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Amanda Peet

Amanda Peet (born January 11, 1972) is an American actress. She began her career with small parts on television before making her feature film debut in Animal Room (1995). Her portrayal of Jill St. Claire in The Whole Nine Yards (2000) brought her wider recognition, and she has since appeared in a variety of films, such as Saving Silverman (2001), High Crimes, Changing Lanes, Igby Goes Down (all 2002), Something's Gotta Give, Identity (both 2003), Melinda and Melinda (2004), A Lot like Love, Syriana (both 2005), The X-Files: I Want to Believe (2008), 2012 (2009), Gulliver's Travels (2010), Identity Thief, and The Way, Way Back (both 2013).

Outside of film, Peet played Jacqueline Barrett on The WB's Jack & Jill (1999–2001), Jordan McDeere on NBC's short-lived Aaron Sorkin series Studio 60 on the Sunset Strip (2006-2007), Tina Morris on HBO's Togetherness (2015–2016), Jules on IFC's Brockmire (2016–2020), Betty Broderick on the second season of Bravo's Dirty John (2020), and Beth Gallagher in the Paramount+ adaptation of Fatal Attraction (2023). In 2021, she wrote and co-executive produced The Chair for Netflix. Peet is married to American screenwriter David Benioff, with whom she has three children.

Early life
Peet was born in New York City, the daughter of Penny (née Levy), a social worker, and Charles Peet Jr., a corporate lawyer, who later divorced. Her father is a Quaker and her mother is Jewish; both are also atheists. Peet's maternal great-grandfathers were Samuel Levy, a lawyer, businessman, and public official, who served as Manhattan Borough President; and Samuel "Roxy" Rothafel, a theatrical impresario and entrepreneur.

At age seven, Peet relocated with her family to London, returning to New York four years later. She enrolled in HB Studio's teen acting program when she was 13. Peet attended Friends Seminary, and graduated from Columbia University with a degree in American history. In college, she auditioned for acting with teacher Uta Hagen and decided to become an actress after taking Hagen's class. During her four-year period of study with Hagen, Peet appeared in the off-Broadway revival of Clifford Odets's Awake and Sing! with Stephen Lang.

Early roles and breakthrough (1995–2004)
Peet's first screen performances were in a television commercial for Skittles and an uncredited appearance as the girlfriend of the titular character in the second episode of The Larry Sanders Show in 1992. Her film debut was in the drama Animal Room (1995), which also starred Neil Patrick Harris and Matthew Lillard. She also appeared in the November 1995 episode "Hot Pursuit" of Law & Order. For much of the late 1990s, Peet maintained a steady acting career in relatively obscure independent films co-starring more established actors. In 1996, for instance, she appeared in One Fine Day, with George Clooney and Michelle Pfeiffer, and She's the One, with Jennifer Aniston and Cameron Diaz. Peet appeared in the critically acclaimed film Playing by Heart (1998), as part of an ensemble cast that included Sean Connery, Angelina Jolie, and Ryan Phillippe. She had her first major role as Jacqueline Barrett in the WB network series Jack & Jill, which aired for two seasons, between 1999 and 2001, to moderate success. She appeared in the eighth-season finale of Seinfeld ("The Summer of George") as a waitress whom Jerry Seinfeld dates. In 1999, Peet also starred in the fantasy romantic comedy Simply Irresistible, opposite Sarah Michelle Gellar. That film was panned by critics and flopped at the box office.

Peet appeared alongside Bette Midler and Nathan Lane in Andrew Bergman's Isn't She Great (2000), a highly fictionalized account of the life and career of author Jacqueline Susann. However, her first role in a widely released feature film came later that year, with the part of Jill St. Claire in the mafia comedy film The Whole Nine Yards. The film, which also starred Bruce Willis and Matthew Perry, received mixed reviews. Roger Ebert gave it one of the more positive reviews, noting in particular that Peet's performance, which he called "perfect", highlighted the story. The Whole Nine Yards was a commercial success, grossing US$106.3 million worldwide. For her performance, she received a Blockbuster Entertainment Award nomination for Favorite Supporting Actress: Comedy, and a Teen Choice Award nomination for Choice Film Liar. In 2000, she played a love interest in the independent comedy Whipped, won the Young Hollywood Award for "Best New Style Maker", and was voted one of the 50 Most Beautiful People in the World by People magazine.

Peet took on the role of a psychologist and the romantic interest of Jason Biggs in the comedy Saving Silverman (2001), and portrayed a heroin-addicted trophy mistress in the dramedy Igby Goes Down, which garnered acclaim among critics. She also played the wife of a successful, young Wall Street lawyer thriller film Changing Lanes (2002), with Ben Affleck. Also in 2002, she played the sister of Ashley Judd in the suspense thriller High Crimes, in which Judd and co-star Morgan Freeman take on the military's court-martial of Judd's husband for murder. In 2003, Peet appeared with Diane Keaton, Jack Nicholson and Keanu Reeves in the romantic comedy Something's Gotta Give, directed by Nancy Meyers, playing an auctioneer, working for Christie's. The film was a critical darling and a major success at the box office, grossing US$125 million in North America. In her other 2003 film release, the psychological horror thriller Identity, Peet starred as a Las Vegas prostitute, alongside John Cusack, Ray Liotta and John Hawkes. Identity received critical acclaim and was a moderate commercial success. In 2004, Peet starred in The Whole Ten Yards, the sequel to The Whole Nine Yards. Unlike the first film, this production was critically panned and flopped at the box office.

Established career (2005–2010)
Her most significant film role in 2005 was that of a woman who becomes a successful photographer, opposite Ashton Kutcher, in the romantic comedy A Lot Like Love, which revolved around two people whose relationship slowly evolves from lust to friendship to romance over the course of seven years. While overall response was mixed, the Los Angeles Times found Peet to be "charming and charismatic without being cloying or artificial." In 2005, she also performed in the play This Is How It Goes, filling in for Marisa Tomei at the last minute after six days of rehearsal, and appeared in the Woody Allen's tragicomedy Melinda and Melinda and the thriller Syriana, which was based loosely on former Central Intelligence Agency agent Robert Baer and his memoirs of being an agent in the Middle East. In 2006, Peet acted on Neil Simon's Broadway production of Barefoot in the Park, followed by the romantic drama Griffin & Phoenix, a remake of the 1976 ABC TV movie, in which she portrayed a terminally ill woman living life to the fullest. The television series Studio 60 on the Sunset Strip, which premiered on NBC in late 2006, featured her as the recently hired president of entertainment programming, with Matthew Perry, with whom she had starred in The Whole Nine Yards and The Whole Ten Yards, and Sarah Paulson, with whom she previously worked in Jack & Jill. For her role, Peet received a Satellite Award nomination for Best Actress – Television Series Drama. The series got a strong critical reaction to its pilot, but quickly suffered a backlash and was cancelled after one season.

Peet starred as an attorney who stays home to raise a new baby in the romantic comedy The Ex (2007), which went unnoticed by critics and audiences. In 2008, she starred in the mystery drama The X-Files: I Want to Believe (2008), as an FBI agent, the dramedy Five Dollars a Day (2008), as the girlfriend of a seemingly successful man, and the crime drama What Doesn't Kill You, as the wife of a Boston criminal. What Doesn't Kill You was her best reviewed film of 2008, with Lisa Schwarzbaum of Entertainment Weekly, writing that Peet "is terrific as Brian's worn-down wife, sick of seeing her man disappear before her eyes."

In 2012 (2009), a disaster film directed by Roland Emmerich, Peet reunited with John Cusack, to play his estranged wife. While critical response was mixed, the film made over US$769 million worldwide, becoming Peet's most widely seen film. In her next film, the dramedy Please Give (2010), she starred as a self-centered cosmetologist, with Catherine Keener and Rebecca Hall. It received a limited theatrical release and critical acclaim. Ethan Alter of Film Journal International felt that Peet "does career-best work here." Peet and the other Please Give cast members received a Gotham Award nomination for Best Ensemble Cast. In 2010, Peet also provided for one of the main characters of DVD sci-fi adventure film Quantum Quest: A Cassini Space Odyssey, and starred as the love interest of the main character in the live-action family adventure film Gulliver's Travels, with Jack Black and Emily Blunt.

Roles in television (2011–2020)
In 2012, Peet headlined the television series Bent, as a recently divorced lawyer. She was drawn to the writing, stating: "I thought it was a good repartee. I love a good romantic comedy, and I love a repressed woman who needs to get laid." However, Bent was canceled after only six episodes. Peet had a recurring role as Capt. Laura Hellinger in seven episodes of the fourth season of The Good Wife (2012–13). In 2013, she made her playwriting debut with The Commons of Pensacola, starring Blythe Danner and Sarah Jessica Parker,  and appeared in the film Identity Thief, as the wife of a man whose identity is stolen by a woman, the little-seen comedy Trust Me, as the neighbor of a former child star, and the well received dramedy The Way, Way Back, as one half of a married couple.

From 2015 to 2016, Peet played Tina Morris on the HBO series Togetherness, which focused on the lives of two couples living under the same roof. The show—which was created, written and directed by the Duplass brothers—ran for two seasons, and was praised for its intimate storytelling and the performances of its cast. IndieWire called it "the upbeat comedy HBO needs right now", and noted that while Lynskey is "the true standout", Peet "won't be short of fans". From 2016 to 2020, Peet appeared in Brockmire, as the owner of a Minor League Baseball team.

Writing and producing (2021–present)
In 2021 Netflix released The Chair, a six-episode comedic dramatic series written by Peet and produced by her, alongside David Benioff and D. B. Weiss.

Activism
In 2008, Peet volunteered to be a spokeswoman for Every Child By Two (ECBT), a non-profit organization that advocates childhood vaccination. Peet began working with the group after becoming concerned by the "amount of misinformation floating around [about vaccines], particularly in Hollywood." In an interview with Cookie, Peet stated: "Frankly, I feel that parents who don't vaccinate their children are parasites," referring to the benefit unvaccinated children derive from herd immunity and the concern that dropping vaccination rates may put all children at increased risk of preventable disease. Peet's comments stirred controversy; in response, she apologized for using the term "parasites," but affirmed her position on the importance and safety of vaccinations.

The 3rd Annual Independent Investigative Group IIG Awards recognizing the promotion of science in popular media was held on May 18, 2009. The IIG presented an award to Peet for her work campaigning for vaccines.

Writing
Peet has co-written a children's book Dear Santa, Love, Rachel Rosenstein about a Jewish girl during the Christmas season. The book was launched in 2015.

Peet also wrote a play Our Very Own Carlin McCullough, which ran for two months in 2018 at the Geffen Playhouse in Los Angeles to positive reviews.

Personal life
Peet married screenwriter David Benioff, son of former Goldman Sachs CEO and chairman Stephen Friedman, on September 30, 2006, in New York City. They have three children. The family lives in Manhattan and Beverly Hills.

Peet is a friend of actor Peter Dinklage, who starred in her husband's series Game of Thrones and whom she had met years earlier through friends at Bennington College.

In 2008, Peet revealed that she has struggled with postpartum depression.

title: Amanda Peet


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Fuel ladder

A fuel ladder or ladder fuel is a firefighting term for live or dead vegetation that allows a fire to climb up from the landscape or forest floor into the tree canopy. Common ladder fuels include tall grasses, shrubs, and tree branches, both living and dead. The removal of fuel ladders is part of defensible space 'firescaping' practices.

Fire precautions
Potential fuel ladders should be removed to reduce the risk of fire bridging the gap to the canopy. To remove the ladder requires pruning any low limbs up to a minimum of 8 feet, and potentially as high as 15 feet. The required height depends on how low the branch tips hang, the steepness of slope, and the height and spacing of other nearby vegetation.

The desired result is to create a situation in which a low-burning fire could burn to the trunk of a tree, which is protected by its bark, without having thinner, more flammable branches, leaves or needles within easy reach of the fire.

Other fuel ladders
Apart from tree limbs, anything that would help that fire move up into the tree canopy is a fuel ladder. This includes shrubs and even tall grass or weeds. Non-vegetation fuel sources such as woodpiles, wooden fenceposts and structures should also be considered.

The intent is to maintain a break in vertical and horizontal continuity so that, if for example a woodpile caught fire, it would not be positioned next to shrubs or directly under trees that could then easily catch fire.

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

title: Fuel ladder


text:
Manuel Amador Guerrero

Manuel Amador Guerrero (30 June 1833 – 2 May 1909), was the first president of Panama from 20 February 1904 to 1 October 1908. He was a member of the Conservative Party.

Early life
Manuel Amador Guerrero was born on 30 June 1833 in Turbaco, in the Bolívar Department of the Republic of Colombia to María Mercedes Guerrero Córdoba and José María Amador Leguina. Very little is known about his childhood and teenage years, but he studied to be a surgeon and graduated from the Universidad de Magdalena e Istmo in 1854.

Career
Amador came to Panama in 1855 settling in Colón and started working on the Panama Railroad as a doctor. After a year, he also took a job as the postmaster. After moving to Santiago de Veraguas, Amador began a export business "Amador Hermanos", with his brother, Juan De Dios Amador Guerrero, and continued his work as a doctor and in governmental posts. He acted to the District Administration, working on the Municipal Council, and serving as a deputy to the House of Representatives for the Veraguas State in the Republic of New Granada in Bogotá from 1858 to 1859. During the same period, he began serving in the State Legislature of Veraguas.

In 1866, Amador was appointed as the first successor for the Conservative Party, in the elections for the President of the Sovereign State of Panama. When the President Vicente Olarte Galindo died in office in 1868, Amador was to succeed his term as acting president but because he was running in the election, he chose to allow the second successor Juan José Díaz to take the post as acting president. When it became evident that Amador's victory was assured for the presidency, General Fernando Ponce staged a rebellion and drove the Conservative supporters out of the capital and back to Veraguas. In the brief battles that occurred, Amador was captured and sent into exile Cartagena.

In 1869, Amador returned to Panama, probably settling again in Santiago de Veraguas, where his son Manuel Encarnación Amador was born to María de Jesús Terreros. He soon moved to Panama City and began working at the Hospital Santo Tomás. The hospital, a charity hospital built in colonial times, suffered from lack of management and funds, and Amador took on the task of managing and reorganizing it without pay for almost two decades of the twenty-nine years in which he worked there. He also opened and ran a pharmacy near the hospital on Avenue B. It is probable his first wife died, as on 6 February 1872, Amador married Manuela María Maximiliano de la Ossa Escobar. With de la Ossa, Amador had two children, Raúl Arturo, who as an adult was attached to the Panamanian consulate in New York City and Elmira María, who married William Ehrman, one of the owners of the Ehrman Banking Company.

Return to politics
"Amador Hermanos" brought in brother, José Amador, and began working with the French company building the Panama Canal in 1879. Simultaneously, Manuel continued his work as a doctor for the Panama Canal Railway and Hospital Santo Tomás. In 1886, during the period when Colombia was reorganizing its sovereign states under a federal government, Amador served as the last President of the Sovereign State of Panamá, taking over the post vacated by Ramón Santodomingo Vila on 5 June 1886 and serving until 5 August 1886. During this time frame, Amador served as chairman of the Council of the District of Panama, which had to vote on approval of the Colombian Constitution of 1886. At the end of 1888, the French company which was digging the canal went bankrupt, causing the failure of the Amador brothers' business. José Amador died soon after the business closed, but Manuel covered the company's losses.

Amador favored continuing the canal project and when Lucien Bonaparte-Wyse made the journey to Bogotá in 1890 to gain a concession for a ten-year extension, he was accompanied by Amador. Instability plagued the French project and then in 1900, the Thousand Days' War erupted between Colombian political factions. The government in Bogotá asked the United States to protect the railway in Panama, causing the US Marines to intervene on the isthmus. In exchange for keeping the vital transit open, President José Manuel Marroquín pledged that he would insure that the United States would receive authorization to complete the canal upon restoration of peace. Amador wrote to President Marroquín, who was a personal friend, urging the approval of the Hay–Herrán Treaty. Rather than appointing a favorable candidate, Marroquín appointed an opponent to the ratification, Juan Bautista Pérez y Soto as Panama's congressman during the negotiations.

Independence movement
The appointment caused José Agustín Arango to recruit his sons, Belisario, José Agustín and Ricardo Manuel; his son-in-laws Ernesto Tisdel Lefevre, Samuel Lewis, and Raoul Orillac; and a friend, Carlos Constantino Arosemena to begin working on a plan for the independence of Panama. The group was soon joined by Amador, who would become the leader of the independence movement, as well as by Ricardo and Tomás Arias, Federico Boyd, Manuel Espinosa Batista, and Nicanor de Obarrio. Contentious negotiations with Colombia led the United States toward backing the independence movement in Panama, believing that negotiations would be more favorable to American interests from a small, weak, newly developing state, rather than continuing to work with Colombia. Amador traveled to New York in September 1903 to determine how the United States might support the separation movement. After gaining approval for support from the USS Nashville, Amador returned to Panama to get a plan in motion.

The USS Nashville landed on 2 November 1903 off the coast of Colón. The following day, 500 sharpshooters, under the command of General Juan B. Tobar traveling aboard the cruiser Cartagena and merchant ship Alexander Bixio, made landfall. Fearing that if they were caught they would be executed, Amador, Arango, Boyd, and Espinosa met to discuss the situation, because with the landed troops many of their colleagues were abandoning the cause. Amador returned home dejected, fearing all was lost, but his wife María de la Ossa came up with a plan to separate the Colombian generals from their troops with help from friends on the railway. She surmised that once the officers were separated and arrested, the troops could be bribed to return home. Amador went out to convince Herbert G. Prescott, assistant superintendent, and James Shaler, superintendent of the Panama Railway to help transport the generals and once he gained their approval, he called the separatists together to get them to endorse the plan. Shaler convinced the generals to go ahead to Panama City without their troops, while the railway was gathering sufficient cars for the troops.

When the plan successfully concluded, Panama's independence was proclaimed and the Municipal Council met and confirmed the establishment of the Republic of Panama. Amador and Boyd were sent to Washington, D. C. to negotiate a treaty to complete the canal. When they arrived, they learned that Philippe-Jean Bunau-Varilla had already signed a treaty and as they were not empowered to accept it, the agreement was sent to Panama for ratification by the provisional government.

Presidency
On 20 February 1904, the constitutional convention unanimously elected Amador as the first president of the Republic of Panama. Because the Constitution of Panama required that the president be native-born, a clause allowing Amador to serve based on his service to the independence movement was inserted. During his presidency, he established the gold Balboa as the official currency at par with the U. S. gold dollar. His administration adopted the flag, designed by his son Manuel and sewn by his wife and her sister-in-law, Angélica Bergamonta de la Ossa, and the national anthem, that features lyrics written by his wife's brother Jerónimo de la Ossa; created the national theater and national museum; disbanded the army, in favor of a police force; and expanded the educational system in the country.

One of the immediate actions of his administration was to resolve a difference in interpretation over the law which created the canal zone, passed on 28 April 1904. Panamanian legislators intended the granting of the zone to the United States to mean that the U.S. could exercise sovereignty "only for the purpose of building the canal". As the ports were vital for Panama's economy, the government of Panama had no intention of surrendering complete legal or economic sovereignty in the canal zone and did not cede its territory to the U.S. The Americans had established ports, customs houses and postal facilities in the zone, which were objected to by the Panamanians, as they had nothing to do with construction and were functions of a sovereign power. U.S. Minister to Panama Charles Edward Magoon, who was concurrently the Governor of the Canal Zone, worked with Amador to draft a working agreement to resolve the issue. Secretary of War William Howard Taft agreed with the main draft and went to Panama to meet with Amador, arriving on 27 November 1904. The three men devised an agreement to exempt only duty-free goods entering the canal zone ports of Ancon and Cristobal that were related to construction of the canal. Other goods were to be taxed by Panamanian authorities at a reduced rate of ten percent ad valorem. In exchange for infrastructure development with hospitals and roads, Amador was pleased to agree to allow the Canal Company to control sanitation and quarantine provisions in the zone and utilize municipal buildings. They also designated an agreement for currency sharing and postal regulations, among other revisions. The Taft Memorandum would affect U.S.-Panamanian relations for nearly 100 years.

Death and legacy
Amador decided not to run for reelection in 1908 and instead retired from public life. He died on May 2, 1909, in Panama City. His last coherent words were to express his wish that the National Anthem be played as his body was lowered into his grave, a wish that was realized.

Trivia

 * Plaza Amador, a popular football team in Panama's highest league, LPF, was named in his honour. Founded back in 1955 the club's colours are also red, blue and white as they were the colours adopted by his patriotic movement for independence.
 * The Order of Manuel Amador Guerrero, the highest honour of Panama, is named in his honour.
 * Fort Amador,an American military base at the Pacific (southern) end of the Panama Canal is named in his honor.

title: Manuel Amador Guerrero


text:
User talk:Timwi/Archive/Aug 04 - Sep 04

"Osaka prefecture" v. "Osaka Prefecture"
I noticed that you're decapitalizing "prefecture" in all the article titles related to prefectures of Japan. As far as I know, the word "prefecture" should be capitalized in both American and British English since it is part of a proper name. We have discussed this in Wikipedia talk:Manual of Style for Japan-related articles, and I encourage you to explain your reasoning there for the benefit of the rest of us. -- Sekicho 18:15, Aug 6, 2004 (UTC)

 * Before I started, half of them were capitalised and half weren't, but all the article texts themselves consistently used the word "prefecture" in lower-case. Hence the easiest way for me to achieve consistency was to move those that were capitalised to be non-capitalised. — Additionally, I really don't think they should be capitalised. The reason why we put "prefecture" there is to distinguish it from a city of the same name. This is done with other sub-country entities too: districts, oblasts, etc. Diverging from geography a bit, I also see it like for example German language or Pascal programming language — certainly you wouldn't consider that part of the name and capitalise it too. — To be fair, I should point out that the issue was brought up here on my Talk page before, and has been moved to Talk:Prefectures of Japan; notice how nobody replied to the request for a link to the supposedly previously-reached agreement. — Timwi 18:31, 6 Aug 2004 (UTC)

 * Capitalizing the full name is a convention for every geographic article in Wikipedia. Note that you don't see titles like Dominican republic, New York city, Cook county, Illinois, Hong Kong special autonomous region, Narita international airport, Amazon river, Ural mountains, Irish sea, or Subic bay. Capitalizing the word "prefecture" is a rule of English grammar, not just a Wikipedia convention. (The word was left uncapitalized in those articles because the articles were created by a non-native speaker of English.) - Sekicho 20:30, Aug 6, 2004 (UTC)

 * OK, well, as I said, all I really wanted is consistency within that set of articles. If you want them capitalised, please do feel free to change it back, but do it everywhere, including the article text. — Timwi 21:23, 6 Aug 2004 (UTC)

Prefectural messup
Under the guise of making the article names match the Template:Japan, I have moved the following articles out of their new positions... (before I was kindly informed I was in error)

Saitama Prefecture, Chiba Prefecture, Aomori Prefecture, Akita Prefecture, Okayama Prefecture, Hyogo Prefecture, Mie Prefecture, Kyoto Prefecture, Nara Prefecture, Aichi Prefecture, Wakayama Prefecture

I apologize for any inconvenience. -- EmperorBMA|話す 21:15, 8 Aug 2004 (UTC)
 * Nevermind, the articles timed out so I am reverting. -- EmperorBMA|話す 23:06, 8 Aug 2004 (UTC)

Lojban language file
Could you check the file which I posted to wikipedia-l on 7-30? It's not complete, but it should have the stuff that appears most often translated, and the internal links should be consistent. Also, initial capitalization should be turned off, as that's not normally done in Lojban. -phma 13:22, 10 Aug 2004 (UTC)
 * Sorry, you're talking to the wrong person. I don't have any access to the servers. — Timwi 16:38, 10 Aug 2004 (UTC)
 * Who is the right person, then? Angela says you have CVS access, and then someone who has shell access can update the code on the server. -phma 19:11, 10 Aug 2004 (UTC)
 * I've had a look at the file. It is old-style. I can only commit it to the 1.3 branch. — As you already pointed out, someone else will have to do the work on the actual servers, including setting the capitalisation option. — Timwi 19:31, 10 Aug 2004 (UTC)
 * How do I convert it to the latest version? I'll also need to know this so that when Wikitravel (which is currently running 1.2.3) is upgraded, we can upgrade the French file (which is a bit different from the one in Wikipedia). -phma 04:20, 11 Aug 2004 (UTC)
 * If you are upgrading to 1.3, you still want the old format. — As an example for the new format, see LanguageDe.php in CVS HEAD — in particular, notice how almost all of the arrays like the month names and the math rendering options have been moved to the general messages array so they can be customised using the MediaWiki namespace. — Timwi 14:44, 11 Aug 2004 (UTC)

Hi Timwi. I pointed Pierre to you for help with the lojban language file as I thought the most time consuming part of this was checking the language file before committing it, and I knew you would be able to do this, which would make it a lot easier for someone with access to put it live. Also, I had the impression you were more accepting of the controversial languages than Tim Starling was since you were involved with the Klingon Wikipedia. enjylys. 23:09, Aug 10, 2004 (UTC)

Ooh, I like it! A little problem (besides that a lot of it isn't translated yet): in the edit form "galfi djunoi" (Editing help) goes to the "uikipedias" namespace, which should exist, but doesn't. As that namespace is referred to by the variable $wgMetaNamespace, I wasn't sure how to get it to work right. "prenu:" and "User:" go to the same namespace, which is good as it keeps links on my talk page from breaking, as do "pixra:" and "Image:". -phma 03:05, 12 Aug 2004 (UTC)

I have some more translated (most of what users see most of the time). Should I put it on meta (the page of language update requests claims to be deprecated) or email it to you? -phma 21:31, 17 Aug 2004 (UTC)

"Edit this box"?
Why did you put an "Edit this box" link in the Saffir-Simpson template? Are you putting these in all template tables? --Golbez 03:08, 12 Aug 2004 (UTC)

 * Well, I've put them in two or three before. I noticed that many boxes had them. — Why might you not want it? Clearly it's the perfect way of making editing it easier for newbies. Seeing doesn't exactly tell newbies they need to go to Template:Blah . — Timwi 03:11, 12 Aug 2004 (UTC)

 * It's a bit of an eyesore, that's all. Perhaps the best thing to do would be to give the URL in comments in the article? (Of course, that would require changing all the articles... hrm.) Maybe I'll look at making it prettier, if needed. But you do have a point, it can be difficult to find templates to edit them, and we do want them editing things.  --Golbez 17:09, 13 Aug 2004 (UTC)

Naming convention for television articles
Hi. Seeing as you were once previously interested in a naming convention, I'd like to invite you to vote on adoption of Naming conventions (television). Voting is taking place on the Talk page and ends on Sep 13 2004. -- Netoholic 23:21, 22 Aug 2004 (UTC)

List-of-people-by-name Glitch
Could you please take a look at LoPbN: Go's history and let me know whether you think this may have been done by an automated procedure to other similarly situated LoPbN-tree pages? I dread searching for them. TIA. --Jerzy(t) 02:57, 2004 Aug 27 (UTC)

 * I can't figure out what happened there, but since you fixed it, I don't see what's wrong? — Timwi 17:15, 27 Aug 2004 (UTC)

Translation request
I put it up on Translation into English, but I'm asking here because (a) your name was listed, and (b) I kinda have an interest in this one. If you could merge de:Paragraph 175 (Geschichte) into Paragraph 175, it'd mean a bunch to me. Thanks! (Honest, I'd do it if I could speak a word of German...) grendel|khan 23:03, 2004 Aug 30 (UTC)

 * Sorry, I don't think I'll get around to this anytime soon. History isn't my field of interest. :) — Timwi 22:48, 1 Sep 2004 (UTC)

Wikipedia:List of Wikipedians by most recent edit
Hi there! I see you've had a lot to do with this page (List of Wikipedians by most recent edit) in the past. Have you any plans to update it in future? Just a thought:-) David Cannon 11:20, 1 Sep 2004 (UTC)

 * I can't remember the SQL query I used. Do you know it? — Timwi 22:40, 1 Sep 2004 (UTC)

 * Never mind, found it. Page updated. :-) — Timwi 23:26, 1 Sep 2004 (UTC)

 * Thanks! It looks great! David Cannon 11:26, 2 Sep 2004 (UTC)

Edit attribution
Hi Timwi. Edits from your IP have now been reattributed to your username. Regards  — Kate Turner | Talk 00:02, 2004 Sep 5 (UTC)

Asteroid moon double-redirects
When I put the redirect from S/2001 (22) 1 to Linus (asteroid) instead of directly to 22 Kalliope, I was thinking ahead to the day when the moonlet will have its own page instead of being integrated with its primary's article. Do we really need to set ourselves up for more work when that day comes? (This double-redirect-fix has happened with a couple of other asteroid moons before, I think) In other words, what, exactly, is the crying technical need for no double redirects? — Urhixidur 11:38, 2004 Sep 7 (UTC)

 * A double-redirect doesn't send the user to the destination page directly, but instead displays some confusing (for casual readers, at least) gibberish on the screen. Turning the redirect back when you create the article shouldn't be too much work. You might as well start the article already ;-) — Timwi 13:12, 7 Sep 2004 (UTC)

 * Hadn't bothered to test it before, but it seems Wiki follows the first redirect but doesn't process the second, right? In which case you're right that it was a bad idea to put in the double redirect in the first place.

 * Urhixidur 15:09, 2004 Sep 7 (UTC)

 * Hi Urh. I'm not Timwi :-) but see Double redirect for a brief explanation.   — Kate Turner | Talk 15:12, 2004 Sep 7 (UTC)

What's that for?
The reason for the HTML text in the Trinity College, Cambridge article (which you removed) was that it's an inline comment - see Manual of Style. Its purpose was to enable all the Category statements for the article (there's only one so far) to be grouped under one invisible (except to editors) heading. You may find the same in some other articles, as well as a similar entry for the Interwiki foreign language links. I did not invent this. Ian Cairns 19:43, 9 Sep 2004 (UTC)

 * I know what HTML comments are. The Manual of Style section you linked to explains that HTML comments should be used to indicate missing information in an article or other things that are important to the actual contents of the actual article. It is pointless and wasteful to put something like <!-- Categories --> above a category tag. ("Look! The links that begin with "Category:" are category links! Didn't you know that?") Same for inter-wiki links. — Timwi 13:48, 10 Sep 2004 (UTC)

 * Thanks for that. The Manual of Style referred to "If you want to communicate with other potential editors" without specifying particular reasons. This was the relevant part to which I was referring. I understand that, for an article within a single category (e.g. Trinity College), the 'overhead' of the comment line is probably too great to bear. However, on articles with several categories and / or multiple interwiki connections, these comments can add some semblance of (albeit unofficial) structure to the article, and might just help avoid future editors dropping category / interwiki links at random places within articles, etc. Ian Cairns 22:28, 10 Sep 2004 (UTC)

Deletion
Please watch your tone. I'm well aware of the speedy deletion policy, so there's no need to talk down to me. The article, as it was, fitted exactly under speedy deletion #4. Apparently, there was a "satellite network" (red link), somewhere in the world, called Zee Network. Which tells you absolutely nothing, and is, thus, a speedy candidate, not a VFD candidate. Which I would've told you if you had *asked* me on IRC before making this condescending post on my talk page and simply undeleting it. I'm not undoing it now, as at least I now know that it's a *television* network, and thus, perhaps tips it out of the speedy deletion criteria. Ambi 09:32, 16 Sep 2004 (UTC)

Parsing wikitext
I was trying to bring the parsing expression grammar article to the attention of someone who was engaged in rewriting the Wikitext parser. Unfortunately I've been suffering lately from IE (in cahoots with our firewall) dropping out during edits and I now cannot recall who it was I was trying to contact. I notice that you have done some work on the parsing system, and I wonder if you could help me to identify the proper person to annoy talk to about this. --Phil | Talk 14:12, Sep 16, 2004 (UTC)

 * I'm not sure why you are specifically looking for someone involved in the development of MediaWiki. What you want is a computer science graduate. (Incidentally, though, I am one. :-) ) — You haven't specified what exactly you think is the problem with the article. Myself, I see the problem that it is very recursive-descent-parser-centric. It talks about look-ahead techniques (the & and ! operators) that are not available in LALR parsers, which are the most common due to the popularity of Yacc. Is this what you wanted me to help with? — Timwi 21:50, 16 Sep 2004 (UTC)

Sorry, my bad, I should have made myself clearer. What I meant was: is this type of grammar suitable for describing Wikitext, and would a packrat parser be a good replacement for the one Mediawiki currently uses? --Phil | Talk 08:28, Sep 17, 2004 (UTC)

 * This type of grammar is certainly suitable for describing wiki text. I don't know about packrat parsers (I might read that article later, don't have time now), so I can't comment on this. — But in practice, just about any grammar will be suitable for describing wiki text, and so it makes more sense to use the one that yacc (resp. bison) can understand and turn into a parser. I don't know of a parser generator that generates a packrat parser. Yacc/bison make an LALR parser, and so I'll be using that. — Timwi 10:05, 17 Sep 2004 (UTC)

OK, I was just wondering because of all the problems with the abortive dash-conversion feature and the well-known problem with nested apostrophes. I didn't know Yacc/Bison could generate PHP code, or am I misunderstanding the situation? (Having said which, the generators for packrat parsers are apparently all in Java or something, so not yet much help :-) --Phil | Talk 13:15, Sep 17, 2004 (UTC)

 * My parser will be in C and will be compiled into a static object which can be loaded into PHP. I would think that Java would be a very bad choice in this case. — Timwi 13:49, 17 Sep 2004 (UTC)

Aha! I was under the (obviously, now!) mistaken impression that Mediawiki was written in pure PHP. Won't that make it harder to port to other platforms? --Phil | Talk 14:24, Sep 17, 2004 (UTC)

 * MediaWiki is written in PHP, although it supports several extensions. For example, there exists already an external diff engine as a shared object. I'm not sure if Wikimedia uses it. Also, the mathematical formulae are generated by an extension that is written in Ocaml. — Another shared-object PHP extension won't make MediaWiki less portable because other sites can continue to use the old PHP parser. But if the lex/yacc parser's performance gain and bug decrease is significant, then portability is not a negative criterion for Wikimedia. — Timwi 14:48, 17 Sep 2004 (UTC)

Not quite certain I follow: are you saying that you're not bothered whether it's portable as long as you can make it fly on one particular platform? --Phil | Talk 07:53, Sep 21, 2004 (UTC)

 * Perhaps you are confusing Wikimedia and MediaWiki. The Wikimedia Foundation will prefer a fast and bug-free parser over a portable one. Other sites that happen to use the MediaWiki software are free to continue to use the old PHP parser if portability is an issue for them. Since I have little interest in other sites, I will not focus on portability. — But even so, I highly doubt that any site will have any real problems using the lex/yacc parser. It might work even for users who don't have root access (since you can place the shared-object file in the wiki directory), and I'm sure that PHP for Windows and Mac OS X can also use shared objects/DLLs, and free compilers for these platforms exist. — Timwi 12:13, 21 Sep 2004 (UTC)

CSS
Any idea how to get rid of the external link icons using MediaWiki:monobook.css?--Eloquence

 *  #bodyContent a[href ^="http://"] { padding-right: 0; background: none; }  — Timwi 18:02, 18 Sep 2004 (UTC)

 * That kinda works, but it still leaves spacing in place where there is a link followed by a period or a comma. Is it possible to get rid of it entirely, or do we need to change the mother stylesheet for that?--Eloquence

 * This is, unfortunately, an actual bug in MediaWiki. It has been fixed in 1.4, but in the currently running code, that space is actually there. :( — Timwi 12:19, 19 Sep 2004 (UTC)

Talk:Grico
Hello, thanks for spotting and fixing the double redirect on this page. Etz Haim 22:59, 20 Sep 2004 (UTC)

 * Heh. I always find it amusing when I fix a few hundred double-redirects, and then someone thanks me for a particular one. :-) — Timwi 12:13, 21 Sep 2004 (UTC)

Polish Geography
Perhaps you might be interested in the WikiProject Polish Voivodships. [[User:Halibutt|Halibutt]] 19:04, Sep 22, 2004 (UTC)

 * ... Huh?! ... Why would I?? — Timwi 10:37, 23 Sep 2004 (UTC)

Philosophy of copyright
Why did you remove the cleanup template from the Philosophy of copyright article? This article should be deleted if it doesn't get cleaned up, imho. I'm relisting it on WP:Cleanup. ~leif 00:52, 24 Sep 2004 (UTC)

 * I deleted it because at the time I was under the impression that general concensus had shifted towards only listing the pages on WP:Cleanup, but not adding a pointless tag to the article in question. I suppose this concensus has not actually established, so feel free to re-add the tag. — Timwi 10:28, 24 Sep 2004 (UTC)

thx
Hi Timwi,

perhaps this is not the correct place but I'd like to think your for fixing the bug that images in templates showed up as unused. That's working wonderfully! TeunSpaans 09:32, 25 Sep 2004 (UTC)

 * Heh. This is indeed the wrong place. I didn't fix that bug. I didn't even know about it. But I'm glad I could be of help! ;-) — Timwi 09:39, 25 Sep 2004 (UTC)

Template:Disambig
I reverted you change to Template:Disambig, not because I necessarily disagree, but because there is currently a lively discussion on what the template should look like. (See Template talk:Disambig.) Many people have been making "bold" changes (that affect over 10,000 pages), and overwriting each other's changes. We're trying to work toward consensus on the talk page instead. – Quadell (talk) (help)  21:00, Sep 30, 2004 (UTC)

 * Feel free to work towards consensus as to what it should look like, and once you've reached consensus, make the necessary changes in the right places. The layout information should not be in Template:Disambig but instead in MediaWiki:Monobook.css. — Timwi 21:02, 30 Sep 2004 (UTC)

 * Timwi... the styles being defined in the template can be overridden by you changing your own User:Timwi/monobook.css file. As boilerplate text, this should not be defined in the global Monobook.  Please discontinue removing style elements from the message. -- Netoholic @ 21:31, 2004 Sep 30 (UTC)

 * Styles cannot be overridden using User CSS if you specify them in the style attribute of a div element! This is the entire reason I am asking you to move them to Monobook.css. That way they are overridable, and they have the same effect for people who don't override them. — Timwi 23:10, 30 Sep 2004 (UTC)

 * I understand your reasoning, Timwi, but please stop making changes to the template without discussing. If there is a consensus to do so, then great. Until then, it's inappropriate.   – Quadell (talk) (help)   22:05, Sep 30, 2004 (UTC)

 * No, it is inappropriate for style information to be forced by a style attribute, especially when we have the Monobook.css mechanism for exactly this purpose. Move the style definitions to Monobook.css. It will have the same effect visually. But it will be more customisable for advanced users. — Timwi 23:10, 30 Sep 2004 (UTC)

 * You may want to consider using the "!important" rule in your CSS - see http://www.w3.org/TR/REC-CSS2/cascade.html#important-rules . -- Netoholic @ 00:41, 2004 Oct 1 (UTC)

title: User talk:Timwi/Archive/Aug 04 - Sep 04


text:
Kohala, Hawaii

Kohala is the name of the northwest peninsula of the island of Hawaii in the Hawaiian Archipelago. In ancient Hawaii it was often ruled by an independent High Chief called the Alii Nui. In modern times it is divided into two districts of Hawaii County: North Kohala and South Kohala. Locals commonly use the name Kohala to refer to the census-designated places of Halaula, Hāwī, and Kapaau collectively. The dry western shore is commonly known as the Kohala Coast, which has golf courses and seaside resorts.

Description
The area was named after the dominating geological feature Kohala Mountain, the oldest of Hawaii Island's five major volcanic mountains. The current districts cover the north and western sides of the mountain, 20.13194°N, -155.79389°W. It was one of the five ancient divisions of the island called moku.

The natural habitats in Kohala range across a wide rainfall gradient in a very short distance - from less than 5 in a year on the coast near Kawaihae to more than 150 in year near the summit of Kohala Mountain, a distance of just 11 mi. Near the coast are remnants of dry forests, and near the summit is a cloud forest, a type of rainforest that obtains some of its moisture from "cloud drip" in addition to precipitation.

This precipitation allowed the northeast coast to be developed into sugarcane plantations, including one founded by Rev. Elias Bond used to fund his church and girls' seminary.

Kohala Historical Sites State Monument
The Kohala Historical Sites State Monument includes Mookini Heiau, a National Historic Landmark. King Kamehameha I, the first King of the unified Hawaiian Islands, was born in North Kohala west of Hāwī, at the ancient site called the Mookini Heiau. The heiau is a living spiritual temple, and not just an historic artifact of the Hawaiian culture.

The original Kamehameha Statue stands in front of the community center in Kapaau, and duplicates are found at Aliiolani Hale in Honolulu, and within the U.S. Capitol building's statue gallery in Washington, D.C.

Bond Historic District
The Bond Historic District is located in the North Kohala District, with structures from the Bond family's 19th century missionary and homesteading period on the Kohala peninsula. The Bond District has three sections:
 * Bond Homestead — the Bond House was built in the 1840s by the missionaries and later Kohala landowners Ellen and Reverend Elias Bond, and expanded by descendants through c. 1900.
 * Kalahikiola Church
 * Kohala Seminary

Attractions
Points of interest within Kohala include Hapuna Beach State Recreation Area, Puukoholā Heiau National Historic Site, and Lapakahi State Historical Park.

Transportation
Major thoroughfares within Kohala include Akoni Pule Highway (Hawaii state route 270) which provides access to Pololū Valley. The Hawaii Belt Road which connects in the southern end of the Akoni Pule Highway to Kona in the south and Hāmākua to the east. The Kohala Mountain Road (250) provides a link between Waimea and the Kohala CDP's of Halaʻula, Hāwī, and Kapaʻau.

Kohala has two small airports. Upolu Airport is on Upolu Point at the northern tip of the island. Waimea-Kohala Airport is south of the town of Waimea, Hawaii County, Hawaii. Waimea Airport is served commercially by Mokulele Airlines.

Census-designated places of North Kohala

 * Halaula
 * Hāwī
 * Kapaau

Census-designated places of South Kohala

 * Puako
 * Waikoloa Village
 * Waimea

Unincorporated towns of South Kohala

 * Kawaihae

Notable residents

 * Auliʻi Cravalho, actress and singer

title: Kohala, Hawaii


text:
United States District Court for the Northern District of Oklahoma

The United States District Court for the Northern District of Oklahoma (in case citations, N.D. Okla.) is a federal court in the Tenth Circuit (except for patent claims and claims against the U.S. government under the Tucker Act, which are appealed to the Federal Circuit).

The District was established on February 16, 1925, with the transfer of a judgeship in the Eastern District to the newly established Northern district.

Organization of the court
The United States District Court for the Northern District of Oklahoma is one of three federal judicial districts in Oklahoma. Court for the District is held at Tulsa.

The court's jurisdiction comprises the following counties: Craig, Creek, Delaware, Mayes, Nowata, Osage, Ottawa, Pawnee, Rogers, Tulsa, and Washington.

The United States Attorney's Office for the Northern District of Oklahoma represents the United States in civil and criminal litigation in the court. the United States attorney for the Northern District of Oklahoma is Clint Johnson.


text:
Talk:Treskilling Yellow

2004 edits
The TSY is certainly very valuable, cost-for-weight, but at US$71 billion/kg it is not "the most valuable thing in the world per weight or volume". Antimatter presently costs roughly $25 billion per gram, making it about 350 times more valuable per unit weight.

Several of the heaviest known elements have only been created in quantities of a few dozen, some of them only as a single atom. With each of these atoms weighing about 5 x 10^-25 kg, their cost-per-unit-weight is far higher than even that of antimatter.

See, e.g., http://www.webelements.com/webelements/elements/text/Uuq/hist.html

--Calair 03:15, 11 Aug 2004 (UTC)

PS Sorry for the multi-edits, browser snarfed on me.

Anti-matter costs $62.5 trillion per gramHumpelfluch

Most valuable stamp in the world?
I am not sure this is necessarily correct. It may well be the British Guiana 1c magenta which was last sold in 1980 for more than this stamp was sold in 1984.--Alex 14:48, 27 July 2007 (UTC)
 * David Feldman (philatelist) auctioned it for 2.5 million Swiss Francs in 1996 again, after selling it in 1984 for CHF977,500, and that seems like a lot more than US$935,000 in 1980. Try a few of these commentaries that all place the Treskilling Yellow as the most valuable;, , , , and linns that does not even mention the British Guiana 1c magenta. Thanks for the question. Cheers ww2censor 17:05, 27 July 2007 (UTC)

 * A Z Grill was traded for a set of 4 Inverted Jennys, which Bill Gross purchased for $2.9m in 2005. . Seems to exceed the Treskilling Yellow in terms of value according to actual transactions.  Looks like all of your links pre-date that transaction.  3 August 2008.  —Preceding unsigned comment added by 76.174.43.219 (talk) 03:37, 4 August 2008 (UTC)

 * Nowhere in the link you gave does it say the block of Jenny's or Z Grill were sold for $2.9 million, it just says they are valued at about $3. Until there is a confirmed sale with a price that can be verified, what is stated in your link in terms of value is speculation and unfortunately Wikipedia is not a crystal ball. If you have another verifiable source, please bring it here. Thanks ww2censor (talk) 03:50, 4 August 2008 (UTC)

 * "On the face of it - the 1¢ "Z" Grill is a $4 million stamp. And right now that is a great deal more than the British Guiana 1856 1¢ black on magenta, or the Sweden Tre Skilling Yellow have ever sold for.  Both are unique."  —Preceding unsigned comment added by Toliveoutsidethelaw (talk • contribs) 04:23, 4 August 2008 (UTC)

 * Also, one of the sources you cited, Glenstephens.com, now notes that the Z Grill traded for a great deal more than the Treskilling . Until this stamp trades at a value about the Z Grill, I don't think you can properly call it the most valuable stamp.  —Preceding unsigned comment added by Toliveoutsidethelaw (talk • contribs) 03:46, 4 August 2008 (UTC)
 * You may be correct that the Z-Grill may sell for more but as yet such a sale has not taken place. A trade or swap is not a sale, and Glen Stephens is speculating, as are you. As previously stated, if you have a verifiable sale price, I will be happy to revise my view but until then, any current comparative values are pure speculation even by stamp dealers, as evidenced by many auction realisations that far exceed dealer estimates. Please sign you posts. Thanks ww2censor (talk) 06:06, 4 August 2008 (UTC)
 * Look, Bill Gross bought the set of 4 Jennys and immediately traded it for a Z Grill. Thus, the FMV is clearly the price he paid for the 4 Jennys.  If you pay $3m for A and immediately trade it for B, no speculation or crystal ball is required to demonstrate that both A and B are worth $3m.  I can see that you are the lord of this entry, so I'm going to leave you to it. —Preceding unsigned comment added by 76.174.43.219 (talk • contribs) 11:11, 4 August 2008
 * That is your interpretation. BTW I an not lord of this entry. Get a verifiable dealer valuation or another verifiable source that confirms what you state but until then, as previously stated, it is speculation. This is synthesis and therefor against policy. AGAIN, please sign you posts. ww2censor (talk) 16:49, 4 August 2008 (UTC)

The statement that this is the "most valuable stamp in the world" is misleading, as it implies that today this stamp would sell for more than any other, for which there is no proof. To know what the most valuable stamp is, we would need sales of the top contenders within a close period of time, and even then people could still debate the circumstances of the sales, etc. The only actual fact here, on which this misleading statement is based, is that this stamp holds the world record sales price for a stamp, and that fact (not an unprovable speculation that this stamp today is worth more than the British Guiana magenta or the Z Grill) is what this article should state. Therefore, I propose changing the statement to something like "world record sales price for a stamp," or "highest price ever paid for a stamp." Ecphora (talk) 14:15, 13 September 2008 (UTC)
 * I do not interpret "most valuable stamp in the world" to mean that it will sell today for the highest price. An actual price can only be determined by an actual sale. But if you insist then "and holds the world's record sales price for a postage stamp" seems like the clearest phrase to use. Alternatively one could supplement the current phrase as follows: "… most valuable stamp in the world based on holding the record price paid for a postage stamp." ww2censor (talk) 16:01, 13 September 2008 (UTC)
 * Done. Ecphora (talk) 17:04, 13 September 2008 (UTC)

 * In reviewing the swap of Jennys for the Z Grill, it appears to me that one might add a footnote here on that transaction which, if factually referenced, certainly suggests a greater price paid although, technically, it was a "trade" not a "sale".  Perhaps there should be an article entitled "World's most valuable postage stamps" where all this could be collected.  Ecphora (talk) 17:16, 13 September 2008 (UTC)

 * I added that the sales price is from an auction for further clarity. Ecphora (talk) 19:22, 13 September 2008 (UTC)

In the News
http://money.aol.com/special/rarest-items-in-the-world

Wikipedia was cited in the AOL article. I think there's some kind of template involved when this happens, so I figure I'd let the editors on this page know. DurinsBane87 (talk) 23:55, 31 January 2008 (UTC)

"The number of stamps printed in the wrong color is unknown"
The famous Tre skilling stamp came from a shipping constisting of 800 stamps (8 times 10x10), wich was made prior to the next originally planned delivery, because a couple of post offices had ran out of 8-skilling stamps. A false start that was not planned. Hence, there could have been at most 8 yellow treskilling stamps (of wich only one is known). Perhaps this should be mentioned in the article. However, my english is not good enough for me to dare to change anything, as you can see. You can read about this in a book that was published in 2005, called "Den gula treskillingen" (not Sven Åhmans book by the same title), by Lars Fimmerstad. /Swede —Preceding unsigned comment added by 193.12.19.250 (talk) 08:17, 1 June 2009 (UTC) najskuplja marka an svijetu

Value in text and info box don't correspond
The info box says US$2.06M and the text says more than US$2.3M perhaps a mis type. — Preceding unsigned comment added by 41.241.162.25 (talk) 09:16, 4 April 2012 (UTC)

File:Gul tre skilling banco.jpg to appear as POTD
Hello! This is a note to let the editors of this article know that File:Gul tre skilling banco.jpg will be appearing as picture of the day on May 16, 2013. You can view and edit the POTD blurb at Template:POTD/2013-05-16. If this article needs any attention or maintenance, it would be preferable if that could be done before its appearance on the Main Page. Thanks! — Crisco 1492 (talk) 23:04, 29 April 2013 (UTC)

title: Talk:Treskilling Yellow


text:
Gov't Mule

Gov't Mule (pronounced "Government Mule") is an American Southern rock jam band, formed in 1994 as a side project of the Allman Brothers Band by guitarist Warren Haynes and bassist Allen Woody. Fans often refer to Gov't Mule simply as Mule.

The band released their debut album, Gov't Mule, in 1995, and have since released an additional nine studio albums, plus numerous EPs and live releases. Gov't Mule has become a staple act at music festivals across North America, with both its members and frequent guests from other notable bands adding various funk and blues rock elements to the band's sound.

Formation
When the Allman Brothers Band reformed in 1989, partially in response to the popularity of their Dreams box set, Warren Haynes was added as a permanent lead guitarist and vocalist, and Allen Woody was recruited as bass guitarist. The two shared a love for 1960s power trios like Cream, the Jimi Hendrix Experience, the James Gang, and Mountain. Haynes, Woody, and drummer Matt Abts, who played with Haynes in Dickey Betts' band, came together as Gov't Mule during Allman Brothers breaks. They released their debut album, Gov't Mule, produced by Michael Barbiero, in 1995. Live at Roseland Ballroom was released in 1996, consisting of their 1995 New Year's Eve set opening for Blues Traveler.

When the Allman Brothers Band were not forthcoming with any new material, Haynes and Woody left to concentrate full-time on Gov't Mule in 1997. Their second studio effort, Dose, also produced by Barbiero, was released in early 1998. They were joined by members of the Allman Brothers, the Black Crowes, Parliament/Funkadelic and the Derek Trucks Band for their 1998 New Year's Eve concert, released both in a two and four CD version as Live... With a Little Help from Our Friends. The performances exposed some of the bands' influences, covering Neil Young, Free, Traffic, Jimi Hendrix, Little Feat, Humble Pie and Black Sabbath.

Death of Allen Woody
In February 2000, the band released Life Before Insanity, to critical praise, and although the band had already experienced previous successes, they anticipated a greater commercial success with this album. Unfortunately, Allen Woody was found dead in New York City on August 26 of that year. On September 21, 2000, a benefit concert was organized called "One for Woody", with the proceeds going to Woody's daughter, Savannah Woody, intended for her education. The Allman Brothers, the Black Crowes, Phil Lesh and Friends, Jimmy Herring, Edwin McCain and several more of Woody's friends also performed at the concert. Haynes and Abts continued to do limited touring in the Fall of 2000 supporting Ben Harper and the Innocent Criminals as an homage to Woody. Their subsequent "Smile at Half Mast Tour" that followed was named in reference to a poem Haynes wrote for Woody's funeral.

At the "One for Woody" performance and subsequently at other shows, Haynes began appearing with the Allman Brothers Band again. With Dickey Betts' departure from the Allmans, Haynes came back full-time to the band at the beginning of 2001 and has continued splitting his time between the Allman Brothers, Gov't Mule and for a period Phil Lesh and Friends and other re-formed Grateful Dead bands.

The next year, Barbiero, Haynes and Abts began to record a tribute album. using some of Woody's favorite bass players. These sessions resulted in two CDs The Deep End, Volume 1 (2001) and The Deep End, Volume 2 (2002). A documentary of the recording sessions was also made by Phish bassist Mike Gordon called Rising Low. Bass contributions to the CDs came from Jack Bruce, formerly of Cream, John Entwistle of the Who, Mike Watt of Minutemen, Les Claypool of Primus, Flea of the Red Hot Chili Peppers, Chris Squire of Yes and Stefan Lessard of Dave Matthews Band among others.

A revolving door of keyboardists and bassists were used to fulfill touring engagements in support of the Deep End recordings. Keyboardists included Chuck Leavell, Rob Barraco, Page McConnell and Danny Louis. Bassists included, among others, Dave Schools of Widespread Panic, Oteil Burbridge who already had filled Woody's former place in the Allman Brothers, Les Claypool of Primus, Victor Wooten of the Flecktones, George Porter Jr. of the Meters, Jason Newsted (formerly of Metallica), Greg Rzab formerly of the Black Crowes and the Buddy Guy Band, and Andy Hess, also formerly of the Black Crowes. Louis and Hess were eventually named as permanent members of Gov't Mule.

Beginnings of the Quartet
The first CD with Louis and Hess, Deja Voodoo, was released in September 2004. The album won the Jammy award for Best Album and was the last studio album involving Michael Barbiero as producer and engineer. Additional material from those sessions was released in 2005 as Mo' Voodoo. The new lineup's second full release, High & Mighty, was released on August 22, 2006, and it was followed in 2007 by a dub/reggae album called Mighty High – including versions of covers and original songs with special guest appearances by Michael Franti, Toots Hibbert, and Willi Williams.

Gov't Mule continues to tour extensively and has become a staple act at many music festivals including Bonnaroo, Wakarusa, Mountain Jam, Vegoose, All Good, and their annual New Orleans Jazzfest night show, where they filmed and recorded the last show of the Deepest End tours, with 17 guest musicians in a six-hour show.

Every year since 1989, Warren Haynes hosts the Annual Christmas Jam in his hometown of Asheville, North Carolina. The concert usually takes place the first weekend in December at the Asheville Civic Center, as a fundraiser for Habitat For Humanity. Many artists who play at the Christmas Jam also perform separate gigs in various Asheville clubs, usually the day before the Jam proper. The Pre-Jam, as it is called, features many of the same artists, in smaller clubs. The 19th edition of the Jam took place on December 15, 2007 with performances by Grace Potter and the Nocturnals, Shelly Colvin, Jason Isbell, Jackson Browne, G. Love, Bruce Hornsby, Peter Frampton, and others. Gov't Mule headlined.

On June 28, 2008, while keyboardist Danny Louis was drafted by Cheap Trick to revisit Sgt. Pepper at the Hollywood Bowl, Gov't Mule performed as a power trio for the first time since 2000, this time with its regular bassist Andy Hess. The band titled their set "Old School Mule" and ran through some of their older songs such as "Wandering Child" and "Thorazine Shuffle".

On September 15, 2008, Haynes' wife, Stefani Scamardo announced on her Sirius radio show that Andy Hess would be leaving the band and a new bassist would be in place for the fall tour. Hess was subsequently replaced by Jorgen Carlsson, who had been rehearsing with the band for six months.

Enter Carlsson
On August 17, 2009, it was announced on the band's official website that Gov't Mule's eighth studio album, By a Thread, would be released on October 27, 2009. On the same date, the first track of the new album, "Broke Down on the Brazos", featuring Billy Gibbons of ZZ Top, was made available for listening on the website.

On October 31, 2009, Gov't Mule gave a special Halloween concert at the Tower Theater outside Philadelphia. From the Gov't Mule web site: "Following in the tradition of 2007's Holy Haunted House and last year's Pink Floyd spectacular, the band, once again, has something very special planned for the occasion." This third in their series of Halloween shows featured a first set of over two hours, composed entirely of Rolling Stones covers. Previous sold-out shows had featured covers of Led Zeppelin's Houses of the Holy and an assortment of Pink Floyd compositions.

Gov't Mule played at the "Island Exodus" in Negril, Jamaica in January 2010, at the all-inclusive resort The Grand Lido Negril. The First Island Exodus consisted of three Gov't Mule shows and a Warren Haynes solo show. Also appearing at this event were Grace Potter and the Nocturnals, Ron Holloway, and DJ Logic.

Gov't Mule also played at the Hangout Music festival on Saturday, May 15, 2010, and at the Azkena Rock Festival in Vitoria-Gasteiz, Spain, on June 24, 2010. The band also opened up for the Dave Matthews Band on Friday, July 30, 2010, at Cruzan Amphitheatre, in West Palm Beach, Florida.

In October 2010, Gov't Mule celebrated Halloween at the Fox Theater in Oakland, California. Warren Haynes and company used their first set to cover the Who's album Who's Next in its entirety.

Except for its regular festival appearances, the band was mostly on hiatus during the early part of the decade while band members pursued other projects, particularly Haynes and his Warren Haynes Band. In the summer of 2013, the band gave details on their album Shout!, their first studio album in four years and their first release on Blue Note Records, which was released on September 24 of that year. In what Haynes contends is a first, the album included a bonus disc consisting of covers of the album's tracks by artists including Elvis Costello, Dr. John, Grace Potter and Steve Winwood.

On December 31, 2013, Gov't Mule performed with Robby Krieger, the guitarist from the Doors, at the Beacon Theatre in New York City.

The following year, they performed at the Beacon Theatre again with Myles Kennedy of Alter Bridge. They performed 18 classic AC/DC songs in a second set with Kennedy on vocals for the New Year's Eve "Back at the Beacon" show.

Recent years
On June 9, 2017, Gov't Mule released their tenth studio album Revolution Come... Revolution Go on Fantasy Records. Following the Rolling Stone premiere of "Stone Cold Rage", "Sarah, Surrender" was premiered exclusively at KBCO, and the album launched for pre-orders on April 12. When talking about "Stone Cold Rage", Haynes points out that the song represents "the divide that's going on in our country right now." He explains that "even though it was written before the election, it was written knowing that whichever way the results went, we were going to have close to fifty percent of the nation very angry. Musically, it's an aggressive up-tempo rock song that reflects the anger of the lyrics, but with a sense of sarcasm and humor."

On the heels of the release of their new record, Revolution Come... Revolution Go, Gov't Mule kicked off their extensive tour, including stops at New Orleans Jazz & Heritage Festival with Soulive, New York and Philadelphia with Chris Robinson Brotherhood, a return to Europe, 14 dates with Galactic up and down the East Coast/Mid-West, a night at Red Rocks, festival sets at The Peach Music Festival, Lockn' Festival, Summer Camp Music Festival and Del Fest, and four shows with Blackberry Smoke. Appearing as festival-closing headliner for the King Biscuit Blues Festival, the band was joined in a 40-minute encore by blues musicians Larry McCray and Bob Margolin. In 2019, the Mule released a full-length concert film and accompanying recording, Bring on the Music, which was recorded at Port Chester, New York's Capitol Theatre.

Peace... Like a River followed in 2023. Days prior to the release, Jorgen Carlsson announced he was departing the band, to be replaced on tour by Kevin Scott.

Members
Current members
 * Warren Haynes – guitar, lead vocals (1994–present)
 * Matt Abts – drums, percussion, vocals (1994–present)
 * Danny Louis – keyboards, guitar, trumpet, vocals (2002–present)
 * Kevin Scott – bass (2023–present; touring 2022-2023)

Former members
 * Allen Woody – bass, mandolin, vocals (1994–2000; his death)
 * Andy Hess – bass (2003–2008)
 * Jorgen Carlsson – bass (2008–2023)

Discography
Following is a listing of Gov't Mule's major releases. Nearly every concert that Gov't Mule plays is recorded and sold online in both high- and low-resolution MP3 format, and in the lossless FLAC format.

title: Gov't Mule


text:
Dale Alexander

David Dale Alexander (April 26, 1903 – March 2, 1979), nicknamed "Moose", was an American baseball player and manager.

A native of Greeneville, Tennessee, Alexander played professional baseball, principally as a first baseman, for 20 years from 1923 to 1942, including five years in Major League Baseball with the Detroit Tigers (1929–1932) and Boston Red Sox (1932–1933). At six feet, three inches and 210 pounds, he was one of the American League's best hitters from 1929 to 1932. He led the American League with 215 hits as a rookie in 1929, totaled 272 RBIs in his first two major league seasons, and won the major league batting title in 1932 with a .367 batting average. In five major league seasons, he compiled a .331 batting average with 811 hits, 61 home runs and 459 RBIs.

In May 1933, Alexander sustained third degree burns on his leg and later developed gangrene after being given diathermy treatment for a twisted knee. The burns and infection limited his mobility and effectively ended his major league career. He continued to play in the minor leagues until 1942, compiling a .334 batting average with 2,145 hits and 1,171 RBIs in minor league play. He also served as a minor league manager for the Sanford Lookouts (1939), Thomasville Tourists (1940), Selma Cloverleafs (1941), Greeneville Burley Cubs (1942), Knoxville Smokies (1946–1948), and Jacksonville Tars (1950). He also served as a scout for the New York Giants and Milwaukee Braves in the 1950s and 1960s.

Early years
Alexander was born in Greeneville, Tennessee, in 1903. He was raised on a family farm that had been in his family since the 18th century. He attended Milligan College where he was an outstanding end and punter on the school's football team. He also played basketball and baseball at Milligan and later played baseball for Tusculum College.

Minor leagues
Alexander began playing professional baseball for his hometown team, the Greeneville Burley Cubs of the Appalachian League, in 1923 and 1924. In 1924, he compiled a .332 batting average with 28 doubles and 10 triples in 114 games. He moved on to the Charlotte Hornets of the South Atlantic League, batting .331 in 1925 and .323 in 1926.

Alexander next played for the Toronto Maple Leafs of the International League. In 1927, he compiled a .338 batting average with 26 doubles, 11 triples and 12 home runs and 97 RBIs. The next year, he won the International League triple crown with a .380 batting average, 31 home runs, and 144 runs batted in. After his 1929 season, expectations for Alexander were high, with some writers comparing him to Babe Ruth.

Detroit Tigers
On December 5, 1928, the Detroit Tigers purchased Alexander and pitcher Augie Prudhomme from Toronto for $100,000 cash and three players to be named later. In 1929, Alexander won the first base job with the Tigers, starting 155 games at the position. He compiled a .343 batting average, scored 110 runs, and led the American League with 215 hits. He also ranked among the American League leaders with 83 extra base hits (second), 363 total bases (second), 137 RBIs (third), 25 home runs (fifth), a .580 slugging percentage (fifth), 43 doubles (fifth), and 15 triples (fourth). After a tremendous rookie season, comparisons to Babe Ruth continued with one writer even dubbing him the "Prince of Swat".

In 1930, Alexander started 154 games at first base for the Tigers and compiled a .326 batting average with 20 home runs and 135 RBIs. In his first two major league seasons, Alexander had 272 RBIs. The only player with more RBIs in his first two major league seasons was Joe DiMaggio in 1936 and 1937. Alexander also had the longest hitting streak of the 1930 season, a 29-game streak in which he had 41 hits in 121 at bats.

In 1931, Alexander appeared in 135 games, including 125 games as the Tigers' starting first baseman and four as a starter in left field. He compiled a stunning .490 batting average in the first two weeks of the season. He then had "a long layoff" in May and June after a spike injury became infected. His batting average dipped to .325 by the end of the season. Though his numbers were less impressive than in his first two seasons with the club, he compiled a .325 batting average, a .401 on-base percentage, and 87 RBIs.

In 1932, Alexander lost his job as the Tigers' starting first baseman as Harry "Stinky" Davis took over the post. During the first two months of the 1932 season, Alexander was used principally as a pinch-hitter and compiled a .250 average in 22 plate appearances in 23 games.

Boston Red Sox
On June 13, 1932, the Tigers traded Alexander with Roy Johnson to the Boston Red Sox, in exchange for Earl Webb, who had set a major league record with 67 doubles in 1931. Webb hit only 19 doubles for the Tigers in 1932 and retired one year later. Alexander won the American League batting crown with a .367 batting average in 1932. He beat Jimmie Foxx by a mere three points, depriving Foxx of the triple crown. Alexander was the first of only two major league batting champions to be traded to another team in the same league during the season in which he won the title, the second being Harry "The Hat" Walker, who won the National League batting title in 1947, after being traded from the St. Louis Cardinals to the Philadelphia Phillies, three weeks into the 1947 season. (In 1990, Willie McGee won the National League batting title despite being traded to the American League in late August). On August 6, 1932, Alexander broke up a no-hitter by Cleveland pitcher Wes Ferrell, who ended up with a one-hitter.

On May 30, 1933, Alexander twisted a knee in a game at Philadelphia. He was given diathermy treatment ("electrically induced heat" used for muscle relaxation) in the clubhouse by Red Sox trainer Doc Woods. Alexander's leg suffered third degree burns during the treatment, and gangrene eventually set in. "It was a new method of treatment and not too much was known about it", Alexander said, years later. "I noticed my leg felt awfully hot. I ended up with third-degree burns and a gangrene infection and almost lost my leg. I was finished in the Majors... I couldn't run and I couldn't field and when I got hurt, that was the end."

Alexander attempted a comeback but injured his leg again in July 1933 and saw limited action for the rest of the season, mostly as a pinch hitter. Alexander wound up hitting .281 in 1933 and played his last major league game on September 23, 1933, against the New York Yankees.

Minor league player
After 1933, Alexander's mobility and fielding suffered, but he was able to hit well enough to continue playing in the minor leagues, primarily as a first baseman, until 1942. Alexander's return to the minor leagues began in February 1934 when the Red Sox assigned him to the Jersey City Skeeters. The following month, he signed a contract to play for the Newark Bears in the International League. During the 1934 season, he appeared in 134 games for Newark, principally as a first baseman, and hit .336 with 123 RBIs, 14 home runs, 35 doubles, and seven stolen bases.

On November 3, 1934, the Newark club sold Alexander to the Kansas City Blues of the American Association for a price that was reported to be "one of the highest ever paid by an American Association club." He became the Blues' starting first baseman, appearing in 120 games in 1935. He compiled a .358 batting average in 1935 and set a new American Association record by hitting four home runs in a game against Minneapolis on June 14, 1935. In 1936, he appeared in 154 games for the Blues, including 153 at first base, and compiled a .315 batting average with 100 RBIs.

In December 1936, the Kansas City club sold Alexander to the Nashville Volunteers of the Southern Association. During the 1937 season, he appeared in 153 games for Nashville, 153 at first base, and compiled a .319 batting average with 109 RBIs.

On February 19, 1938, Alexander signed with the Chattanooga Lookouts of the Southern Association. He appeared in 140 games for Chattanooga, 137 at first base, and compiled a .309 batting average with 85 RBIs.

Minor league player-manager
In February 1939, Alexander, at age 36, was hired as player-manager for the Sanford Lookouts in the Florida State League. Alexander appeared in 98 games as a player, 96 as a first baseman, and compiled a .345 batting average with 80 RBIs and 14 stolen bases. He had the highest batting average on the Sanford team and led the team to a 98–35 record and a Florida State League championship.

He then spent the 1940 season as a player-manager for the Thomasville Tourists in the Georgia-Florida League. He compiled a .388 batting average in 91 games and 330 at bats for Thomasville.

In 1941, Alexander was hired as a player-manager for the Selma Cloverleafs of the Southeastern League. He compiled a career-high .438 batting average in 56 games, principally as a pinch-hitter, for the Cloverleafs.

In 1942, he returned to the Greeneville Burley Cubs, the hometown team with which he began his career in 1923. He served as a player-manager for Greeneville during the 1942 season. In his final season as a player, Alexander compiled a .158 batting average in 19 at bats.

During his minor league playing career, Alexander never hit under .300 until 1942, his final year as a professional baseball player. His minor league batting average was .334 with 2,145 hits and 1,171 RBIs. While serving as manager of the Greeneville club, he also ran an unsuccessful campaign to be elected as the sheriff of Greene County, Tennessee.

Tobacco farmer, manager and scout
Alexander was not associated with professional baseball from 1943 to 1945, instead operating a tobacco farm in his hometown of Greeneville, Tennessee.

He returned to coaching with the Knoxville Smokies from 1946 to 1948. He resigned his position with the Knoxville club on June 5, 1948.

After resigning from Knoxville and continuing through the 1949 season, Alexander served as a scout for the New York Giants covering the states of Kentucky and Tennessee. He was assigned by the Giants in July 1948 to manage the Bristol Twins.

In June 1950, Alexander was hired to take over mid-season as the manager of the last-place Jacksonville Tars in the South Atlantic League.

After retiring as a manager in 1950, Alexander returned to his job as a scout for the New York Giants. He continued as a scout for the Giants for 13 years from 1951 to 1962. He has been credited with signing infielder Ernie Bowman, a native of Johnson City, Tennessee, pitcher Jim Constable, a native of Jonesborough, Tennessee, first baseman Gail Harris, a native of Abingdon, Virginia, and pitcher Joe Shipley, a native of Morristown, Tennessee. He has also been credited with spotting Willie McCovey who grew up in Mobile, Alabama, and began playing in the Georgia State League. In November 1962, he was hired as a scout for the Milwaukee Braves with responsibility for Tennessee, northern Alabama, and southwestern Virginia.

Family and later years
In the winter between the 1931 and 1932 seasons, Alexander married Verna Hutton from his hometown of Greeneville, Tennessee. He had two sons, Don and Steve, both of whom played baseball. He was diagnosed with prostate cancer in 1970, and died in 1979 at Greeneville, Tennessee, at age 75.

title: Dale Alexander


text:
Jay DeFeo

Jay DeFeo (31 March 1929 – 11 November 1989) was an American visual artist who became celebrated in the 1950s as part of the spirited community of Beat artists, musicians, and poets in San Francisco. Best known for her monumental work The Rose, DeFeo produced courageously experimental works throughout her career, exhibiting what art critic Kenneth Baker called “fearlessness.”

Early life
Jay DeFeo was born Mary Joan DeFeo on 31 March 1929, in Hanover, New Hampshire, to a nurse from an Austrian immigrant family and an Italian-American medical student.

In 1932, the DeFeo family moved to the San Francisco Bay Area, where her father graduated from Stanford University School of Medicine and became a traveling doctor for the Civilian Conservation Corps. Between 1935 and 1938, DeFeo traveled around rural parts of Northern California with her parents, and also spent extensive time with her maternal grandparents on a farm in Colorado as well as with her paternal grandparents in the more urban Oakland, California. When her parents divorced in 1939, DeFeo joined her mother in San Jose, California, where DeFeo attended Alum Rock Union School and excelled in art.

In high school DeFeo acquired the nickname “Jay,” which she used as her common name for the rest of her life. An important early mentor was her high school art teacher, Lena Emery, who took her to museums to see works by Picasso and Matisse, opening up a new world to the young artist. DeFeo enrolled in the University of California, Berkeley, in 1946, studying with many well-known art professors, including Margaret Peterson O’Hagan. Fellow students included Pat Adams, Walter Askin, Sam Francis, and Fred Martin.

In her artwork, she resisted what she called "the hierarchy of material", using plaster and mixing media to experiment with effects, a thread one can see running through the art of that time, especially on the West Coast.

Beginning art career
In 1953 DeFeo returned to Berkeley, where she created large plaster sculptures, works on paper, and small wire jewelry. She met the artist Wally Hedrick and they married in 1954. At first they lived on Bay Street in San Francisco, close to the California School of Fine Arts, where DeFeo worked as an artist’s model. DeFeo focused on making jewelry to support herself, as well as creating small paintings and drawings. It was during this time that DeFeo had her first one-person exhibition at The Place, a San Francisco tavern and poets’ hangout. DeFeo also exhibited her jewelry at Dover Galleries in Berkeley, and was included in many group exhibitions over the next few years.

Early in 1955, DeFeo was featured— along with Julius Wasserstein, Roy De Forest, Sonia Gechtoff, Hassel Smith, Paul Sarkisian, Craig Kauffman, and Gilbert Henderson—in a group exhibition, "Action", independently curated by Walter Hopps in Santa Monica, where the featured paintings were installed around the base of a working merry-go-round. Later that year, DeFeo and Hedrick moved to 2322 Fillmore Street, into a spacious second-floor flat, where DeFeo was able to work on a larger scale. The Fillmore Street building—whose inhabitants at various times included the visual artists Sonia Gechtoff, Jim Kelly, Joan Brown, Craig Kauffman, John Duff, and Ed Moses; the poets Joanna and Michael McClure; and the musician Dave Getz—became a hangout for other artists, writers, and jazz musicians. The artist Billy Al Bengston remembers DeFeo as having “style, moxie, natural beauty and more ‘balls’ than anyone.”

Hedrick, Deborah Remington, Hayward Ellis King, David Simpson, John Allen Ryan, and Jack Spicer founded The 6 Gallery at 3119 Fillmore Street, at the location of the King Ubu Gallery, which had been run by Jess [Collins] and Robert Duncan. Joan Brown, Manuel Neri, and Bruce Conner would become associates of The 6 Gallery. DeFeo was present when Allen Ginsberg first read his poem Howl at the famous The 6 Gallery reading in 1955. In 1959, DeFeo became an original member of Bruce Conner’s Rat Bastard Protective Association.

In 1959, DeFeo was included in Dorothy Canning Miller’s seminal exhibition Sixteen Americans at the Museum of Modern Art in New York, alongside Jasper Johns, Ellsworth Kelly, Robert Rauschenberg, Frank Stella, and Louise Nevelson, among others. Following this she had a solo exhibition in Los Angeles at the Ferus Gallery, started by Walter Hopps and Ed Kienholz.

The Rose
DeFeo’s best-known painting, The Rose (1958–1966) preoccupied her for almost eight years. Selected by Thomas Hoving for his book Greatest Works of Art of Western Civilization, this masterwork stands over 3.2 meters tall and weighs over a ton. As she worked on it, DeFeo built up and then carved away at the paint, in an almost sculptural process. In the end a starburst motif emerged with ridges of white paint radiating out to rougher textured gray material sparkling with mica.

The greater part of DeFeo’s work on The Rose terminated when she was evicted from her Fillmore Street apartment in November 1965. Her friend Bruce Conner stated that an “uncontrolled event” was necessary to force her to finish this work, and he documented its removal from her apartment in a short film titled The White Rose (1967). As the film shows, the painting was so large that the wall below a window opening was cut out to allow the painting's removal. Conner captured DeFeo dangling her feet from a fire escape as she watched the work being removed by forklift and carried off in a moving van. The painting was taken to the Pasadena Art Museum (now called Norton Simon Museum), where DeFeo added finishing details in 1966, before taking a four-year break from creating art. In 1969, the work was finally shown in solo exhibitions at the Pasadena Art Museum and the San Francisco Museum of Art (now SFMOMA), with an accompanying essay by Fred Martin. Martin later arranged for the painting to be stored at the San Francisco Art Institute, where it remained hidden behind a wall, in need of conservation, until 1995, when the Whitney Museum of American Art conserved and acquired the work for its collection.

Artistic style and later career
During her four decades of making art, DeFeo worked in a variety of media, creating drawings, paintings, sculpture, jewelry, photographs, photocopies, collages, and photo collages. Using an experimental approach to each medium, DeFeo developed her own “visual vocabulary,” playing with scale, color vs. black/white, texture or the illusion of texture, and precision vs. ambiguity. She wrote, “I do believe that more so than most artists, I maintain a kind of consciousness of everything I’ve ever done while I’m engaged on a current work.” DeFeo often made her artwork in series, exploring, for example, light and dark versions, as well as mirror opposites. At times her artwork took off from a small quotidian object, such as a dental bridge or swimming goggles, transforming the everyday into something with “universal character.”

During the 1970s, DeFeo took a particular interest in photography. In 1970, a friend loaned her a Mamiya camera, and with the help of photography students in her art classes, she learned how to develop film and make prints. When DeFeo won a grant from the National Endowment for the Arts in 1973, she bought a Hasselblad camera and built a darkroom in her home, continuing to explore photography and photo collage for several years. "Untitled" (1973) is an example of a DeFeo photo collage in which she combines images of recognizable objects in surprising juxtapositions. In the late 1970s, DeFeo’s photography focused more on her work in progress in the studio, which evolved into a “visual diary” made of hundreds of contact sheets. During the 1980s DeFeo returned to oil paint, after working primarily in acrylic for a decade. In the summer of 1984, she traveled to Japan with her friend and fellow Mills College professor Mary-Ann Milford. This trip, along with an exhibit of Japanese helmets, inspired her 1987 Samurai drawing series. In the summer of 1987, DeFeo traveled to Africa, inspiring her to produce a series of abstract drawings called Reflections of Africa, using a generic tissue box as her concrete starting-off point. In Africa, DeFeo climbed to the summit of Mount Kenya (more than 17,000 feet), realizing a long-held dream of climbing a major mountain.

For years DeFeo taught art part-time at various Bay Area institutions, including the San Francisco Art Institute (1964–1971), the San Francisco Museum of Art (1972–1977), Sonoma State University (1976–1979), the California College of Arts and Crafts (1978–1981), and UC Berkeley (1980). She received her first full-time position at Mills College (1980–1989), where she eventually became the Lucie Stern Trustee Professor of Art.

Personal life
The 1965 eviction from Fillmore Street precipitated a breakup between Hedrick and DeFeo, culminating in divorce (1969). In 1967, she began a thirteen-year relationship with John Bogdanoff, a younger man, and they eventually settled in Larkspur in Marin County. Separated from Bogdanoff and teaching at Mills College, she moved to Oakland in 1981 and built out a large live/work studio where she continued to expand on her ideas through painting, drawing, photocopy, and collage. Her life was filled with many good friends, inspiring students, and friendly dogs. She was diagnosed with lung cancer in 1988 but continued to work prolifically. She died on 11 November 1989, at the age of 60.

Exhibitions and collections
The Whitney Museum of American Art, which holds the largest public collection of DeFeo’s work, presented a major retrospective from 28 February to 2 June 2013—also shown at the San Francisco Museum of Modern Art. Subsequent solo exhibitions of DeFeo’s work have been held at Gagosian, San Francisco (2020); the San José Museum of Art (2019); Mitchell-Innes & Nash, New York (2014 and 2018); Marc Selwyn Fine Art, Beverly Hills, CA (2016 and 2018); Galerie Frank Elbaz, in Dallas (2018) and Paris (2016), and Peder Lund, Oslo (2015), among others.

In the years since the seminal Sixteen Americans show, DeFeo’s work has been included in numerous group exhibitions, Paula Cooper Gallery (2021), The Menil Collection, Houston (2020), Addison Gallery of American Art, Andover, MA (2020), San Jose Museum of Art, San Jose (2020), Museum of Modern Art, New York (2019), The Anderson Collection at Stanford University (2019), The Getty Center, Los Angeles (2019), Tate Modern, London (2018), Secession, Vienna (2018), Victoria Miro Mayfair, London (2018), Le Consortium, Dijon (2018), Aspen Art Museum, Aspen, CO (2018), Musée National Picasso-Paris (2018), Mills College Art Museum, Oakland, CA (2018), Fraenkel Gallery, San Francisco (2018), CCA Wattis Institute for Contemporary Arts, San Francisco (2018), San Francisco Museum of Modern Art (2017), Whitney Museum of American Art, New York (2017), Musée d’Art Moderne de la Ville de Paris (2017), and Centre Pompidou, Paris (2016).

In 2016 her work was included in the exhibition Women of Abstract Expressionism organized by the Denver Art Museum. In 2023 her work was included in the exhibition Action, Gesture, Paint: Women Artists and Global Abstraction 1940-1970 at the Whitechapel Gallery in London.

In addition to the Whitney Museum of American Art, DeFeo’s work is in the collections of the Museum of Modern Art, the San Francisco Museum of Modern Art, the Art Institute of Chicago, the British Museum, Centre Pompidou, the J. Paul Getty Museum, the Menil Collection, the Smithsonian American Art Museum, the Los Angeles County Museum of Art, the Museum of Fine Arts, Houston, the Norton Simon Museum, the Berkeley Art Museum at the University of California, Berkeley, the di Rosa Center for Contemporary Art, and the Mills College Art Museum.

Legacy
The Jay DeFeo Foundation, a private foundation, was established under the terms of DeFeo’s will to encourage the arts, preserve her works, and further their public exposure.

title: Jay DeFeo


text: User talk:82.49.138.72

title: User talk:82.49.138.72


text: Talk:List of mosques

title: Talk:List of mosques


text:
Wikipedia:Articles for deletion/United States naval weapons

United States naval weapons was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete

Nothing but a list of red links, no change for almost a year. Joyous 03:19, Aug 11, 2004 (UTC)

 * Delete. Although I'm surprised it isn't a category yet... Securiger 05:57, 11 Aug 2004 (UTC)
 * Delete: Someone meant to come back to it and didn't. At present, it's a disambiguation for items that aren't here. Geogre 12:36, 11 Aug 2004 (UTC)
 * Yep, Delete this abandoned article. Agreed that it would make a good category. -- Stevietheman 14:50, 11 Aug 2004 (UTC)
 * Agree. Delete. Skyler 18:13, Aug 11, 2004 (UTC)This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.