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Experimental theatre

Experimental theatre (also known as avant-garde theatre), inspired largely by Wagner's concept of Gesamtkunstwerk, began in Western theatre in the late 19th century with Alfred Jarry and his Ubu plays as a rejection of both the age in particular and, in general, the dominant ways of writing and producing plays. The term has shifted over time as the mainstream theatre world has adopted many forms that were once considered radical.

Like other forms of the avant-garde, it was created as a response to a perceived general cultural crisis. Despite different political and formal approaches, all avant-garde theatre opposes bourgeois theatre. It tries to introduce a different use of language and the body to change the mode of perception and to create a new, more active relation with the audience.

Relationships to audience
Famed experimental theatre director and playwright Peter Brook describes his task as building "… a necessary theatre, one in which there is only a practical difference between actor and audience, not a fundamental one."

Traditionally audiences are seen as passive observers. Many practitioners of experimental theatre have wanted to challenge this. For example, Bertolt Brecht wanted to mobilise his audiences by having a character in a play break through the invisible "fourth wall", directly ask the audience questions, not giving them answers, thereby getting them to think for themselves; Augusto Boal wanted his audiences to react directly to the action; and Antonin Artaud wanted to affect them directly on a subconscious level. Peter Brook has identified a triangle of relationships within a performance: the performers' internal relationships, the performers' relationships to each other on stage, and their relationship with the audience. The British experimental theatre group Welfare State International has spoken of a ceremonial circle during performance, the cast providing one half, the audience providing another, and the energy in the middle.

Aside from ideological implications of the role of the audience, theatres and performances have addressed or involved the audience in a variety of ways. The proscenium arch has been called into question, with performances venturing into non-theatrical spaces. Audiences have been engaged differently, often as active participants in the action on a highly practical level. When a proscenium arch has been used, its usual use has often been subverted.

Audience participation can range from asking for volunteers to go onstage to having actors scream in audience members' faces. By using audience participation, the performer invites the audience to feel a certain way and by doing so they may change their attitudes, values and beliefs in regard to the performance's topic. For example, in a performance on bullying the character may approach an audience member, size them up and challenge them to a fight on the spot. The terrified look on the audience member's face will strongly embody the message of bullying to the member and the rest of the audience.

Physically, theatre spaces took on different shapes, and practitioners re-explored different ways of staging performance and a lot of research was done into Elizabethan and Greek theatre spaces. This was integrated into the mainstream, the National Theatre in London, for example, has a highly flexible, somewhat Elizabethan traverse space (the Dorfman), a proscenium space (the Lyttelton) and an amphitheatre space (the Olivier) and the directors and architects consciously wanted to break away from the primacy of the proscenium arch. Jacques Copeau was an important figure in terms of stage design, and was very keen to break away from the excesses of naturalism to get to a more pared down, representational way of looking at the stage.

Social contexts
The increase of the production of experimental theaters during the 1950s through the 1960s has prompted some to cite the connection between theater groups and the socio-political contexts in which they operated. Some groups have been prominent in changing the social face of theatre, rather than its stylistic appearance. Performers have used their skills to engage in a form of cultural activism. This may be in the form of didactic agit-prop theatre, or some (such as Welfare State International) see a performance environment as being one in which a micro-society can emerge and can lead a way of life alternative to that of the broader society in which they are placed. For instance, in a study of South American theatrical developments during the 1960s, the Nuevo Teatro Popular materialized amid the change and innovations entailed in the social and political developments of the period. This theatrical initiative was organized around groups or collective driven by specific events and performed themes tied to class and cultural identity that empowered their audience and help create movements that spanned national and cultural borders. These included Utopian projects, which sought to reconstruct social and cultural production, including their objectives.

Augusto Boal used the Legislative Theatre on the people of Rio to find out what they wanted to change about their community, and he used the audience reaction to change legislation in his role as a councillor. In the United States, the tumultuous 1960s saw experimental theater emerging as a reaction to the state's policies on issues like nuclear armament, racial social injustice, homophobia, sexism and military–industrial complex. The mainstream theater was increasingly seen from as a purveyor of lies, hence, theatrical performances were often seen as a means to expose what is real and this entails a focus on hypocrisy, inequality, discrimination, and repression. This is demonstrated in the case of Grotowski, who rejected the lies and contradictions of mainstream theater and pushed for what he called as truthful acting in the performances of his Poor Theater as well as his lectures and workshops.

Experimental theatre encourages directors to make society, or our audience at least, change their attitudes, values, and beliefs on an issue and to do something about it. The distinction was explained in the conceptualization of experimentation that "goes much deeper and much beyond than merely a new form/or novel content" but "a light that illuminates one's work from within. And this light in the spirit of quest – not only aesthetic quest – it is an amalgam of so many quests – intellectual, aesthetic, but most of all, spiritual quest."

Methods of creation
Traditionally, there is a highly hierarchical method of creating theatre - a writer identifies a problem, a writer writes a script, a director interprets it for the stage together with the actors, the performers perform the director and writer's collective vision. Various practitioners started challenging this and started seeing the performers more and more as creative artists in their own right. This started with giving them more and more interpretive freedom and devised theatre eventually emerged. This direction was aided by the advent of ensemble improvisational theater, as part of the experimental theatre movement, which did not need a writer to develop the material for a show or "theater piece". In this form the lines were devised by the actors or performers.

Within this many different structures and possibilities exist for performance makers, and a large variety of different models are used by performers today. The primacy of the director and writer has been challenged directly, and the directors role can exist as an outside eye or a facilitator rather than the supreme authority figure they once would have been able to assume.

As well as hierarchies being challenged, performers have been challenging their individual roles. An inter-disciplinary approach becomes more and more common as performers have become less willing to be shoe-horned into specialist technical roles. Simultaneous to this, other disciplines have started breaking down their barriers. Dance, music, video art, visual art, new media art and writing become blurred in many cases, and artists with completely separate trainings and backgrounds collaborate very comfortably.

Interculturalism and Orientalism in Experimental Theatre
In their efforts to challenge the realism of western drama, many modernists looked to other cultures for inspiration. Indeed, Artaud has often credited the Balinese dance traditions as a strong influence on his experimental theories: his call for a departure from language in the theatre, he says, partially came to him as a concept after having seen the Balinese Theatre's performance at the Colonial Exhibition in Paris in 1931. He was particularly interested in the symbolic gestures performed by the dancers and their intimate connection to the music; in his Notes on Oriental, Greek and Indian Cultures, we find a curiosity as to what the French theatre scene could become if it pulled from traditions such as Noh and Balinese dance.

Similarly, it is in his essay on Chinese acting that Brecht used the term Verfremdungseffekt for the first time. Brecht's essay, written shortly after having witnessed performer Mei Langfang's demonstration of a few Peking Opera performance practices in 1935 Moscow, elaborates on his experience on his experience feeling "alienated" by Mei's performance: Brecht notably mentions the absence of a fourth wall in the demonstration, which later on became a staple in Brechtian theatre, and the "stylistic" nature of the performance; another key concept which would find its way into Brecht's later theories. In fact, three of Brecht's plays are set in China (The Measures Taken, The Good Person of Szechwan, and Turandot)

Yeats, pioneer of the modernist and symbolist movement, discovered Noh drama in 1916, as detailed in his essay Certain Noble Plays of Japan, which reveals a strong interest in the musicality and stillness of the Noh performance. His production of the same year, At the Hawk's Well was created by loosely following the rules of a Noh Play: Yeats' attempt at exploring Noh's spiritual power, its lyrical tone and its synthesis of dance, music and verse.

Additionally, Gordon Craig repeatedly theorized about "the idea of danger in the Indian theatre", as a potential solution to the lack of risk-taking in the western theatre, and some might argue his theories about an über-marionette actor could be compared to the kathakali training. In 1956, Grotowski too found himself an interest for Eastern performance practices, and experimented with using some aspects of Kathakali in his actor training program. He had studied the South-Indian tradition in Kerala, at the Kalamandalam.

In many cases, these practitioners' pulling of theatrical conventions from the East came from their desire to explore unexpected or novel approaches to theatre-making. Audiences at the time were not often exposed to Eastern theatre practices, and the latter were hence a powerful tool for modernists: Brecht could easily generate the alienation of his western audiences by presenting them with these supposedly "strange" and "foreign" theatrical conventions they were simply not familiar with. Artaud and Yeats could experiment with the musicality and ritualistic nature of Eastern dance traditions as a means to reconnect the western theatre to the mystical and to the universe; and both Grotowski and Craig could draw from the kathakali performers' training as a means to challenge the western theatre's sole focus on psychological truth and truthful behavior.

However, their exposure to these theatre traditions was extremely limited: these theatre-makers's understandings of the Eastern traditions they were pulling from were often limited to a few readings, translations of Chinese and Japanese works, and, in the case of Brecht and Artaud, the witnessing of an out-of-context demonstration of Balinese Theatre Dance and Peking Opera conventions. Remaining geographically distant, for the most part, of the traditions they wrote about, the "oriental theatre" could hence be argued to be more of a construct than a true practice for these theatre-makers. While they do pull from Eastern traditions, Brecht, Artaud, Yeats, Craig and Artaud's respective articulations of their vision for theatre predate their exposure to these practices: their approach to Eastern theatre traditions were filtered "through a personal agenda", and the absence of earnest curiosity for the oriental theatre could be argued to have led to its misinterpretation and distortion in the modernist movement.

Furthermore, Eastern theatre was repeatedly reduced by these western practitioners to an exotic, mystical form. It is important here to acknowledge the importance of cultural context in theatre-making: these practitioners' isolating of a particular ritual or convention from its broader cultural significance and social context shows perhaps that this "questionable exoticization" was customarily used to push their own preconceived notions about the theatre, rather than to explore the culture they were borrowing from.

Physical effects
Experimental theatre alters traditional conventions of space (black box theater), theme, movement, mood, tension, language, symbolism, conventional rules and other elements.

title: Experimental theatre


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Ferny Grove railway line

The Ferny Grove railway line is a 13 km suburban railway line in Brisbane, the state capital of Queensland, Australia. It is part of the Queensland Rail Citytrain network.

History

Based on initial surveys, in 1885 the Queensland Government planned to construct a railway line to Samford with the intention of extending it to Gympie. However, no immediate action was taken and further surveys resulted in the decision to construct the line to Gympie via the Mayne railway station (Bowen Hills) which created the North Coast railway line.

The relocation of Brisbane's cattle sales yard from Normanby to Newmarket created a need to provide a railway to Newmarket. With financial guarantees provided by the Windsor Shire Council and the Enoggera Divisional Board, the Queensland Railways built a branch line from Mayne railway station (Bowen Hills) to Newmarket railway station to service the cattle yards and beyond to Enoggera railway station for suburban passenger services. This line opened on 5 February 1899. The suburban service to Enoggera was not very profitable and the Queensland Government resisted any efforts to extend the Brisbane tramway services to Enoggera to avoid further competition.

With the financial assistance of the Australian Defence Department, the line was extended to Rifle Range railway station (now called Gaythorne railway station) on 16 February 1916. The line was extended to Mitchelton railway station on 2 March 1918. The line was extended to Samford railway station on 1 July 1918, to Samsonvale railway station (3 March 1919), to Kobble railway station (3 November 1919) and finally to Dayboro railway station on 25 September 1920. The additional traffic on the line led to its duplication to Newmarket in 1921. The sales yards were moved to Cannon Hill in 1931.

On 5 May 1947, a packed excursion train derailed at Camp Mountain, after Ferny Grove railway station, in what is Queensland's worst rail tragedy, the Camp Mountain train disaster.

The line was duplicated to Mitchelton in 1953, and the first automatic level crossing boom gates in Queensland were installed at Wilston Road, Newmarket in 1954.

The line was closed beyond Ferny Grove after 30 June 1955 after the freight traffic was lost to road transport. Ferny Grove was initially known as Ferny Flats, but the railway department changed the name of the railway station because of a Ferny Flats in New South Wales; the surrounding area followed suit.

2008–2012 upgrades
Between 2008 and 2012 the remaining single track section between Mitchelton and Ferny Grove was duplicated, including an upgraded Ferny Grove station, an additional 1000 car parking spaces and construction of a new bus interchange.

Line guide, frequency and services
Typical service frequency on the Ferny Grove Line is four trains per hour (every 15 minutes) on weekdays and two trains per hour (every 30 minutes) at night and on weekends, increasing to 8 trains per hour (every 7.5 minutes) during weekday peak times for faster travel times for commuters working in the Brisbane central business district. Most services stop at all stations to Roma Street railway station. The typical travel time between Ferny Grove and Brisbane City is approximately 31 minutes (to Central).

Ferny Grove line services typically continue as Beenleigh line services.

Passengers for and from the Airport, Caboolture, Doomben, Nambour and Gympie North and Shorncliffe lines change at Bowen Hills, and all other lines at Roma Street.

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

title: Ferny Grove railway line


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John Romita

John Romita may refer to:
 * John Romita Sr. (1930–2023), American comic book artist best known for his art on The Amazing Spider-Man for Marvel Comics in the 1960s
 * John Romita Jr. (born 1956), American comic book artist, son of John Romita, Sr; best known in 1970s–2000s for Iron Man, Uncanny X-Men, and The Amazing Spider-Man

title: John Romita


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Readelf

readelf is a program for displaying various information about object files on Unix-like systems, similar to objdump. It is part of the GNU binutils.

readelf and objdump
Both programs are capable of displaying the contents of ELF format files. objdump sees an ELF file through a BFD filter. If BFD has a bug where it disagrees about a machine constant in e_flags, then the odds are good that it will remain internally consistent. The linker sees it the BFD way, objdump sees it the BFD way, GAS sees it the BFD way. There was need for a tool to go find out what the file actually says.

This is why the readelf program does not link against the BFD library - it exists as an independent program to help verify the correct working of BFD.

There is also the case that readelf can provide more information about an ELF file than is provided by objdump. In particular it can display DWARF debugging information which (at the moment) objdump cannot.

Example
The following command displays the contents of the file's dynamic section (to examine the shared library dependencies and rpath):

title: Readelf


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Basil Gabbidon

Basil Glendon Gabbidon (born 29 October 1955) is a British Jamaican guitarist / vocalist and a founding member of the reggae band Steel Pulse.

Gabbidon lives in Birmingham, England, and recorded the album Reggae Rockz with Paul Beckford (bass guitar), Colin Gabbidon (drums), Faisal X (keyboards), Sonia Clarke (vocals), Anne Marie Chambers (vocals), Candi Gabbidon (vocals) and other session musicians. The band has played at the Glade Festival, Irie Vibes Festival, Flyover Show as well as having a residency at The Public in West Bromwich.

title: Basil Gabbidon


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John Romita Sr.

John Victor Romita (January 24, 1930 – June 12, 2023) was an American comic book artist best known for his work on Marvel Comics' The Amazing Spider-Man and for co-creating characters including Mary Jane Watson, the Punisher, Kingpin, Wolverine, and Luke Cage. Romita was the father of John Romita Jr., also a comic book artist, and the husband of Virginia Romita, who was for many years Marvel's traffic manager.

His first comics work was in 1949 as a ghost artist for Timely Comics, the precursor to Marvel, through which Romita met editor-in-chief Stan Lee. In 1951, Romita began drawing horror, war, and romance comics for Atlas Comics (previously Timely), and also drew his first superhero work, a 1950s revival of Captain America. He worked exclusively for DC Comics from 1958 to 1965 and was the artist for many of their romance comics. During these years, Romita further developed his ability to draw beautiful women, which he later became well-known for.

Romita joined Marvel in 1965, initially drawing Daredevil comics. In 1966, when Spider-Man artist and co-creator Steve Ditko left Marvel, Romita was chosen by writer Lee as the new artist for Amazing Spider-Man. Within a year of Romita becoming the Spider-Man artist, The Amazing Spider-Man rose from Marvel's second-best-selling title to the company's top-seller. Romita brought a new romance style to Spider-Man comics that soon became the new design for the character. In June 1973, Romita was promoted to Marvel's art director and heavily influenced the look of Marvel comics throughout the 1970s and 1980s. Romita was inducted into the Will Eisner Comic Book Hall of Fame in 2002.

Early life
John Victor Romita was born on January 24, 1930, in Brooklyn, New York City, where he was also raised. The son of Marie and Victor Romita, a baker, he also had three sisters and a brother. Romita was of Italian descent, from Sicily. He began drawing at 5 years old. Romita graduated from Manhattan's School of Industrial Art in 1947, having attended for three years after spending ninth grade at a Brooklyn junior high school. Among his instructors were Howard Simon, a book illustrator, and Ben Clements, a magazine illustrator. Romita was deeply influenced by a variety of artists and illustrators. As a young reader of comics, he admired Noel Sickles, Roy Crane, and Milton Caniff. Caniff's Terry and the Pirates in particular was an early inspiration for Romita. Later in his career, he also drew inspiration from Sy Barry, Alex Toth, and Carmine Infantino. Beyond comics, he looked up to commercial illustrators such as Jon Whitcomb, Coby Whitmore, and Al Parker.

On Romita's 17th birthday, he received his first artist work from the Manhattan General Hospital. An anesthesiologist paid Romita $60 a week to create a medical exhibit on pneumatology medicine, which Romita completed in six months. Romita entered the comics industry in 1949 on the series Famous Funnies. "Steven Douglas up there was a benefactor to all young artists", Romita recalled. "The first story he gave me was a love story. It was terrible. All the women looked like emaciated men and he bought it, never criticized, and told me to keep working. He paid me two hundred dollars for it and never published it—and rightfully so".

Career
Romita was working at the New York City company Forbes Lithograph in 1949, earning $30 a week, when comic book inker Lester Zakarin, a friend from high school whom he ran into on a subway train, offered him either $17 or $20 a page to pencil a 10-page story, possibly a crime comic about 1920s mobsters, for him as an uncredited ghost artist. Now making more money on two pages than his usual weekly salary, Romita accepted the story and continued to ghost for Zakarin on other work. The work was for Marvel's 1940s forerunner, Timely Comics, which helped give Romita an opportunity to meet editor-in-chief and art director Stan Lee. Romita ghost-penciled for Zakarin on Trojan Comics' Crime-Smashers and other titles, eventually signing some "Zakarin and Romita".

Atlas Comics
The collaboration ended in early 1951, when Romita was drafted into the U.S. Army. Taking the initiative prior to induction, he showed art samples to the base art director on Governors Island in New York Bay, who arranged for him to be stationed there to do layouts for recruitment posters once Romita had completed basic training at Fort Dix, New Jersey. Romita was promoted to corporal after seven or eight months; now allowed to live off the post, he rented an apartment in Brooklyn.

When not on duty, Romita could leave the base and go into Manhattan. In mid- to late 1951, he recalled in 2002, "I went uptown one day for lunch. I stopped over at Stan Lee's [office in the Empire State Building, where Timely Comics had by now evolved into Atlas Comics], and his secretary came out ... and I said, 'Stan doesn't know my name but I've worked for him for over a year'. I was in uniform! She must've told him this GI ... wants to do some comics. She said, 'Stan said here's a four-page science fiction story'. I penciled it and struggled with my first inking. That was the first story I did on my own. I did Westerns and war stories then". The collection Marvel Visionaries: John Romita Sr. and former Marvel editor-in-chief Roy Thomas, in Alter Ego 9, each identify that four-page science fiction story as "It!", about a murderous alien in the guise of a baby. That story saw print in Strange Tales #4 (December 1951), although the Grand Comics Database lists Romita's first identified published comic-book work as penciler and inker of the six-page story "The Bradshaw Boys" in Atlas' Western Outlaws #1 (February 1951)—published nearly a year earlier. This may refer to a ghosted Zakarin story. The Atlas Tales database lists both "It!" and the six-page "Out of My Mind", in Astonishing #7 (also December 1951), as Romita's first full penciling and inking—although "It!" carries a later job number (9118) than the other tale (8964).

Romita went on to draw a wide variety of horror comics, war comics, romance comics and other genres for Atlas. His most prominent work for the company was the short-lived 1950s revival of Timely's hit character Captain America, in Young Men #24–28 (December 1953 – July 1954) and Captain America #76–78 (May–September 1954). Romita had been offered the Captain America work by Lee after Mort Lawrence's art was deemed unsatisfactory. The character was billed now as "Captain America, Commie Smasher" in the wake of the Cold War and faced enemies associated with the Soviet Union. The series was a commercial failure, and was cancelled after just three issues. Romita attributed the series' failure to the changing political climate, particularly the public opposition to the Korean War; the character subsequently fell out of active publication for nearly a decade.

Additionally, Romita would render one of his first original characters, M-11 the Human Robot, in a five-page standalone science-fiction story in Menace #11 (May 1954). While not envisioned as an ongoing character, M-11 was resurrected decades later as a member of the super-hero team Agents of Atlas. Romita was the primary artist for one of the first series with a black star, "Waku, Prince of the Bantu"—created by writer Don Rico and artist Ogden Whitney in the omnibus title Jungle Tales #1 (September 1954). The ongoing short feature starred an African chieftain in Africa, with no regularly featured Caucasian characters. Romita succeeded Whitney with issue #2 (November 1954).

DC Comics romance-comics artist
In the mid-1950s, while continuing to freelance for Atlas, Romita did uncredited work for DC Comics. Romita had been recommended to DC's editors by his artist friend Carmine Infantino while serving in the Korean War. After declining comics sales in the late 1950s forced Atlas to let most of their artists go, Romita transitioned to work for DC exclusively in 1958. His first known work for the company is the tentatively identified penciling credit for the cover of romance comic Secret Hearts #58 (October 1959), and, confirmably, pencils for the seven-page story "I Know My Love", inked by Bernard Sachs in Heart Throbs #63 (January 1960). Other titles to which he contributed include Falling in Love, Girls' Love Stories, Girls' Romances, and Young Love.

Romita's artwork for these stories followed the house style for DC comics, and the first pages of his issues were often done by another artist. The cover art for romance comics was soon done primarily by Romita. He would "swipe"—an artists' term for using existing work as models, a common practice among novices—from movie stills and from the Milton Caniff comic strip Terry and the Pirates. Bernard Sachs and Sy Barry inked some of Romita's romance work, but Romita began inking his own pencils in the late 1950s or early 1960s. Romita had hoped a DC editor would eventually offer him a superhero comic, such as a Batman filler issue, but Romita remained on the romance titles.

Shortly afterward, however, romance comics began declining in popularity, and by 1965, DC had ceased buying art for new romance comics. The company then only used romance comics from their large inventory of previously unpublished comics or published reprints. Romita was not offered work by the other genre departments, although admitted he did not try to present himself to them either. Romita's last known DC story work was the six-page "My Heart Tricked Me", inked by Sachs, in Girls' Romances #121 (December 1966), though his spot illustrations, some or all of it reprints of earlier work, continued to appear on one-page "beauty tip" and other filler pages, as well as on letters pages, through early 1970, as did the occasional reprinted story.

Joining Marvel Comics
Even before his final original DC story was published, Romita had already returned to freelance for what had now become Marvel Comics. His first work for Marvel was inking Jack Kirby's cover and Don Heck's interior pencils on the superhero-team comic The Avengers #23 (December 1965).

Romita directed most of his efforts, however, toward finding advertising storyboard work. He obtained a position at the large ad agency BBDO through his friend Al Normandia, one of the firm's art directors. "They were going to pay me $250 a week. I'd made just over $200 a week with the romance [comics] but only by killing myself" with long hours of work. Struggling to find new ideas for comics, Romita decided he would only do inking for comic work again.

Marvel editor Stan Lee, however, had heard of Romita leaving DC, and asked to see him. At a three-hour meeting over lunch, Romita recalled that Lee promised to match the agency salary if Romita would come work for Marvel. Lee also assured him the freedom to choose his work location, allowing him to work either from home or the office on any given day, based on Romita's own preference. Romita had also received an offer to work in advertising, but chose Marvel instead because Lee had promised consistent assignments. Though Romita felt he no longer wanted to pencil, in favor of being solely an inker, Lee soon enticed him otherwise:

"I had inked an Avengers job for Stan, and I told him I just wanted to ink. I felt like I was burned out as a penciler after eight years of romance work. I didn't want to pencil any more; in fact, I couldn't work at home any more—I couldn't discipline myself to do it. He said, 'Okay,' but the first chance he had he shows me this Daredevil story somebody had started and he didn't like it, and he wanted somebody else to do it. [He] showed me Dick Ayers' splash page for a Daredevil [and] asked me, 'What would you do with this page?' I showed him on a tracing paper what I would do, and then he asked me to do a drawing of Daredevil the way I would do it. I did a big drawing of Daredevil ... just a big, tracing-paper drawing of Daredevil swinging. And Stan loved it."

Romita began a brief stint on Daredevil beginning with issue #12 (January 1966), initially penciling over Jack Kirby's dynamic layouts as a means of learning Marvel's storytelling house style. Sales perked; while the title had a smaller print run than Marvel flagships The Amazing Spider-Man and Fantastic Four, it briefly had the company's highest percentage of sales compared to print-run. It also proved to be a stepping-stone for Romita's signature, years-long penciling run on The Amazing Spider-Man. During this time, a DC editor offered Romita to work on their Metamorpho character, but he declined. Lee wrote a two-part Daredevil story for issues #16–17 (May–June 1966) with Spider-Man guest starring, to see the character depicted by Romita.

Spider-Man
The reason for the tryout was the growing estrangement between Spider-Man co-creators Stan Lee and Steve Ditko. When Ditko abruptly left Marvel after completing The Amazing Spider-Man #38 (July 1966), Lee gave Romita the assignment. This followed Romita's eight-issue Daredevil run, the cover of the subsequent issue #20 (September 1966), and an incidental Hulk and two Captain America stories (in Tales to Astonish #77, March 1966, and Tales of Suspense #76–77, April–May 1966, respectively). While Romita's depiction of Spider-Man would eventually become the company mascot and the definitive look to the general public, the artist had trepidations:

"I was hoping against it, believe it or not. People laugh when I say this, but I did not want to do Spider-Man. I wanted to stay on Daredevil. The only reason I did Spider-Man was because Stan asked me and I felt that I should help out, like a good soldier. I never really felt comfortable on Spider-Man for years. ... I felt obliged to [mimic] Ditko because ... I was convinced, in my own mind, that he was going to come back in two or three issues. ... I couldn't believe that a guy would walk away from a successful book that was the second-highest seller at Marvel. ... After six months, when I realized it wasn't temporary, I finally stopped trying to [mimic] Ditko. ... I was doing these nine-panel pages and the thin line, and I was doing Peter Parker without any bone structure—just like Ditko was doing, I thought."

Lee later commented that this transition in Romita's style actually worked out for the benefit of the series, as it gradually weaned readers off the Ditko look while ultimately allowing Romita to work in the style he most excelled at. Romita took over The Amazing Spider-Man with issue #39 (August 1966). His first inker on what would become Marvel's flagship series was Mike Esposito, who initially used the pseudonym "Mickey Demeo" to conceal from his regular employer, rival DC Comics, that he was moonlighting at Marvel. After three issues, Romita inked himself for issues #43–48 (November 1966 – May 1967), before Esposito returned—uncredited for issue #49 (June 1967), then as Mickey Demeo until finally taking credit under his own name with issue #56 (January 1968). Except for one issue (#65) inked by his successor, Jim Mooney, the Romita-Esposito team continued through issue #66 (November 1968), establishing the new look of Spider-Man. The Amazing Spider-Man had been Marvel's second-best-selling title at the time Romita began drawing it. Within a year, it overtook Fantastic Four to become the company's top seller.

Romita designed the look of Mary Jane Watson, a supporting character in the Spider-Man series who would later become the lead character's romantic interest. Romita has stated that in designing Mary Jane, he "used Ann-Margret from the movie Bye Bye Birdie as a guide, using her coloring, the shape of her face, her red hair and her form-fitting short skirts." Mary Jane Watson made her first full appearance in The Amazing Spider-Man #42 (November 1966), although she first appeared in #25 (June 1965) with her face obscured and had been mentioned since #15 (August 1964). Peter David wrote in 2010 that Romita "made the definitive statement of his arrival by pulling Mary Jane out from behind the oversized potted plant [that blocked the readers' view of her face in issue #25] and placing her on panel in what would instantly become an iconic moment." Other characters that debuted in the Lee-Romita era include the Rhino in #41 (October 1966), the Shocker in #46 (March 1967), the Kingpin in #50 (June 1967), and George Stacy in #56 (January 1968). Romita had based George Stacy on actor Charles Bickford. Lee and Romita's stories focused as much on the social and college lives of the characters as they did on Spider-Man's adventures. The stories became more topical, addressing issues such as the Vietnam War, political elections, and student activism.

Romita, increasingly called upon to do art corrections and touch-ups, and to interface with artists for ever-busy editor Lee, became Marvel's de facto art director. Cutting back on his Spider-Man workload, Romita began doing only layouts, with finished pencils by Don Heck or Jim Mooney for nearly every issue for a year-and-a-half (#57–75, February 1968 – August 1969). Romita then stepped back for six issues, drawing only covers while John Buscema laid out issues #76–81 (September 1969 – February 1970) for others to finish.

These steps at reducing Romita's Spider-Man workload had mixed results, Romita recalled in 2001, saying, "Stan was always trying to speed me up. He had Don Heck pencil over my breakdowns for a while. ... Then, when Don had finished the pencils, [Lee would] call me in to fix up anything ... that he didn't like. Even after it was inked, he'd have me changing what the inker had done. I told him, 'This was supposed to save me time, but it isn't!' ". Romita's initial run on the title, abetted by the three other artists, lasted through issue #95 (April 1971). Gil Kane succeeded him as Spider-Man's regular penciler through issue #105 (February 1972). Romita then began a second stint, doing full pencils for issues #105–115 and #119 (February–December 1972, April 1974), and providing occasional inking and most of the cover art through issue #168 (May 1977). Romita suggested to writer Gerry Conway that supporting character Gwen Stacy should die at the hands of the Green Goblin in "The Night Gwen Stacy Died" in issue #121 (June 1973). Her demise and the Goblin's apparent death one issue later formed a story arc widely considered as the most defining in the history of Spider-Man. In a June 2017 interview with SyFy Wire, Romita named The Amazing Spider-Man #108 and 109 as the two stories he was proudest of, explaining that by the time he did those issues, he was no longer invoking Steve Ditko, and was asserting his own style as an artist. Romita pointed to the Milton Caniff-inspired brushwork with which he rendered those pages, and lamented no longer owning the originals.

Comics-art historian Daniel Herman assessed of Romita's Spider-Man work:

"Romita's transformation of the character redefined the character's look and took the strip in a different direction. It also made him a star artist in the comic book world. The trouble was, Romita took Spidey away from his roots and firmly planted him in the mainstream ... Marvel staffers would joke that Romita 'took Spider-Man uptown'. Romita reinvented the character and made it possible for [Spider-Man] to appeal to a wider audience, even if he removed the qualities that had made the strip a surreal standout."

Romita was the artist for the Spider-Man newspaper comic strip from its launch on January 3, 1977 through late 1980. He continued in his role as Marvel's art director during this time, anticipating that the strip would not last. Romita had promised Lee that he would continue the comic strip as long as sales continued to grow. The Spider-Man comic strip reached an audience of 500 newspapers, making it one of the most popular adventure comic strips at the time. At the start of the fourth year, the strip's number had begun to stagnate and then decline.

Marvel Comics art director
After editor-in-chief and art director Stan Lee assumed the positions of publisher and president in 1972, he promoted Romita to the position of art director in July 1973 after Romita had been in that position unofficially but on staff since 1972. In that capacity through at least the late 1980s, Romita played a major role in defining the look of Marvel Comics and in designing new characters. Among the characters he designed or helped design are the Punisher, Wolverine, Luke Cage, Bullseye, Tigra, and Brother Voodoo. Romita's catlike design for Wolverine was based on an encyclopedia description he found on wolverines, as vicious short animals with claws. For the Punisher, a rough sketch was provided by writer Gerry Conway, with a skull and crossbones on the chest. Feeling this was too simple, Romita made the skull larger to encompass the Punisher's torso, with his belt buckle resembling teeth. Romita also designed Natasha Romanova's Black Widow outfit, inspired by Miss Fury.

Romita collaborated with The Electric Company and to produce Spidey Super Stories comics, which were aimed at a younger audience and created with help from child psychologists. The series had 57 comics produced between 1974 and 1982. Romita created another program called "Romita's Raiders", which allowed young artists to gain hands-on experience and learn from the art staff at Marvel.

In 1976, Romita did uncredited art corrections on the large-format, first DC/Marvel intercompany crossover, Superman vs. the Amazing Spider-Man, over the pencils of Ross Andru. Later that same year, Romita inked Jack Kirby's pencil work on Captain America's Bicentennial Battles, a one-shot story published in an oversized treasury format. Around 1980, Romita's art directing duties expanded from comic books to special projects. His duties included supervising and hiring other artists, providing corrections and cover sketches when needed, and drawing art for various merchandise.

Later career
Romita inked the debut of new Captain Marvel Monica Rambeau in The Amazing Spider-Man Annual #16 (1982) and the first appearance of the Hobgoblin in The Amazing Spider-Man #238 (March 1983). He was one of six pencilers on Peter Parker, the Spectacular Spider-Man #121 (December 1986), and he penciled the nine-page story "I Remember Gwen" in The Amazing Spider-Man #365 (August 1992, the 30th-anniversary issue) and an eight-page backup story starring the hero and supporting character the Prowler in Peter Parker, the Spectacular Spider-Man Annual #13 (1993). In 1996, Romita announced his semi-retirement, but continued to work on multiple comics projects.

Romita both penciled and inked the 10-page backup story "The Kiss"—a flashback in which Peter Parker (Spider-Man) and his girlfriend Gwen Stacy share their first kiss—in Webspinners: Tales of Spider-Man #1 (January 1999). He drew an alternate-universe version of the Spider-Man characters in the one-shot Spidey: A Universe X Special (2001), and penciled the final four pages of the 38-page story in the milestone The Amazing Spider-Man #500 (December 2003) together with his son John Jr. penciling the other pages. Romita drew one of four covers to the April 27 – May 3, 2002, issue of TV Guide to promote the release of the 2002 Spider-Man film.

In the early 2000s, Romita contributed to multi-artist jams in commemorative issues. He did a panel in Captain America vol. 3, #50 (February 2002), starring the first Marvel superhero he had drawn; a portion of Iron Man vol. 3, #40 (May 2001), although the hero was not one of the artist's signature characters; a panel for Daredevil vol. 2, #50 (October 2003); and a few pages featuring Karen Page in Daredevil vol. 2, #100 (October 2007), done in the style of the romance comics he had drawn decades earlier. Romita both penciled and inked the cover of Daredevil vol. 2, #94 (February 2007) in that same romance comics style. The following year he drew a variant cover of his signature series, for The Amazing Spider-Man #568 (October 2008), doing so again with #642 (November 2010).

A Romita image of Spider-Man and a Hulk image penciled by Rich Buckler and inked by Romita were among the "Marvel Super Heroes" set of commemorative stamps issued by the U.S. Postal Service on July 27, 2007.

As of 2013, he served on the Disbursement Committee of the comic-book industry charity The Hero Initiative.

Awards
Romita received an Inkpot Award in 1979, and was inducted into the Will Eisner Award Hall of Fame in 2002. Romita was inducted into the Inkwell Awards Joe Sinnott Hall of Fame in 2020.

Personal life
John Romita Sr. married childhood sweetheart Virginia Bruno in November 1952, who also worked on staff at Marvel as traffic manager from 1975 to 1996. They lived in Brooklyn's Bensonhurst neighborhood until 1954, when they bought a house in the Queens neighborhood of Queens Village. Some years later, the family moved to Bellerose, New York, on Long Island.

Romita and his wife had two sons, Victor and John Jr. (born August 17, 1956), who followed in his footsteps to become a noted comic-book artist himself. At the time of his death, Romita had three grandchildren and one great-granddaughter.

Death
Romita died in his sleep at his home in Floral Park, New York on June 12, 2023, at the age of 93. The news was broken by his son, John Jr., the following day.

Artistic style
Romita has been credited with creating a new Spider-Man art style with romance and adventure influences that appealed to an even wider audience. He drew a more handsome Peter Parker and beautiful women, and depicted "beautiful suffering" that combined soap opera and fantasy themes. The Romita have been described as "The artist's line work became more rounded, and his depiction of women in particular became a real strength that would sustain him in years to come. His women were described as "fair of face but realistic rather than stylized" and displayed distinctive personalities through body language. Comic artist Alex Ross has stated, "For me, John's Spidey is a design of such perfection and beauty so as to be simply the greatest-looking character in comics, by his hand."

While working on DC's romance comics, Romita, finding the stories dull and repetitive, began looking for ways to add more personality into the artwork. For example, Romita would add flowing hair on women or objects moving in the wind for panels that had little happening and depicting characters from unique angles. After moving to Marvel, Romita was known for drawing stylistic deep shadows and defined bone structure.

DC Comics

 * DC 100 Page Super Spectacular #5 (1971)
 * Falling in Love #31, 35, 50, 53–55, 70, 81 (1959–1966)
 * Girls' Love Stories #82–88, 90–99, 101, 116, 120, 138, 140, 162, 165, 170 (1961–1972)
 * Girls' Romances #23, 62, 76, 85, 93–95, 114, 121, 129, 159–160 (1953–1971)
 * Heart Throbs #63, 65–67, 77–86, 90, 93, 99, 101 (1959–1966)
 * Secret Hearts #43, 60, 69–70, 78–93, 109, 152–153 (1957–1971)
 * Young Love #39–43, 45–54 (1963–1966)
 * Young Romance #125–128, 130–132, 171–172, 175 (1963–1971)

Marvel Comics

 * Adventures into Weird Worlds #21 (1953)
 * All-True Crime #44 (1951)
 * The Amazing Spider-Man #39–58, 67, 72, 82–83, 87–88, 93–95, 106–119, 132, 365, 500 Annual '96 #1 (as penciller); #89–92, 96, 120–125, 146, 151, 238, 247, 274, 400, Annual #16 (as inker only) (1966–2003) (Romita drew additional Silver Age issues as layout artist for pencilers Don Heck and Jim Mooney.)
 * The Amazing Spider-Man vol. 2, #18 (inker) (2000)
 * The Amazing Spider-Man Special Edition (1982)
 * The Amazing Spider-Man comic strip (1977–1980)
 * Astonishing #7, 18, 24, 43, 57, 61 (1951–1957)
 * The Avengers #23 (inker) (1965)
 * Battle #14, 26, 39, 45, 49, 53, 57–59 (1952–1958)
 * Battle Action #20, 22, 25, 27, 29 (1955–1957)
 * Battlefront #6, 10 (1952–1953)
 * Battle Ground #9 (1956)
 * Black Knight #4 (1955)
 * Captain America #114, 138–145, 148 (1969–1972)
 * Captain America vol. 3 #50 (among other artists) (2002)
 * Captain America Comics #76–78 (1954)
 * Caught #2 (1956)
 * Combat #3, 6 (1952)
 * Commando Adventures #2 (1957)
 * Cowboy Action #10 (1956)
 * Crime Cases Comics #7 (1951)
 * Crime Exposed #5 (1951)
 * Daredevil #12–19 (1966)
 * Daredevil vol. 2 #50, 100 (among other artists) (2003–2007)
 * Doctor Strange vol. 2 #7 (inker) (1975)
 * Droids #1–4 (1986)
 * Fantastic Four #103–106, 108 (1970–1971)
 * Frontier Western #7 (1957)
 * Gunsmoke Western #38 (1956)
 * The Incredible Hulk Annual #17 (1991)
 * Journey into Unknown Worlds #22 (1953)
 * Jungle Action #2–6 (1954–1955)
 * Justice #42 (1954)
 * Kid Colt Outlaw #70 (1957)
 * Kingpin #1 (1997)
 * Lorna, the Jungle Girl #17–26 (1956–1957)
 * Love Romances #35, 37 (1954)
 * Marines in Battle #3–4, 19 (1954–1957)
 * Marvel Presents: Guardians of the Galaxy #3 (inker, Cover Art) (February 1976)
 * Marvel Romance Redux: But I Thought He Loved Me #1 (inker) (2006)
 * Marvel Romance Redux: Guys & Dolls #1 (inker) (2006)
 * Marvel Romance Redux: Love is a Four-Letter Word #1 (2006)
 * Marvel Tales #108 (1952)
 * Marvel Tales vol. 2 #81 (1977)
 * Marvel Treasury Special #2 ("Captain America's Bicentennial Battles") (inker) (1976)
 * Men's Adventures #22, 24, 28 (1953–1954)
 * Menace #3, 6, 8, 11 (1953–1954)
 * My Love #1–3, 14, 16 (1969–1972)
 * My Love Story #9 (1957)
 * My Own Romance #36, 40 (1954)
 * Mystery Tales #7, 37, 41 (1953–1956)
 * Mystic #11, 15, 23, 25 (1952–1953)
 * Navy Action #5 (1955)
 * Navy Combat #12 (1957)
 * Our Love Story #1–2, 5 (inker) (1969–1970)
 * Outlaw Kid #5 (1955)
 * Questprobe #1 (inker) (1984)
 * Ringo Kid #11 (1956)
 * Savage Tales (Femizons) #1 (1971)
 * Secret Story Romances #16, 18 (1955)
 * Sergio Aragonés Massacres Marvel #1 (inker) (1996)
 * Six-Gun Western #1, 4 (1957)
 * Spaceman #1 (1953)
 * The Spectacular Spider-Man #121, Annual #13 (1986–1993)
 * The Spectacular Spider-Man magazine #1–2 (1968)
 * Spellbound #13, 24, 26–28 (1953–1956)
 * Spider-Man #57 (penciller) (1995)
 * Spider-Man/Kingpin: To the Death Oneshot (penciller) (1997)
 * Spider-Man: The Mutant Agenda #0 (1994)
 * Spy Cases #5 (1951)
 * Stories of Romance #5, 11 (1956–1957)
 * Strange Tales #4, 35 (1951–1955)
 * Strange Tales of the Unusual #1 (1955)
 * Suspense #20, 25 (1952)
 * Tales of Suspense (Captain America) #76–77 (1966)
 * Tales to Astonish #67 (Giant Man); #77 (Hulk) (inker) (1965–1966)
 * The Tomb of Dracula magazine #2 (inker) (1979)
 * True Secrets #4, 13, 38 (1951–1956)
 * Two Gun Western #8 (inker) (1951)
 * Ultimate Spider-Man Super Special #1 (2002)
 * Uncanny Tales #10 (1953)
 * Uncanny X-Men #177 (inker) (1984)
 * Universe X: Spidey #1 (inker) (2001)
 * Untold Tales of Spider-Man #-1 (1997)
 * Vampire Tales #2 (1973)
 * War Action #10–11 (1953)
 * War Adventures #7, 9 (1952)
 * War Comics #10, 16, 20, 29, 40, 42 (1952–1956)
 * Web of Spider-Man #52 (inker) (1989)
 * Webspinners: Tales of Spider-Man #1 (1999)
 * Western Kid #1–17 (1954–1957)
 * Western Outlaws #1, 7, 11, 13–14 (1954–1956)
 * Western Outlaws and Sheriffs #70 (1951)
 * Wild Western #24 (1952)
 * World of Mystery #2 "(1956)
 * World of Suspense #5 (1956)
 * Young Men #24–28 (Captain America) (1953–1954)

Marvel Comics and DC Comics

 * Superman vs. the Amazing Spider-Man #1 (1976)

Source:

title: John Romita Sr.


text:
Amazon (automobile)

The Amazon was a cyclecar produced by Amazon Cars Ltd in Billiter Street, London, EC3, England from 1921 to 1922.

It featured a rear-mounted air-cooled twin 6/9 hp Coventry Victor engine with chain drive to the rear wheels through a three-speed-and-reverse gearbox made by Juckes. To give a conventional appearance the 2-seater car had a dummy radiator at the front.

It cost £235.

title: Amazon (automobile)


text:
John Romita Jr.

John Salvatore Romita (born August 17, 1956) is an American comics artist best known for his extensive work for Marvel Comics from the 1970s to the 2010s. He is the son of artist John Romita Sr.

Early life
John Romita Jr. was born August 17, 1956, the son of Virginia (Bruno) and comic book artist John Romita Sr., one of the signature Spider-Man artists since the 1960s. He studied advertising art and design at Farmingdale State College in East Farmingdale, New York, graduating in 1976.

Career
Romita Jr.'s first contribution to Marvel Comics was at the age of 13 with the creation of the original Prowler, a sketch of which Romita had produced. Editor Stan Lee liked the name but not the costume; Romita combined the name with a design that he had previously intended for a character called the Stalker that was intended for the never-published The Spectacular Spider-Man #3. Inspired by Romita's drawing, Lee, John Buscema and Jim Mooney created the Hobie Brown version of the character that would debut in The Amazing Spider-Man #78 (Nov. 1969).

Romita Jr. began his career at Marvel UK, doing sketches for covers of reprints. His American debut was with a six-page story entitled "Chaos at the Coffee Bean!" in The Amazing Spider-Man Annual #11 (1977).

Romita's early popularity began with his run on Iron Man with writer David Michelinie and artist Bob Layton which began in 1978. The creative team introduced several supporting characters, including Tony Stark's bodyguard girlfriend Bethany Cabe and rival industrialist Justin Hammer. In the early 1980s, he had his first regular run on the series The Amazing Spider-Man and also was the artist for the launch of the Dazzler series. He and writer Dennis O'Neil introduced Madame Web in The Amazing Spider-Man #210 (Nov. 1980) and Hydro-Man in issue #212 (Jan. 1981). In 1982, Romita Jr. drew Marvel Super Hero Contest of Champions the first limited series published by Marvel Comics. Working with writer Roger Stern on The Amazing Spider-Man, he co-created the character Hobgoblin. From 1983 to 1986 he had a run on the Uncanny X-Men with Dan Green and author Chris Claremont and co-created Forge. Romita has downplayed the significance of his run, saying that few of the characters introduced during this time were co-created by him and that his style has had no discernible influence on succeeding X-Men artists. His relationship with Claremont was rather cool at the time, as Claremont did not like his work as much as the artists he had previously worked with. He would return for a second run on Uncanny X-Men in 1993, which he said he liked better "because of getting to work with [writer] Scott Lobdell."

After he ended his first run on The Uncanny X-Men, Romita was assigned to Star Brand, one of the titles on Marvel's New Universe imprint, which featured a character the Romita was told would be Marvel's version of Superman. The title did not do well in sales, and Romita could not return to the X-Men. This experience, and personality conflicts that he had with those in editorial left Romita so disillusioned that he considered quitting the industry entirely. However, editor Ralph Macchio approached him one day as Romita was leaving the Marvel offices and asked him to consider working on Daredevil. Romita had never considered working on that character, despite the fact that his father had done so, but Macchio said he would be paired with writer Ann Nocenti, and that he would not only be allowed to do full pencils for the first time (having previously been restricted to doing only breakdowns ), but would also collaborate on plots, and be allowed to choose his own inker. A skeptical Romita jokingly said he wanted Al Williamson, and was surprised when Williamson was assigned was confirmed a day later. For Romita himself, his stint on Daredevil was most significant for being both the first time he was allowed to do full pencils, and the first time he had a working relationship with the writer on a series. He later remarked that "I finally felt like I was part of the creation process for the first time while I was on DD." In a 2017 interview with SyFy Wire, Romita stated this run reinvigorated his enthusiasm for comics work, marking a turning point in his career. His run on the title from 1988 to 1990 included the creation of long-running Daredevil nemesis Typhoid Mary. After Daredevil #282, Romita left the series to pursue other projects, though his experience on Daredevil would influence his later return to the character with Frank Miller.

Stan Lee interviewed Romita and his father in Episode 8 of the 1991–1992 documentary series The Comic Book Greats.

He worked on a host of Marvel titles during the 1990s, including a return to Iron Man for the second "Armor Wars" story arc, written by John Byrne; The Punisher War Zone; the Cable miniseries; and the Punisher/Batman crossover. Klaus Janson was a frequent inker.

Romita contacted Frank Miller and told him that he wanted to collaborate on a graphic novel, suggesting they work on Wolverine. Miller dismissed this, saying that too many other creators were producing books featuring that character, and instead sent Romita a rejected 64-page film treatment for what was essentially a "Daredevil Year One"-type story. After Romita completed adapating the story into comics form, Miller told him that he had written an addendum to be set in between Pages 17 and 18, which ended up adding 84 more pages to the book, changing its format. The result was the 144-page, 5-issue miniseries Daredevil: The Man Without Fear, which was published in 1993, The book was a retelling of the character's origin, which reunited Romita with Williamson on inks. In a 2017 interview, Romita said that in terms of storytelling, he thought that Man Without Fear was the best work he had ever done,  due to the strong storytelling and the quality of the story. Elements from the storyline were adapted into the 2015 Netflix series Daredevil.

In July 1998 Dan Jurgens and Romita Jr. relaunched the Thor series.

A January 1999 reboot of Peter Parker: Spider-Man was handled by Howard Mackie and Romita Jr.

In 2001, Romita returned to Spider-Man for a collaboration with writer J. Michael Straczynski beginning with The Amazing Spider-Man vol. 2 #30 (June 2001). The creative team produced a story for issue #36 (Dec. 2001) that served as memorial to the victims of the September 11 attacks. He drew Marvel's Wolverine with author Mark Millar. In 2004, Romita's creator-owned project The Gray Area was published by Image Comics. He subsequently worked on the Marvel series Black Panther, The Sentry and "Ultimate Vision", a backup feature in the Ultimate Marvel line, written by Mark Millar.

In 2006, Romita collaborated with writer Neil Gaiman on a seven-issue miniseries reinterpretation of Jack Kirby's characters the Eternals. Romita worked with Greg Pak on the five-issue central miniseries of Marvel's 2007 crossover storyline, "World War Hulk".

In 2008, Romita again returned to The Amazing Spider-Man. He also collaborated once more with Millar, for a creator-owned series, Kick-Ass, published by Marvel's Icon imprint. This was later adapted into the 2010 film Kick-Ass. Romita, one of the producers, directed an animated flashback sequence in the film.

On April 9, 2011, Romita was one of 62 comics creators who appeared at the IGN stage at the Kapow! convention in London to set two Guinness World Records, the "Fastest Production of a Comic Book" and "Most Contributors to a Comic Book". With Guinness officials on hand to monitor their progress, writer Millar began work at 9 a.m. scripting a 20-page black-and-white comic book of his character Superior, with Romita and the other artists appearing on stage throughout the day to work on the pencils, inks, and lettering, each drawing a panel. The book was completed in 11 hours, 19 minutes, and 38 seconds, and was published through Icon on November 23, 2011, with all royalties being donated to Yorkhill Children's Foundation.

On May 4, 2012, Romita set out to break his own record for continuous cartooning, to support the charity Candlelighters Childhood Cancer Foundation of Nevada. He attempted to continuously sketch characters and sign comics for 50 hours straight.

In 2014, Romita Jr. became the penciller of the DC Comics flagship title Superman, starting with issue #32, in collaboration with writer Geoff Johns. Romita Jr.'s Superman pencils have been inked by Klaus Janson. In 2016, Romita Jr. and writer Scott Snyder collaborated on the All-Star Batman series as part of the DC Rebirth relaunch. Romita Jr. and writer Dan Abnett created The Silencer series as part of DC's "Dark Metal" line. In addition, Romita worked with Frank Miller on the Superman: Year One mini-series.

In 2020, Romita drew Kelly Sue DeConnick's story "Fore" for Detective Comics' 1027th issue.

Influences and techniques
Romita's art influences include his father John Romita Sr., as well as comics artists Jack Kirby and John Buscema, the Wyeth family of painters, and illustrator Charles Dana Gibson.

Having illustrated both gritty street-level stories of characters such as Spider-Man and Daredevil and cosmic stories such as those starring Thor, Romita says he prefers the former, because "that is where I grew up. I use the same approach to each of the different story types – the story tells me what to do." He prefers to work in the Marvel Method.

Awards
John Romita Jr. received an Inkpot Award in 1994.

With writer J. Michael Straczynski and inker Scott Hanna, Romita Jr. won a 2002 Eisner Award for Best Serialized Story: The Amazing Spider-Man #30-35: "Coming Home".

DC Comics

 * Action Comics #1017–1028 (2019–2020)
 * All-Star Batman #1–5 (2016)
 * Batman vol. 3 #80–81 (2019)
 * Batman Black and White vol. 5 #6 (among other artists, 2021)
 * Dark Days: The Casting #1 (one-shot, with Jim Lee and Andy Kubert, 2017)
 * Dark Days: The Forge #1 (one-shot, with Lee and Kubert, 2017)
 * Dark Knight III: The Master Race #3 (backup story, 2016)
 * Dark Knight Returns: The Last Crusade (one-shot, 2016)
 * Detective Comics #1027 (among other artists, 2020)
 * The Silencer #1–3 (2018)
 * Suicide Squad vol. 4 #11–15 (2017)
 * Superman vol. 3 #32–44 (2014–2015)
 * Superman: Year One #1–3 (2019)

Image Comics

 * The Gray Area #1–3 (2004)
 * Kick-Ass #1–6 (2018)

Marvel Comics

 * The Amazing Spider-Man #208, 210–218, 223–227, 229–236, 238–250, 290–291, 432, 500–508, 568–573, 584–585, 587–588, 600, 692, Annual #11, 16 (1980–1984, 1987, 1995, 1998, 2003–2004, 2008–2009, 2012)
 * The Amazing Spider-Man vol. 2, #22–27, 30–58 (2000–2003)
 * The Amazing Spider-Man vol. 6 #1-5, 7-8, 11-13, 21-26 (2022-)
 * The Avengers vol. 3 #35 (2000)
 * The Avengers vol. 4 #1–12, 14, 16–17 (2010–2011)
 * Black Panther vol. 3, #1–6 (2005)
 * Cable: Blood and Metal #1-2 (miniseries, 1992)
 * Captain America vol. 7, #1–10 (2013)
 * Daredevil #250–257, 259–263, 265–276, 278–282, Annual #5 (1988–1990)
 * Daredevil: The Man Without Fear #1-5 (1993–1994)
 * Dark Reign: The List – Punisher #1 (2009)
 * Dazzler #1–3 (1981)
 * Eternals vol. 3 #1–7 (2006–2007)
 * Fall of the Hulks: Gamma #1 (2010)
 * Fallen Son: The Death of Captain America #4 (2007)
 * Fantastic Four vol. 6 #35 (2021)
 * Free Comic Book Day 2010: Iron Man/Thor #1 (2010)
 * Ghost Rider/Wolverine/Punisher: Hearts of Darkness #1 (1991)
 * Heroes for Hope Starring the X-Men #1 (1985)
 * The Incredible Hulk vol. 3 #24–25, 27–28, 34–39 (2001–2002)
 * Iron Man #115–117, 119–121, 123–128, 141–150, 152–156, 256, 258–266 (1978–1982, 1990–1991)
 * The Last Fantastic Four Story (2007)
 * Marvel Super Hero Contest of Champions #1-3 (1982)
 * Marvel Super Special #5 (Kiss) (1978)
 * The Mighty Avengers #15 (2008)
 * Peter Parker: Spider-Man #57, 64–76, 78–84, 86–92, 94–95, 97–98 (1995–1998)
 * Peter Parker: Spider-Man vol. 2, #1–3, 6–12, 14–17, 19 (1999–2000)
 * The Punisher War Zone #1–8 (1992)
 * Scarlet Spider #2 (1995)
 * Sentry vol. 2 #1–8 (miniseries, 2005–2006)
 * The Spectacular Spider-Man #50, 121 (1981, 1986)
 * Spider-Man: The Lost Years #0, 1–3 (miniseries, 1995)
 * Star Brand #1–2, 4–7 (1986–1987)
 * Thor vol. 2, #1–8, 10–13, 16–18, 21–25 (1998–2000)
 * Ultimate Vision #0 (2007)
 * Uncanny X-Men #175–185, 187–197, 199–200, 202–203, 206–211, 287, 300–302, 304, 306–311, Annual #4 (1980–1986, 1992–1994)
 * Wolverine vol. 3, #20–31 (2004–2005)
 * World War Hulk #1–5 (2007–2008)
 * X-Men: Legacy #208 (2008)
 * X-Men Unlimited #7 (1994)

Icon Comics

 * Hit-Girl #1–5 (2012–2013)
 * Kick-Ass #1–8 (with writer Mark Millar 2008–2010)
 * Kick-Ass 2 #1–7 (2010–2012)
 * Kick-Ass 3 #1–8 (2013–2014)

Marvel Comics / DC Comics

 * Punisher/Batman: Deadly Knights (intercompany crossover, 1994)
 * Thorion of the New Asgods #1 (1997)

title: John Romita Jr.


text:
Gilroy Garlic Festival

The Gilroy Garlic Festival was a food festival in the United States, held annually from 1979 to 2019 at Christmas Hill Park in Gilroy, California, on the last full weekend in July. After its cancellation in 2020 due to the COVID-19 pandemic, a drive-through festival was held on July 23–25 and 30–31 July and August 1, 2021. In April 2022, the Gilroy Garlic Festival Association announced the indefinite suspension of the traditional large-format festival, and that it would instead host smaller individual events. In May 2022, the festival was canceled permanently.

An annual three-day event, the Gilroy Garlic Festival was one of the country's best known food festivals, drawing visitors from across the nation. Located about 30 mi southeast of San Jose, Gilroy is home to about 60,000 people, and the city is a major producer of garlic. The festival was Gilroy's top fundraiser, staffed with volunteers to raise money for nonprofit groups including clubs and schools.

History
The inaugural Garlic Festival was held in 1979. Rudolph J. Malone, then President of Gavilan College in Gilroy, was inspired by a small town in France which hosted an annual garlic festival and claimed to be the "Garlic Capital of the World." Malone started the festival, which attracted more than hundreds of thousands of paying visitors a year.

2019 shooting
On July 28, 2019, a mass shooting occurred at the 41st edition of the festival. Three people were killed, in addition to the gunman, and 12 others were injured.

COVID-19 pandemic and cancellation
The festival was cancelled in 2020 due to the COVID-19 pandemic, while 2021 saw a drive-thru festival. In April 2022, the Gilroy Garlic Festival Association announced that the event will be canceled indefinitely due to prolonged losses, "lingering uncertainties from the pandemic," and "prohibitive insurance requirements by the City of Gilroy" since the 2019 shooting.

In popular culture
The Garlic Festival was featured by Huell Howser in Road Trip Episode 124.

title: Gilroy Garlic Festival


text:
User talk:AntonR~enwiki/Learning Wikipedia

Tutorial

jul-23

 * can include html tags: blah

 * italicize - 3 single quotes: italic

 * create new page in User space - preface with: "/"


text:
User talk:Quazywabbit

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

Here are some tips to help you get started:

 * To sign your posts (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).
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title: User talk:Quazywabbit


text:
User talk:Holford

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

Here are some tips to help you get started:

 * To sign your posts (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).
 * Try the Tutorial, and feel free to experiment in the test area.
 * If you need help, post a question at the Help Desk
 * Follow the Simplified Ruleset
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Remember Neutral point of view
 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck!

Roy Blunt
Thanks for keeping an eye on the POV pushing on this page! TMS63112 17:03, 12 December 2005 (UTC)

Please participate in this discussion
I just posted a response here to your reversion of some unregistered user contributions to Roy Blunt. I'd appreciate your participation. 66.167.137.199 03:29, 3 February 2006 (UTC).

What is the problem with showing the controversial info on Amy Grant?
The information I supplied about what happened in Fort Worth is true, I was there.

The other information is VERY Recent. The only reason to remove it is to protect her reputation, i.e. reverse form of editorializing. I have provided sources for those. To remove the context of Chapmans whole statement is not telling the WHOLE truth. Notoadultery1 (talk) 02:00, 9 January 2009 (UTC)
 * To find that out, you should go to the discussion page for the Amy Grant article. That is the purpose of the discussion pages. Holford (talk) 02:50, 9 January 2009 (UTC)

Fair use rationale for File:Douglas-Home.jpg
Thanks for uploading File:Douglas-Home.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) 00:54, 10 January 2009 (UTC)

 * I've not done image upload before. I think I have done this correctly now. Holford (talk) 22:06, 10 January 2009 (UTC)

File:Douglas-Home.jpg
Where exactly did this come from? How do you know that Parliament is the author, and that it is older than 1958? Calliopejen1 (talk) 01:40, 14 January 2009 (UTC)
 * It's all in the very lengthy discussion at Talk:Alec_Douglas-Home. Holford (talk) 02:22, 14 January 2009 (UTC)
 * Actually, the link to the source page is not provided there. What is it? Calliopejen1 (talk) 17:43, 15 January 2009 (UTC)
 * You can find the photo here Holford (talk) 19:12, 15 January 2009 (UTC)

Fair use rationale for File:Douglas-Home.jpg
Thanks for uploading or contributing to File:Douglas-Home.jpg. I notice the file page specifies that the file is being used under fair use but there is not a suitable explanation or rationale as to why each specific use in Wikipedia constitutes fair use. Please go to the file description page and edit it to include a fair use rationale.

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 'file' 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 "File" 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. Road Wizard (talk) 19:50, 15 January 2009 (UTC)

 * I've only even uploaded this file. Given all the trouble it is, I doubt I will ever do so again. As for the fair use rationale, I'm still trying to figure out how to do that. I see the template, but I don't know how to add it so I can fill in all the fields. Can you help? Holford (talk) 02:03, 16 January 2009 (UTC)
 * Actually, I was about to nominate the image for deletion, so you probably don't need to bother. If this image is non-free, it cannot be used in Wikipedia (because free images exist). For the image to stay, we need proof that this image was taken before 1958 and that it is copyrighted by Parliament (rather than just being borrowed for the Parliament website). The 1958 problem is the big one. Thoughts, or should I nominate it for deletion now? Calliopejen1 (talk) 02:51, 16 January 2009 (UTC)
 * First of all, if you have or can find a free image, by all means use it. I have searched far and wide. Yes, it seems there is a British Prime Minister with no available image under Wikipedia's convoluted policies that bear only a passing resemblance to the law. And of course no free image can be taken because Lord Home is dead. I suppose I could try to find someone living near Coldstream who would go an take a picture of his bloody grave and post it. Parliament would seem to claim the copyright to the photo under the copyright information on the website. Nonetheless, I wouldn't put it past the picture squad to challenge Parliament as well. I suppose my rationale would include something to the effect that he's a dead Prime Minister of the United Kingdom of whom no further pictures can be taken unless someone is willing to apply to the Department for Constitutional Affairs for a exhumation license. Even then, I don't think a photo of his decomposed corpse would be an appropriate reflection of the man and his place in British history.
 * I would therefore suggest that if it is extremely urgent to err on the side of caution to avoid the hordes of civil servants searching Wikipedia for unauthorised images of former Prime Ministers in order to bring actions in the High Court for breach of Parliamentary, Crown, or other such copyright, or, on the other hand, if it equally as important to apply in a draconian fashion the strict letter of a policy rivalled for complexity only by the US Internal Revenue Code, then go for the deletion. My view, which I know doesn't count for much, would be to leave it until we either 1) find an argument that confounds every attempt to get rid of what under any other circumstance would be a perfectly acceptable picture, or 2) find the elusive "free" image of of the late Lord Home of Hirsel. Frankly, I don't care that much. I only ever uploaded the image so I could use it in a Userbox I created and there is yet another policy which says I can't do that anyway. Holford (talk) 03:50, 16 January 2009 (UTC)
 * I already did find the elusive free image. I posted it on the article's talk page. It's in the National Archives. Someone in DC just has to go get it. Calliopejen1 (talk) 04:23, 16 January 2009 (UTC)
 * Ah, yes, the potential screenshot that theoretically could be obtained if someone spend a significant amount of time, effort, and money to go personally to the US National Archives (as one should of course, for the best picture of a British Prime Minister). A volunteer editor ought to do this, since after all the only reason such hoops have to be jumped is because commerical sites use Wikipedia content. I believe the most appropriate response to this suggestion was offered immediately after yours on the same article's talk page by John Kenney. Holford (talk) 03:22, 17 January 2009 (UTC)
 * Give me a break. If you and John Kenney aren't interested in Wikipedia's mission (free content as in freedom and not necessarily as in beer), then maybe this isn't the place for you. One main reason wikipedia doesn't allow non-commercial licenses is because non-commercial is extremely vague and badly defined in the one major NC license (creative commons). For example, is a website that pays its expenses using banner ads non-commercial? What if that website is losing money? Non-commercial then? What if the website owner makes a nominal salary? A decent salary? It's all entirely vague. The second major reason is that wikipedia may not be around forever. What happens when our editors leave, and the donation drives go badly? Perhaps the only way the free content would be continued is if someone could make a buck off hosting it. And something in the national archives isn't a crazy thing to get. We don't allow non-free photos of Mount Everest or of Antarctica--we've got to wait for people who go there to upload them. Allowing people to use whatever non-free photo they want of this guy diminishes the incentive to take an hour or two and go get the image. Calliopejen1 (talk) 03:00, 18 January 2009 (UTC)
 * Well, given that I've edited here for 5 days shy of 4.5 years and this is the first time I've said anything about Wikipedia policy, I hardly think that means Wikipedia isn't the place for me. Or are you the sort of person who thinks that people who disagree with Government policy aren't good citizens and should be eliminated, or at best invited to emigrate? Frankly, I think that that if I'm giving my free time (free as in beer, since, as they say, time is money) as is everyone else who has helped and is helping to create this encyclopedia, then, yeah, I'd go with with the free (again, as in beer) content. Part of the problem is that we have intellectual property law that isn't keeping up with technology, particularly with the behaviour that is relevant in an environment where pretty much anything that can be digitized can be obtained at no cost to the end user. It is almost like trying to bottle and regulated the sale of air. Sure a tiny number of people will need to to go SCUBA diving, but for 99.9999% of users, it just isn't going to be feasible. That is why we are grasping at outdated principles of commercialism to try to define something completely outside the box. We can keep up the illusion for a while, but most people are figuring out that the Licensing Emperor has no clothes. Therefore, I don't think it is worth it, or even a reasonable suggestion, for someone to have to take an hour or two to go to the United States National Archives to manufacture a bloody picture of a dead British Prime Minister, especially given that while we had a picture with the article for 5.5 years no one complained about it and the only quarrel there has been about it has been with internal policy apparatchiks. This is clearly the case where the law (in the form of Wikipedia policy) is an ass. Holford (talk) 04:21, 18 January 2009 (UTC)

WP:Hornbook -- a new WP:Law task force for the J.D. curriculum
Andrew Gradman talk/WP:Hornbook 20:14, 31 July 2009 (UTC)

Leonard Ravenhill
Holford, do you have any fresh takes on Ravenhill's page? Looks like the dispute was short and a very long time ago. I've added a few sources and edited some of the verbage, but I want input before removing the banners, thanks ChildrenOfLight (talk) 02:09, 27 June 2010 (UTC)

Thanks for the message! I'll look into it. ChildrenOfLight (talk) 04:45, 5 August 2010 (UTC)

November 2011
Welcome to Wikipedia. Everyone is welcome to contribute constructively to the encyclopedia. However, please do not remove citations or information sourced through citations simply because a link to a source is not working, as you did to You've Never Seen Everything. Dead links should not be deleted. Instead, please repair or replace the link, if possible, and ensure properly sourced information is retained. Often, a live substitute link can be found. Links not used as references, notes or citations are not as important, such as those listed in the "External links" or "Further reading" sections, but bad links in those sections should also be fixed if possible. Please take a look at the welcome page to learn more about contributing to this encyclopedia. Thank you. ''Please mark dead links with instead. Thanks.'' Walter Görlitz (talk) 23:40, 28 November 2011 (UTC)
 * Welcome to Wikipedia? I've been editing longer than you have. You can feel safe in knowing that as both a responsible editor and a Bruce Cockburn fan, I made extensive efforts to repair or replace the link. It is nowhere on the Rolling Stone website, at least inasmuch as someone with extensive research experience can find. I had the option of deleting the mention of the review and the stars as the source is now unverified, and perhaps my bias in trying to keep as much info about BC led to this error in judgment. I think it is a fairly close call and hardly a reason to suggest or imply that I'm a newbie around here and need to be told how find out about the basics of editing. Holford (talk) 04:46, 29 November 2011 (UTC)
 * It's a template. Don't blame me for the wording of content.
 * You should go read WP:DEADREF now before you do something else against procedure. Leaving it tagged as a deadlink is perfectly acceptable because it's also in print form. --Walter Görlitz (talk) 05:11, 29 November 2011 (UTC)
 * Thanks for a personal pedantic response instead of the template response. It appears to me, from having RE-read the DEADREF page, that I followed procedure. Note procedure No. 3: "Remove convenience links: If the material was published on paper (e.g., academic journal, newspaper article, magazine, book), then the URL is not necessary. Simply remove it." Presuming the material was included in the print version of Rolling Stone, I left the reference to Rolling Stone and the stars. I removed the URL. It seems doubtful the link was ever real. The URL does not even fit the URL format for Rolling Stone reviews. It makes little sense that Rolling Stone would have deleted the review from its archive. Holford (talk) 05:46, 29 November 2011 (UTC)

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

title: User talk:Holford


text:
Talk:Centaur

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 13 February 2019 and 3 May 2019. Further details are available on the course page. Student editor(s): MilliGrams.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 17:05, 16 January 2022 (UTC)

Untitled
I found this sentence at the bottom of "Theories of Origins" section: 'The last known legitimate sighting was in Allamuchy, NJ circa October 1976.' Removing it now.Sully716 18:17, 11 September 2007 (UTC)

I removed the part about Centaurs being in TESIV:Oblivion. There is not a Centaur anywhere in the game. MusashiExtra 08:20, 5 August 2007 (UTC)

Not to be rude but this article is not written in a style suitable for the wikipedia. LordFenix 19:09, 12 December 2006 (UTC)

"As children of Apollo, they are taken to signify the rays of the Sun." I removed this statement which embodies several misleading misconceptions. Wetman 00:44, 24 Jul 2004 (UTC)

"Many centaur legends state that they are very fickle creatures, and often look to the sky to determine the fates. They are great astrologers and have a love for divination." This may be a modern pop astrology use of centaurs. Fickle astrologers, eh? Can anyone give a concrete instance that would support any element of these statements? --Wetman 22:28, 27 Nov 2004 (UTC)
 * I've no clue as to where that came from, I was just moving it. Although come to think of it, the centaurs in Harry Potter are quite like that. Maybe that's what the tidbit's contributor was getting at. [[User:Premeditated Chaos| P M  C ]] 23:12, 27 Nov 2004 (UTC)
 * Ah! "Centaurs in the Harry Potter series" is a perfectly good subsection, at a Harry Potter entry-- with a linking note here: "Modern centaurs have been reimagined in the Harry Potter books." or somesuch. Would a Potterite do this for us? --Wetman 00:16, 28 Nov 2004 (UTC)
 * I'd be willing to try, being that I'm something of a closet Potterite. The only problem is that I haven't touched the books in at least a year, but that's easily fixed; I read fast. Edit: None of the other magical beasts in Potter are actually included in the article; they have separate entries elsewhere. Maybe we should make the Centaurs in Harry Potter subsection on the Centaur article itself, and link from Harry Potter? [[User:Premeditated Chaos| P M  C ]] 00:30, 28 Nov 2004 (UTC)
 * I could swear the Narnian centaurs were stargazers too. It stems from the story of sagittarius, I'm sure, and the idea that one of their number is living in the sky with other creatures.. naturally they'd give it a look.
 * I believe you are speaking of Chiron? Wikidragon 21:17, 23 October 2007 (UTC)

The "fickle creatures" bit was added by User:Premeditated Chaos 17:49, 27 Nov 2004. I've deleted it. --Wetman 00:51, 10 Jun 2005 (UTC)

I removed the incoherent nonsense of the second and third paragraphs and the two single sentences that followed. Why was this reverted? 15.195.185.76 16:38, 7 March 2006 (UTC)
 * For the same reasons it was put there to begin with: vandalism, or thinking that Wikipedia is a joke encyclopedia. Twit happens.  [[Image:Tycon.jpg]]Coyoty 19:30, 7 March 2006 (UTC)

Could we mention the similarity between the centaurs and the gandarewa-Gandharvas? I am not skilled at editing the Wikipedia. Quote from the Ghandarvas page: In Hinduism and Buddhism, the Gandharvas (Sanskrit: गंधर्व, gandharva) are male nature spirits, husbands of the Apsaras. Some are part animal, usually a bird or _horse_(my emphasis). They have superb musical skills. They guarded the Soma and made beautiful music for the gods in their palaces. Their name may be cognate with that of the Greek centaurs. Gene K 08:25, 8 March 2006 (UTC)
 * They may be anthropomorphic, but unless they have a mainly human body from the waist up with an animal body from the neck down, they wouldn't be centaurs. Also, the Gandharva page is unsourced and may not be accurate.  The one non-hearsay source I could find about gandharvas and centaurs, The Religions of India by Edward Washburn Hopkins, says, "The Gandharva, moon, is certainly one with the Persian Gandarewa, but can hardly be identical with the Centaur."  [[Image:Tycon.jpg]]Coyoty 17:40, 8 March 2006 (UTC)

'Did centaurs actually exist?' article is non-sense!
External links: Did centaurs actually exist? - Article from Pravda.ru in English

This article is full of non-sense. There isn't any sort of scientific credibility in it. It's obviously - and very ridiculously - made up. I think this link should be removed because it provides false and irrelevant information regarding Centaurs. Haisook 17:09, 26 April 2006 (UTC)

 * Thanks go to the user who removed it. Haisook 13:01, 27 April 2006 (UTC)

Narnia book order
I am changing this back to first novel. the Narnia books (as well as in the movie adaptation of its second novel, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe),

See the section on Reading order in The Chronicles of Narnia regarding this. (esp. the bottom of the section. The guy who first persuaded publishers to change the numbering of the books is co-producer of the movies. And they are being made in order of original publication...) VikÞor   [[User talk:Vik-Thor|Talk]] 07:57, 2 June 2006 (UTC)

Unorthodox theories on Centaur page moved here
I have removed all of the following information from the article. --Theranos 19:55, 12 December 2006 (UTC)

A few small portions of this might be reasonable to reinclude: e.g. the stuffed Centaur is an amusing curiosity - from Pliny's Natural History or Phlegon's Book of Marvels, or some such? As for the rest, it is far to speculative and off-beat for a Wiki article. There is clearly also alot of confusion between the mythic Greek centaur and the Greek word "onocentaur" (= an African baboon). --Theranos 20:03, 12 December 2006 (UTC)

 * The section was a copyright violation from here and here and has been removed. CambridgeBayWeather (Talk) 00:30, 15 December 2006 (UTC)

Different Picture Please!
I'm sorry, I love Mortal Kombat, I really do. But this should be an academic article about mythology, and for the first picture people see it should be something a little more conservative, like a classical painting or sculpture or something.

On top of that, the "centaurs" in Mortal Kombat have features that are not part of the traditional description, like the giant bull horns and the metal tail that shoots fireballs. Maybe include the picture in a section on centaurs in popular culture, but not as the basic image.

By the way....

If you're looking for an additional picture for anything, there IS a picture of the Hodges Library centaur available under Creative Commons license on Flickr that I took a couple of weeks ago. I didn't want to insert it without discussion, however!

If anyone's interested, you can see the picture on My Flickr Photostream, linked here. It's there if you want it!

Wyoming Jackrabbit (talk) 23:14, 30 January 2010 (UTC)Wyoming_Jackrabbit

Content is inapropriate for a serious reference work
This article has a box with so-called "data" on centaurs, treating them as real creatures (I'm using the ordinary definition of "real" here). I think this is inappropriate: the box appears near the top of the article, and it does not label itself in a way that would indicate that the vast scientific and lay consensus of the present-day world is that centaurs are mythological/imaginary creatures.

Of course, the photo of the statue in the box is very informative, so it should stay, provided it's legal. S. Neuman 20:12, 22 March 2007 (UTC)

Photo is NOT of a Centuar
The photo of the archer is not a centuar, the creature has the body of a leopard. It's an Indian Myth...can't remember the name...anyway, not a centuar, so I'll be removing it. 209.193.50.217 22:14, 22 April 2007 (UTC)

Portrayal
Centaurs are sometimes shown as wearing armour or other clothing, but in most modern images and films, male centaurs are shown wearing nothing. At a certain cultural level it's hard to distinguish a jokester from an earnest illiterate: we can thank User:82.7.42.34 for this assertion, perhaps from a remembered comic book. A lot of sensible text has eroded from this article, and some illustrations too. --Wetman 10:09, 14 August 2007 (UTC)

That is not entirely true, but you are basically correct. —Preceding unsigned comment added by Knowledgeabletome (talk • contribs) 03:49, 6 March 2009 (UTC)

POV
As a centaur, I find portions of this article highly offensive. —Preceding unsigned comment added by Grammaticus VII (talk • contribs) 09:47, 25 January 2008 (UTC)

As a centaur???

For one,you couldn't even handle a DAY as a centaur,you'd be tripping over your own hooves the second you became one.

Beside,there is only ONE centaur that is alive today... —Preceding unsigned comment added by 4.154.50.52 (talk) 05:41, 18 August 2008 (UTC)

Scott Bailey appears as a centaur
There is a commerical where actor Scott Bailey appears in,I think it should be noted in the modern day things,here is my proof.

http://www.youtube.com/watch?v=YtN9CW01QDM —Preceding unsigned comment added by Nudist1 (talk • contribs) 02:40, 4 September 2008 (UTC)

Mad etymologies
I put the perfectly zany dream of Alexander Hislop into a footnote, as it was too promi9nent. This is nonsense: (In Greece, Mot became the constellation of Lupus. No, the Greek constellation was Therion, the animal. The Babylonian connection is unsourced: Babble-on -ian?--Wetman (talk) 06:56, 18 February 2009 (UTC)

Warfare?
The warfare section seems weird, and I have my suspicions--it sounds more like something out of an RPG or Harry Potter than real mythology. At any rate it should be "colt" not "fawn", although I'm not going to waste my time correcting it if it's just going to be deleted later. 97.104.210.67 (talk) 03:34, 8 March 2010 (UTC)

Archers
Why no mention of the centaurs' fame as great archers? This also ties in to their potential origin as a modification/fictionalization of real-life steppe nomads -- known for their cavalry-archer style of combat. Chuck (talk) 05:25, 11 September 2014 (UTC)

 * Because no one has researched the issue and added anything about it. Go for it.   Montanabw (talk)  20:33, 15 September 2014 (UTC)

 * Preliminary research shows that the centaurs' fame as archers is actually hard to pin down. Earliest depictions of centaurs (both in art and writing) seem to have them fighting with rocks and tree branches.  Also, the centaur in Greek culture seems to predate the emergence of the steppe cavalry-archer.  The only art depictions I could find of centaurs with bows seem to be Renaissance or later (that's just from doing various searches in Google Images, though).  Perhaps the centaur picked up the bow when the Greeks started seeing horse archers coming off the steppes (would have been Scythians at the time).  Or perhaps it was a relatively modern reinterpretation based on Chiron being described as teaching archery, among the other skills he taught.  I'll look into it more. Chuck (talk) 05:51, 2 October 2014 (UTC)

 * Maybe try databases like JSTOR (you can get abstracts free, and then post over at that one research message board if you want someone to find the full article for you). "Centuar" and "archer" would probably make a good search.  Someone has probably studied this somewhere...  Montanabw (talk)  19:00, 2 October 2014 (UTC)

Cenotaur
Okay, I'm not sure if I should be asking this here or on wiktionary, but I was raised, and most people around me pronounce this mythical creature with three syllables and spelling it as above. Has anyone else here seen this variant, because I really can't even find it searching +cenotaur on google, except one instance that looks like a typo, or a fandom/work of fiction specific usage. Any clarity would help. Hallaman3 (talk) 02:59, 2 January 2015 (UTC)

 * Spelling is new to me, but try Centaur and see, I guess.  Montanabw (talk)  09:28, 2 January 2015 (UTC)

Editing
Hi everyone! I am starting to edit this page as a part of a college course. My goal right now is to reorganize the article so that it can be similar to other good articles within the Mythology WikiProject (like kelpie and brownie). I will be posting any major changes that I suggest to my sandbox before making any changes here, so feel free to take a look and talk to me about any suggestions, questions, or concerns you might have! --MilliGrams (talk) 00:21, 26 February 2019 (UTC)

 * I am planning to start moving my edits from my sandbox into the article on Friday, but just to keep anyone who might be interested updated, here are a few of the things I am planning on doing:
 * Move some information from the main part of the article up to the lead to flesh it out a little bit more
 * Since the list of centaurs seems to be taking over the article a little bit right now, I am thinking it would be best to move it. It's a really informative list, though, so if anyone has ideas on where we can put it instead, that would be great!
 * Organize the article with specific sections for art eras and literature to keep the information together and clear
 * Remove some instances of WP:OR
 * Everything is up in my sandbox right now in case someone wants to see exactly what I'm planning! --MilliGrams (talk) 02:53, 7 March 2019 (UTC)

List of Centaurs
The List of Centaurs section is a really cool and helpful table! I'm not sure if it really goes here, though, it seems a bit extensive/elaborate for this article. Is there anything that we can do with this, or is there somewhere it would fit better? --MilliGrams (talk) 17:52, 3 March 2019 (UTC)

 * For now, I'm going to move the list out of the article. It has a lot of good, specific information that I think could be useful somewhere, so I am going to put it in one of my sandboxes so that it can easily be grabbed if someone finds a better place for it! --MilliGrams (talk) 17:29, 8 March 2019 (UTC)

Original research
I believe the first paragraph of the Classical literature section is original research since it makes broad claims about classical literature while only citing the literature and not another source who made those connections. I'm going to post the paragraph here for reference, and if anyone has better sourcing for the claims, please share!
 * Of the various Classical Greek authors who mentioned centaurs, Pindar was the first who describes undoubtedly a combined monster.[28] Previous authors (Homer) tend to use words such as pheres (cf. theres, "beasts")[29] that could also mean ordinary savage men riding ordinary horses, though Homer does specifically refer to a centaur ("kentauros") in the Odyssey.[30] Contemporaneous representations of hybrid centaurs can be found in archaic Greek art. — Preceding unsigned comment added by MilliGrams (talk • contribs) 14:00, 12 March 2019 (UTC)
 * I'm gonna go ahead remove it --MilliGrams (talk) 14:21, 17 March 2019 (UTC)
 * according to legend, there were centaurs at Orekh Lake in the Vologda region of the Russian Federation 300 years ago 176.65.96.15 (talk) 17:23, 16 July 2023 (UTC)

Etymology
Perhaps from κεντέω (kentéō, “I goad, wound”) + ταῦρος (taûros, “bull”) either from bull-fighting or from herding. (Wiktionary) --Manfariel (talk) 01:26, 2 May 2020 (UTC)

title: Talk:Centaur


text:
Talk:Wanhua District

Snakes
you can still find snakes there, iv'e seen them recently....and there are a lot of weird people in that area.

Prostitution
"Regions near the night market reek of prostitution." Well, you can't get more POV than that. A-giau 00:01, 9 Oct 2004 (UTC)

strange uncles..should say lots of homeless people gathering here.. so that's not much the faces of wanhua.. not just homo.. now the Shimenting sure gathering young people and gay groups.. that's true.. i'm a local here.. —Preceding unsigned comment added by Yao (talk • contribs) 16:17, 15 April 2008 (UTC)

I'm going to edit down the paragraph about "guai yeye", unless someone has an objection... Even if they are there, I don't think they are a defining feature of Wanhua or Ximending, and they certainly don't deserve 3 sentences. I'll also remove the "Tai line" parts in the transportation section. This seems to only refer to the roads crossing through Wanhua, which even if they are worthy of inclusion are better known by their names. Daibaklang —Preceding undated comment was added at 03:26, 9 December 2008 (UTC).

Also, was prostitution really only outlawed in 1990?? Daibaklang —Preceding undated comment was added at 03:40, 9 December 2008 (UTC).

I think this thing about the old guys picking up runaway girls in the McDonalds is a myth. Any sources? —Preceding unsigned comment added by 140.180.36.194 (talk) 23:28, 14 May 2009 (UTC)

External links modified
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Pre-Qing history
Shouldn't the aboriginal history be mentioned? Wasn't this area originally settled by members of the Pinpu Kaitakela tribe? 76.190.213.189 (talk) 03:46, 30 January 2023 (UTC)

title: Talk:Wanhua District