text:
User talk:Brianshapiro

Neo-Grec
Excellent entry on Neo-Grec style! Much more could be added in the way of Neo-Grec furnishings and decoration... Wetman 03:16, 27 Nov 2003 (UTC)

Kitsch
Brian, you're a marvel! I absolutely *love* the article on Kitsch, and wish I could have written it myself. As for your request to loosen up the style, I probably could, a bit, but I'm not exactly the master of relaxed, hip writing myself-- there are others who would do a much better job. I'm flattered all the same at the request and if you really think my help would be an improvement, I'll do all I can!

I will try, if I can, to inject a bit on those like myself who collect kitch as kitch, which is probably a postmodern thing. But I'd welcome your comments on this first.

Steverapaport 21:32, 22 Dec 2003 (UTC)

Hierarchy of genres
Hi Brian. Flicking through random pages, I came across Hierarchy of genres, which appears to be very largely your work. I was so impressed I had to pop in here and tell you. It's a great example of what Wikipedia should be - erudite, informed and well-written. Good work! --ALargeElk | Talk 09:27, 30 Jul 2004 (UTC)

Academic art
Brian. thanks for taking the time to write a message, It is an excellent article, in hindsight I realise that I wrote my hasty critique in a state of pique, I hope that it was not too harsh. the reason that I felt it important to include the english side of the coin was that i came to the page following a trail via more ambiguous terms such as 'art' 'fine art' and even 'beauty' - by comparison these pages are quite speculative. your work is remarkably encyclopedic given the amount of space.

Of course a nod to what was occuring in england at the time would be welcome, if only because it is the root (via William Morris) of the arts and crafts movement, the clash with the early modernists (the Bloomsbury group) and the subsequent political split between 'art' and 'craft' that mirrors social changes taking place in Britain in the early C20. It has been said that the work of James Joyce and Conan Doyle exemplify the different stances in thier respective exclusivity and inclusivity of the general public. In the uk at least is still very much a live issue - It leads to odd forms of classification, such as 'Artist Blacksmith' as well as two seperate streams of art education and at government level, both an Arts Council and a Crafts Council.

I wish I had the breadth of knowledge to write a coherent account of the british events, but unfortunately my understanding stems from practise rather than historical study. Good luck with your writing, I am sure it will be well considered and very interesting. regards DavidP 11:13, 30 November 2005 (UTC)

ArbCom elections are now open!
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File source problem with File:Wolvens, Bont strandzicht.jpg
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Orphaned non-free image File:George grosz-the eclipse of the sun.jpg
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title: User talk:Brianshapiro


text:
HEPES

HEPES (4-(2-hydroxyethyl)-1-piperazineethanesulfonic acid) is a zwitterionic sulfonic acid buffering agent; one of the twenty Good's buffers. HEPES is widely used in cell culture, largely because it is better at maintaining physiological pH despite changes in carbon dioxide concentration (produced by aerobic respiration) when compared to bicarbonate buffers, which are also commonly used in cell culture. Lepe-Zuniga et al. reported an unwanted photochemical process wherein HEPES catalyzes a reaction with riboflavin when exposed to ambient light to produce hydrogen peroxide. This is not a problem in bicarbonate-based cell culture buffers. It is therefore strongly advised to keep solutions containing both HEPES and riboflavin in darkness as much as possible to prevent oxidation.

HEPES has the following characteristics:
 * pKa1 (25 °C) = 3
 * pKa2 (25 °C) = 7.5
 * Useful pH range = 2.5 to 3.5 or 6.8 to 8.2

HEPES has negligible metal ion binding, making it a good choice as a buffer for enzymes which might be inhibited by metal chelation.

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

title: HEPES


text:
User talk:Ukuk~enwiki

Disambiguation note

 * Hi Ukuk! I saw that you modified the format of the disambiguation block at the top of the Lille article from:

 * This is about the city in France. For other uses, see Lille (disambiguation).

 * to

 * The following article is about the term Lille in the context of the French city. See Lille (disambiguation) for other meanings.

 * basically, my question is about your replacement of the semicolumn by a line. Is the anything in the Manual of Style about it? Thanks. olivier 07:21, May 16, 2004 (UTC)

 * I just made the message match the pattern I saw in most articles I read. I did not read any documentation about this.

 * I see. There is apparently no real standard and both ways seem to be found quite extensively within Wikipedia. olivier 15:17, May 18, 2004 (UTC)

 * Well, in fact, i think i prefer the more compact way, i'll use it now (: Thx for the hint (=

Metric units
Hi there,

Glad to see you contributing. I note that you have added 'mkg' values. I am aware of foot pound force and newton metre. The unit joule (symbol: J) is valid but I have never seen it used in this application. The construction 'mkg' for torque is new to me, can you give some indication of where it is used? Bobblewik 12:06, 17 Aug 2004 (UTC)

 * Thanks for your response on the other page, I have only just seen it. I am surprised to see kgf being used as part of a torque unit. The kilogram force (which I would write as 'kgf') was officially replaced by the newton a while back. As far as I am aware, Nm is used throughout Europe in car magazines and on tools. Similarly, the foot pound is used throughout the USA. The UK used foot pounds in the past and now uses Nm.

 * Multiplication of units is shown by a dot ( . ) character (as in N.m), or by nothing (as in Nm). So the use of a slash ( / ) or a hyphen ( - ) is definitely wrong. It could imply a different calculation. I note that Yamaha uses a hyphen and therefore is wrong.

 * What units do they use on torque wrenches in your country?
 * Bobblewik 12:57, 17 Aug 2004 (UTC)

 * Well, thanx for such brilliant remarks. As I'm an expert neither in Motorcycles nor in Physics as you seem to be, i can only tell some manufacturers use it. Ducati and Aprilia use the notation kgm on their websites -Ducati uses only that unit- Yamaha Brazil uses kgm/f, Yamaha Europe uses kg-m...

 * Ok, a rapid search on Wikipedia leads to Kgf which suggests that the symbol is kgf, so let's use it (: Ukuk 01:35, 18 Aug 2004 (UTC)

 * Actually, the page Kgf does not exist. You will have been redirected to Kilogram-force which mentions the symbol 'kgf'. Note that the symbol for 'kilo' must be a lower case 'k', it is only symbols from mega ('M') upwards that are capitals. Strange but true. See the list at the official SI website.

 * You cannot express torque in units of force alone. So just 'kgf' by itself is not correct. You need metres too. I would recommend 'kgf.m' or 'm.kgf'. You could write kgfm or mkgf but I think that is not so good. However, we already use 2 ways of expressing torque on Wikipedia and it gets complicated ensuring that articles note both of them. Readers need either foot pounds or newton metres. I am not convinced that there is a need for a 3rd form of torque unit. I hope that we can simply drop it. It will be worth asking around. Can you check in Brazil and France to see what they use in magazines and for mechanics tools?
 * Bobblewik 12:07, 18 Aug 2004 (UTC)

 * I've asked the guy who repairs my motorbike, he said in Brazil people only uses m.kgf, he also said that it exists ft.lbf and asked about "Nwhat ??", obviously Nm is not used here (: In France N.m seems to dominate even if m.kgf persists.

 * Thanks.
 * Bobblewik 13:10, 19 Aug 2004 (UTC)

- In order to be mentioned in the Wikipedia, a band must be fairly notable. Local bands are only notable enough if they are extremely influential on the local scene. Sorry. Tuf-Kat 14:27, Aug 25, 2004 (UTC)
 * See What Wikipedia is not. If you disagree, I recommend you bring it up at Requests for comment, Talk:Grindcore and/or WikiProject Music standards. Tuf-Kat 18:46, Aug 25, 2004 (UTC)

Ford Maverick
I reverted your change to the Ford Maverick page. The categories were not suggesting that the same vehicle would be all-wheel drive, front wheel drive and rear wheel drive, but rather that vehicles under that name may be in one of those categories. Multiple models of Maverick have been sold worldwide; some all wheel drive, some not. —Morven 17:41, Aug 27, 2004 (UTC)

Recruiter
A proposed deletion template has been added to the article Recruiter, suggesting that it be deleted according to the proposed deletion process. All contributions are appreciated, but this article may not satisfy Wikipedia's criteria for inclusion, and the deletion notice should explain why (see also "What Wikipedia is not" and Wikipedia's deletion policy). You may prevent the proposed deletion by removing the  notice, but please explain why you disagree with the proposed deletion in your edit summary or on its talk page.

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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.

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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) 20:04, 22 April 2015 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 08:54, 23 November 2015 (UTC)

Speedy deletion nomination of Purulent Excretor

A tag has been placed on Purulent Excretor requesting that it be speedily deleted from Wikipedia. This has been done under section A7 of the criteria for speedy deletion, because the article appears to be about a band or musician that does not credibly indicate how or why the subject is important or significant: that is, why an article about that subject should be included in an encyclopedia. Under the criteria for speedy deletion, such articles may be deleted at any time. Please read more about what is generally accepted as notable.

If you think this page should not be deleted for this reason, you may contest the nomination by visiting the page and clicking the button labelled "Contest this speedy deletion". This will give you the opportunity to explain why you believe the page should not be deleted. However, be aware that once a page is tagged for speedy deletion, it may be deleted without delay. Please do not remove the speedy deletion tag from the page yourself, but do not hesitate to add information in line with Wikipedia's policies and guidelines. If the page is deleted, and you wish to retrieve the deleted material for future reference or improvement, then please contact the. StraussInTheHouse (talk) 16:22, 21 June 2018 (UTC)

 * This user has made two edits in ten years. Don't template the retirees, you waste your time and disk space. Ritchie333 (talk) (cont)  16:36, 21 June 2018 (UTC)

Nomination of Purulent Excretor for deletion
A discussion is taking place as to whether the article Purulent Excretor is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/Purulent Excretor until a consensus is reached, and anyone is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article. StraussInTheHouse (talk) 18:13, 21 June 2018 (UTC)

title: User talk:Ukuk~enwiki


text:
Lateral geniculate nucleus

In neuroanatomy, the lateral geniculate nucleus (LGN; also called the lateral geniculate body or lateral geniculate complex) is a structure in the thalamus and a key component of the mammalian visual pathway. It is a small, ovoid, ventral projection of the thalamus where the thalamus connects with the optic nerve. There are two LGNs, one on the left and another on the right side of the thalamus. In humans, both LGNs have six layers of neurons (grey matter) alternating with optic fibers (white matter).

The LGN receives information directly from the ascending retinal ganglion cells via the optic tract and from the reticular activating system. Neurons of the LGN send their axons through the optic radiation, a direct pathway to the primary visual cortex. In addition, the LGN receives many strong feedback connections from the primary visual cortex. In humans as well as other mammals, the two strongest pathways linking the eye to the brain are those projecting to the dorsal part of the LGN in the thalamus, and to the superior colliculus.

Structure
Both the left and right hemisphere of the brain have a lateral geniculate nucleus, named after its resemblance to a bent knee (genu is Latin for "knee"). In humans as well as in many other primates, the LGN has layers of magnocellular cells and parvocellular cells that are interleaved with layers of koniocellular cells. In humans the LGN is normally described as having six distinctive layers. The inner two layers, (1 and 2) are magnocellular layers, while the outer four layers, (3,4,5 and 6), are parvocellular layers. An additional set of neurons, known as the koniocellular layers, are found ventral to each of the magnocellular and parvocellular layers. This layering is variable between primate species, and extra leafleting is variable within species.

M, P, K cells

* Size describes the cell body and dendritic tree, though also can describe the receptive field

The magnocellular, parvocellular, and koniocellular layers of the LGN correspond with the similarly named types of retinal ganglion cells. Retinal P ganglion cells send axons to a parvocellular layer, M ganglion cells send axons to a magnocellular layer, and K ganglion cells send axons to a koniocellular layer.

Koniocellular cells are functionally and neurochemically distinct from M and P cells and provide a third channel to the visual cortex. They project their axons between the layers of the lateral geniculate nucleus where M and P cells project. Their role in visual perception is presently unclear; however, the koniocellular system has been linked with the integration of somatosensory system-proprioceptive information with visual perception, and it may also be involved in color perception.

The parvo- and magnocellular fibers were previously thought to dominate the Ungerleider–Mishkin ventral stream and dorsal stream, respectively. However, new evidence has accumulated showing that the two streams appear to feed on a more even mixture of different types of nerve fibers.

The other major retino–cortical visual pathway is the tectopulvinar pathway, routing primarily through the superior colliculus and thalamic pulvinar nucleus onto posterior parietal cortex and visual area MT.

Ipsilateral and contralateral layers
Both the LGN in the right hemisphere and the LGN in the left hemisphere receive input from each eye. However, each LGN only receives information from one half of the visual field. Retinal ganglion cells (RGCs) from the inner halves of each retina (the nasal sides) decussate (cross to the other side of the brain) through the optic chiasma (khiasma means "cross-shaped"). RGCs from the outer half of each retina (the temporal sides) remain on the same side of the brain. Therefore, the right LGN receives visual information from the left visual field, and the left LGN receives visual information from the right visual field. Within one LGN, the visual information is divided among the various layers as follows:
 * the eye on the same side (the ipsilateral eye) sends information to layers 2, 3 and 5
 * the eye on the opposite side (the contralateral eye) sends information to layers 1, 4 and 6.

This description applies to the LGN of many primates, but not all. The sequence of layers receiving information from the ipsilateral and contralateral (opposite side of the head) eyes is different in the tarsier. Some neuroscientists suggested that "this apparent difference distinguishes tarsiers from all other primates, reinforcing the view that they arose in an early, independent line of primate evolution".

Input
The LGN receives input from the retina and many other brain structures, especially visual cortex.

The principal neurons in the LGN receive strong inputs from the retina. However, the retina only accounts for a small percentage of LGN input. As much as 95% of input in the LGN comes from the visual cortex, superior colliculus, pretectum, thalamic reticular nuclei, and local LGN interneurons. Regions in the brainstem that are not involved in visual perception also project to the LGN, such as the mesencephalic reticular formation, dorsal raphe nucleus, periaqueuctal grey matter, and the locus coeruleus. The LGN also receives some inputs from the optic tectum (known as the superior colliculus in mammals). These non-retinal inputs can be excitatory, inhibitory, or modulatory.

Output
Information leaving the LGN travels out on the optic radiations, which form part of the retrolenticular portion of the internal capsule.

The axons that leave the LGN go to V1 visual cortex. Both the magnocellular layers 1–2 and the parvocellular layers 3–6 send their axons to layer 4 in V1. Within layer 4 of V1, layer 4cβ receives parvocellular input, and layer 4cα receives magnocellular input. However, the koniocellular layers, intercalated between LGN layers 1–6 send their axons primarily to the cytochrome-oxidase rich blobs of layers 2 and 3 in V1. Axons from layer 6 of visual cortex send information back to the LGN.

Studies involving blindsight have suggested that projections from the LGN travel not only to the primary visual cortex but also to higher cortical areas V2 and V3. Patients with blindsight are phenomenally blind in certain areas of the visual field corresponding to a contralateral lesion in the primary visual cortex; however, these patients are able to perform certain motor tasks accurately in their blind field, such as grasping. This suggests that neurons travel from the LGN to both the primary visual cortex and higher cortex regions.

Function in visual perception
The output of the LGN serves several functions.

Computations are achieved to determine the position of every major element in object space relative to the principal plane. Through subsequent motion of the eyes, a larger stereoscopic mapping of the visual field is achieved.

It has been shown that while the retina accomplishes spatial decorrelation through center surround inhibition, the LGN accomplishes temporal decorrelation. This spatial–temporal decorrelation makes for much more efficient coding. However, there is almost certainly much more going on.

Like other areas of the thalamus, particularly other relay nuclei, the LGN likely helps the visual system focus its attention on the most important information. That is, if you hear a sound slightly to your left, the auditory system likely "tells" the visual system, through the LGN via its surrounding peri-reticular nucleus, to direct visual attention to that part of space. The LGN is also a station that refines certain receptive fields.

Axiomatically determined functional models of LGN cells have been determined by Lindeberg in terms of Laplacian of Gaussian kernels over the spatial domain in combination with temporal derivatives of either non-causal or time-causal scale-space kernels over the temporal domain. It has been shown that this theory both leads to predictions about receptive fields with good qualitative agreement with the biological receptive field measurements performed by DeAngelis et al. and guarantees good theoretical properties of the mathematical receptive field model, including covariance and invariance properties under natural image transformations. Specifically according to this theory, non-lagged LGN cells correspond to first-order temporal derivatives, whereas lagged LGN cells correspond to second-order temporal derivatives.

Color processing
The LGN is integral in the early steps of color processing, where opponent channels are created that compare signals between the different Photoreceptor cell types. The output of P-cells comprises red-green opponent signals. The output of M-cells does not include much color opponency, rather a sum of the red-green signal that evokes luminance. The output of K-cells comprises mostly blue-yellow opponent signals.

Rodents
In rodents, the lateral geniculate nucleus contains the dorsal lateral geniculate nucleus (dLGN), the ventral lateral geniculate nucleus (vLGN), and the region in between called the intergeniculate leaflet (IGL). These are distinct subcortical nuclei with differences in function.

dLGN
The dorsolateral geniculate nucleus is the main division of the lateral geniculate body. The majority of input to the dLGN comes from the retina. It is laminated and shows retinotopic organization.

vLGN
The ventrolateral geniculate nucleus has been found to be relatively large in several species such as lizards, rodents, cows, cats, and primates. An initial cytoarchitectural scheme, which has been confirmed in several studies, suggests that the vLGN is divided into two parts. The external and internal divisions are separated by a group of fine fibers and a zone of thinly dispersed neurons. Additionally, several studies have suggested further subdivisions of the vLGN in other species. For example, studies indicate that the cytoarchitecture of the vLGN in the cat differs from rodents. Although five subdivisions of the vLGN in the cat have been identified by some, the scheme that divides the vLGN into three regions (medial, intermediate, and lateral) has been more widely accepted.

IGL
The intergeniculate leaflet is a relatively small area found dorsal to the vLGN. Earlier studies had referred to the IGL as the internal dorsal division of the vLGN. Several studies have described homologous regions in several species, including humans.

The vLGN and IGL appear to be closely related based on similarities in neurochemicals, inputs and outputs, and physiological properties.

The vLGN and IGL have been reported to share many neurochemicals that are found concentrated in the cells, including neuropeptide Y, GABA, encephalin, and nitric oxide synthase. The neurochemicals serotonin, acetylcholine, histamine, dopamine, and noradrenaline have been found in the fibers of these nuclei.

Both the vLGN and IGL receive input from the retina, locus coreuleus, and raphe. Other connections that have been found to be reciprocal include the superior colliculus, pretectum, and hypothalamus, as well as other thalamic nuclei.

Physiological and behavioral studies have shown spectral-sensitive and motion-sensitive responses that vary with species. The vLGN and IGL seem to play an important role in mediating phases of the circadian rhythms that are not involved with light, as well as phase shifts that are light-dependent.

title: Lateral geniculate nucleus


text:
User talk:Radiomaru

Hey there! Welcome to Wikipedia! I hope you like this place--I sure do--and want to stay. If you need help on how to title new articles check out Naming conventions, and for help on formatting the pages visit the manual of style. If you need help look at Help and The FAQ, plus if you can't find your answer there, check The Village pump or The Reference Desk! Happy Thanksgiving! Alexandros

Image at Bryan Lee O'Malley
Hi. I understand that you have indicated in your livejournal that you do not like the photo being used to illustrate the article on you. That's fine. However, until a better public domain image is found, there is no reason to remove the existing image. The subjects of Wikipedia articles do not get to dictate the content of their respective articles, and there is nothing wrong with the image in question (nor does it run afoul of the policies at Biographies of living persons). Somebody did upload a better image of you (Image:Mal.jpg), probably in response to your livejournal post. It looks like it was uploaded from your flickr account. However, that image was removed, as it did not have an acceptable free license. If you would like to help us improve the quality of the image(s) used at Bryan Lee O'Malley, the best thing you could do would be to change the license of any portraits that you have uploaded to flickr (such as (Image:Mal.jpg). Only images that are licensed on flickr as  (CC-BY) or as  (CC-BY-SA) are acceptable for use on Wikipedia.  Or you can simply upload any photo of yourself to Wikipedia, as long as it is public domain or, as image creator/license holder, you are prepared to release it under a free license. I hope that helps.  Leave me a message on my talk page if you have any questions.  Thanks.  Skeezix1000 (talk) 15:45, 23 April 2008 (UTC)
 * Much thanks. I uploaded your new image to the Commons, so it can be used on other Wikimedia projects, but that's it. Skeezix1000 (talk) 16:38, 24 April 2008 (UTC)

Fair use rationale for File:Grayhorses.jpg
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If you have uploaded other files, consider checking that you have provided evidence that their copyright owners have agreed to license their works under the tags you supplied, too. You can find a list of files you have created in [ your upload log]. Files lacking evidence of permission may be deleted one week after they have been tagged, as described on criteria for speedy deletion. You may wish to read the Wikipedia's image use policy. If you have any questions please ask them at the Media copyright questions page. Thank you. czar ♔  06:55, 1 January 2014 (UTC)

title: User talk:Radiomaru


text:
Giant depolarizing potential

A giant depolarizing potential (GDP) is a type of patterned spontaneous activity that can be observed in preparations of developing brain at early stages of development. These patterns of activity differ a lot from both the adult brain activity, and epileptiform activity. In humans they exist only on prenatal stages, in rats they last for approximately P6.

GDPs were postulated to be essential for the establishment and maturation of synaptic connections in the immature brain.

One of the main conditions for GDP development (that is met in premature but not adult brain) is that GABA action on these stages should be excitatory rather than inhibitory. This is caused by a much higher concentration of Cl− concentration in the cytoplasm of neonatal neurons. Further, the expression of the chloride transporter, KCC2, is less in immature neurons, as a result of which there is the above-mentioned high intracellular chloride. On receiving a GABAergic stimulus, there is an efflux of Chloride from the cell, resulting in depolarization of the cell. This causes the GDPs. Once the KCC2 expression is relatively high, as in the adult, mature neurons, the GDPs almost simultaneously disappear. The increased level of KCC2 expression in adult, mature neurons alone is not the reason for the disappearance of the GDPs, however.

title: Giant depolarizing potential


text:
Prussian Homage

The Prussian Homage or Prussian Tribute (Preußische Huldigung; hołd pruski) was the formal investiture of Albert of Prussia with the Duchy of Prussia as a fief of the Kingdom of Poland that took place on 10 April 1525 in Kraków, Poland. This ended the rule of the Teutonic Order in Prussia, which became a secular Protestant state.

Fighting in the Polish-Teutonic War (1519–1521) ended with an armistice. In 1522, Albert, the Grand Master of the Teutonic Order and a member of the House of Hohenzollern, became a Protestant, as did many other members of the Teutonic Order and Prussian nobles. At the suggestion of Martin Luther, Albert agreed that Prussia should submit to Poland and become Protestant. King Sigismund I the Old of Poland (Albert's uncle) accepted this, because it was better for Poland for strategic reasons than the independent State of the Teutonic Order in Prussia, formally subject to the Holy Roman Emperor and the Papacy.

These terms were included in the Treaty of Kraków, which officially ended the Polish–Teutonic War on 8 April 1525. On 10 April, in the Main Square of the Polish capital Kraków, Albert resigned as Grand Master and received the title "Duke of Prussia" from Sigismund. The Duchy of Prussia became the first Protestant state, anticipating the Peace of Augsburg of 1555.

As a symbol of vassalage, Albert received a standard with the Prussian coat of arms from the Polish king. The black Prussian eagle on the flag was augmented with a letter "S" (for Sigismundus) and had a crown placed around its neck as a symbol of fealty to Poland.

Earlier homages of Grand Masters of the Teutonic Knights
The tradition of Prussian Homages dates back to the year 1469, when, after the Thirteen Years' War (1454–66) and the Second Peace of Thorn (1466), each new Grand Master was obliged to pay homage to Polish rulers within six months of his election. Some Grand Masters refused to do so, claiming that the Order was under Papal sovereignty. Among those who refused were Martin Truchseß von Wetzhausen, Frederick of Saxony (who referred the matter to the 1495 Imperial Diet), and Albert. Five Grand Masters did comply:
 * 1 December 1469, at a Sejm in Piotrków Trybunalski, Grand Master Heinrich Reuß von Plauen paid homage to King Casimir IV Jagiellon.
 * 20 November 1470, at a Sejm in Piotrków Trybunalski, Grand Master Heinrich Reffle von Richtenberg and Conrad Von Wilczyński paid homage to King Casimir IV.
 * 9 October 1479, at Nowy Korczyn, Grand Master Martin Truchseß von Wetzhausen paid homage to King Casimir IV.
 * 18 November 1489, at Radom, Grand Master Johann von Tiefen paid homage to King Casimir IV.
 * 29 May 1493, Grand Master Johann von Tiefen paid homage to King John I Albert.

Subsequent homages of Dukes of Prussia
The Duchy of Prussia was created in 1525, and the homage of Duke Albert of Prussia took place on 10 April 1525 at Kraków. The last homage took place on 6 October 1641 in front of the Royal Castle, Warsaw. Following the Treaty of Bromberg (1657), Prussian rulers were no longer regarded as vassals of Polish kings.
 * 19 July 1569, at a Sejm in Lublin, Albert Frederick, Duke of Prussia, paid homage to King Sigismund II Augustus. This event was observed, among others, by Jan Kochanowski, who described it in the poem Proporzec albo hołd pruski.
 * 20 February 1578, in front of St. Anne's Church, Warsaw, George Frederick, Margrave of Brandenburg-Ansbach, paid homage to King Stephen Báthory.
 * 16 November 1611, in front of St. Anne's Church, Warsaw, John Sigismund, Elector of Brandenburg, paid homage to King Sigismund III Vasa.
 * September 1621, George William, Elector of Brandenburg, paid homage to King Sigismund III.
 * 21 March 1633, envoys of Elector George William paid homage to King Władysław IV Vasa.
 * 6 October 1641, in front of Warsaw's Royal Castle, Frederick William, Elector of Brandenburg, paid homage to King Władysław IV.

title: Prussian Homage


text:
Geniculate nucleus

Geniculate nucleus may refer to two structures in the brain:
 * Lateral geniculate nucleus, in visual perception
 * Medial geniculate nucleus, in hearing

title: Geniculate nucleus


text:
Postpartum period

The postpartum (or postnatal) period begins after childbirth and is typically considered to last for six weeks. There are three distinct phases of the postnatal period; the acute phase, lasting for six to twelve hours after birth; the subacute phase, lasting six weeks; and the delayed phase, lasting up to six months. During the delayed phase, some changes to the genitourinary system take much longer to resolve and may result in conditions such as urinary incontinence. The World Health Organization (WHO) describes the postnatal period as the most critical and yet the most neglected phase in the lives of mothers and babies; most maternal and newborn deaths occur during this period.

In scientific literature, the term is commonly abbreviated to Px, where x is a number; for example, "day P5" should be read as "the fifth day after birth". This is not to be confused with the medical nomenclature that uses G P to stand for number and outcomes of pregnancy (gravidity and parity).

A woman giving birth may leave as soon as she is medically stable, which can be as early as a few hours postpartum, though the average for a vaginal birth is one to two days. The average caesarean section postnatal stay is three to four days. During this time, the mother is monitored for bleeding, bowel and bladder function, and baby care. The infant's health is also monitored. Early postnatal hospital discharge is typically defined as discharge of the mother and newborn from the hospital within 48 hours of birth.

The postpartum period can be divided into three distinct stages; the initial or acute phase, 8–19 hours after childbirth; subacute postpartum period, which lasts two to six weeks, and the delayed postpartum period, which can last up to six months. In the subacute postpartum period, 87% to 94% of women report at least one health problem. Long-term health problems (persisting after the delayed postpartum period) are reported by 31% of women.

Various organizations recommend routine postpartum evaluation at certain time intervals in the postpartum period.

Acute phase
The first 6 to 12 hours after childbirth is the initial or acute phase of the postpartum period. During this time the mother is typically monitored by nurses or midwives as complications can arise.

The greatest health risk in the acute phase is postpartum bleeding. Following delivery the area where the placenta was attached to the uterine wall bleeds, and the uterus must contract to prevent blood loss. After contraction takes place the fundus (top) of the uterus can be palpated as a firm mass at the level of the navel. It is important that the uterus remains firm and the nurse or midwife will make frequent assessments of both the fundus and the amount of bleeding. Uterine massage is commonly used to help the uterus contract.

Following delivery if the mother had an episiotomy or tearing at the opening of the vagina, it is stitched. In the past, an episiotomy was routine. However, more recent research shows that routine episiotomy, when a normal delivery without complications or instrumentation is anticipated, does not offer benefits in terms of reducing perineal or vaginal trauma. Selective use of episiotomy results in less perineal trauma. A healthcare professional can recommend comfort measures to help to ease perineal pain.

Infant caring in the acute phase
Within about 10 seconds the infant takes its first breath and the caregiver places the baby on the mother's chest. The infant's condition is evaluated using the Apgar scale. The Apgar score is determined by evaluating the newborn baby on five criteria which are summarized using words chosen to form an acronym (Appearance, Pulse, Grimace, Activity, Respiration). Until recently babies were routinely removed from their mothers following birth; however beginning around 2000, some authorities began to suggest that early skin-to-skin contact (placing the naked baby on the mother's chest) is of benefit to both mother and infant. As of 2014, early skin-to-skin contact, also called kangaroo care, is endorsed by all major organizations that are responsible for the well-being of infants. Thus, to help establish bonding and successful breastfeeding, the caregiver carries out immediate mother and infant assessments as the infant lies on the mother's chest and removes the infant for further observations only after they have had their first breastfeed, depending on the mother's preference. The World Health Organization (WHO) also encourages skin-to-skin contact for the first 24 hours after birth to help regulate the baby's temperature.

Subacute postpartum period
The subacute postpartum starts after the acute postpartum period concludes and can last for two to six weeks.

Physical recovery in the subacute postpartum period
In the first few days following childbirth, the risk of a deep vein thrombosis (DVT) is relatively high as hypercoagulability increases during pregnancy and is maximal in the postpartum period, particularly for women with C-section with reduced mobility. Anti-coagulants or physical methods such as compression may be used in the hospital, particularly if the woman has risk factors, such as obesity, prolonged immobility, recent C-section, or first-degree relative with a history of thrombotic episode. For women with a history of thrombotic event in pregnancy or prior to pregnancy, anticoagulation is generally recommended.

The increased vascularity (blood flow) and edema (swelling) of the woman's vagina gradually resolves in about three weeks. The cervix gradually narrows and lengths over a few weeks. Postpartum infections can lead to sepsis and if untreated, death. Postpartum urinary incontinence is experienced by about 33% of all women; women who deliver vaginally are about twice as likely to have urinary incontinence as women who give birth via a cesarean. Urinary incontinence in this period increases the risk of long term incontinence. In the subacute postpartum period, 87% to 94% of women report at least one health problem. Kegel exercises are recommended to strengthen the pelvic floor muscles and control urinary incontinence. Discharge from the uterus, called lochia, will gradually decrease and turn from bright red, to brownish, to yellow and cease at around five or six weeks. Women are advised in this period to wear adult diapers or nappies, disposable maternity briefs, maternity pads or towels, or sanitary napkins. The use of tampons or menstrual cups are contraindicated as they may introduce bacteria and increase the risk of infection. An increase in lochia between 7–14 days postpartum may indicate delayed postpartum hemorrhage.

Hemorrhoids and constipation in this period are common, and stool softeners are routinely given. If an episiotomy or perineal tear had to be sutured, the use of a donut pillow allows the woman to sit pain-free or at least with reduced pain.

Some women feel uterine contractions, called afterpains, during the first few days after delivery. They have been described as similar to menstrual cramps and are more common during breastfeeding, due to the release of oxytocin. The cramping is the compressing of the blood vessels in the uterus to prevent bleeding.

Infant caring in the subacute period
At two to four days postpartum, a woman's breastmilk will generally come in. Historically, women who were not breastfeeding (nursing their babies) were given drugs to suppress lactation, but this is no longer medically indicated. In this period, difficulties with breastfeeding may arise. Maternal sleep is often disturbed as night waking is normal in the newborn, and newborns need to be fed every two to three hours, including during the night. The lactation consultant, health visitor, monthly nurse, postnatal doula, or kraamverzorgster may be of assistance at this time.

Psychological disorders
During the subacute postpartum period, psychological disorders may emerge. Among these are postpartum depression, posttraumatic stress disorder, and in rare cases, postpartum psychosis. Postpartum mental illness can affect both mothers and fathers, and is not uncommon. Early detection and adequate treatment is required. Approximately 70–80% of postpartum women will experience the "baby blues" for a few days. Between 10 and 20 percent may experience clinical depression, with a higher risk among those women with a history of postpartum depression, clinical depression, anxiety, or other mood disorders. Prevalence of PTSD following normal childbirth (excluding stillbirth or major complications) is estimated to be between 2.8% and 5.6% at six weeks postpartum.

Maternal-infant postpartum evaluation
Various organizations across the world recommend routine postpartum evaluation in the postpartum period. The American College of Obstetricians and Gynecologists (ACOG) recognizes the postpartum period (the "fourth trimester") as critical for women and infants. Instead of the traditional single four- to six-week postpartum visit, ACOG, as of 2018, recommends that postpartum care be an ongoing process. They recommend that all women have contact (either in person or by phone) with their obstetric provider within the first three weeks postpartum to address acute issues, with subsequent care as needed. A more comprehensive postpartum visit should be done at four to twelve weeks postpartum to address the mother's mood and emotional well-being, physical recovery after birth, infant feeding, pregnancy spacing and contraception, chronic disease management, and preventive health care and health maintenance. Results of a 2023 systematic review of the evidence suggests a relationship between having sufficient health insurance and attendance at follow-up postpartum care visits that may prevent additional needs for preventable care.

Women with hypertensive disorders should have a blood pressure check within three to ten days postpartum. A 2023 systematic review of the literature suggests monitoring the blood pressure at home of women in the postpartum period appears to help with overall blood pressure measures and supports overall patient satisfaction. More than one half of postpartum strokes occur within ten days of discharge after delivery. Women with chronic medical (e.g., hypertensive disorders, diabetes, kidney disease, thyroid disease) and psychiatric conditions should continue to follow with their obstetric or primary care provider for ongoing disease management. Women with pregnancies complicated by hypertension, gestational diabetes, or preterm birth should undergo counseling and evaluation for cardiometabolic disease, as lifetime risk of cardiovascular disease is higher in these women.

Similarly, the World Health Organization recommends postpartum evaluation of the mother and infant at three days, one to two weeks, and six weeks postpartum.

Delayed postpartum period
The delayed postpartum period starts after the subacute postpartum period and lasts up to six months. During this time, muscles and connective tissue returns to a pre-pregnancy state. Recovery from childbirth complications in this period, such as urinary and fecal incontinence, painful intercourse, and pelvic prolapse, are typically very slow and in some cases may not resolve. Symptoms of PTSD often subside in this period, dropping from 2.8% and 5.6% at six weeks postpartum to 1.5% at six months postpartum. During this period, infant sleep during the night gradually increases and maternal sleep generally improves.

Approximately three months after giving birth (typically between two and five months), estrogen levels drop and large amounts of hair loss is common, particularly in the temple area (postpartum alopecia). Hair typically grows back normally and treatment is not indicated.

Many factors figure into the likelihood of post natal problems including the size of the infant; the method of delivery, such as c-section, or of forceps; perineum trauma from either an episiotomy or natural tearing; and the physical condition of the birth mother. Conditions that may result from childbirth include uterine prolapse, cystocele, rectocele, fecal incontinence, and urinary incontinence. Other conditions that may also arise in this period include postpartum thyroiditis. Long-term health problems (persisting after the delayed postpartum period) are reported by 31% of women.

Ongoing physical and mental health evaluation, risk factor identification, and preventive health care should be provided.

Return to work
The American College of Obstetricians and Gynecologists (ACOG) recommends women take at least six weeks off work following childbirth. In the U.S., the only national maternity leave provision is covered by the Family and Medical Leave Act (FMLA), which entitles new parents to up to 12 weeks of unpaid leave. However, 60% of new parents are unable to afford taking unpaid leave for six weeks. According to U.S. Department of Labor statistics, only 17% have access to paid leave.

The National Partnership for Women & Families, an organization that works to promote the wellbeing of women and families, says "the benefits of paid family leave in states that have introduced it include improved worker morale, time for parents to bond with their children, increased breastfeeding, more children getting vaccinations on time, cuts in children’s hospital admissions and reduced probabilities of having ADHD and hearing problems."

The United States is the only country in the Organisation for Economic Co-operation and Development (OECD) that does not provide paid maternity, paternity, and parental leave. Thirteen countries, including eight of the European countries and Colombia, Costa Rica, Chile, Argentina and Mexico offer at least three months of equivalent pay.

Cultures

Postpartum confinement refers to a system for recovery following childbirth. It begins immediately after the birth, and lasts for a culturally variable length: typically for one month or 30 days, up to 40 days, two months or 100 days. This postnatal recuperation can include "traditional health beliefs, taboos, rituals, and proscriptions." The practice used to be known as "lying-in", which, as the term suggests, centres around bed rest. (Maternity hospitals used to use this phrase, as in the General Lying-in Hospital.) Postpartum confinement customs are well-practiced in China, where it is known as "sitting the month", and similar customs manifest all over the world. A modern version of this rest period has evolved, to give maximum support to the new mother.

title: Postpartum period


text:
De Vlaamse Leeuw

"De Vlaamse Leeuw" (The Flemish Lion) is the official anthem of Flanders, a region and community in Belgium.

Composition

The words of this anthem were written in July 1847 by Hippoliet Van Peene (1811–1864) who was clearly inspired by the song Sie sollen ihn nicht haben, / den freien Deutschen Rhein, / So lang sich Herzen laben / An seinem Feuerwein (They must never get our free German Rhine, As long as hearts relish its fiery wine) by the German author Nikolaus Becker.

The music, by Karel Miry (1823–1899), is apparently influenced by Robert Schumann's Sonntags am Rhein.

Like France's Marseillaise, De Vlaamse Leeuw is a nationalist battle song. Franco-Belgian political tension in the mid-19th century made the Flemish public mood ripe for such an expression of regional feeling. At the time, it was not meant as anti-Belgian (as it often came to be seen by Flemish separatists and their Belgicist opponents), for the "enemy" it refers to is Belgium's southwestern neighbour France, as in the 1302 Battle of the Golden Spurs.

Around 1900, the anthem was in general use among Flemish militants.

On 6 July 1973, a decree by the then (the precursor of the present Flemish Parliament) proclaimed the first two stanzas to be the official national anthem of Flanders. The text and musical notation were officially published on 11 July 1985.

Lyrics
Only the first two stanzas and their refrains are performed.

title: De Vlaamse Leeuw


text:
In Utero

In Utero is the third and final studio album by the American rock band Nirvana, released on September 21, 1993, by DGC Records. After breaking into the mainstream with their second album, Nevermind (1991), Nirvana hired Steve Albini to record In Utero, seeking a more complex, abrasive sound that was reminiscent of their work prior to Nevermind. Although the singer and primary songwriter Kurt Cobain claimed that the album was "very impersonal", many of its songs contain heavy allusions to his personal life and struggles, expressing feelings of angst that were common on the band's previous album.

The album was recorded over two weeks in February 1993 at Pachyderm Studio in Cannon Falls, Minnesota. After recording finished, rumors circulated that DGC might not release the album due to Albini's abrasive and uncommercial sound. The album was mastered by Bob Ludwig to achieve a more desirable sound for both Nirvana and their label. The band later hired the producer Scott Litt to remix the singles "All Apologies", "Heart-Shaped Box" and "Pennyroyal Tea".

In Utero was a major commercial and critical success. Critics praised the album's raw, unconventional sound and Cobain's lyricism. It reached number one on the US Billboard 200 and UK Albums Chart; "Heart-Shaped Box" and "All Apologies" reached number one on the Billboard Alternative Songs chart. The album is certified five times platinum in the US and has sold 15 million copies worldwide. It was the final Nirvana album before Cobain's suicide in 1994, six months after the album's release.

"Pennyroyal Tea", planned as a single prior to Cobain's death, was released in 2014 and reached number one on the now-defunct Billboard Hot 100 Singles Sales chart.

Background
Nirvana broke into the mainstream with their second album, Nevermind, in 1991. Despite modest sales estimates, Nevermind was a major commercial success, popularizing the grunge movement and alternative rock. Nirvana expressed dissatisfaction with the sound of the album, citing its production as too polished. Early in 1992, the singer, Kurt Cobain, told Rolling Stone that Nirvana's next album would showcase "both of the extremes" of their sound, saying: "It'll be more raw with some songs and more candy pop on some of the others. It won't be as one-dimensional." The producer of Nevermind, Butch Vig, said later that Cobain had needed to work with a different producer to "reclaim his punk ethics or cred".

Cobain wanted to start work in mid-1992, but his bandmates lived in different cities, and Cobain and his wife, Courtney Love, were expecting the birth of their daughter, Frances Bean. Nirvana's record label, DGC Records, had hoped to release a new Nirvana album for the 1992 holiday season; instead, they released the compilation album Incesticide.

In a Melody Maker interview published in July 1992, Cobain said he was interested in recording with Jack Endino, who had produced Nirvana's 1989 debut album Bleach, and Steve Albini, the former frontman of the noise rock band Big Black, who had produced various independent releases. In Seattle in October 1992, Nirvana recorded several demos with Endino, mainly as instrumentals, including songs later rerecorded for In Utero. Endino recalled that they did not ask him to produce their next record, and that they constantly debated working with Albini.

Nirvana recorded another set of demos while on tour in Brazil in January 1993. "Gallons of Rubbing Alcohol Flow Through the Strip" was recorded by Craig Montgomery at BMG Ariola Ltda in Rio de Janeiro, during the three-day demo session. It was originally titled "I'll Take You Down to the Pavement", a reference to an argument between Cobain and the Guns N' Roses singer Axl Rose at the 1992 MTV Video Music Awards.

Nirvana chose Albini to record their third album. Cobain said he chose Albini because he had produced two of his favorite records, Surfer Rosa (1988) by the Pixies and Pod (1990) by the Breeders. Cobain wanted to use Albini's technique of capturing the natural ambience of a room via the placement of several microphones, something previous Nirvana producers had been averse to trying.

Albini was known in the American independent music scene for his criticism of the mainstream music industry and had a strict preference for analog recording rather than digital. He sent a disclaimer to the British music press denying rumors of his involvement with Nirvana, only to receive a call from Nirvana's management a few days later. Albini dismissed Nirvana as "R.E.M. with a fuzzbox" and "an unremarkable version of the Seattle sound". However, he accepted the job because he felt sorry for them, perceiving them as "the same sort of people as all the small-fry bands I deal with", at the mercy of their record company.

Before recording began, Nirvana sent Albini a tape of the demos they had made in Brazil. In return, Albini sent Cobain a copy of the PJ Harvey album Rid of Me (1993) to give him an idea of the acoustics at the studio where they would record.

Recording
Nirvana and Albini set a two-week deadline for recording. At the suggestion of Albini, who was wary of interference from DGC, Nirvana paid for the sessions with their own money. Studio fees totaled US$24,000, while Albini took a flat fee of $100,000. Though he stood to earn about $500,000 from royalties, Albini refused to accept them, as he considered taking royalties immoral and "an insult to the artist". In February 1993, Nirvana traveled to Pachyderm Studio in Cannon Falls, Minnesota. Albini did not meet them until the first day of recording, though he had spoken to them beforehand about the type of album they wanted to make; he observed that "they wanted to make precisely the sort of record that I'm comfortable doing". The group stayed in a house on the studio grounds. Novoselic compared the isolated conditions to a gulag; he said, "There was snow outside, we couldn't go anywhere. We just worked." For most of the sessions, only the band, Albini, and the technician Bob Weston were present. Nirvana made it clear to DGC and their management company Gold Mountain that they wanted no intrusion, and did not play their work in progress for their A&R representative. Albini instituted a policy of ignoring everyone except for the band members; he said that everyone associated with Nirvana were "the biggest pieces of shit I ever met".

Nirvana arrived at Pachyderm Studio without their equipment and spent much of the first three days waiting for it to arrive by mail. Once recording began, on February 13, work moved quickly. On most days, the group began work around midday, took breaks for lunch and dinner, and worked until midnight. For most songs, Cobain, Novoselic, and Grohl recorded their basic instrumental tracks together as a band. For faster songs, such as "Very Ape" and "Tourette's", the drums were recorded separately in a kitchen for its natural reverb. Albini surrounded Grohl's drum kit with about 30 microphones. Cobain added additional guitar tracks to about half of the songs, then guitar solos, and finally vocals. The band did not discard takes and kept virtually everything they recorded.

Albini saw himself more as an engineer than a producer; despite his personal opinions, he let the band choose takes. He said, "Generally speaking, [Cobain] knows what he thinks is acceptable and what isn't acceptable [...] He can make concrete steps to improve things that he doesn't think are acceptable." Cobain reportedly recorded all his vocal tracks in six hours. Albini said that Cobain, who had struggled with drug addiction, was focused and sober in the studio.

Recording was completed in six days; Cobain had anticipated disagreements with Albini, whom he had heard "was supposedly this sexist jerk", but called the process "the easiest recording we've ever done, hands down". The only disruption occurred a week into the sessions, when Love arrived because she missed Cobain. Weston's girlfriend, the studio's chef, said that Love created tension by criticizing Cobain's work and was confrontational with everyone present.

The initial mix of In Utero took five days. This was quick by Nirvana's standards, but not for Albini, who was used to mixing albums in a day or two. When work on a mix was not producing desired results, the band and Albini took the rest of the day off to watch nature videos, set things on fire and make prank calls. The sessions were completed on February 26. "I Hate Myself and Want to Die" was omitted from the album as Cobain felt it already contained too many "noise" songs.

Production and mixing dispute
After the recording sessions ended, Nirvana sent unmastered tapes of the album to several individuals, including Gold Mountain and Ed Rosenblatt, the president of DGC's parent company, Geffen Records. When asked about the feedback he received, Cobain told Michael Azerrad, "The grown-ups don't like it." He said he was told his songwriting was "not up to par", the sound was "unlistenable", and that there was uncertainty that mainstream radio would accept Albini's production. Few at Geffen or Gold Mountain had wanted Nirvana to record with Albini, and Cobain felt he was receiving an unstated message to scrap the sessions and start again.

Cobain was upset and said to Azerrad, "I should just re-record this record and do the same thing we did last year because we sold out last year—there's no reason to try and redeem ourselves as artists at this point. I can't help myself—I'm just putting out a record I would like to listen to at home." However, a number of Nirvana's friends liked the album, and by April, Nirvana was intent on releasing In Utero as it was. According to Cobain, "Of course, they want another Nevermind, but I'd rather die than do that. This is exactly the kind of record I would buy as a fan, that I would enjoy owning."

The band began to have doubts about the record. Cobain said, "The first time I played it at home, I knew there was something wrong. The whole first week I wasn't really interested in listening to it at all, and that usually doesn't happen. I got no emotion from it, I was just numb." The group concluded that the bass and lyrics were inaudible and asked Albini to remix the album. He declined; as he recalled, "[Cobain] wanted to make a record that he could slam down on the table and say, 'Listen, I know this is good, and I know your concerns about it are meaningless, so go with it.' And I don't think he felt he had that yet ... My problem was that I feared a slippery slope." The band attempted to address their concerns during the mastering process with Bob Ludwig at his studio in Portland, Maine. Novoselic was pleased with the results, but Cobain still did not feel it was perfect.

Soon afterward, in April 1993, Albini told the Chicago Tribune that he doubted Geffen would release the album. Years later, Albini said: "I wasn't there when the band was having their discussions with the record label. All I know is ... we made a record, everybody was happy with it.  A few weeks later I hear that it's unreleasable and it's all got to be redone." While Albini's remarks in the article drew no reply from Nirvana or Geffen, Newsweek ran a similar article soon afterwards that did. Nirvana wrote a letter to Newsweek denying any pressure to change the album and saying the author had "ridiculed our relationship with our label based on totally erroneous information". The band reprinted the letter in a full-page ad in Billboard. Rosenblatt insisted in a press release that Geffen would release anything Nirvana submitted, and the label founder, David Geffen, made the unusual move of calling Newsweek to complain.

Nirvana considered working with the producer Scott Litt and remixing some tracks with Andy Wallace, who had mixed Nevermind. Albini vehemently disagreed, and said the band had agreed not to modify the tracks without his involvement. He initially refused to give the master tapes to Gold Mountain, but relented after a phone call from Novoselic. The band eventually had Litt remix songs intended as singles; "Heart Shaped Box" and "All Apologies" were remixed at Seattle's Bad Animals Studio in May 1993.

The rest of the album was left unaltered aside from a remastering. Albini was critical of the final mix; he said, "The record in the stores doesn't sound all that much like the record that was made, though it's still them singing and playing their songs, and the musical quality of it still comes across." According to Albini, In Utero made him unpopular with major record labels, and he faced problems finding work in the year following its release.

Music and lyrics
Albini sought to produce a record that sounded nothing like Nevermind. He felt the sound of Nevermind was "sort of a standard hack recording that has been turned into a very, very controlled, compressed radio-friendly mix [...] That is not, in my opinion, very flattering to a rock band." Instead, he intended to capture a more natural and visceral sound. Albini refused to double-track Cobain's vocals and instead recorded him singing in a resonant room. He noted the intensity of Cobain's vocals on some tracks; he said, "There's a really dry, really loud voice at the end of 'Milk It' ... that was also done at the end of 'Rape Me', where [Cobain] wanted the sound of him screaming to just overtake the whole band." Albini achieved the sparse drum sound by placing several microphones around Grohl, picking up the natural reverberation of the room. Albini said, "If you take a good drummer and put him in front of a drum kit that sounds good acoustically and just record it, you've done your job."

Azerrad asserted in his 1993 biography Come as You Are: The Story of Nirvana that In Utero showcased divergent sensibilities of abrasiveness and accessibility that reflected the upheavals Cobain experienced prior to the album's completion. He wrote, "The Beatlesque 'Dumb' happily coexists beside the all-out frenzied punk graffiti of 'Milk It,' while 'All Apologies' is worlds away from the apoplectic 'Scentless Apprentice.' It's as if [Cobain] has given up trying to meld his punk and pop instincts into one harmonious whole. Forget it. This is war." Cobain believed, however, that In Utero was not "any harsher or any more emotional" than any of Nirvana's previous records. Novoselic agreed that the album leaned more towards the band's "arty, aggressive side"; he said, "There's always been [Nirvana] songs like 'About a Girl' and there's always been songs like 'Paper Cuts'... Nevermind came out kind of 'About a Girl'-y and this [album] came out more 'Paper Cuts'". Cobain cited "Milk It" as an example of the more experimental and aggressive direction in which the band's music had been moving in the months prior to the sessions at Pachyderm Studio. Novoselic viewed the album's singles "Heart-Shaped Box" and "All Apologies" as "gateways" to the more abrasive sound of the rest of the album, telling the journalist Jim DeRogatis that once listeners played the record, they would discover "this aggressive wild sound, a true alternative record".

Several songs on In Utero were written years prior to recording; some dated to 1990. Cobain favored long song titles, such as "Frances Farmer Will Have Her Revenge on Seattle", in reaction to contemporary alternative rock bands that used single-word titles. He continued to work on the lyrics while recording. He told Darcey Steinke in Spin in 1993 that, in contrast to Bleach and Nevermind, the lyrics were "more focused, they're almost built on themes". Azerrad asserted that the lyrics were less impressionistic and more straightforward than in previous Nirvana songs. Azerrad also noted that "virtually every song contains some image of sickness and disease". In a number of songs, Cobain made reference to books; "Frances Farmer Will Have Her Revenge on Seattle" was inspired by Shadowland, a 1978 biography of actress Frances Farmer, with whom Cobain had been fascinated ever since he read the book in high school. "Scentless Apprentice" was written about Perfume: The Story of a Murderer, a historical horror novel about a perfumer's apprentice who attempts to create the ultimate perfume by killing virgin women and taking their scent.

According to the psychologist Thomas Joiner, it is clear that suicide was on Cobain's mind as he worked on the album, with its lyrics illustrating "the merging of death with themes of nurturance and life, sometimes in stark and disturbing ways." Examples include the song "Milk It", with the phrase "I am my own parasite", which according to Joiner is a "succinct and even sublime way to combine urges toward death and life." The words "Her milk is my shit, My shit is her milk" demonstrate that "Cobain clearly had a penchant for disturbing imagery in which themes of nurturance are merged with themes of disease and waste." Another example is Cobain's referral to an "umbilical noose" in the song "Heart Shaped Box".

Cobain described In Utero as "very impersonal". He also told Q that the infant and childbirth imagery on the album and his newfound fatherhood were coincidental. However, Azerrad argued that much of the album contains personal themes, noting that Grohl held a similar view. Grohl said, "A lot of what he has to say is related to a lot of the shit he's gone through. And it's not so much teen angst any more. It's a whole different ball game: rock star angst." Cobain downplayed recent events and told Azerrad that he did not want to write a track that explicitly expressed his anger at the media; Azerrad countered that "Rape Me" seemed to deal with that very issue. While Cobain said the song was written long before his addiction problems became public, he agreed that the song could be viewed in that light. "Serve the Servants" comments on Cobain's life. The opening lines "Teenage angst has paid off well / Now I'm bored and old" were a reference to Cobain's state of mind in the wake of Nirvana's success. Cobain dismissed the media attention given to the effect his parents' divorce had on his life with the line "That legendary divorce is such a bore" from the chorus, and directly addressed his father with the lines "I tried hard to have a father / But instead I had a dad / I just want you to know that I don't hate you any more / There is nothing I could say that I haven't thought before". Cobain said he wanted his father to know he did not hate him, but had no desire to talk to him.

According to the journalist Gillian G. Gaar, "Gallons of Rubbing Alcohol Flow Through the Strip" was the kind of improvisational jam Nirvana frequently performed in the studio, but had rarely recorded during earlier sessions, when the priority had been to record as quickly as possible. She wrote that it featured "Cobain alternating between seemingly disconnected singing and spoken-words sections, with Novoselic and Grohl providing a steady background accompaniment, punctuated by bursts of noisy guitar." Journalist Everett True described the song's mood as "playful", with "the instruments engaging in a game of cat and mouse, almost daring each other to explode in fury". Novoselic said it was an example of the band "just fucking around".

Title and packaging

Cobain originally wanted to name the album I Hate Myself and I Want to Die, a phrase that had originated in his journals in mid-1992. At the time, he used the phrase as a response whenever someone asked him how he was doing. Cobain intended the album title as a joke; he stated he was "tired of taking this band so seriously and everyone else taking it so seriously". Novoselic convinced Cobain to change the title due to fear that it could potentially result in a lawsuit. The band then considered using Verse Chorus Verse—a title taken from its song "Verse Chorus Verse", and a (at the time current) working title of "Sappy"—before eventually settling on In Utero. The final title was taken from a poem written by Courtney Love.

The art director for In Utero was Robert Fisher, who had designed all of Nirvana's releases on DGC. Most of the ideas for the artwork for the album and related singles came from Cobain. Fisher recalled that "[Cobain] would just give me some loose odds and ends and say 'Do something with it.'" The cover of the album is an image of a Transparent Anatomical Manikin, with angel wings superimposed. Cobain created the collage on the back cover, which he described as "Sex and woman and In Utero and vaginas and birth and death", that consists of model fetuses, a turtle shell and models of turtles, and body parts lying in a bed of orchids and lilies. The collage had been set up on the floor of Cobain's living room and was photographed by Charles Peterson after an unexpected call from Cobain. The album's track listing and re-illustrated symbols from Barbara G. Walker's The Woman's Dictionary of Symbols and Sacred Objects were then positioned around the edge of the collage.

Mannequins of the angel-winged anatomical figure were used as stage props on Nirvana's concert tour supporting In Utero. One such mannequin later featured at the Experience Music Project museum's exhibition "Nirvana: Taking Punk to the Masses", which ran from April 2011 through 2013 and showcased memorabilia celebrating the band's music and history.

Marketing and sales
To avoid over-hyping the album, DGC Records took a low-key approach to promoting In Utero; their head of marketing told Billboard before the album's release that they were planning a campaign similar to that of Nevermind, and the label would "set things up, duck, and get out of the way". The label aimed its promotion at alternative markets and press, and released the album on vinyl as part of this strategy. In contrast to Nevermind, DGC did not release any of In Utero's singles commercially in the United States. DGC sent promo copies of the album's first single, "Heart-Shaped Box", to American college, modern rock, and album-oriented rock radio stations in early September, but did not target Top 40 radio. The band was convinced that In Utero would not be as successful as Nevermind. Cobain told Jim DeRogatis, "We're certain that we won't sell a quarter as much, and we're totally comfortable with that because we like this record so much."

In Utero was released on September 13, 1993, on CD, vinyl record and cassette tape in the United Kingdom, and on September 14 on vinyl in the United States, with the American vinyl pressing limited to 25,000 copies. It was issued on CD and in other formats on September 21 in the US. European and Australian versions of In Utero released that same month included "Gallons of Rubbing Alcohol Flow Through the Strip" as a hidden bonus track, with a sticker on the cover reading "Exclusive International Bonus Track", although the booklet referred to the song as a "Devalued American Dollar Purchase Incentive Track". According to Novoselic, DGC did not want the European version to compete with the US version, and so added the extra track.

In Utero debuted at number one on the US Billboard 200, selling 180,000 copies. The retail chain stores Wal-Mart and Kmart refused to sell it; according to The New York Times, Wal-Mart said this was due to lack of consumer demand, while Kmart representatives said the album did not fit with their "merchandise mix". In truth, both chains feared that customers would be offended by the artwork on the back cover. DGC issued a new version to the stores in March 1994, with edited album artwork, "Rape Me" retitled "Waif Me", and the Scott Litt remix of "Pennyroyal Tea". A spokesperson for Nirvana explained that the band decided to edit the packaging because they wanted their music available to "kids who don't have the opportunity to go to mom-and-pop stores". In Utero also debuted at number one in the United Kingdom where according to NME, "Nirvana confirmed their status as the seminal band of the time".

In October 1993, Nirvana began their first American tour in two years to promote the album. A second single, a split release that featured "All Apologies" and "Rape Me", was issued in December in the United Kingdom. The band began a six-week European leg in February 1994, but it was canceled partway through after Cobain suffered a drug overdose in Rome on March 6. Cobain agreed to enter drug rehabilitation, but went missing soon afterward. On April 8, he was found dead in his Seattle home, having shot himself. A third single from In Utero, "Pennyroyal Tea", was canceled in the wake of Cobain's death and the subsequent dissolution of Nirvana; limited promotional copies were released in Britain. Three days after Cobain's body was discovered, In Utero moved from number 72 to number 27 on the Billboard charts, with a 122% sales increase of 40,000 copies sold compared to 18,000 in the week before.

In Utero was certified five times platinum in the US for shipments of over five million units. It has sold 4,258,000 copies in the United States, according to Nielsen SoundScan.

Reissues
For its 20th anniversary, DGC reissued In Utero in several formats in September 2013, including the Live and Loud show on DVD. For the album's 30th anniversary, DGC re-issued In Utero in several formats on October 27, 2023, which included the full December 30, 1993 show at the Great Western Forum in Los Angeles and the January 7, 1994 show at the Seattle Centre Arena.

Critical reception
Although not as successful as Nevermind, In Utero received widespread acclaim from critics. Time's Christopher John Farley stated in his review, "Despite the fears of some alternative-music fans, Nirvana hasn't gone mainstream, though this potent new album may once again force the mainstream to go Nirvana." Rolling Stone reviewer David Fricke said that the album is "a lot of things – brilliant, corrosive, enraged and thoughtful, most of them all at once. But more than anything, it's a triumph of the will." Entertainment Weekly reviewer David Browne commented "Kurt Cobain hates it all", and noted that the sentiment pervades the record. Browne argued, "The music is often mesmerizing, cathartic rock & roll, but it is rock & roll without release, because the band is suspicious of the old-school rock clichés such a release would evoke."

NME writer John Mulvey had doubts about the record; he concluded, "As a document of a mind in flux – dithering, dissatisfied, unable to come to terms with sanity – Kurt should be proud of [the album]. As a follow-up to one of the best records of the past ten years it just isn't quite there." Plugged In was not enthusiastic; reviewer Bob Waliszewski wrote, "In Utero is noxious noise with no redeeming value." Ben Thompson of The Independent commented that in spite of the more abrasive songs, "In Utero is beautiful far more often than it is ugly ... Nirvana have wisely neglected to make the unlistenable punk-rock nightmare they threatened us with." Q felt that the album showcases Cobain's songwriting abilities and wrote, "If this is how Cobain is going to develop, the future is lighthouse-bright."

Several critics ranked In Utero one of the best releases of the year; it placed first and second in the album categories of the Rolling Stone and Village Voice Pazz & Jop year-end critics' polls. The New York Times included it on its list of the top ten albums of the year. It was nominated for Best Alternative Music Album at the 1994 Grammy Awards. The guitar riff from "Very Ape" was sampled by British electronic band the Prodigy for their 1994 single "Voodoo People".

Reappraisal
In Utero has continued to perform commercially and gather critical praise. In a 2003 Guitar World article for the album's tenth anniversary, Cobain biographer Charles R. Cross argued that In Utero was "a far better record than [Nevermind] and one that only 10 years later seems to be an influential seed spreader, judging by current bands. If it is possible for an album that sold four million copies to be overlooked, or underappreciated, then In Utero is that lost pearl." That year, Pitchfork named In Utero the 13th best album of the 1990s. Rolling Stone ranked it number 435 on its list The 500 Greatest Albums of All Time, and 173 in its 2020 updated list. It also ranked it the seventh best album of the 90s.

In 2004, Blender named In Utero the 94th greatest American album, and in 2005, Spin named it the 51st best album of the previous 20 years. In 2005, In Utero was ranked number 358 in Rock Hard's book of The 500 Greatest Rock & Metal Albums of All Time. In 2013, NME ranked it at number 35 on its list "The 500 Greatest Albums of All Time". The album was also included in the book 1001 Albums You Must Hear Before You Die. In May 2017, Loudwire ranked it at number six on its list "The 30 Best Grunge Albums of All Time". In April 2019, Rolling Stone placed it at number eight on its 50 Greatest Grunge Albums list. In October 2023, the Official Charts Company revealed that In Utero was the fifth most streamed album from the 1990s in the United Kingdom.

Personnel
Personnel adapted from In Utero liner notes

Nirvana
 * Kurt Cobain – vocals, guitars, art direction, design, photography
 * Krist Novoselic – bass guitar
 * Dave Grohl – drums

Other musicians
 * Kera Schaley – cello on "All Apologies" and "Dumb"

Technical
 * Steve Albini – producer, engineer, mixing
 * Robert Fisher – art direction, design, photography
 * Alex Grey – illustrations
 * Michael Lavine – photography
 * Scott Litt – mixing on "Heart-Shaped Box" and "All Apologies" on original release plus “Pennyroyal Tea” on deluxe edition
 * Adam Kasper – second engineer to Scott Litt
 * Bob Ludwig – audio mastering
 * Karen Mason – photography
 * Charles Peterson – photography
 * Neil Wallace – photography
 * Bob Weston – technician

title: In Utero


text:
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