featured Glenn Hughes (also formerly of Deep Purple) on vocals, but due to label pressures, it was billed as a release by "Black Sabbath featuring Tony Iommi".

In 1992, Iommi appeared at the Freddie Mercury Tribute Concert, playing four songs with the remaining members of Queen and other guest artists. Geezer Butler also returned to Sabbath that year. In the following year Iommi teamed up with fellow Black Country band Diamond Head and co-wrote the song "Starcrossed (Lovers in the Night)" for their 1993 Death and Progress album. At Osbourne's "farewell" concert at Costa Mesa in 1992, Dio refused to perform and abruptly left the band. As a result, Rob Halford was recruited to perform as the vocalist for two gigs (Halford also sang at one of the dates on the 2004 Ozzfest tour, when Osbourne couldn't perform due to bronchitis). Following Osbourne's solo set, the show concluded with the other members of the original Black Sabbath line-up joining for a 4-song reunion.

Black Sabbath went on to record two further albums with Tony Martin before the original line-up reunited as a touring band in 1997. While Bill Ward played at the two initial reunion shows at Birmingham NEC in December 1997, he was not present for the following two reunion tours, his second absence due to a heart attack. Ward was replaced by Mike Bordin and then Vinny Appice.

On 11 November 2011, Black Sabbath announced that they would be reuniting with the original line-up and would be recording a new album. Bill Ward did not participate and was eventually replaced by Rage Against the Machine drummer Brad Wilk for drum sessions. The new album, 13, was released in June 2013. They disbanded at the conclusion of The End Tour in early 2017.

On 9 September 2022, Iommi was featured as a guitarist for two tracks on Ozzy Osbourne's album Patient Number 9. On 8 August 2022, Iommi reunited with Osbourne to play at the closing ceremony of the 2022 Commonwealth Games in their home city of Birmingham. They were joined by 2017 Black Sabbath touring musicians Tommy Clufetos and Adam Wakeman for a medley of "Iron Man" and "Paranoid". Iommi was also involved in the opening ceremony on 28 July 2022, where he played guitar on a song called "Hear My Voice" performed by British saxophonist and rapper Soweto Kinch.

Solo career
In 2000, Iommi released his first proper solo album, titled Iommi. The album featured several guest vocalists including Ian Astbury, Skin, Henry Rollins, Serj Tankian, Dave Grohl, Billy Corgan, Phil Anselmo, Peter Steele, and Osbourne. In late 2004 Iommi's second solo album was released, entitled The 1996 DEP Sessions. This album was originally recorded in 1996 but was never officially released. However, a copy with a drum track by Dave Holland was available as a bootleg called Eighth Star. Glenn Hughes performed vocals on the album and he furthered his collaboration with Hughes with the release of his third solo album, Fused. Released on 12 July 2005, John Mellencamp drummer Kenny Aronoff completed the trio on the album.

Iommi has signed with Mike Fleiss's movie production company Next Films to score a series of horror films entitled Black Sabbath. Since 1989 Tony Iommi was involved in the Rock Aid Armenia project. In October 2009 Iommi and his colleague Ian Gillan were awarded the Orders of Honor – Armenia's highest order, which were delivered to them by the Prime Minister of Armenia for their help after the Spitak earthquake. They formed the supergroup WhoCares and recorded a single called "Out of my Mind", which was released 6 May 2011 for the benefit of the music school to be built in Gyumri, Armenia. In January 2012, when Iommi was announced to have stage 3 lymphoma, the Armenian Prime Minister sent a letter of support: "We know your spirit is strong as ever, and we do believe the genius of your inspiration that guides you through the work on the new Black Sabbath album will transform into a boost of strength and energy that you need now, when things look tough".

Iommi made an appearance in 2020 on the track "Astorolus—The Great Octopus" by Candlemass, which received a Grammy nomination.

November 2021 saw a completely different side to Tony with the launch of a perfume in collaboration with Italian brand Xerjoff. As well as the scent, Tony created a track and video, his first instrumental single – "Scent of Dark".

2022 brought appearances at both the opening and closing of the Commonwealth Games in Birmingham. Tony duetted at the opening with Indigo Marshall and was joined by Ozzy for the closing song.

He featured on two songs from the Ozzy Osbourne album Patient Number 9 – "No Escape from Now" and "Degradation Rules", the latter winning the Best Metal Performance Grammy in February 2023.

2023 has seen collaboration with Birmingham's Royal Ballet on Black Sabbath – The Ballet, which has proved to be a resounding success. His music from the first few Sabbath albums formed the bedrock that the complete music score was based on.

A Sky Arts documentary, Greatest Guitar Riffs, aired in November 2023, featured Tony and many close friends including Brian May discussing his work.

Heaven & Hell
In October 2006 it was reported that Iommi would tour with Ronnie James Dio, Geezer Butler and Bill Ward again, but under the name Heaven & Hell. Later it was announced that Ward had decided not to participate and Vinny Appice was hired as his replacement. Rhino Records released The Dio Years (under the 'Black Sabbath' moniker) album on 3 April 2007. The album showcased older tracks with Dio and also included three brand new songs recorded with Dio and Appice.

The band started an American tour in April 2007 with Megadeth and Down as opening acts. The tour finished in November in England with the prospect of an album to follow in 2008. During this period the band's show at the New York Radio City Music Hall was released as both a live DVD and CD with a vinyl release in the UK in 2008. During the summer of 2008 the band embarked on the Metal Masters Tour along with Judas Priest, Motörhead and Testament. The band's first and only studio album, The Devil You Know, was released on 28 April 2009.

In November 2008 Iommi had a star revealed on the Birmingham Walk of Stars. Dio died of stomach cancer in May 2010, and on 14 June 2010, Iommi announced that Heaven & Hell would perform a one-off tribute to Ronnie James Dio at the High Voltage Festival, London on 24 July 2010. This was the band's last performance under the name.

Eurovision Song Contest
Iommi wrote the song "Lonely Planet" which was sung by Dorians for Armenia in the 2013 Eurovision Song Contest.

Personal life
Iommi purchased his first house in Stafford, England, in 1972. He also purchased an adjacent property for his parents. Iommi has been married four times:
 * In late 1973, Iommi married Susan Snowdon, to whom he had been introduced by Black Sabbath's then-manager Patrick Meehan. The song "Fluff", one of Iommi's instrumental compositions later released on the Sabbath Bloody Sabbath album, was played as Snowdon walked down the aisle. Led Zeppelin drummer John Bonham was Iommi's best man for the ceremony. The marriage lasted for three years. Iommi said in a 1991 Guitar World interview that the troubled recording and mixing of Black Sabbath's 1976 album Technical Ecstasy contributed to the end of his marriage.
 * Iommi married American model Melinda Diaz in 1980. They had a daughter, Toni-Marie Iommi, in 1983, who was the vocalist for the now-defunct band LunarMile. Iommi divorced Melinda in the mid-1980s. When Toni-Marie was 12 years old, Iommi won custody of her after she was placed in foster care. Toni-Marie has described her early childhood with a mentally unbalanced mother as difficult but says that her father finally "saved her". She has stated that with her father she was able to regain her trust in other people. Mikko "Linde" Lindström, guitarist with Finnish band HIM, became engaged to Toni-Marie in August 2010. In 2013, the couple were reported to have broken up.
 * In 1986–1987, Iommi met an English woman named Valery, and after a six-year relationship they married. She had a son from a previous relationship named Jay. They divorced in the late 90s. Iommi confirmed in the same Guitar World interview referenced above (a co-interview with Metallica's James Hetfield) that he has a son. He told Hetfield regarding the band's so-called "Black Album", that "my son gave me a copy of your latest album...".
 * In 2005, Iommi married Maria Sjöholm, formerly vocalist for Swedish alternative metal band Drain STH. They met around 1998, when Tony was working on music for Drain STH. After a year of talking on the phone, in 1999, Maria relocated to England and moved into Tony's home. On 19 August 2005, without telling anyone, Maria and Tony married at the Sunset Marquis hotel. On page 312 of his book, Tony calls the low-key wedding the "Best thing I ever did!"

During the mid-1980s Iommi was briefly engaged to rock musician Lita Ford, formerly of The Runaways. Iommi co-produced her solo album The Bride Wore Black, which to date remains unreleased. Ford herself has said that her involvement with him during that period was strictly personal and that he had no involvement in the half-finished album. She said in a 1989 Kerrang! interview that "there's a certain amount of bad blood between Tony and I."

On 19 November 2013, Iommi received an Honorary Doctorate of Arts degree from Coventry University. The honorary degree came "in recognition of his contribution to the world of popular music", and recognised "his role as one of the founding fathers of heavy metal music and his status as one of the industry's most influential figures", the university said. Iommi is also a visiting professor of music at Coventry University.

Iommi holds dual British and Italian citizenship, acquiring the latter due to his parents.

Health
In early 2012, Iommi was diagnosed with the early stages of lymphoma, for which he underwent successful treatment. Black Sabbath's 2013 tour dates were arranged so that Iommi was free to return to the UK once every six weeks to have an antibody administered. On 3 January 2014, in a New Year message, Iommi announced that he would be finishing his regular treatment some time that year. A few months later, Black Sabbath announced that due to Iommi's health issues, they were undertaking their final tour. Tony Iommi announced that his cancer was in remission.

According to a report in Rolling Stone magazine from 9 December 2016, Iommi revealed that he was due to have an operation to remove a lump from his throat. In an early 2017 interview with the UK radio show Planet Rock, Iommi explained that the lump was not cancerous.

Religion
Iommi said in 2016 that he believed in God and was a Catholic, but that he had not attended church services since childhood. In January 2017, a choral work by Iommi entitled "How Good It Is" – with lyrics inspired by Psalm 133 – received its debut performance at Birmingham Cathedral. Catherine Ogle, the Dean of Birmingham, said, "This is a most wonderful gift Tony offered to the cathedral." Despite this, Iommi clarified to NBC News that "How Good It Is" wasn't anything to do with religion: "I don't follow any religious path... religiously", he stated.

In his autobiography, Tony writes that his parents were Catholics but weren't regular churchgoers. He continues, 'I hardly go to church either. I wouldn't know what to do there. I actually do believe in a God, but I don't feel that I have to press the point.'

Legacy and influence
Tony Iommi is widely considered to be one of the greatest rock guitarists of all time. In 2005, Metal Hammer magazine ranked him number 1 on the poll of the "Riff Lords", praising his "highly distinctive style of fretsmanship that's economical yet crushingly effective". In 2007, Classic Rock magazine ranked him number 6 on their list of the "100 Wildest Guitar Heroes". In 2011, Rolling Stone magazine ranked him number 25 in their list of the "100 Greatest Guitarists of All Time". Joel McIver ranked him the 6th greatest metal guitarist of all time. In 2012, readers of Guitar World ranked Iommi the seventh-greatest rock guitarist of all time. Editors of the same magazine ranked him the greatest heavy metal guitarist of all time.

Iommi has won a number of awards. These include Q Awards (Gibson Les Paul Award, 2015), Kerrang! Awards (Icon, 2018), as well as three Grammy Awards won as a member of Black Sabbath.

Ian Anderson of Jethro Tull has said: "Tony managed to turn his physical impairment around into something that makes him one of the guitar legends – if not for his dexterity of playing but at least for the fact that his contribution to rock music is a unique one". Gene Simmons of Kiss regards him as "the man who came up with the riffs that launched an army of guitar players"; Ozzy Osbourne calls him "the master of the metal riff" and Ronnie James Dio called him "the ultimate riff master".

Furthermore, Iommi is recognised by many as the main creator of heavy metal music. Brian May of Queen considers him "the true father of heavy metal", Eddie Van Halen stated that "without Tony, heavy metal wouldn't exist. He is the creator of heavy!" and James Hetfield of Metallica, who was profoundly influenced by Iommi, defines him "The king of the heavy riff". Rob Halford, vocalist for Judas Priest, when filling in for Ozzy Osbourne during an August 2004 concert in Philadelphia, introduced Iommi to the audience as "The man who invented the heavy metal riff". Michael Amott of Carcass and Arch Enemy considers Iommi his "guitar hero" and the world's greatest guitarist "because he invented the heavy tone and evil riff". According to Lamb of God singer Randy Blythe, "Iommi is the reason heavy metal exists". HP Newquist of the National Guitar Museum stated that "His guitar playing has defined the sound of heavy metal for more than four decades, and he has influenced countless thousands—if not millions—of players."

He has been credited as the forerunner of other styles: Martin Popoff defines him "the godfather of stoner rock"; Jeff Kitts and Brad Tolinski of Guitar World assert that "grunge, goth, thrash, industrial, death, doom... whatever. None of it would exist without Tony Iommi". According to Hawaii Public Radio: "it is hard to imagine Nirvana, Soundgarden, Pearl Jam or Alice in Chains without Black Sabbath, and without Tony Iommi. Judas Priest, Iron Maiden, Scorpions, Metallica, Slayer, Pantera and essentially every metal band can be traced to the musical framework found in Iommi compositions".

Many notable musicians count Iommi as a major influence on their own playing; some of them include Jeff Hanneman (Slayer), Dimebag Darrell (Pantera), Slash (Guns N' Roses, Velvet Revolver), Scott Ian (Anthrax), Zakk Wylde (Ozzy Osbourne, Black Label Society), Tom Morello (Rage Against the Machine), Billy Corgan (The Smashing Pumpkins), Kim Thayil (Soundgarden), and Nick Oliveri (Kyuss, Queens of the Stone Age). Jerry Cantrell of Alice in Chains was strongly influenced by Iommi's dark bendings, which he uses often. Andy LaRocque of King Diamond said that the clean guitar part of "Sleepless Nights" from the Conspiracy album is inspired by Iommi's playing on Never Say Die!.

Equipment
Iommi's deep and heavy sound was partly born out of necessity—his "revolutionary signature sound" being the result of the accident and the subsequent downtuning by three semitones. He said that his "extreme volume" was likewise necessary, "because we were fed up with people talking over us while we were playing."

Guitars
Built in Birmingham by luthier John Diggins sometime between 1975 and 1978, the guitar was first used for overdubs on the 'Heaven and Hell' album and later became one of Iommi's main guitars. The guitar is equipped with a 24 fret neck with custom cross inlays, four control knobs (three of which are functional), a disconnected second output jack, a hole for a master volume knob on the pick guard covered up with a black stopper and a highly distressed finish. He had two more built for him. One was made to the same specifications of his first Jaydee SG with a red finish. Another one was made and used during the Born Again era, which can be seen on the music videos for "Trashed" and "Zero the Hero". The differences are the finish, headstock, use of a stoptail bridge, and use of rail humbuckers, as opposed to the 18-pole humbuckers on his two other versions. A 1965 Gibson SG Special in red finish fitted with a Gibson P-90 pick-up in the bridge position and a custom-wound John Birch Simplux, a P-90 style single coil in the neck position. The guitar became Iommi's main instrument after his white Stratocaster's neck pick-up failed during the recording of Black Sabbath's self-titled album. It is currently on permanent display at the New York City Hard Rock Café. The guitar was built by the Gibson Custom Shop in Nashville after Iommi's specifications and finished in 1997. The guitar is one of two made as prototypes for the Gibson Custom Shop Limited Edition Iommi Special SG. The guitar features a neck with 24 frets and four control knobs, of which only two are active (much like his old Jaydee Custom guitar).
 * Jaydee Custom SGs
 * Gibson SG, aka "Monkey"
 * Gibson Custom Shop SG

On 11 August 2010, Iommi announced on his website that this guitar was stolen from the RJD tribute show that Heaven & Hell performed at High Voltage on 24 July 2010. He is asking that anyone with information or leads let them know. He is offering a reward for its safe return. A stock Epiphone SG signature model in black finish fitted with P-94 pick-ups which is a version of the Gibson P-90 pick-up designed to fit into existing humbucker housings. A regular left-handed version of the SG fitted with two extra frets to give Iommi the full two octaves which he prefers. The guitar is equipped with his signature pick-up. Iommi was the first guitarist to have a signature pick-up designed and built by Gibson. He also has another model fitted with a Floyd Rose floating tremolo.
 * Epiphone P94 Iommi SG
 * Gibson SG Standard

Iommi played a Fender Stratocaster that was spraypainted white by Iommi and his father during the early days with Black Sabbath. However, the neck pick-up malfunctioned during the recording of their first album, so Iommi quickly turned to his backup Gibson SG to finish the record. Currently Iommi owns two Stratocasters, one of which has been modified with his signature pick-up in the bridge position. Custom built for Iommi by St. Moritz guitars, this is a replica of Iommi's Gibson SG "Monkey". It was used on the 13 album and for the tour. Custom built for Iommi by BC Rich. Features include Dimarzio pick-ups, two built-in preamps, scalloped fretboard and Iommi's trademark cross inlays. This guitar can be seen in Tony's Star Licks Video, for Star Licks Productions along with a left handed BC Rich mockingbird. A rare left-handed version of the jazz guitarist Barney Kessel artist model, built sometime in the first half of the 1960s. Originally a regular right-handed version in red finish that was converted by Epiphone to a left-handed version to fit Iommi.
 * Fender Stratocaster
 * St. Moritz Tony Iommi Custom SG
 * BC Rich Ironbird
 * Gibson Barney Kessel
 * Epiphone Riviera 12 string
 * LaBella custom gauge strings
 * Shure Wireless systems
 * A Gibson Tony Iommi Signature Pick Up has been available for the past two decades. The pick-up got its first 'blooding' on the Black Sabbath reunion/Ozzfest tour in the summer,of 1997, loaded into an SG that J.T. Riboloff of Gibson built. They also feature in the two SGs (one black and one red) that the Gibson Custom Shop built for Iommi in late 1997, as prototypes for the Tony Iommi special Custom Shop model. The pick-up is still in production, and available in silver, gold or black covers. It has been used in the Custom Shop models, the factory Iommi SG and most recently in the Epiphone Iommi SG.

Effects

 * Boss chorus pedal
 * Boss octave pedal
 * Dallas Rangemaster Treble Booster
 * Drawmer LX22 compressor
 * Korg DL8000R multi-tap delay
 * Korg SDD1000 rackmount delay
 * Peavey Addverb III
 * Tycobrahe wah pedal

Amplifiers

 * Laney TI100 Tony Iommi Signature: Current main amp. Two channel version of the GH100TI.
 * Laney GH 100 TI Tony Iommi Signature amplifiers: Iommi's main up from 1993 – early 2012.
 * ENGL Powerball Amplifiers: only used in 2009
 * Laney 4×12 cabinets
 * Various Marshall amplifiers: from early to mid-1980s to 1993, including 9005 Power Amplifiers and 9001 Preamps, 4×12" speaker cabinets, 2554 Silver Jubilee Combo, 2558 Silver Jubilee Combo, Paul Reed Smith modded JCM800 head. Marshall 1959 Super Lead modified by John "Dawk" Stillwell for Heaven and Hell and Mob Rules.
 * Laney Supergroup Heads: his main amplifier from 1968 to 1979. For Black Sabbath's 'The End' tour, Laney re-engineered the original Iommi amp, LA 100BL (Supergroup) and these amps were used throughout the tour.
 * Orange 1972 w/ 4x12 cab Only used for the filming of the music videos for Iron Man and Paranoid.
 * Laney Klipp: used on Master of Reality (Requires source verification?)
 * Mesa Boogie Mark series heads: from the mid-1980s to the early 1990s
 * Vox AC30 Top Boost during the recording sessions for the album Paranoid

Discography
Studio albums
 * Iommi (2000)
 * The 1996 DEP Sessions (2004)
 * Fused (2005)

Black Sabbath
Studio albums
 * Black Sabbath (1970)
 * Paranoid (1970)
 * Master of Reality (1971)
 * Vol. 4 (1972)
 * Sabbath Bloody Sabbath (1973)
 * Sabotage (1975)
 * Technical Ecstasy (1976)
 * Never Say Die! (1978)
 * Heaven and Hell (1980)
 * Mob Rules (1981)
 * Born Again (1983)
 * Seventh Star (1986)
 * The Eternal Idol (1987)
 * Headless Cross (1989)
 * Tyr (1990)
 * Dehumanizer (1992)
 * Cross Purposes (1994)
 * Forbidden (1995)
 * 13 (2013)

Live albums
 * Live At Last (1980)
 * Live Evil (1982)
 * Cross Purposes Live (1995)
 * Reunion (1998)
 * Past Lives (2002)
 * Live at Hammersmith Odeon (2007)
 * Live... Gathered in Their Masses (2013)
 * The End: Live in Birmingham (2017)

with Heaven & Hell
Studio album
 * The Devil You Know (2009)

Live albums
 * Live from Radio City Music Hall (2007)
 * Neon Nights: 30 Years of Heaven & Hell (2010)

WhoCares
Studio album
 * Ian Gillan & Tony Iommi: WhoCares (2012)

title: Tony Iommi


text:
Arthur Alexander

Arthur Alexander (May 10, 1940 – June 9, 1993) was an American country-soul songwriter and singer. Jason Ankeny, music critic for AllMusic, said Alexander was a "country-soul pioneer" and that, though largely unknown, "his music is the stuff of genius, a poignant and deeply intimate body of work on par with the best of his contemporaries." Alexander's songs were covered by such stars as the Beatles, the Rolling Stones, Bob Dylan, Gerry and the Pacemakers, Otis Redding, Tina Turner, Pearl Jam, and Jerry Lee Lewis.

Life
Alexander was born in Sheffield, Alabama, United States. Working with Spar Music in Florence, Alabama, Alexander recorded his first single, "Sally Sue Brown", under the name of June Alexander (short for Junior), which was released in 1960 on Jud Phillips' Judd Records. (Phillips is the brother of music pioneer Sam Phillips).

A year later, Alexander cut "You Better Move On", at the fledgling FAME Studios, which at that point was located above the City Drug Store in Florence, Alabama. (The studio would shortly move to its more famous location in nearby Muscle Shoals, Alabama.) Released on Nashville's Dot Records, the song became a soul/R&B chart hit, and laid the foundation for the modern recording studio FAME. "You Better Move On" is perhaps Alexander's best-known song, covered by the Rolling Stones, the Hollies, George Jones & Johnny Paycheck, Gene Clark (from the Byrds) and Mink DeVille. "Anna (Go to Him)", a U.S. R&B Top Ten Hit, was covered by the Beatles, Roger McGuinn (from The Byrds) and Humble Pie. The Beatles did live recordings of "Soldier of Love" (also performed by Marshall Crenshaw and Pearl Jam), "A Shot of Rhythm and Blues", and "Where Have You Been" at the Star-Club in Hamburg in 1962.

In 1962, Steve Alaimo was the first to record Alexander's "Every Day I Have to Cry", which reached No.46 on the U.S. Billboard Hot 100 chart. Dusty Springfield also recorded the song for her first UK solo EP, "I Only Want to Be With You", released in 1964.

In the mid-1960s, Alexander switched to another label, Sound Stage 7, but failed to find commercial success. Although a 1972 album for Warner Brothers was promising, the singer's potential seemed to wither. He secured a pop hit with "Every Day I Have to Cry Some" on Buddah Records in 1975, but the success remained short-lived. The song was also covered by Ike and Tina Turner (produced by Phil Spector), the McCoys, Dusty Springfield, Joe Stampley, C.J. Chenier, Jerry Lee Lewis, the Gentrys and others. The follow-up single "Sharing The Night Together" (written by Muscle Shoals songwriters Ava Aldridge and Eddie Struzick) reached No. 92 on the R&B charts, but earned Dr. Hook & the Medicine Show a Top 10 hit in 1978; the Dr. Hook version was used in the 2012 Family Guy episode "Mr. and Mrs. Stewie".

For many years, Alexander was out of the music business; he was a bus driver for much of this time. In 1990, he was inducted into the Alabama Music Hall of Fame. He began to perform again in 1993 as renewed interest was shown in his back catalogue. His last album, Lonely Just Like Me, was his first in 21 years.

He signed a new recording/publishing contract in May 1993 but suffered a fatal heart attack on June 9, 1993, in Nashville, three days after performing there with his new band. He is buried in Florence City Cemetery in Florence, Alabama.

Legacy
Alexander is the only songwriter whose songs have been covered on studio albums by the Beatles, the Rolling Stones and Bob Dylan (who recorded "Sally Sue Brown" on his 1988 LP Down in the Groove). In 1987, Paul McCartney claimed that "If the Beatles wanted a sound, it was R&B. That's what we used to listen to and what we wanted to be like. Black, that was basically it. Arthur Alexander."

Discography
(USA issues except where noted)

EPs

 * Arthur Alexander, Dot 655 (Sweden) (1962)
 * Alexander The Great!, London 1364 (UK) (1963)
 * Arthur Alexander, London 1401 (UK) (1963)
 * A Shot of Rhythm and Blues, El Toro 15.086 (Spain) (2017)

Studio albums

 * You Better Move On, Dot & London (UK) (1962)
 * Arthur Alexander, Warner Brothers (1972)
 * Lonely Just Like Me, Nonesuch/Elektra (1993)

Album reissues

 * Story Of Rock 'N' Roll (LP, 1977) Ariola (Germany) (Reissue of You Better Move On)
 * Arthur Alexander (LP, 1989) Ace (UK)
 * You Better Move On (CD, 1993) MCA (UK) (Reissue of LP with 8 bonus tracks)
 * You Better Move On (CD, 2014) Hoodoo Records (EU) (Reissue of LP with 14 bonus tracks)
 * Rainbow Road: The Warner Bros. Recordings (CD, 1994) Warner Archives (Reissue of self-titled Warner LP above with bonus tracks)
 * Lonely Just Like Me: The Final Chapter (CD, 2007) Hacktone (Reissue of CD with bonus tracks)
 * Arthur Alexander: Expanded Edition (CD, 2017) Omnivore

Compilation albums

 * Various Artists – Greatest Rhythm And Blues Stars (1965) Guest Star (two tracks by Alexander)
 * Carl Perkins – Sing A Song With Me (1979) Koala (four demos by Alexander)
 * A Shot Of Rhythm And Soul (1982) Ace (UK)
 * Soldier Of Love (1987) Ace (UK)
 * The Greatest (1989 & 2006) Ace (UK)
 * The Ultimate Arthur Alexander (1993) Razor & Tie
 * Jon Tiven's Ego Trip – Blue Guru (1996) Fountainbleu (one over-dubbed demo by Alexander)
 * Various Artists – Bill Haney's Atlanta Soul Brotherhood (1998) Kent (UK) (one track by Alexander)
 * Various Artists – Bill Haney's Atlanta Soul Brotherhood Vol 2 (1998) Kent (UK) (one track by Alexander)
 * The Monument Years (2001) Ace (UK)

Tribute albums

 * Various Artists: Adios Amigo: A Tribute To Arthur Alexander (1994) Razor And Tie (17 tracks by artists including Elvis Costello, Roger McGuinn; Graham Parker; John Prine; Nick Lowe; Marshall Crenshaw and Zucchero.)
 * Donnie Fritts: June – A Tribute To Arthur Alexander (2018)

 * Discography notes

Songs written by Alexander

 * "Sally Sue Brown" (co-writer), recorded 1960, covered by Bob Dylan, Elvis Costello
 * "You Better Move On", recorded 1961, covered by the Hollies, the Rolling Stones, Tommy Roe, George Jones & Johnny Paycheck, Billy "Crash" Craddock, Mink DeVille
 * "Anna (Go To Him)", recorded 1962, covered by the Beatles, Roger McGuinn, Humble Pie
 * "Every Day I Have to Cry Some", written 1962, recorded 1975, produced by Phil Spector, covered by Ike and Tina Turner, Bee Gees, Johnny Rivers, Debby Boone, Bob Lumanref>
 * "Go Home Girl", recorded 1962, covered by the Rolling Stones, Ry Cooder, Gary U.S. Bonds, Frank Black
 * "In the Middle of it All", recorded 1987

title: Arthur Alexander


text:
Talk:Madama Butterfly

Another Adaptation
Schiller(the musician) also used a song of this opera for "Ein schöner Tag" (i was looking for this after watching magnetic rose... i was wondering where i knew this song from) Calined (talk) 20:16, 7 November 2009 (UTC)
 * Malcolm McLaren, too, used Un Bel Di Vedremo in his track of the same name as the opera, from his Fans album in 1984. That song., or the album, should have an article too. It may not be the greatest thing he's done but just like Buffalo Gals brought scratching and rapping to attention outside hiphop circles, Madame Butterfly prefigured some of the most striking trends of '90s pop and triphop :the droning, slightly house-like beat, the general opera influence and the dreamy, floating vocals. Back in the eighties just about no one thought pop and dance music would ever approach opera. Strausszek (talk) 15:23, 8 January 2010 (UTC)

"Butterfly’s blindness"?
"Yamadori, Sharpless and Goro quietly discuss Butterfly’s blindness." Is "blindness" the best word here? —141.150.24.202 (talk) 04:22, 4 March 2010 (UTC)

Prelude
Where is the prelude to act 1??? there is nothing in here that even talks about it! —Preceding unsigned comment added by 70.50.121.164 (talk) 22:08, 5 December 2010 (UTC)
 * I have added it as the first item of the synopsis. Regards. Francesco Malipiero (talk) 22:51, 5 December 2010 (UTC)

Performance History
If Puccini wrote the "standard version" in 1907, how did this happen? "Premieres of the standard version in major opera houses throughout the world include those in Buenos Aires on July 2, 1904, this being the first performance in Argentina. In London its first performance in Britain was given on July 10, 1905 at the Royal Opera House, Covent Garden, while the first US performance was presented in English on October 15, 1906, in Washington, D.C. at the Columbia Theater. The first performance in New York took place on November 12 of the same year at the Garden Theater.[8] Four years later, the first Australian performance was presented at the Theatre Royal in Sydney on March 26, 1910." 50.9.209.200 (talk) 18:40, 18 December 2010 (UTC)

Two synopses?
User recently  a second synopsis ("Synopsis (summary)") to the article. I can't see any need for two such sections and suggest either to remove the "summary" or somehow incorporate the three paragraphs into the beginning of each act of the existing synopsis ("standard version"). -- Michael Bednarek (talk) 05:57, 4 August 2011 (UTC)
 * I think having a concise summary of the 'standard' plot is a very useful and welcome addition. I think it might improve the article overall to split off the current "standard" version, which, though very informative, is rather too long and detailed to be called a synopses, to become a page on it's own where much more detailed information about Puccini's revisions can be incorporated. Mighty Antar (talk) 11:47, 4 August 2011 (UTC)
 * Yes, the 2nd synopsis was excessive and not in keeping with other opera articles. I removed the synopsis, retained the list, and the audio files.Trumpetrep (talk) 19:05, 23 January 2024 (UTC)

Music Box?
This scholar believes he discovered the source of Puccini's inspiration in a museum music box:

http://www.nytimes.com/2012/06/17/arts/music/puccini-opera-echoes-a-music-box-at-the-morris-museum.html?pagewanted=all — Preceding unsigned comment added by 24.188.181.210 (talk) 11:29, 11 July 2012 (UTC)

Used in Doctor Who (1996)
In the Doctor Who 1996 movie, Grace Holloway, a heart surgeon, is at an opera performance of Madam Butterfly when she is called in to work on the injured Doctor. She puts a CD on to play while she works, also Madam Butterfly. He recognizes the piece and its composer when he awakens, as the level of anesthesia they had given him was not enough for his Time Lord physiology. Later on, after he dies, regenerates, and, although he has amnesia, finds her again, while she is listening to his hearts, he picks up the same disc that she'd brought with her, suddenly recalling meeting Puccini. JenniferRSong (talk) 06:48, 9 February 2016 (UTC)
 * This tangential information is probably best put in Doctor Who (1996), if anywhere, with a link back to Madama Butterfly rather than the other way around. I note that the opera isn't mentioned once in the current Dr. Who movie article. Voceditenore (talk) 08:40, 9 February 2016 (UTC)

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Moving this section here for now
I'm moving the following unencyclopedic section here for now, so that experienced editors can comment on it and decide what to do with it:

Madama Butterfly has been criticized as racist, sexist, and outdated by some opera critics, anti-racists, and feminists, as it portrays the title character as being a helpless, feminine, submissive Asian woman who is taken advantage of by a white man, which are among common negative stereotypes of Asian women. Further controversy surrounds the opera's use of yellowface makeup to attempt to make non-Asian performers look more Asian, a practice now considered racist by many.

--Softlavender (talk) 07:01, 28 October 2017 (UTC)

 * There is no reason in principle why there should not be a paragraph on this topic in the article. but it will need better sources, and a better reading of the sources given. E.g. Opera Vivra, Yomyomf and Daily Trojan (the only source I think for the 'yellowface' argument) appear to be (in effect) blogs and not reliable sources for citations. The Telegraph and The Guardian articles are about the same academic opera authority, Roger Parker (in fact the Telegraph article seems to be simply a rip-off of the Guardian one). The Guardian article further points out how production style could subvert the 'colonialist' attitudes of the opera. The whole issue therefore needs to be placed in a context, to avoid NNPOV.Smerus (talk) 09:46, 28 October 2017 (UTC)

 * If incorporated into the article in any form, it would need to appear as a small part of a Reception section. Since as of now there is no "Reception" section, it would be entirely WP:UNDUE and POV to include it, as it is a form of cherry-picked WP:SOAPBOXing. -- Softlavender (talk) 10:03, 28 October 2017 (UTC)
 * Well I agree that elements of this would be appropriate in a 'reception' section, so the answer is for someone to write one. I should add that of course it is clearly pointless to suggest that the opera is per se 'racist', 'sexist' or 'outdated' - although it would be appropriate to indicate that it is conceived by some as transgressing some current social attitudes of 'correctness'. The coverage of anti-semitism issues in The Merchant of Venice article, and the coverage of issues relating to The Mikado, may (or may not) give some useful context to an approach here. And, by the way, what about Turandot ....or Otello.....or indeed Aida....once you get started, you could end up with a vast acreage of tedious wading through contemporary fashionable opinion without throwing much, or any, light on the topic of the article. - Smerus (talk) 10:14, 28 October 2017 (UTC)

"... a proper American wife..."
I respectfully suggest that the sentence containing "... a proper American wife..." (in Act 1 of the description) be modified to say precisely what is intended, namely that he has no intention of remaining married to the young woman of 15 years of age. I suggest something along the lines of 'he intends to enter into a bona-fide marriage after this marriage of convenience (a sham deception, as it happens) is nullified.

So, the notion of 'a proper American wife' may be his intention, so be it, but it need not be ours. Thank you. M.H. — Preceding unsigned comment added by 37.121.194.187 (talk) 11:22, 17 February 2018 (UTC)
 * a) What alternative phrasing do you suggest? b) The synopsis states Pinkerton's intentions clearly.

Sharpless: "Un'altro bicchiere. Bevo alla vostra famiglia lontana." (Another glass. I drink to your distant family.) Pinkerton: "E al giorno in cui mi sposerò con vere nozze a una vera sposa americana." (And to the day I marry in a real wedding a real American bride.)
 * The text "proper American wife" seems to me a reasonable translation. We are concerned with Pinkerton's intentions, not ours. However, I agree that that section could be improved; the duplicate "since" is clumsy, and Pinkerton's comparison of the terms for the lease of the house with his marriage intentions might be added. -- Michael Bednarek (talk) 11:52, 17 February 2018 (UTC)

-- "Versions & Performance History" ==

In the 3rd paragraph under "Versions" the "Standard Version" (capitalized) is noted as having been the 5th version, composed in 1907. But, the 1st paragraph under "Performance History" states that premieres of the "standard version" (lower case) began in 1904. ??? — Preceding unsigned comment added by 2600:1700:3EC0:85D0:9563:BBA9:DEFA:E0A6 (talk) 20:33, 20 April 2019 (UTC)

A Commons file used on this page has been nominated for deletion
The following Wikimedia Commons file used on this page has been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 18:36, 3 December 2019 (UTC)
 * Madame Butterfly - 7.3.1985 (Zora Jehličková, Blanka Vítková)(foto Oldřich Pernica).jpg

Move discussion in progress
There is a move discussion in progress on Talk:Madame Butterfly (song) which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 16:06, 21 January 2020 (UTC)

Versions
Can anyone please point me to a source which lists the differences between the 5 versions of the opera? Thanks PhilUK (talk) 19:16, 17 February 2020 (UTC)
 * Our colleagues at the Italian and German Wikipedias have a few more details than are mentioned here: it:Madama Butterfly and de:Madama Butterfly. Searching for brings up an aricle in Music & Letters, "Puccini's 'Work in Progress': The So-Called Versions of Madama Butterfly" . -- Michael Bednarek (talk) 02:54, 18 February 2020 (UTC)
 * Thanks. That article is very interesting. PhilUK (talk) 17:44, 19 February 2020 (UTC)

Possible Turkish production in the 1910s?
I was going through archives of the magazine Servet-i Funun and I found images that might be of an Ottoman Turkish production in the 1910s. It seemed they used German and Ottoman actors WhisperToMe (talk) 16:31, 10 March 2021 (UTC)
 * https://archives.saltresearch.org/bitstream/123456789/129156/87/PFSIF9170222149.jpg
 * https://archives.saltresearch.org/bitstream/123456789/129156/88/PFSIF9170222150.jpg
 * https://archives.saltresearch.org/bitstream/123456789/129156/89/PFSIF9170222151.jpg

Add a section regarding controversy
General consensus over whether or not the opera is racist is divided, and would make a good discussion point. The pages for the St. John Passion, Porgy and Bess, and The Death of Klinghoffer already have similar sections.

Therefore, I support adding this as a new section. If not, at least add the "Race-related controversies in opera" category.

Amadeus1928 (talk) 23:57, 28 April 2021 (UTC)

 * I am against it. The so called controversy has no bearing on the opera itself and is in no way reflective of Puccini's intentions. Gongfong2021 (talk) 19:55, 25 August 2021 (UTC)
 * If it's about the opera, widely discussed by reliable third party source, it's directly relevant to the opera. Notability and sources are how we determine relevance and notability and not personal opinion.     Mkdw  talk  16:21, 28 April 2022 (UTC)

Legacy
Should a legacy section be added with things like the album Pinkerton by Weezer? — Preceding unsigned comment added by Ghccoolj (talk • contribs) 17:31, 17 April 2022 (UTC)

Featured picture scheduled for POTD
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title: Talk:Madama Butterfly


text:
Small GTPase

Small GTPases, also known as small G-proteins, are a family of hydrolase enzymes that can bind and hydrolyze guanosine triphosphate (GTP). They are a type of G-protein found in the cytosol that are homologous to the alpha subunit of heterotrimeric G-proteins, but unlike the alpha subunit of G proteins, a small GTPase can function independently as a hydrolase enzyme to bind to and hydrolyze a guanosine triphosphate (GTP) to form guanosine diphosphate (GDP). The best-known members are the Ras GTPases and hence they are sometimes called Ras subfamily GTPases.

A typical G-protein is active when bound to GTP and inactive when bound to GDP (i.e. when the GTP is hydrolyzed to GDP). The GDP can be then replaced by free GTP. Therefore, a G-protein can be switched on and off. GTP hydrolysis is accelerated by GTPase activating proteins (GAPs), while GTP exchange is catalyzed by guanine nucleotide exchange factors (GEFs). Activation of a GEF typically activates its cognate G-protein, while activation of a GAP results in inactivation of the cognate G-protein. Guanosine nucleotide dissociation inhibitors (GDI) maintain small GTPases in the inactive state.

Small GTPases regulate a wide variety of processes in the cell, including growth, cellular differentiation, cell movement and lipid vesicle transport.

The Ras superfamily
There are more than a hundred proteins in the Ras superfamily. Based on structure, sequence and function, the Ras superfamily is divided into five main families, (Ras, Rho, Ran, Rab and Arf GTPases). The Ras family itself is further divided into 6 subfamilies: Ras, Ral, Rit, Rap, Rheb, and Rad. Miro is a recent contributor to the superfamily.

Each subfamily shares the common core G domain, which provides essential GTPase and nucleotide exchange activity.

The surrounding sequence helps determine the functional specificity of the small GTPase, for example the 'Insert Loop', common to the Rho subfamily, specifically contributes to binding to effector proteins such as IQGAP and WASP.

The Ras family is generally responsible for cell proliferation, Rho for cell morphology, Ran for nuclear transport and Rab and Arf for vesicle transport.

title: Small GTPase


text:
Comcom

COMCOM may refer to:
 * Communicative competence
 * Commerce Commission, New Zealand government agency
 * Federal Communications Commission of the Swiss Federal Department of Environment, Transport, Energy and Communications
 * Communauté de communes, in France

title: Comcom


text:
Talk:Bilabial consonant

Monobook nasties
Is it just me, or does the table look nasty in the new Monobook skin? It's fine in Standard, but in monobook the table's row sizes don't expand to accomodate the larger IPA letters, so they get smushed together in an unpleasant way. If this happens for others, I'll raise a bug on the monobook skin. -- Finlay McWalter | Talk 00:23, 21 Jun 2004 (UTC)

title: Talk:Bilabial consonant


text:
Christine Anu

Christine Anu (born 15 March 1970) is an Australian singer, songwriter and actress. She gained popularity with the cover song release of the Warumpi Band's song "My Island Home". Anu has been nominated for 17 ARIA Awards.

Early life
Anu was born on 15 March 1970 in Cairns, Queensland, to a Torres Strait Islander mother from Saibai Saibai as in her Mum.

Anu attended Emmaus College in Rockhampton where she graduated from in 1987 before studying at the National Aboriginal and Islander Skills Development Association in Sydney.

Music career

Anu began performing as a dancer, she studied dance at NAISDA (the National Aboriginal And Islander Skills Development Association) established by Carole Johnson in Sydney. She later went on to sing back-up vocals for the Rainmakers, which included Neil Murray of the Warumpi Band. Her first recording was in 1993 with "Last Train", a dance remake of a Paul Kelly song. The follow-up, "Monkey and the Turtle", was based on a traditional story. After "My Island Home", she released her first album, Stylin' Up, which went platinum.

In 1995, Neil Murray won an Australasian Performing Right Association songwriting award for writing "My Island Home". Anu won an ARIA Award for best female recording artist as well as a Deadly Sounds National Aboriginal & Islander Music Awards award in 1996 for best female artist.

Baz Luhrmann asked her to sing on the song "Now Until the Break of Day" on his Something for Everybody album. It was released as a single and the video then won another ARIA award and led to her being cast in Moulin Rouge!.

In January 1998, Anu teamed up with Archie Roach, Paul Kelly, Judith Durham, Renee Geyer, Kutcha Edwards and Tiddas and formed Singers for the Red Black and Gold. Together they released a cover of "Yil Lull".

In 2000, Anu released Come My Way which peaked at number 18 on the ARIA albums chart and went gold. In 2000 she sang the song "My Island Home" at the Sydney 2000 Olympics Closing Ceremony.

In November 2003, Anu released her third studio album, 45 Degrees.

In 2007, Anu toured a children's show and released an associate album titled Chrissy's Island Family. The album gained an ARIA Award nomination.

On 26 September 2010, she released a new digital only single, "Come Home".

On 7 November 2014, Anu released a Christmas album, titled Island Christmas.

In March 2018, Anu released a duet version of "Without You" from the musical Rent with Greg Gould. The lyric video featured photography from around the world, each photo with a splash of red for HIV/AIDS support and awareness.

Through 2023, Anu worked on her first album since 2015's live ReStylin' Up 20 Years. The project is using German ethnomusicologist Wolfgang Laade's recordings of Anu's grandfather, Nadi Anu, which are held by the Australian Institute Of Aboriginal And Torres Strait Islander Studies. In May 2024, Anu confirmed the release of Waku: Minaral a Minalay, which is scheduled for release on 19 July 2024.

Acting and TV career
Anu has also had an acting career in film, stage and television. She appeared in Dating the Enemy, a 1996 Australian film starring Guy Pearce and Claudia Karvan. She then appeared in an Australian production of the stage musical Little Shop of Horrors in the same year.

Anu's stage career developed with a starring role in the original Australian production of Rent in 1998 and 1999. Anu was offered a role in a Broadway production of this musical but had to decline due to commitments in recording her second album. Her links with Baz Luhrmann led to him offering her a part in Moulin Rouge!. In 2003, she appeared as Kali in The Matrix Reloaded and played the character on the video game Enter the Matrix.

In 2004, she became a judge on Popstars Live, a television quest broadcast on the Seven Network at 6.30 pm on Sunday night in Australia along the lines of Australian Idol. The program failed to achieve a similar level of success, leading network executives to pressure the judges to offer harsher criticism of the contestants. Anu refused to offer harsher criticism, leading to her resignation as a judge in April 2004. In a statement issued on her departure, she said: "I chose to play a positive role model and wanted to encourage these young people in their endeavours, rather than criticise them. Although leaving Popstars Live was a difficult decision for me to make, I do feel somewhat relieved that I can now focus on my music."

In 2009, Anu participated in Who Do You Think You Are. She appeared again on television in 2012, in the Australian sci-fi television series Outland, about a gay sci-fi fan club. Anu plays wheelchair using Rae, the sole female member of the group.

In August 2020, Anu was revealed to be the 'Goldfish' in the second season of The Masked Singer Australia and was the third contestant unmasked, placing 10th overall.

Radio
In December 2015, ABC announced that Anu will host the Evenings radio program on ABC Radio Sydney, ABC Radio Canberra and ABC Local Radio stations across New South Wales. Anu shared the role with Dominic Knight, then took over full reins in April after Knight's resignation. In the first half of 2016 the program suffered a dip in the ratings after she began hosting.

In November 2016, ABC announced will host a national Evenings program on Friday and Saturday across ABC Local Radio. Chris Bath replaced Anu as host of Evenings from Monday to Thursday on ABC Radio Sydney, ABC Radio Canberra and ABC Local Radio stations across New South Wales.

Personal life
Anu is a mother of two, son Kuiam (born 1996) and daughter Zipporah (born 2002). Zipporah's father is actor Rodger Corser.

Anu married her childhood sweetheart, Simon Deutrom, in 2010.

In June 2016, Anu announced that she and Deutrom were separating after six years of marriage.

On 24 February 2020, Anu pleaded guilty in the Rockhampton Magistrates Court to mid-range drunk driving after recording a blood alcohol reading of 0.109 after she was pulled over by police in Rockhampton on New Year's Eve. Magistrate Philippa Beckinsale fined Anu $650 and suspended her driver's license for three months.

Studio albums

 * Stylin' Up (1995)
 * Come My Way (2000)
 * 45 Degrees (2003)
 * Acoustically (2005)
 * Chrissy's Island Family (2007)
 * Rewind: The Aretha Franklin Songbook (2012)
 * Island Christmas (2014)
 * Waku: Minaral a Minalay (2024)

Live albums

 * Intimate and Deadly (2010)
 * ReStylin' Up 20 Years (2015)

ARIA Awards
The ARIA Music Awards are a set of annual ceremonies presented by Australian Recording Industry Association (ARIA), which recognise excellence, innovation, and achievement across all genres of the music of Australia. They commenced in 1987.

Australian Women in Music Awards
The Australian Women in Music Awards is an annual event that celebrates outstanding women in the Australian Music Industry who have made significant and lasting contributions in their chosen field. They commenced in 2018.

 * rowspan="2" | 2019
 * Christine Anu
 * Diversity in Music Award
 * Won
 * Christine Anu
 * Artistic Excellence Award
 * Won
 * Artistic Excellence Award
 * Won

Deadly Awards
The Deadly Awards, (commonly known simply as The Deadlys), was an annual celebration of Australian Aboriginal and Torres Strait Islander achievement in music, sport, entertainment and community. They ran from 1996 to 2013.

 * 1996
 * "herself"
 * Female Artist of the Year
 * Won
 * 1998
 * "herself"
 * Female Artist of the Year
 * Won
 * 2000
 * "Sunshine on a Rainy Day"
 * Single of the Year
 * Won
 * 2003
 * "herself"
 * Female Artist of the Year
 * Won
 * 2004
 * "Talk About Love"
 * Single of the Year
 * Won
 * 2004
 * "Talk About Love"
 * Single of the Year
 * Won
 * Won

National Indigenous Music Awards
The National Indigenous Music Awards is an annual awards ceremony that recognises the achievements of Indigenous Australians in music.

! Ref. ! scope="row" rowspan="1"| 2024
 * "Waku - Minaral a Minalay"
 * Song of the Year
 * Pending
 * rowspan="1"|
 * }

title: Christine Anu


text:
Communicative competence

The concept of communicative competence, as developed in linguistics, originated in response to perceived inadequacy of the notion of linguistic competence. That is, communicative competence encompasses a language user's grammatical knowledge of syntax, morphology, phonology and the like, but reconceives this knowledge as a functional, social understanding of how and when to use utterances appropriately.

Communicative language teaching is a pedagogical application of communicative competence.

The understanding of communicative competence has been influenced by the field of pragmatics and the philosophy of language, including work on speech acts.

Origin
The term was coined by Dell Hymes in 1966, reacting against the perceived inadequacy of Noam Chomsky's (1965) distinction between linguistic competence and performance. To address Chomsky's abstract notion of competence, Hymes undertook ethnographic exploration of communicative competence that included "communicative form and function in integral relation to each other". The approach pioneered by Hymes is now known as the ethnography of communication.

Applications
The notion of communicative competence is one of the theories that underlies the communicative approach to foreign language teaching. At least three core models exist. The first and most widely used is Canale and Swain's model and the later iteration by Canale. In a second model, sociocultural content is more precisely specified by Celce-Murcia, Dornyei, and Thurrell in 1995. For their part, they saw communicative competence as including linguistic competence, strategic competence, sociocultural competence, actional competence, and discourse competence. A third model widely in use in federal language training in Canada is Bachman and Palmer's model.

title: Communicative competence


text:
Talk:Lists of accidents and incidents on commercial airliners

Is this organisation helpful? I'm not sure. For one thing, official accident reports do not mention the name of the carrier or the flight number it was operating under, they usually only report the registration number of the aircraft. However, what is important is that a particular incident or accident is quickly located by someone wishing to find the details - usually the carrier and flight number are not the most obvious starting points for such a search. Chronology and location would probably be a lot more useful in terms of finding an incident, and the article itself could mention the carrier and flight number. For example most people might remember that a plane went down in the Potomac river in the early 80s, but that's all they recall - this list will not help them find that incident. Graham 07:06, 10 Dec 2003 (UTC)

Another problem with this organisation is that conceivably, the same flight number could crash more than once. Of course it would be separate aircraft, but this list wouldn't allow you to tell which it was. As far as I know this has never happened, but it could one day. Graham 04:28, 11 Dec 2003 (UTC)

Both crashes would be mentioned on that particular page, if that particular situation occurred. WhisperToMe 05:09, 12 Dec 2003 (UTC)


text:
Three Books of Occult Philosophy

Three Books of Occult Philosophy (De Occulta Philosophia libri III) is Heinrich Cornelius Agrippa's study of occult philosophy, acknowledged as a significant contribution to the Renaissance philosophical discussion concerning the powers of magic, and its relationship with religion. The first book was printed in 1531 in Paris, Cologne, and Antwerp, while the full three volumes first appeared in Cologne in 1533.

The three books deal with elemental, celestial and intellectual magic. The books outline the four elements, astrology, Kabbalah, numerology, angels, names of God, the virtues and relationships with each other as well as methods of utilizing these relationships and laws in medicine, scrying, alchemy, ceremonial magic, origins of what are from the Hebrew, Greek and Chaldean context.

These arguments were common amongst other hermetic philosophers at the time and before. In fact, Agrippa's interpretation of magic is similar to the authors Marsilio Ficino, Pico della Mirandola and Johann Reuchlin's synthesis of magic and religion, and emphasize an exploration of nature.

History
The first draft of the Three Books was presented by Agrippa in 1510 to Abbot Johannes Trithemius. The text survives to this day and draws heavily from Ficino, Pliny the Elder and Pico Della Mirandola, among other works well-known to scholars of the Renaissance.

In 1526-27, Agrippa published a satirical-critical work called De Incertitudine Et Vanitate Scientiarum Liber, in which he seemingly retracted his Three Books, apparently admitting that his occult studies were misguided. However, whether Agrippa was genuine remains a matter of scholarly debate.

The final and complete edition of the Three Books was published in Cologne in 1533. A first English translation was published in 1651.

Editions

 * (Book One only)
 * (Book One only; reprint of the Laurence edition)
 * (Book One only)
 * (Book One only; reprint of the Laurence edition)

title: Three Books of Occult Philosophy


text:
Coleville, Saskatchewan

Coleville (2016 population: ) is a village in the Canadian province of Saskatchewan within the Rural Municipality of Oakdale No. 320 and Census Division No. 13. The village's main economic factors are oil and farming, namesake of the Coleville oilfields. The village is named for Malcolm Cole who became the community's first postmaster in 1908.

History
In 1905, the Grand Trunk Pacific Railway Company surveyed the area in preparation for a railway line, and the prospect of rail service attracted settlers to the area. The first settlers arrived in 1906, most of whom had shipped their effects to Battleford, the site of the Dominion Lands office in the area. With the nearest source of wood being on the banks of the South Saskatchewan River, approximately 110 km away, most of the first homes constructed in the area were sod houses, either frame structures covered with sods, or else built entirely out of sods. These structures generally collapsed after a few years; however one sod house built by English immigrant James Addison, between 1909 and 1911, has been occupied continuously from its construction to the present.
 * Early settlers

The site for the Hamlet of Coleville was purchased from Charles Farris, and built on his purchased homestead NE 6-32-23-W3. In 1913, Charles Cole submitted names to the railway, and Coleville was chosen for the station and townsite.

Coleville incorporated as a village on July 1, 1953.

The grade was built for the Biggar–Loverna line of the Grand Trunk Pacific Railway in 1912, and steel was laid in 1913. The construction of the rail site in Coleville began in 1913 with the construction of the railway station and coal box. Jack Binks, section foreman, was the station's first occupant, and George Barrett was the first station agent. After the construction of the station, a water well was required for the steam engines. In 1914 a two-pen, four-car stock yard and hog chute were built, and an 18 metre (60 foot) well was dug by hand. A pump house was built, and the Coleville water tower, which is still in use today, was erected. The first pumpman was Mike Crown. The Bigger–Loverna line became part of the Canadian National Railway in 1923. The section toolhouse was built in 1926, and in 1953 a two-car loading platform was built, and an electric pump was installed in the pumphouse.
 * Railway

The station was closed in 1979, and the tracks were torn up in 1998.

Soon after the arrival of the railroad in 1913, a grain elevator was built by the Scottish Co-op. Bill Donald was its first agent. This original elevator was replaced in 1940 by a new elevator with a storage capacity of 45000 impbsh. The Alberta Pacific elevator was built in 1917, with Joe Barrows as its first agent. The elevator had a capacity of 23000 impbsh. It was bought out by Federal Grain in 1943.
 * Elevators

The Saskatchewan Wheat Pool was formed in 1924, and built an elevator in Coleville in 1925, now called Pool A. Alf Beal was the first operator. Pool A had a storage capacity of 30000 impbsh. In the late 1970s Pool A was sold and torn down. The Scottish Co-op elevator was purchased in 1948 by the Saskatchewan Wheat Pool and became Pool B. The Federal Grain elevator was acquired by the Pool in 1972, and became Pool C.  Pool C was torn down in 1998.

One of the first settlers was Malcolm Cole, who came with his father in 1906, and set up a post office and general store on his homestead shortly thereafter, in the summer of 1907. He named the post office Coleville, derived from his own last name, and the suffix -ville. His brother, Charles Cole, who arrived in 1907, was the postmaster from 1908 until 1917. Around 1914 the post office was moved from the Cole homestead to the townsite of Coleville. When John Brent turned the post office over to H. L. Dumouchel, the post office was moved to the Dumouchel store.
 * Coleville Post Office

Before railway service to the area, mail was carried in from Battleford. After the Grand Trunk Pacific Railway was built, the mail was carried from Scott by R. A. Cummings of Kerrobert.

Cork obliterators (used to cancel stamps) in the second half of the 20th century are comparatively rare; however, cork obliterators created by H.L. Dumouchel (acting postmaster from 1928 until 1950) were still in use until they were lost in a post office remodelling sometime after 1951.

The Coleville Rural Telephone Co. came into being on Friday, January 28, 1916, following a meeting of a group of ratepayers in Dumouchel's Drug Store. Shortly thereafter a charter was granted by the Department of Telephones and the company was started by issuing a debenture. On February 5, 1917, a tender of $11,298.40 by Heise, O'Bready and Small of Elstow was accepted for the construction of the system. The switchboard was located in the store of A. G. Bridger, who was also publisher of the district news sheet. Bridger resigned in 1919, and George Manning became secretary-treasurer and operator. His salary was $40 a month plus long distance commissions. In 1921 this increased to $60 a month. The linesman was Ed Hogarth, who was paid 50¢ an hour plus 10¢ for mileage.
 * Coleville Rural Telephone Co.

Subscribers paid an annual rental, which covered switching fees and operator costs. Landowners paid a tax levy on phone lines running through their property, which covered repairing and building lines. The levy was based on the quarters of land through which telephone lines ran. There were two rates. A quarter of land which had a line passing through it paid a 'straight' rate, and a quarter of land in which someone lived and had a phone paid a higher 'take-off' rate. Since the 'straight' rate levy was charged regardless of whether the owner had phone service, land owners without phones could be paying as much or more as land owners with phone service. In spite of attempts to reform this system, it remained in place until the government took over the service. In addition to the annual rental and line levy, there was a special levy to pay back the debenture.

Financing for the company was always difficult, as the large rural population meant the construction and maintenance of many miles of poles and wire for each rural subscriber. In the early years, subscribers who could not pay rentals had their phone removed at their expense; however, by the time of the depression in the 1930s, this was no longer practical or desirable. Instead, subscribers were able to pay off their debt by assisting in the erection of new lines and the maintenance of old ones. Because of the difficulties associated with providing rural telephone service, it was resolved by the Rural Telephone Company as early as 1930 that they ask the provincial government to take over telephone operation for the entire province. While the government did finally take over telephone service, this did not occur until the late 1970s.

Early on, use of the phones and the company's equipment was strictly regulated. There was a three-minute time limit for conversations. Those who did not have a phone were asked to pay 75¢ for using their neighbour's. Farmers and housewives faced fines or prosecution for the use of telephone poles as hitching posts, or incorporating them into their barbed wire fences or clotheslines.

In 1935 George Manning died, and his wife carried on in his capacity until October 1, 1937, when Pat O'Bready, along with his wife Irene, took over as operator, linesman, and troubleman. They were paid $800 per year plus commissions, though this salary was on paper only. In 1940 the company began to emerge from the depression and gain solid financial footing, and in February 1942 the debenture debt was retired.

In 1950, a wind storm on April 15 damaged or destroyed nearly the entire telephone system, which took six months to repair.

In March 1954, Saskatchewan Government Telephones bought the Coleville Telephone plant for $2,301 while the Rural Company remained agent for the town. A new switchboard was installed, and private lines were made available. In 1956 black wall or desk cradle phones arrived, and the old box-crank phones were reclaimed. On July 1, 1957, Pat O'Bready resigned as linesman and operator, although he retained the post of troubleman. Six months later the Rural Company resigned as agent for the Government Telephones.

By the 1960s, 24-hour service was being provided. Previously official hours had been from 8 a.m. until 9 or 10 p.m. (depending on season) on weekdays and Saturday, and from 10 a.m. until 2 p.m. on Sundays, although there was always someone available for emergencies. In 1965 the automatic dial system was completed, and calls were no longer routed through the operator. In 1967 the Coleville Rural Teleqhone Co. Ltd. was sold to the Kindersley Rural Telephone Co. Ltd. for $1, and Coleville was allowed one member to sit on the Kindersley board. In 1977 the government took over the Kindersley Rural Telephone Co.

Demographics
In the 2021 Census of Population conducted by Statistics Canada, Coleville had a population of $280$ living in $129$ of its $155$ total private dwellings, a change of NaN% from its 2016 population of $305$. With a land area of 1.66 km2, it had a population density of in 2021.

In the 2016 Census of Population, the Village of Coleville recorded a population of living in  of its  total private dwellings, a NaN% change from its 2011 population of. With a land area of 1.87 km2, it had a population density of in 2016.

Attractions
Amenities in the community include a library, a skating rink and a two-sheet curling rink. At nearby Laing's Park, also referred to as the three-mile park in reference to its distance from village, are several ball diamonds and a nine-hole golf course. The golf course once featured a pumpjack hazard.

Education
Coleville is located within the Sun West School Division. Children attend the Rossville School located within the community for kindergarten through grade 7. For grades 8–12, students are bused to Kindersley Composite School, located approximately twenty minutes away in Kindersley.

The Warwick School was a one-room schoolhouse for the area that was closed in 1940. It was moved to Main Street in Coleville in 1946 where it served as the RM's office. When the RM moved to a new building in the 1980s, it continued to serve the community, first as the local Scout and Brownie hall, and now as a playschool.

Notable people
Jeni Mayer, author of such children's books as The Mystery of the Turtle Lake Monster and Suspicion Island, was born and raised in Coleville. Canadian artist, Jean A. Humphrey lived in Coleville for over 50 years.

title: Coleville, Saskatchewan