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Jacques Copeau

Jacques Copeau (4 February 1879 – 20 October 1949) was a French theatre director, producer, actor, and dramatist. Before he founded the Théâtre du Vieux-Colombier in Paris, he wrote theatre reviews for several Parisian journals, worked at the Georges Petit Gallery where he organized exhibits of artists' works and helped found the Nouvelle Revue Française in 1909, along with writer friends, such as André Gide and Jean Schlumberger.

Twentieth century French theatre is marked by Copeau's outlook. According to Albert Camus, "in the history of the French theatre, there are two periods: before Copeau and after Copeau."

Early life and formative years
The child of a well-off middle-class family, the Paris-born Copeau was raised in Paris and attended the best schools. At the Lycée Condorcet, he was a talented but nonchalant student whose interest in theatre already consumed him. His first staged play, Brouillard du matin ("Morning Fog"), was presented on 27 March 1897 at the Nouveau-Théâtre as part of the festivities of the alumni association of the Lycée Condorcet. The former president of the French Republic, Casimir-Perier, and the playwright Georges de Porto-Riche both congratulated him on his work.

During the same period when Copeau was preparing his baccalauréat exams, he met Agnès Thomsen, a young Danish woman seven years his elder who was in Paris to perfect her French. They first met on 13 March 1896, and Copeau, then a seventeen-year-old high school student, quickly fell in love.

Eventually, Copeau passed his exams and began his studies in philosophy at the Sorbonne, but the theatre, extensive reading, and his courtship of Agnès left him little time to study and kept him from passing his exams for the licence, despite several attempts. Against his mother's wishes he married Agnès in June 1902 in Copenhagen. Their first child, Marie-Hélène (called Maiène), was born on 2 December 1902. In mid-April 1905 their second daughter, Hedwig, was born.

In April 1903, the young family made its way back to France where Copeau took up his duties as director of the family's factory in Raucourt in the Ardennes. He reinserted himself into a small literary coterie of friends, among them now, André Gide. While living in Angecourt in the Ardennes, Copeau frequently travelled to Paris where he made a name for himself as theatre critic-at-large for several publications. Back in Paris in 1905, Copeau continued his work as theatre critic, writing reviews of such plays as Ibsen's A Doll's House and Gabriele D’Annunzio's La Gioconda as well an overview of the structure of contemporary theatre published in L'Ermitage in February.

In July 1905, he took on a job at the Georges Petit Gallery where he assembled exhibits and wrote the catalogues. He stayed at the Petit Gallery until May 1909. During this period he continued to write theatre reviews and garnered a reputation as an astute and principled judge of the theatre arts. The sale of the factory in Raucourt gave him the financial independence that allowed him to pursue his literary activities. Copeau was one of the founders of the Nouvelle Revue Française (NRF), :61 a publication that was to become one of the leading arbiters of literary taste in France.

"Liberated", as he said, from his duties at the gallery and from management concerns at the Raucourt factory, Copeau launched himself into his work. In 1910, he bought Le Limon, a piece of property in the Seine-et-Marne département, away from the distractions of Paris. He worked on a stage adaptation of Dostoyevsky's The Brothers Karamazov along with his friend from school, Jean Croué, finishing it by the end of 1910. He was now ready to work in the theatre as a practitioner not only as critic.

The play was staged in April 1911 under the direction of Jacques Rouché at the Théâtre des Arts, receiving favorable reviews. Charles Dullin, who played the role of Smerdiakov, was particularly singled out for a fine performance. A second staging of the adaptation the following October, with Louis Jouvet in the role of Father Zossima, confirmed the earlier critical claim.

The Théâtre du Vieux-Colombier
Copeau wanted to rid the Paris stage of the rank commercialism and tawdriness represented by the boulevard theatre. He wanted to move the theatre to a simpler style, freed from the ornamentation that obscured even the finest texts. On the Left Bank, on the rue du Vieux-Colombier, he rented the old and dilapidated Athénée-Saint-Germain, an unlikely venue for the utopian ideals of Copeau, but its location at distance from the commercial theatre district gave a signal that he intended to pursue a new path. He named the theatre after the street so that it could be found more easily. In the spring of 1913, with the help of Charles Dullin in whose Montmartre apartment the auditions took place, Copeau started to assemble a company. Besides Dullin and Louis Jouvet, whom he took on principally as stage manager, he hired, among others, Roger Karl and Suzanne Bing.

During the summer of 1913, Copeau took his troupe to Le Limon, his country house in the Marne valley. The return of the troupe to Paris at the beginning of September, coincided with the publication in the NRF of Copeau's Un essai de rénovation Dramatique: le théâtre du Vieux-Colombier ("Essay on Dramatic Renewal: The Théâtre du Vieux-Colombier"), in which he set forth the principles of this project: first, the choice of place far from the despised Right Bank boulevard in a district closer to schools and the center of artistic life where the new theatre might attract an audience of students, intellectuals and artists with a subscription system that would assure reasonable prices; second, a variety of productions—as many as three different productions a week, which would not only appeal to a wider public, but would offer the actors the opportunity to play several different sorts of roles in quick succession, maintaining the suppleness of their interpretive skills; third, a repertoire both classic and modern would mark the offerings of the company: the classic plays of Jean Racine and Molière—never put in modern dress to keep them à la mode—and the best plays of the previous thirty years. Copeau wanted to entice new playwrights, perhaps those who had despaired that the theatre would ever present works of quality. And, fourth, he held in disdain ham acting or cabotinage, so common in the commercial theatre.

He proposed eventually a school for young actors in order to create a new cohort of actors whose taste and instincts would remain above compromise. Lastly, he proposed a simple stage freed from the overworked scenic machinery that had become commonplace: "Pour l'œuvre nouvelle, qu'on nous laisse un plateau nu" ("For our new undertaking, just give us a bare platform"), he wrote (Registres I, p. 32). At the beginning of October, there appeared on the kiosks of Paris a poster announcing Copeau's appeal to the youth to reject the commercial theatre, to a literate public who wanted to see preserved the classic master pieces of both the French and foreign theatre and to all those who wanted to support a theatre that would excel through its fair prices, variety, and quality of its interpretations and staging. Many years of hard work preceded his Appel, but the "Old Dove-cote" theatre was now ready to open.

During the first season, Copeau kept his promises. He staged plays from the classics, fairly recent works of quality, and the offerings of new playwrights from outside the theatre such as Jean Schlumberger and Roger Martin du Gard. The Théâtre du Vieux-Colombier was inaugurated with a little ceremony on 22 October 1913 and opened with its first public performance on the next evening with Heywood's A Woman Killed By Kindness ("Une femme tuée par la douceur"), but the Elizabethan melodrama did not impress the critics and the public remained indifferent. Molière's Amour médecin, however, received a more promising reception. The Schlumberger offering, Les Fils Louverné ("The Louverné Sons"), a rather austere drama about sibling conflict, was followed by Alfred de Musset's Barberine, a delightfully poetic piece that charmed the public and showed off the talents of the young company on a bare stage. Dullin triumphed in his signature interpretation of Harpagon in Molière's L’Avare ("The Miser") and the troupe showed its physical dexterity in Molière's farce, La Jalousie du Barbouillé ("The Jealousy of Barbouillé").

They performed Paul Claudel's L’Échange ("The Exchange"); dating from 1894 when he was in "exile" as a diplomat in Boston, the play deals with the relationship between spouses. A popular revival of the Copeau-Croué adaptation of The Brothers Karamazov saw Dullin once again as Smerdiakov, Jouvet as Feodor, and Copeau as Ivan. In May, the troupe, exhausted but buoyed by its artistic and sometimes critical successes, staged an adaptation of Shakespeare's Twelfth Night or Nuit des rois to close the season.

Both in its preparation and mise-en-scène, Nuit des rois has entered into legend. Stories abound of Copeau and Jouvet working forty-eight hours non-stop to set the lighting and of Duncan Grant, the English artist who created the costumes, chasing after actors to apply one last dab of color just before the curtain was to come up. The play garnered both critical and public acclaim. With Jouvet as Sir Andrew Aguecheek, Suzanne Bing as Viola, Blanche Albane as Olivia, and Romain Bouquet as Sir Toby Belch, in a startlingly simple stage setting, the play called upon the audience's imagination in a way that had not been seen on a Paris stage since Paul Fort, an earlier reformer who had worked in the theatre in the 1890s. Enthusiastic crowds finally queued up to see this rendition of "real Shakespeare" (Kurtz, pg. 31), but the run closed as scheduled for the troupe was off to Alsace on tour.

During World War I
Planning for the next season began in earnest, but August 1914 brought the outbreak of the First World War. With the men of the troupe called up for duty, including Copeau, there remained no choice but to close the theatre. Remanded to Paris, he kept a thriving correspondence with Jouvet and Dullin about the theatre. With Jouvet, he pondered the various possibilities of stagecraft and how the stage at the Vieux-Colombier could be shaped to fit their ideas about a "nouvelle comédie"—a new comedy reminiscent of the Italian commedia dell'arte. From their discussion came the concept of the "loggia" or a unit set that would be developed and used during the New York years and at the Vieux-Colombier in Paris after the war.

At first, Copeau busied himself with an adaptation of Shakespeare's The Winter's Tale along with Suzanne Bing while news from the front worsened. A telegram in August 1915 from Edward Gordon Craig inviting him to Florence to discuss a possible staging of Johann Sebastian Bach's The Passion According to Saint Matthew was greeted with enthusiasm. A month in Florence discussing with Craig, himself an important reformer of the theatre, helped put many of his own ideas in perspective for Copeau and Craig did not always agree on the means to reach their goal of a theatre renewed.

Before the war Craig had founded a school at the Arena Goldoni where his students studied acting and stagecraft. For Craig any reform of the theatre had to begin with the training of the actor but he did not believe, as did Copeau, that it was possible. His idea of the übermarionnette, the super-marionnette, to replace the human actor completely was a product of the lack of faith in the possibility of educating the actor.

On his return trip to Paris, Copeau stopped in Geneva for further discussions on the theatre with the scene designer Adolphe Appia and with Émile Jaques-Dalcroze, the musician and founder of the Institut de gymnastique rhythmique ("The Institute of Eurhythmics"). After having observed several of Jaques-Dalcroze's classes, he saw in Dalcroze's methods useful means for training young actors in movement. Upon his return to Paris he and Bing immediately went about setting up training sessions for youngsters using Dalcroze's methods. They soon realized from these initial efforts that the method indeed had a lot to offer, but that they also had much to learn.

In the summer of 1916, Copeau received an invitation to organize a tour with the Vieux-Colombier in America, supposedly to counteract the influence of the German theatre in New York City, but also as a propaganda move to continue American support of the French cause. He immediately saw this as an opportunity to bring back his actors from the front and to reconstitute his theatre, but also as a means of shoring up the weak finances of the Vieux-Colombier. But his efforts to free his actors from military duty proved futile and so he left alone in January 1917 for a lecture tour in the United States.

In New York
Several laudatory articles in the New York press preceded his arrival. In the New York Times for example, an article by Henri-Pierre Roche carried the title: "Arch-Rebel of the French Theatre Coming Here." Copeau's presence in New York City attracted the attention of many, but none more influential in regard to his goals than Otto H. Kahn, the philanthropist and patron of the arts. Kahn invited Copeau to dinner at his mansion on East 68th Street and then from the table to the theatre to see George Bernard Shaw's Getting Married.

The next day Copeau accompanied Mrs. Kahn to the Metropolitan Museum. Sufficiently impressed by what he learned from Copeau and from others, on 19 February Kahn offered to Copeau the directorship of what was known as the Théâtre Français, the French-language theatre that had been languishing under the directorship of Etienne Bonheur. He offered to Copeau the Bijou Theatre, a new house that opened in April 1917.

Copeau chose rather an older theatre, the Garrick Theatre on West 35th Street which housed the Théâtre Français, because he felt that with the proper renovations, among other considerations, it would better suit the unit set he had conceived with Jouvet. For the renovations, he hired a young Czech architect, Antonin Raymond, whose modernist concepts coincided well with his ideas of stagecraft. From March through April he delivered some dozen lectures on topics such as Dramatic Art and the theatre Industry, The Renewal of Stagecraft, and The Spirit in the Little Theatres.

When the inauguration of the Théâtre Français de New York took place at the Metropolitan Opera on 17 May 1917, Copeau had negotiated a generous contract with Otto Kahn and the board of directors and was ready to return to Paris with a letter of credit for $18,000 to cover the costs of preparation for the season in New York City.

The summer in Paris proved to be a busy one: the repertoire for the coming season needed to be chosen; costumes, assembled; and his troupe, reconstituted. The latter proved a daunting task. Jouvet was finally given leave from his duties at the Front, but the authorities refused to release Dullin. Jouvet constructed a model set, given the dimensions of the stage area at the Garrick while in New York the young Antonin Raymond battled with the Shubert brothers and their architect over the renovations to the theatre.

With the intervention of Kahn, who footed the bill, and Mrs. Philip Lydig, who was overlooking many of the decorative details of the hall itself, the old Garrick finally started to take shape. Jouvet, who knew that the design of the stage was essential to the success of the repertory that Copeau projected, left France in early October to oversee the final preparations of the stage. When the troupe arrived in New York on 11 November 1917, all was not ready for the season. Renovations on the stage remained unfinished, the subscriptions for the season were not quite as substantial as initially reported, and housing for the actors was not available as projected and they were put up in hotels.

On 26 November 1917, the Théâtre du Vieux-Colombier de New York opened its season on the stage of the renovated Garrick Theatre with an Impromptu du Vieux-Colombier, a piece written especially for the occasion by Copeau, and Molière's Les Fourberies de Scapin ("Scapin's Pranks"). In the center of the stage stood the bare platform Copeau had asked for in his Appel, which allowed the actors to wander about the stage until they were needed in a particular scene. The freedom of movement did not go unnoticed by the critics, as John Corbin of the New York Times remarked: "it renders possible many combinations and groupings, all sorts of telling encounters." During the first season, Vieux-Colombier in New York staged twenty-one different plays. Among them were ten plays from the first season in Paris but with a different casts since not all the original members of the troupe came to New York: Molière's La Jalousie du Barbouillé, L'Avare and L'Amour médecin, Musset's Barberine, the Copeau/Croué adaptation of Dostoevsky's The Brothers Karamazov, and Nuit des rois, the adaptation of Shakespeare's Twelfth Night shared the stage with Le Carrosse du Saint-Sacrement ("The Carriage of the Holy Sacrament") of Prosper Mérimée, La Surprise de l'Amour (Love's Surprise) of Musset, and Poil de Carotte (Carrot Head) of Jules Renard.

As during the first season, a mixture of both classic and modern plays, some by living authors, served as the basis of the repertoire. At the close of the New York season, Copeau took his troupe to Washington, D.C. and to the Little Theatre in Philadelphia where they presented ten different plays. In early May, they performed L'Avare at Vassar College to close their season.

Certain offerings of the Vieux-Colombier received critical and popular acclaim. To no one's surprise The Brothers Karamazov, with Dullin, who finally arrived in New York in March 1918, in the role of Smerdiakov and later in his well-received role as Harpagon, the miser, counted among the successes. Nuit des rois also burnished the company's reputation. Some plays, such as Octave Mirbeau's Les Mauvais Bergers (The Evil Shepherds), ended with an almost empty house as the audience stalked to the exits during the play before the final curtain.

On 20 May, the entire troupe wended its way to the palatial estate of Otto Kahn in Morristown, New Jersey where they were to prepare the 1918-19 season of twenty-nine plays of which twenty-six would be new plays. Copeau, the taskmaster, established a rigorous regimen of rehearsals and exercises starting early in the morning and ending late in the day before dinner. The fatigue from the exertions of the first season, the hot summer, the rationed food, now that the United States was part of the war effort, took their toll on the spirits of these French actors and actresses. A bout of typhoid fever among the Copeau and Jouvet children and fear of the Spanish influenza added to the consternation.

The second season opened with a piece by Henri Bernstein, Le Secret, which had already played on Broadway. But Copeau was made aware that he needed to bow somewhat to popular taste if the Vieux-Colombier was to succeed financially. The second offering of the season—Pierre Beaumarchais's Le Mariage de Figaro—proved to be both a critical and popular success and maintained Copeau's standards. Among the other successes was Henrik Ibsen's Rosmersholm in a translation by Agnès Thomsen Copeau with Dullin as Rosmer and Copeau in the role of Kroll.

Copeau considered the aesthetic highlight of the season Maurice Maeterlinck's Pelléas et Mélisande, principally because of the way the unit set with subtle lighting and the judicious use of banners on its several levels allowed an uninterrupted flow of action in this major work of the Symbolist movement. The dispute between Copeau and several members of the company, including Dullin, led to their dismissal by the end of January. The season ended with an Impromptu, during which all the members of the troupe who remained played short scenes representing their major portrayals. At the end of the presentation, all the costumes were placed in the wicker baskets marked with the two doves representing the Théâtre du Vieux-Colombier.

Before Copeau returned to Europe, he must have been buoyed by the positive reaction of the critics, some of whom did not always look kindly upon the Vieux-Colombier's offerings. The critic of The Nation who had consistently praised Copeau's efforts wrote: "The Vieux-Colombier has not only afforded New York a continually varied feast of inspiration and refreshment but it has set for us a new and practicable standard by which American dramatic art may be tested".

The Paris years: 1920–1924

 * The theatre and the School are one and the same thing.—Notebook of Suzanne Bing

Upon his return to Paris, Copeau needed a period of rest and reflection, but certain pressing tasks demanded his time. He finished the adaptation of The Winter's Tale, which would be the first offering when the theatre reopened in January 1920, and with Jouvet he oversaw the renovations to the stage and the lighting at the Vieux-Colombier. A unit set compatible with the dimensions of the stage area and the installation of an innovative lighting system controlled from backstage—baptized jouvets—were installed. More important in the eyes of Copeau, a school of dramatic arts remained essential if he was to realize the renewal of the theatre that had been his dream for over a decade.

The theatre opened its doors on 9 February 1920 with The Winter's Tale on the renovated stage. The almost bare stage and the gray walls in the background puzzled critics and the public alike. The next offerings, Charles Vildrac's Le Paquebot Tenacity (The Steamboat Tenacity) and Prosper Mérimée's Le Carrosse du Saint-Sacrement elicited both critical and popular favor. The story of two young men, Ségard and Bastien, waiting for the S.S. Tenacity with its love interest—Ségard runs off with a barmaid, Thérèse, to live out his life in France and its sense of both adventure and loss: Bastien leaves for Canada—was more readily acceptable.

By the end of the season, which ended with La Fontaine's La Coupe Enchantée ("The Enchanted Goblet"), a holdover from New York, the company had also performed Georges Duhamel's L'Oeuvre des athlètes ("The Athlete's Work""), Jules Romains's Cromedeyre-le-Vieil, and Emile Mazoud's La Folle Journée ("What a Crazy Day"), works by contemporary writers newly initiated into the theatre. After two years in New York, this was a company of proven theatrical skills in plays from various eras and of diverse styles.

By the end of February auditions were being held for the "Classes at the Vieux-Colombier", an undertaking Copeau asked Suzanne Bing to organize. Some of the students worked already for the Vieux-Colombier, others were students of actors at the Comédie-Française, but in all a rather mixed group with widely different backgrounds. The classes, which took place in a room in the courtyard behind the theatre, were devoted to close readings of texts with emphasis not only on the meaning but the rhythms as well as physical exercises and improvisations. The sessions ended in June with a charade presented before Copeau and a few friends of the Vieux-Colombier which le patron found quite satisfying (Registres VI, p. 225).

At the end of the shortened spring 1920 theatre season, the Vieux-Colombier, although an aesthetic success, found itself in debt. The theatre, now smaller because of the apron that extended from the stage, was barely economically viable. Copeau called upon the generosity of the Friends of the Vieux-Colombier who helped fill its coffers. The school, meanwhile, lacked sufficient space to expand its enrollment or its curriculum.

Despite efforts on the part of Jouvet during the summer, no suitable space was found. The school started up in December, using space on the second floor of the building that housed the theatre. Suzanne Bing was again in charge of the young people between the ages of fourteen and eighteen years old, and Copeau also offered a course of the "History of the theatre." But this experiment was far from the elaborate program that Copeau had in mind.

The 1920/1921 season at the Vieux-Colombier began with popular re-runs from previous season, opening with Vildrac's Le Paquebot Tenacity followed by Nuit des rois, which Parisians had not seen since the end of the first season in 1914. The highly demanding Vieux-Colombier audiences were happy to see fine performances of classics under the deft direction of Copeau. Critics, though, wondered when new plays would be on the bill. In January, Copeau staged Henri Ghéon's Le Pauvre sous l'escalier ("The Beggar under the Staircase"), the story based on the medieval tale of the life of Saint Alexis. La Mort de Sparte ("The Death of Sparta"), a play by Copeau's friend Jean Schlumberger dating from before the war, garnered neither critical nor popular praise.

The highlight of the 1921/1922 season was the opening the School of the Vieux-Colombier in a building on Rue du Cherche-Midi, around the corner from the theatre. Courses began in November under the directorship of Jules Romains, author and graduate of the École Normale Supérieure. Among the teaching staff were Copeau himself who would teach a course on the theory of the theatre and Greek tragedy, and Jouvet who taught a complementary course on the Greek theatre from the point of view of its architecture. Bing taught the beginning course on reading and diction and along with Copeau a course on the formation of the dramatic instinct. Copeau's daughter Marie-Hélène was in charge of a workshop on the use of different materials, on geometric design, on costume design and production.

The fame of the Vieux-Colombier seemed to reach its apogee in the 1922-23 season. The house was filled for every performance and visitors to Paris complained of the impossibility of getting tickets to any of its offerings. Copeau organized a touring company to the provinces. Invitations to play in other countries in the off-season abounded. When Konstantin Stanislavski, the director of the Moscow Art Theatre, came to Paris in December 1922, he and his troupe were warmly received on the stage of the Vieux-Colombier. The influence of Copeau's principles to which he held without flinching was felt throughout Europe and the United States. Despite the fame, conflict arose.

Jouvet, who understood the economics of the theatre better than Copeau, knew that a larger theatre and a more profitable pricing system were needed. His proposal fell on deaf ears. When he was asked to direct at the Théâtre des Champs-Élysées, he chose his freedom. Even Romains decided that the Right Bank theatres were more hospitable to his work after Copeau rejected one of his plays. Despite the problems at the theatre, the school continued to thrive. Copeau allowed his young charges to appear in a production of Gide's Saül as the masked demons that taunt the king played by Copeau himself. The critical reaction was quite positive. The season ended, as the previous ones had, with the Vieux-Colombier in debt.

When the 1923/24 season opened, the Vieux-Colombier found itself in competition with former members of the company since Jouvet's and Dullin's theatre drew from the same public as Copeau. Its subscriber base reduced, the Vieux-Colombier no longer held the cherished spot in the heart of those theatregoers who sought quality in the theatre. For Copeau, two events marked the highpoints of the season: the staging of his long-awaited La Maison natale, a work that had its inception in various forms more than twenty years earlier, and the Noh play Kantan with the students of the school under the direction of Suzanne Bing.

Copeau's piece dealt with the theme of an autocratic father whose two sons, Maxime and Pierre, have already left the nest to find happiness elsewhere. André, the youngest son, remains at home, but is encouraged by his grandfather to search for his happiness. When the father dies, André is confronted with the choice of running the family's factory or self-fulfillment. Maxime returns, seeks forgiveness, and André, with his grandfather's blessing, leaves the family home. The play, found to be lacking in dramatic action, was not greeted with great critical acclaim, much to Copeau's chagrin. Kantan, on the other hand, represented for Copeau the culmination of two and a half years hard work with his apprentice actors and the fulfillment of a dream of over a decade.

The play never made it onto the boards of the Vieux-Colombier because Aman Maistre, one of the actors, sprained his knee, but Harley Granville-Barker and Adolphe Appia saw it in rehearsals. Barker, after having seen the play, was effusive in his praise for the effects of the training the students received at the Vieux-Colombier: "If you were able to do that in three years, in ten years you could do anything at all." (Registres VI, p. 401) The play, performed with masked characters, allowed the young actors to show off to good effect their grace, athleticism and voice training.

At the end of the season, the troupe undertook a tour through eastern France, Belgium, and Switzerland. Then, Copeau made the momentous decision to abandon entirely the Théâtre du Vieux-Colombier. Unable to make any concessions to the commercial aspects of the theatre, tired of looking to his friends for support, he felt he had no alternatives. Despite the offer of help from Jouvet to make the Vieux-Colombier both an artistic and financial success, Copeau chose his independence. By mid-summer, the Vieux-Colombier was liquidated. With some of his actors and young apprentices in tow, Copeau moved to the Burgundy countryside to begin a new project.

The Burgundy adventure: the "Copiaus"

 * The word "school" is no longer valid from that time on.—Suzanne Bing (Registres VI, p. 416)

In October, 1924, Copeau and his company of young enthusiasts set up shop in what they called ironically the "Château de Morteuil" in a village some seven miles from Beaune. In effect Copeau at first tried to re-establish the school of the Vieux-Colombier in this new context. But, lacking funds, he needed to lecture frequently to pay expenses. He decided to mount two plays before a group of industrialists in Lille in January 1925 in order to secure financial backing for the troupe with a greatly reduced number of plays and a new plan of attack: "four plays a year, eight months of preparation, four months of stagings, one month in Paris and three months in the provinces and abroad" (Journal II, 219).

Copeau's request for funds and the plays failed to garner the needed financial support and he continued his lectures both in France and Belgium. At this point both actors and apprentices were given their freedom to leave and, given his reduced financial status, he devised a new approach.

After the departure of some of the student actors and teachers, Copeau began work with his reduced troupe on the "New Comedy", an attempt to reproduce the Italian commedia dell'arte with masks and an acting style based on improvisation. He composed a text, Le Veuf (The Widower), that the actors began to rehearse on a simple platform in the main hall at Morteuil. The residents of the surrounding villages, now accustomed to the fanciful lives of the actors, their costumes and their parading through their towns, baptized them les Copiaus.

Starting in May 1925, the Copiaus performed plays by Molière as well as those written expressly for them by Copeau, using masks of their own invention. Their presentations were preceded by a parade of the entire troupe, accompanied by drums, horns and colorful banners. They performed on a bare platform in village squares or whatever indoor space they could find. Copeau continued his work with this troupe as best he could, despite his heavy schedule of readings and lectures. But given their inventiveness and creativity, his control over the troupe lessened.

At the end of the year, the troupe moved to Pernand-Vergelesses, a village in the heart of the wine-producing region of Burgundy, where Copeau had purchased a house and property better suited to his family and the needs of the Copiaus. From this headquarters the Copiaus would take their increasingly sophisticated offerings to many of the little towns of Burgundy and abroad to Switzerland, Belgium, the Netherlands, and eventually to Italy. Copeau, too, continued his heavy schedule of dramatic readings to help support himself and the troupe. In November 1926, he left on a lecture tour in the United States where he was also to direct The Brothers Karamazov in English for the Theatre Guild in January 1927.

In June 1929, the Copiaus formed a new troupe, La Compagnie des Quinze, led by Michel Saint-Denis. They returned to Paris where they performed Noé (Noah), a play by André Obey, under the direction of Michel St-Denis. From this point on, Copeau's direct influence over what had once been the École du Vieux-Colombier ended, although his influence on a personal level would remain strong.

Later life
In 1933 Copeau mounted a production of The Mystery of Saint Uliva, in the cloister of the Santa Croce in Florence and in 1935 Savonarola, on the central square of Florence. In Paris, he directed an adaptation of Much Ado About Nothing and Molière's Le Misanthrope at the Comédie-Française in 1936. In 1937, again at the Comédie-Française, he directed Jean Racine's Bajazet, followed in 1938 by Le Testement du Père Leleu, a reprise of Roger Martin du Gard's play from the days of the Vieux-Colombier.

In 1940, Copeau was named Provisionary Administrator of the Comédie-Française, where he staged Pierre Corneilles Le Cid, Shakespeare's Twelfth Night, and Mérimée's Le Carrosse du Saint-Sacrement. Unable to follow the orders of the German occupiers, he resigned his position in March 1941 and withdrew to his home in Pernand-Vergelesses. Le Miracle du pain doré ("The Miracle of the Golden Bread"), his own work, was staged at the Hospices de Beaune in 1943 and the following year, his play about Saint Francis of Assisi, Le Petit Pauvre (The Poor Little One) was published.

Death
Copeau died at the Hospices de Beaune on 20 October 1949. He and his wife are buried at the church graveyard in Pernand-Vergelesses.

title: Jacques Copeau


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Talk:Northern flying squirrel

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The correction of the systematic name to Glaucomys sabrinus is correct - thanks for spotting it. This was a typing error on my part way back when, which has gone unnoticed (and has propagated) ever since. seglea 19:07, 4 Aug 2004 (UT

this isnt a message to say that something is wrong, but if you could put that they like to feed on bird feeders becasue i have one in my backyard and it always eats out of my birdfeeder and we like to watch it at night.

thank you.

If you could provide a bit more information, this might be worth a mention. Are you sure it's a Northern, not a Southern, flying squirrel? Where are you located, what's in the feeder, what time of year does the squirrel visit? —Preceding unsigned comment added by 66.108.184.224 (talk) 16:17, 27 December 2008 (UTC) This is not an added piece of information, but perhaps if a person who is knowledgeable on the subject could mention the issue surrounding homeowners in keeping these squirrels out of their homes, particularly basements, and even in the walls, and roof tiles, where they have been known to find shelter. (Roof repairmen have found them, usually dead, under the tiles of the roof). The reason I feel you should add the part about how to deal with these squirrels is that it is such a growing issue in North American homes, especially those located in older forest areas, or swamp lands. When they nest in your home, it has been reported that you can catch and release them, but they will find your home again, up to 3-4 miles away! I was just suggesting, as I said previously, that a person with more knowledge then I might want to add this as a section in the official entry! Thanks so much. — Preceding unsigned comment added by 76.118.231.166 (talk) 13:54, 28 June 2013 (UTC)

How do they fly???
Well… they don’t. They don’t “fly” using wings. They glide from tree to tree by spreading their arms and legs and letting skin folds out the act like a parachute or hang glider. This skin fold folds (surprisingly) back so they can be nimble when they aren’t in the air.

Northern flying squirrels are found throughout most of the forested areas of Canada. They are active in all seasons, but they are rarely seen by humans because of their nocturnal habits. Their large, dark eyes are specially adapted for night vision; they see as well at night as humans can see during the day. A furry membrane unites the front and back legs. When stretched, it acts like a parachute, enabling the squirrel to glide from higher branches to lower ones. Northern flying squirrels can glide from 3 to 50 m.) and they can change direction mid-glide. This species averages about 30 cm (12 in.) long, including about 14 cm (5.5 in.) of tail. this was by Kyle Banks... —Preceding unsigned comment added by 168.99.183.242 (talk) 16:05, 8 June 2010 (UTC)

"A major food source..."
The article currently says "A major food source for the squirrels are mushrooms fungi (truffles)" -- which isn't clear. I see three possible interpretations: 108.7.236.58 (talk) 22:18, 4 August 2010 (UTC)
 * 1) they eat mushrooms, fungi in general, and sometimes truffles in particular
 * 2) they eat mushrooms and truffles, the author using the phrase "fungi (truffles)" to mean just truffles
 * 3) they eat truffles, and the author used the phrase "mushrooms fungi (truffles)" to mean just truffles (It seems unlikely that a "major food source" could be truffles, put it's a possible interpretation.)

For expansion of this article...
one who is interested might consider the research of Alexander V. Badyaev of the University of Arizona, who has studied their "flying" in detail and found they these animals are capable of extraordinary feats as a result of their evolution of aerodynamic structures. A popular article is here: http://www.atlasobscura.com/articles/see-the-nighttime-acrobatics-of-montanas-flying-squirrels 173.174.85.204 (talk) 02:20, 30 December 2016 (UTC)Eric

Weird Fake Information
The range map cites "iucnredlist.org" but admits it is modified, ie, original research. The map displayed is nothing like the actual map at iucnredlist.org and leaves out all of Oregon, for example. There are common here, though rarely seen. https://www.iucnredlist.org/species/39553/22256914 Actual map 71.63.160.210 (talk) 20:49, 13 January 2021 (UTC)
 * Digging around a little, there is actually a good reason for that: in 2017 the Humboldt's flying squirrel was separated from the Northern - that's the west coast population. Our map was correctly updated to reflect this, but IUCN hasn't caught up with this reclassification yet. -- Elmidae (talk · contribs) 22:24, 13 January 2021 (UTC)

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

title: Talk:Northern flying squirrel


text:
Cochrane (surname)

Cochrane is a surname with multiple independent origins, two Scottish and one Irish. One of the Scottish names derives from a place in Scotland; the Irish surname and the other Scottish surname are both anglicisations of surnames from the Irish language and Scottish Gaelic respectively.

History
The name Cochrane originates from a habitational name derived from the "Lowlands of Cochrane", near Paisley in Renfrewshire. The derivation of the place name is uncertain. One possibility is that it is derived from the Welsh coch meaning "red"; however this theory is not supported by the early spelling of the name Coueran. It is also possible the name is derived from the Welsh word "cywrain", which means "skilled". Early recorded bearers of the surname are Waldeve de Coueran in 1262; William de Coughran in 1296; and Robert de Cochrane in about 1360.

In Scotland during the 18th century, the surname was used as a Lowland adaptation of the Scottish Gaelic MacEachrain.

In Ireland the surname was adopted as an Anglicisation of the surnames Ó Cogaráin and Mac Cogaráin, meaning respectively the descendant or the son of Cogarán (probably a diminutive of cogar "confidant").

Demographics
The surname is especially concentrated in England in the counties of Durham in the North of England and Kent in the south. In Scotland, Cochrane is found in high frequency in the counties of South Lanarkshire, West Lothian and in Renfrewshire. The surname is the 224th most common surname in Scotland, 957th most common in England and ranked in the top 100 surnames of a number of former British colonies. There are a number of spelling variations including Cochran, Cockren, and Coughran.

Together Scotland and England have the highest percentage of the Cochrane surname anywhere in the world. In Ireland, the surname Cochrane is especially concentrated in the northern province of Ulster where it was introduced by Protestant Scots settlers during the Plantation period of the 17th century. It was also adopted as an anglicisation by some Corcoran families.

In Northern Ireland, the surname Cochrane is concentrated in the counties of Antrim, Londonderry, Down and Tyrone. James Cochrane, an Ulsterman, was a 19th-century entrepreneur who helped the Irish whiskey Bushmills and the Old Bushmills Distillery gain worldwide popularity.

In the United States, Cochranes arrived amongst the Ulster-Scots immigrants to the British North American colonies of New Hampshire and Pennsylvania. Many Cochranes lived in Winedham New Hampshire. They eventually moved to Boston, and now some of them live in Reston, Virginia. Some of the earliest Cochranes in the United States came from County Antrim, Northern Ireland, in the early 18th century after obtaining a land grant from the Governor of Massachusetts. Later Cochranes would arrive from Scotland and England.

Motto
Virtute et labore, a Latin phrase meaning "by valour and exertion".

People

 * Alasdair Cochrane (born 1978), British political theorist and ethicist
 * Sir Alexander Inglis Cochrane, British 18th/19th century seaman
 * Alexander Baillie-Cochrane, British Conservative Party (UK) politician
 * Alun Cochrane, Scottish comedian
 * Annalisa Cochrane (born 1996), American actress
 * Archibald Cochrane, 9th Earl of Dundonald, Scottish nobleman and inventor.
 * Archibald Cochrane, Rear admiral in the Royal Navy
 * Sir Archibald Douglas Cochrane, Unionist-Conservative and British Governor of Burma.
 * Archie Cochrane, British physician and researcher, after whom the Cochrane Collaboration is named.
 * Arthur Cochrane (officer of arms) (1872–1954),officer of arms at the College of Arms in London
 * Arthur Cochrane (Royal Navy officer) (1824–1905)
 * Arthur Ormiston Cochrane (1879–1926), Canadian politician
 * Aaron Van Schaick Cochrane (1858–1943), US Representative from New York, nephew of Isaac Whitbeck Van Schaick
 * Basil Cochrane (1753-1826), Scottish civil servant, businessman and inventor
 * Blake Cochrane (born 1991), Australian Paralympic swimmer
 * Caroline Cochrane, Premier of Northwest Territories Canada
 * Charles Norris Cochrane, (1889–1945), Canadian historian and philosopher
 * Dennis Cochrane, Canadian politician and civil servant
 * Sir Desmond Cochrane (1918–79)
 * Donald Cochrane (politician) (1904–1985), Australian politician
 * Donald Cochrane (economist) (1917–1983), Australian econometrician
 * Donald Alexander Cochrane, Canadian composer
 * Douglas Cochrane, 12th Earl of Dundonald, Scottish representative peer and a British Army general
 * Edward Cochrane (1834–1907), Canadian politician
 * Edward L. Cochrane (1892–1959), US Navy officer and naval architect
 * Elizabeth Jane Cochrane (Nellie Bly, 1864–1922), American journalist, writer and inventor
 * Ethel Cochrane, Canadian Progressive Conservative senator.
 * Francis Cochrane, Canadian Unionist-Conservative politician.
 * Gordon Cochrane (1916–1994), RNZAF pilot during WWII.
 * Harry Cochrane, Scottish football player
 * Henry Clay Cochrane, US Marine Corps
 * Lieutenant Hugh Stewart Cochrane. 86th (Royal County Down) Regiment of Foot. 1858. Recipient of Victoria Cross after Battle of Jhansi during the Indian Mutiny.
 * Ian Cochrane, British novelist
 * Jack Cochrane (American football) (born 1999), American football player
 * J. Harwood Cochrane, Virginia businessman and philanthropist
 * John Cochrane, several people
 * John Cochrane (chess player) (1798–1878), Scottish chess player
 * John Cochrane (politician) (1813–1898), Congressman, Civil War Union general and New York State Attorney General, 1864–1865
 * John Dundas Cochrane (1793–1825), British explorer and cousin of Admiral Thomas Cochrane, 10th Earl of Dundonald
 * John H. Cochrane (1957-), Economist
 * John M. Cochrane (1859–1904), justice of the North Dakota Supreme Court
 * Josephine Cochrane, American inventor
 * Justin Cochrane, British football player
 * Kira Cochrane, British journalist
 * Matthew Henry Cochrane, Canadian industrialist, livestock breeder, and politician
 * Michael Cochrane, British actor
 * Michael Cochrane, jazz pianist
 * Mickey Cochrane, Hall of Fame baseball player
 * Mike Cochrane, New Zealand hurdler
 * Nathaniel Day Cochrane, British naval officer
 * Neil Cochrane, football player
 * Pauline Atherton Cochrane (born 1929), American librarian
 * Ralph Cochrane, British RAF Air Chief Marshal WW2
 * Robert Cochrane, architect to the court of King James III of Scotland
 * Robert Cochrane, wiccan
 * Rory Cochrane, American actor
 * Ryan Cochrane, American soccer player
 * Ryan Cochrane, Canadian swimmer
 * Terry Cochrane, Northern Irish footballer
 * Terry Cochrane, Canadian football player
 * Thomas Cochrane, 10th Earl of Dundonald, 19th century Royal Navy Admiral and British Whig Party politician
 * Thomas Cochrane, 1st Baron Cochrane of Cults, Scottish Conservative-Unionist. British Army general.
 * Thomas John Cochrane 19th century Governor of Newfoundland
 * Tom Cochrane, Canadian musician
 * Vincent Cochrane (1916–1987), American mycologist
 * William Cochrane, Scottish MP in the British Parliament
 * William Cochrane, 1st Earl of Dundonald
 * William Arthur Cochrane, Canadian physician, paediatrician, academic, and medical executive
 * William Cochran (physicist) Scottish physicist

Fictional Characters

 * Zefram Cochrane, inventor of the warp drive in the Star Trek universe
 * Col. Cochrane, character in Child's Play 3

title: Cochrane (surname)


text:
De'voreaux White

De'voreaux White (born Devorea W. Sefas; August 6, 1965) is an American actor. He started his career as a child actor in the late 1970s, and may be best known for his role in Die Hard (1988) as the young limousine driver, Argyle.

Film and television
De'voreaux White was born in Los Angeles County, California. He began acting professionally at the age of ten.

His first bookings were The Jeffersons, Little House on the Prairie, and 1980's The Blues Brothers (as a would-be-shoplifter who is thwarted by a gun-toting Ray Charles). White also played one of the boys who attempt to keep a baseball in the Neil Simon movie Max Dugan Returns. In 1984, he played Wylie - who was lynched for accidentally shooting a white sheriff - in Places in the Heart. The movie received notice at the Academy Awards; White credits this role for providing an opportunity to read with producer Joel Silver and star Bruce Willis for Die Hard (1988). White filmed his scenes with Willis over a period of three months; some of their dialogue was improvised on the set.

White also starred in the television series Head of the Class as Aristotle McKenzie, and co-starred as a suicidal misfit who befriends Rick Schroder in 1989's Out on the Edge. In 1992, White played the role of Ice-T's drug-addicted younger brother in Walter Hill's Trespass. White appeared in the 2000 drama Shadow Hours.

White reprised his role as Argyle from Die Hard, with Willis, in a commercial for Advance Auto Parts' DieHard brand of car batteries in October 2020.

Other work
In 2019, White set up his own company in California. By then, he worked in the clinical staff of a substance-abuse rehabilitation facility.

Personal life
In 2019, White resided in Newport Beach, California. His original last name, Sefas, is Ethiopian; after his mother died, his maternal grandparents with the surname White adopted him.

Television

 * 1977 The Jeffersons as Warren Barnes
 * 1979–1981 Little House on the Prairie as various characters
 * 1981 Quincy, M.E. as Ethan Kellogg
 * 1982 T.J. Hooker as Stevie Pine
 * 1983–1984 Diff'rent Strokes as Glenn
 * 1985 Highway to Heaven as Terry
 * 1986 ''227 as Harvey
 * 1989 In the Heat of the Night as Albert Tolliver
 * 1989 Out on the Edge as Lonnie
 * 1989–1991 Head of the Class as Aristotle McKenzie
 * 2014 Workaholics as Uber Driver
 * 2023 Easter as Smiley
 * 2023 Obliterated as Delray

Films

 * 1979 Aunt Mary as Wally Hazel
 * 1980 The Blues Brothers as Young Guitar Thief
 * 1983 Max Dugan Returns as Boy
 * 1984 Places in the Heart as Wylie
 * 1988 Action Jackson as Clovis
 * 1988 Die Hard as Argyle
 * 1988 Split Decisions as Coop
 * 1992 Trespass as "Lucky"
 * 2000 Shadow Hours as Second Transvestite
 * 2012 Sandbar as Charles Kendall

title: De'voreaux White


text:
User:Tompw

 * I'm a maths graduate working in the transport sector. I'm originally from Bradford on Avon, a small town in West Wiltshire, in the United Kingdom. I currently reside in Canada.
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 * User:Tompw/Books/Topology - 2013-08-09. 67 pages, 1 volume, $47.
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title: User:Tompw


text:
Laxminarayan Ramdas

Admiral Laxminarayan Ramdas, PVSM, AVSM, VrC, VSM, ADC (5 September 1933 – 15 March 2024) was an Indian naval officer who was a flag officer of the Indian Navy. Ramdas first served in the Indian Navy in 1953, before being promoted as a flag lieutenant to Ram Dass Katari, the first Indian Chief of the Naval Staff Admiral. In the Indo-Pakistani war of 1971, he was involved in a naval blockade of East Pakistan, hindering attempts to evacuate 93,000 troops and leading to East Pakistan's surrender. During his service in the military confrontation, he was awarded the Vir Chakra. Ramdas later served as the 13th Chief of Naval Staff from 1990 to 1993.

Early life and education
Laxminarayan Ramdas was born on 5 September 1933 into a Tamil Brahmin family. He grew up in Matunga in Mumbai. He attended the Cambridge School Srinivaspuri in Delhi. After passing his Senior Cambridge, Ramdas joined the 1st course of the Joint Services Wing (JSW) in Dehradun in January 1949. He was part of 'B' squadron of 4 Division. The JSW later moved to Khadakwasla in Pune and was christened the National Defence Academy in 1954.

Career
Ramdas was commissioned into the Indian Navy on 1 September 1953, with seniority as a sub-lieutenant from the same date. He then attended the Royal Naval College, Greenwich from December 1953 to May 1955, where he trained as a communication specialist.

After his return to India, he was promoted to lieutenant on 16 August 1955. He then served as the Flag lieutenant to the first Indian Chief of the Naval Staff Admiral Ram Dass Katari.

Ramdas was promoted to lieutenant-commander on 16 August 1963. Ramdas was promoted to Commander on 30 June 1969; he was appointed the first Officer-in-charge Naval Academy. He went on to establish and head the Naval Academy in Kochi, Kerala, for which he was awarded the Vishisht Seva Medal on 26 January 1971. The Naval Academy moved to Goa in 1986 and to Ezhimala in Kerala in 2009 as the Indian Naval Academy.

Indo-Pakistani War of 1971
During the Indo-Pakistani War of 1971, as part of the newly formed Eastern Fleet, whilst in command of INS Beas, Admiral Ramdas took part in the most effective naval blockade of East Pakistan which frustrated Pakistan's attempt to evacuate 93,000 of their troops who eventually surrendered to the Indian Forces. INS Beas also captured a large number of ships carrying contraband to East Pakistan, bombarded Cox's Bazar and took part in the landing and other operations in an area which had been mined. He was awarded the Vir Chakra, the third-highest gallantry award.

The citation for the Vir Chakra reads as follows:

Post-war career
After the war, Ramdas commanded a Patrol Vessel Squadron in the Indian Navy. He later served as Naval Attaché in Germany for three years, and was promoted to captain on 1 July 1976.

Flag rank
Ramdas was promoted to acting Rear Admiral 7 April 1981 (substantive from 1 June 1981) and took over as Assistant Chief of Naval Staff (Operations) at NHQ. On 29 June 1983, he was appointed Flag Officer Commanding Eastern Fleet (FOCEF), and also took command of the Eastern Fleet.

Ramdas was promoted to Vice Admiral on 1 April 1985 and appointed Controller of Warship Production & Acquisition (CWP&A). On 20 February 1986, he took over as Deputy Chief of Naval Staff (DNCS). After an eighteen-month stint as DCNS, Ramdas was appointed Flag Officer Commanding-in-Chief Southern Naval Command. He took command from Vice Admiral Gulab Mohanlal Hiranandani at Kochi. In February 1989, he moved to Vizag as the Flag Officer Commanding-in-Chief Eastern Naval Command. On 26 January 1989, he was awarded the Param Vishisht Seva Medal. He was at the helm of the Eastern Naval Command for about twenty months.

Chief of Naval Staff
Ramdas was appointed the next Chief of the Naval Staff, succeeding Admiral Jayant Ganpat Nadkarni. He took over as CNS on 30 November 1990. The Chief of the Army Staff was General Sunith Francis Rodrigues. On 1 August 1991, Air Chief Marshal Nirmal Chandra Suri took over as the Chief of the Air Staff. All the three service chiefs were from the same course, the 1st JSW, a first in India. On 30 June 1993, with the superannuation of General S. F. Rodrigues, Ramdas took over as Chairman of the Chiefs of Staff Committee.

Personal life
Ramdas was married to Lalita Ramdas (née Katari), daughter of Admiral Ram Dass Katari, the first Indian Chief of Naval Staff. He was a member of the Aam Aadmi Party and served as the party's internal lokpal. His younger daughter, Kavita Ramdas, is the senior advisor to the President of the Ford Foundation and had previously served for many years as country representative of the Ford Foundation in India. Kavita Ramdas is married to Zulfiqar Ahmad, a Pakistani national who is a peace activist.

Retirement
After retirement, Ramdas took up residence at Alibag. He together with his wife, then devoted themselves to a variety of humanitarian causes.

The couple also intervened in military matters. They were part of the group which filed a PIL in the Supreme Court of India against the appointment of the then Lt. Gen. Bikram Singh for the post of Chief of Army Staff.

The couple opposed the establishment of the Kudankulam Nuclear Power Plant in Tamil Nadu. For his efforts to demilitarise and denuclearize South Asia, and his efforts to prevent the building of the Kudankulam reactor, Ramdas was awarded the Ramon Magsaysay Award for peace in 2004.

Ramdas died on 15 March 2024, at the age of 90.

title: Laxminarayan Ramdas


text:
User talk:NeevaN

Hi, welcome to Wikipedia. Please note that we attempt to follow an ideal of neutrality here--both sides should be able to agree on the contents of an article. As such, I don't really think your changes to the George W. Bush presidential campaign, 2004 were appropriate. If you'd like, you can discuss it on that article's talk page. Best, [[User:Meelar|Meelar (talk)]] 19:12, 2004 Aug 4 (UTC)

User categorization
You were listed on the Wikipedians/New Jersey page as living in or being associated with New Jersey. As part of the User categorisation project, these lists are being replaced with user categories. If you would like to add yourself to the category that is replacing the page, please visit Category:Wikipedians in New Jersey for instructions. Al 15:41, August 29, 2005 (UTC)

title: User talk:NeevaN


text:
User:Mirv/monobook.js

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var txt = document.createTextNode(name); na.appendChild(txt);

var li = document.createElement('li'); li.appendChild(na); return li; }

// Adds a "blocklog" tab and fills in the username field on Special:Blockip, if a "&faketarget=username" is present. function do_blockip_stuff { // Look for a &faketarget= for the username/ip var l = location.search.substring(1).split('&'); var target = ''; for (var i = 0; i < l.length; ++i) {     var n = l[i].indexOf('='); if (l[i].substring(0, n) == 'faketarget') {	 target = l[i].substring(n + 1); break; }   }

if (target == '') return;

// put account name in "IP Address/username" field var addr = document.getElementsByName('wpBlockAddress')[0]; addr.value = unescape(target);

// add "blocklog" tab var c1 = document.getElementById('column-one'); var tabs = c1.getElementsByTagName('div')[0].getElementsByTagName('ul')[0]; tabs.appendChild(addlilink('/w/index.php?title=Special%3ALog&type=block&user=&page=User%3A' + target, 'blocklog')); }

// Adds "block" and "blocklog" tabs to User: and User talk: pages. function add_block_tab { var c1 = document.getElementById('column-one'); var tabs = c1.getElementsByTagName('div')[0].getElementsByTagName('ul')[0];

// use the "edit this page" tab to get already-tidied url var editlk = document.getElementById('ca-edit').getElementsByTagName('a')[0].href; // cut everything up to "title=" from the start and everything past "&action=edit" from the end editlk = editlk.substring(editlk.indexOf('title=') + 6, editlk.lastIndexOf('&action=edit')); editlk = editlk.substring(editlk.indexOf(':') + 1); var slloc = editlk.indexOf('/'); if (slloc > 0) editlk = editlk.substring(0, slloc);

// add "block" tab tabs.appendChild(addlilink('/w/index.php?title=Special%3ABlockip&faketarget=' + editlk, 'block')); // add "blocklog" tab tabs.appendChild(addlilink('/w/index.php?title=Special%3ALog&type=block&user=&page=User%3A' + editlk, 'blocklog')); }

function do_onload { if (document.title.indexOf('User:') == 0      || document.title.indexOf('User talk:') == 0) add_block_tab; else if (document.title.indexOf('Block user') == 0) // could stand to be more robust do_blockip_stuff; }

if (window.addEventListener) window.addEventListener("load", do_onload, false); else if (window.attachEvent) window.attachEvent("onload", do_onload); // User:Lupin/popups.js - please include this line

mw.loader.load(            'https://en.wikipedia.org/w/index.php?title=User:Lupin/popups.js'             + '&action=raw&ctype=text/javascript&dontcountme=s'); popupFixDabs=true popupAdminLinks=true

title: User:Mirv/monobook.js


text: Talk:Cephalomancy

title: Talk:Cephalomancy


text:
User:Dostick

Hi there.

title: User:Dostick


text:
Algorta

Algorta is a locality within the municipality of Getxo, in the province of Biscay, Basque Country, Spain. In 1996, the population of Algorta was 35,600.

The Metro Plaza situated in Telletxe street is considered to be the center of town and commerce. The two most historically important plazas in town are St. Nicholas Plaza and St. Ignacius Plaza.

Neighborhoods
Sarrikobaso- This neighborhood has the highest population density in Algorta and takes its name from one of the streets where it is predominantly located. It has a metro station called Bidezabal as well as a health center.

La Humedad- The farthest neighborhood from the coast of Getxo, La Humedad is a quiet area. In it, one can find the Fadura Municipal Sport City. 'Fadura' comes from the basque voice 'padura' which means swamp. That swamp is located behind the Fadura Sport city and a few years ago it started being cared by cleaning programs.

Villamonte- It is a residential and quiet neighborhood and has a lot of parks and trees. Its name comes from the Spanish words villa=village and monte=mountain.

title: Algorta


text: Category:Trinidad and Tobago people

title: Category:Trinidad and Tobago people


text:
User talk:Brian0918/Archive 30

Barnstar-eraser.png listed for deletion
An image or media file that you uploaded or altered, Image:Barnstar-eraser.png, has been listed at Images and media for deletion. Please see the to see why this is (you may have to search for the title of the image to find its entry), if you are interested in it not being deleted. Kelly hi! 17:53, 31 March 2008 (UTC)

Your signature
How'd you do that?  nedargehtni stercesruodeirubew  16:46, 1 April 2008 (UTC)
 * Cool, thanks.  nedragehtni  stercesruodeirubew  17:49, 1 April 2008 (UTC)
 * Gar, how'd you get it not to subst it as you save it? with the z?   nedragehtni  stercesruodeirubew  17:57, 1 April 2008 (UTC)
 * No luck... does it work on Firefox?  nedragehtni stercesruodeirubew  18:16, 1 April 2008 (UTC)
 * Oh! The button's there, but it's substed the time ¬¬   nedragehtni  stercesruodeirubew  18:18, 1 April 2008 (UTC)
 * And it's gone again. Oh well.   nedragehtni  stercesruodeirubew  18:31, 1 April 2008 (UTC)

Better Source-discription
Have you for a more specific source descritption? Then i can choose the right license. I found this video only one time on an obscure pay-website. --Franz (Fg68at) de:Talk 17:52, 2 April 2008 (UTC)

POTD notification
Hi Brian,

Just to let you know that the Featured Picture Image:Minstrel PosterBillyVanWare edit.jpg is due to make an appearance as Picture of the Day on April 8, 2008. If you get a chance, you can check and improve the caption at Template:POTD/2008-04-08.  howcheng  {chat} 18:52, 4 April 2008 (UTC)

Talk:Shipwrecks of the 1913 Great Lakes storm
Please take a look at this. Best regards. 7&6=thirteen (talk) 14:00, 13 April 2008 (UTC) Stan

John A. McGean
This wreck is listed as being proximate to Sturgeon Point Light. However, I found this on line, which indicates that it sank near Harbor Beach, Michigan. 7&6=thirteen (talk) 19:52, 13 April 2008 (UTC)Stan
 * I've personally concluded that the McGean went down just east of Harbor Beach, Michigan. See what I wrote at Sturgeon Point Light, which contains references.  I respectfully suggest that this be cleaned up in this article.7&6=thirteen (talk) 00:24, 14 April 2008 (UTC)Stan

Isaac M. Scott
Isaac M. Scott wreck is listed as being proximate to Sturgeon Point Light. However, the location of the wreck as described in the following article seems to contradict that. It states that mariners made certain assumptions about the likely direction of the vessel, and had wrongly guessed where it went down. It states: "In 1976, the wreck of the Scott was discovered at 175 feet about six to seven miles northeast of Thunder Bay Island. The vessel is upside down and half buried in the mud." 7&6=thirteen (talk) 19:55, 13 April 2008 (UTC)Stan
 * I've personally concluded that the Scott went down 7 miles northeast of Thunder Bay Island. See what I wrote at Sturgeon Point Light, which contains references.  I respectfully suggest that this be cleaned up in this article.7&6=thirteen (talk) 00:25, 14 April 2008 (UTC)Stan

Fair use rationale for Image:MontyPythonHolyGrailCastShot.jpg
Thanks for uploading or contributing to Image:MontyPythonHolyGrailCastShot.jpg. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in Wikipedia articles constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use. Suggestions on how to do so can be found here.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to ensure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If you have uploaded other fair use media, consider checking that you have specified the fair use rationale on those pages too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any non-free media lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you. Do you want to opt out of receiving this notice? Rettetast (talk) 14:28, 19 April 2008 (UTC)

Unspecified source for Image:American_Civil_War_Theaters.png
Thanks for uploading Image:American_Civil_War_Theaters.png. I noticed that the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you did not create this file yourself, then you will need to specify the owner of the copyright. If you obtained it from a website, then a link to the website from which it was taken, together with a restatement of that website's terms of use of its content, is usually sufficient information. However, if the copyright holder is different from the website's publisher, then their copyright should also be acknowledged.

As well as adding the source, please add a proper copyright licensing tag if the file doesn't have one already. If you created/took the picture, audio, or video then the GFDL-self tag can be used to release it under the GFDL. If you believe the media meets the criteria at Fair use, use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other files, consider checking that you have specified their source and tagged them, too. You can find a list of files you have uploaded by following [ this link]. Unsourced and untagged images may be deleted one week after they have been tagged, as described on criteria for speedy deletion. If the image is copyrighted under a non-free license (per Fair use) then the image will be deleted 48 hours after 06:09, 22 April 2008 (UTC). If you have any questions please ask them at the Media copyright questions page. Thank you. Do you want to opt out of receiving this notice? Kelly hi! 06:09, 22 April 2008 (UTC)

Possibly unfree Image:Barnstar-lightbulb-noamb.png
An image that you uploaded or altered, Image:Barnstar-lightbulb-noamb.png, has been listed at Possibly unfree images because its copyright status is disputed. If the image's copyright status cannot be verified, it may be deleted. You may find more information on the image description page. You are welcome to add comments to its entry at if you are interested in it not being deleted. Thank you. Kelly hi! 17:06, 22 April 2008 (UTC)

Possibly unfree Image:Barnstar-lightbulb.png
An image that you uploaded or altered, Image:Barnstar-lightbulb.png, has been listed at Possibly unfree images because its copyright status is disputed. If the image's copyright status cannot be verified, it may be deleted. You may find more information on the image description page. You are welcome to add comments to its entry at if you are interested in it not being deleted. Thank you. Kelly hi! 17:07, 22 April 2008 (UTC)

Thanks
Thanks for the comment on my talk page - especially coming from someone who has written so many DYK articles! :-) --Grimhelm (talk) 21:14, 22 April 2008 (UTC)

Your entry on WP:FACE
Hi Brian. I'm sending this message to every user who has an entry on Wikipedia's Facebook but whose picture is currently not visible for some reason. If you are interested in keeping your place on that page, then please restore the image or insert a new one into it. If you do not respond to this message within a week however, I will remove the entry. See Wikipedia talk:Facebook for more info. Cheers, Face 13:45, 26 April 2008 (UTC) PS: My name is a coincidence.

Image:Barnstar-lightbulb3.png
Hi, please see Commons:Deletion requests/Image:Barnstar-lightbulb3.png, as I have proposed a new design. --Kjetil r (talk) 19:51, 26 April 2008 (UTC)

DYK
Update is five hours late, if you'd like to post it. Gatoclass (talk) 13:56, 5 May 2008 (UTC)

 * Never mind, done. Thanks anyhow. Gatoclass (talk) 14:05, 5 May 2008 (UTC)

Template:Comicboxnotice
A template you created, Template:Comicboxnotice, has been marked for deletion as a deprecated and orphaned template. If, after 14 days, there has been no objection, the template will be deleted. If you wish to object to its deletion, please list your objection here and feel free to remove the   tag from the template. If you feel the deletion is appropriate, no further action is necessary. Thanks for your attention. Bryan Derksen (talk) 04:35, 16 May 2008 (UTC)

MfD nomination of List of non-admins with high edit counts
List of non-admins with high edit counts, a page you created, has been nominated for deletion. Your opinions on the matter are welcome; please participate in the discussion by adding your comments at Wikipedia:Miscellany for deletion/Wikipedia:List of non-admins with high edit counts (2nd nomination) and please be sure to sign your comments with four tildes ( ~ ). You are free to edit the content of List of non-admins with high edit counts during the discussion but should not remove the miscellany for deletion template from the top of the page; such removal will not end the deletion discussion. Thank you. Wizardman 18:01, 17 May 2008 (UTC)

Fair use rationale for Image:AtLastthe1948ShowCast.jpg
Thanks for uploading Image:AtLastthe1948ShowCast.jpg. You've indicated that the image meets Wikipedia's criteria for non-free content, but there is no explanation of why it meets those criteria. Please go to the image description page and edit it to include a fair use rationale. If you have any questions, please post them at Media copyright questions.

Thank you for your cooperation. NOTE: once you correct this, please remove the tag from the image's page. STBotI (talk) 10:37, 21 May 2008 (UTC)

RfD nomination of Acheri
I have nominated for discussion. Your opinions on the matter are welcome; please participate in the discussion by adding your comments at the discussion page. Thank you. Kivar2 (talk) 16:44, 11 June 2008 (UTC)

Merger proposed
I'm proposing a merger on an article you worked on. Since the shelf clouds and roll clouds are subset of the arcus clouds, they should be integrated into the later article. This would make a more complete article instead of splitting the information among three articles. Anwer in Talk:arcus cloud.

Pierre cb (talk) 04:41, 15 June 2008 (UTC)

Bias in ITN?
The fact that it has the capability to attack Israel is the main reason for it being newsworthy. weburiedoursecretsinthegarden 21:22, 9 July 2008 (UTC)
 * Right, I'll check for sources and stuff for that, cheers. weburiedoursecretsinthegarden  15:58, 10 July 2008 (UTC)

wikt:User:Brian0918/Hotlist
Hey, msh210 from enwikt here. I'm posting this message here because your talkpage there redirects (so to speak) hither. There's discussion on wikt:WT:RFDO about renaming wikt:Category:Requested articles to wikt:Category:Requested entries. That woudl entail modifying your hotlist pages, which are in the former. Do you have any objection to others' editing your hotlist pages to change the cat?—msh210 ℠ 22:11, 21 July 2008 (UTC)

Sand Martin
Hi, I removed the pic because it got two opposes almost straight off the bat and I didn't think it was worth continuing with it. Do you think I should stick it back on?-- Seahamlass  12:52, 25 July 2008 (UTC)

Respect Thread Conversions
I'm looking for folks to help convert Respect Threads to wiki formatting on Project Fanboy: WikiFans. Respect Threads, showcase scans of feats performed by comic book characters and have gained an audience on several comic book message boards. A few other wiki editors and myself are trying to convert them from the unprofessional look of a bunch of posts on a message board to the formatting common with WikiMedia wiki's. To view an example of what we're doing, here is a link to Respect Silver Surfer.

I was wondering if you might have time to contribute your comic book knowledge and/or scans of comic book characters performing feats, and help us out with our Respect Articles project?Millennium Cowboy (talk) 02:24, 27 July 2008 (UTC)

Along the River During the Qingming Festival
I just want to delist the nomination and delete the image and start all over again because everybody that voted did not all vote for the same version which is not fair. Also I do not like how when you look on commons it says there are like 4 different versions of it. I just want there to be one version, the original version, and I want it to be under my name so I get credit for it. Daniel Chiswick (talk) 23:26, 4 August 2008 (UTC)

Qingming
Well can you help me? I really want to see this picture featured but I am screwing this up and I need some help because I have never nominated a picture before. Daniel Chiswick (talk) 14:05, 5 August 2008 (UTC)

NowCommons: Image:Battle of Perryville.png
Image:Battle of Perryville.png is now available on Wikimedia Commons as Commons:Battle of Perryville.png and Image:Battle of Malvern Hill.png as Commons:Image:Battle of Malvern Hill.png. Commons is a repository of free media that can be used on all MediaWiki wiki's. The image(s) will be deleted from Wikipedia, but this doesn't mean it can't be used anymore. You can embed an image uploaded to Commons like you would an image uploaded to Wikipedia, in this case: Battle of Perryville.png. Note that this is an automated message. --Erwin85Bot (talk) 11:08, 9 August 2008 (UTC)

CfD nomination of Category:Battles of Quantrill's Raid into Kansas of the American Civil War
Category:Battles of Quantrill's Raid into Kansas of the American Civil War, which you created, has been nominated for deletion, merging, or renaming. If you would like to participate in the discussion, you are invited to add your comments at the category's entry on the Categories for discussion page. Thank you. –Black Falcon (Talk) 21:47, 14 August 2008 (UTC)

TfD nomination of Template:Campaignbox Quantrill's Raid into Kansas
Template:Campaignbox Quantrill's Raid into Kansas has been nominated for deletion. You are invited to comment on the discussion at the template's entry on the Templates for Deletion page. Thank you. –Black Falcon (Talk) 16:33, 15 August 2008 (UTC)

Nominations for the Military history WikiProject coordinator election
The Military history WikiProject coordinator selection process is starting. We are aiming to elect nine coordinators to serve for the next six months; if you are interested in running, please sign up here by 23:59 (UTC) on September 14! This has been an automated delivery by BrownBot (talk) 21:37, 1 September 2008 (UTC)

title: User talk:Brian0918/Archive 30


text:
Extensive stage

Extensive stage, or by its full name, the predominantly extensive stage of accumulation, pertains to one of the periodizations of capitalism, as proposed by Aglietta (1976). It is the first stage of capitalism. It is also known as the early stage.

During the extensive stage, room exists for the growth of production and capitalist means of production, including wages and modes of labor. It is characterized by high rates of economic growth. When the extensive stage ends, it is followed by the intensive stage (intensive accumulation).

Karl Marx described this stage as exhibited in England as "The so-called primitive accumulation".

title: Extensive stage


text:
Wikipedia:Articles for deletion/SOLE Magazine

SOLE Magazine 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. User:Sj

Advertising. Very few Google hits (it's hard to tell exactly how many because there are a lot of sites which use the phrase "The sole magazine", etc.). RickK 19:30, Aug 4, 2004 (UTC)

 * Delete. Website says it's only coming in 2005. Gzornenplatz 19:37, Aug 4, 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.
 * Delete: Even if it were real now and notable, this is a substub that's particularly unhelpful and serves only as a launching pad for the web link. Delete for advertising. Geogre 00:29, 5 Aug 2004 (UTC)
 * Wikipedia is not an advertising medium, especially for unpublished magazines. Delete. -- Cyrius|✎ 20:10, 6 Aug 2004 (UTC)
 * Delete. Article can be recreated if the magazine actually makes it off the ground. --Michael Snow 18:01, 9 Aug 2004 (UTC)


text:
Talk:Baptism (Lenny Kravitz album)

Fair use rationale for Image:Lenny Kravitz Baptism.jpg
Image:Lenny Kravitz Baptism.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 04:15, 6 June 2007 (UTC)

External links modified
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 * Added archive https://web.archive.org/web/20040409040243/http://www.vh1.com:80/artists/news/1485660/03102004/kravitz_lenny.jhtml to http://www.vh1.com/artists/news/1485660/03102004/kravitz_lenny.jhtml

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title: Talk:Baptism (Lenny Kravitz album)


text:
User talk:Schmeitgeist

Re:Your Picture in the Tricycle Article
The picture was taken in Tokyo, Japan on 14 August 2006. I don't know anything about it. Jason7825 09:59, 3 November 2007 (UTC)

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

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

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article.   K Sci    (talk) 00:25, 30 October 2016 (UTC)

title: User talk:Schmeitgeist


text:
User talk:LeeHunter

I've finally had my fill of Wikipedia.

You can leave a message but I probably won't see it.

 * Lee, it's sad to see sensible editors leaving WP... Hope you'll see this message and have the time to answer a couple questions: 1. How does someone become an editor at WP ? 2. Do WP editors get paid by WP, and if yes, how much ?Homeopathic 03:58, 22 March 2007 (UTC)

 * Answered here. -- Fyslee (collaborate) 08:12, 22 March 2007 (UTC)

AfD nomination of George Vithoulkas
An editor has nominated George Vithoulkas, an article on which you have worked or that you created, for deletion. We appreciate your contributions, but the nominator doesn't believe that the article satisfies Wikipedia's criteria for inclusion and has explained why in his/her nomination (see also "What Wikipedia is not"). Your opinions on whether the article meets inclusion criteria and what should be done with the article are welcome; please participate in the discussion by adding your comments at and please be sure to sign your comments with four tildes ( ~ ). You may also edit the article during the discussion to improve it but should not remove the articles for deletion template from the top of the article; such removal will not end the deletion debate. Thank you. Please note: This is an automatic notification by a bot. I have nothing to do with this article or the deletion nomination, and can't do anything about it. Jayden54Bot 15:35, 22 March 2007 (UTC)

Quotes about Vithoulkas
Please don't take this the wrong way, but you've found a lot of quotes about Vithoulkas: couldn't you use the quotes from the more notable sources? The Andrew Weil one, and, if you speak German, his biography would be good.

Because, well, if it's a quote from Andrew Weil, I think we'll agree that even if you don't agree with him, he's an autority on it, and his opinion of Vithoulkas carries weight. I'm not sure if that's true of all the authors you've used. Adam Cuerden talk 02:27, 24 March 2007 (UTC)

P.S. I think the biography makes him unambiguously notable. Why don't you mention it on the AfD page, as that definately clinches your case. Adam Cuerden talk 02:28, 24 March 2007 (UTC)

just for the record...
I thought your comments on the George Vithoulkas issue were very helpful. I hope you will return to Wikipedia. Abridged 04:50, 24 March 2007 (UTC)

 * Two new articles you might want to add to Luc De Schepper and Robin Murphy. Also, would very much appreciate your thoughts here Abridged talk 20:39, 29 March 2007 (UTC)

Talk:Rajesh Shah
Are you able to help with this? Abridged talk 14:35, 12 April 2007 (UTC)

Speedy deletion of Shazia Khalid
A tag has been placed on Shazia Khalid requesting that it be speedily deleted from Wikipedia. This has been done under section A7 of the criteria for speedy deletion, because the article appears to be about about a person, organization (band, club, company, etc.) or web content, but it does not indicate how or why the subject is important or significant: that is, why an article about that subject should be included in an encyclopedia. Under the criteria for speedy deletion, such articles may be deleted at any time. Please see the guidelines for what is generally accepted as notable

If you think that this notice was placed here in error, you may contest the deletion by adding  to the top of the page that has been nominated for deletion (just below the existing speedy deletion or "db" tag), coupled with adding a note on the talk page explaining your position, but be aware that once tagged for speedy deletion, if the page meets the criterion it may be deleted without delay. Please do not remove the speedy deletion tag yourself, but don't hesitate to add information to the page that would render it more in conformance with Wikipedia's policies and guidelines. Lastly, please note that if the page does get deleted, you can contact one of these admins to request that they userfy the page or have a copy emailed to you. Street Scholar (talk) 19:59, 3 April 2009 (UTC)

Articles for deletion nomination of Kirtanananda Swami
I have nominated Kirtanananda Swami, an article that you created, for deletion. I do not think that this article satisfies Wikipedia's criteria for inclusion, and have explained why at Articles for deletion/Kirtanananda Swami. Your opinions on the matter are welcome at that same discussion page; also, you are welcome to edit the article to address these concerns. Thank you for your time.Please contact me if you're unsure why you received this message. Wikid as© 08:45, 13 August 2009 (UTC)

Unreferenced BLPs
Hello LeeHunter! Thank you for your contributions. I am a bot alerting you that 1 of the articles that you created  is tagged as an Unreferenced Biography of a Living Person. The biographies of living persons policy requires that all personal or potentially controversial information be sourced. In addition, to ensure verifiability, all biographies should be based on reliable sources. If you were to bring this article up to standards, it would greatly help us with the current Category:All_unreferenced_BLPs article backlog. Once the article is adequately referenced, please remove the unreferencedBLP tag. Here is the article:

Thanks!--DASHBot (talk) 21:11, 16 January 2010 (UTC)
 * 1) Natalie Goldberg -

Articles for deletion nomination of Daniel J. Hill
I have nominated Daniel J. Hill, an article that you created, for deletion. I do not think that this article satisfies Wikipedia's criteria for inclusion, and have explained why at Articles for deletion/Daniel J. Hill. Your opinions on the matter are welcome at that same discussion page; also, you are welcome to edit the article to address these concerns. Thank you for your time.Please contact me if you're unsure why you received this message. Throwaway85 (talk) 12:06, 24 August 2010 (UTC)

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

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

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article. Ad Orientem (talk) 17:36, 13 August 2014 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:49, 23 November 2015 (UTC)

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

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

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article. Dane | Geld 20:53, 25 July 2021 (UTC)

title: User talk:LeeHunter


text:
Talk:Musicology (album)

Fair use rationale for Image:Prince.eye.gif
Image:Prince.eye.gif is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to ensure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 16:28, 8 March 2008 (UTC)

title: Talk:Musicology (album)


text:
User talk:Asadsyed

Hello and welcome to Wikipedia! Hope you like it here, and stick around.

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Good luck! — Preceding unsigned comment added by Meelar (talk • contribs) 19:33, 4 August 2004 (UTC)

Articles for deletion nomination of Ratware
I have nominated Ratware, an article that you created, for deletion. I do not think that this article satisfies Wikipedia's criteria for inclusion, and have explained why at Articles for deletion/Ratware. Your opinions on the matter are welcome at that same discussion page; also, you are welcome to edit the article to address these concerns. Thank you for your time.Please contact me if you're unsure why you received this message. Fleet Command (talk) 20:02, 17 July 2010 (UTC)

title: User talk:Asadsyed