text:
Talk:Greenfield, Massachusetts

Gravity Hill
I haven't lived in the area for too long, so maybe someone more knowledgeable could help, but in a short article like this, is the "gravity hill" thing really worth mentioning? Surely that's a trivial detail for a town with such a long history. --JustSayin 14:20, 17 July 2006 (UTC)

 * It is trivial, but I am partial to that factoid. I believe I'd never heard the term until reading this page. I proceeded to check it out. It's subtle but interesting. It could be reformatted or moved down in the article, but I'd say it should stay in some form. —Ben FrantzDale 23:34, 19 July 2006 (UTC)

 * My understanding is that "Gravity Hill" was a popular tourist destination in the early 20th century. This is especially noteworthy as I also understand that the Mohawk Trail was the first road exclusively set aside for automobiles, so Gravity Hill was a tourist trap for autos at the start of the first road for autos.  I think it should stay in. --Dunkelza 17:36, 20 July 2006 (UTC)

 * I think it should go under the Points of Interest category. Dragon Directories 03:43, 20 September 2007 (UTC)

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Orphaned references in Greenfield, Massachusetts
I check pages listed in Category:Pages with incorrect ref formatting to try to fix reference errors. One of the things I do is look for content for orphaned references in wikilinked articles. I have found content for some of Greenfield, Massachusetts's orphans, the problem is that I found more than one version. I can't determine which (if any) is correct for this article, so I am asking for a sentient editor to look it over and copy the correct ref content into this article.

Reference named "USCensusEst2016": From Peabody, Massachusetts:  From Washington, D.C.:

I apologize if any of the above are effectively identical; I am just a simple computer program, so I can't determine whether minor differences are significant or not. AnomieBOT ⚡ 17:55, 22 June 2017 (UTC)

Picture
The first picture you see when you get onto the page is from Poets Seat in 1915 over a hundred years ago and it doesn't look like that anymore. Although the picture is very nice looking and is a piece of history when you use it for a front picture on Wikipedia (where everyone pretty much goes to first) it makes the town look like just an outskirts town where nothing happens or an abandoned town. I think the picture should be replaced with what the view looks like now. B-Movie Fan (talk) 17:08, 10 July 2018 (UTC)

 * Spiffy -- find a fair use picture and we're golden!   Ravenswing   20:44, 10 July 2018 (UTC)

Orphaned references in Greenfield, Massachusetts
I check pages listed in Category:Pages with incorrect ref formatting to try to fix reference errors. One of the things I do is look for content for orphaned references in wikilinked articles. I have found content for some of Greenfield, Massachusetts's orphans, the problem is that I found more than one version. I can't determine which (if any) is correct for this article, so I am asking for a sentient editor to look it over and copy the correct ref content into this article.

Reference named "USCensusEst2018": From Cambridge, Massachusetts:  From Suffolk County, Massachusetts:  From Newton, Massachusetts:  From Attleboro, Massachusetts: < From Berkshire County, Massachusetts: </li> </ul>

I apologize if any of the above are effectively identical; I am just a simple computer program, so I can't determine whether minor differences are significant or not. AnomieBOT ⚡ 10:22, 2 August 2019 (UTC)

title: Talk:Greenfield, Massachusetts


text:
Perimysium

Perimysium is a sheath of dense irregular connective tissue that groups muscle fibers into bundles (anywhere between 10 and 100 or more) or fascicles.

Studies of muscle physiology suggest that the perimysium plays a role in transmitting lateral contractile movements. This hypothesis is strongly supported in one exhibition of the existence of "perimysial junctional plates" in ungulate flexor carpi radialis muscles. The overall comprehensive organization of the perimysium collagen network, as well as its continuity and disparateness, however, have still not been observed and described thoroughly everywhere within the muscle. Found to have type I, III, VI, and XII collagen.

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

title: Perimysium


text: User talk:65.171.164.171

title: User talk:65.171.164.171


text:
Hiram Williams

Hiram Williams may refer to:

 * Hank Williams (1923–1953), American singer-songwriter
 * Hiram D. Williams (1917–2003), American painter

title: Hiram Williams


text:
John Lasseter

John Alan Lasseter (born January 12, 1957) is an American film director, producer, and animator. He has served as the Head of Animation at Skydance Animation since 2019. Previously, he acted as the chief creative officer of Pixar Animation Studios, Walt Disney Animation Studios, and Disneytoon Studios, as well as the Principal Creative Advisor for Walt Disney Imagineering.

Lasseter began his career as an animator with The Walt Disney Company. After being fired from Disney for promoting computer animation, he joined Lucasfilm, where he worked on then-groundbreaking usage of CGI animation. The Graphics Group of the Computer Division of Lucasfilm was sold to Steve Jobs and became Pixar in 1986. Lasseter oversaw all of Pixar's films and associated projects. He personally directed Toy Story (1995), A Bug's Life (1998), Toy Story 2 (1999), Cars (2006), and Cars 2 (2011), and executive-produced all other Pixar films through 2018. From 2006 to 2018, Lasseter also oversaw all of Walt Disney Animation Studios' (and its division Disneytoon Studios') films and associated projects as executive producer.

His works have grossed more than US$19 billion, making him one of the most financially successful filmmakers of all time. Of the eight animated films that have grossed over US$1 billion, five of them were executive produced by Lasseter: Toy Story 3 (2010)—the first animated film to surpass $1 billion—and Frozen (2013)—the third-highest-grossing animated film of all time—as well as Zootopia (2016), Finding Dory (2016), and Incredibles 2 (2018). Frozen also held the title of the highest-grossing animated film of all time until 2019, and was the fifth-highest-grossing film of all time at the end of its theatrical run. He has won two Academy Awards, for Best Animated Short Film (for Tin Toy), as well as a Special Achievement Award (for Toy Story).

In November 2017, Lasseter took a six-month sabbatical from Pixar and Disney Animation after acknowledging what he called "missteps" in his behavior with employees. According to various news outlets, Lasseter had a history of alleged sexual misconduct toward employees. In June 2018, Disney announced that he would be leaving the company at the end of the year when his contract expired; he took on a consulting role until then. Following his departure from Disney and Pixar, Lasseter was later hired by Skydance founder and CEO David Ellison to run the animation division Skydance Animation.

Early life
John Alan Lasseter was born on January 12, 1957, in Hollywood, California. His mother, Jewell Mae (née Risley; 1918–2005), was an art teacher at Bell Gardens High School, and his father, Paul Eual Lasseter (1924–2011), was a parts manager at a Chevrolet dealership.

Lasseter is a fraternal twin; his sister Johanna Lasseter-Curtis, who became a baker based in the Lake Tahoe area, is six minutes older.

Lasseter grew up in Whittier, California. His mother's profession contributed to his growing preoccupation with animation. He often drew cartoons during church services at the Church of Christ church his family attended. As a child, Lasseter would race home from school to watch Chuck Jones cartoons on television. While in high school, he read The Art of Animation by Bob Thomas. The book covered the history of Disney animation and explored the making of Disney's 1959 film Sleeping Beauty, which made Lasseter realize he wanted to do animation himself. When he saw Disney's 1963 film The Sword in the Stone, he finally made the decision that he should become an animator. He then read Preston Blair's book about animation, and made flipbooks based on Blair's walk cycles. One of his friends had a Super 8 camera that shot single frames, which was used to shoot some of his earlier animation efforts.

Lasseter heard of a new character animation program at the California Institute of the Arts (often abbreviated as 'CalArts') and decided to follow his dream of becoming an animator. His mother further encouraged him to take up a career in animation, and, after graduating from Whittier High School, in 1975 he enrolled as the second student (Jerry Rees was the first) in the CalArts Character Animation program created by Disney animators Jack Hannah and T. Hee. Lasseter was taught by three members of Disney's Nine Old Men team of veteran animators—Eric Larson, Frank Thomas and Ollie Johnston—and his classmates included future animators and directors like Brad Bird, John Musker, Henry Selick, Tim Burton, and Chris Buck. During his time there, he produced two animated shorts—Lady and the Lamp (1979) and Nitemare (1980)—which each won the student Academy Award for Animation.

While at CalArts, Lasseter first started working for the Walt Disney Company at Disneyland in Anaheim during summer breaks and got a job as a Jungle Cruise skipper, where he learned the basics of comedy and comic timing to entertain captive audiences on the ride.

First years at Disney
Upon graduating in 1979, Lasseter immediately obtained a job as an animator at Walt Disney Productions mostly due to his success with his student project, Lady and the Lamp. The studio had reviewed approximately 10,000 portfolios in the late 1970s in search of talent, then selected only about 150 candidates as apprentices, of which only about 45 were kept on permanently. In the fall of 1979, Disney animator Mel Shaw told the Los Angeles Times that "John's got an instinctive feel for character and movement and shows every indication of blossoming here at our studios ... In time, he'll make a fine contribution." At that same time, Lasseter worked on a sequence titled "The Emperor and the Nightingale" (based on The Nightingale by Hans Christian Andersen) for a Disney project called Musicana. Musicana was never released but eventually led to the development of Fantasia 2000 (1999).

However, after 101 Dalmatians (1961), which in Lasseter's opinion was the film where Disney had reached its highest plateau, he felt that the studio had lost momentum and was often repeating itself. Between 1980 and 1981, he coincidentally came across some video tapes from one of the then new computer-graphics conferences, who showed some of the very beginnings of computer animation, primarily floating spheres and such, which he experienced as a revelation. But it was not until shortly after, when he was invited by his friends Jerry Rees and Bill Kroyer, while working on Mickey's Christmas Carol (1983), to come and see the first light cycle sequences for an upcoming film entitled Tron (1982), featuring state-of-the-art computer-generated imagery (CGI), that he saw the huge potential of this new technology in animation. Up to that time, the studio had used a multiplane camera to add depth to its animation. Lasseter realized that computers could be used to make films with three-dimensional backgrounds where traditionally animated characters could interact to add a new level of visually stunning depth that had not been possible before. He knew adding dimension to animation had been a longtime dream of animators, going back to Walt Disney.

Later, he and Glen Keane talked about how great it would be to make an animated feature where the background was computer-generated, and then showed Keane the book The Brave Little Toaster by Thomas Disch, which he thought would be a good candidate for the film. Keane agreed, but first, they decided to do a short test film to see how it worked out and chose Where the Wild Things Are, a decision based on the fact that Disney had considered producing a feature based on the works of Maurice Sendak. Satisfied with the result, Lasseter, Keane and executive Thomas L. Wilhite went on with the project, especially Lasseter who dedicated himself to it, while Keane eventually went on to work with The Great Mouse Detective (1986).

Lasseter and his colleagues unknowingly stepped on some of their direct superiors' toes by circumventing them in their enthusiasm to get the Where the Wild Things Are project into motion. The project was canceled while being pitched to two of Lasseter's supervisors, animation administrator Ed Hansen, and head of Disney studios, Ron W. Miller, due to lack of perceived cost benefits for the mix of traditional and computer animation. A few minutes after the meeting, Lasseter was summoned by Hansen to his office. As Lasseter recalled, Hansen told him, "Well, John, your project is now complete, so your employment with the Disney Studios is now terminated." Wilhite, who was part of Disney's live-action group and therefore had no obligations to the animation studio, was able to arrange to keep Lasseter around temporarily until the Wild Things test project was complete in January 1984, but with the understanding there would be no further work for Lasseter at Disney Animation. The Brave Little Toaster would later become a 2D animated feature film directed by one of Lasseter's friends, Jerry Rees, and co-produced by Wilhite (who had, by then, left to start Hyperion Pictures), and some of the staff of Pixar would be involved in the film alongside Lasseter.

Lucasfilm and Pixar
While putting together a crew for the planned feature, Lasseter had made some contacts in the computer industry, among them Alvy Ray Smith and Ed Catmull at Lucasfilm Computer Graphics Group. After being fired, and feeling glum knowing his employment with Disney was to end shortly, Lasseter visited a computer graphics conference in November 1983 at the Queen Mary in Long Beach, where he met and talked to Catmull again. Catmull inquired about The Brave Little Toaster, which Lasseter explained had been shelved. From his experience at Lucasfilm, Catmull assumed Lasseter was simply between projects since Hollywood studios have traditionally laid off employees when they lack enough productions to keep them busy. Still devastated at being forced out of the only company he had ever wanted to work for, Lasseter could not find the strength to tell Catmull that he had been fired.

Catmull later telephoned Smith that day and mentioned that Lasseter was not working at Disney. Smith told Catmull to put down the phone and hire Lasseter right now. Lasseter agreed instantly to work freelance with Catmull and his colleagues and joined them for a week of December 1983 on a project that resulted in their first computer-animated short: The Adventures of André & Wally B., meant to prove it was possible to do character animation on a computer. After his work on the Where the Wild Things Are-test, Lasseter assumed hand-drawn characters in a CGI environment was the only way, but Catmull insisted it could be done, it was just that nobody had given it an attempt before. Because Catmull was not allowed to hire animators, he was given the title "Interface Designer"; "Nobody knew what that was but they didn't question it in budget meetings". Lasseter spent a lot of time at Lucasfilm in the San Francisco Bay Area in the spring of 1984, where he worked together closely with Catmull and his team of computer science researchers. Lasseter learned how to use some of their software, and in turn, he taught the computer scientists about filmmaking, animation, and art. The short turned out to be more revolutionary than Lasseter first had visualized before he came to Lucasfilm. His original idea had been to create only the backgrounds on computers, but in the final short everything was computer-animated, including the characters.

After the short CGI film was presented at SIGGRAPH in the summer of 1984, Lasseter returned to Los Angeles with the hope of directing The Brave Little Toaster at Hyperion Pictures. He soon learned that funding had fallen through and called Catmull with the bad news. Catmull called back with a job offer, and Lasseter joined Lucasfilm as a full-time employee in October 1984 and moved to the Bay Area. After that, he worked with ILM on the special effects on Young Sherlock Holmes, where he made the first fully computer-generated photorealistic animated character, a knight composed of elements from a stained glass window. This effect was the first CGI character to be scanned and painted directly onto film using a laser. Lasseter and Catmull's collaboration, which has since lasted over thirty years, would ultimately result in Toy Story (1995), which was the first-ever computer-animated feature film. Additionally, Lasseter created THX's robot mascot Tex. He made his first appearance in 1996 with the original theatrical release of Independence Day. Since then, Tex has appeared in some THX trailers.

Due to George Lucas's financially crippling divorce, he was forced to sell off Lucasfilm Computer Graphics, by this time renamed the Pixar Graphics Group, founded by Smith and Catmull, with Lasseter as one of the founding employees. It was spun off as a separate corporation with Apple co-founder Steve Jobs as its majority shareholder in 1986. Over the next 10 years, Pixar evolved from a computer company that did animation work on the side into an animation studio. Lasseter oversaw all of Pixar's films and associated projects as executive producer. As well as Toy Story, he also personally directed A Bug's Life (1998), Toy Story 2 (1999), Cars (2006), and Cars 2 (2011).

He has won two Academy Awards, for Animated Short Film (Tin Toy), as well as a Special Achievement Award (Toy Story). Lasseter has been nominated on four other occasions—in the category of Animated Feature, for both Monsters, Inc. (2001) and Cars, in the Original Screenplay category for Toy Story and in the Animated Short category for Luxo, Jr. (1986)—while the short Knick Knack (1989) was selected by Terry Gilliam as one of the ten best animated films of all time. In 2008, he was honored with the Winsor McCay Award, the lifetime achievement award for animators.

Return to Disney
Disney announced that it would be purchasing Pixar in January 2006, and Lasseter was named the chief creative officer of both Pixar and Walt Disney Feature Animation, the latter of which he renamed Walt Disney Animation Studios. Lasseter was also named principal creative adviser at Walt Disney Imagineering, where he helped design attractions for Disney Parks. He oversaw all of Walt Disney Animation Studios' films and associated projects as executive producer. He reported directly to Disney Chairman and CEO Bob Iger, bypassing Disney's studio and theme park executives. He also received green-light power on films with Roy E. Disney's consent.

In December 2006, Lasseter announced that Disney Animation would start producing animated shorts – 2D, CGI, or a combination of both – that would be released theatrically. Lasseter said he sees this medium as an excellent way to train and discover new talent in the company as well as a testing ground for new techniques and ideas.

In June 2007, Catmull and Lasseter were given control of Disneytoon Studios, a division of Walt Disney Animation Studios housed in a separate facility in Glendale. As president and chief creative officer, respectively, they have supervised three separate studios for Disney, each with its own production pipeline: Pixar, Disney Animation, and Disneytoon. While Disney Animation and Disneytoon are located in the Los Angeles area, Pixar is located over 350 miles (563 kilometers) northwest in the Bay Area, where Catmull and Lasseter both live. Accordingly, they appointed a general manager for each studio to manage day-to-day business affairs, then established a routine of spending at least two days per week (usually Tuesdays and Wednesdays) in Southern California.

Lasseter is a close friend and admirer of Japanese animator Hayao Miyazaki, whom he first met when TMS Entertainment sent a delegation of animators to the Disney studio in 1981 and showed a clip from Miyazaki's first feature film, The Castle of Cagliostro (1979). Lasseter was so deeply moved that in 1985 he insisted on showing that clip and other examples of Miyazaki's work after dinner to a woman he had just met (who would become his wife). He visited Miyazaki during his first trip to Japan in 1987 and saw drawings for My Neighbor Totoro (1988). After Lasseter became a successful director and producer at Pixar, he went on to serve as executive producer on several of Miyazaki's films for their release in the United States and oversaw the translation and dubbing of their English language soundtracks. In addition, the forest spirit Totoro from My Neighbor Totoro makes an appearance as a plush toy in Toy Story 3 (2010).

Lasseter is a member of the Academy of Motion Picture Arts and Sciences and served nine consecutive years on its board of governors from 2005 to 2014 when he had to relinquish his seat due to term limits. His last position on the board was as first vice president.

Lasseter received a star on the Hollywood Walk of Fame in Hollywood in 2011, located at 6834 Hollywood Boulevard.

Allegations of sexual misconduct and exit from Disney and Pixar
In November 2017, Lasseter took a six-month leave of absence after acknowledging allegations of workplace sexual misconduct that he described as "missteps" with employees in a memo to staff. The alleged sexual misconduct toward multiple employees over a number of years included "grabbing, kissing, [and] making comments about physical attributes". The alleged sexual misconduct became so well-known that, according to Variety, at various times, Pixar had "minders who were tasked with reining in his impulses".

In June 2018, Disney announced that Lasseter was leaving the company at the end of the year, taking a consulting role until then.

Skydance Animation
On January 9, 2019, Lasseter was hired to head Skydance Animation, a new animation division of Skydance Media formed in 2017. In a statement, Lasseter said "I have spent the last year away from the industry in deep reflection, learning how my actions unintentionally made colleagues uncomfortable, which I deeply regret and apologize for. It has been humbling, but I believe it will make me a better leader." An investigation conducted prior to his hiring found that no previous claims of sexual assault, propositioning or harassment had been filed against Lasseter, and "[...] there were no findings of secret settlements by Disney or Lasseter to any parties asking for a settlement." In his role at Skydance, Lasseter serves as producer on all feature films and executive producer on all series, along with Skydance Media CEO David Ellison.

Personal life
Lasseter lives in Glen Ellen, California with his wife Nancy, a graduate of Carnegie Mellon University, whom he met at a computer graphics conference in San Francisco in 1985. Nancy majored in computer graphics applications, and previously worked as a computer graphics engineer at Apple Computer. They married in 1988, and have four sons together in addition to Nancy's son from a previous relationship, born between 1980 (age 18) and 1997.

The Lasseters own Lasseter Family Winery in Glen Ellen, California. The property includes a narrow gauge railroad named the Justi Creek Railway, which is approximately 2 mi long, including a train station and water tower Lasseter purchased from former Disney animator Ward Kimball. Their residence has a swimming pool with a lazy river that runs through a cave. Lasseter owns a collection of more than 1,000 Hawaiian shirts and wears one every day. Lasseter also collects classic cars, such as a black 1952 Jaguar XK120.

On May 2, 2009, Lasseter received an honorary doctorate from Pepperdine University, where he delivered the commencement address.

His influences include Walt Disney, Chuck Jones, Frank Capra, Hayao Miyazaki, and Preston Sturges. Lasseter's favorite film is Walt Disney's Dumbo (1941).

Reception
Critical, public and commercial reception to films Lasseter has directed as of August 9, 2022.

title: John Lasseter


text:
User:CXI/RC flags proposal

This has been archived from VP (proposals) so that the MediaZilla report has a (more) permanent reference for the proposal and surrounding discussion.

Proposal to extend Recent Changes flags
Okay, at the moment RC displays the m and N flags for "minor edit" and "new page", respectively. Currently, the only other method of edit assessment on the RC page is the username and edit summary, both of which are of limited use, especially in the case of vandalism. This is a proposal for additional RC flags that would decrease vandalism response time and make things easier for RC junkies and admin.

Proposed flags and issues
Note that these flags use a (totally unofficial and made-up) standard, wherein lowercase is used for flags related to the edit, whereas uppercase is used for flags related to the article itself.

 * "+" - Significant addition. Edits that add over a certain amount of characters would trip this flag. Typically this would total a couple of sentences of editing.
 * "-" - Significant removal. Opposite of above. Not triggered if "blanked" (below) is triggered.
 * Possibly "--" and "++" for large addition/removal (for lack of a more original name) These would be triggered by the addition or removal of a couple paragraphs of text. This may just be bloat, however.
 * "B" - Blanked. Triggered if all text has been removed from a article.
 * Is this letter already used for bots? An alternative is "W" for whited out or wiped.
 * "R" - Revert. Triggered if edit matches a previous version of the article.
 * This would require the calculation and storage of the md5sum for every version of a page.
 * "u" - Unwikied text. Triggered if a significant amount of unwikied text is added.
 * The value of "significant amount" could result in improper flagging of minor edits if too low, and miss unwikied stubs if too high. Perhaps should be calculated as a percentage of article size.
 * "C" - Contentious. Triggered by an edit to an article that is or has received over a certain number of edits in a given amount of time.
 * The former system for detecting contentious articles might flag non-contentious articles with factual problems, whereas the latter might flag rapidly-growing articles.
 * "D" - Recently deleted article. This would trigger upon recreation of a previously (recently) deleted article.
 * "p" - Profanity (or "t" for Trigger). This flag would be triggered if an edit contained any profane or trollish words, as specified in a protected list of trigger words.
 * This would yield a high level of false positives, especially on innocuous articles about reproduction or similar. For this reason, it may be of limited use.
 * "E" - Highly exposed article. Used for articles directly linked to by the front page, or having received a certain amount of hits in a period of time (this should make waves of vandalism immediately following linking in news articles, blogs or on the front page more difficult).

There is further potential for flagging edits to pages containing certain templates. These might include stubs/sectstubs/substubs, cleanup pages, disambigs, etc. There is a huge potential for bloat in that idea, but it may also prove useful for quickly isolating articles that might need work.

Another possibility is a flag for edits by known contentious users, such as those who have been warned for editwars, as one step below temporary banning. However, this may be a bad idea because it overpublicises disputse of that nature. A similar (and just as possibly bad) idea is flagging edits by new users.

Positives

 * Makes vandalism/junk detection easier (Nu = new article full of unwikied text, for example)
 * Changes edit information from user-reliant to program-reliant (m and edit summary rely on the benevolence of the author)

Negatives

 * Additional resource use for calculation and storage of data (such as md5sums)
 * Letters have little intrinsic meaning and are not understandable by new users (requiring added external documentation)
 * Maybe using the tag would help. [ alerante | “” 14:07, 26 Nov 2004 (UTC) ]
 * Added clutter to recent changes
 * Breaks the enhanced recent changes page (which currently aligns flags on the left)
 * Not internationalised (what's the first letter of "Revert" in Mandarin?)
 * Vandals will turn to more sneaky vandalism once they know the simple vandalism is traced automatically

Implementation
Solutions to the lack of intrinsic meaning are generally centered around mouse-over explanatory text. Either the <acronym> tag, or a simple link to a page like Recent changes flags with a title attribute describing the tags in question.

Through surveys on this page and on the #wikipedia IRC channel, it appears that some users are in favour of coloured flags, while others completely detest the idea. Accordingly, if used, this should be a configuration option, defaulting to non-coloured.

Regarding the particular flags and number of flags used, most users seem to be in assent with the general idea and flags, while some feel that the flags may prove to be too numerous. Most people seem in favour of a trial run, in which all the above suggested flags are implemented, with these removed if needed.

Any comments/suggestions/criticisms etc are welcome. CXI 15:23, 29 Nov 2004 (UTC)

Comments
Some questions: Would these have to be manually selected by the editor? If not, how would they work? If so, of what value are they? How do you define 'significant'? Filiocht 09:23, Nov 12, 2004 (UTC)
 * No, Filiocht, as it says above, these would be automatically generated. 'significant' would be decided during the process of setting up the feature(or it could probably be changed later(it might even be able to be a pref, like the stub feature)) JesseW 09:38, 12 Nov 2004 (UTC)
 * Would you see the minor tag becoming automated? Filiocht 09:49, Nov 12, 2004 (UTC)
 * I wouldn't - what simple algorthm is there for "formatting changes"? ;-) JesseW 10:55, 12 Nov 2004 (UTC)

Sigh. I had a nice long, involved response. And I lost it all in broswer crash. Damm. Well, I'll just say it's a great idea, I strongly encourage you to do it, and all that. Damm. Damm. Damm. JesseW 09:38, 12 Nov 2004 (UTC)

I would like to see all of these that don't require too much of a load on the server (R sounds a little risky, for example). Ashiibaka tlk 05:39, 14 Nov 2004 (UTC)

Would someone format each of these ideas as a Mediazilla feature request and enter them in? Please post here after you do it. JesseW 04:23, 16 Nov 2004 (UTC)
 * By each of these do you mean each flag? CXI 07:28, 16 Nov 2004 (UTC)

I like this idea. A lot. Some of them would be tricky to implement, but some (such as B) we should have had a long time ago! -- Chuq 23:55, 17 Nov 2004 (UTC)

 * If the overhead is low enough, sounds like a great idea. Paul August 03:54, Nov 18, 2004 (UTC)

 * I like it too -- submit it to Mediazilla! Catherine\talk 10:10, 18 Nov 2004 (UTC)

Would anyone mind giving comments on individual flags? I'm particularly curious about whether anyone has any suggestions or additions, or considers the flags perhaps too numerous. What about the two possibly-bad-idea flags? I have some more ideas for flags, such as 'r' for consecutive edits to a page by one contributor, but I'm worried that polluting the namespace too much will erode the usefulness of the whole idea.

I'm also not sure what to propose regarding the the non-intrinsicness of the flags. Ideally, a key might work, but isn't terribly extensible. Perhaps links for each flag letter, with a mouse-over text containing a description of each. Should they be coloured or not? Grey for unwikied, red for contentious... might be nice, or might look really ugly and be a waste of time. The thought of pretty icons for each flag also springs to mind, except for the effort involved, the loading time, and the general uselessness.

Oh, for the record, the p and E flags were added just before I wrote this. Thus, previous endorsements of the flag system would not include those two. CXI 14:54, 18 Nov 2004 (UTC)

 * I've been considering this one for a couple of days. I fear that the flags might be too numerous, but I can't think of alternatives; color-coding entries on RC would be garish (and not accessible for some), although it might be useful in combination with flags, for high-probability vandalism like blanking.

 * I've come to the conclusion it would probably be better to go forward with all of the flags for a test period, and then get feedback from users (especially the RC patrol) on what is useful and what is clutter. At the very least, I think "+", "-", "B", and "U", and possibly "E", should be/would be retained.  I share your concerns about "R" and "C" fueling edit wars -- it basically takes those battles currently fueled by watchlists into everyone's turf.  Whether this would turn wars into conflagrations, or bring cooler heads in to moderate, is up for debate, and experimentation, I guess.

 * "P" seems very useful to me, although I've been trying to think of a word other than "profanity" for it; it's not profanity we're worried about per se, it's the "words commonly abused by vandals". Whatever we call it, I think everyone who has spent any time patrolling RC would agree that it would help highlight the common stupidities (nazi, gay, 0WNZ0RED, etc.), and that it would be easy to learn when it produces false positives.  It would also be useful if the diff could somehow highlight the word(s) that tripped the flag, for ease of evaluation.  Also nice if users/admins can add words to the "flag" list; perhaps admins could be given the right to remove words from it -- this would allow words to be set temporarily, to deal with spam-vandals, by highlighting edits with a certain non-"profane" words or links, until they get bored.

 * I can't find it in Mediazilla, but I've heard this request before -- a flag that patrollers can set on an article to say it's already been checked. This alone would save huge amounts of time, if we don't have efforts duplicated quintuply or more.  The problem is in who you trust to set the flag....  Anyway, those are my thoughts, hope it helps.  Good idea!  Catherine\talk 05:25, 26 Nov 2004 (UTC)

 * Perhaps coloured flags could be a configuration option. I'm sure some art-capable person would be able to make them look at least slightly nice. About the edit warring thing, I'm also reserved. I think a fundamental wiki assumption is that most people are mostly good, so from that premise I'd hypothesise that more people looking in on an edit war would shorten its lifespan rather than lengthen it. Whether that actually turns out to be the case is anyone's guess, I suppose.

 * Good point about the profanity flag. I can't think of anything short of "b" for "bad word" or "t" for possible trolling. Neither of those are particularly good, so maybe we could pretend that it's an old designation that couldn't be changed for compatibility. Perhaps the words could be taken from a protected article like List of Abuse Trigger Words.

 * That last idea is a particularly good one, though I don't know if it sits with this particular proposal, which is more in the line of automated flags rather than author or viewer set ones. Regardless, I'd be in favour of a "I've checked this edit and it's okay" option, and an equivalent "someone needs to have a look at this" option, which could also be settable during the edit. Maybe those could be displayed in tally form. CXI 15:37, 26 Nov 2004 (UTC)

 * Yes, the "I've checked this" flag should not be submitted to the developers as part of this proposal, as it would require different functionality, but if submitted separately each proposal should reference the other.

 * I don't think "++" or "--" would be necessary; I think it would be better to stick to single-character codes, in any case. On the other, maybe  "A" for abuse, or "T" for "trouble" or "trigger"...actually, I think I'm kind of partial to "trigger" -- simple to remember, not judgemental like "troll" or "vandal", broader than "profanity".  The use of a protected page for it is good too.   Catherine\talk 18:18, 26 Nov 2004 (UTC)

title: User:CXI/RC flags proposal


text:
Johor Bahru District

The Johor Bahru District is a district located in the southern part of Johor, Malaysia. The heavily suburban/suburbanizing district covers an area of 1,063.97 km2 and has a population of 1.71 million. The district capital is Johor Bahru City and the administrative capital is Iskandar Puteri City. The district borders Pontian District on the west, Kota Tinggi District on the east, Kulai District on the north and Straits of Johor to the south. The urban centres are divided into the cities of Johor Bahru, Iskandar Puteri and Pasir Gudang.

It is host to many thriving townships such as the Tebrau area, which hosts several shopping malls including a ÆON Mall, Tesco, Toppen Shopping Centre and an IKEA outlet.

The district office is located in Johor Bahru.

Administrative divisions
Johor Bahru District is divided into 6 mukims and 2 towns (bandar), which are:.

Demographics
The estimated population was 1,758,500 in 2023. At the time of the 2020 Census 51.6% of the population were Muslims, 33.1% were Buddhists, 5.1% were Hindus, 4.4% were Christians and 1.8% had another or no religion.

Government

The district is highly urbanized have been divided and delegated to the three local governments with Johor Bahru City as the capital of Johor Bahru District, which are:

Johor Bahru City Council

The Johor Bahru City Council (MBJB) governs the city centre of Johor Bahru. It also exercises jurisdiction includes Larkin, Tebrau, Ulu Tiram, Bandar Dato Onn, Kempas, Tampoi, Johor Jaya, Permas Jaya and partly Taman Rinting.

Iskandar Puteri City Council

The Iskandar Puteri City Council (MBIP) administers the area of the city of Iskandar Puteri which includes Skudai, Gelang Patah, Taman Perling, Kangkar Pulai, Tanjung Kupang and Tanjung Pelepas.

Pasir Gudang City Council

The Pasir Gudang City Council (MBPG) governs the eastern parts of the district with the populated areas such as Pasir Gudang, Masai, Bandar, Seri Alam, Taman Kota Masai, Kong Kong and Sungai Tiram.

Other Towns

 * Skudai
 * Masai
 * Pandan
 * Plentong
 * Gelang Patah
 * Tampoi
 * Ulu Tiram
 * Kempas
 * Kangkar Pulai
 * Ulu Choh

Federal Parliament and State Assembly Seats
List of Johor Bahru district representatives in the Federal Parliament (Dewan Rakyat)

List of Johor Bahru district representatives in the State Legislative Assembly (Dewan Undangan Negeri)

Economy
The main economy activities in the district are international trading, manufacturing, medical and healthcare.

Education
There are a total of 41 secondary schools, one religious school, three vocational schools, one technical secondary school and one fully residential school.

Rail
The district has two railway stations, which are Johor Bahru Sentral and Kempas Baru.

Road
The Johor Bahru Eastern Dispersal Link Expressway, Pasir Gudang Highway, Johor Bahru East Coast Highway, Iskandar Coastal Highway, Skudai–Pontian Highway, Skudai Highway, Johor Bahru–Kota Tinggi Highway and Senai–Desaru Expressway links most of the cities and towns in Johor Bahru District. The district is linked to other districts in Johor and other states in Peninsular Malaysia via the North–South Expressway.

Singapore
The district is also linked to Singapore via Johor–Singapore Causeway and Malaysia–Singapore Second Link.

Sea
Ports in the district are Johor Port, Tanjung Langsat Port and Port of Tanjung Pelepas.

title: Johor Bahru District


text:
Mimetite

Mimetite is a lead arsenate chloride mineral (Pb5(AsO4)3Cl) which forms as a secondary mineral in lead deposits, usually by the oxidation of galena and arsenopyrite. The name derives from the Greek Μιμητής mimetes, meaning "imitator" and refers to mimetite's resemblance to the mineral pyromorphite. This resemblance is not coincidental, as mimetite forms a mineral series with pyromorphite (Pb5(PO4)3Cl) and with vanadinite (Pb5(VO4)3Cl). Notable occurrences are Mapimi, Durango, Mexico and Tsumeb, Namibia.

Properties
Mimetite is a lead chloride arsenate mineral with the composition Pb5(AsO4)3Cl. It is a secondary mineral, formed by oxidation of primary lead minerals in arsenic-bearing lead deposits. It typically forms short hexagonal crystals that are yellow to brown to orange in color, very brittle, moderately hard (Mohs hardness 3.5–4), and dense (specific gravity 7.24). It is distinctive for its lack of transparency, its resinous to adamantine luster, and its solubility in nitric acid.

Mimetite forms a complete solid solution series with pyromorphite, with phosphate substituting for arsenate. The two minerals are almost identical in their properties and can be difficult to distinguish except by laboratory tests. Pyromorphite is the more common mineral at most locales.

Campylite is a name applied to mimetite or pyromorphite that crystallizes as distinctive barrel-shaped crystals forming curved hemispherical aggregates. Bellite is a name formerly applied to a chromium-bearing mimetite, or possibly a mixture of crocoite, mimetite and quartz, which forms attractive orange red crystals, but has been discredited as a distinct mineral species.

Occurrences
Mimetite is found in association with lead and arsenic minerals, including pyromorphite, cerussite, hemimorphite, smithsonite, vanadinite, anglesite, pyrite, mottramite, willemite, and wulfenite. Good specimens have been reported from Gila County, Arizona, US; Ojocaliente, Zacatecas, Mexico; Cumberland, England; Johanngeorgenstadt, Saxony, Germany; Namibia; and Broken Hill, Australia.

title: Mimetite


text:
No. 220 Squadron RAF

No. 220 Squadron of the Royal Air Force (RAF) was founded in 1918 and disbanded in 1963 after four separate periods of service. The squadron saw service in both the First and Second World Wars, as a maritime patrol unit, and finally as part of Britain's strategic nuclear deterrent.

First World War
The squadron predated the foundation of the RAF and was founded as a unit of the Royal Naval Air Service (RNAS). From 1915, the RNAS formed numbered wings, which controlled their own lettered squadrons. No. 2 Wing RNAS, with its subordinate squadrons, was assigned to the Aegean area. One of the squadrons was 'C' Squadron, comprising Nos. 475, 476 and 477 Flights. DH.4s were, in time, joined by DH.9s and Sopwith Camels. On the formation of the RAF, on 1 April 1918, the Wing was integrated as No. 62 Wing RAF. The flights kept their numbers, rather than the customary letters, as each Flight operated a different aircraft type and the squadron formed a self-contained bomber, or reconnaissance, force with its own integral fighter cover. No. 475 Flight flew DH.4 day-bombers, No. 476 Flight flew DH.9 day-bombers and the fighter-flight, No. 477 Flight, flew Sopwith Camels. Most of the Wing was based at Mudros, but this squadron was based on the nearby island of Imbros. It was not given the 'number-plate' of No. 220 Sqn., RAF until 14 September 1918. In February 1919 the squadron moved as a cadre to Mudros on the nearby island of Lemnos, where it was disbanded on 21 May 1919.

Second World War
In the buildup to the Second World War, No. 220 Squadron was reformed, as part of the new Coastal Command, at RAF Bircham Newton in Norfolk, during 1936. It was designated a general reconnaissance (GR) squadron, on maritime patrol duties, flying Avro Anson multi-role aircraft. On the outbreak of war it flew patrols from RAF Thornaby in Yorkshire, as part of No. 18 Group.

In November 1939, it converted to Lockheed Hudson an American light bomber and maritime patrol aircraft and began a new role, flying strike − or anti-shipping − missions. The squadron became operational in this role, in the North Sea, from May 1940 onwards. In April 1941, still in the anti-shipping role, it moved to RAF Wick in Scotland, to fly strikes against Norwegian coastal traffic.

In February 1942 the squadron began to operate the Boeing Fortress, an American four-engined heavy bomber, having moved to RAF Nutts Corner in Northern Ireland that month, as part of No. 15 Group. In June 1942 it moved to RAF Ballykelly, situated in County Londonderry, Northern Irelan, and then, in March 1943, to RAF Benbecula in the Outer Hebrides. Detachments also operated from RAF Bircham Newton, RAF St Eval in Cornwall and RAF Detling in Kent, during 1940, and even from RAF Shallufa in Egypt, from early November 1941.

In October 1943 the squadron transferred to RAF Lagens, in the Azores, as a unit of No. 247 Group. In December 1944, it was re-equipped with Consolidators Liberators, an American four-engines heavy bomber. From 1943 until the end of the war the squadron's role was anti-submarine (ASW) patrols over the southern North Atlantic.

In June 1945, with the end of the war in Europe, the squadron was brought home. It was transferred to Transport Command and Flew trooping flights, bringing men home from India, from October 1945 to April 1946. With this duty done, the squadron was disbanded in May 1946.

Cold War
In September 1951 the squadron was reformed, back as part of Coastal Command and again operating in the maritime reconnaissance (MR) role. It was based at RAF St Mawgan in Cornwall and was equipped with Avro Shackleton, a long range maritime patrol aircraft. In 1953, the Squadron aircraft flew in formation in a flypast, on the occasion of the Coronation of Queen Elizabeth II. At the time, the Avro Shackleton was fitted with a mid-upper gun-turret, the Bristol turret mounting twin 20 mm Hispano cannon, though this was later removed. No. 220 Squadron was the last RAF operational aircraft so equipped.

In October 1958, the squadron was redesignated as No. 201 Squadron.

The following year, in July 1959, No. 220 (SM) Squadron RAF was reformed. The designation "SM'" stood for Strategic Missile, and the squadron was now equipped with three Thor ballistic missiles, carrying a 1.4 megaton W-49 nuclear warhead, as part of the UK-US strategic deterrent, Project Emily. It was based at RAF North Pickenham in Norfolk until it was disbanded for the last time, along with the other Thor squadrons, in 1963.

title: No. 220 Squadron RAF


text:
Talk:G-funk

Untitled
Such a shame that G-Funk is still not the dominant sound in hip-hop, because I've already become tired of the Dirty South's "crunk". G-Funk was a far more versatile sound that could take on a greater range of different tones - aggressive (think "Deep Cover"), laid-back (think "Nuttin' But A G Thang" or "Gin and Juice"), or mellow ("Lil Ghetto Boy"). Crunk, in comparison, is just noisy, obnoxious, and mindlessly rebellious.

Couldn't agree more. G-Funk is the best style of rap by far. Nothing will ever beat it.

Forgot the ones who created G-Funk
I don't want to sound rude, but only write an article if you know what you're talking about. That article isn't that bad, but it forgets a major thing, Above The Law, who are the only ones who deserve credit for originating G-Funk. An article about G-Funk with mentionning Above The law is like an article about General Relativity not mentionning Einstein. I wouldn't know myself how to edit this article in order to make it mention Above The Law, but I'd like that mistake to be fixed.

This http://www.abvdlaw.com/ might be a good source of information for anyone willing to edit this article.

> "In 1992, ATL recorded "Black Mafia Life" which focused on Black enterprises. Around the time Cold 187um established the group’s production company "Black Owned Entertainment." This groundbreaking album featured not only the hit "V.S.O.P.", but the very first "G-Funk" (gangsta funk) record entitled "Call It What You Want" featuring Money B and the late 2Pac from Digital Underground was recorded and released. With this album, Above The Law had created the often imitated and duplicated G-Funk name and sound, but the media decided to overlook that and pen the creation to another famous west-coast producer. Says K-OSS "We the originators of G-Funk, first off, before your Snoop Doggs or Warren G’s…although we don’t try to stay on one type of sound we might go with a slow-type of groove or an up-tempo one. It’s not always that sample of Roger or Parliament.""

 * Perhaps you could suggest another site. That one is atrocious. I had to read the javascript source just to find anything other than a blank page and then it turns out to be a Flash site, so I can't read it. Is who made the first G-funk a matter of controversy, or is it verifiably certain? The Chronic seems like G-funk to me. Feel free to edit the page to include Above The Law. Tim Ivorson 14:24, 15 Jun 2005 (UTC)

 * Really I'd like to leave the editing to someone else, as I wouldn't know how to put that into an article, but if you want some more, google "g-funk" "above the law", or read http://www.streethop.com/rapnews/Above_the_Law's_letter_to_the_Source/2400/

 * You may hear that dre/snoop/warren g created g-funk, that dre/snoop/warren g didnt create g-funk, that above the law created g-funk, but never that above the law didn't create g-funk

 * http://www.worldwideconnected.com/modules.php?name=Content&pa=showpage&pid=355 also look at this interview and search "g-funk" in the page to get to the part they talk about the origin of g-funk with "Call It What U Want"
 * Why isn't Digital Underground mentioned, for that matter? They were certainly influential in the use of p-funk samples, and their first album was released in 1990, with the smash hit "The Humpty Dance." 75.16.226.130 (talk) 14:56, 22 June 2008 (UTC)

RE: Forgot the ones who created G-Funk
While Above The Law does deserve some credit for helping to bring about G-Funk, they are NOT the pioneers of the genre.

First of all, their album "Black Mafia Life", which they claim is the album on which they pioneered G-Funk, came out in February of 1993, while Dr. Dre's "The Chronic" came out in December of 1992 (check All Music Guide or Amazon for these release dates). Furthermore, even before "The Chronic" came out, Dre had released the single "Deep Cover" (from the soundtrack to the movie of the same name) with Snoop Dogg in April of 1992, which is the song on which he first tried his hand at the G-Funk style.

Second, even on "Black Mafia Life", Big Hutch's production lacks some of the ingredients that define G-Funk. His production did consist of laid-back, slow-rolling tracks that sampled old P-Funk records and used lots of live instrumentation, which is certainly characterisitc of G-Funk. However, G-Funk is also characterized by synthesized, high-pitched keyboard melodies and, more often than not, backing vocals from either talkboxes or female R&B singers (Dre often used Death Row singer Jewell). This is what Dre pioneered on "Deep Cover" (and, to a degree, on the song "Alwayz Into Something" from N.W.A.'s "Efil4Zaggin" album), and popularized on "The Chronic". None of the songs on "Black Mafia Life" follow this template. On the flipside, note that on ATL's third album "Uncle Sam's Curse" (which came out after "Black Mafia Life"), they started to do the same things as Dre; that album's lead single "Black Superman", for instance, contains the same sort of sailing keys heard on "The Chronic" and "Doggystyle".

What's really funny is that in the interviews you've posted, whenever Hutch makes his claim that ATL invented G-Funk, he often talks about how "Black Mafia Life" was released before "Doggystyle" and Warren G's "Regulate", which is true. However, he never references "The Chronic" or "Deep Cover". I think this proves that Hutch doesn't know what he's talking about, because he obviously hasn't done his research. Where I think ATL does deserve SOME credit is for helping to shift gangsta rap from its angry, intense image to the more laid-back "relax and pass the blunt" themes that are best associated with the G-Funk era. If this is the case, then their debut "Livin' Like Hustlers" could be called something of a rough template for G-Funk, since it was a departure from other gangsta rap albums of the time by Ice-T, N.W.A., and the Geto Boys. However, the fact remains that it is Dre whose style came to define what is known today as G-Funk. Anybody who takes a quick look at the release dates and listens to "The Chronic" and "Black Mafia" back-to-back will realize that Dre and Warren G are indeed the ones who deserve credit.

 * You got some good points. however, I maintain that the term G-Funk was coined by Above The Law (you can hear it said by 2Pac on Call It What U Want, which is supposed being the first track that deserves the title of G-Funk) and that nowhere on The Chronic, you hear the term G-Funk. As for the Chronic's style, it's subjective to say that it's G-Funk style, and easy afterwards to say that it was G-Funk.

 * That's where I disagree with you, it seems that you want to label something funky and gangsta, like for example The Chronic or Deep Cover or whatever else you want, G-Funk, as if there was nothing both funky and gangsta at the same time before G-Funk was made.

 * "I think this proves that Hutch doesn't know what he's talking about, because he obviously hasn't done his research."

 * that's quite funny, as if he needed to do any research... anyways, I keep on disagreeing with you, because since ATL coined the term G-Funk (and I doubt that you can prove that wrong), they are the ones who have the right to define what G-Funk is, and those who appropriate it to themselves, like Dr. Dre or Warren G can shut up.

 * If you agree with me to say that ATL coined the term G-Funk, then it's a must to admit that they originated it. If you don't agree to say that ATL coined it, but rather Dr. Dre or Warren G coined it, then show me some lyric of a song from before February 1993 where this term appears. --SuperBleda 05:09, 17 September 2005 (UTC)

 * The person who coined the term does not get a permanent exclusive right to define it. If ATL invented the word "G-funk", then say that and say what they defined it as, but we can't privilege one source over another.  Especially in music genres, words are often retroactively applied -- salsa music and the blues, for example, are both often used to describe music made sometimes decades before the words themselves were coined. Tuf-Kat 06:42, 17 September 2005 (UTC)

 * "The person who coined the term does not get a permanent exclusive right to define it." lol, that's the best want. Can I know why ATL would not be the ones to define the term G-Funk? I mean, all these Death Row rappers stole this term as soon as it came out.

 * Just look, in The Chronic, which is supposed to be a G-Funk album, the term G-Funk or Gangsta Funk is mentionned 0 times, in Doggystyle, 7 times (I just counted). What happened between The Chronic and Doggystyle? Black Mafia Life! They appropriated to themselves this term as soon as it came out, claimed afterwards that The Chronic was G-Funk, and because of this they should have the right to define what G-Funk is?? Man fuck that, they just stole that word and call their non G-Funk style G-Funk. That's what the article should say, The Chronic, is NOT G-Funk. As for Doggystyle, it's self-claimed G-Funk, but can we say that's what it really is?? You can say that the man who coined the word salsa isn't necessarly anymore the authority to define what salsa music is, this because of the time that separates it's creation and salsa music is great, but the times that separates the appearation of the term G-Funk and it's re-definition is 9 monthes. Did ATL lost the right to be the only one to define what G-Funk is in 9 monthes? I don't think so. Look, it seems that you like all these Death Row rappers much more than me, but here we're doing an encyclopedia, and we gotta show objectivity and common sense. --SuperBleda 15:13, 21 September 2005 (UTC)
 * I've reverted you at The Chronic. AFAIK, that album is always called G-funk.  If you have sources that say it isn't, please explain that it in the article.  G funk currently says the genre is sometimes ascribed to Above the Law. What would you like to change it to? Tuf-Kat 15:59, 21 September 2005 (UTC)

 * Nah man, if the thing is who created the word, then i say this: In the Let Me Ride remix, included in the Let Me Ride single in 1993, Snoop says "Rollin' down the motherfucking backstreets, with my drink in my cup and my strap in my lap, see, ain't nuthin' but the G-FUNK..." Maybe this word is created then by Snoop, maybe not, but the thing is who created the sound...

 * You're getting annoying. How could The Chronic be G-Funk if the word G-Funk didn't exist in that time?

 * "If you have sources that say it isn't, please explain that it in the article" no you, get me some sources from before February 1993 that say this album is G-Funk? oh you can't??? what did people call that when The Chronic came out? That's all I'm asking. The genre displayed gotta be the one displayed when that shit came out. Could we at least get a NPOV tag or something like this on this G-Funk page please?

 * I've already pointed out that music genres are often applied retroactively. It doesn't matter what anyone called The Chronic in 1993 -- that would be an interesting, though non-essential, addition to The Chronic.  What is your NPOV concern regarding There is some debate concerning who first performed G-funk. The progenitor of the sound is variously claimed to be Eazy-E, fellow NWA member Dr. Dre, through his 1992 album The Chronic, or Above The Law?  It's short, simple, and explains that different people have different views on where G-funk came from.  However, if you'd like to add a NPOV tag to this article, go ahead. Please suggest a replacement wording here on the talk page, if you do. Tuf-Kat 19:15, 21 September 2005 (UTC)

 * "Please suggest a replacement wording here on the talk page" what you mean? And then, OK, maybe that thing about the NPOV is enough, but um, I never heard anyone claiming that Eazy-E had to do anything with G-Funk... --SuperBleda 17:44, 22 September 2005 (UTC)
 * Yeah, I wondered about Eazy-E too. I suppose that could be removed unless anyone has any documentation to back it up. Tuf-Kat 17:59, 22 September 2005 (UTC)

 * The replacement paragraph I've written should be sufficient, though I've excised mention of Eazy-E (he has never claimed to have invented G-Funk...I saw one interview in fact where he backs up ATL on their claims). Anyway, this whole debate over "The Chronic isn't G-Funk because the word wasn't invented" is BS; so what if that word isn't mentioned?  We don't know if Dre and Warren G came up with it behind the scenes but simply didn't shout it out on the album, or if ATL did.  Tupac saying "G-Funk" on the song "Call It Whatcha Want" may be the first RECORDED use of the term, but that doesn't mean it was the first time ever in human history the phrase was uttered.  That is to say, withholding proof, it doesn't give ATL the right to claim they invented the term by itself. —The preceding unsigned comment was added by 193.61.200.145 (talk) 01:16, 15 February 2007 (UTC).

 * I'd like to point out the term g-funk was coined even earlier before The Chronic, and Black Mafia Life. There's a track called H-Town G-Funk on SPM's debut album Hillwood which was released March of 1992, even before Deep Cover wefunkGfunk 17:37, 20 October 2008 (UTC)

 * Men, stop acting like fools, The Chronic is g-funk because it takes samples straight ftom George Clinton and Parliament/Funkadelic. The word "g-funk" was not used before Black Mafia Life. Maybe Dre and Snoop stole the word, but they don't stole the style and the sound. Dre had an idea of making funky gangsta songs, from Deep Cover, from Alwayz Into Somethin' and even from Dopeman in 1987. Cold 187um started producing for Above The Law when Dre left Ruthless Records, so stop talking shit. As for Eazy he made g-funk only when others made it, with Rythum D in "real muthaphukkin g's" and then gave it up.--BubbleBabis (talk) 11:57, 23 November 2009 (UTC)

To settle this debate
OK, I'd like to recant on a certain point. Earlier, I mentioned how I didn't think "Black Mafia Life" really fit into the G-Funk template. I'd like to take that statement back. I've listened to the album in its entirety (before, I'd only listened to a handful of songs I had on MP3), and I'm starting to appreciate that it is, in fact, very much a G-Funk album in the same vein of "The Chronic"...the whiny synthesizers, wah-wah guitars, Parliament-style bass grooves, etc. are all there. But here's the problem with that...not only do "The Chronic" and "Black Mafia Life" sound a lot alike stylistically, but it's actually pretty obvious that SOMEBODY is copying someone else. I came to this conclusion after listening to ATL's song "Pimp Clinic". Notice anything familiar about it? It sounds a lot like Dre's "Let Me Ride", and the reason for this is because both songs use two of the same samples - "Mothership Connection" and "Swing Down, Sweet Chariot", both by Parliament. And they both derive the hook from the latter song, except that Jewel sings it on "Let Me Ride", while Kokane sings it on "Pimp Clinic". Coincidence? I doubt it, or do I?

The only question is, who came first? "The Chronic" was released first (3 months ahead), but which album was made first? I had a fairly long talk recently with a West World Records/ATL entourage member about this on the group's official web site forums. He linked me to an article from years ago in which Hutch and company claim that they were working on "Black Mafia Life" tracks at Ruthless and that Dre heard some of their work before he left for Death Row, and that he used their style to make "Deep Cover" and later "The Chronic". In other words, they're acknowledging Dre's style is indeed "G-Funk", and also claiming that he copied them. But I don't know if they've shown credible proof that this is true. It makes so little sense to me because "Deep Cover" came out a full YEAR before "Black Mafia Life". Which implies to me that the album was near completion around that time, if Dre copied it. But why did ATL wait a whole year to release "Black Mafia Life", then? I realize delays happen in the music world, but a year to release a completed album? That wouldn't happen unless (A.) Ruthless was short on money for release/promotion or (B.) Ruthless considered the album unmarketable. Neither sounds too plausible, and I've never heard ATL say anything about that.

So to settle this debate, "The Chronic" and "Black Mafia Life" are both G-Funk albums, it's clear ATL came up with the term (since it's never used once on "The Chronic"), and it's also clear, as I said before, that somebody copied somebody else. I'm just not sure who it is yet. If ATL can really provide support for their claim that Dre copied their style and used it to put out both a G-Funk single and a complete G-Funk album before they released their first G-Funk album, then I'll believe them. But I do need to see more proof first. Until then, I consider this an unresolved debate.

Also, one other point - did Eazy-E really ever claim that he invented G-Funk? I've never heard about that. If he did, I would think that Hutch and ATL would be as pissed at him as they are at Dre, since he'd be taking credit for their work (supposedly). But ATL has nothing but praise for Eazy in interviews.

 * Not to confuse things more, but I have a 12" single by barrington levy from 1991... with a "g-funk" remix of the song. No production credit is given, but it certainly does fit in the "g-funk" style....Reggaedelgado 03:43, 29 November 2005 (UTC)

 * I doubt we'll ever discover who copied who but its really difficult to decide whether to believe ATL as we all know they must have been quite angry with Dre for not only stealing their sound but for leaving Ruthless to go to DR. You know what rappers can be like whilst beefing.--XdiabolicalX 14:40, 16 June 2006 (UTC)

 * Well, yeah, except that it's pretty much a one-sided beef, since ATL released quite a few diss tracks directed at Dre while Dre (as best I know) has yet to mention them even ONCE in interviews or anywhere else...basically pretending they don't exist. I mean, let's face it...ATL has obviously been trying to play this debate out to draw attention to themselves (even if one believes they are the legitimate inventors of G-Funk) since they've been forgotten while Dre is legendary. —The preceding unsigned comment was added by 193.61.200.145 (talk) 01:11, 15 February 2007 (UTC).

 * ATL claim that they invented g-funk, while Dre seems like he don't gives a fuck, as he didn't respond then, and he don't responds now, that the beef is passed. That MAYBE means that Dre knows that they are lying, or that he wants to have the credit for creation of g-funk for all his life. Dre started working on Deep Cover and The Chronic ONLY when he moved to Death Row, but he did Dopeman and Alwayz Into Somethin' with N.W.A, 2 very hard and g-funk tracks before going to Death Row. And ATL said that Dre copied their work to make The Chronic. We all know The Chronic (with the Re-Lit) is 23 tracks, all of them G-funk. If Dre can't make g-funk and copies it from ATL, how he can make 23 funky tracks before even Black Mafia Life was released?--BubbleBabis (talk) 12:17, 23 November 2009 (UTC)

While surfing in the net and looking for some G-Funk I found this album http://en.wikipedia.org/wiki/A_Lesson_to_Be_Learned by the group RBL Posse. Sounds like G-Funk to me and it was released in 16th September 1992 nearly 2 months before the chronic. — Preceding unsigned comment added by 79.216.26.147 (talk) 21:49, 17 November 2011 (UTC)

Lists of notable stuff
I have removed the lists because they violate WP:NPOV, which is a policy of this site. They violate NPOV by presenting opinions (which albums, performers, etc. are notable) as fact. Tuf-Kat 00:58, 15 June 2006 (UTC)

 * But WP:N means we have to make a judgment as to what is notable and what isn't. For example, it's assumed that the artists mentioned in Hip hop music meet the notability criteria. I think it would be remiss to have an article on G-funk without telling which artists are part of it. Would you object to me creating List of G-funk artists?  Λυδ α  cιτγ  01:43, 15 June 2006 (UTC)
 * We don't make that judgement. We rely on cited sources to do that.  Eight persons and groups are already mentioned in the article.  If anyone additional is notable, they should be included in the article text, along with (referenced) information establishing that notability.  I have no qualms with a List of G-funk artists. Tuf-Kat 02:18, 15 June 2006 (UTC)

Influence on the Notorious B.I.G. debut
I don't know about the Easy Mo Bee statement, but in the April 2004 issue of XXL, Chucky Thompson said the synth line on "Big Poppa" was influenced by what he was hearing from the West at the time: http://xxlmag.com/online/?p=408

The Real G-Funk
I Been Hearing All This Non Sense About Who Originated The Genre And Here's A Wake Up Call....Who The Fuck Cares??? All I Gotta Say Is That Even If It Was Above The Law Who Invented It, Man It Wasen't Until Dre Tha It Became So Huge And Actually Made Something Out Of It. He Was In My Opinion The One That Made It Such An Influential Genre. Now Listen To All The Artist In The 90's That Were All Affiliated Somehow With Dre, They All Carry The G-Funk Sound!!! You Got Lil Half Dead That Was From The Dogg Pound Crew, Warren G's (Brother Of Dr.Dre)Posse, The Twinz, Dove Shack, Foesum,Tha Dogg Pound, Nate Dogg, Snoop, RBX, Lil C-Style, And The List Goes On & On! So Really Who's To Crae Where It Came From?? I Know I And The Rappers Themselves Don't Care. Why?? Cause Is Music!!! Everyone Got Their Own Style, Period.

Nate Dogg
I can't believe an article was written about G-Funk and not once was Nate Dogg mentioned. He along with Dre and Snoop had one of the most influential impacts on G-Funk and music today.

dopeman?
"There has been some debate over who should be considered the "father of G-funk." Dr. Dre is generally believed to have developed the sound; the first hints of the whiny syn-leads and Parliament Funkadelic-style bass grooves in Dre's work appeared on N.W.A.'s single "Alwayz Into Something" from their 1991 album Efil4zaggin." Did Dre produce Dopeman from NWA and the Posse because it sounds pretty G-funky too?--72.198.15.206 (talk) 16:23, 24 January 2008 (UTC)

The fathers of G-Funk is Above Tha Law...Eazy-E Said it himself. —Preceding unsigned comment added by Souljaman (talk • contribs) 12:49, 12 March 2008 (UTC)

Here are the facts. Above the Law coined the term "G-Funk". The Chronic came out before Black Mafia Life. The Chronic is considered a G-Funk album. Those are the facts. What this says to me is that Dr. Dre came up with the sound and ATL put a name on it. Just because ATL came up with the name doesn't mean they invented G-Funk. Look at hip hop. DJ Kool Herc is considered the one who "invented" hip hop but he was not the one to give it a name. As for Dre stealing the sound, think about it. He was THE sound behind N.W.A. Dre even produced ATL's first album. I think it more likely ATL were in the studio learning from Dre and HE influenced THEM68.164.85.197 (talk) 21:26, 31 March 2008 (UTC)

Eazy said it? Eazy was in feud with Dre when he said that ATL made g-funk. He said this along with other hard things about Dre that time. You can't say he was trustworthy because you know rappers say alot of lies when beefing.--BubbleBabis (talk) 12:28, 23 November 2009 (UTC)

Future of G-Funk
This article claims Dre's 2001 has roots in G-funk. 2001 sounds nothing like G-Funk. And Dre never "promised" Detox would be G-funk either and I highly doubt it will be. None of Dre's productions have sounded like G-funk for a long time68.164.85.197 (talk) 21:31, 31 March 2008 (UTC)

Just a few notes on this subject
If u listen to 'call it what u want', yes 2pac mentions g-funk

ATL released an EP in 1991 called 'Vocally pimpin', an if u listen to it there are a few tracks with p-funk samples and heavy basslines and synth sounds, eg. 'dose of the mega flex', '4 the funk of it'

On ATL's 'black mafia life', there are references to the years of a couple of the tracks years, eg. 'vsop', the mention the year as '92. On the track 'process of elimination' the mention the year as '91. On the interlude track 'pimpology 101' they mention the year as '92. Even though the album was released in february '93, doesn't mean a majority of the songs weren't recorded before that.

Even though in my opinion ATL did come up with prototype for the sound, i think dr. dre and warren g enhanced it better. —Preceding unsigned comment added by 81.157.152.38 (talk) 14:10, 20 March 2011 (UTC)

Early use
The earliest use of G-funk doesn't come from N.W.A's "Alwayz into Something" it comes from "The Ghetto" and "Short But Funky" by Too $hort released both an entire year before Efil4Zaggin came out. — Preceding unsigned comment added by 173.239.84.19 (talk) 02:14, 7 February 2013 (UTC)

External links modified
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G-punk performers besides Hed PE
Are there any G-punk performers besides Hed PE, or are they the only ones currently? If you know of any others and have sources for them and want to add them to the new G-punk section, then please do. Moline1 (talk) 15:24, 23 October 2019 (UTC)

Nate Dogg
Why wasn't one of the major creators of this sound left out? Nate Dogg has one of the best, if not the best, funkiest, smoothest, all encompassing, gangsta, west coast, representative Califas sound. He is really what its all about. 98.232.205.52 (talk) 06:40, 21 January 2022 (UTC)

MOBB MUSIC (Bay Area’s Predecessor to G-Funk)
I feel like there needs to be a page for Bay Area’s sound that originated in the 80’s but became popular in the 90’s. There also needs to be explanation on the difference between mobb raps and g-funk since there is an overlap (depending on the songs you listen to, unless mobb rappers also had g-funk songs). Too Short, E-40, B-Legit, Celly Cel, etc. I understand that g-funk has other predecessors such as gangsta rap and the P-Funk style but it’s worth noting the page exclusively for mobb music! It does not have to be a long page but at least put it out there so that people are aware of its existence. I know this is a page for g-funk but I don’t see a page for its forgotten ancestor. 107.123.1.9 (talk) 18:16, 10 July 2022 (UTC)

title: Talk:G-funk


text: User talk:63.173.65.21

title: User talk:63.173.65.21


text:
Scarecrow (disambiguation)

A scarecrow is a decoy used to discourage birds from disturbing crops.

Scarecrow(s) or The Scarecrow(s) may also refer to:

Comics

 * Scarecrow (DC Comics), a supervillain in the Batman series
 * Scarecrow (Marvel Comics), a supervillain
 * Straw Man (comics), originally Scarecrow, a Marvel Comics character
 * Doctor Syn, a superhero who used `The Scarecrow` as an alternate identity

Films

 * The Scarecrow (1920 film), an American silent short film starring Buster Keaton
 * The Scarecrow (Hollywood Television Theatre), a 1972 American television film presentation of the play by Percy MacKaye (see below)
 * Scarecrow (1973 film), an American film starring Gene Hackman and Al Pacino
 * The Scarecrow (1982 film), a New Zealand film
 * Scarecrow (1984 film), a Russian drama film by Rolan Bykov
 * The Scarecrow (1985 film), an Iranian film
 * Scarecrows (1988 film), an American horror film
 * The Scarecrow (2000 film), an American animated fantasy film
 * Kakashi (translated as Scarecrow), a 2001 Japanese horror film
 * Scarecrow (2002 film), an American direct-to-video horror film
 * The Scarecrow (2013 film), an American animated short film and advertisement
 * Scarecrow (2013 film), an American television horror film
 * Scarecrows (2017 film), a Canadian horror film
 * Scarecrow (2020 film), a Russian drama film

Television

 * Scarecrow and Mrs. King, a 1980s American TV series
 * "Scarecrow" (The Adventures of the Galaxy Rangers), an episode
 * "Scarecrow" (Supernatural), an episode
 * "The Scarecrow" (Gotham episode), the fifteenth episode of the television series Gotham
 * Scarecrow (Doctor Who), a fictional race

Literature

 * Scarecrow (novel), a 2003 novel by Matthew Reilly
 * Shane Schofield, or Scarecrow, the protagonist of Scarecrow and other novels by Reilly
 * Scarecrow (Oz), one of the main protagonists in L. Frank Baum's The Wonderful Wizard of Oz
 * Scarecrow & Other Anomalies, a poetry collection by Oliverio Girondo
 * The Scarecrow (Connelly novel), a 2009 crime novel by Michael Connelly
 * The Scarecrow, a 2009 novel by Sean Williams
 * The Scarecrow (play), a 1908 play by Percy MacKaye
 * "The Scarecrow" (short story), a short story by R. L. Stine
 * The Scarecrows, a 1981 young-adult novel by Robert Westall
 * Scarecrow, a Boogiepop character
 * Scarecrow Press, an imprint of Rowman & Littlefield

Music

 * The Scarecrow (opera), a 2006 opera by Joseph Turrin

Performers

 * Scarecrow (band), an American heavy metal band
 * Lord Infamous (1973–2013), also known as The Scarecrow, American rapper
 * X Marks the Pedwalk, originally Scarecrow, a German band

Albums

 * Scarecrow (Decyfer Down album) or the title song, 2013
 * Scarecrow (Garth Brooks album), 2001
 * Scarecrow (John Craigie album), 2018
 * Scarecrow (John Mellencamp album), 1985
 * The Scarecrow (album) or the title song, by Avantasia, 2008
 * Scarecrow, by Cats in Space, 2017

Songs

 * "Scarecrow" (song), by Melissa Etheridge, 1999
 * "The Scarecrow" (song), by Pink Floyd, 1967
 * "Scare Crow", by Ministry from Psalm 69: The Way to Succeed and the Way to Suck Eggs, 1992
 * "S/C/A/R/E/C/R/O/W" by My Chemical Romance from Danger Days: The True Lives of the Fabulous Killjoys, 2010
 * "Scarecrow", by Beck from Guero, 2005
 * "Scarecrow", by Counting Crows from Somewhere Under Wonderland, 2014
 * "Scarecrow", by the Pillows from Wake Up! Wake Up! Wake Up!, 2007
 * "Scarecrow", by Wand from Laughing Matter, 2019
 * "Scarecrows", by Luke Bryan from Kill the Lights, 2015
 * "Scarecrow", by +/- from You Are Here, 2003

Other

 * Scarecrow (wine), a California wine producer
 * Scarecrow Video, a video sales and rental store in Seattle, Washington, US
 * Scarecrow, a fictional monster in Dungeons & Dragons

title: Scarecrow (disambiguation)


text:
Epimysium

Epimysium (plural epimysia ) (Greek epi- for on, upon, or above + Greek mys for muscle) is the fibrous tissue envelope that surrounds muscle. It is a layer of dense irregular connective tissue which ensheaths the entire muscle and protects muscles from friction against other muscles and bones. It also allows a muscle to contract and move powerfully while maintaining its structural integrity.

It is continuous with fascia and other connective tissue wrappings of muscle including the endomysium and perimysium. It is also continuous with tendons, where it becomes thicker and collagenous.

While the epimysium is irregular on muscles, it is regular on tendons.

title: Epimysium


text:
Errol Barnett

Errol Barnett (born 3 April 1983) is the first and only Black British broadcaster on American television. The Emmy-award winner is a British-born American anchor and national correspondent for CBS News is based in New York City. He covered the Trump administration in Washington D.C., anchored CNN Newsroom and hosted CNN International's cultural affairs program Inside Africa. During his two years at the helm of the award-winning show Barnett reported from half the continent including Senegal, Morocco, Ethiopia, and Madagascar.

Early life
Errol Barnett was born in Milton Keynes, England to Michael Christie and Pamela, an English woman from Liverpool. Gladstone Christie, his Jamaican grandfather, was one of 500 Caribbean aircrew serving with the British Royal Air Force during WWII, afterward relocating to England as part of the Windrush generation. Barnett has English, German and Jamaican heritage. He has one older brother, Danny, and older sister, Natalie, who died.

His mother later married Gary Barnett, a US Air Force sergeant who served in the Gulf War before moving the family to Phoenix. After spending the first decade of his life in England, Barnett attended Garden Lakes Elementary and Westview High School, in Avondale, Arizona, before Channel One News hired him in 2001 relocating to Los Angeles.

Channel One and UCLA
The youth oriented Channel One hired Barnett, their youngest anchor/reporter at age 18, to work alongside Maria Menounos, Seth Doane, Gotham Chopra among others. While also taking college classes, Barnett covered Barack Obama's breakout DNC keynote speech, reported from the United Nations when Colin Powell presented flawed WMD intelligence and from the US Capitol during passage of the Homeland Security Act.

Barnett was chosen as one of Teen People magazine's "20 Teens Who Will Change The World" for his early work. After being accepted to UCLA he left Channel One to complete his undergraduate studies. At UCLA Barnett received a Bachelor of Arts degree in political science with a focus on international relations. After graduation, in July 2008, Barnett was hired by CNN.

CNN (2008-2016)
CNN initially assigned Barnett to report on the rise in influence of social media and in 2008 he was part of the most viewed streaming event in history during President Obama's Inauguration on CNN.com. In 2010, he anchored a noon eastern news-hour on CNN International from CNN Abu Dhabi focusing on the Arab Spring uprising, which was part of the network's Peabody-award winning coverage. As a CNN foreign correspondent, he was based in Johannesburg, South Africa covering the death of Nelson Mandela the Oscar Pistorius murder trial and various miner strikes.

Inside Africa
Barnett also hosted the network's longest running feature program Inside Africa from 2011 to 2014. The weekly half-hour documentary earned awards for its depiction of the continent, with Barnett traveling to and reporting from twenty-two countries in his adventurous self-described "journey of discovery."

CNN Newsroom
While based in Atlanta, Georgia Barnett anchored CNN Newsroom leading coverage of the Ferguson, Missouri protests, death of Robin Williams and the lead up to the 2016 presidential election. Barnett became the focus of an Internet meme during coverage of the protests with viewers noting Barnett's response to his co-anchor's suggestion that police use water cannons on demonstrators. Buzzfeed described Barnett's "side-eye" expression as "did that just happen" and "is this real life?"

CBS News (2016-present)
CBS News hired Barnett during the 2016 election as a Washington, D.C. based correspondent and anchor appearing on CBS This Morning, the CBS Evening News and Face the Nation. Currently, he is based in New York City as a national correspondent and anchor of CBS News 24/7, its streaming network. His coverage includes the Presidency of Donald Trump, artificial intelligence, extreme weather and various breaking news events. He also conducts high-interest interviews; his chat with Wikipedia's top editor was viewed more than two million times.

Secret Service incident
In 2018, the Secret Service issued a rare statement after a viral interaction with Barnett, following the murder of journalist Jamal Khashoggi. As Barnett asked then-Presidential advisor Jared Kushner about his relationship with the Saudi Crown Prince, Mohammad Bin Salman, a Secret Service agent "physically prevented" him. As the Washington Post reported, "Barnett can be seen attempting to ask Kushner a question as he makes his way off the plane, before a Secret Service agent appears to block his way. Barnett can then be seen showing his CBS and White House press credentials to one of the agents, who responds, 'I don’t give a damn who you are, there’s a time and a place.'

In response to the backlash, the Secret Service said, "the actions were taken solely in response to an abrupt movement by an unknown individual who later identified themselves as a member of the media." On CNN's The Lead with Jake Tapper, Barnett responded "the video speaks for itself".

Joe Biden interview
In the lead up to the 2020 U.S. Presidential election then-Vice President Joe Biden called Barnett a "junkie" in response to his question about cognitive abilities. As part of a joint virtual convention between NABJ and NAHJ, Barnett asked Biden if he had taken a cognitive test, as his opponent, President Donald Trump, insisted he should.

Biden responded, "No, I haven’t taken a test. Why the hell would I take a test? Come on, man. That’s like saying to you, before you got on this program if you had taken a test were you taking cocaine or not. What do you think, huh? Are you a junkie?" Barnett asked the question again to which Biden responded, "Well, if he can’t figure out the difference between an elephant and a lion, I don’t know what the hell he’s talking about."

Speaker and Moderator
Barnett regularly moderates discussions and speaks at conferences on the topics of freedom of the press, U.S. politics and various international issues. Those events have included:

 * ICON Mann Honors - Oscars week Gala, Los Angeles (2023)
 * Smithsonian - Exclusive Preview 1,000 Years Of Slavery, Martha's Vineyard (2021)
 * FOCOS - Annual Gala, New York (2018)
 * Society of Professional Journalists - Annual Awards Dinner, Washington, D.C. (2018)
 * Milken Institute - Global Conference, Los Angeles (2017)
 * NABJ/NAHJ - Conference, Washington, D.C. (2016)
 * International Press Institute - Conference, Johannesburg, South Africa (2014);
 * World Bank - Conference, Johannesburg, South Africa (2012);
 * International Press Institute Conference, Vienna, Austria (2010).

title: Errol Barnett


text:
Seravezza

Seravezza is a town and comune in the Province of Lucca, in northern Tuscany, Italy. It is located in Versilia, close to the Apuan Alps.

Neighboring municipalities

 * Forte dei Marmi
 * Massa
 * Montignoso
 * Pietrasanta
 * Stazzema

Patron saints
Seravezza's patron saint is St. Lawrence. His feast occurs annually on 10 August.

According to historian Lorenzo Marcuccetti the battle remembered by historian Titus Livius of 186 BC was fought between apuan Ligures and Romans in Ponte Stazzemese. The battle was fought on a hill named Colle Marcio (Marcio Hill) from the name of the defeated consul: Quintus Marcius.

The frazione of Querceta has St. Joseph, celebrated on 19 March. The patron saint of the frazione of Pozzi is St. Roch.

Sister cities
Seravezza is twinned with:

 * 🇪🇸 Calatorao, Spain

Notable people

 * Marco Balderi, conductor
 * Renato Salvatori, actor
 * Dino Bigongiari, professor of Columbia University

title: Seravezza