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Arthur Adams (comics)

Arthur Adams (born April 5, 1963) is an American comic book artist and writer. He first broke into the American comic book industry with the 1985 Marvel Comics miniseries Longshot. His subsequent interior comics work includes a number of Marvel's major books, including The Uncanny X-Men, Excalibur, X-Factor, Fantastic Four, Hulk, and Ultimate Comics: X, as well as books by various other publishers, such as Action Comics, Vampirella, The Rocketeer, and The Authority. Adams has also illustrated books featuring characters for which he has a personal love, such as Godzilla, the Creature from the Black Lagoon, and Gumby, the latter of which garnered him a 1988 Eisner Award for Best Single Issue.

In 1994, Adams joined a group of creators that included Frank Miller, John Byrne, and Mike Mignola to form Legend, an imprint of creator-owned comics published by Dark Horse Comics, through which Adams published Monkeyman and O'Brien, a science fiction adventure series featuring archetypal sci-fi monsters that Adams wrote and illustrated. Although the Legend imprint ceased in 1998, Monkeyman and O'Brien continued to appear in print, sometimes in crossover stories with other comics characters, such as Gen13/Monkeyman and O'Brien (1998), and Savage Dragon #41 (September 1997).

Because of his reputedly tight, labor-intensive penciling style, which was initially influenced by Michael Golden and Walter Simonson, and his admittedly slow pace, Adams mostly does cover work. When he does do interior art, it is usually for short storylines, one-shots, miniseries or contributions to anthologies, such as his 2002–2004 work on "Jonni Future", a pulp science fiction series he co-created with Steve Moore for the Wildstorm Productions anthology Tom Strong's Terrific Tales, and his 2008 work on Hulk (Vol 2) #7 - 9. His other cover work includes books such as Avengers Classic, Wonder Woman, and JLA, as well as pinups and other spot illustrations for books such as Sin City, The Official Handbook of the Marvel Universe and his own published sketchbook series, Arthur Adams Sketchbook. He has done design work for toys and video games, and miniature busts have been produced based on his renditions of notable characters. In the early 2000s he was commissioned to create artwork for the drum kit used by System of a Down drummer John Dolmayan.

He is one of the most popular and widely imitated artists in the comics industry, whose drawing style has been credited as an influence upon artists such as Joe Madureira and Ed McGuinness, as well as the artists associated with the founding and early days of Image Comics, such as J. Scott Campbell.

Early life
Arthur Adams was born on April 5, 1963 in Holyoke, Massachusetts, though his family moved from there when he was a year old, and thus he has no memory of that town. His father was a loadmaster in the United States Air Force, and as a result, Adams frequently moved with his parents and four younger brothers to places that included West Virginia. When Adams was five years old, the family settled in Vacaville, California, near Travis Air Force Base. Adams' first exposure to superhero and monster comics came through the ones his mother would buy for him once a month at a thrift store. His enthusiasm for superhero stories by particular creators began when his father returned from an overseas trip with the first Marvel Treasury Grab-Bag, which included stories by Ross Andru, Wally Wood, and Gene Colan. He particularly liked Marvel Comics for their stories with monster-like characters like the Thing, the Hulk, and the Man-Thing. He became interested in dinosaurs and monsters like King Kong after watching Creature Features on TV every Saturday, and Universal Monster movies such as Frankenstein and Creature from the Black Lagoon. He also enjoyed superhero and science fiction programming, such as Super Friends, the 1967 Spider-Man cartoon, and Star Trek. Adams enjoyed drawing frequently in his youth, as far back as he could remember. He discovered the work of Frank Frazetta when he was 13 or 14, and attempted to mimic his style using watercolor. Adams did not consider illustration as a profession, however, as he aspired to be a paleontologist. His interest in professional paleontology waned, however, when he realized that the extreme climates of the environments in which he would be required to work were not appealing to him.

Adams' desire to draw drawing comics professionally was cemented in high school, when he bought Marvel Comics' Micronauts #1, which was illustrated by Michael Golden, the first artist Adams noticed significantly. He relates:

"I was collecting comic books from the mid-70s, and then I discovered Michael Golden working on Micronauts. And I don't know exactly what it is about the very first issue of Micronauts. Something about it just blew me away. That was the book that made me say, 'Yeah, this is what I'm going to do for my career, for the rest of my life. I'm going to find a way to draw comic books, man!'"

Adams would subsequently seek out work by other artists, such as Barry Windsor-Smith, whom he has called a "huge" influence upon his work, and Mike Kaluta, Bernie Wrightson and Terry Austin. Adams also cites Bill Sienkiewicz's "Moon Knight" work in The Hulk! magazine and in particular Walter Simonson's work on The Uncanny X-Men and The New Teen Titans, which Adams saw as "the bible of how to draw comics", and "the perfect example of how to do a team book." Adams names Simonson and Golden as his two largest artistic influences. Simonson and his wife, writer/editor Louise Simonson, would later become close friends and collaborators with Adams, with Louise editing Adams' breakthrough project, Longshot. Adams also says he was influenced by Jack Kirby after he became a professional artist. Because he tends to consult source material when illustrating a book, he studied much of Kirby's work in particular during his 1990 run on Fantastic Four, learning much about focusing on clarity and dynamism over attention to detail. In a 1997 interview, Adams responded to the observation that fans had noticed a manga influence in his work by stating that he had likely been influenced by Masamune Shirow. Aside from books on drawing human anatomy, Adams' only formal education in illustration was learning newspaper strip-type drawing in his freshman year of high school from Mr. Vandenberg, a teacher who stressed the importance of clear storytelling and perspective. After a female classmate Adams was attracted to talked him into joining the acting club, Adams also considered becoming an actor, eventually doing community theater for two years. He quit acting when he turned 19, in order to concentrate on drawing.

Early work
Adams initially created a portfolio of pinups and monster splash pages, and added story sequences when he began attending comics conventions at age 17. At one of them, Adams met someone who, after seeing Adams' artwork, asked Adams for a submission for a comic book fanzine he was putting together called High-Energy. Adams submitted the horror story "One-Eyed Jack", which saw print High-Energy #1 (cover dated Spring 1982). Though it was an unpaid work, it was Adams' first published work, though he has lightheartedly decried its quality, saying, "It was pretty bad."

Adams' first paid work was a Farrah Foxette pinup that he copied from Farrah Fawcett's iconic 1976 swimsuit poster, which he submitted to the letters page of the DC Comics series Captain Carrot and His Amazing Zoo Crew! That series' editor, Roy Thomas, paid Adams $10 to publish the piece as a fan pinup.

At a Creation Convention in San Francisco, Adams received career advice from Steve Leialoha and Chris Claremont, and also met another aspiring illustrator, Mike Mignola, with whom Adams became friends, and later, business partners. Because of the popularity of the X-Men, Adams included a Wolverine story in his portfolio, although he was only a casual fan of the X-Men himself. He would later become closely associated with the X-Men in his early career. After showing his portfolio to editor Bob Schreck at a Creation Convention, he gained permission to set up a table, doing drawings for fans for $5 – $10. He began submitting samples to Marvel Comics when he was 18, taking a job at a pizzeria after graduating high school.

Adams' first professional job came about after he met Joe Rubinstein at a Creation Convention. Rubinstein took Adams' samples to Marvel editors Dennis O'Neil and Linda Grant, who in 1983 offered Adams the chance to write and draw "The Return of Richard Buzznick", a short story for the black and white anthology Bizarre Adventures. Though Adams completed the story, the series was canceled before his story was published, and Adams returned to submitting samples while working at the pizzeria. Adams later dismissed the story as poorly drawn. He also drew "Away Off There Amid The Softly Winking Lights", a story in the 1984 Pacific Comics anthology Three Dimensional Alien Worlds.

Longshot and X-Men
Al Milgrom, who was ending his career as a Marvel editor to go freelance, found Adams' samples as he was cleaning out his office for its future occupant, editor Carl Potts. Potts and his assistant editor, Ann Nocenti, sent Adams a Defenders script, from which Adams did layouts of 10 to 15 pages. Adams stated that while his action scenes were not rendered very well, the editors praised his casual, character-based scenes. Nocenti described to Adams the concept for a miniseries she was writing, Longshot, which had been turned down by every other artist she offered it to. Adams, now a couple of months before his twentieth birthday, did a series of preliminary design drawings, basing the main character's appearance and hairstyle on that of singer Limahl, and the female lead, Ricochet Rita, on Nocenti herself. The series was freelance-edited by Louise Simonson, and without a firm schedule, which provided Adams the time he needed to complete it. This was due in part to his problems with perspective and other things he was not accustomed to drawing, such as windmills, babies and people smiling, and in part because he had to redraw the first half of it, as Ann Nocenti's story was so dense that the pages featured up to 20 panels. As a result, Adams took eight months to draw the first issue. This problem was addressed by editor Elliot Brown, who showed Adams how to compose panels depicting multiple actions. Simonson would later introduce Adams to Marvel editor-in-chief Jim Shooter, who furthered Adams' understanding of storytelling clarity by sitting down with him and showing him the panel-to-panel structure in an old Marvel book. He would take two years to draw all six issues of the miniseries. Longshot #1 was published with a cover date of September 1985. Reviewing the first issue for Amazing Heroes, R.A. Jones, who criticized the writing, stating:

"Longshot does have one major saving grace, and that is the penciling of Arthur Adams. I'm going to once again go out on my prophetic limb and predict that Art will soon become a fan favorite. He has a dynamic style that grabs your attention and won't let go. To be sure, he exhibits some of the weaknesses of any young artist, the occasional awkward pose or crude drawing--but as a first effort this is incredibly impressive. In fact, this limited series should be worth buying simply to watch the progress Adams makes from issue to issue."

Nocenti's position as editor on the X-Men books led to Uncanny X-Men writer Chris Claremont's discovery of Adams' work, and in turn to Adams' frequent association with that franchise during the 1980s, which began with New Mutants Special Edition #1 and Uncanny X-Men Annual #9, which were part of the "Asgardian Wars" storyline, and which Adams began drawing before Longshot #1 was published. Nocenti also asked Adams to produce a cover for Heroes for Hope, a 1985 book intended to benefit famine relief in Africa, which was written and illustrated by dozens of creators, including writers Harlan Ellison and Stephen King, and artists John Byrne, Charles Vess and Bernie Wrightson. Nocenti asked Adams to pattern the cover after Paul Smith's 1983 cover of Uncanny X-Men #173, whose focus was Wolverine charging the viewer. This in turn led to Bob Budiansky, who was in charge of producing Marvel's posters, asking Adams to produce a Wolverine poster with the same type of pose. The image, inked by Terry Austin, became not only a bestselling poster, but an iconic life-size standee for comics shops, and led to two other posters by Adams, a 1987 X-Men poster featuring most of the characters that had ever been a member of that team, and "Mutants", a modification of Adams' 1988 Marvel Age Annual #4 cover that featured most of the characters appearing in all the X-Men-related books at the time, also with a charging Wolverine in the center. By 1986, Adams' professional career had been cemented, and he moved out of his parents' home and into the same Oakland, California apartment building where fellow artists Mike Mignola and Steve Purcell lived. Adams and Nocenti reunited for a story in Web of Spider-Man Annual #2 (1986) in which Warlock of the New Mutants encounters Spider-Man.

His work on the X-Men franchise would continue with a number of covers for The New Mutants and The Uncanny X-Men in 1986 and 1987, respectively. He also drew all but three of the first 23 covers and interior frontispieces to Classic X-Men from 1986 to 1988. His interior X-Men-related work included a two-issue run on X-Factor and the one-shot Excalibur: Mojo Mayhem, both in 1989, and three Uncanny X-Men Annuals, in 1986, 1988, and 1990. It was in drawing the 1988 annual that Adams says he felt like a professional comic book artist for the first time, as he first felt confident that he knew what he was doing.

Diversification and experimentation
Adams did work for publishers other than Marvel during the 1980s, as when he drew several pages of Batman #400 in 1986 and Action Comics Annual #1 in 1987. The latter is viewed as a turning point in Adam's drawing style, characterized by bulkier figures of Batman and Superman, though Adams explains that this was in part due to the influence of The Dark Knight Returns. Adams also explained that the overall change in art was style partly due to deliberate experimentation on his part, and partly to Dick Giordano's inking, which exhibited a different line weight. That same year, he illustrated Gumby Summer Fun Special #1 by Comico Comics, a job he obtained through Comico editor Diana Schutz, an old friend who noticed the incidental images of Gumby that Adams had included in the pages of Longshot. Adams, who did not harbor fond memories of that cartoon as a child, and who feared he would be typecast as a Gumby artist if he took the job, told Schultz he would only do it if she could get Bob Burden to write it, on the assumption that Schultz would decline this condition. Schultz, who initially wanted Mark Evanier for the job, considered this, and eventually agreed to it after contacting Burden, who was enthusiastic about the idea. That book, which demonstrated Adams' versatility in handling comedy as well as superheroics, garnered him and Burden a 1988 Eisner Award for Best Single Issue. Adams would later illustrate a second Gumby book, Gumby's Winter Fun Special, which was written by Steve Purcell.

Adams was one of 54 artists profiled in Ron Goulart's 1989 book, The Great Comic Book Artists, Volume 2, whose front and back covers Adams illustrated.

1990s monster and creator-owned work
Adams' 1990s Marvel work included a 1990 three-issue run on Fantastic Four, in which the Hulk, Spider-Man, Wolverine and Ghost Rider formed a replacement Fantastic Four after being falsely informed that three of the original Fantastic Four had been murdered. Series writer Walter Simonson, who also was the regular artist on the title, decided to write a story for Adams to draw in order to catch up on his deadlines. Simonson asked Marvel's Marketing Department who the four top-selling characters were, and was told they were Wolverine, Ghost Rider, Spider-Man, and the Punisher. Adams disliked the Punisher, and especially disliked drawing guns, because he felt he was not good at it, and suggested the Hulk. When Simonson asked him what he liked to draw, Adams indicated that he was a fan of the classic elements of the book, such as the Mole Man and the Skrulls, which Simonson incorporated into the story. The three-issue arc, which is cited by Adams as one of his favorite works, was later referenced by late night talk show host Conan O'Brien in the "Fan Corrections" segment of a 2012 episode of Conan. Adams did more work for the X-Men franchise, such as the 1997 intercompany crossover one-shot Gen13/Generation X. His 1990s Marvel work also included providing designs for a line of Hulk action figures.

Adams became acquainted with Randy Stradley and other staff members of Dark Horse Comics, after which he illustrated a number of their books featuring the classic Universal Monsters he loved in his youth. His first Godzilla work was Godzilla Color Special #1 in 1992. For that story Adams created an organization called G-Force, which he designed to be a Japanese version of the Fantastic Four, and in the story, had that group mention that they had fought the Shrewmanoid, a villain Adams later created for Monkeyman & O'Brien. Toho, the production company that produces the Godzilla films, would later introduce a version of that team in the 1993 film Godzilla vs. Mechagodzilla II. A book on the making of that film features a cover illustration of Godzilla that was copied from the Color Special, which amused Adams. Adams would follow these with other Godzilla works, such as "King Kong vs. Godzilla", a story that appeared in the anthology Urban Legends #1 that is notable for being the only work of his to date that he wrote, penciled, inked and lettered, and "Tramplin' Tokyo", an Alan Moore story he drew for Negative Burn #18 (December 1994). In 1995 he drew Godzilla vs. Hero Zero, and wrote issues 5–8 of Target: Godzilla! When Adams learned that Dark Horse would acquire the rights to the Universal Monsters, Adams lobbied to them to illustrate a comics sequel to the 1954 film Creature from the Black Lagoon, but Dark Horse wanted to produce an adaptation of the film first, and told Adams that if he illustrated that, that he would be able to illustrate a future sequel. The 50-page adaptation was published in 1993, but the line's low sales cost Dark Horse money, and it was canceled after four books, precluding the sequel that Adams wanted to draw.

In the early 1990s, Adams and Mignola were contacted by Erik Larsen, who invited them to produce books of their own creation for Image Comics, which Larsen and a group of other artists formed to publish creator-owned books. Adams had never before considered producing his own original material, as he preferred to illustrate the properties he enjoyed as a child. However, his talks with Larsen convinced him to create Monkeyman and O'Brien, a duo similar in concept to Angel and the Ape. The stories star San Francisco native Ann Darrow O'Brien, whose name is a tribute to Fay Wray's character from King Kong and that film's special effects creator Willis O'Brien, and Axewell Tiberius, a super-intelligent gorilla man from another dimension. The duo finds itself embroiled in a variety of adventures typical of classic B-movies, often featuring the type of movie monsters Adams is fond of, such as the subterranean Shrewmanoid and the extraterrestrial Froglodytes. Despite the offer from Image, Adams and Mignola (the latter of whom created Hellboy, which had been rejected by DC Comics), took their ideas to Dark Horse, for whom Adams had already done work, as it would allow them to collaborate with creators they admired, such as Frank Miller and John Byrne. Together with Paul Chadwick, Mike Allred, Dave Gibbons, and Geof Darrow, the creators formed Legend, a creator-owned imprint of Dark Horse. After an initial 1993 appearance in San Diego Comic Con Comics #2, Monkeyman and O'Brien appeared in installments in Dark Horse Presents #80 in 1993 and Dark Horse Insider #27 in 1994. The duo's first appearance under the Legend imprint was an ongoing backup story in Mike Mignola's 1994 Hellboy: Seed of Destruction miniseries. They would eventually graduate to their own self-titled miniseries in 1996. When first producing the series, Adams had on hand the Marvel Monsterworks reprint of the Atlas Comics monster stories "Where Monsters Dwell" and "Creatures on the Loose" for inspiration. Although the Legend imprint ceased in 1998, Monkeyman and O'Brien continued to appear in print, sometimes in crossover stories with other comics characters, as in Savage Dragon #41 (September 1997) by Erik Larsen, and Gen13/MonkeyMan and O'Brien (1998), both published by Image Comics, the latter of which Adams wrote and drew for Wildstorm Productions.

In 1996 Dark Horse Comics published Art Adams' Creature Features, a collection of Adams' previously published stories that paid tribute to various B-movie monsters, some of which had originally been published in black and white, but which were colored for the collection. They included Adams' Creature from the Black Lagoon, two of his Godzilla stories, "The Shocking Case of the Brief Journey" from San Diego Comic Con Comics #2, and the "Trapped In The Lair of the Shrewmanoid" story from Dark Horse Insider #27. The collection featured an introduction by Geoff Darrow.

1999–2010s
In 1999, Adams returned to Wildstorm to draw an eight-page flashback sequence in issue #4 of Alan Moore's series, Tom Strong, which was published under Moore's brand for Wildstorm, America's Best Comics. His subsequent Wildstorm work would include Danger Girl Special #1 (2000) and two issues of The Authority in 2002, significant portions of which Adams was asked by DC Comics to redraw in order to de-emphasize the violence, in light of the September 11 attacks, much to Adams' frustration. That same year, Adams and writer Steve Moore co-created "Jonni Future", a pastiche of a pulp science fiction series such as Adam Strange and Barbarella, which was published in eight-page installments in the America's Best Comics anthology Tom Strong's Terrific Tales, the first ten issues of which Adams penciled from 2002 to 2004. Adams work on "Jonni Future" has been characterized as exhibiting a romantic influence, with greater amounts realism and fine hatching, which Adams refers to as "noodling". Adams says he was inspired by sources such as Paolo Eleuteri Serpieri, Warren Publishing's Vampirella, and the character designs in Capcom video game character books when he drew "Jonni Future", and refrained from using straight edges or templates in order to achieve a more elegant, hand-drawn appearance. He regards "Jonni Future" as his best work.

In the early 2000s Adams was commissioned to create artwork for the drum kit used by System of a Down drummer John Dolmayan, an avid comic book collector and vendor. Dolmayan commissioned Adams to illustrate a scene of giant women fighting robots and Godzilla for one drum, while the art for other drums in the kit, which depicted other characters and scenes, were produced by Simon Bisley, Kevin Eastman, and Tim Vigil.

Throughout the 2000s, Adams provided cover images for various DC Comics, such as Superman, Batman, and JLA: Scary Monsters, as well as for books by various other publishers, such as Vampirella, Red Sonja, Jurassic Park, Madman Adventures, Thundercats, Xena: Warrior Princess, and Buffy the Vampire Slayer. Adams' 2000s Marvel cover work include Generation X #67 - 72 in 2000 and 2001, and Incredible Hercules #113 - 115 in 2008, as well for three of its collected editions. His 2000s interior comics work includes Superman/Batman #26 (2006), an issue dedicated to writer Jeph Loeb's late son, Sam, to which dozens of writers and artists contributed. In 2008 he illustrated a Red Hulk story in King-Size Hulk #1, and later illustrated a Hulk/Wendigo story that appeared in 11-page installments Hulk #7 - 9, as well as those issues' covers. In 2010 he illustrated Ultimate X #1-5, his first work for the Ultimate Marvel line of comic books.

2010s–present
In 2014, Adams illustrated variant covers for each of the eight issues of Marvel Comics miniseries Original Sin, composing them as eight pieces of a single, interlocked image, which depicts all of the major characters of the Marvel Universe. It was the single piece that took the longest for Adams to complete, at 10 weeks.

Outside the field of comics, Adams has provided illustrations for various magazines, such as PlayStation Magazine, as well as toy designs, video games, and X-Men-themed cans of Chef Boyardee pasta. A recreation of Barry Windsor-Smith's classic cover to Avengers #100 that Adams drew on a whim was later used by Marvel Comics as a variant cover to an actual issue, and in July 2019, as the image of a 500-piece jigsaw puzzle licensed by Aquarius.

On November 30, 2011, Gumby Comics/Wildcard Ink published a single volume collecting Adams' previous two specials featuring Gumby. The book was initially called Gumby's Arthur Adams Specials, but was eventually published with a sticker covering Adams' name on the cover, effectively renaming the book Gumby's Spring Specials. According to Rich Johnston of Bleeding Cool, this was done on Adams' request, who wanted nothing to do with the publisher, and took action to keep his name off the book's cover. The book is nonetheless sold by merchants such as Mile High Comics under its originally intended name.

In 2016 Adams provided the illustrations for a satirical piece in GQ magazine that imagined a number of controversial public figures as comic book supervillains, including Donald Trump, Vladimir Putin, Sepp Blatter, Martin Shkreli, and Kris Jenner. Later that year, Dynamite Entertainment announced it that would be producing limited edition poly-resin busts of female characters for its Women of Dynamite line, based on Adams' renditions of those characters and sculpted by Jason Smith. The first bust was a Red Sonja bust debuting in November, followed by a Vampirella bust in February 2017. In the late 2010s, Adams illustrated cover runs on Guardians of the Galaxy (Vol 4) and X-Men Blue.

In February 2020, Marvel released Marvel Monograph: The Art Of Arthur Adams, a 120-page omnibus collection of Adams' art.

In April 2022, Adams was reported among the more than three dozen comics creators who contributed to Operation USA's benefit anthology book, Comics for Ukraine: Sunflower Seeds, a project spearheaded by IDW Publishing Special Projects Editor Scott Dunbier, whose profits would be donated to relief efforts for Ukrainian refugees resulting from the February 2022 Russian invasion of Ukraine. Adams would provide one of the covers to the softcover edition of the book.

Though his work for Marvel takes priority for him, he also makes a significant amount of his income from private commissions, which he produces when time permits. In a 2017 interview he stated that if he did interior work again, it would more likely be on a creator-owned project, like Monkeyman And O'Brien.

Technique and materials
Adams' art style is noted for its high level of detail, and he has a reputation of being a "tight" penciller. He states that he works at a slow pace, which limits the amount of work he does. When he penciled Fantastic Four #347–349 in 1990 for regular writer/illustrator Walter Simonson, who needed a break in order to catch up on his own work on that title, Adams managed to pencil the first two issues in five weeks and four weeks, respectively, but was considerably late on the third. In 1997 Adams stated that he could produce a page of either pencils or inks in a day. In a 2007 interview, he stated he tends to produce $2/3$ to $3/4$ of a page a day, and can also ink at that rate, but can do up to two pages in a day if he is under pressure, as when he produced Cloak and Dagger #9 (1986) in 22 days, for example. Another example is the 1989 one-shot Excalibur: Mojo Mayhem, which due to changing deadlines, he completed at a quicker pace. Adams singles out one page of that book that he drew in a half-hour as his personal record for speed, but decries its poor quality. Adams is also noted for the humor in his work, as with, for example, the extraneous characters he places in cameo appearances in the backgrounds of his comics, as when he drew Gumby in the panels of Longshot, or the forms in which he depicted the shapeshifting alien Warlock in his The New Mutants work.

Adams prefers to work from a plot rather than from a full script, a result of Ann Nocenti's dense Longshot scripts, though he has worked from a full script, as with his work on Three Dimensional Alien Worlds for Pacific Comics and The Authority. Though he says he prefers group books because they more easily allow him to hide his "bad layout skills", he is nonetheless comfortable with solo character books. He begins drawing thumbnail layouts from the story he is given, either at home or in a public place. The thumbnails range in size from 2 inches x 3 inches to half the size of the printed comic book. He or an assistant will then enlarge the thumbnails and trace them onto illustration board with a non-photo blue pencil, sometimes using a Prismacolor light blue pencil, because it is not too waxy, and erases easily. When working on the final illustration board, he does so on a large drawing board when in his basement studio, and a lapboard when sitting on his living room couch. After tracing the thumbnails, he will then clarify details with another light blue pencil, and finalize the details with a Number 2 pencil. He drew the first three chapters of "Jonni Future" at twice the printed comic size, and also drew the fifth chapter, "The Garden of the Sklin", at a size larger than standard, in order to render more detail than usual in those stories. For a large poster image with a multitude of characters, he will go over the figure outlines with a marker in order to emphasize them. He will use photographic reference when appropriate, as when he draws things that he is not accustomed to.

In the early part of his career, Adams' pencils were embellished by inkers such as Whilce Portacio, Dick Giordano and Terry Austin. When Adams attempted to ink his own work before becoming a professional, he initially used a Croquille pen, but after meeting Mike Mignola, he was spurred to switch to a brush, which he used for approximately a year before returning to a Croquille. He eventually began to ink his own work, which he prefers to do. Beginning in the late 1990s, he began using the Staedtler Pigment Liner, a felt-tip pen. He prefers pens to brushes because pens feel "looser", and cited this as his reason for using felt-tip pens when he inked "Jonni Future".

Although Adams has experimented with painting with watercolor and oil paints (his 1989 covers for Appleseed were rendered with a combination of ink, watercolor and color pencil), his color work is so sporadic that he says he has to relearn what he has forgotten in the interim each time, and is usually dissatisfied with the results. Because a significant portion of his income is derived from selling his original artwork, he is reluctant to learn how to produce his work digitally.

Adams has explained his view on illustrating covers by saying, "My job is to make the characters look as good as I can in the context of what they’re asking for. So I always just try to represent the characters to the best of my ability and sell the book." When asked for his favorite cover work, he named X-Men Blue #9 (October 2017), featuring Polaris, which was a homage to Jim Steranko's cover of X-Men #50 (November 1968).

Adams does not have a favorite character to draw, having remarked in a 2015 interview, "I'm just happy that they pay me to draw." Nonetheless, he stated in a 2019 interview that while he had not harbored any strong emotional attachment to the X-Men as a child, he had been drawn to that franchise because "I just like the characters and I've worked on them enough that they trust me," and has gone on to name his favorite X-Men characters to draw. He said he loves Domino as a character, despite not having had many opportunities to draw her; he enjoyed depicting Wolverine out of costume in a storyline that paired him with Jubilee; has called Kitty Pryde a good character; and enjoys drawing Colossus, X-23, and Jean Grey. He dislikes drawing the Punisher, because he believes that he is not adept at drawing guns.

Influence
Adams is one of the most popular and widely imitated artists in the American comics industry. His style is attributed as a direct influence on the artists who would found Image Comics, and the other popular artists of the 1990s associated with that era, such as Jim Lee and Rob Liefeld. Timothy Callahan of Comic Book Resources points to the use of dynamic action poses, idealized figures, costume designs featuring numerous accessories, a preference for copious crosshatching over brushwork in rendering, and the depiction of cybernetic limbs and other reflective surfaces seen in those artists' styles as being derived from Adams' work, in particular his run on Longshot. Callahan also points out that the detailed webbing for which Todd McFarlane became known during his run on Spider-Man had previously been used by Adams on the cover of Longshot #4, although Callahan notes that Adams did not necessarily originate these elements, but was influenced himself by Michael Golden and Micronauts, he states that Adams popularized them. Adams' conception of Spider-Man with a large-eyed mask, detailed "spaghetti"-style webbing, and more contorted poses while web-swinging can be seen in Web of Spider-Man Annual #2, published in June 1986 (approximately 1½ years before Todd McFarlane's first published Spider-Man work, The Amazing Spider-Man #298). Noting also that Adams' Longshot pencils were inked by Whilce Portacio and an uncredited Scott Williams, Callahan refers to that book as "early Image, in primal form". Artists whose work has been viewed as imitative of Adams' style, or who have named Adams as an influence include Joe Madureira, J. Scott Campbell,  Ed McGuinness, Aaron Kuder,  Shelby Robertson, Olivier Coipel, and Nick Bradshaw.

Personal life
Adams is married to fellow comics artist Joyce Chin, whom he met at the 1996 San Diego Comic-Con. Chin has inked Adams' pencils, and Adams has inked Chin's, as on Xena: Warrior Princess #4 (January 2000). As of 1997 they lived in Portland, Oregon. They later moved to San Francisco, California, before settling in Walnut Creek.

When asked to name a favorite comic, Adams has named Ultimate X-Men #41 by writer Brian Michael Bendis and artist David Finch, which depicts Wolverine as he befriends a teenaged boy hiding in cave after his out-of-control emerging powers have killed hundreds of people, including those closest to him. Adams said of the story, "It's a standalone story, it's Bendis, it's one of my favorite comics of all time."

His favorite Godzilla film is Godzilla vs. The Thing, and his other favorites include Ghidorah, the Three-Headed Monster and Monster Zero. His favorite color is green.

Regarding religion, Adams has stated that he does not believe in "any particular god". He does not drive.

Awards

 * 1986 Russ Manning Most Promising Newcomer Award
 * 1988 Eisner Award for Best Single Issue (with Bob Burden for Gumby Summer Fun Special #1)
 * 2017 Inkpot Award

Interior work

 * Three Dimensional Alien Worlds: "Away Off There Amid the Softly Winking Lights" (with Bruce Jones, one-shot, Pacific Comics, 1984)
 * Longshot #1–6 (with Ann Nocenti, Marvel, 1985)
 * New Mutants Special Edition #1: "Home is Where the Heart is" (with Chris Claremont, Marvel, 1985)
 * Uncanny X-Men Annual #9–10, 12, 14 (with Chris Claremont, Marvel, 1985–1990)
 * Batman #400: "Resurrection Night!" (with Doug Moench, among other artists, DC Comics, 1986)
 * Cloak and Dagger #9: "The Lady and the Unicorn" (with Bill Mantlo, Marvel, 1986)
 * Web of Spider-Man Annual #2: "Wake Me Up I Gotta Be Dreaming" (with Ann Nocenti, Marvel, 1986)
 * Action Comics Annual #1: "Skeeter" (with John Byrne, DC Comics, 1987)
 * Gumby's Summer Fun Special: "Summer Fun Adventure" (with Bob Burden, one-shot, Comico, 1987)
 * Gumby's Winter Fun Special: "Winter Fun Adventure" (with Steve Purcell, one-shot, Comico, 1988)
 * Wonder Woman Annual #1: "Chapter 1: The Diving Bird" (with George Pérez, DC Comics, 1988)
 * X-Factor #41–42 (with Louise Simonson, Marvel, 1989)
 * Excalibur: Mojo Mayhem (with Chris Claremont, one-shot, Marvel, 1989)
 * Fantastic Four #347–349 (with Walter Simonson, Marvel, 1990–1991)
 * Marvel Holiday Special #1 (with Walter Simonson, Marvel, 1991)
 * Armageddon: Inferno #1, 3–4 (with John Ostrander, DC Comics, 1992)
 * Godzilla Color Special: "Godzilla: King of the Monsters" (with Randy Stradley, one-shot, Dark Horse, 1992)
 * Creepy 1993 Fearbook: "Bugs" (with Kurt Busiek, Harris Comics, 1993)
 * Urban Legends: "King Kong vs. Godzilla" (one-shot, Dark Horse, 1993)
 * Universal Monsters: Creature from the Black Lagoon (with Steve Moncuse, one-shot, Dark Horse, 1993)
 * Monkeyman and O'Brien (Dark Horse, 1993–1999):
 * Dark Horse Presents #80, 100, 118–119 (1993–1997)
 * Hellboy: Seed of Destruction (co-feature, 1994)
 * Monkeyman and O'Brien #1–3 (1996)
 * Dark Horse Extra #1–7 (1998–1999)
 * The Big Book of Urban Legends: "The Spider in the Hairdo" (with Robert Boyd, Jan Harold Brunvald and Robert Loren Fleming, Paradox Press, 1994)
 * Negative Burn #18: "Alan Moore's Songbook: Trampling Tokyo" (with Alan Moore, Caliber Press, 1994)
 * Asylum #1: "Warchild" (with Eric Stephenson, Extreme Comics, 1995)
 * Aliens: Havoc #1 (with Mark Schultz, among other artists, Dark Horse, 1997)
 * Gen13 (Wildstorm, 1997–1998):
 * Gen13/Generation X: "Generation Gap" (with Brandon Choi, one-shot, 1997)
 * Gen13 3D Special: "Mauling" (one-shot, 1997)
 * Gen13/Monkeyman and O'Brien #1–2 (1998)
 * Gen13 #34: "I Want My Mommaaaaa!!" (with John Arcudi, 1998)
 * Starship Troopers #1–2 (with Bruce Jones and Mitch Byrd, Dark Horse, 1997)
 * Legends of the DC Universe 80-Page Giant #2: "The Great Unknown!" (with Karl Kesel, DC Comics, 1998)
 * Danger Girl Special: "Delusions of Grandeur" (with J. Scott Campbell and Andy Hartnell, Cliffhanger, 2000)
 * Superman vol. 2 #165: "Help!" (with Jeph Loeb, DC Comics, 2001)
 * Orion #10, 12: "Legends of Apokolips" (with Walter Simonson, DC Comics, 2001)
 * The Authority #27–28: "Brave New World, Parts Two and Three" (with Mark Millar and Grant Morrison (uncredited), Wildstorm, 2002)
 * Tom Strong's Terrific Tales #1–4, 6–10: "Jonni Future" (with Steve Moore, America's Best Comics, 2002–2004)
 * The Many Worlds of Tesla Strong (with Alan Moore and Peter K. Hogan, among other artists, one-shot, Wildstorm, 2003)
 * Action Comics Annual #10 : "The Many Deaths of Superman" (DC Comics, 2007)
 * Countdown to Final Crisis #14: "The Origin of Gorilla Grodd" (with Scott Beatty, co-feature, DC Comics, 2008)
 * King-Size Hulk: "Where Monsters Dwell" (with Jeph Loeb, Marvel, 2008)
 * Hulk #7–9 (with Jeph Loeb, Marvel, 2008)
 * Ultimate Comics: X (with Jeph Loeb, Marvel, 2010–2011)
 * AvX: VS #6 (with Jeph Loeb, Marvel, 2012, pg 18)
 * All-New X-Men #25 (Marvel, 2014)

Cover work

 * Marvel Fanfare #13 (Marvel Comics, 1984)
 * Marvel Team-Up #141 (Marvel, 1984)
 * Micronauts: The New Voyages #2 (Marvel, 1984)
 * The Defenders #142 (Marvel, 1985)
 * The New Mutants Special Edition (Marvel, 1985)
 * X-Men Annual #9 (Marvel, 1985)
 * The New Mutants #38–39 (Marvel, 1986)
 * Firestar #3 (Marvel, 1986)
 * Classic X-Men #1–23 (Marvel, 1986–1988)
 * Daredevil #238–239 (Marvel, 1987)
 * Uncanny X-Men #214, 218 (Marvel, 1987)
 * The Spectre Annual #1 (DC Comics, 1988)
 * Marvel Age Annual #4 (Marvel, 1988)
 * The Last of the Viking Heroes #7 (Genesis West Comics, 1989)
 * Tommy and the Monsters #1 (New Comics Group, 1989)
 * Appleseed Book Two #1–5 (Eclipse Comics, 1989)
 * The Impossible Man Summer Vacation Spectacular (Marvel, 1990)
 * Marvel Super-Heroes #6 (1991)
 * Conan the Barbarian #247–249 (Marvel, 1991)
 * Animal Confidential (Dark Horse Comics, 1992)
 * Vampirella: Summer Nights #1 (Harris Comics, 1992)
 * Marvel Holiday Special '92 (Marvel, 1993)
 * Showcase '93 #1 (DC Comics, 1993)
 * Superman: Legacy of Superman #1 (DC Comics, 1993)
 * Dark Horse Comics #11 (Dark Horse, 1993)
 * Comics' Greatest World: Vortex #2 (Comics' Greatest World, 1993)
 * Out of the Vortex #7 (Dark Horse, 1994)
 * Classic Star Wars: A New Hope #1 (Dark Horse, 1994)
 * Division 13 #1 (Comics' Greatest World, 1994)
 * Medal of Honor #2 (Dark Horse, 1994)
 * Gen13 #1 (Wildstorm, 1995)
 * New Men #12 (Extreme Studios, 1995)
 * Godzilla #1-7 (Dark Horse, 1995)
 * Avengelyne #3 (Maximum Press, 1995)
 * Badrock Annual #1 (Image, 1995)
 * Godzilla vs. Hero Zero #1 (Dark Horse, 1995)
 * Leonard Nimoy's Primortals: Origins #1-2 (Tekno Comix, 1995)
 * Oblivion #1 (Comico, 1995)
 * Leonard Nimoy's Primortals #13-14 (Tekno Comix, 1996)
 * Untold Tales of Spider-Man #17 (Marvel, 1996)
 * The Real Adventures of Jonny Quest #9 (Dark Horse, 1997)
 * Star Kid #1 (Dark Horse, 1998)
 * Crimson #2 (Cliffhanger, 1998)
 * Buffy the Vampire Slayer #1, 6 (Dark Horse, 1998–1999)
 * Daring Escapes #1 (Image, 1998)
 * Clerks: Holiday Special #1 (Oni Press, 1998)
 * Darkchylde: The Legacy #2-3 (Image, 1998)
 * Nathan Never #1-4 (Dark Horse, 1999)
 * Wildcats #1 (Wildstorm, 1999)
 * Lady Death: The Rapture #1 (Chaos!, 1999)
 * Purgatori: Goddess Rising #1 (Chaos!, 1999)
 * JLA Annual #3 (DC Comics, 1999)
 * Batman Annual #23 (DC Comics, 1999)
 * Aquaman Annual #5 (DC Comics, 1999)
 * Wonder Woman Annual #8 (DC Comics, 1999)
 * The Flash Annual #12 (DC Comics, 1999)
 * Superman Annual #11 (DC Comics, 1999)
 * Green Lantern Annual #8 (DC Comics, 1999)
 * Martian Manhunter Annual #2 (DC Comics, 1999)
 * Tellos #4 (Image, 1999)
 * Tom Strong #4 (America's Best Comics, 1999)
 * Lionheart #2 (Awesome, 1999)
 * X-Men #100 (Marvel, 2000)
 * X-Men: The Movie Special Edition #1 (Marvel, 2000)
 * Generation X #67-72 (Marvel, 2000–2001)
 * Kin #6 (Top Cow, 2000)
 * Gatecrasher #5 (Black Bull, 2000)
 * X-Men Annual '00 (Marvel, 2000)
 * Deadpool #50 (Marvel, 2001)
 * Defenders #2 (Marvel, 2001)
 * Cavewoman: Pangaean Sea #0 (Basement, 2001)
 * Angel and the Ape #1-4 (Vertigo, 2001–2002)
 * The Authority #29 (Wildstorm, 2002)
 * Thundercats #1 (Wildstorm, 2002)
 * Tom Strong's Terrific Tales #5, 12 (America's Best Comics, 2003–2005)
 * JLA: Scary Monsters #1-6 (DC Comics, 2003)
 * Magdalena/ Vampirella #1 (Top Cow, 2003)
 * Wildguard: Casting Call #3 (Image, 2003)
 * Witchblade /Magdalena/ Vampirella #1 (Top Cow, 2004)
 * Alter Nation #1 (Image, 2004)
 * Action Comics #814-821 (DC Comics, 2004–2005)
 * Red Sonja #1-2, 25, 50 (Dynamite, 2005–2010)
 * Worldstorm #1 (Wildstorm, 2006)
 * The Authority #1 (Wildstorm, 2006)
 * Justice League of America #5 (DC Comics, 2007)
 * Manhunter #26 (DC Comics, 2007)
 * Midnighter #2 (Wildstorm, 2007)
 * Tales of the Unexpected #7 (DC Comics, 2007)
 * Avengers Classic #1-12 (Marvel, 2007–2008)
 * Booster Gold #1-2 (DC Comics, 2007)
 * Countdown Presents: The Search for Ray Palmer — Wildstorm #1 (DC Comics, 2007)
 * Fantastic Four #551, 583–584, 600 (Marvel, 2008–2011)
 * The Incredible Hulk #112 (Marvel, 2008)
 * The Incredible Hercules #113-115 (Marvel, 2008)
 * Thor vol. 3 #6 (Marvel, 2008)
 * The Perhapanauts #1 (Image, 2008)
 * Invincible #50 (Image, 2008)
 * Brit #7 (Image, 2008)
 * Marvel Apes #0, 4 (2008–2009)
 * Agents of Atlas #1 (Marvel, 2009)
 * Hulk #10-12 (Marvel, 2009)
 * Jurassic Park #2 (IDW Publishing, 2010)
 * New Mutants #15, 25 (Marvel, 2010–2011)
 * New Mutants Forever #2, 4 (Marvel, 2010–2011)
 * Wolverine #2 (Marvel, 2010)
 * Carnage #1-2 (Marvel, 2010–2011)
 * Warlord of Mars: Dejah Thoris #1-5 (Dynamite, 2011)
 * Avengers: The Children's Crusade #3 (Marvel, 2011)
 * Captain America: Man Out of Time #1 (Marvel, 2011)
 * Young Allies #6 (Marvel, 2011)
 * Avengers Prime #5 (Marvel, 2011)
 * Thunderbolts #154 (Marvel, 2011)
 * Journey into Mystery #622 (Marvel, 2011)
 * Astonishing X-Men #43 (Marvel, 2011)
 * Godzilla: Legends #1-5 (IDW Publishing, 2011)
 * The Fearless #1-12 (Marvel, 2011–2012)
 * Godzilla #1 (IDW Publishing, 2012)
 * Secret Avengers #22-25, 29-37 (Marvel, 2012–2013)
 * Battle of the Atom #1-5 (Marvel, 2013)
 * Uncanny Avengers Annual #1 (Marvel, 2014)
 * Immortal X-Men #9 (Marvel, 2023)

title: Arthur Adams (comics)


text: Talk:No wave

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

title: Talk:No wave


text:
User:ASK~enwiki

see

title: User:ASK~enwiki


text:
Alfred Gomolka

Alfred Gomolka (21 July 1942 – 24 March 2020) was a German politician and member of the European Parliament for Mecklenburg-Vorpommern. He also served as the minister president of Mecklenburg-Vorpommern.

Personal life and death
Gomolka was born in Breslau, Germany (now Wrocław, Poland). He had a PhD in geography. He was married and had four children. At one point, Gomolka attempted to set up a new radio station. However, he was unable to compete with Norddeutscher Rundfunk.

Gomolka died on 24 March 2020, aged 77.

Career
Gomolka was a member of the conservative Christian Democratic Union of Germany (CDU). He joined the CDU at a young age, though he was at times unhappy with the party's alliance with the Socialist Unity Party of Germany (SED). He served on the Greifswald City Council when the area was part of East Germany.

Following German reunification, he served as the first minister president of Mecklenburg-Vorpommern from October 1990 until 1992. In 1990, the CDU took 33 of the 66 seats in the Mecklenburg-Vorpommern state parliament, but was aided by one person transferring from the SED to the CDU and two MPs from the Free Democratic Party (FDP). In 1992, Gomolka was involved in the shipyard crisis, a disagreement between Gomolka and the German Minister for Transport and CDU regional party leader Günther Krause over shipyard policies. Gomolka had wanted to rebuild and then privatise German shipbuilding, whereas Krause wanted to immediately sell the shipyards. They also disagreed on how many ships to sell to Bremer Vulkan. Krause accused Gomolka of incompetence over his handling of the crisis. Krause then overturned Gomolka's shipyard policies. As a result of the crisis, the CDU lost trust in Gomolka, and he left his role as minister president of Mecklenburg-Vorpommern. He remained as a state MP until 1994 and was replaced by Berndt Seite as minister president. From November 1991 until March 1992, Gomolka also served as the president of the German Bundesrat, before being replaced by Berndt Seite.

From 1994 until 2009, Gomolka was an MEP, representing the CDU. He focused upon improving relations with the Baltic states, and was an advocate for Latvia's entry into the European Union. He served as the chairman of the EU delegation to the EU-Latvia Joint Parliamentary Committee. After leaving the EU Parliament, he served as leader of the CDU Seniors' Union for northeast Germany until 2015.

title: Alfred Gomolka


text:
Wikipedia:Articles for deletion/TYGR! TYGR!

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE. jni 09:14, 16 Feb 2005 (UTC)

TYGR! TYGR!
Band vanity. -- Hoary 08:36, 2005 Feb 7 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * Indeed. Delete - Mailer Diablo 13:28, 7 Feb 2005 (UTC)
 * Agreed, nn. Delete.  GRider\talk  22:02, 7 Feb 2005 (UTC)
 * "Tygr! Tygr" + band -> 51 Google results. Band vanity!  Delete. --Idont Havaname 23:56, 7 Feb 2005 (UTC)
 * Delete, not notable, band vanity. Megan1967 06:26, 8 Feb 2005 (UTC)
 * Delete -- AllyUnion (talk) 14:15, 11 Feb 2005 (UTC)


text:
Biligiriranga Hills

The Biligirirangana Hills or Biligirirangan Hills (as referred to in biology and geology ) is a hill range situated in Chamarajanagar District in south-western Karnataka, at its border with Tamil Nadu (Erode District) in South India. The area is called Biligiri Ranganatha Swamy Temple Wildlife Sanctuary or simply BRT Wildlife Sanctuary. It is a protected reserve under the Wildlife Protection Act of 1972. Being close to the Eastern Ghats as well as the Western Ghats, the sanctuary has floral and faunal associations with both regions. The site was declared a tiger reserve in January 2011 by the Government of Karnataka, a few months after approval from India's National Tiger Conservation Authority.

Location
The hills are located at the north-west of the Western Ghats and the westernmost edge of the Eastern Ghats. Thus this area supports a diverse flora and fauna in view of the various habitat types present. A wildlife sanctuary of 322.4 km2 was created around the temple on 27 June 1974, and enlarged to 539.52 km2 on 14 January 1987. The sanctuary derives its name Biligiri (white hill in Kannada) from the white rock face that constitutes the major hill crowned with the temple of Lord Ranganathaswamy (Lord Vishnu) or from the white mist and the silver clouds that cover these hills for a greater part of the year. An annual festival of Lord Vishnu, held in the month of April, draws pilgrims from far and wide. Once in two years, the Soliga Tribals present a 1-foot and 9 inches slipper, made of skin, to the deity in Biligiriranga Hills.

The hills are in the Yelandur, Kollegal and Chamarajanagar talukas of Chamarajanagar District of Karnataka. They are contiguous with hills in Sathyamangalam Wildlife Sanctuary in Erode District of Tamil Nadu to the south. By road, they are about 90 km from Mysore and 160 km from Bangalore. The road leading to the village on top of the hills may be approached either from Yelandur or Chamarajanagar. Kyathadevara Gudi or K Gudi is located close to BR Hills, where safari is conducted.

Geography
The BR hills are a starting point of the Eastern Ghats and contact the border of the Western Ghats, allowing animals to move between them and facilitating gene flow between populations of species in these areas. Thus, this sanctuary serves as an important biological bridge for the biota of the entire Deccan plateau.

The BR hills along with the Male Mahadeshwara Hills (MM Hills) range form a distinctly unusual ridge running north–south amidst the plains of Bangalore (~900 m), Mysore (~800 m) and Krishnagiri(~450 m). The peaks of these lofty ranges rise as high as 1800 m (BR hills 1400 –; MM Hills 1000 –). The highest hill is Kattari Betta, at 1800 metres. Various observations point to a possible biogeographic link between BR hills and Nilgiri ranges. Biogeographically, the sanctuary is unique. It is located between 11° and 12° N and the ridges of the hills run in the north–south direction. It is a projection of the Western Ghats in a north-easterly direction and meets the splintered hills of the Eastern Ghats at 78° E. This unique extension / offshoot of Western Ghats constitutes a live bridge between the Eastern Ghats and Western Ghats with the sanctuary located almost in the middle of this bridge. Thus, the biota of BRT sanctuary can be expected to be predominantly of Western Ghats in nature with significant proportion of eastern elements as well.

Climate and vegetation
The sanctuary, ~35 km long north–south and ~15 km wide east–west, is spread over an area of 540 km2 with a wide variation in mean temperature (9 °C to 16 °C minimum and 20 °C to 38 °C maximum) and annual rainfall (600 mm at the base and 3000 mm at the top of the hills) The hill ranges, within the sanctuary raise as high as 1200 m above the basal plateau of 600 m and run north–south in two ridges. The wide range of climatic conditions along with the altitude variations within the small area of the sanctuary have translated it into a highly heterogeneous mosaic of habitats such that we find almost all major forest vegetation types – scrub, deciduous, riparian, evergreen, sholas and grasslands.

The forests harbour close to 800 species of plants from various families and shows a close affinity to the Western Ghats.

Flora and fauna
The Biligiris are charnockite hills, covered with tropical dry broadleaf forest, part of the South Deccan Plateau dry deciduous forests ecoregion. The forests range from scrub forests at lower elevations, degraded by over-use, to the tall deciduous forests typical of the ecoregion, to stunted shola forests and montane grasslands at the highest elevations, which exceed 1800 meters. The forests form an important wildlife corridor between the Western Ghats and the Eastern Ghats, linking the largest populations of Asian elephants and tigers in southern India.

The most conspicuous mammals in the BR Hills are the herds of wild elephants. The BR hills is the only forest east of the main Western Ghats mountain ranges in the central southern peninsula to harbor these pachyderms in large numbers. The forests were the study area for R. Sukumar, a scientist who studied the elephants of the area in the early eighties. A recent (2017) survey has revealed the presence of 62 tigers in this sanctuary. The forests are well known for many gaur, the largest bovines. BR hills are a good place for viewing many other large and small animals. There are about 26 species of mammals recorded in the sanctuary.

The other mammals include sambhar, chital, the shy barking deer which are quite common here and the rare four-horned antelope. Carnivores include tigers, leopards, wild dogs, lesser cats and sloth bears and among arboreal mammals two species of primates and three species of squirrels including the giant flying squirrel are recorded. A recent (2017) survey of tigers by DNA analysis of scat samples has revealed 62 tigers, although the number may be more. 254 species of birds have been recorded in the BR hills. These include the enigmatic southern population of the white-winged tit (Parus nuchalis), a specimen of which was collected by R. C. Morris and is now housed in the Natural History museum at Tring. A recently discovered species is the microhylid frog Microhyla sholigari, named after the Soligas, an indigenous tribe that inhabit these hills.

Threats
Quarrying in the fringes of the hills is rampant after the brief lull of activities during the time when the dreaded bandit Veerappan was on the run. After his death, the quarrying activities have taken off with renewed vigour with strong political backing. The forest department and the local NGOs were instrumental in banning disposal of plastic within the sanctuary. After wildlife environmentalist, Giridhar Kulkarni informed the NTCA of the proliferation of illicit resorts inside the tiger reserve, the Chief wildlife warden of Karnataka recently issued orders against illegal resorts and homestays in the BRT Tiger Reserve.

title: Biligiriranga Hills


text:
Wikipedia:Articles for deletion/Similarities between The Lord of the Rings and Harry Potter

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was speedy delete -- AllyUnion (talk) 14:16, 11 Feb 2005 (UTC)

Similarities between The Lord of the Rings and Harry Potter
Claims thatJ. K. Rowling copied J. R. R. Tolkien's book, The Lord of the Rings, for her series, Harry Potter. with no evidence whatsoever. Also claims to be a disambiguation page. --Phil | Talk 08:37, Feb 7, 2005 (UTC)

Delete: Loose talk

 * Speedy delete Slander and misleading title. Copying would've resulted in a book about Frodo Baggins. Accusations of plagiarism (if author intended that by saying copying), if noteworthy should be at J. K. Rowling. Real article about similarities would be welcome, as several fan columns have proven they do exist. Mgm|(talk) 10:07, Feb 7, 2005 (UTC)
 * I wanted to speedy delete this myself, but I'll let the VFD run a little bit longer, so I'm sure others agree before I do. Mgm|(talk) 10:08, Feb 7, 2005 (UTC)
 * Delete For obviously silly stuff like this we should be using the 'nonsense' tag rather than 'vfd'. --Lee Hunter 11:37, 7 Feb 2005 (UTC)
 * Delete, what Mgm said. Note that it's not patent nonsense, so  is inappropriate.  —Korath (Talk) 15:41, Feb 7, 2005 (UTC)
 * Delete as pointless. I might have agreed to an NPOV revision or merging with the two main articles if there was actually any content. 23skidoo 16:50, 7 Feb 2005 (UTC)
 * Delete and feel free to speedy. Kappa 17:31, 7 Feb 2005 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Wikipedia:Articles for deletion/Anthrianthropy

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was Delete. Rje 00:30, Feb 17, 2005 (UTC)

Anthrianthropy
No google hits. Seems to be a neologism. Meelar (talk) 08:42, Feb 7, 2005 (UTC) This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * Delete, original research?, neologism. -Sean Curtin 03:12, Feb 8, 2005 (UTC)
 * Delete -- AllyUnion (talk) 14:16, 11 Feb 2005 (UTC)


text:
Wikipedia:Peer review/Military history of the Soviet Union

Military history of the Soviet Union
This article was last week's Collaboration of the Week, but I don't have time to get it ready for FAC myself, so I'm placing it here. 172 08:42, 7 Feb 2005 (UTC)


text:
User talk:Dethbunny

[my stomping grounds]

title: User talk:Dethbunny


text:
Ruth Hieronymi

Ruth Hieronymi (born 8 November 1947, Bonn) is a German politician who served as a Member of the European Parliament for North Rhine-Westphalia from 1999 until 2009. She is a member of the conservative Christian Democratic Union, part of the European People's Party.

She was chair of the WDR Broadcasting Council until 2016.

title: Ruth Hieronymi


text:
Venu

The venu (Sanskrit: वेणु; /मुरळि; muraļi) is one of the ancient transverse flutes of Indian classical music. It is an aerophone typically made from bamboo, that is a side blown wind instrument. It continues to be in use in the South Indian Carnatic music tradition. It is referred to as nadi and tunava in the Rigveda and other Vedic texts of Hinduism. In northern Indian music, a similar flute is called bansuri. In the south, it is also called by various other names such as pullanguḻal (புல்லாங்குழல்) in Tamil (Tamil Nadu), oodakuḻal (ഓടകുഴൽ) or  kurungu kuḻal  (കുറുന് കുഴൽ) in Malayalam (Kerala) and ಕೊಳಲು (koḷalu) or ಮುರಳಿ (muraļi) in Kannada (Karnataka). It is known as pillana grōvi (పిల్లన గ్రోవి) or vēṇuvu (వేణువు) in Telugu (Andhra Pradesh & Telangana). It is also called as Carnatic Flute.

The venu is discussed as an important musical instrument in the Natya Shastra, the classic Hindu text on music and performance arts. The ancient Sanskrit texts of India describe other side blown flutes such as the murali and vamsika, but sometimes these terms are used interchangeably. A venu has six holes, is about the thickness of a thumb, and twelve fingers long. A longer murali has four holes and two hands longs. The vamsika has eight holes, between twelve and seventeen fingers long.

A venu is a part of the iconography of Hindu god shree Krishna.

Construction and technique
One of the oldest musical instruments of India, the instrument is a key-less transverse flute made of bamboo. The fingers of both hands are used to close and open the holes. It has a blowing hole near one end, and eight closely placed finger holes. The instrument comes in various sizes. The venu is also a highly respected instrument and those who play it are expected to appreciate it, for it is considered a gift to be able to play it.

The venu is capable of producing two and half octaves with the help of over-blowing and cross fingering. The flute is like the human voice in that it is monophonic and also has a typical two and half octave sound reproduction. Sliding the fingers on and off the holes allows for production of variety of gamakas, important in the performance of raga-based music.

History
The flute (venu) finds great mention in Indian mythology and folklore having been listed as among the three original instruments meant for music along with the human voice and the veena (vaani-veena-venu).

The venu is associated with the Hindu god Krishna, who is often depicted playing it. This kind of flute is mainly used in South India. Vishnu is portrayed as Venugopala, playing the flute of creation.

The venu had not been a part of the Carnatic classical music until the pioneering innovations of Shri Sharaba Shastri and later revisions and updates on his design by Shri T.R. Mahalingam (fondly called Flute Mali). Due to the underlying physics of sound production, flutes have a natural "cut" or a discontinuity when going from the lowest note to the highest note. This discontinuity appears between the notes "ga" and "ma" on a Carnatic flute and between "Ma" and "Pa" for a Hindustani flute (mainly because of the fingering technique differences). In order to adapt the flute to Carnatic Music, certain modifications were necessary such as the addition of the 7th hole, usage of thicker walled bamboos, the technique of lifting the head to change the angle of embouchure when shifting between "ga" and "ma" notes. These innovations enabled artists to perform the Carnatic ragas with all the necessary gamakas and ornamentations without losing the "Bhaava" of the raga.

Difference between bansuri and venu
Often beginners in India find themselves in a dilemma on what kind of flute to begin playing on as India has two distinct kinds of transverse flutes. They are the bansuri (North Indian bamboo flute) and the venu (South Indian bamboo flute). The main differences between these two are the raw material, construction and style of playing.

Raw material preferred for making the South Indian venu is usually thicker and denser and grows in Kerala or southern Tamil Nadu. It is darker and produces clear and rich mellow tone. The material used in Bansuri is mostly thin walled bamboo (but longer in length and diameter). It is lighter in color and produces a light airy tone (it is called jawaari). This bamboo grows in Assam (Silchar). There are also other varieties that are used, including bamboos that grow in the region of Sirsi, North Karnataka, Bihar.

Venu is constructed with eight playing holes and one blowing hole. Of these eight playing holes, seven are actually used for playing and the last finger hole is used in tuning. The bansuri has six playing holes and one blowing hole. There have been certain artists that have experimented with an additional pancham hole (thumb hole to achieve the note Pa) and Teevra ma hole at the end. However, standard bansuri usually only have six holes. These differences are mainly to accommodate the different styles of music that are played on it.

The Sa on the venu is achieved by closing the top two finger holes. On a bansuri the top three finger holes are closed to achieve this note. The way the notes are played is also slightly different. Carnatic music emphasizes the "gayaki style" or "the style of imitating the human voice". Hence the usage of gamakas and andolans require a nimble hold and a way to bend the notes smoothly on a Venu. Bansuri is more suited to Hindustani style of music due to its importance on long sustained notes and fast taans. These two instruments serve different styles of music and hence the difference in playing and construction.

Flute sizes and pitches
The flute pitch is usually marked on the blowing end. It is denoted either in numbers on a Venu from 1 to 7 with or without (1/2, indicating one semitone higher) or as per the standard Pitch letters on a Bansuri from A to G with or without (#-Sharps/b-Flats). The size varies up to 12 sizes in length, each providing different pitches. The diameter of the flute also varies based on the pitch. With Lower octaves the diameter and length of flute increase, whereas in case of Higher octaves, the diameter and length of the flute is smaller.

There are many custom sized flutes available. Some flutes even go beyond 1 meter length. There is no limit in the imagination of these kind of flute constructions. Few examples are Double contrabass flute, Contrabass flute and Anahat Venu, which can go up to 12 feet.

Even a PVC pipe can be used to construct a flute in a very simple way, simply using common scissors.

Making the first sound
In order to get an initial sound out of the flute, one can blow air into the embouchure hole. This technique is common for all transverse flutes such as the Western flute, the Bansuri, the Chinese Dizi flute etc.

Musical notes
Playing includes a Musical Scale or Sargam, which usually has 7 notes Sa, Re, Ga, Ma, Pa, Dha, Ni; in Hindustani Classical Music. In Carnatic Music, the swaras are denoted as per the Melakarta System.

The Transition from Ga to Pa is an essential aspect which is to be practiced appropriately under the Guidance of a Flute Teacher.

The blowing intensity needs to be changed carefully without distorting the sound.

Extreme strong blows allow the artist to even play few extra notes beyond the range the flute (some times leads to whistle sound).

Angling the flute against the blowing hole, allows the artist to modify and fine tune a note to the original pitch. While blowing the air, the artist can choose either continuous blowing or non-continuous blowing or even use the tough/lips to vibrate the air to play the music.

Half finger closed musical notes
The artist can use the finger to close the hole half or quarter or three quarter to make different sounds, even though the sound does not falls in the standard keyboard but it is up to the imagination of the music artist to make those sounds.

This technique allows the artist to play almost 30+ notes in one flute. As a standard the black keys in a keyboard can be sounded in a flute with half finger closed on the corresponding hole.

Slow opening and slow closing the hole allows the music curves/pitching to move between one note to another note while continuously blowing, even two/three fingers can be slow closed and slow opened while continuously blowing. This sound curving technique produces the gamak characteristic of Carnatic music.

This technique allows the artist to play like a Song of male from the bird Asian koel. This can be related to hard pressing the Veena string to get the bending/pitching note or using a Pitch Wheel in an Electronic/MIDI keyboard.

Of the past

 * Palladam Sanjiva Rao (1882-1962), a disciple of Sharaba Shastri.
 * H. Ramachandra Shastry (1906 - 1992), a disciple of Palladam Sanjiva Rao.
 * T. R. Mahalingam (1926-1986), a child venuist prodigy who started playing the flute at the age of five years. He is most popularly known as "Mali" or sometimes "Flute Mali."
 * T.A. Hariharan, Disciple of T.K. Radhakrishnan
 * T.K.Radhakrishnan (1919-2003)
 * Manda Balarama Sharma, Disciple of T.R.Mahalingam
 * T. Viswanathan (1927-2002), grandson of Veena Dhanammal and brother of Balasaraswati
 * Cochin Ranganathan
 * B.N.Suresh, (1946-1990) disciple of T.R.Mahalingam
 * Prapancham Sitaram (d.2014)
 * N. Kesi (1918-2015)
 * Dindigul S.P. Natarajan, Disciple of T.R.Mahalingam
 * K.S. Narayanaswamy, (Flute) (d. 2003)
 * N Ramani (1934-2015), disciple of T.R.Mahalingam
 * A.V.Prakash (1941 - 2016)
 * Sikkil Sisters - Kunjumani & Neela

Of the present

 * G.Raghuraman (b.1968)
 * G. S. Rajan (b. 1962)
 * K. Bhaskaran (b. 1961)
 * B. Shankar Rao (1922 - 2020)
 * B.M. Sundar Rao (b. 1937)
 * T. S. Sankaran (1930 - 2015)
 * K. S. Gopalakrishnan (b. 1948)
 * Guruvayoor Srikishnan (1936 - 2019)
 * Tiruchy L. Saravanan
 * Ludwig Pesch
 * Thiagarajan Ramani (b. 1962)
 * Sikkil Mala Chandrasekar (b. 1963)
 * Kudamaloor Janardanan (b.1969)
 * Raman Kalyan
 * Shashank Subramanyam (b.1978)

title: Venu


text:
Karsten Friedrich Hoppenstedt

Karsten Friedrich Hoppenstedt (born 6 April 1937, in Osnabrück) is a German politician. He was a Member of the European Parliament from 1989 to 2009. He was a member of the conservative Christian Democratic Union, part of the European People's Party.

title: Karsten Friedrich Hoppenstedt


text:
Talk:List of defunct airlines

Merge each list
@here Hope you all are well. Proposing to make this a chart of all defunct airlines, with the continent and other attributes each being a column and ultimately removing their respective pages as they would become redundant. Bachn (talk) 02:40, 13 March 2020 (UTC)

Name Changes
I have noticed that there are some entries which are actually refering to former names of still existing airlines. Should we set a convention such that former names should have a seperate category? There are actually other complications to consider, since while we have some so-called "former airlines" which are still operating under a new name with a new management, there are also "name changes" which actually involves the ceasation of former companies in whole or part. Most problematic will be airlines which end up being split into two seperate companies. Should the original airline be listed as a defunct airline or not? Awaiting inputs from the rest of you!--Huaiwei 08:47, 7 Feb 2005 (UTC)

Defunct Airline Project
Though I have not started any official WikiProject, I am beginning a project to begin making Wikipedia pages on defunct airlines, since many of them, especially regional airlines of the 1960s-1990s do not have pages here. These airlines are of great interest because airlines such as these cannot exist today due to the strength of the major airlines. While there are some small regional airline companies, almost all are dba a larger airline, such as US Airways.

I think it is extremely interesting to see some of the locations served by these airlines. I strive when I begin a new article on a defunct airline to look where they served, because often times these small regional airlines served airports that are not served today, such as Dutchess County Airport in Poughkeepsie, New York, and Oneida County Airport in Utica, New York, etc.

I have started articles for Brockway Air, Command Airways, and Empire Airlines (1976-1985) so far (I started the project today). Let me know what you think, and let me know if you think a full-out WikiProject could be in order. And let me know if you want to help! -Jondude11 03:39, 7 December 2006 (UTC)
 * Recently I've been working on expanding some stubs for defunct regional airlines from the 1940s - 1960s. The one that's most complete at this point is Pacific Air Lines, which was one of the three airlines that merged into Air West, later renamed Hughes Airwest. I also try to expand articles about airliner crashes that deserve more details. I just did some nitpicky cleanup on the U.S. section of the defunct airlines list, to bring the entries into a more uniform format. I picked the most predominant format already in use in the US section, and used that in changing the ones that didn't conform.  - Itsfullofstars 22:01, 29 January 2007 (UTC)

Srpska (Bosnia and Herzegovina)
I changed Srpska (Croatia) to (Bosnia and Herzegovina) but maybe Srpska should be under the Bosnia and Herzegovina heading. I'm a newbie so I'm not sure. 211.31.8.240 13:09, 16 December 2006 (UTC)

Flags
Noticed that user User:Kzaral has added flags to all the country names - has this been discussed ? MilborneOne 18:04, 9 November 2007 (UTC)
 * Maybe he was being bold!

Split of defunct US airlines
Support The US is big enough to support its own list. List as a whole is quite hard to navigate around, maybe it should be split by continents? - Europe, Asia, North America, South America, Australasia & Oceana, Africa. Mjroots (talk) 08:41, 16 January 2008 (UTC)

I also support making the US defunct airlines a separate article, also the United Kingdom. They are too big and if India has been made a separate article with so few airlines compared to the USA and UK, why not do it. I agree with Mjroots to divide it by continents. (talk) 14 March 2008. —Preceding comment was added at 05:07, 14 March 2008 (UTC)

Ordering defunct airlines by date that they stopped operations would also be helpful for people following current events. —Preceding unsigned comment added by 72.205.12.72 (talk) 20:04, 15 April 2008 (UTC)

My opinion is that it should be split, it is after all a long list just like the Canadian one. --White Star Line Fan (talk) 03:31, 26 June 2008 (UTC)

title: Talk:List of defunct airlines


text:
Zhi Yao (monk)

Zhi Yao was a Buddhist author or translator active in China and first mentioned in Sengyou's Collected Records Concerning the Tripitaka, a catalogue published in 515 CE of Buddhist texts translated into Chinese. The text suggests he was contemporary with the translator Lokakṣema, who lived in the second half of the second century CE during the Han dynasty.

There is only one sentence regarding Zhi Yao in Sengyou's work, found in the section on Lokakṣema, that says only, "at that time there was also Zhi Yao, who translated the Chengju guangming jing." The catalog states this text, which can be rendered in English as The Sutra on the Completion of Brightness (成具光明經), was produced during the reign of Emperor Ling of Han, which would place it somewhere in the range of 168 to 190 CE.

The surname Zhi (支) typically indicated the person bearing it was of Yuezhi ethnicity, but it was also common practice in the Han dynasty for monks to take their teacher's surname, so his background remains uncertain.

Huijiao's (慧皎) Biographies of Eminent Monks (Gaoseng zhuan, 高僧傳), produced about 530 CE, also briefly mentions Zhi Yao. It states that he was a monk, and it also attributes an additional translation to him, namely the Xiao benqi (小本起), which is apparently lost.

The Buddhologist Jan Nattier briefly analysed the one text attributed to Zhi Yao by Sengyou, The Sutra on the Completion of Brightness. She concluded that it may be a Chinese apocrypha rather than a translation of an Indian text. She provides the following reasons: She also notes that the text is apparently not mentioned in other texts until the fourth century CE, while at the same time some of the word choices would be unprecedented for the second century yet are not unusual for a third or fourth century context. Taking all of the evidence together, she concludes it is difficult to confirm if Zhi Yao really existed given the time between his stated lifetime and his appearance in the historical record, and if he did, what if any relationship he had with the textual work attributed to him.
 * 1) the text is written in a highly refined domestic Chinese style unknown from other early Chinese translations from Indic texts;
 * 2) it makes reference to filial piety that strongly suggests a Chinese rather than Indian cultural context;
 * 3) it jumbles together well-established Indian tropes into unique arrangements that are unknown in Indian source texts; and
 * 4) it suggests a lack of familiarity with Indian cultural customs and monastic practices.

title: Zhi Yao (monk)


text:
Georg Jarzembowski

Georg Jarzembowski (born 3 February 1947) is a jurist and a former German and European Parliamentarian (CDU /European People’s Party). He lives with his wife in Hamburg and has one son.

Education and early professional life
After his school time at the High School Martino-Katharineum in Braunschweig – with one year as an exchange student at the William Penn Charter School in Philadelphia – and his military service he studied law at the University of Hamburg from 1968 until 1973. He passed his First Juridical State Exam in 1973 and his Second Juridical State Exam in 1975. From 1975 until 1978 he wrote his doctorate thesis on German and American corporation law – receiving his PhD title in 1980. 1978 he became a judge at the District Court of Hamburg and 1979 a legal adviser at the State Justice Department of Hamburg until 1991.

Political career
From 1979 until 1991 he served as a Member of the Parliament of the City-State of Hamburg. He was a Member of the Budget Committee and of the Committee für Port and Economic Affairs. He was the spokesman of the CDU-Group for Port Affairs. From 1991 until 2009 he served as a Member of the European Parliament. He was a Member and the Coordinator of the Group the European People*s Party in the Transport Committee. He was a Member and the Chairman of the Delegation of the European Parliament for the Relation with Japan and the Chairman of the EP–Taiwan Friendship Group.

Later career
Since his departure from the European Parliament he is active as an advisor on European Affairs and was also an attorney-at-law from July 2009 until May 2022. From 2010 until 2012 he additionally served as the Coordinator of the European Commission for the Functional Airspace Blocks System and from 2012 until 2013 as a Member of the Evaluation Panel on the European Aviation Safety Agency - EASA –.

title: Georg Jarzembowski


text:
User talk:Nobbie

Archive1

don't create duplicate articles
Don't create a duplicate article and then redirect the old page because it destroys the edit history which is a record of other people's work. — Dunc|☺ 23:25, 28 January 2006 (UTC)

Move from Capital Punishment to Death Penalty
This has already been discussed, extensively, and then voted on,. Even taking out the one person who voted to keep it at Capital punishment because the move was done improperly, 5 people voted for substantive reasons to keep it at Capital punishment, and nobody voted for Death penalty. Cheers, JCO312 18:20, 14 January 2007 (UTC)

Disputed fair use rationale for Image:NatureCover2001.jpg
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Disputed fair use rationale for Image:TLS cover.jpg
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Fair use rationale for Image:Bj cover.jpg
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Orphaned non-free image File:Embo cover.jpg
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File:April snapshot.png missing description details
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Request for comment
This message is being sent to you because you have previously edited the Naming conventions (use English) page. There is currently a discussion that may result in a significant change to Wikipedia policy. Specifically, a consensus is being sought on if the policies of WP:UCN and WP:EN continues to be working policies for naming biographical articles, or if such policies have been replaced by a new status quo. This discussion is on-going at Wikipedia talk:Naming conventions (use English), and your comments would be appreciated. Dolovis (talk) 16:52, 19 May 2011 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:58, 23 November 2015 (UTC)

title: User talk:Nobbie


text:
Elisabeth Jeggle

Elisabeth Jeggle (born 21 July 1947) is a German politician who served as a Member of the European Parliament for Baden-Württemberg from 1999 until 2014. She is a member of the conservative Christian Democratic Union, part of the European People's Party.

title: Elisabeth Jeggle


text:
Football field

Football field or football pitch may refer to the playing areas of several codes of football:

 * American football field
 * Australian rules football playing field
 * Canadian football field
 * Football pitch, for association football (soccer)
 * Gaelic football playing field
 * Rugby league playing field
 * Rugby union playing field

title: Football field


text:
Ewa Klamt

Ewa Klamt (born 26 May 1950, Straubing) is a German politician who served as a Member of the European Parliament for Lower Saxony from 1999 until 2009. She is a member of the conservative Christian Democratic Union, part of the European People's Party. From 2010 until 2013, she served as a member of the Bundestag, replacing Astrid Grotelüschen as representative of Delmenhorst – Wesermarsch – Oldenburg-Land.

title: Ewa Klamt


text:
Christa Klaß

Christa Klaß (also spelled Christa Klass, born 7 November 1951) is a German politician who served as a Member of the European Parliament from 1994 until 2014.

In 1975, Klaß became a qualified master in winemaking and has since been a self-employed wine-grower.

From 1994 Klaß served as a Member of the European Parliament for Rhineland-Palatinate, representing the conservative German Christian Democratic Union, part of the Group of the European People's Party (Christian Democrats) and European Democrats.

title: Christa Klaß


text:
Talk:Vega program

Mission Images
It would be great to see transmitted images from these missions included in the page. Are they available for use? — Preceding unsigned comment added by 108.23.70.192 (talk) 08:05, 9 August 2012 (UTC)

Origin of name
"the craft was designated Vega, a contraction of Venera and Gallei (from Halley, as the Russian language does not have the letter "H")"

The Russian language does not have the letter "H"?!? It certaily does have the letter (and the sound) "H", and it's written as "X", in the Russian alphabet. OK, maybe the name "Halley" is "Gallei" in Russian, but not because of the lack of the letter "H".

Any Russian speakers can clear this up, please? :)

 * It's not quite the same H sound. In any case, Russian commonly changes H's in foreign words to G's: Hitler → "Gitler", etc. Perhaps we could just say Gallei is Russian for Halley and leave it at that. -- Curps 15:06, 7 Feb 2005 (UTC)

 * English "H" sound doesn't exist in Russian. The "X" Cyrillic letter is commonly transliterated back as "kh". It's a much more closed sound, pronounced further towards your mouth, as opposed to the English "h". See also Kha for further info in more correct phonetic terms. BACbKA 20:28, 14 July 2005 (UTC)

It seems more likely that the name Vega was in fact chosen to commemorate the Vega Expedition of Adolf Erik Nordenskiöld. -- Petri Krohn 21:04, 8 October 2005 (UTC)

the vega stamps
I remember the colorful Soviet stamps commemorating the Vega mission --- does any collector have them around for a scan? BACbKA 20:28, 14 July 2005 (UTC)

CNES role
Wasn't the French space agency involved one way or another in this mission ? Provider of the balloons ? 137.82.201.190 17:18, 9 August 2005 (UTC)

Merge Vega 1 and Vega 2 into this page?
This is one of three pages that are for the most part redundant, the others being Vega 1 and Vega 2. The three pages should be merged into one page; I'm guessing the resulting single page would be about half the size of the three current pages. --Dan Griscom (talk) 03:33, 25 December 2007 (UTC)
 * Oppose - it is common practice to have seperate articles for individual missions, I can't see much of a reason to change this now. -- GW_SimulationsUser Page 21:43, 9 January 2008 (UTC)

That something is "common practice" does not mean that there are no circumstances that justify other approaches; nor does using another approach in a special circumstance force "common practice" to change. The two Vega space missions were unusually similar, in construction, mission and results. If you look at the two individual Vega pages you'll see that they consist of mostly identical information (excepting for various dates, times, distances, etc.). The Vega program page repeats much of the information a third time. My main objection is that this is extremely unwieldy; any information bought to Wikipedia about the spacecraft has to be added to three separate pages, which are slowly drifting apart in content and construction. Merging them would reduce the effort needed to improve the information, as well as improve the clarity for readers. --Dan Griscom (talk) 02:26, 5 February 2008 (UTC)

Question about lifting gas in Vega mission balloons
I have a question: The balloons in the Vega mission used helium as lifting gas. As explained in 'Lifting gas', this is not necessary in this quite dense atmosphere. Helium has the disadvantages of diffusing easily through a balloon's wall, the need to be transported in a compressed cilinder, and having to be inflated into the balloon at the right moment. That raises the question why they didn't simply bring some water in this balloon? During the journey in interplanetary space it would stay compactly frozen; as soon at it will enter the hot venus atmosphere (during a parachute descent) it will be heated to steam, automatically inflating the balloon. No pressure vessel needed, no special valves to let the gas into the balloon: fewer things that can fail. The lifting power of steam on Venus will certainly be sufficient to float a balloon in Venus' atmosphere and it will not easy diffuse through the balloon wall. Who can explain why they have chosen for helium? If you have a good explanation, please add it to the text of this article. Erik Wannee (talk) 20:03, 1 June 2011 (UTC)

Requested move

 * The following discussion is an archived discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: not moved. Favonian (talk) 18:19, 17 August 2012 (UTC)

Vega program → Vega programme – I'm not quite sure what the preferred WP:ENGVAR is for Russian/Soviet subjects, but I do know that the vast majority, if not all, of the other Russan/Soviet space programme articles are at the "programme" spelling, so it's likely that these (Vega program and Zond program) should be moved to that spelling, I believe. The Bushranger One ping only 05:02, 10 August 2012 (UTC)

 * Oppose - Per MOS:RETAIN. As Russia is not an English speaking country, there is no "strong national ties" to any variety of English.--Education does not equal common sense. 我不在乎  05:19, 10 August 2012 (UTC)
 * But is there not also an argument for consistency within a country's articles? As the other articles use "Programme". - The Bushranger One ping only 05:21, 10 August 2012 (UTC)
 * FWIW, seeing as at the time the USA and the USSR were the only countries that really had a space program, (yeah yeah others had small space programs, but nothing at the level of Nasa, and the Soviet space program) that would lean me towards American English as having strong national ties to the subject. (I'm not copying this to your other discussion) --Education does not equal common sense. 我不在乎  05:35, 10 August 2012 (UTC)
 * Oppose I'm absolutely sympathetic to your desire for consistency, but I think you're approaching it the wrong way. Given that the overarching parent article is at Soviet space program, a spelling also reflected in the navbox title (Luna programme's prominence there is noted, however). I don't see the issue as having strong national ties, but UQ makes a good case for American English as the tiebreaker. Thus, I would support moving all instances of "programme" in article and category titles relating to the Soviet space program to "program." How does that sound? --BDD (talk) 17:01, 10 August 2012 (UTC)
 * I'm fine with either spelling, as long as all the articles within the same country's program/me use the same spelling. - The Bushranger One ping only 22:39, 10 August 2012 (UTC)
 * Oppose Soviet space program is part of the Cold War space race, which did not involve Britain. Indeed, space should preferentially use US English, since it has a major space program, for non-English topics, unlike other English-speaking nations, per WP:TIES ; the only ones that should not use US English are the programs of English speaking nations (and ESA, which would use British) -- 70.24.247.242 (talk) 04:13, 11 August 2012 (UTC)
 * I'm sure the Russian space program/me would call bias on the US program being primary... - The Bushranger One ping only 16:24, 11 August 2012 (UTC)
 * Well, it is the primary English-speaking program. And the Soviet-US space race makes the Soviet program highly politically tied to the American program, so should use American English. Indeed, using British English for the Soviet program seems biased. -- 70.24.247.242 (talk) 04:20, 12 August 2012 (UTC)
 * Oppose as per WP:RETAIN to keep original spelling. Regarding consistency there are numerous examples of articles using different engvar and the consensus is usually to retain the existing variety, I think trying to change articles for the sake of consistency will inevitably lead to dispute. Zarcadia (talk) 10:46, 11 August 2012 (UTC)
 * Consistency within the same country's articles? - The Bushranger One ping only 16:24, 11 August 2012 (UTC)
 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

Vega program naming?
Does anybody know if the Vega program was named to commemorate the Vega Expedition, the first to navigate the Northeast Passage and the first circumnavigation of Eurasia? It seems quite probable, however we need a reliable ext ref. Cheers. --Mais oui! (talk) 09:20, 18 April 2013 (UTC)

Paywalled paper on balloon data
https://www.sciencedirect.com/science/article/abs/pii/0019103589901681

©Geni (talk) 03:26, 16 September 2020 (UTC)

title: Talk:Vega program


text:
Abe Lincoln in Illinois

Abe Lincoln in Illinois may refer to:
 * Abe Lincoln in Illinois (play), a 1938 play by Robert E. Sherwood
 * Abe Lincoln in Illinois (film), a 1940 biographical historical drama film
 * Abe Lincoln in Illinois (Hallmark Hall of Fame), an American television play
 * Abraham Lincoln's political career in Illinois

title: Abe Lincoln in Illinois


text:
Dieter-Lebrecht Koch

Dieter-Lebrecht Koch (born 7 January 1953) is a German politician who served as a Member of the European Parliament (MEP) from 1994 until 2019. He is a member of the Christian Democratic Union, part of the European People's Party.

title: Dieter-Lebrecht Koch


text:
Christoph Werner Konrad

Christoph Werner Konrad (born 28 August 1957) is a German politician. He was a Member of the European Parliament for North Rhine-Westphalia from 1994 to 2009 and a member of the conservative Christian Democratic Union, part of the European People's Party.

Born in Bochum, Northrhine-Westphalia, Konrad attended the University of Bonn on a political science and legal studies major, earning his Ph.D. under supervision of Karl Dietrich Bracher in 1990.

title: Christoph Werner Konrad