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Millennium Force

Millennium Force is a steel roller coaster located at Cedar Point amusement park in Sandusky, Ohio, United States. Manufactured by Intamin, it was the park's fourteenth roller coaster when it opened in 2000, dating back to the opening of Blue Streak in 1964. Upon completion, Millennium Force broke five world records and was the world's first giga coaster, a term coined by Intamin and Cedar Point to represent a roller coaster that exceeds 300 ft in height. It was briefly the tallest and fastest in the world until Steel Dragon 2000 opened later the same year. The ride is also the third-longest roller coaster in North America following The Beast at Kings Island and Fury 325 at Carowinds.

Millennium Force features a 310 ft cable lift hill with a 300 ft drop, two tunnels, three overbanked turns, and three hills. The coaster also has a top speed of 93 mph. Since its debut, Millennium Force has been voted the number one steel roller coaster ten times in Amusement Today 's annual Golden Ticket Awards. Although Millennium Force has been surpassed in height and speed, it remains one of the tallest and fastest coasters in the world.

History
The planning, design and development phases of Millennium Force took place over five years, from 1996 to 2000. The first rumors that a new record-breaking roller coaster would be built at Cedar Point, which included speculation about a ten-inversion roller coaster from Bolliger & Mabillard and an Arrow Dynamics MegaLooper, began circulating in early 1998. A roller coaster from D. H. Morgan Manufacturing was also rumored. On July 2, 1999, Cedar Fair Entertainment Company filed a trademark for the name Millennium Force, which raised more speculation about what the ride would be like. About a week later, the first track pieces were seen at the park, and it was confirmed that the ride would be manufactured by Intamin. Cedar Point officials also confirmed that it would not have inversions.

Announcement and construction
Millennium Force was announced on July 22, 1999. It would be the tallest roller coaster in the world, taking the record from Fujiyama at Fuji-Q Highland in Japan. The ride cost $25 million to design and build. Cedar Point, Intamin, and Werner Stengel designed the layout of the ride. After the ride was announced, several disputes about whether Millennium Force or Superman: The Escape was the tallest and fastest roller coaster in the world arose between Cedar Point and Six Flags Magic Mountain. Superman: The Escape is 415 ft high and its speed is 100 mph; however, it is a shuttle roller coaster, not a complete-circuit roller coaster.

Construction started in August 1999 when the site was cleared. Millennium Force was built in the Frontier Trail section of the park. The ride involved the relocation of the Giant Wheel and the Cedar Point and Lake Erie Railroad. The removal and relocation of the Giant Wheel began in October on closing day; the first of 226 supports was installed on October 11, starting at the brake run. Two hundred twenty-six footers, each about 5 ft deep were dug; the largest ones were 56 by. The concrete construction was done by Mosser Construction. The lift hill was topped off in early January 2000.

The ride's construction took seven months, and 120 construction workers and project managers participated. Testing took two months. The park conducted a "pull-through" by pulling a train along the course to ensure proper clearance. The ride was inspected and tested with water-dummies on the trains.

Opening and modifications
The first media event was held on May 11, 2000, and the ride opened to the public two days later on May 13. When it opened, it broke six world records. It was the first Giga Coaster and was the world's fastest complete-circuit roller coaster, but was later overtaken by other rides. The ride was so popular that guests consistently waited three to four hours to board. About a month after Millennium's debut, Cedar Point introduced a virtual queue system, "Ticket to Ride", which allowed visitors to buy a ticket then return later and wait in a shorter line. In August, Cedar Point engaged John Hancock and Associates and Stalker Radar of Indianapolis to measure the height and speed of Millennium Force. The height was measured at 310 ft, and the speed was measured at 93 mph, slightly faster than what the park had been advertising (92 mph).

Before the start of the 2004 season, Millennium Force's seat belts were modified because of an incident that occurred on Superman the Ride, a similar roller coaster at Six Flags New England. The new seat belts were shorter and some riders had difficulties with them. The roller coaster's layout was repainted over a three-year period, before the 2011, 2012 and 2013 seasons. In 2012, the park added a new LED lighting system.

For the 2020 season, following the COVID-19 pandemic, timed boarding passes called "Access Passes" were used temporarily to comply with social distancing guidelines in effect at the time.

Queue
Millennium Force's entrance is located behind the Cedar Point & Lake Erie Railroad's Millennium Midway station. The queue is situated between the ride's last overbanked turn and the station. A DJ booth was originally provided to entertain waiting visitors; the park's "Jamming DJ's" took requests for family friendly songs from people in the queue.

About a month after Millennium's debut, Cedar Point introduced a new queue system known as "Ticket to Ride" (later Fast Lane) to reduce the wait time. Visitors could buy tickets then return later and wait in a shorter line. This system was discontinued in 2004 after several people complained it was unfair that others were going ahead of them in line. In 2012, Cedar Point introduced its Fast Lane queue system on the ride; visitors can buy a wristband which enables them to wait in a shorter line. The system was tested at Kings Island the previous year, where it received positive reviews.

Layout
Millennium Force covers 13 acre; it runs parallel to the shoreline of Sandusky Bay, then travels to an island located inside the park. There are two tunnels, three overbanked turns and three hills. One cycle of the ride takes approximately 2 minutes and 20 seconds.

While the train is being loaded with passengers, the catch car for the cable lift descends the lift hill and latches onto the middle car underneath the train. Once the train is cleared, the cable lift immediately pulls the train up the 45-degree lift hill at 15 mph to a height of 310 ft. The train then drops 300 ft at an 80-degree angle and reaches a maximum speed of 93 mph at the bottom of the hill. This is followed by a climb of 169 ft through a right overbanked turn at 122 degrees from the horizontal axis, of which the train then travels through a tunnel as it passes over the Frontier Trail. The train proceeds over a 182 ft parabolic hill, which provides a moment of zero gravity as it passes over a lagoon and down onto Adventure Island.

It completes a 105 ft, 360-degree right-handed helix, followed by a left overbanked turn. This is followed by a small right-hand turn and another hill that leaves the island. The train then travels left through a second tunnel where the on-ride photo is taken, followed by a left turn and a small hill, passing by the queue. Finally, the train travels 68 ft high through another right overbanked turn over the queue and is stopped by magnetic brakes. Passengers disembark the ride at an unloading station and the train moves to a second station where it is reloaded with passengers.

Manufacturer
Millennium Force is a Giga Coaster model designed by Werner Stengel and built by Swiss manufacturer Intamin. It was the first of a series of roller coasters, including the now-defunct Top Thrill Dragster—the tallest and fastest roller coaster in the world in 2003—that Intamin built at Cedar Point. , Millennium Force is one of two Giga Coasters built by Intamin, the other being Project 305 at Kings Dominion.

Trains

Millennium Force operates with three stainless steel, stadium-style seating trains colored red, yellow, and blue. Each train has nine cars that seat four passengers, allowing a maximum capacity of 36 people per train and 1,300 riders an hour. Each seat has an individual, hydraulic, T-shaped lap bar and seat belt which rests across the rider's lap. Each train weighs 19 tons.

Station
The station has two platforms, one for unloading and one for loading. Two trains are loaded and unloaded while the third train is running the course. There is also a separate line in the station where riders can wait for the first seat. The loading platform has red overhead lights, which are located above the train. Millennium Force's theme song is played in the station while riders are boarding.

Track
The steel tubular track is 6595 ft long and the lift is approximately 310 ft high. The track is blue and the supports are silver. The track consists of 229 pieces, each weighing between 11000 and 17000 lb. Intamin supplied the track with hollow structural sections (HSS), which is used in all the track pieces, supports and towers. Millennium Force uses three different track shapes. The simplest sections are two-pipe track, made with two running rails connected by 6 inch square HSS cross-members. The ride also uses three-pipe track, which has two running rails with a backbone of round HSS, which forms a triangle. The third type of track forms a square and is considered the strongest. It has two running rails with two backbone tubes. As both a high altitude and high velocity ride, Millennium Force is affected by unfavorable weather conditions such as rain, lightning or strong winds; under these conditions the ride is closed, but in light rain it can remain open.

Lighting
When the ride opened in 2000, Cedar Point chose High End Systems, headquartered in Austin, Texas, to light the ride. Rob Decker, Cedar Point's Corporate Director of Planning & Design, said that they thought they would have to mount multiple floodlights on the tower. However, they were able to install thirty EC-1 floodlights at the base of the lift hill structure which provided lighting throughout the ride's structure. Of the six main support towers, three had six EC-1s, and three towers had four EC-1s. The three tallest towers had another unit in the middle.

Over the years, the lights were not maintained and grew noticeably dimmer. In 2012, Cedar Point introduced a nighttime show, Luminosity — Ignite the Night!, to "re-energize" the park at the end of the day. New LED lights from Sunrise, Florida-based Chauvet Professional were installed to illuminate the ride. Twenty COLORado Range and ten COLORado Ridge wash lights were installed at the base of the lift hill structure.

Records
When it opened in May 2000, Millennium Force broke five world records among roller coasters and introduced a new magnetic braking system instead of the commonly used friction brakes. This new system enabled the use of a shorter brake run, enabling the train to slow down from 65 mph to a standstill in only six seconds.

Millennium Force's records as the tallest and fastest complete-circuit roller coaster were broken several months later in August when Steel Dragon 2000 opened. It remained the tallest and fastest at Cedar Point until 2003, when the park debuted Top Thrill Dragster, the tallest and fastest roller coaster in the world.

Roller coaster records
Millennium Force held the following records at the time of its debut:
 * First ever complete-circuit roller coaster to top 300 ft
 * Tallest complete-circuit roller coaster (310 ft)
 * Longest drop on a complete-circuit roller coaster (300 ft)
 * Fastest complete-circuit roller coaster (93 mi/h)
 * Steepest non-inversion banked turn on a roller coaster (122°) (Half Corkscrew)

Park records
At the time of Millennium Force's debut, Cedar Point held records for the following:
 * Most rides at an amusement park (68)
 * Most roller coasters at an amusement park (14)
 * Most steel roller coasters at an amusement park (12)
 * Most feet of roller coaster track at an amusement park (44,013 ft)

Reception
Millennium Force has one of the longest lines in the park, with passengers waiting over four hours when the ride debuted. The ride received positive reactions from visitors, many of whom said it was smooth and very comfortable. Others said, "It'll scare the daylights out of you". In its first six years of operation, Millennium Force had over 10 million riders. By August 2012, Millennium had given more than 21 million rides. Several television shows, including the Travel Channel's Extreme Terror Rides, Bert the Conqueror, Off Limits, the Discovery Channel's Extreme Rides, and the National Geographic Channel's Super Coasters have featured Millennium Force. Out of over 500 roller coasters that Werner Stengel has engineered, he stated that Millennium Force is his favorite. Robb Alvey, a notable roller coaster enthusiast, called it a "milestone in roller coaster history".

Rankings
Millennium Force has consistently ranked high in various polls and has won numerous awards. Millennium Force and Superman the Ride (formerly Bizarro) at Six Flags New England held the top two places in the Golden Ticket Awards from 2001 to 2015, and Millennium has continued to rank among the top three steel roller coasters since then. In the Travel Channel's Insane Coaster Wars, Millennium Force was voted the "fan favorite" in the Extreme Heights and The Top 10 categories. In 2013, Time ranked Millennium Force as the top roller coaster in the United States.

Incidents
On September 2, 2001, the cable used to haul trains up the lift broke during a morning test run, resulting in the stranding of 30 park employees at the top of the coaster's lift hill 275 feet (84 m) above ground. It took about an hour for all employees to be brought down.

In July 2023, a duck flew into a moving train and reportedly became trapped between a seat and a portion of the ride train. The duck was removed by a guest, who turned it over to Guest Services, and the duck was later turned over to wildlife rehabilitation services.

title: Millennium Force


text:
Melissa Holliday

Melissa Deanne Holliday (born October 30, 1969) was Playboy magazine's Playmate of the Month for January 1995. Holliday also made an appearance on Baywatch that same year.

From June 26-July 12, 1995, she underwent ECT for depression at St. John's Hospital and Health Center in Santa Monica, California. She later sued the hospital and the doctors involved in a civil lawsuit over alleged medical malpractice, assault and battery, and personal injury. She has also claimed that: "I've been through a rape, and electroshock therapy is worse".

Holliday has sung at a Chrysler convention and done voice-overs for TV commercials.

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

title: Melissa Holliday


text:
Talk:Luther's Small Catechism

[Untitled]
I removed the reli-stub template because, short of adding the whole book, it's not clear what more one would really want to say. -johnh — Preceding unsigned comment added by Johnh (talk • contribs) 01:18, 11 February 2005 (UTC)

[Untitled 2]
The links to the LCMS, the WELS, and the CLC versions of the Catechism are broken. I hope to get back to this and update the links. D Brugge (talk) 07:14, 3 April 2015 (UTC)

External links modified
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title: Talk:Luther's Small Catechism


text: User talk:69.225.87.219

title: User talk:69.225.87.219


text:
Talk:Renault 5

Wrong year of the death of Michel Boué
Monsieur Olivier Guin has requested information from city of Vendome, and the document shows that Michel Boué was born in 27 May 1932, and died the 26 December 1972.

Entry level model to 1984
The entry level model was not the 'L'. The entry level model was simply termed Renault 5 (with no letter) and was 782cc. It was not exported as the article says. The 'L' model had an engine around 850cc and was occasionally seen in GB at least. The saloon version was the Renault 7 (not exported to GB). — Preceding unsigned comment added by 82.34.48.80 (talk) 19:47, 19 March 2018 (UTC)

Discussion
I saw the template and there appears to be no Renault 13. Why?? Georgia guy 01:23, 11 Feb 2005 (UTC)

Superstition, as there is no number 13 in car racing. Ericd 16:55, 13 Mar 2005 (UTC)

Campus
"The Campus name was revived in 2005 with the Renault Clio II."

I once drove a mk1 Clio Campus. From the V5: RENAULT CLIO RL CAMPUS 3 Door Hatchback 01171 (cc) 28/02/1994 —Preceding unsigned comment added by 80.76.203.9 (talk) 14:35, 4 November 2010 (UTC)

 * ^ I'd back that up, as the "Campus" name has been used on all generations of small Renaults I've seen from the 5 onwards, but I think for it to be encyclopaedic you would at least need an anonymised photo of your reg certificate, or some promotional materials/brochures etc. 193.63.174.211 (talk) 14:48, 10 February 2012 (UTC)

V70 used as example of car with lights along entire C pillar
Why is the 1998 Volvo V70 used as an example of a 'much later' car with lights along the entire C pillar when it was done significantly before that? Off the top of my head, the Fiat Punto (1993) comes in earlier and I doubt it was the first. --Kiand 04:08, 19 July 2006 (UTC)
 * ...Probably because most anglophone wiki users are from North America, and whereas there are an awful lot of Volvos in North America, there are, as far as I know, vanishingly few Fiats there.  But from a European perspective you are right:  I've made the change since no one else seems to have reacted to your thought.   Regards Charles01 12:11, 16 November 2007 (UTC)

Regarding this matter... Has anyone bothered to take a look at the SuperCinq's C pillar? Because, unless i'm seriously mistaken, the lights go way up there in that model, so there shouldn't be a need to point other latter cars.Southwestsoul (talk) 17:10, 7 July 2009 (UTC)
 * A cursory look at the images in the article, or a google image search, would have answered that one: They don't. The S5's lights do rise a little higher than on the original car, but only enough to be roughly in line with the lower window swage. The rest of the pillar is covered with a plain plastic trim panel. 193.63.174.211 (talk) 13:16, 10 February 2012 (UTC)

Why no mention of mileage? It seems this is important, car companies are peddaling vehicles with 35mpg as if it is something new and special? Le Car had 45 to 55mpg! Why is this left out of the all the information?? —Preceding unsigned comment added by 74.73.175.51 (talk) 11:58, 19 October 2009 (UTC)
 * Because they realise that most consumers a/ have short memories and/or are just plain stupid and gullible, b/ don't actually pay attention to that and won't do any research, c/ don't care. In a country where setting a pump price even half what most europeans accept as normal is tantamount to inciting riots, only those riding around in sub-20mpg vehicles really care very much about fuel costs, and nowadays that means you're either too loaded to care (Escalade, Viper) or too poor to do much about it or to need to go very far (old near-junk gas guzzlers). Witness the total failure of diesel to get a foothold.
 * It's happened the same over here as well, and worse so because of how our mileage rating system changed. To compare an old car's highway "steady speed" mileage to a current one, you have to go out and measure the modern car yourself, and dig out the old one's figures yourself. Thus I find, e.g., that a late 80s/early 90s "eco" Supercinq, or an early diesel VW Polo embarrasses my not-quite-an-eco-model-but-only-by-a-sliver Clio DCi (producing, officially, 110g CO2/km and therefore qualifying for the second-lowest tax band, after the sub-100s who don't pay any) - I've wrung around 65-68mpg out of it on a flat 56mph test run (and a peak of 78mpg cruising and coasting across a quiet town around 20-40mph) when the S5 managed an official 67 (on what is, around here, a 5% cheaper-per-litre fuel) and the Polo 74 at the same speed. OK, they had lower power outputs, and less weight, but I thought my turbocharger (= variable displacement engine, varying between a base of the Polo's 1450ish cc with less compression and a leaner burn, and a full-on effective 3500ish at full boost), much better aerodynamics, long-ratio gearbox and highly complex computer controlled fuelling system might have helped to nullify those advantages?
 * Thing is, the modern cars have a whole load of extra safety, luxury/comfort, and emissions control systems on board, not least of all much fatter tyres with greater rolling resistance to go with their improved grip (it takes a LOT to make my Clio skid...). And these things came in ahead of the current push for Ultimate Economy, so in the meantime typical everyday-car economy dropped pretty hard - mid thirties or even high twenties of miles per UK gallon (sub-30 US) was normal for a while even with low powered city cars. We're now clawing our way back. Compared to what we previously achieved, this is small beer (hey, the car's almost 40% faster, accelerates somewhat harder, is much more safe and comfortable, and it still only lost a couple of MPG at 56mph...), but it's far better than where we fell to. They're doing the speed camera lobbyist thing of only comparing the current situation to the most recent historical extreme outlier and conning us into doing the same.
 * Still, apart from a couple of very specialist, poorly driveable and not very popular models in the 80s (Metro HX, Civic HE(?), Citroen AX diesel), the latest crop of euro eco cars are setting a true high water mark. All the ones that score <100g/km, and therefore qualify for various tax breaks, also get 78mpg UK or better on the COMBINED test (city AND open-road driving, up to 75mph) - about 66 US - as the former is worked out from the latter. Some even push below 90g (and so 87mpg UK), with the current grail being either 83 or 78g - 94mpg (3L/100km) or 100mpg. Most of them retain good performance and driveability, certainly far better than the 80s cars because the gains have come from a myriad of subtle tweaks to engine, drivetrain, and the car as a whole. And there's nary a hybrid in sight, apart from the japanese-californian ones and the unaffordable Lexi. Except Smart's misnamed start-stop system, and the very interesting new 4wd diesel-electric Peugeot family car, which no-one's got road test figures for yet... 193.63.174.211 (talk) 13:16, 10 February 2012 (UTC)

Merge
so why are there 2 pages?? --matador300 21:48, 4 August 2006 (UTC)

Let's keep the popular culture in it. Many other auto pages have include pop culture references, making it more interesting.

Please let's not merge Renault 5 with "Renault 5 Alpine" and "Renault 5 Alpine Turbo" pages...

I suppose "Renault 5 Alpine" and "Renault 5 Alpine Turbo" pages could be (and probably should be) merged into "Renault 5 Alpine".

The Renault 5 Alpine and Alpine Turbo were special cars that are not well known these days, but important in their contributions to modern hot-hatchbacks. Keeping them in their own article allows more detailed information and discussion, and more emphasis on these models, than would be possible with leaving everything on one page. R5gordini (talk) 13:21, 17 January 2008 (UTC)

Black rear-registration-plate-lights
Can somebody write in the article why the rear lights that light up the number-plate are so unnecessarily huge on this car? It is a design point that always made me curious so I think would be worth mentioning if anybody knows why it is.... 78.16.155.27 (talk) 18:58, 21 December 2008 (UTC)

 * Hmm interesting. Maybe it's an aerodynamics thing? They found that two blocky ones at the sides had less detrimental effect than a single large central one? And as the handle was at the bottom rather than halfway up, there was nowhere to stow such a thing anyway? Note that the Supercinq styling changes deleted them in favour of now-conventional uplighters with no aerodynamic impact at all... 193.63.174.211 (talk) 13:21, 10 February 2012 (UTC)

Years offered in North America
The Renault LeCar was offered in North America through the 1983 model year. It was canceled due to the debut of the AMC/Renault Encore for model year '84. I also took out the reference to the cost in North America, since it didn't specify Canada or the US, and because the price changed over the 8 model years it was offered in those markets. 7Inline6 (talk) 22:44, 4 May 2009 (UTC)

Racing history
The results don't agree with the main Monte-carlo page - were they class wins? If so, it ought to be made clear. 80.229.251.193 (talk) 03:48, 9 August 2009 (UTC)

Engine size(s)
I had a Renault 5 GTX & I'm sure it had a 1.9 engine - I distinctly remember it was somewhat larger engine capacity than the turbo that was popular at the same time. Gwladys24 (talk) 02:09, 9 November 2009 (UTC)

I've recently bought a 22 year old 5 GTX, it's a 1721cc, as standard, the first turbos were 1400cc, then later 1721 turbos. —Preceding unsigned comment added by 92.9.162.8 (talk) 03:18, 24 June 2010 (UTC)

 * To complicate matters, Renault do tailor their vehicles quite a bit for different markets. EG in Britain where diesel is expensive and still seen as a bit of a beggar's choice, only the economic 68 and 80hp, 1461cc versions of the DCi engine were commonly offered on my Clio; the "warm hatch" 100hp, with a bigger intercooler, was a special option. And the 1.9L, 130+hp hot hatch variety was only available on the continent (beside the 45 and 55hp non-turbo 1.4L van-body models), with their cheaper Gazole and greater penetration of derv burners. Could very well be that you somehow got a "weird one" which was a grey/parallel import, once belonged to an enthusiast, etc. In fact, the idea of having a single master list of engines for a modern-ish Renault, as if any one part of the world had all of them on offer at once, is a bit kooky ;-) ... I think they even still produce some carburettor versions of their petrol engines, and indirect-injection & pumpe-duse versions of their diesels, for "certain markets" where highly advanced injector technology would just be a liability. 193.63.174.211 (talk) 14:55, 10 February 2012 (UTC)

1.1L 44hp performance?
Do we have any citations for this (incomplete) output and performance list? I'm having a lot of trouble believing that the same car which can only reach 84mph with a 44hp motor takes less than 14 seconds to sprint to 100km/h, especially when the 110hp turbo model still takes about 9s. It's 2.5x the power, the difference should be quite a bit more than that, and as I've put in the citation-needed edit note, I believe it's more likely that the 1.1 is slower than that the turbo is quicker - simply on the basis of its similarly-powerful contemporaries being in the 15-20s zone (probably 16-21 in fact), and although it's a light car, it couldn't be THAT light without having the interior stripped and all non-structural parts replaced or removed. Especially as it's poor aerodynamics (and gearing, on a 4-speed box) are betrayed by that low top speed when 87~89 should be more likely. 18.3s is a more realistic time, and a believable typo... as well as being a 33% longer period. The contemporaries I mentioned were in the 750-900kg range; if we assume 18.3 is slap in the middle of that at 825, then it'd have to be under 650kg to reach that level of performance, maybe under 600 as weight would count for less vs thrust against aero drag at higher speeds. Would the early 80s, 1100cc R5 be under 650kg? Perhaps, but given the more papery Citroen AX was just a kiss under 750, I doubt it.

In any case, we could do with the actual figures for all of those, if someone knows a reliable, citeable source we can get them from. 193.63.174.211 (talk) 15:04, 10 February 2012 (UTC)

Production figures problem
The total number of Supercinq is given as something over 3 million, but the yearly production figures in the table are so low that you don't even get to a fraction of that. I think the yearly figures from 1984 onward are wrong - maybe they refer to just the R5 exluding the Supercinq? Eti erik (talk) 09:36, 31 January 2024 (UTC)

title: Talk:Renault 5


text: Talk:Robert Scoble

title: Talk:Robert Scoble


text:
KVR

KVR may refer to:
 * Kettle Valley Railway, discontinued railway company in Canada
 * Kangra Valley Railway, Mountain railway in Himachal Pradesh, India
 * K29HW-D, formerly known as KVR-TV, a student television station in Austin, Texas

title: KVR


text:
Heart Like a Wheel

Heart Like a Wheel is the fifth solo studio album by Linda Ronstadt, released in November 1974. It was Ronstadt's last album to be released by Capitol Records. At the time of its recording, Ronstadt had already moved to Asylum Records and released her first album there; due to contractual obligations, though, Heart Like a Wheel was released by Capitol.

Heart Like a Wheel reached the top of the Billboard 200, becoming her first number one album in the United States. The lead single a cover of Dee Dee Warwick's "You're No Good" peaked at number one on the Billboard Hot 100. At the 18th Annual Grammy Awards, the album was nominated for Album Of The Year, while her version of "I Can't Help It If I'm Still In Love with You" won the award for Best Country Vocal Performance, Female.

Widely considered Ronstadt's breakthrough album, it was selected by the Library of Congress to be inducted into the National Recording Registry in 2013. In 2020, it was ranked number 490 on Rolling Stone 's 500 Greatest Albums of All Time.

Reception
Heart Like a Wheel became Ronstadt's first album to hit the top spot on the Billboard Top 200 album chart and spent four weeks at number 1 on the Billboard Country Album chart in early 1975. "You're No Good," the first single release from the record company, reached number 1 on Billboard's Hot 100. A cover of The Everly Brothers' "When Will I Be Loved" spent two weeks at number 2 on the Hot 100 in June 1975 and reached number 1 on the Cash Box Pop singles chart and on the Hot Country Songs chart. Buddy Holly & the Crickets song, "It Doesn't Matter Anymore", also appeared on the Pop, Adult Contemporary and Country charts.

Stephen Holden's 1975 review Rolling Stone described the title track as "a masterpiece of writing and arrangement" and lauded the album's expansive repertoire, production and song selection. The album's cover of Hank Williams's "I Can't Help It (If I'm Still in Love with You)," peaked at number 2 on Billboard Hot Country Songs chart.

Heart Like a Wheel spent 51 weeks on the album chart.

Retrospective reviews of Heart Like a Wheel widely regard it as a high-point in Ronstadt's oeuvre. In his review for AllMusic, Stephen Thomas Erlewine described it as "a landmark of '70s mainstream pop/rock." John Lingan claimed in his review for Pitchfork that "[Ronstadt] had one power, but it was a superpower. Viewed from one angle, Linda Ronstadt’s career is the story of a woman gradually recognizing the power of her own voice. She had the tone early, but you can hear her control improve in each successive album. Her breaths sound more natural, her vibrato becomes more pronounced. By Heart Like a Wheel, she’d mastered it."

In 1976, the album earned Ronstadt four nominations at the Grammy Awards. She won Best Country Vocal Performance, Female for the track, "I Can't Help It If I'm Still In Love with You". She was also nominated for Album Of The Year and Best Pop Vocal Performance, Female. Producer Peter Asher was among the nominees for Producer of the Year.

In 2006, CMT ranked "Heart Like a Wheel" No. 34 on its list of the 40 greatest albums in country music. The album was ranked No. 490 on the September 22, 2020 edition of Rolling Stone's 500 Greatest Albums of All Time.

Heart Like a Wheel was selected for preservation in the National Recording Registry in 2013 for being "culturally, historically, or aesthetically important."

In 2018, Heart Like a Wheel was inducted into the Grammy Hall of Fame.

Personnel
Adapted from album's liner notes.

 * Linda Ronstadt – lead vocals, backing vocals (2, 4, 6, 9)
 * Andrew Gold – electric piano (1, 3), electric guitar solo (1), drums (1–3, 7), percussion (1–3), acoustic piano (3–5, 8, 10), electric rhythm guitar (4), tambourine (4, 6), guitars (6), backing vocals (6, 7), acoustic guitar (7, 8), ukulele (8). Credit on album cover: "Special thanks to Andrew Gold for his help with the arrangements."
 * Eddie Black – electric guitar (1)
 * Bob Warford – acoustic guitar (2, 4, 8), electric guitar solo (4), electric guitar (7)
 * Sneaky Pete Kleinow – pedal steel guitar (2, 7, 8)
 * J. D. Souther – acoustic guitar (3), harmony vocals (3)
 * Herb Pedersen – banjo (3), backing vocals (7)
 * Paul Craft – acoustic guitar (9)
 * John Starling – acoustic guitar (9)
 * Danny Pendleton – pedal steel guitar (9)
 * John Boylan – acoustic guitar (10)
 * Glenn Frey – acoustic guitar (10)
 * Kenny Edwards – bass guitar (1, 2, 6–8), backing vocals (6, 7)
 * Chris Ethridge – bass guitar (3)
 * Emory Gordy Jr. – bass guitar (4)
 * Tom Guidera – bass guitar (9)
 * Timothy B. Schmit – bass guitar (10)
 * Dennis St. John – drums (4)
 * Russ Kunkel – drums (6)
 * Lloyd Myers – drums (8)
 * Don Henley – drums (10)
 * Peter Asher – percussion (2), cowbell (6), backing vocals (10)
 * Jimmie Fadden – harmonica (2, 7)
 * David Lindley – fiddle (5, 8)
 * Gregory Rose – string arrangements and conductor (1, 2, 10)
 * David Campbell – string arrangements (5), viola (5)
 * Dennis Karmazyn – cello (5)
 * Richard Feves – double bass (5)
 * Clydie King – backing vocals (1)
 * Sherlie Matthews – backing vocals (1)
 * Wendy Waldman – backing vocals (2)
 * Cissy Houston – backing vocals (4)
 * Joyce Nesbitt – backing vocals (4)
 * Maria Muldaur – backing vocals (5)
 * Emmylou Harris – harmony vocals (8)

Production
 * Peter Asher – producer
 * Val Garay – engineer, mixing
 * David Hassinger – engineer, mixing
 * Dennis Ferrante – assistant engineer
 * John Haeny – assistant engineer
 * Peter Kelsey – assistant engineer
 * George Massenburg – assistant engineer
 * Peter Swettenham – assistant engineer
 * Bernie Grundman – mastering at A&M Mastering Studios (Hollywood, California).
 * Rod Dyer – design
 * Leandro Correa – photography
 * Eve Babitz – photography

title: Heart Like a Wheel


text:
Moros y cristianos

Moros y Cristianos or Moros i Cristians, literally in English Moors and Christians, is a set of festival activities which are celebrated in many towns and cities of Spain, mainly in the southern Valencian Community. According to popular tradition the festivals commemorate the battles, combats and fights between Moors (i.e. Muslims) and Christians during the period known as Reconquista (from the 8th century through the 15th century). There are also festivals of Moros y Cristianos in Spanish America.

The festivals represent the capture of the city by the Muslims and the subsequent Christian reconquering fight. The people who take part in the festival are usually enlisted in local associations called filaes (singular filà) or comparsas (companies that represent the Christian or Moor legions). Each side consists of various companies that carry out activities throughout the year, organizing spectacular parades during the days of the festival and spending a lot of gunpowder with firing salutes from the arquebus in dramatized battles. The festivals last for several days, and feature festive parades with bombastic costumes loosely inspired by Medieval fashion. Christians wear fur, metallic helmets, and armor, fire loud arquebuses, and ride horses. In contrast, Moors wear ancient Arab costumes, carry scimitars, and ride real camels or elephants. The festival develops among shots of gunpowder, medieval music, and fireworks, and ends with the Christians winning a simulated battle around a castle.

Due to Spanish Empire expansion, the performing art has been adapted in other places in Europe, America, and Asia, as in the Philippines since the 17th century and is a popular street play throughout the country. Unlike the Spanish version, the Philippine version is dominated by indigenous Philippine cultures which are used in language, costumes, musics, and dances of the play. The main story of the art, however, has been faithfully retained. Similar celebrations in Zacatecas, México, are called Morisma.

Origin
Theatrical festivities with this setting are already documented even before the end of the Reconquista itself, in 1426 in Murcia and in 1463 in Jaén. The modern "comparsas" or companies of Moors and Christians have their origin in the old Soldadesca, the local militia that carried out military acts of display or exhibition of the troops if required to pay tribute to some authority. Traditionally they carried out these troop parades during the so-called "royal festivities" for the visit of the king, a royal anniversary, commemoration of a victory or birth of a prince. In certain towns, these acts of the militia were also carried out to honor the local patron figure on his holiday, which is why it survived as annual celebrations.

The historical element is added by taking advantage of these festivities for the representation and exhibition of Moors and Christians comedies, normally with a moralistic or religious didactic character. It is from the beginning of the 19th century when the first texts of Las Embajadas (the Embassies) appear, which require the need for two sides facing each other for the conquest of a castle.

Venues
The most well-known Moors and Christians festival are the Moors and Christians of Alcoy that takes place in Alcoi (Valencian Community) from 22 to 24 April, around the Feast Day of Saint George (Valencian: Sant Jordi; Spanish: San Jorge), the patron saint of the Crown of Aragon (Catalonia, Aragon and formerly also of the Valencian Community). According to legend, after James I of Aragon reconquered the city of Alcoi, the Moors, in turn, tried to recover it. As fighting was about to resume, Saint George miraculously appeared, and the frightened Moors scattered in defeat. Other traditions ascribe a miraculous saintly appearance to Saint James (Santiago), the patron saint of Spain, particularly at the Battle of Las Navas de Tolosa (in what today is the municipality of La Carolina, Province of Jaén, Andalusia), sometimes guiding the Christians to surprise the Moors; else rallying Christian forces during the battle. The feast day of St. James is 25 July, so some of the Moors' and Christians' festivals occur at the end of July. La Vila Joiosa / Villajoyosa celebrates it in the last week of July, with a reenactment of the Berber pirate attack of 1538 (desembarc), according to tradition repelled when St. Martha (feast day 29 July) sent a flash flood. Especially in northern and western Spain (Catalonia, Valencian Community, and other places), parades associated with Corpus Christi celebrations may feature gigantic costumed Moors and Christians, also commemorating the Reconquest.

Other noteworthy Moors and Christians festivals are celebrated in the towns of Bocairent (a Medieval town, 1–5 February), Banyeres de Mariola (22-25 April), Villena with approximately 12,000 participants (most crowded festival), Almoradí (early August), Biar, Cocentaina, Crevillent, El Campello, Elche, Elda, Muro d'Alcoi, Oliva, Ontinyent (late August), Orihuela, Petrel, Sax, Novelda, Monforte del Cid, and some districts of the city of Alicante.

Andalusia also has very interesting Moors and Christians performances, especially in the former Moorish kingdom of Granada. Performances are mostly organized in rural towns and villages, such as Válor, Granada, a small town in the Eastern Alpujarras.

Spaniards took this tradition overseas. In the Philippines, fiestas often include a moro-moro play. The show begins with a parade of stars in colorful costumes: Christians wear blue costumes, while Moors wear fully ornamented red costumes. Mexico, Guatemala, Peru and Colombia also have festivals featuring Moors and Christians reenactments (the Mexican term is morisma).

Music
A significant amount of incidental music has been composed and still is composed annually for these parades. It is known as música festera and comes from military band marches. There are currently three main genres: the classic and popular pasodobles, the melodious marchas moras (Moorish in style), and the forceful marchas cristianas. In Spain a marching band or concert band plays the repertoire for these parades, in the two latter types of marches the band's music is reinforced by timpani, concert bass drums and a gong.

Philippine Moro y Cristianos
In the Philippines, the performing art is officially called Moro y Cristianos Street Drama by the National Commission for Culture and the Arts, the cultural agency of the government. On July 5, 1637, Jesuit priest F. Hironimo Perez finished the first Moro y Cristianos play in the Philippines. The first drama was played in a church, and was presented to the governor-general for a victory play against Muslims in the south. Afterwards, the play became known in the common tongue as moro-moro, which is the common name of the street drama today. The street drama itself, however, did not draw from actual Christian-Muslim conflict in the Philippines. The main precursor of its popularity in the Philippines was the indigenous awit and corrido traditions in Philippine native cultures.

When performing, the representations for the Christians are in blue, while the representations for Muslims are in red or maroon. The street drama includes pasa dobles tune marches, rigodon in battles, courtships between a Moro prince and a Christian princess and vice versa, and a conclusion which usually depicts the Muslim converting into Christianity, the Muslim dying, or the appearance of the Virgin Mary or a saint as the intervention figure of the conflict. The komedya usually begins with a loa, followed by a parada. Usually, the main part of the story begins with a Muslim embahador delivering a challenge to an equally-boastful Christian. The street drama became popular in the rural areas due to the inputting of folk traditions in the play and the need of the people for leisure, especially after a hard day at labor. Overall, the Philippine moros y cristianos may last from one to several days, depending on the Philippine-written script being used.

In 2011, the performing art was cited by the National Commission for Culture and the Arts as one of the intangible cultural heritage of the Philippines under the performing arts category that the government may nominate in the UNESCO Intangible Cultural Heritage Lists.

title: Moros y cristianos


text:
Wikipedia:Articles for deletion/Wehe

 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. -- AllyUnion (talk) 06:29, 17 Feb 2005 (UTC)

Wehe
Totally useless. Just a bunch of personal info on some user. Better suited for a blog than for a Wiki. - Kross 8:36 PM, 10 Feburary 2005 (ET)
 * Delete -- AllyUnion (talk) 02:34, 11 Feb 2005 (UTC)
 * Delete -- Only things that comes to my mind is "So what?" and "Who cares?" (Zzyzx11 02:50, 11 Feb 2005 (UTC))
 * Delete, not notable, possible artist vanity. Megan1967 03:26, 11 Feb 2005 (UTC)
 * Delete, It's all been said. Inter 09:50, 11 Feb 2005 (UTC)
 * Delete : in agreement Courtland 03:18, 2005 Feb 12 (UTC)
 * Delete not notable and useless information. Epsilon 20:59, 13 Feb 2005 (UTC)
 * Delete. Carrp | Talk 04:32, 15 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.

title: Wikipedia:Articles for deletion/Wehe


text:
F for Fake

F for Fake (Vérités et mensonges, "Truths and lies"; Fraude, "Fraud") is a 1973 docudrama film co-written, directed by, and starring Orson Welles who worked on the film alongside François Reichenbach, Oja Kodar, and Gary Graver. Initially released in 1974, it focuses on Elmyr de Hory's recounting of his career as a professional art forger; de Hory's story serves as the backdrop for a meandering investigation of the natures of authorship and authenticity, as well as the basis of the value of art. Far from serving as a traditional documentary on de Hory, the film also incorporates Welles's companion Oja Kodar, hoax biographer Clifford Irving and Orson Welles as himself. F for Fake is sometimes considered an example of a film essay.

In addition to the 88-minute film, in 1976, Welles also shot and edited a self-contained nine-minute short film as a "trailer", almost entirely composed of original material not found in the main film itself.

Plot
The film opens with Welles performing magic tricks for some children while Kodar watches nearby. Welles quotes Robert-Houdin to the effect that a magician is just an actor. Welles promises that for the next hour everything in the film will be based on solid fact. Kodar is then shown strolling around a street in a miniskirt while being ogled by the men on the street. Welles reveals the footage is taken from another experiment about girl-watching, where Kodar deliberately drew attention to herself and the men were unaware they were being filmed. Welles says her story will continue later in the film, and then narrates the story of Elmyr de Hory, an art forger who sold many fake paintings to museums and collectors all over the world. De Hory is shown throwing a dinner party at his home in Ibiza and being feted by European society, although he dances around the question of whether he is guilty or not. One of those filmed is Clifford Irving, who had published a biography of de Hory called Fake, and was later revealed to have been the forger of a fake "authorized biography" of Howard Hughes. Welles discusses the irony of Irving commenting on de Hory's forgery, while having committed a version of it himself (Welles states his belief that Irving must have been in the process of working on the hoax at the time he was filmed for the de Hory project). Irving and de Hory tell about the art dealers who were fooled by the forgeries, and Welles considers the question whether this means art dealers and appraisers are fake also.

Welles presents more of Irving's story of having had secret contact with Hughes, and the odd stories of Hughes's behavior that may or may not have been true. He wonders if believing such stories makes a person credulous or not, and questions the true wisdom of so-called experts, who verified Irving's forgery as authentic. Reichenbach is shown telling how de Hory provided him with several paintings of questionable authenticity, but the art dealers he gave them to were willfully blind to it. Welles notes that de Hory does not even own the house he lives in; it is provided for him by an art dealer. Welles recounts his own past use of fakery: how he got a job in Ireland by falsely claiming to be a famous New York actor, and how his broadcast of The War of the Worlds made deliberate use of fake news to enhance the story. He also notes the coincidence that his first film Citizen Kane was originally going to be a fictionalized version of Howard Hughes.

Irving describes how de Hory was nearly destitute when younger and subsisted in America by making and selling forgeries that were indistinguishable from the real works, while remaining one step ahead of the law through frequent relocations. He finally moved to Ibiza, but was not prosecuted for lack of witnesses to the actual forging, as well as the scandal that might be aroused by revealing the depth of the art market's complicity in the deception. De Hory insists he never signed any forgery, and Welles wonders whether, given the fact that all art eventually falls away to ruin, a signature truly matters to any art work. He illustrates the point by shots of the cathedral of Chartres, pointing out that the names of the men who created the magnificent building and the sculptures which adorn it are unknown. They did not sign their work, but it has endured.

Welles finally presents Kodar's story: she holidayed in the same village as Picasso, who noticed her and painted 22 pieces with her as the model. She insisted she be allowed to keep the paintings, but later when Picasso read about an acclaimed exhibit of 22 new pieces of his, he flew there in a rage, only to discover the pieces were all forgeries. Kodar took Picasso to her grandfather, the forger. In a verbal re-enactment by Welles (grandfather) and Kodar (Picasso), the forger defended his work with pride, saying he invented a new Picasso period. The grandfather suggests that the forgeries go un-reported, to allow him an artistic legacy that Picasso already has. Picasso angrily demanded the paintings back, which is impossible because the grandfather had burned them. Welles then confesses that he had promised everything in the "next hour" was true, and that hour had already passed. He admits the entire story of Kodar, her grandfather, and Picasso was made up. He apologizes, quotes Picasso's statement that art is a lie that makes us see the truth, and bids the audience good evening.

Cast

 * Orson Welles – Himself
 * Elmyr de Hory – The Art Forger
 * Oja Kodar – The Girl
 * Joseph Cotten – Special Participant
 * François Reichenbach – Special Participant
 * Richard Wilson – Special Participant
 * Paul Stewart – Special Participant
 * Mark Forgy – Assistant to Elmyr de Hory
 * Alexander Welles – Special Participant (as Sasa Devcic)
 * Gary Graver – Special Participant
 * Andrés Vicente Gómez – Special Participant
 * Julio Palinkas – Special Participant
 * Christian Odasso – Special Participant
 * Françoise Widhoff – Special Participant

Others

 * Peter Bogdanovich – Special Participant (voice)
 * William Alland – Special Participant (voice)
 * Howard Hughes - Himself (uncredited)
 * Jean-Pierre Aumont – Himself (uncredited)
 * Laurence Harvey – Himself (uncredited)
 * Clifford Irving – Himself (uncredited)
 * Nina van Pallandt – Herself (uncredited)

Background
Orson Welles was hired to edit a documentary by François Reichenbach about the art forger Elmyr de Hory. The film grew over time to encompass de Hory, as well as de Hory's biographer Clifford Irving, who was revealed to be a forger himself. Keith Woodward explains: "following Irving’s hoax, Welles and his cinematographer, Gary Graver, shifted gears, scrambling to keep up with the Hughes affair, adding new shots, re-thinking the narrative, re-editing, re-combining different themes, incorporating emerging material." Welles used these circumstances to produce a meditation on the nature of fakery, which he called " a new kind of movie … it’s a form, in other words, the essay, the personal essay, as opposed to the documentary."

Several storylines are presented in the film, including those of de Hory, Irving, Welles, Howard Hughes and Kodar. About de Hory, we learn that he was a struggling artist who turned to forgery out of desperation, only to see the greater share of the profits from his deceptions go to doubly unscrupulous art dealers. As partial compensation for that injustice, he is maintained in a villa in Ibiza by one of his dealers. What is only hinted at in Welles's documentary is that de Hory had recently served a two-month sentence in a Spanish prison for homosexuality and consorting with criminals. (de Hory would commit suicide two years after the initial release of Welles's film, on hearing that Spain had agreed to turn him over to the French authorities.)

Irving's original part in F for Fake was as de Hory's biographer, but his part grew unexpectedly at some point during production. There has not always been agreement among commentators over just how that production unfolded, but the now-accepted story is that the director François Reichenbach shot a documentary about de Hory and Irving before giving his footage to Welles, who then shot additional footage with Reichenbach as his cinematographer.

In the time between the shooting of Reichenbach's documentary and the finishing of Welles's, it became known that Irving had perpetrated a hoax of his own, namely a fabricated "authorized biography" of Howard Hughes (the hoax was later fictionalized in The Hoax). This discovery prompted the shooting of still more footage, which then got woven into F for Fake. Interweaving the narratives even more, there are several pieces of footage in the film showing Welles at a party with De Hory, and, at one point, De Hory even signs a painting with a forgery of Welles's signature. Some of Hughes's career is outlined in the form of a parody of the "News on the March" sequence in Citizen Kane. Welles also draws parallels between the De Hory and Irving hoaxes and his own brush with early notoriety by including a recreation of part of his 1938 War of the Worlds radio drama, which had simulated a newscast about a Martian invasion and sparked panic among some listeners.

The story about Kodar, her grandfather, and Picasso and some forger paintings that the grandfather supposedly made is presented at the end of the film before Welles reminds the viewer that he only promised to tell the truth for an hour, and that "for the last 17 minutes, I've been lying my head off." In the commentary to the Criterion Collection DVD release of F for Fake, Kodar claims the idea for this segment as her own. She also claims credit for the movie's opening sequence, which consists of shots of a miniskirt-clad Kodar walking down streets while rubbernecking male admirers (unaware that they are being filmed) stop and openly stare. This sequence is described by Kodar as inspired by her feminism; in his narration, Welles claims the footage was originally shot for an unrelated production.

Filming locations

 * Rome, Italy – Girl-watching sequence
 * Ibiza, Spain – 16 mm elements from the original Reichenbach documentary
 * Paris, France – Gare d'Austerlitz, Champ de Mars, art gallery on left bank, La Méditerranée seafood restaurant
 * Los Angeles – The Beverly Hills Hotel – The ham sandwich of Howard Hughes
 * Chartres Cathedral – France
 * Orvilliers, France – Orson Welles and Oja Kodar house—editing-room scenes, set for various indoor scenes
 * Houdan, France – Oja and Picasso story
 * Paris-Orly Airport – South terminal terrace and main hall

Trailer
F for Fake was not released in the USA until 1976. When it finally came out, Welles produced a preview "trailer" for it, which was effectively a wholly original nine-minute film, shot and edited in a similar style to the film itself. Apart from some very brief split-second camera shots, the entire film is a self-contained short containing original material starring Welles, Gary Graver and Oja Kodar. The trailer raises new questions about key people in the main film: Picasso, Kodar, Elmyr, and others. These allegations are supposedly revealed in the main film. They include a wig, Oja Kodar's fake name, her tiger (not shown in the film at all), and extraterrestrial sponsors of Welles's War of the Worlds broadcast. The trailer has subsequently been restored in colour, and is included as an extra on some DVD versions of the film.

Critical reception
F for Fake faced widespread popular rejection. Critical reaction ranged from praise to confusion and hostility, with many finding the work to be self-indulgent or incoherent. F for Fake has grown somewhat in stature over the years. The film embraces ideas from the self-conscious notation of the film process to the ironic employment of 1950s-era B movie footage (Earth vs. the Flying Saucers). Welles thought he was creating a new form of cinema. When writer Jonathan Rosenbaum asked Welles if he was creating a documentary, he replied: “No, not a documentary—a new kind of film."

On review aggregator Rotten Tomatoes, the film has an approval rating of 88% based on 50 reviews, with an average rating of 7.79/10. The website's critical consensus reads: "F for Fake playfully poses intriguing questions while proving that even Orson Welles' minor works contain their share of masterful moments." In July 2021, the film was shown in the Cannes Classics section at the 2021 Cannes Film Festival.

Questions of truthfulness
Author Robert Anton Wilson, a great fan of the film, argued in Cosmic Trigger III: My Life After Death that the film was itself largely an intentional effort at fakery by Welles in support of the film's themes. Most directly, Wilson reports that in the BBC documentary Orson Welles: Stories of a Life in Film, Welles stated that "everything in that film was a trick." Secondly, many of the interviews in the film were with people who were themselves directly involved with forgery in one way or another, often making statements that would have been known by the filmmakers to be false, but which were allowed to pass without comment in the film. Similarly, Welles himself made numerous false statements about Oja Kodar in the film. Finally, Wilson points out several scenes which, while presented in a way that implies they were filmed in real time, were upon further inspection clearly fabricated from unrelated pieces of footage in a way guaranteed to mislead the casual viewer. An example of this appears with a series of near-wordless shots of Irving and de Hory seemingly in debate as to whether de Hory ever signed his forgeries; the shots of Irving and de Hory were in fact taken at different times.

Welles's autobiographical asides in the film reflect on his 1938 radio adaptation of The War of the Worlds, which he alleges caused a nationwide panic with its fake news broadcast. In introducing this chapter of his life, Welles declares his uncertainty as to his own authenticity, as he believes he too has engaged in fraud. While the basic facts of The War of the Worlds incident are correctly given, the apparent excerpts from the play featured in the movie are fabrications, including a scene in which President Roosevelt meets the Martian invaders—something which did not happen in the original broadcast.

Home media releases

 * 1995 Home Vision Cinema, Janus Films VHS (FAK 010), 25 July 1995
 * 1995 The Criterion Collection, Laserdisc (Spine #260), 27 July 1995 – Single disc edition, with the special feature of the Theatrical Trailer contained after the film
 * 2005 The Criterion Collection, Region 1 DVD (Spine #288), 26 April 2005 – Two-disc special edition including audio commentary by Oja Kodar and Gary Graver, an introduction by Peter Bogdanovich, and the documentary Orson Welles: One-Man Band (1995)
 * 2009 Madman Entertainment Directors Suite, Region 4 DVD, 20 May 2009 – Special features include audio commentary by Adrian Martin, Monash University, and the documentary Orson Welles: One-Man Band (1995)
 * 2010 Eureka Video: Masters of Cinema, Region 2 DVD (Spine #31) – Special features include audio commentary by cinematographer Gary Graver and Bill Krohn, and Jonathan Rosenbaum on F For Fake

title: F for Fake


text:
Wikipedia:Articles for deletion/Nimismo Kingjuan

 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. -- AllyUnion (talk) 06:28, 17 Feb 2005 (UTC)

Nimismo Kingjuan
Yet another one that I'm tempted to speedy. Websearch reveals nothing, not surprisingly. Is it possible the title is a misspelling of a real person's name? CJCurrie 01:33, 11 Feb 2005 (UTC)
 * Delete. Nothing on Google, poorly written. The supposed backstory indicates that this could be a worthy entry if there is any truth or substance to it, but without confirmation this is purely speculation. -- RPIRED 01:38, 11 Feb 2005 (UTC)
 * Delete -- AllyUnion (talk) 02:34, 11 Feb 2005 (UTC)
 * Delete, not notable - zero Google hits. Megan1967 03:25, 11 Feb 2005 (UTC)
 * Delete not notable JoJan 20:02, 11 Feb 2005 (UTC)
 * Delete : in agreement Courtland 03:16, 2005 Feb 12 (UTC)
 * Delete. Carrp | Talk 04:32, 15 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:
Edward Calvert (painter)

Edward Calvert (20 September 1799 – 14 July 1883) was an English printmaker and painter.

Early life
Edward Calvert was born in Appledore, near Bideford in Devon, the son of Captain Roland Calvert. After a spell in the Navy he studied art at Plymouth and the Royal Academy Schools (1824). His early visionary work was greatly inspired by William Blake, and he became a member of the Blake-influenced group known as The Ancients which met at Samuel Palmer's in Shoreham, Kent in the later 1820s and early 1830s.

Work
Amongst Calvert's finest works are exquisite miniature wood engravings which date from this early period; his wood and copper engravings all date from 1827–31, but were only seen by friends until published by his son in 1893 in an edition of 350. He also made etchings. In 1844 he visited Greece.

Personal life and later years
Much of his subsequent life was spent with his wife Mary, in Dalston and nearby Hackney, a short distance from London. His work from this later period (not considered his best) shows a Classical influence.

Edward Calvert and his wife are buried at Abney Park Cemetery, Stoke Newington, London; the headstone reads He was welcomed in Helicon.

Legacy
The British Museum has some 65 of his drawings, and about 40 prints, as well as many of the printing blocks and plates for them.

His third son, Samuel Calvert, was an artist and engraver active in Australia and produced a memoir of his father in 1893.

title: Edward Calvert (painter)


text: User talk:64.45.226.93

title: User talk:64.45.226.93


text:
Talk:Luanne Platter

Relationship
Luanne is Peggy's niece. It may be technically correct to call her Hank's niece, too, but it is more accurate to refer to her as Peggy's niece. (Luanne is the daughter of Peggy's brother). --Ben James Ben 01:36, 2005 Feb 11 (UTC)
 * Luanne's father, Hoyt Platter is Peggy's brother. This is canonical; Peggy mentions it in the episode Luanne's mother shows up in. So, Luanne technically is Hank's 'niece-in-law'. CFLeon 21:36, 15 June 2006 (UTC)

Voting
Luanne nearly voted for the Communist Party. If there is proof that she nearly voted for the Democratic Party as well, I sure would like to see it.
 * I'm the one who reverted your edits, and yes, I do watch the show, ever since season 1. I reverted your edits as potential POV.  I'll leave it alone for now, until you can provide proof for your statement.  — EagleOne\Talk 17:04, 26 September 2005 (UTC)

"Starving Irish babies"?
That was never serious; it was a one-shot joke- Luanne interrupted Buckley's memorial service with the rant. It was meant as a reference to Sinéad O'Connor. CFLeon 21:36, 15 June 2006 (UTC)

 * Agreed I'm going to alter that part.--T. Anthony (talk) 06:24, 9 February 2009 (UTC)

Luanne Platter Image deletion
I don't know why but someone decided to erase my perfectly good image of Luanne Platter and replace it with nothing. Whoever wanted to upload an image named image:Naked Ambition.jpg should not be editing. I put the image back so that everyone can see what Luanne Platter looks like. JKFoster 14:11, 15 August 2007 (UTC)

Pregnancy
luanne gets pregnant in season 10, episode "edu-macating lucky". in season 12, "lady and gentrification", she and lucky are pushing a stroller down the sidewalk.

but when was she EVER pregnant??? —Preceding unsigned comment added by Maxfan (talk • contribs) 21:45, 26 June 2008 (UTC)

In tonight's episode Luanne gave birth, when would be the appropriate time to post information about this since it has not yet aired in the Western United States. Rosie, Queen of Corona (talk) 01:59, 9 February 2009 (UTC)

it just finished in MN 173.18.37.64 (talk) 02:01, 9 February 2009 (UTC)
 * The policy is that it can be added as soon as it first airs on TV anywhere. I already added in some info on it. I didn't write down the weight or length of her daughter though. Anyone who lives on the west coast (or someone who recorded it on a DVR), the info is displayed on-screen at the end of the episode.  TJ   Spyke   02:46, 9 February 2009 (UTC)

Brittany Murphy
Brittany Murphy just died, what will happen to Luanne because of this? Chard513 (talk) 20:59, 20 December 2009 (UTC)

 * Not a whole lot, given that King of the Hill is no longer in production.76.116.207.128 (talk) 00:18, 21 December 2009 (UTC)
 * It definitely is now, thanks to revival. 101.115.187.5 (talk) 08:57, 18 October 2023 (UTC)

It still is in production Chard513 (talk) 01:47, 21 December 2009 (UTC)

Not what wikipedia is about.--Brian Earl Haines (talk) 17:39, 21 December 2009 (UTC)

The show is no longer in production, it ended in September. However, Brian is right. None of the other character pages contain information on their voice actors so it seems out of place to include it here. 207.67.97.117 (talk) —Preceding undated comment added 18:17, 21 December 2009 (UTC).

 * It totally is now, with the revival. So the question remains. 101.115.187.5 (talk) 08:59, 18 October 2023 (UTC)

Bring this article back
For god's sake, can we bring it back? It doesn't deserve to be in a merged page. it should be seperate. 101.115.187.5 (talk) 08:56, 18 October 2023 (UTC)

title: Talk:Luanne Platter


text:
Talk:Jack Ryan (politician)

Untitled
Ok I am not definitely in support of this guy, he seems like a major douche bag in my opinion. But as liberal democrat and an honest person, I must say that this article on this guy seems very left winged. The tone seems very one sided. But in the end thought this guy sucks so I dont really ALL that much.

 * Any specific criticisms? I'd appreciate if you'd let me know how to improve the article (or you can edit yourself, if you'd like). Thanks, Meelar (talk) 03:43, Feb 11, 2005 (UTC)

 * It seems pretty factual to me; there's a part where it discusses what his reactions to the allegations were, then it goes on to discuss what the Republican Party did in response. Quentin mcalmott 20:17, 10 February 2006 (UTC)

 * I'd like to know who the California judge is. Obama might still be a State Senator if not for his or her intervention. Another one of the great 'what if's' of history? Plasterblast 0:32, 11 January 2008 (UTC)

Off Topic?
This article is stupid. 90% of the content is about one thing: unsealing of divorce records during the senate race and the related sex scandal! —Preceding unsigned comment added by 162.108.43.241 (talk) 14:15, 19 August 2009 (UTC)

The details about the results of the Illinois race seem to go off topic after the point where Ryan dropped out (I feel that they do not seem to pertain to him at all). They also seem to change th subject of the article from him to the race, which is definitely not the focus of this wikipedia article. The details would have more relevance in an article about Obama or Alan Keyes. - Dragnilar 10:52, 20 April 2006 (UTC)

He would not have won whether this comes out or not. Illinois is a democratic state, Joh Kerry destroyed Bush that year, not all of those people would have split their ticket. Plus the Republican primary which he won did not even have half the votes Obama received in the Democratic primary. —Preceding unsigned comment added by 67.174.2.67 (talk) 22:51, 27 December 2009 (UTC)

Dumbest Sex Scandal in American Political History
The first sex scandal in American Political History where no one had sex.

He is accused of propositioning his wife (albeit in a kinky manner).

She refused.

He said OK.

This was so idiotic. He should have come clean sooner and no one would have cared (people in divorces make outragous statements. 198.232.63.43 23:09, 8 September 2006 (UTC)

Goes to demonic character. Also in later TV interviews Jerri Ryan specifically said he forced her to watch groups more than once on more than one trial visit. Watching is considered a sex act at least for some people in some states. She also implied that he did essentially overpower her and force sexual contact on one occasion.

Besides I think you may just be saying it is stupid to have to pay (in this case socially) for what you personally would not find fully sexual satisfying. You are in a minority if you think a whore's bargain need be fulfilled for a sex scandal.

But I agree wives have suffered worse. Just not that anyone should pass up an opportunity to crucify a politician. 69.23.124.142 (talk) 18:02, 26 October 2008 (UTC)

 * It's NOT the CRIME, it's the COVER-UP! 75.2.251.46 (talk) 18:12, 18 August 2009 (UTC)

 * WTF are you people talking about. The article says "sex scandal" once and no further mention of sex.  If it happened, list the details, if not, take it down.  So stupid.  You guys above talking about "whore's bargains" and what not look like morons. 67.41.202.126 (talk) 20:54, 23 October 2012 (UTC)

 * I was informed by an official in the Illinois Republican Party (now deceased) that the real problem was that before the papers were unsealed, Ryan was called in by the heads of the party and asked, "Is there anything in these records that we should be concerned about?" and he replied that there wasn't. Then the records were published, and there most certainly was cause for concern. As the person who related this told me, "If we had known, we could have easily spun what Jeri said as the accusations of an aggrieved ex-wife. But Jack's lie was unforgivable." JHobson3 (talk) 12:30, 27 May 2018 (UTC)

Platform
I have a problem with part of the Platform section. "stresses accountability in education and freedom." Freedom? As opposed to other politicians, who are obviously anti-freedom. Jack Ryan may describe is platform as 'pro-freedom' but so would John Kerry, Pat Buchanan and, yes, his former opponent Barack Obama. Saying a candidate id 'pro-freedom' doesn't say anything. It's also NPOV as it suggests that his opponents are anti-freedom, which is neither fair, nor comfirmable. 140.160.66.49 00:24, 9 March 2007 (UTC)

Attribution needed for somewhat silly statement

 * Others pointed out that the allegations were never proven, and in fact, Ryan was awarded additional custody rights at the end of the hearing, suggesting the allegations were not deemed reliable by the judge

I added the attribution need tag and really be removing this line unless someone adds something as the line sounds a but dumb to me. I see no reason to presume the judge didn't believe her simply that he or she probably didn't see it as relevant. There is no suggestion by her he tried to coerce her or anything like that so it's arguable if it should or would in any way affect his fitness to be a parent (anymore then it should or would affect her fitness to be a parent if she was doing a similar thing) Nil Einne (talk) 08:37, 31 December 2007 (UTC)

 * Not true. Jerri Ryan has said in TV interviews that he stopped just short of raping her. That is supposedly in the records. But the news has only paraphrased what they consider appropriate...with some legal issues still remaining as well as TV ratings for all audiences.
 * Without published quotes, that's irrelevant. Without quoted explanation from the parties, she went to the clubs of her own free will and he stopped before raping her. If there was threat or the time preceding the "stopping short of rape" merely felt threatening, then that is a different issue: it can be threatening, harassment, unwanted sexual contact or a variety of other things dependent on details but "stopping short of rape" still means no rape. Whether you are disgusted with that sort of behaviour or not, there are many different lines (legal and moral) to cross - he may have crossed some, he didn't cross others and those details matter... but they're not worth discussing without details and reliable references.

 * Besides, Nil Einne's argument regarding references and interpretation of data still stands. In addition, unless you have a reliable source to the contrary, Nil Einne's statement that "there is no suggestion by her that he tried to coerce her..." may have been true at least in the custody hearings, which is the portion being discussed. Personally, I would find it weird that she said that, like that, and would still refer to him as "a good man and a good father." The latter, maybe, but is it likely that someone would refer to the man who regularly coerced her as a "good man?" I would love to see references.--Blondtraillite (talk) 15:06, 6 November 2009 (UTC)

 * As far as custody goes...barring criminal conviction civil suit judges tend to go with big wealth differences as being the most important deciding factor in who gets what custody rights. Theoretically the wealthier parent provides kids better standard of living, better health care, and better educational opportunities. At the time of the original divorce, Jerri Ryan was an intermittently employed actress without much of a reputation and a former Miss America/model versus her ex-husband's millions.

69.23.124.142 (talk) 18:16, 26 October 2008 (UTC)

 * I agree that an attribution is needed for a variety of reasons: that is not the only possible interpretation of the judge awarding additional custody rights. You cannot read minds, so unless the judge has revealed the logic process OR there is an legal profession analyst who you can quote to say that the analyst believes that is the interpretation, it shouldn't be used. For example, another alternative explanation is the judge believing that sexual proclivities of any type (with the except of pedophilia and and anything involving the child's presence) do not in and of themselves reflect a parenting style, good or bad (in other words, I agree with Nil Einne in this respect). Or maybe the judge was concerned at the time about a parent who would claim such events were coerced or non-consensual later but did not have the strength to stand up for herself sooner, putting into question her ability to stand up for her son (which I don't believe to be true in general of parents, but it's possible he thought that). Or maybe it wasn't Jeri Ryan's employment/wealth but her unpredictable schedule at the time. Or something else entirely! There are an infinite number of possibilities and any references to some thought process or "judgement" (value attribution) to the decision should be cited and reliable.--Blondtraillite (talk) 15:06, 6 November 2009 (UTC)

Born circa 1960???
OK this guy was born in a First World country in a time when accurate birth records were being kept. So what is his actual birth date? User:Juvarra 15:30, 16 March 2008 (GMT)

 * You might be able to look it up in records but generally I see editors take that down for being original research (see Melanie Chishokm's talk page, for example). Unless it is in a newspaper or similar reliable source, I don't see that information staying.

Non Sequitur
"The following week, on April 2, 2004, Barack Obama formally established his position about the Ryans' soon-to-be-released divorce records, and called on Democrats to not inject them into the campaign."

Really, what does this mean? The dirty work was done by his allies so he could hold up clean hands? Exactly the same thing happened with fellow Democrat Blair Hull. The politics of personal destruction. —Preceding unsigned comment added by 84.67.35.223 (talk) 11:26, 7 November 2008 (UTC)
 * And your point is? 75.2.251.46 (talk) 18:09, 18 August 2009 (UTC)

any relation to George Ryan?
Is Jack Ryan any relation to George Ryan, the former Illinois governor? 216.164.40.152 (talk) 01:10, 10 December 2008 (UTC)
 * No. 75.2.251.46 (talk) 18:07, 18 August 2009 (UTC)

Worth hundreds of millions from Goldman float??? - not possible
This article claims that Ryan was worth hundreds of millions from the Goldman float. My understanding is that only the few partners that were on the Executive Committee got stock worth that much. The average partner got about $60 million. This quote of "hundreds of millions" is bogus. I am going to change it unless anybody has any objections. — Preceding unsigned comment added by 109.154.15.227 (talk) 07:14, 16 July 2011 (UTC)

Potential vandalism / defamation, not a true edit.
I hope someone will look at my recent edit (now reverted) and tell me what elements of it provoked the above description. —Tamfang (talk) 07:21, 14 January 2015 (UTC)

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Obama wasn't Ryan's opponent
One of Ryan's opponent's names, the Democrat, maybe, has been replaced with "Obama." 2601:701:C000:CCC0:3145:FD80:89E2:B979 (talk) 18:56, 22 January 2024 (UTC)

title: Talk:Jack Ryan (politician)


text:
Talk:Lyonesse

Heerke ye men
The quote in the article ("Heerke ye men...") is fairly obviously pure invention in a pseudo-archaic style, with spellings distorted to give a superficial resemblance to Middle English. Unless some better source for it can be found than "an ancient book discovered in an old castle", it ought to be disposed of. 24.39.212.83 01:37, 11 Feb 2005 (UTC)

Merge proposal
I think the information on the City of Lions can easily be accomodated in this article. Madmedea 10:12, 23 May 2007 (UTC)
 * Agree. DuncanHill 11:14, 23 May 2007 (UTC)
 * Ditto. --Cúchullain t/ c 21:16, 23 May 2007 (UTC)
 * I've merged what little was worth saving from the other page, now redirected here. Enaidmawr (talk) 00:30, 21 January 2008 (UTC)

Needs reworking
This article is not really up to Wikipedia standards; there's a lot of shoddy research, and modern fictions are presented as if they were legends of great antiquity, or even as if they have a basis in fact. It's impossible to track down the sources of this research and evaluate them, however, because nothing is cited! RandomCritic 13:40, 18 June 2007 (UTC)

The "Kings of Lyonesse" section is particularly egregious in this regard. I have no idea where this information comes from, but it is clearly neither old nor reliable, let alone "derived from Welsh myth". One clear giveaway is the use of the very late English form "Tristram" together with Welsh epithets, as if it were a Welsh name. In fact, when Tristan appears in medieval Welsh stories (very briefly and obscurely, btw), it is as Drystan fab Tallwch, a clear allusion to a Pictish hero, Drust son of Talorc (which underscores, btw, the originally northern -- not Cornish -- connections of the Tristan character). Meliodas only appears in the late French Prose Tristan -- in earlier Tristan legends, various names, none looking like Tallwch or Talorc, appear, showing that Tristan got inserted in the continental romances without a fixed patronymic. The list of Kings of Lyonesse is a palpable fiction, and I should be surprised if it's over a century old, if that. If it's properly sourced and characterized it can stay -- presumably in the modern fiction section -- otherwise, it should really just be deleted. RandomCritic 13:59, 18 June 2007 (UTC)

 * Nigel Pennick's book Lost Lands and Sunken Cities, and the map of Lyonesse drawn by Agnes Strickland, plus the website and a number of others of a similar nature devoted to genealogy. TharkunColl 15:40, 18 June 2007 (UTC)

 * What in interesting website. You didn't notice something funny about a genealogy asserting the existence of a Juan of Castile and a Maria of Castile in the 6th century?  You understand that there was no such place as the Kingdom of Castile in the 6th century, when Spain was controlled by Romans and Visigoths?  That genealogy is a tissue of fabrications, completely worthless. RandomCritic 16:58, 18 June 2007 (UTC)

 * We are talking legend here, not history. Do you not understand the difference? TharkunColl 17:46, 18 June 2007 (UTC)

 * The problem is the article doesn't distinguish between what comes from old legend, what comes from modern fiction, and what is true. This needs to be remedied.--Cúchullain t/ c 18:43, 18 June 2007 (UTC)

 * Agree with Cúchullain and RandomCritic. The "Kings of Lyonesse" section is not encyclopedic, for all the reasons given above. As someone who is familiar with medieval Welsh literature and tradition, I'd like to know where the names "Tristram Fawr/Fychan" come from. The source is a single late Italian romance. I admit I've not read it, but am quite sure those are not the forms found there. So, what is their provenance? They're modern Welsh (Fawr is "(the) Great" by the way, not "the Elder" as given here...) and as pointed out above, Drystan is the name found in Middle Welsh. The articles on these supposed kings need looking at as well. Enaidmawr (talk) 01:02, 21 January 2008 (UTC)

193.97.35.253 (talk) 14:12, 8 August 2008 (UTC) Maybe it is only me but in Breizh there is a place called Leon know as the coast of legends, http://fr.wikipedia.org/wiki/Pays_de_L%C3%A9on this is not really far away from Broceliande... —Preceding unsigned comment added by 193.97.35.253 (talk) 14:02, 8 August 2008 (UTC)

"The author French Prose Tristan appears to place Léonois contiguous, by land, to Cornwall", not by confusion. This author was not french but normand. He lived in England and speak french, the language of England at this time. He knowed very well geography, better than certain contemporain people, and place in Brittany the Loonois near the Cornwall (Cornouaille, in french) as it is still today. For memory, the king of Cornwall in Britain (Kernew) and of Cornwall in Brittany (Kerneo) was the same at thise time. His name was Conomor. —Preceding unsigned comment added by 81.66.73.147 (talk) 04:24, 17 December 2008 (UTC)

It seems to me that there is some plagiarism at work here. If you look at http://www.reference.com/browse/lyonesse you will notice many similarities, especially in the sections "Lyonesse in Arthurian Legend" and "Lyonesse in Celtic Mythology". I don't know which page the information originally came from, but there is definitely a problem that needs called to attention. — Preceding unsigned comment added by 72.13.208.124 (talk) 22:09, 1 August 2011 (UTC)

This whole page is bunkum. All that we know of the subject could be covered in a couple of paragraphs. I would rather someone binned it if it is nor corrected. Simple minds can be further led astray thinking that this is an encyclopedia! — Preceding unsigned comment added by Acorn897 (talk • contribs) 01:02, 21 January 2021 (UTC)

title: Talk:Lyonesse


text:
There Goes Rhymin' Simon

There Goes Rhymin' Simon is the third solo studio album by American musician Paul Simon released in May 1973. It contains songs spanning several styles and genres, such as gospel ("Loves Me Like a Rock") and Dixieland ("Take Me to the Mardi Gras"). It received two nominations at the Grammy Awards of 1974, which were for Best Pop Vocal Performance, Male and Album of the Year.

As foreshadowed by the lead single "Kodachrome" (which reached No. 2 on the Billboard charts, behind Billy Preston's "Will It Go Round in Circles"), There Goes Rhymin' Simon was a bigger hit than its predecessor, reaching No. 2 on the Billboard 200 chart (behind George Harrison's Living in the Material World), and No. 1 on Cashbox for one week from June 30, 1973. In the United Kingdom, the album peaked at No. 4. Subsequent singles were also the No. 2 single "Loves Me Like a Rock" (kept out of the top spot by Cher's "Half-Breed", but reaching No. 1 on Cashbox on September 29, 1973), and the Top 40 hit "American Tune". Also, "Take Me to the Mardi Gras" was released in the UK reaching the Top 10.

The song "Kodachrome" is named after the Kodak photographic film of the same name. Kodak required the album to note that Kodachrome is a trademark. The song was not released as a single in Britain, where it could not be played on BBC radio due to its trademarked name.

Reception
Critics praised the album. The Denver Post's Jared Johnson called it "a brilliantly executed masterpiece, and surely the finest album in three years," citing such 1970 releases as Bridge Over Troubled Water and After the Gold Rush. Robert Hilburn of the Los Angeles Times said, "Combining a variety of musical textures (from a touch of gospel to an infectious trace of Jamaican rhythm to a hint of the old Simon and Garfunkel grandeur), Simon's new album firmly establishes him as one of our most valuable and accessible artists." Stephen Holden of Rolling Stone praised the album as "a rich and moving song cycle, one in which each cut reflects on every other to create an ever-widening series of refractions."

However, Stereo Review's Noel Coppage, while giving the album an "excellent" rating, nonetheless felt that it was "deficient in spontaneity, excitement, strain", calling its arrangements "clean and sensible" but "oddly predictable".

In 2003, the album was ranked number 267 on Rolling Stone magazine's list of the 500 greatest albums of all time.

In 2000 it was voted number 421 in Colin Larkin's All Time Top 1000 Albums.

Track listing
All tracks written by Paul Simon.

Personnel

 * Paul Simon – vocals, acoustic guitar (1, 3, 4, 6-10)
 * Barry Beckett – keyboards (1, 3, 9), acoustic piano (5), vibraphone (9)
 * Paul Griffin – acoustic piano (2)
 * Bob James – keyboards (4, 6)
 * Bobby Scott – acoustic piano (4)
 * Carson Whitsett – Hammond organ (8)
 * Pete Carr – acoustic guitar (1), electric guitar (3, 5, 9)
 * Jimmy Johnson – electric guitar (1, 3)
 * Cornell Dupree – electric guitar (2)
 * Al Gafa – guitar (4)
 * David Spinozza – guitar (4)
 * Jerry Puckett – electric guitar (8)
 * David Hood – bass guitar (1, 3, 5, 9, 10)
 * Gordon Edwards – bass guitar (2)
 * Bob Cranshaw – bass guitar (4, 6, 7)
 * Richard Davis – double bass (4)
 * Verne Robbins – bass guitar (8)
 * Roger Hawkins – drums (1, 3, 5, 10), percussion (9)
 * Rick Marotta – drums (2)
 * James Stroud – drums (8)
 * Grady Tate – drums (4, 6)
 * Don Elliott – vibraphone (4)
 * Airto Moreira – percussion (7)
 * Uncredited – horns (1, 8), Hammond organ (2), strings (3), flute (4), shaker (4), choir (5)
 * Onward Brass Band – horns (3)
 * Allen Toussaint – horn arrangements (2)
 * Quincy Jones – string arrangements (4)
 * Del Newman – string arrangements (6)
 * The Dixie Hummingbirds – group vocals (2, 10)
 * Claude Jeter – falsetto vocals (3)
 * Maggie and Terre Roche – backing vocals (7)

Production

 * Paul Simon – producer, arrangements
 * The Muscle Shoals Rhythm Section – co-producers (1, 3, 5, 9, 10)
 * Roy Halee – co-producer (2, 7), engineer (2, 7)
 * Paul Samwell-Smith – co-producer (6)
 * Jerry Masters – supervising engineer, engineer (1, 3, 5, 7, 9, 10)
 * Phil Ramone – supervising engineer, engineer (2, 4-7, 10), co-producer (4, 7, 8, 10)
 * Roger Quested – engineer (6)
 * Gerald Stephenson – engineer (8)
 * Richard Blakin – assistant engineer
 * Milton Glaser – cover design

title: There Goes Rhymin' Simon