text: User talk:216.20.1.211

title: User talk:216.20.1.211


text:
Turn It Upside Down

Turn It Upside Down is the second studio album and fourth release overall by American rock band Spin Doctors, released in 1994. It is the follow-up album to their successful RIAA 5× Platinum album Pocket Full of Kryptonite. Though not as commercially or critically successful as their debut album, Turn It Upside Down was certified Platinum in the US. It also yielded three minor hit singles—"Cleopatra's Cat", "Mary Jane" and "You Let Your Heart Go Too Fast"—in the UK, with lead single "Cleopatra's Cat" making the top 30 (No. 29). "You Let Your Heart Go Too Fast" was also a minor US hit, peaking at No. 42.

Personnel
Spin Doctors
 * Chris Barron – lead vocals, acoustic guitar on "Mary Jane"
 * Eric Schenkman – guitar, lead vocals on "Indifference", backing vocals on "Bags of Dirt", piano on "More Than Meets the Ear"
 * Mark White – bass
 * Aaron Comess – drums, clavinet on "Big Fat Funky Booty", piano on "Mary Jane", organ on "Laraby's Gang"

Additional musicians
 * Andrew Comess – organ on "You Let Your Heart Go Too Fast" and "Mary Jane"

Production
 * Producers: Peter Denenberg, Frankie La Rocka, Spin Doctors
 * Engineer: Peter Denenberg
 * Mixing: Peter Denenberg
 * Mastering: Ted Jensen

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

title: Turn It Upside Down


text: Talk:Turn It Upside Down

title: Talk:Turn It Upside Down


text: Talk:Up for Grabs...Live

title: Talk:Up for Grabs...Live


text:
File:Spin Doctors - You've Got to Believe in Something.jpg

Summary
Cover for the album "You've Got to Believe in Something" by Spin Doctors


text:
Dusack

A dusack (also dusägge and variants, from Czech tesák "cleaver; hunting sword", lit. "fang") is a single-edged sword of the cutlass or sabre  type, in use as a side arm in Germany and the Habsburg monarchy during the 16th to 17th centuries, as well as a practice weapon based on this weapon used in early modern German fencing.

Military sidearm
The Czech term entered German usage in the Hussite Wars, after the sidearm used by the Hussites. In the late 16th century, Dusägge could refer to a type of weapon combining a sabre blade with the hilt of a sidesword (the German Degen), also known as Säbel auf Teutsch gefasst ("sabre fitted in the German manner"). The Dusägge in this sense was used as a military sidearm; e.g. in 1579, Styria records delivery of some 700 Dusäggen by local bladesmiths, besides payment of 40 Dusäggen delivered from Passau, as part of the preparation for the war against the Turks under Archduke Charles II.

The German sabre together with the name tessak was adopted in Norway. A closely related weapon is the schnepf or Swiss sabre used in Early Modern Switzerland.

Practice weapon
Joachim Meyer in 1570 depicts the Dusäck as the practice weapon with broad, curving blade and a simple oval grip. The dussack represented a short, single-edged weapon in a training environment. As usage of the dussack became more widespread, various schools turned use of the dussack into a sport as opposed to training for a real weapon.

Practice dussacks had a short, thick, single-edged blade measuring between 25-38 in long. A dussack was usually made of wood. Additionally there is a single reference to dussacks also being made from leather, and there are a small number of simple metal dussacken known to survive. The dussack was gently curved and brought to a point at the tip. The dussack often lacked a hilt. Instead, the handgrip was merely a hole cut inside of the blade; without a pommel or upper guard, it looked something like a large hole for gripping scissors.

Egerton Castle claimed that dussacks were used by the French Navy up through the 19th century.

No wooden (or leather) practice dussacks are known to have survived; unsurprising given the perishable nature of these dussacks, and only woodcuts and training manuals from the period document their existence.

title: Dusack


text:
Elaine Sturtevant

Elaine Frances Sturtevant (née Horan; August 23, 1924 – May 7, 2014), also known professionally as Sturtevant, was an American artist. She achieved recognition for her carefully inexact repetitions of other artists' works.

Early life and education
Elaine Frances Horan was born on August 23, 1924, in Lakewood, Ohio, near Cleveland. She earned a bachelor's degree in psychology from the University of Iowa, followed by a master's in the field from Teachers College of Columbia University. In New York, she also studied at the Art Students League.

Work

Sturtevant's earliest known paintings were made in New York in the late 1950s. In these works, she sliced tubes of paint open, flattened them, and attached them to canvas. Most of these works contain fragments from tubes of several colors of paint, some have additional pencil scribbles and daubs of paint. Sturtevant was close friends with Robert Rauschenberg and Jasper Johns, both of whom own paintings from this period.

In 1964, by memorization only, she began to manually reproduce (or "repeat") paintings and objects created by her contemporaries with results that can immediately be identified with an original, at a point that turned the concept of originality on its head. She initially focused on works by such American artists as Roy Lichtenstein, Frank Stella, Claes Oldenburg, Jasper Johns, James Rosenquist, and Andy Warhol. Warhol gave Sturtevant one of his silkscreens so she could produce her own versions of his Flowers paintings, Warhol Flowers (1969–70). When asked about his own technique, Warhol once said, "I don't know. Ask Elaine." After a Jasper Johns flag painting that was a component of Robert Rauschenberg's combine Short Circuit was stolen, Rauschenberg commissioned Sturtevant to paint a reproduction, which was subsequently incorporated into the combine. In the late 1960s, Sturtevant concentrated on replicating works by Joseph Beuys and Duchamp. In a 1967 photograph, she and Rauschenberg pose as a nude Adam and Eve, roles originally played by Marcel Duchamp and Brogna Perlmutter in a 1924 picture shot by Man Ray.

In the early 1970s, Sturtevant stopped exhibiting art for more than 10 years. Pushback on her conceptual practice had begun, in fact, with Claes Oldenburg and his dealer, Leo Castelli, being publicly upset at her restaging The Store by Claes Oldenburg (1961) as The Store of Claes Oldenburg in 1967, just a few blocks away from where Oldenburg's original had been staged. As critic Eleanor Heartney wrote, "Sturtevant found her work met with resistance and even hostility. Her frustration culminated with a 1973 show at the Everson Museum of Art in Syracuse, New York. Titled “Sturtevant: Studies done for Beuys’ Action and objects, Duchamps’ etc. Including film,” the exhibition encompassed three rooms of objects and three of her early films that played off Warhol, Beuys and Duchamp. It was met with a deafening silence from the art world, precipitating her withdrawal."

From the early 1980s she focused on the next generation of artists, including Robert Gober, Anselm Kiefer, Paul McCarthy, and Felix Gonzalez-Torres. She mastered painting, sculpture, photography and film in order to produce a full range of copies of the works of her chosen artists. In most cases, her decision to start copying an artist happened before those artists achieved broader recognition. Nearly all of the artists she chose to copy are today considered iconic for their time or style. This has given rise to discussions among art critics on how it had been possible for Sturtevant to identify those artists at such an early stage.

In 1991, Sturtevant presented an entire show consisting of her repetition of Warhol's Flowers series.

Her later works mainly focus on reproductions in the digital age. Sturtevant commented on her work at her 2012 retrospective Sturtevant: Image over Image at the Moderna Museet: "What is currently compelling is our pervasive cybernetic mode, which plunks copyright into mythology, makes origins a romantic notion, and pushes creativity outside the self. Remake, reuse, reassemble, recombine—that's the way to go."

After feeling misunderstood by critics and artists, Sturtevant stopped making art for a decade. Her 2014 exhibition at MoMA was the first significant exhibition in the US in decades. Her last large-scale installation, The House of Horrors, has been on temporary display at the Musée d'Art Moderne de la Ville de Paris since June 2015.

"In some ways, style is her medium. She was the first postmodern artist—before the fact—and also the last", according to Peter Eleey, curator of her 2014 MoMA exhibition.

Later life
One of Sturtevant's final acts of subversion was her recurring performance of a visiting artist's public lecture. The lecture was not based on any particular artist, but on the meta-tropes of everything that can go wrong (and does) in a typical visiting artist's lecture. The crux of the lecture is Sturtevant's portrayal of a bitter, possibly drunk, late-career artist who cannot get any of her presentation media to work properly. The slides get stuck, the videos won't cue, and the audio won't work. The lecture ends with Sturtevant screaming obscenities at her hapless studio assistant in the tech booth and storming off the stage.

Sturtevant died on May 7, 2014, in Paris, where she had been living and working since the early 1990s. She was 89.

Exhibitions
Sturtevant had her first her solo exhibition in 1965 at the Bianchini Gallery, in New York. In 1975, a show was dedicated to her by the German art dealer Reinhard Onnasch in his New York gallery.

Solo exhibitions of her work have since been mounted at:
 * Württembergischer Kunstverein Stuttgart (1992)
 * Deichtorhallen, Hamburg (1992)
 * Villa Arson, Nice (1993)
 * Museum für Moderne Kunst, Frankfurt am Main (2004)
 * Musée d'Art Moderne de la Ville de Paris (2010)
 * La Biennale di Venezia (2011)
 * Moderna Museet (2012)
 * Kunsthalle Zurich (2012)
 * Serpentine Galleries (2013)
 * Museum of Modern Art (2014)
 * Sturtevant. Drawing Double Reversal: Museum für Moderne Kunst, Frankfurt am Main/Albertina, Vienna/Hamburger Bahnhof, Berlin
 * Museum of Contemporary Art Los Angeles (2015)

Awards and recognition
In 2008, Sturtevant received the Francis J. Greenburger Award.

On June 4, 2011, Sturtevant received the Golden Lion for lifetime achievement at the 54th Venice Biennale.

In September 2013, she was awarded the Kurt Schwitters Prize for Lifetime Achievement by the Sprengel Museum.

Her Warhol Flowers (1964-1971) painting series was cited by The New York Times in 2019 as one of the 25 works of art that defined the contemporary age.

Art market
In 2007, an original Crying Girl by Roy Lichtenstein sold at auction for $78,400; in 2011, Sturtevant's canvas reworking of Crying Girl—the only Sturtevant painting of its kind in existence—sold for $710,500. In 2014, Lichtenstein, Frighten Girl (1966) sold at Christie's for $3.4 million. Shortly after, Warhol Diptych (1973) was sold for $5,093,000 at Christie's in New York.

Videos

 * In Paris with Sturtevant (frieze magazine video)
 * Elaine Sturtevant - Ein Portrait (German Film)
 * "Elaine Sturtevant" by Ivan Ogilvie, Nowness

Interviews

 * Index Magazine
 * Oral history interview with Elaine Sturtevant, 2007 July 25-26; conducted by Bruce Hainley and Michael Lobel for the Archives of American Art, Smithsonian Institution.

Other

 * Sturtevant: Leaps Bumps and Jumps exhibition at the Serpentine Gallery, 2013
 * L'art vivant (In French)

title: Elaine Sturtevant


text:
Crust

Crust may refer to:

Food

 * Crust (baking), the outer layer composed of pastry or salt
 * Crust, the bread foundation of pizza
 * Bread crust, the dense surface layer of bread

Physical sciences

 * Crust (geology), the outer layer of a rocky planetary body
 * Soil crust, the soil surface layer

Music

 * Crust (album), by Sadist, 1997
 * Crust (band), an American band in the 1980s
 * Crust (EP), by Sarcófago
 * Crust punk, also known as crust, a music genre

Other uses in arts, entertainment, and media

 * The Crust, a television series, aired until 2005 on BBC One

Other uses

 * Crust (dermatology)
 * Crust fungi, another name for corticioid fungi
 * Crust, a a character in My Hero Academia

title: Crust


text:
Wikipedia:Articles for deletion/Former Penarthians

Former_Penarthians
Robert (Bob) Morritt (see a few entries higher in VfD page) is proud to be a Penarthian...

Seems to be quite a problematic editor, see for instance http://en.wikipedia.org/w/wiki.phtml?title=Penarth&diff=6381665&oldid=6363978 --French Tourist 16:15, 18 Oct 2004 (UTC) Robert (Bob) Morritt Businessman/Author''.
 * Speedy deleted on the basis of being a substub with no possibility of expansion. Contents were: ''

Seriously. Geogre 19:08, 18 Oct 2004 (UTC)


text:
Council, Alaska

Council (Inupiaq: Kaułiq or Akauchak) is an abandoned townsite in the Nome Census Area in the U.S. state of Alaska. It has a population of zero as of the 2000 and 2010 U.S. Censuses.

Geography
Council is located at about 64.895°N, -163.67639°W, about 57 miles east by northeast of Nome. It is located on the banks of the Niukluk River on the central Seward Peninsula.

History
Council was begun in 1898 when gold was discovered near the Ophir Creek. Council and the surrounding area may have had as many as 4,000 inhabitants during the next decade until the gold ran out. Today Council has about 25 old buildings and much old mining equipment, including a dredge, laying about. During the summer, Council is used as a fish camp and a recreational location for residents of Nome and White Mountain.

Council is connected to Nome by a gravel road, the Nome-Council Road. The road is closed during winter. Council is the nearest site to Nome that has trees, and some Nome residents cut spruce trees at Council for use as Christmas trees.

A second, larger, dredge is located at 15 Mile Camp on Ophir Creek. There are several mine buildings on the site, including a powerhouse with a moderate diameter Pelton (undershot) waterwheel. A number of new buildings have been added in recent years, mostly for summer second-home usage. Occasionally one or two people winter at Council. In the Fall of 2004 the telephone lines which had not been used since a brief period of re-habitation in the 1970s were removed by the utility. Utility poles remain in place with wires connecting to a defunct power plant from the same period.

Demographics
Council first appeared on the 1910 U.S. Census as Council City, although it was an unincorporated village. In 1920, the name was shortened to Council. It did not appear on the 1930 census, but returned again in 1940 and 1950. It did not appear again until 1990 when it was classified an Alaska Native Village Statistical Area (ANVSA). It has reported a population of zero in 2000 and 2010.

title: Council, Alaska