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Kim Fowley

Kim Vincent Fowley (July 21, 1939 – January 15, 2015) was an American record producer, songwriter and musician who was behind a string of novelty and cult pop rock singles in the 1960s, and managed the Runaways in the 1970s. He has been described as "one of the most colorful characters in the annals of rock & roll", as well as "a shadowy cult figure well outside the margins of the mainstream".

Early life
Born in Los Angeles, California, Fowley was the son of character actor Douglas Fowley and actress Shelby Payne. His parents later divorced and Payne married William Friml, son of composer Rudolf Friml. Fowley attended University High School.

Career
In 1957, he was hospitalized with polio and, on his release, became manager and publicist for local band the Sleepwalkers that included Bruce Johnston, drummer Sandy Nelson and, occasionally, Phil Spector. He spent some time in the armed forces and, by his own account, worked in the sex industry in Los Angeles in the late 1950s. In 1959, he began working in the music industry in various capacities for both Alan Freed and Berry Gordy. His first record as producer was "Charge" by the Renegades, a group comprising Johnston, Nelson, Nik Venet and Richard Podolor. He promoted records for the duo Skip & Flip (Skip Battin and Gary S. Paxton), including the No. 11 hit "Cherry Pie".

1960s
During the early 1960s, Fowley was involved as co-producer/co-publisher with a string of successful records produced in Los Angeles. With Gary S. Paxton he recorded the novelty song "Alley Oop", which reached No. 1 on the charts in 1960 and was credited to the non-existent group the Hollywood Argyles. In 1961 he co-produced the instrumental "Like, Long Hair", arranged by Paxton, which became a No. 38 hit for Paul Revere and the Raiders. He arranged "Nut Rocker" for B. Bumble and the Stingers, which became a No. 1 hit in the UK in 1962 and talent scouted "Papa-Oom-Mow-Mow", a No. 48 hit for the Rivingtons. The following year he produced "Popsicles and Icicles" by the Murmaids, which reached No. 3 in the charts in 1963 and which was written by a pre-Bread David Gates, then a session musician and songwriter who had met Fowley while Kim was hitchhiking in Los Angeles.

During the mid-1960s, Fowley publicized/consulted singer P.J. Proby and relocated for a time to London, England. Fowley wrote the lyrics for the song "Portobello Road", the B-side of Cat Stevens' first single, "I Love My Dog". He produced a Them spin-off band led by two ex-Them members, brothers Pat and Jackie McAuley (who were only allowed to use the band name Other Them in the UK, but called themselves Them on the European continent, releasing an album called Them Belfast Gypsies and a single "Let's Freak Out" under the name Freaks of Nature); an early incarnation of Slade known as the N'Betweens; Soft Machine (he produced "Love Makes Sweet Music", their first single); and the Lancasters, an instrumental rock group featuring a young Ritchie Blackmore. He worked with an up-and-coming band, the Farinas, and renamed them "Family".

In London around 1967 Fowley collaborated with the Seekers' guitarist/arranger Keith Potger. Together (with Potger writing under the nom de plume John Martin) they wrote the lyrics to "Emerald City". Potger has said the song was originally quite unlike the eventual Seekers single, and that he heavily "Seeker-ized" the arrangement before presenting it to the group. The tune was based on the "Ode To Joy" theme from Beethoven's ninth ("Choral") symphony.

Fowley worked on occasion as a recording artist in the 1960s, issuing albums such as Love Is Alive and Well. In 1965, he wrote and produced a song about the psychedelic experience, "The Trip". In 1966 Fowley and Gail Sloatman (later Gail Zappa) recorded a spoken word single as "Bunny and Bear". The record is a satire of Sonny and Cher.

With Brian Parker, Fowley co-wrote "Sea of Faces" for UK group, Unit Four Plus Two when he was living in England with P.J. Proby. The group recorded the song but it was never released. Another group, The Ways and Means who were managed by Ron Fairway recorded it and it was released on Pye 7N 17277. It became a minor hit for the band making it to no.39 on the Radio City City Sixty chart for the Sunday 1 to Sunday 8 January 1967 period, and to no. 41 on the Radio Caroline chart on the 21st.

He was credited for "hypophone" on the Mothers of Invention's first album Freak Out! When asked later about this, band leader Frank Zappa said that "The hypophone is his mouth, 'cause all that ever comes out of it is hype." Other singles by Fowley as a recording artist included "Animal Man" from his popular 1968 album Outrageous; during the song he remarks, "It's too dirty, it'll be banned". All his efforts as a solo artist since 1970 have become cult items, both in reissue and bootleg formats.

In 1968, Fowley joined forces with a young band, St John Green, from Topanga Canyon in California, to produce their only album, which contains songs, musical soundtracks, comedy and dark poetry. The band members were: Ed Bissot (bass), Bill Kirkland (guitars), Vic Sabino (vocals, harmonica and percussion), Michael 'Papabax' Baxter (keyboards, arranger), and Shelly Scott (drums). The album was engineered by Michael Lloyd. Fowley later claimed it to be "one of the great lost records...Somebody will reissue it someday and people will start crying and jacking off and smoking dope to it. It's a great record. There's only a handful of records that I've made that are great." The album was released by MGM on the Flick Disc label, but the group disbanded soon afterwards.

He is credited with being the inspiration behind promoter John Brower's call to John Lennon that resulted in the last-minute appearance of the Plastic Ono Band at the Toronto Rock and Roll Revival on September 13, 1969, where Fowley was the MC. At this event, Fowley invited the audience to light matches and lighters to welcome a nervous John Lennon to the stage.

In 1969, Fowley produced the album I'm Back and I'm Proud for Gene Vincent. He co-wrote for Warren Zevon's first solo album, Wanted Dead or Alive. Fowley collaborated with his friend Skip Battin during Battin's membership as bassist with the Byrds on a number of songs which appeared on their early 1970's albums: "The Hungry Planet", "You All Look Alike", "Tunnel of Love", "Citizen Kane", "Absolute Happiness", "Precious Kate", and "America's Great National Pastime". The latter song was released as a single in late 1971. When Battin moved on to the New Riders of the Purple Sage in 1974, Fowley and Battin co-wrote five songs for the New Riders: "On the Amazon", "Big Wheels", "Singing Cowboy", "Neon Rose" and "Strangers on a Train".

1970s
In 1970, Fowley moved to Helsinki, Finland, where he worked with the progressive rock band Wigwam, whom he called "The Finnish Beatles." Fowley produced the band's second album Tombstone Valentine, which was released in Finland on the Love Records label. The album was released as a double album in the US by Verve Forecast, with a second LP of extra tracks from the band's previous catalog. According to Fowley, he gave a copy of the LP to David Bowie, who allegedly utilized the production style of the album for his next album (1971's Hunky Dory). Fowley then moved to Sweden and produced the group Contact's album Nobody Wants to Be Sixteen for Swedish label MNW (Music Network) Records, which landed in the Swedish Top 20. MNW released the Kim Fowley solo LP The Day the Earth Stood Still the same year. Upon returning to Los Angeles, Fowley co-wrote the song "Michoacan" which was recorded by the Sir Douglas Quintet and appeared in the 1972 movie Cisco Pike starring Kris Kristofferson.

In 1971, The Byrds recorded three songs for the album Byrdmaniax that were co-written by Byrds member Skip Battin and Kim Fowley. Fowley produced a re-recording of one of these songs, "Citizen Kane," with Battin later in the year. The re-recording featured the rest of the members of The Byrds (minus Roger McGuinn) as sidemen and was used in the soundtrack of the Edie Sedgwick film Ciao! Manhattan (1972). Signpost Records signed Battin to a solo recording contract in 1972, and the Battin/Fowley team co-wrote every song on the resultant solo album Skip Battin (aka Skip).

Fowley produced the Boulder, Colorado-based rock and roll revival act Flash Cadillac & the Continental Kids for a television appearance in early 1972. The group signed a contract with Epic Records in September of that year, and Fowley produced their self-titled debut LP for the label at Gold Star Studios in Los Angeles. Fowley also produced three recordings by Flash Cadillac & the Continental Kids that were included in the film American Graffiti (1973). These songs were "At the Hop", "She's So Fine" and "Louie Louie". The first two tracks were also featured on the film's soundtrack album.

In May 1972, Fowley was signed to Capitol Records for a long-term solo recording contract. Capitol released Fowley's LP I'm Bad in June of that year. Fowley's follow-up solo LP, International Heroes, was mixed in February and released in March 1973.

While on tour to promote his solo album I'm Bad in the summer of 1972, Fowley met Boston disk jockey Maxanne Satori, who introduced him to a pre-fame Jonathan Richman and the Modern Lovers. Fowley returned to Boston after the completion of the tour and arranged to have engineer Stuart "Dinky" Dawson record a demo with The Modern Lovers in Dawson's home studio. Later in autumn 1973, Fowley worked with the band again, this time recording them in Los Angeles at Gold Star Studios on behalf of Warner Bros. Records. Tracks from these sessions were released as bonus tracks on later issues of The Modern Lovers (1976), the album The Original Modern Lovers (1981), and the Warner Bros. Loss Leaders compilation Troublemakers (1980).

In 1973, Fowley assembled the Hollywood Stars, his first "conceptual band". Musician, songwriter and future Hollywood Stars member, Mark Anthony, was working as Fowley's chauffeur at the time. At one point, Anthony spoke to New York Dolls manager Marty Thau at a party and asked him how the New York Dolls were formed. Thau stated that the members were "a bunch of broke street kids hanging around." Upon hearing this, Fowley decided to create a West Coast answer to the New York Dolls in a similar manner, taking the band name from the minor league baseball team of the same name. Upon assembling the group, Fowley rented a studio in the San Fernando Valley and put the band on a rigorous rehearsal schedule, utilizing songs written by songwriter Mars Bonfire, and by himself and producer/songwriter Peter Lion. The band played an invitation-only concert at Studio Instrument Rentals in Hollywood, which brought a crowd of 380 people, including representatives of the labels Liberty Records, A&M Records and Columbia Records. A&M and Columbia began bidding against each other to sign the band. Columbia signed The Hollywood Stars on March 28, 1974, and Bill Szymczyk was brought in to produce the band's debut album, which was recorded at The Record Plant over the course of 34 days. Early in the recording process, Szymczyk abandoned the project, leaving the engineer to produce the album. Soon afterward, Columbia dismissed The Hollywood Stars' A&R representative in an internal staffing change, decided not to release the album and dropped the group from the label. Despite the band's local popularity, internal tensions and industry stigma from the failure of the Columbia Records deal led to the decision to break up the band. The group played their final performance headlining the Whisky a Go Go on November 10, 1974.

In December 1973, Fowley connected the Hollywood Stars with producer Bob Ezrin, who worked with the band on arrangements for their song "Escape", which was co-written by Fowley and Hollywood Stars member Mark Anthony. Although Ezrin initially passed on working with the band further, he expressed interest in utilizing two of their songs. Just before the band's breakup in 1974, Fowley went back to Bob Ezrin and offered him usage of the two songs. Ezrin then took "Escape" to Alice Cooper, who made changes to the lyrics and included the song on Welcome to My Nightmare (1975). Similarly, Ezrin took "King of the Night Time World" (also co-written by Fowley and Anthony) to Kiss, who altered the lyrics slightly and recorded the song for the album Destroyer (1976). Ezrin also asked Fowley to write lyrics for "Do You Love Me?," another song that was recorded for Kiss' Destroyer LP. Fowley worked on the lyrics for the latter song in 1975 while assembling the band The Runaways with Joan Jett.

Fowley produced and wrote songs for the Helen Reddy albums Ear Candy (1977) and We'll Sing in the Sunshine (1978). He also co-wrote songs with Leon Russell during this period.

In 1978, Fowley formed the Orchids, another all-female rock band, with Laurie McAllister, the last bassist from The Runaways, and Sandy Fury, a 13-year-old rock prodigy on rhythm guitar and vocals.

In 1979, Fowley signed new artists, such as Tommy Rock, the Popsicles, and the Orchids. Fowley promoted "Kim Fowley Night" featuring these bands at the Whisky a Go Go. Fowley brought Stiv Bators & the Dead Boys, the Popsicles, and the Orchids into Leon Russell's Cherokee Recording Studio in Hollywood to record "LA, LA (I'm on a Hollywood High)". Also in 1979, Fowley produced the five man group Streettalk at Mandrill Studios in Auckland, New Zealand.

The Runaways 1975–1978
Fowley had an idea for assembling an all-female rock band in a time when, according to guitarist Joan Jett, "there were no young girls at all playing guitar or any sort of instruments." In early 1975, Fowley met lyricist Kari Krome at a party held for Alice Cooper, put her on salary, and had her begin looking for female performers. Krome met Joan Jett and brought her to Fowley. Jett successfully auditioned for Fowley by playing ukulele to a Sweet album, and picked up rhythm guitar as her instrument. Soon afterward, Fowley met Sandy West in the parking lot of the Rainbow Bar and Grill, who agreed to play drums. Fowley had Jett rehearse with West at the latter's home in Huntington Beach, and auditioned the pair on the telephone to music journalist Ritchie Yorke. He then turned to two radio stations to advertise for further auditions, which brought bassist Micki Steele (later of The Bangles) and guitarist Lita Ford to the group. Steele left due to creative differences, and was replaced by Jackie Fox, whom Fowley colleague Rodney Bingenheimer found in the parking lot of the West Hollywood nightclub the Starwood. Just before adding Fox, Fowley and Jett discovered Cherie Currie at the teen nightclub The Sugar Shack and brought her in as lead vocalist for the group.

Fowley touted the new group The Runaways as "an all girl answer to Grand Funk," and the band signed to Kim Fowley Productions for management in September 1975. The lineup of Jett, West, and Steele made its live debut at the Whisky a Go Go September 28–29, opening for the newly reformed Hollywood Stars.

Phonogram/Mercury Records' West Coast director of A&R Denny Rosencrantz agreed to sign The Runaways on December 12, 1975. The band finished their debut album The Runaways in May 1976. The album is listed as "Produced and directed by Kim Fowley", and gives Fowley arrangement and numerous songwriting credits. Mercury released the album in June 1976 to an initial position of #188 on the Cash Box top albums chart, favorable reviews, and numerous radio and album adds, as well as sales of 70,000 units.

The Runaways were the subject of a writeup in People magazine in September 1976. A week later, Fowley severed his ties with the band, and forfeited his rights, titles, claims and merchandising ownership to Mercury Records. Mercury refused to accept Fowley's stakehold in the band and turned it back to him the following week. Fowley and the band reconciled in November, and returned to the studio to record their followup album Queens of Noise. The album was released in December 1976, was co-produced by Fowley and Earl Mankey, and again co-credited Fowley for arrangements and songwriting.

In June 1977, The Runaways toured Japan, recording the album Live in Japan while on the tour. Live in Japan included several songs written by Fowley. Jackie Fox left mid-tour and was replaced by bassist Vicki Blue when the group returned to America. While the band was still a five-piece and with Blue as a new member, Fowley had the band learn the Arrows song "I Love Rock 'n' Roll," which would go on to be an international number one hit for Joan Jett & the Blackhearts in 1982.

Cherie Currie left the band in August 1977. Fowley recorded The Runaways' third LP, Waitin' for the Night, at Larrabee Studios the same month, with the band as a four-piece and with Joan Jett on vocals.

Cherie Currie contractually owed an album to Fowley's management, so just a few weeks after leaving The Runaways, she went into Larrabee Studios to record her debut solo album Beauty's Only Skin Deep, with Fowley co-producing. The album featured Currie going in an MOR direction, which Fowley chose in order to play on Currie's liking for mellower music. Fowley co-wrote "Beauty's Only Skin Deep", "Science Fiction Daze" and "Young and Wild". One song on the album, "Love at First Sight", featured Cherie's twin sister Marie Currie on harmony vocals. Fowley sent conflicting stories to Japan about whether or not Cherie did indeed have a twin sister who sang on the track, creating a frenzy of interest when Cherie and Marie arrived to Japan for a two-week tour to support the album. The album was released in 1978 to Japan and to Europe but was not released in the United States.

In October 1977, Fowley and Joan Jett appeared on an episode of The Tomorrow Show hosted by Tom Snyder. The show aired October 11, and was dedicated to the topic of punk rock. While on the show, Snyder mentioned that Fowley will be "quitting [working with Jett] in 48 hours," which Fowley affirmed as correct. In a feature on the Runaways dated November 12, 1977, Sounds magazine writer Sandy Robertson confirmed that "Kim Fowley will no longer be producing The Runaways, the new album Waiting For The Night [sic] being his last work with them."

The Runaways' Waitin' For the Night was released in October 1977. The album is listed as "Produced and directed by Kim Fowley", with the tracks "Wasted", "School Days" and "Waitin' for the Night" written by Fowley.

In February 1978, a spokesman for Fowley corrected information stating that Fowley had exited The Runaways as producer, claiming to the contrary that Fowley was still with the group and "to be considered its producer of record". The Runaways signed with American Entertainment Management for personal management the following month. Fowley followed this up with the publication of several legal notices claiming ownership of "The Runaways" service mark, recording authorization, and merchandising rights.

1980s
In the 1980s Fowley moved to Australia where he announced that he was "looking for the new Beatles or ABBA". His search turned up power pop band Beathoven who were still under a recording contract with EMI. Changing their name to the Innocents, he secured a new record deal with Trafalgar Records and produced several songs for the group. They too became a cult band in later bootlegs/reissues. Fowley produced the first demos for the iconic power pop band, Candy, which featured Gilby Clarke and Kyle Vincent. Vincent was Fowley's personal assistant. Producer Fowley and attorney David Chatfield recorded the first album for Steel Breeze at Rusk studios in Hollywood and got Steel Breeze their recording contract with RCA. Casey Kasem, on the edition of March 12, 1983, of American Top 40, describes how Fowley discovered Steel Breeze while going through approximately 1200 demo tapes that were about to be discarded by a local Hollywood nightclub, Madame Wong's. "You Don't Want Me Anymore" was the first single from the band's self-titled album and quickly jumped into the Top 20 on the Billboard Hot 100 supported by a video that was a favorite of early MTV, and peaked at # 16. The next single, "Dreamin' Is Easy", also made it into the Top 40.

In 1984, still owning rights to the name "the Runaways", Fowley rebuilt the image around Gayle Welch, an unknown teenager from New Zealand. Adding Denise Prior, Missy Bonilla (then a typist for Denny Diante at what was CBS Records) and Cathy DiAmber (Catherine Dombrowski) with David Carr on keyboards, a Chicago guitarist Bill Millay and numerous session musicians. Fowley, assisted by New Zealander Glenn Holland, sought to cash in on the fame of the former Runaways members who had gone on to significant success in their individual solo careers. In 1985, he returned to the United States and recorded further songs with the Innocents' David Minchin.

In 1986, Fowley spotted the band Shanghai (consisting of Eric Leach and Taz Rudd of Symbol Six, Brent Muscat of Faster Pussycat, Patrick Muzingo, and Todd Muscat of Decry) at the Troubadour. After seeing their performance he asked, "Are you ready to make a record?!" They immediately moved in with Fowley and began writing and recording songs. David Libert, Alice Cooper's ex-road manager and agent for George Clinton and Parliament Funkadelic, was recruited to come in to handle the day-to-day babysitting chores. Shanghai played the reopening of the Whisky a Go Go in April 1986 with Guns N' Roses and Faster Pussycat. Their last show was at the Scream in Los Angeles in 1987.

2000s
Fowley is featured in Mayor of the Sunset Strip, a 2003 documentary about the disc jockey Rodney Bingenheimer.

Also in 2003, Fowley made a return trip to London, England, where he made an in-store appearance at Intoxica Records on Portobello Road and curated and performed an evening of music and entertainment at the Dirty Water Club at its then base at the Boston Music Room in North London.

Fowley became an experimental filmmaker after the DVD release of Mayor of the Sunset Strip. His written and directed works include: Black Room Doom, Dollboy: The Movie, Satan of Silverlake, The Golden Road to Nowhere, Frankenstein Goes Surfing, Trailer Park's On Fire and Jukebox California. Video clips/scenes from these movies can be seen on YouTube and Myspace, and feature a cast of regulars including but not limited to musical oddities such as the Fabulous Miss Wendy, Giddle Partridge, Richard Rogers (Crazy White Man) and Clown Porn Queen Hollie Stevens.

Fowley released the 21-track solo album Adventures in Dreamland on WEED/Innerstate Records in 2004. It contains the songs "Mayor of the Sunset Strip", "Terrors in Tinseltown", and "Ballad of Phil Spector".

In 2008, Fowley was reunited with Cherie Currie at Harry Houdini's mansion in Los Angeles. He played three dozen gigs between June 2007 and February 2009 as the act Crazy White Man, a duo featuring him on vocals and Richard Rogers on guitar. The bulk of the Crazy White Man shows took place during 2008 and included the Tribute to Gidget Gein, which raised funds for Gidget's Hollywood Forever memorial.

Capitol re-released several of his titles, and director Guy Ritchie used his song "The Trip" in the 2008 film RocknRolla. Fowley was regularly heard on Sirius Satellite Radio with a four-hour show on Saturdays and Sundays.

Currie wrote a memoir of her time in the Runaways, which was turned into the film, The Runaways, released on March 19, 2010. The film featured Michael Shannon as Fowley, alongside Kristen Stewart as Jett and Dakota Fanning as Currie.

In 2012, Fowley won the Special Jury Prize at the 13th Melbourne Underground Film Festival for his two feature projects – Golden Road to Nowhere and Black Room Doom.

2010s
In his last years, Fowley worked on writing and publishing his autobiography, which he divided between three distinct books. He released the first volume of his autobiography, Lord of Garbage, published by Kicks Books, in 2012. It covers the years 1939–1969 and describes his early childhood and beginning years in the music business. The second volume of his autobiography was intended to be called Planet Pain and to cover the years 1970–1994. The last volume was intended to be finished on his deathbed and to be released posthumously because, as the 2010s began, Fowley was terminally ill. On September 24, 2014, Fowley married longtime girlfriend and music executive Kara Wright-Fowley, in a private ceremony in Los Angeles.

Death
Fowley died of bladder cancer in Hollywood, California on January 15, 2015, at the age of 75. He is interred at Hollywood Forever Cemetery.

Sexual misconduct allegations
In a 2001 interview, Michael Steele of The Bangles claimed Fowley fired her from The Runaways for refusing his sexual advances.

In July 2015, six months after Fowley's death, Jackie Fuchs (who had performed under the stage name Jackie Fox with The Runaways) claimed that Fowley had raped her in 1975 during a New Year's Eve party while he was involved with the band. Fox also alleged that Joan Jett and Cherie Currie witnessed the rape. Jett and Currie both denied seeing the incident, but songwriter Kari Krome, as well as other bystanders who did not intervene, have corroborated it. Look Away, a documentary about sexual abuse in the rock music industry features Fuchs' story.

In 2023, Kari Krome filed a lawsuit against Fowley's estate alleging that he had repeatedly sexually assaulted her when she was 14 or 15 years old.

Selected discography

 * Solo work
 * 1967 Love Is Alive and Well
 * 1968 Born to Be Wild
 * 1968 Outrageous
 * 1969 Good Clean Fun
 * 1970 The Day the Earth Stood Still
 * 1972 I'm Bad
 * 1973 International Heroes
 * 1974 Automatic
 * 1975 Animal God of the Streets
 * 1978 Living in the Streets
 * 1978 Sunset Boulevard
 * 1979 Snake Document Masquerade
 * 1981 Son of Frankenstein
 * 1984 Frankenstein and the All-Star Monster Band
 * 1993 White Negroes in Deutschland
 * 1994 Hotel Insomnia
 * 1995 Bad News From The Underworld
 * 1995 Mondo Hollywood
 * 1995 Kings of Saturday Night (with Ben Vaughn)
 * 1995 Let the Madness In
 * 1996 Worm Culture
 * 1997 Michigan Babylon
 * 1997 Hidden Agenda at the 13th Note (with BMX Bandits)
 * 1998 The Trip of a Lifetime
 * 1999 Sex, Cars and God
 * 2003 Fantasy World
 * 2004 Strange Plantations
 * 2004 Adventures in Dreamland
 * 2013 Wildfire – The Complete Imperial Recordings 1968–69

 * Producer or writer
 * 1959 The Renegades: "Charge b/w Geronimo"
 * 1960 The Hollywood Argyles: "Alley Oop"
 * 1961 Paul Revere and the Raiders: "Like Long Hair"
 * 1962 B. Bumble and the Stingers: "Nut Rocker"
 * 1963 The Murmaids: "Popsicles and Icicles"
 * 1964 The Hellions (featuring Dave Mason & Jim Capaldi)
 * 1965 Kim Fowley – "The Trip"
 * 1966 Kim Fowley: "They're Coming to Take Me Away Ha-Haaa!"
 * 1967 Elf Stone: "Louisiana Teardrops"
 * 1967 The Fire Escape: Psychotic Reaction
 * 1967 Soft Machine: "Feelin' Reelin Squeelin" (B-side of "Love Makes Sweet Music")
 * 1967 The Seekers: "Emerald City"
 * 1968 The Seeds: "Falling Off the Edge of My Mind" b/w Wild Blood
 * 1968 St John Green - album
 * 1969 Gene Vincent: I'm Back and I'm Proud!
 * 1970 Wigwam: Tombstone Valentine
 * 1971 Scorpion (Swedish Band) – Album
 * 1972 The Modern Lovers: Some tracks included on 1981 album The Original Modern Lovers and on later CD reissues of The Modern Lovers
 * 1973 American Graffiti Soundtrack – At the Hop, Louie Louie, & She's So Fine
 * 1974 Wide World of Entertainment (ABC) – Music for Desi Arnaz, Jr. Special
 * 1975 Blue Cheer: "America Nights" and "Fighting Star"
 * 1975 Alice Cooper – Welcome to My Nightmare: "Escape"
 * 1976 KISS - Destroyer: "King of the Night Time World" and "Do You Love Me?"
 * 1976 The Runaways: The Runaways
 * 1977 The Runaways: Queens of Noise
 * 1977 The Runaways: Waitin' for the Night
 * 1977 Helen Reddy: Ear Candy
 * 1977 The Quick: Mondo Deco
 * 1977 Vicky Leandros: Vicky Leandros
 * 1977 Venus and the Razorblades: Songs from the Sunshine Jungle
 * 1978 Dyan Diamond: In the Dark
 * 1979 Vampires from Album Space: Album
 * 1980 The Orchids: The Orchids
 * 1981 Jon and the Nightriders California Fun (single - producer)
 * 1981 Hollywood Confidential: Compilation (LP) and iTunes
 * 1982 Steel Breeze: Steel Breeze
 * 1986 London (band): Don't Cry Wolf (LP - producer)
 * 1986 Child'ƨ Play: Ruff House [EP]
 * 1987 Agent X – Rock n Roll Angels (Demon Doll Records)
 * 1988 Leather Nun: International Heroes
 * 1996 Blowtorch - Automotivation (producer)
 * 1999 Underground Animal: Compilation (LP and CD) Dionysus Records/Bacchus Archives
 * 2003 Impossible but True – The Kim Fowley Story: Various artists (Ace Records)
 * 2009 Kim Fowley – "Another Man's Gold"; "Lost Treasures from the Vaults 1959–69 Volume Two"
 * 2011 – Next Year Fails : "Timaras Bitchn"
 * 2011 With John York: "West Coast Revelation" (GRA Records)
 * 2012 The Fabulous Miss Wendy: "No One Can Stop Me"
 * 2014 Ariel Pink: pom pom

title: Kim Fowley


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Llanfoist

Llanfoist (Llan-ffwyst) is a village near Abergavenny, in Monmouthshire, Wales, in the community of Llanfoist Fawr. Llanfoist derives from Ffwyst, an early Christian Welsh saint, although the anglicised version of the church patron is Saint Faith. The population was 1,228 in 2011.

The Church of St Faith
1901 Kelly's Directory of Monmouthshire describes the parish church of St Faith's: """.. an ancient building of small dimensions, in the Gothic style, consisting of chancel, nave, south porch and a western bell gable with two bells" adding "The windows are stained; one on the south side, of three lights, was placed by Mrs. Wheeley in memory of her father. The east window and two small ones in the chancel were erected by the neighbouring gentry to the memory of Crawshay Bailey esq., the great ironmaster of Nant-y-glo, who is buried here. A three-light window on the north side was given by his tenantry as a memorial to the same. The chancel was restored in 1877 by Crawshay Bailey esq., son of the above, and since, deceased. There are 80 sittings. In the churchyard are two ancient yew trees, and an ancient stone cross.""

The church holds records for baptisms from 1736–1975, for marriages from 1736–1971, for banns from 1824–47 and 1890–1933, and for burials from 1736-1945. There are also Bishops Transcripts for 1725-32, 1734–51, 1753-4, 1756–75, 1777–1806, 1808–10, 1813, 1815–16, 1820–37, 1841–58, 1862–1865, 1869 and 1880.

The parish of Llanelen has historically been held with Llanfoist, although since the retirement of the last resident Rector, the Reverend Thomas Arthur Foster (1923-2010) in 1992 the parishes have been served from Govilon (Llanwenarth Ultra). At the time of his departure, Father Foster was the longest serving incumbent in the Diocese of Monmouth, having held the benefice since 1959. His predecessor, the Reverend Harold Stanley Richards (1888-1976) served between 1930-59. In January 2012 an ancient yew tree in the grounds of St Faith's Church, which was believed to be up to 1,000 years old, was brought down by high winds.

The village also had a Wesleyan Methodist Chapel, erected in 1839. In 1851 the attendance was 200 for morning worship (with 180 scholars), 200 scholars in the afternoon and 40 for evening worship with 50 scholars.

Crawshay Bailey and Alexander Cordell
Llanfoist was home to ironmaster Crawshay Bailey. Before 1851 he had retired to Llanfoist House in the village. Llanfoist Primary School had a house named after him until 2008 when the House was renamed 'Skirrid'. He died in 1872, aged 83, after at least seventy years in industry. His only son and heir, also Crawshay Bailey (1841–1887), inherited his estate.

The novelist Alexander Cordell, most famously author of Rape of the Fair Country is buried at Llanfoist.

Amenities and attractions
The village is located beneath the hill known as Blorenge, part of the Brecon Beacons National Park, rising 1838 ft above sea level over the vale of the River Usk. The Monmouthshire and Brecon Canal runs just above the village.

The village has a church hall, situated on the Merthyr Road. The Llanfoist Fawr Primary School moved to a new location in the Barratt estate (Ffordd yr Ysgol) on Gypsy Lane and was opened in 2008.

Llanfoist cemetery
Llanfoist Cemetery (also known as New Cemetery), stands on the south bank of the River Usk at the northern edge of Llanfoist. Opened in 1894, its Royal Commission on the Ancient and Historical Monuments of Wales registration describes it as a "good example of a well-preserved Victorian landscaped garden cemetery". The cemetery is listed at Grade II on the Register of Parks and Gardens of Special Historic Interest in Wales.

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

title: Llanfoist


text:
Transylvania in popular culture

Largely as a result of the success of Bram Stoker's Dracula, Transylvania has become a popular setting for gothic horror fiction, and most particularly vampire fiction. In some later books and movies Stoker's Count Dracula was conflated with the historical Vlad III Dracula, known as Vlad the Impaler (1431–1476), who though most likely born in the Transylvanian city of Sighișoara, ruled over neighboring Wallachia.

Books

 * According to some versions of the story, the Pied Piper of Hamelin took the children of Hamelin to Transylvania. The story may be an attempt to explain the Ostsiedlung of the Transylvanian Saxons in the twelfth and thirteenth centuries.
 * Dracula, a novel by Bram Stoker. Much of the early action is set in Transylvania, the homeland of the title character.
 * Many important figures in Hungarian and Romanian literature came from Transylvania and treated the region extensively in their works. These writers include the Hungarians Áron Tamási, Albert Wass, and Károly Kós and the Romanians Liviu Rebreanu and Ioan Slavici. The Transylvanian Trilogy of historical novels by the Hungarian Miklós Bánffy is an extended treatment of the region's social and political history during the 19th and early 20th century.
 * Carpathian Castle, a book by Jules Verne. The action is set in a small village of Transylvania.
 * Überwald, a fictional region in Terry Pratchett's Discworld series, is partly based on Transylvania, its populace including vampires, werewolves, dwarves, trolls, orcs, mad scientists and Igors. The name, meaning "across the forest," is a literal translation of "Transylvania" from Latin into German.
 * The Historian, a novel by Elizabeth Kostova. Part of the book is set in Transylvania, where the main characters search for clues about Dracula.
 * The Sight by David Clement-Davies is set in Transylvania, the book involving a wolf pack and their quest to stop a lone wolf.
 * The 25th Hour by Constantin Virgil Gheorghiu depicts a simple Transylvanian peasant caught in the turmoil of ethnic hate leading into the Second World war.
 * The Keep, a 1981 novel by F. Paul Wilson.
 * In the Harry Potter series Transylvania has a Quidditch team.
 * In the Left Behind series, the head of the global government, the Global Community, is a man named Nicolae Carpathia, who reigns from the Transylvania region of Romania.

Films

 * Nosferatu (1922)
 * Dracula (1931) starring Bela Lugosi
 * Drácula (1931)
 * Dracula's Daughter (1936, partially)
 * Pygmalion (1938) - although not shown in a horrific way, during the embassy ball the "Royal Family of Transylvania" makes an appearance
 * Assorted Hammer Horrors (c. 1958)
 * Blood of the Vampire (1958)
 * Transylvania 6-5000, a 1963 Bugs Bunny cartoon and a 1985 horror movie parody.
 * My Fair Lady (1964)
 * The Fearless Vampire Killers (1967)
 * The 25th Hour (1967), based on Gheorghiu's book, depicts a simple Transylvanian peasant (played by Anthony Quinn) caught in the turmoil of ethnic hate leading into the Second World War.
 * Count Dracula (1970)
 * Blacula (1972)
 * Son of Dracula (1974)
 * Young Frankenstein (1974)
 * The Rocky Horror Picture Show (1975) - a parody of horror and sci-fi movies, featuring characters from a distant galaxy called Transylvania
 * Dracula and Son (1976)
 * Count Dracula (1977)
 * The Mystery of Mamo (1978) ; The Lupin clone is executed in Transylvania. His body is interred in Bran Castle, dressed up as Dracula by his original self and rigged with explosives.
 * Nosferatu the Vampyre (1979)
 * Nocturna: Granddaughter of Dracula (1979)
 * The Flintstones Meet Rockula and Frankenstone (1979) - called Rocksylvania.
 * The Transylvanians series is a trilogy of Romanian Red Western films featuring Transylvanians in the Wild West
 * The Prophet, the Gold and the Transylvanians (1978)
 * The Actress, the Dollars and the Transylvanians (1979)
 * The Oil, the Baby and the Transylvanians (1981)
 * The Keep (1983)
 * The Howling 2: Your sister is a Werewolf (1983)
 * Transylvania 6-5000 (1985)
 * Fracchia contro Dracula (1985)
 * The Monster Squad (1987)
 * Scooby-Doo! and the Reluctant Werewolf (1988)
 * Transylvania Twist (1989)
 * Bram Stoker's Dracula (1992)
 * Dracula: Dead and Loving It (1995)
 * Van Helsing (2004)
 * Transylvania, a 2006 French film about a young woman who travels to Transylvania looking for a lost love
 * Dracula (2006)
 * Dracula 3D (2012)
 * Dracula Untold (2014)
 * Castlevania (TBA)
 * The Hotel Transylvania franchise currently consisting of four released films and several computer games. A television series aired on Disney Channel.
 * Hotel Transylvania (2012)
 * Hotel Transylvania 2 (2015)
 * Hotel Transylvania 3: Summer Vacation (2018)
 * Hotel Transylvania: Transformania (2022)
 * Hotel Transylvania: The Television Series (2017–20)
 * Monster Family (2017)

Television programmes

 * Transylvania is Count von Count's birthplace.
 * Transylvania is the Munsters' birthplace.
 * Transylvania is one of the places mentioned in various episodes of the animated series The Addams Family, where the Addamses used to have fun in.
 * Transylvania is the main setting for the animated series Count Duckula.
 * Transylvania is one of the main settings for "Wizards vs. Werewolves", a Wizards of Waverly Place episode.
 * Transylvania is where Yakko, Wakko, and Dot stayed at Dracula's castle since they made a wrong turn in Animaniacs.
 * Transylvania is referenced in the classic Doctor Who episode "The Curse of Fenric".
 * Transylvania is the main setting of a episode of The Smurfs called "Scary Smurfs", in which the Smurfs get turned into monsters after eating a gingerbread house. The only ones who where not turned into monsters are Greedy, Papa Smurf, and Painter. However, in this episode, Transylvania is part of Germany, not Romania, because of the Smurfs wearing lederhosen (while Sassette wears lederhosen like the male Smurfs, Smurfette wears a dirndl).
 * Transylvania is the main setting for a two part episode of The Hardy Boys/Nancy Drew Mysteries, "Meet Dracula". The characters, posing as a rock group, go to Transylvania to attend a Rock Festival at the Counts Castle.
 * Transylvania is one of the main settings for the Disney Junior series Vampirina, the Hauntleys' birthplace.
 * In an episode of Chris Tarrant: Extreme Railways, Chris Tarrant visits Transylvania.

Video games

 * Most Castlevania games revolve around the epic struggle between the Belmont lineage and Count Dracula who resides in Transylvania.
 * In Red Alert 2: Yuri's Revenge, Transylvania is said to be the ancestral home of Yuri. It is also featured as the map in the final mission of the Soviet Campaign.
 * In Bugs Bunny and Taz Time Busters, there is a Transylvanian era where the main boss is a vampire.
 * In Transylvania (computer game), the nation is the setting of the trilogy of graphic adventure games.
 * It is a location in Spider-Man: Friend or Foe, where Blade the Vampire Hunter can be found and be playable, and where Venom is fought as a boss.
 * A level in Twisted Metal: Head On centered on a fictional castle in Transylvania.
 * The DuckTales video game has a level set in Transyvania, with ghosts and skeletons as enemies and Magica De Spell as the level boss and a vampire named Count Dracula Duck as the final boss (excluding Flintheart Glomgold).
 * Soviet Strike has a level set in an irradiated area of Transylvania, containing small "rivers" of radioactive material scattered around the terrain.
 * In Funcom's Conspiracy/Horror MMORPG The Secret World, Translyvania is included as an explorable region.
 * In War Thunder, one of the aircraft available for use by the player is IAR-81C, part of the IAR 80 series. All of the 448 World War II-era aircraft of this series were produced in Transylvania, at the IAR factory in Brașov.
 * The 2021 survival horror game Resident Evil Village is set in the Transylvania region of Romania.
 * The Principality of Transylvania is a playable nation in Europa Universalis IV.

Songs and albums

 * Enchanting Transylvania, from comedian Lenny Bruce's album Interviews Of Our Times
 * "Transilvania" by Czech hard rock/gothic rock group XIII. Století.
 * "Transylvania" an instrumental song by Iron Maiden, that was also covered by Iced Earth on the concept album Horror Show
 * "Transylvania 90210" is an album and song by Wednesday 13.
 * "Transylvanian Concubine" by Rasputina, remixed by Marilyn Manson, can be found on the soundtrack from Buffy: The Vampire Slayer
 * "Transylvanian Forest" by the Polish blackened death metal band Behemoth
 * "Transylvania" by American rapper Tyler, the Creator
 * Transilvanian Hunger by the Norwegian black metal band Darkthrone
 * "Shadows over Transylvania" by Swedish black metal band Dark Funeral
 * "Transylvania Transmission Pt1" by Rob Zombie
 * "Transylvania" by McFly on their third album Motion in the Ocean
 * "Welcome to Transylvania" and "Transylvania Mania" are songs in the Mel Brooks musical Young Frankenstein.
 * Many of Cradle of Filth's songs reference Transylvania in relation to Bram Stoker's Dracula
 * "TRANSylvania" by Kim Petras featured on her EP, Turn Off the Light, Vol. 1.

Webcomics

 * The webcomic Girl Genius takes place in a fictional version of Europe named Europa, one region of which seems to be named Transylvania as evidenced by the existence of a "Transylvania Polygnostic University" and also a "Pax Transylvania" across Europa maintained by an empire based out of the region, much like the Pax Romana.

title: Transylvania in popular culture


text:
Lake Koocanusa

Lake Koocanusa is a reservoir in British Columbia (Canada) and Montana (United States) formed by the damming of the Kootenai River by the Libby Dam in 1972. The Dam was formally dedicated by President Gerald Ford on August 24, 1975.

The lake is formed north of the dam, reaching 48 mi to the Canada–United States border and 42 mi further into British Columbia. The lake holds 13% of the water in the Columbia River system. The town of Rexford was moved, as well as the Great Northern Railway line. The town of Waldo, British Columbia is now covered by the lake. What was once a barrier to river travel, Jennings Canyon is now inundated by the lake. The Elk River joins the Kootenay River in the northern part of Lake Koocanusa, within Canadian territory.

Lake Koocanusa was named in a contest won by Alice Beers of Rexford, Montana. The name is made from the first three letters of the Kootenay (alternately, Kootenai) River, Canada, and USA.

Lake Koocanusa was built as a joint project of the U.S. and Canada. It is 26 km (16 mi) from Libby, Montana, also on the Kootenai River, from which the dam gets its name. Libby Dam has a Visitors Center and can be accessed by the Lake Koocanusa Scenic Byway which begins in the nearby town of Libby, Montana.

The Pacific Northwest National Scenic Trail follows Highway 37 along the east side of the lake before crossing over the Lake Koocanusa Bridge and climbing up Webb Mountain.

Selenium contamination
According to a March 8, 2021 article in The Narwhal, concerns have been raised about selenium pollution leaching from Teck Resources' Elk Valley open pit coal mines' waste rock, which is upstream from the lake system. A September 24, 2020 Montana Department of Environmental Quality presentation to the Board of Environmental Review Meeting, reported that the 95% of the selenium coming into Lake Koocanusa originates from the Elk River—"which has been contaminated by current and historic coal mining in the Elk Valley." The average selenium levels in Lake Koocanusa were 1 part per billion. Montana has established new standards for selenium—0.8 parts per billion. Because of the high bioaccumulation of selenium in fish, excessive levels of selenium in an aquatic ecosystem has implications for human health. In the spring of 2020, Teck Resources, had "reported a dramatic decline in adult westslope cutthroat trout in Elk Valley waterways closest to its mines". Since 2015, British Columbia and Montana have agreed to adopt aligned standards for selenium levels by 2020. Montana's has been in force since the fall of 2020, but British Columbia has not aligned their standards yet.

Fish
The lake supports a wide variety of fish species. Below is a table detailing the various fish species which may be encountered on the lake.

title: Lake Koocanusa


text:
Children's Corner

Children's Corner, L. 113, is a six-movement suite for solo piano by Claude Debussy. It was published by Durand in 1908, and was first performed by Harold Bauer in Paris on 18 December that year. In 1911, an orchestration by André Caplet was premiered and subsequently published.

History
Debussy composed Children's Corner between 1906 and 1908. He dedicated the suite to his daughter, Claude-Emma (known as "Chou-Chou"), who was born on 30 October 1905 in Paris. She is described as a lively and friendly child who was adored by her father. She was three years old when he dedicated the suite to her in 1908. The dedication reads: "A ma chère petite Chouchou, avec les tendres excuses de son Père pour ce qui va suivre. C. D." (To my dear little Chouchou, with tender apologies from her father for what follows).

The suite was published by Durand in 1908, and was given its world première in Paris by Harold Bauer on 18 December that year. In 1911, an orchestration of the work by Debussy's friend André Caplet received its premiere, and was subsequently published.

Structure
The suite is in six movements, each with an English-language title. This choice of language is most likely Debussy's nod towards Chou-Chou's English governess. The pieces are:

 * 1) Doctor Gradus ad Parnassum
 * 2) Jimbo's Lullaby
 * 3) Serenade for the Doll
 * 4) The Snow Is Dancing
 * 5) The Little Shepherd
 * 6) Golliwogg's Cakewalk

A typical performance of the suite lasts roughly 15 minutes.

1. Doctor Gradus ad Parnassum
The title of the first movement alludes to sets of piano exercises of that name (Gradus ad Parnassum translates as "Steps to Parnassus"), several of which had been published in the eighteenth and nineteenth centuries, including one by the prolific publisher of piano exercises Carl Czerny. This piece is a rather ingenious study in finger independence with a twentieth-century vocabulary. In the middle, the pianist slows down and tries the material in other keys for exercise. Debussy's "Doctor Gradus Ad Parnassum" is of intermediate difficulty and requires the ability to play more quickly and wildly. The pianist gets more frantic toward the end and finishes the piece with a bang. Debussy told his publisher that the movement should be played "very early in the morning".

2. Jimbo's Lullaby
This work describes an elephant, Jumbo, who came from the French Sudan and lived briefly in the Jardin des plantes in Paris around the time of Debussy's birth. The misspelling "Jimbo" betrays the Parisian accent which often confuses the pronunciation of "um" and "un" with "im" and "in". It is a beautiful lullaby with some dark moments and whole-tone passages in the middle.

3. Serenade for the Doll
This piece, in triple meter, is marked Allegretto ma non troppo (moderately fast, but not too fast). It is a description of a porcelain doll and features the Chinese pentatonic scale throughout. Debussy notes that the entire piece should be played with the soft pedal.

4. The Snow Is Dancing
This piece can be considered quite difficult as it requires precise semi-detached playing in both hands with the melody between them. Again, there are darker moments in the bass near the middle. It portrays snow and muted objects seen through it.

5. The Little Shepherd
"The Little Shepherd" depicts a shepherd with his flute. There are three solos and three commentaries following them. The first solo has a breath mark at the end. This piece has different modes in it and uses dissonances, which resolve into tonality.

6. Golliwogg's Cakewalk
At the time of its composition, Golliwoggs were in fashion, due partly to the popularity at that time of the novels of Florence Kate Upton ("golliwog" is a later usage). They were stuffed black dolls with red pants, red bow ties and wild hair, reminiscent of the blackface minstrel shows of the time. The cakewalk was a dance or a strut, and the dancer with the most elaborate steps won a cake ("took the cake"). The piece is a ragtime with its syncopations and banjo-like effects. The dynamic range is quite large and very effective.

During the piece, Debussy alludes satirically to Richard Wagner's opera Tristan und Isolde. The opening bars turn the famous half-diminished Tristan chord into a jaunty, syncopated arpeggio, while the middle 'B' section of this dance is interrupted on several occasions by the love-death leitmotif, marked avec une grande émotion (with great feeling). Each quotation is followed by banjo imitations.

Debussy composed one more piece in the same style a year later, "The Little Nigar", as part of a piano method.

Orchestrations and arrangements

 * French composer André Caplet orchestrated the entire suite in 1911.
 * Danish composer Hans Abrahamsen orchestrated the entire suite in 2015.
 * Scottish guitarist Paul Galbraith transcribed the entire suite for brahms guitar in 2006.
 * Leigh Howard Stevens transcribed five of the six movements for marimba.
 * Japanese composer Isao Tomita transcribed the fourth and sixth movements for Moog Synthesizer in 1974 (RCA CD RCD14587).

title: Children's Corner


text:
Geometric–harmonic mean

In mathematics, the geometric–harmonic mean M(x, y) of two positive real numbers x and y is defined as follows: we form the geometric mean of g0 = x and h0 = y and call it g1, i.e. g1 is the square root of xy. We also form the harmonic mean of x and y and call it h1, i.e. h1 is the reciprocal of the arithmetic mean of the reciprocals of x and y. These may be done sequentially (in any order) or simultaneously.

Now we can iterate this operation with g1 taking the place of x and h1 taking the place of y. In this way, two interdependent sequences (gn) and (hn) are defined:

 * $$g_{n+1} = \sqrt{g_n h_n}$$

and

 * $$h_{n+1} = \frac{2}{\frac{1}{g_n} + \frac{1}{h_n}}$$

Both of these sequences converge to the same number, which we call the geometric–harmonic mean M(x, y) of x and y. The geometric–harmonic mean is also designated as the harmonic–geometric mean. (cf. Wolfram MathWorld below.)

The existence of the limit can be proved by the means of Bolzano–Weierstrass theorem in a manner almost identical to the proof of existence of arithmetic–geometric mean.

Properties
M(x, y) is a number between the geometric and harmonic mean of x and y; in particular it is between x and y. M(x, y) is also homogeneous, i.e. if r > 0, then M(rx, ry) = r M(x, y).

If AG(x, y) is the arithmetic–geometric mean, then we also have

 * $$M(x,y) = \frac{1}{AG(\frac{1}{x},\frac{1}{y})}$$

Inequalities
We have the following inequality involving the Pythagorean means {H, G, A} and iterated Pythagorean means {HG, HA, GA}:

 * $$\min(x,y) \leq H(x,y) \leq HG(x,y) \leq G(x,y) \leq GA(x,y) \leq A(x,y) \leq \max(x,y)$$

where the iterated Pythagorean means have been identified with their parts {H, G, A} in progressing order:

 * H(x, y) is the harmonic mean,
 * HG(x, y) is the harmonic–geometric mean,
 * G(x, y) = HA(x, y) is the geometric mean (which is also the harmonic–arithmetic mean),
 * GA(x, y) is the geometric–arithmetic mean,
 * A(x, y) is the arithmetic mean.

title: Geometric–harmonic mean


text:
AllMusic

AllMusic (previously known as All-Music Guide and AMG) is an American online music database. It catalogs more than three million album entries and 30 million tracks, as well as information on musicians and bands. Initiated in 1991, the database was first made available on the Internet in 1994. AllMusic is owned by RhythmOne.

History
AllMusic was launched as All-Music Guide by Michael Erlewine, a "compulsive archivist, noted astrologer, Buddhist scholar and musician". He became interested in using computers for his astrological work in the mid-1970s and founded a software company, Matrix, in 1977. In the early 1990s, as CDs replaced LPs as the dominant format for recorded music, Erlewine purchased what he thought was a CD of early recordings by Little Richard. After buying it, he discovered it was a "flaccid latter-day rehash". Frustrated with the labeling, he researched using metadata to create a music guide. In 1990, in Big Rapids, Michigan, he founded All Music Guide with a goal to create an open-access database that included every recording "since Enrico Caruso gave the industry its first big boost".

The first All Music Guide, published in 1992, was a 1,200-page reference book, packaged with a CD-ROM, titled All Music Guide: The Best CDs, Albums & Tapes: The Expert's Guide to the Best Releases from Thousands of Artists in All Types of Music. Its first online version, in 1994, was a text-based Gopher site. It moved to the World Wide Web as web browsers became more user-friendly.

Erlewine hired a database engineer, Vladimir Bogdanov, to design the All Music Guide framework, and recruited his nephew, writer Stephen Thomas Erlewine, to develop editorial content. In 1993, Chris Woodstra joined the staff as an engineer. A "record geek" who had written for alternative weeklies and fanzines, his main qualification was an "encyclopedic knowledge of music". 1,400 subgenres of music were created, a feature that became central to the site's utility. In a 2016 article in Tedium, Ernie Smith wrote: "AllMusic may have been one of the most ambitious sites of the early-internet era—and it's one that is fundamental to our understanding of pop culture. Because, the thing is, it doesn't just track reviews or albums. It tracks styles, genres, and subgenres, along with the tone of the music and the platforms on which the music is sold. It then connects that data together, in a way that can intelligently tell you about an entire type of music, whether a massive genre like classical, or a tiny one like sadcore."

In 1996, seeking to further develop its web-based businesses, Alliance Entertainment Corp. bought All Music from Erlewine for a reported $3.5 million. He left the company after its sale. Alliance filed for bankruptcy in 1999, and its assets were acquired by Ron Burkle's Yucaipa Equity Fund.

In 1999, All Music relocated from Big Rapids to Ann Arbor, where the staff expanded from 12 to 100 people. By February of that year, 350,000 albums and two million tracks had been cataloged. All Music had published biographies of 30,000 artists, 120,000 record reviews and 300 essays written by "a hybrid of historians, critics and passionate collectors".

In late 2007, AllMusic was purchased for $72 million by TiVo Corporation (known as Macrovision at the time of the sale, and as Rovi from 2009 until 2016).

In 2012, AllMusic removed all of Bryan Adams' info from the site per a request from the artist.

In 2015, AllMusic was purchased by BlinkX, later known as RhythmOne.

The AllMusic database is powered by a combination of MySQL and MongoDB.

The All Music Guide series
The All Media Network produced the All Music Guide: The Definitive Guide (at first released as The Experts' Guide), which includes a series of publications about various music genres. It was followed by Required Listening series, and Annual guides. Vladimir Bogdanov is the president and the main editor of the series.

 * All Music Guide: The Definitive Guide to Popular Music (1st edition: 1992, 2nd ed: 1994, 3rd ed: 1997, 4th ed: 2001, 5th ed: 2008)
 * All Music Guide to Classical Music: The Definitive Guide to Classical Music (2004)
 * All Music Guide to Country: The Definitive Guide to Country Music (1st ed: 1997, 2nd ed: 2003)
 * All Music Guide to Electronica: The Definitive Guide to Electronic Music (2001)
 * All Music Guide to Hip-hop: The Definitive Guide to Rap & Hip-hop (2003)
 * All Music Guide to Jazz: The Definitive Guide to Jazz Music (1st ed: 1994, 2nd ed: 1996, 3rd ed: 1998, 4th ed: 2002)
 * All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul (1st ed: 1995, 2nd ed: 1997, 3rd ed: 2002)
 * All Music Guide to Soul: The Definitive Guide to R&B and Soul (2003)
 * All Music Guide to the Blues: The Definitive Guide to the Blues (1st ed: 1996, 2nd ed: 1999, 3rd ed: 2003)
 * All Music Guide Required Listening: Classic Rock (2007)
 * All Music Guide Required Listening: Contemporary Country (2008)
 * All Music Guide Required Listening: Old School Rap & Hip-hop (2008)
 * All Music Guide to the Music of 2002: Your Guide to the Recordings of the Year (2003)
 * All Music Guide to the Music of 2003: Your Guide to the Recordings of the Year (2004)

Reception
In August 2007, PC Magazine included AllMusic in its "Top 100 Classic Websites" list.

title: AllMusic


text:
User talk:Sundae2Sundae

Hello and welcome to Wikipedia!

Here are some tips to help you get started:

 * If you haven't already, please add your name to the new user log to let others know a little about yourself.
 * Read the Tutorial, and feel free to experiment in the Sandbox.
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * If you need help, post a question at the Help Desk or ask me on my talk page.
 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck! Jrdioko

P.S. One last helpful hint. To sign your posts like I did above (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).

Regarding Requests_for_comment/BigDaddy777
Since you endorsed the original RfC, I thought you might be interested to know that since the dispute resolution process has stalled due to BigDaddy's refusal to respond to this RfC, some are now questioning whether an RfAr should be filed. Your comments on this new issue would be appreciated. Mr. Tibbs 04:35, 29 September 2005 (UTC)

Username change
Per your request, your former username has been renamed to "FormerUser4". Regards — Dan | talk 19:35, 10 January 2006 (UTC)

File permission problem with File:Non military beret.jpg
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File:Suzzallo grand staircase.jpg needs authorship information.
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title: User talk:Sundae2Sundae


text:
Counts of Blois

During the Middle Ages, the counts of Blois were among the most powerful vassals of the King of France.

This title of nobility seems to have been created in 832 by Emperor Louis the Pious for Count William, the youngest son of Adrian, Count of Orléans. Over a few decades, the county was gathered to the royal lands of France until the end of the 9th century, before being relegated to the status of viscount.

From its autonomy around 940 to the definitive integration to the Dukedom of Orleans in 1397, the county was directed by the son of the last viscount's descendants, Theobald I. His descendants, called House of Blois ended up related to a large number of European noble families.

In 1397, the title was ceded by Count Guy II in the favor of Duke Louis I of Orléans, who was the second son of King Charles V. The very last hereditary count of Blois was his grandson, Duke Louis II, who annexed the county to the Crown lands of France when he was crowned King of France in 1498 under the name of Louis XII.

The title reappeared in 1626 when Duke Gaston of Orléans was offered a newly independent County of Blois from Orléans, but King Louis XIV refused this favor to his brother, Duke Philippe, when he received the traditional apanage in 1660.

Carolingian county (832–c.900)
It is likely, but not certain, that the title of count of Blois was granted before the year 832.

House of Avesnes (1230–1241)
Title held by House of Avesnes.

House of Châtillon (1241–1397)
Title held by House of Châtillon.

House of Orléans (1397–1498, 1626–1660)
Even though the rights on the county were given to Duke Louis I of Orléans, Bloisian was not immediately integrated into the Crown Land. As a results, Dukes of Orléans also did hold the title of Count of Blois, until 1498 when Duke Louis II became King Louis XII.

On August 6, 1626, after a failed conspiracy in Nantes, Duke Gaston reluctantly accepted to marry the wealthy lady Duchess Marie of Montpensier, as Cardinal Richelieu wanted him to do. As a gift, he received the duchies of Orléans and of Chartres, plus the county of Blois.

When Gaston died, his Orléans-based apanage came back to the Crown. King Louis XIV decided to give it to his own younger brother, Duke Philippe, excepted Bloisian (and so the châteaux of Blois and Chambord) as well as Languedoc. Therefore, the county became definitively part of French territory.

title: Counts of Blois


text:
Alouette 2

Alouette 2 was a Canadian research satellite launched at 04:48 UTC on November 29, 1965, by a Thor Agena rocket with Explorer 31 from the Western test range at Vandenberg AFB in California. It was (like its predecessor Alouette 1, and Explorer 31) designed to explore the ionosphere.

History
The name "Alouette" came from the French for "skylark" and from the title of a popular French-Canadian folk song. Alouette 2 was also known as ISIS-X since it was the first in a series of ISIS satellites: International Satellites for Ionospheric Studies. The next one was called ISIS-I.

The Alouette 2 was built up from the identical backup satellite to Alouette 1. It had many more experiments and more sophisticated support systems than the earlier satellite. It lasted for 10 years, being terminated on August 1, 1975.

RCA Victor of Montreal, Quebec, was the prime contractor; Havilland Aircraft of Toronto, Ontario, served as associate contractor.

Post mission
After the Alouette 2 was launched, the upper stage of the rocket used to launch the satellite became a derelict object that would continue to orbit Earth for many years. , the upper stage remains in orbit.

The satellite itself became a derelict after August 1975. It too remains in earth orbit.

title: Alouette 2


text:
Alouette

Alouette or alouettes may refer to:

Music and literature

 * "Alouette" (song), a French-language children's song
 * Alouette, a character in The King of Braves GaoGaiGar

Aerospace

 * SNCASE Alouette, a utility helicopter developed in France in the early 1950s which was abandoned for development of the Alouette II
 * Aérospatiale Alouette, a family of light helicopters manufactured by SNCASE
 * Aérospatiale Alouette II, a light utility helicopter built in France (1956–1975)
 * Aérospatiale Alouette III, a light utility helicopter built in France (1961–1985)
 * No. 425 Squadron RCAF, also known as Alouette Squadron and now called 425 Tactical Fighter Squadron, a squadron of CF-18 based out of Bagotville, Quebec
 * Alouette 1, a Canadian satellite launched in 1962
 * Alouette 2, a Canadian satellite launched in 1965

Sport

 * Montreal Alouettes, a team in the Canadian Football League
 * Canadian Alouettes FC, a soccer team based in Montreal
 * Notre-Dame-de-Grace Maple Leafs, also called the Montreal Junior Alouettes, a team in the Quebec Junior Football League
 * Nipissing Alouettes, an ice hockey team
 * Saint-Jérôme Alouettes, an ice hockey team

Places

 * Alouette Lake, a lake in British Columbia, Canada
 * Alouette River, a river in British Columbia, Canada
 * 9995 Alouette, an S-type main-belt asteroid

Other uses

 * Alouette (train), a former passenger train between Boston, US and Montreal, Canada
 * Alouette (cheese), an American French-style cheese
 * Aluminerie Alouette, an aluminum smelter located at Sept-Îles, Quebec
 * Legio V Alaudae, or the Fifth Larks Legion, a legion levied by Julius Caesar in 52 BC

title: Alouette


text:
Bethel (god)

Bethel, meaning 'House of El' or 'House of God' in Hebrew, Phoenician and Aramaic, was the name of a god or an aspect of a god in some ancient Middle Eastern texts dating to the Assyrian, Achaemenid, and Hellenistic periods. The term appears in the Torah and the Christian Bible, but opinions differ as to whether those references are to a god or to a place.

Historical records
A 1977 book by Javier Teixidor cited some early references that support viewing Bethel as a god of Aramaean or Syrian origin. The author maintains that the origin of the god's cult is unknown, but provides what he believes to be some of the earliest references to the god:
 * Theophoric names in the seventh century BC,
 * the 677 BC Esarhaddon's Treaty with Ba'al of Tyre, which associates Bethel with what is apparently another god, Anat-Bethel, in a curse upon the Tyrians if they break the treaty: "May Bethel and Anat-Bethel deliver you to a man-eating lion"; and
 * an Aramaic tablet from Aleppo dating to 570 BC, which contains three theophoric names of the god Bethel.

Teixodir states that the god Bethel became popular during the Neo-Babylonian Empire, which began in the seventh century BC. He found numerous references to the cult of Bethel in fifth-century Egypt literature, and notes that Bethel is mentioned, but with no details, in the Elephantine papyri and ostraca and the Hermopolis Aramaic papyri. Those papyri also mention gods with names that are variants of Bethel: Eshembethel 'Name of Bethel' and Ḥerembethel 'Sanctuary of Bethel' (cf. Arabic ḥaram 'sanctuary'). Tawny Holm also notes that Papyrus Amherst 63 syncretizes Bethel with Yaho.

The ancient Phoenician Sanchuniathon mentions the god Baitylos as a brother of the gods El and Dagon. He later says that the god Sky devised the baitylia, having contrived to put life into stones. There doesn't seem to be any clear relationship between these two terms, however.

Biblical references
The term Bethel or Beth-El appears in the Hebrew Bible and the Old Testament, but opinions differ as to whether these references are to a god or to a place.

Porten suspects that the Bethel mentioned in the Book of Jeremiah at chapter 48, verse 13 is a reference to the god Bethel, rather than the city named Bethel. Jeremiah 48:13 states: "Then Moab shall be ashamed of Chemosh, as the House of Israel was ashamed of Bethel, their confidence."

On the other hand, Biblical scholar Rodney Hutton says that the Bethel referred to in Jeremiah 48:13 is a location or city, and a metaphor for religious apostasy because it was the place where Jeroboam installed the golden calf.

There is further support among Biblical scholars for the view of Bethel as a location rather than a god:
 * Hutton regards Bethel as a place, not a god, in his commentary on The Book of Samuel 7:16: "Jacob gave the site, where God had spoken to him, the name of Bethel."
 * Biblical scholar David M. Carr's commentary on the Book of Genesis generally regards Bethel as a place, in the context it appears in 35:9-35:15 and 31.13. Also, with respect to the phrase "I am the God of Bethel" at 31:13, Carr states that the Hebrew is unclear, raising further doubt.
 * The Rabbinical Assembly of The United Synagogue of Conservative Judaism, in its commentary on "The Revelation at Bethel" (Genesis 35:9-15) in parashah Vayishlach, follows the medieval Rabbinic commentaries and also treats Bethel as a place.

Another interpretation is that the stone which Jacob placed at Bethel, which was named House-of-God, was also a god in itself, a manifestation of the god Bethel.

Names
The divine name is found in composite forms Ashim-Bethel and Herem-Bethel in the archives of Elephantine, while Anat-Bethel appears as an epithet of Anat, the consort of Bethel.

gives the personal name Bethelsharezer (בֵּֽית־אֵ֔ל שַׂר־אֶ֕צֶר "Bethel, šarra-uṣur", an Akkadian term meaning "Protect the king!").

title: Bethel (god)


text: Category:Logographic writing systems

title: Category:Logographic writing systems


text:
Talk:Tmesis

[Untitled]
About "a whole nother" vs "another": Why do you say it's epenthesis? It seems to me that "a whole nother" is a reanalysis of "another" as "a nother", where "nother" is a free morpheme.

I'm not sure if it really qualifies as tmesis, then, but I think epenthesis is way off. Thoughts?

Quincy 00:33, 19 Oct 2004 (UTC)
 * I'm with you that "a-whole-nother" is probably actually "a whole 'nother" and thus an example of aphesis, not tmesis or epenthesis.
 * Similarly, I think "what-place-soever" ought be removed. Googling yields mostly archaic results, e.g. KJV quotes, from a time when "soever" was a common word on its own, used "with generalizing or emphatic force".  Take this 1580 example given in the OED, "The feare of what punishment temporal soever".  More likely "what" and "soever" are meant as entirely separate words, not as one word with "punishment temporal" inserted in the middle, eh?
 * I'll go ahead and remove both these examples if no one objects. The article has enough others to survive without these.--Severinus 05:40, 7 June 2006 (UTC)
 * I went ahead and rem'd those examples since no one seemed to object... -- Severinus 07:12, 19 June 2006 (UTC)

em...
Shouldnt this article mention at least one swear-related Tmesis. Its by far the more common example of this phenomenon than the weak examples here

Why in hell would anyone begin a word with tm? lysdexia 07:05, 1 Nov 2004 (UTC)
 * I dunno, sounds good tme! 68.174.97.122 (talk) 19:05, 10 July 2013 (UTC)

or more precisely, why would anyone transliterate greek using tm, since i doubt they pronounced it that way... though they did have some weird prefixes that only work mid-word, like ptero... diptera is easy to pronounce, but pterodactyl is not. ^^'

^^^^^

While there is some controversy surrounding how ancient greeks actually pronounced stuff, for the specific letters Τ and Μ, all scholars unanimously agree that they were pronounced exactly as transliterated in the above example. For what it's worth, they are pronounced the same way even today by native speakers of the language who have no problem pronouncing the word τμησις. Clearly, what is easy to pronounce and what isn't, in terms of sequences of phthongs (try pronouncing that! :P), whether in the middle of a word or at the start, depends on what your native language is. In fact we could have been spared of all those "scientific" pronounciations of classical greek (as the Erasmian pronunciation) if those researchers had been careful not to extrapolate stuff from what seems natural in the contect of their own native languages.

144.32.81.175 16:35, 23 September 2005 (UTC)

Scunthorpe? ed g2s • talk 02:29, 17 April 2006 (UTC)

 * Greek words starting with two consonants (ps-, pt- and others) are usually zero grades - see Indo-European ablaut. As such they make perfect philological sense, and yes, they were pronounced that way. --Doric Loon (talk) 18:57, 1 June 2008 (UTC)

how heinous e'er
I removed
 * * "how heinous e'er it be" (Shakespeare's tmesis of "however" in Richard II)

since WS's intent seems to be "no matter how heinous it turns out to be", and "ever" has the force of "always" and thus "anyway". In fact, we should cite evidence that English of that vintage treated "however" as a single word, rather than having "how ever", "what ever", "when ever", etc. as two word phrases that had not yet fused into our corresponding familiar single words.
 * the construction makes grammatical sense without assuming it is derived from "however", and
 * it is in complete contrast to all the other examples, and needs to be discussed as an exception to the pattern they evidence, if it is in fact itself an example.

It may be an example, but there is more work needed to show that, and still more to fit it into the article in that case. --Jerzy•t 03:57, 3 June 2006 (UTC)

Adjustment of Offensive Language
>Shouldnt this article mention at least one swear-related Tmesis. Its by far the more common >example of this phenomenon than the weak examples here

The point is about offending and thereby hurting others with imprudent use of language, not how common insults are infixed or how strong or weak it may be. Keep in mind that this page is meant for a general readers; that includes children. Apeman 18:51, 16 April 2007 (UTC)

 * No, this page is meant for people who have read and understand Wikipedia's disclaimers, notably Content disclaimer. It's one thing to remove needless profanity, but when the profanity is essential to the article (as it is in this case — expletive infixation is a very prominent form of tmesis in English), it remains. —RuakhTALK 20:30, 16 April 2007 (UTC)
 * I agree with Ruakh. Wikipedia is not censored, nor should it be.  --Cromwellt|talk|contribs 15:16, 5 July 2007 (UTC)
 * I wholeheartedly agree that this article shouldn't be censored, particularly considering that modern-day tmesis is so often swearing-oriented, but I do think it's unnecessary and gratuitious to have to "X-fuckin'-X" examples when neither one of them is a cited example from literature. I would recommend deleting "Congratu-fuckin'-lations", another expletive infixation, as it doesn't seem to serve any purpose.  SRBAndrews 10:30, 18 Feb 2008  —Preceding unsigned comment added by 87.114.144.229 (talk)
 * I remain unconvinced that profanity--particularly in the scale in this article--is "essential" to it. Not true at all. There is a failure here to recognize audience, and a failure to respect others. It is not reasonable to require or believe that users of Wikipedia consider themselves having "read and understand Wikipedia's disclaimers." They are actually far more likely to be people who have googled a word and click on a link to this article, going directly to it. Whether or not you think this article should be only for people who have read and understood the disclaimers, in real life, those are not the people reading it. I disagree with you, and I think your position potentially harms people. And I think the root of this is not really about freedom or legal rights, though they may be on your side, much less a belief that offensive language is necessary to illustrate an offensive usage, but about a carelessness for others who may not subscribe to your values.Apeman (talk) 03:11, 21 December 2010 (UTC)

incorrect application
All my searches have found that tmesis is restricted to the insertion of a word or words between the elements of a compound word. It does not apply to cases where an infix is inserted between the syllables of a word that is not a compound. --EncycloPetey 18:45, 27 October 2007 (UTC)

 * This is correct. All the examples of expletive infixation in English on this page are incorrect. The basic function of tmesis is to undo some form of (usually bound) compound and allow the individual elements to function as separate syntactic entities. This differs from infixation (including expletive infixation) which does not (necessarily) depend on morphemes and does not create separate syntactic entities.

 * In other words, the result of tmesis is two separate words which can be separated by more or less anything, while the result of infixation is a single word with something squished into the middle. Kokoshneta (talk) 17:07, 13 October 2020 (UTC)

Split infinitive
Someon has added to our article on the split infinitive a note that the Latin infinitive could be split by tmesis. If that is true, it would be really useful to have an example of it here - in fact we could do with a whole section on Latin, if the phenomenon really does occur. --Doric Loon (talk) 18:52, 1 June 2008 (UTC)

Examples Organization
It seems the examples are not sorted in any significant way. Alphabetical of the phrase seems to be the most readily apparent solution. -- 66.212.222.254 (talk) 15:20, 27 August 2009 (UTC)

The man in the car's hat
Are constructions exemplified by "the man in the car's hat" viewed as tmesis? It would appear so, because the prepositional phrase "in the car" has been inserted into "man's". This is a moderately frequent construction in English, so it should go in the article unless for some reason it's considered to be in a different category. Duoduoduo (talk) 22:17, 1 July 2011 (UTC)

 * No. The English possessive marker 's is simply a clitic. --Florian Blaschke (talk) 03:41, 12 October 2014 (UTC)

Other English examples
Are these examples in English considered to be tmesis?:

Duoduoduo (talk) 22:29, 1 July 2011 (UTC)
 * "whatsoever" and "whosoever", with "so" inserted in "whatever" and "whoever"
 * "take it over", as an example of an extremely large category of separable phrasal verbs, which have a meaning not contained in the bare verb, in which an object pronoun (and sometimes optionally a short noun phrase object) is inserted between the bare verb and the particle

German separable verbs?
Are German separable verbs considered an example of tmesis? They consist of a prefix plus a root verb, and when they separate the root verb occurs, then intervening words, then the prefix. Duoduoduo (talk) 22:37, 1 July 2011 (UTC)

Stephen Fry
The example involving Stephen Fry is dated June 2011, however there is an earlier verifiable instance dating back to 2003 where he gives examples of tmesis -- in the 4th episode of series A of the television show QI. It's described on the corresponding wiki page. Bigblah (talk) 10:41, 15 November 2011 (UTC)

In larger chunks
Will Self used 'dramatic tmesis' to refer to the interpolation of whole play within two parts of another. Is this standard usage? 58.153.178.87 (talk) 13:17, 6 January 2013 (UTC)

duplication of syllable probably occurs in the insertion, no?
wouldn't the duplicating syllable rule be better expressed as insertion of a nonsense word constructed from the neighboring phonetic sound, such as "'W-eldiddly-elcome" or "'Wel-diddlyel-come" rather than "'Wel-diddly-elcome" which implies the the duplication is a separate event? can probably deduce more about what is going on with more examples and checking stressed/unstressed, voiced/unvoiced and the other usual suspects. 68.174.97.122 (talk) 19:10, 10 July 2013 (UTC)

Greek example
Unlike the Latin example circum virum dare, the Ancient Greek example kata dakrua leibōn is AFAIK a true example of tmesis, as dakrua cannot be considered the complement of kata: the tears are shed, not something else from the tears. In the Latin example, it is really circum virum, "around the man", that is meant, so the ambiguity of the construction is genuine. (Only the unidiomatic use of dare may hint that something is amiss with the interpretation of circum as a plain preposition.)

The background is, of course, that in Proto-Indo-European and Early Indo-European dialects, including Hittite, the construction was NOUNObj + ADVERB + VERB, where the adverb could be interpreted as either belonging closer to the noun (hence, a postposition) or the verb (hence, a preverb). --Florian Blaschke (talk) 04:06, 12 October 2014 (UTC)

English examples

 * "to boldly go"
 * "un-fucking-believable"

--ESP (talk) 05:34, 11 October 2015 (UTC)

 * The first of those, like most in this arti-crap-cle, is obviously not tmesis.

 * The second is. Correctrix (talk) 04:32, 22 November 2015 (UTC)

The second of those is also not tmesis. Infixation and tmesis are not the same thing. Kokoshneta (talk) 17:01, 13 October 2020 (UTC)

"Example" not actually from Ovid
"Tmesis is found as a poetic or rhetorical device in classical Latin poetry, such as Ovid's Metamorphoses. Words such as circumdare, to surround, are split apart with other words of the sentence in between, e.g. circum virum dant: "they surround the man"

This is phrased in a way that makes it sound as though circum virum dant comes from Ovid's Metamorphoses. In fact, it doesn't - I have looked through the Metamorphoses in the original Latin today, and these words are not found within this text.

I know, the above phrasing in the article doesn't explicitly say that these words come from Ovid. But it makes it SOUND as though they're from Ovid. I thought they were from Ovid, until I checked and found that they're not. A quick Google search reveals that others have fallen into the same trap as me: this person,, for instance.

Can we replace this with an example that's actually attested in Latin? I can get on the case soon, but I haven't got time at the moment. LegesRomanorum (talk) 16:21, 21 May 2016 (UTC)

"Apron" and "uncle" the result of tmesis?
If anyone knows what "In that sense, words such as apron and uncle may be seen as the result of tmesis of napron and nuncle" means, could you explain it in the article? I don't see how those words relate to the passage about "a whole nother". 209.6.200.194 (talk) 22:30, 26 May 2020 (UTC)

title: Talk:Tmesis


text: User talk:24.60.209.184

title: User talk:24.60.209.184