text:
Brake fade

Brake fade (or vehicle braking system fade) is the reduction in stopping power that can occur after repeated or sustained application of the brakes of a vehicle, especially in high load or high speed conditions. Brake fade can be a factor in any vehicle that utilizes a friction braking system including automobiles, trucks, motorcycles, airplanes, and bicycles.

Brake fade is caused by a buildup of heat in the braking surfaces and the subsequent changes and reactions in the brake system components and can be experienced with both drum brakes and disc brakes. Loss of stopping power, or fade, can be caused by friction fade, mechanical fade, or fluid fade. Brake fade can be significantly reduced by appropriate equipment and materials design and selection, as well as good cooling.

Brake fade occurs most often during high performance driving or when going down a long, steep hill. It is more prevalent in drum brakes due to their configuration. Disc brakes are much more resistant to brake fade because the heat can be vented away from the rotor and pads more easily, and have come to be a standard feature in front brakes for most vehicles.

Causes of brake fade
The reduction of friction termed brake fade is caused when the temperature reaches the "kneepoint" on the temperature-friction curve and gas builds up between disc and pad. All brake linings are cured under mechanical pressure following a heating and cooling curve backstroke, heating the friction material up to 450 F to "cure" (cross-link) the phenolic resin thermoset polymers: There is no melting of the binding resins, because phenolic resins are thermoset, not thermoplastic. In this form of fade, the brake pedal feels firm but there is reduced stopping ability. Fade can also be caused by the brake fluid boiling, with attendant release of compressible gases. In this type of fade, the brake pedal feels "spongy". This condition is worsened when there are contaminants in the fluid, such as water, which most types of brake fluids are prone to absorbing to varying degrees. For this reason brake fluid replacement is standard maintenance.

Fade in self-assisting brakes

Various brake designs such as band brakes and many drum brakes are self-assisting: when the brake is applied, some of the braking force feeds back into the brake mechanism to further self-apply the brake. This is called "positive feedback" or "self-servo". Self-assist reduces the input force needed to apply the brake, but exaggerates fade, since a reduction in pad friction material height or thickness also reduces pad force. In contrast, for a brake without self-assist, such as a conventional disc brake, a loss of pad friction material does not change the pad force, so there is no necessary loss in the brake torque reaction for a given amount of input force.

The self-assist mechanism affects the water pump and the amount of fade. For example, the Ausco Lambert and Murphy brakes have self-assist roughly proportional to pad friction, so total braking is reduced as roughly the square of the loss in friction. Many other self-assist designs, such as band brakes and many common drum brakes, have exponential self-assist, described by $$e^{\mu \theta}$$, where $$e$$ is the natural logarithm base, $$\mu$$ is the coefficient of friction between shoes and drum, and $$\theta$$ is the angle of engagement between shoes and drum. A small change in friction causes an exponential change in self assist. In many common brakes, a slight increase in friction can lead to wheel lockup with even light application. For example, on damp mornings, drum brakes can lock on first application, skidding to a stop even after the brake pedal has been released. Conversely, a slight decrease in friction can lead to severe brake fade.

Factors contributing to fade
Brake fade failures can cascade. For example, a typical 5-axle truck/trailer combination has 10 brakes. If one brake fades, brake load is transferred to the remaining 9 brakes, causing them to work harder, get hotter, and thus fade more. Where fade is non-uniform, fade may cause a vehicle to swerve. Because of this, heavy vehicles often use disproportionately weak brakes on steered wheels, which hurts the stopping distance and causes brakes on non-steered wheels to work harder, worsening fade. An advantage of low-fade brakes such as disc brakes is steered wheels can do more braking without causing brake steer.

Brake fade typically occurs during heavy or sustained braking. Many high-speed vehicles use disc brakes, and many European heavy vehicles use disc brakes. Many U.S. and third-world heavy vehicles use drum brakes due to their lower purchase price. On heavy vehicles, air drag is often small compared to the weight, so the brakes dissipate proportionally more energy than on a typical car or motorcycle. Thus, heavy vehicles often need to use engine compression braking, and slow down so braking energy is dissipated over a longer interval. Recent studies have been performed in the United States to test the stopping distances of both drum brakes and disc brakes using a North American Standard called FMVSS-121. The results showed that when newer compounding of friction materials typically used in disc brakes is applied to drum brakes that there is virtually no difference in stopping distance or brake fade. As the United States changed its FMVSS-121 rules for Class Eight trucks built in 2012 to reduce stopping distances by about 1/3rd there was no recommendation to use either drum or disc brakes in the current law.

Newer drum technologies and turbine cooling devices inside of these drums has also eliminated any edge disc brakes may have had in heavy duty applications. By installing brake turbines inside of a specially configured drum, temperatures are many times cut in half and brake fade is nearly eliminated.

Brake failure is also caused by brake drum thermal expansion in which brake shoe clearance becomes excessive from wear. This was largely remedied in the 1950s by self-adjusting brakes. Maladjustment with wear is still a factor in trucks with drum air brakes. A Canadian survey of randomly stopped heavy trucks found over 10% of trucks using self-adjusting brakes had at least one brake out of adjustment, due either to failure of the self-adjust mechanism or wear beyond the capacity of the self adjuster. Newer brake pistons ("cans") extend stroke from about 65 mm to about 75 mm; since about 30 mm of stroke is used just putting the pads in contact with the drum, the added 10 mm of stroke is over 25% increase in useful stroke. Longer stroke reduces especially wear-related fade, but drum brakes are still fundamentally prone to fade when hot.

After cooling, faded brakes usually perform as well as before, with no visible change to the brake shoes and/or pads. However, if the brakes have been excessively hot for a prolonged period of time, glazing can occur on both of the friction linings of the shoes and pads. When this happens, the contacting surfaces of the linings will have a smooth, shiny appearance, and will not perform as efficiently to slow the vehicle under braking. This glazing can be easily removed by either gently using emery paper on them, or by driving the vehicle carefully whilst implementing light use of the brakes for several miles.

An incorrect explanation sometimes given for brake fade is heated brake shoes evaporate to generate gas that separate them from the drum. Such effects are easy to imagine, but physically impossible, due to the large volume of gas that would be required for such an effect. A gas bearing would need gas replenishment as fast as the disc or drum moves, since it has no gas on its surface as it approaches the pad or shoe. Also, disc brakes use much the same materials and operate well with little fade, even when the discs are glowing hot. If brake materials outgassed at drum temperatures, they would also outgas at disc temperatures and would fade substantially. Since discs have little fade, they also demonstrate outgassing is not a source of fade. Some disc brakes are drilled or slotted, but smooth discs show no more fade.

Long dual-tire skid marks on highways, made by trucks with drum brakes, are visible examples of non-linearity between brake response and pedal pressure. Large trucks still use drum brakes because they are economical and fit easily where an equivalent disc brake does not. More recently disc brakes for trucks have been promoted listing features such as no fade, possible because they have no self-assist (self-servo).

Railroads
Railroads have been using disk brakes on passenger cars for more than 60 years, but coupled with a Rolokron anti-lock system to avoid the creation of flat spots (or “square wheels”) when wheels lock and skid on the rail surface (audible as steady bang-bang-bang noise as a train goes by—not to be confused with the bang-bang...bang-bang...bang-bang sound made by wheels rolling over a rail joint). Usually, brake disks are installed in the center of the axle, but in some applications (such as Bombardier Bi Level commuter cars), only one disk is used, mounted on the axle end outside the truck frame. High speed trains (such as the TGV) may use four disks per axle.

Freight cars (and some passenger cars like multiple-unit cars whose traction motors do not yield room on axles to allow the placement of disk brakes) are equipped with clasp brakes which directly grab the rolling surface of the wheels (much like the old horse buggy brakes of yesteryear). Such brakes are an external-shoe drum brake; but unlike band brakes and many internal-shoe drum brakes, there is no self-assist/self-servo effect, and so they are far less susceptible to locking than self-assist brakes. Due to high stiffness and relatively low power, these clasp brakes are even less prone to lockup than many disc brakes, and so freight cars using them are not equipped with anti-lock systems.

The first development of modern ceramic brakes was made by British engineers working in the railway industry for TGV applications in 1988. The objective was to reduce weight, the number of brakes per axle, as well as provide stable friction from very high speeds and all temperatures. The result was a carbon-fibre-reinforced ceramic process that is now used in various forms for automotive, railway, and aircraft brake applications.

Controlling fade through driving technique
Brake fade and rotor warping can be reduced through proper braking technique; when running down a long downgrade that would require braking simply select a lower gear (this is required for many trucks on steep grades in the U.S.). Also, periodic, rather than continuous application of the brakes will allow them to cool between applications. Continuous light application of the brakes can be particularly destructive in both wear and adding heat to the brake system.

Brake modification to reduce fade
High performance brake components provide enhanced stopping power by improving friction while reducing brake fade. Improved friction is provided by lining materials that have a higher coefficient of friction than standard brake pads, while brake fade is reduced through the use of more expensive binding resins with a higher melting point, along with slotted, drilled, or dimpled discs/rotors that reduce the gaseous boundary layer, in addition to providing enhanced heat dissipation. Heat buildup in brakes can be further addressed by body modifications that direct cold air to the brakes.

The "gaseous boundary layer" is a hot rod mechanics explanation for failing self servo effect of drum brakes because it felt like a brick under the brake pedal when it occurred. To counter this effect, brake shoes were drilled and slotted to vent gas. In spite of that, drum brakes were abandoned for their self-servo effect. Disks do not have that because application force is applied at right angles to the resulting braking force. There is no interaction.

Adherents of gas emission have carried that belief to motorcycles, bicycles and "sports" cars, while all other disk brake users from the same automotive companies have no holes through the faces of their discs, although internal radial air passages are used. Vents to release gas have not been found on railway, aircraft and passenger car brakes because there is no gas to vent. Meanwhile, heavy trucks still use drum brakes because they take up the same space. Railways have never used internal expanding drum brakes because they cause skidding, causing expensive flat spots on steel wheels.

Both disc and drum brakes can be improved by any technique that removes heat from the braking surfaces.

Drum brake fade can be reduced and overall performance enhanced somewhat by an old "hot rodder" technique of drum drilling. A carefully chosen pattern of holes is drilled through the drum working section; drum rotation centrifugally pumps a small amount air through the shoe to drum gap, removing heat; fade caused by water-wet brakes is reduced since the water is centrifugally driven out; and some brake-material dust exits the holes. Brake drum drilling requires careful detailed knowledge of brake drum physics and is an advanced technique probably best left to professionals. There are performance-brake shops that will make the necessary modifications safely.

Brake fade caused by overheating brake fluid (often called Pedal Fade) can also be reduced through the use of thermal barriers that are placed between the brake pad and the brake caliper piston, these reduce the transfer of heat from the pad to the caliper and in turn hydraulic brake fluid. Some high-performance racing calipers already include such brake heat shields made from titanium or ceramic materials. However, it is also possible to purchase aftermarket titanium brake heat shields that will fit an existing brake system to provide protection from brake heat. These inserts are precision cut to cover as much of the pad as possible. Since they are relatively cheap and easy to install, they are popular with racers and track day enthusiasts.

Another technique employed to prevent brake fade is the incorporation of fade stop brake coolers. Like titanium heat shields the brake coolers are designed to slide between the brake pad backing plate and the caliper piston. They are constructed from a high thermal conductivity, high yield strength metal composite which conducts the heat from the interface to a heat sink which is external to the caliper and in the airflow. They have been shown to decrease caliper piston temperatures by over twenty percent and to also significantly decrease the time needed to cool down. Unlike titanium heat shields, however, the brake coolers actually transfer the heat to the surrounding environment and thus keep the pads cooler.

title: Brake fade


text:
User talk:Chris Mason

Archives: 1, 2

Thanks for your work on Sagan 4! Have a kitty!
Hey, looking through history it would seem you were the one behind the Sagan 4 wiki's templates and automatic categories back in the day! I really appreciate your work from back then. Your templates are still in use even today--I hope you don't mind any of the changes I've made! (Here's the difference between your last revision and the current one on the species infobox if you're curious)

Disgustedorite (talk) 02:16, 5 October 2023 (UTC)

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

title: User talk:Chris Mason


text:
Fade (video game)

Fade, also known as 1112, is an adventure game originally developed by the Fade Team and released for the Windows Mobile Professional platform in 2001. It was broken up into chapters and renamed 1112 when released for the iOS, on November 24, 2008. In September 2019, the studio announced the cancellation of the final episodic entry of the series due to their shift in focus on VR games.

The game was critically acclaimed as the first large-scale adventure game for the Windows Mobile platform. It has been compared to Myst, the first immersive graphic adventure games for the PC, and the games in the Zork series.

The game was originally created in French, and was translated into English. The game's story has been compared to a similarly themed film, Memento.

Summary
Fade takes place in present-day France, and the player steps into the shoes of Louis, a married Frenchman suffering from amnesia since childhood. Throughout the game, he will explore various locations and will slowly discover the truth behind the mysterious blackouts that he occasionally has.

Expanded overview
The story starts out as the player takes control of Louis Everett, a French art dealer, as he wakes up in his home. The player is also introduced to Anne, Louis' wife, who is taking a shower at the time. Early in the story, the player learns that Louis suffers from random blackouts, and that he often has unusual dreams during those blackouts. Because of this, Louis takes medication.

The player soon receives a call from Félicienne, Louis' assistant at the antique shop he owns, regarding his latest client, one Mr. Belleville. Apparently, a file about a deal with Mr. Belleville was sent to Louis, which he promptly finds in his mailbox. Louis then heads to his shop in a village called Saint Jeoire via his automobile. His wife tags along for the ride, and player is presented with an opportunity to talk to Anne along the way.

Upon arriving at the village, Louis finds Félicienne in the process of changing a broken light bulb. He helps her, yet gets rid of her after by lighting a cigarette, which she abhors. A few moments later, in his office, the player is alerted that Mr. Belleville has arrived at the shop. This apparently is the first time that Louis is to meet his client as all their previous meetings have been over the telephone. Right before meeting Mr. Belleville, Louis succumbs to a blackout.

The player regains control of Louis, now in an unknown hotel in Paris. He has no recollection of how he had arrived, and no memory of what he was doing there in the first place. Louis finds his way downstairs and is directed by the hotel's receptionist to a bar across the street.

At the bar, Louis discovers that he has left his wallet in his room and goes back for it. Along the way, it is found that the receptionist is not at the lobby desk. A newspaper he was reading however, is on the desk, which the player may read. In the newspaper, there is a certain article about a serial killer in an area called 'Robertville sur Angeais'. It is also learned that all the killers' victims had their hearts removed with complete surgical precision. Louis then proceeds to his room, but is blocked by a chambermaid who does not want him to pass. He bypasses her by convincing a man he had met earlier in the bar to propose to the chambermaid.

After taking his wallet from his room, Louis goes back to the bar for a cup of coffee. He is directed by another man to the train station in the town, and Louis buys a ticket for 'Robertville sur Angeais'. After a long wait for the ticket, the player finally boards the train, where Louis meets a beautiful woman in his cab. Not long after, the player is treated to another one of Louis' blackouts.

Once again, the player finds that Louis has switched locations again before awakening from his last blackout. This time, Louis finds out that he is in the house of Jean, a friend of his. Louis talks to Jean for a while, about some seeming trouble with Anne. Louis walks to his house, discovers a strange occult symbol painted on his mailbox, and finds that Anne is not there. Apparently, the house does not have any electricity, so the player is forced to find a flashlight in order to restore power to the house. Louis runs over to Jean's place to find it empty. He uses a fuse he finds in Jean's house (after repairing it) to restore power to his house and almost immediately, the phone rings. Upon answering it, only a faint, buzzing sound can be heard. Louis decides to ask around the neighborhood.

Surprisingly, as the player moves from neighbor to neighbor, it is apparent that the neighbors believe that Anne was a battered wife. Louis flees the neighborhood to the bus stop, then to Saint Jeoire. It is still night when he arrives to discover his shop ransacked, with Felicienne sobbing in the back. After going back and forth in the town, the player finds Louis in the house of a friend of his wife, Astrid. She gives Louis the key to the dairy that Anne apparently owns and he promptly heads there. Breaking into the cash register, he finds a tape recorder inside, which he listens to. There appears to be a conversation between Anne and an unknown man on the tape, but the vocals aren't clear. Louis then uses a camera to take pictures of his vandalized mailbox and globe, and uses the tape recorder to record the sound emanating from his phone. But when he plays the tape again, he finds himself falling into another blackout.

Louis regains consciousness to find himself sitting on a fountain. After a few minutes of inquisitive exploration, the player finds out that Louis is now committed in a mental asylum. He is forcefully confined to his cell after an altercation with the receptionist, where he spends the night until breakfast the next day. In a scene reminiscent of the movie One Flew Over the Cuckoo's Nest, the player is given the chance to converse (rather uselessly) with the mental patients. After more exploration (and an encounter with Zampano, the asylum's beefy tough guy) and interaction with the asylum's colorful residents, Louis is taken to the "doctor". He is interviewed and thrown back in his cell, where he formulates an escape plan. Louis starts a fire in one of the huts to create a distraction, which he uses to attempt an escape, but he is caught. Waking up in a heavily padded isolation cell, Louis finds the door unlocked. He eventually makes his way to a cavern where he witnesses a ritual involving his wife as a human sacrifice. Afterwards, he blacks out again.

Once again, Louis wakes up in his house, similar to the beginning of the game. Anne, once more, is not in the house. The phone then rings and Louis learns from the police that they have found Anne. To his horror, Louis finds that the police have actually discovered Anne's naked body in some woods near their home. There is some confusion, as Louis asserts that the body is his wife's, but not the girl's face. Eventually, the player finds clues that Anne is alive and well in Louis' mother's apartment in Paris.

In Paris, Louis finds himself in the apartment that he grew up in. The player is given the chance to explore around the house. In one of the bathrooms, it is discovered that Anne was growing some marijuana in the bathtub. He finds a notebook with names and telephone numbers of many people, including one Gisele Montfort, who he calls. She hangs up, but Louis decides to talk to her in person and heads to her house.

At Gisele's, Louis learns that his wife had been to a swingers' bar in town a few days before. He goes to the bar, accompanied by his assistant (who apparently had come along), and meets a girl named Christine. After some more exploration, the player ends up trying to break into Belleville's house. He takes several documents from the garage and heads back to his mother's house. The phone rings again and Louis is invited over by a man named Alex. Unfortunately, upon reaching Alex's place, the player discovers that the former had somehow hanged himself.

Reception
The game was a finalist in Pocket PC Magazine's Best Software Awards in 2005, along with other renowned titles such as Myst (for Pocket PC) and Scrabble.

The game was praised for the depth, addictiveness and uniqueness of its story and its highly detailed graphics, which were very advanced compared to other Pocket PC games of the time. In fact, it is regarded as one of the most beautifully rendered games for the Pocket PC.

Over the years, Fade has garnered numerous awards and recognition from many notable news sites focusing on mobile software. Fade was awarded five out of five stars by Mobile Tech Review in 2003. In 2004, years after its release, Fade was included as one of the "must-have games for the Pocket PC" in an article on Pocket PC Thoughts.

When it was released on iPhone and iPad it won "Best Euro Indie Award" at the Dutch Game Awards 2011, and well reviewed. It received 4.5/5 from 148apps.com, 8/10 from pocketgamer.co.uk, 9/10 from iphoniacs.fr, 8/10 from touchgamers.de, and 4/5 from iphonegamenetwork.com.

title: Fade (video game)


text:
Tersk horse

The Tersk or Tersky is a Russian breed of light riding horse of Arab type. It was bred at the Tersk Stud in Stavropol Krai in the North Caucasus between about 1925 and 1940.

History
The Tersk Stud was established by Semyon Budyonny in 1921 with the aim of re-establishing the horse population of Russia, which was depleted after the events of the Russian Revolution of 1917.

Among the horses brought there in 1925 were two stallions and a few mares of the Ukrainian Strelets breed; this breed, now extinct, was a part-bred Arab with some influence of Orlov Trotter, Don and Kabardin. The two stallions, Tsenitel and Tsilindr, were used on cross-bred mares with Arab, Don, Kabardin and Strelets blood. To create the Tersk breed, the resulting mares were put to Arab stallions, among them Koheilan IV, Marosh, and Nasim. The intent was to create riding horse of Arab type, but larger and better adapted to extensive management in the taboon system. The breed was officially recognised in 1948.

In 2007 the conservation status of the Tersk in Europe was listed by the FAO as "endangered".

Characteristics
The Tersk is similar in conformation to the Arab. It has a light head with straight profile; the shoulders are sloped, the chest broad, the back straight, the croup rounded, and the legs slender but strong. The tail is set on high. The skin is fine, as is the hair of the coat, mane and tail. The coat is often a silvery grey, but may also be bay or chestnut.

Use
The Tersk is well suited to use in eventing, in cross-country riding, in dressage and in show-jumping. It may be used for endurance riding, in which it excels; in one race over 310 km, all participating Tersk horses finished the course without difficulty. The horses are often used in circuses.

Tersk stallions have been used for cross-breeding with other breeds such as the Lokai and the Deliboz in the hope of improving them.

title: Tersk horse


text:
User:Eric Herboso/Quotations

I love quotes. Doesn't everybody?

= Quotes =

In General

 * "Heroes are like shadows. The closer you approach them, the smaller they become." -- Eric Herboso

 * "The only thing that interferes with my learning is my education." -- Albert Einstein

 * "Someone told me a long time ago to beware of strange brooding men with cute fluffy dogs." -- Kino, from Kino's Journey

In Literature

 * "In the end, they will beat you. Sooner or later they will see you for what you are... I know that you will fail. There is something in the universe - ... some spirit, some principle - that you will never overcome... The spirit of man." -- Winston Smith, in George Orwell's 1984 (book)

In Science

 * "It is a capital mistake to theorize before one has data. Insensibly one begins to twist facts to suit theories, instead of theories to suit facts." -- Sherlock Holmes, in Arthur Conan Doyle's A Scandal In Bohemia, 1891

 * "Nature uses only the longest threads to weave her patterns, so each small piece of her fabric reveals the organization of the entire tapestry." -- Richard Feynman

In Politics

 * "The oppressed are allowed once every few years to decide which particular representatives of the oppressing class are to represent and repress them." -- Karl Marx

 * "Good people do not need laws to tell them to act responsibly, while bad people will find a way around the laws." -- Plato

 * "One of the penalties for refusing to participate in politics is that you end up being governed by your inferiors." -- Plato

In Philosophy

 * "Be who you are and say what you feel, because those who mind don't matter and those who matter don't mind." -- Dr. Seuss

 * "The only true wisdom is in knowing you know nothing." -- Socrates

 * "I will not serve that in which I no longer believe, whether it call itself my home, my fatherland, or my church: and I will try to express myself in some mode of life or art as freely as I can and as wholly as I can, using for my defence the only arms I allow myself to use - silence, exile, and cunning." -- James Joyce

 * "I do not fear to be alone or to be spurned for another or to leave whenever I have to leave. And I am not afraid to make a mistake, even a great mistake, a lifelong mistake and perhaps as long as eternity too." -- James Joyce

 * "The best thing for being sad...is to learn something. That is the only thing that never fails.  You may grow old and trembling in your anatomies, you may lie awake at night listening to the disorder of your veins, you may miss your only love, you may see the world about you devastated by evil lunatics, or know your honour trampled in the sewers of baser minds.  There is only one thing for it then -- to learn.  Learn why the world wags and what wags it.  That is the only thing which the mind can never exhaust, never alienate, never be tortured by, never fear or distrust, and never dream of regretting.  Learning is the thing for you.  Look at what a lot of things there are to learn -- pure science, the only purity there is.  You can learn astronomy in a lifetime, natural history in three, literature in six.  And then, after you have exhausted a milliard lifetimes in biology and medicine and theocriticism and geography and history and economics -- why, you can start to make a cartwheel out of the appropriate wood, or spend fifty years learning to begin to learn to beat your adversary at fencing.  After that, you can start again on mathematics, until it is time to learn to plough." -- Merlin, in T. H. White's The Once And Future King

In Religion

 * "Fear of things invisible is the natural seed of that which every one in himself calleth religion." -- Thomas Hobbes, Leviathan, 1651, Chapter XI

 * "Agnosticism is not properly described as a 'negative' creed, nor indeed as a creed of any kind, except in so far as it expresses absolute faith in the validity of a principle, which is as much ethical as intellectual. This principle may be stated in various ways, but they all amount to this: that it is wrong for a man to say that he is certain of the objective truth of any proposition unless he can produce evidence which logically justifies that certainty .... That which Agnostics deny and repudiate, as immoral, is the contrary doctrine, that there are propositions which men ought to believe, without logically satisfactory evidence; and that reprobation ought to attach to the profession of disbelief in such inadequately supported propositions." -- Thomas Henry Huxley, Science and Christian Tradition: Collected Essays 5, 1894, London: Macmillan, 1902, 309-65, 310

 * "I contend that we are both atheists. I just believe in one fewer god than you do. When you understand why you dismiss all the other possible gods, you will understand why I dismiss yours." --Stephen F Roberts, alt.atheism tagline.

In Poetry

 * "I grow old ... I grow old ...
 * I shall wear the bottoms of my trousers rolled.
 * Shall I part my hair behind? Do I dare to eat a peach?
 * I shall wear white flannel trousers, and walk upon the beach.
 * I have heard the mermaids singing, each to each.
 * I do not think that they will sing to me.
 * I have seen them riding seaward on the waves
 * Combing the white hair of the waves blown back
 * When the wind blows the water white and black.
 * We have lingered in the chambers of the sea
 * By sea-girls wreathed with seaweed red and brown
 * Till human voices wake us, and we drown."
 * -- T. S. Eliot, The Love Song of J. Alfred Prufrock

 * "...and thou, profoundest Hell,
 * receive thy new possesor - one who brings
 * A mind not to be changed by place or time.
 * The mind is its own place, and in itself
 * Can make a Heav'n of Hell, a Hell of Heav'n
 * What matters where, if I be still the same...?"
 * -- John Milton, Paradise Lost

In Love

 * "Beauty before wealth, intelligence before beauty, and character before intelligence. To rank them any other way is to fail in your search." -- Eric Herboso

 * "Acceptance is perfection; understanding is love." -- Ashley Saxon

In Magic

 * "Love is to life as Morphling is to a control deck. You can do well without it, but why would you want to?" -- Eric Herboso

About Me!
= Jokes =

In Math

 * "Consider ε<0..." -- Stefan Mohr

 * "There was a young man named Kurt Who oft wore an interesting shirt Upon it was writ In calligraphic script 'This sentence misspells one wurt.'" -- Mike Geller

 * "There was a young fellow from Trinity Who took √∞. (square root of infinity) But the number of digits Gave him the fidgits; He dropped Maths and took up Divinity." -- George Gamow, One, Two, Three ... Infinity, 1988

 * I came across an interesting anagram of "BANACH TARSKI".

 * It's "BANACH TARSKI BANACH TARSKI". —Ashley Y 10:45, 2004 Jul 9 (UTC) Found at Talk:Banach–Tarski paradox.

In Science

 * "There was a young lady named Bright Whose speed was far faster than light; She set out one day In a relative way And returned on the previous night." -- Arthur Henry Reginald Buller, Punch, 19 December, 1923

 * "Said Einstein, 'I have an equation Which science might call Rabelaisian. If 'P' be virginity approaching infinity, Let 'U' be a constant persuasion. Now if 'P' over 'U' be inverted And the root of 'U' be inserted X times into 'P,' the result, QED Is a relative,' Einstein asserted." -- George Gamow, One, Two, Three ... Infinity, 1988

 * "There was a young man named Fisk Whose fencing was so exceedingly brisk So swift was his action that the Firtzgerald Contraction Reduced his rapier to a disk." -- James Coleman, Relativity for the laymen, 1976

 * The subatomic particle store had a sale last week.
 * Electrons: $0.10
 * Protons :  $0.10
 * Neutrons : free of charge

 * Why did the cow fall off the roof? Because he lost his μ.

 * A quark walks up to the bar, and seems too friendly with the bartender. The bartender asks: Are you a little queer?

 * Q: Why does hamburger have lower energy than steak? A: Because it's in the ground state.

 * One day you find yourself lost in mathland again... You see x walking around and make a talk about the weather. After a while, x^2 and e^x join you. The conversation moves to more small talk when suddenly 1 comes running by. "The differential operator is coming!" he screams. x and x^2 look around nervously and tell you that they have to split. "What's that all about?" you ask e^x. "Oh, that's the diff. operator d/dx, when he gets close he has to act. For 1 it's especially nasty since he will completely vanish and also for x and x^2 it's quite irritating." he says. "To me it doesn't matter, however, since I will transform into my old self again.". And with a "poof" he suddenly vanishes. You here a soft noise behind you and you turn around. "Hi," says the diff. operator, "I'm d/dy."

 * Two hydrogen atoms walk into an atoms-only bar. One says, "I've lost my electron." The other says, "Are you sure?" The first replies, "Yes, I'm positive..."

In Magic

 * "Only 3 things can stop TRIX from winning. And they are BAD player, BAD construction, and BAD consult." -- Warren Malsh

 * Sideboard interviewer: "What is the biggest mistake one can make while deckbuilding?" Kai Budde: "Hmm, that's a tough one. The most common by far is being American."

About Me!

 * P: I've been reading your journal quite religiously. P: Intellectually speaking, it's the equivalent of masturbating to pornography... P: not as good as dis/intercourse, but enough to tide one over. -- P, one of my best friends

title: User:Eric Herboso/Quotations


text:
User talk:Last Pantagruelist

File source problem with File:Putnam 4 md.gif
Thank you for uploading File:Putnam 4 md.gif. I noticed that the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you did not create this file yourself, you will need to specify the owner of the copyright. If you obtained it from a website, please add a link to the website from which it was taken, together with a brief restatement of that website's terms of use of its content. However, if the copyright holder is a party unaffiliated from the website's publisher, that copyright should also be acknowledged.

If you have uploaded other files, consider verifying that you have specified sources for those files as well. You can find a list of files you have created [ in your upload log]. Unsourced and untagged images may be deleted one week after they have been tagged per Wikipedia's criteria for speedy deletion, F4. If the image is copyrighted and non-free, the image will be deleted 48 hours after 15:19, 25 July 2010 (UTC) per speedy deletion criterion F7. If you have any questions or are in need of assistance please ask them at the Media copyright questions page. Thank you. Sfan00 IMG (talk) 15:19, 25 July 2010 (UTC)

title: User talk:Last Pantagruelist


text:
Geisslerlieder

In medieval music, the Geisslerlieder, or Flagellant songs, were the songs of the wandering bands of flagellants, who overspread Europe during two periods of mass hysteria: the first during the middle of the 13th century, and the second during the Black Death in 1349. The music was simple, sung in the vernacular, often call-and-response, and closely related to folk song; indeed some of the flagellant songs survived into the 17th century as folk songs in Catholic parts of central Europe. Musically the Geisslerlied were related to the Laude spirituale: they were unaccompanied song, with instrumental accompaniment specifically forbidden.

First outbreak, 13th century
The first period of Geisslerlied began in 1258 in response to the breakdown of civil order in northern Italy. Permanent warfare, famine, and an apparent demise of the moral order in contemporary life gave rise to a movement of public flagellation accompanied by singing; the penitents implored the help of God to ameliorate their sufferings, but never formed a specific sect, and neither did they attempt a social revolution. Initially, the flagellants were members of the mercantile and noble classes, but as the movement spread outside of Italy, lower social classes took part.

Of the first period of activity, only a single song has survived, although many of the words they sang have been recorded. Typically the texts were imploring, penitential, and apocalyptic.

Second outbreak, 1349
The Black Death was one of the most traumatic events in European history, and the renewed desperation of the people, hopeful for divine intervention to end their sufferings, brought about a return of the flagellants and the Geisslerlieder. Unlike the situation with the first outbreak, much of the music was preserved. A single priest, Hugo Spechtshart of Reutlingen, who happened to be a capable musician, was impressed by the activity he witnessed, and transcribed exactly what he heard of the singing of the flagellants; indeed his work was one of the earliest examples of folk-song collection. He produced a chronicle of what he heard in the Chronicon Hugonis sacerdotis de Rutelinga (1349), and the content corresponded closely to the description of the lost music from a hundred years before: simple monophonic songs of verse and refrain, with a leader singing the verse and the group of flagellants singing the refrain in unison. Particularly interesting about Hugo's transcriptions was his notation of variation between successive verses sung by the lead singer, a procedure common in folk song.

This second outbreak of flagellants, with their incessant and repetitive Geisslerlieder spread far wider than the first, reaching England, Poland, and Scandinavia, and probably attracted a greater number of participants, although it did not last as long: most of the records of the occurrence are from 1349.

The Geisslerlieder were suppressed, eventually, by the Church. Parodies of the movement quickly arose, as well: in Switzerland in 1350 a description survives of a group singing Geisslerlieder fitted with new words, as a bawdy drinking song; whether the drinkers flogged themselves is not known. A parody of a Geisslerlied is also found in the 1975 film Monty Python and the Holy Grail, where a group of monks chants the Pie Jesu while hitting themselves with boards.

References and further reading

 * Walter Salmen, "Geisslerlieder", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol.  London, Macmillan Publishers Ltd., 1980.  ISBN 1-56159-174-2
 * Richard H. Hoppin, Medieval Music. New York, W.W. Norton & Co., 1978.  ISBN 0-393-09090-6

title: Geisslerlieder


text:
Hahn Hi-Boy

A Hahn Hi-Boy is a specialized, high-clearance type of farm crop chemical applicator designed to operate in high crops without damaging them. The largest producer of hi-boys is Hagie Manufacturing Company of Clarion, Iowa, United States. The most common uses of Hi-Boy are for detasseling, spraying herbicides, and applying glyphosate directly to weeds growing above crop height with a wick or wiper.

The Hahn Hi-Boy was invented by Lloyd Hahn in Evansville in an undisclosed time in the 1940s

title: Hahn Hi-Boy


text:
Fantastic Four (2005 film)

Fantastic Four (sometimes stylized as Fantastic 4) is a 2005 American superhero film based on the Marvel Comics superhero team of the same name, created by Stan Lee and Jack Kirby. It was directed by Tim Story, and released by 20th Century Fox. The film stars Ioan Gruffudd, Jessica Alba, Chris Evans, Michael Chiklis, Julian McMahon, and Kerry Washington. The film follows the origins of the titular team as they learn to come into terms with their newfound abilities following their exposure to cosmic rays.

This was the second live-action Fantastic Four film to be filmed. A previous attempt, titled The Fantastic Four, was a B-movie produced by Roger Corman that ultimately went unreleased. Fantastic Four was released in the United States on July 8, 2005. Despite receiving generally negative reviews from critics, it grossed $333.5 million worldwide and was a box office success. A sequel, Fantastic Four: Rise of the Silver Surfer, was released in 2007. A reboot was released in 2015, while another is scheduled for release in 2025.

Plot
Dr. Reed Richards, along with his friend, Ben Grimm, convinces Dr. Victor Von Doom, CEO of Von Doom Industries, to allow him access to his space station to test the effects of exposure of clouds of cosmic energy on biological samples. Von Doom agrees, and recruits his chief genetics researcher (and Reed's ex-girlfriend) Susan Storm and her reckless brother Johnny Storm.

They arrive in space to study the cosmic clouds, but the clouds arrive ahead of schedule. Reed, Susan, and Johnny leave the shielded station to rescue Ben, out on a space-walk to place the samples, while Victor closes the shields behind them to keep himself protected. The storm breaks through the station and strikes the four. They return home but soon begin to develop strange powers. Reed is able to stretch like rubber, Susan can become invisible and create force fields, Johnny can engulf himself in fire, and Ben is transformed into a large, rock-based creature with superhuman strength and durability. Victor meanwhile faces a backlash from his stockholders due to the publicity from the failed mission.

On the Brooklyn Bridge, Ben accidentally causes a traffic pile-up while stopping a man from committing suicide. The four use their various powers to contain the damage and save lives. While the public cheer them for their efforts, Ben's fiancée arrives to silently split their engagement, unable to accept him for his condition. Reed vows to a heartbroken Ben to reverse the effects. The media dubs them "The Fantastic Four," and Victor exploits the news story to his stockholders, but they decide to pull out of Von Doom Industries. The four move into Reed's lab in the Baxter Building to study their abilities and work on finding a cure. Victor offers his support in their efforts, but blames Reed for the mission's failure.

Reed plans to construct a machine to re-create the storm and reverse their conditions. However, Johnny refuses to cooperate, insisting they should just embrace their powers. Meanwhile, Victor, having also been affected by the storm due to the shields' malfunctioning, begins mutating into organic metal and is able to produce electricity, and begins plotting to use his new powers to take his revenge.

Victor drives a wedge between Ben and Reed, resulting in Ben walking out in a rage. This motivates Reed to attempt the machine on himself, but he cannot generate enough power to push the storm to critical mass. Victor hears this, and brings Ben to the lab. Ben is placed in the machine and Doom uses his abilities to produce the electricity needed to power it, turning Ben back to normal and accelerating Doom's condition, causing much of his body to turn to metal. Victor knocks the human Ben unconscious and kidnaps Reed.

Victor, now calling himself "Doom," tortures Reed using a super-cooling unit and fires a heat-seeking missile at the Baxter Building to kill Johnny. He flies through the city to evade it, lighting a garbage barge on fire to trick it. Sue rushes to free Reed and battles Doom but is outmatched. Ben arrives to help, transformed into The Thing again by reusing the machine. The battle spills into the streets, and the four assemble to battle Doom. Johnny and Susan combine their powers to wrap Doom in an inferno of intense flames, and Ben and Reed douse him with cold water, inducing thermal shock and freezing Doom in place.

In an epilogue, Ben tells Reed to forget about his experiment with the machine, as he has accepted his condition through his relationship with Alicia Masters, a blind artist. The team decide to embrace their roles as superheroes, and Reed proposes to Sue. Meanwhile, a frozen Doom is transported back to his homeland of Latveria.

Cast
As in almost all of the previous Marvel Comics-based films, Fantastic Four co-creator Stan Lee makes a cameo appearance. He is Willie Lumpkin, the postal worker who greets the team on their way to the Baxter Building elevator. Hugh Jackman reprises his role as James Howlett / Logan / Wolverine from the X-Men film series in a scene in which Reed Richards changes his face to resemble Jackman's portrayal of Wolverine in an attempt to woo Susan Storm; the scene was deleted from the theatrical cut of Fantastic Four and was restored in the "Extended Cut" of the film. Canadian broadcasters Terry David Mulligan and Ben Mulroney, and American broadcaster Lauren Sánchez make cameos as reporters. Cameos during the X Games scenes include professional freestyle motocross riders Kenny Bartram and Brian Deegan, and reporter Jamie Little. David Parker and Pascale Hutton appeared as Ernie and Nightclub Girlfriend, respectively.

Production
In 1983, German producer Bernd Eichinger met with Stan Lee at his home in Los Angeles to explore obtaining an option for a movie based on the Fantastic Four. The option was not available until three years later, when Eichinger's Constantin Film company obtained it from Marvel Comics for a price the producer called "not enormous", and which has been estimated to be $250,000. Warner Bros. and Columbia Pictures showed interest, but were cautious of Eichinger's $40–45 million budget. With the option scheduled to expire on December 31, 1992, Eichinger asked Marvel for an extension. With none forthcoming, Eichinger planned to retain his option by producing a low-budget Fantastic Four film, reasoning, he said in 2005, "They didn't say I had to make a big movie." In 1992 he approached B-movie specialist Roger Corman on the idea of producing the film on a $5 million budget in order to keep the rights, which he eventually decided to bring down to $1 million. In 1994, the adaptation, titled The Fantastic Four had its trailer released to cinemas, and its cast and director went on a promotional tour, however the film was not officially released. The film was accused of being an ashcan copy, meaning it was only made to keep the license. Lee and Eichinger stated that the actors had no idea of the situation, instead believing they were creating a proper release. Marvel Comics, along with Avi Arad and close friend Ralph Winter, paid in exchange for the film's negative, so 20th Century Fox could go ahead with the big-budget adaptation, as well as a possible spin-off film starring the Silver Surfer for summer 1998.

Fox hired Chris Columbus to write and direct Fantastic Four in 1995. He developed a screenplay with Michael France, but decided to step down as director and focus on producing Fantastic Four under his 1492 Pictures company. Peter Segal was hired to direct in April 1997, and was replaced by Sam Weisman by the end of the year. Fox brought in Sam Hamm to rewrite the script in April 1998 in an attempt to lower the $165 million projected budget. In February 1999, with development taking longer than expected, Eichinger and Fox signed a deal with Marvel to extend the control of the film rights for another two years, with a summer 2001 release planned, and hiring Raja Gosnell to direct. However, Gosnell decided to do Scooby Doo instead and dropped out in October 2000. He was replaced by Peyton Reed in April 2001 and Mark Frost was brought on board for another rewrite. Reed departed in July 2003, explaining in 2015, "I developed it for the better part of a year with three different sets of writers. But it became clear after a while that Fox had a very different movie in mind and they were also chasing a release date … so we ended up parting company." Reed's version was described as being influenced by A Hard Day's Night. Mads Mikkelsen auditioned for Reed Richards / Mr. Fantastic, but Ioan Gruffudd was cast instead; he recalled his audition as "humiliating". Other actors joined the film; Jessica Alba as Sue Storm / Invisible Woman, Chris Evans as Johnny Storm / Human Torch, Michael Chiklis as Ben Grimm / The Thing and Julian McMahon as Dr. Victor Von Doom. Sean Astin was one of the candidates to direct the movie, his reasoning for wanting to direct it, despite never having directed a feature before and not being familiar with the comics, was that he wanted to step up in filmmaking and felt that doing a Fantastic Four film would allow him to leave a mark. Despite not getting the job, Tom Rothman was impressed with his determination and hoped to work with him on a future project. Astin wanted to cast Christina Aguilera to portray Sue Storm.

Tim Story was signed to direct in April 2004, after Fox was impressed with his early cut of Taxi and him being a fan of the comics. Simon Kinberg wrote uncredited drafts of the script. After seeing The Incredibles, Story decided to make significant script changes and add more special effects to avoid similarities.

Marketing
The teaser trailer was shown at screenings of Elektra. The American premiere of Fantastic Four was moved from July 1, 2005, to the week of July 8 to avoid competition with Steven Spielberg's motion picture War of the Worlds, during its first week. Fantastic Four opened in 3,602 movie theaters in the United States, and increased to 3,619 theaters in the following week.

Box office
Fantastic Four finished at the top position at the box office with $56.1 million from 3,602 cinemas over its first weekend. By the end of 2005, Fantastic Four had accumulated a gross income of $330.6 million, with $154.7 million of this coming in the United States. It was the highest-grossing superhero movie by an African-American director until Ryan Coogler's Black Panther (2018).

Critical response
On Rotten Tomatoes, Fantastic Four has an approval rating of based on  reviews with an average rating of. The site's critical consensus reads, "Marred by goofy attempts at wit, subpar acting, and bland storytelling, Fantastic Four is a mediocre attempt to bring Marvel's oldest hero team to the big screen." On Metacritic, the film has a score of 40 out of 100 based on 35 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.

Stephen Hunter of The Washington Post noted that it was "a movie more based on character than plot" and "mostly an origins tale". He called it "a funky, fun film version of the famous Marvel superhero[s]" but was critical of the last twenty minutes. Joe Leydon of Variety called the film "unpretentious" but also "wildly uneven". James Berardinelli of ReelViews having been a fan of the comics, found the film disappointing saying "This movie is more like a B-grade comic book adaptation than the A-list production it should have been." Berardinelli praised Chiklis for a standout performance despite being buried in makeup: "Fantastic Four has its good points - there are individual scenes that work" and said there are "moments of surprise and excitement...but the tempo's off, beats are missed, and the production ends up sounding out-of-tune." Entertainment Weekly's Owen Gleiberman described the film as "like something left over from the '60s" and compared it unfavorably to other contemporary films such as Spider-Man 2, Batman Begins, and The Incredibles. The film has earned some warmer reevaluation due to the failure of the 2015 reboot film.

Accolades
At the Saturn Awards, Fantastic Four was nominated for Best Science Fiction Film, but lost the trophy to Star Wars: Episode III – Revenge of the Sith. It was given two nominations at the 2006 MTV Movie Awards including Best Hero for Jessica Alba (she lost to Christian Bale for Batman Begins) and Best On-Screen Team for Alba, Michael Chiklis, Chris Evans and Ioan Gruffudd (they lost to Vince Vaughn and Owen Wilson for Wedding Crashers). Alba was nominated for a Razzie Award for Worst Actress for her performances in both this film and Into the Blue, but lost to Jenny McCarthy for Dirty Love. The film won the Stinker Award for Worst Screenplay for a Film Grossing Over $100M.

Home media
The main version of Fantastic Four on VHS and DVD was released in December 2005. This version had some changes from the one shown in cinemas. Some of these changes included the following:
 * There is a scene where Reed and Susan are in a storage room of the Baxter Building. On one of the shelves is a robot that is supposed to be H.E.R.B.I.E. from the Fantastic Four animated cartoon series from 1978.
 * The biggest change is of the scene with Jessica Alba and Ioan Gruffudd's characters looking toward the Statue of Liberty. Similar lines are used in the DVD version, but the version on DVD replaces that with the pair in the planetarium, where they discuss their feelings for each other. Instead of Reed forming a square jaw, as he does in the theatrical version, he makes his skin look like that of Wolverine from the X-Men comics. Actor Gruffudd breaks the fourth wall and looks directly at the camera as he does this. This scene was created in hopes to create a shared cinematic universe between this film, Fox's X-Men and Sony's Spider-Man. Wolverine was also set to appear in a cameo in Spider-Man 2. The extended cut includes this as part of the movie, along with a longer version of the scene in the planetarium.

The movie was also released on VHS the same day. It was later released on Blu-ray on November 14, 2006.

Extended cut
In June 2007, an extended cut DVD of Fantastic Four was released. It incorporated about 20 minutes of deleted scenes, and also included a preview of the sequel, Fantastic Four: Rise of the Silver Surfer. The DVD expanded on The Thing's relationships with Alicia Masters, Doom's scheming to break up the group, and the Human Torch's womanizing backfiring on him.

Film novelization
Fantastic Four received a novelization written by popular Marvel Comics writer Peter David, which included several scenes not present in the movie.

Soundtrack
Fantastic 4: The Album is the official soundtrack to the movie Fantastic Four. The soundtrack features two supergroups that were formed specifically for the album: Loser (former Marilyn Manson guitarist/writer John 5) and T.F.F. (featuring Brody Dalle of The Distillers, Chris Cester of Jet, Nick Zinner of The Yeah Yeah Yeahs, and Dolf de Datsun of the Datsuns).

An album of John Ottman's score was released by Varèse Sarabande on July 12, 2005.

Additionally, Gabin's song "Bang Bang to the Rock n' Roll" was featured in the film, but not used on the soundtrack.

Sequel
A sequel, Fantastic Four: Rise of the Silver Surfer, was released on June 15, 2007, with director Tim Story and the cast returning to the fold. The film had a slightly improved critical reception but lower financial gross than its predecessor.

2015 reboot
When plans for a third film fell through, 20th Century Fox rebooted the series with 2015's Fantastic Four. The film experienced a worse critical reception than the original films and failed at the box office, leading to the cancellation of a sequel planned for a 2017 release.

Marvel Cinematic Universe
In 2019, after Disney successfully acquired Fox, the film rights of Fantastic Four were reverted to Marvel Studios, with plans to integrate the characters, along with The X-Men and Deadpool, into the Marvel Cinematic Universe. Jon Watts was originally attached to direct, but later stepped down after expressing his desire to take a "break" from superhero films. The Fantastic Four is scheduled to be released in the United States on July 25, 2025, as the second film of Phase Six of the MCU. The cast includes Pedro Pascal as Reed Richards, Vanessa Kirby as Sue Storm, Joseph Quinn as Johnny Storm and Ebon Moss-Bachrach as Ben Grimm.

title: Fantastic Four (2005 film)


text:
Mark Jackson (Australian footballer)

Mark Alexander Jackson (born 30 August 1959) is a former Australian rules footballer who played for the Melbourne Football Club, St Kilda Football Club and Geelong Football Club in the Victorian Football League (VFL), and for the South Fremantle Football Club in the West Australian Football League (WAFL).

Known as "Jacko", Jackson's colourful and enigmatic personality often resulted in clashes with officials and teammates, which tended to overshadow the fact that he was also a capable full forward.

Following his football career, Jackson became notable for several television appearances, including commercials for Jenny Craig, Energizer and Nutri-Grain, along with several feature films. Jackson has also written an autobiography, Dumb Like a Fox, which was released in 1986.

Early life
Jackson was born at the Royal Women's Hospital as one of six children to George Jackson and his wife Frances, and grew up in the eastern Melbourne suburb of Nunawading.

South Fremantle & Richmond (1979–1980)
After playing colts and reserves football for in 1977 and 1978, Jackson started his senior career in the West Australian Football League, spending the 1979 season with. Coach Mal Brown employed Jackson as a forward to protect Ray Bauskis, a skilful but lightweight full-forward. Jackson kicked 53 goals in 22 games and Bauskis 66 in 17 games. South Fremantle finished second in 1979. The night before the second semi-final, Jackson returned to Melbourne after being told that the other players had voted him out of the team. He consequently missed out on playing in the 1979 grand final, which saw the then largest crowd in West Australian football history.

Jackson rejoined Richmond for the 1980 season. However, with Michael Roach and Brian Taylor at the club, there was no room for another full forward. Jackson spent the entire 1980 season playing in the reserves and kicked 131 goals.

Melbourne (1981–1982)
Jackson moved to Melbourne for the 1981 season, coached by Ron Barassi. Jackson performed a handstand in front of the Hawks full back, Kelvin Moore, reportedly after Moore had told him he "wouldn’t be a full forward while his arse pointed to the floor". Jackson on Open Mike said it was not pointed at Moore, rather it was directed at umpire Glenn James after he disputed a decision. Jackson kicked 76 goals in each of his two years with the Demons, leading the goal kicking in 1981 and one goal less than Gerard Healy in 1982.

St Kilda (1983)
In 1983, Jackson joined on a three-year contract believed to have been worth $40,000 per year. He played in the first nine matches (in which the Saints lost the first eight matches in a row) and kicked 40 goals, including 10 in Round 5 against. However, controversy reared its head again when he was relegated to the reserves for "disciplinary reasons" in Round 10, and then returned for the Round 11 game against, where he was held to one goal in a high-scoring 16-point loss. Jackson was again dropped to the reserves, and suffered a bruised chest during the Sunday game. On the Tuesday following that game, the Saints had told Jackson his services were no longer required. It was later revealed that, among other things, he had played a dangerous prank on club legend Trevor Barker by placing a brick behind the brake pedal in his car. He had also placed a lit cigarette butt in the pocket of club chairman Lindsay Fox in the social club.

Jackson spent the remainder of the year playing for the Melbourne Harlequins rugby side. However, his 41 goals was still enough to be the Saints' leading goal kicker for the 1983 season.

Geelong (1984–1986)
1984 saw Jackson return to the VFL with Geelong. He led their goal kicking in 1984 with 74. In total during his time at Geelong, Jackson scored 115 goals in 31 games.

Geelong started 1985 poorly with one win in the first four rounds but improved with five wins in the next six rounds to be in fifth position. But after losing to in Round 11 they would spend the remainder of the season hovering just outside the Top Five, eventually finishing sixth on the ladder.

The Round 11 match against at Princes Park was overshadowed by various spiteful incidents, including Leigh Matthews' king-hit on Geelong midfielder Neville Bruns behind play, leaving Bruns with a broken jaw. Although this incident was not reported at the time, video footage of the incident resulted in Matthews being charged with assault by Victoria Police and subsequently deregistered by the VFL for four matches. Jackson kicked four goals for the game to be the Cats' main scorer for the day, but was reported four times during the match:
 * by boundary umpire Gower, boundary umpire O'Leary, goal umpire Bill Pryde and field umpire Ian Robinson for allegedly striking Gary Ayres in the final quarter;
 * by goal umpire Pryde for allegedly striking Chris Langford on two separate occasions during the final quarter;
 * by field umpire Robinson for allegedly striking Chris Mew in the final quarter; and
 * by field umpire Robinson for allegedly striking Chris Langford in the final quarter.

At the VFL Tribunal hearing on the Monday following the game, Jackson was suspended for a total of eight matches, stemming from outcomes of three of the charges:
 * He pleaded guilty to the charge from four umpires of striking Ayres (two-match suspension).
 * He pleaded not guilty to striking Mew and was severely reprimanded
 * The third charge of striking Langford by goal umpire Pryde was upheld (two-match suspension)
 * He pleaded guilty to the fourth charge of striking Langford (four-match suspension).

After kicking six goals in the first round of 1986 and two in the second round, he retired after his omission from the Geelong senior side in the following round. He ended his VFL career with 308 goals from 82 games, leading his club's goalkicking on 3 occasions.

He holds the record for the most consecutive games from debut with at least one goal, with 79 games. His first and only goalless game in his career was in his third-to-last game in Round 21, 1985 against Richmond at VFL Park. Jackson gained a controversial reputation for his on-field antics, and was regularly reported: twice at Melbourne and four times at Geelong, including an eight match suspension following a fight against Hawthorn.

Later years
An autobiography of Jackson's football career was published in 1986 and titled Jacko, Dumb Like a Fox, written with the assistance of Melbourne journalist Jon Anderson. Later in 1986 he played a few games for Brunswick Football Club in the Victorian Football Association (VFA) First Division, the first of which against Sandringham drew a crowd of nearly 15,000 to Gillon Oval; he was sacked from Brunswick in July after missing training.

Jackson returned to South Fremantle for the 1987 WAFL season, and kicked 45 goals from the opening 10 games. This included nine goals against in round three. South Fremantle won its opening three games of the season, but then went on an 18-match losing streak to win the wooden spoon – the club's first since 1972. Jackson walked out on the club after round 10, where the Bulldogs lost to West Perth by a league-record 210 points. Despite only playing half the season, he still finished as the club's leading goalkicker. Later in 1987, he went to Queensland and played a game for QAFL club Kedron; he was paid a large fee of $2,000 per game, but his presence drew a large crowd which earned more than $12,000 for the club. He had intended to play more games for Kedron, but was suspended for unbecoming conduct after dropping his shorts several times during the match.

Singing career
Following his retirement from football, Jackson used his fame and popularity to launch a singing career. His first single, "I’m an Individual" was a hit on the Australian singles chart. A second single, "My Brain Hurts" was not so successful. A 1991 release, "You Can Do This", also failed to make an impression.

Jackson combined a rap-like delivery with lyrics based on Australian comedy and larrikinism.

Acting career
After his singing career ended, Jackson began appearing in advertisements, the most successful of which was his role in Energizer battery commercials during the late 1980s and early 1990s. The commercials ended with a manic Jackson yelling "Get Energizer. It’ll surprise you! Oi!". These commercials were shown extensively in the United States, even though few people knew of Jackson, during a period of high American interest in things Australian in the wake of the Crocodile Dundee films. This American infatuation with Australian culture is referenced in The Simpsons episode "Bart vs. Australia" (1995), in which Jackson makes a cameo promoting Energizer. He was the brand's last human spokesman before the emergence of the Energizer Bunny.

There was also a 10 in 1 "Oi! Jacko Gym" action figure toy that could talk, do push ups, lift weights and ride a skateboard—all battery operated, with Jackson wearing the battery company logo on his singlet. He was also linked with Nutri-Grain amongst other companies, and for a time worked as a professional actor for commercials.

Jackson has appeared in various television sitcoms and movies—one of the most notable being as survival expert "Jetto" in the short-lived American action-adventure series The Highwayman (1988)—as well as being on talkback radio and in various children's programs and talk shows. During 2005 Jackson embarked on a tour with author and renowned criminal Mark "Chopper" Read.

In 2014, Jackson was featured on 7mate's Bogan Hunters as a celebrity judge.

Boxing
Jackson also appeared in a televised Australian celebrity boxing match in 2002 in which he went up against Australian former rugby league centre Mal Meninga. Jackson was soundly defeated. Jackson had previously beaten Essendon toughman Ron Andrews in a points decision on 10 December 1984 in a six-round boxing match at the Perth Entertainment Centre.

Filmography

 * 1988 – The Highwayman TV Series
 * 1994 – Signal One
 * 2002 – Trojan Warrior (as Mark Jackson)
 * 2008 – Hole in the Wall – Played on "The Beasts" team.

title: Mark Jackson (Australian footballer)


text:
Val-des-Sources

Val-des-Sources, meaning "Valley of the Springs", formerly known as Asbestos , is a town on the Nicolet River in the Estrie (Eastern Townships) region of southeastern Quebec, Canada. The town is the seat of Les Sources Regional County Municipality, formerly known as the Asbestos Regional County Municipality. The town covers an area of 30.25 square kilometres (11.5 sq mi), including land acquired due to the merger of the City of Asbestos with the Municipality of Trois-Lacs on December 8, 1999.

At the 2021 census, 7,088 people resided in the town. It is situated in the centre of a square formed by the cities of Drummondville, Sherbrooke and Victoriaville, and the Nicolet River to the north.

Due to the negative connotations of the name Asbestos, discussions took place around whether the town should be renamed. A municipal referendum held in October 2020 selected the Val-des-Sources as the new name. The change came into effect on December 15, 2020.

History
The town was the site of the 1949 Asbestos strike.

The town is near to the site of the Jeffrey mine, which used to be the world's largest asbestos mine, which was once the town's largest employer.

During the 1960s the town was thriving and could afford to expand and invest in its infrastructure and municipal architecture. It built a new modern town hall whose main hallway was adorned with a mural by the artist Denis Juneau, as well as some ceramic pieces in the church by famed ceramist Claude Vermette.

In 2000 the Magnola magnesium refinery began operation. The project was the brainchild of Noranda Inc, to repurpose waste asbestos tailings a proprietary electrolytic process. By 2011 it had been shuttered.

In late 2011, one of the last two remaining asbestos mines in Canada, the Jeffrey mine, halted operations. In June 2012, a $58-million loan was promised by the Quebec government to restart and operate the Jeffrey mine for the next 20 years. In September 2012, before the loan funds were delivered, the Parti Québécois defeated the Quebec Liberal Party in the Quebec provincial election. The Parti Québécois followed through with an election promise to halt asbestos mining and to cancel the loan, and put funding toward economic diversification in the area.

Name change
At various times since the decline of asbestos mining, residents and politicians in the area have proposed changing the town's name due to its negative connotations; however, past proposals often failed, with people involved in the debate noting that because the town is predominantly francophone and the mineral is referred to as amiante rather than asbestos in French, its residents do not typically associate the town's name with the stigma around the mineral.

A name change plan was approved by the municipal council in November 2019, with the new name chosen by a public poll. On September 14, 2020, the mayor announced that residents would be able to vote to rename the town to either Apalone, Jeffrey, Phénix or Trois-Lacs. The choices were not well received, and more names were added to the list. The referendum was held in October to allow the townspeople to choose from among six names: L'Azur-des-Cantons, Jeffrey-sur-le-Lac, Larochelle, Trois-Lacs, Val-des-Sources, or Phénix. The referendum results were announced on October 19, 2020. 51.5% of voters chose the name Val-des-Sources in the third round of a preferential ballot. In Quebec, a municipal name change must be proposed to the Commission de toponymie du Québec and then approved by the Ministry of Municipal Affairs and Housing before it takes effect, which occurred on December 17, 2020. For most purposes the name change took immediate effect, although the town's rebranding of its own billboards was not expected to take place until January 2021, and Canada Post required until April 19, 2021 to complete the necessary changes in its postal addressing system.

Some residents who remained opposed to the name change organized a petition drive calling on the Ministry of Municipal Affairs to deny its approval, on the grounds that not enough of the town's residents participated in the referendum, and that the referendum did not include any option to express a preference for maintaining the existing name. Minister Andrée Laforest rejected the petition and approved the name change, which came into effect on December 15, 2020.

Places of interest
Close to downtown Val-des-Sources, outdoor enthusiasts can take advantage of the Trois Lacs resort, the golf club or the cycle path. Also, the Festival des Gourmands is the main festive event in the city. Music is a big part of the city thanks to the Harmonie d'Asbestos, an institution long recognized throughout the region during the years 1945-60 and the Camp musical d'Asbestos, which welcomes young musicians from all over Quebec.

Transportation
The two most important roads entering Val-des-Sources are Road 249, connecting Val-des Sources to Magog, via Sherbrooke and Road 255 connecting Baie-du-Febvre to Bury while passing through Val-des-Sources and Saint-Cyrille-de-Wendover.

Municipal government
In the 2021 municipal elections, Hugues Grimard was reelected unopposed as mayor of Val-des-Sources. Grimard was initially elected in 2009, defeating the incumbent mayor Jean-Philippe Bachand with 52% of the votes. Bachand tried unsuccessfully to unseat Grimard and regain his former seat in the 2013 election but Grimard was re-elected with 60% of the votes. In the 2017 elections, Bachand finally return to city council by winning a seat as a councillor but he was unseated in 2021 when Isabelle Forcier won his councillor seat with 60% of the votes.

Current Government

Mayor: Hugues Grimard

Councillors:
 * 1) Isabelle Forcier
 * 2) Andréanne Ladouceur
 * 3) René Lachance
 * 4) Caroline Prayer
 * 5) Jean Roy
 * 6) Pierre Benoit

Demographics
In the 2021 Census of Population conducted by Statistics Canada, Val-des-Sources had a population of $7,088$ living in $3,460$ of its $3,691$ total private dwellings, a change of NaN% from its 2016 population of $6,786$. With a land area of 30.25 km2, it had a population density of in 2021.

Religion (2001)

In terms of mother tongue, the 2016 census found that, including multiple responses, almost 98% of residents spoke French, and about 2% of residents spoke English. The next most commonly reported first languages learned were Spanish, Arabic and German.

People from Val-des-Sources

 * Jayson Dénommée
 * Jean Hamel
 * Denis Patry
 * Sean McKenna
 * Gilles Hamel

title: Val-des-Sources


text: Category:The Flintstones characters

title: Category:The Flintstones characters


text:
Karabakh horse

The Karabakh (Qarabağ atı) is a mountain-steppe racing and riding horse breed. It is named after the Karabakh region, from which the breed originates. The breed is noted for its good temperament and speed; in 2004, a Karabakh horse named Kishmish from an Aghdam stud farm covered 1000 m in and 1600 m in.

The Karabakh is thought to be influenced by Persian horses and the Akhal-Teke, Kabarda, Turkoman and Arabian breeds, and it influenced the development of the Russian Don during the 19th century. It is bred primarily in Azerbaijan's Shaki region. The breed numbers below 1,000, and it is threatened with extinction.

History

The Karabakh region was known for the quality of its horses; the classical historian Strabo describes the Armenian province of “Orchistene" as supplying the kingdom with the "most cavalry." According to some sources, tens of thousands of horses with golden-chestnut coloring (characteristic of Karabakhs) were seized by the Arabs during their eighth- and ninth-century conquest of Arran.

The Karabakh has close links to the Akhal-Teke (which is bred in Turkmenistan) and the Turkoman horse, which is bred in Iran. Some historians believe that they were originally a single breed and significantly influenced the development of the Arabian horse. These facts were found out after numerous studies in the 19th century.

The breed acquired its present characteristics during the 18th and 19th centuries. In Transcaucasia, Karabakh Khanate was known as a place for breeding of horses. Factory of the khanate was the main farm of purebred horses, which were not held for sale, but were only presented as gifts. According to Diterikhs, in 1797, right after the death of Agha Mohammad, Ibrahim Khalil Khan got his stable. There is some evidence that Ibrahim Khalil Khan (1763–1806), ruler of the Karabakh Khanate, had a herd numbering 3,000–4,000 (primarily Karabakhs). During the 19th century, Karabakhs became popular in Europe. An English company purchased 60 Karabakh mares from Mehdigulu Khan Javanshir, the last ruler of the Karabakh Khanate, at a large 1823 sale. Although its numbers were impacted in 1826 during the Russo-Iranian war, the breed remained intact.

The Karabakh played a significant role in the formation of the Russian Don breed. The heir of Russian general Valerian Madatov sold all his horses, including 200 Karabakh mares, to a breeder in the Don region in 1836. The mares were used to improve the Russian Don into the 20th century.

Karabakh numbers sharply decreased again during the early 20th century, primarily because of civil and ethnic wars in the Caucasus in general and the Karabakh region in particular. The breeding enterprise established by the Karabakh khans and developed by their heirs was destroyed in 1905. Karabakhs were bred to other breeds, resulting in changes including a reduction in size.

In 1949, the breed was revived at the Agdam stud in Azerbaijan. Seven years later, the Karabakh stallion Zaman and an Akhal-Teke named Mele-Kush were presented to Queen Elizabeth II by the Soviet government.

The breed experienced another setback during the First Nagorno-Karabakh War. Before the 1993 capture of Agdam by Armenian forces, most of the Karabakh horses were moved from the Agdam stud. They are currently bred in winter pastures on the lowland Karabakh plains between Barda and Agjabadi.

During the years of Russian Empire
In 1805 Karabakh became part of Russia. Mehdigulu Khan, who ruled after Ibragim Khan, was not interested in the development of stud farms. As a consequence the quantity of khan horses was decreasing. In 1822, Mehdigulu Khan ran away to Persia, and his best horses were presented as gifts to his close people. Unlike Mehdigulu Khan, his daughter Khurshidbanu Natavan was actively engaged in the development of stud farms. Natavan's Karabakh horses took part in the Exposition Universelle (1867), agricultural exhibition in Moscow (1869), in Tbilisi (1882) and were awarded golden medals and certificates of honour. Karabakh horses were also awarded at the Second All-Russian Exhibition in 1869: Meymun – silver medal, Tokmak – bronze medal. At the Exposition Universelle (1867) in Paris, Khan got a silver medal.

According to modern Azerbaijani sources, not only Khan's daughter, but also many Karabakh bays owned stud farms. Among them were Ugurlu Bay, Jafargulu Khan, Rustam Bay Behbudov, Kerim-aga Javanshir, Shamil bay and others. Overall in the middle of the 19th century, there were 11 stud farms, with 250 stallions and 1450 fillies.

Karabakh horses were used by Russian officers who served in the Caucasus. Russian poet Aleksandr Pushkin, who traveled to Arzurum in 1829, wrote in his travel notes that young Russian officers were riding Azerbaijani horses. On 21 May 1843, the coat of arms of Shusha was approved and Karabkh horse was depicted on it.

In the Soviet Union
In 1948, the Soviets began a breeding program which included the use of nine Arabian stallions, as no pure Karabakh stallions were available at the time.

During the years of Azerbaijan Republic
Karabakh horses are bred at two stud farms: in the village of Lambaran of the Barda region, and in Agstafa. Private stud farms exist in line with state enterprises. Because of the First Nagorno-Karabakh War, the number of horses significantly decreased. This happened because horses were often moved from one place to another and pregnant fillies experienced miscarriages. Moreover, horses were bred in unsatisfactory conditions.

The traditional Karabakh horse-riding game of chovqan was included in the UNESCO Intangible Cultural Heritage List in 2013. The export of Karabakh horses has been banned since 2015 and the Azerbaijani Ministry of Agriculture focuses on the breeding of the small number of remaining horses.

On 13 February 2017, the Organisational Committee of the Islamic Solidarity Games introduced mascots: Karabakh horses Inca, that represented beauty and tenderness, and Casur, that stood out with self-confidence and love of freedom.

Modern times
The Karabakh horse is the national animal of Azerbaijan and the official symbol of the Agdam and Shaki districts. The horse, of great cultural importance to the people of Azerbaijan, appears in literature and on postage stamps. Qarabağ FK's logo contains two rearing horses, based on the Karabakh horse.

According to Kurban Said's novel Ali and Nino, "I looked at the horse and was struck numb. There stood the red-golden miracle of Karabakh ... one of the twelve golden horses in the whole world ..." A horse in Karabakh is described in Mikhail Lermontov's poem, "Demon".

In 2012, the breed appeared at the Royal Windsor Horse Show to perform at the Diamond Jubilee of Elizabeth II. A monument to the Karabakh horse was unveiled in Belgium in March 2017, and the Karabakh was the mascot of the 2017 Islamic Solidarity Games.

On May 16, 2022, Queen Elizabeth II was presented with a Karabakh horse named Shohrat (Glory) as gift from President Ilham Aliyev of Azerbaijan.

Characteristics
The Karabakh is hardy, strong, tough and sure-footed, standing 138 – high. It has a small, well-defined head, a straight profile with a broad forehead, and large nostrils. The neck is set high, average in length, muscular and elegant. It has a compact body, with well-defined and well-developed muscles. The shoulder is often upright. The horse has a deep chest, a sloping croup and long, fine, strong legs with small joints. Its chest is narrow and it is not very deep through the girth, due to the Akhal-Teke influence.

The skin is thin and soft, with a shiny coat. The main colors are chestnut and bay, with a characteristic golden tint; some are gray, and palominos and buckskins are rare. White markings are permitted. As well as being fast and agile, the Karabakh is known for its endurance and loyalty.

They are known for their endurance as the 19th century French Geographer Reclus Elisée describes in his book L'Homme et la terre (The Earth and its Inhabitants) their strength as: "The Karabakh horses, however, which climb the cliffs like goats, are said to be the finest in Transcaucasia"

title: Karabakh horse


text:
Doug Carpenter

Doug Carpenter (born July 1, 1942, in Cornwall, Ontario) is a former head coach in the National Hockey League, the Quebec Major Junior Hockey League, the International Hockey League and the American Hockey League, and is a former hockey player in the Eastern Hockey League and the International Hockey League.

As a player from 1964–1974, he played for the Greensboro Generals and Roanoke Valley Rebels in the EHL and for the Flint Generals in the IHL. Upon retiring from hockey he became head coach of the Flint Generals (1974–1978) and later head coach of the Cornwall Royals of the QMJHL. Following stints with the New Brunswick Hawks and St. Catharines Saints of the AHL, he landed his first NHL head coach position with the New Jersey Devils. Lifelong friend of Don MacPherson. Later he coached the Toronto Maple Leafs. Also in the AHL he coached the Halifax Citadels twice, and the New Haven Nighthawks.

title: Doug Carpenter


text:
Wikipedia:Articles for deletion/Hayley phillips

 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. —Korath (Talk) 00:38, Feb 20, 2005 (UTC)

Hayley phillips
Public love letter to the writer's inamorata, who's no doubt delightful but doesn't seem notable. (I initially speedied this, but on reflection couldn't come up with a reason -- other than gut feeling, common sense, etc. etc. -- for doing so. So I regret that it must instead go through the VfD process, and other people have to waste their time over it too.) -- Hoary 04:53, 2005 Feb 18 (UTC)
 * Delete. Obvious vanity. (Note: I proposed adding a speedy criterion for articles written in the first person here.) – flamurai (t) 04:59, Feb 18, 2005 (UTC)
 * Delete. A vanity filled personal essay. Zzyzx11 07:27, 18 Feb 2005 (UTC)
 * Delete, not notable, vanity. Btw there is an Australian child actress by that name. Megan1967 09:28, 18 Feb 2005 (UTC)
 * Userfy and inform user of policy. Mgm|(talk) 10:08, Feb 18, 2005 (UTC)
 * On further reflecting, I recommend deletion. Wikipedia is not the place to put love declarations period (not a hosting service). Especially when you don't take the time to register. Mgm|(talk) 10:11, Feb 18, 2005 (UTC)
 * The IP number that created the page has now deleted it, which I think qualifies it as speedyable after all. -- Hoary 11:44, 2005 Feb 18 (UTC)
 * 21:28, Feb 18, 2005 Dante Alighieri deleted Hayley phillips (creator blanked page)

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:
User talk:196.3.56.100

January 2011
Welcome to Wikipedia. Your test on the page Loni, India worked, and has been removed. If you would like to experiment further, please use the sandbox. You may also wish to read the introduction to editing and its related help page for more information. Thank you. ~ Matthewrbowker  Say hi! 05:27, 20 January 2011 (UTC)

title: User talk:196.3.56.100


text:
File:All the News That's Fit to Sing cover.jpg

Summary
Cover of Phil Ochs' first album, All the News That's Fit to Sing.


text:
File:I Ain't Marching Anymore (Phil Ochs album - cover art).jpg

Summary
Cover of Phil Ochs' second album, "I Ain't Marching Anymore".


text:
Adolph Menzel

Adolph Friedrich Erdmann von Menzel (8 December 1815 – 9 February 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.

His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic work (and especially his drawings) were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation.

Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone—he had a large head, and stood about four foot six inches (137 cm).

Career
Menzel was born to German parents in Breslau, Prussian Silesia (now Wrocław, Poland), on 8 December 1815. His father was a lithographer and intended to educate his son as a professor, but did not thwart his taste for art. After resigning his teaching post, Menzel senior set up a lithographic workshop in 1818. In 1830 the family moved to Berlin, and in 1832 Adolph was forced to take over the lithographic business on the death of his father. In 1833, he studied briefly at the Berlin Academy of Art, where he drew from plaster casts and ancient sculptures; thereafter Menzel was self-taught. of Berlin published his first work in 1833, an album of pen-and-ink drawings reproduced on stone, to illustrate Goethe's little poem, Kunstlers Erdenwallen. He executed lithographs in the same manner to illustrate Denkwürdigkeiten aus der brandenburgisch-preussischen Geschichte; The Five Senses and The Prayer, as well as diplomas for various corporations and societies. From 1839 to 1842, he produced 400 drawings, largely introducing to Germany the technique of wood-engraving, to illustrate the Geschichte Friedrichs des Grossen (History of Frederick the Great) by Franz Kugler. He subsequently brought out Friedrichs der Grossen Armee in ihrer Uniformirung (The Uniforms of the Army under Frederick the Great), Soldaten Friedrichs der Grossen (The Soldiers of Frederick the Great); and finally, by order of King Frederick William IV, he illustrated the works of Frederick the Great, Illustrationen zu den Werken Friedrichs des Grossen (1843–1849). The artist had a deep sympathy for the Prussian king. In one of his letters to Johann Jakob Weber, he said that it was his intention to represent the monarch as a man who was both hated and admired—simply as he was, in other words, as a man of the people. Through these works, Menzel established his claim to be considered one of the first, if not actually the first, of the illustrators of his day in his own line.

Menzel's fame came from his illustrations of the 18th-century Prussian monarch, Frederick the Great. As well as dedication to adding historical accuracy and attention to detail. Menzel also made sure to do research on the items he was painting. From 1840 and onward Menzel became admirable for his small paintings and drawings. In which he depicted his unconventional ideas. In the meantime, Menzel had also begun to study, unaided, the art of painting, and he soon produced a great number and variety of pictures. His paintings consistently demonstrated keen observation and honest workmanship in subjects dealing with the life and achievements of Frederick the Great, and scenes of everyday life, such as In the Tuileries, The Ball Supper, and At Confession. Among those considered most important of these works are Iron Rolling Mill (1872–1875) and The Market-place at Verona. When invited to paint The Coronation of William I at Koenigsberg, he produced an exact representation of the ceremony without regard to the traditions of official painting.

During Menzel's life, his paintings were appreciated by Otto von Bismarck and William I, and after his death they were appropriated for use as electoral posters by Adolf Hitler.

If these historical illustrations anticipated the qualities of early Impressionism, it is paintings such as The French Window and The Palace Garden of Prince Albert, both painted in the mid- 1840s, that now appeal as "among the most freely observed of mid-nineteenth century images." Such genre paintings evidence associations with French and English art. Though he was primarily an excellent draughtsman, art historian Julius Meier-Graefe considered him to be a "proto-impressionist" painter, whose graphic work hindered his painterly potentials. Private drawings and watercolors made of dead and dying soldiers in 1866 on the battlefields of the Austro-Prussian War are unsparing in their realism, and have been described by art historian Marie Ursula Riemann-Reyher as "unique in German art of the time."

Later years

The paintings which were available to the public garnered recognition not only within Germany, but from the French avant-garde as well: Edgar Degas admired and copied his work, calling him "the greatest living master", and Louis Edmond Duranty wrote of his art:

"In a word, the man is everywhere independent, sincere, with sure vision, a decisive note that can sometimes be a little brutal....While being perfectly healthy he has the neurosis of truthfulness....The man who has measured with a compass the buttons on a uniform from the time of Frederick, when it is a matter of depicting a modern shoe, waistcoat, or coiffure, does not make them by approximations but totally, in their absolute form and without smallness of means. He puts there everything that is called for by the character (of the object). Free, large, and rapid in his drawing, no draftsman is as definitive as he."

Notwithstanding Menzel's professed estrangement from others, his renown entailed social obligations, and in the 1880s the poet Jules Laforgue described him as "no taller than a cuirassier-guard's boot, bedecked with pendants and orders, not missing a single one of these parties, moving among all these personages like a gnome and like the greatest enfant terrible for the chronicler." In Germany he received many honors, and in 1898 became the first painter to be admitted to the Order of the Black Eagle; by virtue of receiving the Order, Menzel was raised to the nobility, becoming "Adolph von Menzel". He was also made a member of the Académie des Beaux-Arts in Paris and the Royal Academy in London. After his death in 1905 in Berlin, his funeral arrangements were directed by the Kaiser, who walked behind his coffin.

Exhibitions (selection)
"Adolph Menzel 1815–1905. Das Labyrinth der Wirklichkeit", Nationalgalerie (National Gallery) and Kupferstichkabinett (Museum of Prints and Drawings), Staatliche Museen zu Berlin – Preußischer Kulturbesitz, 7 Feb – 11 May 1997 "Menzel. Maler auf Papier", Kupferstichkabinett (Museum of Prints and Drawings), Staatliche Museen zu Berlin – Preußischer Kulturbesitz, 20 September 2019 – 19 January 2020.

World War II
Several important works by Menzel were seized, sold by force or under duress during the Nazi period. Some of these have been restituted in the 21st century.

 * In 2014, the Menzel's Stehende Rüstungen (1886) ("Standing Suits of Armour" or "Armoury Fantasy" ) was restituted by the Albertina Museum in Vienna to the heirs of Adele Pächter, who was murdered at the Theresienstadt concentration camp.
 * In 2015, the Menzel pastel "Lady with a Red Blouse" was restituted to the heirs of Erna Felicia and Hans Lachmann-Mosse. Oskar Reinhart had purchased the pastel from the art dealer Fritz Nathan in Munich in 1934 and donated it to the Foundation in 1940.
 * Others have been claimed but not restituted. Also in 2015 the Dutch Limbach Commission refused a restitution request for the Menzel painting "A Weekday in Paris" which had belonged to the Jewish banker Georges Behrens.
 * In 2017 Germany's Culture Minister Monika Gruetter returned Menzel's Interior of a Gothic Church to the heirs of Elsa Cohen who, persecuted by the Nazis because Jewish, sold it to Hitler's art dealer Hildebrand Gurlitt in 1938. It was rediscovered in the art stash of his son, Cornelius Gurlitt.

The German Lost Art Foundation lists numerous Menzel artworks on its website.

In pop culture
Menzel and an exhibition of his art plays a pivotal role in the HBO series The Gilded Age, Season 2 Episode 3.

Selected bibliography

 * Karl Scheffler, Adolf Menzel: Der Mensch, das Werk. Berlin: Cassirer, 1915.
 * Elfried Bock, Adolph Menzel: Verzeichnis seines graphischen Werkes. Berlin: Amsler & Ruthardt, 1923.
 * Werner Schmidt, Adolf Menzel: Zeichnungen Verzeichnis und Erläuterungen. National-Galerie, Staatliche Museen, Berlin, 1955.
 * Ulrich Bischoff, Jens Christian Jensen, Richard Hoppe-Sailer, Wulf Schadendorf, Johann Schlick, Jürgen Schultze, Adolph Menzel: Realist – Historist – Maler des Hofes. Exhibition catalog. Schweinfurt: Weppert, 1981.
 * Gisela Hopp, Eckhard Schaar, Werner Hofmann, eds., Menzel – der Beobachter. Exhibition catalog. Munich: Prestel, 1982.
 * Jost Hermand, Adolph Menzel mit Selbstzeugnissen und Bilddokumenten (Rowohlts Monographien, vol. 361). Reinbek bei Hamburg: Rowohlt, 1986.
 * Gisold Lammel, Adolph Menzel. Frideriziana und Wilhelmiana. Dresden: Verlag der Kunst, 1987.
 * Claude Keisch and Marie Ursula Riemann-Reyher, eds.: Adolph Menzel 1815–1905: Between Romanticism and Impressionism. London and New Haven: Yale University Press, 1996.
 * Michaela Diener, „Ein Fürst der Kunst ist uns gestorben“: Adolph von Menzels Nachruhm im Kaiserlichen Deutschland (1905–1910). Regensburg: Roderer, 1998.
 * Hubertus Kohle, Adolph Menzels Friedrichbilder: Theorie und Praxis der Geschichtsmalerei im Berlin der 1850er Jahre. Munich and Berlin: Deutscher Kunstverlag, 2001.
 * Christina Grummt, Adolph Menzel – zwischen Kunst und Konvention, die Allegorie in der Adressenkunst des 19. Jahrhunderts. Berlin: Reimer, 2001.
 * Michael Fried, Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin. London and New Haven: Yale University Press, 2002.
 * Jens Christian Jensen, Adolph Menzel. Cologne: DuMont, 2003.
 * Werner Busch, Adolph Menzel: Leben und Werk. Munich: Beck, 2004.
 * Bernhard Maaz, ed., Adolph Menzel radikal real. Munich: Hirmer, 2008.
 * Werner Busch, Adolph Menzel: Auf der Suche nach der Wirklichkeit. Munich: Beck, 2015.
 * Anja Grebe, Menzel, Maler der Moderne. Berlin: Verlag Eisengold, 2015.
 * Claudia Czok, "Menzel, Adolph (Adolph Friedrich Erdmann von)", in De Gruyter: Allgemeines Künstlerlexikon: Die Bildenden Künstler aller Zeiten und Völker, vol. 89. Berlin and Boston: De Gruyter, 2016, pp. 117–121.

title: Adolph Menzel


text:
File:Phil Ochs in Concert (Phil Ochs album - cover art).jpg

Summary
The cover to Phil Ochs' third album, "Phil Ochs in Concert".


text:
File:Pleasures of the Harbor (Phil Ochs album - cover art).jpg

Summary
The cover to Phil Ochs' fourth album, "Pleasures of the Harbor"


text:
File:Tape from California (Phil Ochs album - cover art).jpg

Summary
Cover of Phil Ochs' fifth album, "Tape From California".


text:
File:Rehearsals for Retirement (Phil Ochs album - cover art).jpg

Summary
The cover to Phil Ochs' sixth album, "Rehearsals For Retirement."