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Roots rock

Roots rock is a genre of rock music that looks back to rock's origins in folk, blues and country music. It is seen as responses to the perceived excesses of the dominant psychedelic and the developing progressive rock. Because roots music (Americana) is often used to mean folk and world musical forms, roots rock is sometimes used in a broad sense to describe any rock music that incorporates elements of this music. In the 1980s, roots rock enjoyed a revival in response to trends in punk rock, new wave, and heavy metal music.

After a further decline, the 2000s saw a new interest in "roots" music. One proof of that is the specific Grammy Award given since 2015, notably to Jon Batiste in 2022. According to their website, that trophy is defined as: "This category recognizes excellence in Americana, bluegrass, blues or folk recordings in modern and/or traditional vocal and instrumental styles, as well as original material by artists who use traditional and/or modern roots elements, sounds and instrumental techniques as the basis for their recordings."

History
In 1966, as many rock artists moved towards expansive and experimental psychedelia, Bob Dylan spearheaded the back-to-basics roots revival when he went to Nashville to record the album Blonde on Blonde, using notable local musicians like Charlie McCoy. This, and the subsequent more clearly country-influenced albums, John Wesley Harding (1967) and Nashville Skyline (1969), have been seen as creating the genre of country folk, a route pursued by a number of, largely acoustic, folk musicians. Other acts that followed the back to basics trend in different ways were the Canadian/American group The Band and the California-based Creedence Clearwater Revival, both of which mixed basic rock and roll with folk, country, and blues, to be among the most successful and influential bands of the late 1960s. At the same time the Grateful Dead, a band previously associated with the San Francisco sound and known for ferocious psychedelic improvisation, followed in the footsteps of Crosby, Stills & Nash to focus on Americana-styled songwriting for their 1970 albums Workingman's Dead and American Beauty. The same movement saw the beginning of the recording careers of Californian solo artists like Ry Cooder, Bonnie Raitt, and Lowell George.

Blues rock
The blues boom overlapped, both chronologically and in terms of personnel, with the earlier, wider rhythm and blues phase, which had begun to peter out in the mid-1960s leaving a nucleus of instrumentalists with a wide knowledge of blues forms and techniques, which they would carry into the pursuit of more purist blues interests. Blues Incorporated and John Mayall and the Bluesbreakers were well known in the London Jazz and emerging R&B circuits, but the Bluesbreakers began to gain some national and international attention, particularly after the release of Blues Breakers with Eric Clapton album (1966), considered one of the seminal British blues recordings. From 1966 to 68, young Englishmen formed blues rock bands such as Cream, Fleetwood Mac, Keef Hartley Band, Ten Years After, and Free. In America, Paul Butterfield Blues Band, Canned Heat, and Johnny Winter performed at Woodstock Festival 1969.

Country rock
Dylan's lead was also followed by the Byrds, who were joined by Gram Parsons in 1968. Earlier in the year Parsons had already recorded Safe at Home with the International Submarine Band, which made extensive use of pedal steel guitar and is seen by some as the first true country-rock album. The result of Parsons tenure in the Byrds was Sweetheart of the Rodeo (1968), generally considered one of the finest and most influential recordings in the genre. The Byrds continued for a brief period in the same vein, but Parsons left soon after the album was released to be joined by another ex-Byrds member Chris Hillman in forming the Flying Burrito Brothers. Over the next two years they recorded the albums The Gilded Palace of Sin (1969) and Burrito Deluxe (1970), which helped establish the respectability and parameters of the genre, before Parsons departed to pursue a solo career.

Country rock was a particularly popular style in the California music scene of the late 1960s, and was adopted by bands including C.C.R., Poco, and New Riders of the Purple Sage. Some folk-rockers followed the Byrds into the genre, among them the Beau Brummels and the Nitty Gritty Dirt Band. A number of performers also enjoyed a renaissance by adopting country sounds, including: the Everly Brothers, whose Roots album (1968) is usually considered some of their finest work; former teen idol Ricky Nelson (after dropping the "Y" from his name and letting his hair grow) who became the frontman for the Stone Canyon Band; Michael Nesmith who formed the First National Band after his departure from the Monkees; and Neil Young who moved in and out of the genre throughout his career. One of the few acts to successfully move from the country side towards rock were the bluegrass band The Dillards.

The greatest commercial success for country rock came in the 1970s, with the Doobie Brothers mixing in elements of R&B, Emmylou Harris (a former backing singer for Parsons) becoming the "Queen of country-rock", and Linda Ronstadt creating a highly successful pop-orientated brand of the genre. Members of Ronstadt's former backing band went on to form the Eagles (made up of members of the Burritos, Poco, and Stone Canyon Band), and emerged as one of the most successful rock acts of all time, producing albums that included Desperado (1973) and Hotel California (1976). Country rock began to fade in the late 1970s in the face of punk and new wave trends.

Southern rock

Although the Southern states had been, as much as anywhere, the birthplace of rock and roll, after the decline of rockabilly in the late 1950s, it was not until the early 1970s that a distinctive regional style of rock music emerged. (This was despite some successful bands from the region, a major contribution to the evolution of soul music in the Stax-Volt records company and the existence of the Muscle Shoals and FAME Studios). The founders of Southern rock are usually thought to be the Allman Brothers Band, who developed a distinctive sound, largely derived from blues rock, but incorporating elements of boogie, soul, and country; combining hard rock instrumentation and rhythms with accented vocals and Duane Allman's slide guitar.

Of the acts that followed the Allmans into the emerging genre, the most successful was Lynyrd Skynyrd, who with songs like "Free Bird" (1973) and "Sweet Home Alabama" (1974) helped establish the "Good ol' boy" image of the subgenre and the general shape of 1970s guitar rock. They were followed by many other bands, including the Atlanta Rhythm Section, ZZ Top, Black Oak Arkansas, the more country-influenced The Marshall Tucker Band, and Wet Willie, Blackfoot, The Ozark Mountain Daredevils, Johnny Winter, and Edgar Winter Group. After the loss of original members of the Allmans and Lynyrd Skynyrd, the genre began to fade in popularity in the late 1970s, but was sustained the 1980s with acts like the Outlaws, Georgia Satellites, the Fabulous Thunderbirds, Stevie Ray Vaughan & Double Trouble, Pointblank, .38 Special, and Molly Hatchet.

Swamp rock
Swamp rock originated in the mid-1960s as a fusion of rockabilly and soul music with swamp blues, country music and funk. The style also drew from beat music, country blues, Cajun music and New Orleans rhythm and blues. Part of the early swamp rock scene were John Fogerty & C.C.R., Leon Russell, Dale Hawkins, Tony Joe White, and Delaney & Bonnie.

Heartland rock
The term heartland rock was first used in the early 1970s to describe Midwestern arena rock groups like Kansas, REO Speedwagon, and Styx, but came to be associated with a more socially concerned form of roots rock more directly influenced by folk, country, and rock and roll. It has been seen as an American Midwest and Rust Belt counterpart to West Coast country rock and the Southern rock of the American South. Led by figures who had initially been identified with punk and new wave, it was most strongly influenced by acts such as Bob Dylan, the Byrds, Creedence Clearwater Revival, and Van Morrison, 1960s garage rock, and the Rolling Stones.

Exemplified by the commercial success of singer songwriters Bruce Springsteen, Bob Seger, and Tom Petty, along with less widely known acts such as Southside Johnny and the Asbury Jukes and Joe Grushecky and the Houserockers, it was partly a reaction to post-industrial urban decline in the East and Mid-West, often dwelling on issues of social disintegration and isolation, beside a form of good-time rock and roll revivalism. The genre reached its commercial, artistic, and influential peak in the mid-1980s, with Springsteen's Born in the USA (1984), topping the charts worldwide and spawning a series of top ten singles, together with the arrival of artists including John Cougar/Mellencamp, Steve Earle, and more gentle singer/songwriters such as Bruce Hornsby. It also impacted the United Kingdom in the 1980s through Dire Straits. It can also be heard as an influence on artists as diverse as Billy Joel and Kid Rock. Though various heartland rock acts had sustained success through the 1990s, such as Tom Petty, Bruce Springsteen, The Wallflowers, and to a lesser extent, the BoDeans and Los Lobos, Heartland rock's commercial prosperity and general popularity began to fade away as early as the early 1990s. As rock music in general, and blue collar and white working class themes in particular, lost influence with younger audiences, heartland's artists turned to more personal works. Subsequently, however, American bands the Killers and the War on Drugs and English act Sam Fender firmly integrated the heartland rock genre into their respective musical styles.

1980s revival
The term "roots rock" was coined during the mid-1980s. A number of key bands were defined as cow punk, punk rockers who played country music, including Jason & The Scorchers from Tennessee, Dash Rip Rock from Louisiana, and Drivin N Cryin from Georgia, but the centre of the cow punk movement became Los Angeles, thanks to bands including the Long Ryders, Tex & the Horseheads, the Rave-Ups, Lone Justice, and Rank and File. Also part of this trend and enjoying some mainstream success were Gun Club, Chris Isaak, Violent Femmes, BoDeans, and Los Lobos.

In addition the alternative country movement, producing such figures as Steve Earle, Lucinda Williams, and Uncle Tupelo, can be seen as part of the roots rock tendency. The movement began to decline in popularity again in the 1990s but produced some bands like Son Volt, Wilco, and The Bottle Rockets.

After disbanding Dire Straits in 1995, lead singer Mark Knopfler has largely returned to a roots-rock sound across his ten albums.

title: Roots rock


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B.C. (comic strip)

B.C. is a daily American comic strip created by cartoonist Johnny Hart. Set in prehistoric times, it features a group of cavemen and anthropomorphic animals from various geologic eras.

B.C. made its newspaper debut on February 17, 1958, and was among the longest-running strips still written and drawn by its original creator when Hart died at his drawing board in Nineveh, New York, on April 7, 2007. Since his death, third-generation descendant Mason Mastroianni has produced the strip, with B.C. syndicated by Creators Syndicate.

Publication history
B.C. was initially rejected by a number of syndicates until the New York Herald Tribune Syndicate accepted it, launching the strip on February 17, 1958. Hart was assisted with B.C. by gag writers Jack Caprio and Dick Boland (who later joined Hart and cartoonist Brant Parker on The Wizard of Id).

When the Herald Tribune syndicate folded in 1966 due to the demise of its parent newspaper, B.C. was taken over by the Publishers Syndicate. That syndicate changed hands and names frequently — Publishers-Hall Syndicate, the Field Newspaper Syndicate, News America Syndicate, and finally North America Syndicate — eventually becoming part of King Features. At that point, in 1987, Hart changed distributors to Creators Syndicate, becoming one of Creators' first syndicated strips.

After Hart's death in 2007, the strip began being produced by Hart's grandsons Mason Mastroianni (head writer and cartoonist) and Mick Mastroianni (writer for both B.C. and Hart's other creation, Wizard of Id), and Hart's daughter Perri (letterer and colorist). (The Mastroianni brothers also created an original strip, Dogs of C Kennel, in 2009.)

Cast of characters
For a visual glossary, see Meet The Actors at John Hart Studios.

Character inspiration
Hart was inspired to draw cavemen (and many other creatures) through the chance suggestion of one of his coworkers at General Electric, and took to the idea "because they are a combination of simplicity and the origin of ideas". The name for the strip "may have been suggested by my wife, Bobby," Johnny recalls.

Hart describes the title character as similar to himself, playing the "patsy". The other major characters — Peter, Wiley, Clumsy Carp, Curls, and Thor — were patterned after friends and co-workers. The animal characters include dinosaurs, ants and an anteater, clams, a snake, a turtle and bird duo, and an apteryx (presented in the strip as being the sole surviving specimen, and hence self-aware of its being doomed to extinction).

Human characters

 * B.C.: An orange haired, humble, naïve slob and eternal patsy. B.C. occasionally makes nighttime rounds as his alter-ego, "The Midnight Skulker."
 * Peter: A yellow haired, self-styled genius and the world's first philosophical failure, founder of the "Prehistoric Pessimists Society" and the "Truth Pedestal," and the discoverer of oil. Peter is patterned after Hart's friend, Peter Reuter; the two had been co-workers at General Electric.
 * Thor: A brown-haired, smart, witty self-proclaimed ladies' man; inventor of the wheel and the comb. Thor was patterned after another of Hart's friends from GE, Thornton Kinney.
 * Jane: a bossy cavewoman who enjoys clobbering snakes. Until August 29, 2019, Jane was referred to in the strip as the "Fat Broad". She is named after Johnny's mother-in-law, Janie Indiana Finch.
 * Grace: a quiet but intellectual giant in a world of crude men. Until August 29, 2019, Grace was referred to in the strip as the "Cute Chick". She is named after Johnny's mom Grace Anna Brown. Grace's birthday is March 1.
 * Wiley: a peg-legged, superstitious, unshaven, woman-fearing, water-hating poet and coach of the local baseball and football teams, not to mention the first bartender. Wiley was patterned after Hart's brother-in-law, Wiley Baxter, who lost his leg in World War II.
 * Clumsy Carp: a nerdy, bespectacled ichthyologist and perpetual klutz, clumsy enough to trip over a shadow, yet with some unusual skills, such as his ability to make and stack "water balls" (similar to snowballs). Clumsy Carp was patterned after Hart's childhood friend, Jack Caprio.
 * Curls: a master of sarcastic wit. Curls was patterned after Hart's friend from high school, Richard (Curly) Boland.
 * Grog: pure Id, a caveman's caveman; a primitive, semi-evolved wild man with enough strength to knock the sun out of the sky using a golfball. His vocabulary was very limited until a January 1977 strip in which, to Peter's shock, he actually spoke full sentences.
 * The Guru: an unnamed, bearded wise man living like a hermit atop a mountain, whence he dispenses wisdom and sarcasm.

Animals and other non-human characters

 * John the Turtle and the Dookie Bird: this prehistoric odd couple are inseparable friends, especially when making their annual trek south for the winter. The Dookie Bird rides on John's back when they travel.
 * The Snake: the put-upon, mortal enemy of Jane (and her club).
 * The Anteater: eats ants with a sticky, elastic tongue and a ZOT! sound. Hart actually drew something of a hybrid—with the long ears of an aardvark and the bushy tail of a giant anteater. (This character was the inspiration for Peter the Anteater, the University of California, Irvine team mascot. Also served as the inspiration for the mascot of the now disestablished US Navy fighter squadron VF-114 the "Aardvarks".)
 * Maude: an ant, a nagging wife with a smart-alec son (Johnny) and a quarrelsome, straying husband.
 * Jake: ant husband of Maude, who is always threatening to run off with Shirley.
 * Queen Ida: the queen ant, an unfeeling and abusive dictator. Queen Ida was based on Hart's wife Bobby, whose given name was Ida. She was featured every year on her birthday, December 3, until Mrs. Hart's death in 2018. (The December 3, 2019 strip featured a parting message from the Queen to her subjects.)
 * The Dinosaur: big but not too bright—a sort of sauropod with spinal plates like a stegosaurus. Sometimes called Gronk, which is the only sound he makes (although he can talk fluently in recent strips).
 * The Clams: talking clams with legs, among other appendages. (Clams are also the preferred unit of currency in B.C.)
 * The Apteryx (kiwi): a "wingless bird with hairy feathers", as he invariably introduces himself.
 * The Turkey: makes his yearly appearance at Thanksgiving time, eluding the mighty hunters.
 * Oynque: the turkey's porcine partner in crime, rarely seen without his trademark mud puddle.
 * Wolf: the newest B.C. character August 24, 2009; a blissfully deviant domestication of Precambrian fur. Man's first friend.
 * Various incidental ants, including a schoolteacher and her students.
 * Raptors: velociraptors that try to eat the other characters.

There are also several odd inanimate characters, including a talking Daisy and his/her friend, a talking Rock.

Seldom-used or one-shot human characters
Although the strip seldom expands its human cast outside of the established group of characters, there are a few exceptions.

 * Anno Domini, or A.D., introduced during a weeks-long journey by Peter to discover the new world, which he successfully accomplished. His name is arguably a riff on B.C.'s name. He dresses as a caveman very much like the rest of the characters, but has a thick mustache and a stereotypical Italian accent, assuming a bit of a take on Christopher Columbus. He befriends Peter in the "new world".
 * Conahonty, a Native American Indian, who also appears in the "new world" storyline, and befriends Peter. He is a friend of A.D.'s, and speaks rather stereotypical broken English. He dresses more like a somewhat stereotyped Indian than a caveman, and at one point even specifically states that he is an American Indian. He and A.D. were not frequently seen after Peter returned from his epic journey. The two are the most oft-appearing non-regular human characters in the history of the strip other than the Guru, due to the strip's tight focus on its core cast of humans. His name is a spoof of the name Pocahontas.
 * Peter's Pen Pal, An unseen person whom Peter corresponds with by tossing "floating stone tablet" letters into the ocean and receiving answers at a later time.

Setting
The characters live, for the most part, in caves, in what appears to be a barren, mountainous desert by an unidentified sea. Background detail is often limited to a simple horizon line broken up by the occasional silhouettes of a stray volcano or cloud. "Retail stores", "shop counters", and "businesses" are symbolized by a single boulder, labeled (for instance): "Wheel Repair", "Advice Column", "Psychiatrist", etc. The February 5, 2012, strip gives a nearby location of 53.40472°N, -6.20083°W, which is in present-day Dublin, Ireland.

Originally, the strip was set firmly in prehistoric times, with the characters clearly living in an era untouched by modernity. Typical plot lines, for example, include B.C.'s friend, Thor (inventor of the wheel and the comb), trying to discover a use for the wheel. Thor was also seen making calendars out of stone every December. Other characters attempt to harness fire or to discover an unexplored territory, like Peter trying to find the "new world" by crossing the ocean on a raft. Animals, like the dinosaur, think such thoughts as, "There's one consolation to becoming extinct—I'll go down in history as the first one to go down in history." Grog arrived in early 1966, emerging from a miniature glacier which melted to reveal what Wiley called "Prehistoric man!"

B.C., like Hart's Wizard of Id, is a period burlesque with a deliberately broad, non literal time frame. As time went on, the strip began to mine humor from having the characters make explicit references to modern-day current events, inventions, and celebrities. Increasingly familiar visual devices, like the makeshift "telephone" built into a tree trunk, also started to blur the comic's supposed prehistoric setting and make it rife with intentional anachronisms. One of the comic's early out-of-context jokes, from June 22, 1967, was this one:
 * Peter: "I used to think the Sun revolved around the Earth."
 * B.C.: "What does it revolve around?"
 * Peter: "The United States!"

Another early example: Near Christmas time, the apteryx, dressed as Santa Claus, modified his usual spiel: "Hi there, I'm an Apterclaus, a wingless toymonger with batteries not included!" A devout Christian, Hart included didactic references to the death and resurrection of Jesus in Easter installments. The Washington Post columnist and comics critic Gene Weingarten suggested that B.C. is actually set not in the past but in a dystopic, post-apocalyptic future.

Format and style
B.C. follows a gag-a-day format, featuring (mostly) unrelated jokes from day to day, plus a color Sunday strip. Occasionally it will run an extended sequence on a given theme over a week or two. It also follows the convention of Sunday strips with a short, setup/payoff joke in the first two panels, followed by an extended gag, which allows newspapers to trim the opening panels for space. The principal cast is small and varied, with each character imbued with a developed personality. "The art style, like that of Charles Schulz's Peanuts, masks sophisticated minimalism with a casually scratchy veneer," according to comics historian Don Markstein.

Dry humor, prose, verse, slapstick, irony, shameless puns and wordplay, and comedic devices such as Wiley's Dictionary (where common words are defined humorously with a twist, see Daffynition) make for some of the mix of material in B.C. Example: "Rock (verb): To cause something or someone to swing or sway, principally by hitting them with it!"—from an early 1967 strip. Or: "Cantaloupe (noun): What the father of the bride asks after seeing the wedding estimate!"

There are running gags relating to the main cast and to a variety of secondary, continuing characters. One such periodic recurring gag has Peter communicating with an unseen pen-pal on the other side of the ocean, writing a message on a slab of rock that he floats off into the horizon. It is invariably returned the same way, with a sarcastic reply written on the reverse side. These segments use silent or "pantomime" panels (indicating that time has elapsed; night falls and dawn rises) between the set-up and the delayed punch line—typical of Hart's idiosyncratic use of "timing" in B.C.

Controversies
The B.C. daily strip from December 7, 2006, attracted criticism for defining infamy as "a word seldom used after Toyota sales topped 2 million." The day was the 65th anniversary of the Japanese military's attack on Pearl Harbor, and the punchline of the strip refers to Franklin D. Roosevelt's "Infamy Speech" which requested from Congress a declaration of war against Japan. The day's strip was pulled from at least one newspaper, the San Antonio Express-News. The paper's managing editor said the comic was "a regressive and insensitive statement about one of the worst days in American history."

On July 21, 2009, the strip presented a gag that involved the supposed suggestion of animal abuse. John Hart Studios received many angry responses from readers and issued an apology on their website.

Religious aspect
Late in the run of the strip, and following a renewal of Hart's religious faith in 1984, B.C. increasingly incorporated religious, social, and political commentary, continuing until Hart's death in 2007. References to Christianity, anachronistic given the strip's supposed setting and the implications of its title, became increasingly frequent during Hart's later years.

In interviews, Hart referred to his strip as a "ministry" intended to mix religious themes with secular humor. Though other strips such as The Family Circus and Peanuts have included Christian themes, B.C. strips were pulled from comics pages on several occasions due to editorial perception of religious favoritism or overt proselytizing. Easter strips in 1996 and 2001, for example, prompted editorial reaction from a handful of U.S. newspapers, chiefly the Los Angeles Times and written and oral responses from Jewish and Muslim groups who were offended that Hart would include his own Christian beliefs in his strip.

The American Jewish Committee termed the Easter 2001 strip, which depicted the last words of Jesus Christ and a menorah transforming into a cross, "religiously offensive" and "shameful", and accused Hart of promoting supersessionist theology. A 2003 strip depicting a character using an outhouse with a crescent symbol on the front, slamming the door shut, and declaring, "Is it just me, or does it stink in here?" was interpreted by some as carrying an anti-Islam message. Hart responded to the controversy, saying "This comic was in no way intended to be a message against Islam — subliminal or otherwise.... It would be contradictory to my own faith as a Christian to insult other people's beliefs." The Los Angeles Times consequently relegated strips which its editorial staff deemed objectionable to the religion pages, instead of the regular comics pages.

B.C. in other media

 * The characters were featured in two animated television specials:
 * B.C.: The First Thanksgiving, first aired on NBC in 1973, was directed by Abe Levitow, and featured the voice talents of Daws Butler (as B.C. and Clumsy), Don Messick as Peter and Thor, Bob Holt as Wiley and Grog, and Joanie Sommers as Fat Broad and Cute Chick.
 * B.C.: A Special Christmas first aired on HBO in 1981, and starred the comedy team of Bob and Ray as the voices of Peter and Wiley, respectively.
 * The characters appeared in animated commercials for the U.S. federal agency ACTION in the 1970s and for Monroe shocks in the late 1980s. They were also licensed by Arby's restaurants in 1981, which issued a collector set of 6 B.C. cartoon character drinking glasses. In the last half of the 1960s, the BC characters were used in commercials for Marathon gasoline.
 * B.C. was turned into two video games for the ColecoVision console and Atari 8-bit computers, Commodore 64, and MSX home computers: B.C.'s Quest for Tires and B.C. 2: Grog's Revenge.

Hometown
Influences from B.C. are found throughout Johnny Hart's home of Broome County, New York. A PGA Tour event, the B.C. Open, took place every summer in Endicott, New York, through 2005 (the final scheduled B.C. Open in 2006 was disrupted by flooding, prompting a change of venue to the Turning Stone Resort & Casino in central New York state). Each year Johnny would bring in a group of cartoonists to play in the Pro-Am. Jim Davis, Mike Peters, Mort Walker, Paul Szep, Dik Browne, John Cullen Murphy, Dean Young, Stan Drake, Brant Parker, Lynn Johnston, and entertainer Tom Smothers would put on a free show for the community, drawing and signing autographs for golf and cartooning fans.

The Broome County parks department features Gronk the dinosaur as their mascot, and Thor riding a wheel graces every Broome County Transit bus. In the past, Hart has also left his mark, free of charge, on the logos of the Broome Dusters and B.C. Icemen hockey teams.

Awards

 * Best Humor Strip in America, National Cartoonist Society, 1967
 * The Reuben, Cartoonist of the Year, National Cartoonist Society, 1968
 * , Cartoonist of the Year, International Congress of Comics, Lucca, Italy, 1970
 * Cartoonist of the Year, France, 1971
 * NASA Public Service Award, for outstanding contributions to NASA, 1972
 * Best Feature Animation Award, National Cartoonist Society, "B.C. The First Thanksgiving," 1973
 * The Golden Spike Award – Best Animated Television Commercial, International Society of Radio and Television Broadcasters, "B.C. 'A' We're the ACTION Corps", 1974
 * The Silver Bell Award, Best Animated Television Commercial, Advertising Council, "B.C. Tickets for ACTION", 1974
 * "The Sam" Adamson Award, Best International Comic Strip Cartoonist, Swedish Academy of Comic Art, 1976,
 * The Elzie Seger Award, Outstanding Contributions to the Art of Cartooning, King Features, 1981
 * The Golden Sheaf Award and Special Jury Award, The Yorkton Short Film and Video Festival, Canada,"B.C. A Special Christmas", 1982
 * Best Newspaper Comic Strip, National Cartoonist Society, 1989

Collections and reprints
(All titles are by Johnny Hart; published by Fawcett Gold Medal unless otherwise noted. )

 * Hey! B.C. (1959) (also Funk & Wagnalls trade pb )
 * Back to B.C. (1961) (also G. P. Putnam's Sons trade pb )
 * B.C. Strikes Back (1962) (also G. P. Putnam's Sons trade pb )
 * Hurray for B.C. (1963)
 * The Sunday Best of B.C. (1964) G. P. Putnam's Sons
 * What's New, B.C.? (1968)
 * B.C. Big Wheel! (1969)
 * B.C. Is Alive and Well (1969)
 * Take a Bow, B.C. (1970)
 * B.C. Life is a Seventy-Five Cent Paperback (1970) This book was retitled every time the price went up: 75¢, 95¢, $1.25, $1.75, and $1.95 in the U.S.; and 50p and 60p in Great Britain.
 * B.C. on the Rocks (1971)
 * B.C. Right On (1973)
 * B.C. Cave In (1973)
 * B.C. One More Time (1973)
 * B.C. Dip in Road (1974)
 * B.C. It's a Funny World (1974)
 * B.C. Truckin on Down (1975)
 * B.C. Great Zot I'm Beautiful (1977)
 * B.C. Color Me Sunday (1977)
 * B.C. The Second and Third Letters of the Alphabet Revisited (1977)
 * B.C. Loneliness Is Rotting on a Bookrack (1978)
 * B.C. Where the Hell Is Heck? (1978)
 * B.C. The Sun Comes Up, the Sun Goes Down (1979)
 * I, B.C. (1980)
 * B.C. A Special Christmas (1981) Firefly Books
 * B.C. No Two Sexes Are Alike (1981)
 * B.C. A Clam for Your Thoughts (1981)
 * B.C. But Theriously, Folkth... (1982)
 * B.C. Star Light, Star Bright, First... (1982)
 * B.C. Out One Ear and In the Other (1983)
 * B.C. I Don't Wanta Hear About It (1984)
 * B.C. Life Goes On (1984)
 * B.C. A Rag and a Bone and a Yank of Hair (1985)
 * B.C. Lover's Leap (1985)
 * B.C. Why Me? (1986)
 * Here Comes B.C. (1987) Budget Books
 * B.C. Rides Again (1988) Andrews McMeel
 * Return of B.C. Rides Again (1989) Andrews McMeel
 * B.C. (1990) Andrews McMeel
 * Johnny Hart's Growingold with B.C.: A 50 Year Celebration (2007) Checker Books
 * I Did It His Way: A Collection of Classic B.C. Religious Comic Strips (2009) Thomas Nelson

On September 21, 2015, Go Comics began reprinting B.C. under the title "Back to B.C.".

title: B.C. (comic strip)


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List of European regions with alternative names

Most regions and provinces of Europe have alternative names in different languages. Some regions have also undergone name changes for political or other reasons. This article attempts to give all known alternative names for all major European regions, provinces, and territories. It also includes some lesser regions that are important because of their location or history.

This article does not offer any opinion about what the "original", "official", "real", or "correct" name of any region is or was. Regions are (mostly) listed alphabetically by their current best-known name in English, which does not necessarily match the title of the corresponding article. The English version is followed by variants in other languages, in alphabetical order by name, and then by any historical variants and former names.

Foreign names that are the same as their English equivalents may be listed.


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Wikipedia:Articles for deletion/Dirk Steinfeld

Seems to be vanity, can't find anything notable on that guy. -excuse my awful english 20:37, 29 Jul 2004 (UTC)

 * By contrast the following pages link to this article: Orphaned Articles, Deadend pages, Offline reports/This page contains no links, Votes for deletion, Offline reports/Nothing links to this article. I think they speak for themselves, though I'll say "delete" just in case. --Ianb 00:02, 30 Jul 2004 (UTC)
 * Delete: I think I know a fair amount of rock music, but none of these groups seems to even ring a bicycle bell, much less a memory chord.  Bye, Dirk. Geogre 00:27, 30 Jul 2004 (UTC)


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Friedrich Wilhelm Schadow

Friedrich Wilhelm von Schadow (7 September 1789 – 19 March 1862) was a German Romantic painter.

Biography
He was born in Berlin, the second son of the sculptor Johann Gottfried Schadow, who gave him his first lessons in drawing. He then turned to painting, and was instructed by Weitsch.

In 1806-7 Schadow served as a soldier. In 1810 he traveled with his elder brother Rudolph to Rome where he became one of the leading painters of the Nazarene movement. Following the example of Johann Friedrich Overbeck and others, Schadow, originally a Lutheran, joined the Roman Catholic Church, and held that an artist must believe and live out the truths he essays to paint. The sequel showed that Schadow was qualified to shine more as a teacher and mentor than as a painter. As an author, he is best known for his lecture, Ueber den Einfluss des Christentums auf die bildende Kunst (About The Influence of Christianity On The Visual Arts) (Düsseldorf, 1843), and the biographical sketches, Der moderne Vasari (Berlin, 1854). In Rome, Schadow was given one of his first major commissions when the Prussian Consul-General, General Jakob Salomon Bartholdy, befriended the young painter, and asked him and three young compatriots (Peter von Cornelius, Johann Friedrich Overbeck and Philipp Veit) to decorate in fresco a room in his house on the Pincian Hill. The overall theme selected was the story of Joseph and his brethren, and two scenes, the Bloody Coat and Joseph in Prison, were conferred on Schadow. In 1819, Schadow was appointed professor in the prestigious Berlin Academy of the Arts, and his ability and thorough training gained many devoted disciples.

It was during this period that Schadow developed his paintings for churches. In 1826 he was made director of the Kunstakademie Düsseldorf which he reoriented towards the production of Christian art, though he began a major dispute with one of its professors, Heinrich Christoph Kolbe, ending in the latter leaving the Academy in 1832. In 1837, Schadow selected, at request, those of his students best qualified to decorate the chapel of St Apollinaris on the Rhine with frescoes. When finished, they were acclaimed as the fullest and purest manifestation of the spiritual side of the Düsseldorf school. One of his famous students, Heinrich Mucke, carried on the liturgical art with emphasis both in painting and frescoes. The painting of the Wise and Foolish Virgins, considered one of his masterworks, was commissioned in 1842. Now in the Städel Museum, this large and important picture, while carefully considered and rendered, lacks the power of some of his other works. Schadow's fame rests less on his own artistic creations than on the school he formed. In Düsseldorf a reaction set in against the spiritual and sacerdotal style he had established and, in 1859, the party of naturalism, after a severe struggle, drove Director Schadow from his chair. He died at Düsseldorf in 1862, and a monument was erected in the square which bears his name at a jubilee held to commemorate his directorate.

The Düsseldorf School that Schadow directed became internationally renowned, attracting such American painters as George Caleb Bingham, Eastman Johnson, Worthington Whittredge, Richard Caton Woodville, William Stanley Haseltine, James M. Hart, and William Morris Hunt and producing the German emigre Emmanuel Leutze.

title: Friedrich Wilhelm Schadow


text:
Talk:Rhyme

I think that this article
needs some attention. The way of defining the terms as well as the style of the language and the factual accuracy should be checked on some points. Therfore I put it in the category Cleanup. Summer Song 13:33, 29 October 2005 (UTC)
 * The clean-up categories are for articles which need many things to become even good articles (i.e., copyediting, wikification, removal of POV statements and the like. This article, as far as I can tell, does not need that kind of attention. However, it is still good to note any inaccuracies and problems on an article's talk page, like you did. However, can you be more specific about what points you want checked? Thanks. Graham/pianoman87 talk 13:40, 29 October 2005 (UTC)

 * Is it really true that rhymes were totally unknown for the ancient romans? I doubt so. I wish everyone would do some more research on this. I am also concerned about the article's beginning and the way the text is organized. Summer Song 17:43, 29 October 2005 (UTC)

 * As the Wikipedia article on Homeoteleuton makes clear, the Romans did use this form of rhyme in their poetry. However rhyme was not used as a structural feature, with rhyming words at the end of every line, until after the classical period.  So the current article's claim that rhyme was never used is not quite right. I will try to fix the discussion in this article.--Jenright (talk) 20:49, 25 February 2008 (UTC)

 * Information about rhymes in poetry from all over the world could be very interesting stuff. I wish everyone did some research and made some participation in extending these sections. Summer Song 16:06, 1 November 2005 (UTC)

Nothing rhymes with Orange or Silver, etc.?
Please check this technicality
 * or dismiss as triviality.

No word to rhyme with silver?
 * Slap me. Why not quicksilver?

The definition I'm testing.
 * Explanation, requesting.

Should it maybe be stated
 * that a word, conjugated

with a new prefix
 * conflicts,

and isn't a rhyme? --Ds13 20:40, 29 Jul 2004 (UTC)

There was this guy (whose name I forget) who wrote a song about nothing rhyming with orange. Door hinge, four inch, those are the only two that I remember. Matt 05:08, 26 Aug 2004 (UTC)

 * Personally, I find it more enj- -oyable to eat the orange. --Aponar Kestrel (talk) (no, I didn't write it)
 * I found this site after a quick google search, though some of the entries were questionable, the winning ones seemed valid. Maybe the "nothing rhymes with..." section should be scrutinized. Matt 05:52, 6 Sep 2004 (UTC)

Try looking them all up in the online rhyming dictionary linked from the article! Bmills 11:08, 6 Sep 2004 (UTC)

 * The dictionary has no rhymes. Curse those rhyming lexicographers!  May their porringers never porringe! --Townmouse 22:37, 2 Nov 2004 (UTC)

 * I heard from somewhere that nothing rhymes with month either. --Username314

"Then I got up and ran to the janitor's storage booth. Kicked the door hinge loose and ripped out the four inch screws. Grabbed some sharp objects, brooms, and foreign tools. "This is for every time you took my orange juice, …"

(from Brain Damage by Eminem) Paul Tracy

On a pedantic, technicality note... Do the definitions of feminine and masculine rhymes need to be updated to not allow prefixes as a "solution" to rhyming otherwise difficult words? Otherwise, quicksilver, among others, would be considered a feminine rhyme for silver. --Ds13 00:42, 2005 Apr 26 (UTC)

I can find a definition but no pronunciation for knosp. It does mean the same as knop though, so perhaps it's pronounced that way also. --Ds13 00:42, 2005 Apr 26 (UTC)

I've removed the entire sentence. It doesn't belong here until it can be substantiated. Specifically, I'd be interested in seeing scientific studies of rhymes in the English language. If someone really wants it to stay, make it say something like "It's commonly asserted that certain words in the English language have no rhymes. Some examples are . . ." Then we could add something about rebuttals to words like purple and orange. —Simetrical (talk) 06:41, 26 Apr 2005 (UTC)

Tom Lehrer wrote: "Eating an orange/While making love/Makes for bizarre enj-/Oyment thereof." Of course, this only works if you, like Tom Lehrer, are from the Northeast and pronounce "orange" with the vowel of "bizarre" and not of "more". The lines quoted by Aponar Kestrel seem to be a response to this original quatrain. The lines by Eminem (with the possible exception of "door hinge") assonate with "orange" but do not rhyme with it.-jpb

Rhyme vs. rime
I edited the paragraph

 * Note: the spelling "rhyme" is due to confusion with the word "rhythm". Although "rhyme" is the more common, "rime" is actually more correct.

so that it no longer recommends one or the other spelling. While many of the entries for rime and rhyme at dictionary.com accept both spellings, and some even say that the former is becoming common again, there's no evidence that it is common yet, and I don't think we should prescribe a spelling
 * 1) that is still likely to be marked wrong by English teachers
 * 2) that has other meanings over one that doesn't
 * 3) at all, when there are acceptable variations.

However, comments on this are of course welcome. —Triskaideka 15:45, 17 Sep 2004 (UTC)

 * Spot on, I couldn't agree more. Filiocht 15:48, 17 Sep 2004 (UTC)

 * Brian Garner, A Dictionary of Modern American Usage, considers rhyme to be "standard". The American Heritage Dictionary considers rime to be a "variant". —A. Isaac, 17 Feb 2006.

Can anyone cite a source for the information, recently added to the article, that "rhyme" refers to sound whereas "rime" refers to spelling? I am having difficulty verifying this fact. Moreover, in my search, I'm finding several sources that reaffirm the notion that the words are synonymous, and, confusingly, also some sources that give yet another definition of "rime" as the final part of a syllable, including the vowel and any trailing consonants.

I think we will need to rewrite the "Rime vs Rhyme" section based on whatever information can be turned up about this. At present, it begins by saying that the words are the same, then proceeds to say that they are different. —Triskaideka 15:29, 25 Jan 2005 (UTC)

As someone who takes a professional interest in these maters, I have to say that this difference is news to me. rime is a variant spelling of rhyme with no distinction as to meaning. The article should be re-written to take out this confusion. Filiocht 16:58, Jan 25, 2005 (UTC)

I've removed the entire section. After removing the part about the difference in meaning, I was left with "Rime is the original spelling of the word. The spelling rhyme, which arose due to confusion with the word rhythm, is more commonly used today." The part about the etymology of rhyme was baseless, as far as my OED is concerned. Once we remove that, we're basically left with the statement that rime came first but rhyme is more common today, which is basically one sentence worth of content. So, I added the sentence to the beginning. —Simetrical (talk) 21:06, 1 Feb 2005 (UTC)

 * Works for me. Thanks.  —Triskaideka 16:11, 2 Feb 2005 (UTC)

Rime and rhyme are distinguished in linguistics. Here is an excerpt of Dylanwhs's message on my talk page:

 * In p.946 "Chinese characters that share the same phonetic components can be homophones... rhyming syllables (e.g. [dzung]3 and [dung]6", and in the following paragraph, "In the cantonese syllable [dip]9, [d] is the onset, [ip]] is the rime and 9 indicates that the syllable is the ninth tone". The rhyming you'll notice refers to syllables of the same 'rime', where rime follows the 'onset'. In Thomas Chan's thesis on Cantonese  in section 2.4.1 "the -om [-Om] and -op [-Op] rimes" though it does not deal with rhyming of syllables.

 * I do concede though that in some English language sources such as Norman 'Chinese' (1988), he uses rhyme and rhyming throughout, but the rime/rhyme distinction may be a trend in Chinese linguistics. Yu NaeWing's "New Edition of Guangyun (Song Edition)" has a section in English describing the terminology, and he uses "rime" specifically to refer to the rhymming part of a syllable. The distinction was pointed out to me by a Chinese dialectologist, Dr. Lau Chunfat, who is currently serving a deputy professorship in Xiamen University when I met him in HK a few years ago, and to which I have since adhered to in all my writings on the subject here and elsewhere. The sources I cite are hopefully enough to strengthen the pro-distinction.

I also have found sites that distinguish them, such as Rimes and Rhymes. It's better to use rhyme only for rhyming, and use rime for syllable rimes. - TAKASUGI Shinji 10:18, 4 Mar 2005 (UTC) (I have copied my talk page to this page below. TAKASUGI Shinji 15:49, 5 Mar 2005 (UTC))''

 * I distinguish between rime and rhyme. Rime is a linguistic construct.  Rhyme is something in poetry/language arts.

 * Rime is a constituent in syllable structure. It can be formalized visually in a tree structure.  A linguistic rime has nothing to do with words that sound "alike".  It is simply a part of a linguistic structure.  So, the two words sick [sɪk] and sixths [sɪksθs] both have rimes but they do not "rhyme" (well, at least it is not a very good rhyme). It is useful to use a different spelling for the two different meanings. The spelling rime is very often interchanged with rhyme in phonological works, but rime is very commonly encountered (I dont know which is more common—we would need to count them in published linguistics works).

 * I had never seen the word rime before I began studying phonology (that is, I had never seen this spelling used to refer to poetic rhyme). But, I am not an English literature person, either. Perhaps they will have a different experience with this spelling used in poetry literature.

 * Peace. - Ish ishwar 15:29, 2005 Mar 4 (UTC)

 * I think I was told once that the spelling rime had been started by Morris Halle, the famous phonologist. But I havent actually read this, so this is just a people to people thing. - Ish ishwar 16:59, 2005 Mar 4 (UTC)

talk:TAKASUGI Shinji#Rime_and_Rhyme
The following is a copy of my talk page. Unrelated messages have been removed. - TAKASUGI Shinji 15:49, 5 Mar 2005 (UTC)

Hi Shinji, I found your webpages for learning Japanese a while ago, and recognised your name immediately. With regards to rime and and rhyme, the former is a specialised term used in Chinese linguistics to specifically refer to the rimes in Chinese philology. Please revert back to the original "rime", because all the linked articles have been written using this term, in its correct meaning. The commonly used rhyme ought to refer to poetical rhyming, thus keeping the two concepts separate, in line with modern practice with the literature on Chinese linguistics. Dylanwhs 09:10, 1 Mar 2005 (UTC)

Thank you. I thought rime and rhyme are just spelling preferences. I have corrected the articles. TAKASUGI Shinji 04:10, 2 Mar 2005 (UTC)

Actually, this was the result of an earlier discussion, in which the consensus seemed to be that normally they are indeed just spelling preferences. Maybe Dylan just meant that the term "syllable rime", specifically, is usually spelled with "i"? In this case, it would be better to add a remark in parentheses like '(in linguistics, the spelling "syllable rime" is preferred)'. Sebastian 01:56, 2005 Mar 3 (UTC)

I have checked several linguistic resources such as Rimes and Rhymes and SIL's Glossary of linguistic terms - What is a rime?, and it seems to me many linguists distinguish rime and rhyme. - TAKASUGI Shinji 02:36, 3 Mar 2005 (UTC)

 * I have looked up the terms in several dictionaries, and I can see no special linguistic definition of "rime". It seems to me that it is purely a spelling variant, despite a minority's attempt to give it a special meaning.  I don't think the language will be improved by adopting this.  It is not really a separate concept.  Of 平, p is the "head", "initial consonant", etc; and íng is the "rhyme", "tail", or whatever.  "Rime" is ice.  People will just think us poor spellers if we use "rime" for "rhyme".  Chamaeleon 11:18, 3 Mar 2005 (UTC)

 * I believe if linguists distinguish them, we should do so too. As far as I have checked on the Net, some linguists clearly distinguish "rime" from "rhyme", while others don't.  Moreover, "rime" seems more common for syllable rimes.  Try googling "onset and rime" and "onset and rhyme".  The former gets 4480 hits and the latter gets 559 hits. - TAKASUGI Shinji 00:46, 4 Mar 2005 (UTC)

 * In p.946 "Chinese characters that share the same phonetic components can be homophones... rhyming syllables (e.g. [dzung]3 and [dung]6", and in the following paragraph, "In the cantonese syllable [dip]9, [d] is the onset, [ip]] is the rime and 9 indicates that the syllable is the ninth tone". The rhyming you'll notice refers to syllables of the same 'rime', where rime follows the 'onset'. In Thomas Chan's thesis on Cantonese  in section 2.4.1 "the -om [-Om] and -op [-Op] rimes" though it does not deal with rhyming of syllables.

 * I do concede though that in some English language sources such as Norman 'Chinese' (1988), he uses rhyme and rhyming throughout, but the rime/rhyme distinction may be a trend in Chinese linguistics. Yu NaeWing's "New Edition of Guangyun (Song Edition)" has a section in English describing the terminology, and he uses "rime" specifically to refer to the rhymming part of a syllable. The distinction was pointed out to me by a Chinese dialectologist, Dr. Lau Chunfat, who is currently serving a deputy professorship in Xiamen University when I met him in HK a few years ago, and to which I have since adhered to in all my writings on the subject here and elsewhere. The sources I cite are hopefully enough to strengthen the pro-distinction. (this is copied from my talk page)

 * The specialised use of rime as opposed to rhyme for the rhyming element of a Chinese syllable is demonstrated in the above links to linguistic papers. An every day dictionary will may not distinguish specialised usage in specific fields. Onset and rime is the current usage in Chinese dialectology. Dylanwhs 09:18, 4 Mar 2005 (UTC)

 * Some linguists choose to make this rather strange and baseless distinction, and some don't. I think we should probably reflect this reality rather than trying to prescribe "rime" as though it were an accepted standard. Chamaeleon 13:06, 4 Mar 2005 (UTC)

 * I really don't understand why you hate rime so much. It isn't a baseless distinction at all because they mean related but different things.  To rhyme is to have the same rime.  In the syllable rime article, you wrote "the rarer form 'rime' is sometimes used", but as far as I have checked, "rime" is more common for syllable rimes.  Ish ishwar also wrote that rime is common (please see Talk:Rhyme).  We should reflect this reality. ;-) - TAKASUGI Shinji 16:15, 4 Mar 2005 (UTC)

 * It is baseless because "rime" and "rhyme" are the same word. The former is the spelling we inherited from French, the latter is a spelling we invented to put it in line with the original ρυθμος.  They are no more separate words than "organise" and "organize" are.  This word, with either spelling, can be used with either meaning (and the two meanings are practically the same).  Certain linguists have tried to make a semantic distinction between them, and we should note this, but without arriving at the POV that "rime" is more "correct".  Personally, I have only come across "rime" as an archaism, e.g. "nursery rime"; and the rhyming portion of a Chinese syllable is called the "final" in all the books I use.

 * Note also that although held to be important in Chinese, there is no special "rime" in Chinese. The relevant term is 韵 [韻] yùn, which means "rhythm", "to rhyme" and "final".

 * See also Talk:Rime dictionary. Chamaeleon 16:37, 4 Mar 2005 (UTC)

 * As some linguists have come to make the distinction in their works, and others have not, then it is clear that the distinction that 'rime' refering to a series of phonetic elements in syllables of different onsets, and separating it's use from 'rhyme' in the sense of the rhyming of different syllables of different onset but same rime, is real. Despite other linguists not using it, the fact that it is used should merit the distinction to be reflected here on Wiki. Chameleon wishes that it remains undistinguished until it "worms" its was into mainstream dictionaries. And when it does, you would need the article anyway. One wonders then, how many mainstream dictionaries keep abreast of developments in niche subjects like Chinese dialectology? The is the frog in the well attitude should be discouraged. Dylanwhs 17:53, 4 Mar 2005 (UTC)

 * That really doesn't follow logically. It implies that a distinction made between two forms of one word is a priori preferable and requires only minimal support from usage to make it something we should push on Wikipedia.  By this logic, if I decide that "organisation" refers to general tidying and ordering and "organization" refers to structured institutions, then I only need to show that some people in a certain field do as I do if I want to make it a standard on Wikipedia.

 * No, you need to show that there is consensus in usage that makes the distinction. I think you can only show that some linguists do and some don't.  Moreover, I'd say that the normal term used in reference to Chinese is not "rhyme"/"rime" but "final". Chamaeleon 18:44, 4 Mar 2005 (UTC)

(end of copy)

further discussion
Hi.

Here are some more of my thoughts.

There are two concepts which need two different articles:

 * poetic rhyme
 * syllable rhyme

I think that poetic rhyme is usually spelled as rhyme. So, no problem there (do all agree?).

The other syllable rhyme has two common variant spellings:

 * 1) rime
 * 2) rhyme

The question is which of these is the more basic spelling, right? I am not sure that this should be a big problem. The two spellings of the color grey and gray, I believe, are often a personal preference with some different standardization practices among different English writing communities. I think that the spelling of rime / rhyme is a similar thing. I personally like to write rime in order to obviously differentiate between poetic and syllable rhymes (since there is surface similarity between the two). Perhaps the spelling rime is a useful pedagogical practice.

Some linguists do as I do. Others do not and write rhyme. I personally am not bothered by the rhyme-writers since it is all dealing with the same linguistic concepts. I feel the same with grey vs. gray (I think that I usually write grey but I probably have written gray before too). So, choosing rime over rhyme or rhyme over rime, I suggest, should not be an issue of prolonged contention as there are many other areas in wikipedia that have very real inaccuracies and fraudulent claims.

Re: final vs. rhyme/rime merger

These appear to be similar concepts (although I havent really read that much about this). There may be some differences. One could be that final would usually not imply the theoretical tree structure that is currently often implied in modern phonology (from CV phonology, autosegmental phonology, & metrical phonology). Since I am not knowledgeable of Chinese linguistics practices, I cant really comment on them.

I dont know if a merger is necessary. I am sure that you have much to say about this, though.

Thanks & Peace! - Ish ishwar 17:22, 2005 Mar 5 (UTC)

My understanding is that finals and rimes are different, and merger is wrong.

Syllable (modern phonology):
 * 1. onset
 * 2. rime
 * 2.1. nucleus
 * 2.2. coda

Syllable (historical Chinese phonology):
 * 1. initial
 * 2. final
 * 2.1. medial
 * 2.2. rime
 * 2.2.1. nucleus
 * 2.2.2. coda
 * 2.3. tone

A final = a medial + a rime. This is because, for example, xiǎo, niǎo, shǎo rhyme. Therefore they have the same rime, but the last one has a different final.

春眠不覺曉 處處聞啼鳥 夜來風雨聲 花落知多少

- TAKASUGI Shinji 13:09, 6 Mar 2005 (UTC)

 * OK, so a distinction can be made in Chinese between final and rime/rhyme. "Rime" is still a bit of a silly spelling though. Chamaeleon 14:56, 6 Mar 2005 (UTC)

 * That poem was written in the Tang Dynasty. It may not be a good example to show their rhymes in modern Mandarin. We may need experts in Middle Chinese. -- Felix Wan 08:55, 2005 Mar 7 (UTC)

 * The Qieyun dictionary is not merely a dictionary of characters which rhyme. The authors were trying to record the widest variation in the sounds current at the end of the sixth century. One of the authors is known to be from the south, and the other four are from the north, and their dialects are different. There was no homogenous spoken Middle Chinese dialect as some would suppose. Middle Chinese (MC) is in itself, an artificial construct, and does not represent a single language, when you know that there is at least one author of Qieyun who speaks a different dialect.

 * With respect to MC, it is known that after Qieyun, the next edition of import, Guangyun expands upon the number of rimes, and through the eighteenth cetury Chinese phonologists, it was found from analysing all these sources together with poetery that there had been sound changes, sounds like f developing from p, p' and b initials. These changes were not independent of the 'final' since often the final included the 'medial' and 'rime'. For instance, a syllable *pwiap > *fap > *fat > fa for 'law'. The change is said to have occured in the mid Tang era. As can be expected *fap and *fat are two syllables which are not rhyming, as their rimes -ap and -at are different. Consequently, early Tang and later Tang poetry will show differences in rhyming, due to phonological change over the 250 years since Qieyun. Dylanwhs 17:15, 7 Mar 2005 (UTC)

"You suck"
Hello, someone wrote "you suck" twice in the article. I don't really know how to edit wikipedia, but I think I got rid of it. I'm not sure if I did it properly, so if anyone sees it, then please edit it out. -Best Regards, R. P.

 * Thanks bro.Cameron Nedland 11:42, 27 November 2006 (UTC)

Perfect Rhyme
The definition of perfect rhyme was quite incorrect. Among other sources, the american heritage dictionary gives the definition as it now stands: http://www.bartleby.com/61/83/P0188300.html

The definition of "tail rhyme" is incorrect, I think. However, this is not my subject and I'm not changing it. There is probably a rhyme expert lurking here who will immediately change it back -- an experience I had with an article about a painting. "tail rhyme, also called tailed rhyme, a verse form in which rhymed lines such as couplets or triplets are followed by a tail—a line of different (usually shorter) length that does not rhyme with the couplet or triplet. In a tail-rhyme stanza (also called a tail-rhymed stanza), the tails rhyme with each other." -- http://www.britannica.com/EBchecked/topic/580716/tail-rhyme  (This article really needs some work.) Wastrel Way (talk) 17:14, 2 April 2011 (UTC)

Sources for definition of types of rhyme?
What was the source for the definitions used in this article? There seem to be many sometimes conflicting definitions for the various types of rhyme, and this seems to cause some confusion across different wikipedia articles. For instance the article on Half rhyme currently begins: "Half rhyme, sometimes known as slant, sprung or near rhyme" which seems confused to me. I have documented one published scheme: Peter Dale's classification of rhymes and Lewis Turco's classification of rhymes. I will endeavour to find other definitions and document them similarly. Then maybe we can get all the terminology straight. — Stumps 00:21, 31 December 2005 (UTC)

lack some examples
Some items lack examples. Like oblique (in my cached copy of one month ago.) --Jidanni 2006-04-15

French rhymes
The rules given in this article for classical French rhymes are both too narrow and too wide. They are too narrow in that they require the words to "sound" the same. In fact, classical poets often rhymed words that, today at least, would not sound like rhymes. For example, Racine rhymes "bâtis" with "fils" in Phèdre. (The historical pronunciation of these words is a separate question.) This rhyme would be incorrectly excluded by the rules as given in this article. The rules given are too wide in that, with respect to final consonants, they require only that the words' "number" match, i.e. that if one word in the rhyming pair ends in "s" (also spelled "x" or "z"), then its partner must also end in "s" (or "x" or "z"). But in reality, this restriction extended to all consonants, not just "s". For example "plat" (which ends with a "t") could rhyme with other words in "t", like "fat" and "rat", but not with words with different endings, like "drap" or "parla", although these rhymes would be incorrectly permitted by the rules as given in this article. This example shows that the requirement was not that words should agree in number, but that they should agree in ending consonants, whatever those consonants might be. (In fact, the rule was even subtler than this, but this is the correct general formulation.)

The comparisons to English are also misleading. In English, the final "e" in words like "there" and "cuisine" is a purely orthographical formality having no phonological correlate (other than letting us know the quality of the preceding vowel). In French verse, by contrast, the mute "e" counts as a distinct vowel forming its own syllable. (The proof of this is that in the interior of a verse "e" counts towards the scansion unless it is elided by a following vowel.) The forms in English analogous to French "feminine" rhymes are not the English words ending in mute "e" like "there", but rather the English "feminine rhymes": ie words with non-final stress, like "after." But these words are explicitly excluded from the class of feminine rhymes in the analogy as it is currently stated.

Both these problems could be fixed by rewriting the article to stress that the rules for classical French rhymes are concerned not with the spelling, but with a special version of French phonology that reflects the way words used to be pronounced in the 17th century, when the rules were formulated. This explains both why final mute "e" is treated as a separate syllable or feminine ending (while in English it is not and could not be) and why final consonants are always respected in rhymes, regardless of whether they are pronounced in contemporary French or not.

The suggestion that eye-rhymes were invented by Baudelaire in the 19th century is another inaccuracy in the article. It is true that Baudelaire used eye rhymes (eg "sens" and "encens" in "Correspondances"). But so did everyone else. For example, the librettists to Carmen rhyme "fils and "promis" (in the scene with Micaela delivers José the letter from his mother). These eye-rhymes have a long history. As I've already mentioned, "fils" rhymes with "bâtis" in Racine; and even though these words probably did sound alike in his day, the tradition of rhyming according to the spelling rather than the sound was carried down into the nineteenth century. Eye-rhymes like these are archaisms, not innovations.

What was innovative about 19th century rhymes was just the opposite: they ABANDONED eye rhymes in favor of words that rhymed for the EAR even though they broke the classical rules about spelling. For example, Victor Hugo in "La Faucheuse" rhymes "champ" with "fauchant"; Rimbaud sometimes uses rhymes like this, too. These "ear-rhymes" seem to be more characteristic of these two poets than of Baudelaire, who certainly did not invent either them or eye-rhymes.

These are just examples that I happen to remember: I am sure other people can think of more and better ones. -jpb

Origins of rhyme?
I think the following interview has a pretty astounding point to make that should be in the rhyme article, which is that rhyme was almost absent from Europe before contact with the Arabs, whose poetry did feature rhyme. The link is http://www.afropop.org/multi/interview/ID/57/Al-Andalus-Dwight+Reynolds (the relevant section is around 3/5ths of the way down, maybe search "rhyme" to save time). Does someone perhaps want to incorporate it? I'll get round to it myself eventually if not. Maronz 04:26, 19 June 2006 (UTC)

It is interesting to think that Arabic poetry had an influence on the development of rhyme in Europe -- but it was not the only influence. As is already noted in the "history" section of this article, Celtic poetry had a rich system or rhyme, which may also have played a part. I would love to see some mention of the Arabic origins of rhyme in this article, but it would have to be something more specific than "rhyme was almost absent from Europe before contact with the Arabs".

Absurd. This is another attempt to make us think that Arabs invented everything. Rhyme is as old as language. Aside from the Celts, as noted above: http://www.prosentient.com.au/balnaves/johnbalnaves/dissch6c.asp (Catullus wrote a poem that rhymed.)   Also, in about 10 seconds, checking this, I was able to discover that the original of "The Wasps" by Aristophanes had rhymes (probably for comedic effect.)  Sorry about the URL! http://books.google.com/books?id=WHmfT2s4mLgC&pg=PA4&lpg=PA4&dq=Aristophanes+wasps+rhyme&source=bl&ots=Re1e6MnWTd&sig=mczUaaeZwyOoemTUREZBuMHBemA&hl=en#v=onepage&q=Aristophanes%20wasps%20rhyme&f=false ("... I have not maintained the rhyme schemes of the original.") Let us try to keep wikipedia free of propaganda from the madrassas. Wastrel Way (talk) 17:39, 2 April 2011 (UTC)

Someone did, in fact disturb the "origin of rhyme" section of the article by saying that rhyme was unknown to the poets of classical antiquity, a claim that is as silly as it was unreferenced. I added the information that I noted above, and moved the Koran from "antiquity" to the 7th century (and removed the POV that rhyme is "prominent" in that work). I am not trying to make it sound like the Arabs learned rhyme from Europe. On reading it again, it is fine -- the Koran is not dissed. It is simply that the Koran does not belong with the Chinese of the 10th century BC or Greek and Roman authors (200 BC -- 100 AD). It is a product of the 7th century AD. Wastrel Way (talk) 18:01, 2 April 2011 (UTC)

Origins of rhyme
Contrary to what is said in this article: Rhyme became a permanent, even obligatory, feature of poetry in Hebrew language around the 4th century CE. It is found in the liturgical poetry (piyyut) written in the Byzantine empire. This was realized by scholars only recently, thanks to the thousands of piyyutim that have been discovered in the Cairo Genizah. It is assumed that the principle of rhyme was transferred from Hebrew liturgical poetry to the poetry of the Syriac church (written in Aramaic), and through this mediation introduced into Latin poetry and then into all other languages of Europe. See B. Hroshovski's article on Hebrew Prosody in the Encyclopedia Judaica.

Revert
I made a revert to remove a remark about "orange" from the "etymology" section. Unfortunately in the field where you type in a description of your edit a description of a previous edit was automatically inserted just as I pressed "Save" -- my edit has, in fact, nothing to do with percussion.--Gheuf 14:59, 2 March 2007 (UTC)

Why Rhyme?
I think this article might benefit from a little discussion of the function of rhyme rather than just definitions. It seems to me that rhyme has mnemonic value, aesthetic value, and in the case of poetry, it serves to emphasize specific words and to draw connections between words with unrelated meaning. I'm sure that the quote by Milton (though nice) isn't really the last word on what rhyme is about, and in fact it seems rather opaque. Is he calling rhyme "the invention of a barbarous age?" I think maybe a quote in support of rhyme would be better. maxsch 20:29, 11 October 2007 (UTC)

WikiProject class rating
This article was automatically assessed because at least one WikiProject had rated the article as start, and the rating on other projects was brought up to start class. BetacommandBot 04:24, 10 November 2007 (UTC)

"Iron" commonly regarded as having no rhymes is POV
In rhotic accents, this is certainly true, but in non-rhotic accents, there are plenty: Bob Marley had no problem singing "Iron Lion Zion", and these are perfect rhymes in Received Pronunciation (if not Jamaican English). So I think either "iron" has to go, or it has to be qualified, otherwise the assertion is POV. — Paul G (talk) 09:42, 26 July 2008 (UTC)

Adding a word to the first line.
I am adding "ending" to the following line.

"A rhyme is a repetition of identical or similar sounds in two or more different words and is most often used in poetry and songs" to make it "similar ending sounds". This is to distinguish between rhyme and alliteration. A sequence like cat, hat, sat, fat, sound the same at the end whereas "Peter Piper picked a peck of pickled peppers" has a lot of 'p' sounds, but doesn't rhyme. If the same sound is at the end of the word it's a rhyme. At the beginning of the word it's called alliteration.

Clarify "syllables without vowels, please
Under Perfect Rhymes, the article states: "syllabic: a rhyme in which the last syllable of each word sounds the same but does not necessarily contain vowels. (cleaver, silver, or pitter, patter)"

Confusing. The syllables cited contain vowels and offhand I can't think of syllables that don't contain vowels. If there are some, please list them as examples.

Thanks. Markofzero (talk) 13:24, 2 June 2011 (UTC)

Rhyming
[or the actual Rhyme] ... Even though spelling appears not be wrong as spell check had not had warning; Rhyming has been attracted at www.AncientlyDeLancey.com and www.DavidGeorgeDeLancey.yolasite.com definition at Anciently DeLancey via dictionary source Rhyming |)-Receiving Hymn Yielding Memory Expressed-(| theoryDavid George DeLancey (talk) 04:39, 2 January 2012 (UTC)

"ball" and "all"
The article says, "A rhyme is not classified as a rhyme if one of the words being rhymed is the entirety of the other word (for example, Ball and all)."

I've never seen this. Is there a source?

Nor lose possession of that fair thou owest ... When in immortal lines to time thou growest. —Shakespeare

Drink to me only with thine eyes ... The thirst that from the soul doth rise —Jonson

Till the living daylight fail; Then to the spicy nut-brown ale —Milton

And strictly meditate the thankless muse? Were it not better done, as others use —Milton

Let us roll all our strength and all Our sweetness up into one ball; —Marvell

The trumpet's loud clangor Excites us to arms, With shrill notes of anger, And mortal alarms. —Dryden

'Tis not a lip or eye we beauty call, But the joint force and full result of all. —Pope

To say that for destruction ice Is also great And would suffice. —Frost

Etc., etc., etc. —JerryFriedman (Talk) 18:51, 31 July 2012 (UTC)
 * Thank you. It is no longer in the article. Drmies (talk) 18:53, 2 April 2013 (UTC)

Jacob / Jacob ???
From the Mirror Rhymes section:

For example: "Jacob"/"Jacob", though having the same stressed vowel sound, do not contain a different preceding consonant, and so would be considered an identity.

Jacob and Jacob are the same word, so obviously they're an identity! Unless I'm missing something extremely subtle.

This whole section on Mirror Rhymes doesn't make much sense to me. Where does the mirroring come in?

--88.108.196.55 (talk) 16:25, 20 April 2013 (UTC)
 * I have removed the confusing text as part of a wide-ranging edit. Man vyi (talk) 07:33, 21 April 2013 (UTC)

Arabic
Why is the section on Arabic deleted? I don't know anything about the topic, but I reverted the deletion because there was no explanation given. I'm not going to get into an edit war over this, but some explanation seems to be necessary. TomS TDotO (talk) 12:04, 12 June 2013 (UTC)
 * I hadn't noticed this before, but the section on Chinese was also deleted. Why? TomS TDotO (talk) 12:28, 13 June 2013 (UTC)

This article has been heavily mutilated. There used to be a section about the Koran as well (which is written in rhymes). — Preceding unsigned comment added by 2.220.210.107 (talk) 03:39, 13 September 2017 (UTC)

title: Talk:Rhyme


text:
Rudolph Schadow

Rudolph Schadow (also spelled Ridolfo Schadow; July 9, 1786 – January 31, 1822) was a German sculptor.

Biography
Born in Rome, he had his father, Johann Gottfried Schadow, at Berlin, for his first master.

In 1810 he went to Rome and received kindly help from Canova and Thorvaldsen. His talents were versatile; his first independent work was a figure of Paris, and it had for its companion a spinning girl. The latter, a portrayal of a young girl spinning,  proved to be extremely popular among visitors to Rome, and even admirers of the work of Canova and Thorvaldensen acknowledged its worth. Schadow made several other versions of the work, the first probably between 1814 and 1816. The King of Prussia, Prince Esterhazy and the Duke of Devonshire all expressed a wish to include this statue in their collections. One version completed in 1820 is on display in the Hermitage, which acquired it from the Znamenka Palace, near St. Petersburg, in 1930.

Embracing the Roman Catholic faith, he produced statues of John the Baptist and of the Virgin and Child. In England he became known by bas-reliefs executed for the Duke of Devonshire and for the Marquess of Lansdowne.

His last composition, commissioned by the king of Prussia, was a colossal group, Achilles with the Body of Penthesilea; the model, universally admired for its antique character and the largeness of its style, had not been carried out in marble when in 1822 the artist died in Rome.

title: Rudolph Schadow


text:
Stanley Fox

Stanley William Fox (June 22, 1906 – March 22, 1984) was a politician in Manitoba, Canada, who served as the first leader of the Manitoba Social Credit Party, a party that supported the social credit theories of monetary reform.

The son of Thomas A. Fox and Flora McQuarrie, Fox was born in Balmoral, Manitoba. He was educated at the University of Manitoba and the Manitoba Medical College. He subsequently practiced as a doctor. He reached the rank of captain in the Canadian Army Medical Corps.

In Manitoba's 1936 provincial election, Fox was elected as a Social Credit candidate in the riding of Gilbert Plains. The newly formed party did not have a leader during the election, and Fox was subsequently chosen to head its parliamentary caucus.

Soon after being chosen as leader, Fox offered to support the government of Liberal-Progressive Premier John Bracken, who had been reduced to a minority and was unable to find allies elsewhere. There were some discussions for a formal coalition, but these came to nothing, and Social Credit supported the minority government from the outside until 1940.

Fox stepped down as the party's parliamentary leader in 1937, in favour of S.E. Rogers. He supported Social Credit's decision to join the government in 1940, and was re-elected in 1941 and 1945.

In 1937, Fox was charged with performing an illegal operation on Miss Alice Bosnell. However, charges were dropped because Bosnell, married to Dr. Fox earlier that year, could not be compelled to testify against her husband.

Fox planned to run for re-election in the 1949 campaign, but lost the coalition nomination to Ray Mitchell of the Liberal-Progressive Party. He did not return to political life afterwards, and died on March 22, 1984.

title: Stanley Fox


text:
Peter, Sue and Marc

Peter, Sue and Marc were a Swiss music group from Bern. The members were Peter Reber (born 1949, vocals / piano / guitar), Sue Schell (born 1950 in New York, vocals), and Marc Dietrich (born 1948, vocals / guitar). They represented Switzerland at the Eurovision Song Contest four times, singing in four different languages, French in ESC 1971 with "Les Illusions de nos vingt ans", English in 1976 with "Djambo, Djambo", German in 1979 with "Trödler und Co", Italian in 1981 with "Io senza te". They sold over 2 million records in Switzerland. They held concerts in many countries including Germany, Austria, and Japan. Their greatest hit was "Cindy" in 1976 (it was released in South Africa in 1978, where it became a hit, peaking at number 3 on the charts in November of that year). The song "Birds of paradise" became a hit in Slovakia in 2006. Initially the song was played at the funeral of 42 military plane crash victims. Following that people flooded radio stations across the country with requests for this song.

During their career, Peter Sue and Marc made many other attempts to sing at Eurovision. They came third in the 1973 Swiss qualifier with "Es kommt ein Tag". In 1974 they again missed out on a place at the final, this time with the song "Frei". 1975 saw them finish in second place in the Swiss heat with "Lève-toi le soleil". In 1978 they took part in the German finals, and their entry, "Charlie Chaplin", was placed third. In 1987 Marc attempted to represent Switzerland with the song "Nostradamus", finishing second behind Carol Rich.

In addition to his participations alongside Sue and Marc, Peter Reber also composed, co-wrote, and conducted the 1980 Swiss entry, "Cinéma" performed by Paola di Medico. It also makes him one of a handful of performers to have participated at Eurovision as both a performer and conductor.

"The Birds of Paradise" was covered by the Russian singer Dmitry Selivanov in 1987 and released in 1990.

title: Peter, Sue and Marc


text:
Talk:Buckeye

Buckeye nut
Where the hell is the link to the Buckeye nut? — Preceding unsigned comment added by 12.226.236.161 (talk) 15:52, 24 September 2005 (UTC)

Buckeyes
This disambiguation should include buckeyes that currently links to OSU only. Rhhs 22:16, 2 January 2006 (UTC)

Other Buckeyes

 * Buckeye is also a cartoon kid in a comic book by Walt Kelly.
 * Buckeye is the name of one of the Three Boys in Mozart's The Magic Flute according to Guy Davenport. Das Baz, aka Erudil

Ohio
The term, 'Buckeye,' is widely used, at least in political discussions, to refer to Ohio. Ohio and Buckeye State are interchangeable. This should be incorporated into the page.Dogru144 (talk) 23:02, 3 December 2020 (UTC)
 * As this is a disambiguation page, it should basically just be a list or related articles. For a more in-depth discussion regarding Ohio being the Buckeye state, that should be found on the Ohio article. As it is, the first section of this page is dedicated to Ohio/Buckeyes/the state tree. - Adolphus79 (talk) 01:53, 4 December 2020 (UTC)

title: Talk:Buckeye


text:
Tom Patey

Thomas Walton Patey (20 February 1932 – 25 May 1970) was a Scottish climber, mountaineer, doctor and writer. He was a leading Scottish climber of his day, particularly excelling on winter routes. He died in a climbing accident at the age of 38. He was probably best known for his humorous songs and prose about climbing, many of which were published posthumously in the collection One Man's Mountains.

Early life
Patey was born on 20 February 1932 at Ellon, Aberdeenshire. He was educated at Ellon Academy and Robert Gordon's College in Aberdeen. He studied medicine at the University of Aberdeen, graduating in 1955 with a MB ChB.

Medical career
Patey worked for ten years as a general practitioner (GP) in Ullapool, in the far north-west of Scotland. He served for four years as Surgeon Lieutenant in the Royal Marines at the 42 Commando School at Bickleigh.

Climbing
Patey first became interested in climbing while he was in the Scouts, but it was at University in Aberdeen, that he first revealed his full talent as an exploratory climber, captaining the Lairig Club. Much of his early exploratory routes were on Lochnagar and neighbouring Cairngorms. A dedicated climber, he often dropped all other commitments for the prospect of a good climb. Patey's preference of travelling light extended to leaving his gloves behind on some ice climbs and he had a disrespect for climbing ropes unless they were necessary. While he was at Bickleigh, he would regularly open up new climbs on the Devon Tors. He cared little about recording these climbing details, since that way, if routes were left unblemished and apparently virgin, those following could have a similar excitement in their experience. This generosity of spirit, along with his exuberance and irrepressive energy, left a lasting memory with his companions. His irreverent climbing songs would often be accompanied at a piano by incessant humming through a comb and paper.

He climbed extensively in Scotland (making the first winter traverse of the Cuillin ridge with Hamish MacInnes, David Crabbe and Brian Robertson in 1965), as well as achieving notable ascents in the Alps and the Karakoram including the first ascent of the Muztagh Tower (7273 metres) with John Hartog, Joe Brown and Ian McNaught-Davis in 1956 and Rakaposhi (7788 m) in 1958 with Mike Banks. In 1968, he and Ian Clough were the first to climb Am Buachaille, a sea stack off the coast of Sutherland. He, Rusty Baillie and Chris Bonington pioneered the route up the Old Man of Hoy which was repeated with others on a live televised BBC outside broadcast on 8–9 July 1967.

In 1966 he received a Queen's Commendation for Brave Conduct, after assisting in an incident where two climbers were killed after a fall.

On 25 May 1970 he fell and died while abseiling from The Maiden, a sea stack off Whiten Head on the Sutherland coast.

Legacy
In 2022 a playground was opened in Chapelton named Patey Park.

title: Tom Patey


text: Talk:Culture of El Salvador

title: Talk:Culture of El Salvador


text:
Johann Gottfried Schadow

Johann Gottfried Schadow (20 May 1764 – 27 January 1850) was a German Prussian sculptor.

His most iconic work is the chariot on top of the Brandenburg Gate in Berlin, executed in 1793 when he was still only 29.

Biography
Schadow was born in Berlin, where his father was a poor tailor.

He trained as a sculptor under Antoine Tassaert, who was patronized by Frederick the Great. Taessert offered his daughter in marriage. but the pupil preferred to elope with a Jewish girl, Marianne Devidel in Rome and Taessert not only condoned the offense but furnished money for their stay in Italy. After he married Devidel in Rome he also won the sculptors prize from the Accademia di San Luca in 1786. Having been influenced by the sculptor Antonio Canova during his stay in Rome he returned to Berlin in 1788 to succeed Tassaert as sculptor to the court and secretary to the Prussian Academy of Arts and Roral Porcelain Factory. Upon his return, his first work was the tomb of the son of the Prussian King Friedrich Wilhelm II, Alexander von der Mark. Over half a century he produced upwards of two hundred works, varied in style as in subjects.

Among his ambitious efforts are Frederick the Great in Stettin, Blücher in Rostock and Luther in Wittenberg. His portrait statues of Frederick the Great with the dogs and the Princess Monument Louise and her sister Frederica with the princesses Louise and Federica became very popular. The second one was copied many times illegally which lead to a temporary dispute between his gypsum modeler Beyer and the sculptor in September 1795. His busts, of which there are more than one hundred, include seventeen colossal heads in the Walhalla, Ratisbon; Goethe, Wieland, and Fichte were modelled from life.

Of church monuments and memorial works thirty are enumerated; yet Schadow hardly ranks among Christian sculptors. He is claimed by classicists and idealists: the quadriga on the Brandenburger Tor and the allegorical frieze on the facade of the Royal Mint, both in Berlin, are judged among the happiest studies from the antique. Schadow, as director of the Berlin Academy, had great influence. He wrote on the proportions of the human figure, on national physiognomy, etc.; and many volumes by himself and others describe and illustrate his method and his work.

His interest in physiognomy is documented by the drawing he made of Harry Maitey, the first Hawaiian in Prussia.

Today, some of his sculptures and busts are displayed in the Friedrichswerdersche Kirche and the Alte Nationalgalerie in Berlin.

Schadow developed a friendship with Johann Wolfgang von Goethe when at first Goethe's son visited Schadow in Weimar. Schadow created 12 bronze medals of Goethe. One such medal is in the property of the British Museum.

He died in Berlin in 1850. His sons Rudolph and Friedrich Wilhelm were notable for sculpture and painting, respectively. He was the grandfather of admiral Felix von Bendemann of the German Imperial Navy.

Family
He was uncle to the sculptor Emil Wolff.

title: Johann Gottfried Schadow


text: User talk:195.93.34.11

title: User talk:195.93.34.11


text:
Dado Banatao

Diosdado P. Banatao (born May 23, 1946) is a Filipino entrepreneur and engineer working in the high-tech industry, credited with having developed the first 10-Mbit Ethernet CMOS with silicon coupler data-link control and transceiver chip, the first system logic chip set for IBM's PC-XT and the PC-AT, and the local bus concept and the first Windows Graphics accelerator chip for personal computers. A three-time start-up veteran, he co-founded Mostron, Chips and Technologies, and S3 Graphics.

Background
Banatao was born on May 23, 1946 in Iguig, Cagayan, Philippines. His father, Salvador Banatao, was a rice farmer. His mother, Rosita Banatao, was a housekeeper.

Banatao is known for his rags to riches story. During his childhood, he walked barefoot on a dirt road just to reach Malabbac Elementary School. He pursued his secondary education at the Jesuit-run Ateneo de Tuguegarao. After high school, he pursued his Bachelor of Science in Electric Engineering from the Mapúa Institute of Technology and graduated cum laude.

After college, he turned down several job offers, including one from Meralco. He joined Philippine Airlines as a trainee pilot, and later joined Boeing. At Boeing, he worked as a design engineer for the company's new commercial airliner and cargo transport aircraft, Boeing 747, in the United States. With the opportunity to stay in the United States, he then took his Master of Science in Electrical Engineering and Computer Science at Stanford University and finished in 1972. Banatao also joined the Homebrew Computer Club, where he met Steve Jobs and Steve Wozniak.

After finishing his master's degree, Banatao worked with different technology companies such as the National Semiconductor, Intersil, and Commodore International where he designed the first single chip, 16-bit microprocessor-based calculator. In 1981, he developed the first 10-Mbit Ethernet CMOS with silicon coupler data-link control and transceiver chip while working in Seeq Technology. He was also credited for the first system logic chip set for IBM's PC-XT and the PC-AT; the local bus concept and the first Windows Graphics accelerator chip for personal computers.

Business
In 1984, Banatao and his business partner Francis Siu, founded a high-technology company, Moston, starting with a capital of half a million US dollars. Mostron was launched as a manufacturer of motherboards. They also hired Ron Yara of Intel as a company executive. After he developed a five-chip set, he co-founded Chips and Technologies in 1985. The company developed system logic chip set for IBM's PC-XT and the PC-AT. The company earned $12 million in its first four months. After 22 months, the company went public. In 1989, Banatao launched his third start-up company, S3 Graphics, with Yara in Santa Clara, California. S3 focused on enhancing the graphic capabilities in personal computers by using a graphic accelerator chip. The key to this was Banatao's invention of a local bus. The company had an initial public offering of $30 million. In 1996, the company became the leader of the graphic-chips market, beating a strong competitor, Cirrus Logic, Inc. In the same year, Chips & Technologies was sold to Intel for about $300 million. In 2000, he decided to start his own venture capital firm named Tallwood Venture Capital with a capital of US$300 million, all of which came from his own pocket. He later sold another company for more than $1 billion, where it had less than 20 employees. Dado was also part of SiRF, where it started the consumerization of GPS after it had been declassified by the US Government.

In 2010, Banatao became Ikanos Communications' CEO after Michael Gulett resigned as the company's CEO and President.

Philanthropy
In the Philippines, Banatao through his Dado Banatao Educational Foundation, annually awards five educational scholarships to intelligent Filipino students who have bright futures in the field of engineering and technology. Also, with Philippine Development Foundation which he chairs, he is helping send brilliant young Filipinos to school to help them reach their full potential. PhilDev was spun off from Ayala Foundation's program. Through his Banatao Filipino American Fund, he assists Californian high school students of Filipino heritage who are pursuing a college education in engineering. He also built a computer center at his grade school in his childhood town of Iguig in Cagayan Valley, making it the only public school with the most modern computer network in the Philippines.

title: Dado Banatao


text:
Talk:The Prodigal Son (play)

Note
Go read it! - Sigg3.net 20:54, 29 Jul 2004 (UTC)

I have made a number of changes to the main text. Most of these are stylistic and grammatical, but I also have corrected two factual errors: (i) 'The Last Messiah' was published not in 1930 but in 1933; (ii) Jesus in the play believes Herodes Antipas not Pilate to be his biological father and thus desires King Herodes' throne.

The section entitled 'Science' seems to me untenable as stands - who has 'tested' Zapffe's theory according to which 'hermeneutic principles'? Is the affirmation of his theory consistent with NPOV? And is it at all appropriate to describe it as 'science', as opposed to, at most, historiography? I leave this for now pending input from others, but in the absence of this I will change the section. (Sirocco 06:18, 7 April 2006 (UTC))

 * It's a section I added a while ago, based on an article setting Zapffe's work in relation to hermeneutical principles. I didn't have the reference then, but I'll find it. I agree with your POV, though. - Sigg3.net 19:20, 29 October 2006 (UTC)

Some changes
Mr.P has made some changes. I have, most importantly, changed the title from 'the lost son' to 'the prodigal son'. In the English speaking world, the bible story that Zapffe is renarrating is almost always called the 'the prodigal son'. Mr.P (the Zapffe enthusiast) 05:19, 29 October 2007 (UTC)

title: Talk:The Prodigal Son (play)


text:
Category talk:Materials

This is rather a broad category - theoretically things like chlorophyll, DNA, and crushed pressed cavefish would fit, so it would either be large or perpetually incomplete. My guess is that is really "materials used  to manufacture objects" or some such. Stan 20:55, 29 Jul 2004 (UTC) What is the strongest known material???--66.53.231.189 04:12, 12 May 2007 (UTC)

Materials science instead of Materials
most things constitute being a material, from Joe Biden to Mercury (planet). The title should be Materials science instead. The word materials was in the discipline infancy and I think now it is the time to change it, given that most materials department are now called materials science department including journals. just type material science in the search bar up FuzzyMagma (talk) 14:42, 26 October 2022 (UTC)

title: Category talk:Materials


text:
Wikipedia talk:Requests for comment/24.168.92.117

UninvitedCompany has claimed that many of Wigdor's edits are factually sound but has not dealt with the question of material removed by the individual(s) in question that such individual(s) have not even bothered to make any claim to back up. For instance, he (they) have not claimed that the Chicago Surrealist Group did not play an important role in the mounting of the 1976 World Surrealist Exhibition, yet removed it. --Daniel C. Boyer 20:56, 29 Jul 2004 (UTC)

 * Dear Daniel, I have read the Requests for Comments concerning the edits. You do not provide any response to my questions regarding the factual information that I am requesting. The reason for my edits is for the benefit of the entire Wikipedia Community, so that they have the best and most accurate information on Surrealism. Daniel, you have been on Wikipedia for quite some time know, and with all due respect to you sir, I can see that your efforts to maintain a vested self-interest for exposure for your friends, is very obvious. Daniel, this is not an allegation, nor is this inflammatory at all. Consider the simple question that I ask you over and over again, yet you still do not answer. Did Franklin and his wife Penelope Rosemont really meet Andre Breton, and is there any pictures to prove that? Daniel, these people are your friends and you are a contributor to Ron's book, that all of your friends are in together. Whether or not, your contribution to, "Surrealist Subversions" is minimal or not, does not make a difference. These people are your friends, you collaborate with all of them and you have a vested self-interest in getting exposure that is needed. Remember, Daniel, all of your friends do sell their art, or am I wrong? Anyway, I respectfully disagree with the allegations against the edits. They are in good faith. Regarding Zazie, she is a Cyberartist and she is part of the WEBISM Movement. Pygoya's Webism Manifesto is absolutely inconsistent and hostile to anything that has to do with Surrealism. You read it, so did I. Zazie is a Webist, not a surrealist, that I respectfully say is a fact. In regards to your friends, The Rosemonts, I say, they never met Andre Breton, that is not true and very misleading to the public. Also, the removal of THE WEST COAST SURREALIST GROUP from the SURREALISM article is not fair. They were Very Involved with Surrealism and their work has been documented by Jose Pierre, Andre Breton's personal assistant. I know that you really want me off Wikipedia, I can see that. However, my edits are in good faith. I will not stand by and allow the Wikipedia Community and the public believe innaccurate misinformation on Surrealism. I asked you for a simple Picture of Franklin and Penelope with Breton. If you show me that, I can work out any compromises with you, as I have done with the Surrealism page, before it was unprotected. Also, if you were to show me any public statement by Zazie denouncing Webism, then I would stand by All of your information on here 100%. Daniel, this is Surrealism, you know it. Daniel, I would also like to see any article on Andre Thirion, that would be nice.

 * If you want an article on Andre Thirion, write it yourself. This is Wikipedia.  --Daniel C. Boyer 00:42, 14 Aug 2004 (UTC)

STILL NO ANSWER
It amazes me how Daniel still refuses to answer a simple question and the request to authenticate his friends claims to have actually met Breton. They never did.

Wigdor,

This page isn't about Daniel. This page is about you. Maybe Daniel is correct about an alleged meeting, and maybe he's not, but that's not what's important here. This page is about your constant reverts and inappropriate use of Wikipedia. You used your entire "response" to deflect attention away from you, and to make counter-accusations against Daniel (who did not create this page.) You might want to respond against the charges made against you. Quadell (talk) 12:37, Aug 16, 2004 (UTC)

Is this RfC active?
I notice this RfC isn't time-stamped; is it under active consideration? Was any conclusion reached? The same user is still active under different IP addresses, and still up to much the same things, it seems. Would it be better to start a fresh RfC, as and when this proves necessary, or to add to this one? Alai 03:34, 28 Feb 2005 (UTC)


text:
User:AaronDaMommio

I'm a husband, father, writer, and juggler living in Austin, Texas.

http://aarondamommio.blogspot.com

title: User:AaronDaMommio