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Julian Schnabel

Julian Schnabel (born October 26, 1951) is an American painter and filmmaker. In the 1980s, he received international attention for his "plate paintings"—with broken ceramic plates set onto large-scale paintings. Since the 1990s, he has been a proponent of independent arthouse cinema. Schnabel directed Before Night Falls, which became Javier Bardem's breakthrough Academy Award-nominated role, and The Diving Bell and the Butterfly, which was nominated for four Academy Awards. For the latter, he won the Cannes Film Festival Award for Best Director and the Golden Globe Award for Best Director, as well as receiving nominations for the Academy Award for Best Director and the César Award for Best Director.

Early life and education
Schnabel was born in Brooklyn, New York to a Jewish family, the son of Esta (née Greenberg) and Jack Schnabel. He moved with his family to Brownsville, Texas in 1965. He received his B.F.A. at the University of Houston. After graduating, he sent an application to the Independent Study Program (ISP) at the Whitney Museum of American Art in New York. His application included slides of his work sandwiched between two pieces of bread. He was admitted into the program and studied there from 1973 to 1975.

In 1975, Schnabel visited Galveston and was introduced to the artist Joseph Glasco who had his home and studio in Galveston at that time. Schnabel and Glasco became close friends and shared many similar interests in the arts. Later in their relationship, Schnabel influenced Glasco to set up his studio in New York, and in the late 1980s introduced Glasco to Leslie Waddington of Waddington Galleries, London where he had an exhibition.

Art career
Schnabel returned to Houston in 1975 and rented a studio in the Heights neighborhood. Jim Harithas, director of the Contemporary Arts Museum Houston, agreed to give him a show after Schnabel reportedly badgered him repeatedly. The eponymously titled exhibit ran from February 20 to March 7, 1976, in the parallelogram building's lower gallery.

On seeing the show, ARTnews critic Charlotte Moser wrote, "Though still formative, Schnabel's paintings possess a palpable presence," but found the work "clearly influenced by post-minimalist artists whose intellectual ideas he might share but whose technical expertise and clarity of vision he has yet to acquire."

It was with his first solo show, at the Mary Boone Gallery in 1979 that Schnabel had his breakthrough; all his works were sold in advance. He participated at the Venice Biennale in 1980 with Anselm Kiefer and Georg Baselitz. By the time he exhibited his work in a show jointly organized by Boone and Leo Castelli in 1981, he had become firmly established and was the youngest artist in the legendary exhibition 'A New Spirit in Painting' in the Royal Academy of Arts. His now famous "plate paintings"—large-scale paintings set on broken ceramic plates—received a boisterous and critical reception from the art world. In 1984, he surprised the art community by moving from working with Mary Boone to exhibit at the Pace Gallery.

His wild and expressive works were classed as neo-expressionism by art critics. In the years to follow Schnabel's success on the art market would above all be criticised.

Schnabel's style is characterised by very large scale paintings. He uses diverse materials such as plaster, wax, photographs, antlers, velvet and ceramics. His paintings make use of canvas, wood, muslin and even surfboards. His paintings often combine abstract and figurative elements. Due to the size, weight, and depth of his works, they are often given sculptural properties.

In 2002, Schnabel painted the cover artwork for the Red Hot Chili Peppers' eighth studio album, By the Way. The woman featured on the cover of By the Way is Julian's daughter, Stella Schnabel, who was band member John Frusciante's then-girlfriend.[59] Regarding the artwork, Frusciante noted: "My girlfriend's father offered to do the album art, so we sent him rough mixes of eight songs, and he just got the vibe of the album from that. He said that he wouldn't be offended if we didn't like it, but we loved what he did. He's also given us great covers for all the singles. He's a true artist."

Schnabel had an exhibition at the Art Gallery of Ontario in Toronto, which ran from September 1, 2010 to January 2, 2011 and occupied the entirety of the gallery's fifth floor. It examined "the rich interplay between Schnabel's paintings and films". In 2011 Museo Correr exhibited Julian Schnabel: Permanently Becoming and the Architecture of Seeing, a selected survey show of Schnabel's career curated by Norman Rosenthal.

Art critic Robert Hughes was one of the most outspoken critics of his work; he once stated that "Schnabel's work is to painting what Stallone's is to acting: a lurching display of oily pectorals." In the 2017 Swedish film The Square, set in a museum of modern art, Dominic West plays a character modeled on Schnabel.

Film career
Schnabel began his film career in the 1990s with the film Basquiat, a biopic on the painter Jean-Michel Basquiat (1996), followed by Before Night Falls (2000), an adaptation of Reinaldo Arenas' autobiographical novel, which he also produced, and which won the Grand Jury Prize at the Venice Film Festival. He directed The Diving Bell and the Butterfly (2007), an adaptation (with a screenplay by Ronald Harwood) of a French memoir by Jean-Dominique Bauby. The Diving Bell and the Butterfly earned him the award for best director at the 2007 Cannes Film Festival, the Golden Globe for best director, the Independent Spirit Award for best director, and a nomination for the Academy Award for Best Director.

Despite the fact that producing The Diving Bell and the Butterfly might seem like a commission to do someone else's work, Schnabel took on the film. According to Schnabel, "I used to go up to read to Fred Hughes, Andy Warhol's business partner, who had multiple sclerosis. And as Fred got worse, he ended up locked inside his body. I had been thinking that I might make a movie about Fred when his nurse, Darren McCormick, gave me Bauby's memoir, The Diving Bell and the Butterfly. Then, in 2003, when my father was dying, the script arrived from Kennedy. So it didn't feel quite like taking on a commissioned job."

In 2007, Schnabel designed Lou Reed's critically acclaimed "Berlin" Tour and released Lou Reed's Berlin. In 2010, Schnabel then directed the film Miral. In May 2017, Schnabel announced plans for a film about the painter Vincent van Gogh during his time in Arles and Auvers-sur-Oise, France. The film At Eternity's Gate was released in 2018 and the script was written by Schnabel, French screenwriter Jean-Claude Carrière, and Louise Kugelberg. The film stars Willem Dafoe as Van Gogh. Other actors include Mathieu Amalric, Mads Mikkelsen, Niels Arestrup, Oscar Isaac as Paul Gauguin and Emmanuelle Seigner as "the woman from Arles" or L'Arlésienne.

In September 2023, Schnabel announced plans to direct an adaptation of In the Hand of Dante, based on the book by Nick Tosches. The movie will shoot October 2023 and is set to star Oscar Isaac.

Writing and recording
Schnabel published his autobiography, CVJ: Nicknames of Maitre D's & Other Excerpts From Life (Random House, New York), in 1987 and released the album Every Silver Lining Has a Cloud on Island Records (Catalog #314-524 111-2) in 1995.

Recorded in Brooklyn, New York, in 1993, the album features guest musicians including Bill Laswell, Bernie Worrell, Buckethead, and Nicky Skopelitis.

Personal life

In 1980, he married Belgian clothing designer Jacqueline Beaurang. They have three children: two daughters – Lola, a painter and filmmaker; and Stella, a poet and actress – and a son, Vito, an art dealer.

He has twin sons, Cy and Olmo, with his second wife, Spanish actress Olatz López Garmendia.

His collaboration with Palestinian journalist Rula Jebreal, who penned the screenplay and original source novel for Schnabel's film Miral, extended beyond the movie. Schnabel was in a relationship with her from 2007 to 2011.

Schnabel dated Danish model May Andersen, from whom he parted ways in 2014. They have a son, who was born in June 2013.

Schnabel lives in New York City with his current wife Louise Kugelberg, a Swedish interior designer. She is also the co-editor and co-writer of At Eternity's Gate. Schnabel maintains studios in New York City and in Montauk at the east end of Long Island. Schnabel resides in a former West Village horse stable that he purchased and converted for residential use, adding five luxury condominiums in the style of a Northern Italian palazzo. It is named the Palazzo Chupi, and it is easy to spot because it is painted pink.

In 2009, Schnabel signed a petition in support of film director Roman Polanski, calling for his release after Polanski was arrested in Switzerland in relation to his 1977 charge for drugging and raping a 13-year-old girl.

Awards

 * 2019 Paez Medal of Art, New York City (VAEA).

title: Julian Schnabel


text:
Glenn Reynolds

Glenn Harlan Reynolds (born August 27, 1960) is an American legal scholar who is the Beauchamp Brogan Distinguished Professor of Law at the University of Tennessee College of Law. He is known for his American politics blog, Instapundit.

Instapundit blog
Reynolds' blog got started as a class project in August 2001, when he was teaching a class on Internet law. Much of Instapundit's content consists of links to other sites, often with brief comments.

The blog is multi-author, with numerous contributors.

In 2007 network theory researchers who studied blogs as a test case found that Instapundit was the #1 blog for "quickly know[ing] about important stories that propagate over the blogosphere".

In 2007, Reynolds called for the assassination of Iranian scientists and clerics.

On September 21, 2016, Reynolds suggested on Twitter that any drivers feeling threatened by protesters objecting to the fatal shooting of Keith Lamont Scott in Charlotte, North Carolina, should "run them down." The tweet consisted only of the words "Run them down" and a link to a news story about the protestors. The following day, Reynolds defended his tweet, saying, "I wouldn't actually aim for people blocking the road, but I wouldn't stop because I'd fear for my safety, as I think any reasonable person would." Twitter suspended Reynolds' account, but restored it shortly after and told him to delete the tweet in order to be allowed to use Twitter again. The University of Tennessee said it was investigating Reynolds as it did not condone language encouraging violence, but on September 27, 2016, the law school decided that no disciplinary action would be taken. USA Today said that Reynolds had violated its standards and suspended his column for one month. Reynolds issued an apology at its request, writing, "I didn't live up to my own standards, and I didn't meet USA Today's standards".

Political views
Reynolds is often described as conservative, but holds liberal views on some social issues (such as abortion, the War on Drugs and gay marriage), a combination often called libertarian. He illustrates his philosophy by stating: "I'd like to live in a world in which happily married gay people have closets full of assault weapons to protect their pot." He has been called libertarian.

He delivered the keynote speech at a September 2011 conference at the Harvard Law School to discuss a possible Second Constitution of the United States and concluded that the movement for a constitutional convention was a result of having "the worst political class in our country's history".

Personal life
Born in Birmingham, Alabama in 1960, he graduated with a B.A. degree from the University of Tennessee in 1982 and with a J.D. degree from the Yale Law School in 1985. Reynolds is married to Dr. Helen Smith, a forensic psychologist.

Reynolds also once ran his own music label WonderDog Records, for which he also served as a record producer. Reynolds has also worked as an indie music artist. One of his albums reached the number one album chart spot on the website service MP3.com for several weeks.

Reynolds is of Scots-Irish ancestry.

Academic publications
As a law professor, Reynolds has written for the Columbia Law Review, the Virginia Law Review, the University of Pennsylvania Law Review, the Wisconsin Law Review, the Northwestern University Law Review, the Harvard Journal of Law & Technology, Law and Policy in International Business, Jurimetrics, and the High Technology Law Journal, among others.

Books

 * Outer Space: Problems of Law and Policy (1989), ISBN 0-8133-7622-X (with Robert P. Merges); 2nd ed. (1997), ISBN 0-8133-1802-5
 * The Appearance of Impropriety: How the Ethics Wars Have Undermined American Government, Business, and Society (1997), ISBN 0-684-82764-6 (with Peter W. Morgan)
 * An Army of Davids: How Markets and Technology Empower Ordinary People to Beat Big Media, Big Government, and Other Goliaths (2006), ISBN 1-59555-054-2
 * Looks at modern American society through the lens of individuals versus social institutions, and Reynolds concludes that technological change has allowed more freedom of action for people, in contrast to the "big" establishment organizations that used to function as gatekeepers. Thus, he argues that the balance of power between individuals and institutions is "flatting out", which involves numerous decentralized networks rising up.

 * The Higher Education Bubble (2012), ISBN 9781594036651
 * About the rising price of higher education, causing students to take on excessive debt, even as they face an uncertain job market. Higher education spending fueled by cheap credit resembles an economic bubble, and higher education bubble has become a common term to describe this phenomenon.

 * The K-12 Implosion, Encounter Broadsides No. 31, (2013) ISBN 9781594036880
 * Provides a description of what's wrong with America's K-12 education system, and where the solutions are likely to come from, along with advice for parents, educators, and taxpayers. He argues that America has been putting ever-growing amounts of money into the existing public education system, while getting increasingly worse results. He suggests that while parents are losing hope in public schools, new alternatives are appearing, and change is inevitable.

Columns and articles
Reynolds also writes articles for various publications (generally under his full name, Glenn Harlan Reynolds): Wikipedia, Popular Mechanics, Forbes, The New York Post, The New York Times, The Atlantic Monthly, The Washington Post, The Washington Times, The Los Angeles Times, USA Today, and The Wall Street Journal. He has written for the TCS Daily, Fox News, and MSNBC websites as well.

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

title: Glenn Reynolds


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Linda Creed

Linda Diane Creed (December 6, 1948 – April 10, 1986), also known by her married name Linda Epstein, was an American songwriter and lyricist who teamed up with Thom Bell to produce some of the most successful Philadelphia soul groups of the 1970s.

Career
Born in the Mount Airy section of Philadelphia in December 1948 to a Jewish family, Creed was active in music at Germantown High School. After graduation, Creed decided against college and devoted her energies to writing and producing music. Her career was launched in 1970 when singer Dusty Springfield recorded her song "Free Girl". That same year, Creed teamed with Bell, a staff writer, producer, and arranger at Kenny Gamble and Leon Huff's record label Philadelphia International Records.

Their first songwriting collaboration, "Stop, Look, Listen (To Your Heart)", became a Top 40 pop hit for the Stylistics, beginning an extended collaboration that also yielded the group's most successful recordings, including "You Are Everything", "Betcha by Golly, Wow", "Break Up to Make Up", "People Make the World Go Round", "You Make Me Feel Brand New", and "I'm Stone in Love with You" (the latter with Thom Bell). Creed and Bell also paired on a number of hits for the Spinners, including "Ghetto Child", "I'm Coming Home", "Living a Little, Laughing a Little", and "The Rubberband Man". Linda Creed also worked with fellow Pennsylvania native Phyllis Hyman on many of her songs, most notably "Old Friend".

Death
Though diagnosed with breast cancer at 26, Creed continued working, teaming with composer Michael Masser and writing the lyrics to the song "The Greatest Love of All", the main theme of the film The Greatest, a biopic of the great boxer Muhammad Ali, launched in 1977. The song was originally recorded by George Benson and released as a single in 1977, becoming a big hit, peaked at #2 on the R&B chart. The lyrics of the song were written in the midst of her struggle with breast cancer. The words describe her feelings about coping with great challenges that one must face in life, being strong during those challenges whether you succeed or fail, and passing that strength on to children to carry with them into their adult lives. In December 1984, the song was recorded by Whitney Houston for her 1985 self-titled debut album and it would top the charts in May 1986. Weeks before Houston reached number one, Creed died of breast cancer on April 10, 1986, at age 37.

The following year, her family and friends established the Linda Creed Breast Cancer Organization in her honor, and it serves women in Pennsylvania and the surrounding counties.

In 1992, she was posthumously inducted into the Songwriters Hall of Fame.

Selected songwriting credits

 * "The Greatest Love of All" – originally recorded in 1977 by George Benson; later covered by Whitney Houston in 1986
 * "Stop, Look, Listen (To Your Heart)" – originally recorded by The Stylistics; also covered by Diana Ross and Marvin Gaye.
 * "You Are Everything" – originally recorded by The Stylistics; also covered by Diana Ross and Marvin Gaye.
 * "Betcha by Golly, Wow" – originally recorded by Connie Stevens as "Keep Growing Strong", later made famous by The Stylistics, later covered by Phyllis Hyman and Prince
 * "People Make the World Go Round" – The Stylistics, Angela Bofill and Michael Jackson
 * "I'm Stone in Love with You" – originally recorded by The Stylistics
 * "Break Up to Make Up" – originally recorded by The Stylistics,Will Downing
 * "Rockin' Roll Baby" – originally recorded by The Stylistics
 * "You Make Me Feel Brand New" – originally recorded by The Stylistics, later recorded by Roberta Flack
 * "Ghetto Child" – originally recorded by The Spinners
 * "I'm Coming Home" – originally recorded by Johnny Mathis, later covered by The Spinners
 * "Life Is a Song Worth Singing" – originally recorded by Johnny Mathis, later covered by Teddy Pendergrass
 * "Living a Little, Laughing a Little" – originally recorded by The Spinners
 * "The Rubberband Man" – originally recorded by The Spinners
 * "Old Friend" – originally recorded by Phyllis Hyman
 * "Half Crazy" – originally recorded by Johnny Gill
 * "Hold Me" – Teddy Pendergrass (duet with Whitney Houston)
 * "Love Don't Love Nobody" – The Spinners, later recorded by Jean Carne
 * "Help Me Find a Way (To Say I Love You) Little Anthony & The Imperials
 * "If I Love You"- originally recorded by Little Anthony & The Imperials, later covered by The Stylistics

title: Linda Creed


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User talk:Gregholmes

Welcome
Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~ ~ ~. Four tildes (~ ~ ) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome!
 * How to edit a page
 * Editing tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style

Whosyourjudas (talk) 20:08, 13 Oct 2004 (UTC)
 * We're glad to have you here. You can add yourself to List of Wikipedians by fields of interest to let others know where your experitse and preference lay - that way we can point you to uncharted corners of our huge Wiki where you can help. --Whosyourjudas (talk) 02:44, 14 Oct 2004 (UTC)

title: User talk:Gregholmes


text:
Ed Jones (Tennessee politician)

Ed Jones (April 20, 1912 – December 11, 1999) was a U.S. Representative from the state of Tennessee from 1969 to 1989. He was also the Tennessee Commissioner of Agriculture from 1949 to 1953. He was inducted into the Tennessee Agricultural Hall of Fame in 2011.

Personal life
Ed Jones was a native of Yorkville, Tennessee, the eldest of three boys born to Will "Gabe" Jones and Sibbie Hortense Pipkin. He graduated from the University of Tennessee Junior College (now the University of Tennessee at Martin) in 1932 and attended the University of Tennessee, majoring in agriculture. His father was a laborer who worked odd jobs for local farmers. He instilled a strong work ethic in Jones from an early age, requiring him to work after school and on Saturdays.

When Jones' father was unable to pay his medical bills, he began doing odd jobs for Dr. Finis Ewing Wyatt, the local country doctor. Jones would marry Dr. Wyatt's daughter, Llewellyn, in 1938, and they had two daughters: Mary Llewellyn Jones (died 1977), and Dr. Jennifer Jones Kinnard, a retired nephrologist. Ed and Llew Jones inherited the farm after the death or Llew's parents and renamed it "Oak Haven Farm." On May 22, 1980, Congresswoman Marilyn Lloyd of Tennessee welcomed Jones into the "grandparents club" with an address on the House floor shortly after the birth of his only grandchild, Meghan Elisabeth Kinnard. Known professionally as Meg Kinnard, she's a political and legal affairs reporter for The Associated Press.

Jones was a dairy farmer and remained so throughout his lifetime - even during his 20 years in Congress. In the late 1990s, Jones developed dementia after open heart surgery, and died on December 11, 1999, in Dyer, Tennessee.

Business and professional activities
In 1934, Jones took a job as a dairy inspector for the state of Tennessee. He remained as inspector until 1941 when he began working as a supervisor for the Tennessee Dairy Products Association. In 1944, he became an agricultural agent for the Illinois Central Railroad, a job he held until 1969, except for four years when he was Commissioner of Agriculture. This public role was pivotal in helping to make him a public figure in West Tennessee.

He was appointed Commissioner of Agriculture of Tennessee in 1949 by Governor Gordon Browning. He is the youngest person to serve as Commissioner. His education, public role, and business experience provided a foundation for helping to guide farm policy for Tennessee during a time of rapid technological change and the social changes as many people left the rural farms. His challenges included the transition of Tennessee agriculture from small family farms to commercial business operations. He created an Assistant Commissioner position to oversee the administrative operations so that he could focus on strategic issues involving animal health vaccination and inspections, artificial insemination for breeding dairy cattle, establishment of a surplus food distribution program for schools, food safety inspections, and agricultural disaster response.

In 1961 President John F. Kennedy appointed him chairman of the Agricultural Stabilization and Conservation Service state committee for Tennessee. He held that position until his election to Congress in 1969.

U.S. legislative service
In March 1969, Jones won the Democratic nomination for a special election to replace Robert "Fats" Everett, Congressman from the 8th District in Northwest Tennessee, who had died in office. The election was unusual in that it was contested not only by the Republicans but also by the American Independent Party of George Wallace, who did well in Northwest Tennessee in the previous year's presidential election. The other two candidates almost split the vote evenly in the March 25 contest; Jones won with a substantial plurality and was sworn in as soon as the results were certified. However, he was never again to face an election nearly this close. Jones was re-elected to a full term with less opposition in 1970. In 1972 his district was merged with the Jackson-based 7th District of fellow Democrat Ray Blanton. The resulting district was, if anything, even more Democratic than his previous district. While it retained Blanton's district number, geographically it was more Jones' district (it became the 8th once again after Tennessee regained a ninth district in the 1980 census). To avoid a primary election, Blanton ran, unsuccessfully, for the United States Senate against Republican Howard Baker. Jones retained his seat easily even as Richard Nixon won 90 of Tennessee's 95 counties, including most of his district. He was reelected completely unopposed in 1974.

In 1976, Martin businessman and state representative Larry Bates, an associate of high-profile East Tennessee banker Jake Butcher, ran against Jones in the Democratic primary. This was the first (and as it turned out, only) serious challenge of any sort Jones faced. No other party put up a candidate, meaning that victory in the primary was tantamount to election. Bates had a very conservative record as a state representative, even by Tennessee Democratic standards of the time. He ran well to the right of the moderate Jones and spent a large amount of money by the standards of rural West Tennessee at the time. However, he made no real inroads in Jones' support and was heavily defeated.

After this, Jones coasted to five more terms (including a completely unopposed run in 1984), choosing not to run for a 10th full term (11th overall) in 1988. The Jackson Sun reported on February 14, 1988: "Jones says he's retiring simply because the time has come. He wants to spend more time with his wife, Llew, and with his granddaughter, Meghan."

Jones co-sponsored over 100 bills that successfully entered into law during his tenure in Congress. Jones was the primary author of five bills that passed into law, all of them on agriculture. Among those bills was the Egg Research and Consumer Information Act of 1974, which lead to the creation of the American Egg Board.

Legacy
He served as a member of various agriculture-related boards and committees. Jones continued to operate his farm near Yorkville until shortly before his death on December 11, 1999. He was one of the few members of Congress in the late 20th century who was an active farmer instead of merely listing it as an occupation. In 2011, he was inducted as the 13th member of the Tennessee Agricultural Hall of Fame in recognition of his service to Tennessee.

His congressional papers (1969-1988) are housed in the special collections of the Paul Meek Library at UT Martin. They include 121 linear feet of paper files organized in five series, Correspondence, Legislation, Projects, Committees, and Public Relations. The collection includes over 250 audio tapes for two periods, (1969–72) and (1987–88).

title: Ed Jones (Tennessee politician)


text: User talk:169.151.1.213

title: User talk:169.151.1.213


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Robert A. Rushworth

Robert Aitken "Bob" Rushworth (October 9, 1924 – March 18, 1993 ) was a United States Air Force major general, World War II, Korean War and Vietnam War pilot, mechanical and aeronautical engineer, test pilot and astronaut. He was one of twelve pilots who flew the North American X-15, an experimental spaceplane jointly operated by the Air Force and NASA. He flew 34 of the program's 199 flights, more than any other pilot.

On June 27, 1963, he flew the X-15 to an altitude above 50 miles, thereby qualifying as an astronaut according to the United States definition of the boundary of space. However, this altitude did not surpass the Kármán line, the internationally accepted boundary of 100 kilometers (62 miles).

Early life and education
Rushworth was born on October 9, 1924, in Madison, Maine, to parents Walter Aitken Rushworth (1892–1949) and Mabel Julia Rushworth (Tinkham; 1891–1992). He had one older brother, Cornell Cameron Rushworth (1920–1944), who was killed in action during World War II. Rushworth attended Madison Memorial High School, where he was a class president for four years, graduating in 1942. After attending Hebron Academy, a prep school, from which he graduated in June 1943, and joining the United States Army Air Forces, he studied mechanical engineering at the University of Maine, receiving a Bachelor of Engineering degree in 1951. He also received a Bachelor of Science degree in aeronautical engineering from the U.S. Air Force Institute of Technology (AFIT) in 1954. In 1967, he graduated from the National War College in Washington D.C.

Flight experience and military service
In September 1944, Rushworth earned his pilot wings and a second lieutenant commission following his aviation cadet training program graduation. His first assignment was with the 12th Combat Cargo Squadron in February 1945, in the China-Burma-India Theater of Operations, where he flew C-47 Skytrain transport combat missions from India throughout the Burma Campaign and C-46 Commandos over the "Hump" in the Himalaya Mountains to Shanghai and Beijing. After five years with the Reserve and Air National Guard, during which he received a bachelor's degree from the University of Maine, Rushworth was recalled to active duty in 1951. During Korean War, Rushworth served as a F-80C Shooting Star pilot with the 49th Fighter-Interceptor Squadron at Dow Air Force Base.

Following his graduation from the U.S. Air Force Institute of Technology in 1954, Rushworth stayed at Wright-Patterson Air Force Base in Dayton, Ohio. Among his duties was to serve at the Directorate of Flight and All-Weather Testing. There he specialized in the development and flight testing of experimental automatic flight control systems. He graduated from the Air Force Experimental Flight Test Pilot School (Class 56C) in 1957, flying F-101 Voodoos, F-102 Delta Daggers, F-104 Starfighters, F-105 Thunderchiefs, F-106 Delta Darts and other jet fighters. Rushworth was selected for the X-15 program in 1958. He made his first flight on November 4, 1960. Over the next six years, he made 34 flights in the X-15, the most of any pilot. This included a flight to an altitude of 285,000 feet, made on June 27, 1963. This flight above 50 miles qualified Rushworth for Astronaut Wings, though he would have attained that honor sooner had the USAF Man In Space Soonest project proceeded according to plan.

On a later X-15 flight, he was awarded a Distinguished Flying Cross for successfully landing a North American X-15 after its nose wheel extended while flying at nearly Mach 5. He made his final X-15 flight on July 1, 1966, then returned to regular Air Force duties. He attended F-4 Phantom II Combat Crew Training, went through survival training, and in March 1968 he was sent to Cam Ranh Bay Air Base, Republic of Vietnam, where he was assistant deputy commander for operations with the 12th Tactical Fighter Wing and flew 189 combat missions.

Following his return from Vietnam, from April 1969 to January 1971, he was program director of the AGM-65 Maverick program and in February 1971 became commander of the newly organized 4950th Test Wing, Aeronautical Systems Division, at Wright-Patterson Air Force Base, Ohio. Rushworth then served as inspector general, Air Force Systems Command, Andrews Air Force Base, Maryland, from May 1973 to February 1974. He also served as the commander of the Air Force Flight Test Center at Edwards Air Force Base, California, where his responsibilities included the major test programs, including the F-5, A-10, F-15, YF-16, YF-17 and B-1, and as the commander of the Air Force Test and Evaluation Center at Kirtland Air Force Base, New Mexico.

At the time of his retirement as a major general, he was vice commander, Aeronautical Systems Division, Air Force Systems Command, at Wright-Patterson Air Force Base, Ohio, where he dealt directly with senior deputies and managers and assisted the management of major acquisition programs such as the F-5, A-10, F-15, F-16 and B-1 as well as numerous modernization programs like the B-52 and C-5. He held this position since October 1976.

Rushworth was a fellow of the Society of Experimental Test Pilots (SETP), and in 1975 received the SETP's James H. Doolittle Award for "outstanding accomplishment in technical management or engineering achievement in aerospace technology". Rushworth retired on June 1, 1981.

He was rated a Command Pilot Astronaut and logged over 6,500 flying hours in more than 50 types of aircraft.

Personal
Rushworth married Joyce Butler (1925–1980) in June 1947, and they had one daughter, Cheri (born March 29, 1957). He died of a heart attack in Camarillo, California, on March 18, 1993, at the age of 68. He is buried at Forest Hill Cemetery in his hometown Madison, Maine.

Military and NASA awards

 * Command Pilot Wings with astronaut device
 * Legion of Merit with oak leaf cluster
 * Distinguished Flying Cross with two oak leaf clusters
 * Air Medal
 * Meritorious Service Medal
 * Air Force Commendation Medal
 * NASA Exceptional Service Medal
 * American Campaign Medal
 * World War II Victory Medal
 * National Defense Service Medal with star
 * Vietnam Service Medal
 * Republic of Vietnam Campaign Medal

Other awards and honors

 * Iven C. Kincheloe Award
 * James H. Doolittle Award
 * John J. Montgomery Award
 * Member of the Society of Experimental Test Pilots
 * Enshrined in the National Aviation Hall of Fame in 1990.
 * Inducted into the International Space Hall of Fame in 1991.
 * Inducted posthumously into the Aerospace Walk of Honor in 1994.

title: Robert A. Rushworth


text:
Drone metal

Drone metal or drone doom is a style of heavy metal that melds the slow tempos and heaviness of doom metal with the long-duration tones of drone music. Drone metal is sometimes associated with post-metal or experimental metal.

Characteristics
Typically, the electric guitar is performed with a large amount of reverb or audio feedback while vocals may or may not be present. Songs often lack beat or rhythm in the traditional sense and are typically very long. The experience of a drone metal performance has been compared by novelist John Wray in The New York Times to listening to an Indian raga in the middle of an earthquake. Wray also states, "It's hard to imagine any music being heavier or, for that matter, very much slower." A pioneer band of drone metal called Sunn O))) has indicated a kinship with sound sculpture. Jan Tumlir indicates a "sustained infra-sound rumble of sub-bass—so-called brown noise".

Precursors
Early guitar-produced drone effects go as far back as the krautrock (for example Cluster II by Cluster, 1972) and early noise rock / industrial music era (Metal Machine Music by Lou Reed, 1975; Stahlwerksynfonie by Die Krupps, 1981).

1990s
Drone metal was first established by Earth, a group from Olympia, Washington, formed in 1989 by minimalist musician Dylan Carlson, which has been described as "minimalist post-grunge". Earth took inspiration from the sludge metal of Melvins and the minimalist music of La Monte Young, Terry Riley and Tony Conrad. Stephen O'Malley's group Burning Witch, formed five years later, also in Seattle, continued in this tradition, incorporating unusual vocals and bursts of audio feedback. The group initially recorded for the prominent powerviolence label Slap-a-Ham. O'Malley's subsequent group, Sunn O))), initially formed as a tribute to Earth, is most responsible for the contemporary prominence of the drone metal style. Godflesh is also a stated influence on many groups. Boris, from Tokyo, also developed a style of drone metal, parallel with the Seattle groups, as did Corrupted, from Osaka.

2000s
Nadja (Toronto), Locrian (US), Jesu (UK), Black Boned Angel (Wellington, New Zealand), Khanate (New York City), Ocean (Portland, Maine), Growing (New York City), KTL (Washington/London), Ascend and Eagle Twin (US), Teeth of Lions Rule the Divine (Nottingham, England), Conan (Liverpool, England) and Moss (Southampton, England) are prominent drone metal groups that formed in the early 21st century. Noise musicians, such as Kevin Drumm and Oren Ambarchi, have also worked in the style. Rhys Chatham's Essentialist project is a contribution to drone metal by an elder composer, attempting to "arrive at an a priori essence of heavy metal, reducing it to a basic chord progression".

Connections with other art forms
Stephen O'Malley from Sunn O))) collaborated on an installation with artist Banks Violette, who has likened drone metal to the work of Donald Judd. Tumlir locates a precedent in Robert Rauschenberg. Violette points out, however, that drone metal is "as much a physiological phenomenon as an acoustic one", with an attendant physicality. O'Malley has also mentioned an appreciation for Cormac McCarthy and Richard Serra. Rhys Chatham's Essentialist included projections by Robert Longo. Jim Jarmusch's 2009 film The Limits of Control features music by a number of drone metal groups. Jarmusch said, "I love these kind of visual landscapes they make, and they really inspired things for me for my film ..., because when I write I'm listening to things that inspire me in the direction of whatever world I'm imagining. Boris and Sunn O))) and Earth were really instrumental in me just finding a place in my head."

title: Drone metal


text:
Charlie the Tuna

Charlie the Tuna is the cartoon mascot and spokes-tuna for the StarKist brand. He was created in 1961 by Tom Rogers of the Leo Burnett Agency. StarKist Tuna is owned by Dongwon Industries, a South Korea–based conglomerate. Charlie is one of the most recognized characters in American advertising.

Creation
Charlie the Tuna was based on Tom Rogers' friend Henry Nemo. Nemo is known as the "creator of jive", which resembles the loose-lipped slang used by Charlie the Tuna.

Campaign
The advertisements depicted Charlie (voiced by actor Herschel Bernardi) as a hipster, originally a lower class New York accented beatnik wearing a beret and thick glasses who believes that his hip, cultured "good taste" make him a perfect catch for StarKist, but he is always rejected. Announcer Danny Dark explains to him "Sorry, Charlie!" Some advertisements ended with Charlie encouraging viewers to "Tell 'em, Charlie sent you". Earlier advertisements would have some other form of sea life saying "But Charlie, StarKist does not want tunas with good taste; they want tunas that taste good." These commercials were animated by DePatie-Freleng Enterprises. "Sorry, Charlie" became a popular American catchphrase.

The Charlie character appeared in more than 85 advertisements for StarKist until the 1980s, when the campaign was retired. Herschel Bernardi, the original voice of the character, died on May 9, 1986. Charlie made a comeback in 1999, when StarKist revived him to introduce a new line of tuna products marketed as healthy. He has been the mascot of the company since then and is one of the most-recognized brand mascots in American advertising.

Dark died on June 13, 2004, while Rogers died on June 24, 2005.

Legacy
Los Angeles radio personality and voiceover artist Charlie Tuna (real name: Art Ferguson) chose his on-air name early in his career upon the departure of another Oklahoma City disc jockey. All disc jockeys at KOMA were told to draw their on-air names out of a hat, and by the time Chuck Riley picked his on-air name out of a hat, every name had been drawn except for "Charlie Tuna". Riley used the name for a week, and then left. His replacement, Art Ferguson, inherited the name, and he would keep the Charlie Tuna name upon relocating first to Boston and then Los Angeles.

American football head coach Bill Parcells earned the nickname "The Big Tuna" when he responded to an obviously false statement from a player with the incredulous "Who do you think I am? Charlie the Tuna?"

American hip-hop star Chali 2na chose his rap name by slightly modifying the name Charlie Tuna, a nickname his uncle gave him in his youth.

During the production of the 2017 film The Shape of Water, director Guillermo del Toro remarked of the creature in the film: "[The] character is called 'Charlie' on the call-sheet by reference to the StarKist mascot Charlie the Tuna. 'We wanted to play the ad on TV', he says, 'but StarKist didn't want to have anything to do with a movie like this. The nickname stayed.

Charlie the Tuna makes a cameo appearance in the 2012 animated film Foodfight! He is also featured on the North American home video cover art of the film.

Charlie the Tuna was shown in MasterCard's 2005 "Icons" commercial which was shown during Super Bowl XXXIX, and depicts many famous advertising mascots having dinner together.

title: Charlie the Tuna


text:
Through the Ashes of Empires

Through the Ashes of Empires is the fifth studio album by American heavy metal band Machine Head. On this album, the band returned to their groove/thrash metal sound that was featured on their debut album Burn My Eyes (1994) and their second album The More Things Change... (1997) after experimenting with the nu metal genre featured on their previous two albums. It was released in the UK, Europe and Australia on the Roadrunner Records International label on October 27, 2003. At this stage, Machine Head still did not have an American record deal, having parted ways with Roadrunner Records US after the Supercharger album was released. Through The Ashes of Empires was such a success that Roadrunner Records US, in an unprecedented move, quickly offered Machine Head a new contract and the album finally reached North America on April 20, 2004. This album was also the first album to feature guitarist Phil Demmel, who would stay with the band until his departure in 2018.

On December 9, 2011, the album was certified Silver by the British Phonographic Industry and it has sold just under 80,000 copies in the UK.

Background
Because guitarist Ahrue Luster had left the band due to creative differences, the album was written by the remaining three band members, with then-temporary guitarist Phil Demmel only joining in for the recording sessions. When asked about the writing process for the album, vocalist and guitarist Robb Flynn said:
 * "...when Ahrue quit MH to go join Nickelback wannabes Juggernaut, we made a decision to start writing as a three-piece. We didn't want to go through the whole 'try out' process, and see if some new guy would fit."

A special edition of the album was also released, containing a second disc with early demo recordings of songs from TTAOE as well as a short video of Machine Head in the studio during the recording of the album. The band discusses the gear used to record the album as well as various issues relating to it.

Machine Head recorded the album from June 16 to July 21, 2003. The band then travelled to England to mix the album with Colin Richardson at the start of August. The album's was supposed to be mastered on August 15; as mixing took longer than expected, it was instead mastered on August 31, 2003.

The band recorded an additional song, "Seasons Wither", for the North American release of the album as a measure of compensation for the American fans for having to wait so long; it was subsequently released internationally as a B-side on the "Days Turn Blue to Gray" single. According to guitarist Demmel, the song also gives an indication of the direction the band would take with their next album, The Blackening.

In 2013, Robb Flynn released a demo for the unused track "Pins and Needles", which the band rejected for being "one of the worst songs [Flynn has] ever written when it comes to [his] vocals and vocal ideas". Despite the group's negativity towards the demo, it would later be rewritten to become the Roadrunner United track "Army of the Sun" with Tim Williams from Vision of Disorder on vocals.

The album can be considered an encapsulation of the band at that point, stylistically concompassing all four of their previous works. It has the melodicism of The Burning Red and Supercharger, the darker, heavier groove of The More Things Change and the sheer aggression of Burn My Eyes. Lyrically, the album is rooted in stories of personal struggles, triumphs, morbidity, and abuse.

The album has since proven to be a success with critics, music charts and fans. The album has been well-embraced as an excellent return to form both musically and lyrically. The difficult circumstances under which the album was recorded was documented on their concert DVD Elegies.

Critical reception
The album received positive reviews and was a commercial success, In 2005, Through the Ashes of Empires was ranked number 311 in Rock Hard magazine's book of The 500 Greatest Rock & Metal Albums of All Time.

Track listing
"Seasons Wither" did not appear on the original worldwide release, but was added to the US release to make up for the delayed release; in this edition, the song appears between "Vim" and "All Falls Down".

Personnel

 * Robb Flynn – lead vocals, rhythm guitar, guitar solo on "Left Unfinished", second guitar solo on "Vim"
 * Adam Duce – bass, backing vocals
 * Phil Demmel – lead guitar
 * Dave McClain – drums

title: Through the Ashes of Empires


text:
George Ade

George Ade (February 9, 1866 – May 16, 1944) was an American writer, syndicated newspaper columnist, librettist, and playwright who gained national notoriety at the turn of the 20th century with his "Stories of the Streets and of the Town", a column that used street language and slang to describe daily life in Chicago, and a column of his fables in slang, which were humorous stories that featured vernacular speech and the liberal use of capitalization in his characters' dialog.

Ade's fables in slang gained him wealth and fame as an American humorist, as well as earning him the nickname of the "Aesop of Indiana". His notable early books include Artie (1896); Pink Marsh (1897); Fables in Slang (1900), the first in a series of books; and In Babel (1903), a collection of his short stories. His first stage work produced for the Broadway stage was the operetta The Sultan of Sulu, for which he wrote the libretto in 1901. The Sho-Gun and his best-known plays, The County Chairman and The College Widow, were simultaneously appearing on Broadway in 1904. Ade also wrote scripts and had some of his fables and plays adapted into motion pictures.

During the first quarter of the 20th century, Ade, along with Booth Tarkington, Meredith Nicholson, and James Whitcomb Riley helped to create a Golden Age of literature in Indiana.

The Purdue University graduate from rural Newton County, Indiana, began his career in journalism as a newspaper reporter in Lafayette, Indiana, before moving to Chicago, Illinois, to work for the Chicago Daily News. In addition to writing, Ade enjoyed traveling, golf, and entertaining at Hazelden, his estate home near Brook, Indiana. Ade was also a member of Purdue University's board of trustees from 1909 to 1916, a longtime member of the Purdue Alumni Association, a supporter of Sigma Chi (his college fraternity), and a former president of the Mark Twain Association of America. In addition, he donated funds for construction of Purdue's Memorial Gymnasium, its Memorial Union Building, and with David Edward Ross, contributed land and funding for construction of Purdue's Ross–Ade Stadium, named in their honor in 1924.

Early life and education
George Ade was born in Kentland, Indiana, on February 9, 1866, to farmer and bank cashier John and Adaline Wardell (Bush) Ade. George was the second youngest of the family's seven children (four boys and three girls). George's father served as the Newton County, Indiana, recorder, and was also a banker in Kentland; his mother was a homemaker. George enjoyed reading from an early age, but he disliked manual labor and was not interested in becoming a farmer. Although he graduated from Kentland High School in 1881, his mother did not think he was ready for college. As a result, Ade remained in high school for another year before enrolling at Purdue University in 1883 on scholarship.

Ade studied science at Purdue, but his grades began to falter after his first year when he became more active in the college's social life. Ade also developed an interest in the theater and became a regular at the Grand Opera House in Lafayette, Indiana. In addition, he joined the Sigma Chi fraternity. Ade also met and began a lifelong friendship with cartoonist and Sigma Chi fraternity brother John T. McCutcheon. Ade graduated with a Bachelor of Science degree from Purdue in 1887. He briefly thought about becoming a lawyer, but abandoned the idea to pursue a career in journalism.

Newspaper reporter
Ade did not begin his writing career in college. In 1887, after graduating from Purdue University, he worked in Lafayette, Indiana, as a reporter and telegraph editor for the Lafayette Morning News and then the Lafayette Call. After the newspaper discontinued publication, Ade earned a meager paycheck writing testimonials for a patent-medicine company. By 1890 he had moved to Chicago, Illinois, and resumed his career as a newspaper reporter, joining John T. McCutcheon, his college friend and Sigma Chi fraternity brother, at the Chicago Daily News (which later became the Chicago Morning News and the Chicago Record), where McCutcheon worked as an illustrator.

Ade's first assignment was writing a daily weather story for the Morning News. He also covered some major news events, including the explosion of the steamer Tioga on the Chicago River; the heavyweight championship boxing match between John L. Sullivan and James J. Corbett in New Orleans, Louisiana, in 1892; and the World's Columbian Exposition (Chicago World's Fair) in 1893.

Syndicated columnist
While working for the Chicago Record, Ade developed his talent for turning local human-interest stories into humorous satire, which became his trademark. Beginning in 1893, Ade was put in charge of the daily column, "Stories of the Streets and of the Town," which frequently included McCutcheon's illustrations. Through Ade's use of street language and slang, the column described daily life in Chicago and introduced some of his early literary characters, which included Artie, an office boy; Doc Horne, a "gentlemanly liar"; and Pink Marsh, an African American shoeshine boy who worked in a barbershop. Collections of Ade's columns were subsequently published as books, such as Artie (1896), Pink Marsh (1897), and Doc' Horne (1899), which also helped to increase the popularity of his column. Ade's newspaper columns also included dialog and short plays containing his humorous observations of everyday life.

Ade first introduced his fables in slang in the Chicago Record in 1897. "The Fable of Sister Mae, Who Did As Well As Could Be Expected" appeared on September 17, 1897; the second one, "A Fable in Slang," appeared a year later; others followed in a weekly column. These humorous stories, complete with morals, featured vernacular speech and Ade's idiosyncratic capitalization of the characters' dialog. Ade left the Chicago Record in 1899 to work on nationallysyndicated newspaper column of his fables in slang. Fables in Slang (1900), the first in a series of book of Ade's fables, was popular with the public and for nearly twenty years more collections of his fables were compiled into additional books, ending with Hand-Made Fables (1920). Ade's fables also appeared in periodicals, the Essanay Film Manufacturing Company produced them as motion-picture shorts, and Art Helfant also turned them into comic strips.

Playwright, librettist, and author

After Ade's newspaper columns went into syndication in 1900, he began writing plays. His first stage work produced for Broadway was the musical The Night of the Fourth which premiered on January 21, 1901 at the Victoria Theatre. Ade wrote the book to this musical with Max Hoffmann as composer and J. Sherrie Mathews as lyricist. It was a critical flop and closed after fourteen performances.

Ade's next show on Broadway was The Sultan of Sulu; an operetta with music by Alfred G. Wathall for which Ade was the librettist. The opera's plot was about the American military's efforts to assimilate natives of the Philippines into American culture. It premiered at Wallack's Theatre on December 29, 1902 in a production produced by opera impresario Henry W. Savage. A popular success, it ran for 200 performances at that theatre; closing on Jun 13, 1903. It then embarked on a national tour which included a return engagement to Broadway in November 1903, this time at the Grand Opera House. The composer Nathaniel D. Mann contributed one song to the operetta, "My Sulu Lulu Loo".

His other works for Broadway include Peggy from Paris (1903), a musical comedy; The County Chairman (1903), a piece about small-town politics; The Sho-Gun (1904), a musical set in Korea; and The College Widow (1904), a comedy about college life and American collegiate football.

Not all of Ade's theatrical productions were successes, such as The Bad Samaritan (1905), but three of his plays (The College Widow, The Sho-Gun, and The County Chairman) were simultaneously appearing on Broadway in 1904. The best known and among the most successful of Ade's Broadway plays are The County Chairman and The College Widow, which were also adapted into motion pictures. Ade's final Broadway play before he retired from playwriting was The Old Town, produced in 1910.

After Ade retired from writing Broadway plays in 1910, he continued to write one-act plays that small theater companies presented in theatres across the United States. Marse Covington is considered to be among the best of his one-act plays. Ade also wrote scripts for moving pictures, such as Our Leading Citizen (1922 silent film), Back Home and Broke (1922 silent film), and Woman-Proof (1923 silent film) for actor Thomas Meighan. Ade also wrote two films for Will Rogers, U.S. Minister Bedlow (adapted from his 1911 play of the same name) and The County Chairman, a 1935-screen version of the play, but Ade did not get along with Hollywood filmmakers.

By the mid-1920s, Ade's plays were no longer in fashion, but he continued to write essays, short stories, and articles for newspapers and magazines in addition to film scripts. Ade also wrote about his extensive travels, but he is best known for his humorous columns, essays, books, and plays. His fables in slang stories and series of books, in addition to making him wealthy, gained him notoriety as an American writer. His final book, The Old-Time Saloon, was published in 1931.

Writing style

Ade's literary reputation rests upon his achievements as a humorist of American character. When the United States began a population shift as the first large wave of migration from rural communities to urban cities and the county transitioned from an agrarian to an industrial economy, Ade used his wit and keen observational skills to record in his writings the efforts of ordinary people to get along and to cope with these changes. Because Ade grew up in a Midwestern farming community and also knew about urban living in cities like Chicago, he could develop stories and dialog that realistically captured daily life in either of these settings. His fictional men and women typically represented the common, undistinguished, average Americans, who were often "suspicious of poets, saints, reformers, eccentricity, snobbishness, and affectation," as well as newcomers.

While his humor depicts Midwestern speech and manners, it also reflects mannerisms found in late 19th-century America as well. Like Ade himself, his characters also found humor in everyday experiences, mocked pretentious social situations, and tried not take life too seriously. Using a writing style similar to Mark Twain's, Ade was adept in the use of the American language. Ade's fables in slang," for example, were written in the American colloquial vernacular. He also offered genial satire and provided "a social record of how ridiculous some people make themselves."

Striking features of Ade's essays and fables in slang are his creative figures of speech and liberal use of capitalization. An example of Ade's non-standard punctuation and writing style appears in this description of a modern single woman and what Ade believes to be her high standards for an ideal husband: "Once upon a Time there was a slim Girl with a Forehead which was Shiny and Protuberant, like a Bartlett Pear.... In all the Country around there was not a Man who came up to her Plans and Specifications for a Husband. Neither was there any Man who had any time for Her. So she led a lonely Life, dreaming of the One—the Ideal. He was a big and pensive Literary Man, wearing a Prince Albert coat, a neat Derby Hat and godlike Whiskers. When He came he would enfold Her in his Arms and whisper Emerson's Essays to her. [non-standard capitalization in original]"

In 1915, Sir Walter Raleigh, Oxford professor and man of letters, while on a lecture tour in America, called George Ade "the greatest living American writer." H. L. Mencken considered selections that appeared in Ade's book, In Babel, as "some of the best short stories in America."

Hazelden farm
By the early 1900s, after twelve years in Chicago, Ade's writing had brought him financial success and he retired to a leisurely life in the country. Ade invested his earnings in Newton County, Indiana, farmland, eventually owning about 2400 acre. In 1902, George's brother, William Ade, purchased on his behalf a 417 acre site of wooded land along the Iroquois River near the town of Brook in Newton County, Indiana. George initially intended to build a summer cottage. Instead, Chicago architect Billie Mann, a Sigma Chi fraternity brother, designed for Ade a two-story, fourteen-room country manor, which was constructed at an estimated cost of US$25,000. Ade named the property Hazelden, after his English grandparents' home, and moved from Chicago into the newly built residence in 1904. In addition to the Tudor Revival-style home, the property eventually included landscaped grounds, a swimming pool, greenhouse, barn, and caretaker's cottage, among other outbuildings. Ade also added an adjacent golf course and country club in 1910.

Ade frequently entertained at his Indiana estate. In addition to serving as a summer home (and his permanent residence beginning in 1905), Hazelden was used for political gatherings and community events. Hazelden was the site where Republican William Howard Taft announced his candidacy for president of the United States and launched his campaign in 1908. It was also used as the site for a political rally for Theodore Roosevelt's Bull Moose Party in 1912 and a venue for an address from vice presidential candidate Charles W. Dawes in 1924. (Ade, a political conservative, supported Republican Party candidates.) Ade also hosted a homecoming party for soldiers and sailors on July 4, 1919, as well as parties and gatherings for the community, local children, Purdue University alumni, Sigma Chi fraternity brothers, members of the Indiana Society of Chicago, and golf tournaments.

Other interests
Ade spent the summer months at his Hazelden estate in Newton County, Indiana, and vacationed during the winter months at a rented home in Miami, Florida. He was also an avid traveler who made trips around the world, as well as multiple trips to Europe, the West Indies, China, and Japan. In addition to his frequent travels, Ade enjoyed horse racing and golf.

Ade, who never married, corresponded regularly with a wide circle of friends and was active in literary, civic, and political organizations. In 1905 he was a cofounder with Edward M. Holloway and John T. McCutcheon of the Indiana Society of Chicago, a literary organization. Ade also served as a delegate to the Republican National Convention in Chicago in 1908.

Ade was a longtime supporter of Purdue University and Sigma Chi,his college fraternity. He served as national president of Sigma Chi in his later years and as a member of Purdue's board of trustees from 1909 to 1916. Ade was also a member of the Purdue Alumni Association. Ade donated funds for construction of Purdue's Memorial Gymnasium and its Memorial Union Building. In 1922, Ade and David Edward Ross, another Purdue alumni, bought 65 acre of land for use as the site of a new football stadium at Purdue's campus in West Lafayette, Indiana. In addition, Ade and Ross provided financial support construction of the facility, which was formally dedicated on November 22, 1924, and named Ross–Ade Stadium in their honor. Ade also led a fund-raising campaign to endow the Sigma Chi mother house at Miami University, where the fraternity was originally established. Ade also authored the Sigma Chi Creed in 1929, which is one of the central documents of the fraternity's philosophies.

In his later years Ade was a member of National Institute of Arts and Letters (American Academy of Arts and Letters) and an executive committee member of the Authors Guild. Purdue University awarded Ade an honorary degree in the humanities in 1926 and Indiana University awarded him an honorary law degree in 1927. During the early 1940s, he also served as president of the Mark Twain Association of America. Ade's activities slowed after he suffered a stroke in June 1943 that left him partially paralyzed and a series of heart attacks in 1944.

Death and legacy
Ade fell into a coma after suffering a heart attack and died on May 16, 1944 in Brook, Indiana at the age of 78. His remains are interred at Fairlawn Cemetery in Kentland, in Iroquois Township, Newton County, Indiana.

Ade is considered a humorist, satirist, and a moralist with keen observational skills, as well as and "one of the greatest writers of his time." Ade's writings reached the height of their popularity in the 1910s and 1920s. Along with the works of other Hoosier writers, such as James Whitcomb Riley, Booth Tarkington, and Meredith Nicholson, among others, Ade's writing was part of the Golden Age of Indiana Literature of the late nineteenth and early twentieth centuries. His fables in slang gained him wealth and fame as an American humorist, in addition to earning him the nickname of the "Aesop of Indiana." In more recent decades, his works have been largely forgotten.

The better known of his plays that were produced on Broadway are The County Chairman and The College Widow, which were also adapted into motion pictures. While the presentations of his plays and musical comedies increased his wealth and international renown, Ade's legacy includes numerous newspaper columns, magazine articles, essays, and books that describe his perspective on American life in the late nineteenth and early decades of the twentieth century.

Ade bequeathed his library, manuscripts, and papers as well as most of his art objects to Purdue University. Following Ade's death, ownership of Hazelden, his former home in Newton County, Indiana, was transferred to Purdue University, who relinquished the property to the State of Indiana when it could no longer afford its upkeep. The State of Indiana, unable to maintain the home, turned it over to Newton County, Indiana, officials. Ade's remaining land was distributed among his relatives. In 1962 the George Ade Memorial Association raised funds to acquire, renovate, and restore the home. Hazelden (the George Ade House) was listed on the National Register of Historic Places in 1976. The Association disbanded in 2018, and, as of 2019, Newton county officials are assessing the home's condition and plans for restoring it for use as a public historic site and events venue.

Honors and awards

 * Honorary degree in the humanities from Purdue University, 1926
 * Honorary law degree from Indiana University, 1927
 * Ross–Ade Stadium at Purdue University was named in honor of Ade and David E. Ross, both of whom were Purdue alumni and major donors.
 * The World War II Liberty Ship SS George Ade was named in his honor.

Selected published works

 * "Stories of the Streets and of the Town" (a series of newspaper columns published from 1894 to 1900)
 * What a Man Sees Who Goes Away from Home (1896)
 * Circus Day [1896]
 * Artie (1896)
 * Pink Marsh (1897)
 * Doc' Horne (1899)
 * Fables in Slang (New York, 1900))
 * More Fables (1900)
 * American Vacations in Europe (1901)
 * Forty Modern Fables (1901)
 * The Girl Proposition (1902)
 * The Sultan of Sulu (1902–03), a comic opera and a one-act play
 * Peggy from Paris (1903), a musical comedy
 * The County Chairman (1903 and 1924), a play
 * In Babel (1903)
 * People You Know (1903))
 * Handsome Cyril (1903,Strenuous Lad's Library, no. 1)
 * Clarence Allen (1903, Strenuous Lad's Library, no. 2)
 * Rollo Johnson (1904, Strenuous Lad's Library, no. 3
 * Breaking into Society (1904)
 * The Sho-Gun (1904), a comic opera
 * The College Widow (1904 and 1924), adapted as Leave It to Jane, a musical by Jerome Kern, Guy Bolton, and P. G. Wodehouse in 1917.
 * True Bills (1904)
 * The Bad Samaritan (1905), a play
 * Just Out of College (1905 and 1924), a play
 * In Pastures New (1906)
 * Round about Cairo, with and without the Assistance of the Dragoman or Simon Legree of the Orient (1906), from In Pastures New
 * The Slim Princess (1907)
 * The Fair Co-ed (1908), a musical
 * Father and the Boys (1908), a comedy-drama
 * The Old Town (1910), a musical
 * I Knew Him When: A Hoosier Fable Dealing with the Happy Days of Away Back Yonder (1910
 * Hoosier Hand Book and True Guide for the Returning Exile (1911)
 * Verses and Jingles (1911)
 * On the Indiana Trail (1911)
 * The Revised Legend for One Who Came Back (1912)
 * Knocking the Neighbors (1912)
 * Ade's Fables (1914)
 * The Fable of the Busy Business Boy and the Droppers-In (1914)
 * The Fable of the Roistering Blades (1915)
 * Invitation to You and Your Folks from Jim and Some More of the Home Folks (1916)
 * Marse Covington (1918), a one-act play
 * Hand-made Fables (1920)
 * Single Blessedness and Other Observations (1922)
 * Mayor and the Manicure (1923), a one-act play
 * Nettie (1923), a one-act play
 * Speaking to Father (1923), a one-act play
 * Thirty Fables in Slang (1926; reprinted in 1933)
 * Bang! Bang! (1928)
 * Old-time Saloon: Not Wet—Not Dry, Just History (1931)
 * One Afternoon with Mark Twain (1939)
 * Notes & Reminiscences (with John T. McCutcheon) (1940)

Collected works

 * The America of George Ade, 1866–1944; Fables, Short Stories, Essays (1960, edited and introduced by Jean Shepherd)
 * Stories of the Streets and of the Towns (1941, edited by Franklin J. Meine)

Film adaptations

 * The County Chairman (1914 film)
 * The County Chairman (1935 film)
 * The Fair Co-Ed (1927 film)
 *  Freshman Love  (1936), an adaption of The College Widow.

Other

 * "Authors!—Burn Up Your Alibis!," Photoplay, September 1923, p. 46.
 * The Sigma Chi Creed (1929)

In fiction

 * Ade journeys to Mars with Nikola Tesla and Mark Twain in Sesh Heri's novel Wonder of the Worlds (2005).
 * P. G. Wodehouse refers to Ade's "The Fable of the Author Who Was Sorry for What He Did to Willie" in Love Among the Chickens (1909).

title: George Ade


text:
Talk:Roger Taylor (Queen drummer)

Guitar SHOULD be listed in instruments section
Guitar is his second main instrument as he was mainly vocalist and guitarist in The Cross. He also played so much keyboards that they could be listed as his main instrument too. 185.28.251.26 (talk) 11:12, 28 June 2018 (UTC)

Guitar, vocals and keyboards should be listed in the infobox!! — Preceding unsigned comment added by 193.187.3.11 (talk) 21:22, 23 October 2019 (UTC)

Family?
Names of wives and children??? Skysong263 (talk) 04:58, 27 August 2019 (UTC)

 * @Skysong263 204.195.19.220 (talk) 08:47, 27 April 2023 (UTC)

Hello, I have long been interested in the question, what date and in what year were the parents and grandchildren of Roger Taylor born? Sorry for disturbing. Happy day to you! Чёрт, который Дамир (talk) 07:39, 3 April 2022 (UTC)

Rock planet poll is not important
Why is his placement in some stupid poll in the first paragraph? It’s neither important nor encyclopedic. It sounds silly and ignorant, and is the worst of what Wikipedia is. 173.198.11.2 (talk) 07:39, 2 July 2023 (UTC)

title: Talk:Roger Taylor (Queen drummer)


text:
Talk:Spanish grammar

See history before 4 July 2004 at Spanish language

Talk up to 14 June 2005: archived at /Archive1.

Rules of the RAE, and cleft sentences
User:Hdezela mentioned "unused rules" of the RAE regarding inverted question and exclamation marks and accents on uppercase letters. I've reverted those edits since I think they were not accurate and would anyway need some source (besides anecdotic personal experience).
 * It is true that many people today leave out the so-called inverted marks, but that's mostly in email and cell phone text messages; nobody's leaving them out in other forms of writing (newspapers, TV news, TV ads, CVs, books, pamphlets, etc.). When children leave them out, they're still corrected by the teachers, so the rule is not "unused".
 * It is also true that many people leave out the accents on uppercase letters (and not only in all-uppercase words). In my experience, people often claim they thought it was correct to do so or even that there was a rule dictating it. But that again is my personal experience.

The other thing is the form of the cleft construction. In my dialect at least, nobody uses quien as a relative pronoun except in formal speech, and then they consistently use quien instead of el/la que regardless of the purpose of the sentence (informative or responsive). The only thing that may change is the order of the clauses: "Fue Juan el que perdió las llaves" vs. "El que perdió las llaves fue Juan", also vs. simply "Las llaves las perdió Juan". --Pablo D. Flores 15:20, 15 August 2005 (UTC)

La que lo se...
Examples La que lo sé soy yo and Yo fui el que me lo bebí seam to be terribly wrong to me, I've never heard it before. I believe that in singular the subordinate clause never matches the person (second examples).

Also, Es por eso por lo que lo hice is labeled among correct expresion, which might be, but Es por eso que lo hice as uneducated speech; call me uneducated, by I would defenitelly never use the first, and always use the second! Mariano (t/c) 07:32, 24 October 2006 (UTC)

 * The first examples do look rather wrong, but I have heard them. I'm not sure if they're prescriptively wrong. As for the others, Es por eso por lo que lo hice is correct but awfully long and affected; I've never heard it, or even seen it in print. Es por eso que lo hice is definitely not uneducated; que has been long used as an all-purpose relative pronoun. In any case, most people I know would use Por eso lo hice, with emphasis on por eso, to convey the same idea. —Pablo D. Flores (Talk) 11:49, 24 October 2006 (UTC)

 * Realise that you are talking about spoken language where sentences tend to be longer and more redundant. Short and precise sentences are not unneducated as Mariano suggests. What make the speech sound 'educated' is the consistency in style, and the good use of the grammar. I would say the first sentence is wrong because "La que sabe" is actually in third person (singular), and the verb was conjugated in the first person "(yo) sé". The second sentence is wrong for similar reasons, confusion of first and third person. I would re-write those sentences as follows:
 * La que lo sabe soy yo
 * You fui el que se lo bebió
 * --tequendamia 12:22, 24 October 2006 (UTC)

Conjunctions
Could someone please add a section or paragraphs about conjunctions? I know there are at least a couple forms of y, depending on what follows, though I don't speak Spanish. --LakeHMM 04:03, 4 January 2007 (UTC)

I'll add it in when I have the time. Jorge Padrón 03:54, 21 April 2007 (UTC)

 * I added a small subsection in the "Miscellaneous" section concerning just y and o. I figure that for the moment only those idiosyncratic conjuctions need be mentioned. Unless I am missing something, I believe those are the only ones that actually change forms; and I am a native speaker (though I can be wrong). If anything, a short list can be added later of other generally-used conjunctions, like the preposition section.

Jorge Padrón 04:21, 21 April 2007 (UTC)

There are only two conjunctions in Spanish: a + el -> al; de + el -> del. Diego Argueta 9:24, 15 Octiber 2007 (UTC)

 * Those are contractions, not conjunctions. Spanish has a number of conjunctions, including y, o , pero, sino, que, como, pues, among others. Only y and o have alternate forms. Nohat 22:21, 1 November 2007 (UTC)

External Links Consistency
hey guys, I tried adding a site a while back and it kept on getting deleted. I was told by the remover that I should bring it up here. So I have. I think there are sites that are less useful to users than the one I added, so if you want to remove it (www.jiffyspanish.com) please take it up with me here first, so I don't just re-add it again. Cheers, Lumpeseckel 01:20, 17 April 2007 (UTC)

 * The link is http://www.jiffyspanish.com/grammar. Please don't add it until it's decide on its usefulness.--Mariano (t/c) 17:41, 17 April 2007 (UTC)

That's fine, but I still don't understand who decides? If I think it's useful and you don't how do we decide whether it stays or goes? And what about the other links, if I think they aren't useful, should I just go and delete them? Some consistency is needed here. Lumpeseckel 03:25, 18 April 2007 (UTC)

 * I personally think the proposed link doesn't provide any encyclopedic information to the reader other than the already present in Wikipedia, and thus would say not to include it. After all, Wikipedia is not a link source to tutorials. Even if the site contains valid information on the subject, it is still a commercial site, trying to sell you its product.
 * Who decides? I was expecting more feedback from the people attending this article. --Mariano (t/c) 12:50, 18 April 2007 (UTC)

That's fine Mariano, but even looking at some of the other sites linked to in Spanish Grammar, they often have products for sale. I don't think that's necessarily a bad thing. I am still confused about who has the right to do this or that. I would appreciate if you could just leave my links until a consensus is reached. Cheers Lumpeseckel 04:39, 24 April 2007 (UTC)

 * Again, I was expecting comments from other users as well. You may add the link if you wish. --Mariano (t/c) 11:58, 24 April 2007 (UTC)

Verifying coger
I've found coger in the REAL ACADEMIA  ESPAÑOLA dictionary. It verifies that the vulgar use of coger but says its use is just American. But I'm unable to link to it. The site seems as reliable as online sources can be. --41.245.12.244 21:38, 1 November 2007 (UTC)
 * Since the Americas have 90% of the Spanish speaking population, saying that a Spanish usage is just American is like saying that a something is done by just people under 63. On the other side, coger has the vulgar meaning mainly in Mexico and Argentina. In that case the word just could be used. Pablo.cl (talk) 21:04, 15 November 2012 (UTC)

Coger
I don't think that it is the best to have the word "fuck" on this page. Imagine if a person wanted to look up Spanish on wikipedia and saw "fuck", not so good huh? I suggest moving the part about coger to a Spanish vulgarity page if it does mean "to fuck". GlassDesk (talk) 15:31, 29 November 2007 (UTC)

Dialect variations
The dialect variations section, while interesting, is a bit... sparse. Might someone who is an expert on the subject go a little more in depth on the grammatical gender section and beyond? Thanks! 66.68.154.201 (talk) 23:47, 21 April 2008 (UTC)

Too short
This article seems to be too short given the importance of Spanish language in the world. Compare it with the length of Basque grammar, spoken by only a million people. --Againme (talk) 15:39, 29 December 2008 (UTC)

Table Headings
Why are the headers on all the tables in Spanish? I really don't think the integrity of the information would be compromised by translating these into English, and considering that those who prefer to read such descriptions in Spanish probably use la Wikipedia Español, I see no reason not to do so. --128.84.27.98 (talk) 20:04, 22 October 2009 (UTC)

Nouns
Why doesn't the article mention nouns? --EncycloPetey (talk) 00:37, 25 December 2009 (UTC)
 * It mentions them now. :-) --Jotamar (talk) 18:12, 28 December 2009 (UTC)

Verbs
The conjugation of verbs should be more in depth, and include tables for all of the different tenses- Chakradragon (talk) 03:08, 18 March 2010 (UTC)
 * That is already covered in Spanish verbs and Spanish conjugation. --Jotamar (talk) 17:25, 19 March 2010 (UTC)

Demonstrative pronouns
I've changed the statement about demonstrative pronouns to say they "usually" have a written accent, based on my count of data in the "Corpus del Español" at . To locate demonstrative pronouns and omit demonstrative adjectives, I did searches for the sequence [demonstrative word] plus [object pronoun] (as in "éste le dijo"). Specifically, I counted instances of "este", "esta", "estos", and "estas" -- with and without an accent -- before "le", "lo", and "me". The frequency of accented forms ranged from 78% to 83%, which I think justifies my word "usually". Kotabatubara (talk) 21:24, 17 June 2010 (UTC)

Adverbs
There is no section dedicated to adverbs, or adverbs have been left out as a part of speach in Spanish. —Preceding unsigned comment added by Gabrielmontespadilla (talk • contribs) 23:13, 24 July 2010 (UTC)

Vusted
In every Spanish language textbook that I have read, "ud." can also be abbreviated to "vd.". I have learned that "vd." is the abbreviation for "vusted", so my question is if anyone knows if "vusted" is a real alternative to "usted"? If so, that would be something to note in this article.70.112.242.125 (talk)VustraMerced (5 March, 2011) —Preceding undated comment added 00:21, 6 March 2011 (UTC).

 * No, "vusted" is definitely not an option in modern Spanish, except — according to the article on Spanish pronouns — in "isolated areas of Colombia and Venezuela". Its rarity can be demonstrated by searches in two large Spanish corpora:  the Davies corpus at , and the GoogleLabs corpus at .  In Davies, reaching from the 20th century back to the 13th, the occurrence of "vusted" is zero.  According to GoogleLabs, in the 1990s "usted" outnumbers "vusted" by some 27,000 to 1 (maybe it appears in literature representing regional speech).  "Vusted" does not belong in a general encyclopedia article about Spanish grammar.

 * To explain the spelling of "Vd." remember that in older handwriting "u" and "v" were somewhat interchangeable. In medieval manuscripts it's not unusual to find words like "vno" and "uiene".

 * In modern usage, the two corpora show "usted" preferred over the abbreviations "Ud." and "Vd." between 85% and 92% of the time. The abbreviations are almost always capitalized. Kotabatubara (talk) 22:14, 6 March 2011 (UTC)

Bias from the Spanish of Spain
The wording of this article seems to speak from a bias towards the standard Spanish of Spain, rather than taking a more neutral point of view. Is there any reason for this? Why isn't voseo included in the tables, just like how they appear in the RAE's dictionary, instead of putting it in a separate section by the end as if it were something strange? Why is the negligible use of vosotros mentioned as something particular to Latin America, even though the vast majority of Spanish speakers lives there, rather than mentioning the use of vosotros is particular to Spain? I'll proceed to change the point of view of this article to a more neutral one in a few days if there seem to be no objections...--Serafín33 (talk) 05:48, 14 August 2013 (UTC)

Paradigms for Future tense?
Why is there no section for future tense? At least the simple future. Techineer (talk) 03:32, 15 July 2014 (UTC)
 * Check the Main articles under heading Verbs. --Jotamar (talk) 17:53, 18 July 2014 (UTC)

VSO
Isn't VSO quite common in independent clauses in Spanish? To take a very simple example from Wiktionary: Iremos Rosa, tú, y yo. Esszet (talk) 22:50, 21 January 2016 (UTC)
 * That particular example is ok, but don't generalize it to any sentence; I don't think it is just a case of pragmatic fronting. The original example Escribió mi amigo el libro is not a natural sentence in a conversation. The best thing to do would be to find a good source on Spanish grammar. --Jotamar (talk) 15:44, 22 January 2016 (UTC)
 * Is this any better? Esszet (talk) 22:56, 22 January 2016 (UTC)
 * Sorry for the late answer. In the page you link, most examples have fronting of an element that is neither V nor S nor DO. That's what I was speaking about: anything can be fronted in Spanish, and that really has little to do with typological order. I'll quote from the article Word order:
 * "Some languages use relatively restrictive word order, often relying on the order of constituents to convey important grammatical information. Others—often those that convey grammatical information through inflection—allow more flexibility, which can be used to encode pragmatic information such as topicalisation or focus. Most languages, however, have a preferred word order."

 * In other words, order typology should refer basicly to the unmarked order of a language, and if the language is flexible enough, it can have in addition a lot of different marked orders, used for a variety of pragmatic reasons. In any case sentences in Spanish beginning with a verb (and having an overt subject) are not particularly common. I'd say sentences that begin with the object are much more common. Again, the best would be to find a good source. --Jotamar (talk) 19:03, 27 January 2016 (UTC)
 * According the the article on word order, ‘Most nominative–accusative languages—which have a major word class of nouns and clauses that include subject and object—define constituent word order in terms of the finite verb (V) and its arguments, the subject (S), and object (O).’ Thus, the sentences in the article I linked to aren't bare VSO sentences, but they are VSO sentences nevertheless. I can still try to find a good source on Spanish grammar if you like, but it appears that something like ‘Although bare VSO is somewhat rare in declarative sentences, VSO is very common in sentences in which emphasis is placed on something other than the subject or direct object’ would be fine. Esszet (talk) 16:02, 28 January 2016 (UTC)
 * Ok. I can see that you are interested in the subject, so, if you keep learning about it, you'll be able to refine your own editions in the future. --Jotamar (talk) 22:43, 28 January 2016 (UTC)
 * Sorry for the late response, but maybe…just maybe… Esszet (talk) 14:46, 5 February 2016 (UTC)

Adverbs
As someone pointed out above, there's no section on adverbs in this article at all. I'd be happy to create one, but before I do that, could someone please tell me how the superlative of adverbs is formed? According to this site, most adverbs don't have a relative superlative at all (although they do have absolute superlatives), this site says that you use the definite article + más/menos + the adverb but doesn't elaborate, and on the basis of my own limited experience, I thought you used lo + más/menos + the adverb; I know you can say things like lo mejor que pueda. Is there a way to form the relative superlative for most adverbs, and if so, what is it? Esszet (talk) 22:06, 10 April 2016 (UTC)
 * You mean something like lo más temprano, lo más lejos ? --Jotamar (talk) 15:49, 18 April 2016 (UTC)

 * Yeah, can you say things like that or lo más rápidamente? Esszet (talk) 16:29, 18 April 2016 (UTC)
 * You typically would add an adjective or adjectival clause, for example ven lo más rápidamente que puedas. --Jotamar (talk) 14:51, 20 April 2016 (UTC)
 * Alright, one more thing: I very recently found out that -mente is dropped from all but the last adverb in series of adverbs that would each end in -mente on their own, but does that apply even if there's an adverb like despacio or temprano in the middle? Thus, is it orgullosa, despacio, y triunfantemente or orgullosamente, despacio, y triunfantemente? Esszet (talk) 01:12, 26 April 2016 (UTC)
 * It would be the second one, but I wouldn't recommend it, it sounds a little awkward. --Jotamar (talk) 14:39, 27 April 2016 (UTC)

Overlap
At the moment, there's a great deal of overlap between Spanish determiners and the determiners section here. What should we do about it? I say we should trim down the section here as much as possible; getting rid of the determiners article and merging it with this one would probably make the section here a little too long. Esszet (talk) 17:39, 1 November 2017 (UTC)
 * It's ok, contents shouldn't be repeated, as long as the different pages are clearly linked, so that no reader misses what they are looking for. --Jotamar (talk) 17:49, 8 November 2017 (UTC)

le dio permiso
Hi, I'm a learner so I'm not very sure, but I think the following example may be wrong. In the example "Fue a mí a quien le dio permiso", lit. "It was to me to whom he gave permission", le is translated to he and seems to be used as a subject. According to wiktionary, le is usually the indirect object (and sometimes the direct object in case of Leísmo). I couldn't find any text where le is used as a subject. Am I mistaking anything? — Preceding unsigned comment added by Dz-cies (talk • contribs) 09:24, 23 March 2018 (UTC)
 * "Le" is used here in the normal way, as an indirect object, not as a subject. You may question why "le" and not "me"; let's say the subordinate clause is construed from the viewpoint of a hearer who didn't know the answer was "a mí". Kotabatubara (talk) 14:57, 23 March 2018 (UTC)
 * Ah! I see. The 'he' in the literal translation is somehow misleading. So maybe a better literal translation would be "It was to me to whom was given permission"? Dz-cies (talk) 14:01, 24 March 2018 (UTC)
 * No, the verb "dio" here is active, with an implied specific third-person-singular subject, a previous "he" or "she" in the context. To make it passive we'd need a "se".Kotabatubara (talk) 14:36, 25 March 2018 (UTC)
 * You are right :p Many thanks for your illustration. Dz-cies (talk) 01:46, 26 March 2018 (UTC)

Are peninsular and American Spanish "dialects"?
Because that's what the opening says. Me permito dudarlo. deisenbe (talk) 23:43, 28 January 2021 (UTC)
 * I've made a few small changes that hopefully fix that. --Jotamar (talk) 01:05, 29 January 2021 (UTC)

Imperfect question
The followiing was in a Spanish newspaper, I don't remember where:

 * Los médicos no pudieron hacer nada para salvar a la víctima y a los pocos minutos moría.

I've discussed this with native speakers and they say the imperfect does not mark a long(er) action, an action in progress, but something that happened abruptly, and the imperfect is just there for contrast. The explanation of the tenses in this article does not allow for this. ~ cc
 * That should be dealt with in Spanish verbs, rather than here. Anyway, I think that a comprehensive explanation of all possible tense usages in Spanish is beyond what a WP page can accommodate. --Jotamar (talk) 01:13, 29 January 2021 (UTC)

title: Talk:Spanish grammar


text:
Sex therapy

Sex therapy is a therapeutic strategy for the improvement of sexual function and treatment of sexual dysfunction. This includes dysfunctions such as premature ejaculation and delayed ejaculation, erectile dysfunction, lack of sexual interest or arousal, and painful sex (vaginismus and dyspareunia); as well as problems imposed by atypical sexual interests (paraphilias), gender dysphoria (and being transgender), highly overactive libido or hypersexuality, a lack of sexual confidence, and recovering from sexual abuse (such as rape or sexual assault); and also includes sexual issues related to aging, illness, or disability.

Practice
Modern sex therapy often integrates psychotherapeutic techniques and medical ones, such as Viagra (sildenafil) and Cialis (tadalafil) to increase erectile response and Paxil (paroxetine) to treat premature ejaculation. Sex therapists assist those experiencing problems in overcoming them, in doing so possibly regaining an active and healthy sex life. The transformative approach to sex therapy aims to understand the psychological, biological, pharmacological, relational, and contextual aspects of sexual problems.

Sex therapy requires rigorous evaluation that includes a medical and psychological examination. The reason is that sexual dysfunction may have a somatic base or a psychogenic basis. A clear example is erectile dysfunction (sometimes still called "impotence"), whose causes may include circulatory problems and performance anxiety. Sex therapy is frequently short term, with duration depending on the causes for therapy.

Sex therapy can be provided by licensed psychologists or physicians, who have undergone training and become certified. These trainings and certifications usually begin with a master's degree, and internship, and a license. This can take up to two years, and longer if a doctoral degree is desired.

Certified sex therapists do not have sexual contact with their clients. Sex therapy is distinct from sex surrogates. Whereas sex therapists discuss and instruct clients in sex-based exercises to be performed at home between sessions, sexual surrogates participate in the exercises with their clients as part of helping them to practice and develop improved skills. Therapists and surrogates sometimes collaborate on cases.

Symptoms
Sex therapy sessions are focused on the individual's symptoms rather than on underlying psychodynamic conflicts. The sexual dysfunctions which may be addressed by sex therapy include non-consummation, premature ejaculation, erectile dysfunction, low libido, unwanted sexual fetishes, sexual addiction, painful sex, or a lack of sexual confidence, assisting people who are recovering from sexual assault, problems commonly caused by stress, tiredness, and other environmental and relationship factors. Sex therapy can either be on an individual basis or with the sex partner. Sex therapy can be conducted with any adult client, including older adults, any gender expression, and LGBTQ-identified people.

A therapist's misunderstanding of these conflicts can lead to resistance or serve as a barrier to improving sexual dysfunctions that are directly or indirectly related to sex. The interest in sex therapy among couples has increased along with the number of sexuality educators, counselors, and therapists. Today, sexual problems are no longer regarded as symptoms of hidden deviant, pathological, or psychological defects in maturity or development. Sex therapy has also influenced the emergence of sexual medicine and exploring integrative approaches to sex therapy, in addition to reducing or eliminating sexual problems and increasing sexual satisfaction for individuals of all stages of life. Health therapists, educators, and counselors are conducting research and administering surveys to fully understand normative sexual function – what most people do and experience as they grow older and live longer.

Aging and sexuality
Both physical and emotional transformation throughout various stages of life can affect the body and sexuality. The subsequent decline in hormone levels and changes in neurological and circulatory functioning may lead to sexual problems such as erectile dysfunction or vaginal pain. These physical changes often affect the intensity of youthful sex and may give way to more subdued responses during middle and later life. Issues with low libido and sexual dysfunction are usually considered to be a byproduct of old age. The emotional byproducts of maturity, however — increased confidence, better communication skills, and lessened inhibitions — can help create a richer, more nuanced, and ultimately satisfying sexual experience. During AARP's last surveys in 1999, 2004, and 2009 statistics show well-being among older adults has increased; however, overall sexual satisfaction has decreased. Nevertheless, older adults believed that an active sexual life offers great pleasure and contributes materially to overall emotional and physical health.

Older adults

Over the years, little attention has been paid to older adults and sexuality. As the population of older adults and life expectancy continue to grow, there is information about sex therapy but it is often not easily accepted. Cultural and sexual roles are always changing throughout the life-course. As people age, they are often viewed as asexual or as incapable of possessing sexual desires. The presence of sexual dysfunction during old age can be impacted by health problems. There are many endocrine, vascular and neurological disorders that may interfere in sexual function, along with some medications and surgeries. Older men experience changes that occur in sexual physiology and affect both erectile function and ejaculation. While older women experience physiological effects of aging after menopause, resulting in the decreased production of estrogen. This leads to increased vaginal dryness, general atrophy of vaginal tissue, and genital changes (reduced size of clitoral, vulvar, and labial tissue). Cognitive changes and decline is another factor that influences sexual activity. Dementia, Alzheimer's and mental health disorders may have an effect on sexual behavior, producing disinhibition or relationship difficulties with subsequent effects on couple's sexual relationships.

Sex therapy with older adults looks at factors which influence sexuality in older adults, including sexual desire, sexual activity, the value of sexuality, and health. It can include sensate focus, communication, and fantasy exercises as well as psychodynamic therapy.

Sex therapy for older adults is similar to sex therapy with other populations. It includes the use of water-based personal lubricants (for decreased vaginal lubrication), hormone therapy, and medications. Sex therapists working with older adults should know about sexuality and aging. They should also be aware of how stereotypes affect their clients. This is especially true for LGBT-identified clients.

Older adults may also need more education about their sexuality and sexual functioning. Curriculum for this includes communication, masturbation, body image, and spirituality. It also teaches about talking to a doctor about sexual activity. It is optimal that sex education for older adults includes information about sexually transmitted infections (STDs/STIs), such as HIV/AIDS.

History
Sex therapy has existed in different cultures throughout time, including ancient India, China, Greece, and Rome. It has taken the form of manuals, spells, anaphrodisiacs or aphrodisiacs, and tantric yoga, among others. Much of sex therapy and sexual dysfunction in Western cultures was limited to scientific discussion, especially throughout the 19th century and into the early 20th century.

Sexologists such as Henry Havelock Ellis and Alfred Kinsey began conducting research in the area of human sexuality during the first half of the 20th century. This work was groundbreaking and controversial in the scientific arena.

In the 1950s, sex therapy was concerned with "controlling sexual expression" and repressing what was then-considered deviant behaviors, such as homosexuality or having sex too often. Masters and Johnson are credited with revolutionizing sex therapy in the mid-century and included couple therapy and behavioral interventions that focused on being present in the moment such as sensate focus exercises. Dr. Helen Singer Kaplan modified some of Masters and Johnson's ideas to better suit her outpatient practice, including introducing medication. Both integrated cognitive behavioral therapy into their practice and Kaplan used psychodynamic therapy as well. The combination of hypnotic procedures with humanistic psychodrama (Hans-Werner Gessmann 1976) is an option. The work of Jack Annon in 1976 also saw the creation of the PLISSIT model that sought to create a structured system of levels for the therapist to follow.

The mid-1980s saw the medicalization of sex therapy, with a primary focus on male sexual dysfunction. The 1990s brought penile injections and medications such as Viagra as well as the marketing of antidepressants for their delayed ejaculation side-effects. Hormone therapy was introduced to assist both male and female sexual dysfunction. Dilators were used to treat women with vaginismus and surgical procedures to increase the size of the vaginal opening and treat vulvar pain were also introduced.

title: Sex therapy


text: Category:Fictional apes

title: Category:Fictional apes


text:
Talk:List of Ohio county name etymologies, L-Z

Started Page
I started this page today with a list copied from User:Jengod and will try to start filling it in as soon as I can. Users wishing to help, please reply to my talk page. Ave atque vale! PedanticallySpeaking 20:15, Oct 13, 2004 (UTC)